ArtSlant - Recently added en-us 40 Group Show - Murray Guy - November 3rd - December 3rd Wed, 26 Oct 2016 13:45:36 +0000 Æthelred Eldridge - Essex Flowers - October 21st - November 20th <p style="text-align: justify;"><strong>Essex&nbsp;Flowers</strong>&nbsp;presents the first NY solo exhibition of&nbsp;<strong>&AElig;thelred&nbsp;Eldridge</strong>&nbsp;in 30 years.</p> <p style="text-align: justify;">
The exhibition focuses on just over three decades of the artist&rsquo;s output from 1970 - 2005. On view will be a wallpaper presentation of black and white works from the 1980s through the early 2,000s and framed color paintings on paper from the 1970s.</p> <p style="text-align: justify;">Eldridge (b. 1930 Monroe, MI) is a legend in Athens County, Ohio where he has lived, worked, and taught for over 50 years. He was an associate professor from 1957-2014 at the Ohio University School of Art where his iconic work remains on view as a 50 by 80 foot black and white mural at the school&rsquo;s Seigfred Hall. Using the last and current iteration of this mural as inspiration, the gallery will feature wall-to-wall reproductions of the artist&rsquo;s&nbsp;<em>&AElig;thograms</em>&nbsp;- black and white works that feature conglomerated symbols, figures, and drawn texts that take on an autopsical approach to the English language. Eldridge creates provocative messages that weave together Blakian, Celtic, Pre-Roman British, and his own deeply coded mythologies. These at once stark and humorous works take on prophetic tones, often political in nature, and are rattling, energizing, and relevant in their pointed critique of civilization.</p> <p style="text-align: justify;">
Eldridge self-published thousands of his &AElig;thograms into what he calls Invective Pamphlets - small, zine- like, booklets that serve as trail markers for the artists prolific, almost frenzied production. He is listed in the Dictionary of the Avant-Gardes, which characterizes his works as:</p> <p style="text-align: justify;">
</p> <p class="qoute" style="text-align: justify;">&ldquo;cryptically pedantic, and at times autobiographical, all within his own mythopoeia...
Similar to the texts accompanying his images, his class lectures are themselves works of art. &AElig;thelred weaves playful, sometimes invective speech tapestries with outlandish word associations electrically charged phonetics, and scrambled catchphrases that succeed or fail with his often baffled listeners.&rdquo;
<br />- Michael Peters</p> <p style="text-align: justify;">
Eldridge&rsquo;s work exists somewhere in-between the folk and academic traditions and is entwined in every aspect of his life. In the 1960s he purchased land in Millfield, Ohio below Mt. Nebo, a spiritual mecca since the 1830s. This secluded acreage is where he restored a log cabin originally built by the spiritualist Koons family to house their famous seances. He calls this homestead Golgonooza after the great city of imagination, art, and science in Blake&rsquo;sJerusalem. On this property, &AElig;thelred founded the&nbsp;<em>Golgonooza Church and School of William Blake</em>&nbsp;and regularly held &ldquo;happening-like&rdquo; gatherings and ceremonies up until the late 1980s. Over the decades he has constructed additional wings to the original cabin, completely on his own, in a style that can be described as Tudor meets Dr.Caligari. At 86 he is still living alone in his sculptural dwelling, which has only well water and outhouses, a fireplace for heating, and a few electric lights. A live video feed of &AElig;thelred in his home will accompany the exhibition.</p> <p style="text-align: justify;">For inquiries please contact R. Blair Sullivan at the gallery email or by phone at&nbsp;740-243-2228&nbsp;</p> Wed, 26 Oct 2016 11:01:31 +0000 - Elizabeth Dee Gallery - October 29th - December 17th Wed, 26 Oct 2016 10:55:12 +0000 - Elizabeth Dee Gallery - November 3rd 6:30 PM - 8:00 PM <p style="text-align: justify;">Please join us at the gallery for a conversation with Susan E. Cahan, author of Mounting Frustration: The Art Museum in the Age of Black Power. This event is part of the Department of Art History and Archaeology, Columbia University&rsquo;s MA Program in Modern and Contemporary Art: Critical and Curatorial Studies (MODA) Fall Colloquium series.<br /> <br /> In her new book, Cahan investigates the strategies African<br /> American artists and museum professionals employed as they fought over access to and direction of New York City&rsquo;s elite museums. Drawing on numerous interviews with artists and analyses of internal museum documents, the book offers a detailed and at times surprising picture of institutional and social forces that both drove and inhibited racial equality in New York&rsquo;s museums.<br /> <br /> Susan E. Cahan is Associate Dean and Dean of the Arts at Yale College, the editor of I Remember Heaven: Jim Hodges and Andy Warhol, and the coeditor of Contemporary Art and Multicultural Education. She has directed programs at the New Museum of Contemporary Art, the Museum of Modern Art and the Peter Norton Family Foundation.<br /> <br /> Space is limited, please RSVP to<br /> <br /> Refreshments will be provided with the kind sponsorship of Harlem Brewing Company.</p> Wed, 26 Oct 2016 10:47:59 +0000 Klaus Weber - Andrew Kreps Gallery @ 535 West 22nd - November 4th - December 21st Wed, 26 Oct 2016 10:32:37 +0000 - Danese/Corey - November 18th - December 23rd Tue, 25 Oct 2016 15:42:49 +0000 Andy Harper - Danese/Corey - November 18th - December 23rd Tue, 25 Oct 2016 15:40:01 +0000 Helen Lundeberg - Cristin Tierney Gallery - November 3rd - December 17th <p style="text-align: justify;">Cristin Tierney Gallery is pleased to present <em>Classic Attitude, </em>an exhibition of hard-edged abstract paintings from the early 1960s by Helen Lundeberg. <em>Classic Attitude&nbsp;</em>opens on Thursday, November 3rd with a reception from 6:00 to 8:00 pm. This is the gallery&rsquo;s first exhibition of Lundeberg&rsquo;s work.</p> <p style="text-align: justify;">Helen Lundeberg was a leading figure of west coast abstraction in the post-war era. An active painter and writer, she was at the epicenter of a dynamic group of Los Angeles artists and critics that included Lorser Feitelson, Karl Benjamin, Jules Langsner, John McLaughlin, and Frederick Hammersley. Along with her peers, Lundeberg&rsquo;s work formed the core of what later became known as California hardedged painting. Although her contributions to American abstraction have long been recognized on the west coast, Lundeberg has yet to receive her due in the east.</p> <p style="text-align: justify;">In the 1960s Lundeberg created a body of work considered to be her finest and most distinct. Distilled to essential elements of line, color, and space, her hard-edged paintings from this period effect a coherence of composition that borders on the sublime. <em>Classic Attitude </em>presents a selection of paintings from this moment, featuring works that are united by their compositional balance, subtleties of color, and pictorial refinement. The title of the exhibition derives from a statement Lundeberg wrote for a 1942 exhibition at MoMA:</p> <p style="text-align: justify;">By classicism I mean, not traditionalism of any sort, but a highly conscious concern with esthetic structure which is the antithesis of intuitive, romantic, or realistic approaches to painting. My aim, realized or not, is to calculate, and reconsider, every element in a painting with regard to its function in the whole organization. That, I believe, is the classic attitude.1</p> <p style="text-align: justify;">Lundeberg&rsquo;s attention to formal elements such as balance and color connect her to a previous generation of abstract artists, including Henri Matisse, Piet Mondrian, and Josef Albers. Similarly, her reductive forms, flat surfaces, and spare compositions link her to contemporaries such as Ad Reinhardt, Ellsworth Kelly, and Agnes Martin. But unlike these other artists, Lundeberg's vision of abstraction remained connected to the world around her. In <em>Desert Road, </em>Lundeberg&rsquo;s flat, unmodulated swaths of color coalesce to form the view suggested by the painting&rsquo;s title. Dramatic landscapes and architectural vistas such as these were composed of forms remembered&mdash;things "imagined rather than 'seen,'" as she stated later in life.2 The works presented in&nbsp;<em>Classic Attitude </em>encapsulate Lundeberg&rsquo;s uniquely classic approach, and underscore her rightful place in the art historical canon.</p> <p style="text-align: justify;">Helen Lundeberg (1908-1999) was born in Chicago and graduated from Pasadena City College in 1930. She co-founded the movement Subjective Classicism, also known as Post Surrealism, before becoming an integral part of the west coast abstract circle.</p> <p style="text-align: justify;">In spring 2016 The Laguna Art Museum presented a retrospective of her work. She has also had solo exhibitions at The Fresno Art Museum, Los Angeles County Museum of Art, University Art Museum in Santa Barbara, Long Beach Museum of Art, and Santa Barbara Museum of Art. Her work is included in the permanent collections of The Los Angeles County Museum of Art, Smithsonian American Art Museum, Norton Simon Museum, San Francisco Museum of Modern Art, Laguna Art Museum, Museum of Contemporary Art in San Diego, Museum of Fine Arts in Boston, Orange County Museum of Art, Hirshhorn Museum and Sculpture Garden, San Diego Museum of Art, Oakland Museum, Norton Museum of Art, Georgia Museum of Art, and Fresno Art Museum.</p> <p style="text-align: justify;">For more information please contact Candace Moeller at +1.212.594.0550 or;</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">1 Helen Lundeberg, statement in Dorothy Miller, editor. <em>Americans 1942: 18 Artists from 9 States. </em>New York: Museum of Modern Art, 1942. Page 93.</p> <p style="text-align: justify;">2 Helen Lundeberg, letter to Lea Rosson DeLong, August 3, 1982, box 2, folder 35, Feitelson and Lundeberg papers.</p> Tue, 25 Oct 2016 15:28:54 +0000 CarolC, Stratus Quartet, Dale Novella, Lourdes Bernard, Perez Folds, Las Queens Clothing - Jamaica Center for Arts and Learning - November 4th 7:00 PM - 9:00 PM <p>The JCAL First Friday Residency Series aims to provide an inviting and nurturing environment for artists in need of a platform to exhibit their work.&nbsp;Musicians, Poets &amp; Writers, Performers, Visual Artists&nbsp;are&nbsp;welcome to submit concepts of unfinished work to be refined at JCAL. Selected artists will &nbsp;present on the First Friday of every month.</p> Mon, 24 Oct 2016 20:48:22 +0000 Miquel Barcelo - Acquavella Galleries - October 27th - December 9th <p class="p1">Acquavella Galleries is pleased to present an exhibition of new works by acclaimed Spanish artist Miquel Barcel&oacute;. This is the artist&rsquo;s second exhibition at the gallery, and will feature two new series of paintings and a selection of new ceramic works. The exhibition is on view from October 27 to December 9, 2016 at 18 East 79th Street, New York City.</p> <p class="p1">In his paintings, Barcel&oacute; returns to two subjects that have continued to inspire the Mallorcan artist throughout his career&ndash; his love of the sea and the spirit of the bullfight. His intensely-colored seascapes and corrida paintings apply meticulous layers of mixed media to realize heavily impastoed canvases, while his ceramics evoke organic forms.</p> Mon, 24 Oct 2016 18:26:12 +0000 Cheng Ran - New Museum - October 19th - January 15th, 2017 <div id="about" class="anchors"> <div class="section"> <div class="inner clearfix"> <div class="content"> <div class="body body--truncated body--expanded"> <p style="text-align: justify;">For his first solo museum exhibition in the United States, Cheng Ran debuts a new multi-video installation in the New Museum&rsquo;s Lobby Gallery.</p> <p style="text-align: justify;">Cheng Ran (b. 1981, Inner Mongolia, China) is one of the most promising Chinese artists of his generation. Since 2005, Cheng has been producing film and video works that draw widely from both Western and Chinese literature, poetry, cinema, and visual culture, fabricating new narratives that combine myths and historical events. &ldquo;Cheng Ran: Diary of a Madman&rdquo; marks the culmination of his three-month residency at the New Museum, initiated in partnership with K11 Art Foundation.</p> <p style="text-align: justify;">The exhibition borrows its title from what is widely considered China&rsquo;s first modern short story, written by Lu Xun in 1918. Just as Lu Xun&rsquo;s story comprises first-person narratives of a character at the margins of society who gradually turns mad, Cheng&rsquo;s fifteen new videos take the form of diaristic vignettes that reveal a larger assessment of a foreign place through the eyes of an outsider. As a first-time visitor to the United States, Cheng approaches New York already familiar with iconic and cinematic images of the city, simultaneously intending to find and capture what is typically excluded from such views.</p> <p style="text-align: justify;">Cheng&rsquo;s earliest works, shot entirely in the confines of his apartment, attempted to make compelling the ordinary and unspectacular aspects of his immediate environment. Inspired by filmmakers such as Werner Herzog, Jim Jarmusch, and B&eacute;la Tarr, Cheng&rsquo;s subsequent films and videos often registered his curiosity as he observed the overlooked and incongruous aspects of everyday life and chronicled his interactions with remote and historic sites. His new multi-video work,&nbsp;<em>Diary of a Madman</em>&nbsp;(2016), includes imagery from his early morning explorations of New York City streets, a trip to the Staten Island Bay, and a visit to an abandoned psychiatric hospital on Long Island, exposing his sense of estrangement amid his encounters with uncelebrated and obscure facets of the city.</p> <p style="text-align: justify;">Embracing a long lineage of experimental cinema, Cheng&rsquo;s new work follows the making of his nine-hour epic&nbsp;<em>In Course of the Miraculous</em>&nbsp;(2015), which imagines the stories behind three real-life mysterious disappearances. These include British mountaineer George Mallory, who went missing while ascending Mount Everest in 1924; artist Bas Jan Ader, who vanished during his 1975 journey across the Atlantic as part of a performance titled&nbsp;<em>In Search of the Miraculous</em>; and the Chinese fishing trawler Lu Rong Yu no. 2682, which in 2011 returned to land after eight months with only one-third of its original crew still alive. With a narrative inspired by fables and mythic literature, Cheng reinterprets the title of Ader&rsquo;s final work, and in doing so, reflects on his paradoxical pursuit of the inexplicable or unimaginable parts of history.&nbsp;<em>In Course of the Miraculous</em>&nbsp;will be screened on select days in the New Museum Theater.</p> <p style="text-align: justify;">The exhibition is curated by Helga Christoffersen, Assistant Curator, and Massimiliano Gioni,&nbsp;<em>Edlis Neeson Artistic Director</em>.</p> <p style="text-align: justify;">Cheng Ran was born in 1981 in Inner Mongolia, China, and lives and works in Hangzhou, China. His work has been featured in numerous biennials and group exhibitions, including &ldquo;SALTWATER: a Theory of Thought Forms,&rdquo; the 14th Istanbul Biennial (2015); &ldquo;When I Give, I Give Myself,&rdquo; the Van Gogh Museum, Amsterdam (2015); &ldquo;Inside China &ndash; L&rsquo;Int&eacute;rieur du G&eacute;ant,&rdquo; chi K11 art museum, Shanghai (2015), K11 Art Foundation Pop-Up Space, Hong Kong (2015), and Palais de Tokyo, Paris (2014); the 8th Shenzhen Sculpture Biennial, China (2014); &ldquo;ON|OFF: China&rsquo;s Young Artists in Concept and Practice,&rdquo; Ullens Center for Contemporary Art, Beijing (2013); the 26th European Media Art Festival, Osnabr&uuml;ck, Germany (2013); and &ldquo;Video Art in China &ndash;&nbsp;MADATAC,&rdquo; Museo Nacional Centro de Arte Reina Sof&iacute;a, Madrid (2011). Cheng Ran&rsquo;s recent solo exhibitions include &ldquo;In Course of the Miraculous&rdquo; at the K11 Art Foundation, Hong Kong (2016), and &ldquo;Cinematheque: Music is On, Band is Gone&rdquo; at chi K11 art museum, Shanghai, and Galerie Urs Meile, Beijing and Lucerne, Switzerland (2015). His other solo shows have been presented at: Unlimited, Basel, Switzerland (2016); Qiao Space, Shanghai (2016); Armada, Milan (2015); and Leo Xu Projects, Shanghai (2014). Cheng Ran was nominated for the first edition of the&nbsp;OCAT&nbsp;&amp; Pierre Huber Art Prize in 2014 and the Absolut Art Award in 2013, and was named the &ldquo;Best Video Artist&rdquo; by the art magazine Radian in 2011.</p> <div id="sponsors" style="text-align: justify;">&nbsp;</div> </div> </div> </div> </div> </div> <div class="section"> <div class="inner"> <div class="content clearfix"> <div class="col-twothirds sponsors-col"> <h2 style="text-align: justify;">Sponsors</h2> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">&ldquo;Cheng Ran: Diary of a Madman&rdquo; is copresented by the New Museum and K11 Art Foundation.</p> <p><img src="" alt="" width="187" height="113" /></p> </div> </div> </div> </div> <p>&nbsp;</p> Mon, 24 Oct 2016 15:27:58 +0000 Group Show - ACA Galleries, Est 1932 - November 10th - December 22nd Sat, 22 Oct 2016 19:02:31 +0000 Matthew Brandt - Yossi Milo Gallery - November 3rd - January 21st, 2017 <p style="text-align: justify;">Yossi Milo Gallery is pleased to announce an exhibition of new work by Matthew Brandt, on view from November 3, 2016, through January 21, 2017, with a reception for the artist on Thursday, November 3 from 6:00 &ndash; 8:00pm. The artist&rsquo;s third exhibition at the gallery, <cite>River and Sky</cite>, will feature new large-scale light boxes and a suite of gelatin silver prints taken in Flint, Michigan, paired with recent works from his <cite>Night Skies</cite> series made with cocaine and black velvet.</p> <p style="text-align: justify;">In two new bodies of work <cite>Stepping Stone Falls</cite> and <cite>Bridges over Flint</cite>, Brandt pivots away from the natural world of bees, trees, lakes and reservoirs that comprised both the materials and subjects of his previous series, towards the built environments of Flint, Michigan. Having visited and worked in Flint shortly after its water crisis was uncovered, the artist was struck by the contrast of the solid, Brutalist architecture of Flint&rsquo;s dam at Stepping Stone Falls, a manufactured waterfall, with the natural flow of the river running through it. After photographing the Falls, Brandt color-separated the large-scale photographs onto three individual Duraclear sheets and placed them in a pump system with the collected Flint River water continuously flowing over each, wearing away the images and creating fluid patterns of erosion. After several weeks, the artist reassembled the cyan, magenta and yellow layers in an LED light box typically used for retail display signage or commercial advertisements. Each is a depiction of the original scene of moving water, partially created by moving water, continuing the artist&rsquo;s interest in fusing a photograph's subject with its medium.</p> <p style="text-align: justify;"><cite>River and Sky</cite> will also include <cite>Bridges over Flint</cite>, a collection of 24 gelatin silver prints depicting the city&rsquo;s multiple bridges by which the Flint River is traversed and bypassed. The 8&rdquo; x 10&rdquo; photographs are developed with the water drawn through household taps in Flint, along with lead and other contaminants that pervade the city's water supply. The unknown and varied effects of these impurities on the prints mirror the uncertainty the water represents to the residents. Depending on the length of submersion and ingredients such as Vitamin C, bleach or red wine added by Brandt to the water, the prints are graded in tone and installed in order from light to dark.</p> <p style="text-align: justify;">In contrast to the specific location of Flint, Michigan, the exhibition broadens in scope to the dimensions of the universe. In the series <cite>Night Skies</cite>, the artist compresses the expanses of cosmic space into the sphere of human activity by recreating photographs of distant galaxies with the unconventional materials of cocaine on black photographer&rsquo;s velvet. Addressing the far- reaching history of astronomic illustration, and suggestive of the perceptual distortions necessary to comprehend the vastness of the universe, <cite>Night Skies</cite> presents a material exploration of the boundaries between what is observed and what is imagined. Each circular piece is named for the astronomical body depicted according to its number in the New General Catalogue of Nebulae and Clusters of Stars (NGC), an attempt begun in the 19th-century to organize infinity and understand the unknown.</p> <p style="text-align: justify;">Work by Matthew Brandt is in the permanent collections of Metropolitan Museum of Art, New York; National Gallery of Art, Washington, DC; J. Paul Getty Museum, Los Angeles; Brooklyn Museum, New York; Art Gallery of South Wales, Sydney, Australia; Virginia Museum of Fine Arts, Richmond; Cincinnati Art Museum; Los Angeles County Museum of Art; Hammer Museum, Los Angeles; Royal Danish Library, National Museum of Photography, Copenhagen; and the Columbus Museum of Art, among others. Matthew Brandt was one of seven artists featured in the 2015 exhibition at the J. Paul Getty Museum, Los Angeles, <cite>Light, Paper, Process: Reinventing Photography</cite>. A solo exhibition of his work, <cite>Sticky/Dusty/Wet</cite>, was presented by the Columbus Museum of Art and traveled to the Virginia Museum of Contemporary Art in 2014. Brandt's first monograph, <cite>Lakes and Reservoirs</cite>, co-published by Damiani and Yossi Milo Gallery, was released in Fall 2014. Brandt was born in California in 1982, received his BFA from The Cooper Union in New York and his MFA from UCLA. He currently lives and works in Los Angeles.</p> Sat, 22 Oct 2016 15:35:17 +0000 Denzil Forrester - White Columns - November 2nd - December 17th Sat, 22 Oct 2016 15:31:10 +0000 Denzil Forrester - White Columns - November 2nd - December 17th Sat, 22 Oct 2016 15:31:05 +0000 Craig Manister - The Painting Center - November 1st - November 26th <p style="text-align: justify;">The Painting Center is pleased to show new work by <strong>Craig Manister</strong>. Manister&rsquo;s path, from his early work as an abstractionist and former student of Pat Passlof and Milton Resnick, was enhanced by extensive European travel to see many seminal paintings in person, and developed in stages toward making paintings of things in the real world. The new paintings continue to exploit issues raised while teaching a class in still life painting in order to find resolutions to the problems students were finding themselves in with their paintings. The work is perceptual in approach, hence the subtitle of the exhibition <em>Slow Looking</em>. Manister tells students that while we can see well enough to pass down the hallways without walking into the walls, that in itself does not constitute the kind of seeing necessary for painting. A successful painting is like alchemy, as it filters perceptual phenomena with classical formal qualities, art historical precedents and a truce of opposites, to find an unexpected pictorial solution of opposing forces. When a painting finds itself it&rsquo;s magical. It becomes a marriage of disparate qualities to form a unity that is beautiful but pictorially coherent.</p> <p style="text-align: justify;">Among the places Manister has shown work are the National Academy Museum, Beijing Art Institute, Mei Shu Guan Art Museum, Elizabeth Harris Gallery, New York Studio School, Staten Island Museum, Newhouse Center for Contemporary Art, Neilsen Gallery, Farleigh Dickinson University, Wagner College, Ober Gallery, and the Gallery of the College of Staten Island/CUNY. He was included in After the Fall; A Survey of Abstract Painting Since 1970, curated by Lily Wei, at the Newhouse Center for Contemporary Art in 1996. The current exhibition is the fourth time Manister has shown a body of work at The Painting Center.</p> <p style="text-align: justify;"><em>Manister was born in New York City and currently lives and maintains a studio on Staten Island. He earned a BS degree at Richmond College/CUNY and then spent two years at the New York Studio School. He completed an MFA degree later at Brooklyn College/CUNY. He teaches studio painting at the College of Staten Island/CUNY.</em></p> Sat, 22 Oct 2016 15:26:06 +0000