ArtSlant - Recently added http://www.artslant.com/ny/Events/show en-us 40 Danny Lyon - Whitney Museum of American Art - June 17th - September 25th <div id="mmi_108989" class="magic-module page-magic-module text-module two-thirds-width" data-id="319445" data-instance-id="108989"> <div class="text-module-text text-larger"> <p style="text-align: justify;"><em>Danny Lyon: Message to the Future</em>&nbsp;is the first comprehensive retrospective of the career of Danny Lyon (b. 1942) to be presented in twenty-five years. The exhibition is organized by the Fine Arts Museums of San Francisco and will premiere at the Whitney in June 2016 before traveling to San Francisco.</p> <p style="text-align: justify;">The exhibition assembles approximately 175 photographs and related films and ephemera to highlight Lyon&rsquo;s concern with social and political issues and the welfare of individuals considered by many to be on the margins of society. The presentation includes many objects that have seldom or never been exhibited before and offers a rare look at works from Lyon&rsquo;s archives alongside important loans from major public and private collections in the United States. This is also the first exhibition to assess the artist&rsquo;s achievements as a filmmaker.</p> <p style="text-align: justify;">A leading figure in the American street photography movement of the 1960s, Lyon has distinguished himself by the personal intimacy he establishes with his subjects and the inventiveness of his practice. With his ability to find beauty in the starkest reality, Lyon has through his work provided a charged alternative to the bland vision of American life often depicted in the mass media.</p> <p class="last-child" style="text-align: justify;"><em>Danny Lyon: Message to the Future</em>&nbsp;is organized by Julian Cox, Founding Curator of Photography for the Fine Arts Museums of San Francisco (FAMSF) and Chief Curator at the de Young Museum. The installation at the Whitney Museum is overseen by Elisabeth Sussman, Curator and Sondra Gilman Curator of Photography.</p> </div> </div> <p style="text-align: justify;"><a name="mmi_109978"></a></p> <div id="mmi_109978" class="magic-module page-magic-module verbatim-module two-thirds-width" data-id="11601" data-instance-id="109978"> <div class="text-module-text"> <p class="last-child" style="text-align: justify;">Generous support for&nbsp;Danny Lyon: Message to the Future&nbsp;is provided by the Henry Peterson Foundation.</p> </div> </div> Sat, 30 Apr 2016 16:11:14 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Stuart Davis - Whitney Museum of American Art - June 10th - September 25th <div id="mmi_103754" class="magic-module page-magic-module text-module one-half-width" data-id="319933" data-instance-id="103754"> <div class="text-module-text text-larger"> <p style="text-align: justify;">Stuart Davis (1892&ndash;1964) is one of the preeminent figures of American modernism. With a long career that stretched from the early twentieth century well into the postwar era, he brought a distinctively American accent to international modernism. Faced with the choice between realism and pure abstraction early in his career, Davis invented a vocabulary that harnessed the grammar of abstraction to the speed and simultaneity of modern America. By merging the bold, hard-edged style of advertising with the conventions of European avant-garde painting, he created an art endowed with the vitality and dynamic rhythms that he saw as uniquely modern and American. In the process, he achieved a rare synthesis: an art that is resolutely abstract, yet at the same time exudes the spirit of popular culture.</p> <p style="text-align: justify;">The exhibition is unusual in its focus on Davis&rsquo;s mature career and on his working method of using preexisting motifs as springboards for new compositions. From 1939 on, Davis rarely painted a work that did not make reference, however hidden, to one or more of his earlier compositions. Such &ldquo;appropriation&rdquo; is a distinctive aspect of his mature art. This presentation will be the first major exhibition to consistently hang Davis&rsquo;s later works side by side with the earlier ones that inspired them. With approximately one hundred works, from his paintings of consumer products in the early 1920s to the work left on his easel at his death in 1964, the exhibition will highlight Davis&rsquo;s unique ability to transform the chaos of everyday life into a structured yet spontaneous order that communicates the wonder and joy that can be derived from the color and spatial relationships of everyday things.&nbsp;</p> <p class="last-child" style="text-align: justify;"><em>Stuart Davis: In Full Swing</em>&nbsp;is co-organized by Barbara Haskell, Curator, Whitney Museum of American Art, New York, and Harry Cooper, Curator and Head of Modern Art, National Gallery of Art, Washington, DC, with Sarah Humphreville, Curatorial Assistant, Whitney Museum of American Art, New York.&nbsp;</p> </div> </div> <p style="text-align: justify;"><a name="mmi_110784"></a></p> <div id="mmi_110784" class="magic-module page-magic-module verbatim-module one-half-width" data-id="12421" data-instance-id="110784"> <div class="text-module-text"> <p style="text-align: justify;"><em>Stuart Davis: In Full Swing</em>&nbsp;is organized by the Whitney Museum of American Art, New York, and the National Gallery of Art, Washington.&nbsp;<br /><br />In New York, the exhibition is sponsored by</p> <p style="text-align: justify;"><a href="http://www.morganstanley.com/"><img src="http://whitney.org/file_columns/0008/1384/morganstanley-175w.jpg" alt="Morgan Stanley" /></a><br /><br />Major support is provided by the Henry Luce Foundation and the Terra Foundation for American Art.<br /><br />Significant support is provided by the Philip and Janice Levin Foundation and Ted and Mary Jo Shen.<br /><br />Generous support is provided by Cheryl and Blair Effron, Karen and Kevin Kennedy, Garrett and Mary Moran, and Laurie M. Tisch.<br /><br />Additional support is provided by the Alturas Foundation and Jeanne Donovan Fisher.<br /><br />Major endowment support is also provided by the Barbara Haskell American Fellows Legacy Fund.</p> <p><a href="http://www.hluce.org/"><img src="http://whitney.org/file_columns/0010/0462/lucelogo_small.jpg" alt="The Henry Luce Foundation" /></a><a href="http://www.terraamericanart.org/">&nbsp;<img src="http://whitney.org/file_columns/0010/0456/ter_primary_lockup_small.jpg" alt="TERRA" /></a></p> </div> </div> Sat, 30 Apr 2016 16:08:17 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Liz Craft, Rochelle Goldberg, Elizabeth Jaeger, Maggie Lee, Win McCarthy - Whitney Museum of American Art - May 13th - August 21st <div id="mmi_109280" class="magic-module page-magic-module text-module one-half-width" data-id="305481" data-instance-id="109280"> <div class="text-module-text text-larger"> <p style="text-align: justify;">This exhibition brings together artists Liz Craft, Rochelle Goldberg, Elizabeth Jaeger, Maggie Lee, and Win McCarthy, who often conceive of interconnected works that suggest strange invented worlds. While each artist creates discrete objects, these works act in direct dialogue with one another&mdash;at times alluding to furniture or other functional items&mdash;in order to generate a broader context that extends beyond their individual physical forms. They often make use of humble materials such as wood, resin, and ceramic clay, putting a renewed emphasis on the act of making and materiality. The exhibition&rsquo;s installation on the eighth floor will take on an otherworldly quality by using the galleries as a single, surreal landscape yet drawn from ideas tied to a common social reality.</p> <p style="text-align: justify;">The title&nbsp;<em>Mirror Cells</em>&nbsp;references mirror neurons, specialized brain cells that are activated when observing the behavior of others. Researchers have theorized that these cells allow us to feel the joy and pain of others and associate them with understanding human intention and feelings of empathy. Accordingly, the works presented in the exhibition are often made as empathetic responses to events such as the loss of a loved one, preoccupations of a particular community, or changes that impact the world more broadly. Referencing both fantasy and real-life experience, they address broad concerns like inequality and climate change as well as more personal narratives connected to trauma and loss.</p> <p class="last-child" style="text-align: justify;"><em>Mirror Cells</em>&nbsp;is organized by associate curators Christopher Y. Lew and Jane Panetta.</p> </div> </div> <p style="text-align: justify;"><a name="mmi_109540"></a></p> <div id="mmi_109540" class="magic-module page-magic-module verbatim-module one-half-width" data-id="12175" data-instance-id="109540"> <div class="text-module-text"> <p class="last-child" style="text-align: justify;">Generous support is provided by Jackson Tang.&nbsp;<br /><br />Additional support is provided by Eleanor Cayre.</p> </div> </div> Sat, 30 Apr 2016 16:05:33 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Cecil Taylor - Whitney Museum of American Art - April 15th - April 24th <div id="mmi_109065" class="magic-module page-magic-module text-module two-thirds-width" data-id="320673" data-instance-id="109065"> <div class="text-module-text text-larger"> <p style="text-align: justify;"><span style="font-size: small;">From February 26 through May 14, 2016, the Whitney Museum of American Art will presentOpen Plan, an experimental five-part exhibition using the Museum&rsquo;s dramatic fifth-floor as a single open gallery, unobstructed by interior walls. The largest column-free museum exhibition space in New York, the Neil Bluhm Family Galleries measure 18,200 square feet and feature windows with striking views east into the city and west to the Hudson River, making for an expansive and inspiring canvas.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Pianist&nbsp;Cecil Taylor&nbsp;(b. 1929) is one of America's most innovative and uncompromising living musicians. His pioneering work in free jazz, which draws on myriad different musical styles conveyed through radical improvisation, will be featured in the fifth-floor gallery, where he will perform on occasion, along with homage performances by friends and fellow artists. This exhibition celebrates the artist&rsquo;s extraordinary life and work in a retrospective environment that will include documentation of Taylor&rsquo;s career through archival videos, audio, notational scores, photographs, poetry, and other ephemera, accompanied by a series of live performances featuring over twenty of Taylor&rsquo;s musical collaborators, as well as dancers, playwrights, poets, filmmakers and writers who have been deeply involved in his work (see complete schedule of events below).&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">Participants include Hilton Als, Cheryl Banks-Smith, Clark Coolidge, Andrew Cyrille, Steve Dalachinsky, Thulani Davis, Chris Funkhouser, Henry Grimes, Tristan Honsinger, Nathaniel Mackey, Dianne McIntyre, Jemeel Moondoc/Ensemble Muntu, Tracie Morris, Fred Moten, William Parker, Enrico Rava, A.B. Spellman, Anne Waldman, Heather Watts, and others. Throughout the galleries, listening stations will provide the chance to hear Taylor&rsquo;s albums. Screenings of important films documenting Taylor&rsquo;s life and performances will also be presented, including the world premiere of a new feature length performance film,&nbsp;The Silent Eye, that was shot in Taylor&rsquo;s home over three days in January 2016.</span></p> <p class="last-child" style="text-align: justify;"><br /><span style="font-size: small;">Open Plan: Cecil Taylor&nbsp;is organized by curator and curator of performance Jay Sanders and Lawrence Kumpf, artistic director, Blank Forms, with senior curatorial assistant Greta Hartenstein, and Andrew W. Mellon Curatorial Fellow Lauren Rosati.</span></p> </div> </div> <p style="text-align: justify;"><span style="font-size: small;"><a name="mmi_109679"></a></span></p> <div id="mmi_109679" class="magic-module page-magic-module text-module two-thirds-width" style="text-align: justify;" data-id="320674" data-instance-id="109679"> <div class="text-module-text text"> <p><span style="font-size: small;">Major support for&nbsp;Open Plan&nbsp;is provided by the Philip and Janice Levin Foundation and the National Committee of the Whitney Museum of American Art.</span></p> <p><span style="font-size: small;">Significant support is provided by The Brown Foundation, Inc., of Houston and Donald R. Mullen, Jr.</span></p> <p><span style="font-size: small;">Generous support is provided by Diane and Adam E. Max with additional support from Alexander S. C. Rower, Joseph Rosenwald Varet and Esther Kim Varet, and ISSUE Project Room.</span></p> <p><span style="font-size: small;">Major funding for the Whitney's Performance Program is provided by The Andrew W. Mellon Foundation, with generous support also provided by the Mertz Gilmore Foundation and the Performance Committee of the Whitney Museum of American Art.</span></p> <p class="last-child"><span style="font-size: small;">B&ouml;sendorfer 280SP concert grand piano is provided in-kind by Yamaha Artist Services, New York.</span></p> </div> </div> <p style="text-align: justify;"><span style="font-size: small;"><a name="mmi_112298"></a></span></p> <div id="mmi_112298" class="magic-module page-magic-module text-module two-thirds-width" data-id="320675" data-instance-id="112298"> <div class="text-module-text text-smaller"> <p style="text-align: justify;"><span style="font-size: small;">The curators would like to thank the following individuals for their invaluable guidance, support, and advice:</span></p> <p class="last-child" style="text-align: justify;"><span style="font-size: small;">Nicola Adriani, Yuji Agematsu, Peggy Ahwesh, Laura Aknin, Mark Amitin, Michael Anthony/Studio Caf&eacute;, Larry Appelbaum, Mikhail Baryshnikov, Robin Bell-Stevens, Charles Bernstein, Jennifer Bertani, Robert Bielecki, Francois Bonnet, Karen Borca, Emanuel Campbell, Kayla Coleman, Nena Couch, Pat Cruz, Lisa Darms, Diane Jenkins, Diedrich Diedrichsen, Jennifer Eberhardt, Amir ElSaffar, Andrea Felder, David First, Jeffrey Fraenkel, Phil Freeman, Lee Friedlander, Josh Friedman, Jost Gebers, John Gennari, Alan Green, Sasha Greene, Zev Greenfield, Margaret Davis Grimes, Mario Guidi, Tali (Chiyong) Han, Morgan Harris, Bill Imperial, Rin Ishihara, Bennett Jackson, Olivier Kaeppelin, Emily King, Cem Kurosman/Blue Note, Andrew Lampert, Angela Lawrence, Jess Lee, Steven Leiber Trust, Chantal Darcy Lette, Eyal Levi, Jeremy Liebman, Maira Liriano, John Litweiler, Davide Lorenzon, Howard Mandel, Ron Mann, Makia Matsumara/Yamaha Artistic Services, Tyler Maxim, Tommy McCutchon, The Estate of Fred W. McDarrah, Joshua McKeon, Sarah Michelson, Martin Milgrim, Jason Moran, Meredith Mowder, Jill Newman, David G. Null, Jim O&rsquo;Rourke, Veryl Oakland, Frazer Pennebaker, Sierra Pettengill, Georgiana Pickett, Benjamin Piekut, Melissa Ragona, Ozzie Rodriguez, Vernon Scott, Bill Seery, Fred Seibert, Cynthia Sesso, Alan Silva, Dominique Singer, Kathy Sloane, Libby Smigel, Kaegan Sparks, Charles Steiner, Tom Surgal, Elizabeth Surles, Ben Taylor, Sharon Vogel, Matthew Walker, Monroe Warshaw, Adam Wilner, Damian Woetzel, Matt Wolf, Billy Woodberry, Tim Wyskida, Mary Yearwood, Ben Young, and all the artists and participants.</span></p> <div class="title" style="text-align: justify;"> <h2><span style="font-size: small;">ABOUT THE ARTIST</span></h2> </div> <div class="text-module-text text-larger"> <p style="text-align: justify;"><span style="font-size: small;">Cecil Taylor (b. 1929) is a towering, sometimes divisive figure within twentieth-century music. In the early 1960s, with fellow maverick artists Ornette Coleman, Albert Ayler and others, he revolutionized jazz by extending bebop into a radical terrain dubbed the "New Thing" or "free jazz"&mdash;the latter a term with political as well as aesthetic connotations given the social changes underway at the time in America. For Taylor, freedom meant a deep synthesis of the modern composers such as B&eacute;la Bart&oacute;k and Igor Stravinsky that he encountered during his studies at the New England Conservatory of Music with the nuanced and original piano innovations of Thelonious Monk, Horace Silver, Bud Powell, and Duke Ellington, elaborated into an uncharted territory.</span></p> <p class="last-child" style="text-align: justify;"><span style="font-size: small;">Taylor has extended the potential of jazz as an art form to include an exceptionally wide range of intellectual, conceptual, and spiritual expressions. The sheer speed and percussive attack of his piano playing, its extreme density of both ideas and notes, and his complete unlocking of pitch, harmony, rhythm, and tempo to exploit their vast multiplicities has for more than fifty years left some listeners baffled or overwhelmed and others ecstatically transfixed. Whether he is playing solo piano or leading one of his bands&mdash;which he often calls "Units" to underscore the structural, almost architectural nature of their improvisations&mdash;Taylor has remained an uncompromising musical innovator of the highest order. For him, music exists in a continuum that extends to all art forms, and his work is deeply informed by the artists he loves, whether musicians, dancers, architects, or poets. His expansive view of music has led him to write poetry himself (though rarely to publish it), and to branch out into dance and theater through his own performances and by working with a remarkably broad range of collaborators including The Living Theater, Dianne McIntyre, Adrienne Kennedy, Mikhail Baryshnikov, Heather Watts, and Min Tanaka.</span></p> </div> </div> </div> Sat, 30 Apr 2016 15:58:36 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Michael Heizer - Whitney Museum of American Art - March 25th - April 10th <div id="mmi_109059" class="magic-module page-magic-module text-module two-thirds-width" data-id="317734" data-instance-id="109059"> <div class="text-module-text text-larger"> <p style="text-align: justify;">From February 26 through May 14, 2016, the Whitney Museum of American Art will present Open Plan, an experimental five-part exhibition using the Museum&rsquo;s dramatic fifth-floor as a single open gallery, unobstructed by interior walls. The largest column-free museum exhibition space in New York, the Neil Bluhm Family Galleries measure 18,200 square feet and feature windows with striking views east into the city and west to the Hudson River, making for an expansive and inspiring canvas.</p> <p class="last-child" style="text-align: justify;">Michael Heizer&rsquo;s&nbsp;(b. 1944) large-scale earth works have redefined the parameters of sculpture. He will be represented at the Whitney by his 1970 installation,&nbsp;Actual Size: Munich Rotary, a full-scale photographic documentation of the horizon from inside an 18-foot-deep hole that Heizer dug in the earth in Munich, Germany. Comprised of six black-and-white glass slide projections, six custom-made steel projectors, and six steel pipes with wood platforms, this vast projected work re-images the depression as seen from its center. This is the first time this iconic work in the Whitney&rsquo;s collection will be shown in New York.&nbsp;<br /><br />Open Plan: Michael Heizer&nbsp;is organized by Deputy Director for International Initiatives and Senior Curator Donna De Salvo and Melva Bucksbaum Associate Director for Conservation and Research Carol Mancusi-Ungaro.</p> </div> </div> <p style="text-align: justify;"><a name="mmi_109678"></a></p> <div id="mmi_109678" class="magic-module page-magic-module text-module two-thirds-width" data-id="317735" data-instance-id="109678"> <div class="text-module-text text"> <p style="text-align: justify;">Major support for&nbsp;Open Plan&nbsp;is provided by the Philip and Janice Levin Foundation and the National Committee of the Whitney Museum of American Art.</p> <p style="text-align: justify;">Significant support is provided by The Brown Foundation, Inc., of Houston, Virginia Dwan, and Donald R. Mullen, Jr.</p> <p style="text-align: justify;">Generous support is provided by Diane and Adam E. Max.</p> <p class="last-child" style="text-align: justify;">Additional support is provided by Alexander S. C. Rower, Joseph Rosenwald Varet and Esther Kim Varet, and the Performance Committee of the Whitney Museum of American Art.</p> </div> </div> Sat, 30 Apr 2016 15:55:38 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Lucy Dodd - Whitney Museum of American Art - March 17th - March 20th <div id="mmi_109053" class="magic-module page-magic-module text-module two-thirds-width" data-id="315201" data-instance-id="109053"> <div class="text-module-text text-larger"> <p style="text-align: justify;">From February 26 through May 14, 2016, the Whitney Museum of American Art will present Open Plan, an experimental five-part exhibition using the Museum&rsquo;s dramatic fifth-floor as a single open gallery, unobstructed by interior walls. The largest column-free museum exhibition space in New York, the Neil Bluhm Family Galleries measure 18,200 square feet and feature windows with striking views east into the city and west to the Hudson River, making for an expansive and inspiring canvas.</p> <p style="text-align: justify;">Lucy Dodd&nbsp;(b. 1981) turns the gallery into a site of artistic exploration and live action for herOpen Plan&nbsp;presentation. Before the exhibition opens to the public, Dodd will create a new large-scale painting utilizing unusual materials like fermented walnuts, kombucha scoby, hematite, yerba mate, and pigments she has collected in her travels. The new painting will be surrounded by recently made shaped canvases that are intended to evoke sails or waves and respond to the gallery&rsquo;s river views. By bringing her studio activities into the gallery and inviting musicians to perform, Dodd fosters what she calls &ldquo;a space of ritual action and improvisation demanding a longer and broader engagement on the part of the audience.&rdquo;</p> <p class="last-child" style="text-align: justify;">Open Plan: Lucy Dodd&nbsp;is organized by associate curator Christopher Y. Lew.</p> </div> </div> <p style="text-align: justify;"><a name="mmi_109677"></a></p> <div id="mmi_109677" class="magic-module page-magic-module text-module two-thirds-width" data-id="315577" data-instance-id="109677"> <div class="text-module-text text"> <p style="text-align: justify;">Major support for&nbsp;Open Plan&nbsp;is provided by the Philip and Janice Levin Foundation and the National Committee of the Whitney Museum of American Art.</p> <p style="text-align: justify;">Significant support is provided by The Brown Foundation, Inc., of Houston and Donald R. Mullen, Jr.</p> <p style="text-align: justify;">Generous support is provided by Diane and Adam E. Max.</p> <p class="last-child" style="text-align: justify;">Additional support is provided by Alexander S. C. Rower, Joseph Rosenwald Varet and Esther Kim Varet, and the Performance Committee of the Whitney Museum of American Art.</p> </div> </div> Sat, 30 Apr 2016 15:53:12 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Andrea Fraser - Whitney Museum of American Art - February 26th - March 13th <div id="mmi_109047" class="magic-module page-magic-module text-module two-thirds-width" data-id="314073" data-instance-id="109047"> <div class="text-module-text text-larger"> <p style="text-align: justify;">From February 26 through May 14, 2016, the Whitney Museum of American Art will presentOpen Plan, an experimental five-part exhibition using the Museum&rsquo;s dramatic fifth-floor as a single open gallery, unobstructed by interior walls. The largest column-free museum exhibition space in New York, the Neil Bluhm Family Galleries measure 18,200 square feet and feature windows with striking views east into the city and west to the Hudson River, making for an expansive and inspiring canvas.</p> <p style="text-align: justify;">Andrea Fraser&rsquo;s&nbsp;(b. 1965) provocative work spans performance, institutional critique, video, and audience engagement.&nbsp;Open Plan: Andrea Fraser&nbsp;will present her site-specific project,Down the River, which uses audio recorded at a correctional facility to bridge the social, cultural, and geographic divide separating museums from correctional facilities. Since the mid-1970s, the United States has seen a parallel boom in museum and prison construction, with some states, such as &nbsp;New York, recently reversing this trend with prison closures. Fraser&rsquo;s sound installation seeks to reflect on the parts we play in sustaining these disparate institutions.<br /><br />Public seminars on&nbsp;Down the River&nbsp;occur daily on the third floor: Monday&ndash;Friday at 2 pm; Saturdays and Sundays at 1 pm.</p> <p class="last-child" style="text-align: justify;">Open Plan: Andrea Fraser&nbsp;is organized by Deputy Director for Programs and Nancy and Steve Crown Family Chief Curator Scott Rothkopf and assistant curator Laura Phipps.</p> </div> </div> <p style="text-align: justify;"><a name="mmi_109676"></a></p> <div id="mmi_109676" class="magic-module page-magic-module text-module two-thirds-width" data-id="315582" data-instance-id="109676"> <div class="text-module-text text"> <p style="text-align: justify;">Major support for&nbsp;Open Plan&nbsp;is provided by the Philip and Janice Levin Foundation and the National Committee of the Whitney Museum of American Art.</p> <p style="text-align: justify;">Significant support is provided by The Brown Foundation, Inc., of Houston and Donald R. Mullen, Jr.</p> <p style="text-align: justify;">Generous support is provided by Diane and Adam E. Max.</p> <p class="last-child" style="text-align: justify;">Additional support is provided by Alexander S. C. Rower, Joseph Rosenwald Varet and Esther Kim Varet, and the Performance Committee of the Whitney Museum of American Art.</p> </div> </div> Sat, 30 Apr 2016 15:49:14 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list June Leaf - Whitney Museum of American Art - April 27th - July 17th <div id="mmi_109642" class="magic-module page-magic-module text-module two-thirds-width" data-id="320614" data-instance-id="109642"> <div class="text-module-text text-larger"> <p style="text-align: justify;">For nearly seven decades, June Leaf (b. 1929) has created a deeply imagined world of unreal creatures and settings that metaphorically probe the human condition. She has worked in a long tradition of visionary art, one especially prominent in the work of the Symbolists of the nineteenth century and which has continued more recently with Surrealism and beyond. Born in Chicago, Leaf developed a connection in the 1950s to an important artistic group in the city, Monster Roster, who explored expressive figuration and had an interest in mythic narratives. She moved to New York in 1960 and established a studio in the remote town of Mabou, Nova Scotia, around the same time. Her style has evolved as she has expanded her range of materials over the years, while steadfastly mining and extending her canon of symbols and archetypes.</p> <p style="text-align: justify;">This presentation focuses primarily on Leaf&rsquo;s works on paper and spans her entire career. The dense installation is meant to evoke the atmosphere of her studios, in which she works seamlessly in multiple mediums. Indeed, painting, sculpture, drawing, photography, and collage effortlessly coalesce as the artist creates and develops her imagery from one surface or object to the next. Her technique reflects her interest in transformation and metamorphosis, with many of her pieces seeming to capture a moment seized out of a state of flux.</p> <p class="last-child" style="text-align: justify;">June Leaf: Thought Is Infinite&nbsp;is organized by Carter E. Foster, Steven and Ann Ames Curator of Drawing, with artist Alice Attie.<br /><br />The exhibition will be on view through July 17, 2016 in the John R. Eckel, Jr. Foundation Gallery, on the Museum's first floor, which is accessible to the public free-of-charge.</p> </div> </div> <p><a name="mmi_110908"></a></p> <div id="mmi_110908" class="magic-module page-magic-module verbatim-module two-thirds-width" data-id="12422" data-instance-id="110908"> <div class="text-module-text"> <p class="last-child">Major support for&nbsp;June Leaf: Thought Is Infinite&nbsp;is provided by the John R. Eckel, Jr. Foundation.</p> </div> </div> Sat, 30 Apr 2016 15:46:40 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Steve McQueen - Whitney Museum of American Art - April 29th - May 14th <div id="mmi_109071" class="magic-module page-magic-module text-module two-thirds-width" data-id="321060" data-instance-id="109071"> <div class="text-module-text text-larger"> <p style="text-align: justify;">From February 26 through May 14, 2016, the Whitney Museum of American Art will present Open Plan, an experimental five-part exhibition using the Museum&rsquo;s dramatic fifth-floor as a single open gallery, unobstructed by interior walls. The largest column-free museum exhibition space in New York, the Neil Bluhm Family Galleries measure 18,200 square feet and feature windows with striking views east into the city and west to the Hudson River, making for an expansive and inspiring canvas.<br /><br />Steve McQueen&nbsp;(b. 1969) is a visual artist and filmmaker, whose films include&nbsp;Hunger,Shame, and&nbsp;12 Years a Slave, which won the Academy Award for Best Picture. McQueen&rsquo;s project for&nbsp;Open Plan&nbsp;will center on a newly expanded version of his work&nbsp;End Credits, which presents documents from the FBI file kept on the legendary African-American performer Paul Robeson.&nbsp;<br /><br />In conjunction with&nbsp;End Credits, McQueen will be exhibiting&nbsp;Moonlit&nbsp;(2016), a recently created sculptural work which is being shown for the first time in the U.S.&nbsp;Moonlit&nbsp;will be on view in the adjacent Kaufman Gallery during&nbsp;Open Plan: Steve McQueen.&nbsp;</p> <p class="last-child" style="text-align: justify;">Open Plan: Steve McQueen&nbsp;is organized by Deputy Director for International Initiatives and Senior Curator Donna De Salvo, with curatorial assistant Christie Mitchell.</p> </div> </div> <p style="text-align: justify;"><a name="mmi_109680"></a></p> <div id="mmi_109680" class="magic-module page-magic-module text-module two-thirds-width" data-id="321061" data-instance-id="109680"> <div class="text-module-text text"> <p style="text-align: justify;">Major support for&nbsp;Open Plan&nbsp;is provided by the Philip and Janice Levin Foundation and the National Committee of the Whitney Museum of American Art.</p> <p style="text-align: justify;">Significant support is provided by The Brown Foundation, Inc., of Houston and Donald R. Mullen, Jr.</p> <p style="text-align: justify;">Generous support is provided by Diane and Adam E. Max.</p> <p class="last-child" style="text-align: justify;">Additional support is provided by Alexander S. C. Rower, Joseph Rosenwald Varet and Esther Kim Varet, and the Performance Committee of the Whitney Museum of American Art.</p> </div> </div> Sat, 30 Apr 2016 15:41:25 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Thornton Dial - Marianne Boesky Gallery 24th St. - April 30th - June 18th <p class="p1" style="text-align: justify;">Marianne Boesky Gallery is pleased to present We All Live Under the Same Old Flag, an exhibition of paintings by Thornton Dial. Created across the last two decades, the featured works highlight Dial&rsquo;s engagement with contemporary social and political issues such as poverty, homelessness, and war. The exhibition is the first in New York since the artist&rsquo;s passing earlier this year, and follows the recent solo exhibition of his works on paper at the gallery&rsquo;s former Upper East Side space. It will be on view April 30 &ndash; June 18, 2016, at 509 W. 24th Street, New York.</p> <p class="p1" style="text-align: justify;">Through his art, Dial revealed the stories of those living in the rural south, highlighting the experiences and tensions among those of different class, race, and economic power over the last seven decades. In the latter part of his career, Dial pushed his perspective and work outward, choosing to connect with and interpret a more universal and contemporary history. We All Under the Same Old Flag explores this conceptual and aesthetic transition, and emphasizes Dial&rsquo;s ability to capture a broader, national consciousness on the canvas.</p> <p class="p1" style="text-align: justify;">A self-taught artist, Dial began constructing sculpture and assemblage with found scrap materials and objects from his job as a metalworker. He transformed old tires, chains, twigs, and rusted-tools, forming the foundation for his artistic practice for years to come. His highly textured wall reliefs, paintings, and gestural works on paper often employed a secret language of symbols that convey strength, survival, and freedom--important to the dialogue of the black experience. Dial also incorporated ideas and techniques from African-American quilt-making traditions, noticeable through the shape and scale of certain work, the incorporation of woven materials and used-clothing, and grid-like compositions. Overall, the identity of the &ldquo;outsider&rdquo; and the remembrance of a dark American past were essential histories for Dial to put forth visually.</p> <p class="p1" style="text-align: justify;">As Dial began to tackle wider national histories of oppression and contemporary issues of freedom and equality, his work became more simplified in form and color palette and took on a more pluralist vision. In the days and months after the attacks on September 11, 2001, for instance, the artist worked fervently on largescale paintings and sculptures, trying to capture a nation&rsquo;s emotion and position at the time. The resulting works incorporate elements of past approaches, but are more scaled and focused in their composition. More recent paintings, such as We all Live Under the Same Old Flag (2008) and American Orange Show (2007) similarly convey Dial as the politically-minded, self-reflective artist he has always been, but with a different, perhaps more proud sensibility.</p> <p class="p1" style="text-align: justify;">Thornton Dial (B. Emelle, AL, 1928, D. McCalla, AL, 2016) has had solo exhibitions at the Museum of Fine Arts, Houston (2005); the New Museum of Contemporary Art, New York (1993); and the American Folk Art Museum, New York (1993). His solo exhibition at the Indianapolis Museum of Art (2011) traveled to the New Orleans Museum of Art (2012), Mint Museum of Art, Charlotte (2012), and High Museum of Art, Atlanta (2013). His work is included in many important permanent collections including the Metropolitan Museum of Art, New York; Philadelphia Museum of Art, Philadelphia; Hirshhorn Museum and Sculpture Garden, Washington D.C.; and the Museum of Modern Art, New York.</p> Sat, 30 Apr 2016 06:26:29 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Gert & Uwe Tobias - Team Gallery - Grand St - May 5th - June 5th <div style="text-align: justify;">Team (gallery, inc.) is pleased to announce a solo show by Romanian-born, Cologne-based artists Gert &amp; Uwe Tobias. Entitled&nbsp;<em>Drawings and Sculptures,&nbsp;</em>the exhibition will run from&nbsp;05 May to 05 June 2016. Team (gallery, inc.) is located at 83 Grand Street, between Greene and Wooster, on the ground floor. Concurrently, our Venice Beach space will house a solo show by Tabor Robak.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Gert &amp; Uwe Tobias are twin brothers who work collaboratively in a variety of media. While perhaps best known in New York for their woodcut prints and collages, for this exhibition they present a series of five drawings on black-painted paper, alongside three substantial ceramic sculptures. The works in the show refer obliquely to divergent genres and moments from Art History, erasing hierarchical and temporal classification and partition via the seamless blurring and solution of their various visual inspirations and reference material.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Each of this show's large-format works on paper features a semi-symmetrical center composition, combining elements of phantasmagorical figuration and architectural and graphic design with geometric abstraction. Executed in pastel crayon, they are adhered directly to the gallery walls, precluding visual interference with their delicate line work. The shadowy rendering and eerie palette choices - light blues and whites on the black surfaces - imbues the pictures' chimerical forms with a spectral quality. The absence of framing further enhances the works' ghostly character, effecting a feeling of floating insubstantiality and bodily divestment. &nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Three sculptures sit atop pedestals interspersed throughout the gallery. The unified body ceramics are busts - distorted humanoid and avian faces, adorned with sunken relief floral patterns. The three-dimensional works, in their physicality, provide counterpoint and tension to the ethereality and self-conscious flatness of the wall works. In employing a classical mode of portraiture - the sculptural bust - the Tobias Brothers explicate a core conceptual facet of their artistic project: the corporeal realization of internal, private images and shared subconscious narratives. Without specifically referencing mythological archetypes, the works activate a nebula of folkloric associations in the viewer and breathe life into our common lexicon of the otherworldly and mysterious.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">The Tobias Brothers' work has always been deeply informed by Eastern European folk art. The artists spent the early parts of their lives in rural Romania, where they were immersed in the local traditions that now provide a foundational cornerstone of their practice. Certain elements of the drawings and sculptures - the floral patterning, the vases and furniture, the fantastical creatures - evidence a direct lineage from those popular arts; however, in the Brothers' hands, these ordinarily quaint forms appear strikingly contemporary, transformed by the willfully anachronistic context and their m&eacute;lange of temporally diverse influences.&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">While assemblage and Art Historical reference are central facets of the Tobias' work, the pieces are never directly appropriative. Theirs is a practice of paraphrase rather than quotation, drawing upon an expansive and deeply ingrained base of shared knowledge. The genesis of the large two-dimensional works begins in a period of exploratory sketching, the products of which are then collaged and exactingly transposed onto swaths of black-painted paper. The resultant images employ a mysterious but highly consistent visual vocabulary, constituent elements of a larger private language, discernable and accessible to viewers, but understood by the twin brothers alone.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Many of the drawings' formal elements recall Early Modernist painting - in particular, the spiritual geometry of Wassily Kandinsky. Like the founding abstractionist, the artists create and manipulate rectilinear and curvilinear shapes in a manner neither mathematical nor objective, instead dictated by the observer's perspective. The works' planes, while indifferent to the rules of geometry, are composed according to a wholly subjective but easily legible internal logic.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">While the Tobiases employ certain structures associated with abstraction, the works in this exhibition are predominately figurative. Although they are evidently and emphatically non-mimetic, most of the shapes contained in the work have real-world referents. Like the surrealist pioneer Max Ernst, the Brothers pursue a familiar unreal by amalgamating disparate kinds of form - evoking the animal, the architectural, the human, the floral - into single cohesive entities. Their metamorphic relationship to reality can also be likened to that of the multidisciplinary artist Oskar Schlemmer, whose work transfigured bodies into elements of geometric scenery.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Disembodied human limbs - in particular arms and hands - appear recurrently in the drawings. The fingers are always positioned evocatively, alluding to but never directly conjuring the symbolic power of specific hand gestures in Medieval and Renaissance painting. The lithe, vigorous body parts frequently emerge from non-organic forms - a vase, for example, or a chair - to disturbing effect. In this aspect, the works recall the life-sized, anatomically apocryphal dolls of Hans Bellmer, who exploited viewers' discomfort with the union of the living and the inanimate.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">All of the drawings, to varying degrees, contain pale linework that serves to suggest an architecturally spatial setting. The repetition of thin, vertical white lines directly signify the influence of Francis Bacon - in particular, his 45 studies after Diego Vel&aacute;squez'&nbsp;<em>Portrait of Pope Innocent X.</em>&nbsp;Like those paintings, the Brothers' works seek to destabilize the conception of subject and non-subject, of background and foreground, as distinct - instead rendering the whole picture a unified flat field, in which everything, even the elements that imitate linear perspective and suggest dimensionality, are elements of a single contiguous image.&nbsp;</div> <div style="text-align: justify;">This is the Tobias Brothers' fourth solo show at Team. They have been the subject of museum solos at Kunstmuseum Bonn; Museum Dhondt-Dhaenens, Belgium; FRAC Auvergne; GEM Museum of Contemporary Art, The Hague; Hammer Museum, Los Angeles; Museum of Modern Art, New York; Museum Morsbroich, Leverkusen; Whitechapel Gallery, London; and Kunsthalle Wien.</div> Thu, 28 Apr 2016 10:26:02 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Mario Merz - Sperone Westwater - April 29th - June 18th Wed, 27 Apr 2016 22:07:45 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list - Edward Thorp Gallery - April 30th - June 4th <p class="p1" style="text-align: center;">&nbsp;</p> <p class="p1">&nbsp;</p> <p class="p1">&nbsp;</p> Wed, 27 Apr 2016 21:37:44 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Nicole Eisenman - New Museum - May 12th 7:00 PM - 8:00 PM <p style="text-align: justify;">Join us for a special conversation between artist Nicole Eisenman and Massimiliano Gioni, Artistic Director of the New Museum. The pair will discuss&nbsp;<a href="http://www.artslant.com/ny/events/show/416836-al-ugh-ories" target="_blank">&ldquo;Nicole Eisenman: Al-ugh-ories,&rdquo;</a>&nbsp;the first New York museum survey exhibition of Eisenman&rsquo;s work, which will be presented at the New Museum. The show will provide an in-depth look at the symbolic nature of the artist&rsquo;s most striking depictions of individuals and groups&mdash;from intimate portraits to more complex narrative scenes&mdash;and will highlight how allegory permeates Eisenman&rsquo;s oeuvre as she fluidly ties the fictional to the autobiographical and the past to the present.</p> <p style="text-align: justify;">One of the most important painters of her generation, Eisenman has developed a distinct figurative language that combines the imaginative with the lucid, the absurd with the banal, and the stereotypical with the countercultural and queer. From the outset of her career, Eisenman&rsquo;s investment in painting has led to frequent experimentation in other mediums, and her practice is characterized by visible shifts that mark her effort never to become too comfortable with any one approach to painting. Eisenman&rsquo;s preoccupation with the figure and the complexity of its gestures and form has resulted in mesmerizing portraits of an array of characters who range from friends and fellow New Yorkers, to imagined heroines, to tragic losers.</p> <p style="text-align: justify;"><strong>About the Artist</strong><br />Nicole Eisenman was born in Verdun, France, in 1965 and lives and works in New York. In 2014 the Contemporary Art Museum St. Louis mounted a major exhibition of her work, &ldquo;Dear Nemesis, Nicole Eisenman 1993&ndash;2013,&rdquo; which traveled to the Institute of Contemporary Art, Philadelphia, in late 2014 and to the Museum of Contemporary Art San Diego in 2015. Additional solo presentations of her work have taken place at the Jewish Museum, New York (2015); the Berkeley Art Museum and Pacific Film Archive, CA (2013); Studio Voltaire, London (2012); the Katzen Arts Center, American University, Washington, DC (2011); the Frances Young Tang Teaching Museum and Art Gallery, Skidmore College, Saratoga Springs, NY (2009); and Kunsthalle Z&uuml;rich (2007). Her work was included in Manifesta 10, St. Petersburg (2014); the 2013 Carnegie International, Pittsburgh; the Whitney Biennial, New York (2012 and 1995); and Prospect.2 New Orleans (2011). Eisenman&rsquo;s work has been featured in numerous recent group exhibitions at institutions including the Whitney Museum of American Art, New York (2015); the Museum of Modern Art, New York (2014); the Reva and David Logan Center for the Arts, University of Chicago (2014); the Contemporary Arts Museum Houston (2014); the New Museum, New York (2013); and the San Francisco Museum of Modern Art (2011). Eisenman is a 2015 MacArthur Fellow.</p> <p style="text-align: justify;">&nbsp;</p> <div class="bottom-entry"> <h3 style="text-align: justify;">Sponsors</h3> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>Exhibition Supporters</strong></p> <p style="text-align: justify;">Full support for &ldquo;Nicole Eisenman: Al-ugh-ories&rdquo; can be viewed here.</p> <p style="text-align: justify;"><strong>Education Supporters</strong></p> <p style="text-align: justify;">Exhibition-related programs are made possible, in part, through the support of the New York State Council on the Arts and the New York City Department of Cultural Affairs.</p> <p style="text-align: justify;"><img src="http://235bowery.s3.amazonaws.com/images/1333/thumbnails/792x792x1.jpg" alt="" width="300" height="61" /></p> <p style="text-align: justify;">Education and community programs for the spring shows are supported, in part, by American Chai Trust.</p> <p style="text-align: justify;">Generous endowment support is provided by the Rockefeller Brothers Fund, the Skadden, Arps Education Programs Fund, and the William Randolph Hearst Endowed Fund for Education Programs at the New Museum.</p> </div> Wed, 27 Apr 2016 18:49:34 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Nicole Eisenman - New Museum - May 4th - June 26th <p style="text-align: justify;">The New Museum will present the first New York survey show of the work of Nicole Eisenman (b. 1965, Verdun, France).</p> <div id="about" class="anchors" style="text-align: justify;"> <div class="section"> <div class="inner clearfix"> <div class="content"> <div class="body body--truncated body--expanded"> <p>This show will mark the first New York museum survey exhibition of Eisenman&rsquo;s work and will provide an in-depth look at the symbolic nature of the artist&rsquo;s most striking depictions of individuals and groups&mdash;from intimate portraits to more complex narrative scenes. One of the most important painters of her generation, Eisenman (b. 1965, Verdun, France) has developed a distinct figurative language that combines the imaginative with the lucid, the absurd with the banal, and the stereotypical with the countercultural and queer. &ldquo;Nicole Eisenman: Al-ugh-ories&rdquo; will highlight how allegory permeates her oeuvre and how she fluidly ties the fictional to the autobiographical and the past to the present.</p> <p>From the outset of her career, Eisenman&rsquo;s investment in painting has led to frequent experimentation in other mediums, and her practice is characterized by visible shifts that mark her effort never to become too comfortable with any one approach to painting. Eisenman&rsquo;s preoccupation with the figure and the complexity of its gestures and form has resulted in mesmerizing portraits of an array of characters who range from friends and fellow New Yorkers, to imagined heroines, to tragic losers. From Success to&nbsp;<em>Obscurity</em>&nbsp;(2004) depicts a monstrous superhero contemplating the contents of a letter it holds in its hands and alludes, perhaps, to the fragility of fame and fortune. In&nbsp;<em>Hamlet</em>&nbsp;(2007), a depiction of Shakespeare&rsquo;s beautiful and frail Danish prince with lowered sword, Eisenman ponders the possibility of a sensitive and cautious leader at a time when the US was in the final year of George W. Bush&rsquo;s presidency. Similarly inspired by contemporary events, the large group portrait&nbsp;<em>The Triumph of Poverty</em>&nbsp;(2009), painted in the aftermath of the 2008 financial crisis, is a reimagining of a lost sixteenth-century painting of the same title by Hans Holbein. &ldquo;Nicole Eisenman: Al-ugh-ories&rdquo; will also include one of the artist&rsquo;s large-scale plaster figures, which she began producing in recent years, and two new oversize wax heads made specifically for this exhibition.</p> <p>In her often-narrative compositions Eisenman draws as much from art history as from popular culture, and her works, while accessible and humorous, occasionally yield critical and poignant images of contemporary life. Eisenman freely references painters as varied as Giotto, Francisco de Goya, Paul C&eacute;zanne, Pablo Picasso, and Edvard Munch, but uses wit and irreverence to undermine historical hierarchies and to make her depictions of familiar events such as eating, sleeping, walking, or making love appear distinctly contemporary. While Eisenman&rsquo;s subjects and narratives have always been in conversation with their time, her work remains timeless and captivating because of her ability to portray the essence of human desire as equally raw and awkward.</p> <p>Nicole Eisenman was born in Verdun, France, in 1965 and lives and works in New York. In 2014 the Contemporary Art Museum St. Louis mounted a major exhibition of her work, &ldquo;Dear Nemesis, Nicole Eisenman 1993&ndash;2013,&rdquo; which traveled to the Institute of Contemporary Art, Philadelphia, in late 2014 and to the Museum of Contemporary Art San Diego in 2015. Additional solo presentations of her work have taken place at the Jewish Museum, New York (2015); the Berkeley Art Museum and Pacific Film Archive, CA (2013); Studio Voltaire, London (2012); the Katzen Arts Center, American University, Washington, DC (2011); the Frances Young Tang Teaching Museum and Art Gallery, Skidmore College, Saratoga Springs, NY (2009); and Kunsthalle Z&uuml;rich (2007). Her work was included in Manifesta 10, St. Petersburg (2014); the 2013 Carnegie International, Pittsburgh; the Whitney Biennial, New York (2012 and 1995); and Prospect.2 New Orleans (2011). Eisenman&rsquo;s work has been featured in numerous recent group exhibitions at institutions including the Whitney Museum of American Art, New York (2015); the Museum of Modern Art, New York (2014); the Reva and David Logan Center for the Arts, University of Chicago (2014); the Contemporary Arts Museum Houston (2014); the New Museum, New York (2013); and the San Francisco Museum of Modern Art (2011). Eisenman is a 2015 MacArthur Fellow.</p> <p>The exhibition is curated by Helga Christoffersen, Assistant Curator, and Massimiliano Gioni, Artistic Director. It will be accompanied by a fully illustrated publication that will include an interview with the artist conducted by Gioni and Christoffersen, a new essay on Eisenman&rsquo;s practice by writer Grace Dunham, and a contribution by poet Eileen Myles.</p> <div id="sponsors">&nbsp;</div> </div> </div> </div> </div> </div> <div class="section"> <div class="inner"> <div class="content clearfix"> <div class="col-twothirds sponsors-col"> <h2 style="text-align: justify;">Sponsors</h2> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">&ldquo;Nicole Eisenman: Al-ugh-ories&rdquo; is presented by The New Women&rsquo;s Project and Founding Partner D K N Y.<br /><br /><img src="http://235bowery.s3.amazonaws.com/images/1338/thumbnails/792x792x1.jpg" alt="" width="150" height="47" /><br /><br />Additional support for the exhibition is provided by the O&rsquo;Grady Foundation, Fundaci&oacute;n Almine y Bernard Ruiz-Picasso para el Arte, Martin and Rebecca Eisenberg, and the Toby Devan Lewis Emerging Artists Exhibitions Fund.<br /><br />Generous funding is provided by the International Council of the New Museum.<br /><br />The Artemis Council of the New Museum is gratefully acknowledged.<br /><br />Support for the accompanying publication has been provided by the J. McSweeney and G. Mills Publications Fund at the New Museum.<br /><br />Special thanks to Susanne Vielmetter Los Angeles Projects and Anton Kern Gallery, New York.</p> </div> </div> </div> </div> Wed, 27 Apr 2016 18:48:40 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Goshka Macuga - New Museum - May 5th 7:00 PM - 8:00 PM <p style="text-align: justify;">Join us for a special conversation between artist Goshka Macuga and Margot Norton, Associate Curator at the New Museum. The pair will discuss&nbsp;<a href="http://www.artslant.com/ny/events/show/416830-time-as-fabric" target="_blank">&ldquo;Goshka Macuga: Time as Fabric,&rdquo;</a>&nbsp;the first New York museum exhibition of work by the London-based artist, which will be presented at the New Museum. Macuga and Norton will use this presentation&mdash;which brings together a selection of the artist&rsquo;s recent projects, including five of her tapestries and a theatrical environment&mdash;as an opportunity to discuss some of the persistent concerns of her work to date.</p> <p style="text-align: justify;">Macuga&rsquo;s practice typically applies in-depth historical and archival research to an interest in the evolving relationships among artists, institutions, politics, and communities. Her works investigate how art can be used to voice current concerns, rouse public debate, and inspire social change. Within her images and installations, she unearths associations between different actors (people, objects, and sites), which, in many cases, problematize the ways that different organizations engage their publics and are shaped by socioeconomic and cultural developments. Throughout her career, Macuga&rsquo;s work has embraced diverse mediums including sculpture, installation, architecture, and design. The content and format of her projects are often determined by the specific institutional contexts in which her work is shown.</p> <p style="text-align: justify;"><strong>About the Artist</strong><br />Goshka Macuga was born in 1967 in Warsaw, Poland, and lives and works in London. Her solo exhibitions include &ldquo;To the Son of Man Who Ate the Scroll&rdquo; at Fondazione Prada, Milan (2016); &ldquo;Public Address: Goshka Macuga Tapestries&rdquo; at Lunds konsthall, Lund, Sweden (2014); &ldquo;Exhibit, A&rdquo; at the Museum of Contemporary Art, Chicago (2012); &ldquo;Untitled&rdquo; at the Zachęta National Gallery of Art, Warsaw (2011); &ldquo;It Broke from Within&rdquo; at the Walker Art Center, Minneapolis, MN (2011); &ldquo;The Nature of the Beast&rdquo; at Whitechapel Gallery, London (2009); and &ldquo;I am Become Death&rdquo; at Kunsthalle Basel, Switzerland (2009). Macuga&rsquo;s work was recently included in the 8th Berlin Biennial for Contemporary Art (2014); dOCUMENTA (13), Kassel, Germany, and Kabul, Afghanistan (2012); and &ldquo;Fare Mondi/Making Worlds,&rdquo; the 53rd Venice Biennale (2009). Macuga was nominated for the Turner Prize in 2008.</p> <p style="text-align: justify;">&nbsp;</p> <div class="bottom-entry"> <h3 style="text-align: justify;">Sponsors</h3> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>Exhibition Supporters</strong></p> <p style="text-align: justify;">Full support for &ldquo;Goshka Macuga: Time as Fabric&rdquo; can be viewed&nbsp;<a href="http://www.newmuseum.org/exhibitions/view/goshka-macuga#sponsors">here</a>.</p> <p style="text-align: justify;"><strong>Education Supporters</strong></p> <p style="text-align: justify;">Exhibition-related programs are made possible, in part, through the support of the New York State Council on the Arts and the New York City Department of Cultural Affairs.</p> <p style="text-align: justify;"><img src="http://235bowery.s3.amazonaws.com/images/1334/thumbnails/792x792x1.jpg" alt="" width="300" height="61" /></p> <p style="text-align: justify;">Education and community programs for the spring shows are supported, in part, by American Chai Trust.</p> <p style="text-align: justify;">Generous endowment support is provided by the Rockefeller Brothers Fund, the Skadden, Arps Education Programs Fund, and the William Randolph Hearst Endowed Fund for Education Programs at the New Museum.</p> </div> Wed, 27 Apr 2016 18:41:20 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list