ArtSlant - Closing soon en-us 40 - Brooklyn Fire Proof / Temporary Storage Gallery - April 6th, 2013 - April 7th, 2013 Sat, 22 Feb 2014 15:24:41 +0000 Vivienne Griffin - Bureau - March 3rd, 2013 - April 7th, 2013 <p>Bureau is pleased to announce the gallery's first solo exhibition by London-based artist Vivienne Griffin. The exhibition, <em>The Me Song for Now Here</em>, will open on March 3 at Bureau's Henry Street space and will run through April 7 2013.</p> <p>Working in diverse media, Griffin's practice has many points of convergence. Text-based pieces morph from drawing to sculpture to sound; typographic forms give way to geometric abstraction. Found detritus and used objects mingle with the permanence of mineral solidity. Bleak words are funny, and transform into ambiguous faces, which give way to romantic portraits of female idols. Griffin's practice, by virtue of its willful heterogeneity, is a complex study of subjectivity, pain and dark humor.</p> <p>The form of the letter 'i' recurs in much of Griffin's work and is featured in one of the artist's new black marble sculptures. The simple, solid and iconic form – an 'i' with its spherical dot taken perhaps by gravity, resting beside its rectangular post – sits somewhere between an alphabetical character and its component platonic solids. The linguistic implications in the English language of this letter confront the viewer: our first person subject standing in space, slightly compromised. The small 'i' is paired with a larger marble; a rectilinear column with a zig-zag break at its center. Based on a Soviet-era Lithuanian monument, the break in the column's continuity inscribes an unspoken act of defiance and dissonance into the form. These simplified black solids suggest a broad, linguistic possibility for geometric sculpture.</p> <p>The small sampling of text-drawings around the room reinforce a dual-reading, where phrases read as jokes and laments and the depiction of letters describes a pure architecture. Painted with black India ink and utilizing a bold, sans serif simplicity, her drawings contribute to a kind of cogent semantic landscape which sets the stage of the gallery.</p> <p>Sound and light permeate the installation. Faint shadows rove and sound-scapes fill the room with sonic experiments, including Griffin's robotic version of English playwright Sarah Kane's devastating final work, <em>4:48 Psychosis</em>. Griffin's frank rendition of Kane's piece offsets its severe treatment of depression, anger and isolation. Griffin's overall deadpan style with text, geometry and found objects alike shows an unusual ability to treat her material both with seriousness and levity. We find ourselves laughing at the saddest passages and feeling empty at the suggestion of beauty. The installation offers an entrance into Griffins formal languages and the interplay between disparate systems of form and meaning.</p> <p>Vivienne Griffin (b. 1975, Dublin, lives and works in London England) received her MFA in 2009 from Hunter College, supported by a Fulbright scholarship and received her BFA at Crawford College, Cork Ireland in 2004. She has participated in numerous group exhibitions in London and New York including Bureau's inaugural group show in 2010,<em> Solid State</em>. She regularly collaborates with artist Cian McConn, most recently for his solo project <em>Open Close Thing</em> at Tintype Gallery, London as well as in performance at the Chisenhale Studios, London with Kaspars Groshevs.</p> Tue, 12 Feb 2013 00:09:57 +0000 Lorna ritz, Leslie K. Price, Robert Straight - Edward Hopper House Art Center - February 16th, 2013 - April 7th, 2013 <p>The three painters in this exhibition all draw from nature using improvisational techniques, but the results are widely varied.  Leslie K. Price sees nature as a metaphor for life: “I paint from some aspect of the natural world, and the uniqueness of the space, light, and color interacting with it.”  Lorna Ritz’s colorful abstractions “bring the landscape indoors.  They become windows that peer deeply into space beyond their four edges.”   Robert Straight’s creates his “own world” that draws from aspects of contemporary life.  While he uses math and science as a basis for his constructed abstractions, he embraces improvisation in the execution. </p> <p> </p> Thu, 06 Dec 2012 18:53:14 +0000 Group Show - English Kills - March 9th, 2013 - April 7th, 2013 <p>Come see the pyramids along the Nile Saturday night 6-10. It's a good night to come out to Bushwick, 35 galleries will be open late to coincide with the Armory somehow. We will have maps for you on hand if you are feeling ambitious.</p> Sat, 22 Feb 2014 15:34:29 +0000 Thomas Lanigan-Schmidt - MoMA PS1 - November 18th, 2012 - April 7th, 2013 <p>Thomas Lanigan-Schmidt’s mixed-media constructions, collages, and installations are marked by a trashy opulence concocted from household items and dollar stores. Mimicking Byzantine decoration with cellophane, aluminum foil, tinsel and glitter, Lanigan-Schmidt (American, b. 1948) pioneered a maximalist aesthetic in the late 1960s that explored gay sexuality, class struggle, and religion. Mingling high with low, and sacred with profane, Lanigan-Schmidt bucked the reductive tastes of conceptualism and minimalism that dominated his youth, creating a radically decorative practice that, despite its influence, has never been properly assimilated into the history of American art.</p> Sun, 31 Mar 2013 23:37:36 +0000 Jessica Williams, Mira Dancy, Summer Wheat - Thierry Goldberg Gallery - March 3rd, 2013 - April 7th, 2013 <p>Thierry-Goldberg Gallery is pleased to announce the opening of a three-person exhibition with new paintings by MIRA DANCY, SUMMER WHEAT, and JESSICA WILLIAMS.<br /><br /> With a focus on the figure, SUMMER WHEAT’s work depicts forms that emerge from a gleeful chaos of color and texture. While inspired by Bruegel’s depictions of daily routine, as well as William Hogarth’s and James Gillray’s cartoons and caricatures, Wheat’s pieces nevertheless suggest themselves as void of a clear, detectable narrative arc. As monstrosity and beauty, and “high” and “low” culture become interwoven and inseparable on the canvases, the identities of those depicted contest with, or ar e awash in, the roiling story of the very act of painting. Certainly, Wheat’s subjects often appear to be in tension with their own materiality: that is, the paint, at times, if it has not already reached a point of fragile equilibrium, seems to be wrestling the subject from itself. Whatever kind of character is called forth on Wheat’s canvases becomes equalized on the plane of the painted surface – all are subject to the same laws of interminable and profane play – examples of jouissance come to fruition.<br /><br /> The nature of play is also examined in the paintings of JESSICA WILLIAMS, whose new work includes expressively rendered still-lives and landscapes evoking expansive spaces and a sense of the deep engagement between place and memory. Toying with spatial dimensions, a kind of disorientation ensues, where the subject matter is flattened or set afloat on the canvas, so to speak, freed from the constraints of gravity and perspective. In an effort to “tease out an instability within the familiar,” as Williams describes, the elements of the image suggest a state of “simultaneous rupture and renewal.” Drawing not only from influences like some of the early female expressionists and the Nabis, Williams also takes from design suburban catalogues and personal family photos, all in an attempt to explore the ways in which privacy of place and personal imagining informs our attachments and inflects our perceptions. Williams’ oeuvres exploit the unfinished, rapidly wrought qualities of the sketch, so that her paintings function as snapshots of the seen, highlighting the process itself. Indeed, while each painting exists as a singular work, the fact that each has been made in “sets” of two, makes it so that, as Williams states, “painting itself operates as memory does, thriving in the midst of the picture taking shape.” Thus, Williams’ productions themselves become procedures of continuous re-imagining and re-creation.<br /><br /> In a series of figures that, while echoing classical poses, melt and dissolve in and out of themselves, MIRA DANCY’s work embodies and disembodies her subject to contextualize the nude outside of conventional modern tropes. Her figures are not drawn from the model: rather, they are fashioned from the artist’s corporeal experience of painting, or, as Dancy explains, from a “feeling of what (the) body” is “from behind the eyes.” The nudes are inextricable from the spills of pigment, the blots of ink, or the sheen of silvers that emanate from and reflect off the surface of her canvases. In this fever-state of formlessness, the nude is poised between a dream of totally letting go and a desire to be entirely seen. Dancy's m arks are nimbly unflinching and yet always inquiring, where exchanges between extreme abbreviation and coy directness allow for a perpetual doing and undoing of the figure as it is simultaneously created and destroyed. Here, what comes into focus in paint is as much an act of unbecoming as it is a becoming.
 <br /><br /> Mira Dancy (b. UK, 1979) currently lives and works in Brooklyn, NY. She received her MFA from Columbia University in 2009, and a BA from Bard College in 2001. Dancy has had solo exhibitions at Night Gallery, Los Angels, and Monya Rowe Gallery, New York. Previous group exhibitions include Exit Art, Smack Mellon, Bull &amp; Ram, SouthFirst, Max Protetch Gallery, and Flux Factory, all in New York.<br /><br /> Jessica Williams (b. Los Angeles, 1983) Currently lives and works in Los Angeles, CA. She received her MFA from Columbia University in 2008, and a BFA from RISD in 2005. Williams’ previous solo exhibitions include Young Art, Los Angeles, CA, and Heist Gallery, New York, NY. Past group shows include Thierry Goldberg Projects, New York NY; Beacon Arts Building, Inglewood, CA; Gallery KM, Santa Monica, CA; and The Portland Institute of Contemporary Art, Portland, OR.<br /><br /> Summer Wheat, (b. Oklahoma City, 1977) currently lives in and works in Brooklyn, NY. She holds an MFA from the Savannah College of Art and Design, Savannah, GA. Previous solo exhibitions include The Cress Gallery of Art, TN; Samsøn, Boston, MA; and Orleans Hall, Savannah, GA. Past group shows include deCordova Sculpture Park and museum, Lincoln, MA; The Torrance Art Museum, Torrance, CA; New Art Center, Newton, MA; Gallery Valentine, Ridgewood, NY; Starr Space, Brooklyn, NY; and Dodge gallery, New York, NY.</p> Mon, 11 Mar 2013 00:47:36 +0000 Frances Hynes - June Kelly Gallery - March 8th, 2013 - April 9th, 2013 <p><span style="color: #000080; font-family: Book Antiqua; font-size: small;" color="#000080" face="Book Antiqua">Recent Paintings</span></p> Mon, 25 Feb 2013 23:58:33 +0000 Robert Henri, Richard Avedon, Chuck Close, Till Freiwald - Parrish Art Museum - March 9th, 2013 - April 9th, 2013 <div class="field field-name-body field-type-text-with-summary field-label-hidden"> <div class="field-items"> <div class="field-item even"> <p>Till Freiwald’s watercolor portraits push the limits of the medium and, in a painstaking process of blending layers of translucent color, the work achieves an otherworldly glow. He begins with a direct encounter with his subject and then makes small-scale sketches from the photograph. Setting those studies aside, he completes his monumental watercolors from the image in his “mind’s eye,” capturing what he has called “the main characteristics of the face.”</p> <p>In his signature head-on style of portrait painting (often of fellow artists like the painter Alex Katz), Chuck Close works from a photograph as well but grids off the image and transfers the information, square by square, to a larger format. The complex process of working in the print medium, seen here in <em>Alex/Reduction Block</em>, has expanded the possibilities for his image-making. “Any innovation that is evident in [my] paintings,” Close has said, “is a direct result of something that happened in the course of making a print.”</p> <p>In 1963 photographer  was commissioned to make an official portrait of the leaders of the Daughters of the American Revolution at their annual convention in Washington, D.C. Avedon remembered well the time in 1939 when the D.A.R. refused to let the great African American soprano Marian Anderson perform in Washington’s Constitution Hall because of her race. Though only a teenager at the time, Avedon never forgot this stunning episode in American history and years later made his own revealing portrait of the assembled “Generals.”</p> <p>When a group of eight American painters in 1908 exhibited at the Macbeth Gallery in New York, their work, characterized by a dark palette and depictions of the grittier side of urban life, won them the nickname ”apostles of ugliness” and later the “Ashcan School.” What is not understood in these epithets is the great empathy and humanity these artists conveyed in their work. Robert Henri, who was one of “The Eight” artists and the organizer of the Macbeth show, gives us in this portrait of his wife Linda a deeply affecting image of a young woman who died following a long illness soon after this portrait was completed.</p> </div> </div> </div> Fri, 29 Mar 2013 02:42:18 +0000 Robert Dash, Jane Wilson, Tria Giovan, Clifford Ross, Fairfield Porter - Parrish Art Museum - March 9th, 2013 - April 9th, 2013 <div class="field field-name-body field-type-text-with-summary field-label-hidden"> <div class="field-items"> <div class="field-item even"> <p>In these works of art depicting land, sea, and sky, we see stirring images of the world around us. Robert Dash, who has painted and gardened on the East End since the 1950s, needs to look no farther than his Sagaponack surroundings to create summative statements about the landscape. <em>Evening Blow</em> captures the feeling of the wind as it daily rolls in off the ocean and up Sagg Main Street past Foster’s Farm. Jane Wilson’s painting has been influenced by her upbringing in the flat wide-open spaces of the Midwest but the East End of Long Island, her part-time home since the mid-1950s has also had a lasting effect. The proximity of the ocean and the resulting mutable weather of the region keep the air in her works alive with possibilities. “My paintings,” she has said, “come out of my efforts to get color to embody the atmosphere we all live in.” In 1998 Tria Giovan began photographing the beach at Sagaponack. The natural beauty of the East End has been an inspiration for her and the images she records are at once documentary and lyrical, reminding us of the strength, beauty, and fragility of our environment and invoking our thoughtful concern.</p> <p>“There’s an apocryphal tale that Turner lashed himself to a ship’s mast,” notes photographer Clifford Ross, describing the 19th-century painter’s desire to depict roiling seas. When a storm approaches, Ross waits at Georgica Beach, then wades into the water to record the hurricane at full force, tethered only to his assistant back on shore. These photographs have a compelling beauty; Ross has said he would be satisfied if they prompted us to further question the manmade causes of such natural forces.</p> <p>Every summer since childhood,  traveled to his family’s home in Maine on Great Spruce Head Island in Penobscot Bay. An articulate art critic as well as an extraordinary painter, Porter once observed: “There is that elementary principle of organization in any art that nothing gets in anything else’s way and everything is at its own limit of possibilities.” <em>Penobscot Bay with Peak Island</em> and, indeed, all the works from the Parrish’s permanent collection on display in this gallery impart that sense of completeness in their depictions of land, sea, and sky.</p> </div> </div> </div> Fri, 29 Mar 2013 02:46:50 +0000 Group Show - Parrish Art Museum - March 9th, 2013 - April 9th, 2013 <div class="field field-name-body field-type-text-with-summary field-label-hidden"> <div class="field-items"> <div class="field-item even"> <p>The growth of the Parrish’s collection is a reflection of the Museum’s increasing role in the community and beyond, and allows the Museum to develop ever-richer viewer experiences. The Parrish is dedicated to providing additional context for the existing strengths, amplifying discrete thematic bodies of work, and illuminating the creative process.</p> <p>The Parrish is uniquely placed within one of the most concentrated creative communities in the United States. Internationally renowned artists live and work here side-by-side with a burgeoning generation of emerging artists. Each has an individual story to tell that, contextualized by the strengths of the permanent collection, creates an intellectually and visually compelling narrative.</p> <p>Over the past five years, the Parish has been fortunate to acquire a number of paintings, drawings, photographs, and sculptures created over the last thirty years, each a resonant work of art in its own right yet further amplified by its proximity to others. Paintings by Dan Christensen, Louisa Chase, Eric Freeman, Dorothea Rockburne, and John Torreano speak to abstraction in divergent ways yet each artist’s inventive use of materials and techniques underscores the dialogue among them. Works by Howard Kanovitz, Rackstraw Downes, Julia Oschatz, and Donald Sultan are representational depictions of landscape that, taken together, prompt a reconsideration of the parameters of the genre.</p> <p>The luminous presence of Costantino Nivola’s marble nearby Ross Bleckner’s expressive and lyrical arcs of paint is further evidence that surprising context can offer surprising insight, also seen in the as is the unexpected juxtaposition of the warm density of Louise Nevelson’s wall relief and Keith Sonnier’s emphatic sculpture in aluminum and neon.<br /> Sculptors have always pursued drawing as a means of “thinking on paper” and prime recent acquisitions by Alice Aycock, Mel Kendrick, and Dennis Oppenheim join works in the permanent collection by John Newman and Joel Shapiro in a revealing display in the adjacent Spine Gallery dedicated to works on paper.</p> <p>The presentation of the Installation of the Permanent Collection is made possible in part by The Hearst Foundations, Barbara J. Slifka, Henry Luce Foundation, Barbara and Mark Zand, Allison Morrow, and Gagosian Gallery. This project is supported in part by an award from the National Endowment for the Arts.</p> <p>The Museum’s programs are made possible, in part, by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature, and by the property taxpayers from the Southampton School District and the Tuckahoe Common School District.</p> </div> </div> </div> Fri, 29 Mar 2013 02:53:47 +0000 Jose Pedro Godoy - WhiteBox - March 26th, 2013 - April 11th, 2013 <p>White Box is proud to present the work of emerging Chilean artist, José Pedro Godoy, in his premier New York exhibition, The Beloved. Godoy’s most recent series represents a new breed of Pan-American Realist and Allegorical painters drawing their inspiration from a High Baroque sensibility infused with a homoerotic, hardcore sensuality. Depicted are scenes pointing to youthful profanity expressed in a visual language that spells a sense of perversion albeit delivered with ornate detail and passion. Godoy’s various figurative styles reference Western painterly traditions, in particular Peter Paul Rubens’ High Baroque seminal painting Bacchanal, which instead of women Godoy has changed for an all-male cast. Godoy’s drawings that depict young Athenian adonis’ in scenarios ‘al fresco’ are a straightforward rendition of homoerotic games, gestures and behavior.<br />As a whole The Beloved shows the artist’s mastery of chiaroscuro, which combined with subtle tonal variations, accomplishes to best portray the young, seductive and beautiful men as exuberant demigods existing in a paradise all their own. Letting their fantasies loose, they represent what is unrestrained and free, which in our contemporary urban world, often too restricted and formulaic, reminds the viewer of his or her unfulfilled and hidden dreams and desires.</p> Sun, 10 Nov 2013 00:12:30 +0000 Group Show - Atlantic Gallery - March 28th, 2013 - April 13th, 2013 <p>The show will feature works by 15 Atlantic Gallery member artists.</p> Tue, 02 Apr 2013 00:12:48 +0000 Laura McPhee - Benrubi Gallery - March 7th, 2013 - April 13th, 2013 <p><strong>Bonni Benrubi Gallery</strong> is pleased to present a solo exhibition of new work by <strong>Laura McPhee</strong>. <i>Desert Chronicle</i> is built upon McPhee's work from 2010 - 2012 documenting the Western American landscapes of Idaho, Utaha and Arizona. McPhee's images are at once lyrical displays of the country's vast desert regions, and complex explorations of our role in their delicate balance.<br /><br /> Desert Chronicle will feature thirteen large scale color photographs. Photographed with a large format view camera, these striking images spin visual stories about time, both geologic and human. A serpentine river cuts deep incisions in the land over eons. A gold mine on the edge of the Black Rock Desert has the earth slashed open and its ruddy interior revealed. A still-life found at the edge of an alkali flat reveals intricate details of daily life-a tiny plastic toy among shards of glass and rust, a penny, machine parts, and desert varnished tin cans. All evoke contemplation about the unintended consequences of humanity's attempts to control and manage nature and how we use the earth and to what ends. A painterly meditation on our material lives, the images depict our paradoxical approaches as we at once protect, alter, and extract from the land.<br /><br /> Born in Manhattan, Laura McPhee grew up in central New Jersey. She earned a Bachelor of Arts degree from Princeton University and a Master of Fine Arts degree from Rhode Island School of Design. Her work, which ranges from portrait to landscape to still life, is widely exhibited nationally and internationally. McPhee was awarded a Fulbright Scholars Fellowship in 1998 for work in India and Sri Lanka and a residency in Idaho from Alturas Foundation 2003-2005. She was also awarded a New England Foundation for the Arts fellowship in 1995 and a John Simon Guggenheim Memorial Foundation fellowship in 1993. Her photographs are included in many permanent museum collections including the Metropolitan Museum of Art in New York, the Los Angeles County Museum of Art, the Getty Center in Los Angeles, the Boston Museum of Fine Arts, the Museum of Fine Arts in Houston and the San Francisco Museum of Modern Art. She is currently a professor at the Massachusetts College of Art and Design, and lives in Brookline, MA.</p> Mon, 18 Feb 2013 23:00:26 +0000 Nicolai Howalt, Trine Søndergaard - Bruce Silverstein Gallery - February 21st, 2013 - April 13th, 2013 <p>Bruce Silverstein is pleased to present an exhibition of recent<br />and early work by the artists Nicolai Howalt &amp;Trine<br />Søndergaard. Living and working together in Denmark, their art<br />shares a history and evolution as well as an intersection, which<br />becomes apparent in this mini-retrospective. This is the first<br />show to incorporate multiple series by each artist (side-by-side)<br />provoking a conversation regarding a mutual influence, either<br />aesthetically perceptible, or sometimes more subtle—a joint<br />exploration of fragile and ineffable motifs. Juxtaposing the<br />artists’ collaborative projects with their separate endeavors<br />highlights a shared attention to their cultural heritage as well as<br />an interest in marking transition, evolution, spaces of limbo, and<br />the continuum of life and time.<br />Both artists began their careers with an approach more toward the documentary—<br />Søndergaard followed and chronicled the lives of female prostitutes on the streets of<br />Copenhagen’s red light district for her series, Now That You Are Mine, while Howalt, in a<br />similar style, observed and captured the lives of a family in Denmark over several years<br />for his project, 3x1. Howalt’s later series, Boxers—images of young boys before and<br />after their first fight, and Søndergaard’s Versus—photographs of individuals paired with<br />a work of art from Copenhagen’s Thorvaldsens Museum, are also aesthetically similar.<br />Both series are about what is not pictured—the space between the photographs—a<br />transition, a change, a relationship, that charges the images.<br />The artists’ well-known joint project, How to Hunt, consists of layered, time-lapsed<br />photographs of Danish hunting grounds, which like the Megafossil series (silkscreened<br />images of a 1500 year old Kings Oak tree—a living fossil from the woods of Jægerspris<br />north of Copenhagen), are monuments to the artists’ Danish heritage and confront the<br />topics of duration and time passage.<br />Søndergaard’s Strude and Guldnakke images, as well her Interior series, emphasize a<br />bridge (and a gap) between past and present. There is a quiet and engaging tension<br />between the historic and the contemporary. Her Monochrome Portraits of friends and<br />neighbors are remarkably revealing while also seemingly distant. The viewer can only<br />perceive the sitters’ “absence”, their apparent concern with what is within, that which is<br />occupying their thoughts—written on their face or perceived in a tilt of the head.<br />While Howalt’s Endings (photographs of cremation ashes) his Car Crash Series and<br />Rusland could be viewed as a fascination with death and destruction, the artist in fact<br />sees his work as primarily concerned with life and its fragility. He draws inspiration from<br />a line by T.S. Eliot, “The end is where we start from.” His Seahawks series and<br />Borderline project (images taken at the physical borders of Denmark), like<br />Søndergaard’s work, are images of contemporary Danish / Nordic cultural space that<br />simultaneously reference and engage with the history of Danish / Scandinavian culture.<br />Howalt and Søndergaard’s collaborative projects, Dying Birds (photogravures of the<br />birds from their hunting scenes, taken at the moment of impact) and Tree Zone (portraits<br />of the final trees struggling to grow at the tree line at high altitudes) are concerned with a<br />space of limbo, the location between what was and is now.<br />Trine Søndergaard (b. 1972) graduated from Fatamorgana, The Danish School of Art<br />Photography in 1996. In 2000 she received the Albert Renger Patzsch Award and has<br />since then received numerous grants and fellowships, including a three-year working<br />grant from The Danish Arts Foundation. She has exhibited in numerous solo and group<br />exhibitions in Denmark and abroad. Søndergaard’s works are included in major public<br />and private collections, among them: MUSAC Museo de Arte Contemporáneo de<br />Castilla y Leon, Spain; The Museum of Fine Arts, Houston, USA; The Hasselblad<br />Foundation, Sweden; The Israel Museum, Jerusalem; and The Danish Arts Foundation,<br />Denmark.<br />Nicolai Howalt (b.1970) was born in Copenhagen and graduated from Denmark’s<br />Photographic Art School Fatamorgana in 1992. He has exhibited at Statens Museum for<br />Kunst, ARoS and Skagens Museum in Denmark. He has received a series of grants<br />from the Hasselblad Foundation, The Danish Ministry of Culture, The Danish Arts<br />Foundation and The Danish Arts Council. Nicolai Howalt’s work is a part of numerous<br />public collections, including The Israel Museum, Jerusalem; MUSAC, Spain, Maison<br />Européenne de Photographie, France, The Museum of Fine Arts Houston, USA,<br />Fondation Neuflize Vie, France, Hiscox Art Project, USA. And in Denmark, The National<br />Museum of Photography, The Danish Arts Foundation, Skagen Museum, Nykredit and<br />Museet for Fotokunst, Brandts.</p> Mon, 25 Feb 2013 00:24:10 +0000 Jazz-minh Moore - Claire Oliver Gallery - March 14th, 2013 - April 13th, 2013 <p>Jazz-minh Moore combines her energetic and painterly style with a gouged and carved wood surface to create a fresh perspective on traditional realism. Embracing the authentic, her subjects possess a raw edginess that feels impulsive and sincere, never staged or idealistic. </p> Sat, 16 Feb 2013 21:37:14 +0000 Margaret Bowland - Driscoll Babcock - February 21st, 2013 - April 13th, 2013 <p>Driscoll Babcock Galleries presents <i>Disturbing the Peace</i>, Margaret Bowland’s second New York solo exhibition of psychologically provocative paintings. Bowland draws upon legendary American novelist and social critic, James Baldwin’s, rallying cry that, “Artists are here to disturb the peace,” by creating a very personal series of works which questions societal expectations about gender, race and beauty.<br /> <br /> The majority of the works focus on JJ, Bowland’s muse for the past five years. Now eleven years old and on the verge of adolescence, she prepares to face the challenges of adulthood. Upon her tiny frame, weighty universal issues are placed – questions of identity, pressures of conformity, and ultimately a quest for acceptance. <br /> <br /> In <i>Painting the Roses Red</i>, JJ’s brown skin is coated in a layer of white paint as red paint drips down upon her head and her rose-accented dress. Throughout many cultures and periods – from England’s Queen Elizabeth I to the geishas of Japan – white makeup has been applied to mask individual characteristics and emphasize other “more important” attributes from innocence to economic status. In 21st century America, the application of white paint onto an African American girl not only carries this historical weight, but also the baggage of racial inequality and varieties of slavery imposed by contemporary cultures. <br /> <br /> The desire and compulsion to not “leave well enough alone” is of course not limited to race or gender, rather, it is much more far reaching, all-inclusive and damaging. This danger is highlighted in the painting’s title, which references the Queen of Hearts from Alice in Wonderland, who orders her minions to paint all white roses red. In Disney’s animated film, they sorrowfully sing, “Oh, painting the roses red, And many a tear we shed, Because we know, They'll cease to grow, In fact, they'll soon be dead, And yet we go ahead, Painting the roses red.” <i>White Fives</i> further underscores this menace. Here the “roses” are fabricated out of five dollar bills and barbed wire–the spikes of which enclose and contain the figure, threatening at any moment to prick. <br /> <br /> Yet, as John Driscoll, president of Driscoll Babcock states, “these works are ultimately about strength and triumph. In each work the subject overcomes subjugation with fortitude and a certain intuitive wisdom.” In <i>Goddess Series I</i>, a woman emerges from a bathtub. Hairless and naked, she is vulnerable. Yet as the white paint that covers her washes away, and the tub surrounds and enshrines her like an altar, she arises triumphant and beautiful in her certainty of self significance. And this is the beauty that Bowland admires, paints, and comments upon, “Beauty makes sense to me, has weight for me, only when it falls from grace. It starts to matter when it carries damage.” <br /> <br /> A fully-illustrated catalogue accompanies the exhibition with an essay by Leola Dublin Macmillan, original poem by Randall Horton, and introduction by Tess Sol Schwab. <br /> <br /> <br /> ABOUT MARGARET BOWLAND<br /> Born in Burlington, North Carolina Margaret Bowland teaches at the New York Academy of Art. She is represented exclusively by Driscoll Babcock Galleries. Her work has been shown at institutions including the Smithsonian National Portrait Gallery, where she was the recipient of 2009’s Outwin Boochever Portrait Competition-People’s Choice Award. In 2011, the Greenville County Museum of Art featured the exhibition, <i>Margaret Bowland: Excerpts from the Great American Songbook</i>, accompanied by a catalogue with an essay by Siri Hustvedt.</p> Fri, 08 Feb 2013 02:00:55 +0000