ArtSlant - Closing soon en-us 40 Meiro Koizumi - MoMA (Museum of Modern Art) - January 9th, 2013 - May 1st, 2013 <p>Working in video and performance, Meiro Koizumi (Japanese, b. 1976) has built a compelling body of work that deals with power dynamics on scales from the familial to the national, and examines questions of political and psychological control. Implicating himself, his performers, and the viewer through choreographed emotional manipulations, Koizumi creates works that straddle the uncomfortable and indefinable line between cruelty and comedy. His first solo museum presentation in the United States, <i>Projects 99</i> includes a selection of earlier projects, as well as <i>Defect in Vision</i> (2011), Meiro’s most ambitious and accomplished project to date. Probing the idea of blindness—both philosophical and physical—the piece is projected on two sides of a single screen, preventing the viewer from taking in both views at once. The action follows two performers who repeatedly enact a domestic scene set during World War II. While staged in the historical past, the scene’s portent of impending catastrophe has taken on a new relevance following the Fukushima nuclear disaster, in a work that is incisive, thought-provoking, and visually lush.</p> Sun, 28 Apr 2013 23:44:19 +0000 Debby Hymowitz - RAMIS BARQUET GALLERY - April 18th, 2013 - May 2nd, 2013 <p>Ramis Barquet Gallery is pleased to present <em>Sexual Evolution</em>, a series of large format film portraits by Debby Hymowitz.<br />  <br /> In her first solo exhibition at the gallery, Hymowitz's <em>Sexual Evolution</em> tackles the complex question of female identity, sexuality and self-fashioning. Born of the photographer's own questioning of these subjects, Hymowitz embarked on a project to disprove archetypes and challenge fixed notions of femaleness.  The result is a suite of portraits that display the unending range of what it means to be a woman. "I chose subjects based on my subjective liberal definition of what makes someone female," she has said. On first view many of these subjects seem to embody an archetype that persists vividly in the Western imaginary, but looking closer they are upended by some conflicting quality that makes these women more human than meets the eye. Shown together, the photos in <em>Sexual Evolution</em> comprise a "beautifully heterogeneous"  panorama that represents not only New York City's native diversity, where these works were made, but the fluid contours of modern female identity on a universal scale.<br />  <br /> Hymowitz's approach in creating these portraits was an investigative one. The photographer first interviewed her subjects at length on the topics of sexuality and the expression of their gender. From this she developed an individual concept for each individual shoot, "telling the story of that woman." Hymowitz has painted the names of the sexual partners of her subjects on their skin, as if the old adage of a picture being "worth a thousand words" would not suffice to convey their stories efficiently. Despite their alluring carnality, the result is more than skin deep. Each portrait uncovers the life behind every woman's sexual history. Executed with great candor and intention, the subjects are shot dead-on so as to confront the viewer, just as Hymowitz set out to confront popular perceptions of femaleness and to create context and community for her own changing identity</p> <p> <br /> Debby Hymowitz was born in Somerville, New Jersey in 1966. She lives and works in New York City.</p> Fri, 29 Mar 2013 03:03:50 +0000 Group Show - WhiteBox - April 13th, 2013 - May 3rd, 2013 <p><br />Performance Night: Saturday, April 20, 6-9pm</p> Sun, 10 Nov 2013 00:12:30 +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 Elizabeth Knowles, Julian Lorber, Ai Campbell - Corridor Gallery - March 24th, 2013 - May 4th, 2013 <p>The talents of Elizabeth Knowles, Julian Lorber and Ai Campbell will be featured in a mixed media exhibition entitled 'COLLIDEscope: The Birth, Metamorphosis and Evolution of the Abstract Actual' opening on March 24, 2013 from 4-6pm at Corridor Gallery at 334 Grand Street in Brooklyn, NY. Curated by Amber D. Harris, this exhibition promises to be one of the most aesthetically and intellectually provocative art events of the spring.</p> <p>Whether its grand scale colorful installations, complex techniques or monochrome orbs, Knowles', Lorber's and Campbell's abstract interpretations of the world around them is inspired by naturally occurring phenomena. Diverse in their mediums, materials and methods, each artist share a basic commonality in their creative approach: a deep devotion to the exploration of the macro through the lense of the micro. In order to grasp the essence of any particular entity, whether it's intangible or tangible, abstract or concrete, these artists first disassemble it then study the movement of its single most basic abstract components. When this intellectual membrane is successfully penetrated, passageways to unearthing fundamental absolutions become illuminated thus social, spiritual, societal and most of all, personal phenomena can be properly assessed and articulated.</p> <p>COLLIDEscope: The Birth, Metamorphosis and Evolution of the Abstract Actual prepare to take its viewer on an intimately stimulating journey on how isolated abstract ideals converge on a collision course to form the concrete tangible. Emerging from their cosmic infancy and changing forms as they begin their juxtaposed flight with one another through spatial reality, the abstract is ever evolving until it reaches the precipice of maturation. At that point, an abstract kaleidoscopic rainbow of acrylic, organic shapes, paper mache, black ink, fragmented patterns, x-ray film and even window soot collide to provide new and converged absolutions to complex philosophical issues that we face today.</p> <p>Alongside Harris in her curatorial New York debut, Knowles, Lorber and Campbell is redefining and breathing new life into the articulation of the abstract artistic identity.</p> Tue, 19 Mar 2013 02:12:22 +0000 Thierry Cohen - Danziger Gallery - March 28th, 2013 - May 4th, 2013 <p>Thierry Cohen was born in Paris in 1963. He began his professional career in 1985 and is seen as one of the pioneers of digital photography.  His work has been shown at the Palais de Tokyo, and the Musee de l”Homme in Paris, and in 2008 was an official selection of the Mois de la Photo.  Since 2010 he has devoted himself to a single project – “Villes Enteintes” (Darkened Cities) – which depicts the major cities of the world as they would appear at night without light pollution, or in more poetic terms: how they would look if we could see the stars.</p> <p>Cohen’s method is original and precise and harkens back to the methodologies employed by early 19<sup>th</sup> century photographers like Gustave Le Grey.  He photographs the world’s major cities, seeking out views that resonate for him and noting the precise time, angle, and latitude and longitude of his exposure.  As the world rotates around its axis the stars that would have been visible above a particular city move to deserts, plains, and other places free of light pollution.  By noting the precise latitude and angle of his cityscape, Cohen is able to track the earth’s rotation to places of atmospheric clarity like the Mojave, the Sahara, and the Atacama desert.  There he sets up his camera to record what is lost to modern urban dwellers.</p> <p>Compositing the two images, Cohen creates a single new image full of resonance and nuance.  The work is both political and spiritual questioning not only what we are doing to the planet but drawing unexpected connections between disparate locations. Equally importantly it asks: what do we miss by obscuring the visibility of stars?  As the world’s population becomes increasingly urban, there is a disjunction with the natural world which both Cohen and science posit causes both physical and psychological harm.  Cities that never sleep are made up of millions of individuals breaking natural cycles of work and repose. Cohen’s photographs attempt to restore our vision, and in beautifully crafted prints and  images offer the viewer a possibility - to re-connect us to the infinite energy of the stars.</p> Mon, 11 Mar 2013 22:40:45 +0000 Lloyd Ziff - Danziger Gallery - March 28th, 2013 - May 4th, 2013 <p>Lloyd Ziff is best known as the award-winning art director of several national magazines, including Vanity Fair, House &amp; Garden, Condé Nast Traveler, and Rolling Stone. However, throughout his life photography has been his great passion.</p> <p>From the early 1960s onwards Ziff was rarely without a camera and among the many subjects he photographed were the young Robert Mapplethorpe and Patti Smith.  As Ziff recalls:</p> <p>“My last semester at Pratt Institute I happened to take a photography course although my major was graphic design. The magic of the dark room seduced me and I soon was shooting black and white photographs of Brooklyn, New York City, and of my friends. Robert and I were both in the class of 1967, and although we weren’t particularly close, I believe we recognized in each other something we probably couldn’t put into words at the time.</p> <p>In 1968 Robert was living with Patti in a little apartment near mine in Clinton Hill, Brooklyn.  They were always working, making paintings and drawings and sculptures, and the walls of their apartment were covered with their work. They were both very young and I found them very beautiful. I asked to come over to their place one day to shoot portraits of them. They were among the first double portraits I shot. Patti published two of them in her book, Just Kids, in 2010, and credits them as the first portraits made of the two of them.</p> <p>In 1969 I was living in a basement apartment on Charles Street in the West Village. Robert wanted to make an animated movie with nude stills of himself and Patti, but as she writes in her book, he wasn’t yet a photographer. He asked me to do the series of them nude. They came over my place, we attached a light to the back of a chair. He was planning to silhouette the figures so we didn’t worry much about the background. He knew exactly what he wanted: just single figures of himself, and then of Patti, sitting, kneeling, standing, praying, sometimes wearing a blindfold. I remember giving him the contacts, but again as Patti writes, he lost interest in making the film.  After Robert died and his archives were bought by The Getty, included in his works were numerous paper doll type cut-outs Robert had made from the nude figures I had shot in 1969.”</p> Mon, 22 Apr 2013 23:48:03 +0000 Dylan Bailey - David Nolan Gallery - April 4th, 2013 - May 4th, 2013 <p>David Nolan Gallery is excited to present an exhibition of new works by Dylan Bailey. On view from April 4 to May 4, this will be the artist’s first solo show with the gallery.</p> <p>A significant area of Bailey’s expanding practice is his ongoing series of “number” paintings. These works (which first appeared in a solo show at the National Exemplar gallery) serve as a record of what the artist describes as “a random toss of metal and plastic numbers.” The resulting images have an otherworldly quality which, for Bailey, have the appearance of “a surreal, cosmic space in which numbers appear to float and hang.” Hovering somewhere in between the abstract and the representational, these complex networks of numbers seemingly allude to mathematical certainties within a strange and ambiguous realm. The artist develops these compositions with a sheet laid flat on the ground, applying enamel paint from a spray can over the scattered arrangement of numbers. When the physical numbers are removed, a silhouette remains as an imprint on the sheet. In this regard, the paintings recall early photographic experiments, such as Man Ray’s “rayographs”, in which objects arranged on photosensitized paper are exposed to light.</p> <p>There is an intuitive nature to Bailey’s practice, wherein one idea gives way to the next. This is testified in a second series, in which colored caps (left over from his spray cans) are re-used to form the basis of a new body of work. Rising nearly seven feet tall and constructed in plywood, these “colored cap” panels occupy the main gallery of the present exhibition. These works are characterized by a playful arrangement of colored spray can caps, which the artist has inserted from behind the surface of the panels. Bailey ensures that the plywood grain runs horizontally across the panel, which has the effect of leveling the composition as in a landscape. With each work, the artist develops a new layout for the caps – some panels privilege a sparse arrangement, while others are more clustered or weighted in a certain direction. Seen as group, these Miró-like constellations achieve a sense of dynamism and movement.</p> <p>Dylan Bailey was born in Londonderry, Vermont in 1985 and studied painting at the Rhode Island School of Design, before settling in New York City in 2008.</p> Sat, 16 Mar 2013 23:52:31 +0000 Gordon Matta-Clark - David Zwirner- 519 W. 19th - April 2nd, 2013 - May 4th, 2013 <p>David Zwirner is pleased to present an exhibition of late works by Gordon Matta-Clark, focusing in particular on his activities as a filmmaker. Curated by Jessamyn Fiore, the show features the artist’s explorations in subterranean New York and Paris alongside building cuts and projects involving aerial elevation. It is on view at the gallery’s 519 West 19th Street space in New York.<br />The exhibition begins above ground with City Slivers, Matta-Clark’s fragmented portrait of New York City from 1976. Eschewing a clear viewpoint and leaving large parts of the screen black, viewers are offered vertical cuts of bustling streets and skyscrapers interspersed with panoramas taken from atop the World Trade Center. The shifting viewing angles, sometimes shown simultaneously, seem at once celebratory and nervously laden, and contain a poignant, if perhaps subliminal, reference to the artist’s twin brother, who fell to his death from a window in their shared apartment that summer. A brief and barely legible text towards the end of the film includes the words “he just hit the pavement…face down.”<br />Made a year earlier, Conical Intersect was filmed in and around Matta-Clark’s iconic cut through two properties awaiting demolition next to the Centre Georges Pompidou in Paris (under construction at the time). The film reveals various stages of the elaborate project, whereby a large circular shape was sliced from a heavy masonry, street-facing wall in one building, and a conical space carved out across the other side at an upward angle, piercing a small hole in the roof. The laborious digging through several layers of the buildings’ foundations was complemented two years later with Sous-sols de Paris (1977), where the camera was taken below ground to multi-level tunnels and structures long abandoned. Through minimal editing, the underground—illuminated only by handheld torches—is contrasted with brief clips from the streets above. Matta-Clark thus creates a dialogue between new and old Paris, the visible and hidden city, both light and sinister. Deep below L’Opera and Les Halles, a neatly arranged wall composed of thousands of human skulls and bone fragments dating from the days of the Revolution finds a curious match with countless wine bottles, safely stored in the cool temperatures. The film ends, perhaps appropriately, with a wine tasting.<br />Substrait (Underground Dailies) (1976), Matta-Clark’s underground portrait of New York, reveals a view of the American city never seen by most people.<br />Burial chambers underneath the Cathedral of St. John the Divine, tracks running deep below Grand Central Station, and sewage structures with underground rivers streaming through, combine to make up the urban tissue beneath the surface—vividly compared in the explanatory dialogues accompanying the film as “arteries and veins.”<br />Photographs and drawings accompany the films on view, documenting both the metropolitan explorations and contemporaneous projects by the artist.<br />Jacob’s Ladder, Matta-Clark’s ambitious project for Documenta 6 in Kassel, Germany, in 1977, originally included plans to develop an aerial dwelling site suspended some fifteen feet above ground, but ultimately took on the shape of a long woven net attached to a thirty-story-tall chimney, which brave visitors could ascend one thin batten at a time. The title of the installation was chosen by Matta-Clark for its analogy to the Old Testament story of Jacob’s dream, of a staircase connecting Heaven and Earth. By implication, it is also a reference to brotherly rivalry, as this vision occurred while he was fleeing from his brother Esau, with whom he had been fighting for inheritance. As such, the project contains perhaps another reference to the loss of artist’s twin brother a year earlier.<br />A series of diagrammatic sketches entitled Sky Hook (studies for a balloon building) (1978) are testaments to Matta-Clark’s idealistic interest in architecture and urban renewal. Based on vigorous research into the mechanics of ballooning, these drawings outline tent-like towers attached to large inflatable shapes. Balancing somewhere between actual proposals for flexible, economic housing networks and playful fantasies, they map out alternative spaces in defiance of existing social environments and even gravity. As such, they match one of the inspirations behind the subterranean expeditions, where the search for the “negative” spaces of the city became part of a broader interest in “mapping…lost foundations: working back into society from beneath.”<br />Born in New York in 1943, Gordon Matta-Clark is widely considered one of the most influential artists working in the 1970s. He was a key contributor to the activity and growth of the New York art world in SoHo from the late 1960s until his untimely death in 1978.<br />Since 1998, the Estate of Gordon Matta-Clark has been represented by David Zwirner, and Above and Below marks the fifth solo exhibition of the artist’s work at the gallery in New York.<br />In 1985, the first museum retrospective of the artist’s work was presented at the Museum of Contemporary Art Chicago, and traveled until 1989 to over a dozen institutions worldwide, including the Stedelijk Museum, Amsterdam; Kunsthalle Basel; Le Nouveau Musée, Villeurbanne, France; Brooklyn Museum; and the Musée d’art contemporain de Montréal. Gordon Matta-Clark: You Are the Measure was the first full-scale retrospective organized twenty years later by the Whitney Museum of American Art, New York, in 2007. The exhibition traveled to the Museum of Contemporary Art, Los Angeles and the Museum of Contemporary Art Chicago. From 2009 to 2010, Gordon Matta-Clark: Undoing Spaces toured South America to venues including the Museo Nacional de Bellas Artes, Santiago; Museu de Arte Moderna, São Paulo; Paco Imperial, Rio de Janeiro; and Museo de Arte de Lima.<br />Matta-Clark’s work is represented in prominent public collections, including The Metropolitan Museum of Art, New York; Museum of Contemporary Art Chicago; Museum of Contemporary Art, Los Angeles; The Museum of Modern Art, New York; Museum van Hedendaagse Kunst Antwerpen, Antwerp; San Francisco Museum of Art; Smithsonian American Art Museum, Washington, D.C.; Solomon R. Guggenheim Museum, New York; Stedelijk Museum, Amsterdam; and the Whitney Museum of American Art, New York. The Gordon Matta-Clark Archive is held at the Canadian Centre for Architecture in Montreal, and includes the artist’s personal correspondence, notebooks, drawings, photographs, slides, films, as well as other archival material documenting his life and work.<br />Above and Below is curated by Jessamyn Fiore, an independent curator and writer. In 2007, she became Director of Thisisnotashop, a not-for-profit gallery space in Dublin, which supported emerging artists. She also co-founded The Writing Workshop in 2007, which functioned as a collaborative forum for writers and artists. Fiore is co-director of the Estate of Gordon Matta-Clark with her mother Jane Crawford, Matta-Clark’s widow. She received a Masters from The National College of Art and Design, Dublin, in 2010. In 2011, Fiore curated 112 Greene Street: The Early Years (1970–1974) at David Zwirner in New York, which led to the critically acclaimed, eponymous catalogue, published by David Zwirner and Radius Books in 2012.</p> Mon, 18 Mar 2013 22:37:36 +0000 Ian Cheng, David Flaugher, Andy Hope 1930, Morag Keil, Nicolas Ceccaldi, Jutta Koether, Bradley Kronz, Pamela Rosenkranz - Foxy Production - March 29th, 2013 - May 4th, 2013 <p>In June 1964, a strange stream of neutrino radiation from a source many millions of miles away was observed and recorded by a pair of young American astrophysicists. The recording changed hands many times and, upon falling into the possession of a tabloid journalist, started an international incident: the audio contained long stretches of silence that indicated that the transmission might be some kind of message from the stars.</p> <p>An international council of astrophysicists, theologians, linguists, psychoanalysts, mathematicians, and philosophers was assembled by the Pentagon to try to make sense of the message, which they took for a set of instructions. Three years later, when the project was abandoned, science was left with vague plans for a weapon that didn’t work, a blueprint for a biological substance with no clear purpose or use, and a lot of far-flung theories.</p> <p>“HMV” (His Master’s Voice), the title of a 1968 science fiction novel by Stanislaw Lem, gathers together a diverse group of artists whose work speaks to the difficulty of giving digital information physical form.</p> Fri, 29 Mar 2013 03:20:29 +0000 Group Show - Galerie Lelong - April 4th, 2013 - May 4th, 2013 <p>ollowing the trajectory of highly ordered non-representational art since the 1950s, <em>Edge, Order, Rupture</em> at Galerie Lelong presents work across three generations of artists who have reinvented or subverted the modernist aesthetic. The selected works range from the highly structured and disciplined to the more poetic. The relationships between these fifteen artists from the U.S., Latin America, and Europe, show inter- and cross- generational influences in their approach to pushing the edge, giving shapes order, utilizing color, and rupturing the two-dimensional plane. <em>Edge, Order, Rupture</em> opens on Thursday, April 4th with a public reception from 6-8pm.</p> <p>Considered pioneers of the re-engagement of non-objective art, Josef Albers (1888-1976), Lygia Clark (1920-1988), and Hélio Oiticica (1937-1980) are represented by signature works. Albers’s <em>Interlinear N 32 bl</em> (1962) exemplifies his use of mechanical means to create a complex spatial illusion by engraving an impersonal, functional line within a field of hand-rolled jet black ink. Oiticica’s gouache<em> Metaesquema 286</em> (1958) shows the effective use of simple, monochromatic shapes to create an active, open composition where the forms appear to pulsate across the plane, expanding the field in a rhythmic pattern that infers space beyond the paper’s borders. Clark’s <em>Bicho </em>(1960), made of folded aluminum, is from her well-known series that plays with notions of angled planes, active space, and the possibility of variable compositions and multiple vantage points contained within a single work.</p> <p>Jo Baer (b.1929), Carmen Herrera (b. 1915), Robert Mangold (b.1937), and Sean Scully (b. 1945) further explore the potency of line and color. In <em>Untitled </em>(1972), Baer expands the stark white center of her composition, pushing thin bands of her distinctive black and blue hues to the very edges, to create a shift in the use of central space, characteristic of her minimal works of the 1970s. Herrera creates striking spatial tension by the precise placement of a thick graphic L-shaped black line that dissects a bold field of saturated green in <em>Untitled </em>(1976). More subtle in color and treatment of line, Mangold’s <em>Four Triangles within a Square (Cream) </em>(1976) conveys a sense of architectural drafting. Scully’s paintings also suggest built space, but through painterly brushstrokes that make up horizontal and vertical bands of subdued colors.</p> <p>Catherine Lee (b. 1950), Sol LeWitt (1928-2007), Charlotte Posenenske (1930-1985), Liam Gillick (b. 1964), and Peter Halley’s (b. 1953) work involves serial, specific forms. Lee uses a grid to give her pastel drawings order, leaving her hand visible in each work in contrast to the purity LeWitt sought in his sculptures. LeWitt is represented by one of his open cube structures, a form he revisited throughout his career. Like LeWitt, Posenenske was interested in serialization and minimalism, as exemplified by her <em>Series B Relief (blue reconstruction) </em>(1967/2008-2011) consisting of three aluminum elements sprayed with industrial RAL paint. Gillick also uses RAL paint to uniformly coat sculptures, but deliberately makes relationships to functional structures as in <em>Mean Completion</em> (2008-2009). Halley uses the building construction paint additive Roll-a-Tex to create rough textures and a taut interplay of geometric forms, which he repeats in his work but with different compositions and colors.</p> <p>Kate Shepherd (b. 1961), Sarah Crowner (b. 1974) and Tony Lewis (b. 1986) use a variety of visual references as a method of subversion. Shepherd’s interest in both traditional color theory models and value-based painting is apparent in her “triangle suit” series made with precisely cut screen prints. Tonal variations interlock to form an elongated triangular shape, stretched from the original Albers model, making them a more personal expression by the artist. Crowner, who is strongly influenced by Lygia Clark’s vibrant forms, sews together treated linen and canvas to create physically alluring surfaces. Lewis, the youngest artist in the exhibition, also divides his compositions but with a strong line, using pencil and graphite powder to create sooty surfaces reminiscent of the grit of the city, while maintaining a connection to the modernist grid.</p> Tue, 26 Mar 2013 16:34:28 +0000 Shelly Malkin - Graham Gallery - April 4th, 2013 - May 4th, 2013 <p>Graham Gallery is pleased to present an exhibition of works on paper by artist, Shelly Malkin.  The exhibition, <b><i>Mind Journeys</i></b>, from April 4<sup>th</sup> through May 4<sup>th</sup>, 2013<b><i> </i></b>is Malkin’s first solo show with the Gallery.  A fully illustrated catalogue is available.</p> <p>The exhibition is comprised of nineteen large-scale landscapes and a series of fifty intimate still-lifes. Using iridescent pigments, Malkin captures light particles and energy through her seemingly effortless layering of translucent color washes. This elegant and animated body of work serves to fulfill the artist’s compulsion to produce landscapes that “glow with an inner illumination and illustrate the aesthetic, emotional and spiritual significance of light in our lives.”</p> <p>The bird’s eye view of each of the larger watercolors is influenced by Malkin’s climbing practice. An accomplished rock-climber, Malkin travels the world in search of challenging mountains and sheer rock walls to scale.  Malkin compares the act of climbing to that of creating a watercolor. For her, both activities require courage and clear thinking.   She admits, “When I am climbing, I can’t focus on scenery, so the watercolors are ‘flashbacks’ influenced by what I have seen. I want the works to have their own sense of equanimity and inner illumination. That is why I call them ‘mindscapes’.”  </p> <p>Malkin’s particular blending of the imagined and the real likewise informs her self-described series of “mystical” leaves.  The seemingly naturalistic rendering of each of these fifty works on paper is a product of the artist’s imagination.  </p> <p>Born in New York City, Malkin lives in Greenwich, Connecticut and Aspen, Colorado.  Malkin holds a degree in art history from Princeton University and has studied painting at the School of Visual Arts, the National Academy of Design in New York, the Silvermine Arts Center and the Renaissance Workshop of Dmitri Wright in Connecticut.</p> <p> </p> Fri, 19 Apr 2013 04:27:52 +0000 Group Show - Jack Hanley Gallery- New York - April 5th, 2013 - May 4th, 2013 <p>“Weird” is a common go-to word to describe an artist’s work. Often this is because something relatively normal or naturalized is made weird through the lens of an artwork; or rather, its strangeness is exposed. An interesting thing happens when an artist points to science. A funny or unexpected disposition can come to the fore, or analytic methods channeled to explore aesthetic, political or philosophical areas. The artists in this show have set up experiments in one realm or the other that may not produce results in the same field. At the heart is a sense of play in trying to dismantle the fundamental principles of the universe, through scientific means and sometimes a little smoke and mirrors. </p> <p>The category ‘science’ has become a vast term sheltering swiftly growing fields of enquiry. Within the scope of this show there are investigations of the natural or material world, and ethno-focused ones that take for subject matter language, architecture, and social relations. Featured artists include Dave Hardy, Bjorn Copeland, Daria Martin, Ajay Kurian, Alex Schweder, Jeff Williams, Kal Spelletich, Matt Heckert, Slavs and Tatars, and Jessica Rath. Alex Schweder will be performing "Free Architectural Advice" for the first week of the show. </p> Mon, 08 Apr 2013 23:23:10 +0000 Joshua Marsh - Jeff Bailey Gallery - March 29th, 2013 - May 4th, 2013 <p>Jeff Bailey Gallery is pleased to present <b>Joshua Marsh, As If</b>, an exhibition of new paintings. <br /><br /> Strong color and the play of light dominate Marsh’s paintings, slowly revealing simple objects. Color functions as form, while objects and their surroundings border on dissolution. <br /><br /> Pitchers, tables, dustpans and brooms serve as subjects, but it is through their shapes, shadows and changing perspectives that Marsh pushes them into altogether different realms. The curves of pitchers suggest bodies; the interplay of other objects evokes openings and closings, solids and voids. Distinctions between what is observed and imagined break down, and being and appearance are as if equals. <br /><br /> Marsh may begin his paintings by observing an object, creating an invented form, or exploring the relationship between three and four colors. There is an obsession with the painted surface and with the evolution of each image. Ultimately, resolutions between painterly impulses and perceptual logic determine the final outcomes. <br /><br /> This is <b>Joshua Marsh’s</b> second solo exhibition with the gallery. His work has been included in group exhibitions at Susan Inglett Gallery, New York; Kate Werble Gallery, New York; Giampietro Gallery, New Haven; Geoffrey Young Gallery, Great Barrington and other venues. Exhibitions reviews have appeared in Art in America, The Brooklyn Rail and other publications. Marsh received his MFA from Yale University in 1997. He lives and works in West Chester, Pennsylvania.</p> Mon, 18 Mar 2013 23:27:42 +0000 Johannes Deyoung - Jeff Bailey Gallery - March 29th, 2013 - May 4th, 2013 <p><b>Ego Loser</b> is part of a series of animated talking-head videos that utilize the language of self-help and positive affirmation, email spam, and other detrital language to express the boundaries between physical reality and psychic understanding. Humor and exaggerated forms expand into absurd narratives, confronting mortality and failure, as the talking-head professes esoteric advice and affirmations despite his unstable, amorphous physical condition. <br /><br /> <b>Johannes DeYoung</b> received his MFA from the Cranbrook Academy of Art in 2006. His work has been exhibited at Pallas Projects, Dublin, Ireland; in Brooklyn at The Parlour, Vaudeville Park and NutureArt; Grizzly Grizzly, Philadelphia; Real Art Ways, Hartford and Hell Gallery, Melbourne, Australia. He currently has work on view at Interstate Projects in Brooklyn, part of a collaborative exhibition with Natalie Westbrook. He lives and works in New Haven, Connecticut.</p> Mon, 18 Mar 2013 23:29:40 +0000 Sally Gall - Julie Saul Gallery - March 14th, 2013 - May 4th, 2013 <p>Julie Saul Gallery announces our 11th solo show with Sally Gall, who has been represented by the gallery since 1985. She is known as a classical photographer who takes the natural world as her subject. <i>Unbound</i> represents a shift in Gall’s visual language in which she combines photographs to create diptychs and triptychs comprised of images that depict a weightless world without horizons. Gall brings together black and white and color images and a variety of formats which function as a whole to convey the spirit of the unbound. <br /><br />Gall has noted that in the natural world we use the horizon as our reference and now she seeks to create a feeling of weightlessness and flight. Gall explains, “in Unbound, clouds, airplanes, and contrails figure prominently. I imagine planes as poetic objects, heavy metal bodies that appear to float with ease. Clouds contain tons of water yet also appear weightless. I wish to evoke the feeling of floating ungrounded, to transport the viewer to a place not bound by gravity, and escape the constraint of our usual horizon-oriented experience.” The vertical format of the multi-image works were initially inspired by Asian scrolls which she notes have “epic intentions, the ability to condense images of a large world into intimate space, and a deep reverence for nature.” In earlier bodies of work, <i>Crawl</i> (2008) and <i>Subterranea</i> (2003), Gall also eschewed a conventional horizon orientation.<br /><br />Sally Gall received a BFA in photography from the Rhode Island School of Design in 1978. She has taught and lectured extensively in the United States and Europe. Public collections include the Guggenheim Museum, The Whitney Museum, the Cleveland Museum of Art, the San Francisco Museum of Modern Art, The Museum of Fine Arts in Houston, and the Rhode Island School of Design, and the Hood Museum at Dartmouth College.<b> </b></p> Mon, 25 Feb 2013 23:51:23 +0000