ArtSlant - Recently added en-us 40 Group Show - Koenig & Clinton - July 16th - August 21st <p style="text-align: justify;">Koenig &amp; Clinton is pleased to announce&nbsp;<em>Organic Situation,&nbsp;</em>a group exhibition that parses ideas about human relationships to both organic and engineered environments. Our contemporary moment is one of the&nbsp;<em>network society</em>, in which our increasingly mediated experience of &lsquo;the natural world&rsquo; is blurred between the virtual and the real.&nbsp;<em>Organic Situation</em> offers varying perspectives on the&nbsp;interdependent roles of biology and technology in shaping perception, experience, and creative production.</p> <p style="text-align: justify;">Construing nature through language, image, and speech act, Paul Ram&iacute;rez Jonas mounts a grid of 165 printed sheets of paper to form <em>Paper Moon (I Create as I Speak) </em>(2008). A single excerpted sheet of the text reading &lsquo;I create as I speak&rsquo; rests on a lectern, inviting an incantation.</p> <p style="text-align: justify;">Two paintings by Denise Kupferschmidt draw on advertising, architecture and design elements from the early-20th Century to render &lsquo;universal&rsquo; figures against graphic imagery of urban geometries.&nbsp;Peter Scott&rsquo;s <em>High Line Billboard</em> (2015) offers a telling view of visitors framed by a now-iconic architectural feature on the local High Line park. Zo&euml; Ghertner&rsquo;s <em>False Fronts</em> diptych captures the aspirational fa&ccedil;ades of the rural American West.</p> <p style="text-align: justify;">Assembling topologies out of discarded advertisement vinyl, Kelly Jazvac&rsquo;s sculptural works coax new questions about landscape and disposability. Resembling natural rock formations, the digital refuse lumps of Tyler Coburn&rsquo;s <em>Waste Management </em>(2013-14) memorialize technological byproducts.</p> <p style="text-align: justify;">Photographs from Margaret Honda&rsquo;s series&nbsp;<em>Les animaux du Mus&eacute;um national d&rsquo;Histoire naturelle, Paris</em> (2005- 2007) present elusive images of threatened or extinct specimens. Also referencing <em>nature morte</em>, the sculptures of Jonathan Bruce Williams push the living dead into stereoscopic focus.</p> <p style="text-align: justify;">A grid of oil paintings by Peter Dreher depicts light recorded at regular intervals on one alpine ridge over several days&rsquo; time. Also in line with German Romanticism, Miljohn Ruperto&rsquo;s lenticular photograph <em>Do Your Best</em>&nbsp;(2014) attempts to convey Caspar David Friedrich&rsquo;sseminal painting<em>, The Sea of Ice </em>(1823-1824) in a newer medium.</p> <p style="text-align: justify;">Trading in the visual language of myths, rituals, dreams, and photographic documentation, Geoffrey Hendricks&rsquo;s Fluxus headstand performances invert the body&rsquo;s relationship to land, sea, and sky. Meanwhile, the collaborative single-channel video and performance <em>C.L.U.E. (Color Location Ultimate Experience)</em>&nbsp;(2007) by A.L. Steiner + robbinschilds follows sentient bodies into the outdoors.</p> Fri, 03 Jul 2015 16:23:52 +0000 Ernesto Molina - Josee Bienvenu Gallery - May 16th - July 4th <p style="text-align: justify;">Jos&eacute;e Bienvenu is pleased to present the fourth installment of "Present,"&nbsp;a series of guest-curated exhibitions in the Project Space.</p> <p style="text-align: justify;">In the 1970s, Ernesto Molina produced a series of collages made of press clippings that he superimposes and juxtaposes. Member of the Suma group, a collective of artists active in Mexico between 1976 and 1982, he uses&nbsp;an urban visual vocabulary borrowed from found objects and other detritus collected from the trash.</p> <p style="text-align: justify;">The exhibition brings together a series of 10 collages dated in 1976 and 1977.</p> <p style="text-align: justify;">Born in 1952 in Mexico City, Mexico. Ernesto Molina studied at the Escuela Nacional de Artes Pl&aacute;sticas of the Universidad Nacional Aut&oacute;noma de M&eacute;xico. He is a founding member of Group Suma, an alternative art and design group that explores and experiments with unconventional supports and materials using popular, everyday graphic resources.</p> <p style="text-align: justify;">Molina has participated in numerous exhibitions, including Grupo Suma: obra gr&aacute;fica y El Nopal Press (Museo Nacional de la Estampa), la era de la discrepancia, 1968-1997 (Museo Universitario de Ciencias y Artes, 2007) and Obras son amores. Arte-Vida-M&eacute;xico. 1964-1992 (Museo de Arte Moderno, 2013), all in Mexico City.</p> <p style="text-align: justify;">Alexis Fabry is a curator specializing in Latin American photography and a publisher of books bringing together photography, literature, and design (in 2013 he founded Toluca Editions with Olivier Andreotti). He has curated a number of exhibitions, including Urbes (the Leticia and Stanislas Poniatowski collection) at the Museo del Banco de la Republica (Bogota) and then the International Center for Photography (New York); America Latina, 1960-2013 at the Fondation Cartier (Paris); and El Peso de la Ciudad (the Anna Gamazo de Abello collection) at Foto Colectania (Barcelona).</p> Fri, 03 Jul 2015 16:17:02 +0000 Gabriel Hartley, Denise Kupferschmidt - Foxy Production - July 16th - August 14th Fri, 03 Jul 2015 16:10:02 +0000 Evan Nesbit - Eleven Rivington (Rivington Street) - July 9th - August 7th Fri, 03 Jul 2015 16:05:02 +0000 Evan Nesbit - Eleven Rivington (Chrystie Street) - July 9th - August 7th Fri, 03 Jul 2015 16:03:58 +0000 Group Show - Derek Eller Gallery - July 16th - August 21st Fri, 03 Jul 2015 16:01:15 +0000 Deborah Remington - Wallspace Gallery - June 26th - August 7th <p style="text-align: justify;">Wallspace is pleased to present an exhibition of paintings and drawings by Deborah Remington, made between 1963 and 1983.</p> <p style="text-align: justify;">It feels like an opportune time to consider Remington&rsquo;s idiosyncratic paintings and drawings. Having become used to looking at glowing, backlit images on computer screens, Remington&rsquo;s immaculately rendered forms, bathed in a completely unnatural light, can be understood and embraced in new ways by the today&rsquo;s viewer.</p> <p style="text-align: justify;">Although she was born on the East coast, Remington studied with Clyfford Still and Elmer Bischoff at the California School of Fine Arts (which later became the San Francisco Art Institute) and is closely associated with San Francisco&rsquo;s Beat generation. Although Remington&rsquo;s earlier work was tied to more traditional abstract painting, her signature works have never been part of any school or movement and the current climate of stylistic diversity finally provides a more receptive audience.</p> <p style="text-align: justify;">Remington&rsquo;s paintings present floating shield-like shapes organized around a central axis. These images, which are bilaterally symmetrical, are at once organic and machine-like. The frontal shapes suggest mirrors and armor, an imagery that is simultaneously attractive and off-putting, as well as compelling and unforgettable. It has roots in both the imagery of Surrealism and of the Machine Age.</p> <p style="text-align: justify;">Remington&rsquo;s palette is unusual as she tends to limit her colors to black and white, electric red and blue, a deep green and small touches of orange. This unexpected color system complements and expands upon the singularity of her imagery.</p> <p style="text-align: justify;">By altering her imagery to suit the medium and scale of her drawings, the central schema becomes asymmetric and increasingly segmented, as compared to her paintings. The graphite surface is velvety, giving the drawings a sense of touch and warmth. The light seems warmer as well, as though lit by incandescent bulbs rather than fluorescents, which otherwise light the paintings externally.</p> <p style="text-align: justify;">&mdash;Jay Gorney, New York, May 2015</p> <p style="text-align: justify;"><strong>DEBORAH REMINGTON </strong>(b. Haddonfield, NJ, 1930, d. 2010, Moorestown, NJ) received her BFA and MFA from the San Francisco Art Institute where she studied painting with Clyfford Still and became affiliated with the Bay Area&rsquo;s burgeoning Beat scene. She was one of six painters and poets - and the only woman - who in 1954 founded the now legendary 6 Gallery, where Allen Ginsberg first read his poem, &ldquo;Howl&rdquo; in public on October 7, 1955. After graduation, Remington spent two years in Japan studying calligraphy before returning to San Francisco, where she had three solo shows at the Dilexi Gallery and one at the San Francisco Museum of Art. In 1965, Remington moved to New York by which time she had gained renown for an aggressive and emblematic visual language influenced by abstract expressionism. She made her New York debut in 1967 at the Bykert Gallery, the premier New York gallery for new art at the time. She had three more solo shows there before it closed in 1975. She taught painting at the Cooper Union from 1973 to 1997 and at New York University from 1994-1999. A twenty-year retrospective (1963-1983) of the artist&rsquo;s work, curated by Paul Schimmel, was held at the Newport Harbor Art Museum, California, in 1983 (now Orange County Museum of Art), traveling to the Oakland Museum of Art and several other venues. More recently, Remington&rsquo;s work has been featured in several group exhibitions focused on the art of the 1950s and 60s including, Optical and Visionary Art Since the &lsquo;60s, which opened at the San Antonio Museum of Art in 2010 and traveled widely throughout the US. Upcoming exhibitions include: Her Action: Women of Abstract Expressionism, a traveling exhibition organized by the Denver Art Museum with a catalogue to be published by Yale University Press in 2016. Remington was the recipient of numerous grants and awards in her lifetime including a Guggenheim Fellowship (1984), a National Endowment for the Arts Fellowship (1979), and a Tamarind Fellowship (1973), among others. She was elected to the National Academy of Design in 1999 and received a Pollock-Krasner Foundation Grant that same year.</p> <p style="text-align: justify;">This exhibition is organized by Jay Gorney with generous cooperation from The Deborah Remington Charitable Trust for the Visual Arts and Margaret Mathews-Berenson, curator of the Trust.&nbsp;</p> <p style="text-align: justify;">Opening reception: Friday, June 26th, 6-8pm</p> Fri, 03 Jul 2015 15:42:05 +0000 Grace Weaver - Thierry Goldberg Gallery - July 2nd - August 7th <p align="justify">Thierry-Goldberg Gallery is pleased to present the first New York solo exhibition of Grace Weaver. The show opens on July 2nd with a reception from 6 to 8 and will run through August 7th. A self-professed fan of guilty pleasure music, Weaver likes to think of her paintings as pop songs. The title of the exhibition is borrowed from Katy Perry&rsquo;s hit single from 2010, Teenage Dream.</p> <p align="justify">In Match Point (2015) one of Weaver&rsquo;s most recent paintings in the exhibition, the vantage point is that of a tennis player taking a moment to bend over and tie his shoelace. A scaled-up male figure with red elongated limbs frames the opposing female player that stands in the distance on the other side of the tennis court. The upside down viewpoint of the pictorial composition contributes to the whimsical aspect of the work, where the difference in scale between the two figures make it seem as if the oversized head of the male character in the foreground is about to kiss (or eat) the miniature female figure in the back.</p> <p align="justify">Weaver&rsquo;s carefree millennial sensibility is also evident in Meet-Cute, a large two-panel painting from 2014. The painting depicts a busy street scene with bursts of bright color and stylized figures, where a high-heeled woman in a purple summer dress greets a man that carries a child on his shoulders. Weaver&rsquo;s colorful compositions of curved lines and playful usage of scale construct everyday narratives that feel current yet timeless.</p> <p>&nbsp;</p> <p align="justify">Grace Weaver (b. 1989, Vermont) currently lives and works in Brooklyn, NY. She holds an MFA from Virginia Commonwealth University, and a BA from University of Vermont. Weaver has previously had solo exhibitions at SPACE Gallery, Burlington, VT and at Burlington City Arts. She has also exhibited at 215 College Gallery, Burlington VT; Page Bond Gallery, Richmond, VA; and at Anderson Gallery, Richmond, VA.</p> <p align="justify">Opening: Thursday, July 2, 6-8</p> Fri, 03 Jul 2015 15:34:20 +0000 Huma Bhabha, Helmut Federle, Alex Katz, Yukinori Yanagi, General Idea - Peter Blum Gallery - July 7th - July 31st Fri, 03 Jul 2015 15:25:33 +0000 Lourdes Sanchez, Rick Shaefer, Suzy Spence, MaryBeth Thielhelm, Tyler Haughey - Sears-Peyton Gallery - July 14th - August 14th Fri, 03 Jul 2015 15:23:07 +0000 Aaron Flint Jamison - Miguel Abreu Gallery Orchard St - July 8th - September 20th Fri, 03 Jul 2015 14:29:40 +0000 - Miguel Abreu Gallery Eldridge Street - July 8th - September 20th Fri, 03 Jul 2015 14:29:33 +0000 Anne Truitt - Matthew Marks Gallery - 24th St. - September 11th - October 24th Fri, 03 Jul 2015 14:25:14 +0000 Li Bo, ma wenting, Mo Xiliang, Yang Peng, Zheng Zicheng - Klein Sun Gallery - July 9th - August 8th <p style="text-align: justify;">Klein&nbsp;Sun Gallery, in collaboration with the Times Art Museum in Beijing, is pleased to announce the group exhibition&nbsp;<em>UP-YOUTH</em>&nbsp;on view from July 9th &nbsp;through August 8th, 2015.</p> <p style="text-align: justify;"><em>UP-YOUTH&nbsp; </em>features works by five artists&mdash;Li Bo,&nbsp;Ma&nbsp;Wenting,&nbsp;Mo&nbsp;Xiliang,&nbsp;Yang&nbsp;Peng, and&nbsp;Zheng&nbsp;Zicheng. These artists are shown together after having been showcased at the Times Art Museum in Beijing to international acclaim last year; with their individual styles drawn from their contemporary native landscape, they collectively introduce a new, exciting generation of Chinese expression to New York&rsquo;s art world.</p> <p style="text-align: justify;">Li Bo&rsquo;s passion for formal and conceptual diversity is represented in his exploration of various mediums, forms, and styles. The only mixed-media painting included in the exhibition, <em>White in Dark Grey No. 3</em>, is an example of his bold approach to art.&nbsp; For this piece, Li Bo&nbsp;appropriates an&nbsp;image of a street sign by first painting it onto&nbsp;concrete&nbsp;and then breaking the heavy block into myriad pieces; he&nbsp; then reassembles&nbsp;the fragmented squares back into the form of a bicycle. Although immediately recognizable as a bike, the final visual is a layered reconfiguration of symbols and identification, leading viewers to mentally construct the image like a puzzle. By deconstructing a bicycle, a symbol of late 20th century modernity in China, &nbsp;Li comments on rapidly changing&nbsp;Chinese society.</p> <p style="text-align: justify;">In&nbsp;<em>Willy, Why do&nbsp;You&nbsp;Cry?</em>, Ma&nbsp;Wenting&nbsp;situates the audience in a typical&nbsp;Chinese classroom. However, the space is disrupted by trees, plants, and children&rsquo;s toys&mdash;as if the classroom has been abandoned for ages. The misplaced items and contradictory dimensions indicate the fragmented nature of faded memories. Meanwhile, the tight composition invites the audience to look closely at the details and discover hidden stories. Underneath the chaotic surface of the painting, Ma embeds a sense of tranquility through a dark, cold color tone. The objects depicted in the painting function as signifiers of childhood memories shared by younger generations of China. The&nbsp; blackboard, a medium that usually delivers official, standard information, is repurposed by the artist to present English sentences that highlight&nbsp;the sentimentality and sadness of the painting. The&nbsp;work is an ongoing dialogue between the rational and the irrational.</p> <p style="text-align: justify;">Several paintings by Mo&nbsp;Xiliang&nbsp;are reminiscent of traditional Chinese styles, but carry with them a strong contemporary twist. The flowing water in&nbsp;<em>Must Trap the Paper Tiger &nbsp;</em>alludes to a classic study of a river, yet the abstract cage entrapping the tiger is a hyper-contemporary motif. These meticulously painted&nbsp;works&nbsp;also&nbsp;reference pop culture in depicting characters from the British television show<em>&nbsp;Teletubbies</em>. These figures are shown standing in a nightmarish reality, as opposed to their normally idyllic dream world. Through&nbsp;his range of&nbsp;works, the artist engages a&nbsp;critical social conversation about Chinese tradition and culture.</p> <p style="text-align: justify;">Zheng&nbsp;Zicheng&rsquo;s&nbsp;work also focuses on social issues. In the painting&nbsp;<em>Beautiful New World</em>, the viewer sees a group of racially nondescript individuals&mdash;whose attire is as muted as their dull expressions&mdash;while they work on building a model of the world. In stark contrast to the drab expressions and clothing, the version of the world being crafted is filled with bright and vibrant colors. By juxtaposing the mundane with the beautiful, this piece asks&nbsp;viewers to contemplate the complex relationship shared between these seemingly opposite forces.</p> <p style="text-align: justify;">Finally, the oil paintings by Yang&nbsp;Peng portray anonymous female figures in&nbsp;photorealism. There is a consistent disconnect between the figures and the audience: their eyes are closed, covered, or their bodies are completely turned away.&nbsp;The&nbsp;painted&nbsp;figures&rsquo; active avoidance of public communication conveys a self-reflective and &nbsp;transcendental state of inner mind.</p> Fri, 03 Jul 2015 14:23:30 +0000 Group Show - Higher Pictures - July 1st - August 7th <p style="text-align: justify;">Higher Pictures presents <em>Photography Sees the Surface</em>, a group exhibition organized by the artist Aspen Mays.</p> <p style="text-align: justify;">The exhibition takes as its point of departure Czech modernists Jarom&iacute;r Funke and Ladislav Sutnar&rsquo;s book of the same name. <em>Photography Sees the Surface </em>was published in 1935 by the State School of Graphic Arts in Prague, where Sutnar was Director and Funke taught photography after leaving his position at the School of Applied Arts in Bratislava&mdash;known as the &ldquo;Slovak Bauhaus.&rdquo; The instructional volume features photographs by Funke and his students highlighting the singular ability of the camera to capture the details of an object&rsquo;s surface, accompanied by short descriptive texts and notes on the filters, lenses, focal lengths, aperture settings, and exposure times used to make each photograph.</p> <p style="text-align: justify;">In the spirit of Funke&rsquo;s project, which was equal parts New Objectivity description and modernist abstraction, and expressly pedagogical, Mays presents an idiosyncratic selection of work by over 20 contemporary photographers who are also teachers (several are her own former professors and students,) as well as historic material, including a 19<sup>th</sup> century heliogravure of the moon&rsquo;s surface, and a photogram from a Man Ray teaching portfolio. The works on view weave together investigations of photography&rsquo;s ability to isolate detail, abstract form, and obscure and defamiliarize vision, with conceptual and physical references to pedagogy. Visual resonances play out between and across works: surfaces are variably abraded, shrouded, excised, and broken through; certain themes&mdash;outer space, mediated landscapes, unfaithful portraiture, questions of serendipity and orchestration in composing a picture, and direct image transfers (in the form of rubbings and photograms)&mdash;recur. Direct and more enigmatic depictions of the &lsquo;surface&rsquo; of things simultaneously evoke and challenge the notion that vision, and perhaps doubly so, depiction, are by their very natures superficial.</p> <p style="text-align: justify;">Artists: &nbsp; Ben Alper, Molly Brandt, Ellen Carey, Lynne Cohen, Linda Connor, AnnieLaurie Erickson, Ben Fain, Jackie Furtado, Nick George, Ann Hamilton, Peter Happel Christian, Whitney Hubbs, Lowey &amp; Puiseux, Jessica Mallios, Man Ray, Casey McGonagle, Eileen Mueller, John Opera, Gina Osterloh, Justin James Reed, Meghann Riepenhoff, Melanie Schiff, Adam Schreiber, Frederick Sommer, Sonja Thomsen, Minor White, Jeff Whetstone, and Anonymous.</p> <p style="text-align: justify;">Aspen Mays was born in 1980 in Asheville, North Carolina and received her MFA in Photography from the School of the Art Institute of Chicago in 2009. She was formerly Assistant Professor of Art at the Ohio State University in Columbus, Ohio and is currently Assistant Professor at California College of the Arts. Mays lives and works in Oakland, California.</p> Fri, 03 Jul 2015 14:04:50 +0000 Matthew Smith - Elizabeth Dee Gallery - July 9th - August 14th Fri, 03 Jul 2015 14:00:28 +0000