ArtSlant - Recently added en-us 40 Taek & Ozmr - Woodward Gallery Project Space - October 1st - October 31st Tue, 23 Sep 2014 02:55:19 +0000 Huang Yimin - Tria Gallery - September 18th - November 1st Tue, 23 Sep 2014 02:52:04 +0000 - The Goethe-Institut (Wyoming Building) - October 2nd - October 19th <p>Who creates the city? Who shapes its future? City planning as a highly specialized, centrally organized field is being enhanced, infiltrated, and superseded by new and often informal constellations of participants. Weltstadt aims to provide these activists and initiatives with an international platform to support their mutual exchange. A joint initiative of the Goethe-Institut and the German Federal Ministry of Transport, Building, and Urban Development, the Weltstadt exhibition explores urban participation and the future of cities in light of challenges such as climate change, migration, and social polarization and presents recent initiatives from Bangalore, Belgrade, Curitiba, Dakar, Johannesburg, Lisbon, Madrid, New York, Porto Alegre, Riga, Salvador, S&atilde;o Paulo, Seoul, Toulouse, Turin, and Ulan Bator.&nbsp;<br /><br /><br /><em>The Weltstadt exhibition is a part of Archtober (&auml;rk&rsquo;tōbər), a month celebrating architecture and design in New York. The Archtober festival presents special tours, lectures, films, and exhibitions that focus on the importance of architecture and design in everyday life. The many participating organizations aim to raise awareness of the important role of design in our city and to build a lasting civic and international recognition of the richness of New York&rsquo;s built environment.</em></p> Tue, 23 Sep 2014 02:48:38 +0000 Jana Winderen, Marc Fornes - Storefront for Art and Architecture - October 4th - November 21st <p><em>Situation NY</em>, the collaboration of Winderen and Fornes, collapses sound, light and form in an object with intrinsic sensorial behaviors, inviting the visitors to question the properties of matter and the built environment surrounding us. The installation is a vibrating sound experiment that aims to transform the architecture into animated sensible form.&nbsp;&nbsp;Conceived as a sound object that absorbs and contrasts the site specificity of the Storefront Gallery with abstract spatial, formal and acoustic variations and compositions, Situation NY raises questions about context, sensorial readings, estrangement and the uncanny.&nbsp;&nbsp;&nbsp;</p> Tue, 23 Sep 2014 02:43:51 +0000 Group Show - Sculpture Center - October 2nd - January 5th, 2015 <p><em>Puddle, pothole, portal</em>&nbsp;is co-curated by Ruba Katrib, Curator, SculptureCenter, and artist Camille Henrot. This exhibition will inaugurate SculptureCenter's newly expanded and renovated building. Opening reception Sunday, October 5, 2014 from 2-5pm.&nbsp;<br /><br />With play and curiosity, we can test boundaries and decipher our space. Bumping into objects, pushing them over, hopping over figments, falling down, we are clumsy and mischievous, like children in a world of new technologies. Incorporating a sense of wonder and humor, concepts surrounding animation and cartooning are expanded into an exhibition that enacts a similar sort of hysteria around flatness and depth in relation to technologies, real and illusory spaces&mdash;physical, virtual, internal, and external.&nbsp;<br /><br />Thinking through early 20th century cartoons, the kaleidoscopic drawings of Saul Steinberg, the innovative and self-reflexive film&nbsp;<em>Who Framed Roger Rabbit</em>, and other children's entertainment, the exhibition explores the coexistence of disparate elements within shared spaces. Gags betray complex meanings and sociopolitical satire, and unrelated objects, locales, and avatars interact in the same dimension. The works on view transcend the categories that separate drawing from sculpture, the human from the nonhuman, and the animated from the static, while experiences of technological devices and flatness lead to fantastic and absurd implications for objects and space. As screens, passageways, and shadows populate both physical and virtual realms, we question whether they are reflections or traces of the objective world, obstructions, fantasies, or entryways into other realms.&nbsp;<br /><br />Many of the artists are producing new works for the exhibition: Camille Blatrix has created a singing mailbox that waits for an important letter to arrive, and once it does, you have to find the key to read it; Allison Katz opens a new dimension through a site-specific painting incorporating the architecture of the exhibition space; Chadwick Rantanen tempts gravity through a series of suspended objects; and Marlie Mul superimposes images of band-aids onto the surrounding environment.&nbsp;<br /><br />The exhibition will also present Keiichi Tanaami's sculptures for the first time in the United States, as well as bring Saul Steinberg's prescient and influential drawings into a group exhibition of contemporary art. Coinciding with Steinberg's centennial anniversary,<em>Puddle, pothole, portal</em>, considers the artist as an early figure who envisioned virtual realities, and created complex images that juxtapose unlikely characters into new worlds&mdash;often sharing them through the printed page, to the amusement and puzzlement of mass audiences.&nbsp;<br /><br /><strong>Publication</strong>&nbsp;<br /><br />The exhibition will be accompanied by a full-color publication with texts by Ruba Katrib; Spyros Papapetros, Associate Professor of History and Theory of Architecture at Princeton University; an English translation and reprinting of Serge Daney's 1988 text, &ldquo;The Last Temptation of the Toons;&rdquo; and a visual essay by Camille Henrot. The publication will be available at SculptureCenter and through ARTBOOK | D.A.P.&nbsp;</p> Tue, 23 Sep 2014 02:35:30 +0000 Marie Karlberg - Reena Spaulings Fine Art - September 21st - October 5th Tue, 23 Sep 2014 02:28:23 +0000 Group Show - Leila Heller Gallery - 57th Street - September 18th - November 15th <p>Leila Heller Gallery is proud to unveil Pop Sculpture / Pop Culture, an<br />exhibition of select three dimensional works from leaders of the Pop sculpture<br />movement, on view from September 18 U November 15 at our 43 West 57th Street<br />location. The exhibition presents iconic sculptures by the most prominent Pop sculptors<br />from the 1960s to the contemporary artists whom they have influenced.<br />Pop Sculpture / Pop Culture marks the 100th anniversary of Marcel Duchamp&rsquo;s<br />&ldquo;readymades&rdquo; of 1914, which influenced the entire school of Pop and inspired artists<br />thereafter to further develop the themes he initiated. But Pop is also a testament to its<br />times, the 1950s and &lsquo;60s as well as the modern day. Both eras saw a radical shift to an<br />increasingly massUproduced, commoditized, and packaged lifestyle. Without morals or<br />metaphors, Pop documents this historical era in which the object is reUevaluated for its<br />aesthetics and ubiquity above its function. By the 1960s, Pop Art had blazed into superstardom. The movement introduced the crossover of high and low culture,<br />producing some of the most indelible and witty images of the twentieth century. Artists<br />from across EuropeUU France, England, Italy, and SwedenUU and the United States<br />revolutionized painting and sculpture by depicting everyday, massUproduced objects<br />that had never before been seriously considered as material or content for art. As<br />Richard Hamilton defined the movement in 1957: &ldquo;Pop Art is: Popular (designed for a<br />mass audience), Transient (short term solution), Expendable (easilyUforgotten), Low<br />cost, Mass produced, Young, Witty, Sexy, Gimmicky, Glamorous, Big Business&hellip; This is<br />just the beginning&hellip;&rdquo;<br />Of the rapid succession of artistic movements that metamorphosed in the twentieth<br />century, Pop Art was the only movement that tried to make viewers look at everything<br />in the world with pleasure as an aesthetic object. With the arrival of Pop, the &ldquo;power of<br />objects,&rdquo; Claes Oldenburg explained, was unleashed. Artists rediscovered the daily<br />object, freeing it of its banal environment and rendering it without artistic pretensions<br />or through the conversion of metaphor. This new form of art stimulated a fresh<br />aesthetic experience with the neutral, universal language of the object. Pop Art<br />transforms the ordinary into the extraordinary, the common into the uncommon.<br />Pop Sculpture / Pop Culture celebrates the spirit of common object and the evolution of<br />its representation in threeUdimensional form for the past 50 years. 1964 marks the year<br />that Andy Warhol&rsquo;s sculptural Brillo and Campbell&rsquo;s tomato juice boxes so forcefully<br />shook the art world and pushed the boundaries of what constituted art, as well as the<br />time when Robert Indiana first appropriated the word LOVE in his iconic text image.<br />This exhibition also includes works by first generation Pop pioneers such as Richard<br />Artschwager, Claes Oldenburg, and Tom Wesselmann, and traces the movement to the<br />artists of this century who have extended Pop&rsquo;s vision, such as Yayoi Kusama, Jack<br />Pierson, Tracey Emin, Paola Pivi, among others. In this stimulating show, Warhol&rsquo;s<br />statement that Pop changed the way the world saw itself is evident:!! &ldquo;Once you &lsquo;got&rsquo;<br />Pop, you could never see a sign again the same way again. And once you thought Pop,<br />you could never see America the same way again.<br />The moment you label something, you take a step &ndash; I mean, you can never go back again<br />to seeing it unlabelled. We were seeing the future and we knew it for sure&hellip; &hellip;the<br />mystery was gone, but the amazement was just starting.&rdquo; Indeed, the Pop Art era<br />foresaw the direction in which society was moving, empowering a half century of artists<br />to search the objects that surround us for pleasure and power.</p> Tue, 23 Sep 2014 02:19:42 +0000 Richard Prince - Gagosian Gallery 976 Madison Avenue - September 19th - October 25th Tue, 23 Sep 2014 01:40:42 +0000 Miya Ando - Sundaram Tagore Gallery - Chelsea - October 16th - November 15th <p>Sundaram Tagore Chelsea is pleased to present new work by emerging New York artist Miya Ando exploring themes of transformation.<br /><br />A descendant of Bizen sword makers, Ando was raised among Buddhist priests in a temple in Okayama, Japan. Combining traditional techniques of her ancestry with modern industrial technology, she skillfully transforms sheets of metal into ephemeral, abstract paintings suffused with color.<br /><br />The foundation of Ando&rsquo;s practice is the transformation of surfaces. She applies heat, sandpaper, grinders, acid and patinas to metal canvases, irrevocably altering the material&rsquo;s chemical properties to produce subtle, light-reflective gradations of color and texture.<br /><br />As with her earlier metal paintings, her new works are luminous blue, pink, green and gold, a palette she conjures from a limited selection of industrial dyes. Ando uses different techniques to adhere the color to the aluminum panels, including anodization, in which sapphire crystals are electroplated to the metal, allowing the dyes to bond. Another approach is the layered application of pigments and urethane, which allows for variations of color and finish, with some areas of the painting matte and others glossy. To produce a high-gloss finish, Ando adds up to twenty layers of urethane and resin, which vividly amplifies the reflective quality of the metal. The resulting works subtly evoke ethereal, minimalist landscapes, cloud formations and abstracted metallic horizons.<br /><br />Ando&rsquo;s goal is to create a relationship between her industrial materials and the natural world. &ldquo;I&rsquo;m interested in elemental and material transformations, so I look to materials that can show a duality. Hard metal becomes ethereal and reflects light differently throughout the day, or becomes something that captures changing light, as in the sky,&rdquo; she says. &ldquo;The paintings are about finding harmony and balance between the man-made and natural.&rdquo;<br /><br />For the installation&nbsp;<em>Koyo</em>, Ando uses her signature visual vocabulary&mdash;subtle gradations of form and color that capture moments in time&mdash;to explore impermanence. Hundreds of cascading Bodhi leaves change from green to yellow to orange and finally brown, alluding to&nbsp;<em>momiji-gari</em>, the Japanese tradition of traveling to scenic areas to view autumn leaves. Although it&rsquo;s considered a secular event, there&rsquo;s a spiritual element, as viewers are reminded that all things are transitory and it&rsquo;s these transformations, cyclical and otherwise, that mark time.<br /><br />Ando has also introduced a new material alongside the steel and aluminum she usually works with:&nbsp;<em>Shou Sugi Ban</em>, a charred wood used as an exterior building material in her hometown of Okayama. Similar to the metals she uses, the wood, once charred, is transformed, becoming stronger and more durable. Her installation&nbsp;<em>Ku (Emptiness/The Sky) Shou Sugi Ban</em>, is a large-scale sculpture clad in this wood. The interior of the sculpture is a continuous composition across multiple panels, which surrounds the viewer, offering a quiet space for contemplation and the experience of stepping inside one of Ando&rsquo;s metal paintings.&nbsp;<br /><br />Miya Ando has a BA in East Asian Studies from the University of California, Berkeley, and attended Yale University to study Buddhist iconography and imagery. She apprenticed with the master metal smith Hattori Studio in Japan, followed by a residency at Northern California&rsquo;s Public Art Academy in 2009. She is the recipient of many awards, including the Pollock-Krasner Foundation Grant in 2012. Her work has been shown worldwide, including in a recent show curated by Nat Trotman of the Guggenheim Museum and an exhibition at the Queens Museum, New York. Miya Ando has produced numerous public commissions, most notably a thirty-foot-tall commemorative sculpture in London built from World Trade Center steel to mark the ten-year anniversary of 9/11. She lives and works in New York.<br /><br />Established in 2000 in New York, Sundaram Tagore Gallery is devoted to examining the exchange of ideas between Western and non-Western cultures. We focus on developing exhibitions and hosting not-for-profit events that encourage spiritual, social and aesthetic dialogues. With spaces in Singapore, Hong Kong and New York City (in Chelsea and on Madison Avenue), Sundaram Tagore Gallery was the first to focus exclusively on the rise of globalization in contemporary art. The gallery represents painters, sculptors and photographers from around the world. They each work in different mediums and use diverse techniques, but share a passion for cross-cultural dialogue. The gallery is renowned for its support of cultural activities that further its mission of East-West exchange.</p> Tue, 23 Sep 2014 01:23:12 +0000 Heinz Mack - Sperone Westwater - October 10th - December 13th <p>Sperone Westwater is pleased to announce the exhibition &ldquo;Heinz Mack: From ZERO to Today, 1955&ndash;2014.&rdquo; Mack co-founded the ZERO group, organizing an inaugural series of one-evening exhibitions with fellow German artist Otto Piene in D&uuml;sseldorf in 1957. An extensive network of like-minded artists grew out of these early exhibitions, envisioning a conceptual &ldquo;ground zero&rdquo; that would revitalize postwar artistic practice. Featuring a comprehensive overview of Mack&rsquo;s work from the ZERO years (1957&ndash;66), the exhibition at Sperone Westwater will run concurrently with the survey &ldquo;ZERO: Countdown to Tomorrow, 1950s&ndash;60s&rdquo; at the Solomon R. Guggenheim Museum in New York.</p> <p>In 1958, Mack coined the term &ldquo;light reliefs&rdquo; to describe shallow wall-mounted works with patterned metallic surfaces dramatizing the play of light and shadow. The early paintings on display similarly repress color in favor of &ldquo;pure&rdquo; dynamism, particularly a series of&nbsp;<em>Dynamic Structures</em>, which simulate a kinetic quality in their sharp configurations of parallel strokes. As Mack describes, &ldquo;Individual parallel zones gradually transform themselves from zone to zone, while at the same time they retain their distinct but mutual character &ndash; in this way they are brought into vibration.&rdquo; A black and white&nbsp;<em>Dynamic Structure</em>&nbsp;painting from 1959&ndash;60 evokes light flashing across a dark support, heralding Mack&rsquo;s growing desire to extend the effects of metallic relief into other media.&nbsp;<em>Kinetik movement (Lammellen-Relief)</em>&nbsp;(1967) develops these effects further through the literal application of neat aluminum strips to a wood surface.</p> <p>Recent paintings with banded colors and geometric progressions will also be on display. Departing from the early monochromes, these works carry forward Mack&rsquo;s central investigation of light effects through widely varying material and chromatic conditions. As Mack notes, &ldquo;the quality of light, that is its beauty, is essentially a purely sensorial value, its perception a creative act of freedom within the sphere of our sensibility.&rdquo;</p> <p>The exhibition will also feature rarely exhibited 1960s photographs recalling similar experiments of the Bauhaus period. These works suggest ZERO members&rsquo; interest in this earlier avant-garde and the spirit of cooperation and cross-medium experimentation it espoused. Mack&rsquo;s photographic experiments resulted in compelling works whose imagery hovers between the organic and graphic, as well as generating new sculptural forms. The exhibition presents a full circle of Mack&rsquo;s engagement with light, from the development of source imagery to the animation of kinetic and static works alike.</p> <p>Heinz Mack was born in Lollar in Hessen, Germany, in 1931. He studied painting at the State Academy of Fine Arts, D&uuml;sseldorf, from 1950 to 1953. In 1956 he received a degree in philosophy at the University of Cologne. In the beginning Mack dedicated himself to informal painting, which he fully rejected later on. Between 1957 and 1961, Mack and Piene published three editions of the magazine ZERO. Around 1964 Mack stopped making works on canvas, and focused instead on water, light and wind sculptures. In 1966 ZERO&rsquo;s final group exhibition took place in Bonn. During the 1970s and 1980s Mack applied himself overridingly to creating monumental outdoor sculptures. The artist lives and works in M&ouml;nchengladbach and Ibiza. His works can be found in approximately 140 public collections worldwide.</p> <p>An 88-page catalogue, featuring a conversation between the artist, Daniel Birnbaum, and Hans Ulrich Obrist, will be published on the occasion of the exhibition.</p> Tue, 23 Sep 2014 01:18:04 +0000 Arturo Herrera - Sikkema Jenkins & Co - October 10th - November 15th <div>Sikkema Jenkins &amp; Co. is proud to present an exhibition of new work by Arturo Herrera, the artist&rsquo;s sixth solo exhibition with the gallery, on view from October 10 through November 15, 2014.</div> <div>&nbsp;</div> <div>Over the past fifteen years, Arturo Herrera has developed a diverse body of work that includes collages, painted wood sculptures, paper cut-outs, felt pieces and wall installations. The current exhibition features Herrera&rsquo;s first paintings.&nbsp;</div> <div>&nbsp;</div> <div>The show includes works on linen, aluminum and canvas. The paintings are built on top of the imagery and language of found materials, such as cloth bags, commercial flags and banners, thrift store paintings, and embroidered tablecloths. These works challenge the traditional two-dimensionality of painting by deconstructing the surface of the picture plane. Layers of material hang loosely over the canvas like pages or curtains, both revealing and veiling what is below. The paintings preserve the separation of layers that they are made of, giving them an almost sensual, clothing-like sense of the surface and the body below.</div> <div>&nbsp;</div> <div>These large scale works are punctuated by a series of intimate &ldquo;book paintings,&rdquo; in which the pages of flea-market books from a variety of genres are sealed shut by the spills and drips of paint.&nbsp;</div> <div>&nbsp;</div> <div>Moving away from the psychological metaphor of &ldquo;the cut&rdquo; prevalent in his earlier work, here Herrera uses his ability to create compelling graphic forms, constructing what might be called &ldquo;object-based paintings.&rdquo; These hybrids of language and image reference the contemporary concept of the mash-up, most often ascribed to music, into the physical arena of abstract painting. The exhibition proposes the inclusion and importance of language and signs within abstraction, arguing that abstraction is not simply an optical exercise but a multi-layered experience that may be read.</div> <div>&nbsp;</div> <div>Arturo Herrera holds a&nbsp;BFA&nbsp;from The University of Tulsa (1982) and a MFA from The University of Illinois at Chicago (1992). He is the recipient of numerous awards including a Guggenheim Fellowship (2005), a&nbsp;Deutscher&nbsp;Akademischer&nbsp;Austausch&nbsp;Dienst&nbsp;(DAAD) Fellowship (2003), a&nbsp;Pollock-Krasner&nbsp;Foundation grant (1998), and a Louis Comfort Tiffany Foundation Fellowship (1992).</div> <div>&nbsp;</div> <div>Herrera&rsquo;s work has been exhibited widely throughout the United States and Europe including recent solo exhibitions at Linda Pace Foundation in San Antonio and Corbett vs. Dempsey in Chicago (both 2013), which featured a group of altered books in which every page becomes a work by the artist. This past September he&nbsp;curated&nbsp;<em>Without you I&rsquo;m nothing</em>&nbsp;at the&nbsp;Heldart&nbsp;Bikini Berlin. Upcoming projects include a lecture that Herrera will be giving this December in conjunction with the Henri Matisse cut-outs exhibition at the Museum of Modern Art in New York.</div> Tue, 23 Sep 2014 01:12:00 +0000 Jewyo Rhii - Queens Museum of Art - October 11th - February 8th, 2015 <p><em>Outside the Comfort Zone&nbsp;</em>is the first US solo museum exhibition of Korean-born artist Jewyo Rhii.</p> <p>Jewyo Rhii has worked in sculptural installation, video, and drawing since the early 1990s. Her projects often incorporate ephemeral objects, evoke temporary or chronic situations, and include simple, rapid drawings that reflect on the insecurity, resentment, and vulnerability of a displaced individual&rsquo;s daily struggles. Displacing herself over the past decades to study and exhibit in various locations in Western Europe and the US, the artist&rsquo;s desire to deal directly with her working processes leads her to open her studio as an exhibition space, and use the exhibition space as a studio. She investigates coincidence in daily materials and their found or newly improvised uses, and makes sculptural works according to the physical parameters of given spaces.</p> <p>Her exhibition for the Queens Museum is titled&nbsp;<em>Outside the Comfort Zone.&nbsp;</em>The exhibition title comes from a book of the same name published by Rhii in collaboration with Irene Veenstra, a Dutch art historian and writer who visited Rhii&rsquo;s 2011 exhibition at the Van Abbemuseum in Eindhoven, Netherlands, for nine consecutive days. During this time, Veenstra wrote a wide-ranging, impressionistic text that touches on her own life, art history, and contemporary issues, using the objects in Rhii&rsquo;s exhibition as jumping-off points. At the Queens Museum, Rhii will experiment with materializing the words of Veenstra while adopting, and adapting, it into Rhii&rsquo;s current life in Queens, continuing one set of ideas while integrating new ones and allowing the memories and experiences of two people to alternately trigger new creative output. This is an extension of Rhii&rsquo;s interest in physical storytelling and collective documentation between people in a unique relationship.</p> <p>Jewyo Rhii (b. 1971, Seoul) studied in Seoul, London and Amsterdam. Recent solo exhibitions include&nbsp;<em>Wall To Talk To&nbsp;</em>at the Van Abbemuseum,&nbsp;Eindhoven, Netherlands; Museum fur Modern Kunst,&nbsp;Frankfurt;&nbsp;the Artsonje Center, Seoul (2011-2013, traveling);&nbsp;<em>Night Studio</em>, Itaewon, Seoul (2010);&nbsp;<em>Lodged</em>, Ursula Walbrol Gallery, Dusseldorf, Germany (2010), and&nbsp;<em>Muscle Aches: Arrivals</em>, Doosan Gallery, New York, USA (2009). Recent group exhibitions include&nbsp;<em>Media City Seoul</em>, Korea (2010),&nbsp;<em>Everyday Miracle (Extended),&nbsp;</em>REDCAT, Los Angeles (2009),&nbsp;<em>On The Road &amp; Insertation</em>, the 7th Gwangju Biennale, Gwangju, Korea (2008). In 2010 she was awarded the prestigious Yanghyun Prize. She has lived in New York since November 2013, focusing on the Queens Museum exhibition.</p> Tue, 23 Sep 2014 00:58:50 +0000 Group Show - Queens Museum of Art - September 21st - January 4th, 2015 <p><em>Anonymous</em>&nbsp;is an exploration of changing attitudes towards self-expression, attribution, and identity in contemporary Tibetan art. Traditional Tibetan culture placed little emphasis on individuality or artistic self-expression. Art adhered to a formal system of production to support the transmission of Tibetan religious culture and was, by and large, created by unattributed artists who remained anonymous. However, in the global contemporary market, the creativity of the individual has become the primary basis by which we produce, interpret and consume art. Innovation and novelty are often valued more highly than technique and tradition. Attribution, the artist&rsquo;s name, has become a fundamental aspect of the work. Within the new social reality as part of the Peoples Republic of China, art is becoming a vital medium of self-expression for Tibetans. Artists are increasingly focused on the experience of the individual and a cautious 21st-century visual language steeped in irony, metaphor and allusion has fully emerged.</p> <p>The work presented in Anonymous is largely drawn from the Shelley and Donald Rubin Private Collection, much of it made expressly for this presentation. Rather than proposing a defined set of answers, the exhibition provides opportunities for curatorial, artistic, and audience discovery. In a range of mediums and individual styles, the artists explore themes of identity and self-expression. Displayed without attribution, the videos approach these themes from an alternative vantage point&rdquo; embracing anonymity as an opportunity for open exploration and the presentation of oft-censored imagery. Experienced collectively, the range of work across media considers the varied roles of self-expression and identity in contemporary Tibetan culture.</p> <p>The inclusion of work from artists from around the globe &rdquo;Dharamsala, Kathmandu, Lhasa, New York City, Oakland, Thimphu, Zurich and the Australian Outback&rdquo; provides for a range of perspectives. Firmly established as well as emerging artists are featured, including Ang Sang, Benchung, Dedron, Gade, Jhamsang, Karma Phuntsok, Kesang Lamdark, Losang Gyatso, Marie-Dolma Chophel, Nortse, Palden Weinreb, Penba Wangdu, Phurba Namgay, Rabkar Wangchuk, Sherab Gyaltsen, Sodhon, Tanor, Tenzing Rigdol, Tsering Nyandak, Tsewang Tashi, Tsherin Sherpa, Tulku Jamyang, and anonymous contributors.</p> <p>The Anonymous catalog was co-published by Art Asia Pacific, in collaboration with SUNY Press and the Fleming Museum of Art.</p> Tue, 23 Sep 2014 00:55:35 +0000 Corina Reynolds - Open Source Gallery - October 11th - November 1st <p>When explorers in the 1400&prime;s patiently waited through harsh winters with their ships sometimes frozen in place during their search for the Northwest Passage, they were making progress while waiting. The occupants of a waiting room are not explorers, per say, but they are making progress towards a goal while in a state of pause&mdash;every second they get closer to their destination.</p> <p>&ldquo;Northwestern Expansion&rdquo; is an immersive installation examining the act of waiting in pursuit of one&rsquo;s goals. Reynolds recreates a waiting room and executive office from the Northwestern section of the Jacob K. Javits Federal Building in Manhattan, which is home to the Social Security Administration, New York City Immigration, and many other government offices. In her installation, Open Source&rsquo;s main gallery becomes a container that holds a &ldquo;core sample&rdquo; of the Javits building&rsquo;s 31st floor. Reynolds uses the search for the Northwest Passage, a northern trade route from the Atlantic to the Pacific Ocean, as well as traditional waiting rooms as a metaphor for the waiting we do daily. These acts of waiting in office buildings, like the icy search for the Northwest Passage, are motivated by money, prestige, and exchange. Through carefully controlled light, surface, space, and typical waiting room furnishings such as vinyl flooring, industrial carpeting, service counters, and office chairs, Reynolds puts the viewer in intermission, evoking the experience of waiting and allowing individuals to examine their own ambitions.</p> <p>Corina Reynolds is an artist who works with installation, video, and performance. Her immersive works invite the viewer to experience the hierarchies present every day in society. She earned her BFA from San Diego State University her MFA from the Cranbrook Academy of Art and in 2012 co-founded Small Editions, an artist book studio and press in Brooklyn. In 2011, Reynolds was an artist-in-residence at the Wassaic Project in New York. From 2011-2013, she taught courses in bookbinding and artist book publication at the Interlochen Center for the Arts. Reynolds has exhibited across the U.S. in New York, Michigan, Iowa, and California.</p> <p>&nbsp;</p> Tue, 23 Sep 2014 00:47:02 +0000 Michelle Grabner - James Cohan Gallery - October 9th - November 8th <p>James Cohan Gallery is pleased to present the gallery&rsquo;s debut exhibition with&nbsp;<strong>Michelle Grabner</strong>, opening on October 9th&nbsp;and running through November 8th, 2014. Grabner, a Chicago-based artist, is well known most recently for being one of three curators of the Whitney Biennial 2014. This gallery exhibition is the most comprehensive presentation of the artist&rsquo;s work in New York to date.</p> <p>With a career spanning over 30 years, Michelle Grabner has dedicated herself to identifying, indexing and transposing patterns. Her mother tongue is that of abstraction and her vocabulary comes from the domestic materials that are close at hand. Grabner came of age as a painter during the 1980s, an era of questioning and appropriation, but her use of tablecloths, bed linens and blankets was less about signifiers, a considerable corner of discourse in that era, and more about the impulse to copy. Pedagogical theory&mdash;ideas of making and remaking, inheriting knowledge and passing it on&mdash;grew in her practice alongside her work as a longtime art educator. When her son Peter returned home from kindergarten one day with a two-color paper weaving, Grabner decided to make her own. After 20 years, Grabner continues to make these weavings, which not only underscore her concepts about elemental compositions and process, but also seem to satisfy another impulse&mdash;productivity.</p> <p>The exhibition features a survey of new and past work including pattern paintings, metal-point drawings, paper weavings, photographs, and a collaborative hanging sculpture made with her husband Brad Killam. Grabner employs found compositions such as radial symmetry, gingham weave, and simple warp-and-weft patterns using such straightforward materials as gesso, construction paper, burlap, garbage cans and kitchen implements. Referring to the restraint that runs throughout Grabner&rsquo;s work, artist and colleague Molly Zuckerman-Hartung admires &ldquo;her commitment to producing a body of work minimal enough to allow projection and profound enough to invite immersion.&rdquo;</p> <p>Propelled by an interest in collaboration and community, Grabner and Killam built these values into their practices by founding two project spaces: The Suburban, located in the backyard of their Oak Park, Illinois home, and its rural outpost, The Poor Farm in Waupaca County, Wisconsin. As a tenured professor at the Art Institute of Chicago, a seasoned curator, and a frequent contributor to Artforum and other publications, Grabner&rsquo;s relationship to studio work is enriched by her participation in these many dimensions of the art world.&nbsp;</p> <p>Solo exhibitions include: Museum of Contemporary Art, Cleveland, organized by David Norr (2014); INOVA, The University of Wisconsin, Milwaukee (2012); Yale University School of Art (2011); Ulrich Museum, Wichita (2008); and University Galleries, Illinois State University (2006). Grabner has been included in group exhibitions at Museum of Contemporary Art, Chicago; Walker Art Center, Minneapolis; Tate St. Ives, UK; and Kunsthalle Bern, Switzerland. Her work is included in the permanent collection of Walker Art Center, Minneapolis; MoCA, Chicago; MUDAM, Luxembourg; Milwaukee Art Museum, Wisconsin; Madison Museum of Contemporary Art, Wisconsin; Daimler Contemporary, Berlin; Smithsonian American Art Museum, Washington DC, and the Victoria and Albert Museum, London. Michelle Grabner (born 1962, Oshkosh, WI) lives and works in Oak Park, IL.</p> Tue, 23 Sep 2014 00:34:45 +0000 Dmitry Pahomov - InterArt Gallery - October 1st - November 30th <p>One-man Art Show</p> Tue, 23 Sep 2014 00:27:58 +0000