ArtSlant - Openings & events en-us 40 Dieter Roth, Björn Roth, Eggert Einarsson - Hauser & Wirth 18th Street New York - January 23rd, 2013 6:00 PM - 8:00 PM <p>Sculptor, painter, printmaker, collagist, poet, diarist, graphic designer, publisher, filmmaker and musician, German-born Swiss artist Dieter Roth (1930 – 1998) has been described as ‘a performance artist in all the mediums he touched’. Everything Roth made involved acting out a central concept of art and life as utterly indivisible – a single enterprise in which material stuff is subservient to the emotional and sensual experience for which it stands. Roth was not an artist who tolerated boundaries. In seeking to pulverize them, he elevated the processes by which things happen, embracing accidents, mutations, and accretions of detail over time; inviting nature to have its way with unstable mediums, including fruit, chocolate, and sugar; and perhaps most boldly, inviting the dilution of his own authorship through constant, intensive collaboration with other artists. Those partners included such significant figures as Richard Hamilton, Emmett Williams, Arnulf Rainer, and Hermann Nitsch. But it was Roth’s long and symbiotic collaboration with his own son, artist Björn Roth, that stands as testament to the enormous and enduring potency of his restless, relentless process.</p> <p>On 23 January 2013, Hauser &amp; Wirth New York will open ‘Dieter Roth. Björn Roth’, a landmark exhibition of masterworks that highlights this remarkable twenty-year collaboration and, through it, the diversity of the practice that has established Dieter Roth as one of the most inventive and influential artists of the second half of the 20th century. ‘Dieter Roth. Björn Roth’ culminates Hauser &amp; Wirth’s 20th anniversary and inaugurates the opening of the gallery’s new, second exhibition space in New York City, at 511 West 18th Street, between Tenth and Eleventh Avenues. Moreover, the exhibition sets the stage for major exhibitions to be presented at 18th Street in 2013 by three artists – Paul McCarthy, Roni Horn and Matthew Day Jackson – who claim Roth as their touchstone.</p> <p>Organized with the cooperation of the Dieter Roth Foundation, Hamburg, Germany, ‘Dieter Roth. Björn Roth’ presents more than 100 objects created since the 1970s, including numerous works never before exhibited in the United States. Among these will be ‘The Floor I (Studio-floor from Mosfellsbaer, Iceland)’ from 1973 to 1992; a series of wall-mounted works form the 1980s comprised of such at-hand materials as toys, sweets, tools, refuse, and dead insects in plastic tubes; and key works from the ‘Tischtücher’ series of paintings made in the late 1980s and early 1990s from used tablecloths. Key examples of Dieter Roth’s poignant ‘Kleiderbilder’ paintings, made from the artist’s own clothes, also will be on view, as will the installation ‘Grosse Tischruine (Large Table Ruin)’, created by Dieter and Björn Roth with Eggert Einarsson between 1978 and 1998.</p> <p>The exhibition will also present three major series of prints that spotlight Dieter Roth’s stunning mastery over and subversion of the printmaking process, drawing in fugitive materials whose ongoing deterioration gorgeously alter the final work over time.</p> <p>‘Dieter Roth. Björn Roth’ revisits a major project shown previously in New York in 2004 at P.S. 1: ‘Solo Szenen (Solo Scenes)’, created by Dieter Roth in his final year (1997 – 1998), is the artist’s attempt at illustrating life as the accumulation of vast quantities of fragments of data. For this work, which has been described as ‘a Rembrandt self-portrait re-imagined as a video diary’, the ailing Roth traced his own trajectory through days and places by setting up cameras in his studios in Germany, Switzerland and Iceland, and filming himself going about daily activities that ranged from sketching and filing, to watering plants, slumbering, and reading on the toilet. While the resulting 128 videotapes of ‘Solo Scenes’ comprise a powerful elegiac finale to Dieter Roth’s mortal run, the humility and simplicity of their content imbues the total work with a sense of time suspended.</p> <p>Perhaps most significantly, ‘Dieter Roth. Björn Roth’ extends the performative impulse at the heart of the Roth oeuvre into the present moment, illustrating Dieter Roth’s fundamental principle that art both defines and lies beyond the limits of time: Working on site for a month before and through the opening of the exhibition, Björn Roth, assisted by his sons Oddur and Einar, will construct the latest iterations of several pivotal installations originally conceived by Roth père as never-ending projects – masterpieces ceaselessly in the making. For ‘Shokoladeturm (Chocolate Tower)’ and ‘Zuckerturm (Sugar Tower)’, the Roths will build at Hauser &amp; Wirth their own version of the original Dieter Roth sugar kitchen, that resides at the Dieter Roth Foundation’s Schimmelmuseum in Germany. With their new kitchen, the trio will cast chocolate and sugar elements – the four basic mold forms are the ‘Selbstportrait (Self-portait)’, the ‘Löwenselbst (Lion-self)’, the ‘Sphinx’, and the ‘Portraitbüste mit Löwenkopf (Self-portrait with lion head)’ – and stack them into evolving structures. The Roths’ first Sugar Tower collapsed in 1994; in the year preceding his death, Dieter Roth advised Björn to rebuild it in the future using the broken busts of the old tower.</p> <p>Continuing another longstanding and on-going project of the Roths’ cross-generational practice, Björn Roth will also create ‘Roth Bar (Icelandic American Bar)’, a fully functioning, site-specific liquor and coffee bar for the exhibition. This bar will remain permanently at the new Hauser &amp; Wirth space at 18th Street.</p> Fri, 18 Jan 2013 00:25:25 +0000 Ivan Puig - Magnan Metz Gallery - January 23rd, 2013 6:00 PM - 8:00 PM <p>Magnan Metz Gallery is pleased to present Ivan Puig’s New York solo debut. <i>Not A Car</i> will be on display from January 24<sup>th</sup> through March 9<sup>th</sup> with an artist reception on Wednesday, January 23<sup>rd</sup> from 6-8pm. </p> <p>In 2010, Ivan Puig embarked on an exploratory journey across his native Mexico in the SEFT-1 probe – an artist-designed, custom-built vehicle (it’s skeleton an old Ford F-150), equipped to move on both land and rail. The SEFT, an acronym for Sonda de Exploración Ferroviaria Tripulada or Manned Railway Exploration Probe, is a trans-disciplinary project by Puig and his brother, Andrés Padilla Domene. The two set off from the National Museum of Art in Mexico City to begin their investigation of abandoned railways throughout Mexico and Ecuador, collecting evidence of their travels through photo, video and audio.  Puig and Padilla Domene recorded contemporary landscapes, infrastructure and details of the everyday life of inhabitants to create a futuristic exploration of the countries’ pasts. Their progress has been consistently updated on the project’s website,, where the public can follow the trajectory of the vehicle, view images of artifacts collected and listen to interviews with those they have met along the way.</p> <p>Dominating the main gallery space is the SEFT-1 probe itself, accompanied by vivid photos documenting the stunning, almost otherworldly, scenery surveyed by Puig and Padilla Domene. Prior to its inclusion into the gallery, the vehicle made a monumental trip from the US/Mexico border to the city of Albuquerque, New Mexico where it was exhibited at the Albuquerque Museum of Art and History. Following this New York debut, Puig will bring the SEFT-1 project to London where he will explore the world’s very first public railway system.</p> <p>Puig has described his interest in the sensory experience of reality as an aesthetic event. He seeks to create relationships and stories with people across both rural and urban regions, hoping to create a greater understanding of social conformity. “The [SEFT-1] project,” says the artist, “creates scenes in which progress has left a clear mark and compares it to its current status in the hopes that the discrepancy will cause people to question it.” Originated on the platform of art, this project also intersects with topics of technology, history, anthropology, politics, human geography, education, and environmental science.</p> <p>Beyond the SEFT-1 installation, in the rear of the gallery, Puig displays <i>Hasta las Narices (Up to the Nose)</i>. Created in 2004 at the Haus Der Kunst Gallery in Guadalajara, the fictional white Volkswagen Beetle appears to be almost entirely engulfed by milk-white quicksand. The metaphorical illusion refers to the collective frustration of Mexico four years after Vicente Fox had been elected as president. With just water, pigment, glass and PVC, Puig creates a striking and amusing piece of political commentary.  </p> <p>Ivan Puig (b. 1977, Guadalajara, MX) has exhibited internationally in Mexico, Germany, Canada, Brazil and the United States. He is the recipient of a number of awards and residencies including the BBVA Bancomer Foundation Grant for the SEFT-1 project (2010-2011) and the Cisneros Fontanals Foundation (CIFO) Grant in 2010. Puig, a member of the collective TRiodO (with Marcela Armas and Gilberto Esparza), lives and works in Mexico City.</p> <p>For more information or images, please contact the gallery at <a href="" rel="nofollow"></a> or 212 244 2344. </p> Tue, 22 Jan 2013 22:09:15 +0000 Wolfgang Laib - MoMA (Museum of Modern Art) - January 23rd, 2013 10:30 AM - 5:30 PM <div class="description"> <p class="top">Wolfgang Laib’s <i>Pollen from Hazelnut</i> will inhabit the Museum’s Donald B. and Catherine C. Marron Atrium, infusing the space with a yellow luminosity. Laib perceives the Marron Atrium as the Museum’s inner sanctum, its womb, and has created this work especially for the site. It will be the artist’s largest pollen installation to date, measuring approximately 18 x 21 feet. The hazelnut pollen that will be used in MoMA’s installation has been collected by Laib from the natural environment around his home and studio, in a small village in southern Germany, since the mid-1990s.</p> <p>Since the mid-1970s, Laib (German, b. 1950) has been producing sculptures and installations marked by a serene presence and a reductive beauty. These works are often made from one or a combination of two materials, accumulated from natural elements—such as milk, marble, pollen, rice, and beeswax—which have been selected for their purity and symbolic associations. Forging a singular path for more than 30 years, Laib amplifies the intrinsic materials and processes found in nature. Laib has stated that “pollen is the potential beginning of the life of the plant. It is as simple, as beautiful, and as complex as this. And of course it has so many meanings. I think everybody who lives knows that pollen is important.”</p> </div> Mon, 26 Nov 2012 00:31:38 +0000 - Museum of the City of New York - January 23rd, 2013 10:00 AM - 6:00 PM <p><em><strong>Making Room: New Models for Housing New Yorkers </strong></em>showcases innovative design solutions to better accommodate New York City&rsquo;s changing, and sometimes surprising, demographics, including a rising number of single people, and will feature a full-sized, flexibly furnished micro-studio apartment of just 325 square feet &ndash; a size prohibited in most areas of the city.&nbsp; Visitors to the exhibition will see models and drawings of housing designs by architectural teams commissioned in 2011 by Citizens Housing &amp; Planning Council, in partnership with the Architectural League of New York. The exhibition also presents winning designs from the Bloomberg administration&rsquo;s recently launched pilot competition to test new housing models, as well as examples set by other cities in the United States and around the world, including Seattle, Providence, Montreal, San Diego, and Tokyo.</p> Fri, 18 Jan 2013 00:52:26 +0000 - New York Ceramics Fair - January 23rd, 2013 11:00 AM - 7:00 PM <p><strong>SHOW HOURS</strong><br /> WEDNESDAY, January 23<br /> 11am - 7pm<br /> THURSDAY, January 24<br /> 11am - 7pm<br /> FRIDAY, January 25<br /> 11am - 7pm<br /> SATURDAY, January 26<br /> 11am - 7pm<br /> SUNDAY, January 27<br /> 11am - 4pm<br /> No Admittance after 3:30pm <br /><strong></strong></p> <p><strong>SHOW ADMISSION</strong><br /> $20 Includes illustrated colour catalogue</p> <p><strong>EXHIBITORS</strong><br />Anavian Gallery, NY<br /> Garry Atkins, England<br /> Nicolaus Boston, Ireland<br /> Martin Cohen, NY<br /> Martyn Edgell Antiques Ltd., England<br /> Sarah Eigen 19th Century<br /> Decorative Arts, NY <br /> Michelle Erickson, VA<br /> Ferrin Gallery, MA<br /> Katherine Houston Porcelain, MA<br /> John Howard, England<br /> Iznik Classics, Turkey<br /> Roderick Jellicoe, England<br /> Leo Kaplan Ltd., NY<br /> Kinghams Art Pottery, England<br /> Moylan/Smelkinson, MD<br />North African Tribal Art/Ivo Grammet, Morocco<br /> Carmen Pattinson, England<br /> Syliva Powell Decorative Arts, England<br /> Santos, England<br /> Ian Simmonds, NY<br /> The Stradlings, NY<br /> Philip Suval, VA<br /> TOJ Gallery, MD<br /> Vallin Galleries, CT<br /> Earle D. Vandekar of Knightsbridge, NY<br /> Antiques van Geenen, The Netherlands<br /> Mark J. West, England<br /> Lynda Willauer Antiques, MA</p> Sun, 16 Dec 2012 04:22:23 +0000 - NURTUREart Gallery - January 23rd, 2013 7:00 PM - 10:00 PM <p>The annual Muse Fuse Image Share Night is a chance for emerging artists to share their latest work and gain valuable experience speaking about it in public.</p> <p>Whether you’re an artist, curator, collector or just curious it is always a fun opportunity to discover and connect with new artists—see ten mini, virtual studio visits in one night.</p> <p><strong>Ten artists will be selected by lottery to show digital images of their work</strong>.</p> Fri, 04 Jan 2013 01:28:02 +0000 William Matthew Prior - American Folk Art Museum - January 24th, 2013 10:30 AM - 5:30 PM <p>Organized by the Fenimore Art Museum, Cooperstown, New York, this exhibition includes more than 40 oil paintings spanning William Matthew Prior’s career from 1824 to 1856. Through his pragmatic marketing strategy, Prior was able to document the faces of middle-class Americans throughout his lifetime, making art accessible to a previously overlooked group.<br /> <br /> A versatile artist, Prior is well known not only for the skill and range of his technique but for the diversity of his sitters. Prior’s involvement with Millerism (early Adventism) was instrumental in his personal development as well as providing access to new clients, including many African Americans.</p> Sun, 25 Nov 2012 23:12:19 +0000 Eugene Von Bruenchenhein, Paul D. Humphrey, Nellie Mae Rowe, Inez Nathaniel Walker - American Folk Art Museum - January 24th, 2013 10:30 AM - 5:30 PM <p>The late twentieth century has seen great strides for women working within visual mediums, yet the male gaze persists as the primary perspective from which women are considered — and thus perceived — in film and art. This exhibition presents drawings and photographs of women by four self-taught artists from the1940s through the late twentieth century, two male, two female. Eugene Von Bruenchenhein, Paul D. Humphrey, Nellie Mae Rowe, and Inez Nathaniel Walker offer four very different approaches that raise questions of intent, portrayal, and self-identity: Are the portraits acts of creation or acts of documentation, mimesis or wish fulfillment? Are self-taught artists immune from the pervasive male gaze of mainstream artmaking spheres, or do they reflect a gender divide that still runs deeply within American society?</p> Sun, 06 Jan 2013 23:27:21 +0000 - Bronx Museum of the Arts - January 24th, 2013 6:00 PM - 8:00 PM <p><br /> Created in 1986, the Bronx Museum Permanent Collection has assembled over the years a remarkable group of artworks that convey not only personal narratives but also incisive insights onto contemporary life. For this exhibition, we took inspiration from Allen Ruppersberg's ongoing series Honey, I rearranged the Collection initiated in 2000 and that puts in check the role of institutions, curators and collectors as the bearers of tradition and arbiters of taste. Overlaying different traditions, styles, and narratives, Honey, I rearranged the Collection presents an idea of museum as a restless play of combination.<br /> <br /> <br /> Honey, I Rearranged the Collection features artworks from the 40th Anniversary's 40 Years, 40 Gifts campaign, which has received support from Ford Foundation and the Jacques and Natasha Gelman Trust, as well as individual funders.</p> Mon, 20 May 2013 23:18:53 +0000 Mara Held - Garth Greenan Gallery - January 24th, 2013 6:00 PM - 8:00 PM <p style="text-align: justify;">Gary Snyder Gallery is pleased to announce Mara Held, an exhibition of paintings at 529 West 20th Street. Opening on January 24, 2013, the exhibition is Held’s first in a New York gallery in over a decade. Nineteen of the artist’s delicately painted, intricately detailed works will be on view, all created during the past five years. </p> <p style="text-align: justify;">In her paintings, Held uses dense, opaque colors and freehand drawing to create a variety of dramatic surface effects. In works such as Hiroshige I (2009) and Ogee (2012), calligraphic lines and concentric, ribbon-like forms vibrate across the works’ surfaces, as if compelled by some electrical impulse. Held’s use of egg tempera, however, belies the discrete nature of these forms; its inherent cracks and blemishes lend her paintings an aura of timelessness. Although painted as recently as last year, they could be, just as easily, wall fragments from an old church or agitated, scumbled markings on some ancient rockface. </p> <p style="text-align: justify;">Born in New York, New York in 1954, Mara Held received an MA from Immaculate Heart College in 1979. Since then, she has had solo exhibitions in New York, Brooklyn, and Milan. In addition, her work has been in group exhibitions at many prestigious institutions, including: the Williamsburg Art &amp; Historical Society (1998, Brooklyn), the Municipal Art Society of New York (2003), Saatchi and Saatchi (2003, New York), and The Painting Center (2008, New York). Most recently, Held’s work appeared in Splendor of Dynamic Structure: Celebrating 75 Years of the American Abstract Artists (January 13–February 25, 2011) at the Herbert F. Johnson Museum of Art, Cornell University. </p> <p style="text-align: justify;">Held’s work is featured in numerous public and private collections, including: MTA Arts for Transit, New York; Bayerische Landesbank, New York; Landesbank Schleswig-­‐ Holstein, New York; and the International Artists Museum, Tel Aviv. </p> <p style="text-align: justify;">Gary Snyder Gallery is pleased to represent Mara Held.</p> Sun, 10 Feb 2013 14:36:33 +0000 Steve Hicks - George Billis Gallery- NY - January 24th, 2013 6:00 PM - 8:00 PM <p>In this series of oil and acrylic paintings Hicks moves from a literal to a more metaphorical documentation of architectural space. Taking cues from Mondrian, Klein, Pollock and Ryman, Hicks uses a fundamental grammar of line and plane to generate a painting language that leads to unexpected conclusions. Throughout the process his restricted syntax gives way to more expansive possibilities that cultivate oppositions between gesture and geometry, as well as intention and accident.<br /> <br /> The work draws from both Hicks's former architectural study and practice as well as to his even earlier, exposure to Sumi-e painting. While the more intuitive brushwork begins to describe patterns of energy, the shifting planes mimic the architectural form of our built environment. Traces of line and plane become the equivalents of doubt, memory and time. The whole evokes an evolving abstract narrative while the best results seem at once surprising and obvious.</p> Sun, 27 Jan 2013 22:57:55 +0000 Pamela Talese - George Billis Gallery- NY - January 24th, 2013 6:00 PM - 8:00 PM Sun, 27 Jan 2013 23:00:42 +0000 Zwelethu Mthethwa - Jack Shainman Gallery 20th Street - January 24th, 2013 6:00 PM - 8:00 PM <div><b>Jack Shainman Gallery</b> is pleased to announce Zwelethu Mthethwa’ssixth solo exhibition with the gallery. The show will include photographs from three new series of work including <i>The Brave Ones</i>, <i>Hope Chest</i> and <i>The End of An Era</i>. Mthethwa, known for his large scale photographs, continues to engage the history of photographic portraiture with painterly composition, vibrant color and subjects with a commanding gaze.</div> <div> </div> <div>The most recent series, <i>Hope Chest</i>, explores the relationship between a woman and her prized object used to house valued possessions. The chests are gifted to a woman on the occasion of her marriage, stay with her throughout her life and are traditionally the last gift she will receive from her family before her new identity as a married woman is assumed. The object represents a psychological time capsule filled with goods specific to the woman’s life as it was, is, and is hoped to become. While the series is photographed in South Africa, the tradition of the Hope Chest manifests itself cross culturally in varying forms. These portraits examine autonomy, ownership, gender and the relationship we cultivate with our belongings.</div> <div> </div> <div>In the equally gender specific body of work, <i>The Brave Ones</i>, Mthethwa has photographed young men who are devotees of the Nazareth Baptist Church or Shembe. The subjects are separated from the implied ritual and situated within lush pictorial landscapes. Mthethwa’s interest lies less in the religious organization and remains focused on the role of the uniform in the construction and expression of male identity in this multilayered context. By picturing young men in a uniform of pleated skirts, button-down shirts, bowties, athletic socks and decorative headwear, as in the practices of the church itself, amalgamations of influences including the residue of colonialism come together in a patchwork that redefines the individual parts and acts to affirm its members as a collective body.</div> <div> </div> <div>In <i>The End of An Era, </i>Mthethwa returns to the interior space, removing the human subject and examining the objects and ephemera left behind. The interiors are hostel rooms which house migrant workers traveling to Johannesburg and Durban from Mozambique and Zimbabwe in search of better wages. While drawing attention to socio-economic and political conditions, Mthethwa also focuses on the detailed still lives that surround the workers and the manner in which they arrange their private spaces. Mthethwa’s full trajectory, whether of exterior vistas or intimate interiors, is anchored in a visual poetic and engagement with art history and the history of representation.</div> <div> </div> <div>Zwelethu Mthethwa, born in Durban, KwaZulu-Natal, South Africa, currently lives and works in Cape Town. He has exhibited extensively throughout the United States and internationally. Most recently the Baltimore Museum of Art, Maryland, opened its re-envisioned Contemporary Wing with a solo exhibition, <i>Zwelethu Mthethwa</i>,as part of their Front Room Series on view until February 10, 2013. Other solo exhibitions have included <i>Zwelethu Mthethwa: Sugar Cane (2003–2007)</i>, John Hope Franklin Center, Duke University, Durham, NC and <i>Zwelethu Mthethwa: Inner Views</i>, The Studio Museum in Harlem, New York, NY. Recent group exhibitions include <i>Rise and Fall of Apartheid: Photography and the Bureaucracy of Everyday Life</i>, International Center of Photography; <a name="OLE_LINK1"></a><i>Environment and Object in Recent African Art</i>,Skidmore College Frances Young Tang Teaching Museum and Art Gallery, Saratoga Springs, NY which traveled to the Anderson Gallery, Virginia Commonwealth University, Richmond, VA, and Middlebury College Museum of Art, Middlebury, VT; <i>Figures and Fictions: Contemporary South African Photography</i>, Victoria &amp; Albert Museum, London, UK and <i>The Global Africa Project, </i>Museum of Art and Design, New York, NY.</div> <div> </div> <div>Mthethwa is also included in numerous public collections including The Museum of Modern Art, New York, NY; The Corcoran Museum Gallery of Art, Washington, D.C.; Guggenheim Museum, New York, NY; The Los Angeles County Museum of Art, Los Angeles, CA; The Metropolitan Museum of Art, New York, NY; Museo de Arte Contemporaneo de Castilla y Leon, Madrid, Spain; Nasher Museum of Art, Durham, NC; National Museum of African Art, Washington, D.C.; The New Museum, New York, NY; Samuel Harn Museum, Gainesville, FL; The Scottish National Portrait Gallery, Edinburgh, Scotland; The Studio Museum in Harlem, New York, NY; and the Victoria &amp; Albert Museum, London, UK.</div> Mon, 14 Jan 2013 23:12:14 +0000 Aya Rodriguez-Izumi & Davina Hsu - Michael Mut Project Space - January 24th, 2013 7:00 PM - 9:00 PM <p></p> <p></p> <p> <b>C. U. Next Tuesday </b>| 1.21.13 - 2.2.13 | <b>@ Michael Mut Gallery</b></p> <p>Curated by Jessica Lanay Moore | Works by Aya Rodriguez-Izumi &amp; Davina Hsu</p> <p>97 Avenue C b/w 6th and 7th Sts| 917.691.8390 |</p> <p>Infamous and famous, the all-mighty C-word has been a part of popular culture for generations. The word is a door into discussions of modesty and promiscuity, a polarized conversation where women are forced to take sides – grotesque or beautiful, clean or filthy. The exhibition, <b><i>C.U.Next Tuesday </i></b>features the works of Aya Rodriguez-Izumi and Davina Hsu, multi-faceted artists whom employ colorful pallets with designs and images that have the clean finish of print-making. Artist Aya Rodriguez-Izumi’s work focuses on social anomalies and no subject depicted in her drawings and paintings is taboo, while Davina Hsu’s drawings and paintings search the deep annals of vulnerability, personhood and beauty. Both jaw-dropping and reflective, this exhibition re-opens the conversation on just what is so grotesque and beautiful about <b><i>C.U.Next Tuesday</i></b>.</p> <p><b>Exhibition Schedule</b></p> <p><i>Opening Reception </i>| 1.24.13 | 7pm - 9pm</p> <p><i>Meet the Artists and Curator </i>| 1.31.13 | 7pm - 9pm</p> <p><b>Hours </b>| Wed. - Fri. 2pm - 6pm &amp; Saturday noon - 6pm</p> <p><b>Transportation | </b>F, M train to 2 Ave; L train to 1st Ave; 6 to Astor Place; M9 Bus</p> Sat, 22 Dec 2012 01:10:54 +0000 Marco Brambilla - Nicole Klagsbrun - January 24th, 2013 6:00 PM - 8:00 PM <p>Nicole Klagsbrun is pleased to announce, CREATION (megaplex), a solo exhibition<br />featuring two video installations by Marco Brambilla, on view from January 24 to<br />February 23, 2013. A reception for the artist will be held on Thursday, January 24,<br />from 6:00 to 8:00 pm.<br />Drawing from an array of pop cultural sources in order to re-contextualize century<br />old histories, Brambilla's films continue to challenge the standards of both art and<br />film. The third in a trilogy of 3D videos that started with Civilization (Megaplex)<br />(2008) and Evolution (Megaplex) (2010), Creation (Megaplex) presents a spectacular<br />cinematic composition that culls from a vast archive of iconic Hollywood films. Set<br />within the form of a giant DNA helix, Brambilla takes the viewer on a spiraling<br />trajectory that begins with a big bang and continues through embryonic inception,<br />idyllic, Eden-like bliss and decadence. The elaborate succession finally culminates<br />in a state of super-saturation, where structure implodes and interminably<br />re-invents itself to begin again as an erupting point in space. Digitally assembled<br />images generate a hyper-realistic landscape of clouds, meadows and burning<br />cityscapes, against which humanity oscillates between a frenzied production and<br />consumption of its own creation. With each cycle of the work, Brambilla’s video<br />engulfs the viewer in an overload of imagery almost impossible to sustain.<br />Also on view, installed on a single monitor is Brambilla’s video, Atlantis (OV-104).<br />On March 8th, 2012, the artist and his crew were granted access to document the<br />last day the space shuttle Atlantis was housed in the vehicle assembly building<br />(VAB) at the John F. Kennedy Space Center before being decommissioned. Filmed<br />using analogue video equipment from the 1980s, Atlantis is a haunting portrait of<br />the once-proud marvel of technology in its very final stage of retirement. The<br />space shuttle forever grounded, rests entombed in its cavernous home, seen in a<br />manner reminiscent of early space transmissions or an underwater exploration of<br />the Titanic wreckage on the ocean floor.<br />Brambilla’s work has been exhibited extensively in institutions both in the United<br />States and abroad, including the New Museum of Contemporary Art, New York;<br />San Fransisco Museum of Modern Art, San Fransisco; Santa Monica Museum of<br />Art, Stana Monica; Corcoran Gallery of Art, Washington, D.C.; Kunsthalle Bern,<br />Berne; Alcalá 31, Madrid. His 3D video installation, Evolution (Megaplex) is<br />curently on view at the Eli and Edythe Broad Art Museum in East Lansing, Michigan.<br />Brambilla lives and works in New York, New York and this is his first solo<br />exhibition at Nicole Klagsbrun.</p> Sun, 13 Jan 2013 00:08:17 +0000 Anthony Caro, Helen Frankenthaler, Morris Louis, Kenneth Noland, Jules Olitski, Frank Stella - Paul Kasmin Gallery - 10th Ave - January 24th, 2013 6:00 PM - 8:00 PM <p style="margin-left: -.25in;"><strong>Paul Kasmin Gallery</strong> is pleased to present <strong><em>Caro, Frankenthaler, Louis, Noland, Olitski, Stella: Curated by Hayden Dunbar and Stewart Waltzer </em></strong>on view at 293 Tenth Avenue <strong>January 24 – February 23, 2013</strong>, featuring artworks by Anthony Caro, Helen Frankenthaler, Morris Louis, Kenneth Noland, Jules Olitski, and Frank Stella.</p> <p style="margin-left: -.25in;"><em>Caro, Frankenthaler, Louis, Noland, Olitski, Stella</em> will present a selection of paintings and sculptures by master abstract artists whose work, deemed radical in the 1960s, carries a lasting influence on the art world to this day. The artists shown in this exhibition are part of a generation of painters and sculptors who veered away from the dominant subjective and gestural Abstract Expressionist movement of the 1950s. The painters Morris Louis and Kenneth Noland championed the style of painting referred to as “Color Field.”  Focusing on explorations of color and composition with an emphasis on flatness and line, Color Field painters rejected illusions of depth and brushwork and rather, applied color in geometric motifs spanning the entire flat surface of canvas.  Intent on erasing the distinction between the subject and its background, Color Field painters approached each canvas as a single plane. The expansive canvases of the Color Field Painters invite and envelop the viewer in a vibrant atmosphere of color. Louis and Noland’s pivotal studio visit with the painter Helen Frankenthaler in 1953 exposed them to her groundbreaking style, where she diluted and thinned paint that seemed to intertwine with raw unprimed canvas. This visit inspired both artists; Noland began to paint in a symmetrical straight-edged fashion with an emphasis on geometric line and color. Louis soaked and stained his unprimed canvases in veils of radiant translucent thinned acrylic paint from 1954 to 1962.</p> <p style="margin-left: -.25in;">Clement Greenberg proclaimed Noland and Louis major figures in American art, naming the two artists as the successors to Jackson Pollock and Willem de Kooning. Noland continued to influence the art world after the 1960s, breaking boundaries of form, medium and scale in his work. Noland died in 2010 at the age of 85. Louis’s radical approach to painting began attracting national and critical attention around the time of his death in 1962. In 2007, Paul Kasmin Gallery showed a selection of Louis’s work entitled “Paintings.”</p> <p style="margin-left: -.25in;">In the 1960’s, Frank Stella began to gain recognition for his unusually shaped canvases, which created a sculptural effect opposing the theory of flatness. Stella is a recipient of many honors and awards, including the first prize at the 1967 International Biennial of Paintings. Stella’s work has been the subject of several retrospectives in the United States, Europe, and Japan. His painting, “Moultonville II”, 1966, was exhibited in “Color as Field: American Painting, 1950-1975,” the Smithsonian American Art Museum in 2008, along with works by Frankenthaler, Louis, Noland, and Olitski.</p> <p style="margin-left: -.25in;">Anthony Caro rose to prominence in the 1960s for his large-scale, abstract sculptures, and is considered to be an icon for Color Field painters. During the 1960s, Caro utilized oxyacetylene welding equipment and scrap metal from London dockyards and began to experiment with cutting, welding, and bolting together pre-fabricated steel girders, meshes and sheet metal. The resulting abstract sculptures explored similar topics as Color Field painters such as scale, form, surface and space. Born in 1924 in England, Anthony Caro’s career spans more than five decades, during which he has received numerous honors, critical acclaim, and is renowned as Britain’s most important living sculptor. Anthony Caro’s major exhibitions include retrospectives at the Museum of Modern Art, New York (1975), the Trajan Markets, Rome (1992), the Museum of Contemporary Art, Tokyo (1995), Tate Britain, London (2005).  Caro lives and works in England. </p> <p style="margin-left: -.25in;">Jules Olitski is known for his desire to create colors that look like they are diffused into the air. Olitski challenged and widened the definition of Color Field in the 1970s by using spray paint to achieve his vision. Greenberg described him as “the greatest painter alive” in 1990. Olitski’s first solo museum exhibition was at the Corcoran Gallery of Art, Washington DC, in 1967. In 1969, he exhibited at the Metropolitan Museum of Art. A retrospective was held at the Museum of Fine Arts, Boston, in 1973.</p> Sat, 19 Jan 2013 06:25:02 +0000