ArtSlant - Recently added en-us 40 Albert Herter, Caitlin Keogh, and Candice Lin - Koenig & Clinton - December 10th - January 16th, 2016 <p>FOR IMMEDIATE RELEASE</p> <p><em>Bodily Imaginaries: Albert Herter, Caitlin Keogh, and Candice Lin</em></p> <p>December 10, 2015&ndash;January 16, 2016</p> <p>Opening Reception: Thursday, December 10, 6&ndash;8PM</p> <p>&nbsp;</p> <p>Koenig &amp; Clinton is pleased to announce <em>Bodily Imaginaries</em>, a group exhibition of works on paper by artists Albert Herter, Caitlin Keogh, and Candice Lin that presents divergent aesthetic approaches that reference discrete histories.</p> <p>&nbsp;</p> <p>The provocative antiheroes of Candice Lin&rsquo;s drawings confront colonial fears and fantasies head-on. Her pseudo historical etchings and watercolors, rendered in the style of a 19<sup>th</sup>-century imperialist travelogue, offer hyperbolically racialized caricatures who defy the safe bounds of control. Lin&rsquo;s narrative revisits a complex portrait of the eroticism, the conquest, and the ritual that were often loathed in an Occidental self and projected onto &lsquo;the other&rsquo;.</p> <p>&nbsp;</p> <p>Entirely constructed, mechanically hinged, and ghoulishly costumed, Albert Herter&rsquo;s bodies resemble composite marionettes incapable of grasping their own strings. His intricately drafted, restless subjects are social creatures, whose forms are simultaneously familiar and foreign, artificial and expressive. In Herter&rsquo;s <em>Instauration </em>and <em>Aggressive Constellation</em> series, individual and social trials, interconnected by chaos, are on full display.</p> <p>&nbsp;</p> <p>In her drawings of anonymous female torsos, Caitlin Keogh employs visual dislocation, interruption, and isolation of bodies in visual space. Keogh&rsquo;s subjects, decapitated and limbless, are imbued with ideal proportions, but clinically so. Dissociated bodies are often eviscerated, bound, punctured or penetrated by foreign objects, vegetal outgrowths, or decorative patterns. Keogh contaminates a Pop vocabulary of flatness, outline, and graphic precision with sensuality, undulation, exuberance, and the animate.</p> <p>&nbsp;</p> <p><em>Bodily Imaginaries</em> prioritizes repellant, disjointed, or incomplete figures that subvert established representations of official narratives, Vitruvian bodies, and sanctioned desires.</p> <p><em>&nbsp;</em></p> <p><em>Albert Herter (b. 1980, San Francisco) holds a BFA in New Genres from the San Francisco Art Institute, where he focused primarily on video, installation, and performance. His work has been the subject of solo&nbsp;exhibitions at Partisan Gallery, San Francisco and San Francisco City Hall. He has also participated in group exhibitions&nbsp;at: Art in General, New York; Derek Eller, New York;&nbsp;Spiral Gallery, Los Angeles; and&nbsp;Arthouse, McAllen, TX. He will have his first solo exhibition in New York at Koenig &amp; Clinton in 2017. </em>In the Curtyard: Orchestrated Reduction of the Fantasm, <em>recently published by</em> <em>Comfortable On a Tightrope and Museums Press, features the artist&rsquo;s drawings and writings. His drawings have also been featured in </em>The Third Rail<em>, and&nbsp;</em>Lacanian Ink.<em> Herter lives and works in Brooklyn, New York.</em></p> <p><em>&nbsp;</em></p> <p><em>Caitlin Keogh (b. 1982, Spenard, AK) holds an MFA from Bard College, NY, and a BFA from The Cooper Union School of Art, NY. Recent solo exhibitions include </em>The Corps<em>, Mary Boone Gallery, New York (2015) and </em>Good Value, Fine Quality<em>, </em><em>MoMA PS1, New York (2012). She has participated in select group exhibitions at Algus Greenspon, NY; Melas Papadopoulos, Greece; Renwick Gallery, NY; Kunsthalle Z&uuml;rich, Switzerland; and White Columns, New York. The artist lives and works in Brooklyn, New York.</em></p> <p><em>&nbsp;</em></p> <p><em>Candice Lin (b. 1979, Concord, MA) received her MFA in New Genres at the San Francisco Art Institute and her double BA in Visual Arts and Art Semiotics at Brown University. Lin&rsquo;s work has been exhibited at the Kadist Art Foundation, Paris; the Delfina Foundation, London; La Maison Populaire, Paris; and Alh&oacute;ndiga Bilbao, Spain. Recent solo exhibitions include Francois Ghebaly Gallery, Los Angeles and CAAA, Guimaraes, Portugal. She has been awarded several residencies and grants, including: the Artist Lab Residency at 18th Street (2015); the Fine Arts Work Center Residency (2012); the Frankfurter Kunstverein Deutsche Borse Residency (2011); and the Smithsonian Artist Research Fellowship (2009); among others. The artist lives and works in Los Angeles.</em></p> <p><em>&nbsp;</em></p> <p>For further information please contact <a href="" rel="nofollow"></a> or call (212) 334-9255.</p> <p>Hours of operation are Tuesday&ndash;Saturday, 11AM&ndash;6PM and by appointment.</p> <p align="center">###</p> Tue, 24 Nov 2015 23:45:28 +0000 Mhysa - Recess Activities, Inc. - December 17th 7:00 PM - 9:00 PM <p>Organized in conjunction with Sondra Perry: My Twilight Zone Thing</p> <div><br />Black femme DJ/producer Mhysa will perform original trax accompanied by improvisational live edits as a part of her continuing efforts to assist the underground cyber resistance.&nbsp;</div> Tue, 24 Nov 2015 19:25:38 +0000 Caitlin Cherry - Recess Activities, Inc. - December 10th 6:00 PM - 8:00 PM <p>Organized in conjunction with Sondra Perry: My Twilight Zone Thing<br /><br />Artist Caitlin Cherry will present a performative lecture and archive showcasing her established Facebook practice of curating images via Google Image Search. Cherry will explore free association on the internet and the algorithms required to develop Facebook&rsquo;s News Feed and web search tools and will consider how these processes correlate with artistic innovation. The artist's chosen images are often from the &ldquo;backside&rdquo; of Google Image Search-- a space accessed by entering a matrix of two unrelated word combinations or scrolling deep into the later pages of Image Search to niche web pages. The lecture will engage with a cross-section of art, technology, social and digital culture through Cherry&rsquo;s personal interests and social media feeds.</p> Tue, 24 Nov 2015 19:24:00 +0000 Alex Katz - The Metropolitan Museum of Art - October 9th - June 26th, 2016 <p style="text-align: justify;">This exhibition, mounted in celebration of gifts both donated and promised to the Met, gathers works by Alex Katz (American, born 1927), one of our era's most acclaimed artists.&nbsp;Acquired through the generosity of Glenn Fuhrman, Leonard A. Lauder, and Katz himself, these works&mdash;eight in total, including two loans&mdash;span nearly the entire arc of Katz's career and include drawings, prints, and paintings. Among the works are two cutouts, the innovative artistic device that Katz pioneered in the late 1950s; a haunting cityscape;&nbsp;several portraits of Ada, Katz's wife and long-time muse; and portraits of luminaries from Katz's own social and artistic circles.</p> <p style="text-align: justify;">Katz was born in Brooklyn in 1927 and came of age as an artist during the heyday of the New York School. In the late 1950s, he began to develop his mature style, one characterized by elegance, simplicity, and stylized abstraction. Committed to depicting recognizable motifs, Katz minimizes details and shading, choosing instead to summarize his subjects with the help of bold contours, blocks of color, and strategic swipes of the brush. As much as they represent a specific person or place, Katz's works also depict the act of seeing itself&mdash;that is, the peculiar mechanics of viewing, whether from afar or close up, whether on an empty street or across a crowded room. He captures the surprise and suspense, the desire and pleasure, that accompany the experience of spectatorship.</p> Tue, 24 Nov 2015 17:03:47 +0000 Guido van der Werve - Luhring Augustine - Chelsea - January 9th, 2016 - February 20th, 2016 <p style="text-align: justify;">Luhring Augustine is pleased to present Nummer zestien,&nbsp;<em>the present moment</em>, a new work by the Dutch artist Guido van der Werve. This will mark the artist&rsquo;s third solo exhibition with the gallery and the work&rsquo;s debut.&nbsp;</p> <p style="text-align: justify;">Nummer zestien,&nbsp;<em>the present moment</em>&nbsp;investigates hyper-individuality as it shapes the ethos of the present. The hour-long three-channel video work focuses on moments of action involving intuitive reaction and impulse, rather than concerns with history or the future. The accompanying soundtrack is a Paean composed by van der Werve in major key that emanates from a player piano, a stand-in for the artist himself. Nummer zestien,&nbsp;<em>the present moment&nbsp;</em>is a continuation of a series of numbered films begun by the artist in 2003, and is the first major film-based work since his Nummer veertien,&nbsp;<em>home</em>&nbsp;completed in 2012.&nbsp;</p> <p style="text-align: justify;">Van der Werve was born in Papendrecht, the Netherlands in 1977. Previous solo exhibitions of his work have been presented at The Model, Sligo, Ireland; Hayward Gallery, London; Hirshhorn Museum and Sculpture Garden, Washington D.C.; De Hallen, Haarlem, the Netherlands; and Kunsthalle Basel, Switzerland. He was the recipient of the 2012 Charlotte Kohler Prize for Visual Art as well as Le Prix International d&rsquo;Art Contemporain, Fondation Prince Pierre de Monaco in 2011. Van der Werve is also a classically trained concert pianist and composer, as well as an avid triathlete.</p> Tue, 24 Nov 2015 15:54:12 +0000 Roger Hiorns - Luhring Augustine - Chelsea - January 9th, 2016 - February 20th, 2016 <p style="text-align: justify;">Luhring Augustine is pleased to present two recent standing floor sculptures by the London-based artist Roger Hiorns. The sculptures feature engines coated with the organic compound copper sulphate, a chemical with an unpredictable reactive potential, which Hiorns has employed to transform mass-produced objects into aesthetic entities; a seemingly redemptive gesture exploring the opposition between the natural and man-made. By anthropomorphizing the objects through anatomical references, Hiorns continues to explore the transposable relationship between man and manufactured product in his sculptures, reducing the human figure into representative signs and totems.&nbsp;</p> <p style="text-align: justify;">Roger Hiorns was born in Birmingham, England in 1975. He has been featured in exhibitions at institutions throughout Europe and the Americas, including the Venice Biennale; MoMA PS1, Long Island City, NY; Tate Modern, London; Hammer Museum of Art at UCLA, Los Angeles; Walker Art Center, Minneapolis; and De Hallen, Haarlem, the Netherlands. Hiorns&rsquo; work is included in institutional collections such as the Museum of Modern Art, New York; Art Institute of Chicago; and Tate Modern, London. In 2009, Hiorns was nominated for the Turner Prize for his critically acclaimed work,&nbsp;<em>Seizure</em>, a massive crystallization within the interior of a bedsit in a condemned South London council estate. In 2011,&nbsp;<em>Seizure</em>&nbsp;was acquired by the Arts Council Collection and is currently on a ten-year loan for exhibition at the Yorkshire Sculpture Park in Yorkshire, England.</p> Tue, 24 Nov 2015 15:53:17 +0000 Hellen van Meene - Yancey Richardson Gallery - December 10th - January 23rd, 2016 Tue, 24 Nov 2015 14:52:00 +0000 Lior Modan - NURTUREart Gallery - December 5th - January 10th, 2016 <p>NURTUREart is delighted to announce Lior Modan's first solo exhibition in New York:&nbsp;<em>Wringing Lilies from the Pine Nut.</em></p> <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <p>Modan&rsquo;s eclectic paintings, sculptures and vacuum-casted prints are enigmatic, surprising and oftentimes exquisitely tactile. Using pattern, language and form in glitchy combines, often unified by textural shrouds, Modan&rsquo;s balancing acts thrive on surface tension, evoking complex, sometimes awkward and/or uncomfortable moods.</p> <p>Wringing Lilies from the Pine Nut&rsquo;s exhibition design will take maximum advantage of the natural cavernous look- and-feel of 56 Bogart&rsquo;s basement, using the lack of natural ventilation, warm spotlights, dusty floor and shadows to intimately connect the viewer with each work. Each intrinsic feeling / meaning / evocation working towards unifying narratives and sub plots.</p> <p>A seasoned pot meets its double and claims it as its very own. Calm waters descend upon imaginary sandy feet, to wash and cool them down. The dark skin of a wrecked umbrella conceals and reveals at once. Banana peels take flight: a stormy cloud. A jester lurks behind a tightly stretched canvas, swarmed in butterflies. (...And more.)</p> <p>Wringing Lilies from the Pine Nut is a selection from our 2014-15 open calls. This exhibition is curated by Marco Antonini.</p> </div> </div> </div> Mon, 23 Nov 2015 16:03:20 +0000 James Metcalf - Miguel Abreu Gallery Orchard St - November 20th - December 22nd <p style="text-align: justify;">Miguel Abreu Gallery is pleased to announce the opening of <em>Hammer &amp; Forge: From Europe to Santa Clara del Cobre</em>, an exhibition of work by the late sculptor James Metcalf. The show will be on view at our 36 Orchard Street location. The reception on Sunday, November 22nd will feature a conversation between Ana Pellicer (Metcalf&rsquo;s fellow sculptor and collaborator) and Roy Skodnick (who worked with both artists in Mexico), coinciding with the launch of the new biography <em>James Metcalf: True Son of Hephaestus</em>.</p> <p style="text-align: justify;">James Metcalf (1925-2012) was an American artist, recognized during the late fifties and early sixties as one of the most promising sculptors of his generation. His work was exhibited in Paris, London and New York in major galleries, acquired by important collectors and museums in the United States and Europe and reviewed by major art critics (Sam Hunter, Hilton Kramer, John Russell, and John Ashbery.) In Paris, through his friendship with painter and patron William N. Copley, he associated with the Surrealists (Marcel Duchamp, Man Ray, Roberto Matta, and Ren&eacute; Magritte). His studio at the Impasse Ronsin brought him into contact with Brancusi and younger artists, Claude and Francois-Xavier Lalanne, as well as the Nouveaux Realistes (Pierre Restany, Yves Klein, Jean Tinguely, and Niki de Saint Phalle). He remained solitary in his own work, recognized by his peers as a brilliant loner who was always ready to help them technically and artistically in their careers.</p> <p style="text-align: justify;">His metal sculpture developed as much from his extensive knowledge of techniques of the ancient Mediterranean and Celtic worlds as from the abstract sculpture surrounding him at the time.</p> <p style="text-align: justify;">Raised in the craft tradition of stained glass in Yellow Springs, Ohio, in 1944 James Metcalf served as a front-line soldier for nine months in the Italian campaign of World War II where he was gravely wounded. After one year at the Pennsylvania Academy he worked with his parents at Antioch College, and was a political activist in the early civil rights and union movements. He left the United States in 1950 to master metal as a creative medium and studied at The Central School of Arts and Crafts in London until 1953.</p> <p style="text-align: justify;">Metcalf spent his summers investigating ancient Mediterranean metal sites in Spain, Italy, Greece and Crete. Metcalf&rsquo;s base became Deya, Majorca, where he lived from 1953-1956. Friendship and collaboration with the English poet Robert Graves gave him the opportunity to explore the ancient European past in dialogue with a master of classical and near-eastern sources and a brilliant theorist as well. Graves incorporated examples of Metcalf&rsquo;s metal expertise in his chapter on the smith god Hephaestus in his <em>Dictionary of Greek Myths</em>.</p> <p style="text-align: justify;">After fifteen years in Europe and a brief stay in New York City, in 1966 Metcalf decided to leave the commercial art world to live and work in Santa Clara del Cobre, a community of coppersmiths in the state of Michoac&aacute;n, Mexico, where a pre-Columbian forging technique survived. It was there that Metcalf began his collaboration of forty-five years with the sculptor Ana Pellicer and an entire artisanal town of family forges.</p> <p style="text-align: justify;">This surviving pre-Columbian technique involved hammering kettles from solid ingot (what is technically called &ldquo;blocking or sinking&rdquo;), though not on iron anvils but on stone. Scrap copper was melted directly into holes in the ground without a crucible, lining the hole with oak ashes and smelting copper through a fire of oak and pine logs topped with charcoal, maintaining the draft of the smelting fires with a bellows completely different from the European bellows. By introducing tools and methods from classical European silver smithing, Metcalf established the tradition known as <em>El Borde Grueso</em>or &lsquo;The Thick Edge.&rsquo; This style of forging copper and silver produced a cultural and economic renaissance and has, today, made the town internationally known for the combined metal practices that they taught.</p> <p style="text-align: justify;">Heirs to the vision of Mexico&rsquo;s revolutionary generation of artists and intellectuals, Metcalf and Pellicer are unique in the cultural specificity of their work. From 1971 to 2002, they worked together with the Ministry of Public Education in the Popular Arts Program. During that time their small craft school trained three generations of metal smiths and grew into the jewel in the crown of Mexican technical education, one that Metcalf defined as &ldquo;a reserve, a contemporary sanctuary, where the technical diversity of all trades of metallurgical production, ancient as well as modern, is protected.&rdquo;</p> <p style="text-align: justify;">A Mexican woman and an expatriate American, trained in Europe, Ana Pellicer and James Metcalf fulfilled the dream of the founding Secretary of Education, Jos&eacute; Vasconcelos, who sponsored the muralists and associated programs in popular arts. Their careers parallel those of Diego Rivera and Frida Kahlo, two artists that so admired native crafts. Yet the founding generation of <em>Mexicanidad</em>never actually lived and worked side by side with a community of artisans. Metcalf, Pellicer and the artisans of Santa Clara del Cobre fulfilled that vision, despite all obstacles along the way in the long saga of Mexican Education, Popular Arts and culture that created modern Mexico&rsquo;s 20th century national identity.</p> <p style="text-align: justify;">&ndash; Roy Skodnick</p> <p style="text-align: justify;">On the occasion of the publication of the new biography:</p> <p style="text-align: justify;"><em>James Metcalf: True Son of Hephaestus</em></p> <p style="text-align: justify;">(Mexico City, Grupo Mexico)</p> <p style="text-align: justify;">Spanish and English texts:</p> <p style="text-align: justify;">Essays by Ana Pellicer and Jorge Pellicer, biography by Roy Skodnick and an autobiographical chapter by Metcalf and a tribute by sculptor Mel Chin</p> <p style="text-align: justify;">Designed by Ricardo Salas</p> <p style="text-align: justify;">Photographs by Harry Shunk and Jeffrey Blankfort</p> <p style="text-align: justify;">This exhibition is the outgrowth of conversations with Adrian Dannatt who introduced us to Roy Skodnick and the work of James Metcalf. Special thanks go to him, to Claire Copley, Billy Copley, the Neuberger Museum of Art, and Gianni Jetzer. </p> Sun, 22 Nov 2015 19:35:41 +0000 Björn Braun - Boesky East - November 1st - December 20th <p style="text-align: justify;">BOESKY EAST is pleased to present <em>New Towns</em>, a solo exhibition by Berlin-based artist Bj&ouml;rn Braun. This is the artist&rsquo;s first solo show with the gallery and will be on view from November 1 &ndash; December 20, 2015 at 20 Clinton Street, New York.&nbsp;</p> <p style="text-align: justify;">Bj&ouml;rn Braun transforms found objects, exposing the narrative potential of materials by way of slight interventions. Much of his work uses nature as a departure point as he often collaborates with birds, mice, or bees, turning the remnants of their activities &ndash; nests, burrows, abandoned eggs, and feathers &ndash; into sculptures. The process is tantamount to the resulting artwork, which is often determined by chance. For his first solo exhibition with the gallery, Braun will present a series of new floor sculptures, cast aluminum paintings, and an interactive window installation.</p> <p style="text-align: justify;">A minimalist sensibility presides over Braun&rsquo;s work, but is upended by his use of humble, natural materials, drawing further parallels to Arte Povera. Floor sculptures, which recall Carl Andre&rsquo;s grid-based floor works, are actually made from abandoned bird nests that have been boiled into a papier-m&acirc;ch&eacute; type material and then cast using molds of egg cartons. The eggs found in the original nests are hollowed out and placed accordingly within the sculpture. The systematic titles of the works (for example <em>9:5:1</em>) reference the number of nests, eggs, and cartons used. Braun&rsquo;s work also possesses a tongue-in-cheek, performative aspect of Beuysian alchemy as he often boils, mixes, and bakes organic material into their final sculptural forms. An economy of means presides over all of his work as nothing is ever wasted, only repurposed.</p> <p style="text-align: justify;">In a similar gesture, Braun has collected early 19<sup>th</sup> century German landscape paintings from thrift stores, which are then meticulously cast in aluminum, allowing the brush strokes and texture of the paint to show through. With one simple gesture, he turns romantic landscapes into monochromes, merging the natural with the industrial.</p> <p style="text-align: justify;">For the final work in the show, Braun will replace the glass in the window above the gallery&rsquo;s entrance with &ldquo;bricks&rdquo; made from a birdseed concoction that he bakes at home. Throughout the course of the exhibition, birds will be able to peck away at the bricks, and may eventually fly into the gallery, bringing nature and art together in the most direct way possible.</p> <p align="center">-</p> <p style="text-align: justify;">Born in 1979 in Berlin,&nbsp;Bj&ouml;rn Braun studied at the Fine Arts Academy in Karlsruhe. He has had solo exhibitions at the Kunstverein Braunschweig; Meyer Riegger, Berlin; and the Kunstmuseum Stuttgart. Group exhibitions include Museum f&uuml;r Moderne Kunst, Frankfurt/Main; Neues Museum, Weimar; and CAPC, Mus&eacute;e d&rsquo;Art Contemporain de Bordeaux. Braun currently lives and works in Berlin.</p> Sun, 22 Nov 2015 19:20:49 +0000 Anthony Pearson - Marianne Boesky Gallery 24th St - November 19th - January 16th, 2016 <p style="text-align: justify;">Marianne Boesky Gallery is pleased to present an exhibition of new work by Anthony Pearson. This is the artist&rsquo;s third solo exhibition with the gallery. The exhibition features lighting design by Keefe Butler and is on view from November 19 through January 16, 2016, with an opening reception on Thursday, November 19, from 6&ndash;8 p.m.</p> <p style="text-align: justify;">Pearson uses a range of methods and media to create works that offer a meditative experience by way of an extreme sensitivity to materials. His practice originated in photography, and by experimenting with the formal limits of the medium, Pearson has constructed a visual vocabulary that has expanded into sculptural materials such as gypsum cement, bronze, steel, and clay. &nbsp;</p> <p style="text-align: justify;">On the occasion of this exhibition, Pearson will be presenting two bodies of work: <em>Plaster Positives</em> and <em>Etched Plasters</em>. These works&nbsp;simultaneously embody qualities of sculpture and painting and use subtle relief to employ both seemingly infinite detail and a broad spaciousness. The work is built by way of repetition in both method and movement, with each pour and mark made by hand. The structure of Pearson's practice results in a subtle interplay between individual works that eventually resonate as a harmonic whole.</p> <p style="text-align: justify;">To create these works, the artist tints Hydrocal (a high-strength gypsum cement) and pours it into a shallow, planar mold. In his <em>Plaster Positives</em>, multiple pours of the material and careful movement produce tonal gradients through layered accumulation. The resulting surfaces resemble fluid pools, creating an ethereal and placid image that at times references the human body.</p> <p style="text-align: justify;">In his <em>Etched Plasters</em>, a flat surface of Hydrocal is scored by hand using a variety of implements and an array of mark-making systems. Close-knit networks of lines, orderly grids, and radiant forms, which are at times reminiscent of the natural world, engage to create an intricate relief. Light interacts with these surfaces to cast fine shadows and reveal a delicate sheen, with the subtle face of the work constantly changing as the viewer navigates the room. &nbsp;</p> <p style="text-align: justify;">The qualities of both the <em>Plaster Positives</em> and the <em>Etched Plasters</em> extend beyond pictorial space. Pearson&rsquo;s works are sensitive to the environments in which they are presented. Each poured or etched composition is reactive to light; therefore the ambient surrounding throughout the exhibition informs a phenomenological experience. This places Pearson's work within the legacy of previous generations of West Coast artists who have responded to the natural light that California conjures. In an age of continuous and rapid information, mobile devices, and short attention spans, Pearson's work offers a respite, a critical breathing room in which space and time slow down&mdash;for in the individual works and the exhibition as a whole, perception and contemplative experience are the primary concern.</p> <p align="center">&ndash;</p> <p style="text-align: justify;">Anthony Pearson (b. 1969) lives and works in Los Angeles. He received his MFA from UCLA in 1999. His work has been the subject of solo exhibitions at the Contemporary Art Museum, St. Louis (2012), and Midway Contemporary Art, Minneapolis (2008). Forthcoming exhibitions include Shane Campbell Gallery, Chicago (2016), and David Kordansky Gallery, Los Angeles (2017). Pearson&rsquo;s work is in the public collections of the Hammer Museum, Los Angeles; Los Angeles County Museum of Art; Museum of Contemporary Art, Los Angeles; and the Walker Art Center, Minneapolis.</p> Sun, 22 Nov 2015 19:17:08 +0000 Claudia Joskowicz - LMAK Projects - December 13th - December 24th <p style="text-align: justify;">The first exhibit at LMAKgallery's new location at 298 Grand Street will be Claudia Joskowicz's two-screen video installation<em> Los rastreadores (The Trackers)</em>.<br /> <br /> Joskowicz&rsquo;s work looks at history and its repercussions on landscape. In her videos and installations, the viewer&rsquo;s gaze is directed to the physical movement of the camera through a cinematic space where historic events and personal stories with a historic dimension are revisited and anchored in her native Latin American landscape. The action in Los rastreadores transpires in Jokowicz&rsquo;s home town of Santa Cruz de la Sierra, Bolivia and is divided into four chapters composing a disjointed narrative that follows Ernesto Suarez Duarte, its main character. Ernesto&rsquo;s character was inspired by Roberto Su&aacute;rez Gom&eacute;z, a Bolivian drug trafficker nicknamed "the king of cocaine" who, in the early1980s, steered an influx of unaccounted income that pushed the city of Santa Cruz into unprecedented overnight growth, financed a military coup that instituted what is known as Bolivia&rsquo;s narco-dictatorship, and, in a letter to Ronald Reagan, offered to pay Bolivia's foreign debt of more than $3 billion in exchange for amnesty for his son who was imprisoned in Miami at the time. </p> <p style="text-align: justify;">Formally inspired by John Ford&rsquo;s 1956 classic western film The Searchers, Los rastreadores takes the western film as a departure point, looking at how both interiors and the landscape are framed and the metaphorical implications of their framing. It merges and distills issues of race, class systems, and alienation into a minimal narrative that condenses a massacre in Ernesto's house, the kidnapping of his daughter, and the beginning of her search. Using silences and voice-overs, it centers on the power of myth where events operate as a displacement for the political discourse in the country. <br /> <br /> Special thanks to the MIT Program in Art, Culture &amp; Technology who provided equipment support for this exhibition.</p> Sun, 22 Nov 2015 19:13:16 +0000 Angel Otero - Lehmann Maupin - Chrystie Street - November 7th - December 31st <div id="moz-reader-content" style="display: block;" dir="ltr"> <div id="readability-page-1" class="page"> <div id="press_831" class="unit-copy text-less"> <p style="text-align: justify;">For his third solo exhibition with Lehmann Maupin, Puerto Rican artist Angel Otero will present a group of new paintings. Dedicated to continuing the tradition of abstraction, Otero is an innovator in the genre. He begins with a reference to an object or image that holds personal or historical significance, and then abstracts the reference through his process-based approach, resulting in work that is visually autonomous from the original imagery. The artist will be present for an opening reception at the gallery on Saturday, November 7 from 6-8PM.</p> <p style="text-align: justify;">The result of constant experimentation, Otero&rsquo;s paintings begin by reproducing reference images in thick oil paint on a large plate of glass. Once the paint is almost dry, the artist scrapes the &ldquo;oil skin&rdquo; from the surface, flaying, draping, and collaging it across a large canvas, resulting in a wholly new composition. In past work, the paint more dramatically creased, pinched, and folded as the artist piled layer upon layer of oil skins on the canvas, further abstracting the image.&nbsp;&nbsp;</p> <p style="text-align: justify;">While he previously began with reproduced iconic paintings as a way to engage with the history of abstract art, these new works demonstrate Otero&rsquo;s relationship with the medium of painting more generally, rather than his relationship to art history or one specific artist. The original source image is no longer relevant in the outcome of the final artwork. As a result, Otero refines his unique visual language by exploring the relationship between representation and abstraction in order to expand the traditional genre of abstract painting.</p> <p style="text-align: justify;">Otero draws inspiration from literature and music, as well as personal memories, photographs, and family memorabilia. In addition to Old and Modern masters, Otero has also cited Jorge Luis Borges, Julio Cortazar, Arto Lindsay, Jean-Paul Sartre, and Jeanette Winters, as influences of his practice.</p> <p style="text-align: justify;">Otero&rsquo;s work will be the subject of major solo exhibitions at the Contemporary Art Museum in Houston in 2016 and at the Dallas Contemporary in 2017</p> </div> </div> </div> Sun, 22 Nov 2015 19:01:29 +0000 Ling Jian - Klein Sun Gallery - November 19th - December 23rd <div id="screen-press-release"> <div class="container"> <div class="text-two-columns"> <div class="content paragraph-styling"> <div class="left"> <p style="text-align: justify;">Klein Sun Gallery is pleased to announce &ldquo;Nature Chain,&rdquo; the first solo show in the U.S. by Ling Jian, on view from November 19 through December 23, 2015.</p> <p style="text-align: justify;">For the past two decades, Ling has explored the complex portrayals of woman-as-subject in his oil paintings which are hybrids of Eastern and Western aesthetics. In &ldquo;Nature Chain,&rdquo; an exhibition three years in the making, he further develops his observational style with large-scale commentaries on society&rsquo;s obsession with beauty, desire and death.</p> <p style="text-align: justify;">&ldquo;Nature Chain&rdquo; comprises works wherein Ling presents hyper-realistic worlds destroyed by the idolatrous image in which they were created. At first glance, the women and sharks in his paintings appear superficially hollow, merely props for displays of zoological intercourse and commentary on the male gaze. Ling&rsquo;s intent here, however, is to subvert these messages. The women in his &ldquo;Siren&rdquo; series are visions of contemporary beauty, but they are somehow distorted; the sharks are eerily anthropomorphized in their graceful sexual interplay.</p> <p style="text-align: justify;">Just as a portrait can be transformed by the glamorous expectations imposed on it, as in Oscar Wilde&rsquo;s <em>The Picture of Dorian Gray</em>, Ling&rsquo;s subjects seem to morph on the canvas, charged by the artist&rsquo;s philosophies on desire and fear, life and death.</p> </div> <div class="right"> <p style="text-align: justify;">Ling&nbsp;Jian&nbsp;was born in 1963 in Shandong, China. He graduated with a BA from the Fine Arts Department of Tsinghua University Art College, Beijing, in 1986.&nbsp;Ling&rsquo;s work has been the subject of solo museum exhibitions including "Moon in Glass," at Ullens Center for Contemporary Art, Beijing, China (2011) and at Today Art Museum, Beijing, China (2010). Recent group shows include &ldquo;On Sharks and Humanity,&rdquo; National Museum of China, Beijing, China (2015); "Face," Minsheng Art Museum, Shanghai, China (2012); "Lovers Pieces &ndash;Contemporary Art from Five Private Collections," Kunstmuseum M&uuml;lheim an der Ruhr, M&uuml;lheim, Germany (2010); and &ldquo;China Gold,&rdquo; Musee Maillol, Paris, France (2008).</p> <p style="text-align: justify;">The exhibition is accompanied by a fully illustrated catalogue with an essay by Robert C. Morgan. &nbsp;For&nbsp;press&nbsp;inquiries, please contact Ysabelle Cheung at the gallery (212.255.4388) or via email at For all other inquiries, please contact Casey Burry at the gallery (212.255.4388) or via email at&nbsp;</p> </div> </div> </div> </div> </div> Sun, 22 Nov 2015 18:58:19 +0000 Kay WalkingStick - June Kelly Gallery - November 19th - January 5th, 2016 <p style="text-indent: 20px; line-height: 150%; text-align: justify;"><span style="color: #000000; font-family: arial,helvetica,sans-serif; font-size: small;">An exhibition of new paintings by Kay WalkingStick &ndash; alluring vistas the artist describes as a kind of cloud atlas -- will open at the June Kelly Gallery on November 19, 2015.&nbsp; The exhibition will remain on view through January 5, 2016.</span></p> <p style="text-indent: 20px; line-height: 150%; text-align: justify;"><span style="color: #000000; font-family: arial,helvetica,sans-serif; font-size: small;">WalkingStick, who visited the Atlantic shore all of her life never thought it possible to actually paint it.&nbsp; &ldquo;I decided to try and found it very beautiful, especially off-season.&nbsp; I walked the beaches, sketched and took photos, then pored over both when I returned home.&nbsp; I loved the muted colors, I loved the sea air, the feel and smell of it.&nbsp; I wanted these paintings to convey that feeling of the sea, as well as the look of it.&rdquo;</span></p> <p style="text-indent: 20px; line-height: 150%; text-align: justify;"><span style="color: #000000; font-family: arial,helvetica,sans-serif; font-size: small;">WalkingStick&rsquo;s response when seeing the sky above the majesty of Sierra Nevada mountains was equally overwhelming.&nbsp; &ldquo;I sensed it isn&rsquo;t &ldquo;my&rdquo; land yet. I don&rsquo;t own it intellectually or visually the way I feel I &ldquo;own&rdquo; the mountains of the southwest, or the waters of the east coast&hellip;.&ldquo;</span></p> <p style="text-indent: 20px; line-height: 150%; text-align: justify;"><span style="color: #000000; font-family: arial,helvetica,sans-serif; font-size: small;">WalkingStick, who has painted landscapes throughout her four-decade career has become best known for her use of diptychs, two-paneled works of art, which she sees as powerful metaphor to express the beauty and power of uniting the disparate, a concept particularly attractive to those who are of mixed cultures.</span></p> <p style="text-indent: 20px; line-height: 150%; text-align: justify;"><span style="color: #000000; font-family: arial,helvetica,sans-serif; font-size: small;">WalkingStick&rsquo;s blending of the abstract with the more literal, capturing architectural grandeur and sensuality of nature&rsquo;s organic shapes displays her seeking of spiritual truth through the acts of painting and metaphysical reflection.</span></p> <p style="text-indent: 20px; line-height: 150%; text-align: justify;"><span style="color: #000000; font-family: arial,helvetica,sans-serif; font-size: small;">WalkingStick says she began this current body of work as a kind of cloud atlas, describing clouds over ocean and mountains.&nbsp; &ldquo;While the skies over the Atlantic Ocean and the Sierra Nevada are spectacular, the more I painted, the more important became the mountains and sea. The sky took its appropriate place as our great back-drop &mdash; our metaphor for the great canopy.</span></p> <p style="text-indent: 20px; line-height: 150%; text-align: justify;"><span style="color: #000000; font-family: arial,helvetica,sans-serif; font-size: small;">WalkingStick lives and works in Easton, Pennsylvania.&nbsp; She holds a BFA from Arcadia University (formerly Beaver College), Glenside, Pennsylvania, and an MFA from Pratt Institute, Brooklyn, New York.&nbsp; WalkingStick was awarded the prestigious Lee Krasner grant for 2011 from the Pollock-Krasner Foundation.&nbsp; In 2003, she received the Distinguished Artist Award from the Eiteljorg Museum of American Indian and Western Art, Indianapolis, Indiana, and in 1995 she won a Joan Mitchell Foundation Award in Painting.&nbsp; She also is a recipient of the National Honor Award for Achievement in the Arts from the Women&rsquo;s Caucus for Art, and a Visual Artist Fellowship in Painting from the National Endowment for the Arts.&nbsp; She has been a visiting artist and lecturer at Skowhegan, and also had a residency at the Rockefeller Conference &amp; Study Center, Bellagio, Italy.</span></p> <p style="text-indent: 20px; line-height: 150%; text-align: justify;"><span style="color: #000000; font-family: arial,helvetica,sans-serif; font-size: small;">WalkingStick&rsquo;s works have been shown in many one-person and group exhibitions in the United States and Europe.&nbsp; She is represented in major public and private collections, including the Metropolitan Museum of Art, New York; Neuberger Museum of Art, Purchase, New York; the Montclair Art Museum, New Jersey; The Detroit Institute of Arts, Michigan; La Jolla Museum of Contemporary Art, California; Eiteljorg Museum of American Indian and Western Art, Indianapolis, IN; The Hunter Museum, Chattanooga, TN; The Newark Museum, New Jersey; Heard Museum, Phoenix, Arizona; National Museum of American Indian, Smithsonian, Washington, DC; The Hood Museum of Art, Dartmouth College, Hanover, New Hampshire; Israel Museum, Jerusalem, and the National Museum of Canada, Ottawa.</span></p> <p style="text-indent: 20px; line-height: 150%; text-align: justify;"><span style="color: #000000; font-family: arial,helvetica,sans-serif; font-size: small;">Concurrently, the first major retrospective for the Kay WalkingStick: An American Artist, will open at the National Museum of the American Indian in Washington, DC, on November 7, 2015, and continue through September 18, 2016.&nbsp; WalkingStick is one of today&rsquo;s most accomplished Native American artists who has been acclaimed particularly for her majestic and sensual landscapes.</span></p> Sun, 22 Nov 2015 18:54:01 +0000 Jeff Williams - Jack Hanley Gallery- New York - November 22nd - December 20th <div id="content"> <div id="screen-press-release"> <div class="container"> <div class="text-two-columns"> <div class="content paragraph-styling"> <div class="left"> <p class="p1" style="text-align: justify;">All of them were in the form of regular geometric solids: spheres, tetrahedrons,&nbsp;cubes, cones and so on&hellip; There were tori, solid crosses, and even something&nbsp;that looked like a Mobius strip&hellip; the solids filled more than half the sky, as&nbsp;though a giant child had emptied a box of building blocks&hellip; Then, all the&nbsp;geometric solids began to deform. They gradually lost their regular shapes, as&nbsp;though they were melting in the heat. The deformation accelerated and the&nbsp;resulting lumps became more and more complex. Now the objects in the sky no&nbsp;longer reminded people of building blocks, but of a giant&rsquo;s dismembered limbs&nbsp;and disemboweled viscera.</p> <p class="p1" style="text-align: justify;">&ndash;Liu Cixin, &ldquo;Three Body Problem&rdquo;</p> <p class="p1" style="text-align: justify;">Jeff Williams second show at the gallery, Bending Moment, composes overlapping&nbsp;measures of time, from chemical reactions that occur over several years, to swaying&nbsp;cables put in motion by people walking past. Subjecting architectural materials to&nbsp;transmutations in the studio, Williams uses a range of possible conversions on an&nbsp;industrial scale. Crushed, slumped, fractured, stretched, an array of things existing in a&nbsp;warped state. These are combined with geological formations and human made fossils,&nbsp;primarily industrial waste. Each component has experienced its bending moment at a&nbsp;different register, a length of steel twisted in the forge for thirty-minutes is threaded&nbsp;through a chunk of fossilized corral that bent into its current form millions of years ago.</p> <p class="p1" style="text-align: justify;">Bending moment is a term used in physics to describe the point when a structural&nbsp;element bends to external pressure, compromising the integrity of the support. Williams&nbsp;uses the term both literally and metaphorically, enacting the moment in lengths of&nbsp;architectural materials and qualifying found objects that evidence a lasting&nbsp;transformation. Combining the two in his sculptures, Williams presents cycles of&nbsp;emergence and deposition.</p> <p class="p1" style="text-align: justify;">Similar to a materials mutability, an objects meaning shifts over time, in its potential&nbsp;value and power as a thing with a lived history. In Black Hole, Williams repositioned a&nbsp;former physics chalkboard for lectures on space-time and sanded it down to reveal its&nbsp;original cast resin surface, erasing through the table&rsquo;s history. Over the past 40 years,&nbsp;physicists have proposed multiple solutions, forcing the field to rethink black-hole&nbsp;behavior. The table represents a bend in our understanding of the universe, how&nbsp;frequently our knowledge is augmented, rendering previously believed systems obsolete.</p> </div> <div class="right"> <p class="p1" style="text-align: justify;"><em>Jeff Williams (b. 1976, Massachusetts) lives and works in Austin and Brooklyn.&nbsp;Recent solo and two-person exhibitions include New / Used / Wet / Broken, 1708 Gallery in Richmond, VA and Microwave Mint at Helper in Brooklyn as well as For an Abstraction: Christopher Culver &amp; Jeff Williams at Co-Lab in Austin, 11 week interval, at the The Contemporary Austin in Austin, Texas and 9 week interval at Spaces in Cleveland.&nbsp;Recently, the artist participated in Troy Brauntuch, Andy Coolquitt, Jeff Williams at Lora Reynolds Gallery in Austin, House, What is Your Crime? at the Knockdown Center in New York, How The Light Gets In at The Glassell School at The Museum of Fine Arts Houston, October 18, 1977 at Klemens Gasser &amp; Tanja Grunert, Inc. and Weird Science at Jack Hanley Gallery in New York.</em></p> <p class="p2" style="text-align: justify;"><em>Williams received his BFA from Columbus College of Art and Design in 1998 and his MFA from Syracuse University in 2002. Williams has exhibited across America and internationally, and in 2012 he received the Texas Prize from The Contemporary Austin. Williams has received numerous accolades and residencies, most notably from the Headlands Center for the Arts in Sausalito, California, Artpace in San Antonio, Galer&iacute;a Perdida, in Michoac&aacute;n, Mexico and the Core Program through the Museum of Fine Art Houston, Texas. The artist received fellowships from the Socrates Sculpture Park in New York and the American Academy in Rome through The Leonore Annenberg Foundation.</em></p> </div> </div> </div> </div> </div> </div> Sun, 22 Nov 2015 18:49:01 +0000