ArtSlant - Closing soon en-us 40 Pablo Picasso - Solomon R. Guggenheim Museum - October 5th, 2012 - January 23rd, 2013 <p>Surveying the Spanish master’s oeuvre from 1904 to 1971, <em>Picasso Black and White</em> examines the artist’s lifelong exploration of a black-and-white palette through some 110 paintings, sculptures, and works on paper. Picasso’s deceptively simple use of isolated black, white, and gray hues belies the extraordinary complexity and power of these expressive works, which purge color in order to highlight their formal structure. The exhibition traces the artist’s unique vision thematically throughout his whole body of work, including early monochromatic blue and rose paintings, gray-toned Cubist canvases, elegant and austere neoclassical portraits and nudes, Surrealist-inspired figures, forceful and somber scenes depicting the atrocities of war, allegorical still lives, vivid interpretations of art-historical masterpieces, and the electric, highly sexualized canvases of Picasso’s last years.</p> Mon, 03 Sep 2012 00:44:34 +0000 Sophie Miyamoto, Janine Eggert & Philipp Ricklefs, Jomar Statkun - Lynda Erickson Gallery - January 3rd, 2013 - January 24th, 2013 <p>Lynda Erickson Gallery Director Hollis Witherspoon is pleased to present The <em>Gift of The Art Object</em> in gallery space 200 in <em>111 Front Street Galleries</em>, with special assistance from the arts group This Red Door and support from Two Trees Management Co.  Triangulating three corresponding efforts each using strategies of appropriation, audio/visual recording and image recycling, this selection of work iterates an antagonistic position on the questionable nature of ‘originality’ in contemporary art.</p> <p>Though no other artist can claim to be an author or originator of the works shown in this exhibition, neither can the participating artists solely claim authorship of the objects to which their names are attributed. Rather these products are elements residual to an in studio/extra-studio practice, where plasticity itself an idea, and idea, though shy of material shape, is material. An integral articulation of production method and delivery system subsidizes art as product, reifying the art object’s status as an accessory to a given set of agreements; hence the art object’s notional gift nature.</p> <p>Sophie Miyamoto - <em>When The Angel of Death Kicks The Bucket of Life</em> is a single-channel video with stereo sound. The work excerpts a 1958 reading of “Finnegan’s Wake” from a found cassette tape projecting images of text  to accompany the sound recording. Pitch shifting present in the sound is completely natural and due to the decay of the magnetic tape at fortuitous moments, not from any conscious manipulation.</p> <p>Eggert/Ricklefs - <em>Ronde</em> is a playful examination of audiovisual relations.  The interior of a previously made kinetic sculpture <em>A Diamond As Big As The Ritz </em>provides the setting for the illusion of suspended gravity where an automobile tire floats while tethered to a string.  As homage to Johan Strauss’ <em>Blue Danube</em> animating the spacecrafts in Stanley Kubrick’s <em>Space Odyssey,</em> the tire appears to dance to the same musical piece in staged choreography. Video running time 9:54.</p> <p id="yui_3_7_2_1_1357238313084_11924">Jomar Statkun - <em>The</em> <em id="yui_3_7_2_1_1357238313084_11921">Banal Zone (#001)</em> and <em>The</em> <em>Banal Zone (#001.5).  </em><em>The Banal Zone</em> references Richard Prince’s 2008 exhibition <em>Canal Zone</em> at Gagosian Gallery.  As stated on the Gagosian Gallery website of the <em>Canal Zone</em> exhibition, “This has become a completely new way for Prince to make a painting, where much of what shows up on the surface is incidental to the process.”  In 2008, Patrick Cariou sued Prince, Gagosian Gallery and Rizzoli books for copyright infringement and won, claiming that Prince’s appropriation of some 40 photographs of Rastafarians taken from Cariou’s book<em>Yes, Rasta</em> failed to meet the terms of the “fair use” doctrine, which provides an exception to copyright law.  Prince and Gagosian Gallery have since appealed the ruling.  <em>The</em><em> Banal Zone</em> paintings have been made in a painting reproduction factory in China.  They are “copies” of the Richard Prince paintings from the <em>Canal Zone</em> exhibition.</p> Thu, 10 Jan 2013 05:56:13 +0000 Richard Deacon - Marian Goodman Gallery - November 28th, 2012 - January 25th, 2013 <p>Marian Goodman Gallery is delighted to announce an exhibition of new sculpture by Richard Deacon opening on Wednesday, November 28th and continuing through Saturday, January 19th, 2013. <br /> <br /> On view will be new works which highlight Deacon’s virtuosity with materials and his recent investigations into volume, surface, seriality, as well as his continued exploration of the relationship between body and space, interior and exterior, the organic and structural, material object, drawing and language.<br /> <br /> The exhibition will consist of four bent and twisted wooden works, sinuous forms infused with metal powders titled <i>Aluminum, Copper, Iron, and Brass</i>, which explore the dynamic tradition in Deacon’s work of organic and hybrid open/enclosed curvilinear forms. Three metal sculptures, of which two are multilayered, geometric folded metal works and incorporate hollowed solids and textured surfaces as in <i>Four by Four</i> and <i>Foolish Pride</i>, and one, a conjoined stainless steel work, <i>Siamese Metal #7</i>, which reveals the principle of aggregate construction and assembly from a compilation of shapes. Five powder-coated stainless works from his <i>Alphabet</i> series present matrices of trapezoidal, hexagonal, or octagonal forms adjoined to cavities of space and operate somewhere between drawing, wall relief, and freestanding sculpture. Three object-like stainless steel floor works from the <i>Custom series</i>, marked by their impermeable surface contours, originate from stainless steel tube and spinnings and refer to standardized products. <br /> <br /> <b>WALK ON BY.</b><br /> <br /> “Looking at this body of work I’d have to confess to an interest in surfaces – bright, scuffed, polished, scumbled, textured, applied and so on. I’d like to think that the surfaces not only fit the works, but are the works. As they say, what you see is what you get. It’s ended up that way, but I didn’t really start with the surface and build backwards. However it is that relationship to volume that interests me at this moment – that the surface is a beginning point rather than an ending, a cause rather than an effect.<br /> <br /> “There are other, more formal concerns, seriality for instance in the <i>Alphabet, Custom</i> and wooden works, each of which is composed of similar, either made or bought, units differently organized and the pieces thus individuated. The <i>Custom</i> works are made from stainless steel tube and spinnings. The title <i>Custom</i> comes from an idea about modification to standard products – customizing – and the particularities of each title – <i>Charmed/Foreign/Fivestar</i> – refers to something like style.<br /> <br /> The <i>Alphabet</i> works have a consistent vocabulary in terms of the width of the line but vary both in configuration and materiality – aluminium, stainless steel and particular powder-coated colouring. The series as a whole originates in a group of 26 drawings (an Alphabet), the use of the international letter identification names <i>I(ndigo)</i>, <i>H(otel)</i> etc is in recognition of this particular sub-set.<br /> <br /> “The wood works are all made up by selection from a group of bent and twisted wooden forms –– each composed with the idea of creating a single line. Paul Klee’s ‘taking a line for a walk’ is a reasonable description. They are further individuated by having their surfaces impregnated with metal powders – <i>Brass, Iron, Aluminium and Copper</i>.<br /> <br /> <i>Siamese Metal #7</i> continues a series made by combining two forms together and making them share features at their interface. <i>Siamese</i> refers to this twinning process, as in a Siamese junction in pipework, and harks back to the now discredited term for conjoined twins, a naming that remembers a pair of conjoined Thai acrobats in the nineteenth century court of the king of Siam.<br /> <br /> “The two folded metal pieces, <i>Four By Four</i> and <i>Foolish Pride</i> find their origins in the hollowing out of abutted polygonal solids, just the vertices being left as skeletal structures. The surface of <i>Four By Four</i> is powder-coated, textured like black leatherette inside and out, covering the entire surface. The title refers to the number and configuration of the elements, and to an idea of hi-end upholstery such as you might find in a slightly menacing ATV. <i>Foolish Pride</i> is, literally, inside-out. The checker plate surfaces are on the inside of the sculpture’s three elements and the outside, the back of the aluminium plate, is finished with swirling abrasions which make the light dance across them as you walk past – which indeed is the source of the title – “Walk on by, foolish pride’ as Dionne Warwick sang. “ <br /> <br /> - RICHARD DEACON OCTOBER 2012<br /> <br /> <br /> Current and upcoming projects include a new public commission for the Cornice of St. James’s Gateway, Piccadilly, which will be integrated into the architecture of the new façade. Formed of ceramic blocks, their faces decorated with a variety of related transfer patterns this 25 meter (92 ft) work will align with the activity of nearby Piccadilly Circus. Previewed at the Venice Architecture Biennial this year, the building project, the redevelopment of a block next to Piccadilly Circus by Eric Parry Architects and Stanhope Development, will be unveiled early in 2013.<br /> <br /> Deacon’s work will be shown from mid December through early March, at Centro de l’Arte Contemporáneo de Málaga (CAC Malaga) (12/13 – 3/10).<br /> <br /> An important retrospective exhibition of Richard Deacon’s work is scheduled to open in early Spring 2014 at The Tate Britain, London. <br /> <br /> Born in Bangor, Wales in 1949, Richard Deacon lives and works in London. He received a M.A. at the Chelsea School of Art, London (1977-78), a B.A. from the Royal College of Art, London (1974-1977), and attended St. Martin’s, London (1969-1972) and Somerset College of Art, Taunton (1968-1969). He was awarded the prestigious Turner Prize, Tate Gallery, London in 1987, and represented Wales at The Venice Biennale of Art 2007. <br /> <br /> His recent retrospective, <i>Richard Deacon: The Missing Part</i>, was shown at the Musee d’Art moderne et contemporain de la Ville de Strasbourg, France and The Sprengel Museum, Hannover, Germany from 2010-2011.</p> Tue, 08 Jan 2013 01:58:53 +0000 Sol Sax, Imo Nse Imeh, Margaret Rose Vendryes - Rush Arts Gallery - November 29th, 2012 - January 25th, 2013 <p>This cogitation over diaspora as a feeling, a history, or place, is an engagement with the process of mapping an aesthetic connection with home. <i>Dreamed My People Were Calling</i>, <i>and African Diva Project</i>, are exhibitions of visual interventions; pulsations of sorts that capture a deep nostalgia for home shared by some of the most moving artists of the black diaspora. Philanthropist, poet, collector, and curator of the exhibition Daniel Simmons seeks to tie together the ancestral and contemporary forms of artisans of African descent. The title of the exhibition is taken from the title of Simmons' book of poetry, also aptly titled<i> I Dreamed My People Were Calling But Couldn't Find My Way Home.</i></p> <p>Imo Imeh, Sol Sax, and Margaret Rose Vendryes are uncovering the inexplicit narratives of place, emotion, and cultural memories lived and imagined. In this sense, the artists are rendering an aesthetic conundrum of separation as connectedness. How are black diaspora artists constructing notions of home in their works? The return home does not only suggest travel back to the metropole, but in art practice suggests expressions of a particular consciousness of home rooted in diaspora. The narratives of the black diaspora are ones associated with trauma, loss, and fissure, but are also complicated with acts of agency, exultation, and celebration. Imeh, Sax, and Vendryes use their practices to draw upon influences in African visual and material culture, and in turn, map connections to the lived experience of blacks on either side of the Atlantic.</p> <p>Imo Imeh’s large scale figurations of black females, which he refers to as “fattened brides”, weave together stories of Ibiobio folklore and histories of racial violence and lynching practices in19th century America. Imo’s brides, bewildering as they are beautiful, connect viewers to the ritual of mbopo, a ceremony in which young women in Ibiobioland Nigeria are secluded in “fattening houses.”  It is in these structures that the brides undergo “corporeal modification”, and are transformed into beautifully adorned and powerful beings, learning the secrets of womanhood and childbirth. Imeh’s paintings encapsulate a compelling visual language that reconfigures symbols of beauty, trauma, and power.</p> <p>Similarly, the artistic practice of Sol Sax conveys a concern with language as a means to reconnect distinct culturalisms of African Americans and Yoruba, Bantu, and other spiritual forms rooted in West and Sub-Saharan Africa. His sculptures and assemblages of found objects, milk crates, and ceramics almost move towards an aesthetic of black diaspora iconography and idolatry; they are hybrid structures fusing together spirituality, wordplay, and history. Sol appropriates the accoutrement of the built environment, cinder blocks, baseball bats, tennis balls, and water cans, among many other things, to convey hybrid narratives infused with elements of hip hop and diasporic folklore. His objects articulate the language of separateness as connectedness. They reside like shrines in a domicile of dislocation.</p> <p>In Margaret Rose Vendryes’ African Diva Project, powerful black female icons don masks of regal deities and ancestors. Appropriated from the album covers of singers like Diana Ross, Betty Davis, Lena Horne, and Cassandra Wilson among others, Vendryes has allowed her figures to reclaim their agency, dismantling Western ideals of beauty, confronting the viewer with their strength, sexuality, and confidence. Vendryes’ work is as invigorating as it is intentional; there is a distinct historical lineage of the objectification female bodies, and in particular black female bodies. From the life of Saartjie Baartman, to Picasso’s landmark painting Les Desmoiselles d’Avignon, to contemporary presentations of black women in music videos and magazines, Vendryes’ visual expressions counter the historical representational modality of corporeal blackness and femaleness. Her women assert their agency by reaching back to an ancestral past.</p> <p>Imeh, Sax, and Vendryes are within the great company of artists like Aaron Douglass, Elizabeth Catlett, and Thornton Dial, who have long established ways to re-envision a spiritual, emotional, and historical engagement with diaspora. These objects share a historical trajectory of an disinterest in being grounded in any one place. They can only point towards a consciousness of omni-location, a metaphysical space of geographic universality and cultural specificity.</p> <p><b>-Jessica N. Bell</b></p> Tue, 20 Nov 2012 22:49:39 +0000 Group Show - Sikkema Jenkins & Co. - January 25th, 2013 - January 25th, 2013 Sat, 04 Jan 2014 18:50:13 +0000 David Salle - The Lever House Art Collection - October 25th, 2012 - January 25th, 2013 <p style="text-align: justify;"><span style="font-size: small;">David Salle’s installation, TAPESTRIES/BATTLES/ALLEGORIES, features six large-scale paintings inspired by allegorical scenes from antiquity.  “These pictures represent something I’ve been working toward for a long time – a kind of all-over painting with articulated images,” says Salle.  </span><br /><span style="font-size: small;"> </span><br /><span style="font-size: small;">With assertive brush strokes in high key, saturated colors, Salle creates highly expressive and original translations of 17th and 18th century Flemish tapestries as well as 19th century French wallpapers, imagery that was originally produced by weaving or stamping.  The painting’s background scenes are symmetrically doubled across their central vertical axes, resulting in a Rorschach-like composition.  </span><br /><span style="font-size: small;"> </span><br /><span style="font-size: small;">On these panoramic grounds, the artist layered shapes made by painting nude models and printing their bodies directly on the canvas as it rests on the floor.  Salle covers his models in bright teals and turquoise, cadmium greens, oranges, yellows, reds, blues, white and charcoal grey.  The presence of male as well female silhouettes also makes for a complex, relational reading.  The shapes made by the painted bodies sometimes completely obscure the background, resulting in an abstract painting space that is both buoyant and suffused with light.  </span><br /><span style="font-size: small;"> </span><br /><span style="font-size: small;">To this layered sandwich of directional color and shape atop the mysteriously allegorical scenes, the artist adds his familiar inset images that are essentially smaller discreet paintings that are cut into the larger work.  These inset panels represent recurring motifs such as Adirondack chairs, canoes, and curtained windows, as well as grisaille portraits of women caught in a pensive mood.  The juxtaposition of images, styles of painting, as well as the radical shifts in scale and direction all combine to create a fluid and expansive painting space, a dynamic comprehensive type of composition.  </span><br /><span style="font-size: small;"> </span><br /><span style="font-size: small;">While the paintings make reference to Yves Klein’s 1960s Anthropometries, Salle’s use of the human body to make expressive shapes on the canvas quickly assumes a life and meaning all its own and as critic Dawn Chan writes “…unlike Klein, who pressed the painted bodies of nude women, like stamps, against blank swaths of negative space, Salle splays and drags his models’ paint covered torsos, haunches, and limbs such that they are overlaid upon his painted translations of the aforementioned wall tapestries.  These tapestries, in turn, are re-imagined in colors almost as saturated as the body prints, so that looking at this new body of work can be as disorienting as the eye-popping illusions of Op Art.”  </span><br /><span style="font-size: small;"> </span><br /><span style="font-size: small;">For the installation, Salle worked with architect Christian Hubert to design a series of scrims and hanging panels to support the paintings at four points in the building’s glass-walled lobby, with two works viewable from the street, and the rest from inside the building.  Recalling the way architect Philip Johnson displayed a 17th century Nicolas Poussin painting in his iconic glass house of 1949, a decision was made to work with the inherent transparency of the 1952 Lever House architecture and 'float’ the paintings in a quietly theatrical manner. </span><br /><span style="font-size: small;"> </span><br /><span style="font-size: small;">Richard D. Marshall, Curator</span></p> Sat, 17 Nov 2012 08:39:38 +0000 Mattia Biagi - Anna Kustera - November 29th, 2012 - January 26th, 2013 <p>Anna Kustera is pleased to present in his second solo show at the gallery, Mattia Biagi's '<em>Someone Told Me Never To Do It.</em>'  In this new body of work, Biagi explores through multi-media forms the desire to make tangible a belief in supernatural causality and its cultural nuances.   </p> <p>By traversing abstract sculpture, video, painting, photography and performance, he investigates human emotional reaction to physical objects that have superstitious associations.</p> <p><strong>Please note: The gallery will be closed for the holidays from December 24 - January 1, 2013</strong></p> Fri, 18 Jan 2013 00:54:43 +0000 - Benrubi Gallery - January 11th, 2013 - January 26th, 2013 <p>The Bonni Benrubi Gallery, along with the Benrubi and Powers families, will be celebrating the life of Bonni Benrubi with a special memorial exhibition to be held at the gallery. Bonni, who passed away on Thursday, the 29th of November, after a long battle with cancer, left us with one of the most highly regarded photography galleries and collections in New York. Bonni's Best will include special selections from the private collection of the celebrated dealer, as well as iconic images from the gallery's 25-year history. Please join the family and staff of the gallery on Friday, January 11th, from 6 - 9 for the opening and memorial. The evening will offer a chance to view the work, and celebrate Bonni's life and passion with her friends and family who knew her best. Bonni Benrubi (1953 - 2012) began working with photographs in 1977 at the Daniel Wolf Gallery, where she became director until 1987. Soon after, she began private dealing and opened a public gallery in 1992. She has championed the careers of many contemporary artists including Abelardo Morell, Massimo Vitali and Matthew Pillsbury. She was also deeply involved with American mid-century vintage material and has built extensive collections for many individuals throughout the world. The Bonni Benrubi Gallery continues posthumously today to celebrate and exhibit the vision of this exceptional and beloved presence in the world of photography. Please join us for the opening reception and memorial here at the gallery on the evening of the 11th of January.</p> Tue, 08 Jan 2013 02:57:40 +0000 Younghee Choi Martin - Bowery Gallery - December 26th, 2012 - January 26th, 2013 <p style="text-align: justify;"><span style="font-size: small;">The<strong> Bowery Gallery</strong> presents an exhibition of <strong>Younghee Choi Martin</strong>'s "<strong><em>Recent Paintings: Myth of Orpheus</em></strong>," on view from December 26, 2012 through January 26, 2013. The opening reception will be held on Thursday, 5–8 pm, January 3, 2013.</span><br /> <br /><span style="font-size: small;"> There are over a dozen paintings ranging in size from mural scale, <em>Here is the Meadow Where We Started</em>, (74" x 112") to a more intimate size, On the Edge of Light, (12" x 21").Younghee Choi Martin's approaches and methods involve extremes. Some paintings have been labored over for several years, re-working, adjusting, scraping, repainting, and finally re-inventing the entire composition. The rigorous creative process results in varied density and unexpected moves within one canvas. Other paintings have been completed with ease in a few sessions. Similarly, many paintings are expressed in full color palette while others are painted nearly in monochrome, and still others in black and white over a field of a single dominant color. As she develops pictorial themes and ideas, they flow from large canvases to small sketches and back.</span><br /> <br /><span style="font-size: small;"> Younghee Choi Martin's interpretive vision of the ancient Greek myth of Orpheus derives not only from classical sources, but also from Monteverdi's opera L'Orfeo. She draws a wealth of emotionally charged situations: the joyful preparation for a wedding, the tragedy of a wife's sudden death, the insurmountable challenge to persuade the god of the underworld through music, the illusion of victory destroyed by a doubting backward glance, and the inconsolable grief at the second loss of a loved one. Younghee structures these scenes of human vulnerability in painting terms, creating an expressive poetic fullness. </span><br /> <br /><span style="font-size: small;"> Her pursuit in Fine Arts began as a high school student attending the Brooklyn Museum Art School. She went on to study at the Rhode Island School of Design, RISD's Rome program, and Yale's Summer Program. In the 1980's, she was awarded painting fellowships from the National Endowment for the Arts and the NY CAPS program. </span><br /> <br /><span style="font-size: small;"> For over three decades, Younghee Choi Martin's works have been exhibited in New York and throughout the United States, Korea, Japan, France, and Italy, including 19 one-person shows and 50 group-shows in various galleries, museums, and art fairs. Over 80 paintings and drawings are placed in various collections in the United States, Korea, Japan, and India.</span></p> Sun, 30 Dec 2012 09:28:33 +0000 Jennifer Marman & Daniel Borins, Neil Goldberg, Markus Hansen, Alois Kronschlaeger, Simon Lee, Ryan McGinness, Tomas Rivas, Eve Sussman, Jean Shin - Cristin Tierney Gallery - January 3rd, 2013 - January 26th, 2013 <p>Cristin Tierney is pleased to present a new group exhibition entitled <em>Reduce. Reuse. Recycle.</em> featuring works by Neil Goldberg, Markus Hansen, Alois Kronschlaeger, Simon Lee, Jennifer Marman and Daniel Borins, Ryan McGinness, Tomas Rivas, Eve Sussman, and Jean Shin. This exhibition will be on view through Saturday, January 26th, 2013. <br /> <br /> From Marcel Duchamp's readymades to Robert Rauschenberg's combines, the contemporary art world has embraced the tradition of making artwork from found objects and repurposed materials. For this exhibition, Cristin Tierney Gallery brings together a selection of artists who literally and conceptually reduce, reuse and recycle their materials, stripping away original intent in order to encourage new associations and meanings. <br /> <br /> In the large-scale work <em>Lorelei</em>, Markus Hansen co-opts a discarded cowhide to create an elaborately carved relief sculpture, juxtaposing positive and negative space. In <em>Lost &amp; Found</em>, Jean Shin rescues lost socks from NYC laundromats to create amorphous sculptures filled with dryer lint. Biomorphic in form and abject in feeling, these pieces are a stark contrast to the cool, contained <em>Shredded Rectangle 36 x 72</em> of Marman + Borins; a Plexiglas box filled with redacted, classified documents.<br /> <br /> The conceptual takes center stage with the photographs of Neil Goldberg. These tiny images, entitled <em>East 7th Street Moraine</em>, evoke the ghosts of artworks past, literally re-framing absent images with the accumulated dust of years gone by. <em>Seitenflugel</em>, a new work by Eve Sussman and Simon Lee, reduces a week's worth of video footage into the space of a day, taking the viewer from dawn to dusk in just twenty-eight minutes. Whether appropriating, altering or salvaging existing materials, the artists featured in this exhibition move beyond Duchamp and his successors by instigating a greater engagement with materials and form, inspiring new connotations and ideas in their transformation of the everyday.</p> Fri, 11 Jan 2013 05:25:47 +0000 MIKE METZ - CUE Art Foundation - December 8th, 2012 - January 26th, 2013 <p>CUE is pleased to present referrals, a solo exhibition by New York-based artist Mike Metz, generously curated by critic and art historian Joseph Masheck.<br />Through a diverse artistic practice, Metz engages the possibilities of language and the complex relationship between the visible and the verbal. His forms are ambiguous, deliberately occupying a grey area of identification—a sort of threedimensional play with the famous optical illusion, the duck-rabbit. The titles of the works encourage viewers to consider these objects as having more than any single, definitive signifier, and as curator Joseph Masheck writes, “having two or more ‘things’ cancel one another by coexistence in material extent and space makes at once for abstraction and linguistic concreteness.”<br />Works on view include sculptural objects made from bronze, aluminum, copper, steel, and Styrofoam, and banners using canvas, paper, and vinyl.<br />Metz has exhibited his work in the United States and internationally, including Snared-trapped and concealed, T-space, Rhinebeck, NY (2011); Venice Wall (What is Intellect?) at the 52nd Venice Biennale, curated by Gavin Wade, Venice (2007); City Art: New York’s Percent for Art Program, The Center for Architecture, New York, NY (2005); and Strike, curated by Gavin Wade, Wolverhampton Art Gallery, London (2002). This marks his first solo exhibition in New York City since 1995.</p> Tue, 04 Dec 2012 22:41:54 +0000 Beverly McIver - CUE Art Foundation - December 8th, 2012 - January 26th, 2013 <p>Space Program participant Beverly McIver will present new work<br />in the Project Space. McIver is known for her paintings which<br />explore racial, gender, social, and occupational identities. Her<br />work is held in museum collections nationwide, including the<br />North Carolina Museum of Art, the Asheville Museum of Art, and<br />the Weatherspoon Art Museum. Recent grants and awards<br />include Anonymous Was A Woman, the John Simon<br />Guggenheim Fellowship, the Radcliffe Fellowship from Harvard<br />University, and Creative Capital. Her solo exhibition Face to<br />Face: Beverly McIver was on view at the Boulder Museum of<br />Contemporary Art in 2010</p> Tue, 04 Dec 2012 22:48:17 +0000 Marylyn Dintenfass - Driscoll Babcock - November 17th, 2012 - January 26th, 2013 <p>Driscoll Babcock Galleries is pleased to present DROP DEAD GORGEOUS, the latest body of work by Marylyn Dintenfass, whose brilliant chromatic abstractions evolve to evoke a representational narrative about nature’s fatally duplicitous markers. Dintenfass’ work has always embodied the unease of “nothing is ever what is seems” in life, and her newest canvases draw their inspiration from some of nature’s most beautiful, but dangerous plants. A focus of the show is the Angel’s Trumpet flower, a ravishing and singular beauty of nature whose exquisite deadliness is iconic. Dintenfass’ vibrant abstractions of the Angel Trumpet’s shapes and forms conjure the plant’s stunning looks, its siren-like allure, and its toxicity. <br /> <br /> “Dintenfass’ latest work reaffirms her position as a significant figure in the rich tradition of colorists who explore the potent and evocative union of representation and abstraction: figures like James Turrell, Richard Diebenkorn, Mark Rothko, Morris Louis, Paul Klee, Henri Matisse and Paul Gauguin, all of whom she continues to respect,” remarks John Driscoll, President of Driscoll Babcock. Driscoll also pointed to the paintings’ “more overt sexual sensuousness in the metaphorical anatomical references in which the dangerous and sinister flower forms conjure genital appendages and vaginal slits in pulsing colors.” Dintenfass has always loved the interplay of blessings and curses, and in this new series of paintings she has increased the scale, heightened the chromatic intensity and simplified the visual layering to produce a powerful and graphic visual.<br /> <br /> Critic Lilly Wei has written that Dintenfass’ painting is “[l]ush but also astringent, with a glittered coolness and reserve that offsets its heat…a bracing example of an experiential painting for the present,” In this remarkable group of new large scale paintings, Dintenfass has surely found the duality of the lush and the astringent, the tantalizing and the toxic.<br /> <br /> Dintenfass, while not an inherent naturalist, explores extreme wilderness adventure as a visual and creative reboot from fine art, to “completely drain my visual reservoirs of everything extraneous and fill my senses with fresh colors, shapes and forms, textures, light and shadows that renew and reenergize my creative vision,” explains the artist. Riding white-water rapids on the Snake River, heli-hiking on a remote mountain of British Columbia, trekking the depths of Bryce Canyon, Dintenfass recognizes the peril of chance encounters with venomous snakes, predatory animals and toxic plants. She adds, “Often, the best interaction with nature is through a plate glass window. In DROP DEAD GORGEOUS, the lithe and beautiful plants that serve as the subject won’t just make you sick, but they are lethal. They kill you.”<br /> <br /> As in her previous work, the symbolic layering of intellectual and psychological themes is reinforced by figural layerings of transparent color and the removal of built up surfaces. DROP DEAD GORGEOUS evokes literal and ephemeral interpretations, reinforced by her method of paint application and removal, where she unites hardedge painting with soft brushstrokes. Her transparent layers of oil paint and the luminescence she achieves from her nuanced mixing of colors and navigating a gestural relationship between light, line, and chroma. Dintenfass’ new large-scale paintings include diptychs and triptychs, amongst single-panel paintings, and as always, metaphors of her own intricate relationship with visual reality and hidden duplicity.<br /> <br /> <br /> ABOUT MARYLYN DINTENFASS<br /> Marylyn Dintenfass is an internationally known artist whose work is found in major public, corporate and private collections in Denmark, England, Israel, Italy, Japan and the United States. Among the institutions that have acquired her work are: The Metropolitan Museum of Art, The Cleveland Museum of Art, Detroit Institute of Arts, Museum of Fine Arts, Houston, Mississippi Museum of Art, Minneapolis Institute of Arts and the Smithsonian American Art Museum. Her 2010 Parallel Park installation in Fort Myers, Florida is one of the largest and most noteworthy public art projects of the last decade. A two-time MacDowell Fellow, Dintenfass’ work has been widely reviewed and her 2011 Babcock Galleries exhibition was selected as one of the top 100 shows by Modern Painters.</p> Fri, 21 Dec 2012 05:30:38 +0000 Luis Castro, Kate Elliot, Janet Goldner, Thiago Szmrecsányi - Flomenhaft Gallery - January 3rd, 2013 - January 26th, 2013 <p><span style="font-size: small;" size="3">The Flomenhaft Gallery is honored to have such a fresh and exciting sculpture exhibit curated by Emma Amos, a superb artist in her own right, and represented by our gallery.   <br /><br />                 Luis Castro works in wood and stone, creating works with a sense of lightness, potential mobility and play. Each piece has a particular material history:  the step of a Baltimore row house, a piece of a NYC courthouse, or the trunk of a majestic maple.  He cuts, grinds and sands rough heavy materials until objects emerge that evoke feelings of tenderness and sensuality. Smooth surfaces, open forms and curved shapes belie the courser origins of the sculptures.                 <br /><br />                 Kate Elliot dissects and unites wire, wood, wax, clay and everyday materials to create abstract organisms.  Strange yet familiar forms offer an indirect way of looking at ourselves. Constructions are captured in stances of defense, gestures of flight, or limited mobility. Implied motion or restraint evinces tension, desire, resilience and the feeling of impermanence—the recurrent themes of her work. Celebrating the magnificence and ferocity of humanity and the natural world, her improvisational constructions are reflections upon the ingenuity, flexibility and strength of survival.  She mimics closed loop systems that reuse matter—making death fodder for new life. She exposes the enigmatic structures and patterns of this underlying micro/macroscopic world and is drawn to nature’s repetition of design (how tree roots could be mistaken for lightning, veins, coral or bacteria, in a different context). She organizes her experiences into an integrated worldview.         <br /><br />                 Janet Goldner's life experiences play an integral part in the development of her work. She makes free-standing steel sculptures and wall-bound installations that reference her artistic lineage going back to the welded sculpture of Julio Gonzalez.  A master welder, she works in three dimensions, on paper, on the floor, and on walls. Her work displays a deep continuing interest in African art.  Janet's work combines abstract and classical forms and ideas, as well as ages old motifs and skills. It records and reflects human scale, labor, body ornaments, utensils, community and traditions as well as what is current.  Her sculptures thrive on small tensions between light and shadow, the organic and precise, the playful and serious, political and personal.  She uses a welding torch as a drawing instrument, cutting images and text into them.  Janet has exhibited widely throughout the US and internationally.  She has received numerous awards including a Fulbright Senior Research Fellowship and two Fulbright Senior Specialist grants.<br /><br />                 Sculptures by Thiago Szmrecsányi are games and installations that he employs and transforms from found objects, printed images, and recycled construction materials to create single and multiple pieces, placing an emphasis on process, relating current art making practices to other mundane activities. He enjoys playing and finding unexpected meanings and uses in objects; and they can take multiple configurations as thoughts are refined and ideas are re-shaped.  The employment of re-used everyday objects and materials as well as a provision for change and re-arrangement are the qualities that unite <em>Common Thread</em>, <em>Superior Protection</em>, <em>Successful Slippers</em> and <em>Ring and String.</em></span></p> Tue, 01 Jan 2013 02:15:19 +0000 John Stein, Cooper Paulson, Keith Hoyt - Gallery Brooklyn - December 15th, 2012 - January 26th, 2013 <p><em>We are not philosophers. Our work is not surreal. Our work is ultra real. We are the Meta-Verists, the Neo-Futurists, we have no need for the esoteric contrivances which are the vestments of the pseudo intellectual pedagogues of the art world. Our work, our art is not that of the lie but the truth that our world is made of lies. These works are the substantive metaphor of our artistic ideas, without the heady pretense of over implication of contrived meaning. Our work is at once original and informed by the established values of prior generations. This work is not exclusive of the majority and the archetypes within it are reflected in parallel. Intellect is not exclusive, art is for all…</em></p> Mon, 14 Jan 2013 22:55:02 +0000 Melissa Cooke - Jenkins Johnson Gallery - NY - November 8th, 2012 - January 26th, 2013 <p>Jenkins Johnson Gallery, New York, is pleased to present Plunge, a solo exhibition of recent drawings by Melissa Cooke. This will be her first solo show with Jenkins Johnson Gallery in New York. There will be an opening reception with the artist on November 1 from 6 to 8 pm.<br />Plunge features new large-scale works on paper by Melissa Cooke; her powdered graphite drawings explore themes of beauty, fantasy, violence, and identity, with the artist casting herself as the subject in a myriad of thematic scenarios. Her work confronts the viewer both with scale and stirring reflections of emotion, sexuality, and drama. Cooke’s dedication to self-portraiture stems from her creativity and her love of characters and costumes but also gives her an outlet to explore her identity and process events within her life. Each new series tackles a different set of questions and topics while also holding fast to the questions of persona evident throughout Cooke’s entire oeuvre.<br />In her new body of work, Undertow, the artist has created close cropped portraits that investigate the relationship between photography, performance, and drawing. Cooke photographed herself sinking and diving in water, and it is these images that became the basis for her haunting and ethereal drawings. Departing from traditional portraiture, Cooke has zoomed in on close sections of her face, thereby pushing the human figure into ambiguity and abstraction. Flesh and hair intertwine with ripples and bubbles, and water dissolves into brushstrokes and soft eraser marks. The water becomes a landscape. Cooke states of this new series, “I recently moved to New York City from Wisconsin. Unaccustomed to city living, I am frequently overwhelmed by the hectic environment. The bathtub has become a respite from this chaos, and a substitution for the calming comfort of Midwest lakes. Commotion is muffled underwater. Submerged, I am in the quiet, weightless in a space of reflection.” Her works, typically inspired by emotionally charged memories and relationships, serve first as a cathartic experience, and then as an aesthetic exaggeration of emotion. Having been compared to Cindy Sherman for her role playing and psychological undertones, Cooke’s work skews reality and allows fiction to become truth.<br />Cooke’s work starts with a series reference photographs that become the inspiration for her large scale intricate portraits. Images are created by dusting thin layers of graphite onto paper with a dry brush. The soft quality of the graphite provides a smooth surface on which details can be augmented by erasure. No pencils are used in the work, allowing the surface to glow without the shine of heavy pencil marks. The scale of the drawings demands an intimate and physical interaction with the work, forcing the viewer to confront the challenges Cooke presents.<br />Melissa Cooke received her MFA from the University of Wisconsin-Madison. She has exhibited widely throughout the United States, including solo exhibitions at the Museum of Wisconsin Art, West Bend and at Madison Museum of Contemporary Art, Madison, WI, among others. She was a 2010 and 2011 Artist-in-Residence at the Bemis Center for Contemporary Art, Omaha. Cooke is in the permanent collection of the Arkansas Museum of Art, Little Rock; The Howard Tullman Collection, Chicago, IL; and the Boston Public Library Print Collection, MA, among others. She was reviewed in ARTnews as a part of Jenkins Johnson Gallery’s On Paper exhibition.<br /><br /></p> Tue, 08 Jan 2013 03:37:21 +0000