ArtSlant - Recently added http://www.artslant.com/ny/Events/show en-us 40 helene mukhtar, Claire Fouquet, Scott Gelber, Joseph Kecker, Adrianne Wortzel - BRIC Arts | Media House - May 15th 7:00 PM - 8:00 PM <p>&nbsp;</p> <p class="MsoNormal" style="mso-pagination: none; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 3.5in 280.0pt 308.0pt 336.0pt; mso-layout-grid-align: none; text-autospace: none;"><span style="font-family: Verdana; mso-bidi-font-family: 'Brush Script MT Italic'; color: black;"><strong>Thursday, 5/15/2015&nbsp;&nbsp; 7:00 pm</strong></span></p> <p class="MsoNormal" style="mso-pagination: none; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 3.5in 280.0pt 308.0pt 336.0pt; mso-layout-grid-align: none; text-autospace: none;"><span style="font-family: Verdana; mso-bidi-font-family: 'Brush Script MT Italic'; color: black;">Watch the program on the following channels: in the New York City area: <strong>Time Warner 34 / Cablevision 67 / RCN 82 /Verizon FiOS 42</strong></span></p> <p class="MsoNormal" style="margin-bottom: 12.0pt; mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;"><span style="font-family: Verdana; mso-bidi-font-family: 'Brush Script MT Italic';">Or to watch online, <strong>BPN Channel 1 </strong>visit: </span><a href="http://bricartsmedia.org/community-media/watch-brooklyn-public-network" rel="nofollow"><span style="font-family: Verdana; mso-bidi-font-family: 'Brush Script MT Italic';">http://bricartsmedia.org/community-media/watch-brooklyn-public-networt</span></a></p> <p class="MsoNormal" style="margin-bottom: 12.0pt; mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;"><span style="font-family: Verdana; mso-bidi-font-family: 'Brush Script MT Italic';">In this program entitled &ldquo;Nuggets, an Art Video Smorgasbord&rdquo;, Helene Mukhtar brings video art to a television viewing audience beyond the traditional circle of gallery aficionados.</span></p> <p class="MsoNormal">&nbsp;<span style="font-family: Verdana; mso-bidi-font-family: 'Brush Script MT Italic';">The artists she selected for her show work with the medium in many different ways, from robotics to traditional cartoon animations. The<span style="mso-spacerun: yes;">&nbsp; </span>films are short therefore the title of the program. They run from 40 seconds to 4 minutes.</span></p> <p class="MsoNormal">&nbsp;<span style="font-family: Verdana; mso-bidi-font-family: 'Brush Script MT Italic';">Along with her own work, she is presenting the work of Adrianne Wortzel (<em style="mso-bidi-font-style: normal;">The Battle of the Pyramids</em>), Claire Fouquet (<em style="mso-bidi-font-style: normal;">Cheri, Viens</em> <em style="mso-bidi-font-style: normal;">Voir)</em>, Joseph Keckler (<em style="mso-bidi-font-style: normal;">The Ride</em>) and Scott Gelber (<em style="mso-bidi-font-style: normal;">Doom II; The Circular Ruins).</em></span></p> <p class="MsoNormal">&nbsp;<span style="font-family: Verdana; mso-bidi-font-family: 'Brush Script MT Italic';">From her own animation work, she selected two pieces, oneentitled<em style="mso-bidi-font-style: normal;"> the City Is Burning, </em>the other<em style="mso-bidi-font-style: normal;"> Exodus</em>. Beyond the beautiful colors and <span style="mso-spacerun: yes;">&nbsp;</span>engaging visuals and animation, they both reflect on serious contemporary issues.</span></p> <p class="MsoNormal">&nbsp;<span style="font-family: Verdana; mso-fareast-font-family: 'Times New Roman'; mso-bidi-font-family: 'Times New Roman';">Brooklyn Free Speech TV is the community access television network for Brooklyn. It is part of the Brooklyn Public Network which also includes Brooklyn Independent Media and Brooklyn Bulletin Board. Brooklyn Public network is cablecast to over 500,000 households and online.</span></p> <p>&nbsp;</p> Wed, 06 May 2015 22:57:11 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Giordanne Salley - Steven Harvey Fine Art Projects (PROJECTOR) - May 12th - June 14th <p>Steven Harvey Fine Art Projects presents <em>Full Moon Hot Sun*</em>, a solo exhibition of new paintings by the young, Brooklyn based painter, Giordanne Salley, at our project space SHFAP@PROJECTOR, located at 237 Eldridge Street, around the corner from our main gallery at 208 Forsyth St.</p> <p>&nbsp;</p> <p>Giordanne Salley (b. 1986) was born and raised in Dayton, Ohio. She received her MFA in painting from Boston University in 2013. Singled out by Roberta Smith in The New York Times, as a young artist to look our for, this is Salley&rsquo;s first solo exhibition in New York City.</p> <p>&nbsp;</p> <p>Giordonne Salley&rsquo;s paintings explore reality close-up. Sensitively textured surfaces dramatize the moment materials touch or overlap. Her paintings explore the intersection of love and nature &ndash; a couple fooling around in the woods, a boat trip down the river. Her paintings function as nostalgic haikus. They echo with warm laughter and sweet sadness, conjuring a fleeting afternoon light. &nbsp;</p> <p>&nbsp;</p> <p>In the artist&rsquo;s own words, &ldquo;These paintings are about being in love and how that feels when you think about it later.&rdquo; Her work appeared in New American Painting in 2013. After college and before her Master&rsquo;s degree, Salley worked at The Vermont Studio Center where she had a solo show in 2011. Please contact the gallery for further information or photographs.</p> <p>&nbsp;</p> Wed, 06 May 2015 20:03:48 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list - Steven Harvey Fine Art Projects - May 12th - June 14th <p>Steven Harvey Fine Art Projects presents a solo exhibition of paintings by Jane Dickson (b. 1952). This exhibition presents major examples of the artist&rsquo;s work from across her career, including images of Times Square from the early 80s along with later works, which place Dickson in contemporary counterpoint to earlier artist/observers of New York City such as Edward Hopper and John Sloan.</p> <p>&nbsp;</p> <p>After graduating from Harvard and the Boston Museum of Fine Arts, Dickson moved to the Times Square area of New York, where she became immersed in the politically charged 1980&rsquo;s scene of artists working at the intersection of street art, hip hop, film and installation. She was an early member of the influential artist collective Colab (Collaborative Projects) and Fashion Moda in the South Bronx.</p> <p>&nbsp;</p> <p>Jane Dickson is known for her iconic depictions of Times Square in the 1980s: its neon bar lights and seedy strip clubs. Her striking paintings of suburban homes, highways, casinos, amusement parks and demolition derbies extend this vision of American spectacle across a broader landscape, revealing the uncanny nature of desire in our shared spaces.</p> <p>&nbsp;</p> <p>Recruiting unorthodox supports such as black vinyl, Astroturf, sandpaper and carpet, Dickson is able to sculpt a quality of light on these suggestive rough surfaces that is at once flickering and harsh &ndash; gritty yet hauntingly evanescent, highly suggestive and fittingly obscured.</p> <p>&nbsp;</p> <p>More film noir than social critique, Dickson&rsquo;s paintings observe the cultural alienation that lurks beneath America&rsquo;s themed realities without passing judgment. As she puts it in a 1997 Bomb interview with Sylvia Lotringer, &ldquo; I wanted to address the idea of watching.&rdquo;</p> <p>&nbsp;</p> <p>Not only has Dickson immortalized a Times Square epoch, but between 1982 &ndash; 1990 she initiated &ldquo;Messages to the Public,&rdquo; a pioneering monthly digital animation art series (sponsored by the Public Art Fund) for Spectacolor&rsquo;s Times Square lightboard, including such diverse friends as Keith Haring and Jenny Holzer.&nbsp; Most recently, commissioned by the MTA in 2008, Dickson designed the famous mosaic installations of New Year&rsquo;s Eve revelers ranging from the Port Authority through the Times Square subway station.</p> <p>&nbsp;</p> <p>Dickson was the subject of a 1994 traveling museum retrospective, a 1996 exhibition at the Whitney Museum of Art at Philip Morris, as well as three solo exhibitions at Marlborough Gallery.&nbsp; Her work is included in the permanent collections of The Museum of Modern Art, The Metropolitan Museum of Art and The Whitney Museum of American Art, among others.&nbsp; In 2013, she was awarded the Painters and Sculptors Grant from the Joan Mitchell Foundation.</p> <p>&nbsp;</p> <p align="center"><strong>&nbsp;</strong></p> <p>&nbsp;</p> Wed, 06 May 2015 19:56:32 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Jane Dickson - Steven Harvey Fine Art Projects - May 12th - June 14th <p>Steven Harvey Fine Art Projects presents a solo exhibition of paintings by Jane Dickson (b. 1952). This exhibition presents major examples of the artist&rsquo;s work from across her career, including images of Times Square from the early 80s along with later works, which place Dickson in contemporary counterpoint to earlier artist/observers of New York City such as Edward Hopper and John Sloan.</p> <p>&nbsp;</p> <p>After graduating from Harvard and the Boston Museum of Fine Arts, Dickson moved to the Times Square area of New York, where she became immersed in the politically charged 1980&rsquo;s scene of artists working at the intersection of street art, hip hop, film and installation. She was an early member of the influential artist collective Colab (Collaborative Projects) and Fashion Moda in the South Bronx.</p> <p>&nbsp;</p> <p>Jane Dickson is known for her iconic depictions of Times Square in the 1980s: its neon bar lights and seedy strip clubs. Her striking paintings of suburban homes, highways, casinos, amusement parks and demolition derbies extend this vision of American spectacle across a broader landscape, revealing the uncanny nature of desire in our shared spaces.</p> <p>&nbsp;</p> <p>Recruiting unorthodox supports such as black vinyl, Astroturf, sandpaper and carpet, Dickson is able to sculpt a quality of light on these suggestive rough surfaces that is at once flickering and harsh &ndash; gritty yet hauntingly evanescent, highly suggestive and fittingly obscured.</p> <p>&nbsp;</p> <p>More film noir than social critique, Dickson&rsquo;s paintings observe the cultural alienation that lurks beneath America&rsquo;s themed realities without passing judgment. As she puts it in a 1997 Bomb interview with Sylvia Lotringer, &ldquo; I wanted to address the idea of watching.&rdquo;</p> <p>&nbsp;</p> <p>Not only has Dickson immortalized a Times Square epoch, but between 1982 &ndash; 1990 she initiated &ldquo;Messages to the Public,&rdquo; a pioneering monthly digital animation art series (sponsored by the Public Art Fund) for Spectacolor&rsquo;s Times Square lightboard, including such diverse friends as Keith Haring and Jenny Holzer.&nbsp; Most recently, commissioned by the MTA in 2008, Dickson designed the famous mosaic installations of New Year&rsquo;s Eve revelers ranging from the Port Authority through the Times Square subway station.</p> <p>&nbsp;</p> <p>Dickson was the subject of a 1994 traveling museum retrospective, a 1996 exhibition at the Whitney Museum of Art at Philip Morris, as well as three solo exhibitions at Marlborough Gallery.&nbsp; Her work is included in the permanent collections of The Museum of Modern Art, The Metropolitan Museum of Art and The Whitney Museum of American Art, among others.&nbsp; In 2013, she was awarded the Painters and Sculptors Grant from the Joan Mitchell Foundation.</p> <p>&nbsp;</p> <p align="center"><strong>&nbsp;</strong></p> <p>&nbsp;</p> Wed, 06 May 2015 19:55:44 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list NORMAN MOONEY - Causey Contemporary - June 11th - July 12th <p>NY, NY April 2015, What happens today will last forever is artist Norman Mooney&rsquo;s title choice for an exhibition of new works taking place at Causey Contemporary from June 11 - July 12, 2015.&nbsp;&nbsp;&nbsp; The exhibition will consist of a six foot diameter Wind Seed sculpture along with Norman&rsquo;s newest abstract sculptures in burnt Polystyrene foam, his recent photographic series, Hawk Pond and his line drawings on panel.<br /><br />Since the beginning of his artistic life, Norman Mooney has concerned himself with an examination of the inherent beauty that runs through all natural structures both on a microscopic and macroscopic level.&nbsp; How our, as humans, understanding of energy or life force is related to our inertial frame of reference, orientation and sense of scale.&nbsp; How we intuit, what is beyond our capacity to see, how we understand space and time.<br /><br />Norman&rsquo;s work is based on his understanding of space as temporal, he often sees it as not only existing in relation to time but as being in time.&nbsp; His creations beg us, the viewer, to move around them or pass by them to catch the movement suggested in the pauses between the drawings&rsquo; lines, the sculptural elements or within the voids of his photographs.&nbsp;&nbsp; The works invite us to contemplate not only themselves but our relationships to the work within space and time.<br /><br />Norman&rsquo;s newest sculptural series, What happens today will last forever, takes the contemplation a step further urging us to consider his choice of material, polystyrene foam, which is non- biodegradable and so while he can burn it, it is not destroyed only altered and will exist literally forever either in it&rsquo;s solid form or in the toxic emissions left behind in the atmosphere from the burning process.&nbsp; With this contemplation, perhaps we will go a step further and consider what we are doing to our planet and in turn, what we are leaving as a legacy for future generations.&nbsp;&nbsp; Alternatively, we may, on a less sobering but not less important note, consider the legacy that any artist leaves behind with their day to day creations.&nbsp;&nbsp; In both instances, what happens today does indeed last forever.&nbsp; &nbsp;<br /><br />Norman Mooney was born in Dublin Ireland in 1971. He studied at the Crawford College of Art and Design in Cork and completed his BFA at the National College of Art in Dublin in 1992. He then received the distinguished honor of participating in the Third Degree program at the Irish Museum of modern Art from 1992 to 1993. In 1994 he relocated to New York City and has been exhibiting locally and internationally for more than 16 years. Recent exhibitions include, &ldquo;1, 2, 3 Volume&rdquo; at the Siqueiros Museum in Mexico City, Beyond Borders in Abu Dhabi, InSight at Marso Gallery in Mexico City, Close your Eyes at Martine Chaisson in New Orleans and &ldquo;Wall Flowers&rdquo; and &ldquo;Close Your Eyes&rdquo; at Causey Contemporary in New York. <br /><br />Norman Mooney&rsquo;s works can can be found in the collections of The Speed Art Museum in Louisville, KY,&nbsp; The Siquernos Polyform Museum in Mexico City, The Mint Museum in Charlotte, NC; The Clarridge Collection, Quebec Canada; The Geoff Isles Collection, New York,NY; Double Seven, New York, NY; and Argent Ventures Collection, New York, NY. Additionally, his work has been reviewed in&nbsp; TimeOut Mexico, Fahrenheit Magazine, New York Spaces Magazine, Artdaily, the NY Art Beat and the New York Times among other publications. &nbsp;<br /><br />What Happens Today Will Last Forever, is Norman&rsquo;s fourth solo exhibition with Causey Contemporary but the first in the gallery&rsquo;s new location at 29 Orchard St. in Manhattan.&nbsp;&nbsp; The exhibition will open on June 11, 2015 with an artist&rsquo;s reception from 6 - 8 pm and will then continue through July 12, 2015. Gallery hours are Wednesdays through Saturdays 11 a.m. - 7 p.m. and Sundays 12 p.m. to 6 p.m. or by appointment.&nbsp; For more information, please contact the gallery at info@causeycontemporary.com or via telephone at&nbsp; 212-966-2520.</p> Wed, 06 May 2015 17:05:20 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Pablo Bartholomew - Thomas Erben Gallery - May 15th - June 20th <p>Thomas Erben is pleased to present the gallery&rsquo;s first solo exhibition with photographer <strong>Pablo Bartholomew</strong> (b. 1955, New Delhi). <em>Outside In</em> is a selection of photographs taken throughout the 1970s in three cities: Bombay, New Delhi and Calcutta. This body of work stems from the very beginning of the artist&rsquo;s career, when he &ndash; expelled from high school &ndash; immersed himself in a youthful subculture testing the boundaries of an insulated socialist society steeped in tradition.<br /> <br /> The images in <em>Outside In</em> are immediately recognizable as part of a certain documentary tradition &ndash; Larry Clark and Nan Goldin come to mind &ndash; where a marginalized group is seen, candidly and uncompromisingly, through the eye of an insider. Scenes with people dancing, resting, posing, or just hanging out smoking pot, mix with atmospherically empty vistas, all in starkly contrasted black and white. Turbulence mingles with lethargy, grime with transcendent light. The immediacy of the situations depicted is reflected in the raw and grainy materiality of the prints themselves, with the photographer pushing his medium towards its limits.<br /><br />Bartholomew&rsquo;s background &ndash; his father, Richard Bartholomew, was an art critic and photographer, and his mother, Rati, an English professor and theater activist &ndash; exposed him to a cosmopolitan culture combining Indian and Western modernisms. This accounts for the visual modernity of the photographs, which transcends their documentary nature. While teaching himself photography, Bartholomew used his camera to create a unique document of counterculture, not only revealing a world hidden in the margins, but also sharing his own process of self-making. The presence and charge of the images is largely due to the fact that we are seeing his lived reality; he is as much a part of the work as he is its author.<br /> <br /> Pablo Bartholomew is an internationally renowned photographer, whose images have appeared in publications such as <strong>The New York Times</strong>, <strong>Newsweek</strong>, <strong>Time</strong>, <strong>National Geographic</strong> and <strong>GEO</strong>. In 1975 he received his first <strong>World Press Photo</strong> award for a series on morphine addicts, and in 1984 his work on the Bhopal gas tragedy won him the <strong>World Press Photo of the Year</strong>. <em>Outside In</em> was first exhibited at <strong>Les Rencontres de la Photographie</strong><em>,</em> Arles in 2007, and has since been shown widely internationally. Bartholomew received the Indian government&rsquo;s <strong>Padma Shri Award</strong> in 2013, and was bestowed the <strong>Chevalier dans l'Ordre des Arts et des Lettres</strong> on behalf of the French Republic in 2014. The artist lives and works in New Delhi.</p> Tue, 05 May 2015 20:19:39 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Peter Fox - Front Room Gallery - May 22nd - June 21st <p>&nbsp;</p> <p>Front Room gallery is proud to present "Blind Trust" a solo exhibition of new paintings by Peter Fox. Expanding on his signature style of drip painting, Peter Fox&rsquo;s spilled paint works have taken on bold gestural movements.&nbsp;&nbsp;Referencing formal systems of Abstract Painting, this series explores the language of relational color, as articulated through layered processes.&nbsp;&nbsp;Each composition is developed through variance and repetition, and evolves with the allowance of chance.&nbsp;</p> <p>&nbsp;</p> <p>These works expand on the concept of &lsquo;line&rsquo;, defined by color relationships; as each movement is recorded on the surface of the paintings, the poured paint is transformed into a drawing device. The fluid lines of paint transmit veins of parallel color, which develop into abstracted forms, evoking aspects of surrealist figuration.</p> <p>&nbsp;</p> <p>The negative space of the picture plane is recovered in these works, balanced with the thick intensity of the waves of color.&nbsp;&nbsp;Fox has re-contextualized the painting&rsquo;s surface, allowing for a nuanced volume of space, the surface texture in its plump volume floats on the ebbing forward movement of the illusionary space of a white atmospheric ground.&nbsp;</p> <p>&nbsp;</p> <p>This series presents a new take on pixelation, Fox&rsquo;s work in &ldquo;Blind Trust&rdquo; distorts a color grouping from spherical drops to elongated color flows, which are swept across the canvas, spread and stretched in all different directions. The fluid ribbons of paint whip and weave in and out of one another, fusing and gathering strains of color with each movement. The resulting work captures the action of each pour and a presents a lyrical representation of the artists&rsquo; creative actions.</p> <p>&nbsp;</p> Mon, 04 May 2015 21:21:31 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Yayoi Kusama - David Zwirner- 519 W. 19th - May 9th - June 13th <p style="text-align: justify;">David Zwirner is pleased to present&nbsp;<em>Give Me Love</em>, the gallery&rsquo;s second exhibition with Yayoi Kusama in New York. On view in two spaces, 519 and 525 West 19th Street, will be new paintings from the celebrated&nbsp;<em>My Eternal Soul</em>&nbsp;series, new polka-dotted pumpkin sculptures, and the artist&rsquo;s seminal installation&nbsp;<em>The Obliteration Room</em>&nbsp;from 2002.&nbsp;</p> <p style="text-align: justify;">Widely recognized around the world, with a recent survey of museum attendance ranking her as the most popular artist in 2014, Kusama has shaped her own narrative of postwar and contemporary art. Minimalism and Pop art, abstraction and conceptualism coincide in her practice, which spans painting, sculpture, performance, room-sized and outdoor installations, the written word, films, fashion, design, and architectural interventions.&nbsp;</p> <p style="text-align: justify;">Born in 1929 in Matsumoto, Japan, Kusama briefly studied painting in Kyoto before moving to New York City in the late 1950s. She began her large-scale&nbsp;<em>Infinity Net</em>&nbsp;paintings during this decade, and went on to apply their obsessive, hallucinatory qualities to her three-dimensional work. Her iconic polka dots, organic shapes, and optical environments display an unparalleled vitality that becomes hypnotic and self-referential, merging concepts of flatness and depth, presence and absence, and beauty and the sublime. In a unique style that is both sensory and utopian, Kusama&rsquo;s work possesses a highly personal character, yet one that has connected profoundly with large audiences around the globe, as throughout her career she has been able to break down traditional barriers between work, artist, and spectator.&nbsp;</p> <p style="text-align: justify;">Kusama continues her recent series of large-format, square&nbsp;<em>My Eternal Soul</em>&nbsp;paintings with a group of canvases conveying extraordinary vitality and passion. With titles such as&nbsp;<em>Fear of Youth Overwhelmed by the Spring Time of Life</em>,&nbsp;<em>I Who Have Taken an Antidepressant</em>, and&nbsp;<em>My Longing, the</em>&nbsp;<em>Unseen Land of Death</em>, the compositions acquire an autobiographic, even confessional dimension. The bold brushstrokes and swirly shapes seem to hover between figuration and abstraction; vibrant, animated, and intense, they transcend their medium to introduce their own pictorial logic, at once contemporary and universal. As such, while they continue Kusama&rsquo;s innovative exploration of form, subject matter, and space, they also represent a connection to her work from the past six decades.&nbsp;</p> <p style="text-align: justify;">The sculptures on view include new stainless steel pumpkins featuring either painted or perforated dots. Their exaggerated sizes&mdash;the tallest being approximately 70 inches (178 cm) high&mdash;seem measured after human proportions, and their mirrored surfaces are thus able to contain viewers&rsquo; full body reflections. While pumpkins have appeared in Kusama&rsquo;s work since her early art studies in Japan in the 1950s, they gained increasing prominence from the late 1980s onwards. The juxtaposition between the lush organic shape and its shiny, steel materiality here creates a psychedelic impression, but ultimately the bulbous forms emerge as celebratory and animated, absorbing viewers and their surroundings in their own image.&nbsp;</p> <p style="text-align: justify;">The exhibition marks the United States debut of&nbsp;<em>The Obliteration Room</em>, an all-white, domestic interior that over the course of the show is covered by dots of varying sizes and colors. In a departure from earlier iterations of the work, which have involved one or several rooms, the present installation is built like a typical, prefabricated American suburban house. As visitors are handed a set of stickers and step inside, they enter a completely white residential setting where otherwise familiar objects such as a kitchen counter, couch, and bookshelves are all painted the same shade. Gradually transforming the space as a result of the interaction, the accumulation of the bright dots ultimately changes the interior until it is eradicated into a blur of colors. A sense of depth and volume disappears as individual pieces of furniture, floors, and walls blend together.&nbsp;</p> <p style="text-align: justify;">Kusama has noted that she began to see her surroundings through a screen of dots early in her life, and she later came to refer to the process as obliteration&mdash;the gradual removal of any trace of something. Several happenings from the 1960s and onwards were called&nbsp;<em>Self-Obliteration</em>&nbsp;and involved the artist covering herself and others with dots. Their all-enveloping presence in&nbsp;<em>The Obliteration Room</em>&nbsp;also recalls the artist&rsquo;s infinity rooms, in which thousands of small lights flicker against mirrored walls&mdash;an example of these was presented during Kusama&rsquo;s first exhibition with the gallery in 2013.&nbsp;</p> <p style="text-align: justify;">Immersed in her studio six days a week, Kusama has spoken of her renewed dedication to creating art over the past years: &ldquo;[N]ew ideas come welling up every day&hellip;.Now I am more keenly aware of the time that remains and more in awe of the vast scope of art&hellip;.I believe that the creative urge in art is born of quiet, solitary contemplation and takes flight from the silence of the soul&rsquo;s repose in the form of rainbows of shimmering light&hellip;.I feel how truly wonderful life is, and I tremble with undying fascination for the world of art, the only place that gives me hope and makes life worthwhile.&rdquo;1</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>Yayoi Kusama</strong>&nbsp;joined David Zwirner in early 2013, and had her inaugural exhibition with the gallery in New York that same year. Immediately following its opening,&nbsp;<em>Yayoi Kusama: I Who Have Arrived In Heaven</em>&nbsp;received widespread critical acclaim and international media coverage, quickly becoming David Zwirner&rsquo;s most well-attended show. Attracting thousands of visitors a day, the exhibition was deemed a social media sensation and hailed by The New York Times as encouraging &ldquo;the ultimate selfie.&rdquo; Published on its occasion was a fully illustrated catalogue, which includes new scholarship on the artist&rsquo;s work by art critic and poet Akira Tatehata and an original poem written by Kusama herself.&nbsp;</p> <p style="text-align: justify;">Since her first solo show in her native Japan in 1952, Kusama has exhibited widely in international solo and group presentations. The artist&rsquo;s work was the subject of a large-scale, well-received retrospective that traveled from 2011 to 2012 to the Museo Nacional Centro de Arte Reina Sof&iacute;a, Madrid; Centre Georges Pompidou, Paris; Tate Modern, London; and the Whitney Museum of American Art, New York.&nbsp;</p> <p style="text-align: justify;">Kusama was recently named the world&rsquo;s most popular artist by various news outlets, based on annual figures reported by&nbsp;<em>The Art Newspaper</em>&nbsp;for global museum attendance in 2014. Her exhibitions were the most visited worldwide last year, with three major museum presentations simultaneously traveling through Japan, Asia, and Central and South America&mdash;all of which have drawn record-breaking attendances at every venue.&nbsp;</p> <p style="text-align: justify;"><em>Yayoi Kusama: Eternity of Eternal Eternity</em>&nbsp;recently concluded its extensive tour to prominent institutions in Japan, which began in January 2012 and continued until October 2014. Museums included The National Museum of Art, Osaka; The Museum of Modern Art, Saitama; Matsumoto City Museum of Art; Niigata City Art Museum; Shizuoka Prefectural Museum of Art; Oita Art Museum; The Museum of Art, Kochi; Contemporary Art Museum, Kumamoto; Akita Senshu Museum of Art; and the Matsuzakaya Museum, Nagoya.&nbsp;</p> <p style="text-align: justify;">Traveling through Asia,&nbsp;<em>Yayoi Kusama: A Dream I Dreamed</em>&nbsp;encompasses over one hundred recent works and was first displayed at the Daegu Art Museum in Korea, followed by the Museum of Contemporary Art Shanghai and the Seoul Arts Center. It travels to two institutions in Taiwan&mdash;currently on view at the Kaohsiung Museum of Fine Arts (through May 17, 2015) and then to the National Taiwan Museum of Fine Arts, Taichung (June 6 &ndash; August 30, 2015)&mdash;as well as to India at the National Gallery of Modern Art, New Delhi (opening November 2015).&nbsp;</p> <p style="text-align: justify;"><em>Yayoi Kusama: Infinite Obsession</em>&nbsp;has been seen by more than two million people along its tour through Central and South America. Consisting of over one hundred works created between 1950 and 2013, it opened in June 2013 at Malba &ndash; Fundaci&oacute;n Costantini, Buenos Aires and traveled to the Centro Cultural Banco do Brasil, Rio de Janeiro; Centro Cultural Banco do Brasil, Bras&iacute;lia; Instituto Tomie Ohtake, S&atilde;o Paulo; and the Museo Tamayo Arte Contempor&aacute;neo, Mexico City. The show is currently on view at the Fundaci&oacute;n CorpArtes, Santiago (through June 7, 2015).&nbsp;</p> <p style="text-align: justify;">In the fall of 2015, the Louisiana Museum of Modern Art in Humleb&aelig;k, Denmark will present a comprehensive overview of Kusama&rsquo;s practice, including works that span the full length of her career, that will travel to other major Scandinavian institutions.&nbsp;</p> <p style="text-align: justify;">Work by the artist is held in museum collections worldwide, including the Centre Georges Pompidou, Paris; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Los Angeles County Museum of Art; The Museum of Modern Art, New York; National Museum of Modern Art, Tokyo; Stedelijk Museum, Amsterdam; Tate Gallery, London; Walker Art Center, Minneapolis, Minnesota; Whitney Museum of American Art, New York; amongst numerous others. Kusama lives and works in Tokyo.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">1Yayoi Kusama,&nbsp;<em>Infinity Net: The Autobiography of Yayoi Kusama</em>, trans. by Ralph McCarthy (Chicago and London: The University of Chicago Press and Tate Publishing, 2011), pp. 227, 229, 230.</p> Mon, 04 May 2015 16:05:54 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Group Show - David Zwirner 537 W 20th - May 2nd - June 20th <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <p style="text-align: justify;">David Zwirner is pleased and honored to present a selection of drawings from the Sarah-Ann and Werner H. (&ldquo;Wynn&rdquo;) Kramarsky Collection, on view at 537 West 20th Street. Since the late 1950s, Wynn Kramarsky has amassed one of the most significant privately held collections of works on paper from the second half of the twentieth century, with a particular emphasis on Minimal, Post-Minimal, Conceptual, and process-oriented works. This exhibition will include highlights from the collection, with diverse and exemplary works by&nbsp;<strong>Carl Andre, Robert Barry, Mel Bochner, Trisha Brown, John Cage, Bruce Conner, Dan Flavin, Suzan Frecon, Eva Hesse, Nancy Holt, Jasper Johns, Donald Judd, Ellsworth Kelly, Barry Le Va, Sol LeWitt, Robert Mangold, Brice Marden, Agnes Martin, Bruce Nauman, Ed Ruscha, Robert Ryman, Fred Sandback, Alan Saret, Richard Serra, Robert Smithson, Keith Sonnier, Richard Tuttle, Cy Twombly, Lawrence Weiner,</strong>&nbsp;and others.</p> </div> </div> </div> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">For Wynn, assembling this collection over several decades has been a true labor of love, and his passion for collecting is reflected in this carefully curated selection of drawings by a wide-ranging group of artists. Wynn&rsquo;s focus has been works on paper, at first since this type of work was more accessible to him as a young collector, but ultimately because he found drawings and other works on paper allowed for a more intimate engagement with an artist and his or her creative process. The smaller scale also enabled him to collect both encyclopedically and in-depth. Wynn&rsquo;s non-commercial exhibition space, The Fifth Floor Foundation, which operated from 1991 to 2006 at 560 Broadway in New York&rsquo;s SoHo neighborhood, exemplifies his dedicated and consistent arts&nbsp;patronage. In addition to presenting focused solo and group exhibitions of both canonical and lesser-known artists in the collection, the SoHo space served as a larger center for the study of these works (which were thus made readily available to interested visitors and scholars alike). Wynn&rsquo;s enthusiasm for art historical scholarship and education further extends to the many loans he and his wife make, often anonymously, to major national and international exhibitions. And even beyond that, their past and continuing gifts of works from the collection to numerous museums and universities permanently enrich the public nationwide.</p> <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <div class="page" style="text-align: justify;" title="Page 1"> <div class="layoutArea"> <div class="column"> <p>&nbsp;</p> <p>Comprising works from the 1960s through the 2000s, the selection of drawings included in this exhibition provides an overview of the evolution of abstract tendencies in American art-making over half a century and lays out a genealogy of succeeding styles, from Minimalism forward.</p> </div> </div> </div> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Numerous important Minimalist artists are represented in the collection, evidencing the extreme heterogeneity of styles, subjects, and approaches that fall under this broad designation. For example, a 1971 drawing by&nbsp;<strong>Dan Flavin</strong>&nbsp;revisiting his&nbsp;<em>alternate diagonals of March 2, 1964 (to Don Judd)</em>, a series of light installations he dedicated to his longtime friend, the artist Donald Judd, foregrounds the use of commercially available materials and reductive forms that characterized many of these artists&rsquo; practices. Meanwhile, an ink-on-board triptych by<strong>&nbsp;Carl Andre</strong>&nbsp;from 1960 offers a rare painterly expression by the artist. Made early in his career, this work reveals the genesis of Andre&rsquo;s fascination with the juxtaposition of disparate elements and formal variation within a repetitive structure that would later manifest in some of his best-known sculptural works.<strong>Fred Sandback</strong>&rsquo;s drawings, often executed as preparatory studies for his sculptures, on the other hand, utilize precisely placed lines to outline planes and volumes in space.</p> <div class="page" title="Page 2"> <div class="layoutArea"> <div class="column"> <div class="page" title="Page 2"> <div class="layoutArea"> <div class="column"> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Other works, while minimal in appearance, reveal themselves upon closer inspection to be more concerned with the process of their own making than with strict formal investigations. To create&nbsp;<em>From &ldquo;Untitled&rdquo; Painting</em>(1964-65), a dark amorphous cloud of charcoal on paper,&nbsp;<strong>Jasper Johns</strong>&nbsp;imprinted his own oil-covered face against paper, rolling it from one side to the other, and then rubbing charcoal over the paper to create an indexical trace of his body in motion. Similarly,&nbsp;<strong>Eva Hesse</strong>&rsquo;s spare, delicately rendered 1966 ink wash of two stacked concentric circles, each inscribed by a square, demonstrates the tactile, brushy quality emblematic of her transition from colorful, painterly forms to the more mature process-based works that came to distinguish her from her peers. Another work by Hesse,&nbsp;<em>Right After</em>&nbsp;from 1969, made following her first operation for a brain tumor and less than a year before her untimely death, displays both her mastery of gouache and her unique understanding of form with its precisely rendered interlocking shapes.</p> <div class="page" title="Page 2"> <div class="layoutArea"> <div class="column"> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">A number of artists in the collection rely on simple geometric forms to create conceptually rigorous drawings.&nbsp;<em>Bands of Lines in 4 Directions</em>&nbsp;(1991)&nbsp;by&nbsp;<strong>Sol Lewitt</strong>,&nbsp;which illustrates all the different directions that a line can extend,&nbsp;demonstrates how the artist&rsquo;s procedures systematically unfolded the endless formal possibilities that could be derived from predetermined sets of logical principles. Similarly, a 1975 diagrammatic drawing,&nbsp;<em>First Fulcrum (Study)</em>, by&nbsp;<strong>Mel Bochner</strong>, is the first in his succeeding series of &ldquo;Fulcrum&rdquo; drawings, which&mdash;in their exploration of pentagonal shapes&mdash;reveals his longstanding interest in both visual and linguistic systems of meaning. Also on view are two drawings by&nbsp;<strong>Richard Serra</strong>&nbsp;that explore circular forms&mdash;<em>Sam Cooke</em>&nbsp;(1996) and&nbsp;<em>Black Tracks</em>&nbsp;(2002). Both made using a thick impasto of black paintstick, these works create a sense of weight, gravity, and mass.</p> <div class="page" title="Page 2"> <div class="layoutArea"> <div class="column"> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Still other artists employ words and symbols to drive their conceptual overtures. A 1979 drawing by&nbsp;<strong>Ed Ruscha</strong>,&nbsp;<em>Gray Sex</em>, uses gray pastel to faintly spell out the word &ldquo;sex&rdquo; in negative space, prompting the viewer to freely associate words, colors, sensations, and ideas. Meanwhile, a pencil sketch by&nbsp;<strong>Robert Smithson</strong>&nbsp;from 1970, titled&nbsp;<em>Spiraling Jetty in Red Salt Water, Ogden, Utah</em>&nbsp;represents an early diagrammatic rendering of the artist&rsquo;s seminal earthwork sculpture&nbsp;<em>Spiral Jetty</em>, constructed in the Great Salt Lake.</p> <div class="page" title="Page 2"> <div class="layoutArea"> <div class="column"> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">The Kramarsky Collection also includes examples by a number of artists who create works on paper as part of their ongoing painterly investigations.&nbsp;<strong>Ellsworth Kelly</strong>, for example, frequently utilizes paint on paper to create different juxtapositions of forms and colors for his spare but optically vibrant abstractions, as in an untitled work on paper from 1964&ndash;65 composed of loosely rectangular forms in brightly hued green and red. A 1977 watercolor by&nbsp;<strong>Agnes Martin</strong>, with its luminous glow and tactile surface, not only reveals Martin&rsquo;s technical mastery of her materials but, as in her paintings, plays on the illusory properties of color and form.&nbsp;<strong>Robert Ryman</strong>&rsquo;s practice represents a sustained inquiry into the inherent properties of painting, the key concerns of which are visible in his 1995 work&nbsp;<em>Core XII</em>, made using encaustic, graphite, and crayon on corrugated cardboard. Together, the work&rsquo;s materials emphasize their inherent properties, resulting in an open-ended composition that reveals the process of its making.&nbsp;<em>Untitled</em>&nbsp;(1971) by&nbsp;<strong>Cy Twombly</strong>, which incorporates notes, measurements, and images in an all-over composition, is a compelling example of his works on paper of the late 1960s and early 1970s, engaging both with art historical notions of the line and cultural understandings of language. Similarly,&nbsp;<strong>Brice Marden</strong>&rsquo;s&nbsp;<em>Small Corpus</em>&nbsp;(1989-94), which evinces an overall calligraphic quality, reflects the artist&rsquo;s interest in the abstract language of gesture, as well as his integration of drawing within painting&mdash;aspects that would continue to define his subsequent work.</p> <div class="page" title="Page 2"> <div class="layoutArea"> <div class="column"> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Overall, the works in the Kramarsky collection, in the individuality of their expression, testify to the wide range of media and styles that both reaffirm and expand our definition of drawing. This exhibition will be accompanied by a fully illustrated catalogue, forthcoming from David Zwirner Books.</p> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> Mon, 04 May 2015 16:02:39 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Mira Schor, Bradley Rubenstein - CREON - May 20th - June 10th <p>CREON is pleased to announce <em>Imaginary Anatomies: Mira Schor + Bradley Rubenstein</em>, an exhibition of paintings and works on paper.&nbsp; Schor and Rubenstein will exhibit work that is linked thematically, focusing primarily on the figure as a subject for experimentation both visually as well as conceptually, on what Jacques Lacan described as the imaginary anatomy.&nbsp; Lacan described the imaginary anatomy as a psychological map or image of the body, an internal understanding of the lived, physical body. &nbsp;As a specular psychological construct, it represented the subject&rsquo;s experiences of bodily parts and organs.</p> <p>Rubenstein&rsquo;s drawings display his continuing interest in expanding the parameters of the body&rsquo;s endless possibilities. &nbsp;The stable identity of the subject is questioned as the essential biological body literally disintegrates in front of our eyes and metamorphoses into distorted and fragmented entities, incorporating a plethora of multiple personae and anatomical prototypes. &nbsp;Following a long tradition of literary and artistic protagonists that stretches from the Golem, Dr. Frankenstein, and Jekyll and Hyde, to more recent manifestations of cyborgs and aliens, the ambiguous moral but also indefinite biological nature of the human condition is revealed.</p> <p>Schor&rsquo;s paintings present the figure as a reductively sketched archetypal protagonist in the symbolic landscape of a philosophical cartoon. &nbsp;The figure is an agent of thought, reflection, and meditation, frozen in time as on an ancient monument or Egyptian relief. Her iconic avatar is arrested in movement, approaching the cold and distant observation of scientific illustrations faithful documentation of rare anatomical specimens. &nbsp;Schor shows the frailty of the human body: despite its graphic, mechanized presentation: it wears a leg brace, it trips, it is knocked over by paint. &nbsp;The paintings are reversible topsy-turvy diptychs: above or below, depending on how you hang the work, in one register the iconic figure is a diagrammatic representation oppressed by aesthetic and economic imperatives, and in the other register the figure dissolves, transforms, becomes lighter and more ethereal, as if depicting the human spirit triumphing over physical and social restraint.</p> <p><em>Mira Schor</em><em><span style="font-family: Cambria;">&nbsp;</span></em><em>is a painter and writer living in New York City. Schor has been the recipient of awards in painting from the Guggenheim, Marie Walsh Sharpe, and Pollock-Krasner Foundations, as well as the College Art Association's Frank Jewett Mather Award for Art Criticism and a Creative Capital / Warhol Foundation Arts Writers Grant.</em><em><span style="font-family: Cambria;">&nbsp; </span></em><em>Schor has had &nbsp;one person exhibitions at Marvelli Gallery and Momenta Art in New York, and she is represented by CB1 Gallery in Los Angeles.</em><em><span style="font-family: Cambria;">&nbsp;</span></em></p> <p><em>Bradley Rubenstein has been the recipient of the National Endowment for the Arts Fellowship in Painting, The Pollock-Krasner Award and a grant from The Emily Hall Tremaine Foundation. &nbsp;His works are in the permanent collections of the Metropolitan Museum of Art, Museum of Fine Arts, Boston, and The Detroit Institute of Arts, among others. &nbsp;Bradley Rubenstein lives and works in Brooklyn.</em></p> Mon, 04 May 2015 12:54:49 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Group Show - Van Der Plas Gallery - May 8th - June 14th <p>&ldquo;In &amp; Out&rdquo; brings together the work of visionary and outsider artists. Art created intuitively with unstoppable passion.&nbsp; The expression of heightened creativity arises from unheard voices that in the past were dismissed as unimportant expressions, sadly misunderstood, cast away. This is the exploration of impulse, emotion, and suffering from the purity of the artist&rsquo;s soul created in the stillness of mind.</p> <p>&nbsp;From the true visionary art that is given to us by Brian Dowdall who senses the energy patterns of animals and interprets them to the primal need of Konstantin Bokov to create with found objects, this group of artists share a common intuitiveness exuded in the paint strokes, materials, and subject matter. Pamala Rogers and Angela Rogers use vibrant components and symbolism to transcend conventional ideas. Candyce Brokaw spills her insides out onto the page, as an endless flow of visual incantation.</p> <p>Istvan &ldquo;Monty Cantsin&rdquo; Kantor and Adjani Okpu-Egbe document the painful expressions derived from their own suffering using materials as metaphor. Johan Wahlstrom&rsquo;s graphic neoexpressionist narratives handle the universality of emotions, the shared feelings of us all. Kevin Wendall, the artist known as FA-Q, releases through his process of expressing. Addiction and inner demons narrate his art&rsquo;s rough expression of emotion. The bold and brash art of Ross Brodar speaks to the turmoil the human spirit feels during periods of uncertainty without fear or apologies.</p> <p>Van der Plas Gallery shares this vision, a pure vision by these 10 artists to bring together the whole spectrum of life, a wheel that is always turning through suffering and celebration: In &amp; Out.&nbsp;</p> Sun, 03 May 2015 21:20:23 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Shirana Shahbazi - On Stellar Rays - May 10th - June 14th <p>On Stellar Rays and Sun\Ra are pleased to announce a solo exhibition of Shirana Shahbazi, featuring a new body of lithographs.<br />&nbsp;<br />Shahbazi&rsquo;s work frequently explores the relationship of an image to its material form, using classical art historical themes such as portraiture, still life, and abstraction. Her newest body of work is comprised of images taken on a family road trip from Zurich to Tehran in April 2014, in a style evoking travel and landscape photography.<br /><br />Shirana Shahbazi (b. Teheran, 1974) lives and works in Zurich. She studied photography in Dortmund and Zurich. Major presentations of her work include Kunsthalle Bern (2014); Museum of Modern Art, New York (2012/2013); Fotomuseum Winterthur (2011); The New Museum, New York (2011); The Hammer Museum, Los Angeles (2008); Museum Boijmans van Beuningen, Rotterdam (2008); Swiss Institute, New York (2007); Barbican Art Gallery, London (2007); Centre d'Art Contemporain, Genf (2005), Museum of Contemporary Photography, Chicago (2003); The 50th Venice Biennale (2003).<br />&nbsp;<br />The exhibition is the third in a series of collaborations between Candice Madey of On Stellar Rays and Sunny Rahbar, co-founder of the The Third Line Gallery (Dubai) and Sun\Ra.</p> Sun, 03 May 2015 17:31:07 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Lois Cremmins - Atlantic Gallery - June 2nd - June 20th <p>Atlantic Gallery is pleased to present "Contemplating the Asphalt," a solo exhibition of&nbsp;recent work by Lois Cremmins.&nbsp;The artist continues her exploration of her sensory perceptions of&nbsp;city life&nbsp;with canvases that offer a textural response to the urban landscape.&nbsp;In this new body of work&nbsp;she&nbsp;focuses on&nbsp;the contradictions she feels&nbsp;between the vestiges of&nbsp;the dark world of her father's rough city and the robust&nbsp;transformations wrought by a&nbsp;fresh light-seeking generation. By layering complex imagery that is at once gritty&nbsp;yet vibrant, Cremmins has become a de facto chronicler of a changing city.</p> <p>The installation of "Contemplating the Asphalt" transforms Atlantic Gallery into&nbsp;a microcosm&nbsp;of New York's&nbsp;teeming streets. To visit this show is to navigate those streets with Lois Cremmins as your keenly observant guide.&nbsp;Her art deftly steers the visitor around the pitfalls of decaying streets and&nbsp;happily keeps pace with whizzing Citibikes and buzzing smartphones. Recognizable images break down upon close inspection to reveal abstract elements that can be savored and lead to a discovery of the artist's process.</p> <p>&nbsp;Each canvas is the result of an intricate and sophisticated technique&nbsp;whereby the artist tames collaged materials---outcast fabrics, ribbons and notions by vigorously applying&nbsp;acrylic paint in thick impastos and delicately brushed glazes. The viewer&rsquo;s experience&nbsp;of the multiplicity of the stimulating surfaces runs&nbsp;in tandem&nbsp;with the artist's celebration&nbsp;of&nbsp;New York's enthralling variety.</p> Sun, 03 May 2015 12:49:59 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Lee Ufan - Pace Gallery - 25th St. - May 15th - June 27th <p style="text-align: justify;">Pace is pleased to announce its second solo exhibition of Lee Ufan. It is the artist&rsquo;s first exhibition in New York since his landmark 2011 survey at the Solomon R. Guggenheim Museum, and follows his 2014 solo presentation of twelve site-specific works created for the Ch&acirc;teau de Versailles. The exhibition will be on view from May 15 to June 27 at 534 West 25th Street. An opening reception for the artist will be held Thursday, May 14 from 6 to 8 p.m.</p> <p style="text-align: justify;">To accompany the exhibition, Pace will publish a catalogue featuring a new essay by Barbara Rose.</p> <p style="text-align: justify;">Since his foundational role in Japan&rsquo;s Mono-ha (&ldquo;School of Things&rdquo;) movement in the 1960s, Lee has developed an oeuvre attuned to the interconnectedness of matter and consciousness. Referring to his artworks as &ldquo;living structures,&rdquo; he takes a philosophical approach to creating them, viewing his gestures and raw materials as entities that reveal conditions and states of the world as well as our relationship to it. The exhibition highlights the artist&rsquo;s continued attention to how objects and gestures shape space and will feature new paintings, watercolors and sculpture.</p> <p style="text-align: justify;">Lee&rsquo;s Relatum works&mdash;the first of which he produced in 1968&mdash;highlight interspatial relations through the pairing of steel plates with large boulders. Between the two objects, Lee views the steel plates as the distant, factory-produced cousin of the stones. He sees the works as cultivating a space not only between objects but between viewers and the larger spatial environment. In choosing the title Relatum&mdash;referring to a singular aspect of relationship&mdash;Lee both rebukes the term sculpture and forgoes the more hermetic associations of the term relationship, conjuring a more philosophical and infinite type of connection engendered through the correspondence between rock and steel. The contrast between the manufactured steel plate and the natural rock bring together a new harmony between&nbsp;</p> <p style="text-align: justify;">technology and nature.</p> <p style="text-align: justify;">In his Dialogue paintings, Lee begins by loading a broad brush with a gradient of pigment&mdash;here blues, greys, and oranges&mdash;and applies the pigments to the canvas in one or two strokes. The simple compositions enact a dialogue between the paint and the unmarked space of the ground layer.</p> <p style="text-align: justify;">Lee Ufan (b. 1936, Haman-gun, Kyongsangnamdo, Korea) is a pioneering figure of Mono-ha (&ldquo;School of Things&rdquo;) in Japan and the Tansaekhwa school of Korean monochrome painting. He is the 2014 recipient of the Kanagawa Prefecture Cultural Prize and the 2001 Praemium Imperiale, awarded by the Japan Art Association. Lee&rsquo;s work has been celebrated in numerous international solo and group exhibitions including the Gwangju Biennale (2000, 2006), S&atilde;o Paulo Biennial (1969, 1973) and Documenta (1977). His exhibition Resonance was part of the 2007 Venice Biennale.</p> <p style="text-align: justify;">In April, the Busan Metropolitan Art Museum opened a permanent installation of Lee&rsquo;s work in its new building and on its grounds. Spanning approximately 15,000 square feet of gallery space on two levels, the Lee Ufan Gallery includes painting and sculpture from different decades of his career. It is the museum&rsquo;s only gallery dedicated to a single artist.</p> <p style="text-align: justify;">Lee has been the subject of numerous solo exhibitions worldwide at institutions including the Asia Society, Houston (2012); Solomon R. Guggenheim Museum, New York (2011); Royal Museums of Fine Arts of Belgium, Brussels (2008); Kunstmuseum Bonn (2001); St&auml;dtisches Museum im St&auml;del, Frankfurt (1998); Galerie Nationale du Jeu de Paume, Paris (1997&ndash;98); The National Museum of Contemporary Art, Seoul (1994); Hara Museum of Contemporary Art, Tokyo (1991); Louisiana Museum of Modern Art, Humlebaek (1978); and D&uuml;sseldorf Kunsthalle (1978).</p> <p style="text-align: justify;">In 2010, the Tadao Ando-designed Lee Ufan Museum opened in Naoshima, Japan. Lee&rsquo;s work is included in the public collections of more than sixty institutions worldwide including the Art Gallery of New South Wales, Sydney; Centre Georges Pompidou, Mus&eacute;e National d&rsquo;Art Moderne, Paris; Hara Museum of Contemporary Art, Tokyo; Solomon R. Guggenheim Museum, New York; Kunsthaus Zurich; Kunstmuseum Bonn; Leeum Samsung Museum of Art, Seoul; The Museum of Modern Art, New York; The National Museum of Art, Osaka; National Museum of Modern Art, Seoul; St&auml;dtisches Museum im St&auml;del, Frankfurt; and the Tate Gallery, London.</p> <p style="text-align: justify;">Lee lives and works in Kamakura, Japan, and Paris. This is his second exhibition at Pace since joining the gallery in 2007.</p> Sat, 02 May 2015 17:20:17 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Shirana Shahbazi - On Stellar Rays - May 10th - June 14th Sat, 02 May 2015 17:13:11 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Melodie Provenzano - Nancy Margolis Gallery - May 14th - June 27th Sat, 02 May 2015 17:09:01 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list