ArtSlant - Recently added en-us 40 Rebecca Horn - Sean Kelly Gallery - May 10th - June 21st <p>Sean Kelly announces <em>The Vertebrae Oracle</em>, an exhibition of new work by renowned German artist Rebecca Horn. This will be the artist&rsquo;s first solo show in New York since her critically acclaimed <em>Raven&rsquo;s Gold Rush</em> of 2011. An opening reception with the artist will take place Friday, May 9 from 6:00 to 8:00 p.m.<br /> <br /> <em>The Vertebrae Oracle</em> will include a group of new sculptures and large-scale paintings on paper. As with much of Horn&rsquo;s oeuvre, and particularly with the works in <em>The Vertebrae Oracle,</em> both nature and the passage of time are thematic constants. <em>Revelation of a Tree,</em> one of the largest sculptures in the exhibition, consists of a substantial cast bronze tree branch, on which brass claw-like rods are arranged in a circle. Their formation suggests that the claws both embrace and protect the tree branch. Horn&rsquo;s references to nature and her lyrical mark making&mdash;gestural actions determined by the artist&rsquo;s physical reach&mdash;are evident throughout the major paintings on paper in the exhibition, such as <em>Moon to a Vertebrae Oracle.</em> <br /> <br /> The title of the exhibition is taken from a poem of the same name that Horn composed for her friend, Meret Oppenheim, in honor of what would have been Oppenheim&rsquo;s 100th birthday in 2013. Horn explains that &ldquo;Meret had this lightness, so that a poetic wind could open up the bones of her spine to leave behind messages in her world.&rdquo; <br /> <br /> The individual elements that comprise Horn&rsquo;s creative output&mdash;poems, drawings, paintings, sculptures, and films&mdash;are all evinced in the exhibition. Science and alchemy, the rational and the intuitive, and the mechanical and the sensual have characterized her work over the last four decades, resulting in one of the most important and distinct oeuvres in the world. <br /> <br /> Horn&rsquo;s work is included in major public collections worldwide including: The Solomon R. Guggenheim Museum, New York; The Museum of Modern Art, New York; the Museum of Contemporary Art, Los Angeles, Castello di Rivoli Museum of Contemporary Art, Turin; the Tate Gallery, London; the San Francisco Museum of Modern Art, San Francisco; the Mus&eacute;e National d&rsquo;Art Moderne, Centre Georges Pompidou, Paris; the Stedelijk Museum, Amsterdam; the Van AbbeMuseum, Eindhoven and many others. She has participated in Documenta and the Venice Biennale on a number of occasions; she has been the subject of a major retrospective at The Solomon R. Guggenheim Museum, New York and was awarded Japan&rsquo;s prestigious 2010 Praemium Imperiale Prize in Sculpture and the Grande M&eacute;daille des Arts Plastiques 2011 from the Acad&eacute;mie d&rsquo;Architecture de Paris. <br /> <br /> This spring, Hatje Cantz will publish a monograph of Horn&rsquo;s selected poems and texts from 1972 to 2013. The book will be presented for the first time at the opening reception of Horn&rsquo;s exhibition in New York. <br /> <br /> On November 16, 2014, the Busch-Reisinger Museum will unveil a site-specific sculpture by Horn in the Harvard Art Museums&rsquo; new facility designed by Renzo Piano Building Workshop.</p> Fri, 25 Apr 2014 03:35:41 +0000 Iris Osterman - Bowery Gallery - April 22nd - May 17th <p class="pressrelease">The Bowery Gallery will present Iris Osterman in her fourth solo exhibit in New York, from April 22 &ndash; May 17, 2014. Opening Reception: Saturday, April 26, 3-6 PM In this new body of work images of the natural world are transformed with an energetic hand into what the artist calls "A meditation on the inner landscape". On view will be paintings on canvas and a group of smaller works on paper.</p> <p class="pressrelease">Using sketches from observation as a starting point, Osterman employs oil, encaustic and charcoal in combination to build powerful graphic statements.</p> <p class="pressrelease">Osterman has shown her work in numerous one-person and group exhibitions in Massachusetts and nationally. Most recently she has shown her paintings at the Danforth Museum, the Whistler House Museum of Art, Galatea Fine Arts, the New Art Center and the Slater Memorial Museum among others.</p> Fri, 25 Apr 2014 03:15:55 +0000 Adrian Piper - Elizabeth Dee Gallery - May 3rd - May 31st <p>Elizabeth Dee proudly presents <em>The Probable Trust Registry</em>, a new installation and participatory group performance by Adrian Piper. Piper&rsquo;s work stages an environment for the potential of collective exchange in the form of personal declarations that become part of an enduring and ongoing artwork.&nbsp;<br /> &nbsp;<br /> For this exhibition, the main gallery is transformed into three corporate reception environments drawn from universal work culture. Each reception area is fully staffed by a volunteer administrator who helps to execute personal declaration contracts to a self-selecting public. Above each reception desk exists a different personal declaration affixed in gold to the stereotypical grey walls. These &ldquo;<em>Rules of the Game&rdquo; </em>are mirrored in the corresponding contract on the desk, each desk/contract respectively with one of the three rules:<br /> &nbsp;<br /> <em>I will always be too expensive to buy</em><br /> <em>I will always mean what I say</em><br /> <em>I will always do what I say I am going to do</em><br /> &nbsp;<br /> Engagement with Piper&rsquo;s interactive installation offers the possibility to assess one&rsquo;s own philosophical obligations and to reevaluate complicit relationships to others. <em>The Rules of the Game</em> is an introspective catalyst to personally audit the question of the declaration&rsquo;s potential for success or failure on both a personal and collective level. Piper&rsquo;s new installation engages the public with sharp clarity and perception.<br /> &nbsp;<br /> Signatories that sign the Personal Declarations will assist to participate in an ongoing artwork by Adrian Piper and have the option to contact one another if mutually agreed. Following the close of the exhibition, the gallery will send <em>The Probable Trust</em> <em>Registry </em>consisting in bound photocopies of all personal declarations filed in <em>The Rules of the Game </em>to all and only its signatories. These documents become part of the APRA Foundation Berlin confidential inventory and are sealed to the public for 100 years following the closing date of the exhibition.<br /> &nbsp;<br /> Since the late 1960s, Adrian Piper has forged a unique artistic practice that infused classical Minimal sculptural form with explicit political content and introduced issues of race, gender and identity politics into the vocabulary of Conceptual art. She has deployed performance, permutation and seriation&mdash;which at the time that Piper began using them were considered non-traditional artistic media&mdash;as strategies for investigating the infinite variability of perceptual form and content. In recent years, her artwork has begun to intersect more explicitly with her philosophical work, resulting in a reconsideration of space, time, and infinity in defining the limits and potential permutability of the self as situated on a pre-established grid defined by social and political variables of race, sex, class conflict, and social relations.<br /> &nbsp;<br /> This is Adrian Piper&rsquo;s third solo exhibition with Elizabeth Dee, following the acclaimed 2010 historical exhibition, <em>Past Time: Selected works 1973-1995,</em> which honored Piper with the CAA (College Art Association) Award. She has shown extensively for the past five decades in solo and group contexts and has been the subject of numerous survey exhibitions including Museu d&rsquo;Art Contemporani de Barcelona (2003); Generali Foundation, Vienna (2002); New Museum, New York (2000); The Museum of Contemporary Art, Los Angeles (2000); Kunstverein M&uuml;nchen, Munich (1992); Ikon Gallery, Birmingham, England (1991); and Alternative Museum, New York (1987).</p> Fri, 25 Apr 2014 03:02:30 +0000 Richard Prince - Gagosian Gallery - 980 Madison Ave. - May 8th - June 14th <p>The Canal Zone Paintings.</p> <p>I was born in the Canal Zone in 1949. Same year that George Orwell&rsquo;s <em>1984</em> was published. Why the Canal Zone? My parents worked for the government, specifically for the OSS. I don&rsquo;t remember much about Panama. The family moved to Braintree, Mass., twenty minutes south of Boston in 1954. The town had just built twenty-seven houses. All the same. It was called a &ldquo;development.&rdquo; The house was put up in like five days. It wasn&rsquo;t made very well but it was brand new. Everything was &ldquo;brand new.&rdquo; The place we were in was called the suburbs.</p> <p>&ldquo;I Like Ike.&rdquo;<br /> I didn&rsquo;t like Ike. And I didn&rsquo;t like Mamie, his wife either. I liked TV, magazines, and movies. I liked game shows. &lsquo;Truth Or Consequences.&rsquo; &lsquo;Who Do You Trust.&rsquo; &lsquo;What&rsquo;s My Line.&rsquo; &lsquo;You Bet Your Life.&rsquo; Groucho Marx hosted &lsquo;You Bet Your Life.&rsquo; I wanted to be related to Groucho Marx.<br /> Tarzan was my favorite movie. Maybe it was the jungle. I don&rsquo;t know. I found the whole thing erotic. What can I say. . . I wanted to be Johnny Sheffield. . . Tarzan&rsquo;s teenage sidekick.<br /> My favorite baseball player. Jimmy Piersall. He played for the Red Sox. I was told he was touched. I didn&rsquo;t know what &ldquo;touched&rdquo; meant. (Still a little too early for a psychiatrist.)<br /> Jimmy once hit a home run and ran around the bases backwards. He went to third base instead of first. He went around the bases THE WRONG WAY. Jimmy would later check himself into an &ldquo;institution&rdquo; and when he got out, would wind up working for one of my uncles who managed business affairs for Ted Williams. (Williams was a straight arrow outfield slugger for the Red Sox.) Jimmy ran the Stop &amp; Shop grocery chain in New England and employed my mother as a food demonstrator. (My mother quit the OSS after it became the CIA. She used to tell me she would hide in closets. After fifteen years she thought she was a suit. That&rsquo;s no joke. You know the rest).</p> <p>My mother&rsquo;s job was pretty strange. She looked like June Cleaver in an apron. She would stand behind a small folding tray and hand out space age food. She handed out samples of Marshmallow, Cool Whip, Beef Jerky, Mayonnaise, Kool-Aid, Fruit Loops.</p> <p>Formative years.<br /> They never leave you.<br /> I was into Zorro. Soupy Sales. Astronauts. Cars. Little Richard.<br /> When I say &ldquo;into,&rdquo; it&rsquo;s what I remember. And when I say &ldquo;formative,&rdquo; I mean, memories. Suburban &rsquo;50s shit. I don&rsquo;t resist it. Why should I? Even if I did, the shit would still somehow end up in my paintings.<br /> Mad Magazine. Playboy. West Side Story. Ernie Kovacs. The Ed Sullivan Show. Jack Paar. The Cold War. Rod Serling. Brand new completely redesigned cars coming off an assembly line every year. It seeps in. It coats you. It&rsquo;s what I know. And if you have anything to say, it&rsquo;s probably best to stick to what you know.</p> <p>The Canal Zone Paintings started off as a &ldquo;pitch.&rdquo; It was a story about a family starting out on an X-mas vacation . . . landing on the island of St. Bart&rsquo;s and after they land they learn that the rest of the world has been nuked, blown apart by a nuclear holocaust. On The Beach meets Lord of the Flies meets 28 Days Later. This family isn&rsquo;t getting off the island any time soon. In a couple of days a bottle of water is worth more than a Rolex.</p> <p>That &ldquo;pitch&rdquo; is buried in parts of the Zone Paintings. Most of the &ldquo;pitch&rdquo; would take a back seat in 2007 and evolve more into painting and collaging images of Rastas and naked women after I came up with the idea about a reggae band gigging as the &ldquo;house band&rdquo; on one of those monster cruise ships anchored out beyond Gustavia harbor, styling to the sounds of Radiodread. (In my movie, the reggae band manages to escape before the ship is burned and brutalized for its stores and provisions and comes ashore and takes over the Manapany . . . one of seven hotels on the island that become &ldquo;occupied&rdquo; by different &ldquo;tribes.&rdquo;)</p> <p>I went back to Panama for the first time in 2005.<br /> I was curious.<br /> I went to the outer edges of its boundaries.<br /> I liked the jungles, the uninhabited parts of Panama. I was hoping for a connection that I wasn&rsquo;t connected to.<br /> I liked the city too. It looked tired and worn down, leftover. It looked like Saigon in 1966. There were a lot of clothes hanging from clotheslines that were strung out across cement terraces.</p> <p>I&rsquo;m not going to explain why there&rsquo;re Rastas and naked women in the paintings, except to say . . . formality . . . and, one thing leads to another. You figure it out. For me art is about continuation, autobiography (the past), what&rsquo;s right next to you (the present), and the skills to interpret feelings and sensations. There&rsquo;re no mysteries. No secrets. I get it. And it&rsquo;s about the only thing I get.</p> <p>When I first showed the Canal Zone Paintings I thought they were cool, different . . . I had never seen them before. I found new techniques to marry inkjet and collage. I cut out huge reproductions of figures and painted on the back of the cut-outs, substituting the paint for glue and pasting the forms next to already inkjetted images and letting the excess paint leak out the sides and bottom of the cut-out after I dragged over the cuts with a silk-screen squeegee. The &ldquo;leaks&rdquo; of white paint were accidental. At first I thought I needed to get rid of the mistake. Cover it up. But I let it go. It didn&rsquo;t take long to realize that the &ldquo;mess&rdquo; would let the viewer know exactly how the shapes got &ldquo;stuck.&rdquo;&nbsp; The compositions? A ribbon of figures. Starting from left to right. They were just hanging there in a field of wine-colored reds. I was working with figures that were originally reproduced in black-and-white. I wanted their noncolor to mix with a palette of grey and silver. The repros of women were supplied from friends. Dian Hanson, John McWhinnie, Richard Kern. One repro came from Eric Kroll. I gave each of them a small study in return for their giving.<br /> I don&rsquo;t want to talk about where the Rastas came from.<br /> Like most images I work with they weren&rsquo;t mine. I didn&rsquo;t know anything about Rastas. I didn&rsquo;t know anything about their culture or how they lived. I had plenty of time to find out. What I went with was the attraction. I liked their dreads. The way they were dressed . . . gym shorts and flip-flops. Their look and lifestyle gave off a vibe of freedom. Maybe I&rsquo;m wrong about the freedom but I don&rsquo;t give a shit about being wrong.</p> <p>When I pasted the guitar onto the first Rasta . . . that was my way in. It was my CONTRIBUTION. It was like a new fig leaf. (I was reading a bio of the Beatles. The first guitar I pasted on was George Harrison&rsquo;s Rickenbacker that came from one of those pictures they put in the middle of bios. Inside information.) I think this light bulb went off when I was staying on St. Barts in 2006. Maybe when I was sitting there looking out into the ocean, staring at one of those big-ass cruise ships.<br /> I like iconic images.<br /> I thought the Rasta and the oversized collaged guitar looked like it belonged. It looked as if I knew what I was doing. The two images fused and &ldquo;married&rdquo; into one new image and made up a whole new story.</p> Fri, 25 Apr 2014 02:55:57 +0000 Kent Monkman - Sargent's Daughters - May 4th - June 8th <p>Sargent's Daughters is pleased to present The Urban Res, the first New York solo exhibition of Canadian Cree artist Kent Monkman. &nbsp;The exhibition will consist of a new series of paintings and a large-scale installation.</p> <p>In The Urban Res, Monkman carries forward themes from his previous narrative figurations. &nbsp;While his earlier paintings were mostly set against the romantic backdrop borrowed from Bierstadt&rsquo;s North American landscapes, this new series takes place in dilapidated urban environments. &nbsp;While the setting may have changed, the subject matter remains consistent: the Native American experience of resilience and transcendence despite colonization and the ruinous effects that a cycle of disenfranchisement, loss and social dysfunction has wracked on the indigenous population.&nbsp;</p> <p>Monkman chooses to focus on the North End of Winnipeg, which is host to a highly visible population of displaced First People. &nbsp; In his dynamic compositions myth, spirituality and art history are merged with an unconventional cast of players: tattooed Renaissance angels, Aboriginal thugs, spirit animals and contemporary medicine men in beaded sports jerseys. &nbsp; Additionally, Monkman has cast Modernist figurations from Picasso, Bacon and Moore as casualties of violence and disease. &nbsp;These figures, flattened in the pictorial space, are representative of the compression of indigenous cultures&mdash;they are the &ldquo;casualties of modernity&rdquo;, now mourned and assisted by groups of urban indigenous youths.</p> <p>The large-scale installation sets Miss Chief Testickle, Monkman&rsquo;s recurring alter-ego, in an idyllic Western landscape, but the usual trappings of rural life have been replaced with aggressive modern counterparts. &nbsp;Inspired by dioramas in Natural History Museums, the installation captures the essence of the exhibition&rsquo;s title. &nbsp;Here is Miss Chief, whose sexuality is both concealed and brazenly displayed, astride a contemporary steed in the Urban Reservation.&nbsp;</p> <p>By his overt references to paintings of nearly every art historical period, from the caves of Lascaux to Veronese to Francis Bacon, Monkman asserts himself as both a traditionalist and an iconoclast. &nbsp;He raises his voice for native populations transcending the devastation of colonialism, while depicting their struggles in the language of European painting. &nbsp;In doing so he stakes new ground and claims a territory for himself as both an artist and a descendant of those originally displaced.</p> <p>Kent Monkman (b.1965) is a Canadian artist of Cree ancestry who works with a variety of mediums, including painting, film/video, performance, and installation. &nbsp;He has had solo exhibitions at numerous Canadian museums including the Museum of Contemporary Canadian Art in Toronto (2007), Winnipeg Art Gallery (2008) and the Montreal Museum of Fine Art (2009). Solo gallery exhibitions include Gallery Florent Tosin, Berlin (2012 &amp; 2010), Pierre-Fran&ccedil;ois Ouellette, Montreal (2012) and Stephen Friedman, London (2008). He has participated in various international group exhibitions including: Oh Canada!, MASS MOCA (2012), Changing Hands: Art Without Reservation 3, Museum of Art and Design, NY (2012), Shape- shifting: Transformations in Native American Art Peabody Essex Museum, MA (2012), My Winnipeg, Musee International des Arts Modestes (2011), The Beauty of Distance Biennale of Sydney, Australia (2010), Remember Humanity at Witte de With, Rotterdam (2010). Monkman&rsquo;s work is represented in numerous public and private collections including the National Gallery of Canada, Montreal Museum of Fine Arts, Museum London, The Glenbow Museum, The Museum of Contemporary Canadian Art, The Mackenzie Art Gallery, the Art Gallery of Ontario, the Smithsonian&rsquo;s National Museum of the American Indian and the Vancouver Art Gallery.</p> Fri, 25 Apr 2014 01:52:31 +0000 Group Show - English Kills - April 26th - May 18th Fri, 25 Apr 2014 01:38:18 +0000 Andy Diaz Hope - Catharine Clark Gallery - May 8th - May 11th <p>Catharine Clark Gallery NYC presents <em>Beautiful Void</em>, a solo exhibition of work by Andy Diaz Hope. <em>Beautiful Void</em> consists of a series of mirrored sculptures that negate the viewer from the image of the room they reflect. Suggesting forms both crystalline and geometric, the sculptures rely on traditional stained glass techniques, creating three dimensional mirrored forms in which infinitely reflecting meditations are experienced.</p> <p>Viewing Hours: May 8, noon - 3pm | May 9, 6-10 pm | May 10&amp;11, 10 am - 1pm</p> Fri, 25 Apr 2014 01:33:12 +0000 Anna Maria Maiolino - Hauser & Wirth 69th Street New York - May 7th - June 21st <p>Anna Maria Maiolino is one of the most significant artists working in Brazil today. In a career spanning five decades and a diversity of disciplines and mediums, ranging from drawing, sculpture, and artist books to video and performance, she expresses through her art a bottomless concern with creative and destructive processes and, above all, the never-ending search for identity. Maiolino&rsquo;s multidisciplinary practice has consistently explored the viscerality of embodied experience &ndash; often obliquely through fragmentation and abstraction &ndash; and engaged the human body&rsquo;s processes as analogs for both the making of art and the making of modernity. As an immigrant coming of age in politically unstable Brazil, Maiolino has perfected a dialogue between opposite yet complementary categories in a practice that dissolves dichotomies of inner and outer, self and other. Hers is an art in search of a new language for the liminal realm of daily human existence.</p> <p>Beginning 7 May 2014, Hauser &amp; Wirth will present &lsquo;Anna Maria Maiolino. Between Senses&rsquo;, the gallery&rsquo;s debut exhibition devoted to the artist. On view will be a selection of drawings, works on canvas, sculptures, photographs, and videos, as well the sound installation &lsquo;Two Beats&rsquo; (2012), which features the artist&rsquo;s poem &lsquo;Eu so Eu (I am I)&rsquo; that was presented at dOCUMENTA 13.</p> <p>&lsquo;Anna Maria Maiolino. Between Senses&rsquo; will remain on view through 21 June 2014.</p> <p>Born in wartime Italy in 1942, Anna Maria Maiolino immigrated with her family to South America in 1954, living first in Venezuela and moving to Rio de Janeiro in 1960. &lsquo;I found myself being an immigrant again, without speaking Portuguese&rsquo;, the artist recalls. &lsquo;What kept me going was my obstinate search for a language, my obsession to become an artist. All my energy was spent trying to become an individual. The existential and art formed one anguished body. My life was dominated by anguish and doubts, although I also wanted to participate in that moment of great political, social and artistic effervescence that was pushing artists to make alliances with the previous generations&hellip; We wanted to develop an autonomous national art, far removed from external patterns and models. We dreamt of a free and autonomous Latin America, with its own economic resources, and art was no different in this respect&rsquo;.</p> <p>Maiolino&rsquo;s early experiments in the 1960s connected her to important movements in Brazilian art history, shadowed by the turmoil and governance of military repression: Neo-Concrete, New Figuration, New Objectivity. Maiolino took part in the radical reconfiguring of the art object &ndash; and thus the art institution and the artist &ndash; during this period. Along with Lygia Pape, Lygia Clark, and H&eacute;lio Oiticica, Maiolino participated in the 1967 exhibition, &lsquo;New Brazilian Objectivity&rsquo;, which symbolized a cultural shift in previous constructivist traditions and established a new vision for the production of art in Brazil. After living in New York from 1968 to 1971, she returned to Brazil and devoted herself to drawing as a means of self-expression. Working to further define her identity as both an individual and an artist, she initiated a new series of works on paper that gave emphasis to the gesture, the action, and the process of making. Since the 1990s, Maiolino&rsquo;s drawings &ndash; on view in the exhibition at Hauser &amp; Wirth &ndash; have engaged similar methodologies in her continual exploration of materials and media.</p> <p>The drawing &lsquo;Untitled&rsquo; (2006), from the series &lsquo;Codifica&ccedil;&otilde;es Mat&eacute;ricas (Matter Codification)&rsquo;, exemplifies the poetic discourse that Maiolino generates from the simplicity of a single gesture. She explains, &lsquo;the drop falls by the action of gravity onto the surface of the paper which I hold in my hands. Like the captain of a ship that holds the helm, I confidently move the raised sheet of paper with alert eyes capturing and incorporating chance&rsquo;. Guided by such rhythmic movements of the body, &lsquo;Untitled&rsquo; (2011), from the series &lsquo;Intera&ccedil;&otilde;es (Interactions)&rsquo; recalls biomorphic and organic lines that spill down the sheet of paper. In contrast, &lsquo;Untitled&rsquo; (2010) from the &lsquo;Vest&iacute;gios (Vestiges)&rsquo; series retains an austere and graphic refinement from small, tightly clustered marks of ink. For Maiolino, paper becomes more than a surface for drawing; it is both &lsquo;matter and body&rsquo;, expressed through the act of gesture. Employing similar methodologies for each drawing series, Maiolino developed a system of serial movements that in turn rendered distinct and unique results.</p> <p>Maiolino has worked primarily in clay since 1989, noting that her first encounter with the material provoked a fire from within: &lsquo;When we lay our hands on that wet mass of clay, a whole cosmic vision appears with all the archetypes of creation&rsquo;, she once said. Maiolino relates the act of molding clay to the act of writing and the mobility of drawing; molding involves a language of hand gestures, a type of serial aesthetic exploration conducted through the acts of kneading, rolling, stretching, and cutting. In &lsquo;Untitled&rsquo; (1993 / 2013) from the &lsquo;Cobrinhas (Little Snakes)&rsquo; series, Maiolino employs basic forms to create coils, repeatedly made and added to the body of her sculpture. Through these works and the processes that rendered them, the artist reaches toward what she has described as &lsquo;the big and transcendental things: the search for totality and the infinite through repetition and seriality&rsquo;.</p> <p>In the three freestanding sculptures &lsquo;S&atilde;o 21 (They are 21)&rsquo; (2013), &lsquo;S&atilde;o 25 (They are 25)&rsquo; (2013), and &lsquo;Mais que Um (More than One)&rsquo; (2013) from the &lsquo;Preposi&ccedil;&otilde;es (Prepositions)&rsquo; series, Maiolino incorporates the practice of Raku ceramics. The flamed surface of each piece retains traces of its firing process, and for Maiolino, sustains its organic materiality and relation to the earth and the moving body that shaped it. Employing techniques of modeling, molding, and casting, Maiolino engages a dialogue of opposites: the positive, the negative, and &lsquo;in-between space&rsquo;. Evocative of century old fossils or the membranes of a coral reef, works from her series &lsquo;Entre o Dentro e o Fora (Between Inside and Outside)&rsquo; are filled by cavities and holes. Maiolino associates these molds with the nowabsent objects that once occupied the negative space left behind.</p> <p>In a selection of videos, Maiolino continues to probe into explorations of identity and the experiences of daily life. Manifested as a self-portrait, the video &rsquo;08/07/2013&rsquo; (2013), from the &lsquo;Present&rsquo; series, discusses the significance of a single experience that transpired on the artist&rsquo;s journey home from dOCUMENTA 13. Referencing topics of immigration, poverty and politics, Maiolino fuses together memories to interpret the passing of time, reflecting on the nature of identity, self and belonging. Anna Maria Maiolino&rsquo;s work grows in spiral succession. Neither linear nor chronological, the ongoing, open-ended nature of her practice enables her to work freely across discipline and media, while marinating a coherent conceptual thread through the entirety of her body of work.</p> <p><strong>About the Artist</strong></p> <p>Born in Italy in 1942, Anna Maria Maiolio lives and works in S&atilde;o Paulo, Brazil. Recent solo exhibitions include &lsquo;The Matrix 252&rsquo;, University of California, Berkeley Art Museum, Berkeley CA and Pacific Film Archive (2014) and &lsquo;Affections&rsquo;, Museu de Arte de S&atilde;o Paulo (MASP), Brazil. In 2010, the major retrospective &lsquo;Anna Maria Maiolino&rsquo; opened at the Antoni T&agrave;pies Foundation, Barcelona, Spain and travelled to the Galician Center for Contemporary Art, Santiago de Compostela, Spain (2011) and Malm&ouml; Kunsthalle, Malmo, Sweden (2011). Major solo exhibitions also include &lsquo;Continuum&rsquo;, Camden Arts Centre, London, England (2010); &lsquo;Order and Subjectivity&rsquo;, Pharos Center for Contemporary Art, Nicosia, Cyprus (2007); &lsquo;Territories of Immanence&rsquo;, Miami Art Center, Miami FL (2006); &lsquo;Many&rsquo;, Maiolino&rsquo;s first retrospective in Brazil hosted by the Pinacoteca do Estado de S&atilde;o Paulo (2005); and &lsquo;Vida Afora/A Life Line&rsquo;, The Drawing Center, New York NY (2001). In recent years, Maiolino&rsquo;s work has garnered critical international recognition at dOCUMENTA 13, Kassel, Germany (2012); the Sydney Biennale, Sydney, Australia (2008) and numerous editions of the S&atilde;o Paulo Biennale.</p> Fri, 25 Apr 2014 01:26:29 +0000 Alexis Duque, Martha Hughes, Yasemin Kackar Demirel, Jason Wright - Elisa Contemporary Art Gallery - April 26th - July 26th <p>Elisa Contemporary Art is proud to present <em>Structured Spaces</em> featuring four contemporary artists exploring strong lines, geometric shapes and bold color to create architecturally driven worlds.&nbsp; From the simplistic to the acutely detailed, our artists create internal spaces and external worlds that invite the viewer in to explore, discover, walk and wander.&nbsp;</p> <p><br /> The everyday scenes of <strong>Marfa artist, Martha Hughes</strong> debuting for the first time with Elisa Contemporary Art, are familiar, yet filled with unusual perspectives and strong colors.&nbsp; The spaces are defined with walls, halls and windows, yet simultaneously ambiguous, slightly unsettling and altogether new.&nbsp; <br /> <br /> <strong>Hawaii artist, Jason Wright</strong> contrasts the soft lines of the sky against the hard lines of the earth to create his complex perspectives.&nbsp;&nbsp; The results are startlingly haunting skylines and dream-like landscapes.&nbsp;&nbsp; <br /> <br /> <strong>Turkish artist, Yasemin Kackar-Demirel</strong> explores the rise and fall of places.&nbsp; She juxtaposes nature with urban environments, carefully shifting between abstraction and representation.&nbsp; Her worlds are created through fragmentation and connection &ndash; the reconstruction of places and buildings, while simultaneously destroying them.&nbsp;&nbsp; <br /> <br /> <strong>Colombian artist, Alexis Duque</strong> creates architecturally detailed drawings inspired by real skyscrapers including the Chrysler Building, Empire State, Flatiron and other landmarks to build his fantastic buildings, cities and metropolises. Working from hundreds of photographs, Alexis details each element of these majestic edifices.&nbsp; The result is cities where structures are idealized and transcendent beauty is worn on the exterior of each edifice.</p> Fri, 25 Apr 2014 01:15:02 +0000 Sanya Kantarovsky - Casey Kaplan Gallery - May 9th - June 21st <p>Lean into the bathroom mirror. You meet a swollen, splotchy stranger. A droplet dangles from the tip of his nose. He tugs at the cheeks, pulling his face down into a horrible caricature and baring from under heavy lids&mdash;as if an act of submission&mdash;those eyes, distant, lost in a tangle of bloody threads. <em>Who&hellip; are&hellip; you?</em> The stranger just smirks. &nbsp;&nbsp;</p> <p>Sanya Kantarovsky&rsquo;s paintings flush with agitated colors. Like moments glimpsed blearily out of bloodshot eyes, these are half-veiled scenes, the surfaces layered and fragmented. Saturated hues seem to echo the swollen emotions and confusion of these quotidian melodramas. Bodies tangle and meld, they peek through and overlap. Masks unmasked pile up, like a summary catalogue of human feeling. Smugness, befuddlement, melancholy, satisfaction, Kantarovsky&rsquo;s subjects go through it all in the course of their erotic encounters and embarrassments. These are the inflammations and repulsions between people. Intimacy, indifference, resentment, boredom, longing.</p> <p>1906 saw a neologism introduced by a couple of Viennese immunologists. In other words, the year of the death of Paul C&eacute;zanne is the year of the birth of allergies. No mere lexical innovation, Clemens von Pirquet and Bela Schick&rsquo;s novel coinage explained disparate afflictions&mdash;hay fever, eczema, asthma&mdash;by common cause and pathology, in what now appears like an epidemiological prophecy. The intervening decades have seen an explosive growth in the range of allergens, the numbers of afflicted, and the spread of allergic diseases. If the 19th century was tubercular, the 20th, it&rsquo;s no exaggeration to say, was the Century of Allergies.</p> <p>Through runny eyes, you might even read them as allegories. The exemplary mode of Russian literature, art and film of the first half of the 20th century, the allegorical informs much of Kantarovsky&rsquo;s work. His invocations of the allegory, however, reflect&mdash;and reflect on&mdash;its contestations and fraught history, modernism&rsquo;s allergy to allegory. Indeed passages suggestive of seemingly disparate and discordant historical moments appear like rashes across Kantarovsky&rsquo;s canvases. Temporalities mingle. They bleed into each other. Evocations of disparate predecessors such as Natalia Goncharova, Henri Matisse, James Ensor, Pierre Klossowski, and Philip Guston dissolve into references to Soviet <em>Agit-Plakat&nbsp;</em>posters from the period of de-Stalinization. They fall away and resurface, these inflamed faces, like so many masks from the Century of Allergies. Effecting precise confusion, the work nearly allegorizes&mdash;through the pleasures and anxieties of intimacy&mdash;the pleasures and anxieties of painting after painting, the experience of historical simultaneity in the present. &nbsp;</p> <p><em>-Eli Diner</em></p> Fri, 25 Apr 2014 00:58:27 +0000 Ry Rocklen - Untitled New York - April 27th - June 15th Fri, 25 Apr 2014 00:45:19 +0000 Frank Stella - Van Doren Waxter Gallery - April 30th - June 27th <p>Van Doren Waxter is pleased to present <em>Frank Stella: Polish Village, </em>a solo exhibition featuring paintings by Frank Stella. The exhibition will be on view from April 30<sup>th</sup> through June 27<sup>th</sup>, 2014.</p> <p>Angular, graphic, and often brightly colored, the works in Stella&rsquo;s Polish Village series were inspired by the distinct architecture of wooden Polish synagogues built in the 17<sup>th</sup>, 18<sup>th</sup>, and 19<sup>th</sup> centuries and destroyed by the Nazis during World War II. While Stella was hospitalized in the summer of 1970, the architect Richard Meier gave him the book <em>Wooden Synagogues</em> by Maria and Kazimierz Piechotka that served as the starting point for this series made between 1971-73. The works are all named after ruined synagogues and villages noted in this book. While these works are not Holocaust memorials, they do function as reminders that with the destruction of these buildings came the destruction of a culture.</p> <p>Interested in the intricate geometry present in the architecture of these synagogues, including their highly decorative fa&ccedil;ades, Stella appropriated many of the physical and architectural traits into his works. He paid special attention to the verticality of the buildings as well as the diagonal, slanting roofs and wooden beam structures. The jutting angularity present in the Polish Village works simultaneously highlights the process of their creation and the inherent beauty of the carpentry and design details with the look and feeling of destruction. Using certain arrangements of color and variations in material, Stella is able to create the illusion of three-dimensions as well as works that have a presence in space. Formally, these works investigate Cubist and Russian Constructivist themes.</p> <p>Within this series exist different versions of each work. Each iteration remains in the same shape and with the same divisions throughout the various versions.&nbsp; The First Versions (I) are made on thick canvas covered stretcher with thin materials such as felt or second layers of canvas that result in a one-dimensional work. The Second Versions (II) employ different colors and a variety of materials, most importantly the addition of boards including plywood, Homosote, press board, Masonite and Kachina-Board. The inclusion of boards alters the depth slightly. The Third Versions (III) have yet another color scheme and utilize cardboard for their support structure and are also the most three-dimensional works within the series with planes that tilt into space. Some works also had a Fourth Version (IV), often made of unpainted wood. These works were not made consecutively, but rather Stella worked on several pieces at once. Two works from the same series, <em>Rak&oacute;w II</em> and <em>Rak&oacute;w III,</em> will be included in this exhibition.</p> <p>Frank Stella was born in Malden, MA in 1936 and lives and works in New York, NY.</p> Fri, 25 Apr 2014 00:38:52 +0000 Armando Marino - 532 Gallery Thomas Jaeckel - May 6th - June 7th <p>532 Gallery Thomas Jaeckel is pleased to announce the second solo exhibition by contemporary Cuban&nbsp;artist Armando Mari&ntilde;o.</p> <p>Composing a whimsical wintry mash up of&nbsp;abstract and figurative art to provide us all a rather philosophical light on the freedom of art, no matter what eye the&nbsp;perspective is derived from. &ldquo;A work of art doesn't have to be explained. If you do not have&nbsp;any feeling about this, I cannot explain it to you. If this doesn't touch you, I have failed." -Louise Bourgeois or perhaps&nbsp;more simply put, "Art for art's sake" as best muttered by James McNeill Whistler, and as best served as Armando&nbsp;Mari&ntilde;o's inspiration in his latest solo exhibition.&nbsp;<br /> <br /> In the case of <em>New Paintings After The Long Winter</em> Mari&ntilde;o&rsquo;s color moods range greatly, both portraying&nbsp;play on the exhibition&rsquo;s title literally and figuratively. Gloomy colors with such depth within the strokes&nbsp;its almost impossible not to feel the arctic angst of Mari&ntilde;o&rsquo;s artistic struggles. With that said, there are also many radiant&nbsp;colors that are rather jubilant, piercing through said <em>New Paintings After The Long Winter</em> like spring time. Mari&ntilde;o painted his pieces upon both large canvas and paper with oil paint, paper in his opinion allows him to dwell on the composition and subject more accurately. Paper gives him the opportunity to paint fast and keep up with the fast pace of his mind as he organizes colors and concepts.</p> <p>His works are held in numerous public and private collections including: Deutsche Bank Collection, USA. 21C Museum Hotels, Kentucky.&nbsp;Coca Cola Foundation Spain. Shelly and Donald Rubin Private Collection, New York.&nbsp;</p> <p>Armando Mari&ntilde;o (b. Santiago de Cuba) lives and works in New York.<br /> Education: MFA Pedagogical Institute of Arts, Havana, Cuba and Rijksakademie of beeldende Kunsten, Amsterdam, Holland<br /> <br /> Marino's work is included in these current&nbsp;exhibitions:<br /> <em>Post Picasso-Contemporary Reactions</em>, Museu Picasso, Barcelona, Spain&nbsp;<br /> <em>Without Masks: Contemporary Afro Cuban Art</em>, The von Christierson Collection /Watch Hill Foundation&nbsp;<br /> Museum of Anthropology, University of British Columbia, Canada</p> Fri, 25 Apr 2014 00:34:32 +0000 Jason Loebs - Essex Street - May 4th - June 29th <p>Rubbing the wrong way back</p> <p>Heat isn&rsquo;t exactly an objective form; it might be better described as a gradient between one body and another. It neither produces itself nor is created through social arbitration; it gathers and diffuses itself through time. It&rsquo;s an energy that resonates matter and plots its escape route through rhythmic vibrations of colliding atoms and oscillating molecules. A frenetic dance among microscopic materials, what we call heat is the measurement of that which is immeasurable in itself. Heat as a measurable, exteriorized&nbsp;phenomenon appears historically as thermodynamics. While the discipline results from constructed, contingent categories, acknowledging its socio-historical mediation does not undermine its independence. Thermodynamic law exists empirically and autonomously; social intervention is required only to render its truths legible. &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</p> <p>The energy generated by heat is an important conceit in <em>The Accursed Share</em>, Bataille&rsquo;s esoteric and influential attempt at economic theory. The titular accursed share is any economy&rsquo;s surplus, which he likens to a gift from the sun. The gift is of such richness that it has to be spent&mdash;knowingly and lavishly&mdash;without gain on the arts, in sex, or on the production of opulent monuments. If contained and hoarded, this gift, this surfeit share, like the sun&rsquo;s effervescence, would burst open catastrophically. In ancient economies, this manifested as unproductive sacrifice; in modernity, it means war. For Bataille, this is a universal condition: all societies struggle with the economy&rsquo;s dependence on the circulation of heat. How we collectively mediate this energy that exists independently&nbsp;of man defines the contradictions and social contracts of each and every society. If the sun gives continually without ever receiving, the question remains: what does one do with a solar gift? &nbsp;</p> <p>The earliest experiments with industrial thermodynamics were with a device called a steam digester (or Papin&rsquo;s digester, for its inventor Denis Papin), a pressure-cooker-like apparatus that detained steam to generate high pressure. Early models exploded from pressure until Papin conceived of a release valve fashioned as a piston with a cylinder engine in&nbsp;1697. Watching the valve rhythmically move up and down, Papin might have glimpsed, if only for a flash, both the transformative potential of rationality and the terror of its eventual regression into a monotonous, mindless loop of retention and release. Thermodynamic science helped to produce more efficient locomotion, regulated temperatures for the printing press, and is now used to refine infrared surveillance photography for low visibility target detection. Advances in infrared photography (thermography) in the early 20th century quickly found their way into military use when in 1929 Hungarian physicist K&aacute;lm&aacute;n Tihanyi developed an infrared-sensitive electronic television camera for British strategic anti-aircraft defense. Ever since, thermographic imaging has been used to optically reduce the fog of war or exploit the advantages of terror-by-night.</p> <p>Thermographic imaging approximately visualizes the ghostly transfer of thermal energy flowing through solids, effectively indexing a contested ambient commons. Increasingly, surplus value is extracted from this ambient sphere, our environs are privatized (thus subject to surveillance), instrumentalized and deployed in the service of the state. In 2013 a predator drone&rsquo;s surveillance footage was quietly deployed as evidence for the first time in a U.S. customs and border case. Reports speculated whether the warrant covered the thermal images produced by the drone, foregrounding one of many legal perplexities that emergent technologies birthed&mdash;and an increasingly militarized state exploited. One might claim if the public loses its right to this ambient commons, we are divested of heat: effectively numb. Capital has a way of lubricating friction while heating other bodies. Proliferating cryptocurrenies and other digital mediums of exchange belie the heretofore intense physicality of commercial transaction (the friction of swiped plastic, the crispness of fresh banknotes). These invisible (or, as it were, evanescent) transactions meanwhile heat up mining rigs, lithium batteries, and graphics cards. E-commerce systems dump digital micro-fractions into virtual wallets like bits of combustibles into superdense trash compactors. Pile on pile of source code multiplies demands for retarding heat waste, creating economies of its disposal and management. These in turn produce capital by identifying, securing, and extracting value from the mechanical equilibrium, phase changes, or potential efficiencies of a system. Yet these technologies brim with possibilities exceeding their dystopian dimensions. Take, for example, a recently released proposal by Microsoft research to install cloud servers in residential homes. Functioning as central heating units, these data furnaces would reduce Microsoft&rsquo;s costs by outsourcing its thermal waste to homeowners. Imagine a future city of clouds customized for maximum climate comfort: user-generated content from all people streaming into different homes, providing warmth, potentiating an unimaginable intimacy that would shine through the cracks of its encrypted and alienated forms.</p> <p>The laws of thermodynamic transfer and circulation as a kind of natural economy with its own exchange rates, production methods, and cycles&mdash;it&rsquo;s a seductive model of thought.&nbsp;But this way of thinking incorrectly conflates the freighting excesses of social contingency and natural forces. If we perceive the ecological sphere and anthropic time as disunited, craving synthesis, we mistakenly assume similitude and congruency among all sorts of market occurrences and physical law. The reciprocal dependence between the development of the physical sciences and capitalism by no means obliterates their differences; in fact, it&rsquo;s an argument for the necessity of disarticulating of the <em>laws of natural processes</em> from the <em>economy as natural law</em>. In the face of imminent ecological disaster art-making continues to be like any other production: a globalized operation in which value is created at industrial centers distant enough from their authors to create the appearance that value derives from nothing more than moving stuff around networks, or fingers pirouetting over touchscreens. The study of heat transfer, the politics of its administration, and the invention of thermodynamic law points to a complex dynamic whereby the metabolic processes of the earth are transformed into objectified matter. Our capacity to grasp the degree to which every objective appearance has a reality hinges on remembering that all appearance is fundamentally split from within by that which it does not reveal. This split demands not only that we consider the possibility of that which might have been, but also invent new ways of representing the cosmological and geological time that mediates socio-historical understandings of nature. This task would oblige us to confront what it means to dominate the natural world while simultaneously acting as the subject by which that world struggles to become conscious of itself.</p> <p>&nbsp;</p> Fri, 25 Apr 2014 00:28:29 +0000 Sydney Blum - Kim Foster Gallery - June 5th - July 3rd <p>We are pleased to announce our new exhibition by Sydney Blum titled Fuzzy Geometry. This series is informed by the mathematics of &ldquo;fuzzy geometry&rdquo; where spatial coordinates become a variable with a range of value, rather than being defined by a discrete singular location in space. The points can be more or less, plus or minus. The result being an ill defined shape with non-crisp boundaries, a nesting of geometric forms contracting and expanding offering a sense of continuum and interrelatedness, as well as tolerance for uncertainty and an indefiniteness to the space.</p> <p><br />Despite the implications of the word &ldquo;fuzzy&rdquo; the mathematics is constrained by a rigor and discipline of its own. Blum, however, is interested in the visual and physical playing out of the concept beyond the mathematical formula. She is interested in a broader definition of visual space--the visual play, the tactile components, the influence of color, boundaries, beginnings and endings, contraction and expansion, complexity and entropy. In sum, she is interested in the interplay between conceptual formalism and the intuitive experience of the artwork.</p> <p><br />This series of sculptures, Fuzzy Geometry, works to define space within concentrated dimensions, creating a chaotically ordered and increasingly focused energy with an intrinsic symmetry. The forms are built with colored synthetic hair that is tightly wrapped with fine wire around heavier wire grid substructures and interior grids. Blum has restricted the forms to familiar geometric shapes where the forms within forms direct the eye back and forth, from outer to interior space, interior to exterior space - a contraction and expansion. The repetitive work of wrapping the hair gives Blum a sense of time standing still. The hair in its fuzziness softens the edges of the layers and confuses the eye by forcing it to focus and refocus, while the grid and the geometric shapes contain the disturbance and reinforce the boundary. This sets up a vibration both within the form and color range. The structure and repetition, and the need to focus and refocus lead to an immersion into the form. The layers create a fuzzy &ldquo;betweenness&rdquo; which is an elemental notion of fuzzy geometry. The exploration of this geometry uses an intuitive and casual logic that results in defining an awkward space, generating a discomfort where things wobble between too loose or too tight, asking how far the concept might be stretched before references are lost.</p> Thu, 24 Apr 2014 22:00:30 +0000 - Swiss Institute - April 29th 6:00 PM - 8:00 PM <p>Please join us for a presentation by designer Pascal Storz. Storz founded and runs Studio Storz, a Leipzig/Berlin based graphic design studio focusing on visual identity, editorial and book design. A distinctly collaborative practice centralizing around designers as authors, translators, researchers and engineers, Studio Storz is a part of Spector Bureau - a collective of designers, artists and publishers. Most known for his exceptional editorial and book design, Storz&rsquo;s work has won The Most Beautiful Swiss Books award the past three years in a row and he is nominated for the 2014 Swiss Federal Design Award.&nbsp;</p> <p><a href="" target="_top" rel="nofollow"> RSVP required.</a></p> Thu, 24 Apr 2014 18:17:24 +0000