ArtSlant - Recently added http://www.artslant.com/ny/Events/show en-us 40 Expressive Outcomes - Pavel Zoubok Gallery - September 4th - September 4th <p>Anderson Center for Autism&rsquo;s Expressive Outcomes&rsquo; annual NYC art exhibit will be held on Thursday, September 4th at the Pavel Zoubok Gallery from 6:00PM to 8:00PM. We would like thank the gallery for hosting this event since 2009!</p> <p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</p> <p>The Pavel Zoubok Gallery is located at 531 W 26th Street, 2nd Floor, New York, New York 10001.</p> <p>&nbsp;</p> <p>Be sure to check out our Facebook Event Page as for any updates <a href="https://www.facebook.com/events/1491368517773202/" rel="nofollow">https://www.facebook.com/events/1491368517773202/</a></p> Fri, 22 Aug 2014 18:58:42 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Gene Shaw - Dorian Grey Gallery - September 4th - September 14th <p style="text-align: justify;">Dover Publications, Inc. (www.doverpublications.com), is celebrating the release of the beautiful new Calla Edition hardcover, Journeyman: Eric Clapton &mdash; A Photographic Narrative by Gene Shaw, with an exhibit at New York City&rsquo;s Dorian Grey Gallery from September 4th to the 14th.<br />&nbsp;<br /> For over five decades, Eric Clapton has ranked among rock&rsquo;s premiere guitarists &mdash; and since the early 1980s, famed music photographer Gene Shaw has been capturing great moments from Slowhand&rsquo;s electrifying career. Now, coinciding with the Hall of Famer&rsquo;s upcoming 70th birthday, <em>Journeyman: Eric Clapton &mdash; A Photographic Narrative</em> delivers more than 150 of Shaw&rsquo;s high-quality color and black-and-white photographs, offering a front-row perspective on many magical musical events from Clapton&rsquo;s later career. Highlights include the legendary performance at the 1983 ARMS benefit; the star-studded 1992 show with Elton John at Shea Stadium; the long awaited 2005 Cream reunions at the Royal Albert Hall and Madison Square Garden; several appearances at the Rock and Roll Hall of Fame induction ceremonies; and the current Crossroads Guitar Festivals. Shaw provides an insider&rsquo;s perspective to each concert, offering an abundance of insightful commentary as well as complete set lists and band lineups.<br />&nbsp;<br /> &ldquo;There are quite a few books on Eric Clapton available, but Journeyman definitely stands out from the pack,&rdquo; says Mr. Shaw, whose acclaimed photography has appeared in Vogue, Rolling Stone, Time, People, and various books and museums. &ldquo;Appromimately 75% of the photographs have never been published before and I was able to capture rare and intimate moments between Eric and his fellow musicians not seen anywhere else. These artists include some of the biggest names in the business, so there are also exclusive images of Jeff Beck, Jimmy Page, Joe Cocker, Keith Richards, Albert Collins, Bob Dylan, and other superstars.&rdquo; <br />&nbsp;<br /> But the photos are just a part of the total package. &ldquo;Through my vivid recollections of each show, Journeyman not only captures one of the greatest performers in rock history, it also chronicles my personal growth as a photographer,&rdquo; Mr. Shaw continues. &ldquo;As my confidence and skills grew, Eric&rsquo;s career blossomed in unexpected ways. He turned to the past for fresh inspiration, as the smash Unplugged album revisited classic hits in an acoustic setting. Plus, recordings like Riding With the King and Me and Mr. Johnson powerfully demonstrated the impact such blues greats as B. B. King and Robert Johnson had on his guitar playing and songwriting.&rdquo;<br />&nbsp;<br /> A few of the author&rsquo;s rock-and-roll friends contributed to the book, including the popular Rolling Stone writer Anthony DeCurtis, who won a &ldquo;Best Album Notes&rdquo; Grammy&reg; for Clapton&rsquo;s 1988 &ldquo;Crossroads&rdquo; boxed set. &ldquo;Along with documenting the deeply personal story of photographer Gene Shaw&rsquo;s abiding admiration for Eric Clapton, this book provides the valuable service of offering a visual history of the wonderful work the guitarist has done during his time,&rdquo; says Mr. DeCurtis in his Introduction. &ldquo;As with so many people who successfully chose recovery, Clapton has enjoyed many richly productive years as a result.&rdquo; Plus, artist John &ldquo;Crash&rdquo; Matos, the designer of some of Clapton&rsquo;s signature guitars, adds a Foreword. &ldquo;As I went through many of Gene&rsquo;s photographs, I could see that they were not just shot by a fan, or by someone looking for a payday&hellip; it went much deeper,&rdquo; states Mr. Matos. &ldquo;His work was about capturing a moment not only on stage, but in his own life, and how the photos became parallel to his own walk.&rdquo; <br />&nbsp;<br /> Running from September 4th to the 14th at the Dorian Grey Gallery, &ldquo;Journeyman: Eric Clapton &mdash; Photographs by Gene Shaw,&rdquo; will feature dozens of never-before-seen images from the book, which will be presented to the general public for the very first time. The Opening Reception takes place on September 4th from 6 to 9 PM. Gene Shaw and Anthony DeCurtis will attend along with various industry insiders: musicians, photographers, and others. Additionally, Mr. Shaw will conduct a book signing at the gallery on September 10th from 5 to 8 PM. The Dorian Grey Gallery is located at 437 East 9th Street at Avenue A, New York, NY, 10009.</p> Fri, 22 Aug 2014 15:57:06 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Roman Opalka - Dominique Lévy Gallery - September 4th - October 18th <p>Beginning September 4, 2014, Dominique L&eacute;vy gallery will pay tribute to Roman Opalka&rsquo;s unique art of body and soul with&nbsp;<strong>Roman Opalka: Painting&nbsp;</strong><strong><em>&infin;</em></strong>.&nbsp;The exhibition provides an overview of Opalka&rsquo;s career, revealing his &oelig;uvre to be a grand metaphor for human existence and a deceptively restrained expression of the artist&rsquo;s vitality and passion in the face of an unstoppable evaporation. &ldquo;Time as we live it and as we create it embodies our progressive disappearance,&rdquo; Opalka wrote in a 1987 essay. &ldquo;We are at the same time alive and in the face of death &mdash; that is the mystery of all living beings.&rdquo;</p> <p><strong>Roman Opalka: Painting&nbsp;</strong><strong><em>&infin;</em></strong>&nbsp;will present a key group of paintings (each titled&nbsp;<em>D&eacute;tails</em>) from&nbsp;<em>1965 / 1 &ndash;&nbsp;</em><strong><em>&infin;</em></strong>, complemented by a selection of the artist&rsquo;s related&nbsp;<em>Self-Portraits</em>&nbsp;photographs and audio recordings in which Opalka intones, in his native Polish, the numbers he is painting. The exhibition will also present antecedents to&nbsp;<em>1965 / 1 &ndash;&nbsp;</em><strong><em>&infin;.&nbsp;</em></strong>Two rare&nbsp;<em>Chronomes</em>paintings of 1963 will be on view, as will the entire series of Opalka&rsquo;s ten&nbsp;<em>Etude sur le Mouvement</em>&nbsp;works on paper from 1959-60.&nbsp; These works will be shown together with the&nbsp;<em>Details&nbsp;</em>for the first time in the United States.</p> <p>The exhibition&nbsp;will remain on view through October 18<sup>th&nbsp;</sup>and is accompanied by a catalogue featuring a text by curator and art historian Lorand Hegyi, a close friend of the artist; an essay by independent curator and historian Charles Wylie; an original text by French poet Jacques Roubaud; and a conversation between Marie-Madeleine Opalka, the artist&rsquo;s widow, and Fran&ccedil;ois Barr&eacute;, a close friend, that serves as a narrative chronology.&nbsp;</p> <p><strong>About the Artist</strong></p> <p>Roman Opalka was born on August 27, 1931, to Polish &eacute;migr&eacute;s in Hocquincourt, in northern France. The family returned to Poland in 1935, only to be deported to Germany after the Nazi invasion. After being liberated by the United States Army, they returned to Poland, where Roman studied lithography at a graphics school before enrolling in the School of Art and Design in Lodz. He later earned a degree from the Academy of Fine Arts in Warsaw and began experimenting with abstract and monochrome paintings, which he called&nbsp;<em>Chronomes</em>. In 1970 he gave up all other painting but his 1965/1 -&nbsp;<strong><em>&infin;</em></strong>&nbsp;series, begun in 1965.</p> <p>In 1977 Roman Opalka moved to France, settling at Teill&eacute;, near Le Mans. He took French citizenship in 1985, and in 2009 he was named Commander of the Ordre des Arts et des Lettres (Order of Arts and of Letters).</p> <p>Opalka died in Chieti, Italy, in August 2011.</p> Fri, 22 Aug 2014 03:42:56 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Do Ho Suh - Lehmann Maupin - 26th St. - September 11th - October 25th <p>Lehmann Maupin is pleased to present&nbsp;<em>Drawings</em>, an exhibition of new works by renowned Korean artist Do Ho Suh. On display at both 540 West 26th Street and 201 Chrystie Street, the exhibition will highlight the significant role and varied forms drawing plays in Suh&rsquo;s oeuvre. This two-part show will feature the range of his works on paper, including drawings using pencil, pen, ink, and watercolor, his unique &ldquo;thread&rdquo; drawings, as well as his large-scale rubbings. The artist will be present for an opening reception on Thursday, September 11 from 6-8PM, and at a book launch on Saturday, September 13 at 540 West 26th Street from 4-6PM.</p> <p>Primarily known for his room-scale installations made of transparent fabric that recreate spaces in which he has lived, the artist has consistently utilized drawing throughout his career to explore and develop relationships between common themes of his practice including notions of home, physical space, displacement, identity, and memory. A focus of this exhibition, and Suh&rsquo;s most elaborate use of drawing to date, is his&nbsp;<em>Rubbing/Loving Project</em>. Here Suh painstakingly covered the flat walls and three-dimensional fixtures of the interior and exterior of architectural spaces that hold great personal, cultural, or historic significance to him with vellum and rubbed each surface with colored pencil or graphite. These rubbings create imprints of the spaces, uncovering a particular location&rsquo;s history, memories, and traces of its use.</p> <p><em>Rubbing/Loving Project, 348 West 22nd Street, Apt. A, New York, NY 10011</em>&nbsp;is presented at Lehmann Maupin&rsquo;s 540 West 26th Street location. A recreation of the brick and mortar exterior of Suh&rsquo;s former New York apartment building stands at the entrance of the gallery, featuring a blue colored pencil rubbing of the façade&rsquo;s interior on the reverse. On the gallery walls and floor, Suh will splay open the 1:1 scale rubbings of the walls and floor of his apartment. In this way the rubbings convey a former life, suggesting the shedding skin of a place that has been the artist&rsquo;s home and has great personal and emotional importance.</p> <p>Originally commissioned by the 2012 Gwangju Biennial,&nbsp;<em>Rubbing/Loving Project: Company Housing of Gwangju Theater</em>&nbsp;and&nbsp;<em>Rubbing/Loving Project: Gwangju Catholic University Lifelong Institute</em>&nbsp;are both on view at 201 Chrystie Street. Displayed as two freestanding room structures, each approximately 12 feet in height, the interiors feature Suh&rsquo;s rubbings of these living spaces in Gwangju, Korea. Suh accompanies these works with a video documentary of him and his studio team making the rubbings of the&nbsp;<em>Company Housing of Gwangju Theater</em>&nbsp;while blindfolded. Created in response to the city of Gwangju and his memory of the 1980 "Gwangju Uprising", these works convey Suh's sense of "blindness" due to the lack of information about the political conditions available at the time. To suggest this feeling, Suh used his tactile approach of rubbing the spaces to bring forward untold stories from a group of abandoned spaces once inhabited by ordinary people who lived through the uprising.</p> <p>The first English language monograph of Suh&rsquo;s work, focused on his drawings, has been published by DelMonico Books &bull; Prestel and will be launched in conjunction with the exhibition. This unique and richly illustrated volume traces the genesis and progression of the artist&rsquo;s expansive and consistent drawing practice. Among the more than 180 reproductions in the book are numerous previously unpublished drawings and sketches from the artist&rsquo;s private notebooks. The book includes texts by curators Rochelle Steiner, Clara Kim, and Elizabeth A.T. Smith. A book signing by the artist will take place on Saturday, September 13, 2014 at Lehmann Maupin at 540 West 26th Street from 4-6PM.</p> <p>&nbsp;</p> <p>Suh&rsquo;s work will be presented in a major solo exhibition at The Contemporary Austin opening on September 20, 2014. Support for this exhibition, as well as&nbsp;<em>Drawings</em>&nbsp;at Lehmann Maupin, is provided by Korean Air.</p> Fri, 22 Aug 2014 03:32:00 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Do Ho Suh - Lehmann Maupin - Chrystie St. - September 11th - October 25th <p>Lehmann Maupin is pleased to present&nbsp;<em>Drawings</em>, an exhibition of new works by renowned Korean artist Do Ho Suh. On display at both 540 West 26th Street and 201 Chrystie Street, the exhibition will highlight the significant role and varied forms drawing plays in Suh&rsquo;s oeuvre. This two-part show will feature the range of his works on paper, including drawings using pencil, pen, ink, and watercolor, his unique &ldquo;thread&rdquo; drawings, as well as his large-scale rubbings. The artist will be present for an opening reception on Thursday, September 11 from 6-8PM, and at a book launch on Saturday, September 13 at 540 West 26th Street from 4-6PM.</p> <p>Primarily known for his room-scale installations made of transparent fabric that recreate spaces in which he has lived, the artist has consistently utilized drawing throughout his career to explore and develop relationships between common themes of his practice including notions of home, physical space, displacement, identity, and memory. A focus of this exhibition, and Suh&rsquo;s most elaborate use of drawing to date, is his&nbsp;<em>Rubbing/Loving Project</em>. Here Suh painstakingly covered the flat walls and three-dimensional fixtures of the interior and exterior of architectural spaces that hold great personal, cultural, or historic significance to him with vellum and rubbed each surface with colored pencil or graphite. These rubbings create imprints of the spaces, uncovering a particular location&rsquo;s history, memories, and traces of its use.</p> <p><em>Rubbing/Loving Project, 348 West 22nd Street, Apt. A, New York, NY 10011</em>&nbsp;is presented at Lehmann Maupin&rsquo;s 540 West 26th Street location. A recreation of the brick and mortar exterior of Suh&rsquo;s former New York apartment building stands at the entrance of the gallery, featuring a blue colored pencil rubbing of the façade&rsquo;s interior on the reverse. On the gallery walls and floor, Suh will splay open the 1:1 scale rubbings of the walls and floor of his apartment. In this way the rubbings convey a former life, suggesting the shedding skin of a place that has been the artist&rsquo;s home and has great personal and emotional importance.</p> <p>Originally commissioned by the 2012 Gwangju Biennial,&nbsp;<em>Rubbing/Loving Project: Company Housing of Gwangju Theater</em>&nbsp;and&nbsp;<em>Rubbing/Loving Project: Gwangju Catholic University Lifelong Institute</em>&nbsp;are both on view at 201 Chrystie Street. Displayed as two freestanding room structures, each approximately 12 feet in height, the interiors feature Suh&rsquo;s rubbings of these living spaces in Gwangju, Korea. Suh accompanies these works with a video documentary of him and his studio team making the rubbings of the&nbsp;<em>Company Housing of Gwangju Theater</em>&nbsp;while blindfolded. Created in response to the city of Gwangju and his memory of the 1980 "Gwangju Uprising", these works convey Suh's sense of "blindness" due to the lack of information about the political conditions available at the time. To suggest this feeling, Suh used his tactile approach of rubbing the spaces to bring forward untold stories from a group of abandoned spaces once inhabited by ordinary people who lived through the uprising.</p> <p>The first English language monograph of Suh&rsquo;s work, focused on his drawings, has been published by DelMonico Books &bull; Prestel and will be launched in conjunction with the exhibition. This unique and richly illustrated volume traces the genesis and progression of the artist&rsquo;s expansive and consistent drawing practice. Among the more than 180 reproductions in the book are numerous previously unpublished drawings and sketches from the artist&rsquo;s private notebooks. The book includes texts by curators Rochelle Steiner, Clara Kim, and Elizabeth A.T. Smith. A book signing by the artist will take place on Saturday, September 13, 2014 at Lehmann Maupin at 540 West 26th Street from 4-6PM.</p> <p>Suh&rsquo;s work will be presented in a major solo exhibition at The Contemporary Austin opening on September 20, 2014. Support for this exhibition, as well as&nbsp;<em>Drawings</em>&nbsp;at Lehmann Maupin, is provided by Korean Air.</p> Fri, 22 Aug 2014 03:31:49 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Isabel Nolan - Sean Kelly Gallery - September 13th - October 18th <p>Sean Kelly announces&nbsp;<em>An answer about the sky,</em>&nbsp;an exhibition of new work by Isabel Nolan. This will be the artist&rsquo;s first solo exhibition in New York. An opening reception will take place on Friday, September 12 from 6:00 to 8:00 p.m. The artist will be present.<br /><br /><em>An answer about the sky</em>&nbsp;will include new hand-made sculptures, paintings, a text piece and Nolan&rsquo;s newest large-scale textile work,&nbsp;<em>The emptied room: A rug for the 20th Century</em>. The works are exemplary of the artist&rsquo;s restless investigation of the omnipresent aesthetic compulsion to find order, to generate a material record of place and time and thus secure an understanding of the world.<br /><br />The exhibition title is from the Strugatsky Brothers&rsquo; novel&nbsp;<em>Definitely Maybe</em>&nbsp;(1974), referring to a thwarted effort to find the answer to one question and receiving information on an entirely different matter. Nolan sees this as a metaphor for productive artistic research:<br /><br />&ldquo;Artworks thrive in a space of necessary failures and missed objectives. They are willful and stubbornly refuse to be fully instrumentalised or to ever be wholly in control of their own meaning or ends. I thought I was making a show that considered disintegration and failure. In the process, I learned more about the treachery of beauty than disintegration. For instance, I wanted to make a rug prompted by the meditative, virtually monochrome painting&nbsp;<em>Convolvulus</em>&nbsp;by Paul Nash. Made in 1930, the painting alludes to the demise of civilizations and of nature&rsquo;s vitality and indifference to culture. Yet somehow I conceived a sumptuous rug rich in colour and an almost obscenely lovely vision of a deliquescent, defunct architectural space.&rdquo;<br /><br />The fracturing of representational form and structure into poetic abstraction is common to many of the featured works in the show. The hand-tufted wool rug occupies both the wall and floor. The architectural imagery of the upper section seems to melt, dripping to the lower half where pattern solidifies into an irregular floor-scape. The sculptures are presented on solid stone plinths but have a quality of cultivated uncertainty. In their oscillation between representation and abstraction the paintings also conjure a sense of unease or shifting perspectives.<br /><br />In the text work,&nbsp;<em>A Sun So Hot,</em>&nbsp;a central theme of the show is elucidated. Nolan writes, &ldquo;It is wise to beware beauty. It is treacherous. It aids in reconciling us to living in an irrational, thrilling, difficult and dull world and quite often beauty makes bearable and thinkable that which is quite rightly very difficult to bear or think.&rdquo;<br /><br /><em>An answer about the sky</em>&nbsp;is an exhibition precipitated by the seductive narratives of brilliant failures and the way in which art contrives to make the world more beautiful. Nolan again, &ldquo;I asked a question about disintegration and the answer I got was art.&rdquo;<br /><br />Nolan&rsquo;s exhibition at Sean Kelly coincides with the artist&rsquo;s solo exhibition,&nbsp;<em>The weakened eye of day</em>, on view at The Irish Museum of Modern Art, Dublin, through September 21, 2014. The museum exhibition will then travel to the Contemporary Art Gallery, Vancouver and Mercer Union, Toronto. Recent solo exhibitions by Nolan include: Mus&eacute;e d&rsquo;art moderne de Saint Etienne, France (2012); and the Return Gallery, Goethe Institute, Dublin (2012). Other solo shows include: Project Arts Centre (2005), Dublin: the Studio, Glasgow International (2006); and Artspace, New Zealand (2008). She represented Ireland at the 2005 Venice Biennale in a group exhibition,&nbsp;<em>Ireland at Venice 2005</em>. Her work has been presented in group exhibitions at institutions internationally, including the Irish Museum of Modern Art, Dublin and Palais de Tokyo, Paris, as well as international biennials including&nbsp;<em>The Yugoslav Biennial for Young Artists,</em>Vrasc, Serbia-Montenegro, and&nbsp;<em>Mediation Biennale,</em>&nbsp;Poznan, Poland.</p> Fri, 22 Aug 2014 03:20:01 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Laurent Grasso - Sean Kelly Gallery - September 13th - October 18th <p>Sean Kelly announces&nbsp;<em>Soleil Double,</em>&nbsp;an exhibition of new work by Laurent Grasso. This will be the artist&rsquo;s first solo show in New York since his critically acclaimed&nbsp;<em>SoundFossil</em>&nbsp;of 2010 and his first solo exhibition in the gallery&rsquo;s new space. An opening reception will take place on Friday, September 12 from 6:00 to 8:00 p.m. The artist will be present.<br /><br />The exhibition will be an ambitious installation in which Grasso transforms the gallery into an immersive environment, a multimedia labyrinth that includes new sculpture, paintings, photographs, neon works and video (the eponymously titled film will make its US debut in this exhibition).<br /><br />Grasso filmed&nbsp;<em>Soleil Double</em>&nbsp;in EUR, a city district of Rome originally developed in the 1930s. EUR was to be an important complex of the 1942 Worlds Fair and was to act as an homage to the 20th anniversary of Fascism. However, the Worlds Fair never took place due to World War II. Eventually, in the ensuing decades, some of the buildings were completed in their original design while others were added in a more contemporary style &ndash; creating an architectural environment that appears to exist in multiple simultaneous timeframes. The two suns shining over the plaza in the film suggest that some sort of natural disaster or phenomena is occurring &ndash; a phenomena that is also referenced in the paintings with double suns included in the exhibition.<br /><br />The themes addressed in&nbsp;<em>Soleil Double</em>&nbsp;are not just about the proposed phenomena of two suns in axis around the earth but on a more symbolic level, about the concepts of duplicity and ubiquity, the idea that reality could be something other than what it appears to be at first glance, than what we take for granted as &ldquo;true&rdquo; and &ldquo;right&rdquo;. These shifting perceptions of reality and the investigation of the territory between what is known and unknown are subjects common throughout Grasso&rsquo;s oeuvre.&nbsp;<br /><br />In addition to&nbsp;<em>Soleil Double,</em>&nbsp;which will be shown in the lower level gallery, a focal point of the installation in the main gallery will be a large-scale projection of Grasso&rsquo;s film,&nbsp;<em>Uraniborg,</em>&nbsp;which examines the scientist Tycho Brahe&rsquo;s discoveries in astronomy in the 16th century and, specifically, the astronomical observatory that Brahe built in 1576 on the island of Ven in Sweden. The development of astronomical science at this time signified a capacity to understand and represent the universe. For Grasso, the focus in the film, as in much of his work, is about how the study of astronomy was linked to the idea of power in the 16th and 17th centuries. This narrative is further explored through the paintings and photographs included in the exhibition, such as the silver bromide prints from Grasso&rsquo;s&nbsp;<em>Specola Vaticana</em>&nbsp;series. These works depict historical photographs of the pope looking through a telescope &ndash; an instrument that symbolizes observation and knowledge and, through them, control &ndash; installed in the Vatican observatory, originally established by the Holy See in the late 1700s.&nbsp;<br /><br />Grasso will present the Sean Kelly exhibition with a simultaneous iteration of the&nbsp;<em>Soleil Double</em>&nbsp;exhibition at Galerie Perrotin, Paris, from September 6 to October 31, 2014.<br /><br />Grasso was awarded the Prix Marcel Duchamp in 2008 and is the subject of a major monograph &ndash;<em>Laurent Grasso: The Black-Body Radiation</em>&nbsp;&ndash; published by les presses du r&eacute;el. Recent solo exhibitions have included&nbsp;<em>Laurent Grasso: Disasters and Miracles,</em>&nbsp;at the Kunsthaus Baselland, Basel Switzerland (2013);&nbsp;<em>Uraniborg</em>&nbsp;at the Mus&eacute;e d&rsquo;Art Contemporain, Montr&eacute;al, Canada (2013) which traveled from the Mus&eacute;e du Jeu de Paume, Paris, France (2012);&nbsp;<em>Laurent Grasso: Portrait of a Young Man,</em>&nbsp;at the Bass Museum, Miami (2011) and&nbsp;<em>Laurent Grasso</em>&nbsp;at the Hirshhorn Museum and Sculpture Garden, Washington, DC (2011). Grasso is currently included in the group exhibition,&nbsp;<em>Curiosity: Art &amp; The Pleasures of Knowing,</em>&nbsp;on view at the de Appel Arts Center in Amsterdam, through September 14, 2014.&nbsp;<br /><br />Grasso&rsquo;s US public art debut,&nbsp;<em>Infinite Light,</em>&nbsp;was installed on the exterior of the Hunter College Lexington Avenue pedestrian walkway in New York in 2008. His acclaimed&nbsp;<em>Nomiya</em>&nbsp;project was installed on the roof of the Palais de Tokyo, Paris, from 2009 through 2011. He has participated in several biennials, most recently: the Gwangju Biennial, Gwangju, South Korea (2012); Manifesta 8, Carthag&egrave;ne-Murcie, Spain and Manif d'art 5, Qu&eacute;bec City Biennial, Quebec, Canada (2010); the Moscow Bienniale, Moscow, Russia (2009); and the 9th Sharjah Biennale, Sharjah, United Arab Emirates (2009).</p> Fri, 22 Aug 2014 03:16:43 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Igor Ilchuk - Walter Wickiser Gallery - September 4th - October 1st Fri, 22 Aug 2014 02:45:01 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Arthur Turner - Walter Wickiser Gallery - September 4th - October 1st Fri, 22 Aug 2014 02:41:17 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Susan Manspeizer - Walter Wickiser Gallery - September 4th - October 1st <p class="style85">Susan Manspeizer's career spans 30 years of prestigious exhibitions, including numerous awards and reviews. Most recently, she received the Epstein Memorial Award for her sculpture at the National Association of Women Artists&rsquo; 123rd Annual Members Exhibition. New York Times covered her sculpture in the article, &ldquo;In Figure and Form, Sculpture All Around&rdquo;, April 20, 2012. She has exhibited extensively throughout New York, the Northeast and the Midwest, with an international exhibit in Tokyo, Japan. Her works were included in public spaces such as the Kohler Corporation in WI and the Four Seasons hotel in Baltimore, MD and the Jane Voorhees Zimmerli Art Museum in NJ. She has studied Art at the Art Students League and taught Drawing &amp; Painting course at The Art Center of Northern New Jersey for 20 years.<br /><br />*Manspeizer's aesthetic vision includes shaping topologically complex three-dimensional structures as oil crayon is applied by hand to color and burnish the inside and outside contours of her sinuously bent wooden shapes. These are suffused with tender sensuousness and quiet mystery. Equally rapturous is an eerie sensation of the presence of once-sentient life that pervades her organically suggestive entities. Manspeizer&rsquo;s opulently abstracted art forms have a tantalizingly otherworldly and even uncanny aspect that is moving and unsettling in equal measure. *</p> <p class="style89">*Excerpt from Dominique Nahas's Essay,&nbsp;<em>Revelation in Non-Objectivity</em>.</p> Fri, 22 Aug 2014 02:37:04 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Dan Colen - Gagosian Gallery- 24th St. - September 2nd - October 18th <p><em>I wanted these paintings to reveal themselves during the making, similar to how the trash paintings came to be. I was thinking about alchemy. So there's this juggling act; I'm starting and often ending with an image, but the oil paint and the process of using that oil paint will open up the possibility for the artwork to take a new direction.</em><br />&mdash;Dan Colen<br /><br />Gagosian is pleased to announce an exhibition of new paintings by Dan Colen.<br /><br />The&nbsp;<em>Miracle</em>&nbsp;paintings continue an investigation that has been central to Colen's practice from the outset: to what extent does art come from the artist, and to what extent does it arise from forces independent of the artist? In his earliest paintings, Colen labored over precise oil renderings of banal interiors&mdash;a sloppy apartment bathroom, an adolescent bedroom, a camping tent&mdash;into which he introduced the presence of the supernatural&mdash;the Blue Fairy, Jesus Christ, twinkling cherubs, his deceased grandfather. He describes the subsequent series of Candle paintings as &ldquo;portraits of God.&rdquo; In these works, the space of the canvas contains the space of Geppetto's worktable&mdash;where Pinocchio transcends his materiality to become real&mdash;and a message appears in the smoke left by a just-extinguished candle flame.<br /><br />In 2006, Colen started to make paintings with chewing gum instead of paint, ushering in a long period during which he traded representational subject matter for an exploration of the medium itself. Using flowers, dirt, grass, tar and feathers, Mylar confetti, street trash, and readymade metal studs, he relinquished his controlling approach to painting, instead allowing the final result to be guided in large part by the behavior of the given material. He commented that he found the loss of control exciting, as if the paintings were taking on "inevitable forms&mdash;almost like destined forms."<br /><br />Following these discoveries, in 2011 Colen began the&nbsp;<em>Miracle</em>works with a new relationship to the intrinsic properties and potential revelations of oil paint itself. Like the&nbsp;<em>Candle</em>paintings, he bases the&nbsp;<em>Miracle</em>&nbsp;paintings on Disney stills&mdash;in this case, from the mythic&nbsp;<em>Fantasia</em>&mdash;as a means to tap into the animation giant's stronghold on our collective imagination. The vignettes that comprise&nbsp;<em>Fantasia</em>&nbsp;pair symphonic musical compositions with animated sequences that move fluidly between abstraction and representation and address such themes as creation, doom, and the alluring but evasive power of sorcery. Instead of the quotidian spaces of his early works, the&nbsp;<em>Miracle</em>&nbsp;paintings&mdash;which measure up to ten feet in width&mdash;depict an entirely fantastical realm in which unseen agents cast magic spells, phantasms rise from the murky abyss, and depth implodes in a cloud of dust. Colen applies pigment and medium, in some sense, to echo this inchoate subject matter; bursts of powder, puddles of liquid, and raking pulls and pushes made by tilting the canvas back and forth constitute a spectrum of alchemical painterly acts&mdash;some developed through exhaustive studio trial, others evinced outside of the artist's intention. These are aptly magical atmospheres for Colen's continuing search for the painterly sublime.<br /><br /><strong>Dan Colen</strong>&nbsp;was born in New Jersey in 1979. Exhibitions include the 2006 Whitney Biennial, Whitney Museum of American Art, New York (2006); &ldquo;USA Today,&rdquo; Royal Academy, London (2006); &ldquo;Defamation of Character,&rdquo; PS1 Contemporary Art Center, Long Island City, New York (2006); &ldquo;Fantastic Politics,&rdquo; National Museum of Art, Architecture and Design, Oslo (2006); &ldquo;Skin Fruit: Selections from the Dakis Joannou Collection,&rdquo; New Museum, New York (2010); &ldquo;Peanuts,&rdquo; Astrup Fearnley Museum of Modern Art, Oslo (2011); &ldquo;In Living Color,&rdquo; FLAG Art Foundation, New York (2012); &ldquo;Meanwhile...Suddenly and then,&rdquo; 12th Biennale de Lyon (2013); and &ldquo;Dan Colen: The Illusion of Life,&rdquo; Inverleith House, Edinburgh (2013).<br /><br />&ldquo;Help!,&rdquo; a major solo exhibition, is currently on view at Brant Foundation Art Study Center, Greenwich, CT.<br /><br />Colen lives and works in New York.</p> Fri, 22 Aug 2014 02:18:10 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Roxy Paine - Marianne Boesky Gallery 24th St - September 4th - October 18th <p>Marianne Boesky Gallery is pleased to present&nbsp;<em>Denuded Lens</em>, a solo exhibition of new works by Roxy Paine. This is the artist&rsquo;s first project at the gallery since joining in 2013<em>. Denuded Lens</em>&nbsp;will be on view from September 4 through October 18, 2014, at 509 West 24th&nbsp;Street, New York.</p> <p>Since the early 1990s, Roxy Paine has explored the collision of organic and mechanistic systems, bridging these disparate realms in serial projects whose idiosyncratic formal means arrive at related investigatory ends. From the<em>&nbsp;Painting Machines</em>, to the&nbsp;<em>Replicants</em>, to the&nbsp;<em>Dendroids</em>, Paine&rsquo;s practice illuminates the aesthetic and conceptual paradoxes that lie at the heart of the contemporary condition, addressing the particular tension that arises when chaos and control, fact and artifice, the organic and the industrial, meet.</p> <p>At the center of this exhibition is&nbsp;<em>Checkpoint</em>, the most recent iteration of his latest series, the large-scale&nbsp;<em>Dioramas</em>. A room-sized vision of a generic airport security stop,&nbsp;<em>Checkpoint&nbsp;</em>presents a locale whose practical banality rests uneasily alongside the looming suggestion of larger social anxieties. At once familiar and foreign,&nbsp;<em>Checkpoint</em>&nbsp;offers the opportunity to visually and cerebrally examine a liminal place that is usually only experienced through a rushed physical encounter. Rendered via various processes &ndash; from computer modeling to meticulous hand carving &ndash; the work is not a replica. Rather,&nbsp;<em>Checkpoint</em>&nbsp;alchemically translates a quotidian space into an uncanny one. Metal and rubber are transformed into soft-hued maple wood, a depth of seventy feet is perspectivally forced into seventeen, and the moving, living moment of human experience becomes architecturally frozen in time. Decontextualized through these physical distortions, and devoid of the expected human pulse,&nbsp;<em>Checkpoint</em>&nbsp;turns the prosaic into poetry, both in form and in content. Here, a mundane and potentially menacing space becomes a fixed point of quiet contemplation.</p> <p>Situated within Paine&rsquo;s larger serial practice,&nbsp;<em>Checkpoint</em>&nbsp;carries on the artist&rsquo;s exploration of process, perception and material translation, a pursuit that can be seen in works from his early&nbsp;<em>Painting Machines</em>, industrial contraptions that use laborious repetition to mechanistically fabricate works of art, to his more recent&nbsp;<em>Dendroids</em>, in which organic arboreal forms develop into hybrid systems welded out of stainless steel.</p> <p>As a complement to this large-scale installation, Paine presents new examples of his recent maple wood sculptures, hybrid machine-like objects that suggest the modern day markers of labor, production, consumption and measured control. As the exhibition title suggests, when considered together, the works in&nbsp;<em>Denuded Lens</em>&nbsp;propose fresh vehicles for viewing our current environment, prompting us to see anew the charged space we occupy within it.</p> <p>Roxy Paine was born in New York in 1966. He attended the College of Santa Fe, New Mexico, and the Pratt Institute, New York. Paine has exhibited widely since the early 1990s, domestically and abroad. The subject of a traveling museum exhibition in 2002, Paine created a site-specific sculptural project in New York&rsquo;s Madison Square Park in 2007, followed by a large-scale installation on the roof of the Metropolitan Museum of Art, New York in 2009. Currently, his large-scale&nbsp;<em>Dendroid</em>&nbsp;work,&nbsp;<em>Symbiosis</em>, can be seen in Philadelphia&rsquo;s Benjamin Franklin Parkway through June 2015. Paine&rsquo;s work is included in the collections of the National Gallery of Art, Washington, D.C.; the San Francisco Museum of Modern Art; the Whitney Museum of American Art, New York; and the Museum of Modern Art, New York, among others. Roxy Paine currently lives in Brooklyn and works in Queens.</p> Fri, 22 Aug 2014 02:03:31 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Birgit Brenner - MARC STRAUS - September 7th - October 19th <p>MARC STRAUS is pleased to announce an exhibition of new work by German&nbsp;artist,&nbsp;Birgit Brenner. This will be the artist&rsquo;s second solo show with the gallery and will inaugurate our fall season.</p> <p>Birgit Brenner creates her works out of the dramas of everyday life, and this is mimicked in her use of common materials. Mediums like wood, cardboard, and acrylic paint are combined like a&nbsp;modern-day assemblage,&nbsp;blurring the line between&nbsp;painting, sculpture, and drawing.</p> <p>For&nbsp;this&nbsp;exhibition,&nbsp;Brenner&nbsp;has&nbsp;created&nbsp;a&nbsp;body&nbsp;of&nbsp;work&nbsp;developed&nbsp;around&nbsp;a&nbsp;narrative&nbsp;from&nbsp;dreams,&nbsp;perhaps,&nbsp;fraught with the tensions of possible failures in relationships and with societal norms. These then translate into wonderfully idiosyncratic rich works that are&nbsp;visually laced with a sense of irony and humor.</p> <p>Birgit Brenner (b. 1964) studied at&nbsp;Hochschule der K&uuml;nste, Berlin under renowned installation artist and film director Rebecca Horn. She is&nbsp;a Professor of Art at the Staatliche Akademie der Bildenden K&uuml;nste in Stuttgart, and her work has been shown extensively in Europe, including a 2011 major exhibit at the Dortmunder Kunstverein in Germany. She has recently had solo exhibitions at Kunsthalle T&uuml;bingen, Germany;&nbsp;Kunstsammlung Jena,&nbsp;Germany; and Dortmunder Kunstverein, Germany. She was a recipient of the Tisa of the Schulenburg-Stiftung art award in 2004,&nbsp;Christian Karl Schmidt subsidy award in 2003, and a P.S.1 scholarship from 2001-2002.&nbsp;She lives and works in Berlin. She is represented by Eigen+Art Berlin and Leipzig since 1992 and MARC STRAUS in New York.</p> Fri, 22 Aug 2014 01:48:57 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list sanda iliescu - Gallery Molly Krom - September 5th - October 5th <p>NEW YORK CITY - Gallery Molly Krom</p> <p>OPENING RECEPTION: Sunday, Sept. 7, 6 &ndash; 9 pm</p> <p>Gallery Molly Krom is pleased to present In the Garden of (Plastic) Paradise, a show of recent drawings and collages by Sanda Iliescu. An artist whose work blends the dynamic visual energy of abstraction with often narrative and figural suggestiveness, Iliescu turns her attention in the current show to that most naturalistic and nostalgic of subjects &ndash; the bird. The results are unexpectedly moving.</p> <p>Modeled on birds seen in nature and in books, Iliescu&rsquo;s bird drawings &ndash; done with graphite, colored pencil, Sharpie markers, discarded plastic and sewn embroidery thread &ndash; do not altogether shun the evocative and expressive sweetness one associates with traditional renderings of birds. Yet Iliescu&rsquo;s sometimes fragile, sometimes ungainly birds, are so simply and even at times primitively rendered that one cannot say that what is moving about them is the subject. It is rather Iliescu&rsquo;s odd juxtaposition of boldly drawn lines with winding, sinuous strings of handwriting and strange floating abstract shapes just barely suggestive of trees and other foliage, that entrances and engages us. As such, these elusive and ethereal, yet decidedly un-nostalgic drawings draw their power as much from the poetry of abstract form as they do from nature.</p> <p>At the same time, another set of purely abstract drawings in the exhibit partake as much of an aesthetic of nature as they do of abstraction. &ldquo;Snow Drawing 2,&rdquo; for instance, with its spartan assemblage of slanting lines and shapes conveys the glowing, crystalline feeling of light bouncing off snow and ice with an economy and intensity that few realistic renderings achieve. &ldquo;Floriani Unfinished I,&rdquo; though in essence only a complex web of colored shapes and odd plant-like lines, nevertheless blooms before our eyes with its exuberant pageant of colors and textures.</p> <p>Iliescu&rsquo;s art, like the art of many collagists, revels in raw contrasts and sharp juxtapositions, in that rebellious sensibility that Picasso, another collagist, likened to &ldquo;throwing dust in the eye&rdquo; of the conventional canvas and, by implication, the viewer. In her energetic variety of technique, material, and approach, one that shuns the unitary, uniform branding so prevalent in art today&mdash;Iliescu is perhaps at her most refreshing.</p> <p>In addition to the bird drawings and the abstractions, the exhibit also includes several large-scale collages made of recycled plastics entitled &ldquo;Trash Bag Trees.&rdquo; Made in 1995 while Iliescu was a fellow at the American Academy in Rome, these show the artist&rsquo;s abiding interest in her natural surroundings and in the language of abstract visual form.</p> <p><strong>Sanda Iliescu</strong> lives and works in Charlottesville, Virginia. Her work is currently on exhibit in &ldquo;Picasso and Friends&rdquo; at Les Yeux du Monde gallery in Charlottesville. Other paintings, drawings, and collages she has made were shown in New York&rsquo;s 2014 Cutlog art fair, at Richmond&rsquo;s 2013 &ldquo;Knowing How to See&rdquo; exhibit, and in two group shows at Gallery Molly Krom, both in 2013: &ldquo;The Hiding Places are (Utterly) Empty&rdquo; and &ldquo;Flights of Love.&rdquo; In addition to painting and drawing, she creates art installations for public spaces, often with students at the University of Virginia, where she teaches art and design. Her public projects, all in Charlottesville, include the 2013 ephemeral installation &ldquo;SNOWBALLS on STEPS (for David Hammons),&rdquo; the 2011 mural project &ldquo;UN- PAINTING: From Yellow to White,&rdquo; and the 2010 &ldquo;Lines of Darkness and Light,&rdquo; in which Iliescu shrouded the columns of Jefferson&rsquo;s Rotunda in dark veils to mourn a student&rsquo;s death.</p> Thu, 21 Aug 2014 09:57:51 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Pedro Calapez - LYNCH THAM - September 10th - November 2nd <p>LYNCH THAM is pleased to present a seminal exhibition of new works by leading Portuguese contemporary artist Pedro Calapez, marking the debut of the artist&rsquo;s work in the United States.</p> <p>Following critically acclaimed exhibitions in Europe, <em>meadow-curtain-round-broken line</em>,offers a succinct overview of Calapez&rsquo;s fascination with spatial relationships, landscapes, and the significance of ways of seeing. Details are critical in his work, as this exhibition presents an exercise in exploration and discovery, encouraging an awareness of the different possibilities of the gaze. In each work, Calapez enters into dialogue with the architectural context as he evokes everyday encounters and memories through fragmented, richly colored reflections about light, space and landscape.</p> <p><em>meadow</em> is a celebration of an encounter with landscape. More than a representation of a meadow, Calapez&rsquo;s subject is the sensation of gazing and the revelatory and fragmentary feelings of the hot wind undulating over the plains or the cool shadows of passing clouds. In <em>curtain</em>, Calapez explores the invented superimpositions of light and darkness that hinder a clear definition of a space or place. The principle of visibility ensures presence, while the abstraction of darkness confuses the senses and invokes the imagination. <em>round</em> reflects fragments of other works, functioning as a mirror that subtly observes what is behind it. The circular edge produces centrifugal, centripetal movements, which alter the image that emerges within it. The two vertical &ldquo;gashes&rdquo; stabilize the painting, barring the paint from leaving its place. The limits of drawing and painting are tested in the installation <em>broken line</em>. The gesture of tracing a line to create a structural design on the ground recalls the game of hopscotch. Like the game, Calapez&rsquo;s work presents a sequence of attitudes that have no defined aim or end in sight, stimulated by the continuous repetition of a movement. Mallarm&eacute; called attention to this in the preface to his poem <em>un coup de d&eacute;s jamais n'abolira le hazard,</em> where he said: &ldquo;Everything takes place, in sections, by supposition; narrative is avoided.&rdquo; The lines drawn on each brick are fragments of an endless hypothetical line, fragments of knowledge reorganised into different alignments and directions, relating the gaze to a memory, journey or destiny.</p> <p>Pedro Calapez was born in Lisbon, Portugal in 1953, where he currently lives and works. He has been exhibiting widely national and internationally since the 1980s. His work has been shown in many important museums and galleries: "Field of shadows," Pilar i Joan Mir&oacute; Foundation, Majorca (1997); "Madre Agua," MEIAC - Contemporary Art Museum, Badajoz and CAAC - Andalucia Contemporary Art Centre (2002); CGAC - Galicia Contemporary Art Centre, Santiago de Compostela (2005); "Painting places," CAB - Caja Burgos Art Centre, Burgos (2005). &ldquo;White and neutral clarity,&rdquo; Casa da Cerca, Centro de Arte Contempor&acirc;nea, Almada (2009); &ldquo;Kickflip,&rdquo; PLMJ Foundation, Lisbon (2011); "dark skies", Casa das Hist&oacute;rias, Paula Rego House for Contemporary Art, Cascais (2012); &ldquo;There is only drawing," Luis Seoane Foundation, La Coru&ntilde;a, Galicia (2013); Serralves Museum, OPorto (2009); &ldquo;It&rsquo;s not my fault,&rdquo; Berardo Museum, Lisbon (2010); &ldquo;The Collection,&rdquo; Barri&eacute; Foundation, A Coru&ntilde;a (2011); &ldquo;under the sign of Amadeo,&rdquo; CAM- Calouste Gulbenkian Foundation, Lisboa (2013); "93," CGAC&ndash;Galician Centre for Contemporary Art, Santiago de Compostela; Venice Bienniale (1986); Sao Paulo Biennale (1987 and 1991), among others.</p> <p>Calapez&rsquo;s work is in the collections of: Caixa Geral de Dep&oacute;sitos, Lisboa; Centro de Arte Caja Burgos, Burgos; Central European Bank, Frankfurt; Chase Bank, New York; European Investment Bank, Luxembourg; Coca-Cola Foundation Spain, Madrid; Pilar and Joan Mir&oacute; Foundation, Majorca; EDP Foundation, Lisbon; PLM Foundation, Lisbon; Portugal Telecom Foundation, Lisbon; MEIAC, Ibero; Reina Sofia Contemporary Art Museum, Madrid; Serralves Museum, Oporto, among others.&nbsp;</p> Fri, 22 Aug 2014 03:38:09 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Mika Tajima - Art in General - September 13th - October 25th <p><em>Total Body Conditioning</em>&nbsp;is an exhibition by Mika Tajima comprised of three scenes&mdash;display, work, and fitness&mdash;that invoke technologies developed to control and affect the body. These are techniques that shape bodily experience of time and space, taking the human body as a target of power. The works in the exhibition include Jacuzzi hot tub painting objects, a series of abstract woven textile portraits, and transparent paintings set to changing ambient lighting and sound sequences. Each scene in the exhibition traces the management of the body in different spaces and temporal contexts from factory assembly lines to therapeutic &ldquo;after work&rdquo; locations.</p> Wed, 20 Aug 2014 16:53:08 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list