ArtSlant - Recently added en-us 40 Esther Nila Boesche - International Center of Photography (ICP) - April 3rd - April 3rd Sun, 29 Mar 2015 14:16:57 +0000 Group Show - Jonathan LeVine Gallery - 557C West 23rd - April 2nd - May 2nd <div style="text-align: justify;">Jonathan LeVine Gallery is pleased to present&nbsp;<em><strong>Oh, The Places We Have Been: Rediscovering the Past</strong></em>, a group exhibition featuring work by the following 33 artists who have helped shape the foundation of the gallery over the last ten years:&nbsp;<strong>AJ Fosik</strong>,&nbsp;<strong>Alex Gross</strong>,&nbsp;<strong>Amandine Urruty</strong>,&nbsp;<strong>Andrew Brandou</strong>,&nbsp;<strong>Andy Kehoe</strong>,<strong>&nbsp;Blek le Rat</strong>,&nbsp;<strong>Brett Amory</strong>,<strong>&nbsp;Dan Witz</strong>,&nbsp;<strong>Esao Andrews</strong>,<strong>&nbsp;Fabio D&rsquo;Aroma</strong>,&nbsp;<strong>Gary Baseman</strong>,&nbsp;<strong>Gary Taxali</strong>,&nbsp;<strong>Jeff Soto</strong>,&nbsp;<strong>Jim Houser</strong>,&nbsp;<strong>Juan Francisco Casas</strong>,&nbsp;<strong>Kevin Cyr</strong>,&nbsp;<strong>Marc Giai-Miniet</strong>,&nbsp;<strong>Marco Mazzoni</strong>,&nbsp;<strong>Masakatsu Sashie</strong>,&nbsp;<strong>Mike Giant</strong>,&nbsp;<strong>Natalia Fabia</strong>,&nbsp;<strong>Nouar</strong>,&nbsp;<strong>Nychos</strong>,&nbsp;<strong>Olek</strong>,&nbsp;<strong>Paul Insect</strong>,&nbsp;<strong>Rafael Silveira</strong>,&nbsp;<strong>Sam Gibbons</strong>,&nbsp;<strong>Saner</strong>,&nbsp;<strong>Souther Salazar</strong>,<strong>Tara McPherson</strong>,&nbsp;<strong>Titi Freak</strong>,&nbsp;<strong>Victor Castillo</strong>,&nbsp;<strong>WK Interact</strong>.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;"><em>Oh, The Places We Have Been: Rediscovering the Past&nbsp;</em>is a continuation of the gallery's tenth anniversary celebration and highlights a diverse group of artists who have been integral to the programming since our doors opened in 2005. Over the last decade Jonathan LeVine Gallery has exhibited over 300 artists. This exhibition pays tribute to the new and familiar faces we have seen along the way and showcases significant works from our archives.&nbsp;<em>Oh, The Places We Have Been</em>&nbsp;is a retrospective of our past with an eye toward the future.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">In conjunction with the exhibition we will be offering limited edition prints from previously sold out editions and from our archives. These will become available on our online store on&nbsp;Thursday, April 2 at 6pm EST.</div> Sun, 29 Mar 2015 10:45:47 +0000 Yoon Lee - Pierogi - April 3rd - May 3rd <p><strong>PRESS RELEASE</strong></p> <p>Pierogi is pleased to present recent work by Yoon Lee. This exhibition features large-scale paintings, made between 2013 and 2015, which revel in the complexity of Lee&rsquo;s process and composition; they are visually complex, almost three-dimensional, dynamic abstractions.</p> <p>Whereas Lee&rsquo;s previous paintings tended to suggest movement through deep space, or whirlwinds of swirling motion, her recent paintings also reference observations from nature. With titles such as &ldquo;Retribution (Bud),&rdquo; Loose Rocks,&rdquo; &ldquo;A Storm of Sorts,&rdquo; and &ldquo;Bloom,&rdquo; she sets her context clearly and emphasizes nuances in the subject and medium. &ldquo;Loose Rocks&rdquo; is informed by her passion for rock climbing. For this painting she worked from memory and photographs, from crude drawings of photos, with additional imagery referencing graphic novels. Clearly these are not movements toward realism, but are rather a truly ambitious reach, developing a sensitivity regarding the subjects. Her intent is an expressive understanding that&rsquo;s powerful, through a subjective eye that doesn&rsquo;t require a definitive answer or an esoteric conclusion.</p> <p>Several of these paintings examine the process of the destruction of structure. The worlds contained within them are being taken apart piece by piece, layer by layer. &ldquo;Retribution&rdquo; and &ldquo;Bloom,&rdquo; whose titles and orientations seem to suggest opposite motivations, or tendencies &ndash; &ldquo;Retribution,&rdquo; oriented horizontally, suggests a blowback and disintegration toward the right side of the visual field, while &ldquo;Bloom&rdquo; is oriented vertically, as if it is exploding into being &ndash; are actually based on the same composition, with the order of the layers reversed. This reversal causes a shift in the depth of field, resulting in an altered spatial experience.</p> <p>In &ldquo;A Storm of Sorts&rdquo; there is an entirely different painting underneath the uppermost layers of opaque and translucent white paint (the storm); the painting underneath is quite vivid but is then muted by the layers on top. This top layer could stand alone but becomes more complex because of the underpainting. When viewed more carefully, additional information and colors are revealed, creating more complexity, more push-pull.</p> <p>Her process initially appears to borrow from action painting but Lee expands upon this intuitive process by using the computer &ndash; an inherently systematic device &ndash; as a tool to develop layers and structures before she applies paint to panel. In doing so, she creates an interesting dichotomy and dialogue between the two, between chaos and order.</p> <p>&ldquo;Making work that appears responsive to its time preoccupies many contemporary painters. Few find a resolution as persuasive as Yoon Lee&rsquo;s.&rdquo; (Kenneth Baker)</p> <p>Yoon Lee was born in South Korea and grew up mainly in Southern California. She received a BA from UC San Diego and an MFA from the San Francisco Art Institute. She has received numerous awards and residencies, including a Eureka Fellowship from the Fleishhacker Foundation, a Pollock-Krasner Foundation Grant, and the Eduardo Carrillo Prize from San Jose Museum of Art and Museo Eduardo Carrillo. This is her fourth one-person exhibition at Pierogi.</p> Sat, 28 Mar 2015 21:29:14 +0000 Cordell Cordaro, Trevor Raab, Jon Schull, Genesse Center for the Arts & Education, Rochester Bicycle Film Festival, Rochester Public Library, University of Rochester Special Collections - Rochester Contemporary Art Center - April 3rd - May 15th <p><strong>April 3 - May 15, 2015
</strong></p> <p><strong>Opening Reception:</strong> Fri. April 3, 6-10pm (Free if you arrive on 2 wheels / Bike Valet)<br /><strong>Performance by One Dance Co.:</strong> April 3, 8pm</p> <p><strong>
Artist Talk:</strong> Sat. April 4, 1pm
</p> <p><strong>Slow Art Day:</strong> Sat. April 11, 1pm (Hurry Up &amp; Wait: Explore the art of slowing down with The Landmark Society&rsquo;s YUPs)
</p> <p><strong>First Friday:</strong> May 1, 6-10pm
Bicycle Tour of Public Art: Sun. May 3 (Departs from RoCo at 1pm)</p> <p><br /><strong>Rochester Bicycle Film Festival:</strong> <br />Tues. May 12, 7pm Breaking Away at Cinema<br />Wed. May 13, 7pm Triplets of Belleville at The Little<br /><br />Ride It is a diverse exploration of bike art, culture, and history, featuring projects by: <strong>Cordell Cordaro, Jon Schull, Trevor Raab, Genesee Center for the Arts &amp; Education, Rochester Bicycle Film Festival, Rochester Public Library, and University of Rochester Special Collections.</strong><br /><br /></p> Sat, 28 Mar 2015 19:03:13 +0000 Rose Wylie - Thomas Erben Gallery - April 2nd - May 9th <p>Thomas Erben is pleased to present the gallery&rsquo;s second solo exhibition with British painter Rose Wylie. Since <em>What with What,</em> which introduced Wylie to the US audience in 2010, she has received wide recognition, including a solo exhibition at Tate Britain. In 2014, she won the John Moores Painting Prize, one of the foremost art awards in the UK. Featuring a broad selection of works on paper, <em>Girl and Spiders</em> allows insight into how Wylie condenses a vast stream of images and impressions into unmistakably personal drawings.<br /> <br /> In Rose Wylie&rsquo;s work, people, animals and objects - &nbsp;unlabored, but very complete - combine with patches of color and bits of painted text. These elements come from a variety of sources: cinema, newspapers, tabloids, television, art history, and people she meets. Often working from memory, Wylie is not interested in overarching themes or stories &ndash; her focus is on the particular, the detail, the specific visual moment that made an emotional impact and stuck in her mind.<br /> <br /> An important aspect of Wylie&rsquo;s work is her unusual use of paper, which she collages to expand the surface of a drawing, correct it, or emphasize a certain area. By covering &lsquo;mistakes&rsquo; with pieces of paper on which she makes her revisions, she also highlights her process of gradually finding the rendition closest to her recollection. This, along with the immediacy and freedom of Wylie's lines and brushstrokes, conveys a peculiar balance between the casual and the considered. She has the sense to know exactly when an imperfection needs correcting, and when it is just right.<br /> <br /> Rose Wylie (b. 1934, Kent, UK) attended the Folkestone &amp; Dover School of Art until 1956 and received her MA from the Royal College of Art, London in 1981. She has had numerous solo exhibitions at institutions such as the Douglas Hyde Gallery, Dublin (2015); St&auml;dtische Galerie, Wolfsburg (2014); Tate Britain (2013); The Haugar Museum, T&oslash;nsberg (2013); and Jerwood Gallery, Hastings (2012). Gallery solo exhibitions include Choi&amp;Lager Galerie, Cologne (2014); Michael Janssen, Berlin (2013); Regina Gallery, Moscow (2011 and 2012); and Union Gallery, London (2006 onwards). Her work is included in public collections such as the Arts Council of England; Contemporary Art Society, London; Jerwood Foundation; National Museum of Women in the Arts, Washington, D.C.; Norwich Gallery; Tate Britain; and the Walker Art Gallery, Liverpool. The artist lives and works in Newnham-Sittingbourne, United Kingdom.</p> Sat, 28 Mar 2015 17:46:16 +0000 Eric Roux-Fontaine - Axelle Fine Arts Galerie Soho - May 30th - June 28th <p>The gallery is thrilled to present Eric Roux-Fontaine's&nbsp;3rd Axelle solo exhibition to New York City. After extremely successful solo shows at both Axelle Boston and Axelle Soho,&nbsp;the gallery is excited to receive an all-new collection of work from the French painter.</p> Sat, 28 Mar 2015 16:09:41 +0000 Yves Crenn - Axelle Fine Arts Galerie Soho - April 18th - May 17th <p><strong>AXELLE FINE ARTS GALERIE SOHO</strong>&nbsp;welcomes back French painter&nbsp;<a title="Yves Crenn" href="" rel="nofollow">YVES CRENN&nbsp;</a>for a solo exhibition of exquisite new work this spring. UN AUTRE TEMPS, Crenn&rsquo;s sixth solo exhibition at Axelle, will feature stunning nudes, touching still lifes and soulful animal portraits. Although Crenn broaches a wide range of figurative subjects, his paintings are unmistakable due to his unique choice of mediums &ndash; Crenn works with a distinct combination of dry pastels and watercolor on paper, which adds a visceral quality to his evocative paintings.</p> <p>Born in 1969 in Vernon, France, the young artist studied drawing and oil painting at Les Beaux Arts de Rouen for six years. He first exhibited his work in Germany while he was still a student. After graduating, the artist had several public exhibitions of his work, particularly of his drawings on paper. He is a highly skilled draftsman and this talent remains evident in the precision of his current work. In 2003, the artist began experimenting with dry pastels and watercolor; this technique adds a beautiful texture and softness that now defines Crenn&rsquo;s style. A trip to Pompeii at a young age had a profound influence on the artist&rsquo;s work; while there, he saw frescoes, human remains and artifacts preserved in ashes as well as the stunning Roman architecture of the city. The affect of this trip is still evident in his muted color choices, reminiscent of ancient frescoes, and in the overall tone of his work- his subjects are often seen through a delicate fog.</p> <p>Crenn&rsquo;s sensitive interpretations of the world around him emphasize the connection between nature, art, intellect and spirituality. His subjects, whether a stately dog or a glowing nude, are endowed with a quiet strength. His art forever preserves them in these beautiful, contemplative states &ndash; much like the antiquities he saw in Pompeii. Crenn currently lives and works in Rouen, France. He will attend the opening reception on April 18.</p> <p>&nbsp;</p> Sat, 28 Mar 2015 16:07:09 +0000 Albert Hadjiganev - Axelle Fine Arts Galerie Soho - March 7th - April 5th <p>Axelle Fine Arts Galerie welcomes back contemporary French Bulgarian painter&nbsp;<a title="Albert Hadjiganev" href="" rel="nofollow">Albert Hadjiganev</a>&nbsp;to Soho&nbsp;for his 11th&nbsp;solo exhibition. As a minimalist, Hadjiganev captures the simple moments of daily life with only a few elements.The all-new collection includes lush landscapes, seascapes and intimate still-lives.</p> <p>Hadjiganev&rsquo;s depiction of nature is wild and overgrown, ripe with dramatic shadows and brilliant light. The extraordinary quality of the artist&rsquo;s paintings is derived not from his subjects, which are often as simple as an apple on a windowsill, but from his sensitive treatment of light, color and shadows. Hadjiganev paints with bold brushstrokes and shades of green, greys and blues. Deep emotion, stark contrasts and unusual framed perspectives characterize his work. His large oils on canvas capture the conflicting dualities inherent in the natural world &ndash; light and dark, freedom and control, beauty and melancholy. His works maintain a delicate balance between a sense of foreboding and one of welcoming&ndash; many paintings actually invite the viewer to step into the scene through an open door or window. In others, the dark, grey skies loom over sweeping landscapes, often with just a small hint of the emerging sun. Hadjiganev&rsquo;s landscapes are simultaneously perceptive impressions of the physical world and visual representations of the artist&rsquo;s life, struggles and views on humanity. Hadjiganev states:</p> <blockquote> <p><em>I do not know what is to come. It is the canvas that decides- I am merely a tool. I become very small. I do not paint to make something pretty. I paint to put my heart in my paintings.&rdquo;</em></p> </blockquote> <p>Born in 1954 in Bulgaria to a family of artists, Hadjiganev was constantly influenced by his father&rsquo;s paintings and brother&rsquo;s sculptures. In 1977, he enrolled at The National School of Photography in Sofia, Bulgaria. However, he constantly kept sight of his ultimate goal: to study at the prestigious Ecole des Beaux Arts in Paris. At the age of 28, he left his native home and walked across the border. After numerous hardships, he finally reached Paris. By 1987, his struggle paid off and he reached his goal &ndash; he graduated from the Ecole des Beaux Arts. He has lived in France ever since. In 1989, he was the recipient of the coveted Grand Prix de Peinture of the Academie des Beaux-Arts and in 1990, he received the Prix du Gouvernement Princier at the Salon International d&rsquo;Art Contemporain in Monaco. Since then, Hadjiganev has had over 40 solo exhibitions in the US and in Europe. Hadjiganev will attend the opening reception at Axelle on March 7.</p> Sat, 28 Mar 2015 16:03:57 +0000 Tabor Robak - Team Gallery - Grand St - May 3rd - June 7th <p style="text-align: justify;">Team (gallery, inc.) is pleased to announce a show of new work by New York-based artist Tabor Robak. Entitled&nbsp;<em>Fake Shrimp</em>, the exhibition will run from&nbsp;03 May through 07 June 2015. Team is located at 83 Grand Street, between Wooster and Greene. Concurrently, our 47 Wooster Street space will house a three-person show of paintings by Andrew Gbur, Jaya Howey and David Ratcliff.</p> <p style="text-align: justify;">Tabor Robak presents four new CGI works, each wrought with gravitas, humor, technical ingenuity and an implausible combination of rigorous discipline and unbridled creativity. Robak often grounds his imagery in identifiable allusions, appropriating elements from real-world and digital sources, the likes of which include creative suites, video games and science fiction movies, as well as visions tests, animals and quotidian consumer goods. Compared to the earlier pieces, the referents here are more influence than quotation, digested and synthesized by the artist's thoroughly amalgamating process. The pairing of disparate subjects and the non-interactive recontextualization of software visuals effect a defamiliarization that renders the videos and their surfaces inextricably conjoined - content and canvas merged. The artist's increasing concern with technological artifice - computers, programs, code and, particularly, screens - has led his practice away from any&nbsp;<em>a posteriori</em>&nbsp;medium towards a neoteric mode of making, one utterly unique to him. This exhibition is an ecstatic celebration of computer-generated imagery, as well as an agnostic exploration of its distorting capacity to falsely cast citizen in the role of godlike creator.</p> <p style="text-align: justify;"><em>Where's My Water?</em>&nbsp;consists of a close crop on a series of "pen cups," displayed contiguously over twelve 55-inch monitors. The video is characterized as much by the misleading mundanity of those cups as by frequent instances of spontaneity: its dynamic transitions often feature acts of destruction, or other unexpected, seemingly non-sequitur imagery. In order to be viewed at such a grand scale, the images are rendered in excruciating, hyper-real detail. The choice to reserve this grandiose treatment for this particular subject matter is due to the latter's workaday practicality - Robak has recently come to conceive of his own practice as a job like any other, requiring diligence, organization and an enormous quantity of time. Writing implements are the tools of artists as well as accountants, writers as well as workers, here monumentalized.</p> <p style="text-align: justify;"><em>Drinking Bird (Seasons)</em>, the sole single-channel piece, shows churning patterns of abstract color, reminiscent of a liquid with constantly changing viscosity. The work traverses the duration of the Western calendar year by way of color palettes associated with national holidays. Some of the referenced dates are evident - the red and green of Christmas that appears towards the loop's finish, for example - while others are obscure or completely invented - Grandparents' Day and Save the Rhino Day do not have recognizable color schemes. The work also features a live aspect, connected to WiFi in order to display a CNN news ticker at the bottom of the screen. Like all of the artist's work,<em>Drinking Bird</em>&nbsp;is ambidextrous: nebulous but eloquent, operating simultaneously on manifold conceptual planes. On one level, we may understand the work as an abstract painting for a digital age; on another, Robak has created a visual manifestation of temporality on his own terms.</p> <p style="text-align: justify;">For&nbsp;<em>Newborn Baby</em>, Robak utilizes the relatively new technology of transparent monitors in order to create a work with multiple layers as well as channels. By placing the aforementioned screens in front of equally sized LED televisions, the artist creates actual perspectival depth, while also drawing further attention to the work's flatness and artifice. The video appears abstract, even psychedelic, but it is far from arbitrary: the piece explores our perceptions and ways of understanding sight itself, taking queues from vision tests, blacklight posters, the spots of muted color we see when we close our eyes. Robak is interested not only in the innovative modes of making allowed for by technology, but the new ways of seeing they often necessitate.</p> <p style="text-align: justify;">Hung in a space of its own,&nbsp;<em>Butterfly Room</em>&nbsp;consists of one hundred small screens arranged in a ten by ten grid, each with a dedicated miniature computer from which an animation of a fictional cellular organism emanates. The creatures morph with time, changing in color formal intricacy. The sheer abundance of constantly shifting visual content endows the work with a prodigious dynamism, a sense of actual vivacity. The churning, upscaling evolution Robak's organisms is the metaphoric and literal realization of his growing comfort with the particular software. The piece explicates differences and similarities between the digital and real, the synapses and fissures between the artist's creative act and the development of the natural world.</p> <p style="text-align: justify;">This is 28-year-old Robak's second solo show. He has also been featured extensively in group exhibitions at galleries and institutions both stateside and abroad, including the 12th&nbsp;Lyon Biennale; Palazzo delle Esponizioni, Rome; MoMA: PS1, New York; Kunsthalle D&uuml;sseldorf; Migros Museum, Z&uuml;rich.</p> Fri, 27 Mar 2015 15:43:58 +0000 Andrew Gbur, Jaya Howey, David Ratcliff - Team Gallery - Wooster St. - May 3rd - June 7th <p style="text-align: justify;">Team (gallery, inc.) is pleased to announce a group show of work by American painters Andrew Gbur, Jaya Howey and David Ratcliff. The exhibition will run from&nbsp;03 May through 07 June 2015. Team is located at 47 Wooster, between Grand and Broome. Concurrently, our 83 Grand Street space will house a solo show by Tabor Robak.</p> <p style="text-align: justify;">The paintings of Andrew Gbur, Jaya Howey and David Ratcliff find common ground in their simultaneous use and distrust of contemporary visual signage; each artist exposes the falseness of his own vocabulary of symbols, showing them to be anemic, fleeting hieroglyphs. Seriality is crucial to the exhibition: the bodies of work are all characterized by the use of extreme limitation and redundancy of form to engage in subtle psychological violence. By accosting us repeatedly with emptiness, they generate an insidious&nbsp;<em>Weltschmerz</em>,<em>&nbsp;</em>imbuing the abstruse but unwelcome knowledge of diffuse clich&eacute; and contrivance.</p> <p style="text-align: justify;">Andrew Gbur's paintings depict, in starkly abridged terms, the human face. The works, which are rendered in a few soft, amiably opaque colors, find some visual precedent in cartoon smiley faces. Despite this veneer of pleasantness, their effect is unnerving - the grins are inexorably lascivious, unexplainably lewd. The clown-like formations, while recognizable, are deeply and willfully non-mimetic, non-representational; they illuminate the symbolic artifice of their ostensible subject matter, forcing us to question why they bothered us in the first place.</p> <p style="text-align: justify;">Jaya Howey's pictogramatic paintings are full of straight, perfectly manicured lines, circles and half-circles, drawing attention to the drafting tools such shapes necessitate. The works take as their subject the chaos of human emotion, and the perfunctory and profoundly inadequate ways in which we casually attempt to communicate those mosaic mental states; the likes of traffic signs, text message bubbles, post-war American comic strips and other such caricatures of feeling form the basis for the artist's vocabulary. The works, and the symbols they employ, strike a dissonant chord, their austerity accentuating the gulf between immaculate, simple surface and the labyrinthine underlying network of confusion, agony and passion.</p> <p style="text-align: justify;">Works by David Ratcliff, which continue the artist's always-appropriative practice of stenciling and spray-painting found and collaged imagery onto canvas, consist of evenly gridded five-point stars, surrounded by shadow contrails. The deceptively simple gesture exploits viewers' nebulae of associations - specifically, the smoke-trailed shapes evoke the violence of American patriotism, the countless acts of war committed under the banner of the Stars and Stripes. A typically innocuous motif, frequently dispensed as facile encouragement, in Ratcliff's hands suggests apocalyptic dread. An almost gleeful nihilism turns childlike adornment to a symbol for mass murder, cultural rot and the temporal decay of pictorial language.</p> <p style="text-align: justify;">Pennsylvania-based Andrew Gbur was the subject of a recent solo exhibition at our Bungalow space in Venice, California, as well as group show appearances at MoMA PS1, New York; and the Zabludowicz Collection, London. He received his MFA in painting from Yale. Jaya Howey, residing in Brooklyn, has held solo exhibitions at galleries including Bureau, New York; Taxter and Spengemann, New York; and Marginal Utility, Philadelphia. He graduated from Columbia's MFA program. David Ratcliff, who currently lives in Iowa, has mounted solo shows at Maureen Paley, London; Tomio Koyama Gallery, Toyko; and Galerie Rodolphe Janssen, Brussels. His work has been featured in shows at MoMA PS1, New York; The Turin Triennial; and Art Center College of Design, Pasadena. He has been represented by Team since 2005, and has had five solo shows with the gallery.</p> Fri, 27 Mar 2015 15:42:57 +0000 Todd Pavlisko - Robert Miller Gallery - April 16th - May 23rd Fri, 27 Mar 2015 15:20:36 +0000 Hugh Scott-Douglas - Blum & Poe | New York - April 9th - May 30th <p style="text-align: justify;" align="justify">Blum &amp; Poe is pleased to present&nbsp;an exhibition of new work by Hugh Scott-Douglas. This is the artist's second solo exhibition with Blum &amp; Poe and his first in the New York location. &nbsp;</p> <p style="text-align: justify;">Lenin is said to have sneered that a capitalist will sell you the rope to hang him. The quote may be spurious, but it contains a grain of truth. Capitalists quite often invent the technology that destroys their own business. Eastman Kodak is a picture-perfect example. It built one of the first digital cameras in 1975. That technology, followed by the development of smartphones that double as cameras, has battered Kodak's old film- and camera-making business almost to death. Strange to recall, Kodak was the Google of its day. Founded in 1880, it was known for its pioneering technology and innovative marketing. "You press the button, we do the rest," was its slogan in 1888. ("The Last Kodak Moment?,"&nbsp;<em>Economist</em>,&nbsp;January 14, 2012)&nbsp;</p> <p style="text-align: justify;" align="justify">Representing a continuation of the artist's interest in technology's predilection towards self-effacement through its own progress, Scott-Douglas has created a&nbsp;suite of built images that serve as both index and erasure of the space in which they were made and the techniques used to make them.&nbsp;</p> <p style="text-align: justify;" align="justify">Sets of protocols have been established in the pursuit of capturing an image. A modified digital scanner with its top removed creates a slow scan of watch gears, dust particles, and ambient light that lies or passes above its surface. The resulting image forms the base visual content. As the composition becomes further compressed, exported, and printed in layers of industrial black ink on aluminum panel, the original information becomes obfuscated, assuming a material body that is a ghost of its former self. The intended outcome has been blurred in the wake of its own progress. In the pursuit of authoring an original language, the artist has inadvertently altered the system he enabled. It is through the implementation of these technologies that loss of control occurs and a discursive space emerges, calling into question the role of the author within his own work.&nbsp;</p> <p style="text-align: justify;" align="justify">Hugh Scott-Douglas (b. 1988 in Cambridge, UK) lives and works in New York. Recent group exhibitions include&nbsp;<em>In ___ We Trust: Art and Money</em>, Columbus Museum of Art, Columbus, OH (2014);&nbsp;<em>In Transit: Between Image and Object</em>, MASS MoCA, North Adams, MA (2014); and&nbsp;<em>Pattern: Follow the Rules</em>, Eli and Edythe Broad Art Museum, East Lansing, MI (2013). His work is included in public and private collections internationally including the San Francisco Museum of Modern Art, San Francisco, CA; Eli and Edythe Broad Art Museum, East Lansing, MI; Art Gallery of Ontario, Toronto, Canada; and Dallas Museum of Art, Dallas, TX.</p> Fri, 27 Mar 2015 15:09:59 +0000 Lisa Yuskavage - David Zwirner- 533 W. 19th - April 23rd - June 13th <p style="text-align: justify;">David Zwirner is pleased to present an exhibition of recent paintings and pastels by Lisa Yuskavage, on view at 533 West 19th Street in New York.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Yuskavage&rsquo;s works merge popular culture and a deep engagement with the history of art. Widely associated with a re-emergence of the figurative in contemporary painting, she has always maintained the primacy of color, with her narratives intricately based in her use of paint. In this new selection of works, atonal and prismatic spectrums appear as personifications of themselves, and her characters become like embodiments of various tones.&nbsp;</p> <p style="text-align: justify;">The exhibition takes its conceptual and chronological point of departure in&nbsp;<em>Hippies</em>, a painting from 2013 of five intersecting nudes. Behind a pale woman, four male figures fan out from her on either side, almost like a Hindu deity, each a different hue. The rainbow-like effect is reminiscent of the&nbsp;<em>cangiantismo</em>&nbsp;technique advanced in the Renaissance, in which tonal variations were used to indicate the presence of the supernatural in otherwise realistic subject matter. The effect is achieved against a muted, neutral background&mdash;here a dark landscape&mdash;where&nbsp;<em>grisaille</em>, an almost monochrome color scheme, is applied.&nbsp;</p> <p style="text-align: justify;">The unification of the five figures has an otherworldly feel, as if they are manifestations of the same character. Yet, rather than representing a bold shift within Yuskavage&rsquo;s practice, this merging of male and female reinforces the complexities inherent within her previous, all female cast, where a straightforward understanding of the woman as the object of a male gaze was complicated by her simultaneous role as the aggressor.&nbsp;</p> <p style="text-align: justify;">Leading on from&nbsp;<em>Hippies</em>, a group of three-quarter portraits expands the dual, contrasting use of&nbsp;<em>cangiantismo</em>and&nbsp;<em>grisaille</em>, each work imagining its male or female figure through spectral color and its gray contrast. Yuskavage has referred to them as incubi and succubi&mdash;folkloric demons who exist to seduce&mdash;and their provocative appearances seem permeated with a sense of the ethereal.&nbsp;<em>Dude Looks Like Jesus</em>&nbsp;continues the subcultural theme introduced in&nbsp;<em>Hippies</em>, and is based on one of the characters behind the female lead. The artist presents the nude against a silvery background whose emptiness contrasts with his empathetic, saddened expression. The classic pose coupled with the invocations to Christianity recall the art-historical genre of the nude, which for centuries was shrouded as religious subject matter. In particular, the composition forms a visual parallel to Albrecht D&uuml;rer&rsquo;s unprecedented&nbsp;<em>Self-portrait in the Nude&nbsp;</em>(c. 1509), as well as to his imitation of Christ in another self-portrait from 1500.&nbsp;</p> <p style="text-align: justify;">Another painting from the series,&nbsp;<em>Dude</em>, depicts a similar male figure looking straight at the viewer with one eye seemingly swollen from a brawl. Likewise aggrieved, his visible tongue recalls the dichotomy in Yuskavage&rsquo;s work between viewer and painting, rendering it unclear in the present case who threw the first punch. As such, he forms the male counterpart to several earlier compositions by Yuskavage, including&nbsp;<em>Pie Face&nbsp;</em>(2007), in which a girl&rsquo;s portrait is humiliated by the slapstick element. Commenting on the particular relationship between the seer and the seen, the artist has noted that &ldquo;The painting [is] vulnerable and then manipulative.&rdquo;1&nbsp;<em>Dude&nbsp;</em>posits its protagonist in front of, and emerging out of, a&nbsp;<em>grisaille</em>&nbsp;background, and Yuskavage has further commented that she was inspired equally by Jasper Johns&rsquo;s painting&nbsp;<em>Diver&nbsp;</em>from 1962 and Jean Fouquet&rsquo;s&nbsp;<em>Virgin and Child Surrounded by Angels&nbsp;</em>from c. 1450 for her use of this achromatic palette.</p> <p style="text-align: justify;">Characterized by its expansive color field approach and cinematic scope, the large diptych&nbsp;<em>Bonfire&nbsp;</em>presents two seated women against a dimmed, green background, perhaps identical twins offering a Rorschach-like mirror of one another. Behind them, hundreds of people await their turn to participate in a mysterious and seemingly violent act, while a veiled figure recalls the artist&rsquo;s&nbsp;<em>Triptych&nbsp;</em>from 2010, where babushka-wearing peasants occupied a stern contrast to the overt display of nudity. Executed in a similarly green palette,&nbsp;<em>In the Park&nbsp;</em>depicts a nude girl whose posture appears at once fearful and aggressive, and vies with the dramatic lighting for unlocking a narrative, which seems to hover between the subconscious and the conscious. Additionally, there are two paintings of couples whose narrative interactions are described by the way formal elements unfold to reveal tenderness, tensions, and playfulness.&nbsp;</p> <p style="text-align: justify;">The exhibition also debuts a series of large-scale pastels by Yuskavage, including three-quarter and full-body portraits of some of the figures featured in the paintings. The pastels introduce a new technique developed by the artist in which she draws onto unique inkjet grounds created in the studio containing gradations of color. She has additionally used scans of details from unfinished drawings as material support, where the resulting graininess&mdash;and by implication, the history of her own work&mdash;inform the backgrounds. In&nbsp;<em>Lovers</em>, which depicts an intimate meeting of a male and female character, the same tones are used for bodies and background, which together with the tinted surface affords a rich and textured depth to the subjects. A portrait of a reclining female,&nbsp;<em>Peekaboo</em>, provides a visual metaphor for the almost meditative layering of color on the paper, with the woman partially covered in light sheets.</p> <p style="text-align: justify;">Born in 1962 in Philadelphia,&nbsp;<strong>Lisa Yuskavage</strong>&nbsp;received her B.F.A. from the Tyler School of Art, Temple University, in 1984 and her M.F.A. from the Yale University School of Art in 1986.&nbsp;</p> <p style="text-align: justify;">Since 2005, the artist&rsquo;s work has been represented by David Zwirner. In 2006, two solo exhibitions were concurrently presented at David Zwirner and Zwirner &amp; Wirth, New York, followed by presentations at the gallery in 2009 and 2011. The present exhibition marks her fourth solo show at David Zwirner, New York.&nbsp;</p> <p style="text-align: justify;"><em>Lisa Yuskavage: The Brood</em>, a major solo exhibition spanning twenty-five years of the artist&rsquo;s work, will be on view at The Rose Art Museum of Brandeis University in Waltham, Massachusetts (September 12 &ndash; December 13, 2015). The exhibition will be accompanied by a large-scale, comprehensive publication by Skira Rizzoli, created in close collaboration with Yuskavage. Included will be texts by renowned art historians, curators, and writers including Christopher Bedford, Suzanne Hudson, Catherine Lord, and Siddhartha Mukherjee, as well as an interview with the artist by Katy Siegel.&nbsp;</p> <p style="text-align: justify;">Yuskavage&rsquo;s work has been the subject of solo exhibitions at institutions worldwide, including The Royal Hibernian Academy, Dublin (organized as part of the Dublin Contemporary 2011); Museo Tamayo Arte Contempor&aacute;neo, Mexico City (2006); Royal Academy of Arts, London (2002); Centre d&rsquo;Art Contemporain, Geneva (2001); and the Institute of Contemporary Art, University of Pennsylvania, Philadelphia (2000).&nbsp;</p> <p style="text-align: justify;">Museum collections which hold works by the artist include The Art Institute of Chicago; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Museum of Contemporary Art, Los Angeles; The Museum of Modern Art, New York; San Francisco Museum of Modern Art; Stedelijk Museum, Amsterdam; Walker Art Center, Minneapolis, Minnesota; and the Whitney Museum of American Art, New York. Yuskavage lives and works in New York.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">1Lisa Yuskavage, cited in interview with Katy Siegel,&nbsp;<em>Lisa Yuskavage: The Brood</em>&nbsp;(New York: Skira Rizzoli, 2015; forthcoming).</p> Fri, 27 Mar 2015 15:00:43 +0000 Angela Christine Smith - Viridian Artists - April 7th - April 25th <p>VIRIDIANARTISTS &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; A CONTEMPORARY ART GALLERY</p> <p><span style="text-decoration: underline;">548 WEST 28<sup>TH</sup> STREET between 10th &amp; 11th Ave., NEW YORK, NY, 10001&nbsp;&nbsp; &nbsp;</span><span style="text-decoration: underline;">&nbsp;&nbsp;</span><span style="text-decoration: underline;">&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;TEL 212-414-4040</span>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</p> <p><strong><span style="text-decoration: underline;">FOR IMMEDIATE RELEASE</span></strong> &nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<strong><span style="text-decoration: underline;">Please List</span></strong></p> <p align="center"><strong>&nbsp;</strong></p> <p align="center"><strong>"</strong><strong>Augmented Her: AFAIK;ATM</strong><strong>"</strong></p> <p align="center"><strong>ANGELA CHRISTINE SMITH</strong></p> <p align="center"><strong style="text-align: left;">April 7- April 25, 2015</strong></p> <p align="center"><strong>Reception Thursday April 9, 6-8PM</strong></p> <p align="center"><strong>Artist's Talk Saturday April 11, 4-6PM</strong></p> <p><strong>&nbsp;Chelsea NY: </strong><strong>Viridian Artists</strong> is pleased to present Angela Christine Smith's first solo exhibit at Viridian. A winner in Viridian's Juried Photography exhibit in 2011, the artist will be present at both the reception on Thursday April 9<sup>th</sup>, 6-8pm &amp; on Saturday April 11, 4-6PM when she will talk about her fascinating photographic response to our future. The exhibit will continue from April 7<sup>th</sup> to April 25<sup>th</sup>.</p> <p>The future has arrived and the title of Angela Smith's first solo exhibition at Viridian is a testament to that reality. When asked what the meaning of the title was, the artist replied that the title "is an indication of where I am at in this moment." Expanded it reads: "Augmented her: as far as I know; at this moment".</p> <p>Angela Christine Smith specializes in Photographic Practices that utilize Advanced Darkroom (Analog) Techniques and expand into Advanced Digital Practices.&nbsp; As an artist she also specializes in printmaking techniques that inform her overall artistic practice. Through these mediums she explores her identity as a subject and her interaction with the photographic machine. Through the use of self-portraits, selfies and the manipulations of digital practices, she is exploring those unseen moments where her relationship with life, with the camera, and with the photograph (as object) is evidence of the materiality of identity.&nbsp;</p> <p>Smith is interested in the medium of photography and the relationship created between the camera and the "self" or the subject, which is "her". Like the movie with Scarlett Johansson, her MFA show was titled "Her", but rather than a body being just a digital voice, Smith explores through her work, the stasis of the image created from a live body - her own - and making it stasis or immovable. At the same time, she is exploring the materiality of the photographic process as she exposes the body (and self) as an object of stasis.</p> <p>The greater identity of "her" (her is the self cut from time when the camera cuts the body from the self and contains it within the photograph) is not limited to the photograph. "Her" is now digital and larger than ever before. "Her" now takes on this post-Internet art by taking on the challenges of digital dualism - that space where we conceptualize the digital and the physical; the on and off -line realities.</p> <p>Identity is now a cyborg self comprised of a physical body and a digital one. Augmented Her is the expansion of identity beyond the photographic object and time. Augmented Her is now in constant dialog with both, and in the digital realm the glitch, (the glitch art, the digital interruptions) interrupts the viewer and reminds us that "her" is Afk (away from keyboard) ATM (at the moment).</p> <p>So the identity is expanding and what is Afk vs IRL? (Away from keyboard; in real life).</p> <p>The artist received her BFA from Savannah College of Art and Design in photography and printmaking and her MFA in Photography and Integrated Media from Ohio University.</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> Thu, 26 Mar 2015 14:57:58 +0000 Robert Harms - Steven Harvey Fine Art Projects (PROJECTOR) - April 1st - May 10th Wed, 25 Mar 2015 21:11:39 +0000 June Leaf - Steven Harvey Fine Art Projects - April 1st - May 10th <p>Steven Harvey Fine Art Projects presents an exhibition of drawings by June Leaf.&nbsp;</p> <p>The show examines the artist&rsquo;s drawing practice from the seventies through the nineties. Often made on typewriter sheets, her drawings focus on the same human subjects and stories as her sculpture.</p> <p>&nbsp;</p> <p>Figures stride and dance across the page, wrestling, fighting, holding hands, marching up and down stairs, having sex, often animated by a mysterious mechanical processes, like antique hand puppets or early automatons. Her flattened silhouette figures possess the staccato</p> <p>kinesthesia of Balinese shadow plays.&nbsp; Drawn mostly in pencil, with sections in ink and acrylic paint, Leaf&rsquo;s drawings sometimes include poetic and personal notations related to ideas for developing sculptures. In a sense she is making designs for humanist monuments, such as the large woman&rsquo;s head with the interior mechanical element that she ultimately realized at the Lippincott Foundry in 1980 or her large striding women.</p> <p>&nbsp;</p> <p>She paints over studio photography, re-working Ovid&rsquo;s Pygmalion myth. A woman artist bring the work in her studio to life. A tiny figure is drawn out of the canvas by a painter. &nbsp;A skeleton floats in a post-coital cloud of paint next to a woman getting dressed. Drawing on multiple copies of early Xerox prints, Leaf has for years, made use of electro-static technology to explore her sculptural preoccupations serially.&nbsp; Leaf&rsquo;s sculptures and drawing are stagings of life as a play of passions, with the artist as a kind of inventive, eccentric and involved director.</p> <p>&nbsp;</p> <p>In the human struggle she presents &ldquo;It is this embrace of opposites,&rdquo; John Yau notes, &ldquo;that animates her work, as well as elevates it to&hellip;the realm of poetry.&rdquo;&nbsp;</p> <p>&nbsp;</p> <p>June Leaf was born in Chicago in 1929 where she studied at the New Bauhaus Institute of Design. She concluded her art education at Roosevelt University in 1954. She had her first solo exhibition at Sam Bordelon Gallery in Chicago in 1948 and has lived in New York City since the early 60's. She splits her time between the Lower East Side of Manhattan and Nova Scotia.</p> <p>She is included in numerous museum collections, including the Museum of Modern Art, New York The Whitney Museum of American Art, and the Art Institute of Chicago.</p> <p>&nbsp;</p> <p>This exhibition is organized in cooperation with The Edward Thorp Gallery who are presenting an exhibition of Leaf&rsquo;s paintings and sculpture in late April. &nbsp;We will also be showing Robert Harms: Paintings in our project space at 237 Eldridge Street from April 1<sup>st</sup> to May 10<sup>th</sup>..&nbsp; Please contact SHFAP at 917-861-7312 or <a href="" rel="nofollow"></a> for further information.</p> <p>&nbsp;</p> Wed, 25 Mar 2015 21:08:55 +0000