ArtSlant - Recently added en-us 40 Robert Mapplethorpe - Sean Kelly Gallery - November 7th - December 19th Tue, 13 Oct 2015 14:49:27 +0000 Joseph Kosuth - Sean Kelly Gallery - November 7th - December 19th <p>Featuring over forty works dating from 1965 to the present, the installation simultaneously chronicles Kosuth&rsquo;s fifty-year investigation into the role of language and meaning in art, and his consistent use of neon. The exhibition includes historic early works, featuring one of the most important neons Kosuth ever made, &lsquo;Five Fives (to Donald Judd)&rsquo; [blue], (1965), alongside more recent works such as his &lsquo;Camus Illuminated&rsquo; series (2013). Installed in a response to the gallery&rsquo;s specific architectural space, &lsquo;Agnosia, an Illuminated Ontology&rsquo; will employ areas never before activated for exhibition purposes, creating an all-encompassing and profound experience for the viewer.</p> Tue, 13 Oct 2015 14:54:22 +0000 - Jonathan LeVine Gallery - 557C West 23rd - October 20th 6:30 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;">On&nbsp;October 20th, 2015 at 6:30pm&nbsp;the gallery is pleased to host&nbsp;<em>This Land is Not For Sale: A Panel Discussion on the Gentrification of the Lower East Side</em>.&nbsp; This event is free and open to the public. Please contact the gallery for more details.</span></p> Tue, 13 Oct 2015 15:16:51 +0000 Brett Amory - Jonathan LeVine Gallery - 557C West 23rd - October 15th - November 14th <div> <div style="text-align: justify;">Jonathan LeVine Gallery is pleased to present&nbsp;<em><strong>This Land Is Not For Sale: Forgotten, Past and Foreseeable Futures</strong></em>, a series of new works by California-based artist&nbsp;<strong>Brett Amory</strong>&nbsp;in what will be his third solo exhibition at the gallery.&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">In&nbsp;<em>This Land is Not For Sale: Forgotten, Past and Foreseeable Futures</em>, Jacob Riis meets Edward Hopper, Brett Amory paints a visually gorgeous protest against the transformation of New York's famed Lower East Side into a gentrified wasteland. Amory first earned international critical acclaim for his &ldquo;Waiting&rdquo; series: urban settings like London and San Francisco portrayed as lonely abstracted landscapes of vanishing human assertion.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">This new series offers viewers an insider's historical road map of East Village radical underground sensibility, from ABC NO RIO and The Nuyorican Poets Cafe to the headquarters of The Catholic Worker, The Pyramid Club and even Moshe's Bakery. Amory not only captures the breathtaking physical presence of these neighborhood landmarks but also movingly conveys the sense of the artist as witness. By delivering a painterly personal testimony and protest against their disappearance, his work is an example of painting as real-time archeological retrieval.&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Amory's foremost achievement in paintings, drawings and installations, has been to document evolving personal, existential and political credo into masterfully rendered, esthetically transcendent works of fine art with broad cosmopolitan appeal. In&nbsp;<em>This Land Is Not For Sale</em>&nbsp;he gives his most pointed evidence yet of his urgent need to merge his personal and social consciousness with the unsparing esthetic demands of his art.&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">In conjunction with the exhibition, Amory will install a faux construction site underpass leading to the gallery to parody the constant sledgehammering of gentrification. The show will also include the documentary&nbsp;<em>Captured</em>, the story of LES legendary photographer Clayton Patterson, as well as a display of LES posters and other neighborhood marginalia.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">On&nbsp;October 20, 2015 at 6:30pm&nbsp;the gallery will host&nbsp;a panel discussion bringing together some of the legendary figures and activists of the Lower East Side to explore the gentrification and cultural attritioning of this historic district-- once a breeding ground for artistic and political experimentation. Amory will also discuss his personal decision to portray NYC's still most vibrant neighborhood.&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">The panel will be moderated by author Alan Kaufman (<em>Drunken Angel</em>;&nbsp;<em>Matches</em>;&nbsp;<em>Jew Boy</em>;&nbsp;<em>The Outlaw Bible of American Poetry&nbsp;</em>and the forthcoming&nbsp;<em>Outlaw Bible of American Art</em>).&nbsp;Sitting on the panel will be Brett Amory, artist; Lincoln Anderson, Editor-in-Chief of The Villager; Clayton Patterson, LES-based photographer and activist; Jose &ldquo;Cochise&rdquo; Quiles (author of the forthcoming&nbsp;<em>Street Gangs of the Lower East Side</em>), the founder and former leader of the notorious Satan's Sinner Nomads, the last gang to fly colors in LES. This event is free and open to the public.&nbsp;</div> </div> <div> <div style="text-align: justify;"><strong>&nbsp;</strong></div> <div style="text-align: justify;"><strong>&nbsp;</strong></div> <div style="text-align: justify;"><strong>ABOUT THE ARTIST</strong></div> <div> <div style="text-align: justify;"><strong>Brett Amory</strong>&nbsp;was born in 1975 in Chesapeake, Virginia and is currently based in Oakland, California. In 2005, Amory received a BFA from Academy of Arts University in San Francisco. Amory&rsquo;s work has been exhibited in galleries in Los Angeles, San Francisco, London and New York. In 2012, The San Francisco Bay Guardian named him artist of the year with a cover story. He has also been featured in publications such as The Huffington Post and New American Paintings.</div> </div> </div> Tue, 13 Oct 2015 10:54:28 +0000 Rachel Whiteread - Luhring Augustine - Chelsea - November 7th - December 19th <p class="p1" style="text-align: justify;">Luhring Augustine is pleased to present&nbsp;<em>Looking In,&nbsp;</em>an exhibition of new sculpture and works on paper by Rachel Whiteread.&nbsp; This marks the artist&rsquo;s tenth exhibition since the gallery began representing her in 1991.&nbsp; A concurrent exhibition&nbsp;<a href="" target="_blank"><em>Looking Out</em></a>&nbsp;is on view at Luhring Augustine Bushwick through December 20th.&nbsp;</p> <p class="p1" style="text-align: justify;">Whiteread&rsquo;s artistic practice is defined by her ongoing investigation of domestic architecture and the traces of humanity impressed upon such spaces.&nbsp; Using materials such as plaster, resin, rubber and concrete, she casts architectural elements and household items to yield sculptures that are uncanny ghosts of their objects of origin.&nbsp; By rendering the invisible wholly visible &ndash; the space beneath a chair, the darkness under a bed, the air inside a room &ndash; Whiteread compels us to see the world anew and look to the prosaic as a site for memory and history.</p> <p class="p1" style="text-align: justify;">&nbsp;</p> <p class="p1" style="text-align: justify;">In recent years, Whiteread has been casting found windows and doors in colored resin to create translucent sculptures that explore the quality of light and the sensory experience of time.&nbsp; Her new works include a series of concrete and resin windows that appear bricked up.&nbsp; Rendered in tones of pale green and overcast grey, the flawless resin invites us to look in, yet the concrete cast of bricks behind it prevents our looking through.&nbsp; These impenetrable windows evoke suffocation, and recall her seminal work<em>Ghost</em>&nbsp;(1990), in which Whiteread set out to &ldquo;mummify the air&rdquo; inside a room.&nbsp; The appearance of bricks also brings to mind derelict buildings and reflects the artist&rsquo;s interest in the neglected or forgotten.&nbsp; Her untitled bronze cast of squashed egg cartons is another example of this preoccupation with detritus.</p> <p class="p1" style="text-align: justify;">&nbsp;</p> <p class="p1" style="text-align: justify;">Whiteread has also created new resin windows that appear to be cast from accordion blinds.&nbsp; In contrast to the bricked up windows, these works are comprised of layers of resin, and are more pictorial &ndash; a nod perhaps to the artist&rsquo;s initial training as a painter.&nbsp; The striped patterns are quite formal and abstract, and their geometric minimalism is amplified when the windows are repeated in pairs, triptychs, or grid-like compositions.&nbsp; Cast in ethereal shades inspired by weather, these sculptures are slightly animated by changes in light and the viewer&rsquo;s position, and display subtle visual movement.&nbsp; Above all, her resin works possess a certain quietude characteristic of all of her cast sculptures &ndash; they embody space as well as silence.</p> <p class="p1" style="text-align: justify;">&nbsp;</p> <p class="p1" style="text-align: justify;">Rachel Whiteread (b. 1963) was born in London, England where she currently lives and works.&nbsp; She studied painting at Brighton Polytechnic and sculpture at the Slade School of Fine Art.&nbsp; Whiteread won the Turner Prize for her public sculpture&nbsp;<em>House</em>(1993) and represented Great Britain at the 1997 Venice Biennale.&nbsp; Important commissions include&nbsp;<em>Holocaust Memorial</em>(2000) in Vienna,&nbsp;<em>Tree of Life&nbsp;</em>(2011-2012) for the Whitechapel Gallery in London, and a new permanent sculpture for Governor&rsquo;s Island in New York to debut in the spring of 2016.&nbsp; Her works are in several prestigious collections including the Museum of Modern Art, New York, the National Gallery of Art, Washington D.C., the Stedelijk van Abbemuseum, Eindhoven, the Tate, London and the Centre Pompidou, Paris.&nbsp; A major retrospective exhibition on Whiteread is being organized jointly by the National Gallery of Art, Washington, D.C., and Tate Britain, London and will open in the fall of 2017.</p> Tue, 13 Oct 2015 08:02:36 +0000 Julio Larraz - Ameringer | McEnery | Yohe - October 15th - November 14th <div dir="ltr"> <div class="gmail_quote"> <div dir="ltr"> <div class="gmail_quote"> <div dir="ltr"> <div class="gmail_quote"> <div dir="ltr"> <div class="gmail_quote"> <div dir="ltr"> <div class="gmail_quote"> <div dir="ltr"> <div class="gmail_quote"> <div dir="ltr"> <div class="gmail_quote"> <div dir="ltr"> <div class="gmail_quote"> <div dir="ltr"> <div class="gmail_quote"> <div dir="ltr"> <div class="gmail_quote"> <div dir="ltr"> <div class="gmail_quote"> <div dir="ltr"> <p align="center"><strong>Cuba&rsquo;s Most Influential Living Artist To</strong></p> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> <div dir="ltr"> <div class="gmail_quote"> <div dir="ltr"> <div class="gmail_quote"> <div dir="ltr"> <div class="gmail_quote"> <div dir="ltr"> <div class="gmail_quote"> <div dir="ltr"> <div class="gmail_quote"> <div dir="ltr"> <div class="gmail_quote"> <div dir="ltr"> <div class="gmail_quote"> <div dir="ltr"> <div class="gmail_quote"> <div dir="ltr"> <div class="gmail_quote"> <div dir="ltr"> <div class="gmail_quote"> <div dir="ltr"> <div class="gmail_quote"> <div dir="ltr"> <p align="center"><strong>Showcase at Gallery in Chelsea</strong></p> <p align="center"><strong>&nbsp;</strong></p> <p align="center">&ldquo;<em>Larraz is now recognized as one of the most important contemporary Latin American artists of our time.&rdquo;</em></p> <p align="center">The Huffington Post</p> <p align="center"><strong>&nbsp;</strong></p> <p style="text-align: justify;">On&nbsp;Thursday, October 15, Cuban Artist, Julio Larraz, will open a solo show at Ameringer | McEnery | Yohe Gallery in Chelsea, New York. This will be Larraz&rsquo;s inaugural show with the gallery since joining in 2014 and after being represented for 15 years by the Marlborough Gallery in New York. The show will consist of 15 paintings and will run until&nbsp;November 14.<span style="color: #000000; font-family: arial, helvetica, sans-serif;">&nbsp;A public reception for the artist will be held on&nbsp;15 October&nbsp;from&nbsp;6:00 to 8:00 p.m.</span>&nbsp;</p> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> <div style="text-align: justify;" dir="ltr"> <div class="gmail_quote"> <div dir="ltr"> <div class="gmail_quote"> <div dir="ltr"> <div class="gmail_quote"> <div dir="ltr"> <div class="gmail_quote"> <div dir="ltr"> <div class="gmail_quote"> <div dir="ltr"> <div class="gmail_quote"> <div dir="ltr"> <div class="gmail_quote"> <div dir="ltr"> <div class="gmail_quote"> <div dir="ltr"> <div class="gmail_quote"> <div dir="ltr"> <div class="gmail_quote"> <div dir="ltr"> <div class="gmail_quote"> <div dir="ltr"> <p>This inaugural show at Ameringer | McEnery | Yohe will showcase Larraz&rsquo;s skills of handling light and shadow and enigmatic narratives embedded in his paintings. According to gallery partner, Miles McEnry, the catalogue is possibly the best in Larraz&rsquo;s career.&nbsp;</p> <p>Born in Havana, Cuba and currently residing in Miami, Larraz is the son of a newspaper editor and began drawing at an early age. Early on in his career, Larraz painted political caricatures that were published by the New York Times and several other publications. Larraz is best known by his precise and detailed techniques, his imagination and his subtle touch.</p> <p>In 1961, Larraz&rsquo;s moved from Cuba to the United States, first to Miami and then to New York where he begun his career. Although Larraz resides in Miami and has lived all over the world, he cites a number of New York artists as influences, particularly that of Burt Silverman. In the 1970&rsquo;s and 80&rsquo;s, Larraz cut his teeth in the New York art market and is now working diligently on what he feels like has been lost time.</p> <p>Julio Larraz paints deeply layered satires of art and life. He is a visual philosopher interchanging reality and imagination. Without being hyper-realistic, fragments of scenes are revealed with abundant descriptions. Larraz&rsquo;s paintings are dominated by imposing landscapes, powerful seas, enigmatic space scenes, and elegant individuals wearing resplendent attire that call into question the meaning of beauty. His use of luminous, scintillating, completely translucent light is attributed to that of the tropics, a subject which reflects Larraz&rsquo;s passionate attachment to his Cuban, Latin American identity. These images come to him as if in a dream and his works are a continuous attempt to capture them before they disappear.</p> <p>For more information on Julio Larraz &ndash;&nbsp;<a href="" target="_blank"></a></p> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> <div dir="ltr"> <div class="gmail_quote"> <div dir="ltr"> <div class="gmail_quote"> <div dir="ltr"> <div class="gmail_quote"> <div dir="ltr"> <div class="gmail_quote"> <div dir="ltr"> <div class="gmail_quote"> <div dir="ltr"> <div class="gmail_quote"> <div dir="ltr"> <div class="gmail_quote"> <div dir="ltr"> <div class="gmail_quote"> <div dir="ltr"> <div class="gmail_quote"> <div dir="ltr"> <div class="gmail_quote"> <div dir="ltr"> <div class="gmail_quote"> <div dir="ltr"> <p style="text-align: justify;">For more information on Ameringer | McEnery | Yohe -&nbsp;<a href="" target="_blank"></a></p> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> Mon, 12 Oct 2015 17:51:40 +0000 Wojciech Gilewicz - Cuchifritos Gallery + Project Space - October 23rd - November 29th <p>Cuchifritos Gallery is pleased to present <em>Cuboids</em>, a solo exhibition by Polish American artist <a href="" rel="nofollow">Wojciech Gilewicz</a> comprised of three eponymous spatial, painted objects and a video. This autonomous film narrative combining painting and performative interventions reminds of an early student film by Roman Polanski &ldquo;Two people and a wardrobe&rdquo; (Dwaj ludzie z szafa, 1958).</p> <p>As Ela Bittencourt writes &ldquo;&hellip; In &ldquo;Cuboids&rdquo;, Gilewicz stresses the repetiveness in his own work. Frame after frame, we see him transport, discard and reinstall the cubes, emphasizing physical labor over the exaltation of an artist creating in a studio. And although Gilewicz as filmmaker is in complete control, as actor he struggles with the cubes&rsquo; unwieldy sizes and weights. In this sense, &ldquo;Cuboids&rdquo; is a situation comedy, which in its inventiveness and humor harks back to Gilewickz&rsquo; earlier works. And while the idea that art is a matter of social intervention is not new, &ldquo;Cuboids&rdquo; dramatizes this notion in ways that are both deadly serious and seriously funny.&rdquo; </p> <p><br />Click <a href="" rel="nofollow">here</a> for more info.</p> Sat, 10 Oct 2015 20:15:52 +0000 Farrell Brickhouse, Ariel Dill, Sarah Faux, Clint Jukkala, Jess Willa Wheaton - Edward Thorp Gallery - October 29th - December 5th <p>Group show of painters exploring the relationship between form and meaning.</p> Fri, 09 Oct 2015 18:02:55 +0000 Group Show - The Lodge Gallery - October 14th - October 28th <p>Art in Odd Places (AiOP) presents&nbsp;<em>Art in Odd Places: RECALLed,</em>&nbsp;an exhibition organized by&nbsp;<strong>Caitlin Crews</strong>,&nbsp;<strong>Claire Demere</strong>, and&nbsp;<strong>Ikechukwu Casmir Onyewuenyi</strong>&nbsp;with Art in Odd Places curators&nbsp;<strong>Kendal Henry</strong>&nbsp;and&nbsp;<strong>Sara Reisman</strong>. The exhibition features a selection of artworks by artists participating in this year&rsquo;s anniversary festival&ndash;&ndash;<em>RECALL&ndash;&ndash;</em>and is accompanied by a publicly accessible archive with current and past artists&rsquo; documentation.</p> <p class="p1">The two week run of&nbsp;<em>Art in Odd Places: RECALLed</em>&nbsp;includes numerous evenings of special programming and performances from participating artists in this year&rsquo;s festival.&nbsp;The show aims to manifest the past and future of AiOP through its archival component, which&nbsp;will continue past the exhibition as an ongoing repository for Art in Odd Places&rsquo;&nbsp;history. &nbsp;</p> <p class="p1">Featuring:&nbsp;<strong>BAMteam</strong>,&nbsp;<strong>Isidro Blasco</strong>,&nbsp;<strong>Dennis Redmoon Darkeem</strong>,&nbsp;<strong>Nicholas Fraser</strong>,&nbsp;<strong>John Craig Freeman</strong>,&nbsp;<strong>Ghana ThinkTank</strong>,&nbsp;<strong>Monika Goetz</strong>,&nbsp;<strong>Johannes Rantapuska &amp; Milja Havas</strong>,&nbsp;<strong>Terry Hardy</strong>,&nbsp;<strong>Leah Harper</strong>,&nbsp;<strong>Linda Hesh</strong>,&nbsp;<strong>Sam Jablon</strong>,&nbsp;<strong>Liz Linden</strong>,&nbsp;<strong>LuLu LoLo</strong>,&nbsp;<strong>L Mylott Manning</strong>,&nbsp;<strong>Carolina Mayorga</strong>,&nbsp;<strong>Jenny Polak</strong>,&nbsp;<strong>Sasha Sumner &amp; Nick Porcaro</strong>,&nbsp;<strong>Tim Thyzel</strong>,&nbsp;<strong>Marieke Warmelink &amp; Domenique Himmelsbach de Vries</strong>,&nbsp;<strong>Brooks Wenzel</strong></p> Fri, 09 Oct 2015 16:22:20 +0000 Nanda Vigo - Sperone Westwater - October 30th - December 22nd Thu, 08 Oct 2015 21:03:47 +0000 - Sperone Westwater - October 30th - December 22nd Thu, 08 Oct 2015 21:02:46 +0000 Andy Goldsworthy - Galerie Lelong - October 22nd - December 5th <p>New York, NY, September 22, 2015 - Galerie Lelong is pleased to present Andy Goldsworthy: Leaning into the Wind, an exhibition of photographs and films juxtaposing Goldsworthy&rsquo;s raw, early days of exploration of action and process with never-before-seen works from the last three years that return to the focus on the artist&rsquo;s use of his body. The artist will be present for the opening reception on Thursday, October 22 from 6-8pm.<br />For Goldsworthy, the use of his own body has been an essential part of his practice since the beginning of his career, yet this is an aspect that has not been as shown or published as widely as many of his other ephemeral works. Actions such as throwing, spitting, and burying himself can be traced to the earliest days of Goldsworthy&rsquo;s art-making practice, and have re-emerged in the last few years with a new power and frequency. For the first time in five years, Goldsworthy has produced a full body of photographic and film works that will fill the main gallery. The new works will be shown in relation to vintage work (1970s/1980s), presented in the side gallery, many of which will be on view for the first time and will comprise the most extensive selection shown to date.<br />In both the vintage and new works, Goldsworthy&rsquo;s use of his body is a form of education, learning by touch in order to understand his materials. He does not have a pre-planned or intended outcome but is instead motivated by the process itself. Goldsworthy said in reflection of his early work: &ldquo;When I began working outside, I had to establish instincts and feelings for Nature&hellip; I needed a physical link before a personal approach and relationship could be formed. I splashed in water, covered myself in mud, went barefoot and woke with the dawn.&rdquo; Many of the basic tenets of Goldsworthy&rsquo;s practice formed in this early period are centered on the development of an intimate and physical relationship with nature and the importance of process. Early on, photographs were not his intention, but rather a medium to record his investigation and process, but over time, the use of the camera became essential to his exploration.<br />In recent years, Goldsworthy has used his body with a new energy and ability to go deeper into his practice. Goldsworthy&rsquo;s new work sees the artist spitting, entering a stone, and engaging in an uneasy hedge crawl, among other actions, that further explore his relationship with nature. In each work, Goldsworthy seeks to tap into an energy that is met with a resistance, a new set of problems, and friction that Goldsworthy encounters in all of<br />his work. The points of tension&mdash;the unknown&mdash;drive the creative investigation. It is exactly this resistance, inherent in the act of the making the work, that informs all of Goldsworthy&rsquo;s practice, including his sculptural works. The photographs and films of this exhibition document the process of his experimental way into his work.<br />Since his last exhibition at Galerie Lelong in 2010, Goldsworthy has completed numerous public and private commissions including: Stone Sea at the St. Louis Art Museum, St. Louis, Missouri; Path and Rising Stone at the Albright Knox Art Gallery, Buffalo, New York; Strangler Cairn at the Conondale Range Great Walk, Conondale National Park, Queensland, Australia; and Wood Line at The Presidio, San Francisco, California. On October 1, Goldsworthy will be honored by Storm King Art Center, home of the artist&rsquo;s celebrated Storm King Wall. Abrams Books recently published Andy Goldsworthy: Ephemeral Works 2004-2014. Goldsworthy is currently in production of a new film with renowned director, Thomas Riedelsheimer, following the acclaimed 2001 documentary of Goldsworthy, Rivers &amp; Tides. The artist was born in Cheshire, England in 1956, and is based in Scotland.</p> Thu, 08 Oct 2015 18:47:35 +0000 Richard Smith - Flowers Gallery NY - October 15th - November 14th <p>Flowers Gallery is pleased to announce an exhibition of Richard Smith&rsquo;s Kite Paintings, bringing together works from the 1970s and 1980s in the most comprehensive presentation of Kite Paintings in the United States since&nbsp;1978.</p> <p>Smith&rsquo;s Kite Paintings worked to redefine notions of the &lsquo;edge&rsquo; of painting, as the artist rejected the limitations of the traditional rectangular canvas support. Drawn edge and physical edge are combined and allocated equal weight in Smith&rsquo;s examination of the surface, revealing a new visual language of&nbsp;representation.</p> <p>The exhibition will also include a series of works on paper and preparatory models for the Kite Paintings, illuminating Smith&rsquo;s inventive working process. The show is accompanied by a new full-color catalogue with an essay by American Art Historian and Critic Barbara Rose, who has previously written the catalogue for Smith&rsquo;s seminal Seven Exhibitions 1961 - 75 at Tate&nbsp;Gallery.</p> Thu, 08 Oct 2015 17:32:34 +0000 Brea Souders - Bruce Silverstein Gallery - October 29th - December 23rd <p>Bruce Silverstein Gallery is pleased to present <em>Hole in the Curtain</em>, the gallery&rsquo;s second solo show of new works by Brea Souders. The exhibition is comprised of portraits and abstract compositions that further Souders&rsquo; interest in fragmented narratives, the inchoate versus the known, and the fitful effects of time. Distinct from the symbolic portraits comprising her <em>Counterforms</em> series, in this new work Souders taps into the burlesque of humanity, depicting characters that blur the line between biographical and fictive.</p> <p>Souders creates her latest works with bleach, photographic chemistry and watercolors using unexposed film emulsion as a substrate. Souders writes, &ldquo;I approach the emulsion as a vulnerable skin, subject to constant transformation. I was drawn to work with it because of this changeable quality.&rdquo; Consistent with her earlier project, <em>Film Electric</em>, these images record a fleeting materiality. The bleach and chemistry rapidly degrade the film, and are thus a purposeful incubator of chance occurrences--fissures in emulsion, selective lightening, bored holes, color shifts, breached borders.</p> <p>While in process, Souders&rsquo; works exist in a state of timed decline that serves as a metaphor for the nature of both our physical bodies and our memories of people and events. At a moment when artists are grappling with human beings&rsquo; succumbing to a digital world, Souders turns her attention to a fundamental aspect of the human experience: how we connect as individuals. Souders&rsquo; portraits demonstrate a humorously expressive quality, yet as with her earlier work, there exists a weight in the pictures that is apparent in their dark spaces, in the various rents in the emulsion that open up to what looks like a wide starry sky.</p> Wed, 07 Oct 2015 21:10:25 +0000 Richard Galpin - Cristin Tierney Gallery - October 29th - December 12th <p>Cristin Tierney Gallery is pleased to present <strong><em>Slow Boom</em></strong><em>, </em>an exhibition of new works by <strong>Richard Galpin</strong><em>. </em>A reception will be held on Thursday, October 29th, from 6:00 to 8:00 pm to mark Galpin&rsquo;s first solo exhibition with the gallery. The artist will be present.</p> <p>&nbsp;</p> <p>In&nbsp;<em>Slow Boom</em>, a phalanx of metal structures creeps across the gallery walls. Nicknamed "crawlers," these radiating strips of steel form the artist's most recent investigations of urban growth. Assembled from actual building materials, the works have been hand-painted and precisely arranged to suggest two omnipresent features of construction: cranes and scaffolding. The crawlers, which can be configured in an infinite number of variations, expand or contract to fill available space. They evoke both the dynamic energy of a bustling metropolis, and the movement of an active construction site. Similar to the way cities are shaped by rapid cycles of growth and destruction, Galpin's installation is a living organism that thrives with change.</p> <p>&nbsp;</p> <p><em>Slow Boom</em> invites comparison with early 20th century avant-garde movements that evolved in response to sociopolitical upheaval. Significant influences are British Vorticists David Bomberg and Edward Wadsworth, who represented the modern urban environment of World War I-era Britain. A preoccupation with truth to materials, or <em>Faktura</em>, and spatial presence, or <em>Tektonika</em>, also connects Galpin to the legacy of Constructivism. Like these artists before him, Galpin acts as an urban anthropologist, exploring the social implications of modernity, fragmented city life, and accelerated change. His use of industrial materials provokes discourse on construction's cultural associations, and his interpretation of the form and movement of machinery draws attention to the performativity of labor.</p> <p>&nbsp;</p> <p>Richard Galpin (b. 1975, Cambridgeshire, UK) holds a BA from the University of the West of England and a MA from Goldsmiths College (2001). Solo exhibitions include Franklin Art Works, Minneapolis, MN; Brancolini Grimaldi Arte Contemporanea, Rome; Galeria Leme, S&atilde;o Paulo; Roebling Hall, New York, NY; and Hales Gallery, London. Galpin's work can be found in the collections of many esteemed institutions, including the British Government Art Collection, UK; British Museum, UK; Victoria &amp; Albert Museum, UK; Zabludowicz Art Trust, London; and Deutsche Bank Collection, UK. In 2010, he completed a public commission, <em>Viewing Station</em>, for the High Line in New York City. Galpin lives and works in London.</p> <p>&nbsp;</p> <p>For any inquiries, please contact Candace Moeller at 212.594.0550 or</p> Wed, 07 Oct 2015 20:23:43 +0000 Lucy McRae and Skylar Tibbits - Storefront for Art and Architecture - October 16th - December 19th <p style="text-align: right;">&ldquo;If one wants to dance on a tightrope, one has to first tension the wire.&rdquo;</p> <p style="text-align: right;">Siegfried Ebeling, 1926, Space as Membrane</p> <p style="text-align: right;">&nbsp;</p> <p><em>JB1.0: Jamming Bodies</em> is&nbsp;an immersive installation that transforms&nbsp;Storefront&rsquo;s gallery space into a laboratory. The installation, a collaboration between science fiction&nbsp;artist Lucy McRae and architect and computational designer Skylar Tibbits with MIT&rsquo;s Self-Assembly Lab, explores the relationship between human bodies and the matter that surrounds them.</p> <p><em>JB1.0: Jamming Bodies</em> collapses architecture, technology, and art into a single object. While skin usually demarcates the transition between exterior and interior, this experimental installation transforms skin into a membrane that operates as both. A threshold toward a space of total interiority or total exteriority, <em>JB1.0</em> is an animate continuum that simultaneously embraces and modifies human bodies and space. Combining the plasticity of mutable organisms with the rigidity of architectural forms, <em>JB1.0</em> brings architecture and its subject into a single space. A breathing, morphable wall, <em>JB1.0</em> animates the building enclosure by absorbing and expulsing the atmosphere around it while compressing the bodies with which it interacts.</p> <p>With this project, McRae and Tibbits, along with MIT&rsquo;s Self-Assembly Lab, explore pneumatic architectural skins and their potential applications to the future of health, fitness, fashion, furniture, and zero gravity. <em>JB1.0</em> is both an installation and performance piece, and serves to investigate the implications of material transformation and self-reconfiguring membranes on the feeling, behavior, and physiology of the body.</p> <p><em>JB1.0</em> takes the form of Storefront&rsquo;s gallery wall as a point of departure, providing through its various iterations and forms a series of works on display as bodies (visitors to the gallery) interact with the installation.</p> <p><em>JB1.0</em> is the first iteration of a research project on the scalability of granular jamming for spatial applications. &ldquo;Jamming&rdquo; entails a process by which disordered materials can reversibly switch between liquid, solid, and semi-solid states by increasing density. The installation requires reciprocal action by human bodies for the total fulfillment and observation of variables such as tunable stiffness, reconfiguration, morphability, and dynamic internal/external forms.</p> <p>Through this exhibition, Storefront for Art and Architecture is transformed into a lab space to test questions of scale, geometry, and temporality in relationship to the shape, size, intensity, and quantity of particles that comprise physical structures.</p> <p><em>JB1.0</em> is the first collaboration between McRae and Tibbits, who bring together their expertise to produce a pioneering large-scale jammable furniture and a body-focused space. This prototype, a mix between a playground and a laboratory test room, explodes inherited ideas within many industries and disciplines, putting morphable space and the body at the center of conversations about the future of science, technology, health, and fitness, as well as in the conceptual and material definitions of our everyday spaces of inhabitation.</p> <p>&nbsp;</p> <p>&mdash;</p> <p>&nbsp;</p> <p><em>This exhibition was made possible through the generous support of the the Robert Rauschenberg Foundation&rsquo;s Artistic Innovation and Collaboration Program. </em></p> <p>Jamming Bodies<em>&nbsp;is the third in a series of projects commissioned by Storefront with the support of the Rauschenberg Foundation. The grant supports collaborations that produce innovative work between individuals across disciplinary fields. Previous exhibitions presented at Storefront as part of the program include&nbsp;</em><strong><a style="color: #000000;" href="" rel="nofollow">Situation NY</a></strong><em>&nbsp;by Marc Fornes and Jana Winderen in 2014 and&nbsp;</em><strong><a style="color: #000000;" href="" rel="nofollow">Speechbuster</a>&nbsp;</strong><em>by Jimenez Lai and Grayson Cox in 2013.</em></p> Wed, 07 Oct 2015 18:01:50 +0000