ArtSlant - Current exhibits en-us 40 Wineke Gartz - 3A Gallery - March 22nd, 2013 - April 19th, 2013 <p>Press Release<br /><br />Wineke Gartz, an Amsterdam based artist, will show at 3A Gallery from March 22nd until April 19th, in an exhibition titled “American Pain(ting)”.  This work combines video, drawings and collage with sound mixes. Gartz’s work was last shown in New York at 303 Gallery in 2009 in a group exhibition curated by the artist, Dan Graham.  “American Pain” involves an investigation of the American dream landscape, linking historical 19th Century American “luminist” landscape painting (such as Thomas Cole) to the present-day Disneyotic Fantasyland in the suburban arcadia setting of the Native American operated “Mohegan Sun” casino-entertainment complex.</p> <p>The casino’s theme-park-like setting can be viewed as a temple linking America’s Native American past to the promised future dreams of monetary success and a luxurious glamour “life style” for visitors who flock to “Mohigan Sun” ‘Country’ by bus from Chinatown. Gartz visualizes “Mohegan Sun’s” interior architecture as a Kafkaesque “Nature Theater”. <br /><br /><br /><br /><br /></p> Tue, 19 Mar 2013 20:56:36 +0000 F.N. Souza, N. S. Bendre, Bikash Bhattacharjee, Ganesh Haloi, M. F. Husain, George Keyt, S. H. Raza, K.G. Subramanyan - Aicon Gallery - New York - March 13th, 2013 - May 5th, 2013 Sun, 05 May 2013 03:43:56 +0000 - Aicon Gallery - New York - March 13th, 2013 - May 5th, 2013 <p>Pre-Modern Masterpieces</p> Sun, 05 May 2013 03:44:46 +0000 Robert Bordo - Alexander and Bonin - March 16th, 2013 - April 27th, 2013 <p>An exhibition of Robert Bordo’s recent paintings will open on March 16th at Alexander and Bonin. In these works, Bordo supplements atmosphere with graphic, explicit painting in which colors are darker in tone, line and space are rendered thick and the landscape is saturated with the residue of use and habitation.</p> <p>Some of these works seek to balance formal concerns relating to color and mass with the symbolic resonance of dirt, mounds, and hills. Others depict the landscape as it is obscured through the windows of a moving car, employing the metaphors of compressed time and distorted memory. Through these recent paintings we see the artist’s increasing interest in allegory, particularly by way of the intercession of objects; a shovel in one mound, a crown on another. Both <em>Dial</em>, 2012 and the evocatively titled <em>The Future</em>, 2012 are effectively obliterated by crescent-shaped swipes, reminiscent of a car’s windshield wiper; the mechanism meant to clear one’s view becomes a vehicle of complexity and commentary. In this way, the landscape comes to resemble its mediation - having been manipulated and enclosed by the viewer in its midst.</p> <p>When asked in a recent interview about the painting titled <em>Mogul</em>, 2012, Bordo had this to say, “I was thinking about the pile in the painting as a kind of naked, cartoon landscape. I was also thinking a lot about the intense social and political conditions we’ve experienced since 2008. So Mogul refers to a rich and powerful man or woman and also to a pile of mud, a morass.” As such, Bordo’s new paintings seek to address painting’s political and metaphorical capacities through a dream-like series of associations. They comingle images of the green hills of upstate New York with the tumultuous existential uncertainty of the city, just two hour’s drive to the south. They more directly connect the messy work of painting with the life and labor built into our environment.</p> <p>Robert Bordo was born in Montreal and has lived in New York since 1972. He has been a Professor of Painting at Cooper Union since 1995. In the late 80s and early 90s his work was the subject of several one-person exhibitions at Brooke Alexander, New York. Subsequently he has exhibited with Alexander and Bonin, New York; Galerie René Blouin, Montreal; Mummery + Schnelle, London and Rubicon Gallery, Dublin. He was awarded a Solomon R. Guggenheim Foundation Fellowship in 2007. Robert Bordo has designed several sets for the Mark Morris Dance Group including the 2012 production of Dido and Aeneas at the Lincoln Center of Performing Arts.</p> <p>An illustrated brochure with a conversation between the artist and Cameron Martin will be published to accompany the exhibition.</p> Sat, 23 Feb 2013 03:48:35 +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 Anna Conway - American Contemporary - March 14th, 2013 - April 21st, 2013 <p>Anna Conway's recent paintings pose a number of questions: are we able to, by acting on our environments, change ourselves? Can our labor and attention to the spaces around us really protect us from feelings of alienation, ugliness and banality? Or can they only provide an illusion of control, a balm, a suspension of disbelief? Conway shows us the moments in which our best efforts falter briefly, her subjects trapped in between the quotidian, the existential and the spiritual: a young custodian, deep in thought, pauses while arranging flowers on a decorative ledge in a mega church; a terrified American executive peers out the window of his condo at the plume of smoke rising over a desert city; a docent spends his golden years waiting for visitors with whom to share his knowledge of life in colonial America, uncertain that anyone will turn up. <br /> <br />All these figures are delicately rendered but the empathy we feel for them is as much a function of their settings as it is about their actions, inaction or appearance. Conway, above all else, is sensitive to psychology and the minutiae of space, taste and decor-to interior and exterior worlds-upon which she layers personification and pathetic fallacy: the church's restrained institutional palette is marred only by the ostentation of a small waterfall set into the pulpit, a vague promise of material comfort to match the transcendental; the sterility of the condo, an extended stay furnished suite, is seen against the blinding sun that glares through floor to-ceiling windows and the overstuffed couches heaped with dirty dishes and laundry. <br /> <br />In two other paintings only the inanimate traces of human ambitions have been left behind to relate the story: a rough patch, revealing wires and cables, has been cut out of a mural depicting the folk art motif of the biblical 'peaceable kingdom,' in which the lion, the lamb and the rest of the animal world coexist harmoniously and in a bathroom decorated by another mural, a yellow sticky note has been left on the mirror as a reminder that 'it's not going to happen like that'. The visceral sense of absence in these paintings encourages self-reflection on the part of the viewer: through the anonymity of thought, we enter these pregnant voids, for a moment filling their emptiness and perhaps experiencing in a small way the sense of expectation that quietly weighs on the occupants of the other works. <br /> <br />The events in all these paintings illuminate the post-it axiom; namely, that while we try to control our environment and manage all the many things beyond ourselves, the results of our efforts may land us anywhere on the scale between comedy and tragedy but they're never what we expect. Conway's methodical approach to painting further instantiates this idea: all the perfectly rendered details add up to something that is more than, but uncannily other than, the sum of their parts. One imagines another painting, absent from the show, depicting another note in the same house: 'its not going to happen like that, either.' <br /> <br />Anna Conway lives and works in New York, having received her BFA from Cooper Union and her MFA from Columbia University. Group and solo exhibitions include: Guild and Greyshkul, NY; Mitchell, Innes and Nash, NY; The Kemper Museum of Contemporary Art, Kansas City and Galerie Rodolphe Janssen, Brussels. Her work has been published in numerous journals including, Art in America, Artforum, Modern Painters, Art Review and The New Yorker. This is her first exhibition with the gallery.</p> Tue, 19 Mar 2013 02:05:46 +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 Elliott Hundley - Andrea Rosen Gallery - March 30th, 2013 - April 27th, 2013 <p>Every piece in this exhibition embodies both the rich dramatic content and the powerful physical presence for which Elliott Hundley is known. Rigorous and vibrant paintings, hybrid painted collages, quintessential billboards and sculptures hold each of their own territory as well as take on monumental significance as Hundley pushes to further intertwine and contrast his varying bodies of work. In formulating a distinct visual lexicon he has achieved unbelievable freedoms - not only creating pure gestures but also allowing those gestures to manifest in complete, purposeful ways.<br /> <br /> While content can be perceived through each combined layer in which materials are fastened, unhinged, glued and stripped away, it is ultimately in the making of the work that meaning is generated. For years he has pulled from his prior works – sometimes physically, sometimes metaphorically. A fragment torn away during the creation of an earlier work can ignite a new piece; remnants from previous sculptures will reappear in another. Pulling from an archive of his own documented works, Hundley lays down his past as a new foundation and history becomes material. Photographs of entire pieces may dissolve into under-layers of new work; a sequin can appear as an object shimmering in three dimensions or as a pixelated representation from another piece.<br /> <br /> Hundley is a reactionary artist with a fine-tuned and specific index of goods from which he plies his trade. A thickly rendered, painted surface may be built upon a foundation of worn, stacked materials, and a smooth area may be made of countless layers of rubbed and fanned out paint. He cuts angular crevices into works to starkly contrast the flatness of two-dimensional surfaces. Through vast fields of printed paper and pinned photographs he delicately carves intricate channels, embroidered with a full spectrum of colorful thread and held by thousands of gold pins. The works are constructed in a way that is completely controlled but freely conceived. It is with strict intentionality and equality between painting, collage, photography, sculpture and hybrids of each that the work can be authentic and automatic.<br /> <br /> While in much of his past work he has referred to Greek plays, Hundley is not only interested in how those particular narratives are representations of our shared subconscious – he also has a deep interest in how the recordings of those plays, for which there were never perfect versions or final drafts, physically and mentally manifest in perpetual reinterpretations. While this particular body of work is not about one specific play, Hundley takes mythologies from his own language so that the metaphysical and ethical quality of Greek theater weaves throughout. Utilizing his remarkable ability to join connotative content and pure markmaking, he is able to goad new reactions with psychological impact.<br /> <br /> Always a natural collector and archivist, Hundley also has a deep love and scholarly understanding of performance, literature, history, film and theatre. Born from these passions, he elegantly stitches together a cumulative portrait of the world he sees filtered through the familiar. He builds elaborate sets on which he directs, stages and shoots performers and then systematically alters their scale, either blowing them up to billboard sized murals or cutting them into thousands of tiny figures. He culls from flea markets, newsstands, and art supply stores and enlists foundries and industrial shops for raw materials. By employing content-rich resources that are psychologically dense, he forms a kind of decentralized cultural map to magnify realities and achieve unexpected formal connections. Art history imparts a heavy weight onto mediums like oil paint, but, like any other material, Hundley then capitalizes on these histories by embracing them and unleashing their potential - by titling some of the paintings Still Life or Composition he embeds yet another layer of historical reference. Through sheer invention and an endless cycle of reactions he is able to chronicle the very actions of ideas.<br /> <br /> This is Elliott Hundley's third solo show at Andrea Rosen Gallery. <br /> <br /> <i>Elliott Hundley (b. 1975) lives and works in Los Angeles. </i>The Bacchae<i> has recently been the subject of a traveling Museum solo exhibition at the Nasher Sculpture Center, Dallas and the Wexner Center for the Arts, Columbus. His work is held in numerous prominent public institutions including the Armand Hammer Museum, Los Angeles; Broad Foundation, Los Angeles; Louisiana Museum of Modern Art, Humblebaek, Denmark; Miami Art Museum, Miami; Museum of Contemporary Art, Los Angeles; Museum of Modern Art, New York; Nasher Sculpture Center, Dallas; San Francisco Museum of Modern Art, San Francisco; Solomon R. Guggenheim Museum, New York and Whitney Museum of American Art, New York.</i><br /> </p> Mon, 15 Apr 2013 13:42:11 +0000 Group Show - Andrea Rosen Gallery 2 - March 29th, 2013 - April 27th, 2013 <p>Andrea Rosen Gallery is pleased to announce <i>The Temptation of the Diagram</i>, a group show organized by Matthew Ritchie, at our new Gallery 2 location. Ritchie has been represented by the gallery for almost fifteen years, and we are thrilled to present his first curatorial endeavor at our space. The exhibition explores the diagram as an essential mode of artistic practice and expands on themes Ritchie researched and considered as an Artist in Residence at the Getty Research Institute in 2012 and currently at Columbia University.</p> <p><i> </i></p> <p><i>Excerpt from the catalog essay by Matthew Ritchie</i></p> <p>In Flaubert’s ‘The Temptation of St Anthony,’ the tortured hermit, besieged by an encyclopedic parade of gorgeous visions, finally calls out: “Somewhere there must be primordial figures whose bodily forms are only symbols, could I but see them I would know the link between matter and thought; I would know in what Being consists!”</p> <p>It is the last, impossible temptation.</p> <p>As Susanne Leeb writes: “diagrams escape the insoluble dialectic of absence and presence which pervades the play of representation, yet…diagrams have no status in art per se.” In art historical terms, the diagram is both refuge and refugee, a universal visual bridge between the written and the seen, but without a home in either.</p> <p>This modest exhibition is not a history of the diagram but an organization of compelling examples of a specific kind of diagram, hand-made diagrams that occupy the impossible space between idea and reality. Perhaps they can somewhat counter the residual presumption that thinking runs counter to aesthetic contemplation; that intelligence is not beautiful. Perhaps we can see these diagrams as the artists do, central to their thinking about art-making. Diagrams are, as Leeb puts it “A tool for the making of relationships and for the abandonment of rational procedure.” For the anchorite saint, this desire, “to assume all forms - penetrate each atom – be matter itself” is the final and irresistible temptation, the ultimate dream of the artist. Diagrams are the nervous systems of artists working with their skin off.</p> <p>In the presence of diagrams, the profound questions of symbiosis between image and text, scale and distance, proximity and imagined immunity that define our use of any shared informational space are all too painfully evident. </p> <p>That is not to suggest the diagram constitutes an easy escape route, or a trap door for the visionary. Although for artists it may be precisely the progress their work makes away from the original index of reality that constitutes its true ‘sensual objecthood,’ diagrams ultimately reference an operable (if imagined) dimensionality. Diagrams, seen and hidden, constitute the pivotal means for commutation between the multitudinous spaces of prediction, memory, fantasy, language, metaphor and instruction.</p> <p>If all this seems romantic, it is. The diagram is a trace of our collective efforts to articulate and negotiate an almost impossible circumstance: reality itself.</p> <p>Imagine a single dimension, a point. Add a line. Now add an arrow to the line, a vector. Can you imagine another dimension? Go ahead. Add another line, another and another. Now add arrows to all those lines. More! Are they all going in the same direction? Impossible!</p> <p>Are we there yet?</p> <p>"The movement is everything, the final goal nothing."</p> <p>Eduard Bernstein.</p> <h3> </h3> <p><i>Matthew Ritchie’s installations, which integrate painting, wall drawings, light boxes, performance, sculpture, and projections, are investigations of the idea of information explored through science, architecture, history and the dynamics of culture, defined equally by their range and their lyrical visual language. In 2001, </i>Time<i> magazine listed Ritchie as one of 100 innovators for the new millennium, for exploring “the unthinkable or the not-yet-thought.” His work has been shown in numerous exhibitions worldwide, including the Whitney Biennial, the Sydney Biennial, the Sao Paulo Biennial, the Venice Architecture Biennale, the Seville Biennale, and the Havana Biennale, and is in the collections of the Museum of Modern Art, the Guggenheim Museum, the Whitney Museum of American Art, the Albright-Knox Museum, the San Francisco Museum of Modern Art and other institutions worldwide, including a permanent large-scale installation at MIT. He has written for </i>Artforum<i>, </i>Flash Art<i>, </i>Art &amp; Text<i>, and the</i>Contemporary Arts Journal,<i> and is a contributor to </i>Edge<i>. In 2012 Ritchie was Artist in Residence at the Getty Research Institute, Los Angeles.</i></p> <p><i>Ritchie is currently Mellon Artist in Residence and Adjunct Professor in the Graduate Visual Arts Program at Columbia University, New York, where he has organized two public workshops this spring to examine how we can extend understanding and use of our new, current dimension – where every image in history can be seen at once, every idea can be communicated, rebutted and digitally reformatted, and every space can host any form of presence – in the shared space of culture<b>. </b>The next workshop, <em>Art, Information and Networks</em>, will feature Albert-László Barabási and Caroline Jones, moderated by Matthew Ritchie, on April 19 at 6 PM at Columbia University. It is free and open to the public; for more information, visit Ritchie will also take part in Rhizome’s Seven on Seven conference in April.</i></p> Thu, 21 Mar 2013 22:54:55 +0000 Peter Piller - Andrew Kreps Gallery @ 537 W. 22nd - March 28th, 2013 - May 18th, 2013 <p>Andrew Kreps Gallery is pleased to present<em> Umschläge,</em> Peter Piller’s second solo exhibition at the gallery. </p> <p>Translated as “covers”, the title of the show refers to one of two bodies of work in this exhibition comprised of the pairing of the front and back images of the East German military magazine <em>Armeerundschau</em> which always featured armored vehicles on the front and pin-up girls on the back.  Piller has been working with found images for over 20 years and has created and worked with the archive as medium –and the re-interpretation and the re-presentation of images already published in other contexts. By gathering and re-presenting seemingly innocuous images – images that we are presented with everyday in newspapers, magazines, advertisements and the internet – into groups, Piller brings forth some of the sinister, comedic, and sometimes tragic aspects of these images wholly projected by the viewer themselves.</p> <p>A second group of works, <em>Noch Sturm (Still Storming),</em> juxtaposes images of World War I battlefields from found German postcards and images of seascapes from a 1920’s geography textbook. The landscape photographs – documents of humanity‘s excesses of destruction – and the images of the forces of nature create a visual parallel of chaos and violence. In relation to the art historical genre of battle paintings, both on land and at sea, Piller depicts the locations of violent conflicts as empty stages left behind by the actors.</p> <p>Peter Piller has been working on his <em>Archiv Peter Piller </em>since 1998: an ongoing archive of . In his artistic work to date, in addition to the images from regional newspapers, he has also utilized the photographs of a commercial aerial photography archive, images from the internet as well as an insurance group‘s photographic documentation of damage claims. He then subsequently transfers this diverse material into his own ordering systems such as <em>schießende Mädchen (Girls Shooting), Suchende Polizisten (Police Searching),</em> <em>Tanz vor Logo (Dancing in Front of Logos).</em> With precise observation and a subtle sense of humor, Piller reflects upon media images‘ potential and the possibilities and limits of photographic and conceptual art.</p> <p>Piller has published his ten-volume set of artist‘s books of the Archive Peter Piller as well as other artist‘s books and catalogues at Revolver Publishing by VVV. Solo exhibitions include those at the Museum für Gegenwartskunst Siegen (2003), the Witte de With Center for Contemporary Art Rotterdam (2005/06), the Kunsthaus Glarus (2007), the Salzburger Kunstverein (2007), the Kunstmuseum Bonn (2009) and the Kunstverein Braunschweig (2011), among others.</p> <p><span style="color: #333333; font-family: Verdana,Arial,Helvetica,sans-serif; font-size: xx-small;" color="#333333" face="Verdana, Arial, Helvetica, sans-serif" size="1"><span style="font-size: xx-small;" size="1"></span></span></p> Fri, 10 May 2013 13:11:51 +0000 Doron Langberg, Kyle Coniglio, Andrew Cornell Robinson - Anna Kustera - March 28th, 2013 - May 4th, 2013 <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 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 - Apexart - March 20th, 2013 - May 8th, 2013 <p><em>Exhibition Space</em> considers the aesthetic and conceptual implications of photography and its pivotal role in two early milestones of the US exploration of space. Begun in 1948 using the most powerful telescope in the world, the Palomar Observatory Sky Survey was the first systematic attempt of photograph and catalogue the visible universe. The resulting 1,870 plates took ten years to complete, and are some of the most technically advanced prints ever made. Project Echo was the first manmade object photographed in space. Hastily conceived as NASA's first response to Sputnik, Echo I was an inflatable Mylar sphere 100 feet in diameter, a communications satellite whose primary mission was to be visible to the naked eye. Photos of Echo began appearing in the US press almost immediately after its launch in 1960. Meanwhile, models of Echo, called "the most beautiful object ever put in space," were exhibited at the US Capitol, and at World's Fairs throughout the 1960s.<br /><br /><br /> <br /> <strong>Greg Allen</strong> is a writer and filmmaker based in Washington DC. He has published his art writings in <em>Cabinet</em> magazine and <em>The New York Times</em>, and on his blog, <a href=""></a>: the making of, since 2001. Allen published <em>Canal Zone Richard Prince Yes Rasta: Collected Court Documents from Cariou v. Prince</em>, in 2011, and exhibited paintings at both Postmasters Gallery and Printed Matter in 2012.</p> Mon, 29 Apr 2013 22:48:28 +0000 Thomas Doughty, George Inness, Albert Bierstadt, Ralph Blakelock, Henry W. Ranger, J. Alden Weir - Arkell Museum - June 30th, 2012 - April 24th, 2013 <p>Paintings of idyllic farmland and pristine parkland and are included in this exhibition of American art from the Arkell collections. Thomas Doughty's idealized depiction of early New England's backwoods and Albert Bierstadt's painting of the majesty of Yellowstone are among the wilderness views. The exhibition also features pastoral and poetic and landscapes by George Inness, Ralph Blakelock, Henry W. Ranger and J. Alden Weir.</p> Sun, 31 Mar 2013 21:59:07 +0000 Edward Redfield, J. Alden Weir, Theodore Robinson, John Twatchman, Childe Hassam - Arkell Museum - October 27th, 2012 - October 20th, 2013 <p>This exhibition features remarkable American Impressionist paintings from the Arkell collections. Twelve paintings recently returned from the Fenimore Art Museum's exhibition "American Impressionism: Paintings of Light and Life" will be featured along with other treasures from the permanent collection. Sun-dappled views of France and America by Childe Hassam, John Twatchman, Theodore Robinson, J. Alden Weir, and Edward Redfield are among the notable paintings in this exhibition. Most American Impressionists spent time in Paris and Monet&rsquo;s hometown of Giverny where they saw the work of French Impressionists. Once they returned to America they made the new Impressionist style their own. Views of the New England countryside, coastal communities and New York City were popular subjects for the American Impressionists. The exhibition includes Twatchtman&rsquo;s "Josephine in the Garden" in Giverny, Hassam's "Provincetown", Twatchtman&rsquo;s "Gloucester Harbor" and Ernest Lawson&rsquo;s "Brooklyn Bridge."</p> Sun, 01 Sep 2013 22:12:05 +0000