ArtSlant - Recently added en-us 40 Tom Burckhardt, Clare Grill, Sangram Majumdar - Steven Harvey Fine Art Projects - February 10th - March 13th <p>Steven Harvey Fine Art Projects is proud to present &ldquo;Real States,&rdquo; a three-person exhibition with Tom Burckhardt, Clare Grill, and&nbsp;Sangram&nbsp;Majumdar.&nbsp;The exhibition will include three to five pieces by each artist, New York-based friends and colleagues.</p> <p>The three artists in this exhibition&nbsp;all make paintings that engage&nbsp;abstract or abstracted&nbsp;forms on the armature of an implied grid. &nbsp;However, these forms and shapes are&nbsp;simultaneously allowed to fall away from any such structure. &nbsp;This &ldquo;on-grid / off-grid&rdquo; tension&nbsp;permeates the work of all three painters. &nbsp;</p> <p>&nbsp;In&nbsp;Majumdar&rsquo;s&nbsp;paintings, the&nbsp;forms are derived from observed sources the artist arranges and constructs.&nbsp; The structure, in some of these works, originates from a digital printout of an early video game interior, layered with images of gardens in Indian miniature paintings, or the remains of cardboard cutouts from his larger paintings. The resulting paintings hint at something known, but seen here out of context.&nbsp; They evoke simultaneity, the feeling of being in two places at once.&nbsp; Gesture and felt experience are recognizable: embedded in the fragments, even as the artist plays with figure-ground reversal.</p> <p>&nbsp;Clare Grill's&nbsp;paintings are not planned, but rather found through&nbsp;repeated sanding, rubbing, and dragging of paint over linen. Antique embroidery samplers--needlepoint work made by young girls to present their craftwork skills to potential&nbsp;employers--often&nbsp;serve as an entry point.&nbsp;Grill is drawn to the tedious, tiny stitches that comprise these worn artifacts. Each of her paintings operates within its own tight chromatic and tonal range, the result of working in low, raking-light, on a tabletop. The subtle forms seen on and below the surface&nbsp;inform the resultant imagery. Her paintings testify to human touch and the subtle variations that inform our daily experiences, often unnoticed and unacknowledged.&nbsp;</p> <p>&nbsp;Burckhardt uses humor&nbsp;to&nbsp;pull back from the logic of abstract forms within a grid. A&nbsp;maximalist&nbsp;(while&nbsp;the other two artists investigate traces, shadows,&nbsp;and&nbsp;missing information), Burckhardt allows&nbsp;suggestive&nbsp;forms to&nbsp;breed and layer. Some&nbsp;works&nbsp;are painted on cast plastic&nbsp;(<em>trompel&rsquo;&oelig;il</em>&nbsp;canvases), made from the artist&rsquo;s&nbsp;molds. &nbsp;They&nbsp;play with our constructed&nbsp;hierarchies of the unique&nbsp;work of art and tendency to&nbsp;fetishize&nbsp;material.&nbsp;They are wild but controlled: combining colors and forms that invoke a range of visual culture: art historical images, banal patterning, and mechanistic animation.</p> <p>&nbsp;Burckhardt&nbsp;(b. 1964, New York, NY)&nbsp;received a BFA from Purchase College, SUNY, and also studied at the Skowhegan School of Painting and Sculpture. &nbsp;He has&nbsp;had over twenty solo exhibitions, several held at&nbsp;Tibor&nbsp;de Nagy Gallery between 2002-15. In 2014 a travelling exhibition of his FULL STOP (2004-2005), a walk-in version of an artist&rsquo;s studio made of cardboard at life size, opened at the Columbus College of Art &amp; Design. In 2011,&nbsp;his work was the subject of a solo exhibition at the&nbsp;Weatherspoon&nbsp;Art Museum, Greensboro, NC. The artist is the recipient of the International Association of Art Critics Award, the Richard and&nbsp;Hinda&nbsp;Rosenthal Foundation Award from the Academy of Arts and Letters, and two Pollack-Krasner Foundation grants.&nbsp;He&nbsp;lives in New York and spends his summers in Maine.&nbsp;</p> <p>&nbsp;Grill&nbsp;(b. 1979, Chicago, IL) lives and works in Queens, NY. She received a MFA from Pratt and attended the Skowhegan School of Painting and Sculpture.&nbsp;Zieher&nbsp;Smith &amp; Horton, NY presented a&nbsp;solo exhibition of her paintings&nbsp;in 2015. Additional solo exhibitions include Albright College, Reading, PA; Reserve Ames, Los Angeles, CA;&nbsp;Soloway, Brooklyn, NY; and Real Art Ways, Hartford, CT. Recent group exhibitions include Paramo, Guadalajara, MX; Josh Lilley Gallery, London, UK; P420, Bologna, IT; The New Britain Museum of American Art, New Britain, CT, OMI International Art Center, Ghent, NY; and&nbsp;Artspace, New Haven, CT.&nbsp;</p> <p>&nbsp;Majumdar&nbsp;(b. 1976,&nbsp;Kolkata, India)&nbsp;has an MFA from Indiana University and a BFA from the Rhode Island School of Design.&nbsp;He has been the subject of three solo exhibitions at&nbsp;Steven Harvey Fine Art Projects&nbsp;(2009, 2012, and 2013). &nbsp;Additional solo exhibitions include&nbsp;Georgetown University, DC; Rothschild Fine Art, Tel Aviv, Israel, and the&nbsp;Kresge&nbsp;Art Museum, MI. Recent selected group exhibition venues include Morgan Lehman Gallery, NY;&nbsp;Come Together: Surviving Sandy,&nbsp;curated&nbsp;by&nbsp;Phong Bui, Brooklyn, NY; Salon&nbsp;Z&uuml;rcher, Paris, France;&nbsp;and&nbsp;the 2010 Invitational Exhibition of Visual Arts, American Academy of Arts and Letters, NY. Awards include a MacDowell Fellowship, a residency at&nbsp;Yaddo,&nbsp;and&nbsp;the 2009-10 Marie Walsh Sharpe Studio Space Program Grant.&nbsp;Majumdar&nbsp;lives and works in Brooklyn, New York and&nbsp;is a full-time Professor of Painting at the Maryland Institute College of Art.</p> <p>&nbsp;There will be a panel discussion with the artists and art historian Jennifer Samet on Sunday, February 28<sup>th</sup>, at 3pm in the gallery. Please contact SHFAP at <a href="" rel="nofollow"></a> or 917-861-7312 for further information or images.</p> <p>&nbsp;</p> <p>&nbsp;</p> Fri, 05 Feb 2016 20:47:33 +0000 Saul Becker. - Zieher Smith & Horton - February 19th - March 19th <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <p>Saul Becker&rsquo;s paintings have long been informed and enchanted by the natural world&rsquo;s seductive abundance. With the delicate accuracy of a camera lucida drawing and the stark contrast of a photogram, Becker is adept at utilizing methods of photography; his brand of realism stems from manipulations of photographs taken on Arctic expedition. Recombining images and memories, and in this latest body of work, mirror images, the paintings suggest dreams more than documents, and are enhanced by the haunting, frozen quietude of the subject, with what Ken Johnson of The New York Times called an &ldquo;infectious, distinctly contemporary mood of existential perplexity.&rdquo;</p> <p>The human relationship to nature, fraught and imperiled, lies at the heart of Becker&rsquo;s practice, which the artist describes as seeking &ldquo;to make the uncertainties of this relationship palpable.&rdquo; And this he does by way of a deceptively simple brushstroke that unfolds under scrutiny into skittering, uneasy gestures. Far from hyper-real, the technique lends itself to evocative depictions of lichen, snow, ice, water and the many mottled surfaces that pervade Becker's compositions.</p> <p>Saul Becker (b. 1975, Tacoma, WA) lives and works in Burien, WA. He received a MFA from Virginia Commonwealth University; Richmond, VA and a BFA from Nova Scotia College of Art and Design (NSCAD); Halifax, NS. In addition to several exhibitions with Horton Gallery, his work has been featured at Artists Space, the Horticultural Society of New York, and Socrates Sculpture Park, among others. The artist is the recipient of numerous awards, residencies, and travel grants including the Virginia Museum of Fine Art Fellowship, the Washington State Arts Award, a NYFA Fellowship, The Artic Circle 2010 Expedition, and Gros Morne Artist Residency. His work has been discussed in The New York Times, The New Yorker, NY Arts Magazine, and The Seattle Times, among others.&nbsp;</p> </div> </div> </div> Fri, 05 Feb 2016 17:35:13 +0000 Jean Pierre Muller - WhiteBox - February 29th - February 29th <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <p>New York City - ColorBox and A Red Show in A are the latest works to emerge from Jean Pierre Muller&rsquo;s innovative 7x7 project. 7x7 is an inter-disciplinary collaboration between Belgian artist Muller and seven musical luminaries from a variety of contemporary genres; Nile Rodgers, Robert Wyatt, Mulatu Astatke, Archie Shepp, Sean O&rsquo;Hagan, Kassin and Terry Riley. 7x7 is based on the simple principle that the seven colors of the rainbow correspond to the seven notes of the scale, the seven days of the week (and deities and planets associated with those days) and the seven chakras. Seven sound altarpieces have been created, in an edition of seven, each housing an original music by one of the seven composers. A is Red is Monday, Day of the Moon and of Diana (Robert Wyatt), B is Orange is Tuesday, Day of Mars (Archie Shepp), and so on.</p> <p>In the summer of 2012, Muller created a full site-specific set for 7x7 at Edinburgh&rsquo;s Summerhall: 7x7th Street. As its name suggests, this was actually a real street with billboards, signs, small houses, based on a photographic process.</p> <p>A year later, Jean Pierre Muller and Nile Rodgers created An Indigo Night in F at the same venue, an amazing show combining music, live painting and theatre. This acclaimed event was inspired by their collaboration on the 7x7-F-Indigo sound altarpiece. For WhiteBox, Jean Pierre Muller will present two original shows related to 7x7: Spectrum on the main level and A Red show in A on the lower level.</p> <p>ColorBox - Isaac Newton divided his color wheel in seven parts: red, orange, yellow, green, blue, indigo and violet. White is in the central part of the diagram, because all colors of light mixed together produce white. 7x7 at WhiteBox makes complete sense. How can we embrace diversity in a world torn by the conflict between standardization and obsession for identity? Muller wishes to pen the color box and celebrate the full spectrum of our lives in their many contradictions. Rather than taking the stance of the artist as a moralist, he embarks us on a journey through the seas of complexity and the skies of hybridity. Sometimes taking a sound panoramic view on things - drawing lessons from past history, digging into the origins of words, the meaning of symbols &ndash; sometimes zooming into our most intimate obsessions, Muller utters a multi-layered cry for life, plural yet deeply personal.</p> <p>As much a painter as a printmaker, Jean Pierre Muller also uses photogtraphy, light, sound and interactivity to make us feel the beat of the world, the rhythm of life. The elements that Jean Pierre uses in his art reflect processes of urban evolution and the way people become connected to each other through common experiences and references. Like streets grown organically over time, these elements interact through juxtaposition and ever increasing layers of complexity and history. They also tell many intertwined stories, much like the intertwined stories of people in a street, who may not know each other but are linked through commonality of space and time.</p> <p>A Red Show in A - Jean Pierre, together with Robert Wyatt, one of music&rsquo;s greatest shamans, has expanded and deepened the rich material used for their 7x7-Red-A sound altarpiece. It is a nostalgic salute to Al-Andalusia, when Spain was under Moorish rule and religions coexisted peacefully (at least, this is the way one can dream of it today, when everything concurs to convince us we&rsquo;re at war with the others). The most powerful symbol of this period is the Alhambra palace in Granada. This golden age ended in 1492 with the Alhambra Decree and the expulsion of all the Jews from Spain. Al-Hamra means the Red one, in Arabic...</p> <p>For WhiteBox, the artist has built his own Alhambra, a red temple to house the 7x7-Red-A sound altarpiece, with meaningful columns and whispering walls (with voices by Robert Wyatt, but also Terry Riley, Archie Shepp and Nile Rodgers). Muller has adapted Kazimir Malevich&rsquo;s emblematic paintings of the Black Square, the Black Circle and the Black Cross into a Red Star of David, a Red Crescent and a Red Cross. These are powerful symbols to initiate a new reflection on hybridity, coexistence, expulsion... and the power of symbols. Following on from the success of 7x7th Street and An Indigo Night in F with Nile Rodgers, Spectrum and A Red Show in A represent the next stage in a truly international project of ever-growing artistic ambition and cultural resonance.&nbsp;</p> </div> </div> </div> Thu, 04 Feb 2016 21:32:30 +0000 - WhiteBox - February 1st - February 21st <p>#makeamericagreatagain is a group exhibition of diverse media that will run during February and coincide with the initial Democratic and Republican primaries.&nbsp; The exhibition&rsquo;s title is culled verbatim from Donald Trump&rsquo;s campaign slogan. Appropriation does not stop there, however, for #makeamericagreatagain thematically rubs up against the demagoguery prevalent in the current American social and political landscape and rhetoric espoused by primary candidates to engender fear in the American public.</p> <p>The appropriated hashtag also serves as curatorial device to further expand the exhibition into social media. The exhibition-viewing public and those not physically present to see the show, will be asked to upload images or texts with the hashtag of #makamericagreatgain onto Twitter, Instagram or Facebook. These contributions will become part of the exhibition and will be interventions into existing social media sites with the same hashtag.</p> Thu, 04 Feb 2016 21:22:40 +0000 Esther Naor - Stux + Haller - February 24th - March 26th <p class="Body">Stux + Haller is pleased to present AFTERMATH, a solo show of new works by Tel Aviv-based artist Esther Naor, which explores and investigates the themes and consequences of immigration, loneliness, personal and psychic pain, the recent terrorist attacks in Paris, France and San Bernardino, California and the current global refugee crisis. AFTERMATH will be on view at Stux + Haller Gallery, 24 West 57th Street, 6th Floor, New York, NY from February 24th to March 26, 2016. An opening reception will be held on Wednesday, February 24th from 5:30 pm to 8 pm.&nbsp;</p> <p>AFTERMATH, Naor&rsquo;s first solo exhibition at the gallery, features photographs and sculpture selected from the artist&rsquo;s recent body of work and is the third episode in a &ldquo;trilogy,&rdquo; functioning as both a survey and culmination of Naor<strong>ʼ</strong>s work since 2010. The exhibition will continue the concerns Naor has been addressing for the past decade, and further shaped in her solo exhibitions in 2012, &ldquo;Side Effects,&rdquo; and 2015, &ldquo;A Sudden Dark Breeze over My Uncovered Skin.&rdquo;</p> <p class="Body">&ldquo;The first episode was very personal and dealt with my own trauma, identity and biography, the second was more general, borrowing figures from a painting by Goya, instead of my own, and depicting a scene of lifesaving in undefined site and situation,&rdquo; says Naor. &ldquo;The &ldquo;Aftermath&rdquo; works further develop this theme, defamiliarizing and distancing myself from the situation in order to address more universal pains and anxieties, partly under the influence of the images I have been seeing in the last months in the news of refugees in Europe and the recent terror attacks in Paris and California.&rdquo;</p> <p>Though suffering is not unique to our current world, we are now inundated with tragedy, terror, disease, and war on a 24-hour news cycle that does not relent. Esther Naor<strong>ʼ</strong>s work freezes the cycle of our unstable age, distilling our anxieties into a public confession of the world&rsquo;s afflicted, lonely, redemptive common ground. A new series of photo works, printed on glossy aluminum, will surround and exist in dialogue with Naor<strong>ʼ</strong>s newest sculpture. Scenes of anonymous individuals bidding farewell, awaiting unknown futures, are overlaid on the life-preserving surface of a thermal emergency blanket. The thin foil (developed by NASA in 1964), coated silver on one side and gold on the other, calls to mind images of the survivors of the Paris terror attack. Completing this new series is a selection of works from her 2012 and 2015 solo exhibitions in New York City. A window obscured by earth greets one at the door, beside Naor<strong>ʼ</strong>s monumental worry beads hanging stoically next to a gurgling sink, surrounded by her Tigris River blue melon sculptures perched on the floor.</p> <p>&nbsp;Central to this exhibition is a life-sized sculpture inspired by the figure in Goya's 1798 painting "Witches<strong>ʼ</strong>Flight.&rdquo; The thermal emergency blanket yet again cloaks a man, hunched, fleeing&hellip;the blanket here in three dimensions, serving its true purpose: protection, warding off the specter of fear. The man lurches forward, frozen in his perpetual movement and plain clothes, an energy preserved in his body and tense, nervous face.</p> <p>&nbsp;Goya<strong>ʼ</strong>s reminder that &ldquo;the sleep of reason produces monsters&rdquo; is the haunting refrain behind Naor&rsquo;s visual language. As Micha&euml;l Amy, critic and Professor of the History of Art in the College of Imaging Arts &amp; Sciences at Rochester Institute of Technology, writes in &ldquo;Esther Naor: The Raft of Memory,&rdquo; his essay for the exhibition catalog, &ldquo;By citing the Spanish master, Naor seems to be condemning, through her own work, intolerance of every stripe, which, like a terrible illness, destroys life.&rdquo;</p> <p class="Body">&nbsp;&ldquo;Humanity is currently facing a new phase of violence and upheaval; of course, our history has known endless wars and catastrophes, some caused by nature and some by our own hands. Even so, I feel that the individual today lives in a state of constant anxiety &mdash; a relentless fear of the unknown and the evil that can strike any moment, anywhere, without early warning,&rdquo; says Naor. &ldquo;My new works relate to this unstable and frightening situation (known to me very well, being Israeli) and address issues such as loneliness, pain, violence and ways of coping with such events and emotions from the point of view of the individual.&rdquo;</p> <p class="Body"><strong>About Esther Naor</strong></p> <p class="Body">Esther Naor was born in 1961 in Israel. She graduated from the department of Civil Engineering at Haifa Technion Institute, Israel, and the department of Computer Sciences at Tel Aviv University, Israel. Following a career in engineering and computers, she moved on to art studies at the Midrasha Art School in Kfar Saba and at several artists&rsquo; studios in Israel. Naor works mainly in the mediums of sculpture, photography, and video. Naor lives and works in Israel. &ldquo;Although I focus on installations, my work also involves video and photography. I&rsquo;m interested in issues of identity, social behavior, and physical and mental borders, but I always take something very personal as a point of departure,&rdquo; says Naor. &ldquo;Such points have been my personal family history and its immigration from Iraq and integration in Israel, the tension and conflicts involved in my being both a mother and an artist, and personal traumas which influenced my artistic work.&rdquo;</p> <p class="Body"><strong>To download the exhibition catalog, please go to</strong> <a href="" rel="nofollow"></a></p> Thu, 04 Feb 2016 19:15:48 +0000 Dove Bradshaw - Danese/Corey - February 12th - March 12th Thu, 04 Feb 2016 16:53:36 +0000 - Rosenberg & Co. - February 18th - April 2nd <p>Still Life: Variations on a Theme is a group exhibition examining how artists through the years have addressed the classic subject of the still life. The show features works spanning nineteenth-century Impressionism to twentieth-century Modernism to the contemporary.&nbsp;The exhibition offers visitors an illustrative glimpse of a vast genre, with selections including sculpture by de Waal; photographs by Fred Stein; works on paper by Roger de la Fresnaye, Alberto Giacometti, Juan Gris, and Ben Nicholson; and paintings by Georges Braque, Prunella Clough, Henri Fantin-Latour, Donald Hamilton Fraser, and Louis Valtat.</p> Wed, 03 Feb 2016 20:16:18 +0000 Amanda Turner Pohan, Carl E. Hazlewood, Joan Snitzer, Hanne Tierney - FiveMyles - February 7th 4:00 PM - 5:00 PM <h2><strong>Desiring to be Data for Others: Panel Discussion</strong></h2> <p><strong>Sunday, Feb. 7th, 4-5pm</strong></p> <p>Panelists discuss how science and the arts can overlap, in the setting of Pohan&rsquo;s current exhibit at FiveMyles. Moderated by FiveMyles director&nbsp;Hanne Tierney.</p> <p><strong>About the Exhibition</strong></p> <p>Vials contain various arcane liquids; vapors and perfumed formulas derive from &lsquo;recorded data measured by sensors of the heartbeat of the artist.&rsquo; Yet, the clinical easily transmutes into the poetic and the personal.</p> <p><strong>Location:</strong> FiveMyles Gallery | 558 St Johns Pl | Brooklyn, NY 11238 <strong><a href=",-73.959636,15z/data=!4m6!1m3!3m2!1s0x0:0xf0cf6a7257c22f9b!2sFive+Myles!3m1!1s0x0:0xf0cf6a7257c22f9b" rel="nofollow">MAP</a></strong></p> <p><strong>Exhibition on view</strong> until February 21, 2016</p> <p><strong>Gallery hours: </strong>Thursday through Sunday, 1pm to 6pm; or by appointment.</p> <p><a href="" rel="nofollow"><strong>Click here for more information about this exhibition.</strong></a></p> Wed, 03 Feb 2016 19:18:01 +0000 - George Billis Gallery- NY - July 26th - August 20th <p>&nbsp;</p> <p style="text-align: center;"><span style="font-size: large;"><strong>&nbsp;</strong></span></p> <p style="text-align: center;"><span style="font-size: large;"><strong><a class="mcnButton " title="Click here to view the NYC Summer Invitational submission form." href="" rel="nofollow" target="_blank">Click here to view the NYC Summer Invitational submission form.</a></strong></span></p> <p style="text-align: center;">&nbsp;</p> <p style="text-align: center;"><a href="" rel="nofollow" target="_blank"><span style="font-size: large;"><strong><img src="" alt="" /></strong></span></a></p> <p>&nbsp;</p> <p>&nbsp;</p> <p style="text-align: center;"><span style="font-size: large;"><strong><a class="mcnButton " title="Click here to view the NYC Summer Invitational submission form." href="" rel="nofollow" target="_blank">Click here to view the NYC Summer Invitational submission form.</a></strong></span></p> Wed, 03 Feb 2016 16:04:59 +0000 Richard Lund - BRIC Arts | Media House - February 5th - February 28th Wed, 03 Feb 2016 13:54:10 +0000 Martha Rosler, Nancy Buchanan, Andrea Bowers - Brooklyn Museum of Art - February 20th 2:00 PM - 4:00 PM <p>Join <em>Agitprop! </em>artists Martha Rosler, Nancy Buchanan, and Andrea Bowers in a discussion on the intersections of art and activism in their practices. The speakers represent one chain of the artist-driven nominations that shape <em>Agitpr</em>op!&rsquo;s evolving installation: Martha Rosler, invited for wave one, nominated Nancy Buchanan for wave two, who invited Andrea Bowers (see photo), whose work will appear in wave three. Presented by the Elizabeth A. Sacker Center for Feminist Art.&nbsp;</p> <p>The event will be held in the Iris and B. Gerald Cantor Auditorium, 3rd floor.</p> <p>Free with Museum admission.</p> <p>Photo credit/caption: Andrea Bowers (American, born 1965), <em>Stop Ecocide Tree Sitting Platform for Forest Defense</em>, 2012.</p> Tue, 02 Feb 2016 20:36:07 +0000 Afruz Amighi - Leila Heller Gallery - Chelsea - February 18th - March 26th <p>New York, NY&mdash;Leila Heller Gallery is pleased to present&nbsp;<em>Night Paintings,&nbsp;</em>a discrete installation of steel, shadow, and sound by Iranian born, Brooklyn-based artist, Afruz Amighi on view from February 18&mdash;March 26<sup>th</sup>, 2016.&nbsp; Composed in light and welded-steel, a diptych of two sculptural reliefs seeks to investigate the plural temporality of an architectonics of ritual and cultural memory. &nbsp;<em>Night Paintings&nbsp;</em>draw in shadow, in the sharp relief of darkness against light, in the liminal conflation of the ephemeral solidity of the line and the voluminous, enduring negative space of open metal silhouettes meeting air. Hers is not an illumination, but a darkening.</p> Tue, 02 Feb 2016 20:06:01 +0000 - BravinLee Programs - February 4th - March 19th <p>Chuck Agro, Philip Akkerman, Janine Antoni, Robert Arneson, Luis Cruz Azaceta, Leonard Baskin, Jack Beal, Max Beckmann, Bradley Biancardi, Todd Bienvenu, Matt Bollinger, Deborah Brown, Delia Brown, Peter Burns, Jim Butler, Chuck Close, Lovis Corinth, Sophie Crumb, Mary DeVincentis, Eric Doeringer, Diane Edison,&nbsp;Ralph Fasanella, Dan Fischer, Kathleen Gilje, Mary Glenn,&nbsp;Mark Greenwold, Irene Hardwicke, Barkley L. Hendricks, Judith Henry, Scott Kahn,&nbsp;Dennis Kardon, Deborah Kass, K&auml;the Kollwitz, Kurt Kauper, David Kramer, Laura Krifka, Charlotte Lee, John Lees, Andrew Lenaghan,&nbsp;Beverly McIver, Catherine Murphy, Erik Olson, Carl Ostendarp, Philip Pearlstein, Erika Ranee, Charles Ritchie, Kenny Rivero, Walter Robinson, Giordanne Salley, Tom Sanford, Cindy Sherman, Devan Shimoyama, Cary Smith, Lava Thomas, Betty Tompkins, Eugene Von Bruenchenhein, Martin Wilner, Aaron Zimmerman</p> <p>The self portrait is the lingua franca&nbsp;of the smartphone&nbsp;era.&nbsp; The scourage and proliferation of &ldquo;selfes&rdquo; and &ldquo;profiles&rdquo; is certainly indicative that we are enduring the best of times-as well as the worst of times in the apothesosis of onanistic humanism.&nbsp; Despite its utter debasement in the hand-held device, adolesentalized epoch, the self portrait in the 21st Century remains an elevated, vital, interesting, important and revealing genre.&nbsp; The show includes&nbsp;nearly&nbsp;60 self-portraits, some are literal, others allude to autobiography in a psychological or metaphorical way.</p> Mon, 01 Feb 2016 23:46:38 +0000 Wally Gilbert - Viridian Artists - February 2nd - February 21st <p><strong>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</strong><strong>&nbsp; </strong></p> <p align="center"><strong><strong>WALLY GILBERT : </strong>"Broken Image"&nbsp; Feb 2 to 21, 2016</strong></p> <p align="center"><strong>Opening Reception Thursday, Feb 4, 6 to 8</strong></p> <p>Chelsea: Viridian Artists Inc. is pleased to present the exhibition <strong>&ldquo;BROKEN IMAGE", </strong>digital prints on aluminum by<strong>Wally Gilbert.</strong>The show opens February 2<sup>nd</sup> and continues through February 24, 2016. There will be an artist's reception Thursday, February 4<sup>th</sup>, 6-8PM. In this exhibit of new "Broken Images", Gilbert continues exploring the microcosmic possibilities of the fragment.</p> <p>With 6 large 60x40 inch images, along with some 11 small 30x20 images on aluminum, the scientist that the artist is experiments with both color and the fragmentation of a building and of a tree. As new &amp; fresh as these images are, Gilbert has often referred to his images "as fragments of the whole" and that identification remains applicable to these works as well.</p> <p>In The "Broken City" images one can still see the echo of the shapes of buildings and windows but the transformation is extreme. The same can be said of the "Broken Tree" which seems to implode on the surface with a burst of branches that appear to be coming from a hot core surrounded by darkness. Complex recreations of the forms and luminous color transformations abound in these works.</p> <p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; In the early 2000's, Nobel Laureate Walter &ldquo;Wally&rdquo; Gilbert started pursuing photography on a professional level. Since then, he has had over 50 solo exhibitions around the world.&nbsp;</p> <p>As in past exhibitions, Gilbert continues his fascination with transforming images on the computer experimenting with color and other digital effects. &nbsp;He loves pushing colors to their extreme and continues to do so in this new body of work, sometimes to express the psychological pain of the artistic process, sometimes exploring through color transformations, how we see objects. &nbsp;</p> <p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; In his first exhibit at Viridian in 2006, "The Norblin Project", Gilbert explored &amp; documented an ancient and abandoned factory in Poland. About the works in that show, Ed McCormack in Gallery &amp; Studio said "For Gilbert, the continued exploration of the fragments of reality particularly via the computer &amp; creating strategies to provoke accidents &nbsp;&hellip; inspire the search for &amp; evolution of the next image." &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</p> <p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; In his solo "Stillness &amp; Motion" in 2008 the images were derived from travels.&nbsp; In the "Squares and Triangles" exhibit at Viridian in 2011, the critic Peter Frank said "Gilbert &hellip; systematically unfolds entirely unassuming shapes into elaborate scintillations."</p> <p>His 2013 show "New Black &amp; White Images" exploited the play of natural light across the objects to produce haunting results without color but in his 2014 exhibition "Transformations", his images again glowed with color driven to full saturation creating new and strange interactions, until they became - in the artist's words - &ldquo;abstract meditations&rdquo;.</p> <p>In his previous career as scientist, Gilbert was awarded a Nobel Prize in 1980 for his landmark work in DNA gene sequencing.&nbsp; As a scientist, he examined the world in its smallest details, but now through his photography, he makes the small huge to reveal the beauty that he sees in the world around us.</p> <p>&nbsp;</p> <p align="center"><strong>Gallery hours: Tuesday through Saturday 12-6PM&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </strong></p> <p align="center"><strong>For further information please contact Vernita Nemec, Gallery Director at 212 414 4040 or </strong><a href="" rel="nofollow"><strong></strong></a></p> <p>&nbsp;</p> <p>&nbsp;</p> Mon, 01 Feb 2016 20:33:38 +0000