ArtSlant - Current exhibits en-us 40 Julie Langsam - 532 Gallery Thomas Jaeckel - April 11th, 2013 - May 25th, 2013 <p>This exhibition features several recent paintings from Langsam’s long-running series of banded montages that set nearly monochromatic, tightly rendered views of iconic modernist buildings on top of a band of gridded abstract motifs inspired by classic modernist paintings and beneath ominously lit skies that invoke Romantic landscape painting.  The skies are, in fact, loose renderings (rather than transcriptions) of skies from Hudson River landscape painting, but they also uncannily recall the pre-Romantic Baroque skies of Giovanni Lanfranco (1582-1647), who himself anticipated Goya in his St. Augustine cycle.  This circuitous route of painterly iconography underscores Langsam’s own “passion” for painting and Modernism, where even Romanticism is revealed to be a construct with foundations appearing close to two centuries earlier than what is held to be its historical moment.</p> <p>The three spaces in her paintings are thematically linked and illusionistically self-cancelling.  The “landscape” is pure design, the “photographic” Corbusier or Neutra house refuses to be illuminated by either the pattern below or the ominous atmosphere above.  Langsam has described this conflicted space as a “ ‘nowhere’ – which can only exist in the fiction/reality of painting.” For Langsam, this “nowhere” is symptomatic of our desire for unrealizable sublimities proposed by Modernist ideals.  At the same time, she regards herself as just a susceptible to these same desires.  A lapsing Modernist, Langsam trades a narrow purity for enriching irony, while refusing to relinquish an ambition for a formal beauty and movement. Painting, for Langsam is a visual site for negotiating with her faith and disappointment.  Like a good <em>nouveau realisme</em> film, her paintings are funny, sad, and grand.</p> Mon, 20 May 2013 12:37:26 +0000 F.N. Souza, N. S. Bendre, Bikash Bhattacharjee, Ganesh Haloi, M. F. Husain, George Keyt, S. H. Raza, K.G. Subramanyan - Aicon Gallery - New York - March 13th, 2013 - May 5th, 2013 Sun, 05 May 2013 03:43:56 +0000 - Aicon Gallery - New York - March 13th, 2013 - May 5th, 2013 <p>Pre-Modern Masterpieces</p> Sun, 05 May 2013 03:44:46 +0000 Joan Semmel - Alexander Gray Associates - April 17th, 2013 - May 25th, 2013 <p>Joan Semmel (b. New York, 1932) studied at the Cooper Union, Pratt Institute and the Art Student’s League of New York. She began her painting career in Spain and South America in the 1960s. In the early 1970s, she returned to New York, where her practice turned towards figurative paintings, many with erotic themes, in response to pornography, popular culture, and concerns around representation. Her museum shows include: <i>Shifting the Gaze</i> at the Jewish Museum (2010); <i>Rebelle</i> at the Museum of Modern Art Arnhem, The Netherlands (2009); <i>Solitaire: Lee Lozano, Sylvia Plimack Mangold, Joan Semmel</i> at the Wexner Center for the Arts, Columbus, OH (2008); and the touring exhibition <i>WACK! Art and the Feminist Movement</i>, MoCA, Los Angeles (2007).<br /> <br /> Semmel's paintings are part of the permanent collections of the Museum of Fine Arts, Houston; the Blanton Museum, Austin, TX; Orange County Museum of Art, CA; Chrysler Museum, Norfolk, VA; National Museum of Women in the Arts, Washington, DC; The Parrish Art Museum, Southampton, NY; the Jocelyn Art Museum, Omaha, NE; the Jewish Museum, New York; and the Brooklyn Museum.
 She is the recipient of numerous grants, including Anonymous Was a Woman and the National Endowment for the Arts awards. She is Professor Emeritus of Painting at Rutgers University.<br /> <br /> About her work, Semmel has noted, “Much of the revolutionary nature of Feminist art has been a seeking for new forms to invent a voice free of the dominant patriarchal tradition of the past. I have tried to find a contemporary language in which I could retain my delight in the sensuality and pleasure of painting, and still confront the particulars of my own personal experience as a woman. My intention has been to subvert the tradition of the passive female nude. The issues of the body from desire to aging, as well as those of identity and cultural imprinting have been at the core of my concerns. Sexuality for women has changed radically in the last century, and the possibility for female autonomy is connected to these changes.”</p> Mon, 25 Mar 2013 22:39:28 +0000 Anne Harris - Alexandre Gallery - April 6th, 2013 - May 11th, 2013 <p>The gallery is pleased to present an exhibition of new paintings and related drawings by Anne Harris.  Included are a series of six medium-sized self-portrait oil paintings, related pastel and Mylar drawings and two earlier works.  This is Harris’s third one-person show with the gallery. </p> <p>In her new self-portraits, Harris shows us, in a manner that is both brutal and liberating, the physical and emotional consequences of middle-age for women. The youthful curve between her waist and hips is gone and her belly fat is starting to fold over her hips. Her breasts flatten and sag, having completed their youthful functions. Her skin is transparent and has lost its elasticity, veins are more pronounced. Her face is pale in some works and, in others, it is flushed and blotchy. Some of these changes are suggested in the titles Harris gives these portraits including <em>Pink Face</em> and <em>Invisible</em>. The latter refers not only to the fact that women become physically transparent as they age—thin skin and white hair—but they also become invisible because they no longer carry the signs of youth, youth being what is sought and seen today.</p> <p>Harris’s body in her self-portraits, signals what might be understood as the beginning of the process of a woman’s physical demise, starting with the loss of her ability to create new life. Harris’s paintings, however, are not about lamenting these losses. In fact, as is emphasized by the title and content of two other self-portraits tentatively titled <em>Pale Angel</em> and <em>Angel, </em>she seems quite ready to accept the fact that her body, having performed its earthly purpose of conveying life is transforming, readying itself for a new phase.  Harris’s paintings, however, do not dwell on the fact of death but rather find in it a release, a semblance of freedom, perhaps even a different kind of birth. This can be seen in the fact that, while physically grounded in their body’s solidity, the heads and elongated necks of these figures—slightly smaller in proportion to the bodies—appear to hover above their bodies, contributing to a spectral quality in these works. Her expressions in these works register confidence, resolve, and poise, and in <em>Invisible resized</em>, we glimpse a slight smile. These figures seem to possess knowledge or a state of consciousness that exists beyond the realm of the ordinary.  Her figures appear to emerge from thin air and, despite their physicality, exist in a state and space of suspension.</p> <p>            Harris was born in 1963 and received an M.F.A. in from Yale.  She has exhibited her work in Chicago, New England and New York.  In 2003 her work was the subject of a mid-career survey at Bowdoin College Museum of Art curated by Alison Ferris.  She currently teaches at the School of the Art Institute of Chicago.</p> Sun, 07 Apr 2013 23:43:00 +0000 William Matthew Prior - American Folk Art Museum - January 24th, 2013 - May 26th, 2013 <p>Organized by the Fenimore Art Museum, Cooperstown, New York, this exhibition includes more than 40 oil paintings spanning William Matthew Prior’s career from 1824 to 1856. Through his pragmatic marketing strategy, Prior was able to document the faces of middle-class Americans throughout his lifetime, making art accessible to a previously overlooked group.<br /> <br /> A versatile artist, Prior is well known not only for the skill and range of his technique but for the diversity of his sitters. Prior’s involvement with Millerism (early Adventism) was instrumental in his personal development as well as providing access to new clients, including many African Americans.</p> Sun, 25 Nov 2012 23:12:17 +0000 Eugene Von Bruenchenhein, Paul D. Humphrey, Nellie Mae Rowe, Inez Nathaniel Walker - American Folk Art Museum - January 24th, 2013 - May 26th, 2013 <p>The late twentieth century has seen great strides for women working within visual mediums, yet the male gaze persists as the primary perspective from which women are considered — and thus perceived — in film and art. This exhibition presents drawings and photographs of women by four self-taught artists from the1940s through the late twentieth century, two male, two female. Eugene Von Bruenchenhein, Paul D. Humphrey, Nellie Mae Rowe, and Inez Nathaniel Walker offer four very different approaches that raise questions of intent, portrayal, and self-identity: Are the portraits acts of creation or acts of documentation, mimesis or wish fulfillment? Are self-taught artists immune from the pervasive male gaze of mainstream artmaking spheres, or do they reflect a gender divide that still runs deeply within American society?</p> Sun, 06 Jan 2013 23:27:20 +0000 Xul Solar, Jorge Luis Borges - Americas Society Gallery - April 18th, 2013 - July 20th, 2013 <p><em>Xul Solar and Jorge Luis Borges: The Art of Friendship </em>is an exhibition that explores friendship as a cosmopolitan agency, which informed Argentine art and culture through the intellectual exchange between the mystic artist Xul Solar (1887-1963) and the writer Jorge Luis Borges (1899-1985.) <em>The Art of Friendship</em> focuses on the fraternal dialogue and collaborations between Solar and Borges, the most singular cultural figures in Buenos Aires in the twentieth century who contributed to the philosophical and aesthetic renewal in Argentina in the 1920s by cultivating a form of “fluid nationalism.” The exhibition is curated by Gabriela Rangel, Director of Visual Arts and Chief Curator at Americas Society with the collaboration of poet Lila Zemborain and the assistance of Christina De León and Anya Pantuyeva. It will be on view from April 18 through July 20, 2013 travelling in the fall to the Phoenix Art Museum. For Gabriela Rangel, “Xul Solar and Jorge Luis Borges were central to the process of invention of a local universal identity, which seems paradoxical, but is rather extraordinary and unique.”</p> <p>The exhibition covers over forty years of friendship between Solar and Borges, who met after their return from Europe in 1924, in the literary and artistic circles of the journal-magazine <em>Martin Fierro</em> and collaborated on different projects until Solar’s death in 1963. In the search of a new Argentine avant-garde identity, Borges and Solar, along with other <em>martinfierristas</em> developed a Neo-Creole identity that fused the tactics of the European modernists with nationalist ideas and the <em>gaucho</em> vernacular culture. Nonetheless, each developed distinct voices within this group: Borges reinventing the slums and unpaved streets of Buenos Aires’ suburbs, and Xul creating new languages Neo-Creole and Pan-Language as well as fantastic landscapes filled with monstrous figures in which he blended mystic and occult references with Pan-American symbolism. As Sylvia Molloy has suggested, Borges and Solar seek difference rather than assimilation acting as born-exiles in an environment of fervent avant-garde debates and nationalisms. Both constituted a visual metaphor that built the core for this new conception of the local cosmopolitan self. During their countless walks around the city, chess games, and while listening to music the two discussed the poetry and art of William Blake, the mysticism of Emanuel Swedenborg, theology of angels, German Idealism, and non-Western religions and languages. Borges and Solar forged a lifetime friendship while discovering and contributing to the identity of Buenos Aires in the process of the invention of their own.</p> <p><em>The Art of Friendship</em> departs from a speculative lineage on friendship construed by thinkers such as Aristotle, Cicero, Michel de Montaigne, Friedrich Nietzsche, Ralph Waldo Emerson, Richard Rorty, Hans-Georg Gadamer, and Jacques Derrida who have examined fraternal exchange as an instance of civic agency. Friendship is also considered as a space of social and political interaction, which enables the tracing of genealogical maps that identify vast networks of solidarity and communities.</p> <p>The show gathers an important number of paintings, first editions, and manuscripts—some of which have never left Argentina—as a means to explore the intellectual nature of the relationship between Solar and Borges and the definition of friendship at large as a private agency with public effects.   <em>Xul Solar and Jorge Luis Borges: The Art of Friendship</em> is organized by Americas Society with the collaboration of Museo Xul Solar in Buenos Aires. It is accompanied by a fully illustrated catalogue with contributions by Patricia Artundo, Sergio Baur, Maria Kodama, Gabriela Rangel and Sylvia Molloy, in addition to a plaquette with original poems by Monica de La Torre, Cecilia Vicuña, and Lila Zemborain inspired by Solar’s astral voyages or <em>San Signos</em>.</p> Fri, 05 Jul 2013 01:43:13 +0000 Patrick Lee - Ameringer | McEnery | Yohe - April 25th, 2013 - May 25th, 2013 Tue, 16 Apr 2013 16:26:16 +0000 David Allan Peters - Ameringer | McEnery | Yohe - April 25th, 2013 - May 25th, 2013 Tue, 16 Apr 2013 16:31:46 +0000 Peter Piller - Andrew Kreps Gallery @ 537 W. 22nd - March 28th, 2013 - May 18th, 2013 <p>Andrew Kreps Gallery is pleased to present<em> Umschläge,</em> Peter Piller’s second solo exhibition at the gallery. </p> <p>Translated as “covers”, the title of the show refers to one of two bodies of work in this exhibition comprised of the pairing of the front and back images of the East German military magazine <em>Armeerundschau</em> which always featured armored vehicles on the front and pin-up girls on the back.  Piller has been working with found images for over 20 years and has created and worked with the archive as medium –and the re-interpretation and the re-presentation of images already published in other contexts. By gathering and re-presenting seemingly innocuous images – images that we are presented with everyday in newspapers, magazines, advertisements and the internet – into groups, Piller brings forth some of the sinister, comedic, and sometimes tragic aspects of these images wholly projected by the viewer themselves.</p> <p>A second group of works, <em>Noch Sturm (Still Storming),</em> juxtaposes images of World War I battlefields from found German postcards and images of seascapes from a 1920’s geography textbook. The landscape photographs – documents of humanity‘s excesses of destruction – and the images of the forces of nature create a visual parallel of chaos and violence. In relation to the art historical genre of battle paintings, both on land and at sea, Piller depicts the locations of violent conflicts as empty stages left behind by the actors.</p> <p>Peter Piller has been working on his <em>Archiv Peter Piller </em>since 1998: an ongoing archive of . In his artistic work to date, in addition to the images from regional newspapers, he has also utilized the photographs of a commercial aerial photography archive, images from the internet as well as an insurance group‘s photographic documentation of damage claims. He then subsequently transfers this diverse material into his own ordering systems such as <em>schießende Mädchen (Girls Shooting), Suchende Polizisten (Police Searching),</em> <em>Tanz vor Logo (Dancing in Front of Logos).</em> With precise observation and a subtle sense of humor, Piller reflects upon media images‘ potential and the possibilities and limits of photographic and conceptual art.</p> <p>Piller has published his ten-volume set of artist‘s books of the Archive Peter Piller as well as other artist‘s books and catalogues at Revolver Publishing by VVV. Solo exhibitions include those at the Museum für Gegenwartskunst Siegen (2003), the Witte de With Center for Contemporary Art Rotterdam (2005/06), the Kunsthaus Glarus (2007), the Salzburger Kunstverein (2007), the Kunstmuseum Bonn (2009) and the Kunstverein Braunschweig (2011), among others.</p> <p><span style="color: #333333; font-family: Verdana,Arial,Helvetica,sans-serif; font-size: xx-small;" color="#333333" face="Verdana, Arial, Helvetica, sans-serif" size="1"><span style="font-size: xx-small;" size="1"></span></span></p> Fri, 10 May 2013 13:11:51 +0000 Doron Langberg, Kyle Coniglio, Andrew Cornell Robinson - Anna Kustera - March 28th, 2013 - May 4th, 2013 <p>Anna Kustera Gallery is pleased to present an exhibition of new ceramics by Andrew Cornell Robinson and paintings by Doron Langberg and Kyle Coniglio.</p> <p><strong>Andrew Cornell Robinson</strong> uses his unique, theatrical approach to ceramics to beguile the audience then thwart expectations.  Trophies for the non-heroic and glazed clay effigies of flowerless houseplants are quirky and charming, but also possess a kind of magic. They're like freshly three-dimensional props from scenes taking place within the artist's own id.</p> <p>Andrew Cornell Robinson's work includes ceramics, mixed media sculpture and work on paper that often bridges eccentric, socio-political content with craft and assemblage materials. Robinson received his BFA in 1991 from the Maryland Institute College of Art and his MFA from the School of Visual Arts in New York City in 1994. He lives and works in Brooklyn, NY, and teaches art and design at Parsons The New School for Design.</p> <p><strong>Doron Langberg</strong>'s color-saturated oil on linen works create worlds that hover somewhere between sexual ecstasy and profound despair.  The varied surfaces of the paintings add charge to the oblique narratives. Viewers might find themselves seduced by the situations despite the overwhelming angst depicted. Doron Langberg received his MFA from Yale University in New Haven, CT, in 2012 and his BFA from the University of Pennsylvania in Philadelphia, PA, in 2010.  Originally from Israel, Doron lives and works in Queens, NY.</p> <p>With his precociously well-honed sense of camp and painterly chops,<strong> Kyle Coniglio </strong>takes his self-portraits to tragic and always self-deprecating places.  In 'Young Bacchus', young men at a nightclub take time from their party to gather around the central artist figure who is exposing his stomach as a disco ball, one that emits its own light from within.  <br /> Kyle Coniglio received his MFA from Yale University in New Haven, CT, in 2012 and his BFA from the Montclair State University in New Jersey in 2010.  He lives and works in New Jersey and teaches painting at the Montclair State University. </p> Fri, 29 Mar 2013 03:10:56 +0000 Richard Hughes - Anton Kern Gallery - April 12th, 2013 - May 18th, 2013 <p>For his third solo show at Anton Kern Gallery, UK-based artist Richard Hughes has turned the gallery into a stage for a magic dance performed by a street gang of enchanted lamp posts, ice-cream-wafer-like garden walls and broken memorial statues found in the most dilapidated and<br />dark corners of (British) suburbia. With his first artist monograph freshly published by JRP Ringier and two recent solo exhibitions at Tramway Art Space in Glasgow and Firstsite in Colchester, England, Hughes’ work is at the center of public attention.<br />Richard Hughes is known for his exceptional skill to turn ordinary, sometimes slightly repulsive objects that might be found in a hovel of a rooming house or unceremoniously dumped by the side of the road — bleak monuments to abused domestic or public spaces — into narrative sculptures. Their placement in a gallery space instantly invites questions as to its recent history, use, and function, or imminent action.<br />Upon closer inspection, all objects reveal themselves as casts, meticulously crafted replicas of every-day things injected with an element of fantasy. The beauty within this ostensibly abandoned world lies in the moment of surprise when materials reveal themselves as “fakes.” This is the moment when hidden images and cultural memories become visible and intelligible, when the vernacular becomes a universal language. Hughes’ sculptures are not ready-mades. As facsimiles of common objects it’s not the object that is transformed but its reappropriated meaning and ability to reconfigure the object for the viewer.<br />Gradually, these objects-turned-sculptures reveal their inherent capacity to tell stories, to evoke narratives that are charged with everyday-life experience and humor.<br />Richard Hughes has had solo exhibitions at Tramway, Glasgow (2012); Sculpture Court, Tate Britain (2006); The Showroom, London (2004); and is currently presented at Firstsite, Colchester, UK, in an exhibition entitled Time is over, time has come. His work has been exhibited internationally, including presentations at the François Pinault Collection, Punta della Dogana, Venice (2009); the Schirn Kunsthalle, Frankfurt (2008); and the Museum Abteiberg, Mönchengladbach, Germany (2006). Hughes was selected for the 55th Carnegie International, Carnegie Museum, Pittsburgh (2008); the fourth Liverpool Biennial (2006), and the British Art Show 6 (2005). He was nominated for the Beck’s Futures award in 2006 and was the recipient of the EAST International award in 2003.</p> Sun, 07 Apr 2013 23:51:01 +0000 - Apexart - March 20th, 2013 - May 8th, 2013 <p><em>Exhibition Space</em> considers the aesthetic and conceptual implications of photography and its pivotal role in two early milestones of the US exploration of space. Begun in 1948 using the most powerful telescope in the world, the Palomar Observatory Sky Survey was the first systematic attempt of photograph and catalogue the visible universe. The resulting 1,870 plates took ten years to complete, and are some of the most technically advanced prints ever made. Project Echo was the first manmade object photographed in space. Hastily conceived as NASA's first response to Sputnik, Echo I was an inflatable Mylar sphere 100 feet in diameter, a communications satellite whose primary mission was to be visible to the naked eye. Photos of Echo began appearing in the US press almost immediately after its launch in 1960. Meanwhile, models of Echo, called "the most beautiful object ever put in space," were exhibited at the US Capitol, and at World's Fairs throughout the 1960s.<br /><br /><br /> <br /> <strong>Greg Allen</strong> is a writer and filmmaker based in Washington DC. He has published his art writings in <em>Cabinet</em> magazine and <em>The New York Times</em>, and on his blog, <a href=""></a>: the making of, since 2001. Allen published <em>Canal Zone Richard Prince Yes Rasta: Collected Court Documents from Cariou v. Prince</em>, in 2011, and exhibited paintings at both Postmasters Gallery and Printed Matter in 2012.</p> Mon, 29 Apr 2013 22:48:28 +0000 Edward Redfield, J. Alden Weir, Theodore Robinson, John Twatchman, Childe Hassam - Arkell Museum - October 27th, 2012 - October 20th, 2013 <p>This exhibition features remarkable American Impressionist paintings from the Arkell collections. Twelve paintings recently returned from the Fenimore Art Museum's exhibition "American Impressionism: Paintings of Light and Life" will be featured along with other treasures from the permanent collection. Sun-dappled views of France and America by Childe Hassam, John Twatchman, Theodore Robinson, J. Alden Weir, and Edward Redfield are among the notable paintings in this exhibition. Most American Impressionists spent time in Paris and Monet&rsquo;s hometown of Giverny where they saw the work of French Impressionists. Once they returned to America they made the new Impressionist style their own. Views of the New England countryside, coastal communities and New York City were popular subjects for the American Impressionists. The exhibition includes Twatchtman&rsquo;s "Josephine in the Garden" in Giverny, Hassam's "Provincetown", Twatchtman&rsquo;s "Gloucester Harbor" and Ernest Lawson&rsquo;s "Brooklyn Bridge."</p> Sun, 01 Sep 2013 22:12:05 +0000 - Arkell Museum - April 27th, 2013 - July 20th, 2013 <p>Photography’s evolution as an art form has been influenced by countless individuals, thematic styles, and chemical processes. Initially, photography was used largely to document what surrounded or intrigued the public eye. As more individuals began using cameras, the idea grew that photography could be a form of art in addition to a form of documentation. This captured the attention of many artists, most notably Alfred Stieglitz, who formed the Photo Secession and helped establish Pictorialism.</p> <p>The 30 photographers included in this exhibition have extensive histories that span thematic periods and artistic styles. Taking their cues from Master Photographers like Edward Steichen, artists such as Berenice Abbott and Manuel Alvarez Bravo built on that foundation in order to explore the very art of photography. Utilizing their cameras, they created a new, modern vision for photography with a revised understanding of the camera and its capabilities. No longer tied to a pictorial past, these artists, and others, gave photography its own unique definition as an art form based solely on its ability to capture and create striking images. As a result, they too are considered Master Photographers.</p> Sun, 31 Mar 2013 22:03:16 +0000