ArtSlant - Openings & events en-us 40 Group Show - Marianne Boesky Gallery 24th St. - February 18th, 2013 6:00 PM - 9:00 PM <p class="description" style="clear: left; max-height: none; height: auto; text-align: center;"><span style="font-size: medium;"><strong>Changing the World through Art: A Gala and Art Auction</strong></span></p> <p></p> <h4 style="text-align: center; color: #f59b13;">The Time In Children's Arts Initiative</h4> <p style="text-align: center; color: #007da1;">Board of Directors</p> <h5 style="color: #dad6d6; text-align: center;"><span style="color: #848484;">Malena Belafonte   Elliot Bellen</span></h5> <h5 style="color: #dad6d6; text-align: center;"><span style="color: #848484;">Cyndie Bellen-Berthézène   Spring Dautel</span></h5> <h5 style="color: #dad6d6; text-align: center;"><span style="color: #848484;">Dalia Fateh   Kathleen Landy   Irene Nickolai</span></h5> <h4 style="text-align: center; color: #ffffff;"></h4> <h3 style="text-align: center; color: #f59b13;">Vladimir Restoin Roitfeld</h3> <p style="text-align: center;">Benefit Chair</p> <h3 style="text-align: center; color: #98000d;">Paola Saracino Fendi &amp; Jacquelyn Autrey</h3> <p style="text-align: center; color: #ffffff;"><span style="color: #0a0a0a;">Junior Co-Chairs</span></p> <h5 style="text-align: center; color: #ffffff;"><span style="color: #000000;"><strong>Honoring</strong></span></h5> <h3 style="text-align: center; color: #007da1;">Rosy Keyser + Rashaad Newsome</h3> <h4 style="text-align: center;">Marianne Boesky Gallery</h4> <p style="text-align: center;">509 West 24th Street</p> <p style="text-align: center;">New York, NY</p> <h5 style="text-align: center; color: #ffffff;"><span style="color: #000000;">Featuring a Duet by</span></h5> <h4 style="text-align: center; color: #f59b13;">Stephen Petronio Company</h4> <p></p> <h3 style="color: #007da1;">Benefit Ticket and Sponsorship Levels</h3> <h4 style="color: #f59b13;">$25,000 - The Children's Opera Circle in Honor of Agnes Varis</h4> <p>All but $400 of ticket price is tax deductible. 25 tickets to the VIP Reception  (6-7PM) and Benefit (7-9PM) · Acknowledgement in press materials, social media + featured sponsor listing on website · Opera Circle Supporters give one Kindergarten, Pre-K or First Grade class Time In for an entire year</p> <h4 style="color: #f59b13;">$10,000 - The 2013 Rosy Keyser &amp; Rashaad Newsome Art Circle</h4> <p>All but $300 of ticket price is tax deductible.  10 tickets to the VIP Reception  (6-7PM) and Benefit (7-9PM) · Acknowledgement in press materials, social media + featured sponsor listing on website · Art Circle Supporters give our incredible young teaching artists the opportunity to share what they know with Time In's children and still have the time and money they need to support their own artwork</p> <h4 style="color: #f59b13;">$3,000 - Diamond Dust Supporter of Time In</h4> <p>All but $200 of ticket price is tax deductible · Acknowledgement in press materials, social media and on website · 4 tickets to the VIP Reception (6-7pm) and Benefit (7-9pm). Diamond Dust Supporters make it possible for 150 Time In kids to have their own beautiful gallery and studio sketchbooks</p> <h4 style="color: #f59b13;">$1,000 - Platinum Supporter of Time In</h4> <p>All but $150 of ticket price is tax deductible · Acknowledgement in press materials and on website · 2 tickets to the VIP Reception (6-7pm) and Benefit Party(7-9pm). Platinum Supporters provide personal art materials for one class for an entire year</p> <h4 style="color: #f59b13;">$500 - Gold Leaf Supporter of Time In</h4> <p>All but $75 of ticket price is tax deductible · Acknowledgement of sponsorship in press materials and on website · 1 ticket to the VIP Reception (6-7pm) and Benefit Party(7-9pm). Gold Leaf Supporters fund 4 museum trips for an entire class</p> <h4 style="color: #f59b13;">$250 - Benefit Party and Auction Tickets</h4> <p>(7-9pm) All but $40 of ticket price is tax deductible</p> <h4 style="color: #f59b13;">$125 - Young Collectors (under 30) Benefit Party and Auction Tickets</h4> <p>(7-9pm) All but $40 of ticket price is tax deductible</p> Fri, 08 Mar 2013 10:50:24 +0000 Alan Uglow - David Zwirner- 519 W. 19th - February 19th, 2013 6:00 PM - 8:00 PM <p>Alan Uglow was born in Luton, England, in 1941 and died in New York in 2011 (at the age of 69). The son of a master carpenter, he attended art school from a young age and became increasingly drawn towards non-figuration during the 1960s, at a time when abstract art was still relatively unpopular in Britain. Following a visit to New York in 1968, Uglow made a permanent move across the Atlantic in 1969, and settled in the then burgeoning artist neighborhood of SoHo.</p> <p>Uglow quickly gained a reputation as an “artist’s artist.” He sustained himself as a printmaker for artists including Jim Dine, while working slowly and patiently on his own paintings. Characterized by a meticulous, even intuitive, attention to scale and composition, these are often monochromatic or chromatically neutral. Piet Mondrian was a great inspiration for Uglow throughout his career, as were Alberto Giacometti, Barnett Newman, and Ad Reinhardt.</p> <p>Working in series that evolved slowly over decades, Uglow always remained faithful to his central vision and his practice was unaffected by the increasingly commercial demands of the art scene in the 1980s and 1990s. His paintings revolve around a subtle dialogue between notions of center and edge, and are executed gradually, with several layers of paint. They appear at once calm and dynamic, and simultaneously suggest emptiness and ground.</p> <p>Writing for the exhibition catalogue accompanying Uglow’s 1992 exhibition at the Kölnischer Kunstverein, curated by Marianne Stockebrand, Saul Ostrow notes:</p> <p>“His work constitutes a praxis, a unity of theory and practice which allows each element of painting to interrogate the other as well as itself. Uglow has used the conflicting, often contradictory traditions of geometric abstract art as a means to re-establish painting’s critical functions, and the artist’s self-criticality….The resulting paintings are eloquently silent, indicating that painting is a trope from which we may learn to question the manner in which we have learned to see the world.”1</p> <p> </p> <p>1 Saul Ostrow, “Getting it Right: Once More with Meaning,” <em>Alan Uglow</em>. Exh. cat. (Cologne: Kölnischer Kunstverein, 1992), pp. 49-50.</p> Mon, 04 Feb 2013 23:10:40 +0000 Bernard Childs - Jason McCoy Gallery - February 20th, 2013 6:00 PM - 8:00 PM <p><b>Jason McCoy Gallery is pleased to present an exhibition featuring oil paintings from the 1950s by American artist Bernard Childs (1910–1985).</b> </p> <p>The work of Bernard Childs (1910–1985) spans almost four decades. It truly begins after Childs returned from World War II, having spent three years in the Navy aboard a destroyer escort in the South Pacific and having been in hospitals twice thereafter. Years later, he reflected: “<i>I did not get back to the world until October 1948. But those five years were invaluable. They gave me back to myself</i>.” Childs belonged to a generation whose contact with war forever meant a finite break with the world previously known, or the life that had come with it. By the 1950s, when Childs matured as an artist, he was eager to carve out his vision without time or patience left for compromises. </p> <p>To view Childs’ works from the 1950s through the early 1980s means to move through chapters. In many ways he remained most comfortable out in the world, without permanent geographical ties. Much of his visual vocabulary, ranging from abstract and mythically veiled to figurative, is rooted in his travels. In 1951, he headed for Europe, first to Italy, then, settling in Paris. The paintings of the 1950s, such as Le Forêt {sic}, (1953) reveal his search for atmospheric light, perhaps a reflection of the distinct changes between the seasons. In part, they also speak of the more subtle transitions between natural and urban landscapes that he encountered in Europe versus the stark contrasts in New York. By the late 1950s, by then middle aged, Childs had reached critical acclaim. The decade culminated with a solo exhibition at the Stedelijk Museum in Amsterdam (1959). In the early 1960s, Childs was invited to exhibit in Japan. In the course of six months, he had two Tokyo gallery exhibitions. While there he began to experiment with a variety of unexpected materials. In the following years, he often employed sand, carborundum, and even brick dust to create texture. Structurally, works, such as Carmen (1962), evolve around geometric shapes that from a distance read as graphically flat, but upon close inspection feature heavy impasto. None of Childs’ paintings reveal themselves quickly. His unique sense of layering, compositionally but also intellectually, makes for faceted discoveries. His works are meant to be observed from afar, as well as up close; they can be taken in as a whole or studied section by section. From 1966 to 1977 Childs commuted between his studios in Paris and the Chelsea Hotel in New York. In that time, he developed a keen interest in environmental issues. Scientific discoveries of the time led him to consider the possible catastrophic destruction of our planet. He meditated on distant worlds and ancient forms of life, such as insects, which became symbols of survival for him. Paired with a vibrant palette that originated in a Mid-summer spent in Stockholm, Childs’ paintings of the 1970s, including Outrider, 1972, fuse his fascination with science fiction, technology, space exploration and the survival of unexpected species of life. While Childs’ oeuvre is defined by multiple currents, it also exhibits one cohesive through-line. Each work imbues an unmistakable sense of intimacy. We encounter a sense of longing, a poetic or emotional reaching for the fleeting moment that is life. It comes enveloped in a language both tranquil and hypnotic. </p> <p>After a stroke in 1978, Childs settled in New York for good. His last paintings are characterized by simplified shapes, which tell of his lifelong exploration of unusual formal and color relationships. Only a few years before his death, Childs created his only self-portrait (1982). Instead of looking directly at the viewer, we find him gazing over his right shoulder. It instills the impression of a man who is confident in the journey he pursued. This image goes well with a reflection Childs offered towards the end of his life: “<i>If I belong to any school, it is the one of the peripatetics, which I have come to call “the school of displacement.” It is not a way of looking for one’s self. It is the process of becoming oneself</i>.”</p> Wed, 20 Feb 2013 16:38:45 +0000 Sara Reisman - NURTUREart Gallery - February 20th, 2013 7:00 PM - 9:00 PM <p>Sara Reisman is an independent curator based in New York City whose projects have focused on a variety of themes including the politics of public space, globalization and site-specific practice, social practice, collaboration, sustainability, and cultural identity and transformation. Additionally Reisman has curated numerous solo exhibitions, most recently Christopher K. Ho: Privileged White People (2013), Claudia Joskowicz: Sympathy for the Devil (2012), and Leslie Johnson: Days to Go (2012) (all for Forever &amp; Today, Inc., where she is the 2012-2013 guest curator), and Peter Rostovsky: Still (2011) at the Hillwood Art Museum. Since 2008.</p> <p>Reisman is the Director of New York City’s Percent for Art program that commissions permanent public artworks for newly constructed and renovated city-owned spaces, indoors and out. Recently commissioned artists include Mary Mattingly, Duke Riley, Roxy Paine, Odili Donald Odita, Julianne Swartz, Kanishka Raja, and Karyn Olivier, among many others. Reisman was the 2011 critic-in-residence at Art Omi, an international visual artist residency in upstate New York.</p> Fri, 08 Feb 2013 04:57:31 +0000 Tatjana Busch - 532 Gallery Thomas Jaeckel - February 21st, 2013 6:00 PM - 8:30 PM <p>“It could be like this and it could also be like that…,” says Tatjana Busch. But not until we see her latest works in this exhibition, does her meaning become truly accessible. Conceptually, her earliest works appear even more tightly regulated by the obvious influences of the strict, geometric, coloured forms we know from the Bauhaus and Russian Suprematists. Their intuitive shapes continue to spring from Busch’s innermost world, just as they did years ago. Permeating her entire body, they are finally given material form in the outside world by her hands, seeming more carefully planned than they actually are. Her latest works, however, appear to break with any dependence whatsoever on art history. They free themselves even from the shackles of physics and burst forth into freedom and openness – a freedom and openness to which the observer must surrender himself if he is to appreciate the true dimensions of these works.</p> <p>The light installation “Fusion” invites us to broaden our consciousness. It abducts us into a fully-fledged show that immerses the observer into a real-time synthesis of light, form, colour, sound and movement – a synthesis in which the observer loses himself, dissolving, then ultimately uniting with the artwork itself to create a common, new cos- mos.</p> <p>Initially this bent, folded, silver-shining sculpture named “Fusion” consists merely of outer forms. But it also harbours an inner, hidden form, one that might be referred to as its “inner potential”. This reaches far beyond the visible. It is the energy, the attraction of this artwork, whose extended reach commands the space around it and seeks even to stretch beyond it. The extent of this becomes apparent through the movement of the rays of light that meet its sur- face and create dynamic light-paintings, light-clouds and light-worlds. As they do so, these rays consistently extend, modify and distort the sculpture’s external form. What had initially seemed so static and immutable is sounding out new frontiers all the time, revealing forms that flow and stream. The outer space suddenly consumes the observer, engulfing him to make him part of the artwork itself. The void is no longer a void. Everything hangs together, merges.</p> <p>Although essentially two-dimensional, the “Goldbubble” and “Hushbubble” videos trick the observer into seeing three-dimensional, dancing, reflecting water worlds. Penetrated by magical clouds of energy, these are immersed in the meditative sound-worlds of composer and former Passport bass guitarist Wolfgang Schmid – worlds inhabited by light orbits and other light creati- ons before they sink into the depths of a planetary universe, worlds which at the same time echo the holistic notion to represent the depths of one’s own inner world.</p> <p>And finally there are the Snapshots. Created from such kaleidoscopic movements, these still-life photographs of “Fu- sion”, “Goldbubble” and “Hushbubble” would have the observer believe that the ‘Now’ can be captured, that the eternal flow of time and spread of space can be halted.</p> <p>But can they really? Could this be the way things are? Or could they equally well be different?</p> <p>Our hopes for a conclusive answer to these questions will be in vain. With their claim to absolute freedom, these works categorically exclude any such possibility. After all, it is freedom that tells us things could be the way they are, but that they could equally well be different. The observer is left completely to his own devices.<br /> Text: Kat Schütz, Sarasota<br /> Translation: Melanie Gridlestone, Munich</p> Tue, 12 Feb 2013 05:43:54 +0000 Nicolai Howalt, Trine Søndergaard - Bruce Silverstein Gallery - February 21st, 2013 6:00 PM - 8:00 PM <p>Bruce Silverstein is pleased to present an exhibition of recent<br />and early work by the artists Nicolai Howalt &amp;Trine<br />Søndergaard. Living and working together in Denmark, their art<br />shares a history and evolution as well as an intersection, which<br />becomes apparent in this mini-retrospective. This is the first<br />show to incorporate multiple series by each artist (side-by-side)<br />provoking a conversation regarding a mutual influence, either<br />aesthetically perceptible, or sometimes more subtle—a joint<br />exploration of fragile and ineffable motifs. Juxtaposing the<br />artists’ collaborative projects with their separate endeavors<br />highlights a shared attention to their cultural heritage as well as<br />an interest in marking transition, evolution, spaces of limbo, and<br />the continuum of life and time.<br />Both artists began their careers with an approach more toward the documentary—<br />Søndergaard followed and chronicled the lives of female prostitutes on the streets of<br />Copenhagen’s red light district for her series, Now That You Are Mine, while Howalt, in a<br />similar style, observed and captured the lives of a family in Denmark over several years<br />for his project, 3x1. Howalt’s later series, Boxers—images of young boys before and<br />after their first fight, and Søndergaard’s Versus—photographs of individuals paired with<br />a work of art from Copenhagen’s Thorvaldsens Museum, are also aesthetically similar.<br />Both series are about what is not pictured—the space between the photographs—a<br />transition, a change, a relationship, that charges the images.<br />The artists’ well-known joint project, How to Hunt, consists of layered, time-lapsed<br />photographs of Danish hunting grounds, which like the Megafossil series (silkscreened<br />images of a 1500 year old Kings Oak tree—a living fossil from the woods of Jægerspris<br />north of Copenhagen), are monuments to the artists’ Danish heritage and confront the<br />topics of duration and time passage.<br />Søndergaard’s Strude and Guldnakke images, as well her Interior series, emphasize a<br />bridge (and a gap) between past and present. There is a quiet and engaging tension<br />between the historic and the contemporary. Her Monochrome Portraits of friends and<br />neighbors are remarkably revealing while also seemingly distant. The viewer can only<br />perceive the sitters’ “absence”, their apparent concern with what is within, that which is<br />occupying their thoughts—written on their face or perceived in a tilt of the head.<br />While Howalt’s Endings (photographs of cremation ashes) his Car Crash Series and<br />Rusland could be viewed as a fascination with death and destruction, the artist in fact<br />sees his work as primarily concerned with life and its fragility. He draws inspiration from<br />a line by T.S. Eliot, “The end is where we start from.” His Seahawks series and<br />Borderline project (images taken at the physical borders of Denmark), like<br />Søndergaard’s work, are images of contemporary Danish / Nordic cultural space that<br />simultaneously reference and engage with the history of Danish / Scandinavian culture.<br />Howalt and Søndergaard’s collaborative projects, Dying Birds (photogravures of the<br />birds from their hunting scenes, taken at the moment of impact) and Tree Zone (portraits<br />of the final trees struggling to grow at the tree line at high altitudes) are concerned with a<br />space of limbo, the location between what was and is now.<br />Trine Søndergaard (b. 1972) graduated from Fatamorgana, The Danish School of Art<br />Photography in 1996. In 2000 she received the Albert Renger Patzsch Award and has<br />since then received numerous grants and fellowships, including a three-year working<br />grant from The Danish Arts Foundation. She has exhibited in numerous solo and group<br />exhibitions in Denmark and abroad. Søndergaard’s works are included in major public<br />and private collections, among them: MUSAC Museo de Arte Contemporáneo de<br />Castilla y Leon, Spain; The Museum of Fine Arts, Houston, USA; The Hasselblad<br />Foundation, Sweden; The Israel Museum, Jerusalem; and The Danish Arts Foundation,<br />Denmark.<br />Nicolai Howalt (b.1970) was born in Copenhagen and graduated from Denmark’s<br />Photographic Art School Fatamorgana in 1992. He has exhibited at Statens Museum for<br />Kunst, ARoS and Skagens Museum in Denmark. He has received a series of grants<br />from the Hasselblad Foundation, The Danish Ministry of Culture, The Danish Arts<br />Foundation and The Danish Arts Council. Nicolai Howalt’s work is a part of numerous<br />public collections, including The Israel Museum, Jerusalem; MUSAC, Spain, Maison<br />Européenne de Photographie, France, The Museum of Fine Arts Houston, USA,<br />Fondation Neuflize Vie, France, Hiscox Art Project, USA. And in Denmark, The National<br />Museum of Photography, The Danish Arts Foundation, Skagen Museum, Nykredit and<br />Museet for Fotokunst, Brandts.</p> Fri, 15 Feb 2013 01:40:41 +0000 Gavin Turk - David Nolan Gallery - February 21st, 2013 6:00 PM - 8:00 PM <p>David Nolan Gallery is pleased to present its inaugural exhibition of works by the British artist, Gavin Turk. Combining diverse themes of urban decay and the notion of artistic originality, Turk has produced a series of interconnected works relating to automotive components. Elevating ordinary objects into the realm of art, Turks pays homage to the artistic legacy of Jasper Johns, which he develops into a meditation on the demise of the British working class.</p> <p>Perhaps best known under the banner of the “Young British Artists” (YBAs), Turk rose to prominence in the early 1990s. An important early work, <i>Pop</i> (1993), is a life-size waxwork self-portrait in which he adopts the identity of Sid Vicious singing “My Way” in the pose of Elvis Presley as depicted by Andy Warhol.</p> <p>In the present exhibition, Turk explores the formal possibilities of mechanical automotive components. Displayed in the first gallery are three vitrines containing – what appear to be – disused car parts. On closer inspection, these are bronze sculptures, exactingly painted in <i>trompe l’oeil</i> to replicate the real thing. By eliminating the essential functionality of a car exhaust Turk allows these to become purely sculptural and, in so doing, he reveals the inherent beauty of these crude mechanisms. Housed in museological display cases, these corpse-like objects command the reverence of ancient artifacts. These detailed replicas also recall Marcel Duchamp’s “readymades” – ordinary mass-produced objects presented as works of art. Turk, however, undermines that sense of authenticity through his use of bronze, traditionally a “high-art” medium. On the walls surrounding the vitrines hang large, atmospheric photographs of billowing smoke. Counterpoised menacingly against the lifeless pipes, these ghostly spirits conjure toxic forms.</p> <p>In the second gallery are 11 “exhaust” drawings. Like damage to the retinas from staring too closely at the sun, the images bear witness to the waste exhumed from a car exhaust. These drawings imply an indexical relationship between cause and effect and the imprints act as record of their own making. Much as the pipe sculptures replicate objects they are not, these drawings suggest a detached relationship to their origins. Whereas these drawings are the product of an absent object, the sculpture <i>Transit Compression</i> in the center of the rear gallery is the compacted presence of a “real” object. For this work, the artist has had a white English Ford Transit van pulverized into a small unit of metal waste. For Turk, this work is a “symbol of the demise of the working class male”, acting as a wistful rebuttal to a new age of fast transport and instant communication.</p> <p>In each of these works, Turk implies an ambiguous relationship between real and unreal, art and function. Retracing art historical legacies – Duchamp’s “readymades”, Johns’ bronze sculptures – Turk powerfully challenges the myth of artistic originality.</p> <p>Turk’s work has been included in many seminal exhibitions including the latest groundbreaking POPLIFE show at Tate Modern (2009) as well as the Venice Biennale (2001), the 46th International Istanbul Biennial (1999), Material Culture, Hayward Gallery, London (1998), and Sensation: Young British Artists from the Saatchi Collection, Royal Academy of Arts, Saatchi Collection, London (1995). Recent exhibitions have included: Gavin Turk: The Negotiation of Purpose, GEM Museum for Contemporary Art, The Hague, The Netherlands; Gavin Turk: Last Year in Eggenburg (The Paradise Show), Schloss Eggenburg, Graz; Gavin Turk: et in arcadia eggo, New Art Centre Sculpture Park &amp; Gallery, Salisbury; and Gavin Turk Oeuvre, Tate Britain Sculpture Court Display, London.</p> <p>This exhibition coincides with the publication of a large-scale monograph published by Prestel.</p> Sat, 09 Feb 2013 23:56:06 +0000 Margaret Bowland - Driscoll Babcock - February 21st, 2013 6:00 PM - 8:00 PM <p>Driscoll Babcock Galleries presents <i>Disturbing the Peace</i>, Margaret Bowland’s second New York solo exhibition of psychologically provocative paintings. Bowland draws upon legendary American novelist and social critic, James Baldwin’s, rallying cry that, “Artists are here to disturb the peace,” by creating a very personal series of works which questions societal expectations about gender, race and beauty.<br /> <br /> The majority of the works focus on JJ, Bowland’s muse for the past five years. Now eleven years old and on the verge of adolescence, she prepares to face the challenges of adulthood. Upon her tiny frame, weighty universal issues are placed – questions of identity, pressures of conformity, and ultimately a quest for acceptance. <br /> <br /> In <i>Painting the Roses Red</i>, JJ’s brown skin is coated in a layer of white paint as red paint drips down upon her head and her rose-accented dress. Throughout many cultures and periods – from England’s Queen Elizabeth I to the geishas of Japan – white makeup has been applied to mask individual characteristics and emphasize other “more important” attributes from innocence to economic status. In 21st century America, the application of white paint onto an African American girl not only carries this historical weight, but also the baggage of racial inequality and varieties of slavery imposed by contemporary cultures. <br /> <br /> The desire and compulsion to not “leave well enough alone” is of course not limited to race or gender, rather, it is much more far reaching, all-inclusive and damaging. This danger is highlighted in the painting’s title, which references the Queen of Hearts from Alice in Wonderland, who orders her minions to paint all white roses red. In Disney’s animated film, they sorrowfully sing, “Oh, painting the roses red, And many a tear we shed, Because we know, They'll cease to grow, In fact, they'll soon be dead, And yet we go ahead, Painting the roses red.” <i>White Fives</i> further underscores this menace. Here the “roses” are fabricated out of five dollar bills and barbed wire–the spikes of which enclose and contain the figure, threatening at any moment to prick. <br /> <br /> Yet, as John Driscoll, president of Driscoll Babcock states, “these works are ultimately about strength and triumph. In each work the subject overcomes subjugation with fortitude and a certain intuitive wisdom.” In <i>Goddess Series I</i>, a woman emerges from a bathtub. Hairless and naked, she is vulnerable. Yet as the white paint that covers her washes away, and the tub surrounds and enshrines her like an altar, she arises triumphant and beautiful in her certainty of self significance. And this is the beauty that Bowland admires, paints, and comments upon, “Beauty makes sense to me, has weight for me, only when it falls from grace. It starts to matter when it carries damage.” <br /> <br /> A fully-illustrated catalogue accompanies the exhibition with an essay by Leola Dublin Macmillan, original poem by Randall Horton, and introduction by Tess Sol Schwab. <br /> <br /> <br /> ABOUT MARGARET BOWLAND<br /> Born in Burlington, North Carolina Margaret Bowland teaches at the New York Academy of Art. She is represented exclusively by Driscoll Babcock Galleries. Her work has been shown at institutions including the Smithsonian National Portrait Gallery, where she was the recipient of 2009’s Outwin Boochever Portrait Competition-People’s Choice Award. In 2011, the Greenville County Museum of Art featured the exhibition, <i>Margaret Bowland: Excerpts from the Great American Songbook</i>, accompanied by a catalogue with an essay by Siri Hustvedt.</p> Fri, 08 Feb 2013 02:00:56 +0000 Miroslaw Balka - Gladstone Gallery - 21st St. - February 21st, 2013 6:00 PM - 8:00 PM <p class="bodyText">Gladstone Gallery is pleased to announce a new large-scale installation by Miroslaw Balka. Employing non-traditional art materials, Balka will create a monumental work that draws on historical tragedy to reflect on the limits of the world, continuity, and catastrophe. Balka will transform the 21st Street gallery space, constructing a private room in which to encounter his work and creating an intimate atmosphere for viewers to contemplate the massive, elegiac sculpture before them. Meditating on trauma, the discourse of nature, and the resulting wounds of historical events, the work encourages viewers to confront the past and to bear witness to the events that have come to define our present.</p> <p class="bodyText">Over the course of the past thirty years, Balka has created a diverse body of work that engages notions of historical memory, the limits of representation, and the power and veracity of language. Encompassing installation, sculpture and video, Balka’s oeuvre has a bare and minimalist quality, exhibiting a particular sensitivity to materials that generate multilayered associations for the viewer as witness. Balka utilizes symbolic abstraction rather than discrete monument to address places and events sometimes related to the legacy of Nazi occupation in Poland and to investigate notions of trauma and collective memory.</p> <p class="bodyText">For “The Order of Things,” Balka will contemplate both the possibility for and the limits of language and structural representation as a means for understanding history and its aftermath. Looking at the way conventions of truth and cultural discourse shift over time, Balka will contemplate the limitations of our usual modes of classification and depiction, moving beyond them to introduce the viewer to new modes of thought.</p> <p class="bodyText">Miroslaw Balka was born in 1958 in Warsaw and was raised in Otwock, Poland, where he kept his studio until recently. Balka now lives and works in Warsaw. He has been the subject of many solo exhibitions at international venues, including Akademie der Künste, Berlin; Douglas Hyde Gallery, Dublin; Center for Contemporary Art, Warsaw; Museo Reina Sofía, Madrid; the Irish Museum of Modern Art, Dublin; K21, Dusseldorf, Germany; National Museum of Art, Osaka; Museet for Samtidskunst, Oslo; IVAM, Centre Del Carme, Valencia; Van Abbemuseum, Eindhoven; Museum Haus Lange, Krefeld; and The Renaissance Society at the University of Chicago. Balka has also been included in a number of important group exhibitions, including: “The Carnegie International 1995,” Carnegie Museum of Art, Pittsburgh, Pennsylvania; Documenta IX, Kassel, Germany; The 44th, 50th and 51th Venice Biennale, Venice, Italy; The 9th and 15th Sydney Biennale, Sydney, Australia; and the 2006 SITE Santa Fe, Santa Fe, New Mexico. Balka was awarded the 2009—2010 Unilever Tate Turbine Hall commission at Tate Modern, and in 2011 was included in the exhibition “Ostalgia” at the New Museum of Contemporary Art, New York.</p> Mon, 18 Mar 2013 23:15:52 +0000 Lauren Beck - Marisa Newman Projects - February 21st, 2013 6:00 PM - 8:00 PM <p>Newman Popiashvili Gallery is pleased to present the exhibition, <em>Unforeseen Circumstances</em>, Lauren Beck’s second solo show with the gallery. Beck shows drawings and a video projection guided by a poetic re-thinking of the uses of disaster narrative in contemporary film. As many theorists have observed, films, such as <em>The Day After Tomorrow</em> and <em>Independence Day</em>, employ a romance plot as the central impactive event against the backdrop of worldwide catastrophic devastation. Žižek, for one, conjectures that, if the “imaginary Real” correlates to the horrific stuff of horror films, then the “real Real” can be sensed only as an atmosphere, an affect, or a whiff of the unfathomable. In these works, Beck explores this sense of the penumbra around an event that cannot quite be grasped.</p> <p>Beck engages with representations of culturally generalized disaster through the lens of beauty and sentimentality. Her 10-minute video piece Wide Sea builds on the 1966 novel <em>Wide Sargasso Sea</em>, by Jean Rhys. Here, Beck meditates on the loss of place and concurrent obsession to return to it, destructive as that fantasy may prove to be. Through the use of saturated color and dense scenic assemblage, contrasted with wrecked landscapes and a contingent approach to character development, Beck questions the capacity of representations to, as Lacan states, “traverse the fantasy.” This is opposed to moving around within it, vis-à-vis the revelatory potential of film.</p> <p><em>Unforeseen Circumstances</em> is a collision between Beck’s new drawings and video work,which creates theatrical gestures through installation. The affect is an oscillation between recessive and excessive aesthetics. The drawings, such as <em>Tower</em>, emit an abstract episodic quality, wherein landscape, fragmentary interiors, and text commingle with blurry washes of loose pigment. In contrast, Beck leverages the narrative potential of video to allow access to linear information. Seen as a whole, the works create a cosmology of interrogation, which denies access to narrative continuity and refuses catharsis.</p> <p>Lauren Beck received her MFA from the University of Chicago in 2012. She lives and works in Chicago.</p> Tue, 05 Feb 2013 00:44:27 +0000 Ahmed Alsoudani, Francis Bacon, Philip Guston, Paula Rego - Marlborough Chelsea - February 21st, 2013 6:00 PM - 8:00 PM <p>The Directors of Marlborough Chelsea are pleased to announce the opening of a group exhibition featuring the work of Ahmed Alsoudani, Francis Bacon, Philip Guston and Paula Rego, the evening of February 21 from 6-8 pm at 545 West 25th Street. The exhibition will continue through March 30, 2013.<br />This exhibition brings together paintings of three world-renowned artists: Francis Bacon, Philip Guston and Paula Rego as well as recent paintings by the New York based artist Ahmed Alsoudani. Each of these artists confronts issues of violence and power, shifting between personal, political and historical events while maintaining a dialogue with the tradition of figurative painting. Bacon’s visceral approach to reality, Rego’s often menacing, Boschian stories and folk tales, and Guston’s singular and liberating figurative works of the 1970s are all reflected in the tumult and dynamism of Alsoudani’s work. Alsoudani’s synthesis of these influences lead to his signature conglomerations of symbolic form and figure.<br />In the accompanying catalog essay, Christian Viveros-Fauné begins, “These are images of long-forgotten dreams,” which could aptly serve as the subtitle for this exhibition. It is the Cave of Forgotten Dreams which refers to Werner Herzog’s film of the 32,000 year old Paleolithic paintings of bison, wild horses and rhinoceros found in the Chauvet caves in southern France. Viveros-Fauné continues, Herzog’s “words come to mind when considering the irrepressibly raw, intensely vital, disturbingly primal figures that make up this remarkable exhibition of paintings by Francis Bacon, Philip Guston, Paula Rego and Ahmed Alsoudani. Decidedly modern in every way, their works illuminate hidden corners of the mind as if seen by torchlight.”<br />Included in this exhibition are two major paintings by Francis Bacon, Study from the Human Body- Figure in Movement, 1982 and Man at a Washbasin, 1989-90. It is the nude human figure in both these paintings, truncated and at times in violent motion that is “the starting point for Bacon’s mythic imagination.” As Robert Rosenblum states in his 2002 essay for the Marlborough New York exhibition of paintings by Francis Bacon “within this world of widely varied nudity, Francis Bacon might be seen as pioneer and reigning monarch, shifting rapidly, as he could from the immediate stimulus of the always imperfect, often ugly flesh he scrutinized in real-life models and photographs all the way to the fantastic, theatrical constructions that could evoke everything from Aeschylus’s Oresteia to the nightmares of the twentieth century’s two world wars”.<br />After years of producing abstract paintings, Guston emerges as a storyteller and returns to figurative painting in 1970. Guston’s return to figurative painting coincided with an exhibition held the same year at Marlborough Gallery in New York. “I wanted to tell stories,” the artist states, “I got sick and tired of all that purity.” With its antecedents in the Paleolithic cave drawings, Guston talks about figurative painting, “I imagine wanting to paint as a cave man would. I should like to paint like a man who has never seen a painting.” Included in this exhibition is one of Philip Guston’s “late” paintings, Lower Level (1975), a luridly constructed figurative landscape.<br />For Paula Rego history, politics, literature, the struggle between genders and the folk tales of her Portuguese childhood have enabled her to create a rich tableau, which is both at times menacing, and complex. Rego is recognized for her searing narratives as can be seen in The Interrogator’s Garden (2000). Here the artist uses gender reversal as she observes: “I made him (the Interrogator) a woman so as to undermine him” thus adding comic relief to this already horrific scenario of torture, cruelty and masochism. Human Cargo (2007-2008), a monumental triptych drawn from events in the British news of human trafficking and “honor” killing, offers another vision of the world where according to Rego, “the men make the rules and the women have to obey.”<br />Ahmed Alsoudani describes his brightly-colored, densely-packed paintings to be about instability. As Christian Viveros-Fauné describes these paintings: “some viewers see chiefly glimpses of war and devastation from the artist’s native Iraq in his mostly untitled paintings, Alsoudani’s larger subject is nothing less than the murky depths of modern-day aesthetic consciousness. A yearning for aesthetic order actively limned from the world’s chaos, his signature narrative approach emerges, paradoxically, with every fragmented bit of pipeline and loose joint that emerges from his tangled landscapes.” While Alsoudani’s paintings draw on the story-telling narrative, the barely remembered dreams and nightmares and the visceral reality of the work of Bacon, Guston and Rego they also hearken back to an earlier time.<br />A fully illustrated catalogue with an essay by Christian Viveros-Fauné accompanies this exhibition.</p> Wed, 20 Feb 2013 19:18:14 +0000 HENDRIKJE KÜHNE, BEAT KLEIN - Pavel Zoubok Gallery - February 21st, 2013 6:00 PM - 8:00 PM <p><strong>PAVEL ZOUBOK GALLERY</strong> is pleased to announce that we are expanding our program and MOVING to a larger space at 531 West 26th Street. We invite you to join us for the inaugural exhibition of new work by Swiss artist-duo <strong>HENDRIKJE KÜHNE</strong> and <strong>BEAT KLEIN</strong>. Their intricately wrought collages and sculptures of cut postcards create spatial environments that are at once familiar and fantastical. <br />  <br /> Please join us for the opening reception on <strong>Thursday, February 21, 2013 from 6-8pm</strong> or during the run of the exhibition, which continues through March 23.  <br /> <br /> Using countless postcards of popular and art historical imagery, KÜHNE / KLEIN create layered paper constructions that combine aspects of painting and sculptural relief. Drawing upon the perspectival shifts of existing, and often iconic images, and the physicality of heavy card stock, the artists establish a perceptual and physical depth that draws the viewer into a uniquely constructed “reality”, a seemingly endless labyrinth of signs and surfaces. In panoramic works such as An American Landscape and Painting the Towers of Babel, literal and metaphorical references blend seamlessly to articulate a collective sense of place. By contrast, intimately-scaled works such Painting a Cot and Painting a Full Table reveal intimate interiors that recall the synthetic Cubism of Picasso and Braque. <br /> <br /> The exhibition also features works from the series Top of the Pops, similarly layered tondos that function as imagined gold or platinum records are “awarded” to some of the most iconic and reproduced images in the history of art. These visual markers, more familiar in reproduction than direct experience, form the axis for swirls of images that become spinning artist portraits of Roy Lichtenstein, Frida Kahlo, Andy Warhol and others. <br /> <br /> Sculptural works include the installation Typical Switzerland, part of an earlier series based on travel and the culture of tourism. This massive network of intricately linked pictures from travel brochures mounted on cardboard suggests an aerial and topographical view of the artists’ native Switzerland, recognizable in its form but ultimately a creation of commerce and popular perception. <br /> <br /> Based in Basel Switzerland, KÜHNE / KLEIN have exhibited extensively in European galleries and museums, including the Kunstmuseum Olten in Switzerland, Museums Sheffield, Millennium Gallery, Sheffield in England, Museum Hilversum in the Netherlands, Museum zum Allerheiligen, Schaffhausen in Switzerland, M’ARS Centre for Contemporary Arts in Moscow, Russia, Musée des Beaux-Arts in Mulhouse, France, Irish Museum of Modern Art in Dublin, Ireland. In 2012 they were awarded the Emmy Gifford Fellowship from the Bemis Center for Contemporary Arts in Omaha, Nebraska. This is their first solo exhibition in the United States and with Pavel Zoubok Gallery.  </p> Tue, 05 Feb 2013 01:27:16 +0000 Dana Hoey - Petzel Gallery - 18th Street - February 21st, 2013 6:00 PM - 8:00 PM <p>Friedrich Petzel Gallery is pleased to announce The Phantom Sex, an exhibition of new work by Dana Hoey. The exhibition opens on Thursday, February 21st, from 6:00 – 8:00 PM and remains on view through March 30th. <br /> <br /> The Phantom Sex is a series of twelve new photographs. As if engaged in the futile search for the elusive, essentialist “woman,” Hoey’s photographs of figurative casts and molds record the shell of a female, both literally and figuratively. An Art Nouveau figure, a Dutch Orientalist sculpture, a “death mask” of the actor Sean Young - all of these perversely unrealistic objects serve to unseat and unmask the girlish ideal. Among other materials, Hoey has cast her face and her best friend’s body in such grotesque detail that they leave only a trace – not a picture of a person – but a picture of a three dimensional record of a person, a ghost.<br /> <br /> In 2012 Dana Hoey had a survey exhibition at the University Art Museum at Albany, New York. Her work is included in numerous collections, including the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C.; University Art Museum, Princeton University, New Jersey; the San Francisco Museum of Modern Art; and the Solomon R. Guggenheim Museum. She received a B.A. in philosophy from Wesleyan University and an M.F.A. in photography from Yale University. She lives and works in upstate New York.</p> Tue, 05 Feb 2013 00:03:14 +0000 Dirk Skreber - Petzel Gallery - 18th Street - February 21st, 2013 6:00 PM - 8:00 PM <p>Petzel Gallery is pleased to announce the fifth solo-exhibition in New York by the German artist Dirk Skreber. The show, consisting of new paintings and a large sculpture, will run from February 21 through March 30, 2013, with a reception for the artist February 21st from 6 to 8pm.<br /> <br /> In his new exhibition, pain(t)ology and other trials, Dirk Skreber continues to mine the contradictions of popular imagery through both conceptual and formal variations. These polarized elements exist in tandem but simultaneously threaten a collapse or confusion of pictorial meaning. Skreber’s subjects tumultuously balance violence and beauty, catastrophe and calm, safety and fear, both in their immediate aftermaths (billowing explosions and the wreckage of terrorist attacks) and their potentiality as a quiet threat (a single missile-mounted predator drone taxis across two canvases worth of an unidentified American floodplain). Contradiction manifests physically, as the serene neutral blue of an unmoored diver in the painting Diver (with anti-matter gatling gun) 2.0 transforms into an apocalyptic orange sea in its doppelgänger Diver (with anti-matter gatling gun) 2.0, Inversion and large painted portraits of models torn by formalist abstractions. <br /> <br /> Center to exhibition is the sculptural installation PRC. Through researching an archive of images found on the internet, Skreber has scrupulously reconstructed the brown metallic cage used in the trial of Nadezhda Tolokonnikova, Maria Alyokhina, and Yekaterina Samutsevich, the three members of the feminist punk collective Pussy Riot. This odd piece of furniture, used in Russian courtrooms for dangerous criminals, ironically became the stage set that propelled the punk band to international fame after their conviction of hooliganism (a two-year sentence for staging a protest song in Moscow’s Cathedral of Christ the Savior). The sculpture raises questions about the distribution and control of speech in a world in which the internet’s real-time free flow of information can coexist with autocratic rule. <br /> <br /> Dirk Skreber (born 1961, Lübeck, Germany) has had solo exhibitions both nationally and internationally at the Staatliche Kunsthalle Baden-Baden; the Museum Franz Gertsch, Burgdorf; the Frans Halsmuseum, Haarlem; and the Aspen Art Museum. His most recent survey exhibition, Dirk Skreber. NDAA - Der Na(h)tanz Hummer II at the Leopold-Hesch-Museum &amp; Papiermuseum in Duren in 2012 was accompanied by a comprehensive monograph. He will have an upcoming exhibition at the Milwaukee Art Museum later this year. Dirk Skreber lives and works in New York.</p> Tue, 05 Feb 2013 00:05:46 +0000 Group Show - Steven Kasher Gallery - February 21st, 2013 6:00 PM - 8:00 PM <p>America is explicitly the subject of our most important photographers. Think of Walker Evans’ <em> American Pictures</em>, Robert Frank’s <em>The Americans, </em>Stephen Shore’s <em>American Surfaces, </em>Joel  Sternfeld’s  <em>American Prospects, </em>and Mitch Epstein’s <em>American Power. </em>Each of these artists set out to picture what is changing and unchanging in America.  Some years ago Bruce Berman, the prominent motion picture executive who is Chairman and CEO of Village Roadshow Pictures, set out to assemble his image of America in a collection of works by these and other photographers.  A selection of masterworks from the Berman collection is the subject of this exhibition, <em>Everyday America</em>.  It features over one hundred photographs by thirty one outstanding  photographers working from the 1930s through today.</p> <p>The photographers in this collection document, celebrate, and critique the everyday world in which we live. They introduce us to new ways of understanding America. These are not glossy images of powerful people. We are shown records of ordinary people, humble rooms, unimpressive buildings. We are shown the struggles of everyday people creating their own spaces in places where everything will collapse. What we are shown is specifically American; it could be nowhere else.</p> <p>The style of these pictures is called “documentary style.” This approach is as much an ethic as an aesthetic. It is born of a belief that the truth is revealed not in dramatic composition or extraordinary moments but in flat-footed slow regard of details perceived while in awareness of a whole. It is a paradoxical stance. As Doug Dubois has said, “in my most intimate photographs there is a detachment that speaks of my isolation.”  As Colin Westerbeck has written, “the reverse is also true: even in the most detached photographs of this type there is an intimacy that speaks of the photographer’s involvement.”</p> Mon, 25 Feb 2013 01:38:58 +0000 Gert & Uwe Tobias - Team Gallery - Grand St - February 21st, 2013 6:00 PM - 8:00 PM <p>Team Gallery is pleased to present an exhibition of new work by the Romanian-born, Köln-based artists Gert &amp; Uwe Tobias. The exhibition will take place in both gallery spaces and run from the 21st of February through the 31st of March 2013. Team Gallery is located at 83 Grand Street, cross streets Wooster and Greene, and at 47 Wooster Street, cross streets Grand and Broome. </p> <p>Since the early 2000s, Gert and Uwe Tobias, artist collaborative and twin brothers, have developed a unique and multivalent practice that covers the spectrum of media from drawing, collage, typography, painting and printmaking, to ceramics and installation. Their work typically incorporates such contradictions as abstraction with figuration, modernism with folklore, technology with craft, and comedy with tragedy. Tobias installations frequently include organizational arrangements of colorful, architectonic wall painting and structural effects that act as both connectors among disparate elements — all “untitled” — and enactors of the mirroring strategies of reflection and symmetry. The many forms which their work takes help locate the images within a wider vocabulary of art history, collective memory, and political and personal history.</p> <p>The Tobias brothers have become known most prominently for their large-scale woodblock prints on paper and canvas, where they utilize the ancient stamping technique of black-and-white small scale illustrative printmaking in anachronistic, elaborate, and oversize chromatic compositions. The artists develop flat, matte, and dark grounds onto which graphic patterns, organic forms, and ambiguous, amalgamated figures are set. The objects and bodies of the Tobias tableaux are often drawn from archetypal folk figures of their Transylvanian heritage, including the notable character Vlad the Impaler, as well as Romanian political lineages of dictatorial urbanization and Socialist architecture. The mingling of abstract and faintly gridded grounds with mysterious physiognomies acts as a way to line up the experiences of rigid geometric and abstract modernism with the popular symbols and narratives of figurative art history.  </p> <p>The tableaux of the new works on view include the macabre and fractured figures the artists are known for, mounted to inky black color fields with baroque furniture centerpieces. In one massive canvas, a luminous, pastel-hued daybed that could double as a crenellated coffin is the setting for an overturned bird, a hybrid figure somewhere between bat and butterfly, and a cross-section of a fruit with insides resembling human organs. A figure at the foot of the bed is more courtly costume than body, shaped like a lampshade or an umbrella with a single leg that ends in a hoof. Another woodblock painting presents a long dining table as if from a Renaissance vanitas still life, classically laid with fruits and meats in various states of ripeness and decay. In this case, the still life elements are amorphous forms somewhere between autumn leaves, sea animals, and strange beasts. A third large-scale woodcut has no central furnishings, but instead presents an arabesque of razor-sharp flowers, fruits, starbursts positioned on thorny black vines against a luminous silver grid. In each vague bud are geometric kernels reminiscent of seeds, eyes, or other orifices—elusive composite sites of myth, nature and ornament, ripe with latent violence and symbolic potential.</p> <p>Also included in this latest exhibition are over two-dozen new works on paper which locate printed found images within lushly painted backgrounds. The space of the drawings is created by the placement of delicately cut book and magazine reproductions of animals, limbs, windows, furniture and the like against ridges of paint and modulations of hue. A body of new sculptures furthers the Brothers’ investigation of the collage effect. Small, beautifully fired and painted ceramics, ambiguously shaped like creatures, sit atop towers made from agglomerations of functional household artifacts like butter dishes, teapots and ashtrays. The resultant personages are called forth from the juxtaposition of the hand-made heads and the cobbled-together found objects that complete their bodies.</p> <p>This is the Tobias brothers’ third solo show at Team. They have had solo exhibitions in the US at the Museum of Modern Art in New York and at the Hammer Museum in Los Angeles. In 2012, the artists had solo museum shows at FRAC Auvergne, Staatliche Kunstsammlungen Dresden and Der Kunstverein Hamburg. Solo shows have also been mounted at the Gemeentemuseum in The Hague, the Kunstmuseum in Bonn, the Bergen Kunsthall in Norway, the Kunsthalle Wien, and the Franz Gertsch Museum in Switzerland. An upcoming solo is slated for later this year at Whitechapel Gallery in London.</p> Sat, 02 Feb 2013 07:51:42 +0000