ArtSlant - Openings & events en-us 40 - New York Historical Society - February 3rd, 2013 6:00 PM - 8:00 PM <p>The Emancipation Proclamation, which went into effect on January 1, 1863, was a major step towards the abolition of slavery in America, helping to fulfill the promise of the Declaration of Independence and renew the nation’s founding philosophy of human liberty.</p> <p>The New-York Historical Society commemorates the sesquicentennial of the Emancipation Proclamation with a display of rare documents from the Gilder Lehrman Collection, including an important 1864 printing of the Emancipation Proclamation and a congressional copy of the Thirteenth Amendment resolution, both bearing the signature of Abraham Lincoln.</p> <p>While the Emancipation Proclamation stands as the most important accomplishment of Abraham Lincoln’s presidency, Lincoln realized as the Civil War raged on that that the issue of slavery could only be settled permanently by changing the Constitution itself. By the end of 1864, the Senate had approved the abolition amendment, although it was still two votes short of the two-thirds necessary for passage in the House of Representatives. At Lincoln’s urging, the amendment was re-introduced, and finally passed on January 31, 1865. Lincoln, felled by an assassin’s bullet on April 15, 1865, did not live to see the amendment become law. When it finally was ratified eight months later, the Thirteenth Amendment freed nearly one million slaves still held in bondage in the states not covered by the Emancipation Proclamation.</p> Sun, 03 Feb 2013 22:44:07 +0000 Romulo Sans - WhiteBox - February 3rd, 2013 5:00 PM - 8:00 PM Sun, 10 Nov 2013 00:12:30 +0000 David Diao - Dia Art Foundation - February 4th, 2013 6:30 PM - 8:30 PM <div class="content_body dia-links">David Diao was born in 1943 in Chengdu, Sichuan, China. On the eve of the Liberation of October 1, 1949, his parents sent him to Hong Kong to live with his grandparents. In 1955, at the age of 12, he arrived in New York City to join his father. Diao first gained attention with his solo show at Paula Cooper Gallery, New York, in 1969. Two-person shows followed the same year at Leo Castelli Gallery, New York, (with Peter Young) and at Carmen Lamanna Gallery, Toronto (with Brice Marden). Since then, Diao’s works have been exhibited internationally and can be found in collections, including the Museum of Modern Art, Albright-Knox Art Gallery, Whitney Museum of American Art, Art Gallery of Ontario, and Museum of Modern Art of Saint-Etienne, France. In 2011, he had a solo exhibition tilted, 'David Diao: Da Hen Li House, I lived there until I was 6...', presented at Galería Marta Cervera in Madrid. In fall 2012, Diao mounted a two-person show with Walid Raad at Paula Cooper Gallery, and he was also included in the 20th anniversary presentation of <i>Conceptual Abstraction</i> at Hunter College, where, alongside earlier work, Diao presented his updated version of <i>Barnett Newman: Chronology of Work</i>, 2010. His many honors include grants from the Guggenheim Foundation and the National Endowment for the Arts. He has shown regularly with Postmasters since the opening of the gallery in 1985. He lives and works in New York.</div> <p></p> Mon, 07 Jan 2013 00:01:10 +0000 - The Metropolitan Museum of Art - February 4th, 2013 6:00 PM - 8:00 PM <p>Beginning in the late 1870s, tobacco producers used inventive imagery of actresses, athletes, politicians, animals, flags, and world capitals—to name only a few of the hundreds of categories—to advertise their brands. The first to use printed images was the New York–based company Allen &amp; Ginter, whose 1887 series The World's Champions was so popular that it was reproduced almost immediately in expanded editions. Included in the first series of fifty cards representing baseball players, pugilists, billiards players, and oarsmen are a group of sharpshooters, among them Annie Oakley and her patron for many years, Buffalo Bill Cody. As the only woman represented, Oakley not only is unique as an athlete but also distinguishes herself from other women shown in the same period, who are used as pretty and often provocative props in series such as Parasol Drills, Fans of the Period, Racing Colors of the World, and The World's Beauties.</p> <p>"Sporting girls," as they were often called in the late nineteenth and early twentieth centuries, emerged as a viable and even a lucrative category, despite being less frequently represented than actresses and beauties. Allen &amp; Ginter followed up The World's Champions with female baseball players and cyclists, and other companies such as W. Duke and Sons, Liggett &amp; Myers, and Pan Handle Scrap produced swimmers, gymnasts, and series that offered "a sport for every girl." Although these cards claimed to be about women in sports, those represented were not actual athletes but coquettish models, who often posed for more than one series. In these early days of female athleticism, the figures shown remained types rather than individuals, engaged in exercises and training but without the recognition given to their male counterparts in competitive and professional leagues.</p> Mon, 04 Feb 2013 00:11:05 +0000 Hong Seon Jang, Buhm Hong, Hyungsuib Shin, Yusam Sung, Sun You - Jamaica Center for Arts and Learning - February 5th, 2013 6:00 PM - 8:00 PM <p><img src="" /></p> Tue, 05 Feb 2013 02:24:08 +0000 Arlene Rush - Michael Mut Project Space - February 6th, 2013 6:00 PM - 9:00 PM <div class="thumbstext" id="backgroundimage"> <p>My work reflects the idea that the individual is part of an inter-dependent whole. The sculptures and photo-based images are reduced to an object of thought, taking the viewers out of their conventional reality, denying the "real" while simultaneously affirming it.</p> <p class="thumbsnormaltext" style="margin-bottom: 12.0pt; text-autospace: none;">In both my sculpture and the photo-based <em>Twin </em>series, I meld the genders and explore the perceptions that society has towards sexual characteristics, preferences, color, age, and roles.</p> <p class="thumbsnormaltext">I use my relationship with my male fraternal twin as a springboard into investigating the ideas around gender, beauty, self-image and aging<em>.  </em>By means of photography I transform myself through using Photoshop, substituting my face to merge with someone else’s, while at the same time distancing myself from the images.</p> <p class="thumbsnormaltext">The work depicts outsized enigmatic figures, in which I incorporate myself into photos and art historical references as both male and female protagonist. In the act of being someone else I thereby create multiple layers of meaning behind each image.  The images are at once insightful and amusing, alarming and poignant, holding a mirror up to contemporary society, reflecting social, historical, political and ontological issues. Not autobiographical, the work is an examination of the layering of identity, gender and self. </p> <p class="thumbsnormaltext">In the exhibition catalogue for a 2008 show entitled <em>LOCUS</em> at 111 Front Street, Brooklyn, NY, Michelle Falkenstein writes, “Arlene Rush’s self-portrait busts draw you so strongly into their materiality that they defuse interest in the details of the specific human being depicted. For her <em>Twin </em>series, Rush subverts assumptions about gender, age and kinship, implying a continuum and relationship both artistic and genetic.”</p> <p class="thumbsnormaltext">Arlene Rush<br /> 2013</p> </div> Sun, 27 Jan 2013 23:37:39 +0000 - Rubin Museum of Art - February 6th, 2013 11:00 AM - 7:00 PM <p><em>Masterworks: Jewels of the Collection</em> showcases the best of Himalayan art in the Rubin Museum's collection in their international context. This new presentation provides access to old favorites and new acquisitions and gifts. Organized geographically, it sets the diverse regional traditions of West Tibet, Central Tibet, East Tibet and Bhutan in relation to the neighboring areas of India, Kashmir, Nepal, China, and Mongolia. Highlights include a Chinese clay image of the guardian king Virupaksha.</p> <p>Other highlights in the exhibition include a 12th century lotus mandala of Hevajra from Northeastern India, a historically extremely important drawing with the footprints of the founder of a major Tibetan Buddhist School predating 1217, a dated bilingual silk edict from the court of the 5th Dalai Lama, and a contemporaneous portrait of this important Dalai Lama incarnation in gold on red background. Dynamic wrathful deities range from the fifteenth-century snake-bodied personification of the eclipse, Rahula, to the extremely fierce Bhutanese representation of the protective goddess Dusolma.</p> <p>Life-size facsimiles of an entire sequence of murals from the Lukhang, the Dalai Lamas’ Secret Temple near the Potala Palace in Lhasa, Tibet, provide an exceptional opportunity for viewing Himalayan art at its most lavish and remain part of the <em>Masterworks </em>exhibition. The original 18th century wall paintings—inaccessible to the public until the late 20th century—uniquely depict the most esoteric of meditation and yoga practices in vivid color and detail. Created with new photographic methods by Thomas Laird and Clint Clemens, this display of large-format, high resolution pigment prints allows for even better access to the paintings than is possible in the temple itself. Their presentation at the Rubin marks the first showing in the world of prints created using this technology, and also provides the first ever opportunity outside Tibet to view life-size Tibetan murals in their relationship to portable art from the region.</p> Sun, 03 Feb 2013 23:40:33 +0000 Laurent Grasso, Johan Grimonprez, Terence Koh - Sean Kelly Gallery - February 6th, 2013 6:00 PM - 8:00 PM <p>Sean Kelly invites you to join us for a special event; in conjunction with the exhibition <i>Grasso, Grimonprez, Koh: Three Installations</i>, Johan Grimonprez will be in conversation with art historian and writer Marcia E. Vetrocq. The event will take place on Wednesday, February 6, from 6-8 pm at the gallery. The conversation will begin at 6:30 pm and will be followed by a Q&amp;A. They will discuss Grimonprez's <i>Looking for Alfred</i> (2005), currently on view in the exhibition, the film's connection to his full length feature, <i>Double Take</i> (2008), and his upcoming project, <i>The Shadow World: Inside the Global Arms Trade</i>, based on the book by Andrew Feinstein.</p> Sun, 27 Jan 2013 00:17:46 +0000 Hwayong Jung, Sue G. Syn and Hwayong Jung - BRIC Arts | Media House - February 7th, 2013 7:00 PM - 9:00 PM <div><span size="2" face="Calibri,sans-serif" style="font-family: Calibri, sans-serif; font-size: small;"><span size="4" style="font-size: large;">BRIC Arts | Media | Bklyn presents . . .</span></span></div> <div><span size="2" face="Calibri,sans-serif" style="font-family: Calibri, sans-serif; font-size: small;"><span size="4" style="font-size: large;"><i>Emotional Ubiquity</i></span><span size="4" style="font-size: large;">: A lecture on Technology and Art</span></span></div> <div><span size="2" face="Calibri,sans-serif" style="font-family: Calibri, sans-serif; font-size: small;"><span size="4" style="font-size: large;">Thursday, February 7, 2013, 7-9pm</span></span></div> <div><span size="2" face="Calibri,sans-serif" style="font-family: Calibri, sans-serif; font-size: small;">BRIC Rotunda Gallery</span></div> <div><span size="2" face="Calibri,sans-serif" style="font-family: Calibri, sans-serif; font-size: small;">33 Clinton Street (at Pierrepont)</span></div> <div><span size="2" face="Calibri,sans-serif" style="font-family: Calibri, sans-serif; font-size: small;">Brooklyn, NY 11201</span></div> <div><span size="2" face="Calibri,sans-serif" style="font-family: Calibri, sans-serif; font-size: small;">FREE</span></div> <div><span size="2" face="Calibri,sans-serif" style="font-family: Calibri, sans-serif; font-size: small;"><a href=";" title="Ctrl+Click to follow link" rel="nofollow" target="_blank"></a></span></div> <div><span size="2" face="Calibri,sans-serif" style="font-family: Calibri, sans-serif; font-size: small;"> </span></div> <div><span size="2" face="Calibri,sans-serif" style="font-family: Calibri, sans-serif; font-size: small;">In conjunction with BRIC’s Lori Ledis Emerging Curator exhibition <a href=";" rel="nofollow" target="_blank"><i><b>INTER. Act, Reciprocity in Media</b></i></a>, interactive media artists <b>Hwayong Jung</b> and <b>Sue G. Syn </b>will discuss the use of cutting-edge technology and new media in art not only to promote communication and interaction, but also to emphasize and draw attention to socio-cultural issues through their work. The lecture will explore the importance of ubiquitous technology and social media platforms in contemporary society and the reciprocity they promote, with both artists presenting how they implemented and accomplished public engagement using these devices in their own work.</span></div> <div><span size="2" face="Calibri,sans-serif" style="font-family: Calibri, sans-serif; font-size: small;"> </span></div> <ul> <li><span size="2" face="Calibri,sans-serif" style="font-family: Calibri, sans-serif; font-size: small;"><b>Hwayong Jung</b> <b>will focus on balance and harmony</b>.</span></li> <li><span size="2" face="Calibri,sans-serif" style="font-family: Calibri, sans-serif; font-size: small;"><b>Sue G. Syn</b> <b>will concentrate on technology, communication and humanity</b>.</span></li> </ul> <div><span size="2" face="Calibri,sans-serif" style="font-family: Calibri, sans-serif; font-size: small;"> </span></div> <div><span size="2" face="Calibri,sans-serif" style="font-family: Calibri, sans-serif; font-size: small;">This public program is FREE and open to the public. For more information, please visit the BRIC website, <a href=";" title="Ctrl+Click to follow link" rel="nofollow" target="_blank"></a></span></div> <div><span size="2" face="Calibri,sans-serif" style="font-family: Calibri, sans-serif; font-size: small;"> </span></div> Sat, 22 Feb 2014 16:03:57 +0000 Joshua Henderickson, Adam Abel, Sean Conlon, Brendan Clinch, DiDi Sea, Ira Chernova, Heather Perry, Jessica Brett, Su Yeon Ihm - BROADWAY GALLERY - February 7th, 2013 6:00 PM - 8:00 PM <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> Mon, 21 Jan 2013 20:26:19 +0000 Bahar Behbahani - Causey Contemporary - February 7th, 2013 6:00 PM - 9:00 PM <p><b>Hidden Camera: Bahar Behbahani</b></p> <p><b>February 7 – March 3, 2013</b></p> <p></p> <p>Large-scale paintings from the artist’s My Faantazee series presented at Causey Contemporary </p> <p>DUMBO location</p> <p></p> <p>Brooklyn, NY - Causey Contemporary gallery is pleased to announce the opening of <b>Hidden Camera</b> by Bahar Behbahani<b>.</b> The exhibition, which will feature a selection of Behbahani's Mixed media paintings from her My Faantazee series, marks her first solo exhibition with the gallery. Her painting, installation, photography and video art have previously appeared with the gallery at Overture Miami Art Fair, and in several group exhibitions at the gallery's former location in Williamsburg, Brooklyn. <b>Hidden Camera will open with an artist's reception on February 7 as part of First Thursday in DUMBO and will run through Sunday, March 3, 2013.</b></p> <p>Hidden Camera features a selection of Ms. Behbahani's paintings from the My Faantazee series. Behbahani began working on this series in her Brooklyn studio, five years after relocating to the United States from Iran. Whereas she purposefully layered earlier works to ensure the subjects and meanings were obscured from familiar prying eyes, her recent body of paintings—created some 6000 miles from those particular constraints—were completed with an anticipated freedom from the feeling that “you had to live—did live, from habit that became instinct—in the assumption that every sound you made was overheard, and, except in darkness, every movement scrutinized.” (George Orwell, 1984) Nonetheless in creating her recent series of paintings, Behbahani found that the "essence of being watched is universally infused."</p> <p>The works capture their subjects mid-action, as if by camera. Moments are frozen. Their endeavors come with the promise of sweet ‘treats’—in the name of a liberation operation or simply a free rectal exam. Witty characters are ensnared in this pop-grotesque world: horny babies, seductive kids, totemic fetish toys, donkeys and American-made superheroes.</p> <p>Surprised that her physical displacement from the East to the West brought her a vivid political and social déjà vu, the protagonists in Behbahani’s new series—from babies to iconic superheroes—each entertain a fear of being watched. They anxiously search for hidden cameras and eyes. This constant fear imbues a childhood hyper-maturity as well as an adult infancy, as beings in all stages of life are subjugated to this invasiveness.</p> <p>Behbahani states that "as artist, viewer and subject in a chaotic and absurd parody, I play out political frustrations and social resentments. I am the theatrical storyteller of flirtatious fairytales of confrontation and discomfort."</p> <p>About the artist:<br /> Born in Tehran, Iran, Bahar Behbahani is a multidisciplinary artist who lives in New York. She received her B.A. and M.A. in Painting in Tehran. Her painting, installation, photography and video art have been featured in the Sydney Biennial, Sydney; Sharjah Biennial, United Arab Emirates; Christie's, London; United Nations, Geneva; Asian Art Biennial, Bangladesh, Miramar Museum, Zagreb; National Museum of Women in the Arts, Washington D.C.; Queens Museum, New York; and Tribeca Film Festival, New York, MACRO, Museum of Contemporary Art, Rome, Italy.</p> <p>In 2007, for the 13th Annual International Exhibition of Women's Art, New York City, the artist's video Suspended was selected 'Best in Show' by Carrie Springer, Senior Curatorial Assistant, Whitney Museum of American Art. Guggenheim Museum Curator Suzanne Cotter selected the video Ride the Caspian—Behbahani's recent collaboration with Kazakhstani artist Almagul Menlibayeva—for the 2011 Sharjah Biennial, United Arab Emirates. The video was again selected for the 18th Sydney Biennial.</p> <p>Ms. Behbahani's current exhibition, Hidden Camera, will be on view at Causey Contemporary's DUMBO, Brooklyn location (111 Front Street, Suite 212-14) from February 6 - March 3, 2013. An opening reception with Behbahani will be held on February 7 from 6 - 9pm as part of the neighborhood's first Thursday events.</p> Thu, 31 Jan 2013 20:15:13 +0000 Ann Shapiro - Ceres Gallery - February 7th, 2013 6:00 PM - 8:00 PM <p>Shapiro continues her exploration of the consequences of climate change on land and sea.</p> Tue, 22 Jan 2013 22:58:24 +0000 - Childrens Museum of the Arts - February 7th, 2013 4:00 PM - 6:00 PM <p>For twenty-five years, The Children’s Museum of the Arts (CMA) has provided children of all backgrounds the creative tools needed to promote self-expression and esteem through visual and performing arts. In celebration of our 25th anniversary, CMA is proud to present <em>Face to Face</em>, an exhibit that offers a fascinating exploration of self-identity through still, moving and living portraits, as portrayed by children using traditional methods of painting and drawing as well as technology.</p> <p>The main exhibit will consist of 40 portraits selected from CMA’s Permanent Collection of<br /> children’s art from over 50 countries, dating back to the 1930’s. These pieces represent<br /> a range of historical moments, cultures and medium and will be hung salon style throughout the gallery.</p> <p style="text-align: left;">To incorporate CMA’s philosophy of hands-on art-making, the exhibit will be accompanied by a variety of interactive installations that examine the texture, shape and sound of portraits. CMA will set up hands-on stations that will encourage visitors to become part of the exhibit, including reimagined versions of a typical self-portrait station. The CMA Media Lab will also create a photo booth in which visitors can take photos that will be projected on the wall. These photos will stream into a montage that will be accessioned into the collection and will also serve as a fascinating time-lapse of the exhibit as a whole.</p> <p><em>Face to Face</em> also offers aspiring young artists the opportunity to submit their own works for a chance to become part of the museum’s Permanent Collection. CMA will accept 25 original original works, in honor of 25 years of operation, to be selected by the museum’s curatorial team. One selected piece will be chosen by an online viewer’s choice campaign, hosted through CMA’s website and social media platforms.</p> <p>To explore dimension, the exhibition will include a large-scale Pin Impression Board, offering several panels for visitors to experiment with and view their face as artwork.</p> <p>CMA will also present their first ever Artist-At-Work station in the Fine Arts Studio. Here, guest artists will volunteer their time and allow visitors to observe them in action as they create original portraits.</p> Sun, 27 Jan 2013 00:11:48 +0000 Walt Kuhn - DC Moore Gallery - February 7th, 2013 6:00 PM - 7:30 PM <p>The art of Walt Kuhn (1877-1949) is the subject of a major exhibition at DC Moore Gallery. Timed to coincide with the 100th anniversary of the landmark 1913 Armory Show, of which Kuhn was a principal organizer, this commemorative exhibition is long overdue. During his lifetime, Kuhn received great acclaim for the bold simplicity and psychological intensity of his modernist paintings of showgirls and circus performers. Since then, he has been given much less attention. This show is intended to bring his work back into the spotlight.<br /> <br /> A milestone in American art history, the International Exhibition of Modern Art, otherwise known as the 1913 Armory Show, is best known for introducing the American public to avant-garde European art. Kuhn was involved in virtually all aspects of the exhibition. Along with A. B. Davies and Walter Pach, Kuhn selected the European works in the exhibition and was responsible for its huge, if controversial, success, as well as its lasting impact on American painting and sculpture in the twentieth century.<br /> <br /> Walt Kuhn: American Modern will feature major loans from museums and private collections. Highlights include Trio, a large-scale painting of three circus acrobats that has not been seen in New York since the 1930s, on loan from the Colorado Springs Fine Arts Center, and Acrobat in Green from the Addison Gallery of American Art, which was given to the museum by Lillie Bliss, an early Kuhn collector and one of the founders of the Museum of Modern Art. Two of Kuhn’s best clowns, Roberto and Portrait of the Artist as a Clown (Kansas), now in private collections, will also be on view, as will Sleeping Girl, a great, early painting of a showgirl in her dressing room, from the Ogunquit Museum of Art. In addition, Showgirl in Armor, Woman in a Majorette Costume, and other iconic images of performers will be included in the exhibition.<br /> <br /> This will be the first major exhibition of Kuhn's paintings in several decades. The fully illustrated catalogue includes an essay by Gail Stavitsky, Chief Curator of the Montclair Art Museum. Another essay on his involvement with theater and the circus was written by Ralph Sessions, one of the curators of the exhibition.<br /> <br /> Focusing on Kuhn’s extraordinary portraits of popular entertainers, along with a selection of his still lifes and landscapes, the exhibition will reveal the range of his work and increase recognition of his key role in modern American art.</p> Mon, 21 Jan 2013 20:38:55 +0000 Jean-Michel Basquiat - Gagosian Gallery- 24th St. - February 7th, 2013 6:00 PM - 8:00 PM <p><em>It's about 80% anger.</em></p> <p>--Jean-Michel Basquiat</p> <p>Gagosian Gallery is pleased to announce a major exhibition of works by Jean-Michel Basquiat.</p> <p>Featuring over fifty works from public and private collections, the exhibition spans Basquiat's brief but meteoric career, which ended with his death at the age of twenty-seven. Thirty years after Larry Gagosian first presented his work in Los Angeles, twenty years after the first posthumous survey at the Whitney Museum of American Art (1992-93), and eight years after the Brooklyn Museum of Art retrospective (2005), viewers will have a fresh opportunity to consider Basquiat's central role in his artistic generation as a lightning rod and a bridge between cultures.</p> <p>Basquiat left his family home in Brooklyn at the age of fifteen and took to the streets. A voracious autodidact, he quickly became a denizen of the explosive and decadent New York underground scene--a noise musician who loved jazz, and a street poet who scrawled his sophisticated aphorisms in Magic Marker across the walls of downtown Manhattan, copyrighting them under the name SAMO. In 1981, he killed off this alter ego and began painting, first on salvaged materials then later on canvas, and making bricolage with materials scavenged from the urban environment. From the outset he worked compulsively. He sold his first painting in 1981, and by 1982, spurred by the Neo-Expressionist art boom, his work was in great demand. In 1985, he was featured on the cover of <em>The New York Times Magazine</em> in connection with an article on the newly exuberant international art market. It was unprecedented for an African-American artist, and for one so young. In that photograph, Basquiat is a vision of cool, sprawled in a chair in front of one of his bold paintings in an elegant three-piece suit and tie, with bunched dreadlocks and bare feet.</p> <p>Charismatic image aside, Basquiat was a unique and prodigious artistic talent, fusing drawing and painting with history and poetry to produce an artistic language and content that was entirely his own, and which enunciated alternative histories, such as <em>Discography</em> (1982), <em>Brothers Sausage</em> (1983), and <em>Revised Undiscovered Genius of the Mississippi Delta</em> (1983). Combining the tools of graffiti (Magic Marker, spray enamel) with those of fine art (oil and acrylic paint, collage, and oil stick), his best paintings maintain a powerful tension between opposing aesthetic forces--expression and knowledge, control and spontaneity, savagery and wit, urbanity and primitivism--while providing acerbic commentary on the harsher realities of race, culture, and society. In vividly colored canvases, forceful, schematic figures and menacing, masklike faces are inscribed against fields jostling with images, signs, symbols, and words used like brushstrokes. The frenetic, allover quality of many of the large works suggests a drive towards a sort of disjunctive mapping rather than the building of a classically unified composition, where seemingly unrelated marks suddenly coalesce in syncopated rhythms-like the best experimental jazz.</p> <p>Basquiat's iconography reflects the precocious breadth of his inspirations and preoccupations--from classical poetry to human anatomy, from sport to music, from politics to philosophy, from the arts of Africa to Picasso, de Kooning, and Rauschenberg. <em>Obnoxious Liberals</em> (1982) and <em>Baby Boom</em> (1982) suggest an angry bohemian's pet peeves with contemporary mores. There are pictographic crowns, favored by graffiti artists to confer status, and warriors, whose significance is literal--as in the tributes to African American boxing champions <em>Cassius Clay</em> (1982), <em>Jersey Joe</em> (1983) <em>Untitled (Sugar Ray Robinson)</em> (1982)--or metaphorical--as in <em>Warrior</em> (1982) and <em>(Untitled) Julius Caesar on Gold</em> (1981). Cars, cops, street games, and skyscrapers reflect the hustle of the city in <em>With Strings Two</em> (1982), <em>Untitled (L.A. Painting)</em> (1982), and <em>Irony of a Negro Policeman</em> (1981), while <em>Self-Portrait</em> (1984) and <em>The Thinker</em> (1986) are more evidently self-referential and introspective. The skull, a traditional motif of the <em>vanitas</em>, appeared very early in Basquiat's oeuvre and remained a constant obsession amidst a thick and fast flow of subjects. Consider this when comparing the whimsical <em>Bicycle Man</em> (1984) and <em>Riding with Death</em> (1988), painted just four years later: the man on a bicycle in the earlier painting has been transformed into a naked figure astride a skeletal horse in the later one-a somber, elegiac image with which Basquiat the supernova, buckling under the alienating effects of fame and addiction, ended his career and his life.</p> <p> </p> <p><strong>Jean-Michel Basquiat</strong> was born in New York City in 1960, where he died in 1988. Major exhibitions include "Jean-Michel Basquiat: Paintings 1981-1984," Fruitmarket Gallery, Edinburgh (1984; traveled to Institute of Contemporary Arts, London; and Museum Boijmans Van Beuningen, Rotterdam, through 1985); Kestnergesellschaft, Hannover (1987, 1989); Whitney Museum of American Art, New York (1993; traveled to Menil Collection, Houston; Des Moines Art Center, Iowa; and Montgomery Museum of Fine Art, Alabama, through 1994); "Basquiat," Brooklyn Museum of Art, New York (2005; traveled to Museum of Contemporary Art, Los Angeles; and Museum of Fine Arts, Houston, through 2006); and Fondation Beyeler, Basel, Switzerland (2010; traveled to Musée d'art moderne de la ville de Paris). Basquiat starred in <em>Downtown 81</em>, a verité movie that was written by Glenn O'Brien and shot by Edo Bertoglio in 1981, but not released until 1998.</p> <p> </p> Sun, 27 Jan 2013 00:03:33 +0000 Takesada Matsutani - Galerie Richard - February 7th, 2013 6:00 PM - 8:00 PM Sat, 19 Apr 2014 15:50:50 +0000