ArtSlant - Openings & events en-us 40 Joel Holmberg - American Contemporary - January 11th, 2013 6:00 PM - 8:00 PM <p>I don’t always write statements about my work, but when I do, I prefer to start sentences with “As an artist.” As an artist, it is thrilling to go through customs and be asked what I do. Nothing else charges me with such agency then when the customs official asks me directly "what is your occupation?" I do not get insecure or try to prove myself by giving them a rundown of my CV. I just look at the agent and say "artist" in a way that only a real artist can, with dignity and open-endedness.<br />We are used to hearing people described as being, like an artist. Though I've yet to hear someone described as being an artist when it comes to time management, which, might actually be what artists are best at. Phil Spector was like an artist the way he made his musicians play songs over and over and didn’t record anything until they were completely exhausted and ready to call it a day, only then would he hit record. Neil Young was also like an artist the way he had his engineers start recording even before he stepped into the studio, because he knew that the first thing he did would be brilliant. I wonder if Phil Spector’s musicians stormed out of the studio the way Neil Young burst in.<br />Soft Laws are often unspoken and contain aspirational goals by providing an incentivized framework for adhering to a certain code of conduct, e.g. the Lower East Side gallery culture of being open on Sundays. Isn’t it funny how one might advocate for a prickly person by saying that they are just “wired differently”? That can excuse a lot of difficult behavior.<br />American Contemporary is delighted to present Joel Holmberg’s first solo gallery exhibition. He has previously exhibited at the New Museum, New York, NY; Outpost, Norwich, UK; The Museum of the Moving Image, New York, NY; The 9th Shanghai Biennale, Shanghai, CN, The Sundance Film Festival, Park City, UT, Espace Gantner, Belfort, FR and will exhibit at Kettles Yard, Cambridge, UK later this year. He is a member of the web based collective Nasty Nets and studied at Virginia Commonwealth University, Richmond, VA and Yale University, New Haven, CT.</p> Tue, 08 Jan 2013 02:51:57 +0000 - Benrubi Gallery - January 11th, 2013 6:00 PM - 9:00 PM <p>The Bonni Benrubi Gallery, along with the Benrubi and Powers families, will be celebrating the life of Bonni Benrubi with a special memorial exhibition to be held at the gallery. Bonni, who passed away on Thursday, the 29th of November, after a long battle with cancer, left us with one of the most highly regarded photography galleries and collections in New York. Bonni's Best will include special selections from the private collection of the celebrated dealer, as well as iconic images from the gallery's 25-year history. Please join the family and staff of the gallery on Friday, January 11th, from 6 - 9 for the opening and memorial. The evening will offer a chance to view the work, and celebrate Bonni's life and passion with her friends and family who knew her best. Bonni Benrubi (1953 - 2012) began working with photographs in 1977 at the Daniel Wolf Gallery, where she became director until 1987. Soon after, she began private dealing and opened a public gallery in 1992. She has championed the careers of many contemporary artists including Abelardo Morell, Massimo Vitali and Matthew Pillsbury. She was also deeply involved with American mid-century vintage material and has built extensive collections for many individuals throughout the world. The Bonni Benrubi Gallery continues posthumously today to celebrate and exhibit the vision of this exceptional and beloved presence in the world of photography. Please join us for the opening reception and memorial here at the gallery on the evening of the 11th of January.</p> Tue, 08 Jan 2013 02:57:41 +0000 Amanda Valdez - Denny Gallery - January 11th, 2013 6:00 PM - 8:00 PM <p>Amanda Valdez makes colorful, multimedia works, populated by shapes that oscillate between representation and abstraction. The works have a very strong physicality, immediacy, and sense of embodiment. Various materials- embroidery, acrylic paint, fabric and canvas- are sewn together to become continuous, integral elements of the work. Sewn elements are not delicate. Fabric and stitches do not cede to painted elements, and the overall effect is one of materials acting out and asserting themselves. Yet the final work gives a sense of holistic embodiment, wrangled from the potential anxiety of fragmentation.</p> <p>Amanda Valdez is a Brooklyn based artist, born in Seattle, Washington. She received her MFA from Hunter College in New York City and BFA from The School of the Art Institute of Chicago. Her work has been exhibited in El Regreso de los Dinosaurios at the Abrons Art Center in New York City, Same Same But Different at SOIL in Seattle, MsBehavior at the ArtBridge Drawing Room in New York City, The Return to Rattlesnake Mountain at the Wassaic Project in Wassaic, New York, Faraway Neighbor at Flux Factory in Queens, Don’t Fence Me In…Or Out at Lesley Heller Workspace in New York City. Valdez has been the recipient of a Yaddo Artist-in-Residency, MacDowell Colony Artist-in-Residency, the 2011 College Art Association MFA Professional-Development Fellowship, and is a contributing arts editor at Dossier Journal and Bomb Magazine.</p> Thu, 17 Jan 2013 19:05:21 +0000 Emily Roz, Patricia Smith, Jerome Havre, Michelle Lacombe - Front Room Gallery - January 11th, 2013 7:00 PM - 9:00 PM <div itemprop="description articleBody" class="post-body entry-content"> <blockquote> <div> <div> <div> <div> <p><img src="" />          </p> <p>The exhibition “Territorial Re-Marks” will feature works by Front Room Gallery artists Emily Roz and Patricia Smith in conjunction with Articule artists Jérôme Havre, Michelle Lacombe.

</p> </div> </div> </div> <div> <div> <div></div> </div> </div> <div> <div> <div>As part of the project Montréal-Brooklyn organized in collaboration with : Parker’s Box, Momenta Art, Pierogi, Smack Mellon, Front Room Gallery, A.I.R Gallery, Causey Contemporary, Residency Unlimited &amp; Interstate Projects, Centre CLARK, articule, Optica, Les Territoires, Galerie [SAS], Galerie de l’UQAM, MACM, Galerie Division.

</div> </div> </div> <div> <div> <div></div> </div> </div> <div> <div> <div>The first major artistic and cultural exchange between Montreal and New York City in over 10 years, Montreal – Brooklyn will reveal cultural similarities and differences between two major cities and beacons of North American contemporary art, via a series of exhibitions in galleries and museums in both cities.
</div> </div> </div> <div> <div> <div></div> </div> </div> <div> <div> <div>
For this exchange, artist-run center articule and The Front Room Gallery collaborate to organize an exhibition that will be presented in both Montréal in and Brooklyn. This exchange was developed as an occasion for both organizations to explore and share each other’s concepts about art, artists, the working styles and cultural variances between the two cities. The concept of the exhibition, “Territorial Re-Marks” grew from this exchange and became the focus for the curation of representative artists and artworks from Brooklyn and Montréal. Artists were selected whose work deals with the idea of territory: territory of the mind, territory of the body, territory of societies, territory of wilderness. By presenting a range of working styles from performance to painting, drawing and sculpture, each artist explores the complexities of desire, social organization, hierarchy, and mark-making relative to the various forms of territories. </div> </div> </div> </div> </blockquote> <blockquote> <div> <div> <div> <div>In Plot Plans for an Ideal City, Patricia Smith proposes un-realistic plans for city developments that will never be realized. Drawing delicate psychological maps, she uses the movement of desire to prescribe domains, territories and unattainable plot plans. Patricia Smith's map-like drawings reflect how inner architecture can constrain our action in society.</div> </div> <div> <div> <p></p> <p>Emily Roz paints territories in which wilderness and domestic domains intertwine. Wild animals act ferociously – feeding upon each other, fighting, and roaring – in luxurious domestic flora. Their instincts of survival and territorial control can be viewed as human actions in relation to the space they share, competing against each other to control the land, to feed, and propagate.</p> </div> </div> </div> </div> </blockquote> <blockquote> <div> <div> <div> <div> <div>With, Where we touched; A drawing of places to meet authors, Michelle Lacombe explores the encounter between author and reader and the way one contributes to shaping the mind of the other. In a performative action, Michelle Lacombe will translate onto a wall, marks she made to emphasize important passages while she was reading. By reenacting the action of underlining, she will be tracing a horizon of the mind.</div> </div> </div> </div> </div> </blockquote> <blockquote> <div> <div> <div> <div>Jérôme Havre presents an installation entitled, "Objet de travail (Object of Work)"  Havre questions the purpose and utility of his chosen initial object: a wooden paddle, reworking the surface with random sewing to create a topographical relief.  The surface of the newly envisioned object presents a territory of outgrowth that draws a fictional landscape.  In the modification of original object, its created purpose is transformed into a new utility of Havres' creation.</div> </div> </div> </div> </blockquote> <blockquote> <div> <div> <div> <div>In the exhibition, “Territorial Re-Marks,” each artist examines the conditions of control over territory. Havre’s sculptural installation considers the materiality of desire as illustrated through opulent objects – and how this desire for control can taint the reality of actions. Roz’s paintings reference our own underlying desires, and the impulses of survival that can fuel wild actions, even in the calmest of people. Dominion over these base impulses drives an internalization of territorial control. Lacombe’s visually striking wall installation expands the internal relationship inherent in reading and writing and exposes the insulated realm between the two. Smith transforms the internal and private realms of desire into publicly displayed architectural plans. Both Lacombe and Smith cross the boundaries between the hidden internal thoughts and methodologies expanding the territory of the mind to that of the physical world.</div> </div> </div> </div> </blockquote> <div> <div> <div> <div> <div></div> </div> </div> </div> </div> <div></div> </div> Thu, 03 Jan 2013 21:32:43 +0000 - Hunter College/Times Square Gallery - January 11th, 2013 7:30 PM - 9:00 PM <p style="margin: 22px 0px 0px; color: #2d2829;"><b><span face="arial, helvetica, sans-serif" style="font-family: arial,helvetica,sans-serif;">Friday, 11th JAN 2013, 7.30pm. </span></b></p> <p style="margin: 0px; color: #2d2829;"><span face="arial, helvetica, sans-serif" style="font-family: arial,helvetica,sans-serif;">Hunter MFA building, Second floor, 450 W 41st. St, NYC, NY 10036. </span></p> <p style="margin: 8px 0px 0px; color: #2d2829;"><span face="arial, helvetica, sans-serif" style="font-family: arial,helvetica,sans-serif;">Panel moderated by <b>Katy Siegel </b></span></p> <p style="margin: 0px; color: #2d2829;"><span face="arial, helvetica, sans-serif" style="font-family: arial,helvetica,sans-serif;">With <b>Dana Schutz</b>, <b>Merlin James</b>, <b>Raphael Rubinstein </b>&amp; <b>Richard Shiff </b></span></p> <p style="margin: 11px 0px 0px; color: #2d2829;"><span face="arial, helvetica, sans-serif" style="font-family: arial,helvetica,sans-serif;">This panel will bring together several prominent critics and painters to examine the condition of painting in its contemporary context. Participants will discuss whether the current plurality in painting dilutes meaning, or if it is just a case of many people doing many interesting things. How do we advance meaning given the plethora of dispersed, diverse, yet all seemingly functional approaches? Is the basic idea of advancement even a useful paradigm anymore? These issues will be explored with the aim of presenting a more critical dialogue about work made with paint.</span></p> Sat, 05 Jan 2013 23:29:19 +0000 Aaron Aujla, John Pittman, Charles Harlan - Martos Gallery - January 11th, 2013 6:00 PM - 8:00 PM <p>John Pittman's paintings are also reliefs, a field for light as much as they are a field for shadow. A trained frame maker, Pittman meticulously crafts variations of depth within the surfaces of his work. And as light is limited by its inability to fold, so the color within the field of Pittman's paintings is intensified only when it can be reached. Pittman's practice, while dedicated to painting and sculpture, is ultimately observations of subtleties. Pittman was born in 1948 in Detroit, Michigan and lives and works in Chicago.</p> <p>Aaron Aujla's installations, despite their ambition in size are equally subtle in detail. Aujla constructs floor to ceiling installations of rooms within rooms. The walls are painted with high-end domestic house paints, each piece titled according to their Benjamin Moore names, with vaguely romantic connotations such as "Nimbus" and "Francesca." "As 'gentleman prefer blondes,' so everyone has preference for certain colors and prejudices against others"<sup>1</sup> and Aujla's work makes this only more clear. The variations that Pittman makes upon a 1/4 inch relief, Aujla constructs at the architectural level—a room void-like it becomes a view unto itself. Aujla was born in 1986 in British Columbia, Canada.</p> <p>Charles Harlan's sculptures, like Aujla's installations, are constructed from materials found in the American domestic landscape. For his pieces in this exhibition Aujla investigates shades of paint, and the origins of "Chelsea Grey" verses "Divine Pleasure." Harlan on the other hand is invested in the materials themselves — the progression from clay, to concrete, to steel, and the implications of those materials to the civilizations that invented them. Harlan's newest works presented here are horizontal concrete sculptures that are cast from vinyl siding. Humorously they recall third degree brutalist architecture: concrete cast from a mold composed of vinyl that is meant to look like woodgrain. Their surfaces physically trace the transformation of material as it passes through time. Harlan was born in 1984 in Atlanta, Georgia.</p> <p><sup>1</sup> Albers, Josef. "Interaction of Color." Yale University Press. 2006 p.17</p> Tue, 01 Jan 2013 01:10:12 +0000 Jimmy Raskin - Miguel Abreu Gallery Orchard St - January 11th, 2013 6:00 PM - 8:00 PM <p>Miguel Abreu Gallery is pleased to announce the opening, on Friday, January 11th, of Jimmy Raskin’s Petals Ears &amp; Tears.<br />In his third one-person exhibition at the gallery, Raskin returns to one of his beautiful obsessions: Arthur Rimbaud’s Vowels (circa 1870), the inspiration of his previous show, Inseparability vs. Simultaneity. In the opening verse of the poem, Rimbaud assigns a color to each of the vowels in the alphabet, “A black, E white, I red, U green, O blue: vowels”. Raskin considers this simple linguistic gesture to be a pivotal point in the history of poetry, the very moment the author<br />acknowledges the arbitrary nature of language. There is a before, and there is an after this event that changes everything… One exits the place where the poem ‘of necessity’ was a possibility and enters a new world where ‘simultaneity’ and ‘infinite juxtaposition’ becomes the norm, the new paradigm of expression, if you will.<br />For this puzzle of an exhibition, Raskin produced five monochrome, circular panel paintings following the poet’s suggested bright colors. At the initial graphic stage, he overlapped the circles to generate not only the shapes of a ‘petal,’ an ‘ear,’ or a ‘tear,’ but also a muted mix of five intermediary hues, thus giving himself a palette of maroon, aquamarine, navy blue, gray, and pink, along with a decisive form to work with. The second major motif structuring the show, the cone, has a long history in Raskin’s visual vocabulary. It first emerged as Pinocchio’s nose in his attempt to resuscitate the dead tightrope walker from the prologue of Friedrich Nietszche’s Thus Spoke Zarathurstra. The tightrope walker was the emblematic figure of the poet, the one focused on the line he performs, devoid of the capacity for critical distance. He was also the subject of the philosopher’s first metaphor as a poet, but had fallen and died. He needed to be brought back<br />to life; the stakes were high in this theater dedicated to the diagnosis of the life of expression. Raskin merged the fallen metaphor with Pinocchio to aid his escape. He went on to name his hybrid character ‘Pinn,’ distilled to a large round head with a big cone for a nose. The cone later became the focus – the form of memory, instinct and the streamlined shape of intensification itself. The cone’s function now is that of a precarious pedestal, a prop-like sculptural formation made to receive and display what the child might need to make and show. The apparently irresolvable tension between the conceptual dimension of cool design and the glitter of play stays decidedly active. The resulting risk is that one kills the other, but it seems increasingly clear that these opposing forces might simply need one another. If this is indeed the case, the question then becomes one of apprehension, of looking for and finding the proper line of demarcation between<br />the two. <br />On March 1st, in the context of Bookmachine, organized by Christophe Boutin and Mélanie Scarciglia at the Centre Pompidou in Paris, Jimmy Raskin will present and perform his Lisbon Lecture. His new book, The Corner Jump, published by Onestar Press was recently released and is available at the gallery and at</p> Fri, 11 Jan 2013 05:31:42 +0000 Isabelle Hayeur - Pierogi - January 11th, 2013 7:00 PM - 9:00 PM <p>Pierogi is pleased to present an exhibition of large-scale photographs and a video by Canadian artist Isabelle Hayeur, as part of the Brooklyn Montréal exchange organized between eight Brooklyn and eight Canadian galleries and institutions.</p> <p> </p> <p>Hayeur is known primarily for her large-scale photomontages, videos, and site-specific installations. After initially focusing on video works, Hayeur incorporated photography in 2008. The works in this exhibition are from an on-going project initiated at that time, while the artist was staying in the watery environs of southern Florida. Rather than focus on seductive tropical waters, Hayeur chose to leave the "crystal-clear waters to vacationers," preferring "to capture the turbid waters of navigation canals."</p> <p> </p> <p>"This inquiry has its point of departure in a personal experience. For over twenty years, I have lived by the shores of a river that has become very polluted. I have long been observing the transformations of this stream, the changes in its ecosystems as well as the disappearance of some of the animal species that used to live in it. I wished to create a body of work that would bear witness to these man-made upheavals."</p> <p> </p> <p>"The aquatic landscapes I probe have been considerably altered. They are sometimes actual deserts where nothing is left to see. The images I capture bear witness to this absence. I have observed dying ecosystems near New Jersey's Chemical Coast and the marine cemetery of Rossville (Staten Island), where the shortage of dissolved oxygen is making life precarious. These desolate expanses are sometimes suffused in a wavering light endowing them with a strange, disturbing beauty. I photograph them from an unfamiliar vantage point, eschewing capture from shoulder height. These views from the inside create a relation of closeness between the onlooker and the site being documented. They take us closer to these environments by plunging us in their midst, as it were." (From an interview in NMP, Nov/ Dec 2011)</p> <p> </p> <p>Hayeur holds a Bachelor's (1997) and a Master's (2002) degree in Fine Arts from the Université du Québec à Montréal. Her works have been widely exhibited throughout Canada, Europe and the United States, as well as in Mexico, South America, and Japan, in exhibitions at The National Gallery of Canada, the Massachusetts Museum of Contemporary Arts, the Neuer Berliner Kunstverein in Berlin, Akbank Sanat in Instanbul, among others. Her works are included in numerous permanent collections, including the National Gallery of Canada, Fonds national d'art contemporain in Paris, Art Gallery of Ontario, Vancouver Art Gallery, Musée d'art contemporain de Montréal, and the Museum of Contemporary Photography Chicago.</p> Fri, 04 Jan 2013 16:16:25 +0000 Andrea Way - Pierogi - January 11th, 2013 7:00 PM - 9:00 PM <p>Pierogi is pleased to present an exhibition of recent works on paper by Andrea Way. Way continues to develop her idiosyncratic process of alternating system and randomness, ultimately building a tenuous order out of chance and chaos. It is “…the combination of two almost antithetical elements: the elaboration of a plan or code or formula, on the one hand, and the intervention of accidents and unplanned activities, on the other.” (David Tannous) A delicate balance between these two forces coalesces in each drawing.</p> <p>In these new works Way has deployed a slight shift in approach to move off the grid format she typically begins with. For her the “fixed idea of melody and harmony changed. I think the grid is a human way of organizing things – perhaps ‘the’ human way. Certainly it is the method I used to start building compositions throughout most of my career – and doing so created a ‘regular’ balance right from the start.” The growth pattern using her new method was loosely based on a spiral, but the marks were made by hand so there were unpredictable variations. The new structure “created an environment that seemed to challenge all my notions of what I had considered a ‘balanced’ composition.” It “…forces me to discover – to invent – a balance outside my familiar frame of reference. I have to improvise new rules – new variations on the basic rule – to deal with the imbalance, to try to right it. And this creates a stranger harmony. …What I like about this operation is the way it allows things to disperse unpredictably, to gather and cluster.” (“David Tannous and Andrea Way: A Conversation.” May 28, 2012)</p> <p>As another writer has noted about Way’s work, it is based on rules and patterns but in the end it is the final result that we see and not the method used to get there. “[W]hen we look at Way’s pictures, or when we listen to music for that matter, we don’t so much see (or hear) the patterns as we feel them. The math, in other words, is invisible. There may be a kind of crazy logic underlying the lunacy of her paintings, which are both strangely placid and teeming with life, but it’s a latent one. Put another way, it’s the beautiful madness – and not the method behind it – that we see.” (Michael O’Sullivan)</p> <p>Andrea Way will be the subject of a retrospective (Andrea Way: Retrospective 1982–2012) at American University Museum, Katzen Arts Center, Washington, DC, opening January 26, 2013. Her works have been included in recent exhibitions at the Smithsonian American Museum of Art (Washington, DC), the Herbert F. Johnson Museum of Art, Cornell University (Ithaca, NY), among others, and are included in the permanent collections of the Corcoran Gallery of Art ( Washington, DC), the Hirshhorn Museum and Sculpture Garden ( Washington, DC), the Cleveland Museum of Art (OH), The National Museum of American Art ( Washington, DC), and others. Way was born in San Francisco and currently lives and works in Washington, DC.</p> Thu, 10 Jan 2013 17:16:12 +0000 Laurent Grasso, Johan Grimonprez, Terence Koh - Sean Kelly Gallery - January 11th, 2013 11:00 AM - 6:00 PM <p>Sean Kelly announces its new exhibition, Grasso, Grimonprez, Koh: Three Installations, featuring three distinct interventions by Laurent Grasso, Johan Grimonprez and Terence Koh. Whilst seemingly disparate initially, all of the works are united by the themes of duality, hidden meaning, and cinematic influence.<br />Laurent Grasso’s large-scale neon installation, Infinite Light, is comprised of ten-foot high letters that repeat the phrase “day for night.” The neon color matches a shade of blue filters used in film to simulate nighttime when scenes are shot during the day, an effect called la nuit américaine in French. This cinematic technique creates a false or ambiguous reality, a common theme in Grasso’s oeuvre. The term “day for night” is also a reference to Francois Truffaut’s film of the same name, in which Truffaut himself plays a director struggling to complete production on a movie beset by numerous complications.<br />Johan Grimonprez’s Looking for Alfred (2005) is the artist’s earliest study of Alfred Hitchcock, the idea of doubles and false identities. The film is a surrealist combination of Hitchcock’s trademark cameos, in this case by doppelgängers of the famous director, as well as Grimonprez’s first reference to Hitchock’s The Birds and the actress Tippi Hedren, all critical narrative devices in his subsequent full-length feature Double Take. Ron Burrage, one of the most-well known professional Hitchcock look-alikes, is seen throughout Looking for Alfred. Also included in the installation is behind-the scenes video footage of screen tests and auditions in New York, London and Los Angeles, which documents Grimonprez’s hunt for the perfect Hitchcock doppelgänger. This will be the North American premiere of Looking for Alfred.<br />Terence Koh’s one person at a time was previously presented as part of an impromptu short-term installation on the occasion of the closure of the artist’s studio in the fall of 2012. Two cast wax figures of Koh, one standing and the other reclining on a chaise lounge, are positioned in the room as a dual self-portrait and a reference to the classic Freudian notion of the examined self. The ghostly white figures are Koh’s elegy to the creative process that took place at the studio, and a reflection on loss and longing.<br />About the Artists:<br />Laurent Grasso lives and works in Paris and New York. Grasso’s work has been exhibited extensively worldwide, notably in solo exhibitions at the Hirshhorn Museum and Sculpture Garden, Washington DC; the Kunstverein Arnsberg, Germany; the Centre Georges Pompidou, Paris, France; the Palais de Tokyo, Paris, France; the Saint Louis Art Museum, Missouri, the Samsung Museum of Art, Seoul, Korea; and the Musée du Jeu de Paume, Paris, France. Grasso’s work has also been included in many international biennales including Manifesta 8, Cartagena / Murcia, Spain; Sharjah, United Arab Emirates; Gwangju, South Korea; Moscow, Russia; and Busan, Korea. A major solo exhibition, Uraniborg, will open at the Musée d’art contemporain de Montréal on February 7, 2013.<br />Grasso was awarded the prestigious Marcel Duchamp Prize in 2008 and is the subject of a major monograph—Laurent Grasso: The Black-Body Radiation—published by les presses du réel.<br />Johan Grimonprez lives and works in Brussels and New York. Grimonprez’s work is included in numerous collections such as the Centre Georges Pompidou, Paris, France, the Kanazawa Art Museum, Japan, the National Gallery, Berlin, Germany, and the Louisiana Museum of Modern Art, Denmark. Exhibitions have been presented at major museums worldwide such as the Whitney Museum of American Art in New York, the San Francisco Museum of Modern Art, the Pinakothek der Moderne in Munich, Germany and the Tate Modern in London, England.<br />Grimonprez achieved international acclaim with his film essay dial H-I-S-T-O-R-Y at Documenta X in Kassel, Germany, in 1997, which, in retrospect, eerily foreshadowed the tragic events of September 11th in New York. His full-length feature, Double Take (2009), received the Black Pearl Award at the Abu Dhabi film festival and was an official selection of both the Berlin and Sundance Film Festivals. His current film project The Shadow World: Inside the Global Arms Trade by author Andrew Feinstein, was awarded a production grant from the Sundance Institute.<br />Grimonprez is currently a faculty member at the School of Visual Arts (New York).<br />Terence Koh lives and work in New York. Koh’s work is in the permanent collections of such notable institutions as the Museum of Modern Art, New York; the Whitney Museum of American Art, New York and the Tate Modern, London. He was the subject of solo exhibitions at MUSAC, León (2008); Schirn Kunsthalle, Frankfurt (2008); the Whitney Museum of America Art, New York (2007); Kunsthalle Zürich (2006) and the Vienna Secession (2005) amongst others. His work was included in the 2004 Whitney Biennial and the 2008 Yokohama Triennial. In 2008, he was a finalist for the Sobey Award. In 2014, Koh will be the subject of a major monograph being published by Rizzoli; also forthcoming is a solo exhibition at the Museum of Chinese in America, New York and his debut solo exhibition at Sean Kelly in the fall of 2013.<br /><br /></p> Sun, 06 Jan 2013 01:50:02 +0000 Kevin Cooley - The Boiler (Pierogi) - January 11th, 2013 7:00 PM - 10:00 PM <p style="text-align: justify;"><span style="font-size: small;">Pierogi is pleased to present Kevin Cooley’s <em>Skyward</em> at The Boiler. <em>Skyward</em> is a large-scale video installation portraying Los Angeles’ manufactured landscape and its complex relationship to the natural world. Using the quintessential Los Angeles experience of driving as allegory, the video takes the point of view of a passenger gazing upward through an open-top convertible, or sunroof while riding throughout the city. This point of view manifests physically in the gallery by presenting this nearly ten-minute sequence on an oversized, suspended screen, compelling viewers to stare upwards toward the skylight-like tableau. What begins as realism subtly veers into the realm of fantastical daydream, transcending the routine activity of commuting by car, and rising above the gridlock at street level to a pristine blue sky saturated with limitless possibility.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Beginning downtown and ending high above Palos Verdes, the video stitches together Los Angeles’ disparate ecologies in an impossibly long tracking shot through its sprawling terrain. Crafted from over one hundred individually shot elements, <em>Skyward</em> navigates through a landscape of architecture, freeway overpasses, palm trees, birds, and other iconic Southern California elements, before soaring high above the clouds and looking back to a labyrinthine city far below. As the camera travels through the interconnected networks that physically define Los Angeles, via a simple shift in viewpoint <em>Skyward</em> reveals interdependent ecosystems ordinarily overlooked.</span></p> <p style="text-align: justify;"><span style="font-size: small;">“Maybe the most important thing about Kevin Cooley’s lush and mysterious photographs and quirky man-vs-the elements video landscapes is that he makes them in person, taking straight on-site pictures of real events he sets in motion. The difficulty of crafting them in this way matters for reasons of art historical context, narrative content, and conceptual gravitas.”  …In <em>Skyward</em>, “[e]vents in the cloudless blue sky, from the glistening of palm fronds to the passage of a blimp, unfold across several takes woven together; but there’s no trickery, just layered truths.”  (Shana Nys Dambrot, 2012)</span></p> <p style="text-align: justify;"><span style="font-size: small;">Cooley received a MFA in photography from the School of Visual Arts, New York City. His work, Remote Nation, (comprised of 100 analog TV sets placed throughout a vacant NYC apartment building and playing programs controlled by his father’s remote control in Colorado) was recently on view in New York, seen from the High Line.</span></p> <p style="text-align: justify;"><span style="font-size: small;">This project was supported in part by a grant from the Experimental Television Center.</span></p> Thu, 10 Jan 2013 18:03:24 +0000 Hugh Steers - Alexander Gray Associates - January 12th, 2013 6:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;">Alexander Gray Associates is pleased to present its first solo exhibition of works by Hugh Steers, featuring paintings and works on paper produced from 1987–1993. Throughout his career, cut dramatically short by AIDS at the age of 33, Steers was celebrated for his allegorical painting that captured the emotional and political tenor of New York in the late 1980s and early 1990s, particularly the impact of Queer identity and the AIDS crisis.</span><br /> <br /><span style="font-size: small;"> Dedicated to figurative painting despite a hostile artistic climate, Steers deliberately experiments with the role of beauty, manipulating the medium to create palpable tension between visual appeal and raw content. Familiar interior spaces—the bathroom and the bedroom—provide the stage for Steers' complex narratives. In <i>Purple Velvet Dress</i> (1989), delineations of real and imaginary, ego and alter-ego, eroticism and isolation become blurred. Later, in works from the 90s, anxiety and mortality grow in presence, haunting the corpulent figures and casting a brutal glow onto the scene. <i>Throat</i> (1991) takes a more literal stance, depicting the torture of anticipation as illness looms imminent.</span><br /> <br /><span style="font-size: small;"> At once biographical and allegorical, the intimate domestic scenes on view employ a style deeply rooted in art historical tradition to depict contemporary issues with extraordinary immediacy. Recalling his influential American predecessors, including Thomas Eakins, Paul Cadmus, Marsden Hartley, and Charles Demuth, Steers renders tenderness, isolation, intimacy, and psychological dilemma through dramatic use of color, skewed perspective, and radiant golden light.</span></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"><span style="font-size: small;">Hugh Steers (1963–1995) was celebrated for his allegorical painting that captured the emotional and political tenor of New York in the late 1980s and early 1990s, particularly the impact of Queer identity and the AIDS crisis. Born in Washington, D.C., Steers studied painting at Yale University, and pursued a commitment to figuration throughout his career, cut dramatically short by AIDS at the age of 32. Influenced by historical figures of American art, including Thomas Eakins, Edward Hopper, and Paul Cadmus, he embraced representational painting and figuration at a time when such approaches were especially unfashionable. </span><br /> <br /><span style="font-size: small;"> Steers described his artistic perspective in an interview in September 1992: “I think I'm in the tradition of a certain kind of American artist—artists whose work embodies a certain gorgeous bleakness. Edward Hopper, Jackson Pollock, Franz Kline—they all had this austere beauty to them. They found beauty in the most brutal forms. I think that's what characterizes America, the atmosphere, its culture, its cities and landscape. They all have that soft glow of brutality.”</span><br /> <br /><span style="font-size: small;"> While embracing the polemics of identity politics through his visual content, Steers’ emotionally charged painting took a departure from the more didactic work of his peers. The last five years of his artistic practice focused on AIDS as a subject matter, drawing on community experience and mixing dreamlike allegory with figurative realism. The resulting images amplify issues of mortality and isolation, defiance and compassion. Hugh Steers’ artwork is in the collections of the Whitney Museum of American Art, the Walker Art Center, and the Denver Art Museum. A forthcoming catalogue raisonné of Steers’ paintings and drawings will be organized by Visual AIDS.</span></p> Sun, 13 Jan 2013 17:24:44 +0000 Thomas Barrow - Derek Eller Gallery - January 12th, 2013 3:00 PM - 5:00 PM <p>Derek Eller Gallery is pleased to present a historic exhibition of work by Thomas Barrow. Since the 1960's, Barrow has pioneered new photographic methods and challenged the limited physicality of photography by pushing the medium into unprecedented forms.<br /> <br /> For his series Cancellations (1974-1981), Barrow responded to the disparate photographic trends of the mid-70's: the survey-like, documentary approach to the American landscape as practiced by New Topographics photographers, and the desire to utilize photography in a more manipulative, experimental fashion.  To that end, he photographed banal urban spaces and open terrain throughout the Southwest, and then aggressively tore through the emulsion on the negatives with an ice pick, marking them with an X.<br /> <br /> Barrow's restless experimentation with photographic materiality led him to a series of Spray-Painted Photograms beginning in 1978 and Caulked Reconstructions in 1979.  Comprised of fragmented photographs, automotive spray paint, and SX-70 Polaroids, the photograms investigate concepts of indexicality, cognition, and language.  They transcend the photographic information at hand, becoming instead catalogues of cultural detritus.  Concurrently, Barrow returned to his series Cancellations, further corrupting the imagery by tearing it up and then reconstructing it with silicone caulk. These works are visceral objects to experience.  As such, they call attention to the specific material properties of the photograph, and initiate a dialogue with other media.<br /> <br /> In the years that followed, Barrow's interest in cultural cataloguing and transgressing the limitations of the photographic print developed simultaneously, giving rise to an array of sculptural assemblages.  In these, Barrow juxtaposes Polaroids of appropriated film and television imagery with non-art objects such as plastic toys, ceramics, and books; the caulk and spray paint remain as formal motifs.  Barrow's deliberate combinations of materials and signifiers serve as clues for a multitude of narratives and meanings that ask the viewer look beyond the obvious.  For a recent series, Detritus, Barrow pares down the assemblages to a simple, but meticulous gesture, recontextualizing individual images and objects into plastic bags. <br /> <br /> In his words, Thomas Barrow wants to "move from the transparent, window-on-the-world form that has been photography's primary reason for being since its invention, to making it a physical object, an object to be looked at for its own presence and not for a surrogate experience."  A cerebral innovator and iconoclast, Barrow is a predecessor to numerous contemporary artists currently pushing photography beyond its limits.<br /> <br /> Thomas Barrow lives and works in Albuquerque, NM.  His work is included in numerous public collections such as The Art Institute of Chicago, Los Angeles County Museum of Art, San Francisco Museum of Modern Art, Fogg Museum, National Gallery of Art, The Museum of Modern Art, Museum of Fine Arts Houston, and Princeton Art Museum. This will be his first solo exhibition in New York since 1996.  </p> Sun, 06 Jan 2013 02:26:17 +0000 Christopher Knowles - Gavin Brown's Enterprise - January 12th, 2013 6:00 PM - 8:00 PM Tue, 01 Jan 2013 02:19:58 +0000 Nick Relph - Gavin Brown's Enterprise - January 12th, 2013 6:00 PM - 8:00 PM Tue, 01 Jan 2013 02:21:40 +0000 Janet Biggs, and Aude Moreau - Smack Mellon - January 12th, 2013 5:00 PM - 8:00 PM <p>Smack Mellon is pleased to present Janet Biggs and Aude Moreau as part of <i>Brooklyn / Montréal,</i> a contemporary art event with the aim of establishing a cultural exchange between 2 cities, 16 institutions and 40 artists. This is the first major artistic and cultural encounter between Montréal and New York City in over 10 years.  In connection with <i>Brooklyn / Montréal,</i> Smack Mellon is partnered with The Musée d'art contemporain de Montréal, where French-born Montréal artist Aude Moreau and Brooklyn based artist Janet Biggs presented new video projects from October 4, 2012 to January 6, 2013.</p> <p>For this iteration of the exchange, Janet Biggs will be screening her latest video project<i> Somewhere Beyond Nowhere,</i> a two-channel video installation filmed during Biggs' expedition with The Arctic Circle program.  Aboard a hundred-year-old ice-class Schooner sailing vessel with other scientists and artists participating in the program, the group started at Longyearbyen, an international territory of Svalbard just 12 degrees from the North Pole and headed as far north as the pack ice would allow them. Biggs, armed with a flare gun and camera, traveled alone onto a glacial island and filmed herself engulfed within the stark and extreme environment.  </p> <p>In contrast to Biggs' expansive landscape, Aude Moreau's large-scale installation <i>Sugar Carpet</i> blocks out the majority of the gallery restricting visitors to the perimeter of the space. The delicate installation is comprised of 2 tons of refined white sugar meticulously spread into an oversized carpet embellished with Persian rug motifs. Referring to domestic comfort, the use of refined sugar within the gallery's industrial space also spotlights the undervalued process of production and its often overlooked violent history.</p> <p> </p> Fri, 07 Dec 2012 22:13:38 +0000