ArtSlant - Current exhibits en-us 40 Doug Aitken - 303 Gallery - February 1st, 2013 - March 30th, 2013 <div class="grid_10"> <p style="text-align: justify;"><span style="font-size: small;">Central to Doug Aitken's "100 YRS" exhibition is a new "Sonic Fountain," in which water drips from 5 rods suspended from the ceiling, falling into a concrete crater dug out of the gallery floor. The flow of water itself is controlled so as to create specific rhythmic patterns that will morph, collapse and overlap in shifting combinations of speed and volume, lending the physical phenomenon the variable symphonic structure of song. The water itself appears milky white, as if imbued and chemically altered by its aural properties, a basic substance turned supernatural. The amplified sound of droplets conjures the arrhythmia of breathing, and along with the pool's primordial glow, the fountain creates its own sonic system of tracking time.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Behind a cavernous opening carved into the gallery's west wall is "Sunset (black)," a sculptural work that resembles cast lava rock in texture and spells out the word SUNSET as it glows from behind, its letters forming a relic of the entropy and displacement inherent in the literal idea of a sunset. Viewed from and obscured behind a hole in the wall, the sculpture appears as cosmic debris, as if pulled from a parallel world where a sunset is only an idea, obfuscated by detritus of the age of post-everything, a reductionist standpoint between the modes of pop and minimalism, its glow fading into the next realm. Also on view is the mirrored sculpture "MORE (shattered pour)". Like a time-piece, the work creates a kaleidoscope of reflections of all that surrounds it. As if it were a fragmented film, "MORE (shattered pour)" creates a literal manifestation of the present and aspirational escapism, which cannot be viewed without glimpsing a piece of one's self within the work's reflections. Another refraction of time is glimpsed through "Fountain (Earth Fountain)", created from plexiglas letters spelling the word "ART", through which a slurry of moist dirt is pumped, physical earth perpetually redoubling and standing in for itself. The word ART itself subverts the entropy of time, creating a holding pattern that organic matter cannot escape from. The flickering lightbox "not enough time in the day" completes the communicative supercurrent of shimmering malaise, its letters overlapping as if seen inebriated, somehow both more profound and less understandable. The work creates a cycle that is both hypnotic and inescapable.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Doug Aitken lives and works in Los Angeles and and New York. In March 2013, the Seattle Art Museum will install "Mirror," a monumental new commission made of LED's, permanently installed on the museum's facade, while the Miami Art Museum will reopen its new building with the outdoor large scale projection of "sleepwalkers (miami)." In addition, SFMOMA in San Francisco is making plans for a large-scale citywide installation of Aitken's Empire Trilogy in site-specific locations. Aitken's work has been featured in numerous solo and group exhibitions around the world, in such institutions as the Serpentine Gallery in London, the Vienna Secession, and the Centre Georges Pompidou in Paris. He participated in the Whitney Biennial 1997 and 2000 and earned the International Prize at the Venice Biennale in 1999. Aitken's "Sleepwalkers" exhibition at MoMA in 2007 transformed an entire block of Manhattan into a cinematic experience as he covered the museum's exterior walls with projections. In 2009, his Sonic Pavilion opened to the public in the forested hills of Brazil at INHOTIM. Continuing his work in innovative outdoor projects, Aitken presented his film and architecture installation "Frontier" on Rome's Isola Tiberina in 2009, the multiform artwork "Black Mirror" on a uniquely designed barge floating off Athens and Hydra Island in 2011, and "Song 1" projected onto the circular facade of the Hirshhorn Museum in Washington, DC in 2012.</span></p> </div> Mon, 01 Apr 2013 21:43:42 +0000 Susan Grayson - 3A Gallery - February 15th, 2013 - March 10th, 2013 <p><img src="" /></p> Fri, 01 Mar 2013 06:03:20 +0000 Tatjana Busch - 532 Gallery Thomas Jaeckel - February 21st, 2013 - March 30th, 2013 <p>“It could be like this and it could also be like that…,” says Tatjana Busch. But not until we see her latest works in this exhibition, does her meaning become truly accessible. Conceptually, her earliest works appear even more tightly regulated by the obvious influences of the strict, geometric, coloured forms we know from the Bauhaus and Russian Suprematists. Their intuitive shapes continue to spring from Busch’s innermost world, just as they did years ago. Permeating her entire body, they are finally given material form in the outside world by her hands, seeming more carefully planned than they actually are. Her latest works, however, appear to break with any dependence whatsoever on art history. They free themselves even from the shackles of physics and burst forth into freedom and openness – a freedom and openness to which the observer must surrender himself if he is to appreciate the true dimensions of these works.</p> <p>The light installation “Fusion” invites us to broaden our consciousness. It abducts us into a fully-fledged show that immerses the observer into a real-time synthesis of light, form, colour, sound and movement – a synthesis in which the observer loses himself, dissolving, then ultimately uniting with the artwork itself to create a common, new cos- mos.</p> <p>Initially this bent, folded, silver-shining sculpture named “Fusion” consists merely of outer forms. But it also harbours an inner, hidden form, one that might be referred to as its “inner potential”. This reaches far beyond the visible. It is the energy, the attraction of this artwork, whose extended reach commands the space around it and seeks even to stretch beyond it. The extent of this becomes apparent through the movement of the rays of light that meet its sur- face and create dynamic light-paintings, light-clouds and light-worlds. As they do so, these rays consistently extend, modify and distort the sculpture’s external form. What had initially seemed so static and immutable is sounding out new frontiers all the time, revealing forms that flow and stream. The outer space suddenly consumes the observer, engulfing him to make him part of the artwork itself. The void is no longer a void. Everything hangs together, merges.</p> <p>Although essentially two-dimensional, the “Goldbubble” and “Hushbubble” videos trick the observer into seeing three-dimensional, dancing, reflecting water worlds. Penetrated by magical clouds of energy, these are immersed in the meditative sound-worlds of composer and former Passport bass guitarist Wolfgang Schmid – worlds inhabited by light orbits and other light creati- ons before they sink into the depths of a planetary universe, worlds which at the same time echo the holistic notion to represent the depths of one’s own inner world.</p> <p>And finally there are the Snapshots. Created from such kaleidoscopic movements, these still-life photographs of “Fu- sion”, “Goldbubble” and “Hushbubble” would have the observer believe that the ‘Now’ can be captured, that the eternal flow of time and spread of space can be halted.</p> <p>But can they really? Could this be the way things are? Or could they equally well be different?</p> <p>Our hopes for a conclusive answer to these questions will be in vain. With their claim to absolute freedom, these works categorically exclude any such possibility. After all, it is freedom that tells us things could be the way they are, but that they could equally well be different. The observer is left completely to his own devices.<br /> Text: Kat Schütz, Sarasota<br /> Translation: Melanie Gridlestone, Munich</p> Mon, 18 Mar 2013 15:41:10 +0000 Rita Ackermann, Tauba Auerbach, Stefan Bondell, Joe Bradley, The Bruce High Quality Foundation, Dan Colen, Rashid Johnson, Josh Smith - Acquavella Galleries - February 21st, 2013 - March 27th, 2013 <p>Acquavella Galleries is pleased to announce White Collar Crimes, a group painting exhibition curated by Vito Schnabel, from February 21st to March 27th 2013. On view will be new and recent work by Rita Ackermann, Tauba Auerbach, Stefan Bondell, Joe Bradley, The Bruce High Quality Foundation, Dan Colen, Rashid Johnson and Josh Smith. White Collar Crimes presents an unexpected collaboration between conceptually rigorous emerging artists and a gallery with a legacy for blue chip exhibitions of modern masters.<br /> <br /> The exhibition applies the notion of the ‘white collar crime’ as a vehicle through which to analyze the cerebral works on view. White-collar crimes are concealed, silent crimes veiled by wealth, higher education and social status that eventually emerge as vivid public scandal. Similarly, upon first glance, the abstract works communicate on a surface level however, after closer observation themes such as identity, historical erosion, commercialization and political satire emerge from densely layered visual codes. “White Collar Crimes proposes an interplay between obscure ciphers and spectacular discoveries,” explained Schnabel.<br /> <br /> Acknowledging that Acquavella Galleries would strike many as an unexpected venue for an exhibition of emerging artists Eleanor Acquavella Dejoux said, “By presenting these artists here Vito Schnabel is putting the work into a new context. We respect Vito tremendously as a curator, dealer and as a friend – all of his projects are thought provoking and innovative, so we are really looking forward to collaborating on something completely original with him.”<br /> <br /> White Collar Crimes will be accompanied by a fully illustrated catalogue with essays by curator Vito Schnabel, art critic David Rimanelli and Agnes Gund, President Emerita of The Museum of Modern Art.</p> Sun, 17 Mar 2013 03:57:03 +0000 Matthew Benedict - Alexander and Bonin - January 26th, 2013 - March 9th, 2013 <p>Matthew Benedict’s <i>Americana</i> will open on January 26<sup>th</sup> at Alexander and Bonin. The exhibition includes several new sculptures juxtaposed against selected paintings from 1998 – 2013. The subjects of both his sculpture and paintings draw from history, literature, the mythic and the supernatural.</p> <p>Benedict’s object-based works of the last decade have been assembled from artifacts sourced in New England and date from 1860 to the present. <i>The Terrible Old Man </i>(2011-2012)<i>,</i> a composition of glass bottles, furniture and tar, is based on H.P. Lovecraft’s tale of an old sea captain who communicates with the spirits of his dead shipmates whilst living thieves plot to rob him. <i>"Silent" Still Life</i> (2002-2012), a wall relief made of a desk and objects (possibly from an American Fire Department), recalls 19<sup>th</sup> century trompe l’oeil paintings. <i>Blessed Be </i>(2010) evokes cross-stitched Victorian motto samplers, rendered in gouache on wood. The medium of gouache and the making of embroideries have been a part of Benedict’s work since 1989.</p> <p>Recent paintings allude to the settling and establishment of New England and the loss of historical objects and places in a digital culture.  <i>Pilgrimage </i>(2012)<i> </i>depicts a now lost hand-painted sign directing visitors to the Provincetown, Massachusetts Pilgrim Monument and Museum. <i>Where Tom Died </i>(2012) shows a still extant<i> </i>corner of a Manhattan tavern where Thomas Paine is thought to have lived his final moments in 1809.</p> <p>Born in Rockville, CT, Benedict lives and works in Brooklyn. His work is the subject of <i>Matthew Benedict: The Mage’s Pantry</i> published by Hatje Kantz.  His 2010 exhibition at Alexander and Bonin was <i>Dramatis Personae</i>, a selection of photographs of his costumed models. Benedict was a 2011 resident at The Versailles Foundation, Inc. /Claude Monet, Giverny. His works are included in the permanent collections of the FRAC de Picardie, Amiens, Dallas Museum of Art, the Hammer Museum, Los Angeles, the Museum of Modern Art, New York, San Francisco Museum of Modern Art and the NASA Art Program, Washington, DC.</p> Wed, 16 Jan 2013 22:07:09 +0000 Luis Camnitzer, Jeremy Gilbert-Rolfe, Harmony Hammond, Lorraine O'Grady, Hassan Sharif, Jack Whitten - Alexander Gray Associates - February 27th, 2013 - April 6th, 2013 <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> Mon, 25 Feb 2013 00:07:10 +0000 Tom Uttech - Alexandre Gallery - February 21st, 2013 - March 30th, 2013 <p>Over the last decade, Tom Uttech has emerged as one of the most widely admired landscape painters in America. His enigmatic views, based on the verdant northern woods of the Precambrian Shield, have few parallels in contemporary art.<br />    After finishing a degree at the Layton School of Art in Milwaukee, Uttech went to graduate school at the University of Cincinnati. He taught for a year at the Arkansas Art Center in Little Rock, and then a teaching position at the University of Wisconsin at Milwaukee allowed him to return home. He was a professor of art at the University from 1968 until his resignation in 1998.<br />    Since the 1960’s Uttech has made numerous camping and canoeing trips in the Quetico Provincial Park in Ontario, Canada, and northern Minnesota. One aspect that distinguishes Uttech’s paintings from most contemporary landscapes is that he does no drawings, studies, or photographs on these treks. They are studio inventions based entirely on memory and improvisation.<br />    Over the years Uttech became increasingly dismayed with the inappropriate frames put on his canvases. Remembering the beautiful hand-painted molding of Gallen-Kallela’s Waterfall at Mantykoski, which he had seen in the Northern Light exhibition organized by the Brooklyn Museum of Art in 1982, as well as colorful Scandinavian chests and furniture and his affection for the Pennsylvania Dutch art of Rosemaling, Uttech began making and painting his frames. These wide, flat pine moldings are finished with stains that range from clear to dark earth tones and are decorated with an assortment of wildlife, foliage, pictographs, and mythological creatures.<br />    As Tom Uttech has stated, “The best response to my paintings would be for you to march right out of the gallery and go straight to the wildest piece of land you can find and sit down and let it wash over you and tell you secrets.”<br /><br />Taken from a text by John Arthur. Published in, Tom Uttech: Mystical Landscapes, Leigh Yawkey Woodson Museum.</p> Mon, 11 Feb 2013 01:31:10 +0000 Joel Holmberg - American Contemporary - January 11th, 2013 - March 8th, 2013 <p>I don’t always write statements about my work, but when I do, I prefer to start sentences with “As an artist.” As an artist, it is thrilling to go through customs and be asked what I do. Nothing else charges me with such agency then when the customs official asks me directly "what is your occupation?" I do not get insecure or try to prove myself by giving them a rundown of my CV. I just look at the agent and say "artist" in a way that only a real artist can, with dignity and open-endedness.<br />We are used to hearing people described as being, like an artist. Though I've yet to hear someone described as being an artist when it comes to time management, which, might actually be what artists are best at. Phil Spector was like an artist the way he made his musicians play songs over and over and didn’t record anything until they were completely exhausted and ready to call it a day, only then would he hit record. Neil Young was also like an artist the way he had his engineers start recording even before he stepped into the studio, because he knew that the first thing he did would be brilliant. I wonder if Phil Spector’s musicians stormed out of the studio the way Neil Young burst in.<br />Soft Laws are often unspoken and contain aspirational goals by providing an incentivized framework for adhering to a certain code of conduct, e.g. the Lower East Side gallery culture of being open on Sundays. Isn’t it funny how one might advocate for a prickly person by saying that they are just “wired differently”? That can excuse a lot of difficult behavior.<br />American Contemporary is delighted to present Joel Holmberg’s first solo gallery exhibition. He has previously exhibited at the New Museum, New York, NY; Outpost, Norwich, UK; The Museum of the Moving Image, New York, NY; The 9th Shanghai Biennale, Shanghai, CN, The Sundance Film Festival, Park City, UT, Espace Gantner, Belfort, FR and will exhibit at Kettles Yard, Cambridge, UK later this year. He is a member of the web based collective Nasty Nets and studied at Virginia Commonwealth University, Richmond, VA and Yale University, New Haven, CT.</p> Tue, 26 Feb 2013 15:04:26 +0000 William Matthew Prior - American Folk Art Museum - January 24th, 2013 - May 26th, 2013 <p>Organized by the Fenimore Art Museum, Cooperstown, New York, this exhibition includes more than 40 oil paintings spanning William Matthew Prior’s career from 1824 to 1856. Through his pragmatic marketing strategy, Prior was able to document the faces of middle-class Americans throughout his lifetime, making art accessible to a previously overlooked group.<br /> <br /> A versatile artist, Prior is well known not only for the skill and range of his technique but for the diversity of his sitters. Prior’s involvement with Millerism (early Adventism) was instrumental in his personal development as well as providing access to new clients, including many African Americans.</p> Sun, 25 Nov 2012 23:12:17 +0000 Eugene Von Bruenchenhein, Paul D. Humphrey, Nellie Mae Rowe, Inez Nathaniel Walker - American Folk Art Museum - January 24th, 2013 - May 26th, 2013 <p>The late twentieth century has seen great strides for women working within visual mediums, yet the male gaze persists as the primary perspective from which women are considered — and thus perceived — in film and art. This exhibition presents drawings and photographs of women by four self-taught artists from the1940s through the late twentieth century, two male, two female. Eugene Von Bruenchenhein, Paul D. Humphrey, Nellie Mae Rowe, and Inez Nathaniel Walker offer four very different approaches that raise questions of intent, portrayal, and self-identity: Are the portraits acts of creation or acts of documentation, mimesis or wish fulfillment? Are self-taught artists immune from the pervasive male gaze of mainstream artmaking spheres, or do they reflect a gender divide that still runs deeply within American society?</p> Sun, 06 Jan 2013 23:27:20 +0000 Tam Van Tran - Ameringer | McEnery | Yohe - February 14th, 2013 - March 16th, 2013 <p class="p1">NEW YORK, NEW YORK – AMERINGER | MCENERY | YOHE is pleased to announce its first solo exhibition of work by Tam Van Tran. Tam Van Tran: Leaves of Ore will open on 14 February and will remain on view through 16 March 2013. In addition to this exhibition, Tam Van Tran’s work will be featured in a solo booth at The Art Show, organized by the Art Dealers Association of America (ADAA) at the Park Avenue Armory, Park Avenue at 67th Street, New York, from 6 - 10 March. Gala Preview on 5 March.</p> <p class="p1">Tam Van Tran has been strongly influenced by landscapes: the landscapes of his Vietnamese childhood, where he lived near the ocean and Da Nang military airbase, and the landscapes of his current home of Los Angeles and the California coast. His works start with fragments such as porcelain shards that evoke memories of ceramic jars his mother used for making fish sauce, or leaves of copper sheets that lift with air currents like palm fronds in the Santa Ana winds. The fragments include found objects, cardboard and palm leaves that are collaged onto canvas surfaces and natural materials, clay, paint and paper, which are laid on ceramic tiles and embedded beneath recycled glass. The materials embody Tran’s recalled experiences of bombs floating onto shore, villagers fishing with grenades, and intermittent evacuations. The large ceramic wall work in Leaves of Ore began with diagrams of Da Nang and Tan Son Nhat International Airport (Saigon). Referencing Earth’s tectonic plates, Tran places porcelain chips and recycled glass on top of the diagrams before they are fired. The gathering of both clay and glass forms a mineral aggregation. The diagrams mostly disappear through the process of accumulating elements and kiln firing; yet remain fixed as ideas within the artwork, akin to the process of an individual’s memory formation from the amassment of thoughts and experiences over time. As an individual’s memories are susceptible to influence and change by others, the copper leaf wall works also invite interaction from the viewer, the leaves responding to and monitoring the onlooker’s approach and shifting movements.</p> <p class="p1">Tran is acutely aware of himself as a Vietnamese-American absorbing both Eastern and Western cultural influences. His work incorporates and transforms references from Nouveau Réalisme, Arte Povera, and California ceramic tradition, and may be as easily compared to John Chamberlain’s crushed metal sculptures as it may Asian gold-leafed folding screens. In the tradition of artists such as Kurt Schwitters and Robert Rauschenberg, Tran actively considers, explores, and expands painting concepts.</p> <p class="p1">Tam Van Tran was born in Kon Tum, Vietnam, in 1966. He studied painting and received a BFA in 1990 from Pratt Institute in Brooklyn, New York, and later attended the Graduate Film and Television Program at the University of California, Los Angeles. His work was featured in the 2004 Whitney Biennial. Tran has had numerous national and international exhibitions, including Tam Van Tran: Psychonaut, at the Blaffer Art Museum, University of Houston, and SubUrban: Tam Van Tran, at the Knoxville Museum of Art. His work may be found in the permanent collections of The Museum of Modern Art, New York; the Whitney Museum of American Art, New York; The Hirshhorn Museum and Sculpture Garden, Washington, D.C.; The Museum of Contemporary Art, Los Angeles; The Broad Collection, Santa Monica; The Institute of Contemporary Art, Boston; The Walker Art Center, Minneapolis; and The Cleveland Museum of Art.</p> <p class="p1">Tran lives and works in Los Angeles.</p> <p class="p1">Ameringer | McEnery | Yohe is open Tuesday through Saturday 10 AM to 6 PM and by appointment. Press contact: Thomas Quigley at</p> Tue, 05 Feb 2013 16:15:49 +0000 Aaron Bobrow - Andrea Rosen Gallery - February 9th, 2013 - March 23rd, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>Andrea Rosen Gallery</strong> is delighted to present <strong>Aaron Bobrow</strong>'s first one-person exhibition in New York. This exhibition shows the expansive breadth of Bobrow's practice of painting, video, and works on paper.</span><br /> <br /><span style="font-size: small;"> The title of the exhibition, <i>Electric Bathing</i>, comes from Rem Koolhaas's Delirious New York in which, speaking of Coney Island, he writes:</span><br /> <br /><span style="font-size: small;"> <i>"Bright lights are placed at regular intervals along the surf line, so that now the sea can be enjoyed on a truly metropolitan shift system, giving those unable to reach the water in the day time a manmade, 12 hour extension [ . . .] false daytime is not regarded as second rate."</i></span><br /> <br /><span style="font-size: small;"> Bobrow is not only interested in how these works relate to place, and particularly within this body of work a certain New York urbanism, but how the mesh-covered building is as real an experience as it was before being covered and how the mesh painting is as similarly real as it was in its original place. </span><br /> <br /><span style="font-size: small;"> The paintings in the exhibition retain their relationship to their original habitats, as well as their various means of extraction. The unadulterated shapes of the material dictate the sizes of the works. The artist simultaneously creates an abstract painting and an aggressive plane, brutal in its reduction of traditional, artistic gesture so that there is a rigorous paring down to the most essential gesture. </span><br /> <br /><span style="font-size: small;"> Bobrow shows the multiplicity of gestures and marks that the material has already accrued from countless sets of circumstances, anonymous individuals, environmental effects, and the removal itself. His works highlight the stark differences between how we experience gesture in the everyday world versus a gallery or museum context.</span><br /> <br /><span style="font-size: small;"> Bobrow reexamines the material's purpose, and its inherent transparency reveals the construction of the painting. The shocking exposure of the painting's interior subtly alludes to everything that the material is meant to conceal, protect, and contain. In a city undergoing an endless cycle of destruction and rebuilding, the paintings stop time and point to a frozen present.</span><br /> <br /><span style="font-size: small;"> In <i>Acoustics (Eaton Canyon)</i>, 2013, the viewer sees the artist clapping his hand over a running body of water. Each clap is answered with a reverberation. The sound returning is conditional to the specifics of each clap and its physical relationship to the concrete space. The video shows that Bobrow creates each sound, while the dimension of his inanimate partner, the concrete, is left unknown. In the installation of <i>Acoustics (Eaton Canyon)</i> Bobrow places the viewer in a real space, surrounded by sound and engulfed by the projection. Both the debris mesh and the reverberation of his claps act as a kind of skin shed from an original body. Whether traveling from building site to gallery or from hand to concrete and back, each entity retains a relationship to a source and remains unaffected and pure.</span><br /> <br /> <br /><span style="font-size: small;"> <i>Aaron Bobrow (b. 1985, San Francisco) received his BFA from Parsons School of Design.</i> Electric Bathing <i>is his first solo exhibition in New York, where Bobrow lives and works. Bobrow's tarp paintings and photographs were the subject of his recent solo exhibition,</i> No Sleep In the Exit Row, <i>at Office Baroque in Antwerp. Bobrow has be</i><i>en included in several group exhibitions in Europe and the United States, including at Andrea Rosen Gallery, Brand New Gallery in Milan, and in New Deal, curated by Kyle Thurman and Matthew Moravec with the Art Production Fund.</i></span><br /> <br /><span style="font-size: small;"> For press inquiries, please contact Jessica Eckert at and Michelle Finocchi at</span></p> Sun, 10 Feb 2013 12:10:05 +0000 Olivier Mosset, Lawrence Weiner, Jacob Kassay - Andrea Rosen Gallery 2 - February 9th, 2013 - March 23rd, 2013 <p>Andrea Rosen Gallery is thrilled to announce a highly unique exhibition that joins in conversation works by Jacob Kassay, Olivier Mosset and Lawrence Weiner. Presented at our new Gallery 2 location, which is dedicated to content-driven, experimental and historical exhibitions, this project is the outcome of a rare gathering and communication between these three artists. <br /> <br /> Crafting significant dialogues and unexpected relationships between historical artists and those of a younger generation is a defining aspect of Andrea Rosen's Gallery 2 program, which seeks to broaden our basis of visual reference and education. The focal point of the exhibition is a shared installation comprising a single yellow wall painting by Olivier Mosset upon which a new painting by Jacob Kassay—the irregular shape of which is defined by the repurposing of canvas scraps from other projects---and Lawrence Weiner's <i>A 36" X 36" removal to the lathing or support wall of plaster or wallboard from a wall</i> (1968), from the collection of the Museum of Modern Art, New York, are hung. <br /> <br /> On one hand, the installation may be considered as a formalist exercise -- a three-layer relief that, when viewed from afar, appears to be a flattened image. On the other, the combination of the works, in relation to each other and within the gallery setting, inspires new revelations about those works and the relationship between the artists. "A yellow wall is a yellow wall, but I like that it is questioned by its situation (the gallery) and the works of other artists whom I respect," remarks Mosset. The exchange between these three artists not only addresses conceptual abstraction and the significance of space; presence and absence; it develops new affiliations between works that reference the hand, material and process. <br /> <br /> Additional paintings by Jacob Kassay and Olivier Mosset are included in the exhibition.<br /> <br /> <br /> <b>Jacob Kassay</b> was born in 1984 Lewiston, NY. He received his BFA from State University of New York at Buffalo and now lives and works Los Angeles. A solo exhibition of new works by the artist is on view through February 16, 2013 at The Kitchen, New York. Other recent solo shows include Art: Concept, Paris; Protocinema, Istanbul; and The Power Station, Dallas (catalogue). <br /> <br /> <b>Olivier Mosset</b> was born in 1944 in Bern, Switzerland. He lives and works in Tucson, Arizona and New York, New York. He was a founding member of the BMPT group in Paris in the 1960s, along with Daniel Buren, Michel Parmentier, and Niele Toroni. Mosset has participated in exhibitions spanning the Fifth Biennial of Paris at the Museum of Modern Art in Paris in 1967 to the Whitney Biennial in 2008.<br /> <br /> <b>Lawrence Weiner</b> was born in 1942 in the Bronx, New York and lives and works in New York and Amsterdam. He is one of the central figures in the formation of conceptual art in the 1960s and has exhibited at the Los Angeles Museum of Contemporary Art (2008); Whitney Museum of American Art (2007); Kunstmuseum Wolfsburg (2000); the Museum Ludwig, Cologne (1995); the Walker Art Center, Minneapolis (1994); the Hirshhorn Museum and Sculpture Garden (1990); and the Smithsonian Institution, Washington, D.C. (1990). He has participated in Documenta V (1972), VI (1977), and VII (1982), as well as the 2005 Venice Biennale, and the Biennale Sao Paolo in 2006. Among his many honors are National Endowment for the Arts Fellowships (1976 and 1983), a Guggenheim Fellowship (1994), Wolfgang Hahn Prize (1995), and a Skowhegan Medal for Painting/Conceptual Art (1999).</p> Thu, 21 Feb 2013 12:42:24 +0000 Ján Mančuška - Andrew Kreps Gallery @ 537 W. 22nd - February 23rd, 2013 - March 23rd, 2013 <p>The Andrew Kreps Gallery is pleased to present <em>The Missing Room</em> by Ján Mančuška. The exhibition features a single work from 2008, which is comprised of suspended text on metal wires.  A narrative unfolds in which the viewer is describing their movement through an unknown space in an attempt to map out and navigate the space by way of language: “There is another set of doors in the room, but those which I entered through are no longer there. Or is it that there are only those which I came through?”  It is an ever-changing and collapsing space which is mirrored by the layering and repetition of the language itself.  And while creating a meta-text, the narrative intersects and layers in space, preventing viewers from reading the entire story at once.</p> <p>Ján Mančuška (1972 - 2011) exhibited extensively internationally with solo shows at the Kunsthalle Basel, Frankfurter Kunstverein, and Museum Hannover and was included in museum shows at the Kunstverein Braunschweig, MoMA, New York, and Bonniers Konsthall, Stockholm, Sweden and was the representative for the Czech Pavilion at the Venice Biennale in 2005.</p> Sun, 10 Mar 2013 23:30:33 +0000 - Anna Kustera - January 31st, 2013 - March 16th, 2013 <p style="text-align: justify;"><strong>Deep Cuts</strong> gives you the deepest cuts of artists without any commercials, ever!<strong></strong></p> <p style="text-align: justify;"><strong>Deep Cuts</strong> is available for everyone</p> <p style="text-align: justify;"><strong>DEEP-CUTS</strong>-RAISE-QUESTIONS</p> <p style="text-align: justify;"><strong>Deep Cuts</strong>, proving that time has no jurisdiction</p> <p style="text-align: justify;"><strong>Deep cuts</strong> the night</p> <p style="text-align: justify;"><strong>Deep Cuts</strong> is proud to present</p> <p style="text-align: justify;">#cutting</p> Fri, 15 Mar 2013 03:16:14 +0000 Wilhelm Sasnal - Anton Kern Gallery - February 22nd, 2013 - April 6th, 2013 <p>For this fifth solo exhibition at Anton Kern Gallery, Polish artist Wilhelm Sasnal has selected a group of paintings and works on paper around the theme of Kodak, the now defunct film and camera manufacturer.<br />Some works make direct references to specific products, advertisements and to Kodak’s founder George Eastman, others create a “capture the moment” atmosphere addressing issues of picture-taking and picture-making.<br />It comes as no surprise that a painter and filmmaker like Wilhelm Sasnal would make Kodak the subject of his work. Since their invention, film and cameras have fascinated and challenged painters. Specifically, as Kodachrome film gained a reputation for its reproduction of “true colors”, the idea of reality, naturalism and truth in painting has been reformulated by artists in various ways. In addition, the Kodak pocket camera’s ability to capture a fleeting moment, along with the branding of the so called “Kodak moment” has liberated everyday photographers and created a universal culture of vernacular images that has the potential to turn ordinary events into private historical moments.<br />Sasnal’s position in regards to all of this is one of analytic observation and intuitive transformation. Known for his wide range of painterly methods, evident in these new paintings, Sasnal’s work deals with the underlying and subconscious presence of the history of an image, place or situation. As much as the artist is indebted to the physicality of film stock and cinematography, including its many visual effects, Sasnal creates every image as a singular event, both in his chosen motif and in the pictorial mode in which it is painted. Despite their subject’s universal nature, these works are delicate and precise, yet also singularly striking reflections on the nature of personal and collective memory. Sasnal’s paintings capture the fleeting moment twofold, once as a moment brought to a halt, quite like a photograph, and secondly as an unraveling of sub-conscious layers of meaning and history, quite beyond the capability of photography.<br />Sasnal’s work has most recently been featured in solo exhibitions at the Haus der Kunst, Munich (2012), Whitechapel Gallery, London (2011), K21, Düsseldorf (2009), and will be presented this fall in a major retrospective at the MSN Museum of Modern Art in Warsaw. His work has been included in group shows such as Image Counter Image, Haus der Kunst, Munich (2012), Painting Between The Lines, CAA, San Francisco (2011), The Reach of Realism, MOCA Museum of Contemporary Art, Miami (2009), the 55th Carnegie International, the Glasgow International (both 2008), Musée d’ Art Moderne de la Ville de Paris, MoMA, New York (both 2007), the Stedelijk Museum in Amsterdam, where he won the 2006 Vincent Van Gogh Biennial Award for Contemporary Art, the National Museum of Art in Osaka, the Museu Serralves in Porto (all 2006), and the Biennale de Sao Paulo (2004). Sasnal's most recent feature-length film "It Looks Pretty From A Distance" has been screened at New Horizons Film Festival Poland (2011), Rotterdam Film Festival, Munich Film Festival, Crossing Europe Film Festival, Jeonju International Film Festival Korea, Hong Kong International Film Festival, and New Directors New Films Festival, New York (all 2012).</p> Wed, 03 Apr 2013 13:53:23 +0000