ArtSlant - Openings & events en-us 40 Chris E. Vargas - Anthology Film Archives - February 26th, 2013 9:00 PM - 10:30 PM <p><strong><span style="font-family: 'times new roman', serif;">Chris E. Vargas in attendance!</span></strong></p> <p><span face="times new roman, serif" style="font-family: 'times new roman', serif;"> </span><span style="font-family: 'times new roman', serif;">Dirty Looks is thrilled to host the first-ever survey of work by Chris E. Vargas, a Bay Area artist and activist. Perhaps best known as one half of the web series “Falling in Love … with Chris and Greg,” a sitcom about a queer odd couple—one liberal, one radical; one transgender, one not—Vargas has produced a body of work that is politically subversive, culturally acute and utterly hysterical. From post-apocalyptic LA bikers to “the first pregnant man,” Liberace to Bronski Beat, these works challenge the homonormative, queering pop culture and rewriting GLBTQ histories.</span></p> <p><span face="times new roman, serif" style="font-family: 'times new roman', serif;">Beginning with Vargas’s first Super8 film, this program will explore the artist’s penchant for humorous impersonations and socio-political reinterpretations. <i>Homotopia</i> <wbr>finds Vargas collaborating with Eric Stanley on a narrative short, in which radical queers crash the hypocritical wedding ceremony of a recent tearoom trick. <i>Extraordinary Pregnancies</i> explores the transphobic discourses parlayed through the media firestorm that surrounded the world’s first pregnant man, Thomas Beatie. In the video from which this program takes its title, Vargas enlightens various American landmarks with his trans body, begging of them the question, “Have You Ever Seen a Transsexual Before?” In both <i>ONE for all...</i> and <i>Liberaceón</i>, the artist portrays historically queer public figures (philanthropist Reed Erickson and showmanship himself, Liberace), rearticulating (rather comically) these icons relationships to queer politics and philosophical standpoints within their respective epochs. And, in the recent episode of “Falling in Love... with Chris and Greg”: Season Two, Chris and Greg compete against fellow artists to create the perfect work of queer failure, inserting themselves in Bravo’s reality TV show, “Work of Art.” Hint, it does not end well.</wbr></span></p> <p><span face="times new roman, serif" style="font-family: 'times new roman', serif;">Advance tickets recommended: <a href="" rel="nofollow"></a></span></p> Fri, 08 Feb 2013 16:13:26 +0000 - Asia Society Museum - February 26th, 2013 11:00 AM - 6:00 PM <p>This exhibition comprises select pieces from Asia Society’s Mr. and Mrs. John D. Rockefeller 3rd Collection. The show explores the role of patrons of wealth and rank as dominating figures in the production of artistic creations. Approximately fifty examples of sculpture and ceramic from South, Southeast, and East Asia. The selection includes religious art, both Buddhist and Hindu. In addition, ceremonial objects that served as a visual structure for the governing patterns of patrons both for this life and beyond will be on view. Decorative functional objects such as plates and vases, and prized collectables like porcelains, which testify to the legitimacy and supremacy of rulers and aristocrats, round out the exhibition.</p> Sun, 06 Jan 2013 23:34:48 +0000 Tim Lee - Asia Society Museum - February 26th, 2013 11:00 AM - 6:00 PM <p>Asia Society Museum has invited the artist Tim Lee to create a new work, <em>Blowin' in the Wind, Bob Dylan, 1963</em>, 2013. Made specifically for the Asia Society, this interactive multimedia installation is meant to function as a karaoke pavilion in which the audience is invited to sing along to the accompaniment of the artist’s guitar cover of Dylan’s iconic folk anthem. The participatory exhibition is meant to provoke a thoughtful consideration of how our understanding of a situation is often relative to our own personal experiences.</p> <p><em>Tim Lee: In Focus </em>has been organized as part of Asia Society Museum’s ongoing In Focus series, which is supported by the Contemporary Art Council.</p> Sun, 03 Feb 2013 20:20:57 +0000 - The Metropolitan Museum of Art - February 26th, 2013 9:30 AM - 5:30 PM <p>Modernism was not the first movement to cast a shadow on ornament and adornment, though it was the most effective one. This exhibition contrasts austere works of art with ornate ones, encouraging viewers to examine their own responses and to consider them in the light of different stylistic imperatives of the past. Drawn from the Museum's collection of European sculpture and decorative arts, the exhibition follows the theme from the Renaissance to the early twentieth century.</p> Mon, 07 Jan 2013 02:52:44 +0000 - The Metropolitan Museum of Art - February 26th, 2013 9:30 AM - 5:30 PM <p><i>Impressionism, Fashion, and Modernity</i> will present a revealing look at the role of fashion in the works of the Impressionists and their contemporaries. Some eighty major figure paintings, seen in concert with period costumes, accessories, fashion plates, photographs, and popular prints, will highlight the vital relationship between fashion and art during the pivotal years, from the mid-1860s to the mid-1880s, when Paris emerged as the style capital of the world. With the rise of the department store, the advent of ready-made wear, and the proliferation of fashion magazines, those at the forefront of the avant-garde—from Manet, Monet, and Renoir to Baudelaire, Mallarmé, and Zola—turned a fresh eye to contemporary dress, embracing <i>la mode</i> as the harbinger of <i>la modernité</i>. The novelty, vibrancy, and fleeting allure of the latest trends in fashion proved seductive for a generation of artists and writers who sought to give expression to the pulse of modern life in all its nuanced richness. Without rivaling the meticulous detail of society portraitists such as Tissot or Stevens or the graphic flair of fashion plates, the Impressionists nonetheless engaged similar strategies in the making (and in the marketing) of their pictures of stylish men and women that sought to  reflect the spirit of their age.</p> Mon, 07 Jan 2013 02:56:18 +0000 Luis Camnitzer, Jeremy Gilbert-Rolfe, Harmony Hammond, Lorraine O'Grady, Hassan Sharif, Jack Whitten - Alexander Gray Associates - February 27th, 2013 6:00 PM - 8:00 PM <p>Inaugurating its representation of Harmony Hammond, Alexander Gray Associates is pleased to present Broken Spaces: Cut, Mark, and Gesture, a group exhibition examining the parallel conceptual and formal practices of Luis Camnitzer, Jeremy Gilbert-Rolfe, Harmony Hammond, Lorraine O’Grady, Hassan Sharif, and Jack Whitten. Focused on process-oriented, conceptual works on paper, the exhibition highlights each artist’s experimentation with boundaries of media and form.<br /> <br /> <b>Harmony Hammond</b>’s charcoal drawings and mixed media works on paper investigate post-minimal processes and materials. 
In her mixed media works, Hammond experiments with printmaking and crafting materials. Her charcoal drawings serve as 
studies for the iconic 1970s floor sculptures, utilizing braiding and weaving, referencing women’s traditional arts; her recent “Grommetypes” puncture and mold paper with ink and watercolor. In etchings begun in the late 1960s, <b>Luis Camnitzer</b> plays with the language of printmaking and text-based art. In <i>Shift</i> (1968), Camnitzer explores conceptual meanings of identity and perspective, while breaking ground with etching and die-cutting techniques. <b>Lorraine O’Grady</b>’s <i>Cutting Out the New York Times</i> (1977/2010) is a series of 26 poems created from newspaper clippings. In these works, created on successive Sundays spanning six months, O’Grady produced collaged poems made from public text; presented as wall-mounted installations, the poems hover between language and image, personal and political. <b>Jack Whitten</b>’s works on paper from the 1970s present an experimental approach to art-making. During this period, Whitten applied a wide array of media—including oil, magnetite, and acrylic—to create abstractions, highlighting the artist’s interest in surface and form, line and void. In <i>Closed Loops #2</i> (2012), Whitten pushes the boundaries of acrylic in a compositionally complex, sculptural work that exemplifies Whitten’s inventive abilities. <b>Hassan Sharif</b>’s line drawings demonstrate the artist’s interest in art-making processes. The artist’s preoccupation with conceptualism is evident in the repetitive gestures and systematic compositions of his drawings, making reference to caligraphic traditions, architectural form, and urban planning. <b>Jeremy Gilbert-Rolfe</b>’s drawings challenge contemporary ideas of aesthetics and purpose. In his works on view, Gilbert-Rolfe manipulates the Modernist grid and applies hyper-saturated color to question painting’s position in a post-Modern context.</p> Tue, 19 Feb 2013 01:52:55 +0000 Al Held - Cheim & Read - February 28th, 2013 6:00 PM - 8:00 PM <p>Cheim &amp; Read is pleased to announce an exhibition of seven monumental paintings, dating from 1961–67, by New York painter Al Held (1928–2005). Curated from several private collections, the show presents a unique opportunity to see first-hand the geometric, “hard-edge” works that defined Held’s artistic output for almost a decade. The exhibition is accompanied by a full-color catalogue (including 20 illustrated works) featuring an essay by Rob Storr.<br /> <br /> Born in Brooklyn, Held dropped out of high school and joined the Navy at 16, serving from 1945-47. In 1948 he studied at the Art Students League in New York, and from 1950-53 invoked the G.I. Bill to attend the Académie de la Grand Chaumière in Paris. Held returned to New York at the height of Abstract Expressionism and its related philosophical discourse, in which he took part. However, the genesis of his later work was already forming; as he said at the time: “I want to give abstract expressionism structure.” Characterized by the intellectual rigor with which he approached his work, Held was ultimately a painter of ideas: “I just don’t want to express myself, I want to say something.”<br /> <br /> The paintings in this exhibition exemplify Held’s move away from the formal tenets of Abstract Expressionism. (They also prefigure his later black-and-white works which focus on the illusionism of pictorial space, as well as anticipating the subsequent minimalism in work by Richard Serra and others). Immense and graphic, the paintings exchange Ab-Ex’s gesture for hard-edged, brightly-colored, geometric forms – their flattened, two-dimensional contours either pruned by the constraints of the canvas or barely contained within. The work’s monumentalism invades one’s sense of “real” space, engulfing the viewer and affecting the perception of his surroundings. The irregular, thick build-up of acrylic paint below the visible surface is a result of Held’s continuous re-thinking of structure and formal relationships, adding to the work’s dimensionality and affirming, as Storr notes, the painting as an “almost sculptural presence.”<br /> <br /> Several paintings enlarge and abstract letters from the alphabet, and are titled as such: “The Big ‘D’”; “The Big ‘N’”; “The Yellow X.” Importantly, Held did not use letters to reference literary or historical subject matter; he related to them as geometric, clear, and “acceptable” formal devices with which he could “make something very concrete.” While specificity and clarity is paramount, subtle distortion is also at work, disrupting immediate readings of the figure-ground relationship. Carefully-chosen colors add weight, tension, and structure, supporting the painting’s formal cohesion. The saturated planes of “The Yellow X” (1965) seem to simultaneously lean out towards the viewer and contract inward and away, a sensation similarly achieved in “Ivan the Terrible” (1961). Slight angles on the capitals of “The ‘I’” (1965) almost imperceptibly swell its middle, as if it were breathing into the viewer’s space; densely-stacked, bulbous circles push against the edges of “Echo” (1966), optically distending the painting’s frame. Angled passages through “Siegfried,” “Thalocropolis,” and “Acracropolis” (all 1966) segment the picture-plane horizontally and vertically, carving hierarchies of space and subverting implied symmetry. Held’s paintings demonstrate a thorough and thoughtful experimentation. Ultimately, he questions the nature of space, form, and perception not only in painting but in the phenomenological understanding of our own dimensional existence.</p> Mon, 18 Feb 2013 23:43:03 +0000 - Edward Hopper House Art Center - February 28th, 2013 6:00 PM - 8:00 PM <p>A talk and book signing of Edward Hopper in Vermont by Bonnie Tocher Clause<br /> <strong></strong><br /> Edward and Josephine Hopper made a series of summer trips into Vermont<br /> between 1927 and 1938, culminating in two month-long stays on a farm in<br /> South Royalton. There Edward painted a series of distinctive and<br /> little-known watercolor landscapes of the White River. Author Bonnie Tocher<br /> Clause describes her quest to illuminate the back story of these Vermont<br /> sojourns. She will illustrate her talk with slides of Hopper's Vermont<br /> works--both watercolors and drawings--along with photographs, old and new,<br /> of the real places in the paintings.  <strong>Reservations strongly suggested.</strong></p> Thu, 28 Feb 2013 18:37:11 +0000 Derek Boshier - Flowers Gallery NY - February 28th, 2013 6:00 PM - 8:00 PM <p class="BasicParagraph">Flowers is pleased to present a collection of Derek Boshier’s most recent paintings titled, <i>Paris France, Paris Texas, Paris Hilton</i>. This series is a continuation of Boshier’s extensive career, which began with the Pop Art movement in the 1960s and has endured and evolved over several decades. The exhibition will run from March 1st through April 6th, 2013, with an opening reception for the artist on Thursday, February 28th, 2013 from 6-8pm. </p> <p class="BasicParagraph">Derek Boshier was born in England in 1937 and studied at the Royal College of Art in London with David Hockney, Allen Jones, and R.B. Kitaj. His paintings gained acclaim while he was still a student and Boshier was featured in Ken Russell’s film “Pop Goes The Easel” (1962) alongside fellow British Pop artists Peter Blake, Peter Philips and Pauline Boty. Over the course of his career, Boshier has worked across many media including installation art, graphic design and film.</p> <p class="BasicParagraph">With <i>Paris France, Paris Texas, Paris Hilton</i>, Boshier reconciles the principles of the 1960s Pop Art movement with the technological realities of the modern era. The series contemporizes the spirit of the movement by depicting Pop in digital formats. His self-described “preoccupation with popular culture” is evident in these works; Boshier’s pieces reference icons of the art community while also engaging with the spectacle of mass media and paparazzi. The dualities inherent in Boshier’s subject matter are evidenced by his stylistic choices in these paintings. Achieving a state of organized randomness, subtle grays contrast with the bright luminosity of iPhone screens on the canvas.</p> <p class="BasicParagraph">Boshier’s intellectual restlessness and enduring curiosity have generated a varied portfolio. His work is included in many collections including the Museum of Modern Art, New York; the Museum of Fine Arts, Houston; the Yale Center for British Art, New Haven; the Tate Gallery of British Art, London; the Victoria and Albert Museum, London; Centro Wilfredo Lam, Cuba and the Museum of Art in Ein Harod, Isreal. Boshier has collaborated with several artists including The Clash and David Bowie, and his attention to current events keeps his work perpetually connected to the social and political climate of the moment. He lives and works in Los Angeles. </p> Fri, 04 Jan 2013 23:58:37 +0000 Baker Overstreet - Fredericks & Freiser - February 28th, 2013 6:00 PM - 8:00 PM <p><b>Fredericks &amp; Freiser</b> is pleased to present an exhibition of new paintings by <b>Baker Overstreet.</b> These works mark a deviation from Overstreet’s previous bodies of work. Though still relying heavily on the drama evoked by bright colors against a black background, these paintings appear more organic, incorporating more spatial movement and general dalliances with structural inversion. Where once were stacked and totemic visual shapes, reminiscent of theater marquees composed in symmetry, a new compositional freedom has emerged. For this series, the compositions are more intensely focused on the formal aspects of painting and delight in the sheer sensuousness and immediacy of paint.<br /><br /> <b>Overstreet</b> continues to employ a reductive approach to his painting, creating a series of self-limiting parameters that allow him to concentrate on the distillation of his compositions. The intensity with which these canvases resonate is a direct result of this practice. Engaging with these works, references bounce freely from humanoid figures to magnetic fields, streams of light, between primitive linguistic markings and sophisticated circuitry. Whereas in the past, Overstreet had compressed his imagery, he now manages to allude to the compression of time by addressing both present and past, intuitive and learned, all within one canvas. <br /><br /> <b>About the Artist<br /> Baker Overstreet</b> received an MFA from Yale University in 2006. He has exhibited his paintings in numerous galleries including; Paolo Curti, Milan; Pilar Corrias Gallery, London: China Art Objects, Los Angeles. He was included in Abstract America at the Saatchi Gallery, London and has recently had a solo exhibition at Kai Heinze, Berlin. This is Baker Overstreet’s fourth solo exhibition at Fredericks &amp; Freiser.</p> Tue, 26 Feb 2013 01:58:57 +0000 Titus Kaphar - Friedman Benda - February 28th, 2013 6:00 PM - 8:00 PM <p><span face="Trebuchet MS" style="font-family: 'Trebuchet MS';">Friedman Benda is pleased to announce Titus Kaphar’s 'The Vesper Project'. The exhibition is a massive sculptural statement - an encompassing installation, in which Kaphar’s own work is seamlessly woven into the walls of a 19th-century American house.<br /> <br /> The culmination of an intense five-year engagement with the lost storylines of the Vesper family, the project was “birthed in a state of extended disbelief,” according to Kaphar. As the artist’s muses, the members of the Vesper family and their histories are intertwined with Kaphar’s autobiographical details, and layered with wide-based cultural triggers of identity and truth in the context of historical accounting.<br /> <br /> In 'The Vesper Project', period architecture, gilt-frames, a vintage type-writer, a neglected wardrobe, old photographs act as seemingly recognizable elements but by employing every tool of his trade, Kaphar insinuates doubt and transports the viewer into a disrupted mental state. As the house fractures, so does the viewer’s experience. In so doing, Kaphar compresses times, conflates the continuum of history and postulates new powerful realities.<br /> <br /> With many of Kaphar's interventions present in the installation including slashing, silhouetting, and whitewashing, this singular work is a complex map of overlapping timetables and collective genealogies. By obliterating the distance between the viewer and the work, 'The Vesper Project' is comprehensive, experiential, and it is the artist’s most ambitious expression to date.<br /> <br /> <br /> A Panel Discussion will be held on Saturday, March 9 at 4:00 PM<br /> <b>"The Creative Implications of Mental Disruption"<br /> </b><br /> Panelists include:<br /> Bridget R. Cooks and Arlene Keizer, both University of California, Irvine<br /> James Berger, Yale University<br /> Scott Barry Kaufman, New York University (requested)<br /> Kwamena Blankson, Harvard-trained psychologist<br /> Titus Kaphar, Artist</span> <!--EndFragment--></p> Tue, 26 Feb 2013 18:58:27 +0000 Luciano Fabro, Jannis Kounellis, Mario Merz - Galerie Lelong - February 28th, 2013 6:00 PM - 8:00 PM <p>Galerie Lelong is pleased to present <em>Che Fare?</em>, an exhibition focused on the unique visual vocabulary and radical works of Luciano Fabro, Jannis Kounellis, and Mario Merz. The exhibition title, translated as <em>What is to be done?</em>, is derived from a series by Merz named after Vladimir Lenin’s 1902 pamphlet on the importance of the intellectual’s role in revolution. Merz, Fabro, and Kounellis’s work expanded this question to challenge the artist’s individual place in society and to push art’s boundaries beyond traditional painting and sculpture. <em>Che Fare?</em> will open to the public on February 22, 2013, and the opening reception will follow on February 28.</p> <p>Beginning in 1967, critic and curator Germano Celant championed a group of artists working in post-war Italy who used humble materials and everyday objects to intersect art and life. Influenced by a period of intense political and social change in Europe, Luciano Fabro (1936-2007), Jannis Kounellis (b. 1936), and Mario Merz (1925-2003) emerged as three significant artists of the movement who regularly showed together during the late 1960s and early 1970s in Rome, Turin, Milan, and Genoa. They protested consumerism by showing art that had an anti-elitist aesthetic in non-traditional spaces. Art and life intertwined in their practice and in the presentation of their works. Not only did these three share artistic concerns and exhibit together throughout their careers, but they also had personal friendships and a mutual respect for one another.</p> <p>Luciano Fabro challenged viewers’ perceptions of familiar forms by employing both unorthodox and traditional materials to create architectural forms, many of which are scaled to human proportion. <em>Inverno </em>(2007), created the year of his death, is a large floor sculpture resembling a broken column or ruins from an ancient building. Two raw-edged, marble components flecked with gold constellations are precariously balanced with a smooth marble ball. Fabro often contrasted concrete and metaphorical space in his work, achieving a poetry manifested in the physical. As in <em>Inverno</em>, the metal work <em>Ruota </em>(1964/2001) uses balance and weight to evoke an immanent space.</p> <p>Jannis Kounellis responded to the alienation of contemporary society in Europe by creating environments in which spectacle and grief comingle. In order to communicate this, he used industrial and organic elements in his installations, paintings, and sculptures, such as coal, burlap sacks, coffee, metal, and live animals. Such materials are reminiscent of his surroundings as a youth in the harbor town of Piraeus, Greece. Kounellis chose the mixed element work <em>Untitled </em>(1993-94) to “converse” with Fabro’s <em>Inverno </em>for a recent exhibition. His extended metal base mirrors Fabro’s dense, marble form. The slender, metal beam balanced on bags of coal elicits a similar feeling of imminent collapse. Coal, signifying carbon and fire, is often a component in his work. It is also utilized as a repeating element in the monumental wall relief, <em>Untitled </em>(1991).</p> Wed, 06 Feb 2013 19:40:53 +0000 Paul Schulenburg - George Billis Gallery- NY - February 28th, 2013 6:00 PM - 8:00 PM <p>I think of my work as being like a visual journal- observations and interpretations of people, places and things I experience day to day. Translating that experience into two dimensional imagery is a challenge that I look forward to whether I am in my studio or out painting on site. It's about the exploration of design, light, shadow, color and texture. Subject matter may vary just as daily experiences will change. I enjoy the hard architectural elements of an urban landscape or an interior space, and occasionally I like contrasting that with the softness and vulnerability of the human form. <br /> <br /> Whatever the focus of a particular painting, I find that when I really connect with my subject, other people viewing my work can sense that and feel the connection as well. There is a narrative quality to my painting, but it's a partial narrative. I often find that what is most interesting is what is left unsaid. To quote Edward Hopper: "If you could say it in words there would be no reason to paint.".</p> Mon, 11 Mar 2013 23:09:24 +0000 Barkley L. Hendricks - Jack Shainman Gallery 20th Street - February 28th, 2013 6:00 PM - 8:00 PM <p><strong>Jack Shainman Gallery</strong> is pleased to announce <strong><i>Heart Hands Eyes Mind</i></strong>, Barkley L. Hendricks’ first solo exhibition with the gallery. The show will include photographs, landscape paintings and the portrait paintings for which he has become most known, spanning over forty years of his artistic practice.</p> <p>Hendricks has always worked between the realms of photography and painting, having studied with Walker Evans at Yale. He was introduced early on to portraiture through the perspective of the camera’s lens. The photographs in <em>Heart Hands Eyes Mind</em>, most of which have never been exhibited before, range from the candid street photograph, to landscape, to the portrait. They can be used to bridge seemingly varied formal themes that are in fact inextricably linked and continuously intertwined, evidence of Hendricks’ perpetual experimentation and evolution.</p> <p>Throughout his career, Hendricks has refused to be boxed into a space designed by an outside force or market, and, much like his subjects, his practice is commanding, bold and without limitations to media or to form. His chief concerns lie in the moment, both in capturing it and creating it. The paintings are a direct engagement with art history, the tradition of portraiture and a confrontation of institutional portrayal of the black subject. And while the severity of the subject’s gaze can be piercing, Hendricks invokes a persistent humor through the titling of his pieces, mitigating the gravity of the message and allowing for an opening into the work.</p> <p>Akin to Hendricks’ engagement with the old masters of European portraiture, his landscape paintings also create a discourse with history while intimately tying into his own experiences. He has routinely traveled to Jamaica for the past thirty years, a place of cultural significance that lends its physical beauty to the formal act of painting. Each piece is adorned with a gilded frame that transforms these encapsulated views into portals to another time. Every painting is made in one long day of sitting, representing a perspective that cannot be duplicated.</p> <p>When viewing Hendricks’ work, either from the 70s, 80s, 90s or now, the experience is simultaneously of its time and timeless. This exhibition gives us the opportunity to be introduced and reintroduced to characters and spaces while traveling with the artist through his own exploration and discovery.</p> <p>Barkley L. Hendricks was born in Philadelphia, Pennsylvania, and currently lives and works in New London, CT. He earned both his BFA and MFA from Yale University and was the subject of a large-scale traveling exhibition, <em>Barkley L. Hendricks: Birth of the Cool</em>, organized by Trevor Schoonmaker at the Nasher Museum of Art, Duke University, Durham, North Carolina (2008), which traveled to the Studio Museum in Harlem, New York (2008-2009), Santa Monica Museum of Art, California (2009), Pennsylvania Academy of the Fine Arts, Philadelphia (2009-2010) and the Contemporary Arts Museum Houston, Texas (2010).</p> <p>His work is included in numerous public collections both within the United States and abroad, such as The National Gallery of Art, Washington, DC; The Tate Modern, London, UK; Studio Museum, Harlem, NY; Philadelphia Museum of Art, Philadelphia, PA; Rubell Family Collection, Miami, FL; Nasher Museum of Art, Durham, NC; Columbus Museum of Art, Columbus, OH; and the Fogg Art Museum, Harvard University, Cambridge, MA.</p> Sun, 24 Feb 2013 00:19:55 +0000 Brandon Lattu - Koenig & Clinton - February 28th, 2013 6:00 PM - 8:00 PM <p>Leo Koenig Inc. is pleased to present "Not Human", Brandon Lattu’s fourth solo exhibition with the Gallery. "Not Human" centers around two distinct bodies of work, projected slide shows and sculptural photographic reliefs. Both types of work extend Lattu’s ongoing considerations about the current ideological stakes of the photographic image in relation to the archive as well as particular legacies of Modernism, including the readymade and the monochrome.</p> <p>In the main gallery, two slide shows are separated by a long curtain and projected onto opposite walls. Culled from the artist’s extensive archive of more than 120,000 digital and scanned photographs, "Not Human" (2013) is comprised by a timed sequence of ordered images.</p> <p>Within each frame, one finds the picture of an environment. Each environment includes a billboard, a bus shelter, a store window or some form of display in which the image of a person's face is incidental. In this progression, no single image bears any relation to its previous image, formally or geographically. Frames are tethered by a very brief overlap between one illuminating and one disappearing face, both of which are situated in the same section of their respective frames; their common feature is position. Visage after visage, the overall sequence limns the digitally and surgically altered apparatus of idealized archetypes. These are constructed images of constructed people that have been presented in public for private adaptation.</p> <p>On the opposite wall, another slide show flickers silently at a different rate. "Smarter Than A Dog, Faster Than Anything" (2013) takes as its starting point a single image, sometimes uncanny and more often banal, from Lattu’s archive. Each image has been run through Google’s image search engine in an effort to find a similar or corresponding match. The yield varies. A stucco wall painted peach near a patch of grass mysteriously attracts wedding images. Flesh attracts flesh. Each originary image repeats momentarily between approximations chosen by the artist revealing cosmologies formed by hit and miss results. The machine, though capable of accessing a greater breadth of images faster than any archive in history, often reveals its not-quite-human status.</p> <p>An encounter with the second body of work on view, "Selected Compositions", begins in the center gallery and coils into the east gallery. Further developing his "Random Composition" series from 2010, Lattu brings together four separate images from his archives to serve as the material (and conceptual) support for the monochromatic ‘face’ of a geometric sculptural volume that protrudes from the wall. The single color covering the face spills over each edge and fades onto the discrete depictive images that occupy each side, partially obscuring content. This obfuscation at once invites more detailed inspection and acknowledges a co-constructive relationship between pure image and pure color. While these works, like the slide presentations, adhere to a general format, each "Selected Composition" is unique in that it differs in shape, size, image and color according to the artist’s chosen preferences.</p> <p>Lattu deftly builds upon his previous works with architecture and environmental signage ("Building Obscured by Signs", 1999; "Miracle Mile", 2000; "Repeat", 2006; "Fleetwood Billboard", 2010), archives ("Selected Products", 2001; "Rejected Products", 2001; "The Library Series", 2006-2008) and projected images ("Water Under The Bridge", 1998; "Untitled Slide Piece", 2006), while still deferring to the subjective processes of archiving and editing that undergirded the Structuralist slide shows of Ad Reinhardt. Despite an ever expanding, sped up, and ubiquitous image world, Lattu refuses the oppositional position of pure abstraction and presents a case for the use of photographs – analog or digital - as tools for critical knowledge production and agency.</p> <p>Brandon Lattu’s work has been shown in solo exhibitions at The Happy Lion, Los Angeles, Leo Koenig Inc., New York, Vacio 9, Madrid, Monte Clark Gallery, Vancouver and the Kunstverein Bielefeld, Germany. Recent group exhibitions include: "Electric Fields, Surrealism and Beyond", Museum of Contemporary Art, Shanghai; "Attitude Cinema", Pesaro Film Festival, Italy; "How Many Billboards", MAK Center for Art and Architecture, West Hollywood; "Walker Evans and the Barn" at the Stedelijk Museum; Amsterdam; "Image for Image", at the Museum Ostwall, Dortmunder, Germany; "Tractatus Logico-Catalogicus", Vox centre de l’image contemporaine, Montreal; and "The Movement of Images", at the Centre Pompidou, Paris. Lattu lives and works in Los Angeles. He is an associate professor at U.C. Riverside.</p> Tue, 19 Feb 2013 00:31:28 +0000 Liu Wei - Lehmann Maupin - February 28th, 2013 6:00 PM - 8:00 PM <p><b>Lehmann Maupin is honored to present the first solo exhibition of Chinese artist Liu Wei’s work in the United States</b>, on view at 540 West 26th Street from 28 February through 23 March 2013. The exhibition will feature an amalgamation of multi-media works created over the past year in the artist’s studio in Beijing. Three large-scale assemblages constructed from salvaged demolition debris, a continuation of the artist's <i>Merely a Mistake</i> series begun in 2009, will be the centerpieces of the installation in the main gallery space.</p> <p><b>Liu Wei will be present for an opening reception on Thursday, 28 February from 6 to 8 PM.</b></p> <p>Considered to be one of the most progressive and original Chinese artists to have emerged on the international art scene, Liu’s work has evolved over the past 15 years into a layered conceptual approach that transcends medium and material. Working across painting, sculpture, photography, installation and video, Liu is relentless in his pursuit of truth and engagement with reality. His exploration of urban life stems from the accelerated urbanization afflicting his immediate cityscapes and the instability of a rapidly changing society. Of the times, Liu has said, “We grew up when things were constantly changing and nothing seemed stabile. There was a turnaround in values every couple of years…. Today you’d believe in one thing and tomorrow you’d believe in something completely different.”</p> <p>Critical of the systems on which contemporary society is structured, Liu employs whatever medium or technique is best suitable to call into question the fixed notion that there is one way to understand the world and one way to act. In his catalogue essay for <i>Liu Wei: Trilogy</i> presented in 2011 by Shanghai’s Minsheng Art Museum, Gunnar B. Kvaran writes:</p> <p><i>Acutely aware of his place in history, but also concerned with breaking tradition, Liu intermingles artistic inventiveness and an engagement with serious social and political questions, inviting the public to take part in intersubjective relationships. He does so through a symbolic constellation of objects, created out of unexpected materials and placed in surprising configurations, that deal with universal topics such as power and politics, society and identity, history and memory, art and philosophy, or with more abstract notions like time, unpredictability, change and illusion.</i></p> <p>Kvaran goes on to say that “each of his works is like a vessel loaded with intelligent and meaningful reflections on the human condition, and the power of his art lies in the originality of the forms, objects, materials, and narrative structures that he brings together.”</p> <p><b>Lehmann Maupin’s exhibition highlights new work from the various series for which Liu has gained notoriety, including<i>Exotic Lands, Jungle, China, Merely a Mistake, Beyond the Sky Limits, Truth Dimension</i>, and <i>Colors</i></b>. The abstract imagery of his <i>Truth Dimension</i> and <i>Colors</i> paintings recall the vast skylines of the world’s metropolises, their vertical urban sprawl unfolding frenetically across horizontal panoramas; in sharp contrast, the muted bands of color in <i>Beyond the Sky Limits</i> appear as quiet ruminations on the natural landscape. For Liu, an engagement with architecture is a reoccurring thread, and the reclaimed doorframes, wooden beams and metal bolts that constitute <i>Merely a Mistake</i> take the form of pointed arches and flying buttresses, reminiscent of Baroque and Gothic architecture. Installed side-by-side, as opposed to grouped by series, the nearly two-dozen works on view form a collective reading of a profoundly complex artistic practice.</p> <p> </p> <p><b>Liu Wei</b> (b. 1972, Beijing, China) graduated from the China Academy of Art in 1996, and came of age with the younger generation of Chinese artists showcased in the ground-breaking 1999 “Post-Sense Sensibility” exhibition in Shaoyaoju, Beijing. His work has been featured in numerous exhibitions around the world, most recently in a solo exhibition at the Minsheng Art Museum, Shanghai (2011), as well as at the Centre Pompidou, Paris (2010), National Art Museum of China, Beijing (2010), Ullens Center for Contemporary Art, Beijing (2010), Saatchi Gallery, London (2008), Bonniers Konsthall, Stockholm (2008), and Mudam Luxembourg, Luxembourg (2008), among others. He has participated in numerous international biennials, including the Shanghai Biennial (2010), the 6th Busan Biennial (2008), the Guangzhou Triennial, (2008), and the 51st Venice Biennial (2005). He received the Chinese Contemporary Art Award for Best Artist in 2008, and was nominated for the Credit Suisse Today Art Award in 2011. The artist currently lives and works in Beijing.</p> Tue, 19 Feb 2013 22:18:58 +0000