ArtSlant - Recently added en-us 40 Hannah van Bart - Marianne Boesky Gallery 24th St - May 3rd - June 14th <p>Marianne Boesky Gallery is pleased to announce its fourth solo exhibition of Dutch artist Hannah van Bart.<br />Continuing her figurative painting practice, van Bart presents a new series of incisive portraits. Depicting solitary figures, van Bart offers a range of complex individuals and moods, each rendered with his or her own respective physiognomy, persona, and psychology.<br />Using found photographs as a departure point, van Bart allows her subjects to deftly drift away from their original sources. Expressions are repeatedly added and washed away in dynamic flux, as each canvas accrues innumerable visages and layers. Through this labored process the portraits transfigure into representations sprung from the artist&rsquo;s imagination with only a vestige of the original image. Concurrently, van Bart seeks a certain veracity in her nameless faces, whereby the process pushes her to realize forms and features that register the unknown figures as &ldquo;real;&rdquo; willfully born into existence.<br />The resultant men and women, girls and boys, of van Bart&rsquo;s canvases, whether proffered in tightly-cropped studies of countenances or full-length portraits, do not divulge an easily identifiable time period. While allusion to an earlier era is discernible in the fashions, the figures elude a feeling of nostalgia and evoke Merleau-Ponty&rsquo;s assertion that, &ldquo;The lived present holds a past and a future within its thickness."1 The enduring gazes of van Bart&rsquo;s painted faces fluctuate between expressions of confidence, vulnerability, or steadfastness. Occasionally elements or features reappear from one figure to the next&mdash;a collar or a pattern or a nose finds its way to another face&mdash;which van Bart equates to &ldquo;a house that gets new occupants.&rdquo;<br />Colors likewise recur, where expressionistic rusts, greens, and blues sometimes escape the margins of the wearer&rsquo;s clothing, bleeding into the background anchoring the figure into his or her narrative. The settings themselves occupy a dreamlike space articulating the artist&rsquo;s desire to &ldquo;bridge the gap between the unknown territory of the figures and their atmospheric surroundings.&rdquo;<br />There is a marked fluidity in van Bart&rsquo;s approach to her distinctive portraits. The artist takes long walks most days in and around her native Amsterdam and along the river Amstel. Such activity is reminiscent of the fl&acirc;neur figure chronicled by Baudelaire and Benjamin alike, wandering and observing the modern city. For van Bart, the ambulatory exploration offers glimpses of faces passing by&ndash;&ndash;certain looks or features quickly flash before disappearing into the distance; the observed feel of air on one&rsquo;s skin or a shifting piece of sky and light rapidly fades into memory. Such transitory details may be summoned later, their impressions resurface in the morphing iterations of van Bart&rsquo;s faces with their attendant hazy backdrops. The artist&rsquo;s portraits, with titles like We are a dreaming creature and Solitary wanderer, evoke a sense of this transient, borrowed life.<br />Hannah van Bart was born in 1963 in the Netherlands, and lives and works in Amsterdam.<br />She has exhibited at the Gemeentemuseum in the Hague and the Cobramuseum in Amsterdam with accompanying catalogues. Van Bart has also shown in numerous group exhibitions to include the Stedelijk Museum and XIe Biennale de Lyon. She was recently featured in a television interview on 4 Art on Kunstuur with Dutch art critic and writer, Hans den Hartog Jager.</p> Sat, 19 Apr 2014 21:37:56 +0000 Jay DeFeo - Mitchell-Innes & Nash - 26th St. - May 1st - June 7th <p>Mitchell-Innes &amp; Nash is pleased to present the first solo exhibition of<strong> Jay DeFeo</strong>&rsquo;s work in New York since the acclaimed <em>Jay DeFeo: A Retrospective</em> at the Whitney Museum of American Art in 2013. Assembling forty-eight key works spanning the years 1965&ndash;1989, the exhibit examines DeFeo&rsquo;s distinctive exploration of visual vocabulary, rich materiality and experimental process across the media of painting, drawing, photography and rarely seen photocopy works.</p> <p>DeFeo&rsquo;s diverse and constantly evolving practice extended far beyond her seminal work <em>The Rose</em> (1958&ndash;66). Throughout her career, DeFeo consistently blurred the boundaries between abstraction and representation, transcending the identity of the common objects that fascinated her.</p> <p>Moving seamlessly between painting, drawing and collage, DeFeo introduced photography into her oeuvre in 1970.&nbsp; In the mid-1970s, the artist began using the photocopy machine as a new type of photographic lens through which she created series of works that defy an accepted understanding of the limitations of the photocopier.</p> <p>As seen in large-scale works such as<em> Tuxedo Junction</em> (1965/1974), surface and texture are of paramount importance in her oeuvre, partly inspired by the crumbling facades found in Paris and Florence, where she traveled early in her career.&nbsp; The densely layered surface of built-up oil paint in Tuxedo Junction is echoed decades later in the wrinkles of tissues pressed against the glass plate of the photocopier as DeFeo investigates texture in two and three dimensions.</p> <p>This exhibition focuses on a handful of forms and objects that appear and reappear in her work: a torn fragment of a 1958 work titled <em>White Spica</em>, her camera tripod, a hybrid item created from an antique candlestick telephone, flowers, a generic tissue box, or a tiny ceramic cup. By continually returning to these motifs, DeFeo imbues seemingly ordinary objects with a heightened sense of ritualized creative process.&nbsp; Artist Walead Beshty, who authored the essay for the exhibition&rsquo;s illustrated catalogue, explains, &ldquo;Just as the ritual object accrues meaning incrementally and over time through a repetitive process of investment and stewardship, DeFeo came to favor producing paintings through a process of slow accumulation in lieu of the explosive and loose gestural compositions that were common at the time.&rdquo;</p> <p>Beshty writes further that DeFeo&rsquo;s object: &ldquo;would appear in photographs of her home and studio, the images positioned uncomfortably between works of art, studies, and simple documentation, showing the object in its mundane existence, a nod to its modest belonging in the quotidian. Yet the object would also perform as a compositional element in some of these still lifes acting in the service of a picture rather than as its focus, reduced to schematic line and shape by the eye of the camera or the swipe of charcoal.&nbsp; Its image would bounce from surface to surface, material to material, going dormant for a period only to return later.&rdquo;&nbsp;</p> <p><br /> <strong>About Jay DeFeo</strong><br /> Jay DeFeo (1929&ndash;1989) grew up in the San Francisco Bay Area and attended the University of California, Berkeley, receiving her masters of fine arts degree in 1951. With a fellowship from the university, she traveled in Europe and North Africa in 1951 and 1952, creating her first body of mature works there. Returning in 1953, DeFeo became a pivotal figure in San Francisco&rsquo;s historic community of artists, poets and jazz musicians. She began incorporating the dualities of representation and abstraction, organic rhythms and geometric form, refinement and expressionism that became distinguishing traits of her art. DeFeo worked with unorthodox materials to explore the broadest definitions of sculpture, drawing, collage and painting.</p> <p>In 1958 DeFeo began working on <em>The Rose</em>, a monumental work created over eight years, with so much oil paint that she called it &ldquo;a marriage between painting and sculpture.&rdquo; In 1959 she had a major solo exhibition at the Dilexi Gallery in San Francisco and her art was included in Dorothy Miller&rsquo;s momentous exhibition Sixteen Americans at the Museum of Modern Art in New York. Ferus Gallery in Los Angeles mounted her next solo exhibit in 1960.</p> <p>After completing<em> The Rose</em>, DeFeo began investigating new materials and became deeply involved with photography and mixed media works, pursuing these in the 1970s. Often her subjects were favored domestic oddities, which she transformed into images that, in her words, &ldquo;transcend the definition of the objects from which they are derived.&rdquo;</p> <p>In the 1980s, DeFeo returned to oil paint, while still continuing to mix and assemble materials in her work, creating large, glowing canvases and an expansive scope of works on paper. She accepted a teaching position at Mills College, where she became a tenured professor. DeFeo was diagnosed with cancer in the spring of 1988, but continued to work prolifically until just before her death on November 11, 1989, at the age of 60.</p> Sat, 19 Apr 2014 21:29:47 +0000 Chris Jones - MARC STRAUS - May 4th - June 22nd <p>MARC STRAUS is pleased to present British sculptor Chris Jones' second solo exhibition with the gallery on view from May 4 &ndash; June 22, 2014.</p> <p>Jones's&nbsp;sculptures are constructed from materials&nbsp;most&nbsp;have come to disregard,&nbsp;abandon due to the rise of the internet and technology &ndash; books, magazines, atlases, and encyclopedias. With these soft materials, the artist spawns sculptures that tell a story. The objects Jones delicately fashions force the observer to look deep into each layer, beyond the surface, to create a personal narrative based on&nbsp;the&nbsp;carefully selected&nbsp;and precisely placed&nbsp;imagery. Through this process of deconstruction and reconstruction we find ourselves, the viewer, now looking at familiar objects - a life-size Shelby Cobra car, a shopping bag, a brown paper bag lunch &ndash; and generating a different significance through the new life that Jones has assembled and appropriated.</p> <p>Chris Jones earned an MA in Fine Art from Central Saint Martin&rsquo;s College of Art and Design, London 2002. Jones was awarded an artist residency at the Hudson Valley Center for Contemporary Art (Peekskill, NY) in 2008 followed by a solo show at the museum. Past solo gallery shows include Galerie Martin Van Zomeren in Amsterdam (2006) and the Glass Box Gallery, Manchester (2001). Jones has participated in numerous group shows throughout Europe, North America, and Asia,&nbsp;notable recent museum presentations include: The Oakland University Art Gallery, Michigan (2014),Prague Biennial (2013), Manchester Art Gallery (2012), Knoxville Art Museum (2014).</p> Sat, 19 Apr 2014 21:18:38 +0000 Charles Hinman, Jong Oh, Florian Schmidt - MARC STRAUS - May 4th - June 22nd <p>The work of these three artists is connected through the use of straight lines, a removal of extraneous materials, and crisp formalism. However, to categorize them as minimalists as we are apt to does not fit comfortably. I think of artists with whom I started: Ellsworth Kelly, Carl Andre, Dan Flavin, and Donald Judd. Their art was severe, little outside the bounds of hard-edge and ninety degree angles; unemotional and fully planned. Even Kelly made precise preliminary paper constructions. Instead, while Hinman, Oh, and Schmidt are in the genre of minimalism,&nbsp; their work is largely informed by intuition and is altered in the making of it.</p> <p>Charles Hinman (b. 1932, U.S.) rapidly came to the forefront of contemporary art in the mid-60&rsquo;s with unorthodox shaped hard-edge canvases. Like Kelly a decade older, there is elegance in the relationships of shape and color, but Hinman pushes into the third dimension before Kelly employed curves and various angles. These were also precursors to Kenneth Noland&rsquo;s shaped canvases at the end of the 60&rsquo;s. There is greater alignment perhaps with Frank Stella in the 60&rsquo;s. Hinman has hued to his own language and over five decades makes work that is consistently inventive and fresh.</p> <p>Jong Oh (b. 1981, Korea), uses hand-painted strings, sheets of Plexiglas, and impossibly thin chains, to make work that reminds of the formalism of Fred Sandback. Although a better understanding of Oh&rsquo;s work would be a comparison with Richard Tuttle&rsquo;s early career, which smacked of formalism (the shaped canvas pinned to the wall, bent wires with false shadows) but in the end were completely intuitive. Oh&rsquo;s work is mostly site-specific; he assesses a space, museum or home, and begins to work, and the end result is unpredictable and elegant. More heart than calculation. They are like tone poems.</p> <p>Florian Schmidt (b. 1980, Austria) is a painter of primarily two dimensional works. They are grounded in minimal abstraction, but his surface colors, textures, and depths vary. In some ways they synthesize the lineage that includes Barnett Newman and Brice Marden with the structural and three-dimensional aspects seen in the work of &nbsp;Europeans like Imi Knoebel and Dutch post-Rietveld. Schmidt shows a delicacy, a perfect intuition, in his details. &nbsp;The imputed formalism seen at a distance thaws when rough seams, stapled joints, and asymmetrical sections are increasingly obvious as we draw near. The paintings are beautiful without conceit.&nbsp;</p> <p>Marc J. Straus</p> Sat, 19 Apr 2014 21:15:17 +0000 Erik Moskowitz, Amanda Trager - Participant Inc. - April 27th - June 1st <p>PARTICIPANT INC is proud to present Erik Moskowitz | Amanda Trager, Two Russians in the Free World, a multi-channel video installation that maps the interconnections between artistic inspiration, love, and the marketplace. As in their previous collaborative works, music and song are key elements, conveying a narrative derived from actual interviews; in this case, five hours of interview footage with Sasha Jampolsky, who plays the character Sasha, detailing his stories about being an artist in 1970s Soviet Union.<br />The environment created for Two Russians in the Free World is centered around a 75-minute video projection, synched with two flatscreens representing the main characters, Manni, a Russian billionaire, and Sasha, a moneyless artist. The inclusion of sculpture made of shopping carts, blocks of text from the script, beanbag chairs, and a theatrical scrim of an 18th Century British Period Room furthers the artists&rsquo; orchestration of a multiplicitous chorus that simultaneously plays out on screen and in the gallery space.<br />Purposed to emphasize the film&rsquo;s dialectical nature, the exhibition elements impart a sociality and interaction that stems from immaterial rhetorical practices, such as those of the Moscow Conceptualists, a legacy to which Sasha belongs. The artistic experimentation that arose in 1960s and &lsquo;70s Eastern Europe and Russia was marked by a participatory aesthetic rooted in collective actions. There, unlike the wide production and proliferation of subjectivities in the West at that time, the happenings and body-related performances of conceptual artists were a consequence of an imposed collectivity, made radical by a privatization of shared experience. The resulting actions were in many ways unremarkable, and often inspired by a utopian quest for self-individuation.<br />In the manner of non-action/non-productivity, Moskowitz and Trager implicate Manni, the billionaire who doesn&rsquo;t collect art, and Sasha, an artist who no longer makes art. In a stretch of anticipation and temporality, the characters occupy a space in which social and physical relations are re-imagined with new possibilities for intimacy and being-in-the-world. Simultaneously utopian and dystopian, the dubbed voice-track harmony assigned to the characters suggests a group subjectivity, but also a subjugated puppet-body &mdash; or the same bodies being dragged through a precarious field.<br />The narrative telescopes out to include the story of its own making as the actual artists/filmmakers depict themselves debating plotline and meaning as well as the virtues (or lack thereof) of their collaboration. Within this scripted environment, Moskowitz and Trager usher the audience into a space where the line between the subject and the subjected becomes increasingly blurred, and where the recurring question is posed: Why and for whom do artists create?<br />Erik Moskowitz | Amanda Trager are Brooklyn based artists, born and raised in New York City. Their collaborative partnership began in 2008. Recent exhibitions and screenings include Centre Pompidou and the Jeu de Paume (Paris), the Reina Sofia (Madrid), Haus der Kulturen der Welt (Berlin), The Beirut Art Center (Beirut), Momenta Art and 303 Gallery (NYC). They are recipients of numerous grants and awards, including the NYFA Fellowship in Video (2008) and the NYSCA Distribution Grant (2009). In 2013, a 30-minute Prologue version of Two Russians in the Free World was screened at Centre Pompidou (Paris), the Rotterdam Film Festival (Rotterdam), The<br />Showroom (London), the Emily Harvey Foundation (NYC), The Museum of Contemporary Art(Vilnius, Lithuania), The Pera Museum (Istanbul), The Uplink Factory Shibuya (Tokyo),<br />and IndieLisboa (Lisbon).</p> Sat, 19 Apr 2014 20:56:20 +0000 Thomas Broadbent - Front Room Gallery - May 2nd - June 1st <p>&nbsp;</p> <p><strong>Thomas Broadbent</strong></p> <p><em>Adaptation</em></p> <p>On view: May 2<sup>nd</sup> -June 1<sup>st</sup></p> <p>Opening Reception: May 2<sup>nd</sup> from 7-9PM&nbsp;</p> <p>Front Room Gallery is proud to present a solo exhibition of new paintings and sculpture by <em>Thomas Broadbent. &nbsp;</em>In this new series of works the artist explores the idea of situational adaption of nature, with curious results. &nbsp;Broadbent often pairs commonly known birds with typical household objects, creating uncanny scenarios that seem familiar, but point to larger implications. Broadbent's philosophical compositions often depict birds amongst mundane trappings of everyday humanity. These paintings, in a seemingly well-structured world of man-made artifice, reference the underlying impulses of nature.</p> <p>Broadbent's large-scale watercolors have an absurdity to them that borders on the surreal, they are plausible scenarios, but the unlikely combination of elements, objects, and animals are otherworldly and common at the same time. Broadbent incorporates the style of James Audubon, representing birds and natural elements as life-size, with impeccable attention to detail. &nbsp;</p> <p>Broadbent often juxtaposes these birds with objects in his stark picture plane that should be ten times bigger. Scale itself seems contorted in these new works; the viewer is suspended in a recalibration of realism, where a chickadee may seem gigantic in comparison to the ladder where it is perched, or the ladder itself appears miniaturized</p> <p>Thomas Broadbent defines adaptation as a change in a plant or animal that makes it better able to live in a particular place or situation. &nbsp;His fascination with the way in which nature is endlessly able to adjust to a rapidly changing world, helps to inform his choice of elements in his compositions. &nbsp;His specifically limits his aviary subjects to birds that are reverenced in the famous: "Birds of America.&rdquo; In this context Broadbent has selected volumes specific to his personal travels and objects relative to domesticity and construction in the United States. &nbsp;Environmental adaptation is personal as it is universal in the natural world; the quality of nature to adapt allows for preservation. &nbsp;The visualization of this adaptation can be surprising as it is fantastical and disquieting.</p> <p>Broadbent has shown extensively throughout the U.S. as well as internationally. Broadbent&rsquo;s numerous solo exhibitions include the Visual Art&rsquo;s Center of New Jersey, Croxhapox Gallery (Gent, Belgium) Inspace gallery (Beijing, China) and the Newark Arts Council. Broadbent&rsquo;s work has been reviewed in The New York Times, The New Jersey Star-Ledger, NY Arts, The Brooklyn Rail and numerous other publications.</p> <p>The Front Room Gallery is located at 147 Roebling Street in Williamsburg, Brooklyn.&nbsp; Open Friday-Sunday from 1-6PM and by Appointment.</p> <p>&nbsp;</p> Fri, 18 Apr 2014 18:53:03 +0000 Kim Jones - Pierogi - May 2nd - June 8th <p><strong>PRESS RELEASE</strong></p> <p><em>Another body of drawings enters a world of teeming fantasy, like fairy tales from the devil&rsquo;s diary. They are nothing on the order of the brooding War Drawings and show an exquisite facility that is a seductive combination of Goya and Daumier. Mudman also inhabits this world but doesn&rsquo;t dominate it; he turns up as a quester &ndash; a traveler looking for answers in a world bereft of them. The third body of Jones&rsquo; drawings makes use of photographs of the artist in the Mudman guise. In them, Mudman goes about his day &ndash; posing, drawing, walking. Strange growths expand into environments, the harness reaches enormous proportions; it&rsquo;s a world in constant mutation.</em>&nbsp;(Richard Flood, 2013)</p> <p>In the 1970&rsquo;s Kim Jones&rsquo; performance persona, &ldquo;Mudman,&rdquo; could be seen roaming the streets of Los Angeles and Venice, CA and later, in the 1980&rsquo;s, in New York City; always covered in mud, a nylon stocking stretched over his face, and carrying on his back an unwieldy and crudely constructed lattice-work structure of sticks, tape, mud, and twine. From the beginning he was also drawing, painting, and making three-dimensional works. His two-dimensional pieces range from intricate graphite drawings involving X and dot figures and erasure, indicating movement of each force (referred to as &ldquo;war drawings&rdquo;); to works that incorporate acrylic paint, ink line work, and collage; to paintings on photographs (most often of his own past performances), many of which have been made over a period of thirty plus years.</p> <p>This exhibition will include drawings and paintings on paper begun as early as 1971 and completed in 2013&ndash;2014, following Jones&rsquo; uncommon habit of allowing work he considers incomplete to sit, sometimes for years, working back into them from time to time until he is satisfied with the results. Also included will be recently completed war drawings, and three new sculptures:&nbsp;<em>Doll House</em>,&nbsp;<em>Baby</em>, and&nbsp;<em>Rat Ball</em>.&nbsp;<em>Doll House</em>&nbsp;was constructed by Jones early in his career as a functional, three-level doll house. He later painted over the structure and created a labyrinthine war drawing inside, each floor housing a separate battle. This will be Jones&rsquo; seventh one-person exhibition at Pierogi.</p> <p>The &ldquo;Chinese Poetry&rdquo;?quote below suggests multiple possibilities and permutations of three simple words: &ldquo;mountain girl door.&rdquo; Jones&rsquo; vocabulary similarly draws on and expands into a multiplicity of visual possibilities and potential interpretations.</p> <p>Kim Jones&rsquo; work has been included in notable exhibitions such as&nbsp;<em>Connecting_Unfolding</em>&nbsp;(National Museum of Contemporary Art, Seoul, Korea. 2013);&nbsp;<em>Pacific Standard Time: Under the Big Black Sun, 1974-81</em>&nbsp;(the Geffen Contemporary at MoCA, LA. 2011);&nbsp;<em>Compass In Hand: Selections from the Judith Rothschild Foundation Contemporary Drawings Collection</em>&nbsp;(the Museum of Modern Art, NYC. 2009);&nbsp;&nbsp;<em>Collage: The Unmonumental Picture</em>&nbsp;(New Museum, NYC. 2008); the<em>52nd International Art Exhibition La Biennale di Venezia</em>&nbsp;(Venice. 2007);&nbsp;<em>Disparities &amp; Deformations: Our Grotesque</em>, (Site Santa Fe, NM. 2004), and;<em>&nbsp;Out of Actions: Between Performance and the Object</em>&nbsp;(Museum of Contemporary Art, Los Angeles, CA and MAK, Vienna. 1998). His work was the subject of a comprehensive traveling retrospective,&nbsp;<em>Mudman: The Odyssey of Kim Jones</em>. He is a 2009 United States Artists Fellow and has received fellowships and residencies from ArtPace (San Antonio, TX), the Sirius Art Center (Ireland), the American Academy in Rome and, the Mattress Factory (Pittsburgh, PA).</p> <p><strong>Chinese Poetry</strong></p> <p>&ldquo;The girl waits at the door of her house on the mountain.&rdquo;</p> <p>What it literally says is &ldquo;mountain girl door.&rdquo;</p> <p>So maybe</p> <p>A girl from the mountain is waiting outside my door.&nbsp; A girl climbs the mountain and comes to a door.</p> <p>To get the girl you have to go through a door into the mountain.</p> <p>The mountain is a door only a girl can open.</p> <p>The girl&rsquo;s as big as a mountain and can&rsquo;t get through the door.</p> <p>What&rsquo;s the next line?</p> <p>(From&nbsp;<em>Love and Information,</em>&nbsp;a play by Caryl Churchill; Nick Hern Books, London: 2012)</p> Fri, 18 Apr 2014 18:41:53 +0000 - Swiss Institute - May 1st 6:00 PM - 8:00 PM <p style="text-align: justify;">SI Director Simon Castets in conversation with renowned contemporary art conservator Christian Scheidemann about conservation challenges posed by postwar art. Scheidemann worked on the restoration and installation of Heidi Bucher's&nbsp;<em>Grande Albergo Brissago (Eingangsportal),</em>&nbsp;1987, on the occasion of the piece's first presentation in an institution.<br /><br />Christian Scheidemann, profiled in the New Yorker as&nbsp;<a href="" target="_blank" rel="nofollow">"The Art Doctor,"</a>&nbsp;is the Senior Conservator and President of Contemporary Conservation Ltd. He received his training in the conservation of medieval paintings and polychromed sculptures, as well as in art history, in Bonn, Germany. After further studies in conservation labs in museums (Pinakothek Munich, Kunsthalle Karlsruhe, Hamburger Kunsthalle), he opened his own practice in Hamburg in 1983. Since then, Christian has worked with some of the most important collections in Europe and specializes in the conservation of works from artists who have been charging non-traditional materials such as petroleum jelly, elephant dung, chewing gum, soap or chocolate with iconographic significance. Christian has lectured and published extensively on the conservation and on the meaning of material and process in contemporary art.</p> Fri, 18 Apr 2014 15:19:48 +0000 Lucy R. Lippard - Swiss Institute - April 28th 6:00 PM - 8:00 PM <p style="text-align: justify;">Award-winning author, curator, and activist Lucy R. Lippard is one of America&rsquo;s most influential writers on contemporary art, a pioneer in the fields of cultural geography, conceptualism, and feminist art. Hailed for "the breadth of her reading and the comprehensiveness with which she considers the things that define place" (The New York Times), Lippard now turns her keen eye to the politics of land use and art in an evolving New West.<br /><br />Working from her own lived experience in a New Mexico village and inspired by gravel pits in the landscape, Lippard weaves a number of fascinating themes&mdash;among them fracking, mining, land art, adobe buildings, ruins, Indian land rights, the Old West, tourism, photography, and water&mdash;into a tapestry that illuminates the relationship between culture and the land. From threatened Native American sacred sites to the history of uranium mining, she offers a skeptical examination of the "subterranean economy."<br /><br />Featuring more than two hundred gorgeous color images,&nbsp;<em>Undermining</em>is a must-read for anyone eager to explore a new way of understanding the relationship between art and place in a rapidly shifting society.<br /><br />The author will be present.</p> Fri, 18 Apr 2014 15:11:16 +0000 Wafaa Bilal - Driscoll Babcock - May 1st - June 14th <p><strong>DRISCOLL BABCOCK GALLERIES</strong> presents<strong><em> Wafaa Bilal: The Ashes Series, </em></strong>the artist&rsquo;s first solo exhibition with the gallery, featuring a suite of ten photographs and a durational performance piece. In this body of work, Bilal offers meditative and ephemeral moments which address erasure and violence in the aftermath of war. By re-visiting recent history, and altering the images of the past, he intentionally creates tension and incongruity, exploring the duality that exists between the sacred and the profane through photographic practice.</p> <p>Bilal&rsquo;s reconstructions are testaments to his landmark artistic innovations which integrate photography, technology, and the literal human body. In <strong>The Ashes Series</strong>, Bilal presents photographs of handmade models which he based on a collection of mass-syndicated images documenting the aftermath of Operation Iraqi Freedom. The human presence is represented by 21 grams of human ashes that reference the mythical weight lost by the departure of the soul from the body at the time of death. The resultant monochromatic whiteness of the ash adds to the unavoidable quietness&mdash;of a chair persistently standing amidst the rubble, Saddam Hussein's unmade bed, or a lone hospital pillow left behind.&nbsp; Yet this poetic act also troubles the serenity of the scenes, highlighting the afterimage of conflict and the proverbial dust that will never settle. &nbsp;</p> <p>In Bilal&rsquo;s durational performance piece, <strong style="font-size: 12px;">Erasing</strong>, the artist ritually selects a square to be cut and removed from a photographic image of Saddam Hussein&rsquo;s destroyed palace. He then archives the squares as if they were dissected specimens. These fragmented pieces of information call out for further investigation and understanding. Each detail of the process&mdash;from the artist&rsquo;s time of arrival, to the formal aspects of the selected square&mdash;is fully documented.&nbsp; Bilal&rsquo;s direct and particular interaction with the image allows him to revisit his native country of Iraq, from which he can no longer physically return, and create further distortion of the image through the filter of personal contemplation, while also inviting the public to engage in the profane from the safety of the gallery setting.&nbsp;</p> <p>A full-color catalogue accompanies the exhibition.&nbsp;</p> <p>&nbsp;</p> <p><span style="font-size: 12px; text-decoration: underline;">ABOUT WAFAA BILAL</span></p> <p>Wafaa Bilal has been exclusively represented by Driscoll Babcock Galleries since 2013. Bilal&rsquo;s work is represented in major public collections, including Mathaf: Arab Museum of Modern Art, Qatar; Museum of Contemporary Photography, Chicago; Milwaukee Art Museum; and the Los Angeles County Museum of Art, California. He has exhibited extensively in galleries and institutions throughout the world, including the US, Thailand, Iraq, the UK, Dubai, Lebanon, France, and Germany, and he has served on the panels of over twenty major global universities and institutions, including the Tate Modern, UK; Harvard University; Stanford University; Museum of Art and Design; the Global Art Forum, Qatar; and the Inter-Society for the Electronic Arts, Turkey. His work has been reviewed in major publications, including <em>ARTnews</em>&cedil; <em>Art in America</em>,<em> The New York Times</em>,<em> The Wall Street Journal</em>, and <em>Newsweek, </em>and he is the author of the critically-acclaimed 2008 publication <span style="text-decoration: underline;">Shoot an Iraqi: Arts, Life and Resistance Under the Gun</span>.</p> <p>Bilal graduated from the University of New Mexico and then obtained an MFA at the School of the Art Institute of Chicago. He currently lives and works in New York as an Associate Arts Professor at New York University&rsquo;s Tisch School of the Arts.</p> Fri, 18 Apr 2014 03:28:51 +0000 Harriet Bart, Jarrod Beck, Marylyn Dintenfass, Alice Hope, Sol LeWitt, Charles Lutz, Ryan and Trevor Oakes, James Scott - Driscoll Babcock - March 13th - April 26th <p><strong>DRISCOLL BABCOCK GALLERIES</strong> presents <strong><em>Logical Guesses</em></strong>, a group exhibition curated by House of the Nobleman. <strong><em>Logical Guesses</em></strong> features a diverse group of artists who express aesthetic variations through calculations, patterns, and equations. Favoring rational hypothesis over emotional development, these artists manipulate light and materials to explore the properties and illusions of space.</p> <p>Rather than spontaneity, these artists engage with specific rule systems and guidelines to perpetuate a unique engagement with object and form. These shared philosophies of production imbue their works with a sense of the absolute, inevitably linked through evolution, variation and dynamical phenomena, and their systematic processes elicit an innate consistency throughout the exhibition.</p> <p><strong><em>Logical Guesses</em></strong> features work by Harriet Bart, Jarrod Beck, Marylyn Dintenfass, Alice Hope, Sol Lewitt, Charles Lutz, Ryan and Trevor Oakes, and James Scott.</p> <p>Included in the exhibition is Jarrod Beck&rsquo;s monumental <strong>TERMINAL MORAINE</strong>, 2012. Using plaster, cast from drawings, as a three-dimensional substrate, Beck reprocesses materials in order to create new tools. The evolution of this work corresponds to a slow architecture, drawn full scale. Lines become form, each member dependent on the other. Through his methodic approach, organic and fixed patterns emerge, reflecting the natural order of creation.</p> <p>James Scott&rsquo;s multifaceted process of painting, model-making, and the flattening and folding of form, furthers this exploration of the nuances of spatial illusions. Scott&rsquo;s calculated engineering of two-dimensional and three-dimensional space creates perforated patterns of overlapping hyper-cubes which couple abstract drawing with architectural drafting. In <strong>UNTITLED 1</strong> and <strong>UNTITLED 2</strong>, 2013, light filters through precisely mapped holes, projecting overlapping images and shadows onto the adjoining walls and ceiling. As the intensity of light subtly changes throughout the course of the day, so do the dynamic characteristics of the work.&nbsp;</p> <p>Ryan and Trevor Oakes create highly detailed drawings, paintings, and sculptures that explore, among other topics, fundamental aspects of light and vision.&nbsp; Their works in this exhibition operate within the theory that by following consistent local rules complex global structures emerge.&nbsp; For example, <strong>MATCHSTICK DOME</strong>, 2014, emerges into a spherical shape as a result of packing individual matches side by side. Each of the 9000 matchsticks used in the piece point to a single focal point at the hollow center of the sphere. This emergent form is geometrically akin to the way light rays radiate from a single source, and the shape by which they are inversely received by the eye.&nbsp; Explorations such as this led to one of their central assertions; the human field of vision is spherical.</p> <p><span style="text-decoration: underline;">ABOUT HOUSE OF THE NOBLEMAN</span></p> <p>House of the Nobleman is a progressive curatorial and art advisory firm with offices in London and New York City. Founded in 2010, House of the Nobleman has established itself as an innovative and acclaimed organization specializing in cutting-edge curatorial projects, artist management, as well as a reputable adviser for elite clientele.</p> Fri, 18 Apr 2014 03:25:49 +0000 Group Show - MARC STRAUS - March 30th - April 27th <p>The perpetual struggle to find the right words to communicate meaning is often tantamount to shouting into a void. Trying to connect with a too-huge world frequently hinges on achieving a carefully balanced tone to allow recipients to read between the lines and grasp deeper, more subtle messages than those actually contained in the words. &nbsp;</p> <p>This exhibition assembles artworks featuring language that remains ambiguous. Statements that at first seem stern and commanding, but after further consideration begin to hover on the edge of playfulness. Works with wry, absurdist humor that come to feel darkly critical over time. The most mysterious are the shortest phrases where the least context is given and individual viewers are challenged to complete the stories based on their own experiences.&nbsp;</p> Fri, 18 Apr 2014 03:05:50 +0000 Christina Massey - DACIA GALLERY - April 24th - May 8th <p>Dacia Gallery is pleased to present Christina Massey&rsquo;s Salva Veritate solo exhibition. Christina&rsquo;s works depict the unharmed truth about the economic recession, bank bailouts and the emotional strains placed upon innocent families in the wake of its aftermath.&nbsp; Her works are physical fragments of the new and old, success and failure.&nbsp; They are also bits and pieces of her own past and present, likes and dislikes. Through donated business attire from banks and corporate employees, Christina re-purposed this fabric and hand stitched it together with sections of her own failed works on canvas. The results are organic, quilt-like surfaces made from painted canvas where the sometimes subtle, sometimes obvious influence of the khakis, collared shirts and nylons lay within the composition as reminders of the ever present influence of money on the creation and promotion of art.</p> <p>ARTIST STATEMENT</p> <p>Using methods of constructing and deconstructing, I am constantly re-using and re-purposing my own artwork. One series literally leads to another, where previous series of works are cut, torn and sewn or woven back together again into new series of works, which may again be reconstructed into yet another art form.&nbsp; The past is always present in both current and future works, and they tell a story of my progression as an artist.I often use word play, theatrics and general political topics as a way to communicate opinions that ultimately define an observation about the art world itself.&nbsp; Painting as a medium, having taken the largest &ldquo;beating&rdquo; so to speak from the critical art world has been my primary focus of material, be it acrylic, oil or watercolor on either paper or canvas.&nbsp; I &ldquo;kill&rdquo; my traditionally framed paintings by cutting and tearing them apart, then mend them together by thread, a series of knots or weaving them together again giving them new life as a different form.How I choose what works to re-work, and what works to remain is a difficult process.&nbsp; Often it is work that has sat around for too long, perhaps &ldquo;failed&rdquo; in some way, by not showing or selling or simply no longer satisfying my creative desires.&nbsp; There are &ldquo;favorites&rdquo; so to speak that will stick around for years and not be touched, however, on occasion, even these &ldquo;favorites&rdquo; sometimes get the axe if it&rsquo;s what I feel the new work requires.&nbsp; It&rsquo;s a therapeutic process of letting go in order to move forward.&nbsp; Ultimately, any work that I have created in the past is subject to be re-worked again in the future in some way shape or form as my own tastes and opinions change, my body of work continues to evolve with me.</p> Fri, 18 Apr 2014 02:49:56 +0000 John Powers - Postmasters - April 26th - June 7th <p>For the month of May, sculptor John Powers&nbsp;will use Postmasters Gallery as a studio, and combine his strategies of temporary public&nbsp;work and permanent studio work. Beginning with raw material, an entire show will develop daily. Working simultaneously in polystyrene, steel, plywood, paper and phenolic resin blocks, Powers will stack, construct and collage a series of individual works. Powers will construct wall pieces, floor pieces, reliefs, towers and carpets.<br /> &nbsp;<br /> Rather than site-specific, each will be conceived, each day, as part of the whole.&nbsp;Each day will be a new show, that will vanish under the next days' work. Returning visitors to the gallery will be able to track the show's progress, as will those on social media, who can follow changes via the artist's twitter, Instagram, and tumblr accounts -&nbsp;for the Month of May,&nbsp;each will be dedicated to updating different aspects of the show.&nbsp;Only for the last week of the show (June 1-7), after the closing reception (May 31), will the work stop, allowing the show to lay fallow.<br /> &nbsp;<br /> For the past two decades, Powers has split his work between permanent-built studio work, and temporary freestanding installations, all built from identically shaped blocks. Made of plywood, polystyrene, steel, resin composites, PVC, paper and other materials; and ranging in size from tiny slivers to furniture-scale, all of the blocks Powers uses are cut to the same proportion: 1 x 2 x 3.<br /> &nbsp;<br /> In the studio he has glued, drilled, welded and cast blocks to make intricate objects intended to last; to be passed from hand to hand; to move place to place. Working in public, he has stacked them to make ephemeral accumulations, intended for the audience that happens to be at that one spot at that particular time. Rather than describing these works as site-specific, Powers thinks of them as specific to a moment in time.<br /> &nbsp;<br /> At the end of April, Powers will have entirely moved out of the studio he has maintained in Industry City for the past ten years. Forced out of the facility by a tripling in rent, the change has meant he has had to sort through a great deal of old work. Handiwork of a younger artist, as different from him now as a foreigner from another country.&nbsp;<br /> &nbsp;<br /> For Powers the choice to work with a single shape for the past 19 years, was to unite the country of the past, with that of the future; to make explicit that each thing he makes, are slivers in time.&nbsp;<br /> &nbsp;<br /> Almost 50 years ago, the artist Robert Smithson observed that &ldquo;the process behind the making of a storage facility may be viewed in stages, thus constituting a whole &lsquo;series&rsquo; of works of art from the ground up."&nbsp;<br /> &nbsp;<br /> Smithson's concept of "discrete stage abstractions" resonates with Powers because so much of the work he does is buried beneath the additive process of making his art. Powers thinks of his own work in a similar vein, except where the 60s earth artist pointed to the possibility of aestheticizing large scale industrial processes&mdash;like dam&nbsp;construction&mdash;where the final outcome&nbsp;predetermines&nbsp;everything that comes before&nbsp;it, Powers is more interested in the discrete stages of more idiosyncratic development.&nbsp;<br /> &nbsp;<br /> "Land surveying and preliminary building if isolated into discrete stages may be viewed as an array of art works that vanish as they develop.&rdquo; Smithson cooly observed. Likewise, for Powers, sculpture develops as an array, but not as an array of predetermined tasks&mdash;like the processes Smithson was enamored with. For Powers, sculpture begins&mdash;not with the image of a final object&mdash;but with an initial condition. Moving outwards, in a series of small improvisation, each one, a possible end point; each an opening on to another improvisation.&nbsp;<br /> &nbsp;<br /> For&nbsp;<em>+time</em>, Powers will bring that ethic to the gallery. Each day will be a complete show, a discrete stage, but each day will also be an opening onto the next day's work; an initial condition.<br /> <em>+time</em>&nbsp;will be the first exhibition of John Powers at Postmasters.</p> Fri, 18 Apr 2014 02:36:00 +0000 Eva Mattes, Franco Mattes - Postmasters - April 26th - June 7th <p><a href="" target="_blank"><img src="" alt="" /></a></p> <p>Born in 1976, now based in New York, Eva and Franco Mattes, (a.k.a. 0100101110101101.ORG) have been pioneers in the movement remixing famous digital art pieces and performing Life Sharing: a real-time digital self portrait, during which they submitted to satellite surveillance for an entire year. In the last decade they have created unpredictable mass-scale performances staged outside the traditional art venues and involving an unaware audience, where truth and falsehood mix to the point of being indistinguishable. They created and released the code for a computer virus, erected fake architectural heritage signs, run media campaigns for non-existent action movies (United We Stand), and even convinced the entire populace of Vienna that Nike had purchased the city's historic Karlsplatz and was about to rename it "Nikeplatz". They stole art, and stole other artists&rsquo; names, went to Chernobyl and faked suicide in Chatroulette. Their controversial performances, often bordering on illegality, have been widely discussed in the media earning them the name &ldquo;Bonnie and Clyde of Contemporary Art&rdquo;.</p> Fri, 18 Apr 2014 02:31:34 +0000 David Horvitz - New Museum - May 7th - June 29th <p>In his practice, Horvitz grapples with time and standardized measurements, and the shifts that occur when natural phenomena are subjected to manmade systems and vice versa. Unfolding as concrete actions, Horvitz&rsquo;s works are often ongoing or self-generating projects. Taking advantage of diverse systems of circulation, he gathers and disperses images and objects through media such as the internet, the postal system, libraries, and airport lost and found services. Optimistically alluding to the possibility of an alternative logic, Horvitz exploits the structures in place around him as much as he deliberately counters patterns derived from professionalization and efficiency.</p> <p>Titled &ldquo;Gnomons&rdquo; after the device on a sundial, which effectively produced the first image of time in the form of a shadow, Horvitz&rsquo;s presentation includes the work <em>Let us keep our own noon</em> (2013), consisting of forty-seven handbells created through the remelting of a French church bell dating back to 1742. The work is activated by forty-seven performers who, at local noon (when the sun is positioned exactly above the New Museum), collectively ring the bells and then disperse throughout the building and out onto the surrounding streets of the Museum. Referencing the bygone practice of navigating time according to the position of the sun, the work reminds us that our daily rhythms are not solely determined by tradition and locality, but also rooted in global forces. In another work, <em>The Distance of a Day</em> (2013), Horvitz journeyed halfway around the world to the exact location where he could see the sunrise in the same moment that his mother was watching the sunset in California. Rather than emphasizing the result of a journey or the duality of here and there, Horvitz creates an image of the measurement that separates two people in time&mdash;exactly one day.</p> <p>David Horvitz was born in California in 1982 and lives in Brooklyn. Recent solo exhibitions include: concurrent shows at Jan Mot, Brussels, and Dawid Radziszewski Gallery, Warsaw; Peter Amby, Copenhagen; Statements, Art Basel; Kunsthal Charlottenborg, Copenhagen; and Chert, Berlin. His work has been shown at EVA International 2014, Glasgow International 2014, LIAF 2013, MoMA, The Kitchen, and the New Museum. In New York, he has realized projects with Recess, Clocktower Gallery, post at MoMA, Printed Matter, Rhizome, and Triple Canopy. Recent artist books include <em>The Distance of a Day</em> (2013; Motto Books &amp; Chert) and <em>Sad, Depressed, People</em>, (2012; New Documents). He has received the Rema Hort Mann Grant in 2011 and was nominated for the Discovery Award at Les Rencontres d&rsquo;Arles in 2011. In 2013, he founded Porcino gallery in Berlin. This summer, he will have his first solo exhibition at Blum &amp; Poe, Los Angeles.</p> Fri, 18 Apr 2014 02:11:37 +0000