ArtSlant - Closing soon http://www.artslant.com/ny/Events/show en-us 40 Marysia Gacek, Natalie Haüsler, Katharina Marszewski - NURTUREart Gallery - March 15th, 2013 - April 2nd, 2013 <p>NURTUREart is pleased to present <em>On The Golden Wire for Thirty Four</em>, a collaboration between <strong>Marysia Gacek, Natalie Häusler</strong>, and <strong>Katharina Marszewski.</strong> Starting with the general idea of an exchange of content between artists, the initial focus is put on the materiality of such content, rather than its possible meaning.<br /> <br /> The point of departure is the limit: weight and volume of the most standard international package between the USA, UK and Germany. Each collaborator supplies one third of the materials and contributes to one Care Package*, which will travel from New York to Berlin to Glasgow to Berlin, before returning to its city of origin.<br /> <br /> This exchange of matter focuses on the process, rather than what it manifests itself as in the end. The package is meant to supply three artists with the same materials to work with, without a pre-envisioned outcome. The collaboration examines individual methodologies leading to creating work using a model of giving and taking away.<br /> <br /> When the package returns to New York, it will be put on display alongside artworks inspired by its content in a gallery exhibition at NURTUREart.<br /> <br /> <em>*Although “CARE package” is a registered trademarked term, originating in the wake of a World War II campaign to send food and supplies to Europe, the expression is still used in everyday vernacular to share the idea of providing comfort by sending food, supplies and small mementos. In 1945 Americans were given the opportunity to purchase a care package for 10 dollars to send to their friends or relatives. In 1962 President John F. Kennedy said that every CARE package is a personal contribution to the world peace and it expresses concern and friendship in a language all peoples understand.</em></p> Fri, 01 Mar 2013 05:49:34 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Soile Yli-Mäyry - Walter Wickiser Gallery - March 2nd, 2013 - April 3rd, 2013 <p>Walter Wickiser Gallery is pleased to announce an exhibition of <i>Soile Yli-Mäyry</i>, Recent Paintings, from March 2nd, 2013 - April 3rd, 2013. </p> <p>"Soile Yli-Mäyry is one of Finland’s most renowned painters. Her works’ surfaces are intensely magicalized; they have an apparitional quality....This international artist’s vision, grounded as it is in the body, also sustains the use of sumptuous radiating chromatics suggestive of ethereal curtains of colors in turn recall the atmospheric conditions of the aurora borealis or the spectral flickering emissions of Lapland’s “Northern Lights."...Yli-Mäyry’s primal paintings speak to a life-long experience of being alive to one’s own fate and destiny.  The artist’s painterly vision fills us, as beholders, with a sense of wonderment at it all. In so doing Soile Yli-Mäyry’s vision takes us into the waves of her imagination, radiating." </p> <p> </p> Sun, 03 Mar 2013 01:32:06 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Ha Jung Woo - Walter Wickiser Gallery - March 2nd, 2013 - April 3rd, 2013 Sun, 03 Mar 2013 01:33:40 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Group Show - SEBASTIAN + BARQUET - February 28th, 2013 - April 5th, 2013 <p>Sebastian + Barquet is pleased to present  <em>Reading Rooms</em>, a group show curated by Matthew Weinstein with selected works by Geoffrey Bradfield, Wendell Castle, Joe Colombo, Pedro Friedeberg, Graham Greene, Arturo Gomez Guerra, Johanna Grawunder, Anna Kavan, Aranda &amp; Lasch, Peter Macapia, Carlo Molino, Ico Parisi, Charlotte Perriand, Phillip Lloyd Powell, Alain Robbe-Grillet, Krueck &amp; Sexton, Georges Simenon, Muriel Spark, Andrzej Stasiuk, Lynne Tillman, and Mae West.</p> <p>        As the physical object of the novel dissolves into pure information, it’s relationship to artistic issues of physicality and visual imagery becomes more and more tenuous. The look of book covers that we remember from our formative years of reading, the smell of certain books, the size of them and the typeface that we are given (as opposed to the ones we can choose on a digital reading device) are all dying properties. But the body must rest someplace while the mind reads. Where we read, what we recline or sit on while we read, the light that illuminates the space around us while we read and the rug or floor beneath our feet while we read are enduring physical factors that define our experience of reading. If you read Moby Dick on an iPhone over the course of a year of subway commutes, your experience of it will be very different from your experience of it if you read a chapter a night before going to sleep in your own bed. </p> <p>        <em>Reading Rooms</em> is a  group show of authors and designers curated by artist Matthew Weinstein. Weinstein will arrange seven reading areas in a large open space, using Sebastian + Barquet’s extensive archive of modern, postmodern and contemporary furniture. Each area will consist of a seat and a lamp; maybe a side table, a rug or an object will further define the arrangement. Each of these arrangements has been inspired by a novel chosen by Weinstein, and these novels will be available for people to read.  For the duration of the exhibition, anybody can come in and read, for as long as they like. They will either be attracted by the novel or by the seating area when they make their choice of where to sit. In the open space, readers can watch each other read or viewers can watch people reading. A silent performance will take place every day in <em>Reading Rooms</em>, based on who is in there and what they are doing. </p> <p>        We are often alone while we read, but often we are in bed with a partner, on the subway, in an airplane or in a coffee shop. Reading is a way of establishing one’s privacy while one is in public. Pretending to read is a classic way of avoiding talking to someone, or of spying on someone. This exhibition is about public and private space as people can elect to be reader or viewer. The envelope of space around the reader becomes a kind of sculpture; a thing we know we are not supposed to approach too closely or pass through. </p> <p>        <em>Reading Rooms</em> also considers the challenge that reading poses in a fast paced culture. It is a challenge to break from one’s day and sit down and read for half an hour. Reading is a way of claiming time as well as space and privacy. It is becoming, more and  more,  a  personal rebellion against the social demand that we pack more and more activities into the non-expansive space of one hour. <br /> </p> Sun, 10 Feb 2013 00:54:04 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Doug Aitken - 303 Gallery - April 2nd, 2013 - April 6th, 2013 <p>a time based destruction installation over 5 days</p> Wed, 03 Apr 2013 13:54:04 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list 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 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list 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 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Daniel Rozin - bitforms gallery - March 2nd, 2013 - April 6th, 2013 <p>bitforms gallery is pleased to announce <i>Angles</i><i>,</i> a fifth solo exhibition in New York with Israeli-American artist Daniel Rozin. Since the late 1990s, Rozin’s constructions in software and sculpture have investigated the psychological and optical cues inherent to image building, such as pattern and the materiality of the picture plane. In a departure from the traditional rectilinear grid, which was the foundation of his 2010 exhibit <i>X by Y</i>, Rozin’s new series of work proposes another geometric basis of image creation. Focusing on rotational systems of orientation, <i>Angles </i>celebrates the polar, or angular, notations of pictographic information. Using the triangle and sculptural elements that twist their shape, Rozin’s conversation of the grid highlights a new dimensionality of formal representation.</p> <p> </p> <p>In Rozin’s work, the picture plane’s transformation is a means to explore animated behavior, representation and illusion. Merging the geometric with the participatory, Rozin’s installations have long been celebrated for their kinetic and interactive properties. Grounded in gestures of the body, three pieces in the exhibit <i>Angles</i> are mirrors of various sorts and respond to the presence of viewers in real time by recreating a visual representation of their likeness. <br /> <br /> <i></i></p> <p><i>Fan Mirror</i> is a free-standing sculpture that measures fourteen feet across. Its overall shape and rounded frame suggest the folded oriental hand fan, a decorative object that first emerged in the 10<sup>th</sup> century and gained popularity during the Ming Dynasty. The sculpture is comprised of seventeen ribbed wooden spokes that support a total of 153 hand fans, in an array of sizes and colors, from Korea, China, Taiwan, Spain and Japan. Crafted from materials ranging from sandalwood and synthetic silk to plastic, each fan is actuated by a motor that is computer controlled, causing the bands to spread open and rhythmically close. Sweeping patterns roll across <i>Fan Mirror</i>’s arced surface, blossoming in rings that resemble an onion peel or peacock’s tail. The sequence of movement in this work is directed in part by the viewer’s engagement. When approached at close range, the fans, which are also connected to a camera, move to create a rough silhouette of the viewer within the sculpture. When viewing from a distance, the movement is generated by an algorithm programmed by the artist.<br /> <br /> The <i>Angles Mirror</i> rejects the idea of building a picture based on relative lightness and darkness. Instead, it explores a system of linear rotation that indicates the direction of an object’s contour. A wall-mounted sculpture, the <i>Angles Mirror</i><i> </i>is a sharp triangular block of steel, dotted with yellow indicator arms that pivot. Based on the isometric grid, its structure favors the patterns and angles found in an equilateral triangle. The arms, which do not have the ability to change brightness or luminosity, use input from a camera and reconstruct the view with areas of varying angles. The negative space surrounding a viewer is translated into horizontal lines on the picture plane. Rather than creating a photorealistic image, the three-dimensional movement of a figure is represented, visualizing optical flow as viewer’s proximity to the sculpture changes. A nuanced contour results, as the viewer shifts back and forth, altering how the structure of space is perceived. Similar to <i>Fan Mirror, </i>in the<i> Angles Mirror</i>, the sequence of movement across the picture plane is directed in part by its audience. When the viewer walks away from the work, or chooses to view the sculpture from a distance, a series of predefined images and transitions cover the object’s surface.</p> <p><i>Mirror No.12</i> is a color video projection that processes live imagery captured from a small camera. Taking upon itself the same image building restrictions as the <i>Angles Mirror</i>, <i>Mirror No.12</i>uses the </p> <p>rotational transformation of line as the sole means of representation. Resulting in a painterly texture, the artist-authored software manipulates a finite set of straight lines that spin from one position to the next, in an attempt to replicate a visual scene’s angular contours and features. Cropping the camera’s frame and virtually torquing its imagery three-dimensionally, the projection is bounded by an oval, evoking the surveillant effect of an observer gazing through the peephole in a door.</p> <p>Inspired by Op Art from the 1950s and 60s, <i>Twisted Strips</i><i> </i>is a kinetic sculpture that explores serial image generation and perceptual illusion. Breaking the picture plane into a black field with twenty-one motorized white vertical strips, the sculpture produces rhythmic waves of movement. The animated pattern shifts in arc and frequency, as the two motors on each strip continually rotate in and out of phase. Using an approach visually analogous to the tape loop structures found in minimal music and phase music, new shapes constantly flow through the composition, which are perceived by the eye as a singular picture in motion.</p> Tue, 05 Mar 2013 20:19:35 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Korakrit Arunanondchai - C L E A R I N G Brookyln - February 9th, 2013 - April 6th, 2013 <p><span style="font-size: small;">An exhibition of new works by <strong>Korakrit</strong><strong> Arunanondchai</strong></span></p> Mon, 15 Apr 2013 16:42:39 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Derek Boshier - Flowers Gallery NY - March 1st, 2013 - April 6th, 2013 <p class="BasicParagraph">Flowers is pleased to present a collection of Derek Boshier’s most recent paintings titled, <i>Paris France, Paris Texas, Paris Hilton</i>. This series is a continuation of Boshier’s extensive career, which began with the Pop Art movement in the 1960s and has endured and evolved over several decades. The exhibition will run from March 1st through April 6th, 2013, with an opening reception for the artist on Thursday, February 28th, 2013 from 6-8pm. </p> <p class="BasicParagraph">Derek Boshier was born in England in 1937 and studied at the Royal College of Art in London with David Hockney, Allen Jones, and R.B. Kitaj. His paintings gained acclaim while he was still a student and Boshier was featured in Ken Russell’s film “Pop Goes The Easel” (1962) alongside fellow British Pop artists Peter Blake, Peter Philips and Pauline Boty. Over the course of his career, Boshier has worked across many media including installation art, graphic design and film.</p> <p class="BasicParagraph">With <i>Paris France, Paris Texas, Paris Hilton</i>, Boshier reconciles the principles of the 1960s Pop Art movement with the technological realities of the modern era. The series contemporizes the spirit of the movement by depicting Pop in digital formats. His self-described “preoccupation with popular culture” is evident in these works; Boshier’s pieces reference icons of the art community while also engaging with the spectacle of mass media and paparazzi. The dualities inherent in Boshier’s subject matter are evidenced by his stylistic choices in these paintings. Achieving a state of organized randomness, subtle grays contrast with the bright luminosity of iPhone screens on the canvas.</p> <p class="BasicParagraph">Boshier’s intellectual restlessness and enduring curiosity have generated a varied portfolio. His work is included in many collections including the Museum of Modern Art, New York; the Museum of Fine Arts, Houston; the Yale Center for British Art, New Haven; the Tate Gallery of British Art, London; the Victoria and Albert Museum, London; Centro Wilfredo Lam, Cuba and the Museum of Art in Ein Harod, Isreal. Boshier has collaborated with several artists including The Clash and David Bowie, and his attention to current events keeps his work perpetually connected to the social and political climate of the moment. He lives and works in Los Angeles. </p> Fri, 04 Jan 2013 23:58:36 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Titus Kaphar - Friedman Benda - February 28th, 2013 - April 6th, 2013 <p><span face="Trebuchet MS" style="font-family: 'Trebuchet MS';">Friedman Benda is pleased to announce Titus Kaphar’s 'The Vesper Project'. The exhibition is a massive sculptural statement - an encompassing installation, in which Kaphar’s own work is seamlessly woven into the walls of a 19th-century American house.<br /> <br /> The culmination of an intense five-year engagement with the lost storylines of the Vesper family, the project was “birthed in a state of extended disbelief,” according to Kaphar. As the artist’s muses, the members of the Vesper family and their histories are intertwined with Kaphar’s autobiographical details, and layered with wide-based cultural triggers of identity and truth in the context of historical accounting.<br /> <br /> In 'The Vesper Project', period architecture, gilt-frames, a vintage type-writer, a neglected wardrobe, old photographs act as seemingly recognizable elements but by employing every tool of his trade, Kaphar insinuates doubt and transports the viewer into a disrupted mental state. As the house fractures, so does the viewer’s experience. In so doing, Kaphar compresses times, conflates the continuum of history and postulates new powerful realities.<br /> <br /> With many of Kaphar's interventions present in the installation including slashing, silhouetting, and whitewashing, this singular work is a complex map of overlapping timetables and collective genealogies. By obliterating the distance between the viewer and the work, 'The Vesper Project' is comprehensive, experiential, and it is the artist’s most ambitious expression to date.<br /> <br /> <br /> A Panel Discussion will be held on Saturday, March 9 at 4:00 PM<br /> <b>"The Creative Implications of Mental Disruption"<br /> </b><br /> Panelists include:<br /> Bridget R. Cooks and Arlene Keizer, both University of California, Irvine<br /> James Berger, Yale University<br /> Scott Barry Kaufman, New York University (requested)<br /> Kwamena Blankson, Harvard-trained psychologist<br /> Titus Kaphar, Artist</span> <!--EndFragment--></p> Tue, 26 Feb 2013 18:58:27 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Jean-Michel Basquiat - Gagosian Gallery- 24th St. - February 7th, 2013 - April 6th, 2013 <p><em>It's about 80% anger.</em></p> <p>--Jean-Michel Basquiat</p> <p>Gagosian Gallery is pleased to announce a major exhibition of works by Jean-Michel Basquiat.</p> <p>Featuring over fifty works from public and private collections, the exhibition spans Basquiat's brief but meteoric career, which ended with his death at the age of twenty-seven. Thirty years after Larry Gagosian first presented his work in Los Angeles, twenty years after the first posthumous survey at the Whitney Museum of American Art (1992-93), and eight years after the Brooklyn Museum of Art retrospective (2005), viewers will have a fresh opportunity to consider Basquiat's central role in his artistic generation as a lightning rod and a bridge between cultures.</p> <p>Basquiat left his family home in Brooklyn at the age of fifteen and took to the streets. A voracious autodidact, he quickly became a denizen of the explosive and decadent New York underground scene--a noise musician who loved jazz, and a street poet who scrawled his sophisticated aphorisms in Magic Marker across the walls of downtown Manhattan, copyrighting them under the name SAMO. In 1981, he killed off this alter ego and began painting, first on salvaged materials then later on canvas, and making bricolage with materials scavenged from the urban environment. From the outset he worked compulsively. He sold his first painting in 1981, and by 1982, spurred by the Neo-Expressionist art boom, his work was in great demand. In 1985, he was featured on the cover of <em>The New York Times Magazine</em> in connection with an article on the newly exuberant international art market. It was unprecedented for an African-American artist, and for one so young. In that photograph, Basquiat is a vision of cool, sprawled in a chair in front of one of his bold paintings in an elegant three-piece suit and tie, with bunched dreadlocks and bare feet.</p> <p>Charismatic image aside, Basquiat was a unique and prodigious artistic talent, fusing drawing and painting with history and poetry to produce an artistic language and content that was entirely his own, and which enunciated alternative histories, such as <em>Discography</em> (1982), <em>Brothers Sausage</em> (1983), and <em>Revised Undiscovered Genius of the Mississippi Delta</em> (1983). Combining the tools of graffiti (Magic Marker, spray enamel) with those of fine art (oil and acrylic paint, collage, and oil stick), his best paintings maintain a powerful tension between opposing aesthetic forces--expression and knowledge, control and spontaneity, savagery and wit, urbanity and primitivism--while providing acerbic commentary on the harsher realities of race, culture, and society. In vividly colored canvases, forceful, schematic figures and menacing, masklike faces are inscribed against fields jostling with images, signs, symbols, and words used like brushstrokes. The frenetic, allover quality of many of the large works suggests a drive towards a sort of disjunctive mapping rather than the building of a classically unified composition, where seemingly unrelated marks suddenly coalesce in syncopated rhythms-like the best experimental jazz.</p> <p>Basquiat's iconography reflects the precocious breadth of his inspirations and preoccupations--from classical poetry to human anatomy, from sport to music, from politics to philosophy, from the arts of Africa to Picasso, de Kooning, and Rauschenberg. <em>Obnoxious Liberals</em> (1982) and <em>Baby Boom</em> (1982) suggest an angry bohemian's pet peeves with contemporary mores. There are pictographic crowns, favored by graffiti artists to confer status, and warriors, whose significance is literal--as in the tributes to African American boxing champions <em>Cassius Clay</em> (1982), <em>Jersey Joe</em> (1983) <em>Untitled (Sugar Ray Robinson)</em> (1982)--or metaphorical--as in <em>Warrior</em> (1982) and <em>(Untitled) Julius Caesar on Gold</em> (1981). Cars, cops, street games, and skyscrapers reflect the hustle of the city in <em>With Strings Two</em> (1982), <em>Untitled (L.A. Painting)</em> (1982), and <em>Irony of a Negro Policeman</em> (1981), while <em>Self-Portrait</em> (1984) and <em>The Thinker</em> (1986) are more evidently self-referential and introspective. The skull, a traditional motif of the <em>vanitas</em>, appeared very early in Basquiat's oeuvre and remained a constant obsession amidst a thick and fast flow of subjects. Consider this when comparing the whimsical <em>Bicycle Man</em> (1984) and <em>Riding with Death</em> (1988), painted just four years later: the man on a bicycle in the earlier painting has been transformed into a naked figure astride a skeletal horse in the later one-a somber, elegiac image with which Basquiat the supernova, buckling under the alienating effects of fame and addiction, ended his career and his life.</p> <p> </p> <p><strong>Jean-Michel Basquiat</strong> was born in New York City in 1960, where he died in 1988. Major exhibitions include "Jean-Michel Basquiat: Paintings 1981-1984," Fruitmarket Gallery, Edinburgh (1984; traveled to Institute of Contemporary Arts, London; and Museum Boijmans Van Beuningen, Rotterdam, through 1985); Kestnergesellschaft, Hannover (1987, 1989); Whitney Museum of American Art, New York (1993; traveled to Menil Collection, Houston; Des Moines Art Center, Iowa; and Montgomery Museum of Fine Art, Alabama, through 1994); "Basquiat," Brooklyn Museum of Art, New York (2005; traveled to Museum of Contemporary Art, Los Angeles; and Museum of Fine Arts, Houston, through 2006); and Fondation Beyeler, Basel, Switzerland (2010; traveled to Musée d'art moderne de la ville de Paris). Basquiat starred in <em>Downtown 81</em>, a verité movie that was written by Glenn O'Brien and shot by Edo Bertoglio in 1981, but not released until 1998.</p> <p> </p> Sun, 27 Jan 2013 00:03:31 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Barkley L. Hendricks - Jack Shainman Gallery 20th Street - February 28th, 2013 - April 6th, 2013 <p><strong>Jack Shainman Gallery</strong> is pleased to announce <strong><i>Heart Hands Eyes Mind</i></strong>, Barkley L. Hendricks’ first solo exhibition with the gallery. The show will include photographs, landscape paintings and the portrait paintings for which he has become most known, spanning over forty years of his artistic practice.</p> <p>Hendricks has always worked between the realms of photography and painting, having studied with Walker Evans at Yale. He was introduced early on to portraiture through the perspective of the camera’s lens. The photographs in <em>Heart Hands Eyes Mind</em>, most of which have never been exhibited before, range from the candid street photograph, to landscape, to the portrait. They can be used to bridge seemingly varied formal themes that are in fact inextricably linked and continuously intertwined, evidence of Hendricks’ perpetual experimentation and evolution.</p> <p>Throughout his career, Hendricks has refused to be boxed into a space designed by an outside force or market, and, much like his subjects, his practice is commanding, bold and without limitations to media or to form. His chief concerns lie in the moment, both in capturing it and creating it. The paintings are a direct engagement with art history, the tradition of portraiture and a confrontation of institutional portrayal of the black subject. And while the severity of the subject’s gaze can be piercing, Hendricks invokes a persistent humor through the titling of his pieces, mitigating the gravity of the message and allowing for an opening into the work.</p> <p>Akin to Hendricks’ engagement with the old masters of European portraiture, his landscape paintings also create a discourse with history while intimately tying into his own experiences. He has routinely traveled to Jamaica for the past thirty years, a place of cultural significance that lends its physical beauty to the formal act of painting. Each piece is adorned with a gilded frame that transforms these encapsulated views into portals to another time. Every painting is made in one long day of sitting, representing a perspective that cannot be duplicated.</p> <p>When viewing Hendricks’ work, either from the 70s, 80s, 90s or now, the experience is simultaneously of its time and timeless. This exhibition gives us the opportunity to be introduced and reintroduced to characters and spaces while traveling with the artist through his own exploration and discovery.</p> <p>Barkley L. Hendricks was born in Philadelphia, Pennsylvania, and currently lives and works in New London, CT. He earned both his BFA and MFA from Yale University and was the subject of a large-scale traveling exhibition, <em>Barkley L. Hendricks: Birth of the Cool</em>, organized by Trevor Schoonmaker at the Nasher Museum of Art, Duke University, Durham, North Carolina (2008), which traveled to the Studio Museum in Harlem, New York (2008-2009), Santa Monica Museum of Art, California (2009), Pennsylvania Academy of the Fine Arts, Philadelphia (2009-2010) and the Contemporary Arts Museum Houston, Texas (2010).</p> <p>His work is included in numerous public collections both within the United States and abroad, such as The National Gallery of Art, Washington, DC; The Tate Modern, London, UK; Studio Museum, Harlem, NY; Philadelphia Museum of Art, Philadelphia, PA; Rubell Family Collection, Miami, FL; Nasher Museum of Art, Durham, NC; Columbus Museum of Art, Columbus, OH; and the Fogg Art Museum, Harvard University, Cambridge, MA.</p> Sun, 24 Feb 2013 00:19:54 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Barkley L. Hendricks - Jack Shainman Gallery 24th Street - March 2nd, 2013 - April 6th, 2013 <p>The 24th Street space opened quietly this past Saturday in conjunction with Barkley L. Hendricks’ exhibition at the 20th Street location. The exhibition will include new paintings in a similar vein for which the artist is most known, with a selection of lesser known photographs Hendricks has been taking since the late 1960s. The auxiliary space will allow the artist to introduce this part of his practice to a large audience for the first time.</p> Tue, 05 Mar 2013 05:31:53 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Brandon Lattu - Koenig & Clinton - February 28th, 2013 - April 6th, 2013 <p>Leo Koenig Inc. is pleased to present "Not Human", Brandon Lattu’s fourth solo exhibition with the Gallery. "Not Human" centers around two distinct bodies of work, projected slide shows and sculptural photographic reliefs. Both types of work extend Lattu’s ongoing considerations about the current ideological stakes of the photographic image in relation to the archive as well as particular legacies of Modernism, including the readymade and the monochrome.</p> <p>In the main gallery, two slide shows are separated by a long curtain and projected onto opposite walls. Culled from the artist’s extensive archive of more than 120,000 digital and scanned photographs, "Not Human" (2013) is comprised by a timed sequence of ordered images.</p> <p>Within each frame, one finds the picture of an environment. Each environment includes a billboard, a bus shelter, a store window or some form of display in which the image of a person's face is incidental. In this progression, no single image bears any relation to its previous image, formally or geographically. Frames are tethered by a very brief overlap between one illuminating and one disappearing face, both of which are situated in the same section of their respective frames; their common feature is position. Visage after visage, the overall sequence limns the digitally and surgically altered apparatus of idealized archetypes. These are constructed images of constructed people that have been presented in public for private adaptation.</p> <p>On the opposite wall, another slide show flickers silently at a different rate. "Smarter Than A Dog, Faster Than Anything" (2013) takes as its starting point a single image, sometimes uncanny and more often banal, from Lattu’s archive. Each image has been run through Google’s image search engine in an effort to find a similar or corresponding match. The yield varies. A stucco wall painted peach near a patch of grass mysteriously attracts wedding images. Flesh attracts flesh. Each originary image repeats momentarily between approximations chosen by the artist revealing cosmologies formed by hit and miss results. The machine, though capable of accessing a greater breadth of images faster than any archive in history, often reveals its not-quite-human status.</p> <p>An encounter with the second body of work on view, "Selected Compositions", begins in the center gallery and coils into the east gallery. Further developing his "Random Composition" series from 2010, Lattu brings together four separate images from his archives to serve as the material (and conceptual) support for the monochromatic ‘face’ of a geometric sculptural volume that protrudes from the wall. The single color covering the face spills over each edge and fades onto the discrete depictive images that occupy each side, partially obscuring content. This obfuscation at once invites more detailed inspection and acknowledges a co-constructive relationship between pure image and pure color. While these works, like the slide presentations, adhere to a general format, each "Selected Composition" is unique in that it differs in shape, size, image and color according to the artist’s chosen preferences.</p> <p>Lattu deftly builds upon his previous works with architecture and environmental signage ("Building Obscured by Signs", 1999; "Miracle Mile", 2000; "Repeat", 2006; "Fleetwood Billboard", 2010), archives ("Selected Products", 2001; "Rejected Products", 2001; "The Library Series", 2006-2008) and projected images ("Water Under The Bridge", 1998; "Untitled Slide Piece", 2006), while still deferring to the subjective processes of archiving and editing that undergirded the Structuralist slide shows of Ad Reinhardt. Despite an ever expanding, sped up, and ubiquitous image world, Lattu refuses the oppositional position of pure abstraction and presents a case for the use of photographs – analog or digital - as tools for critical knowledge production and agency.</p> <p>Brandon Lattu’s work has been shown in solo exhibitions at The Happy Lion, Los Angeles, Leo Koenig Inc., New York, Vacio 9, Madrid, Monte Clark Gallery, Vancouver and the Kunstverein Bielefeld, Germany. Recent group exhibitions include: "Electric Fields, Surrealism and Beyond", Museum of Contemporary Art, Shanghai; "Attitude Cinema", Pesaro Film Festival, Italy; "How Many Billboards", MAK Center for Art and Architecture, West Hollywood; "Walker Evans and the Barn" at the Stedelijk Museum; Amsterdam; "Image for Image", at the Museum Ostwall, Dortmunder, Germany; "Tractatus Logico-Catalogicus", Vox centre de l’image contemporaine, Montreal; and "The Movement of Images", at the Centre Pompidou, Paris. Lattu lives and works in Los Angeles. He is an associate professor at U.C. Riverside.</p> Mon, 25 Feb 2013 00:42:12 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Magnús Sigurdarson - New Museum - March 31st, 2013 - April 6th, 2013 <p><strong>Traveling Exhibition Of Moving Image By Over Thirty Nordic Artists<br /> </strong><strong>Launches Throughout New York City<br /> </strong>March 31 to April 6, 2013<br /> Nordic Outbreak Symposium, April 6 at Scandinavia House, 58 Park Avenue</p> <p><a href="http://www.nordicoutbreak.streamingmuseum.org" target="_blank" rel="nofollow">www.nordicoutbreak.streamingmuseum.org<br /> </a><a href="http://www.streamingmuseum.org" target="_blank" rel="nofollow">www.streamingmuseum.org</a></p> <p>(New York, N.Y.) &ndash; Streaming Museum is pleased to present <em>Nordic Outbreak</em>, an exhibition of over 30 moving image artworks by established and emerging contemporary Nordic artists curated for public space. Organized by curators Nina Colosi and Tanya Toft the exhibition program launches in New York City and will travel throughout the Nordic region and internationally. <em>Nordic Outbreak</em> will be viewed as large projections and on screens in public spaces, on its website, and at partnering arts, cultural and architectural centers.</p> <p><em>Nordic Outbreak</em> opened on March 1st with a new version of Bj&ouml;rk&rsquo;s <em>Mutual Core</em> video by Andrew Thomas Huang, which is on view nightly through March 31st during Times Square&rsquo;s &ldquo;Midnight Moment&rdquo;, a collaboration between Times Square Advertising Coalition and Times Square Arts.The exhibition of this work, simultaneously displayed across 15 of the largest screens in Times Square, is a prelude to a series of events and exhibitions that will take place March 31st to April 6th.</p> <p><em>Nordic Outbreak</em> reflects an open exhibition structure for the museum without walls and contemporary ways of engaging with cities through moving image.</p> <p>A symposium and exhibition at Scandinavia House with Nordic artists, theorists, and curators will take place on April 6. The symposium highlights contemporary dynamics in aesthetics and form in moving image from the Nordic art scene and the new modes and impact of exhibition in public space.</p> <p>Among other events are screenings at Dag Hammarskjold Plaza and the Manhattan Bridge Archway, a lecture on the history of Nordic moving image, and an evening event in the Sky Room at the New Museum.</p> <p>Speaking about the focus of <em>Nordic Outbreak</em>, Danish curator Tanya Toft said, &ldquo;the artworks touch upon contemporary issues that are confronting the underpinnings of society in the Nordic region &ndash; but which also reflect international realities and conditions in the digital age. The exhibition brings new light on the Nordic as a diverse aesthetic concept and reveals an amazing experimental energy.&rdquo;</p> <p>Over 30 contemporary Nordic artists are included in the exhibition: Eija-Liisa Ahtila, J Tobias Anderson, Bj&ouml;rk, Ken Are Bongo, Jeannette Ehlers, Efterklang, Jette Ellgaard, Jessica Faiss, Marit F&oslash;lstad, S&oslash;ren Thilo Funder, Sigurdur Gudjonsson, Styrmir &Ouml;rn Gudmundsson, Eva-Mari Haikala, Iselin Linstad Hauge, Kaia Hugin, Hanne Ivars, Mogens Jacobsen, Vibeke Jensen, Jesper Just, Hannu Karjalainen, Antti Laitinen, Dan Lestander, Una Lorenzen, Pernille With Madsen, Dodda Maggy, Eva Olsson, QNQ/AUJIK, Miia Rinne, Egill Saebjornsson, Magnus Sigurdarson, Birgitte Sigmundstad and Superflex.</p> <p>Nordic Outbreak is produced in collaboration with Nordic curators Daniela Arriado, Birta Gudjonsdottir, Kati Kivinen, and Jacob Lillemose.</p> <p><strong>About Streaming Museum</strong><br /> Streaming Museum produces and presents contemporary-themed exhibitions of international multi-media arts, innovative ideas and related programs to a global audience via mobile devices, a network of big screens worldwide, and at cultural and public centers. The museum was founded by Nina Colosi and since its launch on January 29, 2008 exhibitions have been viewed on big screens in over 55 cities on 7 continents. Programs are generated in collaboration with a variety of cultural and educational organizations, prominent and emerging visual and performing artists, curators, and visionaries across fields.</p> <p><strong>Collaborators and sponsors</strong><br /> Nordic Outbreak is presented in collaboration with Scandinavia House, MOCAtv for the Museum of Contemporary Art, Los Angeles, World Council of Peoples for the United Nations, Times Square Advertising Coalition in Partnership with Times Square Arts, Dumbo Improvement District, NYC Department of Transportation, Kiasma Museum of Contemporary Art, Reykjavik Art Museum, Danish Architecture Center, Screen City Festival, Katuaq the Cultural Centre of Greenland, Big Screen Plaza, Babes at the Museum, PNEK, AV-Arkki, James Cohan Gallery, NY, Marian Goodman Gallery, NY.</p> <p><em>Nordic Outbreak</em> is supported by Nordic Culture Fund, Nordic Culture Point, Consulate General of Sweden, Royal Norwegian Consulate General, Consulate General of Finland, Consulate General of Denmark, Consulate General of Iceland, Office for Contemporary Art Norway, Production Network for Electronic Art Norway, Icelandic Art Center, The Danish Arts Foundation.</p> <p>For press inquiries contact Kate Greenberg, 646-405-5987<br /> press@streamingmuseum.org</p> Wed, 19 Mar 2014 17:44:52 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list