ArtSlant - Recently added en-us 40 Cheng Ran - New Museum - October 19th - January 15th, 2017 <div id="about" class="anchors"> <div class="section"> <div class="inner clearfix"> <div class="content"> <div class="body body--truncated body--expanded"> <p style="text-align: justify;">For his first solo museum exhibition in the United States, Cheng Ran debuts a new multi-video installation in the New Museum&rsquo;s Lobby Gallery.</p> <p style="text-align: justify;">Cheng Ran (b. 1981, Inner Mongolia, China) is one of the most promising Chinese artists of his generation. Since 2005, Cheng has been producing film and video works that draw widely from both Western and Chinese literature, poetry, cinema, and visual culture, fabricating new narratives that combine myths and historical events. &ldquo;Cheng Ran: Diary of a Madman&rdquo; marks the culmination of his three-month residency at the New Museum, initiated in partnership with K11 Art Foundation.</p> <p style="text-align: justify;">The exhibition borrows its title from what is widely considered China&rsquo;s first modern short story, written by Lu Xun in 1918. Just as Lu Xun&rsquo;s story comprises first-person narratives of a character at the margins of society who gradually turns mad, Cheng&rsquo;s fifteen new videos take the form of diaristic vignettes that reveal a larger assessment of a foreign place through the eyes of an outsider. As a first-time visitor to the United States, Cheng approaches New York already familiar with iconic and cinematic images of the city, simultaneously intending to find and capture what is typically excluded from such views.</p> <p style="text-align: justify;">Cheng&rsquo;s earliest works, shot entirely in the confines of his apartment, attempted to make compelling the ordinary and unspectacular aspects of his immediate environment. Inspired by filmmakers such as Werner Herzog, Jim Jarmusch, and B&eacute;la Tarr, Cheng&rsquo;s subsequent films and videos often registered his curiosity as he observed the overlooked and incongruous aspects of everyday life and chronicled his interactions with remote and historic sites. His new multi-video work,&nbsp;<em>Diary of a Madman</em>&nbsp;(2016), includes imagery from his early morning explorations of New York City streets, a trip to the Staten Island Bay, and a visit to an abandoned psychiatric hospital on Long Island, exposing his sense of estrangement amid his encounters with uncelebrated and obscure facets of the city.</p> <p style="text-align: justify;">Embracing a long lineage of experimental cinema, Cheng&rsquo;s new work follows the making of his nine-hour epic&nbsp;<em>In Course of the Miraculous</em>&nbsp;(2015), which imagines the stories behind three real-life mysterious disappearances. These include British mountaineer George Mallory, who went missing while ascending Mount Everest in 1924; artist Bas Jan Ader, who vanished during his 1975 journey across the Atlantic as part of a performance titled&nbsp;<em>In Search of the Miraculous</em>; and the Chinese fishing trawler Lu Rong Yu no. 2682, which in 2011 returned to land after eight months with only one-third of its original crew still alive. With a narrative inspired by fables and mythic literature, Cheng reinterprets the title of Ader&rsquo;s final work, and in doing so, reflects on his paradoxical pursuit of the inexplicable or unimaginable parts of history.&nbsp;<em>In Course of the Miraculous</em>&nbsp;will be screened on select days in the New Museum Theater.</p> <p style="text-align: justify;">The exhibition is curated by Helga Christoffersen, Assistant Curator, and Massimiliano Gioni,&nbsp;<em>Edlis Neeson Artistic Director</em>.</p> <p style="text-align: justify;">Cheng Ran was born in 1981 in Inner Mongolia, China, and lives and works in Hangzhou, China. His work has been featured in numerous biennials and group exhibitions, including &ldquo;SALTWATER: a Theory of Thought Forms,&rdquo; the 14th Istanbul Biennial (2015); &ldquo;When I Give, I Give Myself,&rdquo; the Van Gogh Museum, Amsterdam (2015); &ldquo;Inside China &ndash; L&rsquo;Int&eacute;rieur du G&eacute;ant,&rdquo; chi K11 art museum, Shanghai (2015), K11 Art Foundation Pop-Up Space, Hong Kong (2015), and Palais de Tokyo, Paris (2014); the 8th Shenzhen Sculpture Biennial, China (2014); &ldquo;ON|OFF: China&rsquo;s Young Artists in Concept and Practice,&rdquo; Ullens Center for Contemporary Art, Beijing (2013); the 26th European Media Art Festival, Osnabr&uuml;ck, Germany (2013); and &ldquo;Video Art in China &ndash;&nbsp;MADATAC,&rdquo; Museo Nacional Centro de Arte Reina Sof&iacute;a, Madrid (2011). Cheng Ran&rsquo;s recent solo exhibitions include &ldquo;In Course of the Miraculous&rdquo; at the K11 Art Foundation, Hong Kong (2016), and &ldquo;Cinematheque: Music is On, Band is Gone&rdquo; at chi K11 art museum, Shanghai, and Galerie Urs Meile, Beijing and Lucerne, Switzerland (2015). His other solo shows have been presented at: Unlimited, Basel, Switzerland (2016); Qiao Space, Shanghai (2016); Armada, Milan (2015); and Leo Xu Projects, Shanghai (2014). Cheng Ran was nominated for the first edition of the&nbsp;OCAT&nbsp;&amp; Pierre Huber Art Prize in 2014 and the Absolut Art Award in 2013, and was named the &ldquo;Best Video Artist&rdquo; by the art magazine Radian in 2011.</p> <div id="sponsors" style="text-align: justify;">&nbsp;</div> </div> </div> </div> </div> </div> <div class="section"> <div class="inner"> <div class="content clearfix"> <div class="col-twothirds sponsors-col"> <h2 style="text-align: justify;">Sponsors</h2> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">&ldquo;Cheng Ran: Diary of a Madman&rdquo; is copresented by the New Museum and K11 Art Foundation.</p> <p><img src="" alt="" width="187" height="113" /></p> </div> </div> </div> </div> <p>&nbsp;</p> Mon, 24 Oct 2016 15:27:58 +0000 Group Show - ACA Galleries, Est 1932 - November 10th - December 22nd Sat, 22 Oct 2016 19:02:31 +0000 Matthew Brandt - Yossi Milo Gallery - November 3rd - January 21st, 2017 <p style="text-align: justify;">Yossi Milo Gallery is pleased to announce an exhibition of new work by Matthew Brandt, on view from November 3, 2016, through January 21, 2017, with a reception for the artist on Thursday, November 3 from 6:00 &ndash; 8:00pm. The artist&rsquo;s third exhibition at the gallery, <cite>River and Sky</cite>, will feature new large-scale light boxes and a suite of gelatin silver prints taken in Flint, Michigan, paired with recent works from his <cite>Night Skies</cite> series made with cocaine and black velvet.</p> <p style="text-align: justify;">In two new bodies of work <cite>Stepping Stone Falls</cite> and <cite>Bridges over Flint</cite>, Brandt pivots away from the natural world of bees, trees, lakes and reservoirs that comprised both the materials and subjects of his previous series, towards the built environments of Flint, Michigan. Having visited and worked in Flint shortly after its water crisis was uncovered, the artist was struck by the contrast of the solid, Brutalist architecture of Flint&rsquo;s dam at Stepping Stone Falls, a manufactured waterfall, with the natural flow of the river running through it. After photographing the Falls, Brandt color-separated the large-scale photographs onto three individual Duraclear sheets and placed them in a pump system with the collected Flint River water continuously flowing over each, wearing away the images and creating fluid patterns of erosion. After several weeks, the artist reassembled the cyan, magenta and yellow layers in an LED light box typically used for retail display signage or commercial advertisements. Each is a depiction of the original scene of moving water, partially created by moving water, continuing the artist&rsquo;s interest in fusing a photograph's subject with its medium.</p> <p style="text-align: justify;"><cite>River and Sky</cite> will also include <cite>Bridges over Flint</cite>, a collection of 24 gelatin silver prints depicting the city&rsquo;s multiple bridges by which the Flint River is traversed and bypassed. The 8&rdquo; x 10&rdquo; photographs are developed with the water drawn through household taps in Flint, along with lead and other contaminants that pervade the city's water supply. The unknown and varied effects of these impurities on the prints mirror the uncertainty the water represents to the residents. Depending on the length of submersion and ingredients such as Vitamin C, bleach or red wine added by Brandt to the water, the prints are graded in tone and installed in order from light to dark.</p> <p style="text-align: justify;">In contrast to the specific location of Flint, Michigan, the exhibition broadens in scope to the dimensions of the universe. In the series <cite>Night Skies</cite>, the artist compresses the expanses of cosmic space into the sphere of human activity by recreating photographs of distant galaxies with the unconventional materials of cocaine on black photographer&rsquo;s velvet. Addressing the far- reaching history of astronomic illustration, and suggestive of the perceptual distortions necessary to comprehend the vastness of the universe, <cite>Night Skies</cite> presents a material exploration of the boundaries between what is observed and what is imagined. Each circular piece is named for the astronomical body depicted according to its number in the New General Catalogue of Nebulae and Clusters of Stars (NGC), an attempt begun in the 19th-century to organize infinity and understand the unknown.</p> <p style="text-align: justify;">Work by Matthew Brandt is in the permanent collections of Metropolitan Museum of Art, New York; National Gallery of Art, Washington, DC; J. Paul Getty Museum, Los Angeles; Brooklyn Museum, New York; Art Gallery of South Wales, Sydney, Australia; Virginia Museum of Fine Arts, Richmond; Cincinnati Art Museum; Los Angeles County Museum of Art; Hammer Museum, Los Angeles; Royal Danish Library, National Museum of Photography, Copenhagen; and the Columbus Museum of Art, among others. Matthew Brandt was one of seven artists featured in the 2015 exhibition at the J. Paul Getty Museum, Los Angeles, <cite>Light, Paper, Process: Reinventing Photography</cite>. A solo exhibition of his work, <cite>Sticky/Dusty/Wet</cite>, was presented by the Columbus Museum of Art and traveled to the Virginia Museum of Contemporary Art in 2014. Brandt's first monograph, <cite>Lakes and Reservoirs</cite>, co-published by Damiani and Yossi Milo Gallery, was released in Fall 2014. Brandt was born in California in 1982, received his BFA from The Cooper Union in New York and his MFA from UCLA. He currently lives and works in Los Angeles.</p> Sat, 22 Oct 2016 15:35:17 +0000 Denzil Forrester - White Columns - November 2nd - December 17th Sat, 22 Oct 2016 15:31:10 +0000 Denzil Forrester - White Columns - November 2nd - December 17th Sat, 22 Oct 2016 15:31:05 +0000 Craig Manister - The Painting Center - November 1st - November 26th <p style="text-align: justify;">The Painting Center is pleased to show new work by <strong>Craig Manister</strong>. Manister&rsquo;s path, from his early work as an abstractionist and former student of Pat Passlof and Milton Resnick, was enhanced by extensive European travel to see many seminal paintings in person, and developed in stages toward making paintings of things in the real world. The new paintings continue to exploit issues raised while teaching a class in still life painting in order to find resolutions to the problems students were finding themselves in with their paintings. The work is perceptual in approach, hence the subtitle of the exhibition <em>Slow Looking</em>. Manister tells students that while we can see well enough to pass down the hallways without walking into the walls, that in itself does not constitute the kind of seeing necessary for painting. A successful painting is like alchemy, as it filters perceptual phenomena with classical formal qualities, art historical precedents and a truce of opposites, to find an unexpected pictorial solution of opposing forces. When a painting finds itself it&rsquo;s magical. It becomes a marriage of disparate qualities to form a unity that is beautiful but pictorially coherent.</p> <p style="text-align: justify;">Among the places Manister has shown work are the National Academy Museum, Beijing Art Institute, Mei Shu Guan Art Museum, Elizabeth Harris Gallery, New York Studio School, Staten Island Museum, Newhouse Center for Contemporary Art, Neilsen Gallery, Farleigh Dickinson University, Wagner College, Ober Gallery, and the Gallery of the College of Staten Island/CUNY. He was included in After the Fall; A Survey of Abstract Painting Since 1970, curated by Lily Wei, at the Newhouse Center for Contemporary Art in 1996. The current exhibition is the fourth time Manister has shown a body of work at The Painting Center.</p> <p style="text-align: justify;"><em>Manister was born in New York City and currently lives and maintains a studio on Staten Island. He earned a BS degree at Richmond College/CUNY and then spent two years at the New York Studio School. He completed an MFA degree later at Brooklyn College/CUNY. He teaches studio painting at the College of Staten Island/CUNY.</em></p> Sat, 22 Oct 2016 15:26:06 +0000 CAREN CANIER - The Painting Center - November 1st - November 26th <p style="text-align: justify;">The Painting Center is pleased to present <em>Town and Country: Paintings by Caren Canier</em> in the Project Room. <strong>Caren Canier&rsquo;s</strong> paintings, executed in mixed media including collaged photographs and paint, are musings about the way people inhabit the landscape, rural or urban. Social norms and relationships transcend the linear conventions of history in these paintings, confounding inhabitants from different times, places and memories. The artist borrows freely from historic and contemporary sources to orchestrate unexpected and curious meetings between past and present dwellers, whether commonplace or idealized.</p> <p style="text-align: justify;">&ldquo;West Hall&rdquo; is a reverie about the parking lot of the Arts Building at Rensselaer Polytechnic Institute, perched above the Hudson River Valley in Troy, NY, where Canier teaches. Here, Elie Nadelman&rsquo;s sculpted figures, Edweard Muybridge&rsquo;s figures in motion and a wooden Sienese saint from the Renaissance, comingle among the parked cars. The mundane, contemporary site is populated by unlikely commuters and set in the context of the majestic expanse of the Hudson River Valley beyond.</p> <p style="text-align: justify;">&ldquo;Albergo Sole&rdquo;, offers a view from a hotel window in Rome, in which a Nadelman head looks down on an urban piazza, alive with ancient Roman figures, Edweard Muybridge&rsquo;s 19th century figures in motion and Nadelman&rsquo;s sculpture of the 1920&rsquo;s. The lineage from ancient to modern Rome to the New World of Nadelman and the transience of life in the hotel are evocative of collective memories of the Grand Tour undertaken by artists, writers and intellectuals since the 17th century.</p> <p style="text-align: justify;">&ldquo;Bendic&oacute;&rsquo;s Fall&rdquo; is in homage to &ldquo;The Leopard&rdquo; by Giuseppe Tomasi di Lampedusa and Lucchino Visconti. Lampedusa wrote the novel, Visconti made the film and here, as the famous ball scene swirls around the picture plane, the actors, director, Garibaldi and his Redshirts meet for a mashup in the Sicilian landscape. Bendic&oacute;, the faithful dog, who appears in the closing paragraph of the novel, falls both physically and metaphorically. The actual making of the film becomes a part of the historic context, emphasizing the timelessness of the work of art.</p> <p style="text-align: justify;">The series &ldquo;The Nadelmans Frequent the Stettheimers&rdquo;, chronicles an imaginary visit by Nadelman figures to the renowned dollhouse of Carrie Stettheimer, constructed in the 1930&rsquo;s and now housed in the Museum of the City of New York. Collaged skyscrapers painted by Charles Sheeler surround the dollhouse and its occupants. These tableaus speak to the social norms of New York society and intelligentsia of the period.</p> <p style="text-align: justify;">Finally, the McC paintings are in homage to the landscape of rural upstate New York and it&rsquo;s citizenry through time. Here, classical figures of the ancient world that informed 19th century architecture and artifacts, mix with Shakers and soccer moms to reflect the artist&rsquo;s experience of life upstate.</p> <p style="text-align: justify;"><em>Caren Canier is a native of New York City, educated at Cornell University and Boston University. A Rome Prize Fellow and recipient of many awards, she divides her time between upstate New York, Umbria and Brooklyn. She has exhibited widely in New York, New England and Italy and has been a Professor of Painting and Drawing at Rensselaer Polytechnic Institute since 1978.</em></p> Sat, 22 Oct 2016 15:25:15 +0000 James Patrick Reid - The Painting Center - November 1st - November 26th <p style="text-align: justify;">The Painting Center is pleased to present paintings by <strong>James Patrick Reid</strong>, comprising moody romantic landscapes, portraits and histories. Apart from the portraits, which are painted from life, all the works in this show are from the artist&rsquo;s imagination and memory, nourished by long walks in woods and along rivers, and by the mind&rsquo;s journeys through history and legend. People and nature, and subjects full of action and emotion, take shape in baroque rhythms and moving chiaroscuro.</p> <p style="text-align: justify;">From the start of a painting, Reid is especially intent on achieving a quality of color which will be subtle and mysterious yet powerful. The color effect should convey the emotion of the scene first of all. Then the color relationships ought to set up a movement and establish the space within the painting. The linear aspects of the drawing fall into place amid the rhythms set up by the colors. It is of utmost importance to Mr. Reid that each painting unfolds rhythmically and organically. It must pulsate with life, its own life, not simply the mode of existence the artist willed for it but something more, something that surprises even the painter and that is all its own, never seen before.</p> <p style="text-align: justify;">Besides painting, Reid loves to teach and lecture about art, and has served on the Fine Arts faculty at the Fashion Institute of Technology in New York City, the Art Sudents League, and the New York Academy of Art. He has lectured numerous times at &nbsp;Parsons School of Design, the New York Studio School, and at art schools and universities around the country. His lecture subjects range from "Art and Metaphysics" (at Oregon State University) to "A structural Comparison of Tintoretto's Raising of &nbsp;Lazarus and Seurat's Evening, Honfleur" (at the New York Studio School).&nbsp;</p> <p style="text-align: justify;">Mr. Reid&rsquo;s work has been shown extensively in galleries, schools and museums on the East and West Coasts, and he has done many paintings and murals for churches. His studio is in Bushwick.</p> Sat, 22 Oct 2016 15:24:00 +0000 Ernesto Neto - Tanya Bonakdar Gallery - October 29th - December 16th Sat, 22 Oct 2016 15:20:44 +0000 - Studio Museum in Harlem - November 17th - March 5th, 2017 <p style="text-align: justify;">Mention the word &ldquo;cowboy,&rdquo; and the image that most often comes to mind&mdash;from American paintings, vintage films and television shows&mdash;is a lone ranger astride a noble white horse overlooking the plains of the Wild West. The exhibition <em>Black Cowboy</em> is a contribution toward overcoming the historical omission of African-American communities with long histories of keeping and training horses, and toward demonstrating that their tradition is alive and well today. Visitors to the exhibition will find cowboys in unexpected locations&mdash;riding down a busy city avenue, for example&mdash;or in complex situations, such as a rodeo held within the confines of a state prison. The images will show that African-American children and women, too, can take on the aura of this figure, who symbolizes our country&rsquo;s independence and stoic pride. <em>Black Cowboy</em> expands our idea of what constitutes an American icon and legacy, and complicates a narrative that has been tightly woven into our popular culture.</p> <p style="text-align: justify;"><em>Black Cowboy</em> is organized by Amanda Hunt, Associate Curator.</p> Sat, 22 Oct 2016 15:17:09 +0000 Pope.L - Studio Museum in Harlem - November 17th - March 5th, 2017 <p style="text-align: justify;">Since its founding in 1968, the Studio Museum has exhibited work by black artists committed to bearing witness to acts of protest. Now, in an exhibition that takes its name from one of Pope.L&rsquo;s &ldquo;Skin Set&rdquo; drawings,&nbsp;<em>Black People Are the Window and the Breaking of the Window</em>&nbsp;(2004), the Studio Museum provides a focused look at current and historical expressions of protest through works of art primarily drawn from the Museum&rsquo;s collection. <em>The Window and the Breaking of the Window</em> includes work by Devin Allen, Alice Attie, Deborah Grant, Steffani Jemison, Kerry James Marshall and more.</p> <p style="text-align: justify;"><em>The Window and the Breaking of the Window</em> is organized by Amanda Hunt, Associate Curator.</p> Sat, 22 Oct 2016 15:15:51 +0000 Theo Eshetu, Ezra Wube, Zineb Sedira - Studio Museum in Harlem - November 17th - March 5th, 2017 <p style="text-align: justify;">This new presentation in the <em>VideoStudio</em> series offers three videos that explore the formation of identity through cultural exchange. Works by Theo Eshetu, Ezra Wube and Zineb Sedira depict complex European and African interactions in the context of slavery, colonialism and contemporary immigration. In these videos, marketplaces and ports from Germany to Algeria to Ethiopia act as sites for the negotiation of value and identity.</p> <p style="text-align: justify;"><em>VideoStudio: Meeting Points</em> is organized by Hallie Ringle, Assistant Curator.</p> Sat, 22 Oct 2016 15:14:19 +0000 Group Show - Studio Museum in Harlem - November 17th - March 5th, 2017 <p style="text-align: justify;"><em>Circa 1970 </em>presents paintings, drawings, prints, photographs and sculpture from the Studio Museum&rsquo;s collection. The featured works, all made between 1970 and 1979, reflect the historical, socio-political and cultural landscapes of the decade. Recent, key gifts to the Studio Museum&rsquo;s permanent collection of artworks by McArthur Binion, Robert Blackburn and David Hammons conceptually and formally drive the exhibition&rsquo;s examination into this rich decade.</p> <p style="text-align: justify;"><em>Circa 1970</em> looks at a key moment in black culture and history and includes works by two dozen artists including Benny Andrews, Romare Bearden, Binion, Blackburn, Elizabeth Catlett-Mora, Barbara Chase-Riboud, Ed Clark, Beauford Delaney, Samuel Fosso, Sam Gilliam, Hammons, Senga Nengudi, Betye Saar, Malick Sidib&eacute; and Frank Stewart.</p> <p style="text-align: justify;"><em>Circa 1970</em> is organized by Lauren Haynes, former Associate Curator, Permanent Collection, at The Studio Museum in Harlem and now Curator, Contemporary Art, at <a href="" target="_blank">Crystal Bridges Museum of American Art</a>.</p> Sat, 22 Oct 2016 15:12:59 +0000 Jonah Freeman, Justin Lowe - Storefront for Art and Architecture - November 2nd - February 18th, 2017 <p style="text-align: justify;"><strong>Presented by Storefront for Art and Architecture and the New York Comedy Festival</strong></p> <p style="text-align: justify;">Special Preview Performances: November 2nd &ndash; 6th</p> <p style="text-align: justify;">Election Night Public Opening: November 8th, 7-9 pm</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Storefront for Art and Architecture is closing its doors for good. The real estate vultures have descended to feed on the malnourished carcass of its signature Kenmare Street space. Its replacement will most likely be a Juice Press supplement administered through fiber-optic eyeliner. The official announcement is that it will be something called <em>SAN SAN. </em>A flagship store for BAMA Cosmetic Pharmaceuticals, <em>OCTOPUS Entheobotanical Data Networks and Fata Morgana Entertainment Systems </em>brought to you in a fancy new package designed by interior starchitect Henri Erkins<em>. &ldquo;A multiplatform consumer experience where virtual and tactile interaction merge in a new marketing sphere.&rdquo;</em> A kind of combination Pizza Hut-Taco Bell-Google Daydream for the Lower Manhattan demographic. But before the polish of recycled paper, space rock and smartphone flirtation brings the point of purchase orgasms Jonah Freeman and Justin Lowe have arranged for an interim scenario.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">The over stock of <em>Jungle Video</em>, the now defunct media superstore you may remember from your drive to LAX via La Tijera Blvd., is coming to Storefront for Art and Architecture for a fire sale of such gray market classics as <em>Linguini is Not a Flower</em> and <em>Thank God For My Forties. </em>A Canal Street style kiosk of bootleg handbags and toxic perfume will stage a pop-up shop for all manner of DVD, VHS, Compact Disc, Louis Vuitton, Calvin Klein, Prada and perhaps a dime bag of heavily stepped on cocaine if you know the password. But this will only be the first stop on the path to the headlining act: a reprisal of the infamous Rat Fink Room.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">The Rat Fink Room, the first dedicated stand-up comedy club on planet earth, opened in September 1963 on 50th St. and 3rd Ave in New York City. Its proprietors Morris Levy and Jackie Kannon imagined an ad hoc gathering place where two-bit insult comics settled scores and &ldquo;working blue&rdquo; pushed the limits of good taste.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Jackie Kannon, its ringmeister, was a mobbed-up sycophant comic, who felt pressured to buy himself a nose job in the hope of breaking out of the borscht belt. He was not even dimly aware of what might be at stake in the obscenity trials of the time, around such now classic works as <em>Howl </em>and <em>Naked Lunch</em>. For him, working blue was about the money. Morris &ldquo;The Octopus&rdquo; Levy, the founder of Birdland and Roulette Records, was a mob connected music business executive who is mostly remembered as a crook who stole from recording artists, was convicted of extortion and suspected of heroin distribution. Levy used the Rat Fink Room and his other venues as a place to surreptitiously record comedy acts and release records without the comics&rsquo; permission. He gave them no portion of the proceeds and threatened bodily harm if they sued. In the spirit of this, Freeman and Lowe have converted the neighbor&rsquo;s bathroom (Staci age 12 addicted to synthetic marijuana) into a surveillance headquarters that will keep audio/video recordings of the last days of Storefront.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">The Rat Fink Room will be alive again in the twilight of Storefront for Art and Architecture through a series of nights programmed by Caroline Hirsch and the New York Comedy Festival from November 2nd to November 6th.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">It is true the New York City of the 20th century imagination is gone and never to return. But there will be a copy of <em>New Jack City</em> shot on a handycam in 1993 at Worldwide Cinemas on 50th St. and 8th Ave. available for purchase.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>ABOUT THE NEW YORK COMEDY FESTIVAL</strong></p> <p style="text-align: justify;">Now in its thirteenth year, the New York Comedy Festival is produced by Carolines on Broadway in association with Comedy Central. The festival has featured the country&rsquo;s top comedians, including Aziz Ansari, Judd Apatow, Hannibal Buress, Bill Burr, Louis C.K., Margaret Cho, Billy Crystal, Larry David, Ricky Gervais, Kathy Griffin, Kevin Hart, John Leguizamo, Norm Macdonald, Bill Maher, Tig Notaro, Nick Offerman, Amy Schumer, Sarah Silverman, and Wanda Sykes, to name a few. In 2007, the festival launched the &ldquo;Stand Up for Heroes&rdquo; event to benefit The Bob Woodruff Foundation, which has featured performances by Ricky Gervais, John Mayer, Seth Meyers, John Oliver, Conan O&rsquo;Brien, Ray Romano, Jerry Seinfeld, Bruce Springsteen, Jon Stewart, and Robin Williams, among others. &nbsp;To date, the &ldquo;Stand Up for Heroes&rdquo; events have raised over $33 million. &nbsp;For more information please visit the NYCF website, like the NYCF Facebook page, and follow the NYCF on Twitter, @NYComedyFest. &nbsp;This year the festival has a new hashtag &mdash; #MakeNYLaugh &mdash; for use in all of its social media platforms.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>ABOUT JONAH FREEMAN AND JUSTIN LOWE</strong></p> <p style="text-align: justify;">Jonah Freeman was born in 1975 in Santa Fe, NM and lives and works in New York City. He holds a degree in Film Production and Dramatic Writing from NYU Tisch School of the Arts. Since 1998, he has been exhibiting film/video, photo and environmental installations in galleries and museums worldwide. His several interconnected bodies of work primarily focus on the phantasmagoria of the constructed world. Recent solo exhibitions include In The Kaleidoscope Room, Mitterrand + Sanz, Zurich, Switzerland (2009); The Long Goodbye, John Connelly Presents, New York, NY (2007); The Franklin Abraham, Andrew Kreps Gallery, New York, NY (2005); and In the Public Realm: Sixteen Scenarios, Public Art Fund, Brooklyn Public Library, Brooklyn, NY (2002).</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Freeman&rsquo;s solo films have screened in several film festivals including The International Film Festival Rotterdam, The Locarno International Film Festival and The Rome International Film Festival. His work has also been represented in the recent group shows: Paper Exhibition, Artists Space, New York, NY (2009); The Future As Disruption, The Kitchen, New York, NY (2008); Le Centre pour l&rsquo;Image Contemporaine, Saint Gervais, Geneva, Switzerland (2008); Grow Your Own, Palais de Tokyo, Paris, France (2007); Busan Biennale 2006, Busan, South Korea (2006); Intouchable (l&rsquo; Idea transparence), Centre National d&rsquo;Art Contemporain &ndash; Villa Arson, Nice, France (2006); Day Labor, PS1/MOMA, New York, NY (2005); Vanishing Point, The Wexner Center for the Arts, Wexner, OH (2005).</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Justin Lowe was born in 1976 Dayton, Ohio. In 2004, he received his MFA from Columbia University. He currently lives and works in Los Angeles, California and New York City. Since 2003, he has been exhibiting large scale, immersive, site-specific installations in galleries and museums worldwide. Solo exhibitions include Hair of the Dog, Pepin Moore, Los Angeles, CA (2011); Werewolf Karaoke, Wadsworth Museum, Hartford, CT (2010); The New War, Galleria Cesare Manzo, Pescara, Italy (2010); Freedom Time is Here Little Kittens, Fredric Giroux, Paris, France (2008); Helter Swelter, Oliver Kamm/5BE Gallery, New York, NY (2006); Slouching Toward Bethlehem, Frederic Giroux, Paris, France (2006); Waterfall, The Wrong Gallery, Berlin, Germany (2004); Passage, PS1 Special Project Room, New York, NY (2004); Collecting Pictures in the Brain, Hotel Sculpture Center (2005); .45 0n the 33, Galleria Cesare Manzo, Pescara, Italy (2007). Group exhibitions include Greater LA, Los Angeles, CA (2011); Fit To Print: Printed Media In Collage, Gagosian Gallery, New York, NY (2007); FUORI USO 2006 &ndash; ALTERED STATES, National Museum of Contemporary Art (MNAC), Bucharest, Romania (2007); The Pantagruel Syndrome, Museum of Contemporary Art in the Castello di Rivoli, Turin, Italy (2005); Greater New York PS1/MOMA, New York, NY (2005).</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Together, Jonah Freeman and Justin Lowe create extensive immersive installations. These shows include San San Trilogy, Art Basel &ndash; Unlimited, Basel, Switzerland (2016); Brunch Over Troubled Water, Plutschow Gallery, Zurich, Switzerland (2015); Scenario in The Shade, Red Bull Studios, New York, NY (2015); Floating Chain (High-Res Toni), Marlborough Chelsea, New York, NY, (2014); Taipei Biennial 2014, Taipei Fine Arts Museum, Taipei, Taiwan, (2014); SISTER MOIRE, Winfield House, London, UK (2013); A Diamond hidden in the Mouth of a Corpse, ISTANBUL &rsquo;74, Istanbul, Turkey (2012); Stray Light Grey, Marlborough Chelsea, NY (2012); Bright White Underground, Country Club, LA (2010); Black Acid Co-op, Deitch Projects, NYC (2009); The Station, Miami, FL (2008); Hello Meth Lab In The Sun, Ballroom Marfa, (2008). Select group exhibitions include PANOPTICUM, Robert Miller Gallery, New York, NY (2014); Kiss Me Deadly: A Group Show of Contemporary Neo-Noir from Los Angeles, Paradise Row, London, UK (201); Transmission LA, MOCA Los Angeles, Los Angeles, CA (2012); From the Martian Chronicles, L&amp;M Gallery, Los Angeles, CA (2012).</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><em>Storefront&rsquo;s programming is made possible through general support from Arup; DS+R; F.J. Sciame Construction Co., Inc.; Gaggenau; KPF; MADWORKSHOP; ODA; Roger Ferris + Partners; the Foundation for Contemporary Arts; The Greenwich Collection Ltd.; the Lily Auchincloss Foundation; the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature; public funds from the New York City Department of Cultural Affairs in partnership with the City Council; The Peter T. Joseph Foundation; and by Storefront&rsquo;s Board of Directors, members, and individual donors.</em></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><img class=" alignleft wp-image-14228" src="" alt="SMALL NYCF Logo" width="102" height="150" /></p> <p>&nbsp;</p> Sat, 22 Oct 2016 15:05:35 +0000 Susan Rothenberg - Sperone Westwater - November 4th - December 20th Sat, 22 Oct 2016 15:02:03 +0000 Terence Gower - Simon Preston Gallery - November 6th - December 23rd Sat, 22 Oct 2016 14:56:13 +0000