ArtSlant - Recently added http://www.artslant.com/ny/Events/show en-us 40 - White Columns - June 11th - July 25th Wed, 27 May 2015 18:37:55 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Sam Gordon - White Columns - June 11th - July 25th Wed, 27 May 2015 18:37:17 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list - White Columns - June 11th - July 25th Wed, 27 May 2015 18:36:26 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Harry Dodge - Wallspace Gallery - May 16th - June 20th <p style="text-align: justify;">Wallspace is pleased to present<em> The Cybernetic Fold</em>, Harry Dodge&rsquo;s second solo show at the gallery. The works in this show, which include sculpture, drawings, and video, are ecstatic, dogged reckonings with intellectual preoccupations channeled through the artist&rsquo;s body&mdash; which might here be conceived as a kind of organic filter for insuperable questions wrought by study. Is the pith of our relation material? How does a die-hard materialist conceptualize, or instantiate, the nature of our relations in a digital age?</p> <p style="text-align: justify;">How might a technophobe&mdash;or at least someone who feels acutely the diminishments, wrought by computers, of the analog nuances of human communication&mdash;contend with cyborgian reality, or what Paul Preciado has called the ever-accelerating &ldquo;pharmacopornographic era&rdquo;? How might flatness&mdash;which we confront daily in the form of monitors and smart phones, etc.&mdash;be reconsidered?</p> <p style="text-align: justify;">What if flatness didn&rsquo;t lack? What makes thickness; what makes dimension? What is the thickness of our relation to each other? How does a single bend make volume? If Rosi Braidotti is right, that &ldquo;The inhuman is not what it used to be,&rdquo; what is it now, and what are we? What might Georges Bataille&rsquo;s idea of man as &ldquo;a particle inserted into unstable and tangled ensembles&rdquo; look or feel like, if materialized into shape; what if these ensembles are not only digital, but also endlessly shaped by interest, love and shame?</p> <p style="text-align: justify;">Dodge&rsquo;s interrogation has him turning everyday objects inside-out (&ldquo;Love Fuzz/ Many Mr. Strange&rdquo;), scraping idiotic koans from comment boxes in a series of three Plexiglas stencils (&ldquo;The Gross Part,&rdquo; &ldquo;Franks and Beans,&rdquo; &ldquo;Rap With Meaning&rdquo;), repurposing scraps (&ldquo;Without the Random, There Can Be No New Thing (hey hey mama, said the way you move, gonna make you sweat, gonna make you&nbsp; groove), playing the (comedic) line between the abstract and the anthropomorphic (&ldquo;In This Hole /Honey Bucket&rdquo;), putting his own technoskin on display (&ldquo;My Glassy Essence (Shame in the Cybernetic Fold)&rdquo;). The fantasia here created may glitter (as in &ldquo;Fuck Me/Who&rsquo;s Sorry Now&rdquo;), but this is no Plato&rsquo;s cave. Dodge&rsquo;s work&mdash;frenetic, lewd, hallucinatory, and visceral&mdash;conjures the pulsing, multivalent bodies whose desires drive, and often collide with, machine (not to mention with each other).</p> <p>Harry Dodge (b. 1966, lives and works in Los Angeles, CA) has exhibited his work widely. Recent exhibitions and screenings include the world premiere of The Time-Eaters, Hammer Museum, Los Angeles (2014); Made in L.A. 2014, Hammer Museum, Los Angeles (2014); Meaty Beaty Big and Bouncy&mdash;curated by Kelly Taxter, Aldrich Contemporary Art Museum, Ridgefield, CT (2013); Whitney Biennial, Whitney Museum of American Art, New York, NY (2008). </p> Wed, 27 May 2015 18:17:17 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list - Peter Freeman, Inc. - June 4th - July 24th <p><strong>Summer Reading</strong><br />Francis Al&yuml;s, Massimo Bartolini, Jimmie Durham, Fernanda Gomes<br /><br />dates: 4 June &ndash; 24 July 2015<br /><br />Peter Freeman, Inc., New York is pleased to present &ldquo;Summer Reading,&rdquo; curated by sculptor Richard Wentworth and featuring works by Francis Al&yuml;s, Massimo Bartolini, Jimmie Durham, and Fernanda Gomes. With material economy and formal intelligence, each artist employs a keen acuity to the residue of daily life, and a poetic sensitivity to its messages. In their hands, the familiar and unexceptional shifts shape, signaling us to see anew. <br /><br />Wentworth has chosen to introduce the exhibition with two photographs from Brassa&iuml;&rsquo;s 1933 series "Sculptures Involontaires," first published that year in the Surrealist publication Minotaure: rare works that record the accidental animation of discarded bits, like a rolled up bus ticket, or a blob of toothpaste. These will be shown with a selection from Wentworth's own photographic series "Making Do and Getting By" (1974-ongoing). <br /><br />Francis Al&yuml;s was born in 1959, in Antwerp, Belgium; he lives and works in Mexico. His diverse work engages with everyday life and urbanity as well as social and political issues and includes video, painting, performance, drawing, and photography. His sculpture is often made of the unexpected&mdash;materials as lowly even as chewing gum, which is the starting point for his group of works on view here, among them Bandera (Flag), 1991/92.<br /><br />Massimo Bartolini was born in 1962, in Cecina, Italy where he lives and works. The realization of an idea into form, the ephemeral into something concrete, and the physical record of how it is done are at the root of his installations, sculptures, performances, and photographic works. He describes his airplane drawings &ndash; one of which will be on view here alongside a selection of other works &ndash; as &ldquo;technical drawings in reverse.&rdquo;<br /><br />Jimmie Durham was born in 1940 in Washington, Arkansas; he lives and works in Berlin. His work as an artist, activist, and poet concerns both natural and urban realms, their material and socio-political make-ups, and the intersections and oppositions between them. On view here will be several recent works, including one incorporating olive-tree trunks and another the taxidermied head of a steer. <br /><br />Fernanda Gomes was born in 1960 in Rio de Janeiro, Brazil, where she lives and works. In keeping with her practice of making work on site with materials collected locally, she will make some of the pieces for "Summer Reading" while in New York. Her works seem to call into question the very nature of their presence and material even as their transformation imparts power to that which, at first, seems barely there.<br /><br />For reproduction requests, interviews with the artist and general inquiries, please contact the gallery at 212-966-5154 or info@peterfreemaninc.com.</p> Wed, 27 May 2015 18:02:45 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list - The Kitchen - June 11th 6:00 PM - 7:00 PM <p style="text-align: justify;">Whitney Museum curator Jay Sanders and poet Charles Bernstein will discuss their work in, on, and around sound, performance, installation, dance, poetry, theater, poetics, curating, editing, essay writing, and teaching. They will also reflect on their previous collaboration curating the 2001 exhibition <em>Poetry Plastique</em> at the Marianne Boesky Gallery.</p> Wed, 27 May 2015 17:53:38 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list SCRAAATCH - The Kitchen - June 5th 4:00 PM - 5:00 PM <p style="text-align: justify;">SCRAAATCH performs <em>SCRAAATCH no. 9</em>, part of a series of collaborative performance works. Combining live sound processing and performative notation, the duo develops an intricate physical and aural choreography, exploring the difficulties of mediated communication and exchange.</p> Wed, 27 May 2015 17:52:45 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Group Show - The Kitchen - May 22nd - June 13th <p style="text-align: justify;"><em>S/N</em> explores the complex dynamics of sound, in particular its tendency to exceed, disrupt, or evade attempts at its capture. <em>S/N</em>, an abbreviation for signal-to-noise ratio, refers to the balance between a desired communication and the unwanted background noises emanating from the materials and environments it traverses. The writers, musicians, and artists included in the exhibition take up the material complexities of sound, understanding the aural as a site of potential interference. Moving through language and into noise, <em>S/N</em> examines the possible breaking points of communication as it extends in, through, and beyond the intelligible. Curated by <strong>Alex Fleming</strong>, <strong>Anya Komar</strong>, and<strong> Blair Murphy</strong>, Helena Rubinstein Curatorial Fellows of the Whitney Museum of American Art Independent Study Program.</p> Wed, 27 May 2015 17:51:52 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Group Show - Sikkema Jenkins & Co - June 4th - July 24th <div class="columnText"> <div style="margin-top: 16px;"> <div style="text-align: justify;">Sikkema Jenkins &amp; Co. is pleased to present <em>Over &amp; Under</em> a group exhibitio featuring work by Tony Feher, Charles Harlan, Bill Jenkins, Matt Keegan, Babette Mangolte &amp; Trisha Brown, Virginia Overton, Kay Rosen, Diane Simpson, and Haim Steinbach on view from June 4 through July 24, 2015.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;"><em>Over &amp; Under</em> presents various works that have a clear relationship to the history of Minimalism, as evidenced by their material economy and modes of display. Within this shared language of presentation, the artists also utilize a specific and related syntax. Predominantly rooted in sculpture, the included works employ familiar materials with a straightforwardness &ndash; meaning the viewer can map the process of making and/or assembly, leading to a conversational pace and interplay that weaves throughout the gallery.</div> </div> </div> Wed, 27 May 2015 17:45:10 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Lourdes Sanchez - Sears-Peyton Gallery - May 21st - June 26th <p style="text-align: justify;">Sears-Peyton Gallery is pleased to present <em>entonces</em>, recent work by New York artist Lourdes Sanchez.</p> <p style="text-align: justify;">"Images in the liminal space, between sleep and awake, just before consciousness, just behind your eyelids, colors and shapes that swim up into the light, like fugitives, and then, <em>entonces</em>, like fugitives, disband.&nbsp; Sanchez&rsquo; visions, ephemeral, transitory, sometimes playful sometimes moody, serve as an anecdote to what the artist describes as her own persistent sense of displacement and dislocation:&nbsp; in the work we find location, pattern, an accomplished navigation between boundlessness and form.&nbsp; The paint is running wild within organic, archetypal shapes suggesting pods, waves, blossoms, ribbons.&nbsp; Each piece evokes a sensual, humorous tension between the flow and the edge&mdash;smoky oceanic and sky hues at dawn or as night falls invite the viewer into a world that is elegant and dreamlike.</p> <p style="text-align: justify;">Sanchez paints with inks mixed from pigments.&nbsp; She spends days mixing the colors, creating her own palate and range that allows for a nuanced and dimensioned experience of the work.&nbsp; The ink and water on silk mounted on paper gives her artistic control while allowing for unpredictability. " &nbsp; &nbsp;&nbsp;</p> <p style="text-align: justify;"><em>&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; -Nona Caspers</em></p> <p style="text-align: justify;"><strong>Lourdes Sanchez</strong>&nbsp;was born in Havana, Cuba and raised in Queens, NY. &nbsp;This is her first one-person exhibition.&nbsp; She divides her time between Brooklyn, NY and Merida, Yucatan.</p> Wed, 27 May 2015 17:43:25 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Josef Astor - Participant Inc. - May 31st - July 12th <blockquote> <p style="text-align: justify;"><em>Josef Astor's images capture the space between moments, a difficult and penetrating stasis. The portraits selected for Displaced Persons are multifaceted, unnerving, and surreal. Staging and photographing his peers and muses, Astor intuitively documented key players from intersecting pre-millennial and pre-Internet dance and late-night performance subcultures, assembling a constellation of artists and hybrids who took it upon themselves to reflect a largely oblivious world back onto itself with venomous innocence and shocking self-possession. Astor, in all his subtlety, is one of those hybrids.</em></p> <p style="text-align: justify;">--Antony, Josef Astor and the Terrible Pall of Stillness</p> </blockquote> <p style="text-align: justify;">From May 31 &ndash; July 12, 2015, PARTICIPANT INC is proud to present <strong>Josef Astor, Displaced Persons</strong>, a solo exhibition of photographs, curated by the artist&rsquo;s longtime friend and subject, <strong>Antony</strong>. Best known for his decades of work as a photographer for Vanity Fair, The New York Times, and other media outlets, Astor&rsquo;s exhibition features twenty-four works made outside the commercial realm: largely unpublished photographs of artists and performers who subverted the stereotype and the artifice of the icon in the late 1980s, &lsquo;90s, and &lsquo;00s.</p> <p style="text-align: justify;">Whether a studio portrait or a screen projection tableau, displaced refers to the physical outsidedness and anti-establishments these artist-subjects created, operated within, and, most importantly, made visible and public. Offering a rare opportunity to see Astor&rsquo;s experimental work, the exhibition foregrounds conceptions of community that value the uncommon; and subjects who authored alternative contexts, depicted here not only as subject matter, but also as testament to Astor&rsquo;s category-defying collaborations with friends and fellow artists.</p> <p style="text-align: justify;">Evidenced in several of the portraits of figures such as Dancenoise (Anne Iobst and Lucy Sexton), John Kelly, Charles Atlas, Joe Westmoreland, Johanna Constantine, and many others, an incongruous juxtaposition of representation and setting is achieved. Through a mode of 'cut and paste,' by way of a screen projection technique, several facets of being are portrayed. A prime example of Astor&rsquo;s complex construct of a dual existence&mdash;of here and elsewhere&mdash;is revealed in the portrait, Page + Wid (1999). A personal muse, gender pioneer, and radical performance artist who tested the limits of her audience more than most recognized artists of the time&mdash;otherworldly Page is pictured with her mother, set against a projected forest, holding her mother&rsquo;s face as if to faintly grasp the normative world that she eclipsed in daily life.</p> <p style="text-align: justify;">In addition to finding inspiration through many of his subjects, Astor&rsquo;s theatrically staged, historically informed photographs can be ascribed to the influence of two photographers he worked with as an assistant: a sort of skewed classicism grew out of working with Irving Penn; and the tableaux style, using in-camera low tech special effects is a direct influence of the British theater photographer, Angus McBean.</p> <p style="text-align: justify;">Images that appear to reference classic studio portraiture, more than subscribe to it, are photographs of Octavia Pemberton St. Laurent (1987) and Pearl (1994). The color shift that is visible in most of the photographs can be attributed to Paul Outerbridge&rsquo;s personalization of his color palette. Astor&rsquo;s distinct color process&mdash;one that utilizes a cross-processing technique that creates an appearance of a removal of color or an improperly balanced color&mdash;can be seen in Annie + Puppet (1994) and Leigh Bowery (1993).</p> <p style="text-align: justify;">The exhibition also includes never published images made in collaboration with Charles Atlas and Johanna Constantine for the magazine Dance Ink&mdash;a publication conceived as an alternative performance space and an index of the ephemeral art form. For Dance Ink's Winter 1993-94 issue, Atlas directed a series of portraits aiming to go beyond traditional dance photographs, and to be about dance, while Astor introduced a dramatic context to the set to further challenge easy categorization of any one aesthetic or discipline.</p> <p style="text-align: justify;"><strong>Josef Astor </strong>launched his career in 1985 in a New York studio above Carnegie Hall after moving from his home in Ohio. Astor&rsquo;s acclaimed photography focuses primarily on subjects from the world of music, art, architecture, dance, and theater. His photographs have appeared in Vanity Fair, The New York Times, The New Yorker, Newsweek, Rolling Stone, among many other publications. Widely collected and exhibited, his first solo show was at Tom Cugliani (1989), and was included in the Vanity Fair Portraits exhibition at the National Portrait Gallery in London (2008), and recently in The Digital Darkroom exhibition at the Annenberg Space for Photography in L.A (2012). He directed his first documentary feature, Lost Bohemia, which premiered in 2010 and won a Special Jury Prize at DOC-NYC Festival. Among other awards of recognition, he was recipient of the prestigious Infinity Award from the International Center of Photography. Astor is currently on the faculty of the School of Visual Arts in New York City and has also taught in the MFA program at Bard College.</p> Wed, 27 May 2015 17:39:08 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Adam Winner - Josee Bienvenu Gallery - May 28th - July 11th <p class="p1" style="text-align: justify;">Jos&eacute;e Bienvenu is pleased to present Adam Winner&rsquo;s first solo exhibition in New York. Titled <em>Scratchpad</em>, the exhibition unfolds as&nbsp;an abstract self-portrait based on the artist's&nbsp;negotiation with his body measurements.&nbsp;The works examine Winner&rsquo;s distorted, subjective&nbsp;notion of his body, and the external manifestations of internal conflict.&nbsp;Aspects of his body serve as dimensional constraints,&nbsp;and&nbsp;inform the&nbsp;content of his paintings.&nbsp; </p> <p class="p1" style="text-align: justify;">A series of&nbsp;<em>Gunboats</em>&nbsp;(a&nbsp;nod&nbsp;to the Fats Waller song&nbsp;<em>Your Feet&rsquo;s Too Big</em>)&nbsp;become clownishly large footgear, able to stand on their own. <em>Head Bucket,</em>&nbsp;a bluntly-titled&nbsp;and&nbsp;shaped canvas, is meant to be looked&nbsp;<em>into</em>&nbsp;rather than&nbsp;<em>at.</em><em>&nbsp;</em>Executed with some lines by Ren&eacute; Char in mind<em>&nbsp;</em><em>(Je n'&eacute;tais ce jour-l&agrave; que deux jambes qui marchent./Aussi, le regard sec, le nul au centre du visage)</em>, it is hung high, at eye-level.&nbsp;<em>Body Bucket</em><em>&nbsp;</em>also disrupts the usual act of looking at a painting and invites entry into the work. <em>Bortle</em> (the title refers to an astronomer who conceived of a system for quantifying darkness) is&nbsp;the largest painting. Its dimensions are based on the artist's height by his wingspan.&nbsp;A multilayered &ldquo;black&rdquo; painting, with colors seeping through, it figures the opaque complexity of being.&nbsp; </p> <p class="p1" style="text-align: justify;">Adam Winner uses abstract painting as a tool to resolve inner struggle. The hand is very, deliberately, apparent in the work. His paintings of&nbsp;elementary&nbsp;gestures are imbued with a feeling of self-doubt,&nbsp;but&nbsp;shot through&nbsp;with&nbsp;a sense of confidence&nbsp;and control over the materials.&nbsp;Conflict and uneasiness form part of the content of his work. The paintings are concerned with multiple forms of imperfection.&nbsp;Brought into play through constraints both personal, and universal, such as the notion of a &ldquo;golden ratio&rdquo;, the theorized ideal proportion, only brought up in order to be deviated from. </p> <p class="p2" style="text-align: justify;">Born in Bridgeport, CT in 1979, Adam Winner lives and works in Brooklyn, NY. He received his BFA from Syracuse University in 2001. Selected group exhibitions include: The Thin Line, 9.99 Gallery, Guatemala City, Guatemala (2014); Painting Alumni Retrospective, Syracuse University, NY (2014); Surrender Flag, Ampersand Gallery, Portland (2014); Provisionals, Jos&eacute;e Bienvenu Gallery, New York (2014); Evidence of Absence, Ziehersmith, New York (2014).</p> Wed, 27 May 2015 17:29:41 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Yoan Capote - Jack Shainman Gallery 24th Street - May 28th - July 10th <p style="text-align: justify;">Jack Shainman Gallery is pleased to present Yoan Capote&rsquo;s second solo exhibition, opening Thursday, May 28th. <em>Collective Unconscious </em>explores history and the distinctive ways in which shared social experiences influence the individual. Drawing on Carl Jung&rsquo;s assertion that a person&rsquo;s behavior and thoughts maintain an unconscious link with the past and its archetypes, Capote delves into his Cuban nationality while speaking to a universal experience. In these recent works, he investigates cultural symbols&mdash;exposing their fissures,&nbsp;revelling&nbsp;in their inherent contradictions, and imploring the viewer to reconsider the&nbsp;acceptance of history as absolute truth.</p> <p style="text-align: justify;">The notion of the past as a tightly wound narrative is a long-running theme in Capote&rsquo;s work. <em>Laboratorio</em>, 2012, came to fruition when the artist began collecting photographs of large crowds gathering at political events. Intrigued by the subjectivity of photography as a metaphor for the constructed nature of history, Capote zeros in on the photographic process itself. The installation features flasks and petri dishes placed on a table with a variety of other chemistry equipment, an ambitious science experiment abandoned and long forgotten. Upon close examination, images are visible across the glass surfaces where photographs documenting political events have strategically been printed. In Capote&rsquo;s work, history is often expressed as a process, just like any other, rife with manipulation, omission, and control.</p> <p style="text-align: justify;">Dismantling historical archetypes in order to understand and reinvent them is also one of the threads in <em>Immanencia,</em> 2015, a giant bust of Fidel Castro constructed from thousands of door hinges, originally sourced from Havana buildings. Looming over the 20th street gallery, the work is a monumental meditation on passage across borders and the duality of meaning.</p> <p style="text-align: justify;"><em>Sacra Geometria (buscando identidad) </em>and <em>Sacra Geometria (perdiendo identidad)</em>, both 2015, give similar deconstructive treatment to another Cuban icon: the flag. Rendered minimally within a steel cube, these two opposite allegories reflect the very real division in Cuban society, as well as the vacuity versus the value of all-encompassing ideals like independence, equality, and nationalism.</p> <p style="text-align: justify;">Although many of the works in the exhibition point to the ways in which history has overwhelmingly been shaped by those in power, Capote does leave space for optimism. As is the case with the door hinges in Immanencia and Cuba&rsquo;s border itself, what was once closed can be opened. Above all else, Collective Unconscious posits hope. If history is a malleable construct, then it is up to the individual to tap into the collective and reclaim the narrative of history going forward.</p> <p style="text-align: justify;">Yoan Capote has exhibited extensively internationally, including Portugal, Spain, Switzerland, France, England, Panama, Cuba and the United States. Capote was one of four artists who represented Cuba at the 54th Venice Biennale in Cuba Mon Amour (2011). He installed his thirty-foot tall monumental sculpture Stress in the11th Havana Biennial (2012) and in Portugal Arte 10 EDP in Lisbon (2010). A group of outdoor sculptures were exhibited recently at LongHouse Reserve in East Hampton, New York.</p> <p style="text-align: justify;">Capote has been the recipient of numerous awards including International Fellowship Grant from the Guggenheim Foundation (2006), a UNESCO Prize (2000), a Pollock-Krasner Foundation Grant (2006), a Vermont Studio Center Fellowship (2002), and a residency at the Brownstone Foundation in Paris (2003). A forthcoming monograph of Capote&rsquo;s work, with contributions by Tanya Barson, Curator of International Art, Tate Modern and Jen Mergel, Robert L. Beal, Enid L. Beal and Bruce A. Beal Senior Curator of Contemporary Art, Museum of Fine Arts, Boston, Nelson Herrera Ysla, Alex Rosenberg, and Charmaine Picard will be published by Skira in Fall 2015.</p> <p style="text-align: justify;"><em>Five Decades</em>, a solo exhibition of the work of El Anatsui, is currently on view at The School in Kinderhook, New York, through Saturday, September 26th. Upcoming exhibitions include Enrique Martinez Celaya, opening Thursday, September 10th at 513 West 20th Street and 524 West 24th Street. Gallery hours are Tuesday through Saturday from 10 am to 6 pm. <strong>Please note the gallery will be closed July 3rd through 6th. Beginning Tuesday, July 7th, Summer hours resume Monday through Friday, from 10am to 6pm.</strong> For additional information and photographic material please contact the gallery at info@jackshainman.com.&nbsp;</p> Wed, 27 May 2015 17:27:02 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Yoan Capote - Jack Shainman Gallery 20th Street - May 28th - July 10th <p><!--[if gte mso 9]><xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:TrackMoves/> <w:TrackFormatting/> <w:PunctuationKerning/> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:DoNotPromoteQF/> <w:LidThemeOther>EN-PH</w:LidThemeOther> <w:LidThemeAsian>X-NONE</w:LidThemeAsian> <w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript> <w:Compatibility> <w:BreakWrappedTables/> <w:SnapToGridInCell/> <w:WrapTextWithPunct/> 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<w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 6"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/> <w:LsdException Locked="false" Priority="19" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/> <w:LsdException Locked="false" Priority="21" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/> <w:LsdException Locked="false" Priority="31" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/> <w:LsdException Locked="false" Priority="32" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/> <w:LsdException Locked="false" Priority="33" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Book Title"/> <w:LsdException Locked="false" Priority="37" Name="Bibliography"/> <w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/> </w:LatentStyles> </xml><![endif]--><!--[if gte mso 10]> <style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; line-height:115%; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin;} </style> <![endif]--></p> <p class="MsoNormal" style="line-height: normal; text-align: justify;"><span style="font-size: small; font-family: arial,helvetica,sans-serif;">Jack Shainman Gallery is pleased to present Yoan Capote&rsquo;s second solo exhibition, opening Thursday, May 28th. <em>Collective Unconscious </em>explores history and the distinctive ways in which shared social experiences influence the individual. Drawing on Carl Jung&rsquo;s assertion that a person&rsquo;s behavior and thoughts maintain an unconscious link with the past and its archetypes, Capote delves into his Cuban nationality while speaking to a universal experience. In these recent works, he investigates cultural symbols&mdash;exposing their fissures,&nbsp;revelling&nbsp;in their inherent contradictions, and imploring the viewer to reconsider the&nbsp;acceptance of history as absolute truth. <br /></span></p> <p class="MsoNormal" style="line-height: normal; text-align: justify;"><span style="font-size: small; font-family: arial,helvetica,sans-serif;">The notion of the past as a tightly wound narrative is a long-running theme in Capote&rsquo;s work. <em>Laboratorio</em>, 2012, came to fruition when the artist began collecting photographs of large crowds gathering at political events. Intrigued by the subjectivity of photography as a metaphor for the constructed nature of history, Capote zeros in on the photographic process itself. The installation features flasks and petri dishes placed on a table with a variety of other chemistry equipment, an ambitious science experiment abandoned and long forgotten. Upon close examination, images are visible across the glass surfaces where photographs documenting political events have strategically been printed. In Capote&rsquo;s work, history is often expressed as a process, just like any other, rife with manipulation, omission, and control. <br /></span></p> <p class="MsoNormal" style="line-height: normal; text-align: justify;"><span style="font-size: small; font-family: arial,helvetica,sans-serif;">Dismantling historical archetypes in order to understand and reinvent them is also one of the threads in <em>Immanencia,</em> 2015, a giant bust of Fidel Castro constructed from thousands of door hinges, originally sourced from Havana buildings. Looming over the 20th street gallery, the work is a monumental meditation on passage across borders and the duality of meaning. <br /></span></p> <p class="MsoNormal" style="line-height: normal; text-align: justify;"><span style="font-size: small; font-family: arial,helvetica,sans-serif;"><em>Sacra Geometria (buscando identidad) </em>and <em>Sacra Geometria (perdiendo identidad)</em>, both 2015, give similar deconstructive treatment to another Cuban icon: the flag. Rendered minimally within a steel cube, these two opposite allegories reflect the very real division in Cuban society, as well as the vacuity versus the value of all-encompassing ideals like independence, equality, and nationalism. <br /></span></p> <p class="MsoNormal" style="line-height: normal; text-align: justify;"><span style="font-size: small; font-family: arial,helvetica,sans-serif;">Although many of the works in the exhibition point to the ways in which history has overwhelmingly been shaped by those in power, Capote does leave space for optimism. As is the case with the door hinges in Immanencia and Cuba&rsquo;s border itself, what was once closed can be opened. Above all else, Collective Unconscious posits hope. If history is a malleable construct, then it is up to the individual to tap into the collective and reclaim the narrative of history going forward. <br /></span></p> <p class="MsoNormal" style="line-height: normal; text-align: justify;"><span style="font-size: small; font-family: arial,helvetica,sans-serif;">Yoan Capote has exhibited extensively internationally, including Portugal, Spain, Switzerland, France, England, Panama, Cuba and the United States. Capote was one of four artists who represented Cuba at the 54th Venice Biennale in Cuba Mon Amour (2011). He installed his thirty-foot tall monumental sculpture Stress in the11th Havana Biennial (2012) and in Portugal Arte 10 EDP in Lisbon (2010). A group of outdoor sculptures were exhibited recently at LongHouse Reserve in East Hampton, New York. <br /></span></p> <p class="MsoNormal" style="line-height: normal; text-align: justify;"><span style="font-size: small; font-family: arial,helvetica,sans-serif;">Capote has been the recipient of numerous awards including International Fellowship Grant from the Guggenheim Foundation (2006), a UNESCO Prize (2000), a Pollock-Krasner Foundation Grant (2006), a Vermont Studio Center Fellowship (2002), and a residency at the Brownstone Foundation in Paris (2003). A forthcoming monograph of Capote&rsquo;s work, with contributions by Tanya Barson, Curator of International Art, Tate Modern and Jen Mergel, Robert L. Beal, Enid L. Beal and Bruce A. Beal Senior Curator of Contemporary Art, Museum of Fine Arts, Boston, Nelson Herrera Ysla, Alex Rosenberg, and Charmaine Picard will be published by Skira in Fall 2015. <br /></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-size: small; font-family: arial,helvetica,sans-serif;"><em>Five Decades</em>, a solo exhibition of the work of El Anatsui, is currently on view at The School in Kinderhook, New York, through Saturday, September 26th. Upcoming exhibitions include Enrique Martinez Celaya, opening Thursday, September 10th at 513 West 20th Street and 524 West 24th Street. Gallery hours are Tuesday through Saturday from 10 am to 6 pm. <strong>Please note the gallery will be closed July 3rd through 6th. Beginning Tuesday, July 7th, Summer hours resume Monday through Friday, from 10am to 6pm.</strong> For additional information and photographic material please contact the gallery at info@jackshainman.com.</span></p> Wed, 27 May 2015 17:25:29 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Daniel Canogar, Exonemo, Rafael Lozano-Hemmer, Sara Ludy, Sarah Rothberg, Angela Washko, Andrea Wolf - bitforms gallery - July 10th - August 16th <p>"I believe we lose immortality because we have not conquered our opposition to death; we keep insisting on the primary, rudimentary idea: that the whole body should be kept alive. We should seek to preserve only the part that has to do with consciousness." &ndash; Adolfo Bioy Casares, The Invention of Morel.</p> <p>Inspired by Argentinian author Adolfo Bioy Casares&rsquo; 1940 novel, The Invention of Morel, the exhibition Memory Burn explores concepts of presence, absence, immortality, and death. The title of the exhibition refers simultaneously to unforgettable visions burned in the mind and to digital burning used to archive memories.</p> Wed, 27 May 2015 17:21:15 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Joshua Citarella - Higher Pictures - May 28th - June 27th <p style="text-align: justify;">Higher Pictures presents <em>Rez</em>, a new site-specific installation conceived by artist Joshua Citarella for his second solo exhibition with the gallery. Citarella&rsquo;s transdisciplinary approach brings together five distinct bodies of photographic and sculptural work that explore the transfiguration of matter and meaning in the process of making and reading images today, an idea that is at the core of Citarella&rsquo;s art.</p> <p style="text-align: justify;">The title <em>Rez</em> comes from the online gaming community&rsquo;s abbreviation for &ldquo;resurrection&rdquo; and is a phonetic play on &ldquo;res,&rdquo; or resolution&mdash;the quality of a digital image and, more broadly, the act of uniting discrete units into a conceptual whole. For Citarella, it &ldquo;lands between references to Catholicism, miracle workers, and transfiguration, and then digitization, compression, and simulation.&rdquo; He points to the French philosopher Jean Baudrillard&rsquo;s concept of the &lsquo;rosy-colored resurrection,&rsquo; in which Baudrillard describes the process of simulating life, as when funeral homes apply blush to the face of a corpse. Citarella sees retouching a photograph, and the act of making one in general, as akin to this notion of resurrection. A photograph is, in this conception, less related to the reality of what is depicted than it is to the significance of mimesis itself. A photograph is simultaneously resemblance <em>and</em> record, by its nature a thing that is not what it seems. It is within this ambivalence that Citarella achieves, suggests, and references the impossible, or seemingly magical, in his work.</p> <p style="text-align: justify;">In the series Weightless Stone, comprising three prints and ceramic tiles propped against the gallery walls, Citarella has photographed impressive solid marble plinths in his studio. Marble is far too unwieldy a material for Citarella to work with in reality, but the tiles provide a clue to the painstaking part-analogue, part-digital process he has used to make the images. In <em>Hands With Multiplied Coltan</em>, two delicate hands are shown sifting through a dark, sandy material, apparently the conflict mineral present in nearly every commercial electronic device. Rods used by the exploited coltan miners and a pile of the pulverized ore appear elsewhere in the installation. <em>Gallium Over Aluminum </em>is a living sculpture that changes as the poured gallium melts, resolidifies, and in sections penetrates into the aluminum base, forming an alloy. Nearby, <em>Body Anointed with Gallium Awaits Transfiguration </em>shows a nude model&rsquo;s torso splashed with the physical metal and flecked with digital glitches that suggest errant airbrushing marks. Weaving complex half-fictions together with straightforward experimentation and representation, often within a single piece, Citarella asserts that the way we encounter images today has become so dematerialized that the mundane and the miraculous are one and the same.</p> <p style="text-align: justify;">Joshua Citarella was born in 1987 in New York. Recent exhibitions of his work include <em>Under Construction: New Positions in American Photography</em> at Fotografiemuseum Amsterdam (FOAM) and <em>MOCAtv Presents: A Jogging Screening</em> at the Museum of Contemporary Art, Los Angeles. He is organizer of <a href="http://thepsdshow.org/" target="_blank">thePSDshow.org</a>&nbsp;(2012&ndash;), an ongoing online exhibition of freely downloadable Photoshop files and is a member of the artist Tumblr project The Jogging. Citarella lives and works in New York.</p> <p style="text-align: justify;">For more information please contact Patrick Lloyd at 212-249-6100.</p> Wed, 27 May 2015 17:17:14 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list