ArtSlant - Openings & events en-us 40 Suzan Frecon - David Zwirner- 525 W. 19th - February 13th, 2013 6:00 PM - 8:00 PM <p>David Zwirner is pleased to present an exhibition of recent watercolors by Suzan  Frecon, on view at the gallery’s 525 West  19th Street space. This will be the artist’s second solo show with the gallery.</p> <p>For the past four decades, Suzan Frecon has become known for her abstract oil  paintings and watercolors that are at once reductive and expressive. Each of her works is the result of a deliberative and searching process in the mediums of oil paint and watercolor paint, in tandem with graphite sketches and notes. All are part of the same unity, and new works often evolve from previous works. Frecon adamantly tries to avoid recognizable pictorial associations or symbolic explanations. Her intent is that if the work can be freed from a fixed idea or illustrative accompanying explanation, its reality can exist solely on its strength as art, in its highest possible form of abstraction. As she has stated, “The physical reality and the spiritual content of my paintings are the same.”</p> <p>This exhibition consists of over forty watercolors. Each provides an arresting autonomy that focuses attention onto the unique interaction of paper and paint; as a group, the works form subtle relationships to one another and bring forward issues of horizontality and verticality, recurring shapes, and interacting arrangements of color.</p> <p>Frecon has noted that the “ground for my watercolors is usually agate-burnished old Indian ledger paper, simply because I like the way it takes the paint.” Each leaf of paper has its own innate character, due to creases, holes, blemishes, and even faint writings. The sizes of the sheets vary irregularly and impose their own dynamic constraints on the compositions. The development of the artist’s oil paintings, to the contrary, starts with the very deliberately determined measurements of the support, whose outside edges and material characteristics (whether paper or stretched linen) generate the compositions that provide the bedrock for the resulting paintings. Otherwise, the elements and criteria of the work are much the same; pigment color and property, paint binder of oil or gum arabic, form or composition, and asymmetrical balances, dissonances, and harmonies. All together they contribute to the experience of Frecon’s works.</p> <p>The exhibition will be accompanied by a fully illustrated artist book published by David Zwirner and Radius Books with Lawrence Markey.  A concurrent show of watercolors will be presented at Lawrence Markey in San Antonio, Texas, on view from February 22 to March 29, 2013.</p> <p> </p> <p><strong>Suzan Frecon</strong> was born in Mexico, Pennsylvania. Following a degree in Fine Arts at Pennsylvania State University in 1963, she spent three years at the École Nationale Supérieure des Beaux-Arts in Paris. In 2008, Frecon’s work was the subject of a major solo exhibition at The Menil Collection in Houston, Texas, <em>form, color, illumination: Suzan Frecon painting</em>, which traveled to the Kunstmuseum Bern, Switzerland. She was included in the 2010 Whitney Biennial, and her works are represented in the permanent collections of prominent institutions, including the Fogg Art Museum, Harvard University, Cambridge, Massachusetts; Kunstmuseum Bern, Switzerland; The Menil Collection, Houston; The Museum of Modern Art, New York; the National Gallery of Art, Washington, D.C.; and the Whitney Museum of American Art, New York. She lives and works in New York.</p> Mon, 28 Jan 2013 23:22:29 +0000 Leung Chi Wo - International Studio & Curatorial Program (ISCP) - February 13th, 2013 7:00 PM - 9:00 PM <p>Leung Chi Wo is a Hong Kong-based artist and was an ISCP resident in 1999. His multi-disciplinary artistic practice ranges from photography and video to text, performance and installation, and focuses on perception and understanding in communication within the urban context.</p> <p>The exhibition <em>Jonathan &amp; Muragishi</em> intends to recall the voice of the past in the present through the stories of two actual but fictionalized characters Jonathan Napack and Hiroaki Muragishi. They were two interviewees from an earlier project, <em>Domestica Invisibile</em> (2004-present), an exploration of psychological response and physical adaptation to often pre-defined and cramped domestic spaces in urban Hong Kong. Jonathan was a mid-career American arts writer, who witnessed the development of the Asian contemporary art scene, and Muragishi was a young Japanese multi-media artist from Sapporo, Japan.</p> <p>In their interviews, they both spoke of their small apartments in Hong Kong and how they re-invented or re-purposed these tiny living environments. These interviews will be transmitted throughout the gallery in furniture and other domestic objects, invoking some of the spaces described by Jonathan and Muragishi.</p> <p>Leung Chi Wo (born 1968, Hong Kong) graduated with a Master of Fine Arts from the Chinese University of Hong Kong. In 2001, his site-specific project was exhibited in the first Hong Kong pavilion of the Venice Biennale. His recent exhibitions include the Busan Biennale (2006), Guangzhou Triennial (2008), “Lights Out” at Museu da Imagem e do Som, São Paulo (2008), “Depot of Disappearance” at quartier21/MuseumsQuartier, Vienna (2009) and “No Soul For Sale” at Tate Modern, London (2010). Leung Chi Wo co-founded Para/Site Art Space in 1996.</p> Tue, 15 Jan 2013 00:56:54 +0000 Paul Pretzer - MARC STRAUS - February 13th, 2013 6:00 PM - 8:00 PM <p>In this second one-person exhibit at MARC STRAUS, Paul Pretzer is even more rigorous and inventive. His images are interconnected to one another in subtle narrative strings and become something larger; a psychological rebus. A Pretzer painting contains humor and aversion. Its bizarre configurations evoke association and abstraction at once. Centrally fusing monkeys with eminent portrayals, the artist continuously sources the uncanny while pushing the boundaries of contemporary painting further. His work is always immediately recognizable. It is rude and irreverent, playful and beautiful.</p> Sun, 10 Feb 2013 00:40:07 +0000 - Museum of the City of New York - February 13th, 2013 6:30 PM - 8:30 PM <p align="left"><span style="color: dimgray; font-size: small;" color="dimgray"><span size="1"><span style="font-family: Verdana;" face="Verdana">Widely known for their picturesque winter scenes and quaint landscapes, Currier &amp; Ives also produced the <i>Darktown Comics</i></span><span style="font-family: Verdana;" face="Verdana">, an enormously popular series that portrayed African Americans as dim-witted buffoons, promoting stereotypes popularized in 19th-century minstrel shows. <strong>Joshua Brown</strong>, executive director of the American Social History Project at CUNY, moderates a discussion with Professor <strong>David Jaffee</strong> of Bard Graduate Center for Decorative Arts, Design and Culture; and University of Maryland Professor <strong>Carla Peterson</strong>, author of <i>Black Gotham</i></span><span style="font-family: Verdana;" face="Verdana">, about the "other side" of Currier &amp; Ives. The panel will look at the broader catalog of the most important commercial art firm of the 19th century, exploring the climate and attitudes that made <i>Darktown </i></span><span style="font-family: Verdana;" face="Verdana">one of its most profitable series. </span></span></span></p> <p align="left"><span style="color: dimgray; font-size: small;" color="dimgray"><span size="1"><span style="font-family: Verdana;" face="Verdana">Presented in honor of <strong>Black History Month</strong> conjunction with <i><strong>Currier &amp; Ives and Other Winter Tales</strong></i></span><span style="font-family: Verdana;" face="Verdana">. </span></span></span></p> <p align="left"><span style="color: dimgray; font-size: small;" color="dimgray"><span style="font-family: Verdana;" face="Verdana"><span size="1">Co-sponsored by the <strong>American Social History Project</strong>.</span></span></span></p> <p><span style="color: dimgray;" color="dimgray"><span style="font-family: Verdana;" face="Verdana"><span style="font-size: xx-small;" size="1"><span style="font-size: small;"><strong>RESERVATIONS REQUIRED<br /></strong>$6 Museum members; $8 seniors and students; $12 general public</span><br /></span></span></span></p> Fri, 08 Feb 2013 02:06:28 +0000 Group Show - New Museum - February 13th, 2013 11:00 AM - 6:00 PM <p>Centering on the year 1993, the exhibition is conceived as a time capsule, an experiment in collective memory that attempts to capture a specific moment at the intersection of art, pop culture, and politics.</p> <p>The social and economic landscape of the early ’90s was a cultural turning point both nationally and globally. Conflict in Europe, attempts at peace in the Middle East, the AIDS crisis, national debates on health care, gun control, and gay rights, and caustic partisan politics served as both the background and source material for a number of younger artists who first came to prominence in 1993. At the same time, an increasingly active international network of artists, curators, and dealers contributed to a burgeoning global art world, amplified by the nascent tools of digital information. Twenty years later, it is time to reconsider the events, debates, and histories that prompted dramatic changes in art and culture. The Clinton inauguration, the first World Trade Center bombing, the Waco siege, and the March on Washington for Gay, Lesbian, and Bi Rights and Liberation, and other flash point events all shaped new discussions about social progress and political action. With this backdrop, young artists from New York made their mark in major international exhibitions and artists from Los Angeles, Britain, Italy, and Germany debuted in New York and provided a new texture to an already dynamic scene.</p> <p>“NYC 1993: Experimental Jet Set, Trash and No Star” draws its subtitle from the eponymous album that the New York rock band Sonic Youth recorded in 1993 and captures the complex exchange between mainstream and underground culture across disciplines, which came to define the art of the era. The New Museum’s exhibition will include a number of historical reconstructions of important installations and exhibitions from 1993, while other works will be revisited and reinterpreted from the vantage point of today—highlighting the ways in which certain actions, events, attitudes, and emotions reverberate towards the present. These works will sketch out the complex intersection between art and the world at large that defined the 1990s and continues to shape artistic expression today.</p> <p>The exhibition will span all five gallery floors of the New Museum and will also feature an installation of Nari Ward’s iconic work <em>Amazing Grace</em> in the Museum’s Studio 231 space (January 16–April 21, 2013). The project was originally realized in 1993 in an abandoned fire station in Harlem. The exhibition will also feature reconstructions of major works by Félix Gonzaléz-Torres, Jason Rhoades, and other artists. Works by artists including Gabriel Orozco, Byron Kim, and Julia Scher, among others connect back to the New Museum’s own exhibition history and address issues like globalism, new technology, and identity politics prevalent at the time. Other artists presented include: Ida Applebroog, Art Club 2000, Alex Bag, Matthew Barney, Kathe Burkhart, John Currin, Coco Fusco, Robert Gober, Nan Goldin, Félix González-Torres, Ann Hamilton, David Hammons, On Kawara, Byron Kim, Alix Lambert, Sean Landers, Sarah Lucas, Paul McCarthy, Suzanne McClelland, Gabriel Orozco, Pepón Osorio, Elizabeth Peyton, Steven Pippin, Charles Ray, Jason Rhoades, Julia Scher, Andres Serrano, Cindy Sherman, Rudolf Stingel, Wolfgang Tillmans, Rirkrit Tiravanija, Nari Ward, Hannah Wilke, Jack Whitten, and several others.</p> <p>The exhibition will include a fully illustrated catalogue with key historical texts and reflections by younger curators and writers on the impact of this pivotal moment in American culture.</p> Sun, 03 Feb 2013 22:37:08 +0000 Tam Van Tran - Ameringer | McEnery | Yohe - February 14th, 2013 6:00 PM - 8:00 PM <p class="p1">NEW YORK, NEW YORK – AMERINGER | MCENERY | YOHE is pleased to announce its first solo exhibition of work by Tam Van Tran. Tam Van Tran: Leaves of Ore will open on 14 February and will remain on view through 16 March 2013. In addition to this exhibition, Tam Van Tran’s work will be featured in a solo booth at The Art Show, organized by the Art Dealers Association of America (ADAA) at the Park Avenue Armory, Park Avenue at 67th Street, New York, from 6 - 10 March. Gala Preview on 5 March.</p> <p class="p1">Tam Van Tran has been strongly influenced by landscapes: the landscapes of his Vietnamese childhood, where he lived near the ocean and Da Nang military airbase, and the landscapes of his current home of Los Angeles and the California coast. His works start with fragments such as porcelain shards that evoke memories of ceramic jars his mother used for making fish sauce, or leaves of copper sheets that lift with air currents like palm fronds in the Santa Ana winds. The fragments include found objects, cardboard and palm leaves that are collaged onto canvas surfaces and natural materials, clay, paint and paper, which are laid on ceramic tiles and embedded beneath recycled glass. The materials embody Tran’s recalled experiences of bombs floating onto shore, villagers fishing with grenades, and intermittent evacuations. The large ceramic wall work in Leaves of Ore began with diagrams of Da Nang and Tan Son Nhat International Airport (Saigon). Referencing Earth’s tectonic plates, Tran places porcelain chips and recycled glass on top of the diagrams before they are fired. The gathering of both clay and glass forms a mineral aggregation. The diagrams mostly disappear through the process of accumulating elements and kiln firing; yet remain fixed as ideas within the artwork, akin to the process of an individual’s memory formation from the amassment of thoughts and experiences over time. As an individual’s memories are susceptible to influence and change by others, the copper leaf wall works also invite interaction from the viewer, the leaves responding to and monitoring the onlooker’s approach and shifting movements.</p> <p class="p1">Tran is acutely aware of himself as a Vietnamese-American absorbing both Eastern and Western cultural influences. His work incorporates and transforms references from Nouveau Réalisme, Arte Povera, and California ceramic tradition, and may be as easily compared to John Chamberlain’s crushed metal sculptures as it may Asian gold-leafed folding screens. In the tradition of artists such as Kurt Schwitters and Robert Rauschenberg, Tran actively considers, explores, and expands painting concepts.</p> <p class="p1">Tam Van Tran was born in Kon Tum, Vietnam, in 1966. He studied painting and received a BFA in 1990 from Pratt Institute in Brooklyn, New York, and later attended the Graduate Film and Television Program at the University of California, Los Angeles. His work was featured in the 2004 Whitney Biennial. Tran has had numerous national and international exhibitions, including Tam Van Tran: Psychonaut, at the Blaffer Art Museum, University of Houston, and SubUrban: Tam Van Tran, at the Knoxville Museum of Art. His work may be found in the permanent collections of The Museum of Modern Art, New York; the Whitney Museum of American Art, New York; The Hirshhorn Museum and Sculpture Garden, Washington, D.C.; The Museum of Contemporary Art, Los Angeles; The Broad Collection, Santa Monica; The Institute of Contemporary Art, Boston; The Walker Art Center, Minneapolis; and The Cleveland Museum of Art.</p> <p class="p1">Tran lives and works in Los Angeles.</p> <p class="p1">Ameringer | McEnery | Yohe is open Tuesday through Saturday 10 AM to 6 PM and by appointment. Press contact: Thomas Quigley at</p> Tue, 05 Feb 2013 16:15:50 +0000 Niall McClelland - envoy enterprises - February 14th, 2013 6:00 PM - 8:00 PM <p align="center"><b>NIALL McCLELLAND</b></p> <p align="center"><b>BRUCE TO BROCK AND BACK</b></p> <p align="center"><b>14 FEBRUARY— 17 MARCH 2013. WED – SUN. 12 - 6</b></p> <p align="center"><b>OPENING 14 FEBRUARY 6-8PM</b></p> <p> </p> <p> </p> <p><b>envoy enterprises</b> is pleased to present the first solo exhibition of Canadian artist Niall McClelland in New York. McClelland, who has been living and working in Toronto over the past several years, has spent much of his time escaping the city to create work at a friend's cabin in the Bruce Peninsula in Ontario. A rural, wild, picturesque landscape on the west shores of Lake Huron, his experiences there brought to mind the history of Canadian art and the possibilities of contributing to that dialogue. In <i>Bruce to Brock and Back</i>, McClelland presents abstract and ephemeral paintings, works on paper, and sculptures that continue the investigations of landscape and territory and the visual markings that can trace history. </p> <p> </p> <p>In Canada, there is a cadre of artists from 1920 to 1933 referred to as, The Group of Seven — whose work is widely considered to have formed the first Canadian National art movement. Believing that a distinctly Canadian form of art could be developed through direct contact with nature, these artists were famous for their paintings inspired by the landscape. While these artists were highly regarded for their contributions to Canadian art history, they also received criticism for their reinforcement of terra nullius, presenting the region as pristine and untouched by humans when in fact the areas depicted had been lived on for many centuries.</p> <p> </p> <p>Much like The Group of Seven artists, McClelland shares an appreciation for rugged, unkempt natural scenery, but unlike them he holds the same appreciation for the beauty and mysteries found in the industrial urban landscape as well. The process in which McClelland creates his work is not an idealization of nature but one of alchemical evidence and capture.  In some instances he left unstretched canvas and linen attached to trees, docks, rafts, and the cabin to weather outside over the summer and capture the residue of the physical material to imbue the cloth with a tracing of the landscape.</p> <p> </p> <p>In addition to leaving work to weather at the cabin, he actively searched for discarded material in his industrial Toronto neighborhood to repurpose and recontextualize. The found objects have the imbued essence, or trace of his urban surroundings that parallels the traces imbued in the work left to nature's will up north.</p> <p> </p> <p>Through his practice, McClelland subverts readily accessible and familiar materials and rudimentary processes to produce works that literally reflect the mechanics and incidental beauty resulting from the physicality of process.  The visible markings in the final works, upon closer inspection, simply reflect evidence of the very physical actions and matter from which they are made. They are grounded in the real world, in the here and now.</p> <p> </p> <p> </p> <p><b>Niall McClelland</b>(b.1980) grew up in Toronto, went to school in Vancouver B.C and eight years later returned to Toronto where he now lives. His work has been published in Adbusters, Canadian Art, Modern Painters, and The White Review among others. Recent exhibitions include Trans/Form at the Museum of Contemporary Canadian Art(Toronto), One Tune Outta Turn at Eleanor Harwood (San Francisco); Highest Prices Paid for Gold at Clint Roenisch (Toronto), Like Minded at Plug-In ICA (Winnipeg) and Magic for Beginnners at P.P.O.W (New York).</p> <div><hr size="1" align="left" width="33%" /> <div> <div> <p></p> </div> </div> </div> Thu, 31 Jan 2013 18:41:13 +0000 Laura Horelli, Sharon Hayes - International Studio & Curatorial Program (ISCP) - February 14th, 2013 6:30 PM - 8:00 PM <p>Brooklyn Commons, a discussion series this winter and spring at ISCP, presents intellectual and artistic pairings between the established Brooklyn-based artist community and ISCP residents. This series puts artists in conversation who have not shared a dialogue in the past and focuses on the vibrant and diverse cultural practitioners living and working in Brooklyn, both long and short-term.</p> <p>On February 19<sup>th</sup>, <strong>Sharon Hayes</strong> and <a href="" rel="nofollow"><strong>Laura Horelli</strong> </a>will discuss the role of documentary practices in relation to language, politics and the intersection of public and private domains. In different ways, both artists collapse time periods by locating the individual voice in historical and political images. Hayes’ work moves between multiple mediums–video, performance, installation–in an ongoing investigation into the interrelation between history, politics and speech. She employs conceptual and methodological approaches borrowed from practices such as performance, theater, dance, anthropology and journalism. Horelli’s video installations deal with society, media and politics in the age of globalization. The narrative is often personal, but includes an analytical and expansive dimension. She has remarked, “my work is a continuation of ‘the personal is political’ in that personal stories are used to address structures in society.”</p> <p><strong>Sharon Hayes</strong> lives and works in New York. Her work has been shown at the New Museum for Contemporary Art, the Guggenheim Museum, P.S. 1 Contemporary Art Center, The Whitney Museum of American Art, Art in General, Artists Space, Dance Theater Workshop, Performance Space 122, the Public Theater, and the WOW Cafe in New York and at Los Angeles Contemporary Exhibitions, Track 16, Gallery 2102 and The Project in Los Angeles. Internationally at the Tate Modern, London; Museo Reina Sofia, Madrid; Museum Moderner Kunst and the Generali Foundation in Vienna, the Deutsche Guggenheim, Berlin and in galleries, exhibition or performance spaces in California, Florida, Rhode Island, Texas, and Vermont, Bogotá, Berlin, Copenhagen, Malmö, Vienna, Vancouver and Zagreb as well as in 45 lesbian living rooms across the United States. Hayes is Assistant Professor at the School of Art at The Cooper Union.</p> <p><strong>Laura Horelli</strong> lives and works in Berlin and is currently in residence at ISCP. She graduated from Städelschule, Frankfurt and the Academy of Fine Arts, Helsinki. Horelli’s work has been exhibited internationally at the 49<sup>th</sup> and 53<sup>rd</sup> Venice Biennales; Manifesta 5, San Sebastian; Gwanju Biennale; Kiasma, Helsinki; n.b.k., Berlin; Ludlow38, New York; Kunsthaus Bregenz; Palais de Tokyo, Paris; Gasworks, London; Galerie im Taxispalais, Innsbruck and Goethe-Institut Nairobi. Horelli was a Visiting Professor at the University of Fine Arts, Berlin in 2007. In 2011, she received The Hanna Höch Prize for Young Artist from the City of Berlin. She was recently awarded a 5-year working grant from the Arts Council of Finland. Horelli is represented by Galerie Barbara Weiss, Berlin.</p> <p>Brooklyn Commons is organized by <strong>Kari Conte</strong>, ISCP Director of Programs and Exhibitions, with former ISCP Fellows <strong>Rachel Cook</strong> and <strong>Chelsea Haines</strong>.</p> Thu, 14 Feb 2013 15:43:52 +0000 E.E. Smith - Kim Foster Gallery - February 14th, 2013 6:00 PM - 8:00 PM <p>Kim Foster Gallery is pleased to present, <em><strong>Diversions</strong></em>, new photo-based oil prints by E.E. Smith. Her still life prints center on games and comment on the current economic and political climate. The show’s genesis lies in a recent visit to the Netherlands where she revisited and was inspired by the 17th century Dutch still life painting she saw there. In these images, Smith invokes the <em>memento mori</em>, a genre that asks the viewer to heed the brevity of life. With a nod to the contemporary penchant for amusement over mindfulness, her work, on the one hand, tells us that games offer a distraction from reality, while on the other, makes references to the very issues these distractions would mask.</p> <p><br />In <em>Lotto,</em> the centerpiece of this exhibit, Smith mounts forty-five vivid images in a grid formation, suggestive of the popular Mexican Lotería and lottery learning games for children. The images, of small objects found around the house, common things encountered in everyday life, are silhouetted, cut off from any contextual setting. Man-made objects (along with a few natural ones) are presented in luminous black-and white, while fruit and flowers glow with intense color, an allusion to slot machine symbols. Like the cards in the Latin game, this assortment of alluring objects seems full of symbolism and emotion, giving them a timeless quality of a Tarot card.</p> <p>In the series, <em>Twenty Questions</em>, Smith invokes the 19th century parlor game which reduces everything in the world to three categories from the Linnaean taxonomy of the natural world: animal, vegetable and mineral. Players may only ask questions that can be answered “yes” or “no” thus further simplifying the complexity of the known world. Smith choice of subjects resonates with present-day concerns: <em>Animal (Baby Beef)</em> brings to mind problems of sustainable agriculture and the locovore movement; <em>Mineral (Manhattan Bridge)</em> reminds us of the systemic, crumbling infrastructure that plagues our country; and <em>Vegetable (Tree)</em> draws attention to global warming and environmental issues.</p> <p>Included in <em><strong>Diversions</strong></em> are a series of more traditional still life prints that incorporate games directly. Smith gives us playing cards, dominos, and three English walnuts (literally a shell game), overt references to gaming and gambling. These luscious, richly colored oil prints, a medium Smith has been working in for over two decades, are both lyrical and sinister, and hark back to a long visual history of depicting the role chance plays in our lives.</p> Tue, 15 Jan 2013 21:05:08 +0000 Michael Lipkin - Kim Foster Gallery - February 14th, 2013 6:00 PM - 8:00 PM <p>Kim Foster Gallery is pleased to present, Sacred Spaces, recent photographs by Michael Lipkin. This is his first solo exhibition at the Gallery. His photographs focus on the subjective interaction with architecture.</p> <p>Lipkin moves beyond the conventional definition of architecture as a visual art, that exists first in the imagination,, then in design documents, and finally as bricks and mortar to be photographed at its most attractive angle. For Lipkin, architecture exists to accommodate and at times elevate our human existence. In the case of “sacred spaces,” the architecture shares a history that draws on all our senses, not just visual.</p> <p>Lipkin is intrigued by the abstraction of architectural space from its form and mass to its elements - light, time, and movement. He is inspired by the aspirations that have been realized in the construction of these buildings – to imagine the unimaginable, to witness the sacred.</p> <p>Michael Lipkin is an architect, designer, photographer, print-maker, and sculptor. He received his undergraduate degree in sculpture from the University of Pennsylvania and a Master of Architecture degree from Yale.<br /><br /></p> Sat, 26 Jan 2013 16:26:01 +0000 Louise Lawler - Metro Pictures - February 14th, 2013 6:00 PM - 7:30 PM <p>Next Thursday, February 14 from 6 - 7:30pm celebrate the publication of <i>Louise Lawler: October Files</i> (MIT Press) and <i>Louise Lawler and/or Gerhard Richter</i> (Schirmer/Mosel). <br /> <br /> Please join Louise Lawler; Helen Molesworth, the editor of <i>Louise Lawler: October Files</i>; and Tim Griffin who wrote the essay for <i>Louise Lawler and/or Gerhard Richter</i></p> Sun, 10 Feb 2013 00:46:14 +0000 John Lee, Lauraberth Lima, Charlotte Mouquin, michael mut, Brian Pitter, Yexenia Vanegas - Michael Mut Project Space - February 14th, 2013 6:00 PM - 8:00 PM <p><span style="font-size: large;"><strong>AsymMEtry</strong></span></p> <p>Feb 13<sup>th</sup>- Mar 23<sup>rd</sup> 2013 </p> <p><b>Reception</b>:  February 14<sup>th</sup>, Thursday 6-8 pm</p> <p><b>Hours</b>:  Wed–Fri 2–6PM, Sat noon–6PM</p> <p><b>Location</b>:  97 Ave C between 6th and 7th Sts, East Village/L.E.S.</p> <p></p> <p><b>Curated</b> by Luiza Cardenuto  <a href="" rel="nofollow"></a> </p> <p>and Marie Katherine Vigneau</p> <p></p> <p>A fundraiser for the Love Yourself Project  <a href="" rel="nofollow"></a></p> <p>Michael Mut  (917) 691-8390  <a href="" rel="nofollow"></a></p> <p></p> <p><i>“Art is the mind’s vehicle and weapon.  We use it to change, to understand and to move, both others and ourselves. It allows us to analyze the world and accept ourselves.”</i></p> <p>AsymMEtry is a visual arts exhibition that celebrates human flaws. Artists will discuss their personal flaws and techniques they use to cope with these weaknesses.  Some of the questions being addressed in this artistic experiment will be: What are natural flaws? Do they come from cultural influences or love? Why do we strive for symmetry? Why should we view asymmetry as more powerful and beautiful?</p> <p>Acceptance is one of the ideals of The Love Yourself Project. The Project has been utilized as a platform where artists come to explore self-love.  We are offering artists and viewers the experience of finding profound joy as they discover and accept their authentic selves.  Our aim is to fight any societal notion that tells us how to look, feel or be.  We strive for a community of lovers, teachers, students and listeners and engage in conversations and activities that invigorate individuality and remind us of an important task: “to love yourselves unconditionally.”</p> <p> Half of all proceeds will be donated to the Love Yourself Project.</p> <p>Michael Mut Gallery may well be Manhattan's coziest exhibition space. Its small dimensions are well utilized as a platform for the contemplation of current events. It is located at 97 Ave C between 6th and 7th Sts in the East Village/L.E.S. and is open Wed–Fri 2–6PM, Sat noon–6PM, as well as by appointment. It can be reached via public transportation at numerous subway stations -- F,V to Second Ave; L to First Ave; 6 to Astor Place; N, R to 8th St/NYU; J, M, Z to Essex -- as well as via the M9 Bus.</p> Fri, 11 Jan 2013 17:03:10 +0000 Group Show - Museum of Contemporary African Diasporan Arts (MoCADA) - February 14th, 2013 6:00 PM - 9:00 PM <p>From the Harlem Renaissance to the Black Arts Movement to Hip Hop, Black culture has a history of interdisciplinary arts movements. Today’s contribution to this tradition is magnified and expanded by the ease of connecting. Access to the entire world is always just a few clicks away. Today’s artistic movement emerges from the near ubiquity of global Hip Hop culture, and maintains many of Hip Hop’s aesthetic traits and political stances. Yet, in 2013, the cultural production of previous decades is filtered through a complex milieu of global traditions, nostalgia and futurist dreams, all in an age of intercontinental connectivity.</p> <p><em><strong>eMERGING</strong></em> is a curatorial experiment that places visual art and music side by side, and explores an array of artistic expressions that define this unique emerging merging of cultures and art forms.</p> Tue, 29 Jan 2013 01:46:25 +0000 Benrei Huang, Alex Paik, Tom Ngo, Rachel Bone - Nancy Margolis Gallery - February 14th, 2013 6:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;">Nancy Margolis Gallery is pleased to announce the opening of the gallery following the renovation and expansion during the month of January. The first exhibition of 2013, a group show, Fun and Whimsy, includes four artists, Rachel Bone, Benrei Huang, Tom Ngo, and Alex Paik. The exhibition will open Thursday, February 14, 6 to 8pm, and will continue through Saturday, March 23.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Rachel Bone</strong> presents a lively, lyrical narrative in her gouache and ink paintings. The influence of children’s book illustration and Scandinavian folk art is evident in the style of her work as well as the subject matter. Her work has a playful sense of humor which is also expressed in the wonderful patterns depicted in the dresses her cavorting girls wear. Bone concedes her pleasure in people watching nourishes her droll reinterpretation of the mundane world she has created in her paintings. Each work portrays a somewhat familiar scene but always includes a striking element that invites the question, what is taking place and how did it happen.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Bone received her BFA in printmaking from Syracuse University, Syracuse, NY. She has exhibited throughout the United States and her work is included in numerous collections: New York Times, New York, NY; EMI Music/Virgin Records, London, England, Cornell University, Ithaca, NY. Bone also hand prints her beautiful patterns and imagery on women’s and children’s apparel for her independent clothing line, Red Prairie Press. This will be Bone’s first exhibition with Nancy Margolis Gallery.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Benrei Huang</strong>’s acrylic paintings on canvas depict the life and adventures of a fictious figure, Nini the rabbit. Influenced to some degree by surrealism, Huang paints Nini in an evironment that is fantastical, similar to fairytale illustrations. The paintings, though obviously a narrative are not chronological and stand independent of each other. Each story, a fable, points to some morality.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Born in Taiwan, Huang majored in painting at the National Taiwan Normal University and received her MFA from the School of Visual Art in New York. She has exhibited internationally in Taiwan and China and has had numerous shows in the US, including California and New York. This will be Huang’s first exhibition with Nancy Margolis Gallery.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Tom Ngo</strong>’s playful delicate line and color drawings of architectural elements bring together his background as a mixed media artist and an architect. His visionary depictions of homes and buildings, obviously unreal, embrace familiar elements of architecture and furniture. This magical world of floating staircases and homes, balanced in ways unfathomable in physics, is amusing and appealing, speaking out as a welcomed break from the architect’s confining drawing board.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Ngo graduated Carleton University, Ottowa, ON, Canada where he received his Masters of Architecture. His work has been included in many solo and group exhibitions in the Toronoto area. This is Ngo’s third group show at Nancy Margolis Gallery.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Alex Paik</strong>’s gouache and colored pencil on paper wall sculptures visually move and pounce on the eyes with their bright popping colors. Trained as a classical violinist, Paik takes inspiration from jazz and classical music. The curves and angles play together expressing a rhythm reminiscent of music. Though working with two-dimensional color on paper he then cuts and folds to create a three-dimensionality that breaks from the wall and asks to be viewed from multiple angles. In this way Paik mixes and matches an array of colors that relate and clash presenting a dynamic energy of contrasts.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Paik received his MFA from University of Pennsylvania, and his BFA from Pennsylvania State University. His work is included in the collections of AOL, Inc, Duane Morris LLP and University of Texas at Tyler. Paik has exhibited throughout the US including Pennsylvania, New York, and Florida. This will be Paik’s first exhibition at Nancy Margolis Gallery.</span></p> Sun, 03 Feb 2013 18:52:54 +0000 David Leggett, Tim Nickodemus, Rachel Niffenegger, Trew Schriefer - Tracy Williams, Ltd. - February 14th, 2013 6:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;">Named after the suggestive blues standard first recorded by Muddy Waters in 1954,<em> (I’m Your) Hoochie Coochie Man</em> brings together the work of David Leggett, Trew Schriefer, Tim Nickodemus, and Rachel Niffenegger. All of the artists have graduated within the last six years and—like Waters—hail from the Chicago area. While geographically and generationally aligned, each artist brings a distinct approach and body of work to the show.</span></p> <p style="text-align: justify;"><span style="font-size: small;"> The influence of Chicago is most evident in work by David Leggett, who reflects the city's popular culture while registering the influence of the Chicago Imagists, a group of artists in the sixties who rejected the prevailing New York trends for surreal, almost grotesque representational work. Leggett inscribes himself into this arm of art history through his uncanny scenes, cartoonish figures, and vivid those of Jim Nutt and Karl Wirsum. The levity and child-like naivety connoted by Leggettfs use of craft materials and a comic book style is immediately belied by his subject matter, which is simultaneously humorous, perverse, devastating, thoughtful, and personal. Issues of class, race, sex, and violence are tempered by Leggettfs dark sense of humor, which works to effect poignant satire and social commentary.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The use of non-traditional materials is also evident in work by Trew Schriefer. Photos sourced from popular culture.such as images of horses or posing girls.glitter, and craft appliques populate Schrieferfs canvases among heavy layers of oil paint, spray paint, and scraps of used canvas. By collaging ripped up old paintings, scraping off materials and reattaching them in new relationships, Schriefer employs a studio bricolage technique to bring an active quality to his work. The resultant quasi-melting pot undermines the hierarchy of materials and recalls Rauschenbergfs concept of the flat bed picture plane.this time defined by a quality of celebrated, uncouth excess. The canvases take on a sculptural quality that champions the mark of the artist, confronting the viewer both visually in the use of brash colors and spatially through an aggressive materiality.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The work of Tim Nickodemus hinges on this notion of a structural and spatial contingency. His abstract paintings respond to extending a very physical body into a physical world. Lanky forms jut into knobbed shapes, sharp edges disrupt the integrity of planes, and surfaces are mottled, grooved, and overlapping. These ‘limbular’ paintings place space on equal footing with the body, giving viscera and senses to environs. Exploring and in search of graceful collisions, Nickodemus uses these works as a topography to travel through basic physical relationships, parts placed side by side, limb with limb, and body with body. </span></p> <p style="text-align: justify;"><span style="font-size: small;">The residual impression of the body is of paramount import in the work of Rachel Niffenegger. Through a labor-intensive process, which the artist considers a personal exorcism ritual, Niffenegger explores the notion of a being or a presence. Multilayered images arise in her dyed fabric pieces, which function as shrouds and relics as much as paintings and clothing, while her objects serve as petrified forms that refer to the bodyfs past aura and myth. Her most recent steel, clay, and cloth forms are a drawn reflection upon the modernist tropes of opacity and transparency, as well as volume and void. This is made present most palpably in the artistfs exploration of sculpturefs relationship to drawing and the use of absence to create space. Texturally, the work is both bone-like and crazed; weathered, used, touched and destroyed. The works are pale and drained of most color, such that all that remains are residual pigments, powders, and a sense of entrancement.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Aptly opening on Valentine’s Day, <em>(I’m Your) Hoochie Coochie Man</em> presents a glimpse into the practice of four emerging, Chicago-­based artists—all of whom will be present at the opening. Loosely connected through an interest in materials and materiality, they raise questions about space, place, popular culture, and the body. A very special thanks to Judy Ledgerwood and Tony Tassett for their introduction to the artists.</span></p> Sun, 10 Feb 2013 14:19:09 +0000 Jennifer Wynne Reeves - BravinLee Programs - February 15th, 2013 6:00 PM - 8:00 PM <p>BravinLee programs is very pleased to announce an exhibition of new works by Jennifer Wynne Reeves.</p> <p>The exhibition opens Friday, February 15th from 6-8pm. In addition to the opening of the exhibition, Reeves will be signing copies of her new book <em>Soul Bolt</em>, a limited edition of Reeves’s prose and setup photography. The publication of <em>Soul Bolt</em> was funded by The John Simon Guggenheim Memorial Foundation.</p> <p>Reeves emphasizes the sensual and appealing nature of lushly rendered surfaces, colors and forms. Though an abstract painter on many levels, she remains ostensibly loyal to art’s original historic purpose to describe recognizable figures and tell their story. Reeves reverses the traditional painterly course that evolves figuration into abstraction. Instead, evolving abstraction into figuration, she creates a cast of abstract characters infusing them with the power of representational story telling. They appear and re-appear like actors on a stage playing roles. These ambiguous motifs may suggest good or evil aspects, they may be victim or predator, as they obliquely reveal aspects of the artist’s life and experience.</p> <p>In chapter 39 of Reeves’s book, Soul Bolt, her absurdist theatricality is self-evident as she presents the artist studio as a busy chorus of voices of metaphorical exile, loss and a hard won victory, on a trek through the creative process and life itself:</p> <p>"Abstraction talks her head off. She has a lot to say. I tune out or listen, rattled by her noisy silence. Read her lips, learn her sign language. Pthalo Blue ponders her hue; I go along to see what happens. The worms in the walls of Mondrian’s house whisper sweet nothings to my idea-machine. I step into his tidy studio, everything a rectangle except for one blight, the wood stove. Oops: a little imperfection to stay warm. Jazz needs heat; jazz has jaws. They crack a future flummox to my now. I trip forward, reach backwards, backlit on a representational journey. Abstraction catches my hand in hers; I can feel she’s there, hot with ideas, a spool of suggestions, the answer for a painting, a perfectly unexpected Boogie Woogie."</p> <p>Reeves has enjoyed numerous exhibitions internationally including one person shows at Gian Enzo Sperone in Rome, Max Protetch in New York, Ramis Barquet in New York and Monterrey, Art &amp; Public in Geneva, The WorcesterArt Museum in Massachusetts, Joan Prats in Barcelona, and Gorney Bravin + Lee in New York. The many reviews of her exhibitions include The New York Times by Holland Cotter, The New Yorker by Alexi Worth, New York Magazine by Jerry Saltz, Art in America by David Ebony, Art forum by Donald Kustpit, The New York Times by Ken Johnson, The Village Voice by Kim Levin and in Art in America by Sarah Valdez.</p> Mon, 04 Feb 2013 23:01:19 +0000