ArtSlant - Current exhibits http://www.artslant.com/ny/Events/show en-us 40 John A Parks - 532 Gallery Thomas Jaeckel - November 8th, 2012 - February 16th, 2013 <p>532 Gallery Thomas Jaeckelis pleased to announce “Paint and Memory” an exhibition of new paintings by John A. Parks.  Executed as finger paintings, these pictures explore the artist’s memories of his English childhood in a series of richly evocative images. “In a sense I’m using a childish means to recreate a child’s world,”says Parks, “although the resulting paintings are far more sophisticated than those of a child.”  The lush surfaces, gloriously layered color and suggestive drawing work together to create a novel and intensely nostalgic vision. What is remembered are glimpses, sometimes idyllic and sometimes disturbing; cycling through a village on a summer’s day, playing hide-and-seek in a public park, the mayhem of an indoor swimming pool, the sudden formality of a Maypole dance. The limitation of painting with his fingers has forced Parks to simplify the descriptive tasks of the painting. “There is a certain indeterminacy with finger painting,” says the artist, “you are never exactly sure where an edge is going to go.  Chance events occur that you can edit out or leave in.  The process adds a richness and a very physical engagement with the paint.  Accidents can often be suggestive - theyprod the imagination and provide a sense of discovery.  Every mark is truly an adventure.”</p> <p>Also on view are three large-scale map paintings of London in which the artist manipulates space and point of view to provide a highly entertaining excursion through the streets of his native city. Presented from multiple viewpoints but lodged in a fairly accurate street plan, buildings, monuments, bridges and buses come alive in an unexpected and inventive fashion.</p> <p>Educated at the Royal College of Art in London, Parks has made paintings over the last thirty years that have focused on themes of English life seen through expatriate eyes. The artist has lived for decades in New York and teaches at the School of Visual Arts.  Throughout that time the artist’s work has evolved expressively and stylistically. His early and intense realist work was closely associated with the realist revival but carried with it from the start a lyrical and intensely personal quality.  John Russell, writing in the New York Times, dubbed him “A true poet in paint and something of a find.”   In the mid eighties and nineties Parks adopted a larger scale approach to paint images of public monuments in a series of paintings that explored the unease of national identity and its attendant rituals.  These works included a highly irreverent series of English soldiers, often shown dancing or otherwise cavorting.</p> <p>Parks has been represented by several major New York galleries including Allan Stone Gallery and Coe Kerr Gallery.  His work is included in a number of museum collections including the Victoria and Albert Museum, in London and the Museum of the Rhode Island School of Design.This exhibition marks his debut with 532 GalleryThomas Jaeckel.</p> <p>(Gallery is closed December, 4-11 Art Fair Miami)</p> Mon, 21 Jan 2013 21:29:02 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Enoc Perez - Acquavella Galleries - January 11th, 2013 - February 9th, 2013 <p>The Good Days is Enoc Perez’s second solo exhibition with the gallery and will feature all new works on canvas and also the artist’s first public display of sculptures. The new paintings revisit themes explored in previous work, namely modern era Caribbean hotels. Perez’s new series of plaster and bronze sculptures are inspired by the artist’s collection of vintage swizzle sticks, many of which originated from the same hotels Perez paints.</p> Fri, 04 Jan 2013 18:48:38 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Group Show - AICON GALLERY - New York - January 24th, 2013 - March 2nd, 2013 <p>Aicon Gallery New York is pleased to present the group exhibition Mapmakers II: The Evolution of Contemporary Indian Art, featuring iconic works by Anju Dodiya, Atul Dodiya, Rameshwar Broota, Hema Upadhyay, T.V. Santhosh, Subodh Gupta and more. As a group, these artists represent the vanguard of Contemporary Indian Art that burst onto the international scene in the mid-2000s, turning the heads of museums, critics and collectors. This exhibition showcases the important large-scale canvases through which these artists, among others, redefined Indian Contemporary and set the compass points for a new generation to follow. <br /> <br /> As an appropriation artist, Subodh Gupta produces sculptures and paintings that reflect the economic transformation of his homeland as they relate to Gupta’s life and memories of his childhood through images of Tiffin Boxes, tahli pans, bicycles and milk pails. Gupta says, “All these things were part of the way I grew up, they are used in the rituals and ceremonies that were part of my childhood.” By transforming icons of everyday life in India into artworks that are globally understood, Gupta represents of generation of young Indian artists whose commentary tells of a country on the move, fueled by economic growth, heightened materialism and rapidly shifting social dynamics. His work re-contextualizes the ubiquitous icons of a culture, dissolving their familiar meanings and stripping them of their function, recalling a conceptual practice ranging back from Marcel Duchamp through to Damien Hirst. Gupta has said “Art language is the same all over the world, which allows me to be anywhere.”<br /> <br /> Drawing inspiration from a variety of sources – ranging from cinema, news, media, art history and popular culture – T.V. Santhosh explores present-day crises through his art. Adapting images from digital and printed media, the artist creates eerily realistic canvases, charged by opinions on the general socio-political climate of India. Santhosh’s distinctive style makes his paintings recognizable without being predictable, via three key elements: Photorealism, chromatic scale, and gradual variation. An undertone of profound disillusionment is rendered in his paintings, his realistic figures cast in iridescently blurred light, framed in hallucinatory shadows. The enigmatic aesthetic denotes a social commentary of protest, while the artist remains disengaged from the social events depicted. He veils, floods and distorts the subjects with this strange yet familiar light – opting for a cold, machine-made glow rather than the warmth of sunlight. This stark filter conveys a macabre intensity, where reality and fantasy mix in his fluid surface bathed in an ominous luminosity.<br /> <br /> Through his paintings and assemblages, Atul Dodiya engages with both contemporary politics and art history in a way that entwines global and public memory as well as local and personal experience. His work is infused with a strong sense of the history of Western art and the myths, folklore and popular culture of India. Often, these two worlds collide in his work in amusing and instructive ways, with a pluralist and fragmentative mood dominating his compositions. Dodiya draws heavily on historical influences that he both questions and internalizes through his work.<br /> The self is at the center of Anju Dodiya's works. Though not solipsistic, the majority of her works give the viewer access to private moments, lifted from "the private discourse that goes on within oneself when one is alone." Dodiya initially resisted the lure of self-portraiture. Her early works were extremely abstract, and following her first show ("a fictional autobiography"), she tried to refocus her gaze on railway stations, roadside scenes, and so forth. Yet ultimately she found her original impulse of a painterly introspection was the strongest, and rechanneled her vision into describing situations from her life. Her expressions can be interpreted as being autobiographical, but her works go beyond that, and reflect the conflicts of womanhood. In Dodiya’s work there is always one female figure represented in a male or dominant posture – giving her conflicts another dimension. The sensitivity of her paintings is not shadowed by any socio-political-isms, and is achieved by her skilled control over her medium. <br /> <br /> As a child, Rameshwar Broota was anguished by the dire poverty and misery surrounding him. As such, his early paintings reflect society’s rampant ills during this time, often functioning as satirical commentaries on widespread injustice, political corruption and moral issues surrounding class divisions. Though not a very prolific artist, Broota developed a highly unique style, painting mostly monochromatic canvases sparsely populated by geometric markings with surfaces then scraped with a thin blade to create light and forms. His paintings feature monumental humans with all of them wounded, hardened or somehow dehumanized.</p> <p><br /> Mumbai based Hema Upadhyay works in a variety of media to explore the histories and stories personal to her. Her work deals in narratives of migration and resettlement, loss and longing for those left behind, excavating the physical and emotional backlog produced from living in a major urban metropolis. Deeply honest and playfully sarcastic, Upadhyay’s work depicts multiple perspectives, aerial views of intricately rendered city maps or textile surfaces layered with small photographic self-portraits. Miniaturizing images of herself in various positions, she inserts them into her allegorical landscapes allowing them to interact with the decorative and fictive environments she creates. Upadhyay creates highly textured surfaces and spaces blemished with scraps and stains, calling out the contradictions and incongruities situated at the intersection of tradition and contemporary life. Upadhyay often works collaboratively with artists and non-artists close to her, highlighting the importance of process, dialogue, and conversation to her practice.</p> Sun, 27 Jan 2013 22:32:15 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Hugh Steers - Alexander Gray Associates - January 12th, 2013 - February 16th, 2013 <p style="text-align: justify;"><span style="font-size: small;">Alexander Gray Associates is pleased to present its first solo exhibition of works by Hugh Steers, featuring paintings and works on paper produced from 1987–1993. Throughout his career, cut dramatically short by AIDS at the age of 33, Steers was celebrated for his allegorical painting that captured the emotional and political tenor of New York in the late 1980s and early 1990s, particularly the impact of Queer identity and the AIDS crisis.</span><br /> <br /><span style="font-size: small;"> Dedicated to figurative painting despite a hostile artistic climate, Steers deliberately experiments with the role of beauty, manipulating the medium to create palpable tension between visual appeal and raw content. Familiar interior spaces—the bathroom and the bedroom—provide the stage for Steers' complex narratives. In <i>Purple Velvet Dress</i> (1989), delineations of real and imaginary, ego and alter-ego, eroticism and isolation become blurred. Later, in works from the 90s, anxiety and mortality grow in presence, haunting the corpulent figures and casting a brutal glow onto the scene. <i>Throat</i> (1991) takes a more literal stance, depicting the torture of anticipation as illness looms imminent.</span><br /> <br /><span style="font-size: small;"> At once biographical and allegorical, the intimate domestic scenes on view employ a style deeply rooted in art historical tradition to depict contemporary issues with extraordinary immediacy. Recalling his influential American predecessors, including Thomas Eakins, Paul Cadmus, Marsden Hartley, and Charles Demuth, Steers renders tenderness, isolation, intimacy, and psychological dilemma through dramatic use of color, skewed perspective, and radiant golden light.</span></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"><span style="font-size: small;">Hugh Steers (1963–1995) was celebrated for his allegorical painting that captured the emotional and political tenor of New York in the late 1980s and early 1990s, particularly the impact of Queer identity and the AIDS crisis. Born in Washington, D.C., Steers studied painting at Yale University, and pursued a commitment to figuration throughout his career, cut dramatically short by AIDS at the age of 32. Influenced by historical figures of American art, including Thomas Eakins, Edward Hopper, and Paul Cadmus, he embraced representational painting and figuration at a time when such approaches were especially unfashionable. </span><br /> <br /><span style="font-size: small;"> Steers described his artistic perspective in an interview in September 1992: “I think I'm in the tradition of a certain kind of American artist—artists whose work embodies a certain gorgeous bleakness. Edward Hopper, Jackson Pollock, Franz Kline—they all had this austere beauty to them. They found beauty in the most brutal forms. I think that's what characterizes America, the atmosphere, its culture, its cities and landscape. They all have that soft glow of brutality.”</span><br /> <br /><span style="font-size: small;"> While embracing the polemics of identity politics through his visual content, Steers’ emotionally charged painting took a departure from the more didactic work of his peers. The last five years of his artistic practice focused on AIDS as a subject matter, drawing on community experience and mixing dreamlike allegory with figurative realism. The resulting images amplify issues of mortality and isolation, defiance and compassion. Hugh Steers’ artwork is in the collections of the Whitney Museum of American Art, the Walker Art Center, and the Denver Art Museum. A forthcoming catalogue raisonné of Steers’ paintings and drawings will be organized by Visual AIDS.</span></p> Sun, 13 Jan 2013 17:24:43 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Lois Dodd - Alexandre Gallery - January 10th, 2013 - February 16th, 2013 Mon, 11 Feb 2013 14:27:17 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Joel Holmberg - American Contemporary - January 11th, 2013 - March 8th, 2013 <p>I don’t always write statements about my work, but when I do, I prefer to start sentences with “As an artist.” As an artist, it is thrilling to go through customs and be asked what I do. Nothing else charges me with such agency then when the customs official asks me directly "what is your occupation?" I do not get insecure or try to prove myself by giving them a rundown of my CV. I just look at the agent and say "artist" in a way that only a real artist can, with dignity and open-endedness.<br />We are used to hearing people described as being, like an artist. Though I've yet to hear someone described as being an artist when it comes to time management, which, might actually be what artists are best at. Phil Spector was like an artist the way he made his musicians play songs over and over and didn’t record anything until they were completely exhausted and ready to call it a day, only then would he hit record. Neil Young was also like an artist the way he had his engineers start recording even before he stepped into the studio, because he knew that the first thing he did would be brilliant. I wonder if Phil Spector’s musicians stormed out of the studio the way Neil Young burst in.<br />Soft Laws are often unspoken and contain aspirational goals by providing an incentivized framework for adhering to a certain code of conduct, e.g. the Lower East Side gallery culture of being open on Sundays. Isn’t it funny how one might advocate for a prickly person by saying that they are just “wired differently”? That can excuse a lot of difficult behavior.<br />American Contemporary is delighted to present Joel Holmberg’s first solo gallery exhibition. He has previously exhibited at the New Museum, New York, NY; Outpost, Norwich, UK; The Museum of the Moving Image, New York, NY; The 9th Shanghai Biennale, Shanghai, CN, The Sundance Film Festival, Park City, UT, Espace Gantner, Belfort, FR and will exhibit at Kettles Yard, Cambridge, UK later this year. He is a member of the web based collective Nasty Nets and studied at Virginia Commonwealth University, Richmond, VA and Yale University, New Haven, CT.</p> Tue, 26 Feb 2013 15:04:26 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list William Matthew Prior - American Folk Art Museum - January 24th, 2013 - May 26th, 2013 <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 23:12:17 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Eugene Von Bruenchenhein, Paul D. Humphrey, Nellie Mae Rowe, Inez Nathaniel Walker - American Folk Art Museum - January 24th, 2013 - May 26th, 2013 <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 23:27:20 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list - Ameringer | McEnery | Yohe - January 10th, 2013 - February 9th, 2013 <p>New York, New York – Ameringer | McEnery | Yohe is pleased to announce an exhibition of paintings by Esteban Vicente. The exhibition will open on 10 January and will remain on view through 9 February 2013.</p> <p>Phlox, helianthus, foxglove and daisies populated the garden of Esteban Vicente’s home in Bridgehampton, New York, representing spring’s prosperity and abundance of color. The sunlight he felt in the garden shines through these paintings, evoking the early summer afternoons that Vicente spent working in his studio.</p> <p>Motivated by the way that the sunlight hit the flowers and the grass of his New York country house, he continued to paint well into his 90’s. The works in this exhibition were completed between the years of 1998 and 2000. As a reference point, Vicente turned 95 years old on January 20 in 1998.</p> <p>The artist had a long and prosperous career, living and working with multiple generations of contemporary artists including the New York School painters and the Abstract Expressionists.</p> <p>At the end of his life, the Museo de Arte Contemporáneo Esteban Vicente, a museum in his honor, was opened in Segovia by the Spanish government. Vicente attended the museum’s opening in 1998.</p> <p>Esteban Vicente was born in Turégano, Spain, in 1903. He spent his early artistic career working in Madrid, Paris and Barcelona, before moving to New York City in 1936. The United States became the artist’s permanent home. His contemporaries and associates included Willem de Kooning (with whom he once shared a studio), Elaine de Kooning, Jackson Pollock, Mark Rothko, Franz Kline, Barnett Newman and Ad Reinhardt.</p> <p>Vicente’s work has been featured in many museum collections including The Museum of Modern Art, New York, NY; The Metropolitan Museum of Art, New York, NY; the Whitney Museum of American Art, New York, NY; the Solomon R. Guggenheim Museum, New York, NY and the Corcoran Gallery of Art, Washington, D.C. as well as the Institut Valencia D’Art Moderne in Valencia, Spain and the Museo Nacional Centro de Arte Reina Sofia in Madrid, Spain, among others.</p> <p>Vicente died in 2001 at the age of 97 in Bridgehampton, New York. This exhibition is accompanied by a fully illustrated catalogue with an essay by Barbara Toll.</p> Wed, 02 Jan 2013 19:58:09 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Peter Halley, Robert Motherwell, Sterling Ruby, Kelley Walker - Andrea Rosen Gallery - December 1st, 2012 - February 2nd, 2013 <p>Andrea Rosen Gallery is delighted to announce <i>Cellblock I</i> and <i>Cellblock II</i>, two group exhibitions – both curated by Robert Hobbs –that are intertwined yet distinctly separate in their intention. The exhibitions open November 3, 2012 at the Gallery's main space at 525 West 24th Street, as well as inaugurating its new, second location, at 544 West 24th Street.<br /> <br /> <i>Cellblock I</i>, at the Gallery's primary and expanded space (525 West 24th Street), brings together a compelling group of four important artists – Peter Halley, Robert Motherwell, Sterling Ruby and Kelley Walker – by presenting a selection of significant paintings. The complex ideas behind the show and Hobbs' very deliberate choice of work suggest further layers of reading while remaining open to the viewers' own abstracted relationships with the works and their unique experiences. As is characteristic of shows at the Gallery, <i>Cellblock I</i> affords the opportunity to look at these familiar artists in a new way and with more depth, both in relation to each other and in regards to their individual practices.<br /> <br /> While these are four artists Hobbs has championed individually, it's compelling how this show and subject bring together his scholarship in a culminating and unexpected way with artists whom he has known, studied, and written about over the length of his career, forming a meeting point of sorts. <br /> <br /> The Gallery is especially thrilled to feature <i>Cellblock II: An Essay in Exhibition Form</i> as the first show at its second space, which will newly house its Gallery 2 program, known for content-driven, experimental and historical one time exhibitions. Andrea Rosen conceived Gallery 2 in 1999 as a liberating arena in which to consider new ideas and create parallel perspectives to the Gallery's primary program, and as a means of fulfilling the Gallery's responsibility to broaden visual references and education for its audience. <i>Cellblock II</i> is a perfect first show for the new location as its basis is a key principle of Gallery 2 – combining works and/or artists one might know, including historical artists as well as those of a younger generation, to create unexpected relationships and significant dialogues around a subject that has not been explored in such depth. The Gallery 2 program also provides the opportunity to work with esteemed independent curators and art historians, and the Gallery is extremely proud to spotlight this profound brainchild of Robert Hobbs, the prominent scholar and curator known for his extensive, in-depth, historically important writings on Robert Motherwell and a plethora of other artists, and also known as the definitive Robert Smithson scholar.<br /> <br /> <i>Cellblock II</i>, at the new location (544 West 24th Street), features works by a greater range of artists such as Vito Acconci, Alice Aycock, Tom Burr, Jean Genet, Robert Gober, Peter Halley, Nancy Holt, Will Insley, Donald Judd, Robert Morris, Robert Motherwell, Bruce Nauman, Beverly Pepper, Ad Reinhardt, Sterling Ruby, Tony Smith, Robert Smithson, Jackie Winsor and Artur Żmijewski. <i>Cellblock II</i> is a dense exhibition combining historical material with an increased number of works and mediums, incorporating wall text, diagrams and video. It offers background information and contextual references that flesh out Hobbs' <i>Cellblock</i> concept without becoming didactic, since its goal is to stimulate viewers to draw their own conclusions. <i>Cellblock II</i> affords <i>Cellblock I</i> the opportunity to be a more visceral experience. Although still experiential, <i>Cellblock II</i> affords a more cerebral experience.<br /> <br /> While the show brings together work that addresses containment, enclosure, and imprisonment, it also questions the frequently unexamined assumption that modern and contemporary art's contents are eminently assessable to viewers either empirically or epistemologically by finding the right key, so that almost by magic an open sesame takes place. Countering this myth of art's ease of access, these shows look at the power of refusal, both formally and in terms of subject matter, when works of art deliberately withhold their contents so that viewers are left with enduring mysteries and disquieting conundrums. A text by Hobbs, describing the deeper intellectual content of <i>Cellblock I</i> and <i>II</i>, is also included for reference.<br /> <br /> The foundational concept of <i>Cellblock</i> is very purposefully presented as two distinct shows, representing two completely different yet complementary perspectives. The physical separation of <i>Cellblock I</i> and <i>Cellblock II</i> clarifies their different orientations.<br /> <br /> <i>Art historian Dr. Robert Hobbs has held the Rhoda Thalhimer Endowed Chair at Virginia Commonwealth University since 1991 and has been a visiting professor at Yale University for eight years. Before joining VCU, he served as a lecturer at Yale and an associate professor at Cornell University. Recognized as a scholar, teacher, and curator, Hobbs specializes in both late modern and postmodern art. His work joins social history with literary criticism and aesthetics; it also relies on feminist and postcolonial theory. He has published widely and curated dozens of exhibitions, many of which have been shown at important institutions in the U.S. and abroad such as the Brooklyn Museum of Art; the Drawing Center (NYC); the Los Angeles County Museum of Art; Musée d'Art Moderne de la Ville de Paris; and the Whitney Museum of American Art. His specific research areas span the twentieth- and twentieth-first centuries, and his publications include monographs on Milton Avery, Alice Aycock, Edward Hopper, Lee Krasner, Mark Lombardi, Sterling Ruby, Robert Smithson, and Kara Walker. In addition he has written on such mainstream modern and postmodern artists as Hernan Bas, Duane Hanson, Keith Haring, Jonathan Lasker, Mark Lindquist, Malcolm Morley, Robert Motherwell, Beverly Pepper, Richard Pousette-Dart, Neo Rauch, Andres Serrano, Yinka Shonibare, James Siena, Tony Smith, Meredyth Sparks, Frank Stella, Frank Thiel, Kelley Walker, John Wesley, and Kehinde Wiley, among others.<br /> <br /> Robert Hobbs will co-curate the Bahamian Pavilion for the forthcoming Venice Biennale in 2013, with an exhibition of works by Tavares Strachan. This follows his appointment in 1982 as the U.S. Commissioner/Curator for the Venice Biennale for his exhibition "Robert Smithson: Sculpture," which had previously been shown at the Whitney Museum of American Art, and his appointment in 2002 as Curator for the São Paulo Biennial for the exhibition "Kara Walker: Slavery! Slavery!"</i></p> <p><b>CURATOR STATEMENT</b></p> <p><br /> <b>CELLBLOCK I</b><br /> <br /> In his 1897 "Preface" to "Un coup de dés" ("A Throw of Dice"), French nineteenth-century Symbolist Stéphane Mallarmé clarifies how "spaced-out blanks" of white paper function in his poem. "The paper," he explains, "intervenes each time an image, of its own accord, ceases or withdraws." This <i>contrapuntal movement</i> between the poem's material components (typeface on sheets of paper) and ostensible subject matter (a shipwreck and chance) can be extended to the visual arts, so that a similar ongoing and oscillating <i>shift</i> between means and meaning can be seen as taking place. Art's media can be understood as both blocking and revealing its import by participating in an accordion-like action of alternating revelation and obduracy. The work of art, in other words, incarnates and incarcerates an idea in <i>distinct materials</i> while contradictorily and momentarily springing the release of <i>these media</i> from their confines, permitting them alternatively to be read as signs and symbols as well as to be seen for themselves, thus briefly obviating a given work's metaphysical references. This reversibility of views—a flickering oscillation between subject and object—can readily be demonstrated by pointing out how the art's material support can participate fully in its dynamics so that figure and form are mutually supportive. <br /> <br /> The two-part exhibition <i>Cellblock I</i> and <i>II</i>—named for a division of a prison, a large building divided into separate units, a death house, a digital component, and biological cells working in tandem—intends to update this Mallarméan approach by looking at a selected group of works, many familiar to the curator through his past research, in order to demonstrate how artistic media can function bi-stably in the two different registers of revealing and obfuscating. Often, they paradoxically reveal themselves and their contents through the self-reflexive recalcitrance of the artistic materials comprising them. Dating from the mid-twentieth century to the present, these works figuratively re-present their constituent materials' obstinacy in terms of such <i>coercive</i> topics as incarceration, boundaries, foundations, and limits, in addition to various other obstructions. These works of art do so even when their ostensible subjects are biological cells as well as the cell-like circuitry of digital media. The artistic media making up the art in this exhibition, then, is intended to dramatize the shifting and ongoing reversible presence and absence of the figurative and formal elements comprising these works.<br /> <br /> <i>Cellblock</i> is organized into parts <i>I</i> and <i>II</i>, taking place in two separate locations on 24th Street. The first section is a spare hanging of works, setting up a series of similarities and differences in relation to the cellblock theme, while the second takes place in the Gallery's new space at 544 West 24th Street. <i>Cellblock II</i> fleshes out this theme by presenting a far greater range of cellblock types, illuminated with diagrams, quotes, and commentaries, with the full knowledge that any such showing can only be representative, never inclusive.<br /> <br /> <br /> Robert Hobbs<br /> Thalhimer Endowed Chair of American Art, VCU</p> Mon, 10 Dec 2012 23:00:01 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Group Show - Andrea Rosen Gallery 2 - December 1st, 2012 - February 2nd, 2013 <p>Andrea Rosen Gallery is delighted to announce <i>Cellblock I</i> and <i>Cellblock II</i>, two group exhibitions – both curated by Robert Hobbs –that are intertwined yet distinctly separate in their intention. The exhibitions open November 3, 2012 at the Gallery's main space at 525 West 24th Street, as well as inaugurating its new, second location, at 544 West 24th Street.<br /> <br /> <i>Cellblock I</i>, at the Gallery's primary and expanded space (525 West 24th Street), brings together a compelling group of four important artists – Peter Halley, Robert Motherwell, Sterling Ruby and Kelley Walker – by presenting a selection of significant paintings. The complex ideas behind the show and Hobbs' very deliberate choice of work suggest further layers of reading while remaining open to the viewers' own abstracted relationships with the works and their unique experiences. As is characteristic of shows at the Gallery, <i>Cellblock I</i> affords the opportunity to look at these familiar artists in a new way and with more depth, both in relation to each other and in regards to their individual practices.<br /> <br /> While these are four artists Hobbs has championed individually, it's compelling how this show and subject bring together his scholarship in a culminating and unexpected way with artists whom he has known, studied, and written about over the length of his career, forming a meeting point of sorts. <br /> <br /> The Gallery is especially thrilled to feature <i>Cellblock II: An Essay in Exhibition Form</i> as the first show at its second space, which will newly house its Gallery 2 program, known for content-driven, experimental and historical one time exhibitions. Andrea Rosen conceived Gallery 2 in 1999 as a liberating arena in which to consider new ideas and create parallel perspectives to the Gallery's primary program, and as a means of fulfilling the Gallery's responsibility to broaden visual references and education for its audience. <i>Cellblock II</i> is a perfect first show for the new location as its basis is a key principle of Gallery 2 – combining works and/or artists one might know, including historical artists as well as those of a younger generation, to create unexpected relationships and significant dialogues around a subject that has not been explored in such depth. The Gallery 2 program also provides the opportunity to work with esteemed independent curators and art historians, and the Gallery is extremely proud to spotlight this profound brainchild of Robert Hobbs, the prominent scholar and curator known for his extensive, in-depth, historically important writings on Robert Motherwell and a plethora of other artists, and also known as the definitive Robert Smithson scholar.<br /> <br /> <i>Cellblock II</i>, at the new location (544 West 24th Street), features works by a greater range of artists such as Vito Acconci, Alice Aycock, Tom Burr, Jean Genet, Robert Gober, Peter Halley, Nancy Holt, Will Insley, Donald Judd, Robert Morris, Robert Motherwell, Bruce Nauman, Beverly Pepper, Ad Reinhardt, Sterling Ruby, Tony Smith, Robert Smithson, Jackie Winsor and Artur Żmijewski. <i>Cellblock II</i> is a dense exhibition combining historical material with an increased number of works and mediums, incorporating wall text, diagrams and video. It offers background information and contextual references that flesh out Hobbs' <i>Cellblock</i> concept without becoming didactic, since its goal is to stimulate viewers to draw their own conclusions. <i>Cellblock II</i> affords <i>Cellblock I</i> the opportunity to be a more visceral experience. Although still experiential, <i>Cellblock II</i> affords a more cerebral experience.<br /> <br /> While the show brings together work that addresses containment, enclosure, and imprisonment, it also questions the frequently unexamined assumption that modern and contemporary art's contents are eminently assessable to viewers either empirically or epistemologically by finding the right key, so that almost by magic an open sesame takes place. Countering this myth of art's ease of access, these shows look at the power of refusal, both formally and in terms of subject matter, when works of art deliberately withhold their contents so that viewers are left with enduring mysteries and disquieting conundrums. A text by Hobbs, describing the deeper intellectual content of <i>Cellblock I</i> and <i>II</i>, is also included for reference.<br /> <br /> The foundational concept of <i>Cellblock</i> is very purposefully presented as two distinct shows, representing two completely different yet complementary perspectives. The physical separation of <i>Cellblock I</i> and <i>Cellblock II</i> clarifies their different orientations.<br /> <br /> <i>Art historian Dr. Robert Hobbs has held the Rhoda Thalhimer Endowed Chair at Virginia Commonwealth University since 1991 and has been a visiting professor at Yale University for eight years. Before joining VCU, he served as a lecturer at Yale and an associate professor at Cornell University. Recognized as a scholar, teacher, and curator, Hobbs specializes in both late modern and postmodern art. His work joins social history with literary criticism and aesthetics; it also relies on feminist and postcolonial theory. He has published widely and curated dozens of exhibitions, many of which have been shown at important institutions in the U.S. and abroad such as the Brooklyn Museum of Art; the Drawing Center (NYC); the Los Angeles County Museum of Art; Musée d'Art Moderne de la Ville de Paris; and the Whitney Museum of American Art. His specific research areas span the twentieth- and twentieth-first centuries, and his publications include monographs on Milton Avery, Alice Aycock, Edward Hopper, Lee Krasner, Mark Lombardi, Sterling Ruby, Robert Smithson, and Kara Walker. In addition he has written on such mainstream modern and postmodern artists as Hernan Bas, Duane Hanson, Keith Haring, Jonathan Lasker, Mark Lindquist, Malcolm Morley, Robert Motherwell, Beverly Pepper, Richard Pousette-Dart, Neo Rauch, Andres Serrano, Yinka Shonibare, James Siena, Tony Smith, Meredyth Sparks, Frank Stella, Frank Thiel, Kelley Walker, John Wesley, and Kehinde Wiley, among others.<br /> <br /> Robert Hobbs will co-curate the Bahamian Pavilion for the forthcoming Venice Biennale in 2013, with an exhibition of works by Tavares Strachan. This follows his appointment in 1982 as the U.S. Commissioner/Curator for the Venice Biennale for his exhibition "Robert Smithson: Sculpture," which had previously been shown at the Whitney Museum of American Art, and his appointment in 2002 as Curator for the São Paulo Biennial for the exhibition "Kara Walker: Slavery! Slavery!"</i></p> <p><b>CURATOR STATEMENT</b></p> <p><br /> <b>CELLBLOCK II </b><br /> <i>An Essay in Exhibition Form</i><br /> <br /> Beginning in the 1960s, the work of art as a restricted cell has served as a working premise for many artists, who have found ways to <i>literalize</i> this closure in a number of empathic ways. Several generative metaphors have enabled them to think about art's contradictory ability to <i>communicate</i> certain of its contents while also <i>withholding</i> information by maintaining its status as an enduring conundrum, so that viewers are left focusing on the work itself rather than any particular communiqué it might appear to be revealing. Among the most productive metaphors are <i>Plato's cave</i>, which supports the view of art as constituting at best a shadowy world; the <i>black box</i>, which focuses on art's irresolvable secrets; and Jeremy Bentham's <i>panopticon</i>, which emphasizes embodied perception and perspectival viewing. A more recent model is provided by the supermax prison, an American invention, with its enforcement of permanent solitary confinement, a concept crucial for Sterling Ruby's work. Although this exhibition focuses on the ways certain works of art function, Duchamp's inscribed portrait by Marvin Lazarus testifies to the artist's retrospective as a type of detention, an overarching restriction based on the misguided concept that all of an individual artist's work can be categorized in terms of a single stylistic designation.<br /> <br /> Robert Hobbs<br /> Thalhimer Endowed Chair of American Art, VCU</p> Mon, 10 Dec 2012 23:00:39 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Maria Loboda - Andrew Kreps Gallery @ 537 W. 22nd - January 12th, 2013 - February 16th, 2013 <p><span style="color: #333333; font-family: Verdana,Arial,Helvetica,sans-serif; font-size: small;" color="#333333" face="Verdana, Arial, Helvetica, sans-serif" size="1"><span size="1">The Andrew Kreps Gallery is pleased to present Maria Loboda’s exhibition General Electric – her first show at the gallery.  Based on myriad associations with the overall idea, history, and architectural manifestation of electricity, the exhibition will feature sculpture, installation and collage.  <br /><br />Loboda’s exhibitions are organized by web-like connections around a central theme that touch on the historical, magical, mythical, as well as the political and natural world. And in this exhibition, she has taken as a focus the General Electric building in New York’s Midtown.  The building is a classic Art Deco visual statement of suggested power through simplification, and embodies energy and movement, power and style.  Of particular interest is the sculpture above a conspicuous corner clock which features the GE logo and a pair of silver disembodied forearms grasping or channeling a thunderbolt – a physical harnessing of an inexplicable natural force – a formalization of the ephemeral.  <br />In her works too this same metaphysical manifestation is addressed – a steel sculpture which runs like a circuit around the edges of the gallery is varnished with amber (which is the etymological core of “electricity”) – thus addressing the idea that nothing is stable or safe and that an interior can be restless, that there is no real retreat – and there is an electric current is running on the edges of everything.<br />Loboda’s collages also address the desire to control or contain that which we cannot – in the case of English gardens, the force is nature.  The images of the incredibly preened hedges that were taken in the early morning and laid against a marbled skyline suggest that all attempts at control are illusory.  It’s as if in the early morning hours this wilderness is reclaiming its power.  Also in the exhibition are military-style beds – calling forth the irony of rest or sleep during a war.  <br /><br />Considered together the works in the show can be seen as a study on the desire for reason and order in the face of the organic and untamable. A construction of a reality that, in the end is untenable and even dangerous, like hands holding a lightning bolt – but absolutely necessary to make sense of our world – and ultimately to survive. <br /><br />Born in Krakow, Maria studied at the Städelschule in Frankfurt and is currently based in New York.  She has shown extensively and internationally - this year her work was featured in Documenta (13), and she has an upcoming solo show at the Museo Reina Sofia.  This show is a continuation of a show that she did at Her work has been exhibited at the Hirschhorn Museum, in Washington DC, at the ICA London, the Palais de Tokyo, in Paris, and Portikus in Frankfurt.</span></span></p> Sun, 27 Jan 2013 22:35:41 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Mattia Biagi - Anna Kustera - November 29th, 2012 - January 26th, 2013 <p>Anna Kustera is pleased to present in his second solo show at the gallery, Mattia Biagi's '<em>Someone Told Me Never To Do It.</em>'  In this new body of work, Biagi explores through multi-media forms the desire to make tangible a belief in supernatural causality and its cultural nuances.   </p> <p>By traversing abstract sculpture, video, painting, photography and performance, he investigates human emotional reaction to physical objects that have superstitious associations.</p> <p><strong>Please note: The gallery will be closed for the holidays from December 24 - January 1, 2013</strong></p> Fri, 18 Jan 2013 00:54:43 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list David Shrigley - Anton Kern Gallery - January 10th, 2013 - February 16th, 2013 <p>In this fifth solo exhibition at Anton Kern Gallery, entitled Signs, Glasgow-based artist David Shrigley surrounds a large black gong sculpture positioned in the center of the gallery with a variety of signs, such as flags, scrolls and banners, neon and cast bronze texts, as well as lino-cut and letterset texts and poems. As the sound of a gong usually signals a special moment (e.g. waking, eating, starting a movie, or ending a yoga session), Shrigley’s sculptural rendering of the percussion instrument sets the tone for the artist’s insightful exploration of semiotics, the study of signs and the relation between signs and the things to which they refer.<br />To his word strategies, Shrigley adds a key ingredient, the concept of the sign and its origin in agreement or convention (such as full stop signifying the end of a sentence). For a sign to have any effect it must be based on common attitudes. Making signs, as opposed to hand-drawn works on paper, enables Shrigley to expand his techniques, e.g. the recognition of unexpected shifts in viewpoints, or the collision of different frames of reference, into a wider, more public range. He turns the sign inside out as if reverting it to an earlier state of innocence where conventions were not yet fully formed. A neon sign reading “Hot Dog Repair” not only combines disparate terms (the ephemeral with the permanent) in a surprising way but also presents itself in the authoritative shape of a shop sign and thereby turning the agreed-upon convention of what is a reasonable and generally accepted service topsy-turvy.<br />Similarly, Shrigley’s lino-cut, letterset poems and texts, reminiscent of word-related art ranging from Concrete Poetry to Christopher Wool’s paintings, present characteristic Shrigleyesque thoughts however much less individualized (no handwriting) but rather subversively conventionalized (cut out and printed letters). Stepping away from the markedly handmade towards the more indirect and mechanized process of sign-making lifts the works in this exhibition onto a new level of humor as semiotic critique. Shrigley’s signs commandingly undermine their own presumed authority. A<br />sense of liberation prevails!<br />With over 40 books to his name, David Shrigley is a well-published author and artist. Recent solo exhibitions have been held at the Hayward Gallery, London; the Yerba Buena Center for the Arts, San Francisco; and the Cornerhouse Gallery, Manchester (all 2012). Shrigley has participated in group shows such as Funny, Flag Art Foundation, New York; Zoo, Musée d'Art Contemporain de Montréal, Montreal (both 2012); A Sense of Humor, Kohler Art Center, Sheboygan, WI; Life on Mars: 55th Carnegie International, Pittsburgh (2008); and Learn to Read, Tate Modern, London (2007).</p> Wed, 26 Dec 2012 02:00:21 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Ganzeer, Jeanno Gaussi, Rheim Alkadhi, Diala Khasawnih, Samah Hijawi - Apexart - January 16th, 2013 - March 2nd, 2013 <p>Entitled <em>Open Sesame (Iftah Ya Simsim)</em>, this exhibition borrows from the command used to open the cave of treasures in the tale <em>Ali Baba and the Forty Thieves</em> as well as the Arabic version of <em>Sesame Street</em>. Launched in Kuwait in 1979, the tv show shot its outdoor scenes in various Arab cities and its interior shots in Kuwaiti studios. In 1990 and 1991, after Saddam Hussein's (then president of Iraq) invasion of Kuwait on the 2nd of August 1990 and during the first Gulf War that ensued, forty four episodes of the show were aired on national Kuwaiti TV, however, the scenes which included Iraqi artists and actors were excluded. Thus, seventy six episodes were lost and never found. <br /> <br /> This exhibition aims to highlight that specific moment when everything changed on August 2nd 1990. It is an invitation to open the caves of memory. Because of their governments' positions regarding Saddam Hussein's invasion of Kuwait, hundreds of thousands of Arabs were pushed out of Kuwait in the months that followed the invasion, or were not allowed back in after the summer holidays. For many, they were forced to leave behind unmade beds, food in the fridge, play dates, and meetings. Because of the complexity of that particular exodus, many of the displaced found little support within their new communities, with no choice but to carry on with their lives, their stories (traumas) were silenced. <br /><br /> Members of the Makan collective, an art space based in Amman, Jordan will collect stories narrated by people who belong to the Open Sesame generation, those born in Kuwait between the years 1970-1982, who were forced to resettle with their families in Jordan, Egypt, Syria, Palestine, and as far as USA and Canada. This generation includes two members of the Makan collective, namely Samah Hijawi and Ola El-Khalidi. They were born and raised in Kuwait until life as they knew it changed in the summer of 1990 when they found themselves relocating with their families in Amman, Jordan. <br /><br /> The exhibition will invite artists and graphic novelists to illustrate the collected stories, attempting to capture this moment of history, an event past and potentially lost. While the present tensions, uprisings, and envisaged war in the same region is being documented by all sorts of media including social networking platforms, this is a step back in time to an instant of war and dislocation that has not yet received its appropriate documentation, narrativizing, and exploration. <br /><br /> <br /> <strong>Ola El-Khalidi</strong> works in the arts as an organizer, curator, and collaborator. Along with Samah Hijawi and Diala Khasawnih, she is a member of Makan, an art space, ever-redefined project and a collective based in Amman, San Francisco, and anywhere in between. She received an MA in curatorial practice from the California College of the Arts in San Francisco in 2012.</p> Mon, 10 Dec 2012 23:07:45 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Thomas Doughty, George Inness, Albert Bierstadt, Ralph Blakelock, Henry W. Ranger, J. Alden Weir - Arkell Museum - June 30th, 2012 - April 24th, 2013 <p>Paintings of idyllic farmland and pristine parkland and are included in this exhibition of American art from the Arkell collections. Thomas Doughty's idealized depiction of early New England's backwoods and Albert Bierstadt's painting of the majesty of Yellowstone are among the wilderness views. The exhibition also features pastoral and poetic and landscapes by George Inness, Ralph Blakelock, Henry W. Ranger and J. Alden Weir.</p> Sun, 31 Mar 2013 21:59:07 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list