ArtSlant - Recommended en-us 40 Group Show - MoMA (Museum of Modern Art) - April 18th, 2012 - April 21st, 2013 <div class="description"> <p>This exhibition, covering the period from 1910 to today, offers a critical reassessment of photography's role in the avant-garde and neo-avant-garde movements—with a special emphasis on the medium's relation to Dada, Bauhaus, Surrealism, Constructivism, New Objectivity, Conceptual, and Post-Conceptual art—and in the development of contemporary artistic practices.</p> <p>The shaping of what came to be known as "New Vision" photography bore the obvious influence of "lens-based" and "time-based" works. El Lissitzky best summarized its ethos: "The new world will not need little pictures," he wrote in <i>The Conquest of Art</i> (1922). "If it needs a mirror, it has the photograph and the cinema."</p> <p>Bringing together over 250 works from MoMA’s collection, the exhibition features major projects by Man Ray, László Moholy-Nagy, Aleksandr Rodchenko, Germaine Krull, Gerhard Rühm, Helen Levitt, Daido Moriyama, Robert Heinecken, Ed Ruscha, Martha Rosler, Bernd and Hilla Becher, Philip-Lorca DiCorcia, and Walid Raad, among others. Photographic history is presented as a multivalent history of distinct "new visions," rooted in unconventional and innovative exercises that range from photograms and photomontages to experimental films and photobooks.</p> </div> Mon, 07 Jan 2013 00:22:54 +0000 Lois Dodd - Alexandre Gallery - January 10th, 2013 - February 16th, 2013 Mon, 11 Feb 2013 14:27:17 +0000 Thomas Lanigan-Schmidt - MoMA PS1 - November 18th, 2012 - April 7th, 2013 <p>Thomas Lanigan-Schmidt’s mixed-media constructions, collages, and installations are marked by a trashy opulence concocted from household items and dollar stores. Mimicking Byzantine decoration with cellophane, aluminum foil, tinsel and glitter, Lanigan-Schmidt (American, b. 1948) pioneered a maximalist aesthetic in the late 1960s that explored gay sexuality, class struggle, and religion. Mingling high with low, and sacred with profane, Lanigan-Schmidt bucked the reductive tastes of conceptualism and minimalism that dominated his youth, creating a radically decorative practice that, despite its influence, has never been properly assimilated into the history of American art.</p> Sun, 31 Mar 2013 23:37:36 +0000 Birgir Andrésson, Darren Bader, Sister Corita, Matthew Darbyshire, Alan Reid, Hanna Sandin, Lisa Williamson - Lisa Cooley - January 10th, 2013 - February 3rd, 2013 <div style="font-family: Helvetica; font-size: 12px; margin: 0px;"> <p style="text-align: justify;">Lisa Cooley is pleased to present <em>Air de Pied-à-terre, </em>an exhibition curated by Lisa Cooley and Alan Reid. <em>Air de Pied-à-terre </em>is a collection of works that address notions of the interpretive space between object and viewer, theatrically situated in a hypothetical pied-à-terre. As a pied-à-terre suggests transience, the objects collected here provide evidence of a range of thought in motion, attempting to isolate something overlooked, vague, emptied, or internalized.<br /><br />In Birgir Andrésson’s work, the interpretive process of sight (simply looking at a still life or portrait) is given form, both visually and linguistically, directing our attention to the interpretive formation of words employed in apprehending experience. The mobiles Hanna Sandin constructs, composed of domestic cast-off materials, seem to track time’s constant, although often imperceptible change. Alan Reid’s paintings exhibit affecting emotive prowess, courting ambiguity and open lightness as a means to joyfully confuse the polarities of perfection and vulnerability.<br /><br />Lisa Williamson’s wall-mounted and boldly colored forms have a meditative, hovering sensibility, relaying the figure and architectural space through distinct sculptural lines. Similarly, Mattew Darbyshire’s hanging banners, printed with a reproduction of an architect’s image of a Mackintosh-inspired public space, explores the vague assurance of a historically elapsed style. <br /><br />Darren Bader’s work isolates impulses for expressive potential, turning over and again the egoistic urge to name, lay-claim, or dismiss the world around us. Sister Corita’s oeuvre looks at pop culture’s codes and forms to announce the transcendent possibility of hope and relief from the secular world through a Christian savior.<br /><br />Also exhibited are a selection of functional design objects.<br /><br /><strong>Birgir Andrésson</strong> represented Iceland at the 1995 Venice Biennale and in 2006, the National Gallery of Iceland hosted a retrospective of his work. Recent exhibitions include solo shows at the Museum Abteiberg, Mönchengladbach; i8 Gallery, Reykjavik; the Foksal Gallery Foundation, Warsaw; and Nils Staerk Contemporary Art, Copenhagen; as well as a two-person exhibition with Poul Gernes at Sean Kelly Gallery, New York in 2011.<br /><br /><strong>Darren Bader</strong> was born in 1978 and currently lives in New York. He received his BFA from New York University. Recent solo shows include Sadie Coles, London; MoMA PS1, Brooklyn; and Andrew Kreps Gallery, New York. Select group exhibitions include<em> Blind Cut,</em> Marlborough Gallery, New York; <em>Sculpture is three-dimensional artwork...,</em> Johan Konig Gallery, Berlin; <em>Looking Back / The Fifth White Columns Annual,</em> White Columns, New York; and <em>Greater New York</em>, PS1 Center for Contemporary Art, New York.<br /><br /><strong>Sister Corita </strong>was born in Fort Dodge, Iowa in 1918. She grew up in Los Angeles and joined the Order of the Immaculate Heart of Mary in 1936. She received her MA from the University of Southern California in 1951. Her serigraphs have been shown in solo shows at the National Museum of Women in the Arts, Washington; Contemporary Art Gallery, Vancouver; Zach Feuer Gallery, New York; Hammer Museum, Los Angeles; and Museum Ludwig, Germany. Group exhibitions include <em>California Design, 1930-1965</em>, Los Angeles Museum of Contemporary Art, Los Angeles; <em>The Personal is Political: Women Artists from the Collection</em>, Museum of Contemporary Art, Los Angeles; and <em>Freedom of Speech</em>, Kunstverein Hamburg, Neue Berliner Kunsverein, Germany. <br /><br /><strong>Matthew Darbyshire</strong> was born in 1977 and lives and works in London. He received his BA from Slade School of Fine Art and a post-graduate diploma at the Royal Academy. Solo exhibitions include Tramway, Glasgow; Jousse Enterprise, Paris; Taro Nasu, Tokyo; and Herald Street, London. Select group exhibitions include <em>You Are Not Alone,</em> Bangkok Art and Cultural Centre, Thailand (traveled to Miro Foundation, Barcelona and MARCO, Museum of Contemporary Art, Vigo; <em>The Shape We’re In,</em> Zabludowicz Collection, London, New York; and <em>The British Art Show</em>, The Hayward gallery, London.<br /><br /><strong>Alan Reid</strong> was born in 1976 in Texas and currently lives and works in New York. Recent exhibitions include A Palazzo, Brescia; Mary Mary, Glasgow; Galerie Jacky Strenz, Frankfurt; Talbot Rice, Edinburgh; and <em>Keno Twins 5</em>, curated by Michael Bauer at Barriera, Torino. Reid will be included in the second edition of Phaidon's <em>Vitamin D</em> and will have a solo show at the gallery in April 2013. <br /><br /><strong>Hanna Sandin</strong> was born in 1981 and lives and works in Brooklyn. She received her BFA from Rhode Island School of Design. Solo exhibitions include Galerie Hervé Bize, France; Fake Estate, New York; and A.I.R. Gallery, New York. Select group exhibitions include <em>Logic of Association</em>, PS1 Contemporary Arts Center, Queens; Cleopatra's presents, Leo Koenig, New York; and<em> Interference with twigs</em>, Mary Mary, Glasgow.<br /><br /><strong>Lisa Williamson</strong> was born in 1977 and currently lives and works in Los Angeles. She received her MFA from the University of Southern California and her BFA from Arizona State University. Recent solo shows include Shane Campbell Gallery, Chicago; Unosunove Arte Contemporanea, Rome; and a two-person exhibition at The Box, Los Angeles with Sarah Conaway. Select group exhibitions include <em>Made in LA</em>, Hammer Museum, Los Angeles; <em>Phases</em>, Wallspace, New York; <em>Auteur / Amateur</em>, Layr Wuestenhagen, Vienna; and <em>Reframing</em>, CCA Andratx Kunsthalle, Mallorca.<br /><br />The gallery is located at 107 Norfolk Street, just one block east of Essex Street between Rivington and Delancey. Gallery hours are Wednesday through Sunday, from 10am to 6 pm, and always by appointment. The closest subways are the F/J/M at the Delancey/Essex stop and the D at Grand Street. For more information, please contact Kelly Woods at <a href="" rel="nofollow" data-cke-saved-href=""><span style="text-decoration: underline;"></span></a> or <a href="file://localhost/tel/212-680-0564" rel="nofollow" data-cke-saved-href="file://localhost/tel/212-680-0564"><span style="text-decoration: underline;">212-680-0564</span></a>.</p> <p style="text-align: justify;"></p> </div> Sun, 06 Jan 2013 14:29:05 +0000 Raven Schlossberg - Pavel Zoubok Gallery - January 10th, 2013 - February 9th, 2013 <p>PAVEL ZOUBOK GALLERY invites you to an exhibition of new work by New York artist RAVEN SCHLOSSBERG, whose seamlessly layered dreamscapes of printed, drawn and superimposed imagery explore themes of cultural exchange, travel and the obsessive nature of collecting.<br />RAVEN SCHLOSSBERG’s recent series of mixed-media collages function as landscapes - natural spaces composed from familiar elements. But they are in fact places of pure imagination, “floating worlds” hovering between multiple realities. By employing superimposed, or ghost images, Schlossberg conjures a double-exposure in which events real and invented write themselves onto shifting planes. By exploring this spatial duality she gathers the disparate threads of ancient tales to tell stories of love, loss, discovery and devotion. Schlossberg writes:<br />When I began this body of work, I conceptualized the idea of luxury, of collectors acquiring beautiful objects throughout time, and how these objects (individually loaded with meaning and stories) have been passed down through families of influence or discarded and discovered continents away from their point of origin. I am interested in the export of an aesthetic, what it says about the cultures that produced these objects as well as the taste and fashion of the collectors who sought to acquire them, such as German production of fine porcelain in an Orientalist style, or French Chinoiserie.<br />Schlossberg arranges these objects as markers, creating paths for the viewer to visually move across the picture surface, making connections between landscapes real and imagined. The collage paintings in this exhibition draw heavily from the artist’s experiences traveling and exhibiting her work across Europe over the past several years, losing herself intentionally and unintentionally. In a seamless swirl of images, Schlossberg conjures the memory of a Roman-built amphitheater in far Western Germany where she could swear she heard the echoed roar of caged lions. Down from the ruin, along the banks of the Mosel River, was revealed the faint glint of Roman coins, once the epitome of power, now lost to nature and time. In Rome, a random turn down a narrow alleyway eventually opened onto an imposing pair of intricately wrought iron gates, behind which stood a tomb composed entirely of human skulls. This hidden, sacred place built atop strata upon strata of buried treasure and refuse. Schlossberg’s works are composed from and built upon this concept of cultural accretion. Her landscapes are terraced with layers of paper collage, painted, printed, drawn and superimposed images that create a kind of historical time line punctuated by characters or travelers acting out scenarios that verge on theater.<br />This is Raven Schlossberg’s Raven Schlossberg’s Raven Schlossberg’s Raven Schlossberg’s Raven Schlossberg’s Raven Schlossberg’s Raven Schlossberg’s Raven Schlossberg’s Raven Schlossberg’s Raven Schlossberg’s first solo exhibition at Pavel Zoubok Gallery. first solo exhibition at Pavel Zoubok Gallery. first solo exhibition at Pavel Zoubok Gallery. first solo exhibition at Pavel Zoubok Gallery. first solo exhibition at Pavel Zoubok Gallery. first solo exhibition at Pavel Zoubok Gallery. first solo exhibition at Pavel Zoubok Gallery. first solo exhibition at Pavel Zoubok Gallery. first solo exhibition at Pavel Zoubok Gallery. first solo exhibition at Pavel Zoubok Gallery. first solo exhibition at Pavel Zoubok Gallery. first solo exhibition at Pavel Zoubok Gallery. first solo exhibition at Pavel Zoubok Gallery. first solo exhibition at Pavel Zoubok Gallery. first solo exhibition at Pavel Zoubok Gallery. first solo exhibition at Pavel Zoubok Gallery. first solo exhibition at Pavel Zoubok Gallery. first solo exhibition at Pavel Zoubok Gallery. first solo exhibition at Pavel Zoubok Gallery. first solo exhibition at Pavel Zoubok Gallery. first solo exhibition at Pavel Zoubok Gallery. first solo exhibition at Pavel Zoubok Gallery. first solo exhibition at Pavel Zoubok Gallery.<br /><br /></p> Mon, 14 Jan 2013 00:58:11 +0000 LOUIS STETTNER - Benrubi Gallery - January 31st, 2013 - March 2nd, 2013 <p>Bonni Benrubi Gallery is pleased to present <i><strong>Louis Stettner: The Masterpieces, Celebrating 90 Years</strong></i> on view from Thursday, January 31st to Saturday, March 9th 2013. The first retrospective of the artist's work to be presented in New York in years, The Masterpieces will feature all original prints of many of Stettner's most iconic images.<br /><br />90 years after his birth to Austro-Hungarian parents in Brooklyn, we look back on one of the most evocative and inspiring bodies of portraiture and street photography ever. Stettner's humanistic and poetic view of our world has always remained curious and sympathetic, while never falling prey to sentimentality. Describing his work as "Humanist Realism", Stettner's most well-known images are visual tributes to the noble lives of the people who occupy his "two loves", New York and Paris.<br /><br />For over seven decades Stettner has been compassionately documenting the simple, daily rituals of our lives with a masters eye for composition and lighting. Images of urban transit, children, and the lives surrounding architectural landmarks play heavily in his oeuvre. Often spoken in the same breath as Henri Cartier-Bresson, Walker Evans and Brassi, his images are truly masterpieces of their form. This exhibition will include exquisite vintage prints of some of his most iconic images, as well as some rarely seen pieces from the gallery's collection.<br /><br />Louis Stettner was born November 7, 1922. He served as soldier and photographer in the US Army, and moved to Paris for the first time in 1946. He has had a long and distinguished career in photography starting from his teenage years when he was encouraged by Alfred Stieglitz and Paul Strand. He has published many monographs and has had work shown extensively throughout the world in galleries and museums. Stettner's photographs are included in the collections of The Museum of Modern Art, New York, The Metropolitan Museum, New York, and Bibliotheque Nationale in Paris where a major retrospective of his work is currently taking place. He continues to live and work in Paris.</p> Mon, 14 Jan 2013 22:25:00 +0000 Doug Aitken - 303 Gallery - February 1st, 2013 - March 30th, 2013 <div class="grid_10"> <p style="text-align: justify;"><span style="font-size: small;">Central to Doug Aitken's "100 YRS" exhibition is a new "Sonic Fountain," in which water drips from 5 rods suspended from the ceiling, falling into a concrete crater dug out of the gallery floor. The flow of water itself is controlled so as to create specific rhythmic patterns that will morph, collapse and overlap in shifting combinations of speed and volume, lending the physical phenomenon the variable symphonic structure of song. The water itself appears milky white, as if imbued and chemically altered by its aural properties, a basic substance turned supernatural. The amplified sound of droplets conjures the arrhythmia of breathing, and along with the pool's primordial glow, the fountain creates its own sonic system of tracking time.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Behind a cavernous opening carved into the gallery's west wall is "Sunset (black)," a sculptural work that resembles cast lava rock in texture and spells out the word SUNSET as it glows from behind, its letters forming a relic of the entropy and displacement inherent in the literal idea of a sunset. Viewed from and obscured behind a hole in the wall, the sculpture appears as cosmic debris, as if pulled from a parallel world where a sunset is only an idea, obfuscated by detritus of the age of post-everything, a reductionist standpoint between the modes of pop and minimalism, its glow fading into the next realm. Also on view is the mirrored sculpture "MORE (shattered pour)". Like a time-piece, the work creates a kaleidoscope of reflections of all that surrounds it. As if it were a fragmented film, "MORE (shattered pour)" creates a literal manifestation of the present and aspirational escapism, which cannot be viewed without glimpsing a piece of one's self within the work's reflections. Another refraction of time is glimpsed through "Fountain (Earth Fountain)", created from plexiglas letters spelling the word "ART", through which a slurry of moist dirt is pumped, physical earth perpetually redoubling and standing in for itself. The word ART itself subverts the entropy of time, creating a holding pattern that organic matter cannot escape from. The flickering lightbox "not enough time in the day" completes the communicative supercurrent of shimmering malaise, its letters overlapping as if seen inebriated, somehow both more profound and less understandable. The work creates a cycle that is both hypnotic and inescapable.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Doug Aitken lives and works in Los Angeles and and New York. In March 2013, the Seattle Art Museum will install "Mirror," a monumental new commission made of LED's, permanently installed on the museum's facade, while the Miami Art Museum will reopen its new building with the outdoor large scale projection of "sleepwalkers (miami)." In addition, SFMOMA in San Francisco is making plans for a large-scale citywide installation of Aitken's Empire Trilogy in site-specific locations. Aitken's work has been featured in numerous solo and group exhibitions around the world, in such institutions as the Serpentine Gallery in London, the Vienna Secession, and the Centre Georges Pompidou in Paris. He participated in the Whitney Biennial 1997 and 2000 and earned the International Prize at the Venice Biennale in 1999. Aitken's "Sleepwalkers" exhibition at MoMA in 2007 transformed an entire block of Manhattan into a cinematic experience as he covered the museum's exterior walls with projections. In 2009, his Sonic Pavilion opened to the public in the forested hills of Brazil at INHOTIM. Continuing his work in innovative outdoor projects, Aitken presented his film and architecture installation "Frontier" on Rome's Isola Tiberina in 2009, the multiform artwork "Black Mirror" on a uniquely designed barge floating off Athens and Hydra Island in 2011, and "Song 1" projected onto the circular facade of the Hirshhorn Museum in Washington, DC in 2012.</span></p> </div> Mon, 01 Apr 2013 21:43:42 +0000 Meriç Algün Ringborg - Art in General - January 26th, 2013 - March 23rd, 2013 <p>Meriç Algün Ringborg’s New Commissions project, <i>The Library of Unborrowed Books</i>, opens at Art in General from 26 January – 23 March 2013, at the sixth floor galleries, 79 Walker Street, NY.</p> <p>The project, presenting hundreds of books that have never been borrowed from the Center for Fiction’s library, calls into question what subjects in any contemporary moment have ‘currency’ or desirability, and brings attention to topics and stories that have been temporarily overlooked but that could have their relevance restored in the future.</p> <p>Following its first iteration in 2012 with the Stockholm Public Library in Sweden, where the project aroused great public and critical interest, for the presentation at Art in General, Meriç Algün Ringborg will make selections of books from the Center for Fiction, the only nonprofit in the U.S. solely dedicated to celebrating fiction. These books will then go on institutional loan to Art in General for the public to access for the first time in an environment that emulates the atmosphere of the Center, but that is experienced within the context of a contemporary art space. </p> <p>Excerpted from a dialogue with the artist:</p> <p>“<i>The Library of Unborrowed Books </i>bases itself on the concept of the library as an institution manifesting language and knowledge, of the passing of awareness and the openness to all types of people and litera- ture.This work, however, comprises books from a selected library that have never been borrowed.The framework in this instance hints at what has been disregarded, knowledge essentially unconsumed, and puts on display what has eluded us.</p> <p>Why these books aren’t ‘chosen,’ why they are overlooked, will never be clear but whatever each book contains, en masse they become representative of the gaps and cracks of history, or the cataloging of the world and the ambivalent relationship between absence and presence. In this library their existence is validated simply by being borrowed, underlining their being as well as their content and form by putting them on display in an autonomous library dedicated to the books yet to have been revealed.”</p> <p>This exhibition is supported by SAHA</p> <p> </p> <p><strong>Meriç Algün Ringborg</strong></p> <p>Meriç Algün Ringborg was born in 1983 in Istanbul, and currently lives and works in Stockholm. She stud- ied at Sabancı University, Istanbul, from 2002–2007 and obtained a BA, Visual Arts and Communication Design, followed by an MA in Fine Arts from the Royal Institute of Art, Stockholm (2010-2012). Selected recent and upcoming group exhibitions include: <i>When Attitudes Became Form Become Attitudes</i>, Museum of Contemporary Art, Detroit (2013); <i>Signs Taken in Wonder, MAK</i>, Vienna (2013); <i>Incremental Change</i>, Galeri NON, Istanbul (2012); <i>When Attitudes Became Form Become Attitudes</i>, CCA Wattis Insti- tute, San Francisco (2012); <i>Show Off</i>, Malmö Konsthall, Malmö (2012); A<i>n Incomplete History of Incom- plete Works of Art</i>, Francesca Minini, Milan (2012); <i>Untitled (12th Istanbul Biennial)</i>, 2011 and Danföredan- föredanföredan, Index - The Swedish Contemporary Art Foundation, Stockholm (2010). She had her first solo exhibition in Stockholm, 2010 titled <i>The Concise Book of Visa Application Forms</i>. Other solo presenta- tions include <i>A Hook or aTail</i>, Frutta Gallery, Rome (2013); <i>Becoming European</i>, Meessen De Clerq, Brus- sels (2012); <i>Prompts and Triggers: Meriç Algün Ringborg</i>, Line No.2 (Holy Bible), Witte de With, Rotterdam (2012). Currently she is a resident at IASPIS - The Swedish Arts Grants Committee's International Programme for Visual Artists.</p> Tue, 26 Feb 2013 15:04:00 +0000 Group Show - Mary Ryan Gallery - January 26th, 2013 - February 23rd, 2013 <p>Mary Ryan Gallery is pleased to present "From Provincetown to Now: 100 Years of Women in Prints." The gallery has a history of championing prints by women artists and is responsible for bringing many to the forefront over the past 30 years. The work on view is an excellent selection of prints from varied movements throughout the last century that focus on dynamic themes of labor, identity, materialism, feminism, power, daily life, and abstraction.</p> Thu, 24 Jan 2013 22:30:23 +0000