ArtSlant - Recommended en-us 40 Group Show - MoMA (Museum of Modern Art) - April 18th, 2012 - April 21st, 2013 <div class="description"> <p>This exhibition, covering the period from 1910 to today, offers a critical reassessment of photography's role in the avant-garde and neo-avant-garde movements—with a special emphasis on the medium's relation to Dada, Bauhaus, Surrealism, Constructivism, New Objectivity, Conceptual, and Post-Conceptual art—and in the development of contemporary artistic practices.</p> <p>The shaping of what came to be known as "New Vision" photography bore the obvious influence of "lens-based" and "time-based" works. El Lissitzky best summarized its ethos: "The new world will not need little pictures," he wrote in <i>The Conquest of Art</i> (1922). "If it needs a mirror, it has the photograph and the cinema."</p> <p>Bringing together over 250 works from MoMA’s collection, the exhibition features major projects by Man Ray, László Moholy-Nagy, Aleksandr Rodchenko, Germaine Krull, Gerhard Rühm, Helen Levitt, Daido Moriyama, Robert Heinecken, Ed Ruscha, Martha Rosler, Bernd and Hilla Becher, Philip-Lorca DiCorcia, and Walid Raad, among others. Photographic history is presented as a multivalent history of distinct "new visions," rooted in unconventional and innovative exercises that range from photograms and photomontages to experimental films and photobooks.</p> </div> Mon, 07 Jan 2013 00:22:54 +0000 Lois Dodd - Alexandre Gallery - January 10th, 2013 - February 16th, 2013 Mon, 11 Feb 2013 14:27:17 +0000 Thomas Lanigan-Schmidt - MoMA PS1 - November 18th, 2012 - April 7th, 2013 <p>Thomas Lanigan-Schmidt’s mixed-media constructions, collages, and installations are marked by a trashy opulence concocted from household items and dollar stores. Mimicking Byzantine decoration with cellophane, aluminum foil, tinsel and glitter, Lanigan-Schmidt (American, b. 1948) pioneered a maximalist aesthetic in the late 1960s that explored gay sexuality, class struggle, and religion. Mingling high with low, and sacred with profane, Lanigan-Schmidt bucked the reductive tastes of conceptualism and minimalism that dominated his youth, creating a radically decorative practice that, despite its influence, has never been properly assimilated into the history of American art.</p> Sun, 31 Mar 2013 23:37:36 +0000 LOUIS STETTNER - Benrubi Gallery - January 31st, 2013 - March 2nd, 2013 <p>Bonni Benrubi Gallery is pleased to present <i><strong>Louis Stettner: The Masterpieces, Celebrating 90 Years</strong></i> on view from Thursday, January 31st to Saturday, March 9th 2013. The first retrospective of the artist's work to be presented in New York in years, The Masterpieces will feature all original prints of many of Stettner's most iconic images.<br /><br />90 years after his birth to Austro-Hungarian parents in Brooklyn, we look back on one of the most evocative and inspiring bodies of portraiture and street photography ever. Stettner's humanistic and poetic view of our world has always remained curious and sympathetic, while never falling prey to sentimentality. Describing his work as "Humanist Realism", Stettner's most well-known images are visual tributes to the noble lives of the people who occupy his "two loves", New York and Paris.<br /><br />For over seven decades Stettner has been compassionately documenting the simple, daily rituals of our lives with a masters eye for composition and lighting. Images of urban transit, children, and the lives surrounding architectural landmarks play heavily in his oeuvre. Often spoken in the same breath as Henri Cartier-Bresson, Walker Evans and Brassi, his images are truly masterpieces of their form. This exhibition will include exquisite vintage prints of some of his most iconic images, as well as some rarely seen pieces from the gallery's collection.<br /><br />Louis Stettner was born November 7, 1922. He served as soldier and photographer in the US Army, and moved to Paris for the first time in 1946. He has had a long and distinguished career in photography starting from his teenage years when he was encouraged by Alfred Stieglitz and Paul Strand. He has published many monographs and has had work shown extensively throughout the world in galleries and museums. Stettner's photographs are included in the collections of The Museum of Modern Art, New York, The Metropolitan Museum, New York, and Bibliotheque Nationale in Paris where a major retrospective of his work is currently taking place. He continues to live and work in Paris.</p> Mon, 14 Jan 2013 22:25:00 +0000 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 Meriç Algün Ringborg - Art in General - January 26th, 2013 - March 23rd, 2013 <p>Meriç Algün Ringborg’s New Commissions project, <i>The Library of Unborrowed Books</i>, opens at Art in General from 26 January – 23 March 2013, at the sixth floor galleries, 79 Walker Street, NY.</p> <p>The project, presenting hundreds of books that have never been borrowed from the Center for Fiction’s library, calls into question what subjects in any contemporary moment have ‘currency’ or desirability, and brings attention to topics and stories that have been temporarily overlooked but that could have their relevance restored in the future.</p> <p>Following its first iteration in 2012 with the Stockholm Public Library in Sweden, where the project aroused great public and critical interest, for the presentation at Art in General, Meriç Algün Ringborg will make selections of books from the Center for Fiction, the only nonprofit in the U.S. solely dedicated to celebrating fiction. These books will then go on institutional loan to Art in General for the public to access for the first time in an environment that emulates the atmosphere of the Center, but that is experienced within the context of a contemporary art space. </p> <p>Excerpted from a dialogue with the artist:</p> <p>“<i>The Library of Unborrowed Books </i>bases itself on the concept of the library as an institution manifesting language and knowledge, of the passing of awareness and the openness to all types of people and litera- ture.This work, however, comprises books from a selected library that have never been borrowed.The framework in this instance hints at what has been disregarded, knowledge essentially unconsumed, and puts on display what has eluded us.</p> <p>Why these books aren’t ‘chosen,’ why they are overlooked, will never be clear but whatever each book contains, en masse they become representative of the gaps and cracks of history, or the cataloging of the world and the ambivalent relationship between absence and presence. In this library their existence is validated simply by being borrowed, underlining their being as well as their content and form by putting them on display in an autonomous library dedicated to the books yet to have been revealed.”</p> <p>This exhibition is supported by SAHA</p> <p> </p> <p><strong>Meriç Algün Ringborg</strong></p> <p>Meriç Algün Ringborg was born in 1983 in Istanbul, and currently lives and works in Stockholm. She stud- ied at Sabancı University, Istanbul, from 2002–2007 and obtained a BA, Visual Arts and Communication Design, followed by an MA in Fine Arts from the Royal Institute of Art, Stockholm (2010-2012). Selected recent and upcoming group exhibitions include: <i>When Attitudes Became Form Become Attitudes</i>, Museum of Contemporary Art, Detroit (2013); <i>Signs Taken in Wonder, MAK</i>, Vienna (2013); <i>Incremental Change</i>, Galeri NON, Istanbul (2012); <i>When Attitudes Became Form Become Attitudes</i>, CCA Wattis Insti- tute, San Francisco (2012); <i>Show Off</i>, Malmö Konsthall, Malmö (2012); A<i>n Incomplete History of Incom- plete Works of Art</i>, Francesca Minini, Milan (2012); <i>Untitled (12th Istanbul Biennial)</i>, 2011 and Danföredan- föredanföredan, Index - The Swedish Contemporary Art Foundation, Stockholm (2010). She had her first solo exhibition in Stockholm, 2010 titled <i>The Concise Book of Visa Application Forms</i>. Other solo presenta- tions include <i>A Hook or aTail</i>, Frutta Gallery, Rome (2013); <i>Becoming European</i>, Meessen De Clerq, Brus- sels (2012); <i>Prompts and Triggers: Meriç Algün Ringborg</i>, Line No.2 (Holy Bible), Witte de With, Rotterdam (2012). Currently she is a resident at IASPIS - The Swedish Arts Grants Committee's International Programme for Visual Artists.</p> Tue, 26 Feb 2013 15:04:00 +0000 Group Show - Mary Ryan Gallery - January 26th, 2013 - February 23rd, 2013 <p>Mary Ryan Gallery is pleased to present "From Provincetown to Now: 100 Years of Women in Prints." The gallery has a history of championing prints by women artists and is responsible for bringing many to the forefront over the past 30 years. The work on view is an excellent selection of prints from varied movements throughout the last century that focus on dynamic themes of labor, identity, materialism, feminism, power, daily life, and abstraction.</p> Thu, 24 Jan 2013 22:30:23 +0000 Marc Baruth, Rita Bernstein, John Blakemore, Martin Bogren, Simon Roberts, Lisa M. Robinson, Ken Rosenthal, Helen Sear, Frederic Weber - KLOMPCHING GALLERY - February 7th, 2013 - March 2nd, 2013 Wed, 27 Feb 2013 16:35:29 +0000