ArtSlant - Recently added http://www.artslant.com/ny/Events/show en-us 40 Lee Maida - Joe Sheftel Gallery - April 19th - May 24th Sat, 18 Apr 2015 16:24:29 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Richard Dupont - Tracy Williams, Ltd. - May 15th - June 28th Fri, 17 Apr 2015 20:06:34 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Mira Burack - CUE Art Foundation - May 2nd - June 5th <p><strong>Mira Burack</strong>&nbsp;is an artist living in the mountains of New Mexico.&nbsp;She received her&nbsp;Master of Fine Arts from Cranbrook Academy of Art and Bachelor of Arts in Studio Art and Psychology from Pepperdine University. Burack was born in Boston, Massachusetts and grew up on the coast of Maine. Her work has been exhibited nationally and internationally at the School of the Art Institute of Chicago, Muskegon Museum of Art, Cranbrook Art Museum, Media Knox Gallery in Slovenia, Art Gallery of Windsor in Canada, and Kunstverein Wolfsburg in Germany. She has lectured, taught workshops, and served as faculty at the College for Creative Studies. She received a Community + Public Arts: DETROIT grant for The Edible Hut, a community space with a living edible roof. Recently relocated to rural New Mexico after living in Detroit for 10 years, Burack spends her time learning from this new landscape, making, and enjoying her family. &nbsp;</p> <p id="yui_3_17_2_1_1429295395030_1892"><strong>Artist Statement</strong><br />My work investigates everyday matter, seeking out an embedded material language that exists between our bodies, our possessions, and our environment. In creating spaces, making intricate photo collages, soft sculptures, and installations, I draw connections between the material and the immaterial, the visceral and the technological, two dimensions and three dimensions, and ultimately, the conscious and unconscious.&nbsp;<br /><br />While making, I explore the physical qualities and historical properties of the materials. The human history of textiles and the illusionary nature of painting influence my way of working. Methods of documenting, multiplying, extracting, cutting, connecting, layering, and arranging are used to resuscitate the material, bringing us closer to it again with new perspective.<br /><br />I am engaged by the living sculptures in our daily lives&mdash;plants, animals, people, and the interior and exterior spaces around us. I am interested in how they teach us, activate our senses, and provide us with intimacy, comfort, rest, and pleasure.&nbsp;</p> Fri, 17 Apr 2015 18:35:38 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list John Scott - Flowers Gallery NY - May 16th - June 13th <p>Flowers Gallery is pleased to announce <em>Mortality Games</em>, the first solo exhibition to be held in New York by renowned Canadian artist John Scott. The exhibition draws together works from 2008 to the present day, featuring energetic, raw-edged drawings and works on paper.</p> <p>Throughout his career, Scott has used recurring figurative motifs to explore the broad themes of power, politics, conflict and mortality, which are continually enlivened by his contemporary subject matter.</p> <p>One of Scott&rsquo;s persistent emblems, the human figure with bunny ears, embodies a personal symbolism of vulnerability and anxiety. Identifying with their powerlessness, Scott burdens the characters with the plight of the &lsquo;everyman&rsquo;, the worker he sees as eternally suffering at the hands of politicians and captains of industry. His centralized, iconic &lsquo;commanders&rsquo; are warlike Napoleonic figures, rendered as featureless silhouettes except for glowing red eyes. <em>Alpha Male </em>incorporates text scrawled on the surface; phrases such as &lsquo;Event Horizon&rsquo; and &lsquo;Black Sol&rsquo; suggest that his presence transcends the confines of history, existing ominously across the past, present and future.</p> <p>His allegorical subjects have become increasingly self-referential in recent times. In his latest series of works from 2015, the artist considers his own inevitable aging process, introducing new symbols of flowers and a mummified form to reference corporeality, decay, restriction and attempts at eternity.</p> <p>Scott&rsquo;s drawings can be seen as acts of resistance and survival against the dystopian backdrop of a post-industrial world. Growing up across the water from Detroit during the 1960&rsquo;s in Windsor, Ontario, Scott witnessed the unemployment, poverty and violence of an industrial city in decline, alongside the pollution and other dangers facing its blue-collar workers. Placing visual and material symbols of the automotive industry alongside images of war and apocalypse, (such as a painted car hood, which resembles an iconic fighter jet in Stealth Mountain), Scott references the terrifying effects of the advancements of industrial technology on contemporary warfare.</p> <p>&ldquo;His pieces are at once apocalyptic and hopeful; they evoke both fear of annihilation and the shrewd instinct to survive; they embody the conflicted state of anxiety that characterizes our being.&rdquo; &ndash; David Liss, Event Horizon exhibition catalogue, 2008.</p> Fri, 17 Apr 2015 18:15:59 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Milton Avery - DC Moore Gallery - May 1st - June 13th Fri, 17 Apr 2015 17:17:55 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Charles Burchfield - DC Moore Gallery - May 1st - June 13th <p style="text-align: justify;"><strong>Charles Burchfield</strong>&nbsp;(1893-1967) had an intensely personal, spiritualized view of the world. As highlighted by the exceptional group of watercolors and drawings in this exhibition, he was a keen observer of his surroundings, depicting scenes with which he was familiar, often imbuing them with a visionary sensibility that was deeply felt.&nbsp;<br /><br />Among his earliest works are modernist views of his hometown of Salem, Ohio, and the surrounding countryside. After graduating from the Cleveland School of Art in 1916, he created many imaginative landscapes and developed a personal visual language of fantasy.<br /><br />In&nbsp;<em>Chestnut Trees</em>&nbsp;of 1916, he transformed the natural world into an expressive pattern of abstracted, stylized forms in heightened color. Curling shapes cover the ground at the base of two large tree trunks, while intertwining lines enliven their bark. Buried deep in the center of the composition is a circular form that appears to be vibrating or emitting energy, linking the painting to what Burchfield once called his &ldquo;rhapsodic fantasies&rdquo; of the period.&nbsp;<br /><br />Burchfield was also drawn to the urban landscape. In the 1920s and 30s, he often painted the austere imagery of industrial development and railroad yards, as well as the local architecture of towns and villages, including many views of his home in Gardenville, near Buffalo, New York. While he was striving for increased realism, he was not after literal depictions of the world around him. He was instead working towards a clarity of structure and design that was almost classical in form, while also poetic in feeling. In 1940, he wrote that he preferred to be known as a &ldquo;romantic-realist,&rdquo; adding that, &ldquo;It is the romantic side of the real world that I portray. My things are poems&mdash;(I hope).&rdquo;&nbsp;<br /><br />In the early 1940s, Burchfield returned to a bolder, more expressive approach. Much of his later work reveals two complementary sides of his artistic personality&mdash;from exuberant views of sunlit fields and atmospheric skies to more introspective meditations on the profound depths of nature. By the last five years of his life, his paintings were increasingly dreamlike.<br /><br />In&nbsp;<em>Moonlight in a Flower Garden</em>&nbsp;of 1961, he envisioned a nocturnal world animated by the effects of a full moon. A multicolored, haloed moon illuminates a pale sky, below two large, colorful moths that hang on a band of green and yellow plant forms. The energized flower garden in the bottom half of the painting is mysteriously attuned to the moonlight, with vibrating bushes and trees, and flowers with markings that resemble human faces, giving them an almost anthropomorphic quality.&nbsp;<br /><br />In both his life and art, Burchfield saw the universal in the particular, and nothing was too small or insignificant to capture his attention. He felt strongly that his identity as an artist was bound up with his relation to nature. &ldquo;I feel impelled to embrace the earth,&rdquo; he wrote in his journals. On another day spent in the fields and woods, he found that, &ldquo;My spirit was in complete harmony with the world of nature and absorbed every sight and sound with a completeness that has not been my lot for many a month.&rdquo;<br /><br />DC Moore Gallery is the exclusive representative of The Charles E. Burchfield Foundation.</p> Fri, 17 Apr 2015 17:19:08 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list - Rosenberg & Co. - May 4th - July 2nd <p>Rosenberg &amp; Co. is pleased to present its second exhibition, Collages (May 4 &ndash; July 2, 2015). The group exhibition will open the first week of May to coincide with New York&rsquo;s major Impressionist and Modern art auctions.</p> <p>Opened in March 2015, the gallery continues the Rosenberg family&rsquo;s distinguished tradition of exhibiting balanced combinations of Modern and contemporary artworks by an international roster of prominent artists. The medium of collage as a common theme enables a rich, cross-temporal dialogue spanning the twentieth and twenty-first centuries. Artworks included in this exhibition range from whimsical and jewel-toned to stark and analytical.</p> <p>Collages features works on paper by Morris Barazani, Marcin Dudek, Balcomb Greene, Donald Hamilton Fraser, Oleg Kudryashov, Henri Laurens, and Esteban Vicente, amongst other artists. This exhibition provides a lens through which visitors may focus on special examples selected from an expansive topic. The breadth of the exhibition &ndash; chronologically and stylistically &ndash; is illustrated when comparing a work such as Greene&rsquo;s #10 (1935), composed of densely layered papers on a small scale in a variety of textures, shapes, and palette of muted hues, to Vicente&rsquo;s Untitled (1980), the expansive picture plane dominated by emphatic vertical and horizontal linear forms in deep greens, purples, and reds.</p> <p>Rosenberg &amp; Co. renews a salon-style space with a focus on the highest standards of connoisseurship and expertise. With an emphasis on the secondary Modern art market, Rosenberg &amp; Co. also continues the legacy of working with contemporary artists.</p> <p>&nbsp;</p> Fri, 17 Apr 2015 15:36:13 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Aida Mahmudova - Leila Heller Gallery - 57th Street - May 28th - July 3rd <p>Aida Mahmudova will hold her first solo USA exhibition at Leila Heller Gallery. The exhibition will feature eight new paintings that build on the themes of nostalgia and memory found in her past work and draw inspiration from the landscape and architecture of Azerbaijan where she lives and works.&nbsp; In this series of paintings Mahmudova explores the idea of impermanence. The works provide glimpses of Azerbaijan&rsquo;s natural surroundings, urban environment and architecture, a backdrop that is undergoing constant and rapid change. A central component of Mahmudova&rsquo;s work is her exploration of memory, its links to identity, and how they both can be continually altered and re-remembered over time.</p> <p>Aida has exhibited widely internationally, including <em>Here Today</em> at the Old Sorting Office in London; <em>Love Me, Love Me Not</em> at the 55th Venice Biennale; <em>Fly To Baku</em>, London, Paris, Berlin, Moscow, Rome; and <em>Merging Bridges</em> at the Museum of Modern Art, Baku, Azerbaijan. She is also showing at the 56th Venice Biennale as part of the VITA VITALE group exhibition curated by Artwise. She is also the founder and Creative Director of YARAT, a non-for-profit arts organisation in Baku, Azerbaijan dedicated to raising the platform of Azerbaijani art, who have just opened their first permanent space in Baku.&nbsp;</p> Fri, 17 Apr 2015 12:02:18 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Neil Gall - David Nolan Gallery - April 30th - June 6th Fri, 17 Apr 2015 11:09:55 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Mira Burack - CUE Art Foundation - May 2nd - June 5th <p id="yui_3_17_2_1_1429267099315_7931" style="text-align: justify;"><strong>Mira Burack</strong>&nbsp;is an artist living in the mountains of New Mexico.&nbsp;She received her&nbsp;Master of Fine Arts from Cranbrook Academy of Art and Bachelor of Arts in Studio Art and Psychology from Pepperdine University. Burack was born in Boston, Massachusetts and grew up on the coast of Maine. Her work has been exhibited nationally and internationally at the School of the Art Institute of Chicago, Muskegon Museum of Art, Cranbrook Art Museum, Media Knox Gallery in Slovenia, Art Gallery of Windsor in Canada, and Kunstverein Wolfsburg in Germany. She has lectured, taught workshops, and served as faculty at the College for Creative Studies. She received a Community + Public Arts: DETROIT grant for The Edible Hut, a community space with a living edible roof. Recently relocated to rural New Mexico after living in Detroit for 10 years, Burack spends her time learning from this new landscape, making, and enjoying her family. &nbsp;</p> <p style="text-align: justify;"><strong>Artist Statement</strong><br />My work investigates everyday matter, seeking out an embedded material language that exists between our bodies, our possessions, and our environment. In creating spaces, making intricate photo collages, soft sculptures, and installations, I draw connections between the material and the immaterial, the visceral and the technological, two dimensions and three dimensions, and ultimately, the conscious and unconscious.&nbsp;<br /><br />While making, I explore the physical qualities and historical properties of the materials. The human history of textiles and the illusionary nature of painting influence my way of working. Methods of documenting, multiplying, extracting, cutting, connecting, layering, and arranging are used to resuscitate the material, bringing us closer to it again with new perspective.<br /><br />I am engaged by the living sculptures in our daily lives&mdash;plants, animals, people, and the interior and exterior spaces around us. I am interested in how they teach us, activate our senses, and provide us with intimacy, comfort, rest, and pleasure.&nbsp;</p> <p style="text-align: justify;"><strong>Full catalogue essay:&nbsp;</strong><em><a href="http://cueartfoundation.org/young-art-critics-essays/collage-and-the-landscape-of-familiarity-by-john-mckissick" target="_blank">Collage and the Landscape of Familiarity</a></em>&nbsp;by John McKissick</p> <p style="text-align: justify;">Photography by Eric Swanson.</p> Fri, 17 Apr 2015 11:06:35 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Robert Motherwell - Andrea Rosen Gallery - May 1st - June 20th <div style="text-align: justify;"><em>&ldquo;We have only to look at the force of one of the&nbsp;</em>Opens<em>&hellip;to feel the complexity of observation the painter requires of himself and the viewer.&rdquo; *</em></div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;"><em>&ldquo;&hellip;a subtle but firmly asserted spatial ambiguity that gives the picture a deep resonance and an aura of mystery.&rdquo;**</em></div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Andrea Rosen Gallery is delighted to announce a comprehensive exhibition of Robert Motherwell&rsquo;s seminal&nbsp;<em>Open</em>&nbsp;series. The gallery has an ongoing commitment to timely presentations of historical material, in this case highlighting a point in the artist&rsquo;s trajectory when a confluence of institutional, intellectual, and market attention brings renewed appreciation to a significant body of work. The gallery is particularly interested in creating historical exhibitions that expand the reading and understanding of an artist&rsquo;s work. While Motherwell&rsquo;s significance may have been perceived primarily through the gestural&nbsp;<em>Elegies,</em>presenting the&nbsp;<em>Opens</em>&nbsp;now not only allows us to compare these masterworks against the present-day focus on abstraction, but also encourages us to reconcile the breadth of Motherwell&rsquo;s rigor and clarity. They are undeniably fresh, beautiful, and bold.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Typically composed as single-color surfaces on which he has painted three charcoal lines, the&nbsp;<em>Opens</em>&nbsp;were a primary occupation for Motherwell from 1967 through the 1970s, and briefly into the 1980s. Although it has been common practice to locate Motherwell alternately within the histories of midcentury American painting and Minimalism, the&nbsp;<em>Opens&nbsp;</em>exemplify the cerebral, content-fueled character that sets his work apart: the fragmentary rectangles offer an intense conceptual engagement with dualities of interior and exterior, and with perceptions of nature and space.&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Coinciding with the centennial of Motherwell&rsquo;s birth, the exhibition comes amid a groundswell of appre-ciation of his significance. In 2012, the Dedalus Foundation (founded by Motherwell in 1981) and Yale University Press published a major catalogue raisonn&eacute; of Motherwell&rsquo;s work. The Art Gallery of Ontario and The Solomon R. Guggenheim Foundation in New York have also produced remarkable studies on Motherwell in recent years, and the Opens themselves are the subject of a dedicated collection of essays and scholarly criticism published in 2010. In February of this year, the Metropolitan Museum of Art in New York opened an exhibition of Motherwell&rsquo;s monumental paintings, collages, prints, and illustrated books drawn from its holdings and those of the Dedalus Foundation.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">*Mary Ann Caws</div> <div style="text-align: justify;">** Jack Flam</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;"><em>Robert Motherwell, a central figure in twentieth-century painting who coined the name &ldquo;The New York School,&rdquo; was born in Aberdeen, Washington, on January 24, 1915. He graduated from Stanford University in 1937 and undertook graduate coursework first at Harvard University, then at Columbia University, where Meyer Schapiro encouraged him to devote himself to painting rather than scholarship. Motherwell had his first solo exhibition at Peggy Guggenheim&rsquo;s Art of This Century gallery in 1944; by the mid-1940s he had become the leading spokesperson for avant-garde art in America. Throughout his life, Motherwell taught and lectured extensively, and exhibited widely at museums in the United States and Europe. In 1965, The Museum of Modern Art, New York held a major retrospective of his work that subsequently traveled to Amsterdam, London, Brussels, Essen, and Turin. Throughout the 1970s and 1980s, he had important retrospective exhibitions in a number of European cities, including D&uuml;sseldorf, Stockholm, Vienna, Paris, Edinburgh, and London. In 1977, Motherwell was given a major mural commission for the new wing of the National Gallery of Art, Washington, D.C. A retrospective of one hundred major works was organized by the Albright-Knox Art Gallery, Buffalo, NY, in 1983 and subsequently traveled to The Los Angeles County Museum of Art; The San Francisco Museum of Modern Art; The Seattle Art Museum; the Corcoran Gallery of Art, Washington, D.C.; and The Solomon R. Guggenheim Museum, New York. Robert Motherwell died in Provincetown, Massachusetts, on July 16, 1991.</em></div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;"><em>Works from Robert Motherwell&rsquo;s&nbsp;</em>Open<em>&nbsp;series are in the collections of major international institutions including Albright Knox Gallery, Buffalo, NY; The Art Institute of Chicago; The Guggenheim Museum, Bilbao; The Los Angeles County Museum of Art; the Menil Collection, Houston, TX; The Metropolitan Museum of Art, New York; The Museum of Modern Art, New York; the Modern Art Museum of Fort Worth; the San Francisco Museum of Modern Art; The National Gallery of Art, Washington, D.C.; and The Whitney Museum of American Art, New York.</em></div> Fri, 17 Apr 2015 10:34:39 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Julie Langsam - 532 Gallery Thomas Jaeckel - April 30th - May 30th Fri, 17 Apr 2015 10:26:37 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Yun-Woo Choi - Open Source Gallery - May 2nd - May 31st <p>Yun-Woo Choi presents &ldquo;Endless, Seamless,&rdquo; an installation for Open Source Gallery.</p> <p>Given the ubiquity of printed matter in daily life, it is no wonder that people often become more concerned with the representation of a thing than the thing itself. In pop culture, print and images in the pages of magazines and newspapers illustrate our world through depictions of cars, celebrities, and lifestyles. In religion, many believe that the Holy Bible, Koran, and Buddhist scripts exist as sacred objects. Yet, constructed out of symbolic language, all of these texts and images only function as a kind of map, a tangible object that points to an existence outside of our four-dimensional perception. According to philosopher William James, there are two ways of knowing things: immediately and intuitively or conceptually and representatively. By folding, tearing, and combining, Yun-Woo Choi obfuscates the meanings constructed in two-dimensional printed material in an attempt to deliver intuitive feelings to the viewer.</p> <p>Philosopher Ken Wilber posits that thought and text represent a process of compressing three-dimensional reality into a two-dimensional illusion of the real world. Objectivity becomes an impossibility if one&rsquo;s own thoughts always translate the world into subjective representation. In theoretical physics, scientists discuss theories involving eleven space-time dimensions that cannot be perceived, yet exist all around us. Within these dimensions, there would exist a multitude of ways to perceive and exist in the world. Choi takes these theories into consideration to speculate about the possibility for one to exist in multiple realities where invisible and untouchable subjective concepts such as emotions may manifest physically, supported by different laws of physics.</p> <p>&ldquo;Endless, Seamless&rdquo; presents an intensely physical, yet fragmented and ethereal experience that allows for dualities to coalesce. Choi explores the relationship between the banal and profound, allowing seemingly opposite concepts to fragment and become intertwined as he constructs a subjective and ever-changing experience for the viewer. Encountering the philosophical and theoretical simultaneously within his elegant sculptures, one can begin to comprehend the numerous hidden and overlapping dimensions in reality.</p> <p>Yun-Woo Choi is a Brooklyn-based artist who was born in Seoul, Korea. He received a BFA and MFA in sculpture from Hong-Ik University, and an MFA from the School of Visual Arts. Choi was a recipient of the Jung-Ang Fine Art Prize in 2007 and participated in the Anderson Ranch Art Center residency program in Aspen in 2010. He recently won the award of Year in Review in the Sculpture and Installation category from See Me in 2014. His works have been featured in the Chungju International Craft Biennial, Busan International Biennial, as well as several group shows in Seoul, Los Angeles, and New York.</p> Wed, 15 Apr 2015 19:51:57 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Samira Abbassy, Rajie Cook, John Halaka, Ganzeer, Mary Tuma - FiveMyles - April 23rd - May 24th <p align="right">For immediate release</p> <p align="right">Contact: Hanne Tierney, 347-534-6776</p> <p align="right"><strong>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </strong><a href="mailto:hanne@fivemyles.org" rel="nofollow">hanne@fivemyles.org</a></p> <p align="right">&nbsp;</p> <p><strong>&nbsp;</strong></p> <p><strong>April 23 &ndash; May 24, 2015</strong></p> <p><strong>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;</strong></p> <p><strong><em>Artistic Weapons of Mass Communication</em></strong></p> <p>Curator: <strong>Souhad Rafey</strong></p> <p><strong>&nbsp;</strong></p> <p>Artists: <strong>Samira Abbassy, Rajie Cook, John Halaka, Ganzeer, Mary Tuma</strong></p> <p>&nbsp;</p> <p><strong>Reception:&nbsp;&nbsp;&nbsp; </strong>Saturday, April 25, &nbsp;5pm &ndash; 8pm</p> <p><strong>Hours:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </strong>Thu thru Sun, 1 to 6 p.m. or by appointment: 718-783-4438</p> <p><strong>Location:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </strong>FiveMyles, 558 St. Johns Place, Brooklyn, NY 11238</p> <p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Directions below</p> <p>&nbsp;</p> <p>A common thread connects the selected works being shown in this exhibition.</p> <p>Represented in &ldquo;Artistic Weapons of Mass Communication&rdquo; are five artists who utilize different artistic means in order&nbsp;to communicate strong statements through their work. In this context weapons may be construed to include art that is used to gain a strategic, material or mental advantage over traditional mindset.</p> <p>&nbsp;</p> <p>With the Middle East in focus, the show&nbsp;reflects&nbsp;opposition to&nbsp;wars of aggression, military occupations of foreign lands, and the&nbsp;necessary&nbsp;change to&nbsp;the destructive reality of&nbsp;"empire as a way of life."&nbsp;</p> <p>&nbsp;</p> <p><strong>Samira Abbassy</strong>&nbsp;includes&nbsp;a fragmented painting from her "Eternal War" series. &nbsp;The timelessness and repetitive nature of cycles of war, occupation and exile throughout history&nbsp;is captured here.&nbsp;With&nbsp;similarities to Persian miniature painting, the artist portrays the dismal realities of combat. Abbassy uses brown oil paint on gesso panels which&nbsp;deliberately places the work in the "Western Canon" and brings to mind Goya's "Disasters of War."&nbsp;</p> <p>&nbsp;</p> <p><strong>Ganzeer </strong>concentrates on civic responsibility and social justice. &nbsp;</p> <p>He&nbsp;takes a poem which can&nbsp;be considered a rather outdated form of mass communication, and not only repackages it in a singing style that matches the spirit and times of today, but also in an artistic music video that can be shared on the internet and distributed to the masses at large.&nbsp;</p> <p>&nbsp;</p> <p>Through her use of incorporeal forms <strong>Mary Tuma's</strong> work portrays a sense of loss. It invokes a feeling of distant memories; Images are like shadows or ghosts, something not quite whole and no longer real. Reality and surreality or humor and sadness usually come into play,</p> <p>&nbsp;&nbsp;</p> <p>The works of <strong>John&nbsp;Halaka</strong> and <strong>Rajie&nbsp;Cook </strong>are specific to the&nbsp;Israeli-Palestinian "conflict."&nbsp;&nbsp;</p> <p>&nbsp;</p> <p>The Palestinian-American artist<strong> Rajie Cook</strong> constructs intricate miniature silent theaters, small boxes attached to the wall, that conveying his feelings about the tragic situation in the Middle East.</p> <p>&nbsp;</p> <p>Through <strong>John Halaka's</strong> fabric photographs of fragmented portraits, he puts a human face on the abstract notion of the displaced masses, making the experiences of the refugees more real, comprehensible and unforgettable.</p> <p>&nbsp;</p> <p><strong>Souhad Rafey</strong> has an M.A. in Museum Studies from Virginia Commonwealth University. She has worked in over a dozen NYC museums and galleries,&nbsp;among which are the Cooper Hewitt, American Craft Museum, Museum of American Folk Art, Galerie St. Etienne, and Andy Warhol's Studio. &nbsp;Currently, she is the Curator of Exhibitions at the American Academy of Arts and Letters, and she&nbsp;oversees a private art collection.&nbsp;&nbsp;</p> <p><strong>&nbsp;</strong></p> <p>Directions: Take the 2,3,4 or 5 train to Franklin Ave. in Brooklyn. Walk two blocks against the traffic on Franklin Ave., turn left into St. Johns Place, Walk &frac12; block to 558 St. Johns Place. FiveMyles is located</p> Wed, 15 Apr 2015 19:03:41 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Kacper Kowalski - The Curator Gallery - April 22nd - May 30th Tue, 14 Apr 2015 19:00:35 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Michael Zelehoski - Mike Weiss Gallery - May 7th - June 20th <p><strong>Mike Weiss Gallery</strong> is pleased to present <em>New Order,</em> the first solo exhibition by Michael Zelehoski with the gallery<em>. </em>Zelehoski takes found three-dimensional objects like pallets and police barricades and restructures them into two-dimensional space. The resulting works are not mirrors of the objects but instead examine and challenge the selective process of human perception in its most abstract and creative tendencies. By working somewhere in between the separate domains of sculpture&rsquo;s core dimensionality and painting&rsquo;s historical flatness, Zelehoski&rsquo;s work also mixes in the formalist ethos of emphasizing composition. The exhaustive process of metamorphosis in Zelehoski&rsquo;s work fluidly moves between fully-formed objects and binary abstraction, pursuing the possibilities and intricacies of perception.&nbsp;</p> Tue, 14 Apr 2015 17:27:35 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list