ArtSlant - Openings & events en-us 40 - Museum of the City of New York - January 29th, 2013 6:30 PM - 8:30 PM <p><span style="color: dimgray;" color="dimgray"><span style="font-size: xx-small;" size="1"><span style="font-size: small;"><span style="font-family: Verdana;" face="Verdana">One hundred years ago — in the winter of 1913 — Grand Central Terminal, one of New York’s most beloved and recognizable landmarks, opened. <strong>Sam Roberts</strong>, urban affairs correspondent for <i>The New York Times </i></span><span style="font-family: Verdana;" face="Verdana">and author of a new book entitled <i>Grand Central: How a Train Station Transformed America </i></span></span><span style="font-family: Verdana;" face="Verdana"><span style="font-size: small;">(Grand Central Publishing, 2013), will present a lecture about Grand Central — its conception, history, and the far-reaching cultural impact of the station.</span> </span></span></span></p> Fri, 25 Jan 2013 00:46:02 +0000 GB Jones - Participant Inc. - January 29th, 2013 8:30 PM - 10:00 PM <div><strong style="font-family: 'Times New Roman'; font-size: medium;">GB Jones, <i>The Lollipop Generation</i>, Super8 and video, 70 mins., 2008</strong></div> <div><span face="Times New Roman" style="font-family: 'Times New Roman'; font-size: medium;"><strong> </strong></span></div> <div><span face="Times New Roman" style="font-family: 'Times New Roman'; font-size: medium;">Dirty Looks celebrates its second anniversary with a screening of legendary queercore epic <i>The Lollipop Generation</i>.</span></div> <div><span face="Times New Roman" style="font-family: 'Times New Roman'; font-size: medium;"> </span></div> <div><span face="Times New Roman" style="font-family: 'Times New Roman'; font-size: medium;">Shot over the course of thirteen years, this defiantly lo-fi first feature from Canadian DIY filmmaker and queercore trailblazer GB Jones records and celebrates the fierce, unruly subcultural ethos of a generation of queer troublemakers. A riotous mix of grungy, grainy Super8 and fuzzed-out video, <i>The Lollipop Generation</i> follows teenage runaway Georgie as she traipses across North America, with her lollipop-licking band of misfit queer street kids. Along the way, they turn tricks, rob perverts, run from a mysterious red van full of “horrible homos” with a taste for underage flesh, and make a lot of porn.</span></div> <div><span face="Times New Roman" style="font-family: 'Times New Roman'; font-size: medium;"> </span></div> <div><span face="Times New Roman" style="font-family: 'Times New Roman'; font-size: medium;">The film, shot “one Super-8 reel at a time”—whenever Jones could afford to buy another cartridge—emerges as a social diary, documenting an anarchic generation of underground performance and avant-garde practices, and starring a host of queer, punk, and zine luminaries, among them zinester and <i>Yo-Yo Gang</i> star Jena von Brücker, original riot grrrl Jen Smith, writer Mark Ewert, queer artist and filmmaker Scott Treleaven, Jane Danger of queercore band Three Dollar Bill, K Records founder and indie rock torchbearer Calvin Johnson, Joel Gibb of The Hidden Cameras, and the incomparable Vaginal Davis.    </span></div> <div><span face="Times New Roman" style="font-family: 'Times New Roman'; font-size: medium;"> </span></div> <div><span style="font-size: medium;"><span face="Times New Roman" style="font-family: 'Times New Roman';">The screening will take place in conjunction with Katrina del Mar’s exhibition ‘Girls Girls Girls’ at Participant Inc, which will exhibit many of del Mar’s works in Super8mm and video on subsequent evening screenings. </span><span style="font-size: small;"><a href="" rel="nofollow" target="_blank"><br /></a></span></span></div> <div><span style="font-size: medium;"><span face="Times New Roman" style="font-family: 'Times New Roman';"> </span></span></div> <div><a href="" rel="nofollow"><span style="font-size: medium;"><span face="Times New Roman" style="font-family: 'Times New Roman';"><strong></strong></span></span></a></div> Tue, 15 Jan 2013 21:26:17 +0000 - Anna Kustera - January 31st, 2013 6:00 PM - 8:00 PM <p style="text-align: justify;"><strong>Deep Cuts</strong> gives you the deepest cuts of artists without any commercials, ever!<strong></strong></p> <p style="text-align: justify;"><strong>Deep Cuts</strong> is available for everyone</p> <p style="text-align: justify;"><strong>DEEP-CUTS</strong>-RAISE-QUESTIONS</p> <p style="text-align: justify;"><strong>Deep Cuts</strong>, proving that time has no jurisdiction</p> <p style="text-align: justify;"><strong>Deep cuts</strong> the night</p> <p style="text-align: justify;"><strong>Deep Cuts</strong> is proud to present</p> <p style="text-align: justify;">#cutting</p> Fri, 15 Mar 2013 03:16:14 +0000 Mark Dean Veca - Cristin Tierney Gallery - January 31st, 2013 6:00 PM - 8:00 PM <p>Cristin Tierney is pleased to present <em>Mark Dean Veca: Made for You and Me</em> opening January 31st and on view through March 9th, 2013. The artist will be present at the opening reception.<br /> <br /> Known for creating paintings, drawings and installations of surreal cartoons, psychedelic landscapes, and pop culture iconography, Mark Dean Veca has created a new body of work around the theme of Americana. In <em>Made for You and Me</em>, Veca references capitalism, nationalism, and the American spirit through paintings on canvas that reflect a culture in decline. <br /> <br /> Feeling as though he was witnessing the collapse of the "American Dream," Veca began these paintings in 2009 to address the corruption of ideals in this country. The title of the exhibition comes from Woody Guthrie's popular folk song, <em>This Land Is Your Land</em> - a song originally meant to express communist sentiments that has been co-opted to represent the spirit of capitalism and growth. Veca's latest work can be understood as a form of Sinister Pop, with images from our consumer culture--Exxon Mobil's Pegasus, the Monopoly logo, dollar signs--twisted and transformed into dark, slightly maniacal forms. This is best exemplified by the image of Reddy Kilowatt. Once an emblem of consumption, Veca has revived this character as a symbol of our ever greater dependence on electrical power and our embrace of consumption rather than conservation.<br /> <br /> Born in 1963, in Shreveport, Louisiana, Veca studied at the Otis Art Institute in Los Angeles. Veca has exhibited throughout the United States, Europe and Japan at institutions such as the San Jose Museum of Art, The Aldrich Museum of Contemporary Art, MoMA PS 1, The Brooklyn Museum of Art, The Bronx Museum of Art, The Drawing Center, The Los Angeles County Museum of Art, and the Yerba Buena Center for the Arts. <br /> <br /> In 2011, Veca completed a New York City Department of Cultural of Affairs Percent for Art commission for the Spruce Street School at 8 Spruce Street - the Frank Gehry building in lower Manhattan. He was named Honoree of the Jennifer Howard Coleman Distinguished Lectureship and Residency at Otis College of Art and Design in 2008 and in 2006, he was awarded a Pollock-Krasner Foundation Grant. Amongst his many honors, Veca has thrice received the New York Foundation for the Arts Fellowship in painting and has held residencies at institutions such as the Bronx Museum, the MacDowell Colony, and Villa Montalvo.</p> Thu, 17 Jan 2013 23:37:03 +0000 Larry Poons - Danese/Corey - January 31st, 2013 6:00 PM - 8:00 PM <p>Danese and Loretta Howard Gallery are pleased to announce a joint exhibition of new paintings by Larry Poons to be held at 525-531 West 26<sup>th</sup> Street.* In this recent body of work, Poons embraces the chromatic worlds of music and color, creating along the way a visual and emotional environment ripe with gesture, raw energy and improvisation. Activating the canvas with opulent color, varying saturation and nuanced underpainting, a relentless Dionysian surge<i> </i>of color against color is<i> </i>tempered by a deeply considered meditation on the nature of art and being. Traces of remembered landscapes, paeans to Cézanne, the intuited color of Matisse and Bonnard are evoked in the work of Larry Poons, and <i>ensure a constant shift in the experience of the painting as it oscillates back and forth from the local to the universal.<a href="#_ftn1" title=""><sup><b><sup>[1]</sup></b></sup></a> </i></p> <p>Intensely individual and intimate, each assertive brushstroke becomes a part of the whole – the short and frenetic, the calm bold edge of confidence – an arena of action tamed by the sublime.  Robert Pincus-Witten observes in his text for the accompanying catalogue that<i>…Poons instrumentalizes chance (the very hallmark of Abstract Expressionist painting…).<a href="#_ftn2" title=""><sup><b><sup>[2]</sup></b></sup></a> </i></p> <p>Larry Poons was born in 1937 and grew up in New York. In 1955, he attended the New England Conservatory of Music, and two years later transferred to the Museum of Fine Arts, Boston. He was given his first one-man exhibition in 1963 at Richard Bellamy’s famed Green Gallery, and in 1965 his work was included in MoMA’s celebrated exhibition, <i>The Responsive Eye</i>. In 1969, Poons was the youngest artist featured in curator Henry Geldzahler’s landmark survey, <i>New York Painting and Sculpture,</i> <i>1940-1970</i>. In 1981 the MFA Boston organized an exhibition of his paintings from the 1970s. The work of Larry Poons is included in major museum and private collections throughout the United States and abroad. He currently lives and works in New York.</p> <p>An illustrated catalogue with an essay by Robert Pincus-Witten accompanies the exhibition. </p> <div> <p>*Please note interim address for Danese: 525-531 West 26 Street, 4<sup>th</sup> fl, New York, NY 10001</p> </div> Wed, 23 Jan 2013 02:18:21 +0000 Ragnar Kjartansson - Luhring Augustine - Chelsea - January 31st, 2013 6:00 PM - 8:00 PM <p><br /> Luhring Augustine is pleased to present its second solo exhibition by Icelandic artist Ragnar Kjartansson. This show marks the New York debut of Kjartansson’s most recent project, <i>The Visitors</i>, a nine-channel video installation based on a musical performance staged in upstate New York at Rokeby Farm. For this new work, the artist assembled a group of his closest friends, some of the most renowned musicians from Reykjavik and beyond. A depiction of individual creative minds at work and a baring of extreme collective emotion, <i>The Visitors</i> continues Kjartansson’s use of durational performance to explore the persona of the performer. <br /> <br /> Kjartansson first came to know Rokeby Farm while visiting the Hudson Valley area in 2007 and has become a frequent visitor. A site remarkable for its long and eclectic history and its state of romantic disrepair, Rokeby Farm serves as a painterly backdrop to the film’s eloquent homage to friendship. The home has stood for almost two hundred years and is run by family members who have become the artist´s friends and also perform in <i>The Visitors</i>. They have made it their goal to preserve the traces of the past and welcome bohemia and spirituality in all its forms.<br /> <br /> The title of the piece is derived from the 1981 album <i>The Visitors</i> by Swedish pop band ABBA; the album was to be the group’s final record as divorce and internal strain ended their collaboration. With lyrics from a poem by artist Ásdís Sif Gunnarsdóttir, Ragnar´s ex-wife, and musical arrangement by the artist and Davíð Þór Jónsson, Kjartansson has staged a single-take production in which his fellow musicians perform the piece for a total of 53 minutes. Each of the nine projections in <i>The Visitors</i> features a participant inhabiting a separate setting in the home or on the grounds of Rokeby Farm, and when viewed together the individual scenes create a layered portrait which the artist aptly describes as a “feminine nihilistic gospel song.”<br /> <br /> Ragnar Kjartansson was born in 1976 and lives and works in Reykjavik, Iceland. <i>The Visitors</i> recently debuted at the Migros Museum für Gegenwartskunst. Other recent solo exhibitions of his work have been held at the Fondazione Sandretto Re Rebaudengo in Turin, Frankfurter Kunstverein, and the BAWAG Contemporary in Vienna. <i>Song</i>, his first American solo museum show, was organized by the Carnegie Museum of Art in 2011, and has since traveled to the Museum of Contemporary Art in North Miami and is currently on view at the Institute of Contemporary Art in Boston. Kjartansson was the recipient of Performa’s 2011 Malcolm McLaren Award for his performance of <i>Bliss</i>, a twelve-hour live loop of the final aria of Mozart’s <i>The Marriage of Figaro</i>, and in 2009 he was the youngest artist to represent Iceland at the Venice Biennale’s International Art Exhibition.</p> Fri, 25 Jan 2013 00:40:51 +0000 Nick Cave, Bill Viola, Thornton Dial, Tom Friedman, Vik Muniz, Kate Orff, Betye Saar - National Academy Museum - January 31st, 2013 11:00 AM - 6:00 PM <p>Featuring works by Nick Cave, Bill Viola, Thornton Dial, Tom Friedman, Vik Muniz, Kate Orff, Betye Saar, and others, highlighting some of the most important artists of today, known for challenging conventions.</p> Mon, 07 Jan 2013 00:49:30 +0000 - National Academy Museum - January 31st, 2013 11:00 AM - 6:00 PM <p>A tradition at the Academy since its founding in 1826, the exhibition includes work by recently elected Academy members and highlights their important contribution to American culture.</p> Mon, 07 Jan 2013 00:51:34 +0000 - OUTSIDER ART FAIR - January 31st, 2013 6:00 PM - 9:00 PM <p><strong>January 31 - February 3, 2013</strong></p> <p>Thursday 6 pm - 9 pm (preview)<br /> Friday 11 am - 8 pm<br /> Saturday 11 am - 8 pm<br /> Sunday 11 am - 6 pm</p> <p><strong>Ticket Prices</strong></p> <p>Opening Night - $50.00<br />Run of Show (Multiple Entries 1 to 3 Feb) - $30.00<br />Daily Admission - $20.00</p> <p><strong>Exhibitors</strong></p> <div id="exhibitorListWrap"> <ul id="exhibitorList"> <li><span class="quicksandLight" style="cursor: pointer;">American Primitive Gallery, New York</span></li> <li><span class="quicksandLight" style="cursor: pointer;">Ames Gallery, Berkeley, CA</span></li> <li><span class="quicksandLight" style="cursor: pointer;">Andrew Edlin Gallery, New York</span></li> <li><span class="quicksandLight" style="cursor: pointer;">C. Grimaldis Gallery, Baltimore</span></li> <li><span class="quicksandLight" style="cursor: pointer;">Carl Hammer Gallery, Chicago</span></li> <li><span class="quicksandLight" style="cursor: pointer;">Cavin-Morris Gallery, New York</span></li> <li><span class="quicksandLight" style="cursor: pointer;">Creative Growth Art Center, Oakland, CA</span></li> <li><span class="quicksandLight" style="cursor: pointer;">Dean Jensen Gallery, Milwaukee</span></li> <li>Feature Inc., New York</li> <li><span class="quicksandLight" style="cursor: pointer;">Fountain Gallery, New York</span></li> <li><span class="quicksandLight" style="cursor: pointer;">Galerie Bonheur, St. Louis</span></li> <li><span class="quicksandLight" style="cursor: pointer;">Galerie Bourbon-Lally, Haiti</span></li> <li><span class="quicksandLight" style="cursor: pointer;">Galerie du Marché, Lausanne, Switzerland</span></li> <li><span class="quicksandLight" style="cursor: pointer;">Galerie St. Etienne, New York</span></li> <li><span class="quicksandLight" style="cursor: pointer;">Garde Rail Gallery, Austin, TX</span></li> <li><span class="quicksandLight" style="cursor: pointer;">Gary Snyder Gallery, New York</span></li> <li><span class="quicksandLight" style="cursor: pointer;">Gilley's Gallery, Baton Rouge, LA</span></li> <li><span class="quicksandLight" style="cursor: pointer;">Grey Carter-Objects of Art, McLean, VA</span></li> <li><span class="quicksandLight" style="cursor: pointer;">HAI, New York</span></li> <li><span class="quicksandLight" style="cursor: pointer;">Henry Boxer, London</span></li> <li><span class="quicksandLight" style="cursor: pointer;">Institute 193, Lexington, KY</span></li> <li><span class="quicksandLight" style="cursor: pointer;">Judy Saslow Gallery, Chicago</span></li> <li><span class="quicksandLight" style="cursor: pointer;">Just Folk, Summerland, CA</span></li> <li><span class="quicksandLight" style="cursor: pointer;">Kinz + Tillou Fine Art, New York</span></li> <li><span class="quicksandLight" style="cursor: pointer;">LAND, New York</span></li> <li>Laura Steward, Santa Fe</li> <li><span class="quicksandLight" style="cursor: pointer;">Laurel Gitlen, New York/Sorry we're closed, Brussels</span></li> <li><span class="quicksandLight" style="cursor: pointer;">Lindsay Gallery, Columbus,OH</span></li> <li><span class="quicksandLight" style="cursor: pointer;">Luise Ross Gallery, New York</span></li> <li><span class="quicksandLight" style="cursor: pointer;">Marion Harris, New York</span></li> <li><span class="quicksandLight" style="cursor: pointer;">Pan American Art Projects, Miami</span></li> <li><span class="quicksandLight" style="cursor: pointer;">Pure Vision Arts, New York</span></li> <li><span class="quicksandLight" style="cursor: pointer;">Ricco Maresca Gallery, New York</span></li> <li><span class="quicksandLight" style="cursor: pointer;">Rob Tufnell, London</span></li> <li><span class="quicksandLight" style="cursor: pointer;">Spiralis Ventures, Basking Ridge, NJ</span></li> <li><span class="quicksandLight" style="cursor: pointer;">Tanner Hill Gallery, Chattanooga, TN</span></li> <li><span class="quicksandLight" style="cursor: pointer;">The Pardee Collection, Iowa City</span></li> <li><span class="quicksandLight" style="cursor: pointer;">Vito Schnabel, New York</span></li> <li><span class="quicksandLight" style="cursor: pointer;">Yukiko Koide Presents, Tokyo</span></li> </ul> </div> <div id="exhibitorImages"><img style="opacity: 0; margin-top: 6em;" src="" id="artistRollover" alt="" /></div> <p></p> Tue, 15 Jan 2013 06:50:50 +0000 Bernard Frize - Pace Gallery - 57th St. - January 31st, 2013 6:00 PM - 8:00 PM <p>The first New York exhibition in over a decade of the French conceptual painter Bernard Frize, known for his brightly colored paintings made by inventing rules or structures that remove choice or expression and instead rely on material or external constraints.</p> Tue, 26 Feb 2013 00:25:12 +0000 Jorge Queiroz - Sikkema Jenkins & Co. - January 31st, 2013 6:00 PM - 8:00 PM <div style="margin-top: 16px;"> <div>Sikkema Jenkins &amp; Co. is pleased to present an exhibition of new drawings and paintings by Jorge Queiroz in his second solo show with the gallery, on view from January 31st to March 2nd, 2013.</div> <div> </div> <div>Counting artists such as Paul Gauguin, Roberto Matta, Francisco Goya, and Albert Pinkham Rider amongst his influences, Jorge Queiroz creates works that explore the physically and psychologically complex spaces that exist between natural and imaginary worlds. Vibrant colors and forms – at once disjointed yet harmonious – come together to suggest surreal landscapes and narratives that may be traced throughout the entire body of work: “the perception of one work affects the reception of the next one. Something perceived as an abstract structure or a fictional scene is altered by a flow of mental images, one melting into the other, from one work to the next.”</div> <div> </div> <div>The artist employs a wide range of techniques including pencil, charcoal, oil stick, gouache, Japanese ink, and oil paint. This exhibition will feature, for the first time, a major group of the artist’s large-scale paintings on canvas.</div> <div> </div> <div>Jorge Queiroz was born in Lisbon in 1966. He studied at the Centro de Arte e Comunicação Visual in Lisbon and completed his MFA at the School of Visual Arts in New York. Queiroz has exhibited throughout Europe, most recently in a solo exhibition at Fundação Carmona e Costa in Lisbon, Portugal. His work has also been presented at the 26th São Paulo Biennial (2004) and 50th Venice Biennale (2003). </div> </div> Fri, 25 Jan 2013 00:24:49 +0000 Group Show - The Painting Center - January 31st, 2013 6:00 PM - 8:00 PM <p>Wit" is defined as a natural aptitude for using words and ideas in a quick and inventive way to create humor. Abstract language is not immediately associated with humor, as pictorial and narrative language can seem more accessible. Why certain shapes and colors appear humorous depends on context, cultural associations or individual experience. But sometimes the reason is not tangible, or sensible, some things are just funny.</p> <p style="margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Helvetica;">Analyzing wit in reference to abstract art and language is a sure way to diffuse its potency, since its delivery feeds on the novel and unexpected. Disruption of the status quo helps to define humor. Modernist aesthetics surrounding form, balance and proportion still provide a common reference point from which to view abstract art. This shared visual language has become part of our collective consciousness and dictates our expectations. When preconceived standards are disrupted they can alter assumptions, surprise, reinvent and communicate wit.</p> <p style="margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Helvetica;"> </p> <p style="margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Helvetica;">The conversation between artist and viewer is enhanced by recognition and discovery. A small gesture like a nod or wink can provide a link with the mindset of the artist and set the tone of the conversation. It is a mistake to polarize humor and intellect since they work best in unison. Wit suggests qualities of the human spirit in an overly synchronized world, be it the slip, the twist, the pratfall, it's the imperfection that identifies the personality.</p> <p style="margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Helvetica;"> </p> <p style="margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Helvetica;">The artists selected for this show share a sense of humanity and amusement that resonates in their work. You could call it a "twinkle in the eye" or a "joy" that permeates through what they do. I think of it as an inner wit that can't be kept down, as long as someone is willing to play.</p> <p style="margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Helvetica;"> </p> <p style="margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Helvetica;">Joanne Freeman 2012</p> <p style="margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Helvetica;"></p> <p style="margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Helvetica;">The exhibition will be accompanied with a catalogue. An artist panel discussion will be held on Thursday, Febuary 14 from 6 to 8 pm.</p> Tue, 15 Jan 2013 00:01:01 +0000 Senga Nengudi - Thomas Erben Gallery - January 31st, 2013 6:00 PM - 8:30 PM <p><i>Reception for the artist: Thursday, January 31, 6-8:30 pm<br /><br /></i>Nengudi will also participate in:<br />- <i>Now Dig This!</i> <i>From Los Angeles to New York City, </i>symposium, MoMA, February 8<br />- <i>KISS,</i> collaborative performance with Ulysses Jenkins and Maren Hassinger, MoMA/PS1, February 10<br /><br />Thomas Erben is very excited to present an exhibition of photographs documenting performances by seminal artist <b>Senga Nengudi</b> (b. 1943, Chicago, IL), which took place in public or for the camera between 1976 and 1981. </p> <p>Best known perhaps for her nylon mesh wall pieces and installations, Senga Nengudi is regarded as a core member of the African-American avant-garde – with artists such as David Hammons and Maren Hassinger – as it was concentrated in Los Angeles during the 1970s and early ‘80s. Her 2003 show with this gallery featured her pivotal series <i>Répondez s’il vous plaît,</i> originally exhibited at Just Above Midtown Gallery (1977), combining cut, knotted, twisted and stretched pantyhose with sand and various found materials into sculptures closely connected to the human body, its movements and psyche. Similar pieces are currently part of <i>Now Dig This!</i> at MoMA/PS1, which traveled there from the Hammer Museum, LA, and the installation <i>R.S.V.P. I</i> is currently on display at MoMA as one of their recent acquisitions. </p> <p>For Nengudi, the employment of used pantyhose instills her nylon mesh pieces with a residue of the body and the wearer, and including this sculptural material in performance work connects it even closer with lived experience. Performance, either solo or in collaboration, has always been a major part of her multi-disciplinary practice, with an emphasis on improvisation and ritual, and Nengudi’s background in dance has also played an important role. While purely documentary at the time, the photographs in our current show now function as independent works; many were reproduced in art publications, but this is the first time a comprehensive, editioned selection is exhibited. </p> <p>A legendary figure, Nengudi has been included in numerous exhibitions such as <i>NowHere – Incandescent,</i> <b>Louisiana Museum of Modern Art</b>, Humlebaek, Denmark (1996); <i>Out of Action: Between Performance and the Object, 1949-1979,</i> <b>MOCA</b>, Los Angeles (1998); <i>54th Carnegie International,</i> <b>Carnegie Museum of Art</b>, Pittsburg, and <i>Non Toccare la Donna Bianca,</i> <b>Fondazione Sandretto Re Rebaudengo</b>, Turin, Italy (both 2004); <i>WHACK! Art &amp; The Feminist Revolution,</i> <b>MOCA</b>, Los Angeles (2007); <i>Under the Big Black Sun,</i> <b>MOCA</b>, Los Angeles, and <i>Dance/Draw,</i> <b>Institute of Contemporary Art</b>, Boston (both 2011); and <i>Now Dig This!</i> The<b> Hammer Museum</b>, Los Angeles, and <b>PS1/MoMA</b>, New York (2012). Her most recent solo show was <i>Lov U,</i> <b>Warehouse Gallery</b>, Syracuse University, PA (2012). Nengudi’s work is part of the collections of the <b>Carnegie Museum</b>, the <b>Studio Museum in Harlem</b>,<b> MOCA</b> <b>Los Angeles</b>, the <b>Brooklyn Museum</b>, the <b>Hammer Museum</b>, and <b>MoMA</b>. The artist lives and works in Colorado Springs, CO - this is her fifth solo exhibition with Thomas Erben Gallery.</p> Fri, 11 Jan 2013 17:26:24 +0000 Marela Zacarias - Brooklyn Museum of Art - February 1st, 2013 10:00 AM - 5:00 PM <p>The seventh exhibition in the <em>Raw/Cooked </em>series, titled <em>Supple Beat</em>, presents the work of Gowanus-based artist Marela Zacarias. Recommended by Ramírez Jonas, Zacarias has created four site-specific sculptural works inspired by the Williamsburg Murals, uniting her interests in abstract forms, the history of objects, and urban renewal. Her large-scale pieces appear to be climbing the walls of the Museum’s first-floor lobby and Great Hall, interacting with the architecture as if they were murals come to life. Zacarias draws on the concept of resilience implied by the Williamsburg Murals and explores the idea of bouncing back from adversity, relating to the history of the public housing project for which the murals were commissioned and the history of the works themselves. She constructs her unique sculptural forms from window screens and joint compound, which she then paints with original patterns. In <em>Supple Beat</em>, Zacarias’s patterns are inspired by the related murals’ unique color palettes and geometric forms. Born and raised in Mexico City, Zacarias has painted more than thirty large-scale public murals. She holds an MFA from Hunter College.</p> Sun, 06 Jan 2013 23:41:03 +0000 Elaine Galen, John Conn, Rosalind Schneider - Elisa Contemporary Art Gallery - February 1st, 2013 10:00 AM - 6:00 PM <p>In the wake of 2012's extreme weather and new record lows set by the Arctic sea ice, we pay tribute to these stunning natural formations. These earthly beauties are captured in three distinct creative styles – mixed media, oil on canvas, and photography.</p> <p></p> <p>Glaciers and Icebergs will include the Alaskan Journey series by mixed media pioneer, Rosalind Schneider.  Rosalind uses imagery shot from a small plane, a boat and while hiking on the surface of glacier located in Prince William Sound and Wrangel St. Elias, Alaska. The series began in late 2010 and will debut several new works. <br /><br />It will also feature a contemporary view of nature by internationally acclaimed artist, Elaine Galen.  According to Elaine, "In a world of eroding values and environmental concerns, my effort is to affirm beauty’s morale order in nature. I am deeply moved by the presence of and the power of nature to penetrate deep into the soul — through painting I seek to preserve nature – the heavens, seas, skies, mountains, and our past”.</p> <p><br /><br />We will also feature the photography of John Conn, who spent 45 days in 2010 in Antarctica and Patagonia. traveling and hiking to capture the land and seascapes.  He spent over 20 days journeying over 3,200 nautical miles in Antarctica before heading to Patagonia for the second part of his expedition.  Throughout his journey, he referenced the stories of Antarctic explorers, Ernest Shackleton and Robert Scott.  Like them, he saw his surroundings to be dangerous, inhospitable and forbidding.  According to John, "There's menace here and the feel of it stays with you…it towers over you.  And when you've left the continent, it's still in your memory."&lt;</p> <p><br />Here's a video walkaround of the exhibit: <br />&lt;iframe width="420" height="315" src="" frameborder="0" allowfullscreen&gt;&lt;/iframe&gt;&lt;</p> Tue, 30 Apr 2013 21:40:23 +0000 Anne Doran, Franklin Evans, Daniel Newman, Deb Sokolow, Philip von Zweck, Ishmael Randall Weeks - Invisible-Exports - February 1st, 2013 6:00 PM - 8:00 PM <p>Obscurity and deliberate disorder can be perversely rewarding strategies for artists - performing for the viewer the experience of discovery, protecting the meaning of the work by concealing or confusing it, offering up one’s own back-story only through piecemeal contextualization, and presenting even quotidian work as arcane. It’s an increasingly common practice that promises to turn all knowledge into secret knowledge, and all meaning into gnostic meaning, available only to initiates and the especially devoted. </p> <p>The work that makes up <em>How I Wrote 'Elastic Man'</em> takes the cult of arcana and the gesture of self-erasure, not as strategy, defensive or otherwise, but as querulous subject. Determining the special power that accrues when information is parceled out reluctantly, or privately, and questioning why work becomes more alluring the more it withdraws from us. Hunting down what, if anything, is gained for artists by the practice of self-obfuscation and what is the aim of a practice in which work reveals its meaning to viewers through a program of careful and discrete clue-giving (biography, reference-giving, or curatorial guidance). Often, artists engaged in the re-surfacing of archival and other "found materials" seek to cloud those discoveries over again in a performance of their own process. Perhaps we’re forced to fetishize the unknowable in an age of information oversupply and infinite search, so much so that we elect to hide knowledge behind smokescreens of difficulty. </p> Thu, 17 Jan 2013 23:32:06 +0000