ArtSlant - Openings & events en-us 40 - The Goethe-Institut (Wyoming Building) - March 26th, 2013 7:00 PM - 9:00 PM <p><b>Carolyn Christov-Bakargiev </b>will give a talk on the exhibition as archive at the Goethe-Institut Wyoming Building. dOCUMENTA (13), of which she was Artistic Director, was held from June 9 to September 16, 2012, in Kassel, Kabul, Alexandria/Cairo, and Banff. In this talk, Christov-Bakargiev will explore the exhibition as an embodied and "dis-tracted" (dis / trahere = to pull or to draw in another direction) archive, using examples and images from the dOCUMENTA (13) project, including <b>Adrian Villar Rojas</b>, <b>Mario Garcia Torres</b>, <b>Michael Rakowitz</b>, <b>Walid Raad</b>, <b>Rabih Mroue</b>, <b>Dinh Q Lee</b>, <b>Giuseppe Penone</b>, <b>Anna Boguighian</b>, <b>Mariana Castillo Deball</b>, among others. <br /><br />Carolyn Christov-Bakargiev: <br /><br />"For dOCUMENTA (13) I was interested in questions of collapse and recovery, and their simultaneity, in the destruction of the physicality/materiality of art in the age of the digital, in the movements and transitions between embodiment and disembodiment, in being-in-a-place and the awareness of not being in another place, as well as in other questions that relate to personal and collective emancipation. <br /><br />Overall, this was grounded on an exploration of modes of living, or experiencing, time. How slower time, time to focus, to elaborate, to grow things, to embody forms of commitment are then transformed into active living, aesthetic and political. This activity is related to a vision of how materials perform, or are made to perform by the organic processes of becoming objects, dissolving again or breaking – dust, earth, unfired clay, ceramics, cement, stones, etc." <br /><br />The lecture will be followed by a Q&amp;A with curator and writer <b>Anthony Huberman</b>. <br /><br /><b>Carolyn Christov-Bakargiev</b> is a curator, author, and researcher into artistic practices, the histories of art and the politics of aesthetics. She was Artistic Director of dOCUMENTA (13) from 2009 to 2012, which took place in Kassel, Germany, from June 9 to September 16, 2012, as well as in Kabul, Afghanistan, and included projects in Alexandria and Cairo, Egypt, and Banff, Canada. Previously, Christov-Bakargiev was Artistic Director of the 16th Biennale of Sydney (<i>Revolutions </i><i>– Forms That Turn</i>, 2008), and Chief Curator at the Castello di Rivoli Museum for Contemporary Art (2002–2008, interim director in 2009). She was Senior Curator at MoMA PS1, New York, from 1999 to 2001. Previous group exhibitions include <i>The Moderns</i> (2003), <i>Faces in the Crowd</i> (2004), <i>Città Natura</i> (1997), and <i>Molteplici Culture</i> (1992). Her books include <i>William Kentridge</i> (1998), <i>Arte Povera</i> (1999), and, for dOCUMENTA (13), the <i>100 Notes – 100 Thoughts </i>series as well as <i>The Logbook</i> and <i>The Book of Books</i> (2011–2012). This year, she is the Menschel Visiting Professor in Art at The Cooper Union in New York. <br /><br /><b>Anthony Huberman</b> is a curator and writer based in New York, where he is currently the director of The Artist's Institute and a distinguished lecturer at Hunter College. Previously, he worked as chief curator of the Contemporary Art Museum St. Louis, curator of the Palais de Tokyo, Paris, and curator of SculptureCenter, New York, and has organized a wide variety of independent projects around the world. He also directed the education and public programming at MoMA PS1, New York, where he initiated WPS1, the museum's radio station. He has written for magazines such as Artforum, Afterall, Dot Dot Dot, Flash Art, and Mousse, among others, and is a contributing editor to BOMB Magazine.</p> Tue, 12 Mar 2013 02:20:53 +0000 Tom Rhoads, Luther Price - The Kitchen - March 26th, 2013 7:00 PM - 8:30 PM <p>Tom Rhoads is dead. Long live Luther Price. Before making his infamous film <em>Sodom</em> (1989), Price invented different personas, living these roles in order to execute a breadth of artistic projects. Tom Rhoads marked his first foray into filmmaking. An infantile psyche in the body of an adult, Rhoads was the vessel for some of the artist's most introspective and psychodramatic films. Working in Super 8, Rhoads' projects are visceral explorations of trauma, "home movies from hell," repetitive explosions of personal memory and familial guilt. "A nice guy," Price describes Rhoads as the kind of man, "who would buy you an ice cream cone."</p> <p><strong>Filmmaker Luther Price in attendance</strong></p> <p><strong>PROGRAM:<br /><em>Green</em>, Super 8, 30 min., 1988<br /><em>Mr. Wonderful</em>, Super 8, 10 min., 1988 <br /><em>Warm Broth</em>, Super 8, 36 min., 1987/88</strong><br /><br /><em>Green</em> begins with a close-up shot of a dead starling to the warbling strains of “Let There Be Love,” before Rhoads appears, scary and deathly in an orange wig and green gown, an ice cream cone slowly melting in his hand. As Gary Morris writes,<em>Green</em> finds the filmmaker “in one of his most bizarre and powerful guises,” in an image “at once campy and shocking and poignant.” A psychodramatic film trapped somewhere between the trance films, which make up the earliest contributions to the American avant-garde (<em>Meshes of the Afternoon</em>, <em>Fragment of Seeking</em> or<em>Fireworks</em>) and the mid-Eighties Boston super 8 aesthetic found in the films of Saul Levine or Mark Morrisroe, the film is an incantation for the filmmaker, whose aunt Sally committed suicide the day he was born, causing him to believe that he is her reincarnation. And so <em>Green</em> ruminates on ideas of mortality and femininity, suicide and rebirth in images of drag figures and silver angels, overdoses and pimply youths.<br /><br />In <em>Mr. Wonderful</em> a scratched close-up of an LP portrait of a goofy Fred Rogers is matched with selections from the record. The effect is less ironic than defamiliarizing. At one point, Mr. Rogers sings a song suggesting that childish clowning is a way of warding off fear.<br /><br />Already recognized as a classic of experimental cinema, <em>Warm Broth</em> existed in two versions and took nearly two years for the artist to complete. A penetrating glance into queer childhood, the filmmaker appears here as both the young Tom Rhoads and his mother (known as CUNT). Corroded images of childhood objects like stuffed animals, poppets and fudge bars collide with CUNT who goes shopping, hangs clothes on the line and lingers, ominously. The soundtrack is comprised solely of the insistent repetitions of a pull string doll: "Tell me a secret! Give me a kiss! I like flowers!"<br /><br /><strong>Tom Rhoads</strong> produced 18 psychologically searing Super 8 works in a mere two years, between 1987 and 1989. Rhoads was the first filmmaker persona of Luther Price, whose sculptural and performative practices took included the additional alter-egos Fag, Brick, LA, Laija Brie, and Brigk Aethy. Tom Rhoads committed suicide via candy overdose in a public performance in 1989, giving birth to Luther Price.<br /><br /><strong>Luther Price</strong> received a BFA in Sculpture and Media/Performing Arts from Massachusetts College of Art and Design, where he studied with Saul Levine. He is an experimental filmmaker whose work has been widely screened in and exhibited throughout the United States and Europe at such venues as the Museum of Modern Art, the Whitney Museum of American Art, and the San Francisco Cinematheque. Shifting from original super 8 source material to 16mm found footage in the early 2000s, Price effected a shift in his practice which found the artist exhibiting slides and films to great acclaim at the 2012 Whitney Biennial. His early films often incorporate controversial subject matter, featuring the artist, performing in a variety of personas, while the more recent, 16mm film works have tended to test the physical threshold of celluloid, marring, painting and even burying reels as a means to corrode the surface materiality of film. Price is a professor at the Massachusetts College of Art and Design and is represented by Callicoon Fine Arts, NYC.</p> <p><a href="" class="indent" rel="nofollow"></a></p> Tue, 05 Mar 2013 18:24:39 +0000 Group Show - IPCNY International Print Center New York - March 27th, 2013 6:00 PM - 8:00 PM <p><strong>International Print Center New York</strong> presents <em>1913 Armory Show Revisited: the Artists and their Prints</em>, opening in IPCNY's gallery at 508 West 26th Street, 5th floor on March 23, with an opening reception on March 27, 2013. This exhibition examines prints by artists from the 1913 Armory Show, including work by the American organizers such as Walt Kuhn and Arthur B. Davies. Several of the original prints in the 1913 show will be on view, as well as many by artists who were represented with paintings or sculpture. We are viewing this important historical event through the lens of fine art prints; both European and American artists will be included. This selection of prints will illustrate the modernity that was such a revelation to the American public at the time of the first exhibition.</p> Mon, 04 Mar 2013 22:59:43 +0000 Jennifer Riley - Sargent's Daughters - March 27th, 2013 6:00 PM - 8:00 PM <p>Allegra LaViola Gallery is pleased to present Memory from Sight, an exhibition of recent paintings and drawings by Jennifer Riley, on view from March 27- April 27, 2013. An essay by Stephanie Buhmann, New York based independent art critic, historian and curator, is included in a publication that will accompany the exhibition. A public reception for the artist will be held on March 27th from 6-8PM.<br />The exhibition features several large-scale paintings, smaller paintings, pastels and ink drawings. Over the past fifteen years Riley has produced chromatically brilliant abstract paintings that deploy line, plane and color in works of ‘impure’ geometric abstraction with crystalline forms and a Pop aesthetic. Riley has always sought ways to suggest the human presence in geometric abstraction, so that even her most hard-edged, linear works appear organic. Now Riley has intentionally expanded the characteristics of her lines and planes, and activated her grounds to create an unusual all over spatial movement. The new works color palettes enliven biomorphic shapes that seem to be simultaneously floating and tethered to an unseen structure. With a greater diversity of touch and process and with an alert attention to the material qualities of oil paint, Riley is able to combine an eclectic array of aesthetic inspirations ranging from cultural treasures to nature and the everyday.<br />The works are achieved through a process of response and reflection that also allows for unexpected outcomes and chance to intrude in place of more rigorous planning and stricter self-imposed rules. To begin each painting, Riley makes several experimental exploratory ink or pastel drawings on paper from observation and memory. Riley analyzes and responds to this information, often making new drawings to arrive at structures, using a quirky formal logic as much as feeling and whim. Where earlier images with wobbly forms implied a sense of the subtle shifts underpinning the world, the new paintings boldly suggest notions of change, flux and fluidity in images that are more unnamable, complex and layered. For Riley the works always stand for more than one thing. Sometimes they tilt towards a sense of our planet or a persona, sometimes more a feeling of night music or sometimes – a long walk into the woods.<br />Jennifer Riley received her BFA in Painting from The School of the Museum of Fine Arts Boston, MA Tufts University Medford, MA and her MFA from The Milton Avery Graduate School of the Arts at Bard College Annandale On Hudson, NY. She has exhibited at Lennon Weinberg, NYC,; Jason McCoy NYC; Heskin Contemporary NYC,; Janet Kurnatowski, Brooklyn and at RISD, Providence RI; Boston University, Boston, MA; Rutgers University, New Brunswick, NJ ; Harvard Design School, Cambridge, MA. Hosfstra University NY, Virginia Commonwealth University, Richmond,VA. Her work has been reviewed on; The Boston Glove; The Boston Herald, The New York Sun, The New York Times and The New York Observer, The Downtown Express. This is her third solo exhibition with Allegra LaViola Gallery.</p> Mon, 18 Mar 2013 21:58:28 +0000 Amanda Browder - Sargent's Daughters - March 27th, 2013 6:00 PM - 8:00 PM <p>PRISM/LIVIN/ROOM is a fabric installation that breeches the public/private conversation by<br />creating a physical duality between a living room and a fabric art installation. Though apparent<br />opposites, these two environments are connected by the presentation of contemporary art. Browder<br />seeks to open the gallery up to non-traditional audiences and to encourage a sense of positive<br />"comfort" in the stereotypically non-comfortable space of the gallery. She plans to hold two Public<br />Sewing Days that encourage the viewer to become her collaborator. This is achieved either<br />physically with donation of fabric, trimming or sewing or by joining in the atmosphere: sitting in<br />the space, reading a book and enjoying the oversized colorful installation. Browder thinks of the<br />space as fluctuating conceptually and sees it as paralleling the optical illusion of the Rabbit and the<br />Duck. Kaninchen und Ente (German) - both exist equally, but are separated by a mysterious bond<br />that seems physical but non-tangible.</p> Mon, 18 Mar 2013 22:02:19 +0000 Jose Pedro Godoy - WhiteBox - March 27th, 2013 6:00 PM - 8:00 PM <p>White Box is proud to present the work of emerging Chilean artist, José Pedro Godoy, in his premier New York exhibition, The Beloved. Godoy’s most recent series represents a new breed of Pan-American Realist and Allegorical painters drawing their inspiration from a High Baroque sensibility infused with a homoerotic, hardcore sensuality. Depicted are scenes pointing to youthful profanity expressed in a visual language that spells a sense of perversion albeit delivered with ornate detail and passion. Godoy’s various figurative styles reference Western painterly traditions, in particular Peter Paul Rubens’ High Baroque seminal painting Bacchanal, which instead of women Godoy has changed for an all-male cast. Godoy’s drawings that depict young Athenian adonis’ in scenarios ‘al fresco’ are a straightforward rendition of homoerotic games, gestures and behavior.<br />As a whole The Beloved shows the artist’s mastery of chiaroscuro, which combined with subtle tonal variations, accomplishes to best portray the young, seductive and beautiful men as exuberant demigods existing in a paradise all their own. Letting their fantasies loose, they represent what is unrestrained and free, which in our contemporary urban world, often too restricted and formulaic, reminds the viewer of his or her unfulfilled and hidden dreams and desires.</p> Sun, 10 Nov 2013 00:12:30 +0000 Doron Langberg, Kyle Coniglio, Andrew Cornell Robinson - Anna Kustera - March 28th, 2013 6:00 PM - 8:00 PM <p>Anna Kustera Gallery is pleased to present an exhibition of new ceramics by Andrew Cornell Robinson and paintings by Doron Langberg and Kyle Coniglio.</p> <p><strong>Andrew Cornell Robinson</strong> uses his unique, theatrical approach to ceramics to beguile the audience then thwart expectations.  Trophies for the non-heroic and glazed clay effigies of flowerless houseplants are quirky and charming, but also possess a kind of magic. They're like freshly three-dimensional props from scenes taking place within the artist's own id.</p> <p>Andrew Cornell Robinson's work includes ceramics, mixed media sculpture and work on paper that often bridges eccentric, socio-political content with craft and assemblage materials. Robinson received his BFA in 1991 from the Maryland Institute College of Art and his MFA from the School of Visual Arts in New York City in 1994. He lives and works in Brooklyn, NY, and teaches art and design at Parsons The New School for Design.</p> <p><strong>Doron Langberg</strong>'s color-saturated oil on linen works create worlds that hover somewhere between sexual ecstasy and profound despair.  The varied surfaces of the paintings add charge to the oblique narratives. Viewers might find themselves seduced by the situations despite the overwhelming angst depicted. Doron Langberg received his MFA from Yale University in New Haven, CT, in 2012 and his BFA from the University of Pennsylvania in Philadelphia, PA, in 2010.  Originally from Israel, Doron lives and works in Queens, NY.</p> <p>With his precociously well-honed sense of camp and painterly chops,<strong> Kyle Coniglio </strong>takes his self-portraits to tragic and always self-deprecating places.  In 'Young Bacchus', young men at a nightclub take time from their party to gather around the central artist figure who is exposing his stomach as a disco ball, one that emits its own light from within.  <br /> Kyle Coniglio received his MFA from Yale University in New Haven, CT, in 2012 and his BFA from the Montclair State University in New Jersey in 2010.  He lives and works in New Jersey and teaches painting at the Montclair State University. </p> Fri, 29 Mar 2013 03:10:56 +0000 Barbara Goodstein - Bowery Gallery - March 28th, 2013 5:00 PM - 8:00 PM Sun, 24 Mar 2013 23:35:32 +0000 Kate McCrickard - David Krut Projects - March 28th, 2013 6:00 PM - 8:00 PM <p style="text-align: justify;" class="firstParagraph"><span style="font-size: small;"><strong>David Krut Projects</strong> is pleased to present <strong><em>Kid</em></strong>, the first solo exhibition in New York of Paris-based artist<strong> Kate McCrickard</strong>, running from March 28 – May 18, 2013. The exhibition comprises a selection of paintings, drawings and prints – some made in collaboration with Jillian Ross at David Krut Print Workshop in Johannesburg, and others hand-printed by the artist in her Paris studio. In this body of work, McCrickard has emulated the French convention of the late nineteenth century by mining her daily life for subject matter; much of the material is oriented around children and family – games, reading, dressing, feeding. Acknowledging the influence of tropes, methods and practices that have preceded her, McCrickard has created a body of work that is firmly rooted in a European pictorial tradition.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The formal links in Kid to French artists of the nineteenth century are very clear: full-to-bursting compositions, the result of doing away with perspective as an important consideration for composition; the use of broad sweeps of color that recall the woodcuts of Munch; the treatment of figures in interior scenes as opportunities to investigate form, color and line in the tradition of Vuillard. Drawing has provided a base for the production of this body of work – many compositions have been captured directly from life, and the proximity of the artist to her subject matter has allowed her to engage the odd, low viewpoints that come from a child’s perspective. While remaining faithful to figuration, McCrickard finds abstract shapes and satisfying combinations of line and color, creating images that fall somewhere between suggestions of form and movement and the mildly grotesque.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The engagement of different media reveals a push and pull within McCrickard's work. In printmaking, the challenge of creating a lithographic mark – swifter and more economical, and therefore closer to drawing – through intaglio processes results in richly layered and complex matrices. McCrickard’s hand-printed monotypes are significant particularly in terms of their relation to Paul Gaugin’s trace monotype technique, which allowed access to a pleasing combination of different elements of the printmaking, painting and drawing media, even without access to a press. In February 2013, McCrickard worked with Michael Woolworth, a master printmaker in Paris on a series of acrylic monotypes, further extending the exchange of thoughts between people in collaboration, which is generative of new ideas.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The color palette of the works, sometimes certain clothing or haircuts, suggests a time gone by – perhaps hearkening back in the artist’s own imagination to images of her parents or grandparents as children. This link with images of the recent past and the continuity of historical precedents in McCrickard’s work has produced timeless images in an ancient idiom – the depiction of daily life, the assimilation of everyday experience into visual experience.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><i>Kate McCrickard is a British artist and writer based in Paris, France. She graduated from the University of Edinburgh, Scotland in 1998 where she received her MA Honors Degree in Fine Art. Her work is included in the collections of The Royal Scottish Academy in Edinburgh and The British Museum in London.</i></span></p> Sun, 24 Mar 2013 19:04:20 +0000 Thomas Ruff - David Zwirner- 525 W. 19th - March 28th, 2013 6:00 PM - 8:00 PM <p>Thomas Ruff’s new <em>photograms</em> series depict abstract shapes, lines, and spirals in seemingly random formations with varying degrees of transparency and illumination. Their compositions are reminiscent of artistic experimentation with camera-less photography in the 1920s, where objects were placed directly on photo-sensitive paper and exposed to light, creating white or gray silhouettes wherever they made contact. Cherished in particular by Surrealists, such photograms were governed by unanticipated light effects, allowing for the element of chance in the final result. Yet both the objects and the light in Ruff’s “photograms” derive from a virtual studio built by a custom-made software program, giving the artist more control over the outcome.</p> <p>Ruff adds colors to his photograms (a departure from the monochrome tones of traditional versions), creating visually complex, illusory arrangements of foreground and background, definition and blur. The composition of each work appears to present a fragment of a larger, continuous whole, much like the artist’s photographs of stars and galaxies gathered from negatives bought from the European Southern Observatory, but ultimately corresponding to his own pictorial scheme. As in this earlier series, Ruff’s photograms are autonomous from actual referents.</p> <p>By invoking early twentieth century processes—which in the hands of artists like László Moholy-Nagy and Man Ray carried revolutionary promises of a more direct representation of light than photography mediated by a camera—Ruff’s photograms suggest an equally radical method of simulating light using calculations based on optics. Their digital generation raises broader questions about what constitutes photography, and ultimately touches upon the issue of the medium’s veracity. As such, they continue the artist’s interest in exploring the limits of photographic representation, in the process reinventing many of its familiar genres.</p> <p>The works in Ruff’s <em>ma.r.s. </em>series are based on black-and-white satellite photographs of the surface of Mars, taken by NASA spacecraft as part of a search for clues about how long water existed on the planet, and if it was ever present for a long enough spell to provide a habitat for life (“ma.r.s.” stands for “Mars Reconnaissance Survey”). Ruff’s images show extreme close-ups of the planet’s rugged surface, until recently unseen by anyone. Downloading the pictures from NASA’s website, the artist used computer manipulation to infuse the gray-scale images with saturated color. The resulting chromogenic prints transform the originals into visual statements that both capture the sweeping enormity of the planetary surface while distancing themselves from representational imagery, evocative instead of abstract and minimalist compositions</p> <p> </p> Mon, 11 Mar 2013 22:48:17 +0000 Elizabeth Peyton - Gavin Brown's Enterprise - March 28th, 2013 6:00 PM - 8:00 PM Thu, 28 Mar 2013 22:31:24 +0000 Christopher St. Leger - George Billis Gallery- NY - March 28th, 2013 6:00 PM - 8:00 PM <p>A city is the runway for the flight of ambition and the descent into melancholy, a long street pounded by hopes and frustration. It is the dynamic substance I've chosen for exploring the subtle behaviors of watercolor. For transforming commonplace into mystery. Because the delicate spilling of watercolor on concrete isn't a gesture of expressionism — it's human vulnerability..<br /> <br /> A city is the intersection of action (figure) and passivity (ground), and the painting is an interplay between creatures and their creator, between a cautious being and an irrational force. It is where some things bubble up and where some things remain asleep. <br /> <br /> I first began painting my surrounding city when, and perhaps because, that city and its language were foreign. Until I captured anything in watercolor, the city remained impenetrable, like an intensity understood only by others or, at best, a mere set of mappable coordinates. With time, painting has grown to be an unveiling, an irony since it is the practice of adding thin layers of pigment. I prefer when watercolor simulates the splattered activity of the whole environment, when it seems a marriage of control and abandon.</p> Mon, 18 Mar 2013 23:08:54 +0000 McWillie Chambers - George Billis Gallery- NY - March 28th, 2013 6:00 PM - 8:00 PM <p>Throughout all the different inspirations that you've had in your work, could you say that there is one central message that ties together all of your work? <br /> <br /> <i>I think I would have to say that it would be light, color, luminosity, luscious color, is what I've always seen emerging as the central message. With my paintings of men there is more of a kind of sensuality in them with a narrative that is semi-sexual. For me my earlier paintings also have this feature, but it comes out through their color and luminosity. I think there is a sensuality, a clear bright sensual light that is always present in my work.</i></p> <p><i>Interview conducted by Darwin Cyphers Manning July of 2009 </i></p> Mon, 18 Mar 2013 23:08:24 +0000 Billy Childish - Lehmann Maupin - March 28th, 2013 6:00 PM - 8:00 PM <p><i>stirring the mud<br /> and<br /> aether<br /> harming no one<br /> creating nothing<br /> <br /> everything under gods hand</i></p> <p>As a 2 year old kid i sat on the pavement outside my parents house with my feet in the gutter digging with a broken lollypop stick. I liked gouging and lifting the dirt, it was soothing.</p> <p>Aged 5, i was dragged kicking and screaming into skool. I didnt like being there. The place was petty, cold and hartless. The only times i felt at all within myself was when we had morning play or did painting. We made pictures with the powder paints, mixing the colours soothed me. This is what ive kept on doing - and protected within myself - thru werking in the dockyard and eventually being expelled from art skool (i was expelled from st martins skool of art in 1981). At st martins i refused to paint in the studios. When asked why I replyed it was becouse I didn't want to become contaminated. This didn't go down to well. Also they said my poetry was obsean, so i had to go. But this uncompromising streek is how I have alined myself with the universe: Its very simple and ordinary because it is nothing more than expressing my nature: I'm an artist and doing what i'm ment to be doing: i belive that art can be defined as line and form coming through the hand - the head, and even the hart, have to get out the way.</p> <p>To the ego ridden individual to become an artist or poet gives them a tin-pot identity and the elevated status they crave. Ironically picture making is undervalued. But digging in the gutter with a lollypop stick can change the universe just as well.<br /> <br /> <strong>Billy Chyldish, February 2013</strong></p> <p><i>“And perhaps in this is the whole difference; perhaps all the wisdom, and all truth, and all sincerity, are just compressed into that inappreciable moment of time in which we step over the threshold of the invisible.”</i><br /> <br /> <strong>Joseph Conrad - <i>Heart of Darkness</i></strong></p> Fri, 15 Mar 2013 03:39:54 +0000 Tiong Ang, Carolina Raquel Antich, Leonard Bullock, Guglielmo Achille Cavellini, Quisqueya Henriquez, Greg Kwiatek, Chantal Michel, Ralph Provisero - LYNCH THAM - March 28th, 2013 6:00 PM - 8:00 PM <p>LYNCH THAM specializes in contemporary art, representing historical artists as well </p> <p>as mid-career and emerging artists working in all media. The gallery identifies artists of </p> <p>historical importance, and dedicates itself to a reemergence of their careers. Also of </p> <p>interest is the discovery and launching of the artistic careers of new and emerging </p> <p>talents. </p> <p> </p> <p>Florence Lynch is formerly from Florence Lynch Gallery, a contemporary art gallery of </p> <p>international standing, previously located in New York’s Chelsea gallery district. Lynch </p> <p>has over 15 years of art world experience, and has worked as an independent curator, </p> <p>critic and lecturer. </p> <p>  </p> <p>Lynch has a Master of Arts degree in Art Administration and Art History. She is fluent </p> <p>in 5 languages. </p> <p>  </p> <p>Bee Tham’s career spans over 15 years in public and private sectors. Trained as a </p> <p>diplomat and European political specialist at the Foreign Service Office of Singapore, </p> <p>Tham has also held leadership positions in marketing and communications - She has </p> <p>launched advertising campaigns that won the Cannes Gold Lion at Cannes Lion </p> <p>Festival of Creativity. </p> <p>  </p> <p>Tham has a Master of Art in Philosophy and an Honors Degree in Philosophy and </p> <p>History.  </p> <p><b> </b></p> <p><b>Media enquiries:   </b></p> <p>Florence Lynch /Bee Tham </p> <p>Tel: 917-327-3580 / 917-288-9099;</p> Wed, 24 Apr 2013 20:39:32 +0000 Ted Stamm - Marianne Boesky Gallery 24th St. - March 28th, 2013 6:00 PM - 8:00 PM <div>Marianne Boesky Gallery is pleased to present <i>Ted Stamm: Paintings</i>, a survey of works from 1973 to 1981 by the late New York-based painter. This is the second exhibition of the artist’s work at the gallery. </div> <div> </div> <div>Prior to Stamm’s unexpected death in 1984 at the age of 40, the artist created a substantial, mature body of work that was at once responsive to the past, reflective of his time, and telling of the future. Stamm’s practice was dedicated to complicating a Minimalist vocabulary with elongations suggestive of speed and the appearances of movement.</div> <div> </div> <div>In 1973, Stamm began making conceptually driven work based on chance systems - rolling dice or spinning a roulette wheel. The results would determine the execution of a specific work, including each painting’s color, forms and numbers of paint layers. Friends who assisted by rolling the die were memorialized in Stamm’s titles, such as <i>Kiffman’s Roll</i> and <i>Olivia’s Roll</i>. Soon after in 1974, Stamm began making shaped stretchers for his paintings, finding inspiration in his immediate surroundings. The first of a handful of formats he developed reiterated a particular shape he had seen on Wooster Street near his home. Naming these particular paintings <i>Woosters</i>, Stamm continued to work with the shape throughout his career.</div> <div> </div> <div>Increasingly fascinated by the concept of speed, the design of trains and airplanes as these technologies began to proliferate and improve, opening the world up to itself, Stamm began in the late seventies to develop the <i>Zephyr</i> and <i>C-Dodger</i> paintings. Aptly titled, the <i>Zephyrs</i> were named after the record-breaking train that traveled between Denver and Chicago in 1934. The “C” in <i>C-Dodger</i> is an abbreviation for the Concorde, referring to the supersonic airliner Stamm traveled to Kennedy airport to see. This body of work is represented in the exhibition by <i>Zephyr ZYR-3<sup>1</sup></i>. </div> <div> </div> <div>Also included in the exhibition are examples of Stamm’s late works from the early 1980s, supporting the artist's statement describing the work as representing “no beginning and no end.” While Stamm developed painting strategies based on personal experiences, certain elements and series can be seen repeating themselves. Rather than approach these reductive works as carbon copies, though, Stamm is seen recycling and then adding important nuances exemplified in works such as <i>ZCT-001</i>.</div> <div> </div> <div>Stamm’s work is included in numerous public collections: Museum of Modern Art, (MoMA) New York; The Solomon R. Guggenheim Museum, New York; Brooklyn Museum, Brooklyn; Carnegie Museum of Art, Pittsburgh, PA; Museum of Contemporary Art, (MoCA) Los Angeles; and the Art Gallery of Western Australia, Perth, Australia.</div> Fri, 15 Mar 2013 02:57:24 +0000