ArtSlant - Current exhibits en-us 40 Doug Aitken - 303 Gallery - February 1st, 2013 - March 30th, 2013 <div class="grid_10"> <p style="text-align: justify;"><span style="font-size: small;">Central to Doug Aitken's "100 YRS" exhibition is a new "Sonic Fountain," in which water drips from 5 rods suspended from the ceiling, falling into a concrete crater dug out of the gallery floor. The flow of water itself is controlled so as to create specific rhythmic patterns that will morph, collapse and overlap in shifting combinations of speed and volume, lending the physical phenomenon the variable symphonic structure of song. The water itself appears milky white, as if imbued and chemically altered by its aural properties, a basic substance turned supernatural. The amplified sound of droplets conjures the arrhythmia of breathing, and along with the pool's primordial glow, the fountain creates its own sonic system of tracking time.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Behind a cavernous opening carved into the gallery's west wall is "Sunset (black)," a sculptural work that resembles cast lava rock in texture and spells out the word SUNSET as it glows from behind, its letters forming a relic of the entropy and displacement inherent in the literal idea of a sunset. Viewed from and obscured behind a hole in the wall, the sculpture appears as cosmic debris, as if pulled from a parallel world where a sunset is only an idea, obfuscated by detritus of the age of post-everything, a reductionist standpoint between the modes of pop and minimalism, its glow fading into the next realm. Also on view is the mirrored sculpture "MORE (shattered pour)". Like a time-piece, the work creates a kaleidoscope of reflections of all that surrounds it. As if it were a fragmented film, "MORE (shattered pour)" creates a literal manifestation of the present and aspirational escapism, which cannot be viewed without glimpsing a piece of one's self within the work's reflections. Another refraction of time is glimpsed through "Fountain (Earth Fountain)", created from plexiglas letters spelling the word "ART", through which a slurry of moist dirt is pumped, physical earth perpetually redoubling and standing in for itself. The word ART itself subverts the entropy of time, creating a holding pattern that organic matter cannot escape from. The flickering lightbox "not enough time in the day" completes the communicative supercurrent of shimmering malaise, its letters overlapping as if seen inebriated, somehow both more profound and less understandable. The work creates a cycle that is both hypnotic and inescapable.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Doug Aitken lives and works in Los Angeles and and New York. In March 2013, the Seattle Art Museum will install "Mirror," a monumental new commission made of LED's, permanently installed on the museum's facade, while the Miami Art Museum will reopen its new building with the outdoor large scale projection of "sleepwalkers (miami)." In addition, SFMOMA in San Francisco is making plans for a large-scale citywide installation of Aitken's Empire Trilogy in site-specific locations. Aitken's work has been featured in numerous solo and group exhibitions around the world, in such institutions as the Serpentine Gallery in London, the Vienna Secession, and the Centre Georges Pompidou in Paris. He participated in the Whitney Biennial 1997 and 2000 and earned the International Prize at the Venice Biennale in 1999. Aitken's "Sleepwalkers" exhibition at MoMA in 2007 transformed an entire block of Manhattan into a cinematic experience as he covered the museum's exterior walls with projections. In 2009, his Sonic Pavilion opened to the public in the forested hills of Brazil at INHOTIM. Continuing his work in innovative outdoor projects, Aitken presented his film and architecture installation "Frontier" on Rome's Isola Tiberina in 2009, the multiform artwork "Black Mirror" on a uniquely designed barge floating off Athens and Hydra Island in 2011, and "Song 1" projected onto the circular facade of the Hirshhorn Museum in Washington, DC in 2012.</span></p> </div> Mon, 01 Apr 2013 21:43:42 +0000 John A Parks - 532 Gallery Thomas Jaeckel - November 8th, 2012 - February 16th, 2013 <p>532 Gallery Thomas Jaeckelis pleased to announce “Paint and Memory” an exhibition of new paintings by John A. Parks.  Executed as finger paintings, these pictures explore the artist’s memories of his English childhood in a series of richly evocative images. “In a sense I’m using a childish means to recreate a child’s world,”says Parks, “although the resulting paintings are far more sophisticated than those of a child.”  The lush surfaces, gloriously layered color and suggestive drawing work together to create a novel and intensely nostalgic vision. What is remembered are glimpses, sometimes idyllic and sometimes disturbing; cycling through a village on a summer’s day, playing hide-and-seek in a public park, the mayhem of an indoor swimming pool, the sudden formality of a Maypole dance. The limitation of painting with his fingers has forced Parks to simplify the descriptive tasks of the painting. “There is a certain indeterminacy with finger painting,” says the artist, “you are never exactly sure where an edge is going to go.  Chance events occur that you can edit out or leave in.  The process adds a richness and a very physical engagement with the paint.  Accidents can often be suggestive - theyprod the imagination and provide a sense of discovery.  Every mark is truly an adventure.”</p> <p>Also on view are three large-scale map paintings of London in which the artist manipulates space and point of view to provide a highly entertaining excursion through the streets of his native city. Presented from multiple viewpoints but lodged in a fairly accurate street plan, buildings, monuments, bridges and buses come alive in an unexpected and inventive fashion.</p> <p>Educated at the Royal College of Art in London, Parks has made paintings over the last thirty years that have focused on themes of English life seen through expatriate eyes. The artist has lived for decades in New York and teaches at the School of Visual Arts.  Throughout that time the artist’s work has evolved expressively and stylistically. His early and intense realist work was closely associated with the realist revival but carried with it from the start a lyrical and intensely personal quality.  John Russell, writing in the New York Times, dubbed him “A true poet in paint and something of a find.”   In the mid eighties and nineties Parks adopted a larger scale approach to paint images of public monuments in a series of paintings that explored the unease of national identity and its attendant rituals.  These works included a highly irreverent series of English soldiers, often shown dancing or otherwise cavorting.</p> <p>Parks has been represented by several major New York galleries including Allan Stone Gallery and Coe Kerr Gallery.  His work is included in a number of museum collections including the Victoria and Albert Museum, in London and the Museum of the Rhode Island School of Design.This exhibition marks his debut with 532 GalleryThomas Jaeckel.</p> <p>(Gallery is closed December, 4-11 Art Fair Miami)</p> Mon, 21 Jan 2013 21:29:02 +0000 Group Show - Aicon Gallery - New York - January 24th, 2013 - March 2nd, 2013 <p>Aicon Gallery New York is pleased to present the group exhibition Mapmakers II: The Evolution of Contemporary Indian Art, featuring iconic works by Anju Dodiya, Atul Dodiya, Rameshwar Broota, Hema Upadhyay, T.V. Santhosh, Subodh Gupta and more. As a group, these artists represent the vanguard of Contemporary Indian Art that burst onto the international scene in the mid-2000s, turning the heads of museums, critics and collectors. This exhibition showcases the important large-scale canvases through which these artists, among others, redefined Indian Contemporary and set the compass points for a new generation to follow. <br /> <br /> As an appropriation artist, Subodh Gupta produces sculptures and paintings that reflect the economic transformation of his homeland as they relate to Gupta’s life and memories of his childhood through images of Tiffin Boxes, tahli pans, bicycles and milk pails. Gupta says, “All these things were part of the way I grew up, they are used in the rituals and ceremonies that were part of my childhood.” By transforming icons of everyday life in India into artworks that are globally understood, Gupta represents of generation of young Indian artists whose commentary tells of a country on the move, fueled by economic growth, heightened materialism and rapidly shifting social dynamics. His work re-contextualizes the ubiquitous icons of a culture, dissolving their familiar meanings and stripping them of their function, recalling a conceptual practice ranging back from Marcel Duchamp through to Damien Hirst. Gupta has said “Art language is the same all over the world, which allows me to be anywhere.”<br /> <br /> Drawing inspiration from a variety of sources – ranging from cinema, news, media, art history and popular culture – T.V. Santhosh explores present-day crises through his art. Adapting images from digital and printed media, the artist creates eerily realistic canvases, charged by opinions on the general socio-political climate of India. Santhosh’s distinctive style makes his paintings recognizable without being predictable, via three key elements: Photorealism, chromatic scale, and gradual variation. An undertone of profound disillusionment is rendered in his paintings, his realistic figures cast in iridescently blurred light, framed in hallucinatory shadows. The enigmatic aesthetic denotes a social commentary of protest, while the artist remains disengaged from the social events depicted. He veils, floods and distorts the subjects with this strange yet familiar light – opting for a cold, machine-made glow rather than the warmth of sunlight. This stark filter conveys a macabre intensity, where reality and fantasy mix in his fluid surface bathed in an ominous luminosity.<br /> <br /> Through his paintings and assemblages, Atul Dodiya engages with both contemporary politics and art history in a way that entwines global and public memory as well as local and personal experience. His work is infused with a strong sense of the history of Western art and the myths, folklore and popular culture of India. Often, these two worlds collide in his work in amusing and instructive ways, with a pluralist and fragmentative mood dominating his compositions. Dodiya draws heavily on historical influences that he both questions and internalizes through his work.<br /> The self is at the center of Anju Dodiya's works. Though not solipsistic, the majority of her works give the viewer access to private moments, lifted from "the private discourse that goes on within oneself when one is alone." Dodiya initially resisted the lure of self-portraiture. Her early works were extremely abstract, and following her first show ("a fictional autobiography"), she tried to refocus her gaze on railway stations, roadside scenes, and so forth. Yet ultimately she found her original impulse of a painterly introspection was the strongest, and rechanneled her vision into describing situations from her life. Her expressions can be interpreted as being autobiographical, but her works go beyond that, and reflect the conflicts of womanhood. In Dodiya’s work there is always one female figure represented in a male or dominant posture – giving her conflicts another dimension. The sensitivity of her paintings is not shadowed by any socio-political-isms, and is achieved by her skilled control over her medium. <br /> <br /> As a child, Rameshwar Broota was anguished by the dire poverty and misery surrounding him. As such, his early paintings reflect society’s rampant ills during this time, often functioning as satirical commentaries on widespread injustice, political corruption and moral issues surrounding class divisions. Though not a very prolific artist, Broota developed a highly unique style, painting mostly monochromatic canvases sparsely populated by geometric markings with surfaces then scraped with a thin blade to create light and forms. His paintings feature monumental humans with all of them wounded, hardened or somehow dehumanized.</p> <p><br /> Mumbai based Hema Upadhyay works in a variety of media to explore the histories and stories personal to her. Her work deals in narratives of migration and resettlement, loss and longing for those left behind, excavating the physical and emotional backlog produced from living in a major urban metropolis. Deeply honest and playfully sarcastic, Upadhyay’s work depicts multiple perspectives, aerial views of intricately rendered city maps or textile surfaces layered with small photographic self-portraits. Miniaturizing images of herself in various positions, she inserts them into her allegorical landscapes allowing them to interact with the decorative and fictive environments she creates. Upadhyay creates highly textured surfaces and spaces blemished with scraps and stains, calling out the contradictions and incongruities situated at the intersection of tradition and contemporary life. Upadhyay often works collaboratively with artists and non-artists close to her, highlighting the importance of process, dialogue, and conversation to her practice.</p> Sun, 27 Jan 2013 22:32:15 +0000 Matthew Benedict - Alexander and Bonin - January 26th, 2013 - March 9th, 2013 <p>Matthew Benedict’s <i>Americana</i> will open on January 26<sup>th</sup> at Alexander and Bonin. The exhibition includes several new sculptures juxtaposed against selected paintings from 1998 – 2013. The subjects of both his sculpture and paintings draw from history, literature, the mythic and the supernatural.</p> <p>Benedict’s object-based works of the last decade have been assembled from artifacts sourced in New England and date from 1860 to the present. <i>The Terrible Old Man </i>(2011-2012)<i>,</i> a composition of glass bottles, furniture and tar, is based on H.P. Lovecraft’s tale of an old sea captain who communicates with the spirits of his dead shipmates whilst living thieves plot to rob him. <i>"Silent" Still Life</i> (2002-2012), a wall relief made of a desk and objects (possibly from an American Fire Department), recalls 19<sup>th</sup> century trompe l’oeil paintings. <i>Blessed Be </i>(2010) evokes cross-stitched Victorian motto samplers, rendered in gouache on wood. The medium of gouache and the making of embroideries have been a part of Benedict’s work since 1989.</p> <p>Recent paintings allude to the settling and establishment of New England and the loss of historical objects and places in a digital culture.  <i>Pilgrimage </i>(2012)<i> </i>depicts a now lost hand-painted sign directing visitors to the Provincetown, Massachusetts Pilgrim Monument and Museum. <i>Where Tom Died </i>(2012) shows a still extant<i> </i>corner of a Manhattan tavern where Thomas Paine is thought to have lived his final moments in 1809.</p> <p>Born in Rockville, CT, Benedict lives and works in Brooklyn. His work is the subject of <i>Matthew Benedict: The Mage’s Pantry</i> published by Hatje Kantz.  His 2010 exhibition at Alexander and Bonin was <i>Dramatis Personae</i>, a selection of photographs of his costumed models. Benedict was a 2011 resident at The Versailles Foundation, Inc. /Claude Monet, Giverny. His works are included in the permanent collections of the FRAC de Picardie, Amiens, Dallas Museum of Art, the Hammer Museum, Los Angeles, the Museum of Modern Art, New York, San Francisco Museum of Modern Art and the NASA Art Program, Washington, DC.</p> Wed, 16 Jan 2013 22:07:09 +0000 Hugh Steers - Alexander Gray Associates - January 12th, 2013 - February 16th, 2013 <p style="text-align: justify;"><span style="font-size: small;">Alexander Gray Associates is pleased to present its first solo exhibition of works by Hugh Steers, featuring paintings and works on paper produced from 1987–1993. Throughout his career, cut dramatically short by AIDS at the age of 33, Steers was celebrated for his allegorical painting that captured the emotional and political tenor of New York in the late 1980s and early 1990s, particularly the impact of Queer identity and the AIDS crisis.</span><br /> <br /><span style="font-size: small;"> Dedicated to figurative painting despite a hostile artistic climate, Steers deliberately experiments with the role of beauty, manipulating the medium to create palpable tension between visual appeal and raw content. Familiar interior spaces—the bathroom and the bedroom—provide the stage for Steers' complex narratives. In <i>Purple Velvet Dress</i> (1989), delineations of real and imaginary, ego and alter-ego, eroticism and isolation become blurred. Later, in works from the 90s, anxiety and mortality grow in presence, haunting the corpulent figures and casting a brutal glow onto the scene. <i>Throat</i> (1991) takes a more literal stance, depicting the torture of anticipation as illness looms imminent.</span><br /> <br /><span style="font-size: small;"> At once biographical and allegorical, the intimate domestic scenes on view employ a style deeply rooted in art historical tradition to depict contemporary issues with extraordinary immediacy. Recalling his influential American predecessors, including Thomas Eakins, Paul Cadmus, Marsden Hartley, and Charles Demuth, Steers renders tenderness, isolation, intimacy, and psychological dilemma through dramatic use of color, skewed perspective, and radiant golden light.</span></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"><span style="font-size: small;">Hugh Steers (1963–1995) was celebrated for his allegorical painting that captured the emotional and political tenor of New York in the late 1980s and early 1990s, particularly the impact of Queer identity and the AIDS crisis. Born in Washington, D.C., Steers studied painting at Yale University, and pursued a commitment to figuration throughout his career, cut dramatically short by AIDS at the age of 32. Influenced by historical figures of American art, including Thomas Eakins, Edward Hopper, and Paul Cadmus, he embraced representational painting and figuration at a time when such approaches were especially unfashionable. </span><br /> <br /><span style="font-size: small;"> Steers described his artistic perspective in an interview in September 1992: “I think I'm in the tradition of a certain kind of American artist—artists whose work embodies a certain gorgeous bleakness. Edward Hopper, Jackson Pollock, Franz Kline—they all had this austere beauty to them. They found beauty in the most brutal forms. I think that's what characterizes America, the atmosphere, its culture, its cities and landscape. They all have that soft glow of brutality.”</span><br /> <br /><span style="font-size: small;"> While embracing the polemics of identity politics through his visual content, Steers’ emotionally charged painting took a departure from the more didactic work of his peers. The last five years of his artistic practice focused on AIDS as a subject matter, drawing on community experience and mixing dreamlike allegory with figurative realism. The resulting images amplify issues of mortality and isolation, defiance and compassion. Hugh Steers’ artwork is in the collections of the Whitney Museum of American Art, the Walker Art Center, and the Denver Art Museum. A forthcoming catalogue raisonné of Steers’ paintings and drawings will be organized by Visual AIDS.</span></p> Sun, 13 Jan 2013 17:24:43 +0000 Lois Dodd - Alexandre Gallery - January 10th, 2013 - February 16th, 2013 Mon, 11 Feb 2013 14:27:17 +0000 Joel Holmberg - American Contemporary - January 11th, 2013 - March 8th, 2013 <p>I don’t always write statements about my work, but when I do, I prefer to start sentences with “As an artist.” As an artist, it is thrilling to go through customs and be asked what I do. Nothing else charges me with such agency then when the customs official asks me directly "what is your occupation?" I do not get insecure or try to prove myself by giving them a rundown of my CV. I just look at the agent and say "artist" in a way that only a real artist can, with dignity and open-endedness.<br />We are used to hearing people described as being, like an artist. Though I've yet to hear someone described as being an artist when it comes to time management, which, might actually be what artists are best at. Phil Spector was like an artist the way he made his musicians play songs over and over and didn’t record anything until they were completely exhausted and ready to call it a day, only then would he hit record. Neil Young was also like an artist the way he had his engineers start recording even before he stepped into the studio, because he knew that the first thing he did would be brilliant. I wonder if Phil Spector’s musicians stormed out of the studio the way Neil Young burst in.<br />Soft Laws are often unspoken and contain aspirational goals by providing an incentivized framework for adhering to a certain code of conduct, e.g. the Lower East Side gallery culture of being open on Sundays. Isn’t it funny how one might advocate for a prickly person by saying that they are just “wired differently”? That can excuse a lot of difficult behavior.<br />American Contemporary is delighted to present Joel Holmberg’s first solo gallery exhibition. He has previously exhibited at the New Museum, New York, NY; Outpost, Norwich, UK; The Museum of the Moving Image, New York, NY; The 9th Shanghai Biennale, Shanghai, CN, The Sundance Film Festival, Park City, UT, Espace Gantner, Belfort, FR and will exhibit at Kettles Yard, Cambridge, UK later this year. He is a member of the web based collective Nasty Nets and studied at Virginia Commonwealth University, Richmond, VA and Yale University, New Haven, CT.</p> Tue, 26 Feb 2013 15:04:26 +0000 William Matthew Prior - American Folk Art Museum - January 24th, 2013 - May 26th, 2013 <p>Organized by the Fenimore Art Museum, Cooperstown, New York, this exhibition includes more than 40 oil paintings spanning William Matthew Prior’s career from 1824 to 1856. Through his pragmatic marketing strategy, Prior was able to document the faces of middle-class Americans throughout his lifetime, making art accessible to a previously overlooked group.<br /> <br /> A versatile artist, Prior is well known not only for the skill and range of his technique but for the diversity of his sitters. Prior’s involvement with Millerism (early Adventism) was instrumental in his personal development as well as providing access to new clients, including many African Americans.</p> Sun, 25 Nov 2012 23:12:17 +0000 Eugene Von Bruenchenhein, Paul D. Humphrey, Nellie Mae Rowe, Inez Nathaniel Walker - American Folk Art Museum - January 24th, 2013 - May 26th, 2013 <p>The late twentieth century has seen great strides for women working within visual mediums, yet the male gaze persists as the primary perspective from which women are considered — and thus perceived — in film and art. This exhibition presents drawings and photographs of women by four self-taught artists from the1940s through the late twentieth century, two male, two female. Eugene Von Bruenchenhein, Paul D. Humphrey, Nellie Mae Rowe, and Inez Nathaniel Walker offer four very different approaches that raise questions of intent, portrayal, and self-identity: Are the portraits acts of creation or acts of documentation, mimesis or wish fulfillment? Are self-taught artists immune from the pervasive male gaze of mainstream artmaking spheres, or do they reflect a gender divide that still runs deeply within American society?</p> Sun, 06 Jan 2013 23:27:20 +0000 Aaron Bobrow - Andrea Rosen Gallery - February 9th, 2013 - March 23rd, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>Andrea Rosen Gallery</strong> is delighted to present <strong>Aaron Bobrow</strong>'s first one-person exhibition in New York. This exhibition shows the expansive breadth of Bobrow's practice of painting, video, and works on paper.</span><br /> <br /><span style="font-size: small;"> The title of the exhibition, <i>Electric Bathing</i>, comes from Rem Koolhaas's Delirious New York in which, speaking of Coney Island, he writes:</span><br /> <br /><span style="font-size: small;"> <i>"Bright lights are placed at regular intervals along the surf line, so that now the sea can be enjoyed on a truly metropolitan shift system, giving those unable to reach the water in the day time a manmade, 12 hour extension [ . . .] false daytime is not regarded as second rate."</i></span><br /> <br /><span style="font-size: small;"> Bobrow is not only interested in how these works relate to place, and particularly within this body of work a certain New York urbanism, but how the mesh-covered building is as real an experience as it was before being covered and how the mesh painting is as similarly real as it was in its original place. </span><br /> <br /><span style="font-size: small;"> The paintings in the exhibition retain their relationship to their original habitats, as well as their various means of extraction. The unadulterated shapes of the material dictate the sizes of the works. The artist simultaneously creates an abstract painting and an aggressive plane, brutal in its reduction of traditional, artistic gesture so that there is a rigorous paring down to the most essential gesture. </span><br /> <br /><span style="font-size: small;"> Bobrow shows the multiplicity of gestures and marks that the material has already accrued from countless sets of circumstances, anonymous individuals, environmental effects, and the removal itself. His works highlight the stark differences between how we experience gesture in the everyday world versus a gallery or museum context.</span><br /> <br /><span style="font-size: small;"> Bobrow reexamines the material's purpose, and its inherent transparency reveals the construction of the painting. The shocking exposure of the painting's interior subtly alludes to everything that the material is meant to conceal, protect, and contain. In a city undergoing an endless cycle of destruction and rebuilding, the paintings stop time and point to a frozen present.</span><br /> <br /><span style="font-size: small;"> In <i>Acoustics (Eaton Canyon)</i>, 2013, the viewer sees the artist clapping his hand over a running body of water. Each clap is answered with a reverberation. The sound returning is conditional to the specifics of each clap and its physical relationship to the concrete space. The video shows that Bobrow creates each sound, while the dimension of his inanimate partner, the concrete, is left unknown. In the installation of <i>Acoustics (Eaton Canyon)</i> Bobrow places the viewer in a real space, surrounded by sound and engulfed by the projection. Both the debris mesh and the reverberation of his claps act as a kind of skin shed from an original body. Whether traveling from building site to gallery or from hand to concrete and back, each entity retains a relationship to a source and remains unaffected and pure.</span><br /> <br /> <br /><span style="font-size: small;"> <i>Aaron Bobrow (b. 1985, San Francisco) received his BFA from Parsons School of Design.</i> Electric Bathing <i>is his first solo exhibition in New York, where Bobrow lives and works. Bobrow's tarp paintings and photographs were the subject of his recent solo exhibition,</i> No Sleep In the Exit Row, <i>at Office Baroque in Antwerp. Bobrow has be</i><i>en included in several group exhibitions in Europe and the United States, including at Andrea Rosen Gallery, Brand New Gallery in Milan, and in New Deal, curated by Kyle Thurman and Matthew Moravec with the Art Production Fund.</i></span><br /> <br /><span style="font-size: small;"> For press inquiries, please contact Jessica Eckert at and Michelle Finocchi at</span></p> Sun, 10 Feb 2013 12:10:05 +0000 Olivier Mosset, Lawrence Weiner, Jacob Kassay - Andrea Rosen Gallery 2 - February 9th, 2013 - March 23rd, 2013 <p>Andrea Rosen Gallery is thrilled to announce a highly unique exhibition that joins in conversation works by Jacob Kassay, Olivier Mosset and Lawrence Weiner. Presented at our new Gallery 2 location, which is dedicated to content-driven, experimental and historical exhibitions, this project is the outcome of a rare gathering and communication between these three artists. <br /> <br /> Crafting significant dialogues and unexpected relationships between historical artists and those of a younger generation is a defining aspect of Andrea Rosen's Gallery 2 program, which seeks to broaden our basis of visual reference and education. The focal point of the exhibition is a shared installation comprising a single yellow wall painting by Olivier Mosset upon which a new painting by Jacob Kassay—the irregular shape of which is defined by the repurposing of canvas scraps from other projects---and Lawrence Weiner's <i>A 36" X 36" removal to the lathing or support wall of plaster or wallboard from a wall</i> (1968), from the collection of the Museum of Modern Art, New York, are hung. <br /> <br /> On one hand, the installation may be considered as a formalist exercise -- a three-layer relief that, when viewed from afar, appears to be a flattened image. On the other, the combination of the works, in relation to each other and within the gallery setting, inspires new revelations about those works and the relationship between the artists. "A yellow wall is a yellow wall, but I like that it is questioned by its situation (the gallery) and the works of other artists whom I respect," remarks Mosset. The exchange between these three artists not only addresses conceptual abstraction and the significance of space; presence and absence; it develops new affiliations between works that reference the hand, material and process. <br /> <br /> Additional paintings by Jacob Kassay and Olivier Mosset are included in the exhibition.<br /> <br /> <br /> <b>Jacob Kassay</b> was born in 1984 Lewiston, NY. He received his BFA from State University of New York at Buffalo and now lives and works Los Angeles. A solo exhibition of new works by the artist is on view through February 16, 2013 at The Kitchen, New York. Other recent solo shows include Art: Concept, Paris; Protocinema, Istanbul; and The Power Station, Dallas (catalogue). <br /> <br /> <b>Olivier Mosset</b> was born in 1944 in Bern, Switzerland. He lives and works in Tucson, Arizona and New York, New York. He was a founding member of the BMPT group in Paris in the 1960s, along with Daniel Buren, Michel Parmentier, and Niele Toroni. Mosset has participated in exhibitions spanning the Fifth Biennial of Paris at the Museum of Modern Art in Paris in 1967 to the Whitney Biennial in 2008.<br /> <br /> <b>Lawrence Weiner</b> was born in 1942 in the Bronx, New York and lives and works in New York and Amsterdam. He is one of the central figures in the formation of conceptual art in the 1960s and has exhibited at the Los Angeles Museum of Contemporary Art (2008); Whitney Museum of American Art (2007); Kunstmuseum Wolfsburg (2000); the Museum Ludwig, Cologne (1995); the Walker Art Center, Minneapolis (1994); the Hirshhorn Museum and Sculpture Garden (1990); and the Smithsonian Institution, Washington, D.C. (1990). He has participated in Documenta V (1972), VI (1977), and VII (1982), as well as the 2005 Venice Biennale, and the Biennale Sao Paolo in 2006. Among his many honors are National Endowment for the Arts Fellowships (1976 and 1983), a Guggenheim Fellowship (1994), Wolfgang Hahn Prize (1995), and a Skowhegan Medal for Painting/Conceptual Art (1999).</p> Thu, 21 Feb 2013 12:42:24 +0000 Maria Loboda - Andrew Kreps Gallery @ 537 W. 22nd - January 12th, 2013 - February 16th, 2013 <p><span style="color: #333333; font-family: Verdana,Arial,Helvetica,sans-serif; font-size: small;" color="#333333" face="Verdana, Arial, Helvetica, sans-serif" size="1"><span size="1">The Andrew Kreps Gallery is pleased to present Maria Loboda’s exhibition General Electric – her first show at the gallery.  Based on myriad associations with the overall idea, history, and architectural manifestation of electricity, the exhibition will feature sculpture, installation and collage.  <br /><br />Loboda’s exhibitions are organized by web-like connections around a central theme that touch on the historical, magical, mythical, as well as the political and natural world. And in this exhibition, she has taken as a focus the General Electric building in New York’s Midtown.  The building is a classic Art Deco visual statement of suggested power through simplification, and embodies energy and movement, power and style.  Of particular interest is the sculpture above a conspicuous corner clock which features the GE logo and a pair of silver disembodied forearms grasping or channeling a thunderbolt – a physical harnessing of an inexplicable natural force – a formalization of the ephemeral.  <br />In her works too this same metaphysical manifestation is addressed – a steel sculpture which runs like a circuit around the edges of the gallery is varnished with amber (which is the etymological core of “electricity”) – thus addressing the idea that nothing is stable or safe and that an interior can be restless, that there is no real retreat – and there is an electric current is running on the edges of everything.<br />Loboda’s collages also address the desire to control or contain that which we cannot – in the case of English gardens, the force is nature.  The images of the incredibly preened hedges that were taken in the early morning and laid against a marbled skyline suggest that all attempts at control are illusory.  It’s as if in the early morning hours this wilderness is reclaiming its power.  Also in the exhibition are military-style beds – calling forth the irony of rest or sleep during a war.  <br /><br />Considered together the works in the show can be seen as a study on the desire for reason and order in the face of the organic and untamable. A construction of a reality that, in the end is untenable and even dangerous, like hands holding a lightning bolt – but absolutely necessary to make sense of our world – and ultimately to survive. <br /><br />Born in Krakow, Maria studied at the Städelschule in Frankfurt and is currently based in New York.  She has shown extensively and internationally - this year her work was featured in Documenta (13), and she has an upcoming solo show at the Museo Reina Sofia.  This show is a continuation of a show that she did at Her work has been exhibited at the Hirschhorn Museum, in Washington DC, at the ICA London, the Palais de Tokyo, in Paris, and Portikus in Frankfurt.</span></span></p> Sun, 27 Jan 2013 22:35:41 +0000 - Anna Kustera - January 31st, 2013 - March 16th, 2013 <p style="text-align: justify;"><strong>Deep Cuts</strong> gives you the deepest cuts of artists without any commercials, ever!<strong></strong></p> <p style="text-align: justify;"><strong>Deep Cuts</strong> is available for everyone</p> <p style="text-align: justify;"><strong>DEEP-CUTS</strong>-RAISE-QUESTIONS</p> <p style="text-align: justify;"><strong>Deep Cuts</strong>, proving that time has no jurisdiction</p> <p style="text-align: justify;"><strong>Deep cuts</strong> the night</p> <p style="text-align: justify;"><strong>Deep Cuts</strong> is proud to present</p> <p style="text-align: justify;">#cutting</p> Fri, 15 Mar 2013 03:16:14 +0000 David Shrigley - Anton Kern Gallery - January 10th, 2013 - February 16th, 2013 <p>In this fifth solo exhibition at Anton Kern Gallery, entitled Signs, Glasgow-based artist David Shrigley surrounds a large black gong sculpture positioned in the center of the gallery with a variety of signs, such as flags, scrolls and banners, neon and cast bronze texts, as well as lino-cut and letterset texts and poems. As the sound of a gong usually signals a special moment (e.g. waking, eating, starting a movie, or ending a yoga session), Shrigley’s sculptural rendering of the percussion instrument sets the tone for the artist’s insightful exploration of semiotics, the study of signs and the relation between signs and the things to which they refer.<br />To his word strategies, Shrigley adds a key ingredient, the concept of the sign and its origin in agreement or convention (such as full stop signifying the end of a sentence). For a sign to have any effect it must be based on common attitudes. Making signs, as opposed to hand-drawn works on paper, enables Shrigley to expand his techniques, e.g. the recognition of unexpected shifts in viewpoints, or the collision of different frames of reference, into a wider, more public range. He turns the sign inside out as if reverting it to an earlier state of innocence where conventions were not yet fully formed. A neon sign reading “Hot Dog Repair” not only combines disparate terms (the ephemeral with the permanent) in a surprising way but also presents itself in the authoritative shape of a shop sign and thereby turning the agreed-upon convention of what is a reasonable and generally accepted service topsy-turvy.<br />Similarly, Shrigley’s lino-cut, letterset poems and texts, reminiscent of word-related art ranging from Concrete Poetry to Christopher Wool’s paintings, present characteristic Shrigleyesque thoughts however much less individualized (no handwriting) but rather subversively conventionalized (cut out and printed letters). Stepping away from the markedly handmade towards the more indirect and mechanized process of sign-making lifts the works in this exhibition onto a new level of humor as semiotic critique. Shrigley’s signs commandingly undermine their own presumed authority. A<br />sense of liberation prevails!<br />With over 40 books to his name, David Shrigley is a well-published author and artist. Recent solo exhibitions have been held at the Hayward Gallery, London; the Yerba Buena Center for the Arts, San Francisco; and the Cornerhouse Gallery, Manchester (all 2012). Shrigley has participated in group shows such as Funny, Flag Art Foundation, New York; Zoo, Musée d'Art Contemporain de Montréal, Montreal (both 2012); A Sense of Humor, Kohler Art Center, Sheboygan, WI; Life on Mars: 55th Carnegie International, Pittsburgh (2008); and Learn to Read, Tate Modern, London (2007).</p> Wed, 26 Dec 2012 02:00:21 +0000 Ganzeer, Jeanno Gaussi, Rheim Alkadhi, Diala Khasawnih, Samah Hijawi - Apexart - January 16th, 2013 - March 2nd, 2013 <p>Entitled <em>Open Sesame (Iftah Ya Simsim)</em>, this exhibition borrows from the command used to open the cave of treasures in the tale <em>Ali Baba and the Forty Thieves</em> as well as the Arabic version of <em>Sesame Street</em>. Launched in Kuwait in 1979, the tv show shot its outdoor scenes in various Arab cities and its interior shots in Kuwaiti studios. In 1990 and 1991, after Saddam Hussein's (then president of Iraq) invasion of Kuwait on the 2nd of August 1990 and during the first Gulf War that ensued, forty four episodes of the show were aired on national Kuwaiti TV, however, the scenes which included Iraqi artists and actors were excluded. Thus, seventy six episodes were lost and never found. <br /> <br /> This exhibition aims to highlight that specific moment when everything changed on August 2nd 1990. It is an invitation to open the caves of memory. Because of their governments' positions regarding Saddam Hussein's invasion of Kuwait, hundreds of thousands of Arabs were pushed out of Kuwait in the months that followed the invasion, or were not allowed back in after the summer holidays. For many, they were forced to leave behind unmade beds, food in the fridge, play dates, and meetings. Because of the complexity of that particular exodus, many of the displaced found little support within their new communities, with no choice but to carry on with their lives, their stories (traumas) were silenced. <br /><br /> Members of the Makan collective, an art space based in Amman, Jordan will collect stories narrated by people who belong to the Open Sesame generation, those born in Kuwait between the years 1970-1982, who were forced to resettle with their families in Jordan, Egypt, Syria, Palestine, and as far as USA and Canada. This generation includes two members of the Makan collective, namely Samah Hijawi and Ola El-Khalidi. They were born and raised in Kuwait until life as they knew it changed in the summer of 1990 when they found themselves relocating with their families in Amman, Jordan. <br /><br /> The exhibition will invite artists and graphic novelists to illustrate the collected stories, attempting to capture this moment of history, an event past and potentially lost. While the present tensions, uprisings, and envisaged war in the same region is being documented by all sorts of media including social networking platforms, this is a step back in time to an instant of war and dislocation that has not yet received its appropriate documentation, narrativizing, and exploration. <br /><br /> <br /> <strong>Ola El-Khalidi</strong> works in the arts as an organizer, curator, and collaborator. Along with Samah Hijawi and Diala Khasawnih, she is a member of Makan, an art space, ever-redefined project and a collective based in Amman, San Francisco, and anywhere in between. She received an MA in curatorial practice from the California College of the Arts in San Francisco in 2012.</p> Mon, 10 Dec 2012 23:07:45 +0000 Thomas Doughty, George Inness, Albert Bierstadt, Ralph Blakelock, Henry W. Ranger, J. Alden Weir - Arkell Museum - June 30th, 2012 - April 24th, 2013 <p>Paintings of idyllic farmland and pristine parkland and are included in this exhibition of American art from the Arkell collections. Thomas Doughty's idealized depiction of early New England's backwoods and Albert Bierstadt's painting of the majesty of Yellowstone are among the wilderness views. The exhibition also features pastoral and poetic and landscapes by George Inness, Ralph Blakelock, Henry W. Ranger and J. Alden Weir.</p> Sun, 31 Mar 2013 21:59:07 +0000