ArtSlant - Closing soon en-us 40 Group Show - Aicon Gallery - New York - December 6th, 2012 - January 19th, 2013 <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <p style="text-align: justify;">Aicon Gallery is proud to present Fact ● Fission, a group exhibition curated by Nitin Mukul featuring fourteen contemporary artists, working in various media to challenge preconceived ideological divisions and break down the prevailing regional aesthetics in global contemporary art.<br /> <br /> Daily unrest in the name of democracy seems endemic to some nations, whereas in others, complacency breeds blissful collapse. Volatile shifts in the balance of power appear inevitable, with over-consumption taking a tangible toll. The media's reductive narratives and sweeping generalizations over large swathes of the globe are no longer plausible as Fact. New patterns emanate, emerging at a pace more rapid than ever in regard to technology, nature, policy and social upheaval. Cultural practitioners yearn to reflect this multiplicity of voices. Enter Fission. Fusion, a term often used to describe the melding of different cultures, seems overused and worn out. A mainstream marketing gimmick, somewhat analogous to assimilation or multiculturalism, fusion advocates tolerance of the ‘Other’, albeit according to its own convenience and within the bounds of what it deems tasteful. What's more interesting is fission – when things split apart, reorganize and regenerate, smudging and splintering neatly kept categories and conventional wisdom in the process. The results are not necessarily hybrids, but new inauthentic, hyper-local and interdisciplinary manifestations resulting from willful or imposed dislocation. The work in this exhibition will center on the concept of fission, while encompassing a wide range of formal concerns.<br /> <br /> Yamini Nayar’s imagined interiors explore architecture and memory via the representation of constructed (and deconstructed) space. Drawing from the visual allegories of architecture, with the model and final photograph weaving together existing narratives with elements of fragmented idealism, Nayar’s collaged photographs become jarring snapshots of ephemeral architectural memories as experienced by our subjective subconscious. Pooneh Maghazehe interrogates the functional and obstructed uses of worn domestic furniture by methodically peeling and stripping textiles, to reveal the underlying structural vulnerability from within. The recontextualized pieces investigate the collective identity, social psychology, and symbolic gestures and emblems that define belief structures by exposing the interdependence of materials inherent in these prefabricated former objects of comfort. James Cullinane explores the diagrammatic possibilities and didactic imagery of patterns in process, navigating the tension between pictorial and physical space. His paintings act as architectural dictionaries and charts to navigate the labyrinthine paths forged in his layered dystopia of geometric forms, optic patterns and vibrant color. In Kanishka Raja’s panoramic realms, the energetic fusion of private and public domains of distinct global settings, interlocked by pulsating patterns derived from textile design and ornamentation, form a complex visual field spanning several panels. Nitin Mukul depicts details of events as various types of social rituals/commentary, deconstructing and imbuing them with palpable energy and ambiguity.<br /> <br /> The opening reception will feature a screening of the new video Haal by Nitin Mukul, with a live score by Jace Clayton (DJ Rupture) and software designer Bill Bowen, utilizing their recently developed SUFI PLUG-INS, an interdisciplinary project dedicated to exploring non-western and poetic notions of sound, creating a space where software design, music tools, encoded spirituality, digital art and indigenous knowledge systems overlap.</p> <p></p> <p></p> <p></p> Tue, 25 Dec 2012 10:17:17 +0000 Group Show - Alexander and Bonin - December 1st, 2012 - January 19th, 2013 <p>On Saturday, December 1<sup>st</sup>, Alexander and Bonin will open an exhibition of prints and multiples by sixteen artists: Matthew Benedict, Fernando Bryce, Michael Buthe, Willie Cole, Eugenio Dittborn, Willie Doherty, Mona Hatoum, Diango Hernández, Stefan Kürten, Paul Etienne Lincoln, Jorge Macchi, Rita McBride, Sylvia Plimack Mangold, Doris Salcedo, Sean Scully and Paul Thek. Some of the prints and multiples included in ‘Stimuli’ were executed in relation to large scale projects, while others are self-contained and further explore motifs found throughout the artists’ work.<br /> <br /> Prints completed in conjunction with larger projects include <strong>Jorge Macchi's</strong> large scale <em>Marienbad, </em>2012 which illustrates his 3-dimensional illusion of the 1961 film, ‘Last Year at Marienbad’ by Alain Resnais.  Maachi created the full-scale outdoor piece for the 2011 Lyon Biennale.  Obversely, <strong>Doris Salcedo’s</strong> <em>Shibboleth I-IV</em>, 2007, four archival pigment inkjet prints were created during the preparation for the fissure she created in the floor at Tate Modern in 2008.  In <em>Blueprint</em>, 2011, <strong>Rita McBride’s</strong> representation of institutional space takes the form of a woodcut based on an elevation of the façade of Museu d'Art Contemporani de Barcelona (MACBA). This print was made during a three year project with the museum, in which McBride removed the layers of temporary construction that had accumulated since Richard Meier’s original design in 1995.<br />  <br /> During 2011-12, <strong>Willie Cole</strong> worked with Highpoint Center for Printmaking in Minneapolis to produce a group of intaglio and relief prints. <em>Five Beauties Rising</em>, a suite of five  impressions of ironing boards printed in a monochromatic gray scale impart “a sense of spirituality and suggests grave markers of weathered stone."* Each ironing board has the name of a woman printed in relief on the lower edge, suggesting both the legacy of ‘women’s work’ and the psychological residue retained by objects of such intense and specific personal use.<br />  <br /> The subjects of <strong>Stefan Kürten</strong> and <strong>Sylvia Plimack Mangold’s</strong> paintings are further explored in their prints. As in her paintings, Plimack Mangold works outdoors from direct observation of the trees on the surrounds of her Washingtonville, NY home, etching plates of a maple tree motif that has been central to her work for more than thirty years. Kürten takes advantage of the exactitude of lithography to expand the representation of stillness in an image of a perfect domestic environment. <br /> <br /> Multiples in the exhibition include <strong>Mona Hatoum’s</strong> uncanny object <em>T42, </em>1993-1998 a seemingly fused pair of cups and saucers executed in stoneware; a perfume set and boxed explication commemorating <strong>Paul Etienne Lincoln’s</strong> installation <em>In Tribute to Madame de Pompadour and the Court of Louis XV</em>, 1982-1991; and <strong>Diango Hernández's</strong> cast bronze and fabric <em>Lamp-He</em>, 2010.</p> <p> </p> Sun, 25 Nov 2012 00:38:13 +0000 William Kentridge - David Krut Projects - October 30th, 2012 - January 19th, 2013 <p class="firstParagraph">David Krut Projects, New York, is pleased to present an exhibition of William Kentridge's recent series of linocuts, <em>Universal Archive</em>. These linocuts began as a series of small ink drawings on pages of old dictionaries, made using both old and new paintbrushes. They were created in a state described by Kentridge as “productive procrastination,” during the period when he was writing the text that would become the Norton Lectures, delivered at Harvard University in early 2012. The images are made up of both solid and very fine lines, with an unconstrained virtuosity of mark-making. The ink drawings were initially attached to linoleum plates and painstakingly carved by the DKW printmakers and the artist’s studio assistants. As the project expanded, the images were photo-transferred to linoleum plates in order to preserve the original drawings. The images have been printed onto pages from various books, including early copies of the Shorter Oxford English Dictionary and Encyclopaedia Britannica.</p> <p>As a result of the meticulous mechanical translation of a gestural mark, the linocuts push the boundaries of the characteristics traditionally achieved by the medium. The identical replication of the artist’s free brush mark in the medium of linocut makes for unexpected nuance in mark, in contrast with the heavier mark usually associated with this printing method. Furthermore, the paper of the nonarchival old book pages resists the ink, which creates an appealing glossy glow on the surface of the paper.</p> <p>Many of the images are recurring themes in Kentridge’s art and stage productions: cats, trees, coffee pots, nude figures. While some images are obvious, others dissolve into abstracted forms suggestive of Japanese Ukiyo-e painting. The parallel and displaced relationships that emerge between the image and the text on the pages relate to Kentridge’s inherent mistrust of certainty in creative processes. This becomes part of a project of unraveling master texts, here questioning ideas of knowledge production and the construction of meaning. Aside from the numerous individual images created, there are prints assembled from pieces: cats torn from four sheets, a large tree created from 15 sheets. Groups of prints featuring combinations of individual images – twelve coffee pots, six birds and nine trees – show the artist’s progressive deconstruction of figurative images into abstract collections of lines, which nonetheless remain suggestive of the original form. This movement from figuration to abstraction and back, along with the works’ close relationship to Kentridge’s stage productions, suggests that this body of work holds an intriguing place in Kentridge’s oeuvre on the edge of animation and printmaking.</p> Wed, 26 Dec 2012 02:14:06 +0000 David Humphrey - Fredericks & Freiser - November 8th, 2012 - January 19th, 2013 <blockquote> <p style="text-align: justify;"><span style="font-size: small;">“The artist’s impulse control is almost nonexistent. He wants to grab everything and lick it, eat your lunch, breathe into your phone. Leave his germs everywhere and laugh too loudly. Hurt people with mean comments. Then nuzzle up to them and ask for love. He is so complicated. But so honest.” </span><br /><span style="font-size: small;">      -Jennifer Coates, <i>Thanks for Letting Me Look </i></span></p> </blockquote> <p style="text-align: justify;"><br /><span style="font-size: small;"> <b>Fredericks &amp; Freiser</b> is pleased to present an exhibition of new work by <b>David Humphrey</b>. He paints imagined worlds where the boundaries between psychological interior, physical urges, and familiar settings fall away. <b>Humphrey’s</b> source images are often derived from the public realm, which he mutates, hybridizes and reframes into jarring and comic situations. Images posted on Facebook fold into classic mythology, advertising, art history and commercial entertainment to tell stories about the way individuals are woven into their world.</span><br /><br /><span style="font-size: small;"> <b>Humphrey</b> combines a variety of painting vernaculars; abstraction, figuration, gestural expressionism and technological imaging comingle with automatist spills and drips. These operations are understood as modes of behavior that act as secondary characters in <b>Humphrey’s</b> twisted pictorial plots. To quote the artist, “(the work) engages innovation and tradition for their unstable capacities to purvey vitality, to create force-fields of memory and feeling in which thought-rhythms and narrative can describe what it feels like to be a person today.” </span><br /><br /><span style="font-size: small;"> <b>About the Artist<br /> David Humphrey (b 1955)</b> lives and works in New York. He has had solo exhibitions at the McKee Gallery, New York, Sikkema Jenkins, New York, Fredric Snitzer Gallery, Miami, and the Contemporary Art Center, Cincinnati. His work is in many public collections including the Walker Art Center, Minneapolis, The Metropolitan Museum of Art, New York, and The Carnegie Museum of Art, Pittsburgh. He is a senior critic at the Yale School of Art and an anthology of his art writing, entitled Blind Handshake, was published in 2010. This is his first solo exhibition at Fredericks &amp; Freiser.</span></p> Tue, 11 Dec 2012 00:36:28 +0000 Henry Moore - Gagosian Gallery- 21st St. - November 20th, 2012 - January 19th, 2013 <p style="text-align: justify;"><em>Everything I do, I intend to make on a large scale... Size itself has its own impact, and physically we can relate more strongly to a big sculpture than to a small one.</em><br /> —Henry Moore</p> <p style="text-align: justify;">Gagosian Gallery, in collaboration with The Henry Moore Foundation, is pleased to present a major exhibition of large-scale sculptures by Henry Moore, which opened at Larry Gagosian’s Britannia Street location in London earlier this year.</p> <p style="text-align: justify;">A pioneer of modern British sculpture, Moore engaged the abstract, the surreal, the primitive and the classical in vigorous corporeal forms that are as accessible and familiar as they are avant-garde. His monumental sculptures celebrated the power of organic forms at a time when traditional representation was largely eschewed by the vanguard art establishment. The overwhelming physicality of their scale and forceful presence promotes a charged relation between sculpture, site and viewer. <em>Reclining Figure: Hand</em> (1979) is immediately identifiable as a human form despite its modulated stylization. The rounded, cloud-like body, which contrasts with a “knife-edge” head derived from bird bone, attests to Moore’s more exploratory impulses when compared to <em>Reclining Connected Forms</em> (1969), where he alludes to body parts using the vocabulary of mechanical components. <em>Large Two Forms</em> (1966) takes its shape from flints, whereas <em>Large Spindle Piece</em> (1974) reveals an interest in both natural and man-made objects.</p> <p style="text-align: justify;">It was Moore’s intention that these large-scale works be interacted with, viewed close-up, and even touched. Given their heft and mass, they are most commonly sited outdoors, subject to the effects of changing light, weather, and landscape. But seen within the pristine white environment of the gallery, the contrasting shapes, patinas and sheer scale of the sculptures are more keenly felt. Brimming with latent energy, their richly textured surfaces and sensual, rippling arcs and concavities can be seen to new effect.<br /> <br /> This exhibition also includes a number of maquettes and found objects from Moore’s studio in rural Hertfordshire, which he called his “library of natural forms.” Crafted from plaster and Plasticine, these small-scale models were a vital step in realizing great sculptural schema. Fragments of bone, flint, and shell provided Moore with aesthetic inspiration: the curve and texture of animal bone was cast as the neck and head of <em>Maquette for Seated Woman: Thin Neck</em> (1960), and a piece of flint from the local sheep fields was used to create the open and pointed forms of <em>Maquette for Spindle Piece</em> (1968).</p> <p style="text-align: justify;">A fully illustrated catalogue accompanies the exhibition, with essays by Anita Feldman, the exhibition’s curator and Head of Collections and Exhibitions at The Henry Moore Foundation; and art historian Anne Wagner, former Moore Research Curator at Tate.</p> <p style="text-align: justify;"><strong>Henry Moore</strong> was born in Yorkshire, England in 1898 and died in Hertfordshire, England in 1986.  His first solo exhibition was held in London in 1928; by the late 1940s he had become one of Britain’s most celebrated artists with a diverse artistic output that encompassed drawings, graphics, textiles, and sculpture. In the following decades he continued to receive increasingly significant sculpture commissions, following a major retrospective at the Museum of Modern Art in New York in 1946 and after winning the International Sculpture Prize at the Venice Biennale in 1948.  His heightened success and fame provided him with the means to work increasingly in bronze rather than direct carving, thus achieving the monumental scale and freedom of form invention that he had always desired for his work. His public commissions occupy university campuses, pastoral expanses, and major urban centers in 38 countries around the world. His sculpture and drawings have been the subject of many museum exhibitions and retrospectives, including the Tate Gallery, London (1951, 1968); Whitechapel Gallery, London (1957); Tate Gallery, London (1968); Forte di Belvedere, Florence (1972); Tate Gallery and the Serpentine Gallery, London for the occasion of Moore’s eightieth birthday (1978); Metropolitan Museum of Art, New York (1983); Yorkshire Sculpture Park, Wakefield (1987); Royal Academy of Arts (1988); Shanghai Art Museum (2001); National Gallery of Art, Washington D.C. (2001); Caixa Forum, Barcelona, (2006); Kunsthal, Rotterdam (2006), Didrichsen Museum, Helsinki (2008); Royal Botanical Gardens, Kew (2007); Tate Britain (2010); and the Kremlin Museums, Moscow (2012).</p> <p style="text-align: justify;">The Henry Moore Foundation was founded by Moore in 1977 to increase public enjoyment of the arts, especially sculpture. Today it opens his restored Hertfordshire home, studios, and sculpture grounds to the public, tours the world's largest collection of his work, and maintains a center for the study of sculpture at the Henry Moore Institute in Leeds. The Foundation also supports sculpture through an active grants program. In 2012, ‘Henry Moore Friends’ was launched to help promote his legacy.</p> Wed, 26 Dec 2012 00:28:08 +0000 Philip Koch - George Billis Gallery- NY - December 11th, 2012 - January 19th, 2013 <p>Think of a time when just for a moment you were completely happy. When the pieces of your life fit together and made a wonderful sense.<br /> Such intense emotions always have a setting. A painting can hold that place and recall for us for those feelings. I am painting places where I have experienced intense happiness.<br /> <br /> My paintings are a contemporary re-imagining of the romantic panoramas of the 19th century American painters of the Hudson River School. These early painters found the New England mountains and coast a springboard to forge a powerful art. The land they painted seemed to them a new <br /> <br /> In our time with its ecological degradation, the symbolic value of this Eden seems at once more remote and yet more urgently needed. Wilderness and the meeting of the land and the seas are among the most deeply buried chapters of our common origins. They are portraits of an all but forgotten part of ourselves. These paintings are a tool, a bit of practical magic to help the us reconnect with our natures and our deeper resources.</p> <p></p> <p>Vgorously painting and intensely hued, Philip Koch's paintings cast a contemporary look at the natural world. A former abstract painter, Koch wahs inspired by 19th century American landscape painting and by the work of Edwad Hopper to turn to working in a realist direction. In addition to his landscapes, the exhibit will include a group of paintings of the interior of Edward Hopper's Cape Cod studio made by Koch during his 14 residencies in the studio.</p> Tue, 27 Nov 2012 16:13:53 +0000 Huang Yong Ping - Gladstone Gallery - 21st St. - November 13th, 2012 - January 19th, 2013 <p class="bodyText">Gladstone Gallery is pleased to present an exhibition of new work by Huang Yong Ping. A founding member of the Xiamen Dada group in China during the mid-1980s – a movement that espoused the idea that “a new life calls for a new art, a new life has no need of art” – Huang Yong Ping strives to create a new mode of connecting art, politics, and cultural awareness, using art to instigate reform. Drawing on formal and conceptual practices from both Eastern and Western art historical traditions, Huang Yong Ping probes issues of national identity, politics, and social phenomenon to create works that call cultural stereotypes and philosophical narratives into question.</p> <p class="bodyText">For this exhibition Huang Yong Ping uses taxidermied animals, a material present in his earlier work, to create three installations that explore notions of time, chaos, and the relationship between religion and power. The main gallery space features “Circus,” a monumental installation composed of a massive wooden hand hovering over a bamboo enclosure, orchestrating a puppet show before fifteen headless animals. The animals gaze upwards at a robed monkey skeleton, inspired by the character Sun WuKong from the classic Chinese novel “Journey to the West,” who holds in his hand a smaller puppet. The confrontation between an absent mechanical god and his captive audience begs the question of who or what is in control, and invites the viewer to reassess his understanding of relationships – both to others and to the world he inhabits. With his presentation of “Circus” and the two other works on view, Huang Yong Ping meditates on an apocalyptic vision of the world’s end. Lingering in the abstract space where it is possible for time to end and man to cease to exist, the artist creates a theatrical vision of our own destruction, asking what it means to bear witness to the tragedy of humanity’s evolution and ruin.</p> <p class="bodyText">Born in 1954, Huang Yong Ping participated in the seminal exhibition “Magiciens de la Terre” at Centre Georges Pompidou, Paris in 1989, and represented France at the 1999 Venice Biennale. In 2006, the Walker Art Center in Minneapolis organized and premiered his retrospective “House of Oracles,” which traveled to Mass MoCA in North Adams, Massachusetts, Vancouver Art Gallery, and Ullens Center, Beijing. Other solo exhibitions include: CCA Kitakyushu, Japan; De Appel, Amsterdam; Fondation Cartier pour l’Art Contemporain, Paris; Atelier d’Artistes de la Ville de Marseille; Astrup Fearnley Museum, Oslo; Barbican Art Gallery, London; and New Museum of Contemporary Art, New York.</p> Sun, 16 Dec 2012 20:48:51 +0000 Carroll Dunham - Gladstone Gallery - 24 St. - November 29th, 2012 - January 19th, 2013 <p class="bodyText">Gladstone Gallery is pleased to announce an exhibition of new paintings by Carroll Dunham. Featuring nine works that draw on the motifs of nude bathers and pastoral landscapes familiar from Dunham’s earlier paintings, the exhibition will highlight the artist’s continuing interest in these themes. Expanding upon the visual language that characterized his previous works, Dunham demonstrates a shift in his formal decision making, adhering less strictly to the subject’s formal vocabulary and iconography, and instead allowing each work to evolve as a singular painting rather than as a work in a series.</p> <p class="bodyText">For the works included in this exhibition, Dunham replaces the rosy female figure present in his earlier series with a stark, white, nude. Depicting the classic art-historical motif of the bather made famous by artists from Cézanne to Bonnard, Dunham inverts the familiar scene of the demure woman, replacing her with a vibrant and animated figure caught in bold poses – arms extended, hair splayed across her face. Pushing color, form, and line to create collision-like interactions between compositional elements of the painting, Dunham creates a compact tension between the interlocking forms to explore the relationship between subject and landscape, foreground and background.</p> <p class="bodyText">First recognized for his wood veneer paintings in the 1980s, Dunham has gone on to explore the pictorial possibilities of painting and drawing, subverting the boundaries between representational imagery and abstraction. Populating his work variously with abstract appendages, bold lines, and human-like characters, Dunham has coaxed new forms out of familiar objects.</p> <p class="bodyText">Carroll Dunham was born in 1949 and currently lives and works in New York and Connecticut. He has been the subject of numerous one-person exhibitions, including a mid-career retrospective at the New Museum in New York and an exhibition of paintings and sculptures at Millesgården in Stockholm. His work has been included in several Whitney Biennials and in “Disparaties and Deformations: Our Grotesque,” SITE Santa Fe’s fifth biennial curated by Robert Storr.</p> Wed, 21 Nov 2012 22:00:52 +0000 El Anatsui - Jack Shainman Gallery 20th Street - December 14th, 2012 - January 19th, 2013 <p><strong>Jack Shainman Gallery </strong>is pleased to announce<em> Pot of Wisdom</em>, <strong>El Anatsui’s</strong> third solo exhibition with the gallery. Continuing with his use of found metals and copper wire, this body of work explores new formal approaches to color, composition and line.</p> <p>The works in this exhibition are fresh and unexpected while remaining true to the practice Anatsui has mastered over decades, creating sculpture that defies categorization. In doing so, Anatsui has created a lexicon all his own. Every unit becomes a morpheme, folded, shaped and joined together within Anatsui’s visual dialogue with art history, tradition and the future of sculpture.</p> <p>Relying on expansion and contraction, each piece reveals a tension that has become emblematic of Anatsui’s oeuvre. At first glance <em>Basin</em>, 2012, resembles a cast net, loose and airy. This impression quickly evaporates, leaving a weighty tension captured within the twists of copper wire and the creases in metal, which is primarily sourced from recycled liquor bottles. The duality of the micro and the macro, the maximal and the minimal, is a conceptual approach embedded in Anatsui’s practice. <em>They Finally Broke the Pot of Wisdom</em>, 2011, is a grandiose movement. The fluidity of form is consistently mitigated by fierce abstraction and caustic critiques with ecological and humanist concerns. <em>Uwa</em>, 2012, is rolled and wrapped, a spherical articulation that is either unraveling with a long trail of lacy detritus or frozen in the mid-course of creation.</p> <p>Each of the works functions as a solitary plane mapped with lines and borders that sometimes cut through with sharp determination and other times dance along the perimeter. The wall-bounded surface is pushed and draped, changing every time the work is installed, which Anatsui encourages. He audaciously trusts chance, allowing the work to exist on its own terms and to continue to morph into the unexpected. Ultimately, Anatsui’s work combines narrative, concept and physicality into infinite arrangements, like a melody that never plays the same twice.</p> <p>Anatsui's <em>Broken Bridge II</em>, his largest outdoor installation to date, commissioned by High Line Art and presented by Friends of the High Line, is currently on view on a wall next to the High Line, between West 21st and West 22nd Streets, and will be visible from the park and the street below it. The installation will remain on view for one year.</p> <p>El Anatsui was born in Ghana and currently lives and works between Ghana and Nigeria. Upcoming solo exhibitions include <em>Gravity and Grace: Monumental Works by El Anatsui</em>, at the Brooklyn Museum, New York, February 8 – August 4, 2013. This exhibition was organized and previously on view at the Akron Art Museum, Akron, Ohio, and will travel to the Bass Museum of Art in Miami, Florida, and the Des Moines Art Center in Iowa. Anatsui’s touring exhibition <em>El Anatsui: When I Last Wrote To You About Africa</em>, organized by the Museum of African Art, is currently on view at the Denver Art Museum in Colorado through January 6 and will travel next to the University of Michigan Museum of Art, opening February 2.</p> <p>Anatsui is included in numerous private and public collections including the Metropolitan Museum of Art, New York; the Museum of Modern Art, New York; Centre Pompidou, Paris, France; Los Angeles County Museum of Art, California; the Bill and Melinda Gates Foundation, Washington; the Akron Art Museum, Ohio; St. Louis Art Museum, Missouri; Museum Kunstpalast, Dusseldorf; the Setagaya Museum, Tokyo, and the British Museum, London, England.</p> <p><strong>Please note: The gallery will be closed Sunday, December 23, 2012 - Tuesday, January 1, 2013</strong></p> Sun, 23 Dec 2012 00:55:26 +0000 Dave Kinsey - Joshua Liner Gallery - December 13th, 2012 - January 19th, 2013 <p>Joshua Liner Gallery is pleased to present <em>Everything at Once</em>, an exhibition of over thirty intense, high-energy paintings and works on paper by Los Angeles-based artist Dave Kinsey. This is Kinsey’s second solo exhibition with the gallery.</p> <p>As the show title suggests, Kinsey attempts to convey a world gone mad with media, perpetual conflict, and a sense of the mounting struggle between the urban and natural worlds. Kinsey creates this new body of work through a brash synthesis of materials, textures, and aesthetics, conjuring multilayered abstractions with traces of figuration which create dynamic transformations of images within images.</p> <p><em>Akhal-Teke (War Horse)</em>, a large mixed-media work on canvas layers fragments of a galloping horse interposed with hard-edged bands of bright color and pooled washes of darker hues, evocative of deep internal conflict. <em>Congotropolis</em> layers transparent outlines of human and primate skulls with the profile of a classical figure head, playing up the similarity and contrast of competing species, surrounded by a frenetic atmosphere of high-contrast color. In <em>Metropolis</em>, Kinsey strips away all figurative elements and introduces an exclusively abstract approach to his work—a graphic composition of intersecting planes, blasts of color, and bursts of geometric line. In addition to these and other paintings, smaller collage works will be on view as well as a study of hands interpreted from classical images in ink and acrylic on paper.</p> <p>Through his work, Kinsey explores themes of data domination and distortion, political upheaval, and the search for genuine identity in an age of virtual (or illusory) reality. According to the artist, “Collectively, the developed world is swimming in modern media; we’re learning to navigate this landscape every day while becoming unwittingly addicted, for better or worse. And that’s simultaneously exhilarating and a little scary. Throw in climate change and you’ve got a scenario worthy of our attention.”</p> <p>For more information, please visit</p> Tue, 01 Jan 2013 00:57:15 +0000 Glenn Ligon - Luhring Augustine - Chelsea - October 26th, 2012 - January 19th, 2013 <p><br /> Luhring Augustine is pleased to announce <i>Neon</i>, Glenn Ligon’s first solo exhibition with the gallery. Throughout his career, Ligon has pursued an incisive exploration of American history, literature, and society across a body of work that builds critically on the legacies of modern painting and recent conceptual art. He is best known for his landmark series of text-based paintings, made since the 1980s, which draw on the writings and speech of diverse figures including Jean Genet, Zora Neale Hurston, Mary Shelley, and Richard Pryor. Since 2005 Ligon has made neons that push his practice into new, unexpected territories while remaining in dialogue with his text paintings. This is the first exhibition that brings together a significant number of these neon works, many of which have never before been exhibited in New York.<br /> <br /> <i>Warm Broad Glow</i> (2005), Ligon’s first exploration in neon, uses a fragment of text from <i>Three Lives</i>, the 1909 novel by American author Gertrude Stein. Ligon rendered the words “negro sunshine” in warm white neon, the letters of which were then painted black on the front. The resulting “black light” emitting from the piece plays with the notions of light and shadow, defamiliarizing the usual appearance of neon while highlighting the social and political complexities of the phrase. <br /> <br /> Two works in the exhibition are derived from neon sculptures by Bruce Nauman. <i>One Live and Die</i> (2006) stems from Nauman’s <i>100 Live and Die</i> (1984). Ligon has taken one pair of phrases from the Nauman piece and faithfully reproduced it in cobalt blue neon painted black. <i>Impediment</i> (2006) is another work inspired by Nauman, in this case the piece <i>My Name as Though It Were Written on the Surface of the Moon</i> (1968). Simultaneously a pun referring to being “called names” and a visual representation of slurred speech, <i>Impediment</i> presents a nuanced investigation of the multivalent nature of language and its more virulent uses. <br /> <br /> <i>Double America</i> (2012), a new work created for the exhibition, continues a series of works that employ the word “America". This latest iteration seems at first glance to feature a mirror image of the word, but on closer inspection it becomes apparent that the pieces are imperfectly conjoined. This simple repositioning continues the strategy of reusing, recycling, and recontextualizing language that has long been a touchstone of Ligon’s practice. <br /> <br /> Glenn Ligon lives and works in New York. He received a Bachelor of Arts from Wesleyan University in 1982, and attended the Whitney Museum Independent Study Program in 1985. A mid-career retrospective of Ligon's work, titled <i>Glenn Ligon: AMERICA</i>, opened at the Whitney Museum of American Art, New York in March 2011, and traveled to the Los Angeles County Museum of Art and the Modern Art Museum of Fort Worth. Ligon has also had solo museum exhibitions at the Power Plant, Toronto (2005), the Studio Museum in Harlem (2001), the Kunstverein Munich (2001), the Walker Art Center, Minneapolis (2000), the Institute of Contemporary Art, Philadelphia (1998), the San Francisco Museum of Modern Art (1996), the Brooklyn Museum of Art (1996), and the Hirshhorn Museum and Sculpture Garden, Washington D.C. (1993).</p> <p><strong>Please Note: Our Chelsea exhibition space will be closed Sunday, December 23, 2012 - Tuesday, January 1, 2013.</strong></p> Sun, 23 Dec 2012 01:34:44 +0000 Charles Ray - Matthew Marks Gallery - 522 W. 22nd St. - November 10th, 2012 - January 19th, 2013 <p>Matthew Marks is pleased to announce an exhibition of three new sculptures by <b>Charles Ray</b> in his gallery at 522 West 22nd Street. <br /> <br /> <i>Sleeping Woman</i> depicts a woman sleeping on a bench. <i>Young Man</i> is a sculpture of a standing naked man. <i>Shoe Tie</i> is a naked self-portrait, in which the artist depicts himself crouching on the ground tying an unseen shoe. Each of the sculptures is made from machined solid stainless steel. They weigh approximately 6,000 lbs, 1,500 lbs, and 1,400 lbs, respectively. <br /> <br /> Charles Ray (born 1953) lives and works in Los Angeles. Over the past thirty years he has produced a precise and widely admired body of work in a variety of media using both abstract and figurative forms. He had his first one-person museum exhibition in 1989. Since that time, his work has been shown at museums around the world and has been included in two Venice Biennales (1993, 2003), Documenta IX (1992), and five Whitney Biennials (1989, 1993, 1995, 1997, 2010). A retrospective of his work was organized by the Museum of Contemporary Art, Los Angeles in 1998 and traveled to the Whitney Museum of American Art, New York, and the Museum of Contemporary Art, Chicago.</p> Tue, 15 Jan 2013 01:39:25 +0000 Gary Simmons - Metro Pictures - November 29th, 2012 - January 19th, 2013 <p>Metro Pictures presents a survey of Gary Simmons’s career that brings together a range of works produced over the last 20 years. The exhibition includes Simmons’s first chalk drawings on blackboards done in the artist’s “erasure” technique along with sculptures, paintings, photographs and a 1992 wall drawing not seen since it's first presentation at the Drawing Center. From the row of shoeshine stands in <i>Fuck Hollywood</i>(1991) that are draped with towels embroidered with images of Elvis or the crows from Disney’s cartoon “Dumbo,” to his most recent multi-panel plywood sculpture mounted with drawings of 1930s posters for the historic boxing matches between Joe Louis and Max Schmeling, Simmons has thoughtfully mined the signs and symbols of race and class in American culture.</p> <p>In her essay for Simmons’s new monograph <i>Gary Simmons: Paradise</i>, Gwen Allen writes:</p> <p><i>“Far from suggesting that we are beyond race, [Simmons] insists on [race’s] unresolved nature, encouraging us to think critically and expansively about the way race informs both our current reality and the state that we are striving toward. […] Simmons does not ignore the deeply troubling past of race; as his erasure drawings so insistently demonstrate, history is not a blank slate. Yet while he acknowledges history’s weight upon the present, he renders its meaning and possibilities unpredictable and open-ended, ready to be seized upon, reimagined, reinvented.”</i></p> <p>This exhibition coincides with Damiani's publication of <i>Paradise</i>, which is the first overview of Simmons’s career. It includes an interview by Okwui Enwezor, texts by Gwen Allen and Charles Wylie and a reprint of an essay by Nancy Princenthal.</p> <p>Simmons is the subject of the inaugural Director’s Council Focus exhibition at the Museum of Modern Art of Fort Worth, Texas (opens January 13, 2013) and will contribute a commissioned public work for the 2012 edition of Art Basel Miami Beach in December. He has had one-person exhibitions at the Bohen Foundation, New York; Museum of Contemporary Art, Chicago; Studio Museum in Harlem, New York; Saint Louis Art Museum; Kunsthaus Zürich; Lannan Foundation, Los Angeles and the Hirshhorn Museum, Washington DC. His work has been included in shows at the Museum of Modern Art, New York; Whitney Museum, New York; Menil Collection, Houston; San Francisco Museum of Modern Art; Walker Art Center, Minneapolis and the Stedelijk Museum, Amsterdam.</p> Fri, 30 Nov 2012 01:18:09 +0000 John Lee - Michael Mut Project Space - December 19th, 2012 - January 19th, 2013 <p><b>I Refuse: The Art of Breaking</b></p> <p>December 19 – January 19</p> <p><b>Public Reception: Saturday Dec. 29, 7-9 pm</b></p> <p>Contact: Michael Mut 917/691-8390 <a href="" rel="nofollow"></a>Hours: Wed–Fri</p> <p>2–6PM, Sat noon–6PM</p> <p>Location: 97 Ave C between 6th and 7th Sts, East Village/L.E.S.</p> <p>Transportation: F,V to Second Ave; L to First Ave; 6 to Astor Place; M9 Bus</p> <p><b>Artwork by John Lee</b></p> <p><b> </b></p> <p><b>C</b><b>urated by Jessica Lanay Moore</b></p> <p>The artwork of John Lee is produced via the practicum of violence, aggression and movement. Lee’s body acts simultaneously as a paint brush, calligraphy brush, and lethal weapon. From mono-chrome canvases which crystallize the impact of shattered glass vessels blown and then filled with paint to mass surfaces which capture a calligraphic chart of John Lee’s break dancing movement, the singular goal of this performative process is to refuse the Western Tradition of canonic painting and to refuse to oppress inner violence.</p> <p></p> <p>As a martial artist and break dancer, Lee utilizes the art of breaking as a dance form and the art of breaking objects to create physical manifestations of abstract ideas surrounding the rules of identity and art. Lee uses martial arts to break glass containers with nun chucks and fighting sticks – propelling the shattered bits and pieces onto traditional canvases, creating an imprint of his aggressive inner emotions. Additional to his practice, is the practice of strapping containers of paint to his wrists and ankles while performing break dancing, creating a map of physical calligraphy.</p> <p></p> <p>Documented by its indelible place on the canvas and documented through videography, John Lee’s works are a series of moments of honesty locked in time on canvas and paper.</p> <p></p> <p><strong>Michael Mut Gallery</strong> is pleased to present John Lee in his first solo show, curated by Jessica Lanay Moore, <i>I Refuse: The Art of Breaking</i>.</p> <p></p> <p><b>Exhibition Event Schedule</b></p> <p><strong>December 29</strong> – Exhibition Opening Reception | 7pm – 9pm</p> <p><strong>January 1</strong> – John Lee Performance @ Michael Mut Gallery | 7pm – 8:30pm</p> <p><strong>January 15</strong> - John Lee Performance @ Michael Mut Gallery | 7pm – 8:30pm</p> Tue, 06 Nov 2012 18:49:25 +0000 Ferhat Özgür - MoMA PS1 - October 25th, 2012 - January 19th, 2013 <p>Ferhat Özgür‘s (Turkish, b. 1965) practice critiques contemporary political realities with humor and irony. Living and working in Istanbul, Özgür principally focuses upon the relationship of the individual with society, using his work as a space within which individuality can be expressed in spite of the context of oppressive environments.</p> <p>Özgür‘s video <i>I Can Sing</i> (2008), depicts an Anatolian woman in a headscarf, standing before a backdrop of contemporary Ankara featuring minarets alongside the ever-expanding sprawl of urban development. The woman’s lips move in conflict with the soundtrack of Jeff Buckley’s cover version of Leonard Cohen’s classic song “Hallelujah”. Her personal lament becomes a lament for the disappearance of cultural traditions and identities in the wake of western homogenization. She appears to both praise and despair, but the lines between Islam and Christianity, Western influence and Turkish tradition are blurred--suggesting that change is being both embraced and shunned. She is an embodiment of societal upheaval and change. Even the major key of the Western popular song is an indicator of uprooting as it obliterates the minor tones characteristic of Turkish music.</p> Mon, 07 Jan 2013 01:36:35 +0000 Rosemarie Trockel, Davina Semo, Denise Kupferschmidt, Imi Knoebel, Sheree Hovsepian, Carroll Dunham, Sean Bluechel - Nicole Klagsbrun - November 29th, 2012 - January 19th, 2013 <p style="text-align: justify;"><span style="font-size: small;">SEAN BLUECHEL</span><br /><em><span style="font-size: small;">Born 1969; Lives and works in New York</span></em><br /><span style="font-size: small;">In painting, drawing and sculpture, Bluechel uses a seemingly childlike irreverence to challenge boundaries and incite absurdity.</span></p> <p style="text-align: justify;"><br /><span style="font-size: small;">CARROLL DUNHAM</span><br /><em><span style="font-size: small;">Born 1949; Lives and works in New York</span></em><br /><span style="font-size: small;">Human forms and familiar shapes materialize through an abstract com- position of undulating line in Dunham’s drawing from the 1980s.</span></p> <p style="text-align: justify;"><br /><span style="font-size: small;">SHEREE HOVSEPIAN</span><br /><em><span style="font-size: small;">Born 1974; Lives and works in New York</span></em><br /><span style="font-size: small;">Hovsepian describes her photographs as a “record of marks,” an inves- tigation of the limitations and materiality intrinsic to the photographic process.</span></p> <p style="text-align: justify;"><br /><span style="font-size: small;">IMI KNOEBEL</span><br /><em><span style="font-size: small;">Born in 1940; Lives and works in Düsseldorf</span></em><br /><span style="font-size: small;">Well known for his minimalist paintings and sculpture, Knoebel exam- ines the relationship between color and the space it inhabits. In his mess- erschnitte collages from the 1970s, paper pulsates as it floats statically on a white background.</span></p> <p style="text-align: justify;"><br /><span style="font-size: small;">DENISE KUPFERSCHMIDT</span><br /><em><span style="font-size: small;">Born 1979; Lives and works in New York</span></em><br /><span style="font-size: small;">Using graphic symbols and bold gestures, Kupferschmidt constructs an artistic vocabulary that is striking in its simplicity.</span></p> <p style="text-align: justify;"><br /><span style="font-size: small;">DAVINA SEMO</span><br /><em><span style="font-size: small;">Born 1981; Lives and works in New York</span></em><br /><span style="font-size: small;">The industrial material in Semo’s work channels the violence inherint in structures of power while leading the viewer to question contemporary culture’s relationship to the material itself.</span></p> <p style="text-align: justify;"><br /><span style="font-size: small;">ROSEMARIE TROCKEL</span><br /><em><span style="font-size: small;">Born 1952; Lives and works in Cologne</span></em><br /><span style="font-size: small;">Throughout her career, Trockel has tested traditional ideologies within an art historical context with her machine-generated ‘knitted paintings’.</span><br /><br /></p> Fri, 11 Jan 2013 02:42:18 +0000