ArtSlant - Closing soon en-us 40 - Storefront for Art and Architecture - January 22nd, 2013 - February 15th, 2013 <p>The Competitive Hypothesis is an exhibition examining the politics behind the architectural competition. The exhibition, presented in partnership with <b>Think-Space</b> (, questions the current state, purpose and value of architecture competitions. </p> <p>Through four curated spaces within the gallery, <i>The Competitive Hypothesis </i>presents major architectural competitions produced within the past few years, objects from competitions used to gain competitive advantages, dioramas of image fragments sourced from a selection of recent urban design renderings, and short texts and self portraits of some of the unknown minds of significant competition winners (ie. interns). <i>The Competitive Hypothesis</i> will highlight the double meanings inherent in the 'competition': on one hand referring to the competition as a procurement mechanism for projects, on the other referring to an ethos or disposition that permeates work practice. This exhibition turns to both of these possibilities in order to continue an investigation into architecture's present condition.</p> Mon, 21 Jan 2013 22:16:25 +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 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 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 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 Daniel Buren - Bortolami Gallery - January 10th, 2013 - February 16th, 2013 <p>Bortolami Gallery is pleased to re-announce its third solo exhibition by Daniel Buren with a new opening date on January 10th from 6-8 p.m. The exhibition will run through February 16th, and will span two gallery spaces: Bortolami Gallery at 520 West 20th Street and Petzel Gallery at its new location, 456 West 18th Street.</p> <p>Bortolami Gallery will feature Plexiglas and fabric <strong>situated works</strong> and a room of new fiber optics. Daniel Buren realized these situated works with the textile company Brochier Soieries, using their innovative fiber optic technology for luminescent textiles. Petzel Gallery will showcase historical <strong>in situ works</strong> made with paper which the artist began in 1968.</p> <p>Throughout his almost 50-year-long career, Daniel Buren is best known for his use of contrasting stripes as a visual tool that reveals the specific features and dimensions of a site, often transforming the environment for which it was specifically designed. He alters the perception and context of one's surroundings by modifying the navigation of space, enhancing lighting, obstructing viewpoints, and highlighting certain architectural features. Buren installs his work-much of which is temporary-in the architecture of both public and private spaces ranging from subway platforms to prestigious museums.</p> <p><strong>Work in situ</strong>- "denotes a work made for a particular site, for a particular time and exhibited in this particular site, and therefore not transportable to another place."  Buren has also identified himself as an artist who "lives and works in situ."</p> <p><strong>Situated work</strong>- "a work for the most part inspired by a particular location, but made with the intention that the very same elements of the original work can be reinstalled in different sites following a series of rules, changing each time in response to the given place.  In turn, the site is changed by the work." </p> <p><strong>Visual tool</strong>- the sign of white and color alternating in stripes of exactly 8.7 cm. in width, as derived from the fabric he first used as a canvas in 1965.  This functions as a tool in Buren's work, as a standard or unit of measure of formal properties.  Significantly, it is also an intended sign that serves as a constant within the wildly variable parameters and juxtapositions of any and all in situ and situated work since 1965 without exception. </p> <p>Daniel Buren (b. 1938) has been the subject of retrospectives at the Solomon R. Guggenheim Museum, New York (2005) and the Centre Pompidou, Paris (2002). His work is also included in prestigious private and public collections worldwide. Buren has exhibited in the Venice Biennale more than 10 times and was awarded the Golden Lion for his French Pavilion in 1986. In 2007, he received the Praemium Imperiale for Painting from Japan. Most recently, he was selected to exhibit at MONUMENTA 2012 at the Grand Palais in Paris.</p> Fri, 14 Dec 2012 02:23:25 +0000 Silvio Wolf - Bruce Silverstein Gallery - January 10th, 2013 - February 16th, 2013 <p>Silvio Wolf was born in Milan in 1952, where he lives and works. He studied Philosophy and Psychology in Italy and Photography and Visual Arts in London, where he received the Higher Diploma in Advanced Photography at the London College of Printing. From 1977 to 1987 he used photography to explore the laws, language and two-dimensional nature of the image. His work has moved in directions different from those of tradition, which favoured the documentary and narrative value of the photographic image. Instead, he has pursued a more subjective, metaphorical view of reality. In this period he made polyptychs and large-format works which have been shown in Italy and abroad, including Aktuell '83 in Munich and Documenta VIII, in 1987, in Kassel. From the end of the 1980s to the present he has gradually introduced new languages in his work, using the moving image, still projections, light and sound, either individually or in combinations.<br /><br /> His works have moved away from the pure two-dimensional format of photography to involve architectural space and the specificities of the places in which he operates, creating multimedia projects and sound installations. In his site-specific projects, as in all his photo-based work, the issues of limit, absence and elsewhere are always central. He has created temporary and permanent installations in galleries, museums and public spaces in Belgium, Canada, England, France, Germany, Italy, Korea, Luxembourg, Spain, Switzerland and the United States. In 2009 he was invited to participate in the 53rd Venice Biennale. He teaches Photography at the School of Visual Arts of the European Institute of Design in Milan, and is Visiting Professor at the School of Visual Arts in New York.</p> Mon, 17 Dec 2012 23:14:07 +0000 Amy Stein, Stacy Arezou Mehrfar - ClampArt - January 10th, 2013 - February 16th, 2013 <p><em>“Tall Poppy Syndrome” is a term used to describe a social phenomenon in Australia in which successful people (the “tall poppies”) get “cut down to size,” criticized, resented, or ridiculed because their talents or achievements distinguish them from their peers.</em></p> <p>ClampArt is happy to announce the opening of “Amy Stein &amp; Stacy Arezou Mehrfar: Tall Poppy Syndrome.” The exhibition is accompanied by the artists’ monograph of the same title from Decode Books (Hardcover, 96 pp., 9.8 x 7.9 inches, $60).</p> <p>In 2010, American photographers Amy Stein and Stacy Arezou Mehrfar embarked on a month-long road trip throughout New South Wales—Australia’s most populous state. They were interested in investigating “Tall Poppy Syndrome.” Is the syndrome even real? Can it be documented or observed? Stein and Mehrfar set out to explore quintessential Australian life and find what evidence they could of the existence of this phenomenon. They spent their days meeting and photographing everyday Australians—from schoolchildren in their plaid uniforms to young surfers playing at the beach to grandmothers meeting at their social clubs—all the while learning about the relationship between the group and the individual within Australian society. The resulting photographs in “Tall Poppy Syndrome” present their findings.</p> <p>Amy Stein’s work explores man’s evolving isolation from community, culture, and the environment. Her photographs have been the subject of numerous national and international exhibitions, and are represented in the collections of the Philadelphia Museum of Art; the Museum of Contemporary Photography, Chicago; and the George Eastman House, Rochester, New York; among many others. Her first monograph, Domesticated, was published by Photolucida in 2008.</p> <p>Stacy Arezou Mehrfar is a first generation American artist and lecturer currently residing in Sydney, Australia. Predominately working on long-term projects that explore cultural identity, her images have been exhibited in the United States, Australia, Poland, and Germany. She has received distinctions from the Moran Arts Foundation, Photography.Book.Now, the Camera Club of New York, the Center for Photography at Woodstock, among others. Mehrfar’s images are held in several public and private collections worldwide.</p> Sun, 13 Jan 2013 23:45:26 +0000 Evžen Sobek - ClampArt - January 10th, 2013 - February 16th, 2013 <p style="text-align: justify;">ClampArt is pleased to present “Evžen Sobek: Life in Blue.” The exhibition is accompanied by the artist’s monograph of the same title from Kehrer Verlag, Heidelberg (Hardcover, 96 pp., 55 color illus., 11.75 x 11.75 inches, $60).</p> <p style="text-align: justify;">Since 2007, photographer Evžen Sobek has been documenting life on the banks of the Nové Mlýny reservoirs in the southern region of the Czech Republic. In this strange, manmade, recreational setting, an unorthodox community of tents and campers has grown over the years—a place where citizens vacation annually decade after decade. Sobek’s subjects were formerly nomadic caravanners—travelers who vacationed in their campers—who now have forfeited their freedom and liberty of movement to settle down in their once-mobile homes in Southern Moravia. Sobek’s eye is for the unusual and occasionally disquieting. Many of the photographs feel as though they picture mysteriously enigmatic and bizarre rites or ceremonies—the deeper meaning of which the viewer is wholly unaware.</p> <p style="text-align: justify;">Evžen Sobek was born in the city of Brno in 1967. Sobek attended the University of Technology in Brno and trained as a technical draughtsman before transferring to the Institute of Creative Photography of Silesian University at Opava. Currently working as a freelance photographer and a photography instructor, the focus of Sobek’s work has been documentary imagery. He garnered early acclaim for his series depicting the life of Premonstratensian monks in Zeliv (a village in the Czech Republic), and another focusing on the day-to-day life of Roma (also called Gypsies) living in his hometown. “Life in Blue” was awarded an Honorable Mention by the 2010 Lens Culture International Exposure Awards. Sobek’s work is represented in numerous private and public collections, including the Museum of Fine Arts, Houston; the School of Visual Arts, Osaka; and the Museum of Applied Arts, Prague. He is founder of the Brno Photography School and the Fotoframe competition.</p> Fri, 08 Feb 2013 06:06:42 +0000 Hendrik Kerstens - Danziger Gallery - January 10th, 2013 - February 16th, 2013 <div>Born in the Hague in 1956, Hendrik Kerstens has for the last 17 years been producing an ongoing body of work that explores some of the many intersections between painting and photography.</div> <div> </div> <div>Using his daughter Paula as his only subject, Kerstens not only photographs her in reference to Old Master Dutch painting but also in relation to her own life and the world we live in today.  </div> <div> </div> <div>Conceptually Kerstens' photographs address issues of seriality, time, and identity, while emotionally they speak to his love for his child and their ongoing collaboration.</div> <div>Pictorially, Kerstens photographs are breathtakingly masterful prints with an extraordinary combination of light and skin tone that it would not be overstating to say signal a new technical level of achievement in prinitng.  A largely self-taught photographer, over the last decade Kerstens has mastered his craft in a way that serves to dispel any lingering questions about the quality, validity, and expressive power of digital photography.</div> <div> </div> <div>Kerstens' work, however, is not just imitating painting. From early on, he became increasingly interested in combining the art of photographic portraiture with the game of creating a conceptual and sometimes humorous dialog between past and present. The titles give the game away. "Napkin" looks like a maid's bonnet. In "Bag", a plastic grocery bag is shaped to look like a lace hood. In other pictures no pretense is made to imitate 17th century clothing but Paula's face and Kerstens' light turn a modern hoodie into a classic and timeless garment.</div> <div> </div> <div>Kerstens' work has long been acknowledged for its many qualities but surprisingly this will be the first large scale solo exhibition of his work in America.  (Previously Alexander McQueen, based his Fall 2009 collection on Kerstens' photograph of Paula with a plastic bag as a head-dress, using the image as his invitation for the show.)  That same year Kersten's work was featured in the exhibition "Dutch Seen" at The Museum of the City of New York.</div> <div> </div> <div>Currently his image "Hairnet" is the cover image for Pier 24s current show "About Face" – an exhibition focusing on the tradition of portrait-based photography – alongside artists such as August Sander, Diane Arbus, and Richard Avedon. </div> <div> </div> Tue, 18 Dec 2012 01:45:52 +0000 Sandra Vásquez de la Horra - David Nolan Gallery - January 10th, 2013 - February 16th, 2013 <p>For Sandra Vásquez de la Horra's second solo show at David Nolan Gallery, the artist has produced a suite of new drawings that are being presented under the title Entre el cielo y la tierra. Continuing the methods developed in her earlier work, Vásquez de la Horra produces graphite drawings that are completed by being dipped in wax. Bounded by this framework, the artist continues to deepen her focus into the themes that inform her work, producing imagery ever more dreamlike and evocative yet dark and guarded. Vásquez de la Horra will be presenting a number of drawings from her participation in the 30th São Paulo Bienal in juxtaposition with the new works made for the exhibition.<br /> <br /> Born in Chile in 1967, Vásquez de la Horra grew up under the Pinochet regime. Drawing from both this cultural history as well as her personal experiences, Vásquez de la Horra's works are forceful images that demand a reaction from the viewer. Elegantly modeled with fluid, confident lines, the humanoid figures possess immediate force. Drawing from a wide range of literary and mythological sources, the artist depicts hybrid figures and inscrutable objects, presenting scenes that feel surprisingly familiar. The simplicity of form is offset by the mysteriousness of the shading and by the monochromatic austerity. Only in brief accents does the artist add color, dramatizing fragments of text that augment and complicate the imagery.<br /> <br /> Though sexual acts, folk figures, death, and other motifs reappear in the works, each drawing exists as a self-contained entity. The figures nearly always float ambiguously over an unmarked background, each a unique vignette that recalls the spatial confusion of dreams and memories. When the drawings are installed in a large salon-style group, their truncated narratives play off one another, underscoring the poetics achieved through sparse means.<br /> <br /> The title of the show translates as "between heaven and earth," suggesting a material and spiritual totality, the complete range of possibilities. Ecclesiastes 1:14 reads "I have seen all the works that are done under the sun; and, behold, all is vanity and vexation of spirit." Vásquez de la Horra's impenetrable scenes are similarly foreboding, as a sense of unease – a prophetic doom – permeates the works. In these most recent works, the artist draws from conspiracy theorist David Icke's reptilian master race, the "lost" continent and cultures of Lemuria, and the ritualistic orgies and initiation rites of Stanley Kubrick's Eyes Wide Shut. Vásquez de la Horra's recent experiences in detoxing and cleansing left her unusually sensitive, with the dreams and conversations that followed impacting her work greatly. By denying recourse to straightforward narratives and stable imagery, Vásquez de la Horra's drawings undermine rationalized categorization and resist secure meaning. This mastery of the mythological and symbolic, and the feedback between dreams and social realities, has led Vásquez de la Horra's work to be compared to that of Henry Darger, Odilon Redon, Louise Bourgeois, and Francisco de Goya. <br /> <br /> Sandra Vásquez de la Horra graduated from the University for Design in Viña del Mar, Chile in 1994, and completed post-graduate studies at the Kunsthochschule für Medien, Cologne in 2003. She attended the famous Kunstakademie Düsseldorf from 1995 to 2002, studying under Jannis Kounellis and Rosemarie Trockel. Vásquez de la Horra has been exhibited at the Centre Pompidou, Paris; the Museum Kunst Palast, Düsseldorf; and the Bonnefantenmuseum, Maastricht, Holland. In 2009, she won the Drawing Prize of the Guerlain Contemporary Art Foundation. In 2012, Vásquez de la Horra participated in The Imminence of Poetics, the 30th São Paulo Bienal, curated by Luis Pérez-Oramas. <br /> <br /> Sandra Vásquez de la Horra currently lives and works in Berlin, Germany.</p> Wed, 26 Dec 2012 02:19:22 +0000 Tim Berg & Rebekah Myers - DEAN PROJECT - January 17th, 2013 - February 16th, 2013 <h4><em><b>An embarrassment of riches</b></em></h4> <p><b>Tim Berg &amp; Rebekah Myers</b></p> <p><b>Exhibition dates: </b>January 17<sup>th</sup> – February 15<sup>th</sup> 2012</p> <p><b>Opening reception: </b>Thursday March 1<sup>st</sup> - 6 to 8pm</p> <p>DEAN PROJECT is pleased to present <i>An embarrassment of riches</i>, an exhibition by Tim Berg and Rebekah Myers.  It is the collaborative team’s third solo show with the gallery.</p> <p>The work in this exhibition addresses notions of fortune, overabundance, value, and authenticity.  Inspired by our consumable culture, Berg and Myers create ambitious handmade works in a variety of media, including ceramic, wood, and fiberglass with a degree of finish so high that all evidence of the hand is erased, thereby linking the works to designer goods and products.  </p> <p><i>An embarrassment of riches </i>is a commonplace trope used to describe too much of a good thing, and is most evident in the pieces <i>and then some…</i>, and <i>An embarrassment of riches (billboard). </i> <i>and then some…</i> features a four-foot-tall lemon wafer cookie with such an overabundance of filling that it drips with excess. As the drip from the filling falls away from the cookie, it turns to 23-karat gold.  <i>An embarrassment of riches (billboard)</i> employs the most conventional and prominent means of advertising to announce the exhibition.  The billboard, like all of its kind, speaks to the overabundance of objects and experiences that saturate our daily lives.  Impossible to ignore, billboards litter the landscape, both tantalizing and overwhelming the viewer with a conspicuous profusion of opportunities. </p> <p> </p> <p>The central piece in the exhibition, titled <i>a thing of the past</i>, is comprised of a large, modernist-looking walnut table upon which a stylized replica of an adolescent triceratops skull rests inverted.  This piece simultaneously relies upon and subverts the conventions established in natural history museum displays in order to explore how we value the past, making it into an allegory for the present.  Ten small souvenirs of this project made to look like the larger version further reinforce our culture's propensity for transforming all things into something consumable.  The sale of these souvenirs describes how human desire causes things to disappear.</p> <p> </p> <p><i>for all it’s worth</i> is a playful take on how humankind values nature.  Double-sided wooden calipers compare the height of a perfectly manicured bonsai tree to a stack of chopped wood, creating a contrast between a human ideal and natural beauty.  Though they are made of the same materials—as are the wooden calipers that measure and compare the two forms of wood—the two items are valued in completely different ways. </p> <p> </p> <p> </p> <p>Tim Berg and Rebekah Myers are a multimedia studio-art collaborative based in Claremont, California.  Berg and Myers have participated in multiple solo exhibitions, including <i>on the brink </i>at Dean Project Gallery in New York, NY (2011); <i>As Luck Would Have It</i> at Nääs Konsthantverk Galleri in Göteborg, Sweden (2009); <i>All Good Things…</i> at Dean Project Gallery in Long Island City, NY (2008); <i>Hope Springs Eternal </i>at Seigfred Gallery at Ohio University in Athens, OH (2007); and <i>Glacial</i> at Ironton Studios in Denver, CO (2007).  Over the years, Berg and Myers have also participated in numerous group exhibitions in the US, Mexico, South Korea, and Kuwait. Their work is included in many private and public collections, including The Betty Woodman Collection at the University of Colorado and the Biedermann Museum in Germany.  Berg additionally works as an Assistant Professor at Pitzer College in Claremont, California and as a freelance curator.  He has curated a number of exhibitions, including Tannaz Farsi - Crowd Control (2012); the 67th Scripps Ceramic Annual - Making Fun (2011); and the Northern Colorado Regional Student Show (2004).  Berg received his MFA from the New York State College of Ceramics at Alfred University in 2003 and his BFA magna cum laude from the University of Colorado in Boulder in 2000.  Myers received her BFA from the University of Colorado in Boulder in 2000 and continued her studies in graphic design at the California College of the Arts in San Francisco, CA. </p> <p>For further information please contact DEAN PROJECT at 212.229.2017 or</p> Sun, 13 Jan 2013 22:36:08 +0000 Sissi Farassat - Edwynn Houk Gallery - January 5th, 2013 - February 16th, 2013 <p>Edwynn Houk Gallery is pleased to announce the opening of an exhibition of works by Sissi Farassat (Iranian, b. 1969), which marks the artist’s first one-person show in New York. The exhibition opens on Saturday, 5 January and continues through Saturday, 16 February 2013. <br /> <br /> Encountering Farassat’s works, one quickly understands that hundreds of hours have been spent making each photograph into a hand-made object. In fact, as an artist working in photography, Farassat prefers to cancel out what seems to be most specific about the medium: the instantenousness of the image-making process and the purity of the photographic print. She physically repurposes the photographic print by taking needle and thread to the print, often stitching thousands of crystals, beads, or sequins onto it in a method more closely related to tapestry than photography. <br /> <br /> Farassat's works are autobiographical, whether they begin as personal or found photographs, and are a combination of Persian and Viennese influences. Initially, she altered her old passports by embellishing them with sequins and beadwork, again repurposing the passport from its original use to the artist's canvas or jumping off point. Subsequent works made use of self-portraits, or rather, as Richard Watts calls them, “presentations of the self, with her close surroundings (family and friends)”. He writes further, “The enactments run the whole gamut of patriarchal images of women: from mimicry of the ‘whore’ to the over-affirmative ‘saint’. (…) control of one’s own image meets an elaborate iconography of the female, as deployed by advertising and the world of film and fashion” (Camera Austria, 103-104, 2008). More recent works are based on a cachet of slides that she found on a flea market, depicting an anonymous, presumably Austrian family posing for the camera in everyday and vacation settings. It is easy to realize how little separates these random family snapshots from the other performative and staged images of Farassat’s oeuvre.<br /> <br /> Farassat tends to isolate the depicted persons through the application of her needling art, complicating for the viewer not only the distinction between the photograph and the object, but also and even more so the relationship between fore- and background, the revealed and the concealed, the subject and its context, the sign and the signified. Farassat challenges our gaze and seems to take pleasure in the ambivalence of her transformations. More recently, she radicalized this approach by outlining the figure through her stitchings while presenting only the backside of the photographic print to the viewer. We are left with a very minimal reference to photography as well as our own “experiences and projections”. Whatever side of the print, and by extension the side of her artistic practice, she presents to us, she always elevates photography to a three-dimensional object and imposes a prolonged process on this medium. In other words, her conceptual approach seems perfectly aligned with her process and vice versa. <br /> <br /> Born in Teheran in 1969, Farassat moved with her family to Vienna in 1978. She has been working as a photographer since 1991 and attended the International Summer Academy conducted by Nan Goldin in 1993. She was a student of Friedl Kubelka at the School of Fine Arts Photography in Vienna (1993-94). Afterwards, she received a stipend for Paris from the Austrian Department for Education, Science and Art to realize her series Self Portrait Paris. Her work has been widely exhibited internationally, amongst others at Landesgalerie Linz, Museum of Vienna, National Gallery of Art Poland, Galerie Kashya Hildebrand in Zürich, the Fototriennale in Vienna, Fotogalerie Vienna, Hara Museum Tokyo and Fotohof Salzburg. Farassat’s work is included in a number of important private and institutional collections, such as the Fotomuseum Winterthur, Museum für Gestaltung Zürich,
MAK - Museum für Angewandte Kunst in Vienna, Museum Moderner Kunst Kärnten, Collection Essl in Vienna, Collection of the City of Linz and Collection of the City of Vienna. She lives and works in Vienna, Austria.</p> Mon, 17 Dec 2012 23:24:39 +0000 Nancy Spero - Galerie Lelong - January 2nd, 2013 - February 16th, 2013 <p>Nancy Spero’s repertoire of female figures run, dance, crawl, tumble, and strut across the page in the exhibition <i>From Victimage to Liberation</i>: <i>Works from the 1980s &amp; 1990s.</i> This rarely-seen selection of Spero’s collaged narratives show women transformed from historical contexts of suffering and subordination into protagonists in charge of their own destinies.  <i>From Victimage to Liberation</i> is the first solo presentation of Spero’s work in New York since her death in 2009. The exhibition will open to the public on January 2, 2013, and the opening reception will follow on January 10, 2013.</p> <p></p> <p>A known feminist and anti-war activist, Spero decided to make women the sole subject of her artwork from 1976 on.  She continued to pay special attention to women as victims of war, furthering the activism she began in her critical<i> War Series</i> (1966-1970).  <i>Argentina</i> (1981) and <i>El Salvador</i> (1986) depict women who suffered under repressive regimes in Latin America juxtaposed with text.  <i>Argentina</i> also includes fragments of typed Amnesty International reports on the deplorable treatment of detention camp prisoners.   Through her imagery of the political conflicts in Argentina and El Salvador in the 1980s, Spero recognized and brought attention to suffering that women faced in relatively recent times.  In a 1987 interview Spero stated, “I still investigate woman as victim because woman is still the victim <i>par excellence</i>, but now I stress women in charge of their lives.” </p> <p></p> <p>Much of Spero’s work throughout the 1980s and 1990s demonstrates an optimistic mood through a new embracement of color, humor, and rhythm.  By printing on both connected and continuous long sheets of paper in horizontal and vertical compositions, Spero allowed her figures space for movement and suspension.   The frieze-like collages evoke filmic motion and fragments of contemporary society, which confirms Spero as major contributor to post-modernism.  Her adoption of the zinc plate was also a major breakthrough in her process: she was able to reproduce and reuse images, multiplying the presence of these women and granting a single figure various associations.   At the time of her death, she had over four hundred characters in her “stock company” and many of them are included in this exhibition.  In <i>Picasso and Fredericks of Hollywood</i> (1990), a group of disparate characters including an abstracted female borrowed from Picasso, a Fredericks of Hollywood lingerie model, a figure drawing by an insane woman, and a Mexican woman giving birth in the presence of the devil, are repeated in different colors and opacities creating a sexually-charged narrative. <i>The Goddess Nut II</i> (1990) multi-panel composition celebrates women of ancient cultures such as the Egyptian sky goddess Nut, Egyptian musicians and acrobats, the Phrygian mother goddess Cybele, a mythological Greek Maenad or “raving one”, a princess’s skeleton, and the “running women” who regularly appear in her work. </p> <p> </p> <p>Nancy Spero’s (1926–2009) groundbreaking career spanned more than fifty years.  Spero’s best known works include her politically-charged <i>War Series</i> and <i>Artaud Paintings</i> of the late 1960s and early 1970s, and her extensive scroll works such as the <i>Codex Artaud</i> (1971-1972) and <i>Notes in Time on Women</i> (1979).  Her installation <i>Maypole/Take No Prisoners</i> was presented at the Venice Biennale in 2007, and her last monumental scroll work <i>Cri du Coeur</i> was shown at the 2010 Bienal of Sao Paolo.  She was also featured in the Gwangju Biennale (2000), Whitney Biennial (1993), and Documenta X (1997). Major monographic exhibitions of Spero’s work have been shown at the Museo d’Art Contemporani de Barcelona; Centro Galego de Arte Contemporanea, Santiago de Compostela, Spain; de Appel Arts Centre, Amsterdam; Institute of Contemporary Art, London; Kunsthalle zu Kiel, Germany; and Museum of Contemporary Art, Chicago.  Spero’s most recent retrospective was organized in 2010 by the Centre Georges Pompidou in Paris, and traveled to the Serpentine Gallery in London in March 2011.  Kunst Sammlung Nordrhein Westfalen in Dusseldorf, Germany presented her <i>War Series </i>in January 2012.  An illustrated catalogue, with an essay by<i> New York Times</i> and <i>ARTnews</i> contributor Hilarie M. Sheets, is published to accompany <i>From Victimage to Liberation</i> and will be available in January. </p> Wed, 12 Dec 2012 17:58:00 +0000 Gayle Wells Mandle, Julia Mandle - Leila Heller Gallery - Chelsea - January 17th, 2013 - February 16th, 2013 <p>Leila Heller is pleased to present, Game II, a collaborative exhibition featuring the works of mother-­‐daughter artist partners Gayle Wells Mandle and Julia Mandle, on view at Leila Heller Gallery, located at 568 West 25th Street, from January 17 through February 16, 2013.<br />In Game II, Gayle Wells Mandle and Julia Mandle use images – not of ladders but of chairs and a teeter-­‐totter – to depict humanity’s eternal struggle against imbalanced societies that deny their citizens  equal opportunity. Inspired by current events in the Middle East and the United States – where the Occupy movement and subsequent 2012 presidential election brought issues of economic inequity to the forefront – the Mandles express their ideas through a combination of media, styles and objects that infuse their art with topical meaning and depth.<br />The exhibition stems from a warm partnership that they refer to as “mother daughter gasoline” dedicated to making art that speaks for a majority of the world’s people who aspire to greater security, opportunity and justice in the world. Through their work, Gayle and Julia Mandle, attempt to effect change by challenging people of all backgrounds to think more openly and inclusively about the world around them. As Roger Mandle, Ph D., former President of the Rhode Island School of Design and director of the Qatar Museums Authority (QMA), explains in the exhibition catalogue, “It is important to understand their work as part of a larger effort by 21st century artists to create a new, more inclusive “public art” that builds on the legacy of their predecessors – from Goya and Manet to Picasso and Rauschenberg. By using their own techniques and technologies as tools to express concerns about social, political and environmental issues, my wife and daughter are attempting to extend viewers’ sights past the work seen in the gallery and outward towards the larger world.”<br />Over the past decade, the work of Gayle and Julia Mandle has become increasingly more message-­‐driven. Timely references to global events now inform everything they make, from performances to paintings, embroidery to large and small-­‐scale sculpture, drawings to photographs. While each artist has grown in her own way, their close relationship has enabled them to learn from and inspire each other. In 2011, Gayle and Julia showed together in an exhibition called Game, creating work that was both complementary in nature yet distinctly different in approach. Hypermarket, Gayle’s series of 38 paintings – exhibited as a large composite on a single wall – focused on the expat community living in the Persian Gulf region, whereas Julia’s work, Lamiya’s Last Game, centered on the tragedy of children killed or maimed playing with cluster bombs in Iraq and other war-­‐ ravaged countries. In this new exhibition both artists draw strong inspiration from the 2012 Arab Spring uprisings, creating work that expresses their respect and concern for the pro-­‐democratic individuals who took to the streets. As a result, Game II portrays the uneven playing field in which oppressed people struggle for equal rights. The central installation in the exhibition, Study for a Monument, and the paintings, sculpture, photographs and embroideries that surround it, could spill into the streets as a cry for justice for those who have given so much for freedom and civil rights.<br />The burned chairs in the piece provide metaphorical references to the many individuals who sacrificed their lives to help others. The stacked chairs weighing down the giant teeter-­‐totter and thrusting an empty throne into the air suggests our eternal struggle for fairness, parity and respect for all. One can imagine this monument cast in bronze, standing 50 feet high in the center of Tahrir Square, for example, or in other places where disenfranchised citizens have stood up against tyranny.<br />Gayle and Julia Mandle were no doubt moved by the revolutionary events that swept across the Middle East beginning in the winter of 2010. Revolutions start in coffee houses and this has been a serious inspiration to the mother-­‐daughter duo. The figures of chairs, present in all their new works, are the representations of the common men, the anti-­‐bourgeois, who sit and discuss the state of their misery night after night in run down coffee shops. The beaten, battered and limbless chairs are the remains of the protesters, or perhaps even, the martyrs. In opposition, lies the chair dedicated to the royals, the magnificent throne. Set on fire, the thrown has undergone the consequences of its tyrannical ruling at the hands of its subjects. Thus are the ruins of the revolution:  fallen leaders and broken people. The teeter-­‐totter is also a display of the cost of the revolution and the remains are too heavy to ignore. Was this all worth it in the end?</p> <p>About Gayle Wells Mandle <br />Gayle Wells Mandle remains influenced by the disparity between the haves and the have-­‐nots in society. In Washington, DC in the late 1980’s she witnessed the growing homeless population, especially in juxtaposition with the limousine-­‐driven legislators. Mandle’s Homeless Series developed into a solo exhibition at the Addison/Ripley Gallery. Wanting to delve more into socio-­‐ olitical painting, she earned her MFA in 1997 at RISD, commencing many solo and group exhibitions throughout the United States. She continues to catalogue decisions based on power and persuasion, and her work has been particularly focused on the Iraq War. After moving to Doha, Qatar in 2008, Mandle curated an exhibition and symposium in 2010 for Leila Heller Gallery called “BEYOND THE WAR”. The purpose was to highlight the artwork of 7 important Iraqi artists now forced to live in the diaspora. One of the underlying themes of this exhibition was that the language of art has the ability to unite people of different cultural backgrounds, while the language of war only divides mankind.</p> <p>About Julia Mandle<br />A recipient of a New York Foundation for the Arts Fellowship in Performance Art, Julia Mandle has received numerous awards throughout her career including her earliest grant from Franklin Furnace Fund for Performance Art, and later from The Foundation for Contemporary Art, New York  State Arts Council and the National Endowment for the Arts. She was also awarded artist’s residencies at Guapamacataro, Michoacan, Mexico; Yaddo, Saratoga Springs, New York; Baryshnikov Arts Center, New York, New York; and at Weir Farm Trust, Wilton, CT. Julia has lectured on her art and interdisciplinary approach at the Whitney Museum of American Art, Rhode Island School of Design, Parsons School of Design, Amherst College, and Pratt Institute, and has served on the new genre panel for the Rhode Island Arts Council and the architecture jury at Columbia University. She received a Bachelor of Fine Arts at Williams College and a Master of Arts at the Gallatin School of New York University.</p> Sat, 22 Feb 2014 15:49:56 +0000