ArtSlant - Closing soon en-us 40 Sean Conlon, Atle Berner Andersen, Paul Fiore, Mitch Paster, Erin Perfect, Jensine Eckwall, Samantha Yudin - BROADWAY GALLERY - January 11th, 2013 - February 3rd, 2013 <p>Globalization creates unexpected relationships and contrasts in contemporary art. This series focuses on the significance of exhibiting a variety of works in a pluralistic art world. Inspired by salon-style hanging, most commonly attributed to the Salon de Paris held during the 18th and 19th centuries; Broadway Gallery NYC continues this legacy with a contemporary and fresh outlook. Following a trend of previous exhibitions at Broadway Gallery NYC, this show pays tribute to the format of a salon hanging. It is a tradition that awakens contemporary culture to a dynamic collective consciousness.</p> <p>A few notable themes in this exhibit that cross cultures are romanticism, spirituality, and humanity. Part of an ongoing series, Artists at Home and Abroad reaches out to the diverse community of New York. In addition to the exhibition on display at Broadway Gallery NYC, are several concurrent Internet projects, and a print catalog. Furthermore, this exhibit offers writers and viewers an exciting opportunity to submit essays and comments on the nature and significance of biennials, fairs and public exposure for new and emerging artists.</p> <p>This exhibit uses the space as another medium altogether; incorporating the maximum floor-to-ceiling gallery space activates the wall with art works in various media by artists, each of whom offer a unique perspective to the show. These artists have transformed the gallery walls into a compendium of generational takes on figuration, portraiture, and abstraction.</p> <p>Visitors will be surprised to see the stunning results. The speed of interactions via new media allows for global artistic conversations previously unheard before. In an attempt to integrate the numerous artistic languages, this exhibit was installed in a unique format. Two long parallel walls have been carefully installed to create dialogue in the spatial order. Artists at Home and Abroad allows the viewer access to some of the past and current pivotal artistic ideas while introducing newer talent, to generate fresh creative energy through unexpected juxtapositions.</p> Tue, 25 Dec 2012 23:35:17 +0000 Rammellzee - Childrens Museum of the Arts - October 4th, 2012 - February 3rd, 2013 <p>The Children’s Museum of the Arts presents the most comprehensive collection of works to-date by visionary artist and MC, RAMMELLZEE. Entitled <em>The RAMMELLZEE Galaxseum</em>, the exhibition will reveal the inner workings of RAMMELLZEE’s artistic vision and trace his career trajectory which began in the 1970s as a pioneering “Wild Style” graffiti writer and hip hop MC and evolved in manifesto and medium to the far reaches of the imagination.</p> <p>RAMMELLZEE’s legend grew in a Tribeca loft known as the “Battle Station,” where the artist conceived a new vision for the future – a self-made mythology, known as Gothic Futurism, with its own set of heroes and villains, which he called Recyclers and Trashers or more notably, Garbage Gods and Monster Models. For over 30 years, RAMMELLZEE inhabited the universe he created, building layer upon layer of legend and legacy.</p> <p><em>The RAMMELLZEE Galaxseum</em> showcases a visual encyclopedia of RAMMELLZEE’s artworks including full-body life-sized costumes, masks, character frescoes, figurines, large scale paintings and video and audio recordings from some of his performances. Suspended from the gallery’s ceiling are RAMMELLZEE’s legendary letter racers, or car-like vehicles representing letters of the alphabet seeking to “break free.”</p> <p>In addition to his visual artwork, RAMMELLZEE is well-known for his contributions to hip-hop lyricism and vocalization, as illustrated in the documentaries <em>Style Wars</em> and <em>Wild Style,</em> as well as the hip-hop single Beat Bop, which was produced by Jean-Michael Basquiat and consists of a 10 minute narrative rap by RAMMELLZEE and K-Rob that is considered to be one of the most essential hip-hop recordings ever made.</p> <p>This exhibition was organized with support from the Suzanne Geiss Company and the Estate of RAMMELLZEE.</p> Sun, 27 Jan 2013 00:06:54 +0000 Emily Roz, Patricia Smith, Jerome Havre, Michelle Lacombe - Front Room Gallery - January 11th, 2013 - February 3rd, 2013 <div itemprop="description articleBody" class="post-body entry-content"> <blockquote> <div> <div> <div> <div> <p><img src="" />          </p> <p>The exhibition “Territorial Re-Marks” will feature works by Front Room Gallery artists Emily Roz and Patricia Smith in conjunction with Articule artists Jérôme Havre, Michelle Lacombe.

</p> </div> </div> </div> <div> <div> <div></div> </div> </div> <div> <div> <div>As part of the project Montréal-Brooklyn organized in collaboration with : Parker’s Box, Momenta Art, Pierogi, Smack Mellon, Front Room Gallery, A.I.R Gallery, Causey Contemporary, Residency Unlimited &amp; Interstate Projects, Centre CLARK, articule, Optica, Les Territoires, Galerie [SAS], Galerie de l’UQAM, MACM, Galerie Division.

</div> </div> </div> <div> <div> <div></div> </div> </div> <div> <div> <div>The first major artistic and cultural exchange between Montreal and New York City in over 10 years, Montreal – Brooklyn will reveal cultural similarities and differences between two major cities and beacons of North American contemporary art, via a series of exhibitions in galleries and museums in both cities.
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For this exchange, artist-run center articule and The Front Room Gallery collaborate to organize an exhibition that will be presented in both Montréal in and Brooklyn. This exchange was developed as an occasion for both organizations to explore and share each other’s concepts about art, artists, the working styles and cultural variances between the two cities. The concept of the exhibition, “Territorial Re-Marks” grew from this exchange and became the focus for the curation of representative artists and artworks from Brooklyn and Montréal. Artists were selected whose work deals with the idea of territory: territory of the mind, territory of the body, territory of societies, territory of wilderness. By presenting a range of working styles from performance to painting, drawing and sculpture, each artist explores the complexities of desire, social organization, hierarchy, and mark-making relative to the various forms of territories. </div> </div> </div> </div> </blockquote> <blockquote> <div> <div> <div> <div>In Plot Plans for an Ideal City, Patricia Smith proposes un-realistic plans for city developments that will never be realized. Drawing delicate psychological maps, she uses the movement of desire to prescribe domains, territories and unattainable plot plans. Patricia Smith's map-like drawings reflect how inner architecture can constrain our action in society.</div> </div> <div> <div> <p></p> <p>Emily Roz paints territories in which wilderness and domestic domains intertwine. Wild animals act ferociously – feeding upon each other, fighting, and roaring – in luxurious domestic flora. Their instincts of survival and territorial control can be viewed as human actions in relation to the space they share, competing against each other to control the land, to feed, and propagate.</p> </div> </div> </div> </div> </blockquote> <blockquote> <div> <div> <div> <div> <div>With, Where we touched; A drawing of places to meet authors, Michelle Lacombe explores the encounter between author and reader and the way one contributes to shaping the mind of the other. In a performative action, Michelle Lacombe will translate onto a wall, marks she made to emphasize important passages while she was reading. By reenacting the action of underlining, she will be tracing a horizon of the mind.</div> </div> </div> </div> </div> </blockquote> <blockquote> <div> <div> <div> <div>Jérôme Havre presents an installation entitled, "Objet de travail (Object of Work)"  Havre questions the purpose and utility of his chosen initial object: a wooden paddle, reworking the surface with random sewing to create a topographical relief.  The surface of the newly envisioned object presents a territory of outgrowth that draws a fictional landscape.  In the modification of original object, its created purpose is transformed into a new utility of Havres' creation.</div> </div> </div> </div> </blockquote> <blockquote> <div> <div> <div> <div>In the exhibition, “Territorial Re-Marks,” each artist examines the conditions of control over territory. Havre’s sculptural installation considers the materiality of desire as illustrated through opulent objects – and how this desire for control can taint the reality of actions. Roz’s paintings reference our own underlying desires, and the impulses of survival that can fuel wild actions, even in the calmest of people. Dominion over these base impulses drives an internalization of territorial control. Lacombe’s visually striking wall installation expands the internal relationship inherent in reading and writing and exposes the insulated realm between the two. Smith transforms the internal and private realms of desire into publicly displayed architectural plans. Both Lacombe and Smith cross the boundaries between the hidden internal thoughts and methodologies expanding the territory of the mind to that of the physical world.</div> </div> </div> </div> </blockquote> <div> <div> <div> <div> <div></div> </div> </div> </div> </div> <div></div> </div> Thu, 03 Jan 2013 21:32:42 +0000 Natasza Niedziolka - Horton Gallery - January 9th, 2013 - February 3rd, 2013 <p style="text-align: justify;">The gallery is pleased to present its second solo exhibition of new work by Berlin-based artist <b>Natasza Niedziolka</b>.<br /><br />Proceeding to work both in the tradition of Dada textile artists who embraced the irrational such as Jean Arp and Hannah Hoch and with the democratized folk-art technique of sewing, Niedziolka’s recent embroideries continue to combine whimsical abstractions with implied still life compositions, though now with the focus shifted onto the work’s constructed form.  Only hints of color appear in these compositions, issued from delicate lines of colored thread on untreated cotton. <br /><br />The subtle variation of line color and density in the artist’s stitchwork demonstrates that Niedziolka’s embroideries have become increasingly concerned with relating to drawing on paper techniques. The result is a simplicity that resembles the contemplativeness of sketches and underpaintings utilized throughout the history of painting.  By reducing the spontaneous forms and colors characteristic of her past work Niedziolka emphasizes both the physical embroidery technique as well as this historical tradition of working out complex compositions by drawing with minimal elements.</p> Mon, 16 Sep 2013 22:15:38 +0000 James Hyde, Jessica Labatte - Horton Gallery - January 9th, 2013 - February 3rd, 2013 <p style="text-align: justify;">The gallery is pleased to announce a two-person exhibition of work by Brooklyn-based painter <b>James Hyde</b> and Chicago-based photographer <b>Jessica Labatte</b>. <br /><br />Generating a revisionist model of painting, James Hyde’s “Glass Box” paintings appear simultaneously illusionistic and literal. The paint, paper, wood, and other materials used to make the painting aren't so much painting materials as physical surrogates for painterly activity. To imagine Hyde's “Glass Boxes” as sculpture would be to see them as slap-stick contraptions caught in the act of painting themselves into being. These works redeem themselves as painting through the magic of what Duchamp called "delay in glass". By this logic the dimensional contents of the box inhere as inscription on the frontal plane of glass. This way, the illusionistic flow of traditional painting is reversed-- instead of seeing space in a flat surface, Hyde's petri dishes of formalist tropes present his dimensional constructions flatly.</p> <p style="text-align: justify;">Photographer Jessica Labatte’s work has been involved with the liminal space between photography, sculpture, and painting that can be generated through studio experimentations with reflective surfaces, light, color, and scale. Labatte creates color inkjet photographs of sculptural assemblages set up in her studio, but the resulting prints are never straightforward renditions. Rather, Labatte’s works are sophisticated abstractions that avoid the appearance of mindless Photoshop reverie by skillfully juxtaposing complex shapes and colors and by offering hints of the physical materials of her assemblages such as mirrors and cut paper.</p> <p style="text-align: justify;">These artists are clearly united by their bold challenges to the boundaries of two-dimensional representation, abstract painting, and sculpture. The use of clearly defined, basic shapes in both of the artists' work further demonstrates the persisting ability of contemporary artists to call into question acts of artistic representation, even using the seemingly most elemental, simplistic of visual forms.</p> Mon, 16 Sep 2013 22:15:38 +0000 Birgir Andrésson, Darren Bader, Matthew Darbyshire, Alan Reid, Hanna Sandin, Lisa Williamson, Sister Corita - 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 JULIE ALLEN - McKenzie Fine Art - January 4th, 2013 - February 3rd, 2013 <p>McKenzie Fine Art is pleased to commence the new year with an exhibition of recent drawings and sculptures by Julie Allen.  This will be the artist’s fourth solo showing with the gallery.  The exhibition opens Friday, January 4<sup>th</sup> with a reception for the artist from 6 to 8 p.m. and concludes on Sunday, February 3, 2013.</p> <p>Allen has long delved into her intimate childhood and family memories for inspiration and source material in her work.  In her last exhibition, she created hand-sewn robotic toys made from vinyl and plastic which drew on her recollections of being raised in a southern California community dominated by the aerospace industry.  In earlier exhibitions she examined the role of food, both in everyday and celebratory settings:  elaborate cakes fashioned entirely from sewn-together balloons, or desserts and salads constructed of hand-sewn silk organza ingredients.  Drawings in colored pencil have always played a role in her work as well, ranging from graceful depictions of sushi and sashimi dinners to memory drawings of every object she could recall from her grandmother’s home.</p> <p>For the current exhibition, Allen shifted focus to her clothing and its role in her own life experiences, ranging in time from adolescence to the present. The exhibition primarily is comprised of drawings. These include three near-life-size colored pencil on vellum depictions of clothing items from her teen years.  For the artist, these recall the childhood experience of receiving new matching play outfits with a beloved sibling, or seminal shopping excursions with her mother as symbols of the transformation into maturity.  They also evoke burgeoning moments of independence:  purchasing clothing as a teenager from the Esprit store after careful research through back issues of the magazine <i>Seventeen,</i> checked out from the local library.</p> <p>Also included in the exhibition are over 100 miniature versions of items from Allen’s closet, as small as 2 or 3 inches and none larger than 6 or 7 inches.  Allen made detailed rubber-stamps from her own pen and ink drawings of specific types of clothing, to use as templates for these works.  After stamping the outline, each drawing was colored in with different patterns or tones, including pinstripes, florals, plaids, polka dots and solids, then cut out and encased in wax paper with tape, “for safe keeping.”  Allen commenced this series shortly after her marriage, when her husband moved into her apartment and she offered him the front of her closet. Allen resolved the disorientation she felt at seeing the stripes and solids of a man’s clothing displacing her own items, which were arranged by color, effectively re-creating her original closet with these labor-intensive but lovingly executed works.</p> <p>Allen also made life-size portraits of her underwear for the exhibition, “in response to having my husband to appreciate them.”  She began this series with colored pencil on paper or vellum, but moved on to making more vivid full-scale replicas fashioned from Saran Wrap and Magnatag chart tape, replete with lacy embellishments and moveable straps.  These pieces continue Allen’s longstanding practice of using commonplace and household materials to meticulously fashion her sewn sculptures, but she notes, “I have traded in the longing of innocence for the deliciousness of love.”</p> Fri, 04 Jan 2013 20:30:01 +0000 D.D. Tillett, Leslie Tillett - Museum of the City of New York - October 17th, 2012 - February 3rd, 2013 <p><strong><em>The World of D.D. and Leslie Tillett</em></strong><strong> </strong>is the first retrospective of the work of textile designers D.D. Tillett (1917-2008) and Leslie Tillett (1915-1992), two important figures in the history of post-war American design. The exhibition will introduce the work of these remarkable designers to a new generation. </p> Mon, 07 Jan 2013 00:38:24 +0000 Eunji Cho, Ellie Ga, Paulo Nazareth, Mriganka Madhukaillya, Sonal Jain - New Museum - January 9th, 2013 - February 3rd, 2013 <div class="body"> <p>The artists share a common preoccupation with walking, roaming, and drifting—moving slowly, close to the ground—and documenting their travels within highly personal terms that blend cartography with memory. All four have embarked on epic journeys, such as crossing an entire continent on foot or floating through the darkness of the Arctic for months—each one motivated by a different impulse or political perspective. Collectively, the artists work against contemporary notions of immediacy and access in a globalized world where any data point appears to be a search away and other cultures can seem legible with a quick round-trip. Their works dramatize distance between countries and cultures, across borders and time zones, to demonstrate how layered and complex a local stretch of terrain can be.</p> <p>The themes of “Walking Drifting Dragging” took shape through dialogue between current Museum as Hub partners—art space pool, Seoul, de_sitio, Mexico City, Miami Art Museum, New Museum (founder), Townhouse Gallery, Cairo, and the Van Abbemuseum, Eindhoven—a network of international art spaces dedicated to international exchange through the support of emergent artistic and organizational practices. “Walking Drifting Dragging” is organized in conjunction with “Running On Borders,” an exhibition that will take place at art space pool in Seoul, South Korea, in 2013. It is organized by Lauren Cornell, Curator of the 2015 Triennial, Digital Projects and Museum as Hub.</p> <p>The exhibition features the work <em>Earth Thief</em> (2009) by Eunji Cho, a performance, here shown as video documentation, in which the artist crossed hundreds of borders within the city of Berlin—some visible and active, others (like that of the Berlin Wall) now defunct. During her circular trip, she dragged a bag of dirt behind her, filling it with soil from different parks or plant beds and then letting it leak out as she walked. Connecting this work to her personal history, Cho, who was born in South Korea in the 1970s, explains, “The line is always in my mind,” referring to the border between North and South Korea. Her act of fertilizing areas of the city can be seen as an act of renewal: a free-form artistic re-zoning, where old borders are erased or muddled with new lines created in her wake. The artist Paulo Nazareth walked across national borders in a transcontinental route—that started in Belo Horizonte, Brazil, and led to New York City—allowing for many digressions and stops along the way. In Guatemala, for instance, he was temporarily adopted by a local family and everywhere he traveled he ate with strangers who became his temporary walking companions. The photographs, installation, and video that constitute his ambitious work “News from the Americas” (2011–12) capture the shifting perceptions of his identity that formed along his travels—in different places, navigating various national, cultural, and linguistic projections—working to break down a single conception of Latin America into hundreds of distinct, though interconnected, pieces.</p> <p><em>Bhotbhoti Tales</em> (2009) by Desire Machine Collective explores this same kind of shifting perception of a single entity, in this case the transnational Brahmaputra River, which has a different name in each region it borders—such as the Yarlung Tsangpo River in Tibet, Dihang and Brahmaputra in India, and the Jamuna in Bangladesh. In their video installation, Desire Machine Collective, who have taken up studio residence on a ferry in the Brahmaputra, speak with local boatmen about the river. What emerges is a multifaceted, contradictory view of the river’s geography and its lore; as the boatmen’s stories provide a depth and an anecdotal history that contemporary mapping technologies like Google Streetview or Earth cannot render. Finally, the show includes a collection of works by Ellie Ga that document her time aboard a ship that drifted through the glacial darkness of the Arctic for five months on a scientific expedition. The only artist on the boat, Ga counters the scientific measurements made by her co-travelers with more subjective ones: sketching the drift of the boat, measuring her possible walking distance at given stops; taking photographs of dawn and sunset. These works, alongside a video in which she narrates her experience, reflect the way she relinquished control over movement and time on the trip and surrendered to the processes of drift.</p> <p>Artists’ journeys have been documented throughout art history: Those whose main practice has been “walking” include British artists Richard Long and Hamish Fulton, as well as others like Francis Alÿs, whose counterintuitive trip in “The Loop” (1997), from Mexico to California via a loop around the world (all to avoid the crossing of the US–Mexico border), was message-driven. “Walking Drifting Dragging” emerges from this history and provides a glimpse into contemporary practice of artist expeditions.</p> </div> Mon, 07 Jan 2013 01:17:35 +0000 - OUTSIDER ART FAIR - January 31st, 2013 - February 3rd, 2013 <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 06:50:49 +0000 - OUTSIDER ART FAIR - February 1st, 2013 - February 3rd, 2013 <p><strong>FRIDAY, February 1, 4:00 pm</strong><br /> <ins>Mario Del Curto</ins>, photographer<br /> <em>Voyages</em><br /> The Swiss photographer Mario Del Curto is the 2013 recipient of the <em>Geneviève Roulin Tribute</em> for his thirty years of documenting self-taught and art brut artists worldwide. The powerful images he creates open cosmological and philosophical doors to the idiosyncratic universes of the artists he captures. In his talk, he will share his experiences about the characters he has met and reveal unique aspects of their works. With the contribution of art historian Céline Muzelle.</p> <p><strong>FRIDAY, February 1, 4:45 pm</strong><br /> <ins>Dr. Kent Minturn</ins>, assistant professor, Institute for Doctoral Studies in the Visual Arts (IDSVA), Portland, Maine, and part-time lecturer, Columbia University<br /> <em>Rewriting the History of Art Brut: The Case of Gaston Chaissac</em><br /> Using Gaston Chaissac's art and writings as our example, we will attempt to outline an alternative genealogy of art brut that commences not with the publication of Prinzhorn's book (<em>Artistry of the Mentally Ill</em>) and the Surrealists' interest in <em>l'art des fous</em>, but rather with popular "proletarian" literature in interwar France.</p> <p><strong>SATURDAY, February 2, 9:30 am – 12:00 pm</strong><br /> Location: American Folk Art Museum, Lincoln Center<br /> <em>Uncommon Artists. The Anne Hill Blanchard Symposium</em><br /> • <em>Minnie Evans</em>. <ins>Edward Puchner</ins>, curator of exhibitions, McKissick Museum, University of South Carolina<br /> • <em>Gayleen Aiken</em>. <ins>Lyle Rexer</ins>, writer and critic<br /> • <em>George Widener</em>. <ins>Cara Zimmerman</ins>, executive director, Foundation for Self-Taught Artists<br /> • <em>Rosemarie Trockel</em>. <ins>Jenny Moore</ins>, associate curator, New Museum<br /> Organized by Lee Kogan</p> <p><strong>SATURDAY, February 2, 4:00 pm</strong><br /> • <ins>Dr. Thomas Röske</ins>, director, Prinzhorn Collection, Psychiatric University Clinic, Heidelberg, and professor, Institute for European Art History, Heidelberg University<br /> <em>Women’s Mad Art</em><br /> Only twenty percent of the art works between 1840 and 1930 in the Prinzhorn Collection are by women, although at least as many women as men lived in psychiatric asylums then. And their works differ not only in number but also in content and technique. This talk tries to give reasons for these facts and introduces a lot of lesser-known artists from the famous Heidelberg fund.<br /> • <ins>Dr. Gail A. Hornstein</ins>, professor of psychology, Mount Holyoke College<br /> <em>Agnes Richter’s Jacket: Enigma, Talisman, Narrative</em><br /> Among thousands of testimonies by people with first-hand experience of madness, especially powerful is Agnes Richter’s elaborately embroidered jacket (Prinzhorn Collection), whose intricate, coded autobiographical text has inspired poetry, music, and many attempts at interpretation. This talk will tell the story of researching and writing <em>Agnes’s Jacket: A Psychologist’s Search for the Meanings of Madness</em>, describing what can be known about Agnes and her jacket, and suggesting a way to understand its talismanic properties, both as a piece of textile art and as a madness narrative.</p> <p><strong>SUNDAY, February 3, 4:00 pm</strong><br /> <em>A Bridge Between Art Worlds</em><br /> • <ins>Daniel Baumann</ins>, curator, Adolf Wölfli Foundation, Kunstmuseum Bern, Switzerland, and co-curator, 2013 Carnegie International, Pittsburgh<br /> • <ins>Massimiliano Gioni</ins>, associate director and head of exhibitions, New Museum, and curator, 55th Venice Biennale, 2013<br /> • <ins>Ralph Rugoff</ins>, director, Hayward Gallery, and curator <em>The Alternative Guide to the Universe</em>, 2013<br /> Based on discussions about specific works of self-taught art associated with art brut, outsider art and folk art, the guests will observe, from their levels of expertise as curators for museums and international shows like biennials, the context of integrating these creations into contemporary art networks and exhibition spaces. How is this material absorbed and what particular challenges does it pose? What do these works teach us and how do they provoke or jar established cultural structures? What are the dynamics between the center and the peripheries of art? This conversation will take a critical look at the museography of art brut: How do conventional modern and contemporary art galleries approach showing outsider art?</p> Tue, 15 Jan 2013 06:53:35 +0000 - The Jewish Museum - September 14th, 2012 - February 3rd, 2013 <div id="mainTextSub"><em>Crossing Borders</em> features a superb selection of over fifty Hebrew, Latin, and Arabic manuscripts from Oxford University’s Bodleian Library, one of the world’s richest collections of manuscripts and printed books related to medieval European Jewish civilization. The manuscripts, many of them exquisitely illuminated, illustrate the fertile exchanges between Christians, Muslims and Jews in the fields of art, science, and popular culture. Included is one of the Bodleian's greatest treasures: the magnificent Kennicott Bible. Many of the works in the exhibition are on view in the United States for the first time.</div> Fri, 06 Jul 2012 23:22:26 +0000 Studio Armadillo, Isidor Kaufmann, Beth Lipman, Izhar Patkin - The Jewish Museum - November 23rd, 2012 - February 3rd, 2013 <p>Four works from the Jewish Museum’s collection find ways to explore the table as a place where festivity, sanctity, and history converge. Isidor Kaufmann’s painting <em>Friday Evening</em> sets the stage: a lone woman in traditional Jewish dress of the eastern Habsburg Empire sits at a Sabbath table. Kaufmann’s impulse was both romantic and ethnographic: to preserve the folkways of a vanishing provincial Jewish culture. <br /><br />To create <em>Laid Table with Etrog Container and Pastry Molds</em>, a commission for The Jewish Museum, Beth Lipman crafted glass replicas of holiday and food-related objects in the museum’s Judaica collection. Here, the table is crowded with functional items, but the people who might use them are absent or invisible—as suggested by the use of transparent glass. Subtle references to mourning scattered among the festive items, convey a sense of joy and sorrow mixed together.<br /><br />Izhar Patkin’s large paper collage <em>Salonière</em> portrays a single-legged tabled arrayed with symbolic Enlightenment-era objects, including a porcelain statuette of a monkey—a reference to a peculiar Prussian law of 1769 that required Jews to purchase porcelain dinner services and figurines in order to obtain official government documents.<br /><br /><em>In Linen</em>, by the Israeli artists’ collective Studio Armadillo, a ghostly tablecloth is suspended above the ground. Dishes, loaves of hallah, a wine bottle, a kiddush cup, and candlesticks—all formed from starched linen—are sewn to it. The Friday evening ceremony marking the beginning of the Sabbath is evoked as a pause for reflection and rest, separating the practical concerns of daily life from the spiritual moment.<br /><br />As these artists recognize, the household table, laden with objects both mundane and precious, can carry a great deal of symbolism. Just as the dining table is transformed into a sacred space by the observance of the Sabbath, so the delicate materials used here—glass, paper, and linen—are transformed into something ethereal and poetic.</p> <p>ABOUT THE ARTISTS<br /><br /><strong>Isidor Kaufmann</strong> (Austrian, b. Hungary, 1853–1921) was known for his portraits and genre paintings of religiously devout Jews in the provinces of the Austro-Hungarian Empire. He studied at the Budapest Drawing School and the Vienna Academy and received honors from Emperor Franz Josef, as well as the German emperor and the Russian czar. <br /><br /><strong>Beth Lipman</strong> (American, b. 1971) lives and works in Sheboygan Falls, Wisconsin. Her work in glass, including site-specific installations, is in the collections of the Brooklyn Museum, the Corning Museum of Glass, The Museum of Art and Design, and The Smithsonian American Art Museum, among others. <br /><br /><strong>Izhar Patkin</strong> (Israeli, b. 1955) moved to the United States in 1977 and achieved recognition for his rubber curtain paintings in the 1987 Whitney Biennial. His work, often large-scale installations and series, has been collected by international institutions, including The Museum of Modern Art, The Los Angeles County Museum of Art, and The Tel Aviv Museum of Art.<br /><br /><strong>Studio Armadillo</strong>, a Tel Aviv-based design collective, was founded by Hadas Kruk (Israeli, b. 1970) and Anat Stein (Israeli, b. 1972), and in 2002 also included Sharon Samish-Dagan (Israeli, b. 1971). Known for its modernist, often whimsical designs for household and industrial objects, it has also produced a line of contemporary Judaica.</p> Sun, 28 Oct 2012 23:05:16 +0000 Richard Artschwager - Whitney Museum of American Art - October 25th, 2012 - February 3rd, 2013 <p>Richard Artschwager’s first solo exhibition was in 1965 at the age of forty-two at Leo Castelli Gallery. Since then his work has been shown throughout the world, and his enigmatic and diverse oeuvre has been influential, yet not thoroughly understood. This exhibition is a comprehensive review of Artschwager’s remarkable creative exploration of the mediums of sculpture, painting, and drawing and the first retrospective exhibition of Artschwager’s work since one organized at the Whitney in 1988.</p> Mon, 03 Sep 2012 01:55:13 +0000 Zoe Crosher, Anne Collier, Birdhead, Michele Abeles, Shirana Shahbazi - MoMA (Museum of Modern Art) - October 3rd, 2012 - February 4th, 2013 <div class="description"> <p><i>New Photography 2012</i> presents five artists—Michele Abeles, Birdhead (Ji Weiyu and Song Tao), Anne Collier, Zoe Crosher, and Shirana Shahbazi—whose varied techniques and backgrounds represent the diversity and vitality of photography today.</p> <p>Michele Abeles’s (American, b. 1977) elegant studio constructions combine common objects, such as potted plants, printed fabrics, and wine bottles, with nude males whose bodies are often truncated by the frame, to create images that renegotiate the creative process of still life and nude photography. Shanghai-based duo Birdhead (Ji Weiyu, Chinese, b. 1980, and Song Tao, Chinese, b. 1979) capture the lived reality of their community against the urban landscape of Shanghai. Their mass accumulation of snapshots of friends and family eating, working, sleeping, and hanging out, speaks to a world of total image saturation and the obsessive documentation of the Facebook generation. Often created using a technique of re-photography, Anne Collier’s (American, b. 1970) meticulous compositions are informed as much by West Coast Conceptual art practices as by product photography and advertising. Her dryly humorous pictures evoke formal and psychological associations that frame recurrent tensions of power and gender. Zoe Crosher (American, b. 1975) calls photography’s veracity into question by rearranging, re-photographing, and re-imagining the archive of Michelle duBois, an all-American girl who was devoted to relentless self-documentation in the 1970s and 1980s. Drawing on the language of commercial photography, Shirana Shahbazi (German, born Iran 1974) approaches recognizable photographic genres like portraiture, still life, abstraction, and landscape with a distinctly analytical eye. She investigates the circulation and production of images today by outputting her pictures in multiple forms, from photographic wall murals to discrete photographs and photorealist paintings.</p> <p>Together, these artists speak to the diverse permutations of photography in an era when the definition of the medium is continually changing.</p> </div> Sun, 02 Sep 2012 23:15:32 +0000 Group Show - NOoSPHERE - January 4th, 2013 - February 4th, 2013 <div class="section"> <div class="layoutArea"> <div class="column"> <p>FOR IMMEDIATE RELEASE:</p> </div> </div> <div class="layoutArea"> <div class="column"> <p>A HOUSE FULL OF FRIENDS:</p> <p>Anniversary Shows and Benefit Auction<br /> @ NOoSPHERE Arts in NYC, Jan 4–Feb 4 2013</p> <p>Opening Reception: Fri, Jan 4, 6‐8 pm<br />Benefit Auction: Mon, Feb 4, 6:30‐8:30 pm</p> <div class="column"> <p>New York, NY, Dec 20: NOoSPHERE Arts on the Lower East Side of Manhattan is excited to announce that we will kick off the New Year with A House Full of Friends, both old and new. On Feb 4, 2013, we will have been up and running for<br /> two full years, and we wish to celebrate our second birthday with a benefit auction to raise funds to continue doing what we do: Conceived as a collaborative DIY platform where a wide range of artists help each other shine, our nonprofit project space connects artists from elsewhere with the NYC art scene. Sharing their magic with a different audience allows for fruitful encounters where seeds are planted for new wonders across borders and disciplines.</p> <p>The work to be auctioned off will be on view for the month running up to our big day: a diverse show of select former exhibitors combined with newcomers handpicked by a distinguished NYC art panel: Turid Meeker (Curator/Art Advisor) and David Gibson (Curator/Art Critic)<br /> Old Friends: Hanneline Røgeberg, Björn Hegardt, Michael Alan Alien, Gisle Harr, Michael Anderson, Lars Strandh, Txuca, Anki King, Marianne Darlén Solhaugsstrand, Boris Zakic, Anna Christina Lorenzen, Morten Traavik, Richard Borge,</p> <p>Pia Myrvold (full list to be released soon)<br /> New Friends: Alexis Duque, Hsin‐Ju Hsieh, Bryan A. Moore, Kimberley Ross, Yngvar Larsen, Francesco Palombi, Andreas Soma, Alf Solbakken, Marianne Mannsåker, Kari Anne Helleberg Bahri<br /> Plus One Very Special Friend: Louise Fishman</p> <p><img src="" alt="A HOUSE FULL OF FRIENDS: Anniversary Shows and Benefit Auction" /></p> </div> </div> </div> </div> Wed, 02 Jan 2013 17:04:38 +0000