ArtSlant - Current exhibits en-us 40 Doug Aitken - 303 Gallery - February 1st, 2013 - March 30th, 2013 <div class="grid_10"> <p style="text-align: justify;"><span style="font-size: small;">Central to Doug Aitken's "100 YRS" exhibition is a new "Sonic Fountain," in which water drips from 5 rods suspended from the ceiling, falling into a concrete crater dug out of the gallery floor. The flow of water itself is controlled so as to create specific rhythmic patterns that will morph, collapse and overlap in shifting combinations of speed and volume, lending the physical phenomenon the variable symphonic structure of song. The water itself appears milky white, as if imbued and chemically altered by its aural properties, a basic substance turned supernatural. The amplified sound of droplets conjures the arrhythmia of breathing, and along with the pool's primordial glow, the fountain creates its own sonic system of tracking time.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Behind a cavernous opening carved into the gallery's west wall is "Sunset (black)," a sculptural work that resembles cast lava rock in texture and spells out the word SUNSET as it glows from behind, its letters forming a relic of the entropy and displacement inherent in the literal idea of a sunset. Viewed from and obscured behind a hole in the wall, the sculpture appears as cosmic debris, as if pulled from a parallel world where a sunset is only an idea, obfuscated by detritus of the age of post-everything, a reductionist standpoint between the modes of pop and minimalism, its glow fading into the next realm. Also on view is the mirrored sculpture "MORE (shattered pour)". Like a time-piece, the work creates a kaleidoscope of reflections of all that surrounds it. As if it were a fragmented film, "MORE (shattered pour)" creates a literal manifestation of the present and aspirational escapism, which cannot be viewed without glimpsing a piece of one's self within the work's reflections. Another refraction of time is glimpsed through "Fountain (Earth Fountain)", created from plexiglas letters spelling the word "ART", through which a slurry of moist dirt is pumped, physical earth perpetually redoubling and standing in for itself. The word ART itself subverts the entropy of time, creating a holding pattern that organic matter cannot escape from. The flickering lightbox "not enough time in the day" completes the communicative supercurrent of shimmering malaise, its letters overlapping as if seen inebriated, somehow both more profound and less understandable. The work creates a cycle that is both hypnotic and inescapable.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Doug Aitken lives and works in Los Angeles and and New York. In March 2013, the Seattle Art Museum will install "Mirror," a monumental new commission made of LED's, permanently installed on the museum's facade, while the Miami Art Museum will reopen its new building with the outdoor large scale projection of "sleepwalkers (miami)." In addition, SFMOMA in San Francisco is making plans for a large-scale citywide installation of Aitken's Empire Trilogy in site-specific locations. Aitken's work has been featured in numerous solo and group exhibitions around the world, in such institutions as the Serpentine Gallery in London, the Vienna Secession, and the Centre Georges Pompidou in Paris. He participated in the Whitney Biennial 1997 and 2000 and earned the International Prize at the Venice Biennale in 1999. Aitken's "Sleepwalkers" exhibition at MoMA in 2007 transformed an entire block of Manhattan into a cinematic experience as he covered the museum's exterior walls with projections. In 2009, his Sonic Pavilion opened to the public in the forested hills of Brazil at INHOTIM. Continuing his work in innovative outdoor projects, Aitken presented his film and architecture installation "Frontier" on Rome's Isola Tiberina in 2009, the multiform artwork "Black Mirror" on a uniquely designed barge floating off Athens and Hydra Island in 2011, and "Song 1" projected onto the circular facade of the Hirshhorn Museum in Washington, DC in 2012.</span></p> </div> Mon, 01 Apr 2013 21:43:42 +0000 Susan Grayson - 3A Gallery - February 15th, 2013 - March 10th, 2013 <p><img src="" /></p> Fri, 01 Mar 2013 06:03:20 +0000 Group Show - Aicon Gallery - New York - January 24th, 2013 - March 2nd, 2013 <p>Aicon Gallery New York is pleased to present the group exhibition Mapmakers II: The Evolution of Contemporary Indian Art, featuring iconic works by Anju Dodiya, Atul Dodiya, Rameshwar Broota, Hema Upadhyay, T.V. Santhosh, Subodh Gupta and more. As a group, these artists represent the vanguard of Contemporary Indian Art that burst onto the international scene in the mid-2000s, turning the heads of museums, critics and collectors. This exhibition showcases the important large-scale canvases through which these artists, among others, redefined Indian Contemporary and set the compass points for a new generation to follow. <br /> <br /> As an appropriation artist, Subodh Gupta produces sculptures and paintings that reflect the economic transformation of his homeland as they relate to Gupta’s life and memories of his childhood through images of Tiffin Boxes, tahli pans, bicycles and milk pails. Gupta says, “All these things were part of the way I grew up, they are used in the rituals and ceremonies that were part of my childhood.” By transforming icons of everyday life in India into artworks that are globally understood, Gupta represents of generation of young Indian artists whose commentary tells of a country on the move, fueled by economic growth, heightened materialism and rapidly shifting social dynamics. His work re-contextualizes the ubiquitous icons of a culture, dissolving their familiar meanings and stripping them of their function, recalling a conceptual practice ranging back from Marcel Duchamp through to Damien Hirst. Gupta has said “Art language is the same all over the world, which allows me to be anywhere.”<br /> <br /> Drawing inspiration from a variety of sources – ranging from cinema, news, media, art history and popular culture – T.V. Santhosh explores present-day crises through his art. Adapting images from digital and printed media, the artist creates eerily realistic canvases, charged by opinions on the general socio-political climate of India. Santhosh’s distinctive style makes his paintings recognizable without being predictable, via three key elements: Photorealism, chromatic scale, and gradual variation. An undertone of profound disillusionment is rendered in his paintings, his realistic figures cast in iridescently blurred light, framed in hallucinatory shadows. The enigmatic aesthetic denotes a social commentary of protest, while the artist remains disengaged from the social events depicted. He veils, floods and distorts the subjects with this strange yet familiar light – opting for a cold, machine-made glow rather than the warmth of sunlight. This stark filter conveys a macabre intensity, where reality and fantasy mix in his fluid surface bathed in an ominous luminosity.<br /> <br /> Through his paintings and assemblages, Atul Dodiya engages with both contemporary politics and art history in a way that entwines global and public memory as well as local and personal experience. His work is infused with a strong sense of the history of Western art and the myths, folklore and popular culture of India. Often, these two worlds collide in his work in amusing and instructive ways, with a pluralist and fragmentative mood dominating his compositions. Dodiya draws heavily on historical influences that he both questions and internalizes through his work.<br /> The self is at the center of Anju Dodiya's works. Though not solipsistic, the majority of her works give the viewer access to private moments, lifted from "the private discourse that goes on within oneself when one is alone." Dodiya initially resisted the lure of self-portraiture. Her early works were extremely abstract, and following her first show ("a fictional autobiography"), she tried to refocus her gaze on railway stations, roadside scenes, and so forth. Yet ultimately she found her original impulse of a painterly introspection was the strongest, and rechanneled her vision into describing situations from her life. Her expressions can be interpreted as being autobiographical, but her works go beyond that, and reflect the conflicts of womanhood. In Dodiya’s work there is always one female figure represented in a male or dominant posture – giving her conflicts another dimension. The sensitivity of her paintings is not shadowed by any socio-political-isms, and is achieved by her skilled control over her medium. <br /> <br /> As a child, Rameshwar Broota was anguished by the dire poverty and misery surrounding him. As such, his early paintings reflect society’s rampant ills during this time, often functioning as satirical commentaries on widespread injustice, political corruption and moral issues surrounding class divisions. Though not a very prolific artist, Broota developed a highly unique style, painting mostly monochromatic canvases sparsely populated by geometric markings with surfaces then scraped with a thin blade to create light and forms. His paintings feature monumental humans with all of them wounded, hardened or somehow dehumanized.</p> <p><br /> Mumbai based Hema Upadhyay works in a variety of media to explore the histories and stories personal to her. Her work deals in narratives of migration and resettlement, loss and longing for those left behind, excavating the physical and emotional backlog produced from living in a major urban metropolis. Deeply honest and playfully sarcastic, Upadhyay’s work depicts multiple perspectives, aerial views of intricately rendered city maps or textile surfaces layered with small photographic self-portraits. Miniaturizing images of herself in various positions, she inserts them into her allegorical landscapes allowing them to interact with the decorative and fictive environments she creates. Upadhyay creates highly textured surfaces and spaces blemished with scraps and stains, calling out the contradictions and incongruities situated at the intersection of tradition and contemporary life. Upadhyay often works collaboratively with artists and non-artists close to her, highlighting the importance of process, dialogue, and conversation to her practice.</p> Sun, 27 Jan 2013 22:32:15 +0000 Matthew Benedict - Alexander and Bonin - January 26th, 2013 - March 9th, 2013 <p>Matthew Benedict’s <i>Americana</i> will open on January 26<sup>th</sup> at Alexander and Bonin. The exhibition includes several new sculptures juxtaposed against selected paintings from 1998 – 2013. The subjects of both his sculpture and paintings draw from history, literature, the mythic and the supernatural.</p> <p>Benedict’s object-based works of the last decade have been assembled from artifacts sourced in New England and date from 1860 to the present. <i>The Terrible Old Man </i>(2011-2012)<i>,</i> a composition of glass bottles, furniture and tar, is based on H.P. Lovecraft’s tale of an old sea captain who communicates with the spirits of his dead shipmates whilst living thieves plot to rob him. <i>"Silent" Still Life</i> (2002-2012), a wall relief made of a desk and objects (possibly from an American Fire Department), recalls 19<sup>th</sup> century trompe l’oeil paintings. <i>Blessed Be </i>(2010) evokes cross-stitched Victorian motto samplers, rendered in gouache on wood. The medium of gouache and the making of embroideries have been a part of Benedict’s work since 1989.</p> <p>Recent paintings allude to the settling and establishment of New England and the loss of historical objects and places in a digital culture.  <i>Pilgrimage </i>(2012)<i> </i>depicts a now lost hand-painted sign directing visitors to the Provincetown, Massachusetts Pilgrim Monument and Museum. <i>Where Tom Died </i>(2012) shows a still extant<i> </i>corner of a Manhattan tavern where Thomas Paine is thought to have lived his final moments in 1809.</p> <p>Born in Rockville, CT, Benedict lives and works in Brooklyn. His work is the subject of <i>Matthew Benedict: The Mage’s Pantry</i> published by Hatje Kantz.  His 2010 exhibition at Alexander and Bonin was <i>Dramatis Personae</i>, a selection of photographs of his costumed models. Benedict was a 2011 resident at The Versailles Foundation, Inc. /Claude Monet, Giverny. His works are included in the permanent collections of the FRAC de Picardie, Amiens, Dallas Museum of Art, the Hammer Museum, Los Angeles, the Museum of Modern Art, New York, San Francisco Museum of Modern Art and the NASA Art Program, Washington, DC.</p> Wed, 16 Jan 2013 22:07:09 +0000 Joel Holmberg - American Contemporary - January 11th, 2013 - March 8th, 2013 <p>I don’t always write statements about my work, but when I do, I prefer to start sentences with “As an artist.” As an artist, it is thrilling to go through customs and be asked what I do. Nothing else charges me with such agency then when the customs official asks me directly "what is your occupation?" I do not get insecure or try to prove myself by giving them a rundown of my CV. I just look at the agent and say "artist" in a way that only a real artist can, with dignity and open-endedness.<br />We are used to hearing people described as being, like an artist. Though I've yet to hear someone described as being an artist when it comes to time management, which, might actually be what artists are best at. Phil Spector was like an artist the way he made his musicians play songs over and over and didn’t record anything until they were completely exhausted and ready to call it a day, only then would he hit record. Neil Young was also like an artist the way he had his engineers start recording even before he stepped into the studio, because he knew that the first thing he did would be brilliant. I wonder if Phil Spector’s musicians stormed out of the studio the way Neil Young burst in.<br />Soft Laws are often unspoken and contain aspirational goals by providing an incentivized framework for adhering to a certain code of conduct, e.g. the Lower East Side gallery culture of being open on Sundays. Isn’t it funny how one might advocate for a prickly person by saying that they are just “wired differently”? That can excuse a lot of difficult behavior.<br />American Contemporary is delighted to present Joel Holmberg’s first solo gallery exhibition. He has previously exhibited at the New Museum, New York, NY; Outpost, Norwich, UK; The Museum of the Moving Image, New York, NY; The 9th Shanghai Biennale, Shanghai, CN, The Sundance Film Festival, Park City, UT, Espace Gantner, Belfort, FR and will exhibit at Kettles Yard, Cambridge, UK later this year. He is a member of the web based collective Nasty Nets and studied at Virginia Commonwealth University, Richmond, VA and Yale University, New Haven, CT.</p> Tue, 26 Feb 2013 15:04:26 +0000 William Matthew Prior - American Folk Art Museum - January 24th, 2013 - May 26th, 2013 <p>Organized by the Fenimore Art Museum, Cooperstown, New York, this exhibition includes more than 40 oil paintings spanning William Matthew Prior’s career from 1824 to 1856. Through his pragmatic marketing strategy, Prior was able to document the faces of middle-class Americans throughout his lifetime, making art accessible to a previously overlooked group.<br /> <br /> A versatile artist, Prior is well known not only for the skill and range of his technique but for the diversity of his sitters. Prior’s involvement with Millerism (early Adventism) was instrumental in his personal development as well as providing access to new clients, including many African Americans.</p> Sun, 25 Nov 2012 23:12:17 +0000 Eugene Von Bruenchenhein, Paul D. Humphrey, Nellie Mae Rowe, Inez Nathaniel Walker - American Folk Art Museum - January 24th, 2013 - May 26th, 2013 <p>The late twentieth century has seen great strides for women working within visual mediums, yet the male gaze persists as the primary perspective from which women are considered — and thus perceived — in film and art. This exhibition presents drawings and photographs of women by four self-taught artists from the1940s through the late twentieth century, two male, two female. Eugene Von Bruenchenhein, Paul D. Humphrey, Nellie Mae Rowe, and Inez Nathaniel Walker offer four very different approaches that raise questions of intent, portrayal, and self-identity: Are the portraits acts of creation or acts of documentation, mimesis or wish fulfillment? Are self-taught artists immune from the pervasive male gaze of mainstream artmaking spheres, or do they reflect a gender divide that still runs deeply within American society?</p> Sun, 06 Jan 2013 23:27:20 +0000 Tam Van Tran - Ameringer | McEnery | Yohe - February 14th, 2013 - March 16th, 2013 <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 16:15:49 +0000 Aaron Bobrow - Andrea Rosen Gallery - February 9th, 2013 - March 23rd, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>Andrea Rosen Gallery</strong> is delighted to present <strong>Aaron Bobrow</strong>'s first one-person exhibition in New York. This exhibition shows the expansive breadth of Bobrow's practice of painting, video, and works on paper.</span><br /> <br /><span style="font-size: small;"> The title of the exhibition, <i>Electric Bathing</i>, comes from Rem Koolhaas's Delirious New York in which, speaking of Coney Island, he writes:</span><br /> <br /><span style="font-size: small;"> <i>"Bright lights are placed at regular intervals along the surf line, so that now the sea can be enjoyed on a truly metropolitan shift system, giving those unable to reach the water in the day time a manmade, 12 hour extension [ . . .] false daytime is not regarded as second rate."</i></span><br /> <br /><span style="font-size: small;"> Bobrow is not only interested in how these works relate to place, and particularly within this body of work a certain New York urbanism, but how the mesh-covered building is as real an experience as it was before being covered and how the mesh painting is as similarly real as it was in its original place. </span><br /> <br /><span style="font-size: small;"> The paintings in the exhibition retain their relationship to their original habitats, as well as their various means of extraction. The unadulterated shapes of the material dictate the sizes of the works. The artist simultaneously creates an abstract painting and an aggressive plane, brutal in its reduction of traditional, artistic gesture so that there is a rigorous paring down to the most essential gesture. </span><br /> <br /><span style="font-size: small;"> Bobrow shows the multiplicity of gestures and marks that the material has already accrued from countless sets of circumstances, anonymous individuals, environmental effects, and the removal itself. His works highlight the stark differences between how we experience gesture in the everyday world versus a gallery or museum context.</span><br /> <br /><span style="font-size: small;"> Bobrow reexamines the material's purpose, and its inherent transparency reveals the construction of the painting. The shocking exposure of the painting's interior subtly alludes to everything that the material is meant to conceal, protect, and contain. In a city undergoing an endless cycle of destruction and rebuilding, the paintings stop time and point to a frozen present.</span><br /> <br /><span style="font-size: small;"> In <i>Acoustics (Eaton Canyon)</i>, 2013, the viewer sees the artist clapping his hand over a running body of water. Each clap is answered with a reverberation. The sound returning is conditional to the specifics of each clap and its physical relationship to the concrete space. The video shows that Bobrow creates each sound, while the dimension of his inanimate partner, the concrete, is left unknown. In the installation of <i>Acoustics (Eaton Canyon)</i> Bobrow places the viewer in a real space, surrounded by sound and engulfed by the projection. Both the debris mesh and the reverberation of his claps act as a kind of skin shed from an original body. Whether traveling from building site to gallery or from hand to concrete and back, each entity retains a relationship to a source and remains unaffected and pure.</span><br /> <br /> <br /><span style="font-size: small;"> <i>Aaron Bobrow (b. 1985, San Francisco) received his BFA from Parsons School of Design.</i> Electric Bathing <i>is his first solo exhibition in New York, where Bobrow lives and works. Bobrow's tarp paintings and photographs were the subject of his recent solo exhibition,</i> No Sleep In the Exit Row, <i>at Office Baroque in Antwerp. Bobrow has be</i><i>en included in several group exhibitions in Europe and the United States, including at Andrea Rosen Gallery, Brand New Gallery in Milan, and in New Deal, curated by Kyle Thurman and Matthew Moravec with the Art Production Fund.</i></span><br /> <br /><span style="font-size: small;"> For press inquiries, please contact Jessica Eckert at and Michelle Finocchi at</span></p> Sun, 10 Feb 2013 12:10:05 +0000 Olivier Mosset, Lawrence Weiner, Jacob Kassay - Andrea Rosen Gallery 2 - February 9th, 2013 - March 23rd, 2013 <p>Andrea Rosen Gallery is thrilled to announce a highly unique exhibition that joins in conversation works by Jacob Kassay, Olivier Mosset and Lawrence Weiner. Presented at our new Gallery 2 location, which is dedicated to content-driven, experimental and historical exhibitions, this project is the outcome of a rare gathering and communication between these three artists. <br /> <br /> Crafting significant dialogues and unexpected relationships between historical artists and those of a younger generation is a defining aspect of Andrea Rosen's Gallery 2 program, which seeks to broaden our basis of visual reference and education. The focal point of the exhibition is a shared installation comprising a single yellow wall painting by Olivier Mosset upon which a new painting by Jacob Kassay—the irregular shape of which is defined by the repurposing of canvas scraps from other projects---and Lawrence Weiner's <i>A 36" X 36" removal to the lathing or support wall of plaster or wallboard from a wall</i> (1968), from the collection of the Museum of Modern Art, New York, are hung. <br /> <br /> On one hand, the installation may be considered as a formalist exercise -- a three-layer relief that, when viewed from afar, appears to be a flattened image. On the other, the combination of the works, in relation to each other and within the gallery setting, inspires new revelations about those works and the relationship between the artists. "A yellow wall is a yellow wall, but I like that it is questioned by its situation (the gallery) and the works of other artists whom I respect," remarks Mosset. The exchange between these three artists not only addresses conceptual abstraction and the significance of space; presence and absence; it develops new affiliations between works that reference the hand, material and process. <br /> <br /> Additional paintings by Jacob Kassay and Olivier Mosset are included in the exhibition.<br /> <br /> <br /> <b>Jacob Kassay</b> was born in 1984 Lewiston, NY. He received his BFA from State University of New York at Buffalo and now lives and works Los Angeles. A solo exhibition of new works by the artist is on view through February 16, 2013 at The Kitchen, New York. Other recent solo shows include Art: Concept, Paris; Protocinema, Istanbul; and The Power Station, Dallas (catalogue). <br /> <br /> <b>Olivier Mosset</b> was born in 1944 in Bern, Switzerland. He lives and works in Tucson, Arizona and New York, New York. He was a founding member of the BMPT group in Paris in the 1960s, along with Daniel Buren, Michel Parmentier, and Niele Toroni. Mosset has participated in exhibitions spanning the Fifth Biennial of Paris at the Museum of Modern Art in Paris in 1967 to the Whitney Biennial in 2008.<br /> <br /> <b>Lawrence Weiner</b> was born in 1942 in the Bronx, New York and lives and works in New York and Amsterdam. He is one of the central figures in the formation of conceptual art in the 1960s and has exhibited at the Los Angeles Museum of Contemporary Art (2008); Whitney Museum of American Art (2007); Kunstmuseum Wolfsburg (2000); the Museum Ludwig, Cologne (1995); the Walker Art Center, Minneapolis (1994); the Hirshhorn Museum and Sculpture Garden (1990); and the Smithsonian Institution, Washington, D.C. (1990). He has participated in Documenta V (1972), VI (1977), and VII (1982), as well as the 2005 Venice Biennale, and the Biennale Sao Paolo in 2006. Among his many honors are National Endowment for the Arts Fellowships (1976 and 1983), a Guggenheim Fellowship (1994), Wolfgang Hahn Prize (1995), and a Skowhegan Medal for Painting/Conceptual Art (1999).</p> Thu, 21 Feb 2013 12:42:24 +0000 - Anna Kustera - January 31st, 2013 - March 16th, 2013 <p style="text-align: justify;"><strong>Deep Cuts</strong> gives you the deepest cuts of artists without any commercials, ever!<strong></strong></p> <p style="text-align: justify;"><strong>Deep Cuts</strong> is available for everyone</p> <p style="text-align: justify;"><strong>DEEP-CUTS</strong>-RAISE-QUESTIONS</p> <p style="text-align: justify;"><strong>Deep Cuts</strong>, proving that time has no jurisdiction</p> <p style="text-align: justify;"><strong>Deep cuts</strong> the night</p> <p style="text-align: justify;"><strong>Deep Cuts</strong> is proud to present</p> <p style="text-align: justify;">#cutting</p> Fri, 15 Mar 2013 03:16:14 +0000 Ganzeer, Jeanno Gaussi, Rheim Alkadhi, Diala Khasawnih, Samah Hijawi - Apexart - January 16th, 2013 - March 2nd, 2013 <p>Entitled <em>Open Sesame (Iftah Ya Simsim)</em>, this exhibition borrows from the command used to open the cave of treasures in the tale <em>Ali Baba and the Forty Thieves</em> as well as the Arabic version of <em>Sesame Street</em>. Launched in Kuwait in 1979, the tv show shot its outdoor scenes in various Arab cities and its interior shots in Kuwaiti studios. In 1990 and 1991, after Saddam Hussein's (then president of Iraq) invasion of Kuwait on the 2nd of August 1990 and during the first Gulf War that ensued, forty four episodes of the show were aired on national Kuwaiti TV, however, the scenes which included Iraqi artists and actors were excluded. Thus, seventy six episodes were lost and never found. <br /> <br /> This exhibition aims to highlight that specific moment when everything changed on August 2nd 1990. It is an invitation to open the caves of memory. Because of their governments' positions regarding Saddam Hussein's invasion of Kuwait, hundreds of thousands of Arabs were pushed out of Kuwait in the months that followed the invasion, or were not allowed back in after the summer holidays. For many, they were forced to leave behind unmade beds, food in the fridge, play dates, and meetings. Because of the complexity of that particular exodus, many of the displaced found little support within their new communities, with no choice but to carry on with their lives, their stories (traumas) were silenced. <br /><br /> Members of the Makan collective, an art space based in Amman, Jordan will collect stories narrated by people who belong to the Open Sesame generation, those born in Kuwait between the years 1970-1982, who were forced to resettle with their families in Jordan, Egypt, Syria, Palestine, and as far as USA and Canada. This generation includes two members of the Makan collective, namely Samah Hijawi and Ola El-Khalidi. They were born and raised in Kuwait until life as they knew it changed in the summer of 1990 when they found themselves relocating with their families in Amman, Jordan. <br /><br /> The exhibition will invite artists and graphic novelists to illustrate the collected stories, attempting to capture this moment of history, an event past and potentially lost. While the present tensions, uprisings, and envisaged war in the same region is being documented by all sorts of media including social networking platforms, this is a step back in time to an instant of war and dislocation that has not yet received its appropriate documentation, narrativizing, and exploration. <br /><br /> <br /> <strong>Ola El-Khalidi</strong> works in the arts as an organizer, curator, and collaborator. Along with Samah Hijawi and Diala Khasawnih, she is a member of Makan, an art space, ever-redefined project and a collective based in Amman, San Francisco, and anywhere in between. She received an MA in curatorial practice from the California College of the Arts in San Francisco in 2012.</p> Mon, 10 Dec 2012 23:07:45 +0000 Thomas Doughty, George Inness, Albert Bierstadt, Ralph Blakelock, Henry W. Ranger, J. Alden Weir - Arkell Museum - June 30th, 2012 - April 24th, 2013 <p>Paintings of idyllic farmland and pristine parkland and are included in this exhibition of American art from the Arkell collections. Thomas Doughty's idealized depiction of early New England's backwoods and Albert Bierstadt's painting of the majesty of Yellowstone are among the wilderness views. The exhibition also features pastoral and poetic and landscapes by George Inness, Ralph Blakelock, Henry W. Ranger and J. Alden Weir.</p> Sun, 31 Mar 2013 21:59:07 +0000 Edward Redfield, J. Alden Weir, Theodore Robinson, John Twatchman, Childe Hassam - Arkell Museum - October 27th, 2012 - October 20th, 2013 <p>This exhibition features remarkable American Impressionist paintings from the Arkell collections. Twelve paintings recently returned from the Fenimore Art Museum's exhibition "American Impressionism: Paintings of Light and Life" will be featured along with other treasures from the permanent collection. Sun-dappled views of France and America by Childe Hassam, John Twatchman, Theodore Robinson, J. Alden Weir, and Edward Redfield are among the notable paintings in this exhibition. Most American Impressionists spent time in Paris and Monet&rsquo;s hometown of Giverny where they saw the work of French Impressionists. Once they returned to America they made the new Impressionist style their own. Views of the New England countryside, coastal communities and New York City were popular subjects for the American Impressionists. The exhibition includes Twatchtman&rsquo;s "Josephine in the Garden" in Giverny, Hassam's "Provincetown", Twatchtman&rsquo;s "Gloucester Harbor" and Ernest Lawson&rsquo;s "Brooklyn Bridge."</p> Sun, 01 Sep 2013 22:12:05 +0000 Shezad Dawood - Art in General - January 26th, 2013 - March 23rd, 2013 <p>Art in General is pleased to present the US premier of Shezad Dawood’s film <em>Trailer</em>. Please join us for an opening reception on Saturday January 26th, 6-8 pm, as we open our Winter Exhibitions.</p> Tue, 15 Jan 2013 00:38:24 +0000 Meriç Algün Ringborg - Art in General - January 26th, 2013 - March 23rd, 2013 <p>Meriç Algün Ringborg’s New Commissions project, <i>The Library of Unborrowed Books</i>, opens at Art in General from 26 January – 23 March 2013, at the sixth floor galleries, 79 Walker Street, NY.</p> <p>The project, presenting hundreds of books that have never been borrowed from the Center for Fiction’s library, calls into question what subjects in any contemporary moment have ‘currency’ or desirability, and brings attention to topics and stories that have been temporarily overlooked but that could have their relevance restored in the future.</p> <p>Following its first iteration in 2012 with the Stockholm Public Library in Sweden, where the project aroused great public and critical interest, for the presentation at Art in General, Meriç Algün Ringborg will make selections of books from the Center for Fiction, the only nonprofit in the U.S. solely dedicated to celebrating fiction. These books will then go on institutional loan to Art in General for the public to access for the first time in an environment that emulates the atmosphere of the Center, but that is experienced within the context of a contemporary art space. </p> <p>Excerpted from a dialogue with the artist:</p> <p>“<i>The Library of Unborrowed Books </i>bases itself on the concept of the library as an institution manifesting language and knowledge, of the passing of awareness and the openness to all types of people and litera- ture.This work, however, comprises books from a selected library that have never been borrowed.The framework in this instance hints at what has been disregarded, knowledge essentially unconsumed, and puts on display what has eluded us.</p> <p>Why these books aren’t ‘chosen,’ why they are overlooked, will never be clear but whatever each book contains, en masse they become representative of the gaps and cracks of history, or the cataloging of the world and the ambivalent relationship between absence and presence. In this library their existence is validated simply by being borrowed, underlining their being as well as their content and form by putting them on display in an autonomous library dedicated to the books yet to have been revealed.”</p> <p>This exhibition is supported by SAHA</p> <p> </p> <p><strong>Meriç Algün Ringborg</strong></p> <p>Meriç Algün Ringborg was born in 1983 in Istanbul, and currently lives and works in Stockholm. She stud- ied at Sabancı University, Istanbul, from 2002–2007 and obtained a BA, Visual Arts and Communication Design, followed by an MA in Fine Arts from the Royal Institute of Art, Stockholm (2010-2012). Selected recent and upcoming group exhibitions include: <i>When Attitudes Became Form Become Attitudes</i>, Museum of Contemporary Art, Detroit (2013); <i>Signs Taken in Wonder, MAK</i>, Vienna (2013); <i>Incremental Change</i>, Galeri NON, Istanbul (2012); <i>When Attitudes Became Form Become Attitudes</i>, CCA Wattis Insti- tute, San Francisco (2012); <i>Show Off</i>, Malmö Konsthall, Malmö (2012); A<i>n Incomplete History of Incom- plete Works of Art</i>, Francesca Minini, Milan (2012); <i>Untitled (12th Istanbul Biennial)</i>, 2011 and Danföredan- föredanföredan, Index - The Swedish Contemporary Art Foundation, Stockholm (2010). She had her first solo exhibition in Stockholm, 2010 titled <i>The Concise Book of Visa Application Forms</i>. Other solo presenta- tions include <i>A Hook or aTail</i>, Frutta Gallery, Rome (2013); <i>Becoming European</i>, Meessen De Clerq, Brus- sels (2012); <i>Prompts and Triggers: Meriç Algün Ringborg</i>, Line No.2 (Holy Bible), Witte de With, Rotterdam (2012). Currently she is a resident at IASPIS - The Swedish Arts Grants Committee's International Programme for Visual Artists.</p> Tue, 26 Feb 2013 15:04:00 +0000