ArtSlant - Openings & events en-us 40 Group Show - Atlantic Gallery - April 4th, 2013 5:00 PM - 9:00 PM <p>The show will feature works by 15 Atlantic Gallery member artists.</p> Tue, 02 Apr 2013 00:12:49 +0000 Group Show - Bortolami Gallery - April 4th, 2013 6:00 PM - 8:00 PM <p>The exhibition is a 1:1 scale mise-en-scene of the city, with a silhouette of a city-scape made of Thomas Bayrle wallpaper and a population composed of Willem Oorebeek's "Vertical Club" (after which the exhibition takes its title). A restaurant with plates by Tom Humphreys and spoons by Anne Speier will feature a collaborative series by Clegg&amp;Guttmann and Will Benedict of people having dinner. A copy shop by Wolfgang Breuer, a bus stop by Pentti Monkkonen, bathroom doors by Anita Leisz and a pillar for a highway underpass by Amelie von Wulffen all lead the viewer to read the exhibition as elements of a city. Public information will be presented in the form of a poster by Amelie von Wulffen and Lucie Stahl promoting NYC's annual AIDS walk; while another poster, by Nina K&ouml;nnemann, advertises her film "Bann", which documents public smoking habits in London's financial district, plays in a theater with seating by Tom Burr. TV's in the restaurant will feature a video by artist David Leonard originally broadcast on KTLA News, in which he reminisces on his experiences as a Jew during the L.A. riots, along with a music video by Animal Charm for Ariel Pink's "Witchhunt Suite for WWIII" and an animation by Thomas Bayrle of a head made of highways. A mural by Stephen Willats comparing buildings to people, ceramics to buildings and people to ceramics is the writing on the wall.</p> <p>Will Benedict (b. 1978) is an artist living and working in Vienna. Recent solo exhibitions include Black Friday Sample Sale, Galerie Meyer Kainer, Vienna and Dead Sea Sample Sale, Neue Alte Bruecke, Frankfurt. Recent curated exhibitions by Benedict include Commercial Psycho at Andrew Kreps Gallery, New York and Anita Leisz / Nora Schultz at Galerie Meyer Kainer, Vienna. Since 2008 he has run the exhibition space Pro Choice with Lucie Stahl. &nbsp;</p> Sun, 30 Nov 2014 14:47:16 +0000 Marian Osher - Ceres Gallery - April 4th, 2013 6:00 PM - 8:00 PM <p><strong>Marian Osher's</strong> mixed-media painting and printmaking on canvas celebrates a broad spectrum of colors, textures and dimensions that stimulate her personal vision. Floral gifts from friends and family are reinterpreted in paintings and monotype printmaking on sculpted canvas. An avid beachcomber, Osher combines paintings of shells, real shells and sand, extending the composition onto the sides of small deep canvases. Additionally, she explores compositions with shells in monotype printmaking, building multiple levels on canvas. She hopes that viewers will feel tactile and sensory connections to their own experiences.</p> Wed, 13 Mar 2013 18:19:44 +0000 Dylan Bailey - David Nolan Gallery - April 4th, 2013 6:00 PM - 8:00 PM <p>David Nolan Gallery is excited to present an exhibition of new works by Dylan Bailey. On view from April 4 to May 4, this will be the artist’s first solo show with the gallery.</p> <p>A significant area of Bailey’s expanding practice is his ongoing series of “number” paintings. These works (which first appeared in a solo show at the National Exemplar gallery) serve as a record of what the artist describes as “a random toss of metal and plastic numbers.” The resulting images have an otherworldly quality which, for Bailey, have the appearance of “a surreal, cosmic space in which numbers appear to float and hang.” Hovering somewhere in between the abstract and the representational, these complex networks of numbers seemingly allude to mathematical certainties within a strange and ambiguous realm. The artist develops these compositions with a sheet laid flat on the ground, applying enamel paint from a spray can over the scattered arrangement of numbers. When the physical numbers are removed, a silhouette remains as an imprint on the sheet. In this regard, the paintings recall early photographic experiments, such as Man Ray’s “rayographs”, in which objects arranged on photosensitized paper are exposed to light.</p> <p>There is an intuitive nature to Bailey’s practice, wherein one idea gives way to the next. This is testified in a second series, in which colored caps (left over from his spray cans) are re-used to form the basis of a new body of work. Rising nearly seven feet tall and constructed in plywood, these “colored cap” panels occupy the main gallery of the present exhibition. These works are characterized by a playful arrangement of colored spray can caps, which the artist has inserted from behind the surface of the panels. Bailey ensures that the plywood grain runs horizontally across the panel, which has the effect of leveling the composition as in a landscape. With each work, the artist develops a new layout for the caps – some panels privilege a sparse arrangement, while others are more clustered or weighted in a certain direction. Seen as group, these Miró-like constellations achieve a sense of dynamism and movement.</p> <p>Dylan Bailey was born in Londonderry, Vermont in 1985 and studied painting at the Rhode Island School of Design, before settling in New York City in 2008.</p> Sat, 16 Mar 2013 23:52:32 +0000 Tim Ripley - Denise Bibro Fine Art - April 4th, 2013 6:00 PM - 8:00 PM <p><b>Denise Bibro Fine Art</b>, in Chelsea, New York is pleased to announce its exclusive representation of Chicago artist, Tim Ripley and his first solo exhibition in New York.</p> <p><i>Soft Cell</i> refers to the tiny soft polymer clay forms and environments that Ripley carefully sculpts, which are the precursor for his deftly painted oil paintings on panel. Ripley's works remind us that technology has changed the way we perceive the world around us. Simulations, reproductions, and symbols have become more "real" than the subject they represent. This concept has become central to the process of Ripley's works. His technical method includes physically sculpting polymer clay forms, and then composing his pictorial landscape by photographing them. The artist manipulates the value, color, texture and scale with digital editing programs, in high resolution for each layer. The generated digital print serves as a reference for the painting. Color decisions are based on a combination of sources: the print, the screened digital image and the actual sculpture created. Using a technique of "wet into wet," with tiny brushes, painting three or four times over the work, he achieves the "Smooth" gradient shading effect he desires. A gloss varnish enhances the refined surface giving each work both a clean modern effect, as well as a timeless quality.</p> <p>The fundamental idea behind the arduous process is to represent the surreal pseudo digital forms and environments created through mediations of form and subject. The titles of his paintings however, were taken from the names of 80's movies, an obtuse relation to the painting's subject matter. Ripley's bright and shining adolescence shines through his titles, performing as a direct reference to the culture he grew up in, and the time period that shaped his character.</p> <p> </p> <p>Ripley has an M.F.A from Northwestern University and a B.A. from Columbia College in Illinois. Besides showing extensively in the Chicago area, Tim Ripley's works have also been included in exhibitions in Cleveland, Ohio and Houston, Texas.</p> Fri, 05 Apr 2013 04:31:56 +0000 Bill Brandt - Edwynn Houk Gallery - April 4th, 2013 7:00 PM - 9:00 PM <p>Edwynn Houk Gallery is delighted to present a selection of vintage prints by the British photographer, Bill Brandt, from the collection of the artist’s family. The exhibition coincides with the major retrospective that is currently at the Museum of Modern Art, Bill Brandt: Shadow and Light (until August 12). Edwynn Houk Gallery has exclusively represented the Estate of Bill Brandt for 30 years.<br /> <br /> Bill Brandt (British, b. Germany, 1904-1983) is widely acknowledged to be one of the most innovative photographers of the twentieth century, with a professional career spanning over 50 years. Working in a variety of styles and genres – from photojournalistic documents of English society in the 1930s and life in London during World War II, to portraits of England’s artistic elite, and finally to his surrealist and ground breaking nudes of the 1950s – Brandt’s diverse output as a photographer reflected the wide variety of his interests. Consequently, Brandt cannot be reduced to a single style or look. The prints on view will clearly articulate this variety.<br /> <br /> This exhibition will present photographs from his family’s collection, many of which will be on view for the first time. It will include prints that explore British society, taken during the time of his first two publications, The English at Home (1936) and A Night in London (1938). Throughout the 1930s and 40s, his photographic dramatizations focused on the vast differences between the social classes and decidedly English types, seen in “Parlourmaid at a Window in Kensington,” 1939, and “Barmaid at the Crooked Billet Tower Hill,” 1939. The strong influence of Brassaï’s “Paris du Nuit” can be felt in his “Soho Bedroom,” 1934. <br /> <br /> The journalistic assignments during the War laid the foundation of his subsequent career, with portraits of writers (“Dylan Thomas and his Wife Caitlin, in Their Room, Manresa Road, Chelsea,” 1944), and artists (“Eye Portrait, Henry Moore,” 1960) as well as English landscapes (“Stonehenge under Snow,” 1947). It is in these photographs that Brandt’s shift away from the purely documentary to the more poetic can be keenly felt. A bewildering and beguiling atmosphere permeates, compounded by Brandt’s own reticence. He quietly insisted that the images should speak for themselves. <br /> <br /> Finally, in the 1950s, Brandt gained renown as an artist and not just a photographer, with his stunning and unforgettable nudes. The mastery of the female nude has long been considered an important threshold for a photographer, and it’s Brandt’s creative use of shadow, reflection and a wide-angle lens for a dramatic, almost surrealist, perspective that makes his nudes so distinctive and unique. Brandt had done some work in fashion photography in the late 1940s, but like Man Ray and Erwin Blumenfeld who before him in Paris had done fashion work, Brandt often had more interest in the model than what she wore. His radical reworking of the genre can be seen in “Belgravia London,” 1953 and “East Sussex Coast,” 1957.<br /> <br /> Brandt was born in Germany to an aristocratic British banking family. Suffering from tuberculosis as a teenager, he spent seven years recovering at a Swiss sanatorium. It is there that he first took up photography. As a young man, he lived in Vienna and then in Paris, where he worked in the atelier of Man Ray. Finally, in 1934, he relocated to Britain permanently. Brandt continues to be considered Britain’s greatest photographer of the modern era, and certainly one of the major forces in the elevation of photography as an art form.</p> Sun, 24 Mar 2013 00:21:58 +0000 Douglas Kolk - Fredericks & Freiser - April 4th, 2013 6:00 PM - 8:00 PM <p><b>Fredericks &amp; Freiser</b> is pleased to present <i>Hospital Works,</i> an exhibition of new works on paper and wall drawings by <b>Douglas Kolk.</b></p> <blockquote> <p>With <i>Hospital Works,</i> Kolk has created his darkest, most immersive artistic world yet. This torrent of 8x11 drawings features recognizable elements from his earlier works—ghouls, mutants, children and teens, many wearing masks or with indifferent expressions on their faces—but this series has been rendered with a new obsession to detail and utilization of space. Listless white spaces are rare, replaced by manic mosaics, violent etched patterns and undecipherable gibberish, languages ostensibly only understood by the tortured beings that inhabit these environs.<br /><br /> The overall effect is miraculously cathartic. As always, the tragedy in Kolk's work is imbued with a sympathy for the human spirit. Hands reach out for one another, friendships are struck up or maintained in the midst of the madness, and companions stand side-by-side, resolute and fearless in the face of industrial forces seemingly too great to overcome. Though the characters in these works seem to teeter on the edge of a great precipice, we feel strangely certain they won't fall. Like the artist himself, these subjects have toiled and triumphed on the very edge of death, achieving new feats in the face of the harsh world around them. –Logan McHenry</p> </blockquote> <p><b>About the Artist<br /> Douglas Kolk</b> (born 1963, Newark, NJ) grew up near a nursing home headed by his father, a Baptist preacher. In the early 90’s he had solo exhibitions at David Zwirner, New York; and Stephen Friedman Gallery, London. He ceased his artistic practice as a result of drug addicition and started working again in 2004. Since then he has been included in group shows at Kunsthalle Manheim; galerie du jour agnès b., Paris; and The Royal Academy of Arts, London, and the Saatchi Gallery, London. He has had solo shows with Arndt &amp; Partner, Berlin and Zurich (who began showing his work in 1994) and the Kunstlerverein Malkasten, Dusseldorf. He is included in the permanent collection of the Museum of Modern Art, New York and is the subject of a self-titled monograph published by Hatje Cantz. This is his third solo exhibition at Fredericks &amp; Freiser.</p> <p></p> Tue, 02 Apr 2013 00:22:35 +0000 Group Show - Galerie Lelong - April 4th, 2013 6:00 PM - 8:00 PM <p>ollowing the trajectory of highly ordered non-representational art since the 1950s, <em>Edge, Order, Rupture</em> at Galerie Lelong presents work across three generations of artists who have reinvented or subverted the modernist aesthetic. The selected works range from the highly structured and disciplined to the more poetic. The relationships between these fifteen artists from the U.S., Latin America, and Europe, show inter- and cross- generational influences in their approach to pushing the edge, giving shapes order, utilizing color, and rupturing the two-dimensional plane. <em>Edge, Order, Rupture</em> opens on Thursday, April 4th with a public reception from 6-8pm.</p> <p>Considered pioneers of the re-engagement of non-objective art, Josef Albers (1888-1976), Lygia Clark (1920-1988), and Hélio Oiticica (1937-1980) are represented by signature works. Albers’s <em>Interlinear N 32 bl</em> (1962) exemplifies his use of mechanical means to create a complex spatial illusion by engraving an impersonal, functional line within a field of hand-rolled jet black ink. Oiticica’s gouache<em> Metaesquema 286</em> (1958) shows the effective use of simple, monochromatic shapes to create an active, open composition where the forms appear to pulsate across the plane, expanding the field in a rhythmic pattern that infers space beyond the paper’s borders. Clark’s <em>Bicho </em>(1960), made of folded aluminum, is from her well-known series that plays with notions of angled planes, active space, and the possibility of variable compositions and multiple vantage points contained within a single work.</p> <p>Jo Baer (b.1929), Carmen Herrera (b. 1915), Robert Mangold (b.1937), and Sean Scully (b. 1945) further explore the potency of line and color. In <em>Untitled </em>(1972), Baer expands the stark white center of her composition, pushing thin bands of her distinctive black and blue hues to the very edges, to create a shift in the use of central space, characteristic of her minimal works of the 1970s. Herrera creates striking spatial tension by the precise placement of a thick graphic L-shaped black line that dissects a bold field of saturated green in <em>Untitled </em>(1976). More subtle in color and treatment of line, Mangold’s <em>Four Triangles within a Square (Cream) </em>(1976) conveys a sense of architectural drafting. Scully’s paintings also suggest built space, but through painterly brushstrokes that make up horizontal and vertical bands of subdued colors.</p> <p>Catherine Lee (b. 1950), Sol LeWitt (1928-2007), Charlotte Posenenske (1930-1985), Liam Gillick (b. 1964), and Peter Halley’s (b. 1953) work involves serial, specific forms. Lee uses a grid to give her pastel drawings order, leaving her hand visible in each work in contrast to the purity LeWitt sought in his sculptures. LeWitt is represented by one of his open cube structures, a form he revisited throughout his career. Like LeWitt, Posenenske was interested in serialization and minimalism, as exemplified by her <em>Series B Relief (blue reconstruction) </em>(1967/2008-2011) consisting of three aluminum elements sprayed with industrial RAL paint. Gillick also uses RAL paint to uniformly coat sculptures, but deliberately makes relationships to functional structures as in <em>Mean Completion</em> (2008-2009). Halley uses the building construction paint additive Roll-a-Tex to create rough textures and a taut interplay of geometric forms, which he repeats in his work but with different compositions and colors.</p> <p>Kate Shepherd (b. 1961), Sarah Crowner (b. 1974) and Tony Lewis (b. 1986) use a variety of visual references as a method of subversion. Shepherd’s interest in both traditional color theory models and value-based painting is apparent in her “triangle suit” series made with precisely cut screen prints. Tonal variations interlock to form an elongated triangular shape, stretched from the original Albers model, making them a more personal expression by the artist. Crowner, who is strongly influenced by Lygia Clark’s vibrant forms, sews together treated linen and canvas to create physically alluring surfaces. Lewis, the youngest artist in the exhibition, also divides his compositions but with a strong line, using pencil and graphite powder to create sooty surfaces reminiscent of the grit of the city, while maintaining a connection to the modernist grid.</p> Tue, 26 Mar 2013 16:34:28 +0000 Marisa Merz - Gladstone Gallery - 24 St. - April 4th, 2013 6:00 PM - 8:00 PM <p>Gladstone Gallery is pleased to announce an exhibition of new and early works by Marisa Merz.<br />Known for her unusual use of materials, such as copper wire, clay, and wax, Merz makes sculptures and drawings that reflect a poetic sensibility, which delicately entwines her vision of art and life. The exhibition will feature painting, sculpture, and works on paper, and will highlight Merz’s pioneering role as a central figure and the only female artist in the Arte Povera movement.<br />The Arte Povera movement, which formed during the late 1960s and was given a formal name by Germano Celant in 1967, called into question established ideas and assumptions about the processes and materials that had come to define the Western artistic practice. Merz, along with the other innovative, seminal artists associated with Arte Povera, including her late husband Mario Merz, began using everyday and organic materials in an effort to subvert the elite status that the art object had attained in its role in the consumerism-based culture of advanced capitalism.<br />Using abstracted, organic forms, Merz creates intimate portraits and sculptures that insist on subjectivity and ever-shifting meaning, espousing her belief that every shape must be capable of transforming into another shape. Merz attests that she draws no distinction between her art and her life, and her work advances a critical framework that draws on traditional customs associated with female domesticity, using craft techniques and unconventional materials to explore the infinite possibilities of the everyday. Throughout Merz’s oeuvre, the figure of the face emerges – a symbol of the eternal human spirit. Composed of fleeting arabesque lines, Merz’s figures are disconnected from any social or narrative context. Instead, each reveals a ghostly configuration of abstracted features that defy expressions of individual identity, fixing each form in a state of suspended time.<br />Marisa Merz was born in 1926 in Turin, Italy. She has been the subject of numerous solo exhibitions at museums including: Centre Internationale d’art et du Paysage, ÎIe de Vassivière, France; Museo d'Arte Contemporanea Donnaregina, Naples, Italy; Stedelijk Museum, Amsterdam; Kunstmuseum Winterthur, Switzerland; and the Centre Georges Pompidou, Paris, among other international venues. Selected group exhibitions include: Kunstmuseum Liechtenstein; CCS Bard/Hessel Museum of Art, Annandale-on-Hudson, New York; Tate Modern, London; and the Hirschhorn Museum, Washington, D.C. This summer she will be included in “Il Palazzo Enciclopedico/The Encyclopedic Palace” at the 2013 La Biennale di Venezia, curated by Massimiliano Gioni.</p> Tue, 26 Mar 2013 00:47:44 +0000 Polixeni Papapetrou - Jenkins Johnson Gallery - NY - April 4th, 2013 6:00 PM - 8:00 PM <p class="NoSpacing">Jenkins Johnson Gallery, New York, is pleased to present <i>Stories from the Other Side</i>, a solo exhibition of photographs by Polixeni Papapetrou. The exhibition features two of Papapetrou’s most recently completed series, <b><i>The Ghillies</i></b><i> </i>and <b><i>Between Worlds</i></b><i>, </i>and<i> </i>will be her first solo show with Jenkins Johnson Gallery in New York. There will be an opening reception on Thursday, April 4 from 6 to 8 pm, which will feature a discussion with writer and curator Susan Bright at 7 pm. Accompanying the exhibition will be a full color catalogue entitled ”The Ghillies” with an essay by Chris Healy, Associate Professor of Cultural Studies at the University of Melbourne.</p> <p class="NoSpacing">Australian photographer Polixeni Papapetrou creates darkly whimsical images that grapple with conceptual definitions of childhood, both historically and in contemporary society. Addressing what it means to be a child, Papapetrou uses her work to argue that the institution of childhood is an adult construct created to satisfy roles in society. Like Bill Henson and Sally Mann, Papapetrou encountered controversy when a 2003 photograph of her nude six-year-old daughter, Olympia, entitled <i>Olympia as Lewis Carroll’s Beatrice Hatch Before White Cliffs</i>, graced the cover of <span style="text-decoration: underline;">Art Monthly Australia</span>. Complaints of child pornography and violations of child protection legislation followed, and Papapetrou began photographing children wearing masks or with their faces obscured as a way to remove the childhood identity and add an element of layering to the figures. Papapetrou is also inspired by the spectacle of dress-up and performance that appeared in 19th century French and English tableaux photography, so she looks to photographers like Julia Margaret Cameron, Lewis Carroll, and Clementina Lady Hawarden. She finds further inspiration in the work of photographers, like Diane Arbus, Roger Ballen, Richard Billingham, Martin Parr, and Nan Goldin, who portray the everyday world around them and in doing so reveal a secluded inner world. Papapetrou’s work is often compared to that of Cindy Sherman for her presentation of such a varied array of characters and personalities.</p> <p class="NoSpacing">In Papapetrou’s most recent body of work, <b><i>The Ghillies</i></b>, organic figures emerge from the ground, creating an almost symbiotic relationship with the landscape; the figures change color and shape according to the different landscapes and costumes they inhabit. A ghillie suit was originally devised for hunting and combat, and they were taken into the field to act as a decoy, disguised with matter from that landscape in order to blend with their surroundings. Papapetrou’s son introduced her to ghillies through his interest in the <i>Call of Duty</i> video game, in which players use ghillie suits in order to become snipers and conceal themselves within the terrain. Photographing her son in the natural Australian landscape, Papapetrou addresses a boy’s transformation from a youth into adulthood, and the institutional camouflages he must take on to fit in with his peers and society. Papapetrou states, “I wanted to make a body of work that looked at what it felt like to be a boy going through adolescence.”</p> <p class="NoSpacing">Papapetrou also addresses childhood in her iconic series <b><i>Between Worlds</i></b>, in which she photographs children amongst the Australian landscape in various animal masks. This construct addresses childhood as a transitional space between infancy and the adult world in the same way that these animal-human hybrids exist in a space between human and non-human. The anthropomorphic figures spring directly from the artist’s imagination. </p> <p class="NoSpacing">Papapetrou has stated that even though children have assimilated into adult culture, they still maintain spontaneous animal impulses, which speak to the idea of having one foot in each world. Rather than taking on stereotypical animal roles, Papapetrou’s figures take on human-like behavior, which is furthered by titles that add further depth to the works.</p> <p class="NoSpacing">Papapetrou is a 2009 winner of the Josephine Ulrick &amp; Win Schubert Photography Award, a 2007 Bundanon Trust, Artist in Residence, New South Wales and has won the Visual Art and Crafts Board, Australia Council, New Work Grant four times. Papapetrou is in countless private collections worldwide and is in such prestigious public collections as the Museum of Contemporary Art, Sydney; Museum of Fine Arts, St. Petersburg; National Gallery of Australia, Canberra; National Gallery of Victoria, Melbourne; and National Library of Australia, Canberra, amongst others.</p> <p class="NoSpacing"><b>Concurrent with this exhibition,</b> several institutions across the globe are exhibiting Polixeni Papapetrou’s work including <i>Between Worlds</i> at Fotográfica Bogotá at the Fundación Gilberto Alzate Avendaño in Bogota, Columbia from May 7 to June 15 2013; a selection of Papapetrou’s work dating from the late 80s to the present at the Centre for Contemporary Photography in Melbourne Australia from October 18 to December 15, 2013; and <i>Between Worlds'</i> at The Hellenic Museum in Melbourne, Australia from July 9 to August 8, 2013.</p> <p class="NoSpacing">For visuals or more information please visit or contact Karen Gilbert at 212-629-0707 or</p> Wed, 20 Mar 2013 21:03:49 +0000 Farideh Lashai - Leila Heller Gallery - Chelsea - April 4th, 2013 6:00 PM - 8:00 PM Sat, 22 Feb 2014 15:49:56 +0000 Basim Magdy - Marisa Newman Projects - April 4th, 2013 6:00 PM - 8:00 PM <p>Newman Popiashvili gallery is pleased to present A Steady Progress of Nothingness, the third solo exhibition at the gallery by Egyptian artist Basim Magdy. The artist will present a film, a slide projection and paintings.<br />Magdy’s titles for his works and exhibitions always play on the idea of human achievement through the ages, but hints at the ultimate failure that occurs with each generation. Highlighting this idea in My Father Looks For An Honest City, 2010, Magdy asked his own father to reenact Diogenes of Sinope’s philosophical statement of carrying a lamp in daytime. Diogenes, who was one of the founders of the philosophy of cynicism, was most known by his repeated act of carrying a lamp in daylight supposedly “looking for an honest man.”<br />Magdy filmed his father walking through a transformative urban landscape with a flashlight in hand – a city that is suspended in the process of construction. The backdrop of generic unfinished structures partially urbanized and still full of nature, allowing images of petrified wood, doves, fake palm trees, stray dogs, and a flashlight to evolve as dystopian protagonists.<br />The double slide projection titled A 240 Second Analysis Of Failure And Hopefulness (with Coke, Vinegar And Other Tear Gas Remedies), 2012, consists of 160 color slides shown on two synchronized slide carousel projectors. Shot over a period of one month and developed through an elaborate process of exposure to common household chemicals, the images depict a demolition site as it emerges into a construction one. For this process, Magdy has selected liquids such as vinegar, coca cola and others, which have been used as anti tear–gas remedies by revolutionaries throughout the Middle East over the past two years.<br />Once applied to the slide film, the household chemicals distort the color palette of the slides in unusual ways, resulting in an unlimited number of variations. Magdy is especially interested in exploring the analogue photographic medium at this particular period because of the limited time before the film ceases to exist completely. The projects produced in this expiring medium, however, will remain as evidence to the incredible generosity and flexibility this medium has offered.<br />Both the slide projection and the video deal with imagery of demolition and construction, bringing the sense of a real landscapes coupled with the tragic and abandoned desolation of our future. Basim Magdy continues to bring up the notions of failure and the search for something unknown.<br />Born in Assiut, Egypt, Magdy currently lives and works in Basel and Cairo. His work has recently appeared in La Triennale: Intense Proximity, Palais de Tokyo, Paris, curated by Okwui Enwezor; Newtopia, the State of Human Rights, Mechelen, Belgium, curated by Katerina Gregos; Sharjah Biennial, Sharjah, UAE, curated by Yuko Hasegawa; Future Generation Art Prize, PinchukArtCenter, Kiev, Ukraine, curated by Bjorn Geldhof. Upcoming shows in 2013 include the 13th Istanbul Biennial, Turkey, curated by Fulya Erdemci; Biennale Jogja XII, Indonesia, curated by Agung Hujatnikajennong and Sarah Rifky; and Dissident Futures at Yerba Buena Center for the Arts, San Francisco, curated by Betti-Sue Hertz</p> Tue, 26 Mar 2013 22:22:54 +0000 Andrew Kuo - Marlborough Chelsea - April 4th, 2013 6:00 PM - 8:00 PM <p>Marlborough Chelsea is pleased to present an exhibition of new acrylic paintings by Andrew Kuo entitled You Say Tomato running April 4 – May 4, 2013.<br />Andrew Kuo’s emotional metrics function as poetic abstraction with an internal logic of empiricism at its core. In this sense, paradoxically, his chart paintings are representational - depicting a complex, real-time universe of self-examination and the judgement of others. Like Kuo’s beloved Sabermetrics sports analytics system (popularized in the book and movie Moneyball), they are a cooly factual exploration of the heart’s entanglements, and one that often privileges the underdog with hidden talents. An equal adherent to fantasy sports (with it’s dependence on an ordered, statistical quantification of achievement) and the maudlin, perpetually lovelorn diaspora of Emotional Hardcore music, these paintings are relentlessly categorized inventories of the artists’ misgivings about his longing for and the failures of a universal “you”. The “you” of a song that allows so many to relate to its heartswell of its positive sentiments, but also the implicit blame of its critical kiss-offs.<br />All of this emotional wrangling is wedded to an extraordinary facility with color and a playful reverence for various historical modes of geometric abstraction, which are appropriated alongside excruciatingly complex scientific graphs of the digital age. Albers’ formal and chromatic logic, for example, lends itself surprisingly well to an exploded, multiple x-y axis graph that maps several concurrent thought processes covering both past and future timeframes. Hue, value and intensity of color are exploited in the service of legibility and comparative emphasis of the information being illustrated, as well as with an eye to unusual and challenging color combinations that produce a striking and impactful beauty.<br />Additionally, these new works build on the artist’s earlier output by emphasizing the painterly with thicker, more loosely applied layers of acrylic paint, visible tapelines, and other indications of the artist’s hand. They revel in the materials as much as the material.<br />The “material” (as comedians say) is, of course, the writing. Hand-transferred to paper at the base of each work, these tragicomic, Tweet-length statements that form the backbone of these works are Kuo’s lyrics, giving resonance and meaning to the melody of painted color and form. They are proof of his commitment and ability to connect with his audience - the “you”. Carefully constructed in short, rhythmic bursts, the texts sketch evocative mental states that are immediately familiar to a viewer. Longing, nostalgia, lamentation for those no longer with us (in one way or another), and the romance of New York are conjured with references to lonely walks through the Lower East Side. The reminders of past romances and lost family members are exhumed by the aromas and ambiance of a favorite food or restaurant, the memory of a song or shared moment. In doing so, Kuo takes us from the particular to the universal, and maps the route.</p> Sat, 30 Mar 2013 23:28:40 +0000 Kathy Creutzburg - Michael Mut Project Space - April 4th, 2013 7:00 PM - 9:00 PM <p><b>Paths </b></p> <p>Artist Kathy Creutzburg</p> <p>April 3 to  April 27, 2013</p> <p><b>Public Reception: Thursday April 4,  7-9pm</b></p> <p>Contact: Marie <a href="" rel="nofollow"></a></p> <p>Michael Mut 212.677.7868 <a href="" rel="nofollow"></a></p> <p>Hours: Wed–Fri 2–6PM, Sat noon–6PM</p> <p>Location: 97 Ave C between 6th and 7th Sts, East Village/L.E.S.</p> <p>Transportation: F,V to Second Ave; L to First Ave; 6 to Astor Place; M9 Bus</p> <p><i>“An active viewership community is key in creating a successful artistic practice.”-   </i><i>K. Creutzburg</i></p> <p><b><i>Paths</i></b><b><i> </i></b>is a collection based on an artist’s journey. Her materials and ideas are collected remnants found along different paths. Some of these paths are taken alone, while others are shared. As we move forward, trails both tangible and invisible are left behind. The East River, becomes a metaphor for process, meandering in one direction and then another. </p> <p>  Creutzburg, during her daily jogging reverie, imagines a grand urban design. She accumulates natural and discarded objects along her journeys to later assemble into sculptures that portray the essence of how human imagination shapes the natural world. Her watercolors are often a literal roadmap along this path. The watercolors illustrate the journey whereas the sculptures embody the outcome of the voyage.  </p> <p>Kathy has been an active artist in New York City since 1988 working primarily with sculpture and gardens throughout the Lower East Side. In the early 1990’s she was deeply involved with <i>GreenThumb NYC</i> gardening and helped found <i>Artistas de Loisada</i>. In the past she has worked with several children’s arts programs, such as, Studio in a School, the School Construction Authority's <i>Sites for Schools </i>Program, CityArts, Henry Street Settlement's <i>Summer Youth Employment </i>Program,  Stanley Isaacs Neighborhood Center, "Place" (NYS), and Brooklyn Friends Summer Arts Program.  She currently works as an artist in residence for New York City public schools throughout the five boroughs, collaborating with and facilitating youth art projects. She is  involved with Hurricane Sandy Relief, working in both Red Hook and Coney Island, with children who were directly affected by flooding during the storm, making artwork which addresses the issue of re-building the city for the future.</p> Wed, 27 Feb 2013 22:03:14 +0000 Portia Munson - P.P.O.W Gallery - April 4th, 2013 6:00 PM - 8:00 PM <p>P·P·O·W is pleased to present Portia Munson's fourth exhibition at the gallery entitled Reflecting Pool. Munson continues to employ photography, sculpture and installation to form interconnected works that examine the relationship of the natural to the artificial. Munson’s work is a record of this moment in time as she observes the changes to her local environment and the impact that cars, roads and buildings have on natural places and wildlife.<br />Upon entering the gallery the viewer is immediately immersed in Munson’s world by a series of still life memento mori hanging on photographic wallpaper of oversized dandelions. Munson creates these images by scanning flowers and creatures from her garden and surrounding woods and roadsides. Formally inspired by the structure of the flowers, Munson slices into buds, pulls blossoms apart and layers them onto one another, creating mandala-like compositions that in eastern religions represent the universe. These images conjure the ephemeral nature of the botanical along with its innate utopian beauty.<br />While moving through the gallery one comes upon an above-ground pool containing thousands of found plastic objects in all shades of blue. This is Munson’s latest installation, Reflecting Pool, which literally presents a flood of plastic. Each piece represents the millions of discarded multiples that have been rapidly accumulating and polluting our world. The color blue ironically represents clean clear water, sky and air, yet in reality these objects are trash the artist collected from roadsides, streams and landfills. Reflecting Pool, as in Munson’s earlier installations, Pink Project, The Garden and Lawn, is a meditation on how mass consumption defines society and its effects; a reminder of how rapidly plastic objects are produced, consumed and discarded to then spend the majority of their synthetic existence as waste, leaving nature to wage the long-fought battle of decomposition in landfills and ocean gyres.<br />Portia Munson was born in Beverly, MA in 1961 and currently lives and works in Catskill, NY. She holds a BFA from Cooper Union and a MFA from Rutgers University. She has also studied at the Skowhegan School of Painting and Sculpture. Her work has been exhibited throughout the United States and internationally in such venues as The New Museum, New York, NY; MASS MoCA, North Adams, MA; The Pennsylvania Academy of Fine Arts, Philadelphia, PA and The Museum of Contemporary Art in Helsinki, Finland. Her work has been reviewed and written about in many publications including The New York Times, Harper’s Magazine, Art in America, Newsweek, USA Today, The New Yorker, Flash Art and Artforum. Munson has recently completed a MTA, Arts for Transit Public Art installation at the Fort Hamilton Parkway Station in Brooklyn, NY. In April, P.P.O.W will be showing a selection of Munson’s work at the AIPAD photography fair in New York City. A limited edition silk scarf will be produced in conjunction with this exhibition.</p> Wed, 27 Mar 2013 23:04:03 +0000 Kenny Scharf - Paul Kasmin Gallery 515 West 27th Street - April 4th, 2013 6:00 PM - 8:00 PM <p><b>Paul Kasmin Gallery</b> is pleased to present <b><i>Kolors</i></b>, an exhibition of new paintings and sculptures by <b>Kenny Scharf</b>, including ten new paintings and three large-scale sculptures, on view at <b>515 West 27th Street, New York</b>. The paintings, inspired by Color Field masterworks, deceptively present themselves as backdrops for the sculptures. Upon closer inspection, the tonally unified paintings beckon the viewer into vibrant, other-worldly, biomorphic atmospheres composed of a variety of shapes, dimensions and details. The three never-before-seen sculptures revisit the classic icons of Scharf’s repertoire of symbolic imagery developed over thirty years. Scharf’s exhibition possesses a unique energy and exuberance, highlighted by both his monochromatic cosmic paintings and nostalgic sculptures. A fully illustrated catalog, published in collaboration with Standard Press and Damiani, will accompany the exhibition. <br /> <br /> Two weeks prior to the opening of <i>Kolors</i>, Scharf's large-scale sculpture <i>Squirtz</i>(2013) will debut outdoors in The Plaza at The Standard, Highline March 15 - April 1, 2013.</p> Fri, 01 Mar 2013 05:54:21 +0000