ArtSlant - Openings & events en-us 40 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 Alighiero Boetti - Gladstone Gallery - 24 St. - February 7th, 2013 6:00 PM - 8:00 PM <p class="bodyText">Gladstone Gallery, in collaboration with the Fondazione Alighiero e Boetti in Rome, is pleased to announce an exhibition of works by Alighiero Boetti. Throughout his career, Boetti exhibited a keen fascination with language and the alphabet, and “La Forza del Centro” will highlight this interest by presenting an extensive collection of his Arazzi works, which meld aesthetic and linguistic elements to create a formal union between images and the written word. This exhibition will be the first to display nearly every type of Boetti’s Arazzi grandi, as well as a number of smaller Arazzi, and will mark the first time that the majority of these works will be on view to the public.</p> <p class="bodyText">The brightly colored Arazzi works are embroidered pieces made in various sizes that depict sentences drawn from poetry, wisdoms from around the world, or sayings invented by Boetti himself. The Arazzi grandi, containing messages in both Italian and Farsi, are each distinct, recording the date when they were created, and containing an elaborate internal code that prescribes the order of the sentences on display. Like Boetti’s approach to language throughout his oeuvre, which is at once analytical and playful, the messages alternate between deeply thoughtful statements and whimsical musings. The dates, carefully noted on each Arazzi grandi, mark a point of captivation for Boetti, as he was deeply interested in the concept of time and its inevitable passing. Of dating his works, Boetti said: “With every day that goes by, this date becomes more beautiful. It’s time that works, it’s all that works.”</p> <p class="bodyText">Created primarily during the 1980s and 90s, these embroideries were made in Peshawar, Pakistan by Afghani craftswomen. Boetti first traveled to Afghanistan in the 1970s, where he became enamored with the colorful landscape and culture, local hospitality, and rituals and traditions of the country. On an early trip to Afghanistan he developed a relationship with Afghani embroiderers, who would go on to create works for him for the next two decades. Through these travels he also became interested in Persian writing and calligraphy as an expression of cultural and national identity.</p> <p class="bodyText">Boetti believed that an artist’s role was not to invent, but rather to bring what already exists in the world into his work. He was particularly captivated by duality and dichotomy, ideas he explored in works like the Arazzi by juxtaposing notions of order and disorder, fullness and emptiness, east and west. Recognizing the inevitable fluctuation in all systems, he pushed the ideas conveyed in his work to their extreme polarities until disparate ideas expressed united with their opposites.</p> <p class="bodyText">Boetti was born in Turin, Italy in 1940, and in 1966 became affiliated with a group of artists who went on to form the Arte Povera movement. The movement sought to connect with real life through the use of everyday materials, and the artists shared an intense interest in the structures that support the “false” realities fostered by consumer-capitalism, and an equally invested interest in deconstructing them. Boetti was recently the subject of the major retrospective “Alighiero Boetti: Game Plan,” which originated at the Reina Sofía in Madrid in 2011, and subsequently traveled to the Tate Modern, London (2012) and the Museum of Modern Art, New York (2012). Boetti has also been the subject of solo exhibitions at the Fowler Museum UCLA, Los Angeles (2012); MADRE, Naples (2009); Whitechapel Gallery, London (1999); Museum für Moderne Kunst, Franfurt (1998); Galleria Civica d’Arte Moderna, Turin (1996); Galleria Nazionale d’Arte Moderna, Rome (1996); Museum of Contemporary Art, Los Angeles (1994); Dia Center for Arts, New York (1994); P.S.1 Contemporary Art Center, New York (1994); Centre National d’Art Contemporain, Le Magasin, Grenoble (1993); Kunstverein, Bonn (1992); Stedelijk Van Abbemuseum, Eidhoven (1986); and Kunsthalle, Basel (1978). Boetti took part in Documenta 5 (1972) and Documenta 7 (1982), as well as the Venice Biennale (1978, 1980, 1986, 1990, 1995). In 2001, the Italian Pavilion at the Venice Biennale was dedicated entirely to Boetti’s work.</p> Tue, 29 Jan 2013 01:32:55 +0000 Lynn Aldrich - Jenkins Johnson Gallery - NY - February 7th, 2013 6:00 PM - 8:00 PM <p>Jenkins Johnson Gallery, New York, is pleased to present Free Refill: Old &amp; New Works, a solo exhibition of recent sculptures and installations by Los Angeles artist Lynn Aldrich. This will be her first solo show with Jenkins Johnson Gallery in New York. There will be an opening reception with the artist on Thursday, February 7 from 6 to 8 pm.<br />Lynn Aldrich’s sculptures combine a whimsical aesthetic with content-driven punch. Her inventive creations made of colorful and textured mass-produced, everyday items raise questions about the state of the environment and human consumption. Often the Los Angeles-based artist’s works reference environmental concerns, like deforestation, plastic accumulating in the ocean, or coral reef degradation, and every piece contains some reference to nature, whether through implied water, light, astronomical bodies, or flora and fauna. Aldrich juxtaposes these societal topics with visually interesting constructions that exhibit varying relief and powerful colors.<br />Her 21st century interpretations of Ready-Made sculptures have been caricaturized as Home Depot Pop, but unlike other Ready-Made artists, she often embraces the physical purpose of the object, using hoses or pipes to represent water flow or sponges to imply ocean cleaning. Aldrich’s piece Plastic Pacific, fabricated from garden hoses and clear plastic hoses, references the masses of plastic that collect in oceans, like the Great Pacific Garbage Patch. The tides and flow of the oceans cause debris, including plastics and other non-biodegradable polymers, to amass in one large unit existing both above and below the water level; although these exist in all five oceans, Aldrich’s focus on the Great Pacific Garbage Patch reflects her residence in California.<br />Living in Los Angeles leads Aldrich to ruminate on the tendency of its citizens to submerge themselves in powerful distractions, particularly the movie industry and computer technology, while ignoring the ideal “fairweather landscape.” She writes about her art, “[it] is an attempt to be grounded in Realism or what is actually present, influenced by the empiricism of the natural<br />sciences.” Free Refill: Old &amp; New Works brings environmental awareness to its viewers, hopefully<br />challenging their expectations and offering further insight into both nature and our relationship to it.<br />Opening on October 12, 2013, the Art Center College of Design in Pasadena, CA will be hosting a solo exhibition surveying Aldrich’s work over the last twenty years, entitled Lynn Aldrich: Un/Common Objects. Lynn Aldrich has shown extensively both nationally and internationally, including a solo exhibition at the Santa Monica Museum of Art. She has been reviewed by the Huffington Post, the Los Angeles Times, the New York Times, and Art in America, amongst<br />others. Her work is in the public collections of: the Los Angeles County Museum of Art; the Museum of Contemporary Art, Los Angeles; the Calder Foundation, New York; and the New York Public Library, among others.</p> Tue, 05 Feb 2013 02:39:34 +0000 Vanessa Prager - Jenkins Johnson Gallery - NY - February 7th, 2013 6:00 PM - 8:00 PM <p>Jenkins Johnson Gallery, New York is pleased to present a solo exhibition in the Project Room of works by Los Angeles contemporary artist Vanessa Prager. This will be Prager’s first solo show with Jenkins Johnson Gallery in New York. There will be an opening reception on Thursday, February 7 from 6 to 8 pm.<br />Influenced by classical painting, drawing, vintage photographs, film, and her love of animals, self-taught artist Vanessa Prager presents us with beautifully rendered drawings produced using common blue and red ballpoint pens, as well as ethereal paintings on canvas. Her work touches briefly on luminaries such as Balthus, Rembrandt and Egon Schiele, while remaining original and un-derivative. Prager is stylistically drawn to the “timeless quality” of the clothes and hairstyles of the forties and fifties, and her love for the past, coupled with her attraction to contemporary pop-culture and Americana, is palpable and provides us with an entry point into her rich narrative.<br />Prager is fond of color, which is omnipresent in both her canvas and works on paper. Through the high contrast application of her medium - the ballpoint pen onto blank music paper or through the use of diaphanous layers of applied paint - Prager weaves the viewer into her work as a protagonist in a thriller plot. When presenting figures, Prager often bathes them in strong light with no apparent direct source, creating an ethereal, dream-like nature to the work. Broad areas of purposefully unfinished details and omitted features draw attention to the piece while continuing the narrative. Akin to a skip on a record player or an abrupt ending to a still-unfinished story, Prager examines these omissions, playing with their glaring obviousness, investigating how the mind of the viewer fills in the gaps.<br />Her tendency to examine these open spaces can be seen in the recent drawing “Fired,” depicted above, a quintessential work from Prager’s oeuvre. She achieves a sense of light and shadow through various pressures and cross-hatching that seems like it should be impossible with a basic ballpoint pen, and yet the figure takes on a personality that is quite developed.<br />Prager’s thought-provoking and technically astounding drawings and moodily vaporous paintings are a window into the world of Vanessa Prager that intrigues and leaves us wanting to see more.<br />Vanessa Prager has been exhibited at galleries in New York and the greater Los Angeles area. Museum exhibitions include Santa Monica Museum of Art and upcoming, the Museum of Contemporary Art, Los Angeles. The artist has received much critical acclaim in national press including W Magazine, Los Angeles Times, LA Weekly, Huffington Post, Nylon, among others.</p> Tue, 05 Feb 2013 02:44:30 +0000 Frederic Weber, Rita Bernstein, Ken Rosenthal, Helen Sear, John Blakemore, Simon Roberts, Marc Baruth, Lisa M. Robinson, Martin Bogren - KLOMPCHING GALLERY - February 7th, 2013 6:00 PM - 8:00 PM Wed, 27 Feb 2013 16:35:29 +0000 Trevor Paglen - Metro Pictures - February 7th, 2013 6:00 PM - 8:00 PM <p>In his first exhibition at Metro Pictures, Trevor Paglen presents works related to his project The Last Pictures, a selection of photographs reflecting unease and uncertainty about the present, and a deep anxiety about the future.<br />Commissioned by Creative Time, Paglen worked with scientists at the Massachusetts Institute of Technology to produce a disc micro-etched with 100 photographs, designed to last in space for billions of years. The project culminated in November of 2012 when the disc was attached to a communications satellite and launched from Kazakhstan into Earth’s orbit.<br />The exhibition includes a selection of key images from The Last Pictures. Among the large color prints and black-and white diptychs is Angelus Novus (2012), a photograph of the backside of Paul Klee’s 1920 painting of the same name.<br />Once owned by Walter Benjamin, the painting is an important reference in the philosopher’s last work “Theses on the Philosophy of History” (1940). In the essay Benjamin argues for a circular conception of history, one recognizing that despite the notion of progress, societies produce and reproduce similar economic, humanitarian, and political crises. For Benjamin, the “angel of history”<br />faces the past and is propelled backwards into the future by the ongoing explosions of the present. By presenting the back of the painting, Paglen asks his audience to look back at the ongoing crisis of the present. Additionally, there is a grid of 182 images collected for the project but ultimately excluded and a video of the satellite in orbit.<br />Also exhibited are photographs, “skyscapes,” of nearly undetectable surveillance drones in a seemingly empty field, a massive National Security Agency data center under construction in suburban Utah, and secret satellites in the night’s sky. Paglen’s images are both documents<br />of clandestine military operations and a contribution to the history of photographic abstraction, following in the tradition of Alfred Stieglitz’s landmark “Equivalents” series of imposing clouds in an inordinately black sky.<br />In September 2012 Paglen and filmmaker Werner Herzog discussed The Last Pictures in an event at New York’s Bryant Park. Following a series of lectures at institutions in the United States and Europe in fall 2012, The Last Pictures was published by the University of California Press and Creative Time Books and is available at the gallery.<br />Paglen will give tours of the exhibition every Saturday at 3 PM except for February 23rd.<br />Trevor Paglen holds an MFA from the School of the Art Institute of Chicago and a Ph.D. in Geography from U.C. Berkeley. Paglen has had one-person exhibitions at: the Vienna Secession, Berkeley Art Museum; Kunsthall Oslo; Kunsthalle Giessen, Germany. His work has been included in group shows at: MIT List Visual Arts Center, Cambridge, MA; SITE Santa Fe, New Mexico; Haus der Kunst, Munich; Walker Art Center, Minneapolis; Tate Modern, London and San Francisco Museum of Modern Art. He has participated in the 2009 Istanbul Biennial and 2012 Liverpool Biennial.</p> Sat, 19 Jan 2013 07:08:59 +0000 Group Show - Neue Galerie Museum for German and Austrian Art - February 7th, 2013 11:00 AM - 6:00 PM <p>The Neue Galerie presents important works of German Expressionism from its permanent collection. The exhibition examines themes of primitivism and modernity, two poles of Expressionism that artists employed to free themselves from the academic conventions of the nineteenth century.</p> <p>The engagement of these artists with the zeitgeist of the early twentieth century in Germany led them to paint emotionally charged, often contrasting scenes. On display will be both lively depictions of cabaret and circus culture, as well as cityscapes of lonely, alienating Berlin streets. Among the artists whose works will be on view are Max Beckmann, Lovis Corinth, Otto Dix, George Grosz, Erich Heckel, Ernst Ludwig Kirchner, Paul Klee, Franz Marc, August Macke, Hermann Max Pechstein, and Karl Schmidt-Rottluff.</p> Tue, 08 Jan 2013 02:08:46 +0000 Group Show - Neue Galerie Museum for German and Austrian Art - February 7th, 2013 11:00 AM - 6:00 PM <p>The Neue Galerie presents a major gift of over 100 works of German and Austrian decorative arts from Los Angeles-based attorney and collector Harry C. Sigman. Diverse examples of graphic design, ceramics, metalwork, and glass from Jugendstil to the Bauhaus contribute to a more complete representation of these periods in the Neue Galerie’s collection. These pieces serve as an eloquent new tribute to the great flowering of the applied arts in Germany and Austria during the early twentieth century. The donation represents important works by a wide range of German pioneers, including Peter Behrens, Marianne Brandt, Hans Christiansen, Otto Eckmann, Rudolf Hentschel, Richard Riemerschmid, Henry van de Velde and Heinrich Vogeler, as well as major Austrian figures such as Josef Hoffmann, Koloman Moser, Joseph Maria Olbrich, and Jutta Sika.</p> Tue, 08 Jan 2013 02:12:09 +0000 Rutherford Chang - Recess Activities, Inc. - February 7th, 2013 6:00 PM - 8:00 PM <p>Middling Reception: February 7, 6-8pm<br />Closing Reception: March 7, 6-9pm</p> <p>In Soho, 41 Grand Street</p> <p>On January 7, 2013, Rutherford Chang will begin work on We Buy White Albums, as part of Recess’ signature program, Session. Session invites artists to use Recess’ public space as studio, exhibition venue, and grounds for experimentation. Pursuing an interest in exhaustive cataloguing, Chang has collected over 650 first-pressings of the Beatles’ White Album. He considers the serialized first-press, an edition running in excess of 3 million, to be the ultimate collector’s item, and aims to amass as many copies as possible. Over the course of his Session, Chang will create an archive, listening library, and anti-store to house and grow his collection of the Beatles’ iconic record.</p> <p>Chang will create a record store that stocks only White Albums. But rather than selling the albums, he will buy more from anyone willing to part with an original pressing in any condition.</p> <p>Visitors will be invited to browse the collection and listen to the records. The artist will digitally record every album played during the Session period, as well as document each gatefold cover and disc label. At the end of the Session, Chang will press a new double-LP made of the accumulated recordings and images layered upon each other.</p> <p>The album covers are weathered, often with marks or writing from previous owners, and the vinyl discs are usually scratched or warped. The character of each copy, distinctly shaped by its history, is told through the physicality of the media. This phenomenon, at the cusp of extinction due to digital technologies, is made apparent by the identical yet unique multiples that comprise Chang’s collection.</p> <p>About the Artist:</p> <p>Rutherford Chang was born in Houston and currently lives and works in New York and Shanghai. He received a B.A. from Wesleyan University in 2002. His work has been exhibited internationally at venues including White Space in Beijing, Brown Gallery in London, and Haus der Kulturen der Welt in Berlin.</p> <p>For image requests or more information contact:</p> <p></p> Fri, 21 Jun 2013 11:41:34 +0000