ArtSlant - Recently added en-us 40 Tabor Robak - Team Gallery - Grand St - May 3rd - June 7th <p style="text-align: justify;">Team (gallery, inc.) is pleased to announce a show of new work by New York-based artist Tabor Robak. Entitled&nbsp;<em>Fake Shrimp</em>, the exhibition will run from&nbsp;03 May through 07 June 2015. Team is located at 83 Grand Street, between Wooster and Greene. Concurrently, our 47 Wooster Street space will house a three-person show of paintings by Andrew Gbur, Jaya Howey and David Ratcliff.</p> <p style="text-align: justify;">Tabor Robak presents four new CGI works, each wrought with gravitas, humor, technical ingenuity and an implausible combination of rigorous discipline and unbridled creativity. Robak often grounds his imagery in identifiable allusions, appropriating elements from real-world and digital sources, the likes of which include creative suites, video games and science fiction movies, as well as visions tests, animals and quotidian consumer goods. Compared to the earlier pieces, the referents here are more influence than quotation, digested and synthesized by the artist's thoroughly amalgamating process. The pairing of disparate subjects and the non-interactive recontextualization of software visuals effect a defamiliarization that renders the videos and their surfaces inextricably conjoined - content and canvas merged. The artist's increasing concern with technological artifice - computers, programs, code and, particularly, screens - has led his practice away from any&nbsp;<em>a posteriori</em>&nbsp;medium towards a neoteric mode of making, one utterly unique to him. This exhibition is an ecstatic celebration of computer-generated imagery, as well as an agnostic exploration of its distorting capacity to falsely cast citizen in the role of godlike creator.</p> <p style="text-align: justify;"><em>Where's My Water?</em>&nbsp;consists of a close crop on a series of "pen cups," displayed contiguously over twelve 55-inch monitors. The video is characterized as much by the misleading mundanity of those cups as by frequent instances of spontaneity: its dynamic transitions often feature acts of destruction, or other unexpected, seemingly non-sequitur imagery. In order to be viewed at such a grand scale, the images are rendered in excruciating, hyper-real detail. The choice to reserve this grandiose treatment for this particular subject matter is due to the latter's workaday practicality - Robak has recently come to conceive of his own practice as a job like any other, requiring diligence, organization and an enormous quantity of time. Writing implements are the tools of artists as well as accountants, writers as well as workers, here monumentalized.</p> <p style="text-align: justify;"><em>Drinking Bird (Seasons)</em>, the sole single-channel piece, shows churning patterns of abstract color, reminiscent of a liquid with constantly changing viscosity. The work traverses the duration of the Western calendar year by way of color palettes associated with national holidays. Some of the referenced dates are evident - the red and green of Christmas that appears towards the loop's finish, for example - while others are obscure or completely invented - Grandparents' Day and Save the Rhino Day do not have recognizable color schemes. The work also features a live aspect, connected to WiFi in order to display a CNN news ticker at the bottom of the screen. Like all of the artist's work,<em>Drinking Bird</em>&nbsp;is ambidextrous: nebulous but eloquent, operating simultaneously on manifold conceptual planes. On one level, we may understand the work as an abstract painting for a digital age; on another, Robak has created a visual manifestation of temporality on his own terms.</p> <p style="text-align: justify;">For&nbsp;<em>Newborn Baby</em>, Robak utilizes the relatively new technology of transparent monitors in order to create a work with multiple layers as well as channels. By placing the aforementioned screens in front of equally sized LED televisions, the artist creates actual perspectival depth, while also drawing further attention to the work's flatness and artifice. The video appears abstract, even psychedelic, but it is far from arbitrary: the piece explores our perceptions and ways of understanding sight itself, taking queues from vision tests, blacklight posters, the spots of muted color we see when we close our eyes. Robak is interested not only in the innovative modes of making allowed for by technology, but the new ways of seeing they often necessitate.</p> <p style="text-align: justify;">Hung in a space of its own,&nbsp;<em>Butterfly Room</em>&nbsp;consists of one hundred small screens arranged in a ten by ten grid, each with a dedicated miniature computer from which an animation of a fictional cellular organism emanates. The creatures morph with time, changing in color formal intricacy. The sheer abundance of constantly shifting visual content endows the work with a prodigious dynamism, a sense of actual vivacity. The churning, upscaling evolution Robak's organisms is the metaphoric and literal realization of his growing comfort with the particular software. The piece explicates differences and similarities between the digital and real, the synapses and fissures between the artist's creative act and the development of the natural world.</p> <p style="text-align: justify;">This is 28-year-old Robak's second solo show. He has also been featured extensively in group exhibitions at galleries and institutions both stateside and abroad, including the 12th&nbsp;Lyon Biennale; Palazzo delle Esponizioni, Rome; MoMA: PS1, New York; Kunsthalle D&uuml;sseldorf; Migros Museum, Z&uuml;rich.</p> Fri, 27 Mar 2015 15:43:58 +0000 Andrew Gbur, Jaya Howey, David Ratcliff - Team Gallery - Wooster St. - May 3rd - June 7th <p style="text-align: justify;">Team (gallery, inc.) is pleased to announce a group show of work by American painters Andrew Gbur, Jaya Howey and David Ratcliff. The exhibition will run from&nbsp;03 May through 07 June 2015. Team is located at 47 Wooster, between Grand and Broome. Concurrently, our 83 Grand Street space will house a solo show by Tabor Robak.</p> <p style="text-align: justify;">The paintings of Andrew Gbur, Jaya Howey and David Ratcliff find common ground in their simultaneous use and distrust of contemporary visual signage; each artist exposes the falseness of his own vocabulary of symbols, showing them to be anemic, fleeting hieroglyphs. Seriality is crucial to the exhibition: the bodies of work are all characterized by the use of extreme limitation and redundancy of form to engage in subtle psychological violence. By accosting us repeatedly with emptiness, they generate an insidious&nbsp;<em>Weltschmerz</em>,<em>&nbsp;</em>imbuing the abstruse but unwelcome knowledge of diffuse clich&eacute; and contrivance.</p> <p style="text-align: justify;">Andrew Gbur's paintings depict, in starkly abridged terms, the human face. The works, which are rendered in a few soft, amiably opaque colors, find some visual precedent in cartoon smiley faces. Despite this veneer of pleasantness, their effect is unnerving - the grins are inexorably lascivious, unexplainably lewd. The clown-like formations, while recognizable, are deeply and willfully non-mimetic, non-representational; they illuminate the symbolic artifice of their ostensible subject matter, forcing us to question why they bothered us in the first place.</p> <p style="text-align: justify;">Jaya Howey's pictogramatic paintings are full of straight, perfectly manicured lines, circles and half-circles, drawing attention to the drafting tools such shapes necessitate. The works take as their subject the chaos of human emotion, and the perfunctory and profoundly inadequate ways in which we casually attempt to communicate those mosaic mental states; the likes of traffic signs, text message bubbles, post-war American comic strips and other such caricatures of feeling form the basis for the artist's vocabulary. The works, and the symbols they employ, strike a dissonant chord, their austerity accentuating the gulf between immaculate, simple surface and the labyrinthine underlying network of confusion, agony and passion.</p> <p style="text-align: justify;">Works by David Ratcliff, which continue the artist's always-appropriative practice of stenciling and spray-painting found and collaged imagery onto canvas, consist of evenly gridded five-point stars, surrounded by shadow contrails. The deceptively simple gesture exploits viewers' nebulae of associations - specifically, the smoke-trailed shapes evoke the violence of American patriotism, the countless acts of war committed under the banner of the Stars and Stripes. A typically innocuous motif, frequently dispensed as facile encouragement, in Ratcliff's hands suggests apocalyptic dread. An almost gleeful nihilism turns childlike adornment to a symbol for mass murder, cultural rot and the temporal decay of pictorial language.</p> <p style="text-align: justify;">Pennsylvania-based Andrew Gbur was the subject of a recent solo exhibition at our Bungalow space in Venice, California, as well as group show appearances at MoMA PS1, New York; and the Zabludowicz Collection, London. He received his MFA in painting from Yale. Jaya Howey, residing in Brooklyn, has held solo exhibitions at galleries including Bureau, New York; Taxter and Spengemann, New York; and Marginal Utility, Philadelphia. He graduated from Columbia's MFA program. David Ratcliff, who currently lives in Iowa, has mounted solo shows at Maureen Paley, London; Tomio Koyama Gallery, Toyko; and Galerie Rodolphe Janssen, Brussels. His work has been featured in shows at MoMA PS1, New York; The Turin Triennial; and Art Center College of Design, Pasadena. He has been represented by Team since 2005, and has had five solo shows with the gallery.</p> Fri, 27 Mar 2015 15:42:57 +0000 Todd Pavlisko - Robert Miller Gallery - April 16th - May 23rd Fri, 27 Mar 2015 15:20:36 +0000 Hugh Scott-Douglas - Blum & Poe | New York - April 9th - May 30th <p style="text-align: justify;" align="justify">Blum &amp; Poe is pleased to present&nbsp;an exhibition of new work by Hugh Scott-Douglas. This is the artist's second solo exhibition with Blum &amp; Poe and his first in the New York location. &nbsp;</p> <p style="text-align: justify;">Lenin is said to have sneered that a capitalist will sell you the rope to hang him. The quote may be spurious, but it contains a grain of truth. Capitalists quite often invent the technology that destroys their own business. Eastman Kodak is a picture-perfect example. It built one of the first digital cameras in 1975. That technology, followed by the development of smartphones that double as cameras, has battered Kodak's old film- and camera-making business almost to death. Strange to recall, Kodak was the Google of its day. Founded in 1880, it was known for its pioneering technology and innovative marketing. "You press the button, we do the rest," was its slogan in 1888. ("The Last Kodak Moment?,"&nbsp;<em>Economist</em>,&nbsp;January 14, 2012)&nbsp;</p> <p style="text-align: justify;" align="justify">Representing a continuation of the artist's interest in technology's predilection towards self-effacement through its own progress, Scott-Douglas has created a&nbsp;suite of built images that serve as both index and erasure of the space in which they were made and the techniques used to make them.&nbsp;</p> <p style="text-align: justify;" align="justify">Sets of protocols have been established in the pursuit of capturing an image. A modified digital scanner with its top removed creates a slow scan of watch gears, dust particles, and ambient light that lies or passes above its surface. The resulting image forms the base visual content. As the composition becomes further compressed, exported, and printed in layers of industrial black ink on aluminum panel, the original information becomes obfuscated, assuming a material body that is a ghost of its former self. The intended outcome has been blurred in the wake of its own progress. In the pursuit of authoring an original language, the artist has inadvertently altered the system he enabled. It is through the implementation of these technologies that loss of control occurs and a discursive space emerges, calling into question the role of the author within his own work.&nbsp;</p> <p style="text-align: justify;" align="justify">Hugh Scott-Douglas (b. 1988 in Cambridge, UK) lives and works in New York. Recent group exhibitions include&nbsp;<em>In ___ We Trust: Art and Money</em>, Columbus Museum of Art, Columbus, OH (2014);&nbsp;<em>In Transit: Between Image and Object</em>, MASS MoCA, North Adams, MA (2014); and&nbsp;<em>Pattern: Follow the Rules</em>, Eli and Edythe Broad Art Museum, East Lansing, MI (2013). His work is included in public and private collections internationally including the San Francisco Museum of Modern Art, San Francisco, CA; Eli and Edythe Broad Art Museum, East Lansing, MI; Art Gallery of Ontario, Toronto, Canada; and Dallas Museum of Art, Dallas, TX.</p> Fri, 27 Mar 2015 15:09:59 +0000 Lisa Yuskavage - David Zwirner- 533 W. 19th - April 23rd - June 13th <p style="text-align: justify;">David Zwirner is pleased to present an exhibition of recent paintings and pastels by Lisa Yuskavage, on view at 533 West 19th Street in New York.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Yuskavage&rsquo;s works merge popular culture and a deep engagement with the history of art. Widely associated with a re-emergence of the figurative in contemporary painting, she has always maintained the primacy of color, with her narratives intricately based in her use of paint. In this new selection of works, atonal and prismatic spectrums appear as personifications of themselves, and her characters become like embodiments of various tones.&nbsp;</p> <p style="text-align: justify;">The exhibition takes its conceptual and chronological point of departure in&nbsp;<em>Hippies</em>, a painting from 2013 of five intersecting nudes. Behind a pale woman, four male figures fan out from her on either side, almost like a Hindu deity, each a different hue. The rainbow-like effect is reminiscent of the&nbsp;<em>cangiantismo</em>&nbsp;technique advanced in the Renaissance, in which tonal variations were used to indicate the presence of the supernatural in otherwise realistic subject matter. The effect is achieved against a muted, neutral background&mdash;here a dark landscape&mdash;where&nbsp;<em>grisaille</em>, an almost monochrome color scheme, is applied.&nbsp;</p> <p style="text-align: justify;">The unification of the five figures has an otherworldly feel, as if they are manifestations of the same character. Yet, rather than representing a bold shift within Yuskavage&rsquo;s practice, this merging of male and female reinforces the complexities inherent within her previous, all female cast, where a straightforward understanding of the woman as the object of a male gaze was complicated by her simultaneous role as the aggressor.&nbsp;</p> <p style="text-align: justify;">Leading on from&nbsp;<em>Hippies</em>, a group of three-quarter portraits expands the dual, contrasting use of&nbsp;<em>cangiantismo</em>and&nbsp;<em>grisaille</em>, each work imagining its male or female figure through spectral color and its gray contrast. Yuskavage has referred to them as incubi and succubi&mdash;folkloric demons who exist to seduce&mdash;and their provocative appearances seem permeated with a sense of the ethereal.&nbsp;<em>Dude Looks Like Jesus</em>&nbsp;continues the subcultural theme introduced in&nbsp;<em>Hippies</em>, and is based on one of the characters behind the female lead. The artist presents the nude against a silvery background whose emptiness contrasts with his empathetic, saddened expression. The classic pose coupled with the invocations to Christianity recall the art-historical genre of the nude, which for centuries was shrouded as religious subject matter. In particular, the composition forms a visual parallel to Albrecht D&uuml;rer&rsquo;s unprecedented&nbsp;<em>Self-portrait in the Nude&nbsp;</em>(c. 1509), as well as to his imitation of Christ in another self-portrait from 1500.&nbsp;</p> <p style="text-align: justify;">Another painting from the series,&nbsp;<em>Dude</em>, depicts a similar male figure looking straight at the viewer with one eye seemingly swollen from a brawl. Likewise aggrieved, his visible tongue recalls the dichotomy in Yuskavage&rsquo;s work between viewer and painting, rendering it unclear in the present case who threw the first punch. As such, he forms the male counterpart to several earlier compositions by Yuskavage, including&nbsp;<em>Pie Face&nbsp;</em>(2007), in which a girl&rsquo;s portrait is humiliated by the slapstick element. Commenting on the particular relationship between the seer and the seen, the artist has noted that &ldquo;The painting [is] vulnerable and then manipulative.&rdquo;1&nbsp;<em>Dude&nbsp;</em>posits its protagonist in front of, and emerging out of, a&nbsp;<em>grisaille</em>&nbsp;background, and Yuskavage has further commented that she was inspired equally by Jasper Johns&rsquo;s painting&nbsp;<em>Diver&nbsp;</em>from 1962 and Jean Fouquet&rsquo;s&nbsp;<em>Virgin and Child Surrounded by Angels&nbsp;</em>from c. 1450 for her use of this achromatic palette.</p> <p style="text-align: justify;">Characterized by its expansive color field approach and cinematic scope, the large diptych&nbsp;<em>Bonfire&nbsp;</em>presents two seated women against a dimmed, green background, perhaps identical twins offering a Rorschach-like mirror of one another. Behind them, hundreds of people await their turn to participate in a mysterious and seemingly violent act, while a veiled figure recalls the artist&rsquo;s&nbsp;<em>Triptych&nbsp;</em>from 2010, where babushka-wearing peasants occupied a stern contrast to the overt display of nudity. Executed in a similarly green palette,&nbsp;<em>In the Park&nbsp;</em>depicts a nude girl whose posture appears at once fearful and aggressive, and vies with the dramatic lighting for unlocking a narrative, which seems to hover between the subconscious and the conscious. Additionally, there are two paintings of couples whose narrative interactions are described by the way formal elements unfold to reveal tenderness, tensions, and playfulness.&nbsp;</p> <p style="text-align: justify;">The exhibition also debuts a series of large-scale pastels by Yuskavage, including three-quarter and full-body portraits of some of the figures featured in the paintings. The pastels introduce a new technique developed by the artist in which she draws onto unique inkjet grounds created in the studio containing gradations of color. She has additionally used scans of details from unfinished drawings as material support, where the resulting graininess&mdash;and by implication, the history of her own work&mdash;inform the backgrounds. In&nbsp;<em>Lovers</em>, which depicts an intimate meeting of a male and female character, the same tones are used for bodies and background, which together with the tinted surface affords a rich and textured depth to the subjects. A portrait of a reclining female,&nbsp;<em>Peekaboo</em>, provides a visual metaphor for the almost meditative layering of color on the paper, with the woman partially covered in light sheets.</p> <p style="text-align: justify;">Born in 1962 in Philadelphia,&nbsp;<strong>Lisa Yuskavage</strong>&nbsp;received her B.F.A. from the Tyler School of Art, Temple University, in 1984 and her M.F.A. from the Yale University School of Art in 1986.&nbsp;</p> <p style="text-align: justify;">Since 2005, the artist&rsquo;s work has been represented by David Zwirner. In 2006, two solo exhibitions were concurrently presented at David Zwirner and Zwirner &amp; Wirth, New York, followed by presentations at the gallery in 2009 and 2011. The present exhibition marks her fourth solo show at David Zwirner, New York.&nbsp;</p> <p style="text-align: justify;"><em>Lisa Yuskavage: The Brood</em>, a major solo exhibition spanning twenty-five years of the artist&rsquo;s work, will be on view at The Rose Art Museum of Brandeis University in Waltham, Massachusetts (September 12 &ndash; December 13, 2015). The exhibition will be accompanied by a large-scale, comprehensive publication by Skira Rizzoli, created in close collaboration with Yuskavage. Included will be texts by renowned art historians, curators, and writers including Christopher Bedford, Suzanne Hudson, Catherine Lord, and Siddhartha Mukherjee, as well as an interview with the artist by Katy Siegel.&nbsp;</p> <p style="text-align: justify;">Yuskavage&rsquo;s work has been the subject of solo exhibitions at institutions worldwide, including The Royal Hibernian Academy, Dublin (organized as part of the Dublin Contemporary 2011); Museo Tamayo Arte Contempor&aacute;neo, Mexico City (2006); Royal Academy of Arts, London (2002); Centre d&rsquo;Art Contemporain, Geneva (2001); and the Institute of Contemporary Art, University of Pennsylvania, Philadelphia (2000).&nbsp;</p> <p style="text-align: justify;">Museum collections which hold works by the artist include The Art Institute of Chicago; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Museum of Contemporary Art, Los Angeles; The Museum of Modern Art, New York; San Francisco Museum of Modern Art; Stedelijk Museum, Amsterdam; Walker Art Center, Minneapolis, Minnesota; and the Whitney Museum of American Art, New York. Yuskavage lives and works in New York.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">1Lisa Yuskavage, cited in interview with Katy Siegel,&nbsp;<em>Lisa Yuskavage: The Brood</em>&nbsp;(New York: Skira Rizzoli, 2015; forthcoming).</p> Fri, 27 Mar 2015 15:00:43 +0000 Angela Christine Smith - Viridian Artists - April 7th - April 25th <p>VIRIDIANARTISTS &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; A CONTEMPORARY ART GALLERY</p> <p><span style="text-decoration: underline;">548 WEST 28<sup>TH</sup> STREET between 10th &amp; 11th Ave., NEW YORK, NY, 10001&nbsp;&nbsp; &nbsp;</span><span style="text-decoration: underline;">&nbsp;&nbsp;</span><span style="text-decoration: underline;">&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;TEL 212-414-4040</span>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</p> <p><strong><span style="text-decoration: underline;">FOR IMMEDIATE RELEASE</span></strong> &nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<strong><span style="text-decoration: underline;">Please List</span></strong></p> <p align="center"><strong>&nbsp;</strong></p> <p align="center"><strong>"</strong><strong>Augmented Her: AFAIK;ATM</strong><strong>"</strong></p> <p align="center"><strong>ANGELA CHRISTINE SMITH</strong></p> <p align="center"><strong style="text-align: left;">April 7- April 25, 2015</strong></p> <p align="center"><strong>Reception Thursday April 9, 6-8PM</strong></p> <p align="center"><strong>Artist's Talk Saturday April 11, 4-6PM</strong></p> <p><strong>&nbsp;Chelsea NY: </strong><strong>Viridian Artists</strong> is pleased to present Angela Christine Smith's first solo exhibit at Viridian. A winner in Viridian's Juried Photography exhibit in 2011, the artist will be present at both the reception on Thursday April 9<sup>th</sup>, 6-8pm &amp; on Saturday April 11, 4-6PM when she will talk about her fascinating photographic response to our future. The exhibit will continue from April 7<sup>th</sup> to April 25<sup>th</sup>.</p> <p>The future has arrived and the title of Angela Smith's first solo exhibition at Viridian is a testament to that reality. When asked what the meaning of the title was, the artist replied that the title "is an indication of where I am at in this moment." Expanded it reads: "Augmented her: as far as I know; at this moment".</p> <p>Angela Christine Smith specializes in Photographic Practices that utilize Advanced Darkroom (Analog) Techniques and expand into Advanced Digital Practices.&nbsp; As an artist she also specializes in printmaking techniques that inform her overall artistic practice. Through these mediums she explores her identity as a subject and her interaction with the photographic machine. Through the use of self-portraits, selfies and the manipulations of digital practices, she is exploring those unseen moments where her relationship with life, with the camera, and with the photograph (as object) is evidence of the materiality of identity.&nbsp;</p> <p>Smith is interested in the medium of photography and the relationship created between the camera and the "self" or the subject, which is "her". Like the movie with Scarlett Johansson, her MFA show was titled "Her", but rather than a body being just a digital voice, Smith explores through her work, the stasis of the image created from a live body - her own - and making it stasis or immovable. At the same time, she is exploring the materiality of the photographic process as she exposes the body (and self) as an object of stasis.</p> <p>The greater identity of "her" (her is the self cut from time when the camera cuts the body from the self and contains it within the photograph) is not limited to the photograph. "Her" is now digital and larger than ever before. "Her" now takes on this post-Internet art by taking on the challenges of digital dualism - that space where we conceptualize the digital and the physical; the on and off -line realities.</p> <p>Identity is now a cyborg self comprised of a physical body and a digital one. Augmented Her is the expansion of identity beyond the photographic object and time. Augmented Her is now in constant dialog with both, and in the digital realm the glitch, (the glitch art, the digital interruptions) interrupts the viewer and reminds us that "her" is Afk (away from keyboard) ATM (at the moment).</p> <p>So the identity is expanding and what is Afk vs IRL? (Away from keyboard; in real life).</p> <p>The artist received her BFA from Savannah College of Art and Design in photography and printmaking and her MFA in Photography and Integrated Media from Ohio University.</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> Thu, 26 Mar 2015 14:57:58 +0000 Robert Harms - Steven Harvey Fine Art Projects (PROJECTOR) - April 1st - May 10th Wed, 25 Mar 2015 21:11:39 +0000 June Leaf - Steven Harvey Fine Art Projects - April 1st - May 10th <p>Steven Harvey Fine Art Projects presents an exhibition of drawings by June Leaf.&nbsp;</p> <p>The show examines the artist&rsquo;s drawing practice from the seventies through the nineties. Often made on typewriter sheets, her drawings focus on the same human subjects and stories as her sculpture.</p> <p>&nbsp;</p> <p>Figures stride and dance across the page, wrestling, fighting, holding hands, marching up and down stairs, having sex, often animated by a mysterious mechanical processes, like antique hand puppets or early automatons. Her flattened silhouette figures possess the staccato</p> <p>kinesthesia of Balinese shadow plays.&nbsp; Drawn mostly in pencil, with sections in ink and acrylic paint, Leaf&rsquo;s drawings sometimes include poetic and personal notations related to ideas for developing sculptures. In a sense she is making designs for humanist monuments, such as the large woman&rsquo;s head with the interior mechanical element that she ultimately realized at the Lippincott Foundry in 1980 or her large striding women.</p> <p>&nbsp;</p> <p>She paints over studio photography, re-working Ovid&rsquo;s Pygmalion myth. A woman artist bring the work in her studio to life. A tiny figure is drawn out of the canvas by a painter. &nbsp;A skeleton floats in a post-coital cloud of paint next to a woman getting dressed. Drawing on multiple copies of early Xerox prints, Leaf has for years, made use of electro-static technology to explore her sculptural preoccupations serially.&nbsp; Leaf&rsquo;s sculptures and drawing are stagings of life as a play of passions, with the artist as a kind of inventive, eccentric and involved director.</p> <p>&nbsp;</p> <p>In the human struggle she presents &ldquo;It is this embrace of opposites,&rdquo; John Yau notes, &ldquo;that animates her work, as well as elevates it to&hellip;the realm of poetry.&rdquo;&nbsp;</p> <p>&nbsp;</p> <p>June Leaf was born in Chicago in 1929 where she studied at the New Bauhaus Institute of Design. She concluded her art education at Roosevelt University in 1954. She had her first solo exhibition at Sam Bordelon Gallery in Chicago in 1948 and has lived in New York City since the early 60's. She splits her time between the Lower East Side of Manhattan and Nova Scotia.</p> <p>She is included in numerous museum collections, including the Museum of Modern Art, New York The Whitney Museum of American Art, and the Art Institute of Chicago.</p> <p>&nbsp;</p> <p>This exhibition is organized in cooperation with The Edward Thorp Gallery who are presenting an exhibition of Leaf&rsquo;s paintings and sculpture in late April. &nbsp;We will also be showing Robert Harms: Paintings in our project space at 237 Eldridge Street from April 1<sup>st</sup> to May 10<sup>th</sup>..&nbsp; Please contact SHFAP at 917-861-7312 or <a href="" rel="nofollow"></a> for further information.</p> <p>&nbsp;</p> Wed, 25 Mar 2015 21:08:55 +0000 - Whitebox Art Center - April 8th - April 23rd <p style="text-align: center;">WhiteboxLab&gt;Sound Lounge<br />presents</p> <p style="text-align: center;">R. B. SCHLATHER: OPERA:<em>&nbsp;ORLANDO,</em>&nbsp;George Frideric Handel, 1733</p> <p style="text-align: center;">Open rehearsals | April 8-23rd<br />Free and open to the public daily excepting April 14th and 18th<br />Gallery Hours: 12pm to 7pm</p> <p style="text-align: center;">General Rehearsal | April 24th | 7pm<br />Theatric presentations&nbsp;| April 26 and 27&nbsp;| 7pm</p> <p style="text-align: center;">A talk moderated by Joseph Cermatori will be held after rehearsal or&nbsp;performance on the 17th&nbsp;and 27th</p> <p style="text-align: center;"><strong>&nbsp;<a href="" target="_blank">Link to request ticket reservations and donation information to WhiteboxLab&gt;Sound Lounge</a></strong></p> <p style="text-align: center;">&nbsp;</p> <p style="text-align: center;"><a href=";hosted_button_id=9VGUFRESWEY54" target="_blank">LINK TO DONATE TO R. B. SCHLATHER: OPERA: ORLANDO&nbsp;</a></p> <p style="text-align: center;">&nbsp;</p> <p style="text-align: center;">PRODUCTION TEAM</p> <p style="text-align: center;">Music Director |&nbsp;<a href="" target="_blank">Geoffrey McDonald</a><br />Stage Director |&nbsp;<a href="" target="_blank">R. B. Schlather</a><br />Costume | Terese Wadden<br />Scenography |&nbsp;<a href="" target="_blank">Paul Tate DePoo</a><br />Lighting Design |&nbsp;<a href="" target="_blank">JAX Messenger</a><br />Titles | Steven Jude Tietjen</p> <p style="text-align: center;">CAST</p> <p style="text-align: center;">&nbsp;Hadleigh Adams | Kiera Duffy | Brennan Hall&nbsp;| Anya Matonovic | Drew Minter</p> <p>&nbsp;</p> <p><strong>&nbsp;</strong></p> <p style="text-align: justify;">New York City &ndash; Whitebox Art Center is pleased to present the work of opera director R. B. Schlather in his second feature with WhiteboxLab&gt;Sound Lounge. For two weeks, Whitebox&rsquo;s main exhibition space will act as a laboratory hosting the second opera in the George Frideric Handel trilogy, culminating in two theatric presentations of Handel&rsquo;s Orlando, an 18th century baroque opera. This theatric installation draws from the opera seria or &ldquo;serious opera&rdquo; of Orlando (1733), based off of Ludovico Ariosto&rsquo;s epic poem Orlando Furioso.</p> <p style="text-align: justify;">WhiteboxLab&gt;Sound Lounge and R. B. Schlather continue to respond to the changing landscape of operatic performance in New York City and around the world by staging this work in an untraditional opera venue. As a laboratory, WhiteboxLab&gt;Sound Lounge is delighted to open all musical and staging rehearsals, from April 8th to the 23rd, prior to the General Rehearsal on April 24th at 7pm and the final presentations on April 26th and 27th at 7pm. A talk moderated by Joseph Cermatori will be held after the performance on the 27th. This program will be free and open to the public daily from 12pm to 7pm, excepting April 14th, 18th, and 25th. For the final performances, the opera will be enacted live with an orchestra, in Italian, utilizing new technologies with projected English subtitles.</p> <p style="text-align: justify;">Orlando follows R. B. Schlather&rsquo;s innovative exhibition of Handel&rsquo;s Alcina, performed in September 2014 at Whitebox Art Center. Handel based Alcina on Ludovico Ariosto&rsquo;s best-seller Orlando Furioso, and composed two other operas derived from this epic poem: Orlando (1733) and Ariodante (1735). Esteemed classical music critic Zachary Woolfe of The New York Times praised Alcina for its open demonstration of operatic art form and process, describing it as &ldquo;a valuable project that deserves enthusiastic support.&rdquo; Orlando stays true to the structure of WhiteboxLab, remaining free and open to the public for rehearsals with an online video stream, capturing the unfolding rehearsal process. The opera series continues to spark questions of the dissolution of the opera institution in the contemporary cultural climate, through the development of a site-responsive baroque opera production.</p> <p style="text-align: justify;">In Orlando, Handel uses 18th century theatrical conventions of madness to write some of his most genre-defying dramatic vocal music, and one of his greatest scores. Orlando centers on the title character of Aristo&rsquo;s Orlando Furioso, delving into Orlando&rsquo;s battle with his unrequited love for the Queen of Cathay, Angelica, and his ensuing madness. Handel&rsquo;s opera was based on the theatrical adaptation L&rsquo;Orlando, alternately titled &ldquo;The Madness of Jealousy,&rdquo; written by Carlo Sigismondo Capeci and produced in Rome in 1711. In Handel&rsquo;s version of Orlando, breaks from form create psychological and tonal ambiguities that depart significantly from traditional opera seria. These subleties of tone and formal disruptions unite with 18th century theatrical convention of madness, making way for a powerful and highly experimental score.</p> <p style="text-align: justify;">Orlando, a knight famous for chivalry, vacillates between obsessive love for the princess Angelica and heroic glory urged by his magical protector, Zoroastro. Angelica has fallen in love with the mysterious prince, Medoro, whose battle wounds she healed while he was in the care of the shepherdess Dorinda. Dorinda has also fallen in love with Medoro, who is torn between union with a noblewoman and the affections of a peasant while increasingly becoming the source of Orlandoʼs jealousy and violence. The opera develops as Orlando struggles with his love for Angelica that remains unfulfilled and leads him to increasingly hysterical behaviors, as the others navigate their own romantic knots.</p> <p style="text-align: justify;">R. B. SCHLATHER is an American opera director based in New York City. Recent directing credits include Norma at Gran Theatre del Liceu, Barcelona, Alcina at Whitebox Art Center WhiteboxLab&gt;Sound Lounge, Lizzie Borden at Tanglewood Music Festival, Werther at Opera Company of Brooklyn, Treemonisha for New York City Opera Education, Some Call Refuge at Vaudeville Park, The Arianna Project for lauded early music group Musica Nuova, a concert with Nico Muhly and Gotham Chamber Opera at multimedia art cabaret (le) Poisson Rouge, and I. Were., a pastiche created with countertenor Anthony Roth Costanzo and dramaturg Joe Cermatori for the Salon/Sanctuary Concerts. He makes his American company debut directing a site-specific production of Philip Glassʼ In The Penal Colony for Boston Lyric Opera in 2015. Schlather holds a Bachelor of Arts degree in Art History, with a minor in Drama, from Ithaca College, where he graduated with special honors in Theater Arts.</p> <p style="text-align: justify;">R. B. Schlather&rsquo;s production is part of Whitebox&rsquo;s emreging program, WhiteboxLab&gt;Sound Lounge, which aims to create sustained and in-depth exposure for artists working in temporal mediums such as performance, sound art, and literary arts, while providing a platform for audiences to experience artists&rsquo; practices.</p> <p style="text-align: justify;">The programs of Whitebox Art Center are made possible in part by the New York City Department of Cultural Affairs.</p> Wed, 25 Mar 2015 15:18:24 +0000 Pierre Obando - Thierry Goldberg Gallery - April 26th - May 17th Wed, 25 Mar 2015 15:13:32 +0000 Amie Siegel - Storefront for Art and Architecture - April 1st - May 19th <p style="text-align: justify;">Commissioned by Storefront for Art and Architecture as part of Office&nbsp;<em>US</em></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">The stories of architects have historically been portrayed and understood through singular figures and monographic narratives. However, the human and logistical edifices behind each of these individual figures is oftentimes less singular and more homogenous than usually depicted. What is the portrait of the collective body of architects building globally today?&nbsp;</p> <p style="text-align: justify;">On March 31st, 2015, Storefront for Art and Architecture will host an exhibition featuring<em>&nbsp;The Architects</em>, a film by artist Amie Siegel originally commissioned by Storefront as part of Office<em>US</em>, the United States Pavilion at the 2014 Venice Biennale of Architecture.&nbsp;<em>The Architects&nbsp;</em>examines and analyzes the drivers, protocols, and implications of architectural production in an era marked by globalizing forces. The film embodies the efforts made by Office<em>US</em>&nbsp;towards the understanding of practice and accountability within architecture.&nbsp;</p> <p style="text-align: justify;"><em>The Architects</em>&nbsp;cuts transversally through the city of New York, producing a continuous image of the global architecture office today. Moving through several architecture studios&mdash;from Fifth Avenue to Downtown to Brooklyn&mdash;the film depicts the operational territories and landscapes of worldwide architectural production from New York.&nbsp;As a singular unfolding visual, the film deploys silent conversations among the architectures, locations, objects and characters that inhabit its frames, raising questions of scale, agency, and power.&nbsp;</p> <p style="text-align: justify;">Parallel tracking shots through the working offices chart their typologies of sameness and difference, revealing reappearing elements of the spaces of architectural production: long horizontal desks, screens, renderings, and models. The film frames a wide spectrum of practices, from large firms to smaller studios in a collective new whole. It positions itself from a vantage point that places the lens of the camera between the spaces of production and the world, which is always, and only, just outside the window.&nbsp;</p> <p style="text-align: justify;"><em>The Architects was made possible through the generous support of Storefront's Board of Directors and Elise Jaffe + Jeffrey Brown.</em>&nbsp;</p> <div class="JL" style="text-align: justify;"> <div class="Mu SP"> <div> <p>Ranging from photographs, video, film installations, performance and feature films for the cinema, American artist Amie Siegel's work has been exhibited in solo exhibitions including&nbsp;<em>Amie Siegel: Provenance</em>&nbsp;at The Metropolitan Museum of Art, New York, as well as solo and group exhibitions at MoMA/PS1, NY; MAXXI, Rome; Hayward Gallery, London; Whitney Museum of American Art, NY; Walker Art Center, MN; CCA Wattis, San Francisco; Kunstmuseum Stuttgart and KW Institute for Contemporary Art, Berlin. Her films have screened at the Cannes, Berlin, New York and Toronto Film Festivals, The Museum of Modern Art, New York and The National Gallery of Art, Washington, D.C. She has been a fellow of the DAAD Berliner-Künstlerprogramm, Guggenheim Foundation, and the recipient of a Sundance Institute Film Fund award and Berlin Film Festival award.&nbsp;</p> <p>&nbsp;</p> </div> </div> </div> <p style="text-align: justify;"><strong>Amie Siegel,<em>&nbsp;The Architects</em>, 2014, HD Video, color/sound</strong></p> <p style="text-align: justify;">Producer: Andrew Fierberg</p> <p style="text-align: justify;">Co-Producer: Martina Klich</p> <p style="text-align: justify;">Production Manager: Tina Piccari</p> <p style="text-align: justify;">Cinematographer: Christine A. Maier</p> <p style="text-align: justify;">1st Assistant Camera: Bayley Sweitzer</p> <p style="text-align: justify;">Digital I Tech: Henry Prince</p> <p style="text-align: justify;">Sound Recordist: Timothy Wong</p> <p style="text-align: justify;">Key Grip: Mark Solomon</p> <p style="text-align: justify;">Grip: Dan Stenzel and Wil Hamlin</p> <p style="text-align: justify;">PA: Nir Bitton and Matthew Town</p> <p style="text-align: justify;">Color Correct and Conform: Post Republic, Berlin</p> <p style="text-align: justify;">Sound Mixer: Gisberg Smialek</p> <p style="text-align: justify;">Storefront for Art and Architecture: Eva Franch i Gilabert, Kara L. Meyer, Melissa Weisberg, eynep Goksel, Piotr Chizinski, Carlos Minguez Carrasco &nbsp;</p> <p style="text-align: justify;">OfficeUS: Eva Franch i Gilabert, Ana Miljacki, Ashley Schafer</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Special Thanks: Simon Preston Gallery, New York</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>About Office<em>US</em></strong></p> <p style="text-align: justify;">As the commissioner of the 2014 United States Pavilion at the 14th Biennale of Architecture in Venice, Storefront for Art and Architecture presented Office<em>US</em>, a global experiment in the making of architecture, history and work. &nbsp;Office<em>US</em>&nbsp;in Venice focused on the ways in which the space, structures, and protocols of the U.S. architectural office have participated in the construction of Modernity. Office<em>US</em>&nbsp;was curated by Eva Franch, Anna Miljacki and Ashley Schafer with the support and collaboration of more than 300 individuals. To learn more go to &nbsp;<a href="">&nbsp;</a></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Office<em>US</em>&nbsp;is expanding to New York, and will serve as an active, global, experimental architecture institute. As an ongoing reimagination of the concept of the office, Office<em>US</em>&nbsp;will revisit the history of architecture, its relationship to politics and power and the premises and conclusions of modern and contemporary projects, to construct an agenda for the future production of architecture today. To learn more please contact</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><em>General support for Storefront&rsquo;s exhibition and programs are made possible by Arup; F.J. Sciame Construction Co., Inc.; the Foundation for Contemporary Arts; The Greenwich Collection Ltd.; the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature; public funds from the New York City Department of Cultural Affairs in partnership with the City Council; The Peter T. Joseph Foundation; and by Storefront&rsquo;s Board of Directors, members, and individual donors.</em></p> Wed, 25 Mar 2015 15:11:57 +0000 Vitaly Komar - Ronald Feldman Fine Arts - March 28th - May 2nd <p class="text" style="text-align: justify;"><em>When I was a child, I used to draw the Allegory of Justice &ndash; an antique bronze figurine who held scales and a sword in her hands. &nbsp;My mother and father were lawyers, and this mysterious female figure stood on a bookshelf in our apartment.&nbsp; A blindfold (symbolizing the impartiality of the judicial system) covered her eyes, and her foot rested on a serpent.&nbsp; I was most drawn to the concave cups of the scales; they looked like the bronze woman&rsquo;s breasts.</em>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Vitaly Komar 2015</p> <p class="text" style="text-align: justify;">Ronald Feldman Fine Arts will exhibit paintings, drawings, and sculpture by Vitaly Komar.&nbsp; In the new series,&nbsp;<em>Allegories of Justice</em>, 2010-2014, Komar imbues the tradition of allegorical art, not only with a moral truth, but also with a contemporary perspective and virtuoso painting.&nbsp; The series takes as its truth the transcendental balance of the physical universe, against which our societal justice must be measured.&nbsp; Pop art-style irony gives new meaning to the statue of justice symbol, which, in a sense, has become a clich&eacute; that has lost its meaning.&nbsp; The multi-layered theme of&nbsp;<em>Allegories of Justice</em>&nbsp;suggests another truth: the loss of childhood innocence.</p> <p class="text" style="text-align: justify;">The bear, both an ancient symbol of primordial power and Russia, and other creatures such as birds, butterflies, a serpent, a deer, and a cat, rendered in classical chiaroscuro style, represent the struggle between forces of &ldquo;good and evil&rdquo; that play out against abstract backgrounds that evoke the energy of the cosmos.&nbsp; One painting shows the bear driving a bulldozer &ndash; a reference to the infamous government demolition of the Moscow outdoor art exhibition in 1974 in which Komar &amp; Melamid took part. &nbsp;Other paintings include&nbsp;<em>Sentence to the Hunter</em>,which illustrates the harsh justice of the Greek goddess Diana: an allegory also painted by Titian and Rubens.&nbsp;<em>Victory Over the Sun</em>, titled after the Russian opera, represents the dualities of balanced and unfair justice as light and shade.&nbsp;</p> <p class="text" style="text-align: justify;">Two paintings contrast reality with the ideal.&nbsp;<em>The Bear&rsquo;s Justice&nbsp;</em>is an eclectic diptych that shows an ephemeral illusion of independence and separation of the judicial branch (lady with the scale) and executive branch (bear with an ax).&nbsp;&nbsp;<em>Yin Yang as a Scale&nbsp;</em>presents an abstract vision of perfect balance<em>,</em>analogous to the duality represented by the mathematics equal sign (&ldquo;= &ldquo;).&nbsp; The concept and images of the exhibition can be read as a reflection on the current international political situation.&nbsp;</p> <p class="text" style="text-align: justify;">Komar writes:<em>&nbsp;I want to believe in the transcendental balance of the universe, but you won&rsquo;t see a blindfold covering my creatures&rsquo; eyes {the eyes of justice}.&nbsp; As a child, I believed in the existence of an impartial system of justice; alas, this faith has remained in my childhood</em>.<br /><br />Vitaly Komar was born in Moscow and has lived in New York since 1978.&nbsp; His other solo exhibitions at Ronald Feldman Fine Arts include&nbsp;<em>Three-Day Weekend&nbsp;</em>(2005) and&nbsp;<em>New Symbolism&nbsp;</em>(2009).&nbsp; Vitaly Komar collaborated with Alexander Melamid from 1973 to 2003, as well as with the chimpanzee Mikki the photographer and the elephant Renee the painter.&nbsp; Ronald Feldman Fine Arts has presented fourteen exhibitions by the satirical team Komar &amp; Melamid, including their first exhibition of works which were smuggled out of the Soviet Union in 1976.</p> Wed, 25 Mar 2015 15:06:34 +0000 Brian Belott, Ross Simonini - Fredericks & Freiser - March 19th - April 25th <p style="text-align: justify;"><strong>Fredericks &amp; Freiser</strong>&nbsp;is pleased to announce a&nbsp;<strong>two-person exhibition</strong>&nbsp;of new works by&nbsp;<strong>Brian Belott</strong>&nbsp;and&nbsp;<strong>Ross Simonini.</strong><br /><br />Brian Belott and Ross Simonini are friends and collaborators. In the recent past, they have written long, ferocious text messages to each other, waging deep and silent wars that lasted for many days. In fits, they have collaborated, mostly on collages and drawings, some of which have been collected together into an artists' book open edition to be released in concert with this exhibition. Both artists work with a curious salad of materials &ndash; food, calculators, rugs, napkins &ndash; but this show is a collection of their recent work on paper and canvas, varying from modest to immodestly sized.&nbsp;&nbsp;In both cases, the artists' ongoing work in performance and music seems to inform their markmaking. Belott draws with mustard on his rooftop in the rain. Simonini paints with his feet. Belott paints in the shower. Simonini washes the dishes with an unstretched canvas. Each looks for art under the kitchen table. Once, at the 2014 PERFORMA festival, the two of them conducted a 40-person choir to stomp and chant for their food.<br /><br /><strong>About the artists<br />Brian Belott</strong>&nbsp;lives and works in Brooklyn, New York. He has numerous solo exhibitions including most recently The Journal, NY. His recent group shows include OHWOW, CA; Venus Over Manhattan, NY; Canada, NY; and Gavin Brown Enterprise, NY. His work is included in the collection of the Museum of Modern Art, NY.&nbsp;<br /><br /><strong>Ross Simonini</strong>&nbsp;is an artist, writer, and musician living in New York. He has had a solo exhibition at Shoot the Lobster in Luxembourg. His group shows include Martos Gallery, NY; Human Resources, CA; and Blackston, NY, and has performed at Jack Hanley Gallery, NY and the Andy Warhol Museum, PA. He edits The Believer Magazine and is an adjunct professor at Columbia University. He is one half of the musical group NewVillager.</p> Wed, 25 Mar 2015 14:47:06 +0000 Matt Lipps - Danziger Gallery - March 26th - May 2nd <p style="text-align: justify;">Danziger Gallery is pleased to present the first New York solo exhibition of photographs by Matt Lipps. Lipps&rsquo; work combines elements of collage, constructed still life, and appropriated imagery, into a wholly new and original form.</p> <p style="text-align: justify;">The exhibition consists of 13 large-scale works from Lipps&rsquo; acclaimed series &ldquo;Library&rdquo;. Based on images from Time-Life&rsquo;s 1970s seventeen volume set of books called &ldquo;Library of Photography&rdquo;, Lipps cuts out and assembles selected images into groups that echo the themes of the different volumes &ndash;&nbsp;<em>Photographing Children, The Camera, Travel Photography, Special Problems</em>, etc..</p> <p style="text-align: justify;">Mounted and arranged on shelves in front of vivid color backgrounds, the figures become players in a story that is both a tribute to the heyday of analog photography and an accomplished vision of the possibilities that the digital age has opened up to artists. The colorful backgrounds of the series come from 35mm photographs taken by Lipps when he was a student and their warm emotional color and abstract feeling contrasts dramatically with the coolly objective black and white figures and forms selected by Lipps from the &ldquo;Library&rdquo; books. Combining authored and appropriated photographs Lipps sets up a tension between the subjective and objective uses of the medium offering both an intriguing and fresh perspective on the history of the medium and history itself.</p> <p style="text-align: justify;">Matt Lipps received his MFA from the University of California, Irvine. Most recently his work has been shown at the Saatchi Gallery, FOAM (Foto Museum of Amsterdam), and is currently on view at Pier 24 in San Francisco. His work is in the collection of Los Angeles County Museum of Art, Museum of Contemporary Art, Los Angeles, the Hammer Museum, Los Angeles, The Pilara Foundation/Pier 24. He is Assistant Professor of Art at San Francisco State University.</p> <p style="text-align: justify;">Lipp's work can currently also be seen at Art in General and in the group show "Under Construction - New Positions in American Photography" at Pioneer Works in Brooklyn.</p> Wed, 25 Mar 2015 14:44:54 +0000 Beverly Buchanan - Artists Space : Books & Talks - March 25th 7:00 PM - 8:00 PM Wed, 25 Mar 2015 14:42:24 +0000 John Alexander Parks - 532 Gallery Thomas Jaeckel - March 26th - April 25th <p style="text-align: justify;">Once again it is a great pleasure to exhibit new paintings by John Alexander Parks and most especially because he has recently been making paintings about New York, his adopted home for more than three decades.&nbsp; For much of this time Parks has painted subjects that bear on English life using his vantage point as a British exile. Those pictures are often at once nostalgic and gently ironic.&nbsp; Parks brings a new energy, lively wit and considerable poignancy to his very personal vision of New York.</p> <p style="text-align: justify;">A gifted colorist, sensitive draftsman and delightful handler of paint, Parks mixes whimsical humor and enormous sympathy for his subjects.&nbsp; His works are inviting, accessible and entertaining but their full import can take time to sort out and fully savor. &nbsp;They are the paintings of an artist who is thoroughly and wonderfully engaged with the world around him.</p> <p style="text-align: justify;">Although he has kept a modest profile as an artist Parks has accrued some serious critical acclaim over the years. Writing in the New York Times as long ago as 1982, the great critic John Russell described Parks as &ldquo;&hellip;a true poet in paint and something of a find.&rdquo; In December of 2012 Roberta Smith, the current chief art critic of the Times, described Parks&rsquo; painting as &ldquo;&hellip;a treat to discover.&rdquo;</p> <p style="text-align: justify;">Parks was born in Leeds, England in 1952, and studied at the Royal College of Art in London.&nbsp; He has lived in and around New York since 1976 and was represented for many years by Allan Stone, the legendary art dealer and gallerist.&nbsp; He is a member of the faculty of the School of Visual Arts in New York where he teaches drawing and painting.&nbsp; He recently authored a general introduction to the world of art entitled &ldquo;Universal Principles of Art,&rdquo; Rockport Publishing, 2014. His work is in the collection of the Victoria and Albert Museum, London, the Museum of the Rhode Island School of Design and many others.</p> Wed, 25 Mar 2015 14:40:45 +0000