ArtSlant - Recently added en-us 40 Akintola Hanif, Khalik Allah, Nema Etebar, Shawn Theodore, Fletcher Williams III, Jamel Shabazz, Asif Farooq, Adrian Franks - Museum of Contemporary African Diasporan Arts (MoCADA) - August 4th - November 6th <p style="text-align: justify;">Through photography, film, design, and sculpture, <em>OFF WHITE</em> bears witness to the exclusionary systems of power that simultaneously privilege and ostracize individuals on the condition of race. Together, works by Akintola Hanif, Khalik Allah, Nema Etebar, Shawn Theodore, Fletcher Williams III, Jamel Shabazz, Asif Farooq, and Adrian Franks provide a counter-narrative to implicating the suffering in their own violent oppressions, while challenging the viewer to re-examine inherited and personal notions of responsibility.</p> <p style="text-align: justify;"><strong><em>OFF WHITE</em></strong>&nbsp;is supported in part by public funds from The New York City Department of Cultural Affairs (DCA) in partnership with The City Council, and private funds from Lambent Foundation.</p> Sun, 24 Jul 2016 09:25:27 +0000 Yojiro Imasaka - Miyakoyo Shinaga Art Prospects - September 15th - October 29th Sun, 24 Jul 2016 09:21:47 +0000 Joan Wadleigh Curran - Miyakoyo Shinaga Art Prospects - July 21st - August 14th <p style="text-align: justify;"><strong>MIYAKO YOSHINAGA</strong>, in association with <strong><a href="" target="_blank">Savery Gallery</a></strong>, is pleased to announce&nbsp;<strong>Endurance,&nbsp;</strong>a&nbsp;solo exhibition of recent paintings by&nbsp;Philadelphia-based artist<strong> Joan Wadleigh Curran</strong>&nbsp;on view from<strong> July 21&nbsp;</strong>through <strong>August 14, 2016</strong>. An opening reception will be&nbsp;held on <strong>Thursday, July 21,&nbsp;</strong><strong>6-8PM</strong>.&nbsp;</p> <p style="text-align: justify;">Curran&rsquo;s paintings explore the beauty, resiliency, and impermanence of discarded objects, building materials, items cast aside, things lost, and the natural world in the midst of it all.</p> <p style="text-align: justify;">In his essay written for the exhibition, Stan Mir asks of us: &ldquo;The average viewer at the Met looks at a painting for seventeen seconds. How much does one care about the detritus in the street? &hellip;.Curran&rsquo;s eyes become our eyes. She&rsquo;s always asking us to imagine this, except she never provides a narrative. Why would she need to? We&rsquo;re already living amongst these things.&rdquo;</p> <p style="text-align: justify;">Her paintings walk a narrow line between por trait and landscape, challenging the viewer to come to a conclusion. Among the works in the exhibition are &lsquo;Transmission&rsquo;, a large-scale oil on canvas which interweaves the blank reflector shields of a cell phone tower with thick evergreen tree branches that wrap the structure, vibrant and in motion; and &lsquo;Security,&rsquo; a rich field of a Mars-like color over taken with seemingly disparate objects like security cameras, amputated tree trunks, and unraveling blankets that, when seen as a collection, appear to be drawing closer together.</p> Sun, 24 Jul 2016 09:20:33 +0000 Jessica Stockholder - Mitchell-Innes & Nash - 26th St. - August 25th - October 1st <p style="text-align: justify;"><em>Mustard on the foot<br /> lid flecking</em><br /> <em>hug cracked spill,</em></p> <p style="text-align: justify;"><em>as sentinels peer over</em><br /> <em>rose glass - blurred edge</em><br /> <em>site sight reflected.</em></p> <p style="text-align: justify;"><em>Syntax smears rising</em><br /> <em>center caves void colon and</em><br /> <em>semi colon cries.</em></p> <p style="text-align: justify;"><em>Tied in the picture<br /> bound flying scatter shot out.</em><br /> <em>Smash in caked crease.</em></p> <p style="text-align: justify;">Mitchell-Innes &amp; Nash is delighted to present <strong>Jessica Stockholder</strong>: <em>The Guests All Crowded Into the Dining Room</em> on view in our Chelsea gallery from August 25 through October 1, 2016. This will be the gallery&rsquo;s third solo exhibition with the artist.&nbsp; <strong>Please join us for an opening reception Wednesday, September 14, 6-8 pm.&nbsp;</strong></p> <p style="text-align: justify;"><em>The Guests All Crowded Into the Dining Room</em> will feature works from several facets of Stockholder&rsquo;s practice, including a large-scale site-responsive installation in addition to distinct bodies of studio works.&nbsp;</p> <p style="text-align: justify;">The studio-based works are made from both purchased and found materials, all of which are designed and manufactured by other people - furniture, plastic goods, fabrics, hardware, paint, paper. The line between a &lsquo;raw&rsquo; material and &lsquo;found&rsquo; object is blurry, and the intended-life of these objects is discarded but not forgotten.&nbsp; For example, a square of plastic floor and an orange rope are repurposed as formal, painterly elements, and yet their origins are clearly legible.&nbsp; The history and intended-use of these objects confront the viewer as Stockholder deftly engages the power of synergy, combining other peoples&rsquo; thoughts and objects into a form distinctly her own.</p> <p style="text-align: justify;">Many of the works on view relate to Stockholder&rsquo;s ongoing project of Assists, sculptures which must attach to something other than themselves -- a bed, the wall, furniture, other sculpture, or appliances.&nbsp; Each Assist is made up of four parts: two base parts and two top parts. The bases and tops are interchangeable. The Assists have a symbiotic relationship with everything around them.&nbsp; With the Assists, Stockholder continues to explore questions of boundary, dependence, and response to the landscape of human-made things, notions which have been central to her practice to-date.</p> <p style="text-align: justify;">Stockholder says, &ldquo;When I make something myself I have control over all of the details and can explore my thought process spontaneously as I go. When I hire someone to make something for me [&hellip;] I utilize the systems embedded in other trades, people's thinking and production methods. And in all cases when the work is exhibited it is dependent on the exhibition context, which is replete with all kinds of meaning.&rdquo;</p> <p style="text-align: justify;">While the show consists of many different materials and forms, each work is accepted as a coherent, composed whole.&nbsp; Stockholder prods at the gaps between nature and human-made objects, between authorship and anonymity, between art, manufacturing and craft.&nbsp; The result is a destabilizing dynamism that threatens to pull the center out past its edges.</p> Sun, 24 Jul 2016 09:15:44 +0000 Tad Mike - Margaret Thatcher Projects - September 8th - October 15th Sun, 24 Jul 2016 09:08:33 +0000 Group Show - Margaret Thatcher Projects - July 26th - August 19th Sun, 24 Jul 2016 09:08:30 +0000 Group Show - Lesley Heller Workspace - July 20th - August 19th <div class="documentBody"> <p style="text-align: justify;">Lesley Heller Workspace is pleased to present <em>Splotch</em>, a two-venue exhibition on the Lower East Side curated by Eileen Jeng. <em>Splotch</em> features artists whose work involves a methodical and controlled process of creating seemingly free-form or random daubs and spots. The title of the show is inspired by <strong>Sol LeWitt</strong>&rsquo;s fiberglass pieces titled <em>Splotches </em>and their working drawings or &ldquo;footprints.&rdquo; The footprints of <em>Splotch #3</em> will be exhibited for the first time at Lesley Heller Workspace. LeWitt&rsquo;s 12-foot long sculpture <em>Splotch #3</em>, previously shown at New York&rsquo;s The Met, will be on view at <a href="" target="_blank">Sperone Westwater.</a></p> <p style="text-align: justify;"><em>Splotch</em> features works by Lynda Benglis, Walter Biggs, Elisabeth Condon, Nene Humphrey, Andreas Kocks, Sol LeWitt, Riad Miah, Jamie Powell, Taney Roniger, Karen Tompkins, Julia von Eichel, Aaron Williams, Magdalen Wong, and Jian-Jun Zhang.</p> <p style="text-align: justify;">The artists&rsquo; approaches are structured, yet left up to elements of chance and failure in the drawings, paintings, photographs, prints, and sculptures in the show. Some of the artistic processes include casting, cutting, and wrapping. <strong>Lynda Benglis</strong> continues to focus on the physicality of materials in <em>Hot Spot</em>, 1999, a biomorphic form cast in aluminum. Combining elements of drawing, painting, and architecture, <strong>Andreas Kocks </strong>utilizes cut paper and pins to create works that examine space and time. Meticulous and methodical, <strong>Julia von Eichel </strong>simultaneously embraces and conceals the underlying structure of wood dowels, wiffle balls, and thread with acrylic covered silk in her amorphous and jagged sculpture protruding from a corner.</p> <p style="text-align: justify;">Inspired by pop culture and cartoons, <strong>Jamie Powell</strong>&rsquo;s paintings incorporate elements of chance and improvisation as she manipulates the canvas by dyeing, cutting, and tying pieces to&nbsp;create sculptural forms, revealing the underlying frame. <strong>Magdalen Wong </strong>appropriates found imagery in mass media and commercial packaging; familiar objects are decontextualized and abstracted in her cutout milk splashes. Carving into a painted MDF surface with a router, <strong>Aaron Williams </strong>recreates graffiti imagery in photographic sources, expanding the idea of mark marking and materials.</p> <p style="text-align: justify;">Using patterns and precise puncturing, <strong>Taney Roniger </strong>creates biomorphic and cellular-like forms, referencing landscapes, mythology, and geometric shapes found in nature. <strong>Walter Biggs</strong>&rsquo;s abstract paintings of graphite, sand, and acrylic are the results of play between expressionist gesture and labor-intensive finishing processes.</p> <p style="text-align: justify;">Materials can ultimately dictate the outcome when they are released onto surfaces &ndash; the results can be unexpected and spontaneous. In his monoprint <em>First Drop of Water (print series #1)</em>, <strong>Jian-Jun Zhang </strong>explores the physicality and connotations of water. He paints printing ink directly onto steel plates with calligraphy brushes before printing these gestural marks. Inspired by nature and her time in Shanghai, <strong>Elisabeth Condon</strong> begins with a pour of paint and then edits the surface by outlining dots, manipulating contours, and slicing paint.&nbsp;</p> <p style="text-align: justify;"><strong>Riad Miah </strong>combines a calculated approach of using drops of paint, geometric configurations, and spontaneous brush marks to create his abstract painting that depict cellular and amoeba-like forms. <strong>Nene Humphrey</strong> also explores biological systems in her sculptural and performative works consisting of two and three-dimensional cerebral and cellular forms of synthetic material. Influenced by the solar observations of the Italian astronomer, physicist, and philosopher Galileo Galilei in the early 17<sup>th</sup> century, <strong>Karen Tompkins</strong> creates abstracted paintings on insulation board that closely resemble these sunspot drawings.</p> <p style="text-align: justify;">With predetermined and self-imposed rules, these artists explore the boundaries of various mediums as well as the tension between control and spontaneity. They also examine the body, scientific and mathematical concepts, nature, pop culture, and mass media. Dichotomies examined include: absence and presence, fluidity and stability, geometric and organic, order and disorder.</p> <p style="text-align: justify;">An opening reception will take place at Lesley Heller Workspace on July 20 from 6-8 pm. <em>Splotch</em> will also be on view at Sperone Westwater at 257 Bowery from July 7 to August 5, 2016. A brochure will be published on the occasion of the exhibition.</p> </div> Sun, 24 Jul 2016 08:57:39 +0000 Group Show - Leila Heller Gallery - Chelsea - July 21st - September 1st Sun, 24 Jul 2016 08:52:23 +0000 Group Show - Kate Werble Gallery - July 21st - August 19th Sun, 24 Jul 2016 08:46:48 +0000 Kondo Takahiro - Joan B. Mirviss LTD - September 13th - October 28th <p style="text-align: justify;">Joan B Mirviss LTD is excited to present a solo exhibition of new works by Kondo Takahiro (b. 1958), &ldquo;Waves of Ink: Painting in Porcelain,&rdquo; for this autumn&rsquo;s Asia Week New York. Celebrated for his &ldquo;silver mist&rdquo; (<em>gintekisai</em>) overglaze, Kondo has created a new body of large and small works based on his continuing preoccupation with the 3/11 tsunami and its short and long term effects on the people and landscape of Japan. The mist technique takes on a new dimension as it covers painterly waves of dark black, gray and white embedded in slabs of marbleized (<em>neriage</em>) clay. An artistic break-though, this series marries his long-standing passion for painting with his mastery of the porcelain medium in sculpture.</p> <p style="text-align: justify;">&nbsp; &nbsp; &nbsp; &nbsp; &nbsp;Kondo&nbsp;Takahiro began his career in ceramics in 1985 after devoting his early years to sport, attaining national success in table tennis. His grandfather and father were blue and white-glazed porcelain (<em>sometsuke</em>) masters, and Takahiro learned much from them. However, he quickly discovered his own style and has continued to evolve, continually challenging himself, incorporating new media while remaining conscious of his <em>sometsuke</em> roots. Water has been his principal theme for many years and he has explored not only its physical forms such as rain, ice, steam, and mist, but also its conceptual aspects as a source of life, purifier, natural resource, and, most currently, as a critical environmental issue in regards to the nuclear disaster in Fukushima. These many manifestations of water culminate in Kondo&rsquo;s patented silver mist overglaze, comprised of an amalgam of metals and glass frit, which ranges in&nbsp;appearance from a subtle shimmer to a stream of molten drops that are dazzling to behold.</p> <p style="text-align: justify;">&nbsp; &nbsp; &nbsp; &nbsp; &nbsp;The artist&rsquo;s newest direction reflects Kondo&rsquo;s lifelong interest in painting, incorporating application of his metallic glaze to monochromatic <em>neriage</em> slabs, appearing as &ldquo;splashed ink&rdquo; in the form of silver mist overglaze droplets. Although the patterns are abstract, the surfaces are intentionally reminiscent of seascapes in the tradition of Japanese ink painting (<em>suiboku-ga</em>). These surfaces are equally evocative on both his large sculptures and hand-held teabowls. They work in harmony with the pools of &ldquo;ink&rdquo; and suspended air bubbles in the cast glass covers of his &ldquo;objets&rdquo; and in the joining glass sections of his tall monoliths. For Kondo, whether it is through flowing of ink, drops of silver, or icy glass, his ceramics not only represent the ever-changing state of water as it travels through sky and earth, but also capture the fleeting nature of all things. The artist explains:</p> <p style="text-align: justify;">&nbsp;&ldquo;<em>My work embodies the concept of &lsquo;utsuroi no bigaku&rsquo; or the art of impermanence. It is my intent to evoke that beauty found in the ephemeral through the waves and droplets on my surfaces that represent the cycle of nature, purification and rebirth.&rdquo;</em></p> <p style="text-align: justify;">&nbsp; &nbsp; &nbsp; &nbsp; &nbsp;Kondo has received several international awards and been featured in exhibitions on four continents. Joan B Mirviss has represented Kondō Takahiro for over fifteen years and has placed his work in important international collections.&nbsp; Among major museums owning his works are the Metropolitan Museum of Art, NY; Brooklyn Museum, NY; National Museum of Scotland; Paramita Museum, Mie; National Gallery, Victoria, Australia; and S&atilde;o Paolo Museum, Brazil.</p> <p style="text-align: justify;">&nbsp; &nbsp; &nbsp; &nbsp; &nbsp;Joan B Mirviss is the leading western dealer in the field of modern and contemporary Japanese ceramics, and from her New York gallery on Madison Avenue, Joan B Mirviss LTD exclusively represents top Japanese clay artists. As a widely published and highly respected specialist in her field for over thirty-five years, Mirviss has advised and built collections for many museums, major private collectors, and corporations.</p> Sun, 24 Jul 2016 08:43:48 +0000 Group Show - Joan B. Mirviss LTD - July 13th - August 31st <p style="text-align: justify;">The end of WWII marked the beginning of a radical new era for Japanese ceramics. Opportunities for innovation emerged for clay artists, men and women alike, to create a kaleidoscope of works outside the limitations of tradition. For our next exhibition, <em>Summer Exhibition: Clay Sculpture,</em> Joan B Mirviss LTD has carefully selected a striking group of diversified sculptural works by both established and emerging artists. As catalysts of change in their field, these artists have created works that supersede utility for the sake of form. Come escape the summer heat at our gallery to visit these refreshing artworks and get a glimpse into the future of Japanese ceramics.</p> Sun, 24 Jul 2016 08:41:47 +0000 Magnolia Laurie - Frosch & Portmann Gallery - September 7th - October 16th Sun, 24 Jul 2016 07:27:55 +0000 Mark Power, Hans Witschi - Frosch & Portmann Gallery - July 21st - August 21st <p style="text-align: justify;">frosch&amp;portmann is pleased to present <em>Witschi/Power. Faucets and Hoses</em>, a duo exhibition with New York artists Mark Power and Hans Witschi.</p> <p style="text-align: justify;">The broader theme of our summer exhibition is water&mdash;more precisely, the hollow flexible or firm tubes used to convey the desired element. Hans Witschi&rsquo;s faucet paintings cover the gallery walls, while all-white sculptures of different hoses by Mark Power occupy the space.</p> <p style="text-align: justify;">Power&rsquo;s floor pieces are life-size and exact replicas of the real objects. The artist is interested in the use of words, and how our identification with them as they exist as objects can be compromised and challenged, redirected from the clinical and antiseptic to a feeling of emotion, time and intimacy. Power transforms anonymous utilitarian everyday objects into unique works of art, re-contextualized by material, surface and quantity. The logic, and eventual location of this "source material&rdquo;, versus the venues they were cultivated from, create a dynamic that the artist works in and from. The use of a common non-decrypt commercial production material to describe all objects, brings things back to somewhat visually familiar territory, where the playing field is not equal, but in site.</p> <p style="text-align: justify;">Hans Witschi&rsquo;s paintings range from funny and humorous to the abysmally painful. Strong in psychological impact and stylistically heterogeneous, the work conveys a message from a world of collapsed time. The figure, often dominant in Witschi&rsquo;s oeuvre, is absent in the &ldquo;Water Series&rdquo; shown here. The first faucet appeared in a triptych that was part of the &ldquo;Black Series&rdquo; in 1983 and the artist kept on painting these minimal and abstracted elements ever since. Expressing an agonizing wait, it came from an early childhood observation of a severely retarded patient going back and forth with his finger under the running water. Later, it evolved into an analysis of culture, nature, urbanism, and architecture. The faucet became the symbol of our specific life situation in this civilization.</p> <p style="text-align: justify;"><strong>Mark Power </strong>lives and works in New York. He holds a B.F.A. from the Virginia Commonwealth University at Richmond, VA and an M.F.A. from the School of Visual Arts, NY. He received grants/awards from the Edward F. Albee Foundation, the Skowhegan School of Painting and Sculpture and the Johnson Foundation. </p> <p style="text-align: justify;">Born in Switzerland, <strong>Hans Witschi </strong>studied painting in Zurich and moved to New York City in 1989, after receiving the Studio Grant by the City of Zurich. From 2008 to 2016 he was a Critique Artist and faculty member of the Art Students League, New York. Witschi's collaboration with other artists include his piano music, spanning from Noritoshi Hirakawa's video "A Destination of Ego" 1994 shown at MoMA PS1 to the 2014 performance with Bruno Jakob at the Kolumba Museum Cologne, Germany.&nbsp;</p> Sun, 24 Jul 2016 07:24:35 +0000 Oscar Murillo - David Zwirner- 533 W. 19th - September 14th - October 22nd Sun, 24 Jul 2016 07:15:30 +0000 Oscar Murillo - David Zwirner- 525 W. 19th - September 14th - October 22nd Sun, 24 Jul 2016 07:15:00 +0000 Caleb Churchill, Matthew Williams, Sakura Kelley, Sarah Meadows, Svetlana Bailey, Tenzing Dakpa, Thalassa Raasch - ClampArt - July 14th - July 22nd <p style="text-align: justify;">&ldquo;Certain Things&rdquo; is an exhibition of work created by the 2016 graduates of the RISD MFA Photography Program. The artists have been guided in critiques and thesis committee meetings by a rich and diverse group of faculty and guests. Eva Sutton, Brian Ulrich, and Steven Smith have led the graduate group critique. Students have benefited from individual and guest critiques from artists Atul Bhalla, John Gossage, Gillian Laub, Maria Mart&iacute;nez-Ca&ntilde;as, Lorie Novak, and Artie Vierkant; critics Douglas Nickel and Stanley Wolukau-Wanambwa; museum directors and curators Natasha Egan (MOCP), Eva Respini (ICA), and Britt Salvesen (LACMA); and gallerist Brian Paul Clamp (ClampArt).</p> <p style="text-align: justify;">All graduates have completed a thesis book, monograph, and a portfolio of prints&mdash;now part of the RISD photo archive, which includes work by such former graduates as Bill Burke, Talia Chetrit, Jim Dow, Linda Connor, Emmet Gowin, David Benjamin Sherry, Christina Seely, and Francesca Woodman, among many others.</p> Sun, 24 Jul 2016 07:05:27 +0000