ArtSlant - Recently added en-us 40 Xavier Le Roy - MoMA PS1 - October 2nd - December 1st <p>MoMA PS1 presents&nbsp;<em>Retrospective</em>, the inaugural US museum survey of French artist and choreographer&nbsp;<strong>Xavier Le Roy</strong>&nbsp;(b. 1963). Realized in the galleries by a team of performers who continuously recycle and transform Le Roy's past solo work the exhibition opens up expanded opportunities for interaction within the museum. In his reconfiguration of the conventionally linear form of the retrospective as an accumulative mid-career survey, Le Roy brings his past works to life by consolidating and reimagining them into a new whole. In the process the exhibition unfolds across several different time axes that introduce temporal complexity to the galleries: the period during which Le Roy conceived the referenced solo works (1994&ndash;2010), the duration of the individual gallery visits, the performers&rsquo; daily labor time, and lastly the transformation and development the exhibition undergoes over the course of its two month run. The result is a groundbreaking hybrid of choreography and visual art that transforms the traditional exhibition format into a creative medium.</p> <p>With&nbsp;Eleanor Bauer, Andrew Champlin, Sherwood Chen, Lindsay Clark, Alex Escalante, Ben Evans, Moriah Evans, Bryana Fritz, Michael Helland, K.J. Holmes, Ir&eacute;ne Hultman, Columbine Macher, Oisin Monaghan, Katy Pyle, Will Rawls and Takahiro Yamamoto.</p> Mon, 15 Sep 2014 01:57:28 +0000 - New York Historical Society - September 26th - April 19th, 2015 <div class="field field-type-text field-field-teaser"> <div class="field-items"> <div class="field-item odd"> <p><em>Chinese American: Exclusion/Inclusion</em>&nbsp;explores the centuries-long history of trade&nbsp;and immigration between China and the United States&mdash;a history that involved New&nbsp;York from its very beginnings&mdash;and will raise the question &ldquo;What does it mean to be an&nbsp;American?&rdquo; The exhibit narrative extends from the late eighteenth century to the present&nbsp;and includes all regions of the country, thus interpreting the Chinese American saga as a&nbsp;key part of American history.</p> </div> </div> </div> <div class="field field-type-filefield field-field-full-view-teaser"> <div class="field-items"> <div class="field-item odd">Within the exhibition, rich in media and artifacts, will be little-known stories relating&nbsp;to China, such as the voyage of the Empress of China, which set sail from New York in&nbsp;the late eighteenth century; how young Chinese boys were sent by their government to&nbsp;study at elite New England schools during the nineteenth century, one of whom went on&nbsp;to graduate from Yale University; the unprecedented immigration legislation known as&nbsp;the Exclusion Act of 1882, which barred most Chinese from entering the United States;&nbsp;the nineteenth-century newspaper, called&nbsp;<em>Chinese American</em>, and its founder Wong Chin Foo; and the Chinese American activists who used the American justice system to try to&nbsp;overturn the Exclusion Act.&nbsp;</div> </div> </div> Mon, 15 Sep 2014 01:50:41 +0000 - National Academy Museum - October 2nd - January 11th, 2015 <p>Artists have explored the meaning of classicism and pushed against its boundaries for centuries. Whether an artist embraces or resists a &ldquo;classical ideal&rdquo;&mdash;of order and balance, beauty or spirituality&mdash;it has always been a touchstone for conversation.</p> <p>Companion exhibitions include works by designer Wendell Castle and architect and National Academician William Pedersen in a dedicated project space, and&nbsp;<em>Reflections on the Classical</em>&nbsp;in the school featuring work by Academy School students and faculty.</p> Mon, 15 Sep 2014 01:37:02 +0000 Henri Matisse - MoMA (Museum of Modern Art) - October 12th - February 8th, 2015 <p class="top">In the late 1940s, Henri Matisse turned almost exclusively to cut paper as his primary medium, and scissors as his chief implement, introducing a radically new operation that came to be called a cut-out. Matisse would cut painted sheets into forms of varying shapes and sizes&mdash;from the vegetal to the abstract&mdash;which he then arranged into lively compositions, striking for their play with color and contrast, their exploitation of decorative strategies, and their economy of means. Initially, these compositions were of modest size but, over time, their scale grew along with Matisse&rsquo;s ambitions for them, expanding into mural or room-size works. A brilliant final chapter in Matisse&rsquo;s long career, the cut-outs reflect both a renewed commitment to form and color and an inventiveness directed to the status of the work of art, whether as a unique object, environment, ornament, or a hybrid of all of these.</p> <p><em>Henri Matisse: The Cut-Outs</em>&nbsp;is a groundbreaking reassessment of this important body of work. The largest and most extensive presentation of the cut-outs ever mounted, the exhibition includes approximately 100 cut-outs&mdash;borrowed from public and private collections around the globe&mdash;along with a selection of related drawings, prints, illustrated books, stained glass, and textiles. The last time New York audiences were treated to an in-depth look at the cut-outs was in 1961.</p> <p>This exhibition was sparked by an initiative to conserve The Museum of Modern Art&rsquo;s monumental cut-out&nbsp;<em>The Swimming Pool</em>(1952), a favorite of visitors since its acquisition by MoMA in 1975.<em>The Swimming Pool</em>&nbsp;is the only cut-out composed for a specific room&mdash;the artist&rsquo;s dining room in his apartment in Nice, France. The goals of the multiyear conservation effort have been to bring this magical environment back to its original color balance, height, and spatial configuration. Newly conserved,&nbsp;<em>The Swimming Pool</em>&mdash;off view for more than 20 years&mdash;returns to MoMA&rsquo;s galleries as a centerpiece of the exhibition.</p> <p>With research on two fronts&mdash;conservation and curatorial&mdash;this exhibition offers a reconsideration of the cut-outs by exploring a host of technical and conceptual issues: the artist&rsquo;s methods and materials and the role and function of the works in his practice; their environmental aspects; their sculptural and temporal presence as their painted surfaces exhibited texture and materiality, curled off the walls, and shifted in position over time; and their double lives, first as contingent and mutable in the studio and, ultimately, as permanent, a transformation accomplished via mounting and framing. The exhibition also mines the tensions that lurk in all the cut-outs, between finish and process, fine art and decoration, drawing and color.</p> <p>The exhibition is accompanied by a fully illustrated catalogue and a children&rsquo;s book.</p> Mon, 15 Sep 2014 01:31:01 +0000 Kevin Beasley, Ken Okiishi, Dara Birnbaum, Luther Price, James Richards, Hito Steyerl, The Otolith Group, Chris Marker - MoMA (Museum of Modern Art) - October 11th - March 22nd, 2015 <p class="top"><em>Cut to Swipe</em>, comprised primarily of recent acquisitions by the Department of Media and Performance Art, features works that appropriate and manipulate images and sound drawn from electronic media like television, cinema, the recording industry, and the Internet. Ranging from Dara Birnbaum&rsquo;s landmark installation<em>PM Magazine</em>&nbsp;(1982) to recent works by Kevin Beasley, Ken Okiishi, Luther Price, James Richards, Hito Steyerl, and The Otolith Group in collaboration with Chris Marker, the exhibition highlights a range of responses to the quickly changing nature of images, and their proliferation through new imaging and distribution technologies. Carving out a space for personal and political reflection within pervasive streams of information, the works in the exhibition demonstrate the shift from analog to digital concerns, as artists grapple with defining new forms of materiality, and new critical approaches in a radically more virtual world.</p> <p><em>Cut to Swipe</em>&nbsp;traces key works, produced since the early 1980s, which have pioneered innovative ways of rearticulating the moving image and appropriated cultural forms within the gallery. If the cut signifies collage and montage, foundational artistic strategies of the 20th century, the swipe suggests a 21st-century condition in which images have moved off the screen, dispersed at the flick of a finger into almost every corner of daily life.</p> Mon, 15 Sep 2014 01:25:04 +0000 Robert Gober - MoMA (Museum of Modern Art) - October 4th - January 18th, 2015 <p><em>The Heart Is Not a Metaphor</em>&nbsp;is the first large-scale survey of Robert Gober&rsquo;s career to take place in the United States. Gober (American, b. 1954) rose to prominence in the mid-1980s and was quickly acknowledged as one of the most significant artists of his generation. Early in his career he made deceptively simple sculptures of everyday objects&mdash;beginning with sinks before moving on to domestic furniture such as playpens, beds, and doors. In the 1990s, his practice evolved from single works to theatrical room-sized environments. Featuring loans from institutions and private collections in North America and Europe, along with selections from the artist&rsquo;s collection, the exhibition includes around 130 works across several mediums, including individual sculptures and immersive sculptural environments and a distinctive body of drawings, prints, and photographs. The loosely chronological presentation traces the development of this remarkable body of work, highlighting themes and motifs that emerged in the early 1980s and continue to inform Gober&rsquo;s work today.</p> Mon, 15 Sep 2014 01:18:50 +0000 Joyce J. Scott - Museum of Arts and Design - September 30th - March 15th, 2015 <p>Bringing together Scott&rsquo;s neckpieces and blown glass sculptures for the first time,&nbsp;<em>Maryland to Murano: Neckpieces and Sculptures by Joyce J. Scott</em>&nbsp;examines Scott's prolific career, defined by her ever-evolving techniques, continued exploration of provocative narratives, and commitment to her craft. Maryland to Murano will be the first exhibition to examine the relationship between Scott&rsquo;s beaded and constructed neckpieces created in her Baltimore, Maryland studio and her more recent blown glass sculptures crafted in the Berengo Studio on Murano Island in Venice, Italy. On view from September 30, 2014 to March 15, 2015, this exhibition demonstrates the interplay between these two bodies of work and reveals the range of Scott&rsquo;s technique and skill, as well as the complex relationship she has shaped among adornment, content and methodology.<br />&nbsp;<br />Organized by MAD's Chief Curator Lowery Stokes Sims and curatorial assistant Sophia Merkin, the exhibition features 34 of Scott&rsquo;s neckpieces, including a collaboration with noted jeweler Art Smith, 3 beaded wall hangings, and 13 glass sculptures, most of which were created since 2009. Born in Baltimore in 1948, Scott has lived, studied, and worked in Maryland all her life. Challenging perceived dichotomies between art and craft, sophistication and na&iuml;vet&eacute;, and politics and adornment, Scott has succeeded in incorporating these elements within a vast and varied body of work including installation, printmaking, apparel, sculpture, and jewelry, the last of which has garnered her the widest audience and recognition. In Scott&rsquo;s hands, human adornment becomes a vehicle for social commentary and a means for confronting contentious issues affecting contemporary society. Navigating controversial themes including hunger, rape, and racial stereotypes, Scott&rsquo;s jewelry transcends the typical function of adornment and embellishment.</p> Mon, 15 Sep 2014 01:07:21 +0000 - Brooklyn Museum of Art - October 3rd - January 4th, 2015 <p>Reflecting the rich creative diversity of Brooklyn,&nbsp;<em>Crossing Brooklyn</em>&nbsp;presents work by thirty-five Brooklyn-based artists or collectives. The exhibition and related programming take place in the galleries and on the grounds of the Museum, as well as off-site in the streets, waterways, and other public spaces of the borough.</p> <p>Emphasizing artistic practices that engage with the world, the exhibition includes artists who aim to expand their focus and have an impact beyond the studio and the museum. The resulting work defies easy categorization, taking on diverse forms that include public and private action, the use of found or collected objects, and interactive and educational events, among others. Alongside the drawings, paintings, photographs, sculptures, installations, videos, and performances on view are several site-specific works.</p> <p>While acknowledging Brooklyn&rsquo;s heightened profile,<em>Crossing Brooklyn</em>&nbsp;presents a multigenerational picture that recognizes the borough&rsquo;s long-established role as a creative center. Other themes explored in the exhibition include history and memory, place and geography, community, nostalgia, exchange, ephemerality, and politics, both local and remote.</p> Mon, 15 Sep 2014 00:51:46 +0000 Alice Attie - Howard Greenberg Gallery - September 19th - October 19th Sun, 14 Sep 2014 00:46:37 +0000 Saul Leiter - Howard Greenberg Gallery - September 18th - October 25th <p>The exhibition coincides with the publication of&nbsp;<em>SAUL LEITER: Early Black and White</em>, a two- volume monograph published by Steidl / Howard Greenberg Library, a new imprint at Steidl.</p> <p>Leiter made an enormous and unique contribution to photography with a highly prolific period in New York City in the 1940s and 50s. His abstracted forms and radically innovative compositions have a painterly quality that stands out among the work of his New York School contemporaries. Leiter&rsquo;s earliest black and white photographs show an extraordinary affinity for the medium. His distinctive imagery stems from his profound and touching response to the dynamic street life of New York City.</p> Sun, 14 Sep 2014 00:43:20 +0000 Katrin Mayer - Ludlow 38 - September 14th - November 2nd <p>MINI/Goethe-Institute Curatorial Residencies Ludlow 38 is pleased to present <em>Rose Fortune</em>, the first solo exhibition in New York by Berlin-based artist Katrin Mayer.<br /><br />Mayer's work consists of temporary site- and content-specific interventions that she formulates within the exhibition venue. Underlined by a particular focus on textures, architecture, and gender and identity politics, her research-based readings reveal (hi)stories and peculiarities of the gallery space and its surroundings. <br /><br />At the beginning of the 20th century, Ludlow Street was situated in the midst of the Lower East Side's Garment District. It was an epicenter of immigrant life and class struggles, including labor strikes and the formation of the International Ladies' Garment Workers' Union, as well as the democratization of women's clothing: the neighborhood produced a growing consumer culture in which young and stylish women workers actively participated. Newly available fiction and fashion commodities, such as dime novels and ready-made clothing, mingled into their working days and emboldened them to declare themselves "American ladies," to give each other genteel Victorian names like "Rose Fortune," and to wear cheap copies of upper class styles. "Ladyhood" became a performative category, chosen in preference to "worker," "immigrant," or "woman." Such self-assigned subjectivities cannot be extricated from commodity purchase, but they affected these women far beyond the realm of leisure and consumerism. Their practice of "working ladyhood" was part of a much larger, socially materialized practice that allowed them to transgress dominant conceptions of class, gender, and ethnic identities. <br /><br />With <em>Rose Fortune</em>, Mayer discloses the political potential of women's workplace culture as an emancipatory strategy to realize the utopian "wish-images" embedded in desired commodities. Her exhibition introduces the notion of "rose" as a multilayered mode of denomination, as a mark or label, related to the color pink with all its gendered meanings. In analogy to an understanding of rose as a faded version of pink, Mayer carefully examines processes of layering and copying, and thereby the working ladies' appropriation of styles, stories, and their embodiment of the desire for a better future. The outmoded verb "to pink," furthermore, describes ornamental patterns reminiscent of sewing activities and points to the sloped wall element in the exhibition display at Ludlow 38. Mayer calls attention to this architectural shape in <em>Rose Fortune</em> and transforms it into a signifier of the history of women's workplace culture in the Lower East Side.<br /><br />Further Events:<br /><br /><em>off the record: Rainbow&rsquo;s Gravity (2014) by Mareike Bernien &amp; Kerstin Schroedinger</em><br />Screening and subsequent discussion with Kerstin Schroedinger and Shelly Silver<br />Sunday, September 14, 7 PM <br />Wyoming Building, 5 East 3rd Street<br /><br /><em>A Pattern (since 2014) - Video Essay Exploring Some of the Materialities of the Garment District</em><br />Screening and subsequent discussion with the artist<br />Thursday, September 25, 7 PM <br />Wyoming Building, 5 East 3rd Street<br /><br /><em>Rose Fortune</em> is curated by Eva Birkenstock</p> Fri, 12 Sep 2014 21:51:57 +0000 Guy Richards Smit, Joshua White - The Boiler (Pierogi) - September 26th - October 29th <p><strong>Press Release</strong></p> <p style="text-align: justify;">Guy Richards Smit, creator of everyone&rsquo;s favorite vodka soaked artist, the megalomaniacal and buffoonish Jonathan Grossmalerman, collaborates with the iconic Joshua White, creator of Joshua Light Show and a television director whose credits include the Max Headroom Show and Seinfeld, to bring<em>The&nbsp;GROSSMALERMAN&nbsp;Show!</em>&nbsp;to Pierogi&rsquo;s satellite exhibition space, The Boiler, beginning Friday, September 26th.</p> <p style="text-align: justify;">A multi-platform exhibition,&nbsp;<em>The&nbsp;GROSSMALERMAN Show!</em>&nbsp;&nbsp;will consist of a gallery installation of the stage-set of Grossmalerman&rsquo;s painting studio upon which five episodes of the sitcom&nbsp;<em>The&nbsp;GROSSMALERMAN&nbsp;Show!</em>&nbsp;will be filmed. Episode 1 will be shot with multiple cameras in front of a live studio audience, as classic sitcoms were, on the evening of September 26th (filming from 6:45-8pm by invitation, followed by a public opening reception from 8-10pm). The episodes will be edited and posted on-line during the exhibition and the continuously changing stage set can be explored by gallery goers between shoots during gallery hours.</p> <p style="text-align: justify;">In the series, the artist Jonathan Grossmalerman, a once successful painter in a serious career slump has been offered an exhibition at his dream gallery&hellip;but there&rsquo;s a catch! He can&rsquo;t show any of the incredibly explicit paintings that helped make his name. All that pressure would be enough to send any artist into a full-fledged creative crisis! But Grossmalerman still has to contend with the haunted Basquiat painting his girlfriend just dragged home, his estranged eleven year old daughter who just moved in, and the studio assistant&rsquo;s poor book keeping which sets off a violent string of events that include but are not limited to, an assassin, a spit take, and a very angry collector.</p> <p style="text-align: justify;">Smit &amp; White have assembled a first rate cast of some of New York&rsquo;s most talented performers including Jibz Cameron (Dynasty Handbag), Jenn Harris (Silence), Neal Medlyn (Champagne Jerry), Ana Matronic (Scissor Sisters), Carmine Covelli (the Julie Ruin), Vinny Lopez (Two JasperJohns), and introducing the charming Sadie Parker.</p> <p style="text-align: justify;">Each week there will be changes to the set as the story arc of the series progresses. Paintings will be changed out with each episode as Grossmalerman takes a stab at a new subject matter and Basquiat&rsquo;s angry ghost wreaks further havoc on the zany characters that populate&nbsp;<em>The&nbsp;GROSSMALERMAN&nbsp;Show!</em></p> <p style="text-align: justify;">Smit and White originally met in 1999 when Smit helped with Michael Smith and White&rsquo;s collaboration, &ldquo;Open House,&rdquo; at the New Museum. They developed a mutual fondness and have subsequently been included in numerous group exhibitions together. Recently, Smit approached White for advice when a British production company began developing Grossmalerman! for television. After the production deal fell apart, Smit approached White again, now with a new proposal: reimagining the show as a classic sitcom, art exhibition, and performance built on the premise that contemporary art, always on the vanguard, had skipped tragedy and gone straight to farce</p> <p style="text-align: justify;"><em>The&nbsp;GROSSMALERMAN&nbsp;Show!&nbsp;</em>was made possible in part by a successful $20,000 Kickstarter campaign that appealed to a community of friends and supporters. Notable donors include Matthew Day Jackson, Jennie C. Jones, Michael Smith, William Powhida, James Siena, Ryan McGuiness, Jennifer McCoy, Will Cotton, Sebastiaan Bremer, Eve Sussman, Laura Parnes, Erik Parker, Peter Schjeldahl, and many more.</p> <p style="text-align: justify;">Guy Richards Smit:</p> <p style="text-align: justify;">Born and raised in New York City, Guy Richards Smit is a video artist, performer, musician and painter whose work has been seen at biennials in Havana, Valencia, ARCOMadrid, and Dublin Contemporary. He has had solo exhibitions at Schroeder Romero &amp; Shredder, Fred [London] Ltd, Roebling Hall, and TEAM. In 2004 the Museum of Modern Art included his video rock opera&nbsp;<em>Nausea 2</em>&nbsp;in their Premier Series to celebrate the museum&rsquo;s reopening, as well as touring and performing internationally with his band Maxi Geil! &amp; Playcolt. In October 2013,&nbsp;<em>The New York Times</em>&nbsp;Art Critic Roberta Smith wrote that his most recent project was &ldquo;A tour de force that showcases his considerable talents for satire, stand-up, endurance art, and painting.&rdquo; He currently writes a monthly column as Grossmalerman for the British magazine&nbsp;<em>ArtReview</em>&nbsp;which will publish a book of his collected columns through their imprint later this year.</p> <p style="text-align: justify;">Joshua White:</p> <p style="text-align: justify;">Born and raised in New York City, Joshua White is an artist and video maker. In 1967, he formed The Joshua Light Show, a performing ensemble creating live improvised psychedelic imagery behind all the great rock bands of the day. Eventually, The Joshua Light Show found a permanent home at Bill Graham&rsquo;s Fillmore East. After perfoming at the Woodstock Festival Joshua left light shows behind to pursue his new interest, giant screen video projection for large arenas. Soon, broadcast television discovered the potential of rock. Joshua segued over to that medium and began a thirty year career as a TV director. His credits include&nbsp;<em>Seinfeld</em>,&nbsp;<em>The Jerry Lewis Telethon</em>,&nbsp;<em>The Max Headroom Show</em>,&nbsp;<em>Club MTV</em>,&nbsp;<em>The New Mickey Mouse Club</em>, and<em>&nbsp;Inside The Actors Studio</em>. Ten years ago, Joshua re-generated light show collaborations with Gary Panter. Over the last 15 years, he made many other art projects and installations, six of them in New York, Austin, and Philadelphia with performance artist Michael Smith. His work has been seen at The Museum of Contemporary Art, Los Angeles, The Hirshhorn Museum, Whitney Museum of American Art, The New Museum, Centre Pompidou, Hayden Planetarium in NY, Barbican Centre in London, Basel Switzerland and Basel Miami and most recently, The Cleveland Museum of Art. In October, Joshua Light Show will return to NYU&rsquo;s Skirball Center for a second week-long residency.</p> Fri, 12 Sep 2014 18:48:22 +0000 Group Show - Clover's Fine Art Gallery - September 26th - October 24th <p align="center"><span style="font-size: medium;"><strong>GUERRILLAS IN THE MIDST REMIX</strong></span></p> <p align="center"><strong>September 26, 2014 &ndash; October 24, 2014</strong></p> <p style="text-align: center;"><strong>&nbsp;</strong><strong>Opening Reception &ndash; Friday September 26, 2014, 6pm to 9pm </strong></p> <p style="text-align: center;"><strong>Artist Talk &ndash; Friday October 24 &ndash; 6:00 to 7:30pm </strong></p> <p style="text-align: center;"><strong>Discussion starts promptly at 6:30pm</strong></p> <p>Be advised that the infamous artist group <em>Guerrillas in the Midst</em> has reunited and is preparing to surround your senses at Clover&rsquo;s Fine Art Gallery on Friday September 26th, 2014.</p> <p>In 1998, as a reaction to the marginalization of artists from Caribbean and African-American communities, ten artists living primarily in Fort Greene and Bedford-Stuyvesant, Brooklyn formed a group called &ldquo;Rogues Gallery,&rdquo; later renaming themselves &ldquo;Guerrillas in the Midst&rdquo;. They found that despite having been educated and trained in notable bastions of art and education, only a limited number of galleries were interested in showing their work.&nbsp; Finding just cause for action, they drew up a manifesto calling for a rebellion against the echelons of high art and it&rsquo;s officiators, and created &ldquo;Guerrillas in the Midst,&rdquo; a series of &ldquo;strikes&rdquo; in the form of art exhibitions in unconventional spaces that were produced to critical acclaim.&nbsp; &nbsp;</p> <p>And so it is in that spirit and to reignite that rebel yell that Clover&rsquo;s Fine Art Gallery will present new work from the group in <strong><em>Guerrillas in the Midst Remix</em></strong>with six of the original artists -&nbsp;Terry Boddie, Constant, Francks Deceus, Jean Patrick Icart-Pierre, Jamal Ince, Laura James, and four new members Patrick Dougher, Lady K Fever, Tiffany Miller, and Sol Sax.</p> <p>ELIGO ART (Laura James and Edna Suarez) and Jamal Ince are the Guest Curators for this exhibition.</p> <p align="center">&nbsp;</p> <p><strong>Clover&rsquo;s Fine Art Gallery</strong></p> <p>338 Atlantic Avenue, Boerum Hill, Brooklyn, bet Hoyt and Smith Sts. 718.625.2121</p> <p><strong>For more info:&nbsp;&nbsp;&nbsp;</strong></p> <p><strong>718.625.2121 or</strong></p> <p><strong>917.407.6678</strong></p> <p></p> <p>&nbsp;</p> Fri, 12 Sep 2014 13:33:16 +0000 Kimber Smith - Graham Gallery - September 11th - October 25th <p>Graham presents a selection of Kimber Smith&rsquo;s paintings from the 1970s. Paintings from this period showcase the artist&rsquo;s employment of a lexicon of forms and shapes. The seemingly casual feel to the paintings is illusory. They are in fact the product of a lifetime of planning and consideration. Every painting has a deep structure embedded with meaning drawn from Smith&rsquo;s life. The lozenges are roses. The stacked bars are piano keys. The open triangles are cat ears. His approach successfully achieved that tension between looseness in handling and assuredness in composition that is so widely sought after by many contemporary abstractionists.</p> Fri, 12 Sep 2014 04:21:44 +0000 Vivian Springford - Graham Gallery - September 11th - October 25th <p>In the 1950&rsquo;s Springford received critical acclaim for her Abstract Expressionist black paintings that revealed an acute understanding of Chinese calligraphy which she melded into her action paintings. Around 1961 she transitioned to a method of staining her canvases. She took a step further with the exploration of abstracting forms in nature that predecessors such as Georgia O&rsquo;Keeffe had begun in the 1920&rsquo;s.<br /><br />Sublime, joyous, mysterious-these stain paintings elicit immeasurable emotions and take us on journeys into infinite realms of possibilities like nature itself. Graham proudly introduces an exhibition of the remarkable stain canvases of Vivian Springford.</p> Fri, 12 Sep 2014 04:18:39 +0000 Abdullah Qandeel - Judith Charles Gallery - September 16th - October 19th <p>Saudi Arabian artist Abdullah Qandeel creates passionate and unapologetic abstract paintings. Through bold use of line and color, Qandeel illustrates the coalescing of Saudi traditional norms and the vastly changing cultural landscape of the Arab world.</p> <p>Since 2011, the artist has exhibited in New York, Monte Carlo and Jeddah, gaining critical acclaim and popularity. In 2012, Qandeel was requested by the Saudi Arabian Mission to the UN to exhibit as a solo artist at the Waldorf Astoria, New York. The event was in celebration of Saudi Arabia's National Day where one of his paintings was presented by the Kingdom of Saudi Arabia as a gift to the US Ambassador to the UN. Today, Qandeel continues to explore his two favorite mediums - oil on canvas and precision drawing while continuing to develop a singular style that is as dynamic as his personality.</p> <p>&nbsp;</p> Fri, 12 Sep 2014 03:59:23 +0000