ArtSlant - Recently added en-us 40 Pipilotti Rist - New Museum - October 26th - January 15th, 2017 <p style="text-align: justify;">&ldquo;Pipilotti Rist: Pixel Forest,&rdquo; will mark the first New York survey of the work of Swiss artist Pipilotti Rist.</p> <div class="body body--truncated"> <p style="text-align: justify;">Over the past thirty years, Rist (b. 1962) has achieved international renown as a pioneer of video art and multimedia installations. Her mesmerizing works envelop viewers in sensual, vibrantly colored kaleidoscopic projections that fuse the natural world with the technological sublime. Referring to her art as a &ldquo;glorification of the wonder of evolution,&rdquo; Rist maintains a deep sense of curiosity that pervades her explorations of physical and psychological experiences. Her works bring viewers into unexpected, all-consuming encounters with the textures, forms, and functions of the living universe around us.</p> <p style="text-align: justify;">Occupying the three main floors of the Museum, &ldquo;Pipilotti Rist: Pixel Forest&rdquo; will be the most comprehensive presentation of Rist&rsquo;s work in New York to date. It will include work spanning the artist&rsquo;s entire career, from her early single-channel videos from the 1980s that explore the representation of the female body in popular culture to her recent expansive video installations that transform architectural spaces into massive dreamlike environments enhanced by hypnotic musical scores. Featuring a new installation created specifically for this presentation, this exhibition will also reveal connections between the development of Rist&rsquo;s art and the evolution of contemporary technologies. Moving from the television monitor to the cinema screen, and from the intimacy of the smartphone to the communal consumption of images and soundscapes, this survey will chart the ways in which Rist&rsquo;s work has fused the biological with the electronic in the ecstasy of communication.</p> <p style="text-align: justify;">Pipilotti Rist was born in Grabs in the Rhine Valley, Switzerland, and currently lives and works in Zurich. She studied graphic design, illustration, and photography at the University of Applied Arts in Vienna and audiovisual communications and video at the Basel School of Design. Solo exhibitions of her work have been presented internationally at venues including Kunsthaus Z&uuml;rich (2016); Kunsthalle Krems, Austria (2015); Times Museum, Guangzhou, China (2013); Leeum, Samsung Museum of Art, Seoul, South Korea (2012); Fondazione Nicola Trussardi, Milan (2011); the Hayward Gallery, London (2011); the Wexner Center for the Arts, Columbus, OH (2011); Museum Boijmans Van Beuningen, Rotterdam, the Netherlands (2009); the Museum of Modern Art, New York (2008); Centre Georges Pompidou, Paris (2007); and the Contemporary Arts Museum Houston, TX (2006); among many others. Rist was awarded the Harper&rsquo;s Bazaar Art China Prize (2013), the Zurich Festival Prize (2013), and the Joan Mir&oacute; Prize (2009).</p> <p style="text-align: justify;">&ldquo;Pipilotti Rist: Pixel Forest&rdquo; is curated by Massimiliano Gioni,&nbsp;<em>Edlis Neeson Artistic Director</em>, Margot Norton, Associate Curator, and Helga Christoffersen, Assistant Curator. The exhibition will be accompanied by a fully illustrated catalogue copublished by the New Museum and Phaidon Press Limited.&nbsp;</p> </div> Thu, 25 Aug 2016 07:37:15 +0000 Timothy Greenfield-Sanders - Fisher Landau Center for Art - August 18th - November 28th Thu, 25 Aug 2016 06:35:09 +0000 Group Show - Fisher Landau Center for Art - August 18th - November 28th <p style="text-align: justify;">Fisher Landau Center for Art is excited to present &ldquo;INTUITIVE PROGRESSION&rdquo;, an exhibition curated from&nbsp;the collection featuring 75 artworks by 20 artists. Occupying the entire 2nd floor gallery of the Center, the&nbsp;installation seeks to convey an atmosphere that depicts the creative process as a unique journey fostering&nbsp;artistic development. Displayed in a fashion complimenting shared themes and innovative techniques&nbsp;providing an intimate glimpse into the imagination of these ambitious individuals.</p> <p style="text-align: justify;">Highlighting her use of the geometric grid as a means to illustrate the transcendental nature of art, Agnes Martin&rsquo;s&nbsp;seminal painting &ldquo;Grey Stone II&rdquo; (1961) is displayed next to four ink on paper drawings executed between 1960 &amp;&nbsp;1965. Their cumulative effect is a testament to her rigorous portrayal of the non-objective within the confines of&nbsp;a pictorial framework. In 1985&rsquo;s &ldquo;Thin Stripe&rdquo; series, Sherrie Levine began a dramatic shift away from direct&nbsp;appropriation, to a series of paintings using materials that evoke their sensual qualities. Made with a mixture&nbsp;of pigment and wax applied directly on mahogany supports, they evolved into metaphorical board games over&nbsp;a three year period, using lead sheet backgrounds as integral components of the composition. Terry Winters&rsquo;&nbsp;unique body of work alluding to organic cell structures is rendered through a series of lithographs and an oil&nbsp;on linen, Untitled (1983). Displayed in conjunction with the large oil on linen &ldquo;Tessellation Figures&rdquo; (2011),&nbsp;his expanded use of color comes to the forefront as an ongoing commentary into the natural order of things.&nbsp;</p> <p style="text-align: justify;">Ed Ruscha&rsquo;s depiction of a grid takes on an unexpected visual composition in &rdquo;Christ Candle&rdquo; (1987), using a&nbsp;night time aerial view of the streetlights of Los Angeles as a formal device. Ruscha&rsquo;s suite of lithographs &ldquo;Cameo&nbsp;Cuts&rdquo; (1992), continues his fascination with the cinematic qualities and mythic icons associated with Hollywood.&nbsp;</p> <p style="text-align: justify;">Carl Andre&rsquo;s typed carbon poems from 1964 use words and letters in a geometric arrangement that presage his&nbsp;entry into minimalist sculpture, as evidenced by the iconic floor piece &ldquo;28 Lead Rectangles&rdquo; (1968). Richard&nbsp;Artschwager&rsquo;s unorthodox use of common construction materials traces a fine line from the formal qualities of his&nbsp;sculptural &ldquo;Book&rdquo; (1987), to the baroque aspects of &ldquo;Diderot&rsquo;s Last Resort&rdquo; (1992), evincing a trompe l&rsquo;oeil effect&nbsp;using a variety of textured Formica panels.</p> <p style="text-align: justify;">One of the most unique aspects of the exhibition revolves around Jasper Johns&rsquo; screenprints, &ldquo;Painting with Two&nbsp;Balls&rdquo; (Color &amp; Grays, both from 1971). Pushing the medium into a gestural boundary, both of the editioned prints&nbsp;are flanked by their progressive states, allowing the viewer to see the unique process in a step by step format,&nbsp;illustrating their conception through the display of 11 separate screenprints.</p> <p style="text-align: justify;"><br />&ldquo;INTUITIVE PROGRESSION&rdquo; features additional artwork by: Ricci Albenda, Joseph Amar, Donald Baechler,&nbsp;James Brown, Gloria Graham, Bryan Hunt, Karla Knight, John McLaughlin, James Meyer, Thomas Nozkowski,&nbsp;Susan Rothenberg, Peter Schuyff &amp; Kiki Smith.</p> <p style="text-align: justify;">Housed in a former parachute harness factory, Fisher Landau Center for Art was designed by Max ordon&nbsp;in association with Bill Katz and is devoted to the exhibition and study of the contemporary art collection of&nbsp;Emily Fisher Landau. The core of the 1500 work collection spans 1960 to the present and contains key works&nbsp;by individuals who have shaped the most significant art of the last 50 years. Emily Fisher Landau's insightful&nbsp;selection of works by contemporary masters, many of which she purchased from the artists at the outset of&nbsp;their careers is reflected in exhibitions presented at Fisher Landau Center for Art. Her ongoing commitment to&nbsp;emerging artists extends to the annual presentation of the Columbia University School of Visual Arts MFA Thesis&nbsp;Exhibition. In May of 2010, Mrs. Landau made a historic pledge of over 400 artworks by nearly 100 artists to the&nbsp;Whitney Museum of American Art, with a curated selection touring the United States through the Fall of 2014.</p> Thu, 25 Aug 2016 06:33:03 +0000 SHEN JINGDONG + JON TSOI - WhiteBox - September 1st - September 30th <p>Press Release<br />August 10, 2016</p> <p>New York City &ndash; Shen Jingdong + Jon Tsoi : No Head No Heart is a New York debut-collaboration of two Chinese contemporary artists who came of age in the 1980s, one Beijing-based, the other a New Yorker.</p> <p>The exhibition addresses aspects of an ongoing, alarming Sino-American military build-up, seen through the lens of performance art, painting, and public interactive art. The artworks evoke the unsettling figure of the &ldquo;hero&rdquo;, patent in the invincible uniformed figure of the Red Army soldier inscribed in both artists&rsquo; childhood memories.</p> <p>In the words of Eric Shiner, &ldquo;Shen Jingdong converts Communist icons in his paintings and sculptures in an unprecedented way, creating sumptuous works that cunningly turn these images of power into candy-colored and glistening figures that are more likely to be found on a toy shop&rsquo;s shelves than marching through Beijing&rsquo;s Tiananmen Square.&rdquo;</p> <p>Shen witnessed and was partly influenced by the notorious and subversive &rsquo;85 Art New Wave&rsquo; movement from Nanjing, that advocated a rationalistic approach to artmaking, in opposition to the academic, social-realist painting of the times. While his work has one foot in the supposed glory of the past, the other foot is firmly set in the ambiguous but relentless narrative of present day China. Aesthetically influenced by Western Pop Art, Shen deems the Chinese soldier a friendly-looking instrument to nonetheless be reckoned with. And he does so with exactitude.</p> <p>By contrast, Jon Tsoi&rsquo;s response to militarism is expressed through the prism of Taoism and its notions of chance, as well as via abstract expressionist principles that likewise reflect randomness and unpredictability. Tsoi&rsquo;s performative painting is not only created blindfolded, but is resurrected, repaired, and restored by a blindfolded audience. In such engagements, Mr. Tsoi also references the original concept of Lucio Fontana, &lsquo;concetto spatiale&rsquo;&mdash;slashing the membrane of two dimensionality canvasses in order to highlight the &lsquo;third space&rsquo; behind the picture&mdash;a method tilled by the legendary Japanese expressionist group Gutai Art Association, and advances it dramatically.</p> <p>Together in this project, Shen and Tsoi generously allow for their work to hybridize into a risky, but poignant counterpoint. The sumptuous, slick, perfectly controlled soldiers of Shen Jingdong confront the ignominious slashings of Jon Tsoi&rsquo;s sharp knives, and subsequent re-weaving. The result may remain a mystery as deep and perplexing as the history of China itself.</p> <p><strong>Shen Jingdong</strong>&nbsp;was born in 1965 and currently lives and works in Beijing. After graduating from the Printmaking Department of Nanjing Art College in 1984, he continued to pursue and complete his studies at the Department of Fine Arts in the Nanjing Academy of Art in 1991. After, Shen served 17 years in the battlefront Art Troupe of the Political Department of Nanjing Military Region. His military background inspired his artistic style &ndash;iconic, cartoon style military portraits. His works continuously address the subject of the hero and pop art in porcelain figurines and paintings. His work has been exhibited widely in the United States, Europe and China. Recent shows have included Censure at the Galerie DOCK SUD in France in 2015, France-Chine 50 (la Chine &agrave; l&rsquo;honneur) at the Art Paris &ndash; Art Fair in France in 2014, a group exhibition East/west: Visually Speaking in the United States in 2010/2012. His work is included in the collections of the Frost Art Museum and the Paul &amp; Lulu Hilliard University Art Gallery.</p> <p><strong>Jon Tsoi</strong>&nbsp;was born in 1958 in Sichuan province, China. After moving to the United States in 1979, he attended art classes at Montclair State University NJ, and at the Art Students League of New York in the early 1980s. Tsoi currently lives in Connecticut and has exhibited his work in various art galleries in New York City, New Jersey, Connecticut, Florida, and China. As a certified medical doctor in acupuncture and a contemporary artist, Tsoi consciously integrates in his healing and art making. Recent exhibitions have included ChangJiang Contemporary Art Museum in China in 2016, and Blindfold Art Performance at WhiteBox in New York in 2016.</p> Wed, 24 Aug 2016 20:07:52 +0000 Amy Jenkins, Christopher K. Ho., Erika Ranee, John Juravi, Rob Swainston, Sally Webster, Tyler Vlahovich - FiveMyles - September 10th - October 9th <p>From the tens of thousands of artists whose work the editor, writer, and documenter Larry Qualls has seen over the past five decades, he has selected seven, who, over many exhibition viewings, have presented works that continue to resonate long after the shows they were enclosed. Each produces work that is steeped in a knowledge of tradition, yet is uniquely subversive, daring to challenge current customs, practices, and parameters. All had created pieces that challenged their chosen media, exploring themes and processes that resonated beyond the hermetic confines of the art world.&nbsp;</p> <p>For this exhibition he asked each artist to choose pieces they had made, of whatever vintage, that held particular relevance for their practice, even if these are not characteristic of what they had shown commercially.&nbsp;The works chosen for ALOE may be observational or inner-directed, abstract or narrative, constructed digitally or crafted through traditional means, yet they share a fierce commitment to challenging accepted ideas of the relation of sign and meaning; they both exacerbate and soothe, tearing apart settled conventions, while pointing to future possibilities.&nbsp;</p> Wed, 24 Aug 2016 19:58:11 +0000 Jasmine Murrell - FiveMyles - August 14th - September 4th <p>Tony Morrison's novel&nbsp;<em>Paradise</em>, inspired by the horrendous Black Wall Street bombings in Tulsa in 1921, when 3,000 Black people were massacred, prompted this installation at FiveMyles.</p> <p>In the novel's Black Utopia the women are killed by the men of the town, believing them to be the cause of the town's misfortune. The victimization of women prompted the artist Jasmine Murrell to celebrate the power and strength of Black women. Her installation brings together objects, drawings and paintings the artist made during the previous year. They reference Black women as the unsung heroes of this country.</p> Wed, 24 Aug 2016 19:55:13 +0000 PAULA CROWN - Marlborough Gallery New York - September 13th - September 13th Wed, 24 Aug 2016 16:38:05 +0000 - MoMA PS1 - September 15th 6:00 PM - 9:00 PM <p>Printed Matter presents the eleventh annual NY Art Book Fair, from September 16 to 18, 2016, at MoMA PS1, Long Island City, Queens.&nbsp;Free and open to the public, the NY Art Book Fair is the world&rsquo;s premier event for artists&rsquo; books, catalogs, monographs, periodicals, and zines.</p> <p>Join us on Thursday, September 15 from 6 to 9 pm, at MoMA PS1 for our opening night preview. The evening will feature a special live performance on the steps of PS1 by Beat Detectives.&nbsp;&nbsp;</p> <p><br />&nbsp;</p> Tue, 23 Aug 2016 21:30:52 +0000 A group exhibition of specially priced works from the Gallery’s collection including painting, folk art, furniture, Italian art glass, ceramics, and objet d’art. - Edward Thorp Gallery - September 9th - October 15th Tue, 23 Aug 2016 19:15:42 +0000 Zlatan Vehabovic, Yigal Ozeri, Sam Trioli, Erika Harrsch, Richard Wathen - MARC STRAUS - September 11th - October 16th <p class="p1">MARC STRAUS is proud to present <strong><em>The Incredible Likeness of Being</em></strong>, a group exhibition that investigates the &lsquo;Self&rsquo; through new paintings by five international contemporary artists.</p> <p class="p1">From the <a href="" rel="nofollow">Early Renaissance</a> by <a href="" rel="nofollow">Jan Van Eyck</a> to some of the leading artists such as <a href="" rel="nofollow">Rembrandt</a>, <a href="" rel="nofollow">Velazquez</a>, <a href="" rel="nofollow">Van Gogh</a>, <a href="" rel="nofollow">Schiele</a> and <a href="" rel="nofollow">Kahlo</a>, the self-portrait at its best is revelatory capturing the artist&rsquo;s image and soul on canvas. Unlike Narcissus who died fixated at the beauty of his own reflection, the intent of Self-Portraiture is to traverse superficialities and provide a critical insight of the sitter&rsquo;s identity.</p> <p class="p1">In obedience to the Socratic statement &lsquo;<a href="" rel="nofollow"><em>Know Thyself</em></a>&lsquo;, the artist, while looking in the mirror to reproduce his physical appearance, is in fact giving the world a visual autobiographical story; an honest documentation of his period, environment and culture. In the works included in this show, a &ldquo;likeness of being&rdquo; demonstrates that so much more is achievable than modeling reality; it is the exposure of the inner psyche in a form that can only be expressed by the artist. Indeed, Rembrandt depicted himself in later years as the old, haggard and tired artist he was, near penniless, but with only paint, Rembrandt achieved a level of verity no photograph could. His student <a href="" rel="nofollow">Samuel van Hoogstraten</a> would go on to advise artists: &ldquo;Benefit can be gained from the depiction of your own passions, especially in front of a mirror, where you are simultaneously the creator and the spectator.&rdquo;</p> <p class="p1">The Israeli hyper-realist Yigal Ozeri is well known for his paintings of beautiful women caught in the fleeting moment of bliss amidst oneiric landscapes. In these self-portraits idyllic nature has disappeared ─ for the first time in his career Ozeri creates works that lay bare his soul. By painting from images captured by renowned photographer Mark Berghash, Ozeri&rsquo;s black and white somber self-portraits portray a man vulnerable and introspective. These paintings benchmark Ozeri as one of today&rsquo;s best photorealist painters.</p> <p class="p1">For his self-examination, American artist Sam Trioli too uses stills by Berghash. Having recently painted grave monochromatic portraits of Harry and Bess Truman, Trioli is no stranger to <a href="" rel="nofollow">Grisaille</a>. With a keen attention to the tactility of the surface, he uses a combination of addition and removal of paint to give form to the image. The exposed bright canvas becomes the highlights in his Chiaroscuro-tinged face. Trioli&rsquo;s self-portrait paintings exist both as uncanny representational images and palpable painted objects.</p> <p class="p1">Zlatan Vehabovic, a highly regarded young Croatian artist earned his Ph.D. in painting at the vaunted Academy of Fine Arts in Zagreb. Here Vehabovic dials up the psychological drama in various profiles, each loaded with their respective intensity. Facing away from the viewer, Vehabovic is caught in an ambiguous emotional state. Facing the viewer head on, his glare is direct. Rendered in quivering but beautiful brushstrokes, these self-portraits with their ominous gray atmospheric backgrounds likely capture the artist&rsquo;s current mood.</p> <p class="p1">British artist Richard Wathen is widely known for his portraits, classically closer to Thomas Gainsborough and Watteau, but imbued with a sense of enigmatic uneasiness and illusions of familiarity. In his most renowned and charged work a naked boy is holding a rabbit. The &lsquo;Wathens&rsquo; isolated here are represented as women, perhaps to displace the viewer&rsquo;s instinct to judge the technicalities of the artist too quickly. As a result, these are complex allegories of an imagined &lsquo;Self&rsquo;. In a full-length figure draped in a paint-stained dress, the artist embodies both the subject and the muse. In another disquieting depiction, &lsquo;Wathen&rsquo; coyly plays with a pipe &ndash; the bubbles that float in the foreground distort the reality of his features.</p> <p class="p1">In Erika Harrsch&rsquo;s ensemble of mixed-media Self-Portrait paintings, she explores issues of identity through her different cultural lenses, depicting the (her) female body connected to elements of animal anatomy, both mammals or insects, with eroticized sketches and a diversity of media associated with opulence and sensuality. Solid forms and silhouettes constantly collide, and are further transformed through the multiple and simultaneous symbolic relationships found in the collage.</p> <p class="p1">Giorgio Vasari&rsquo;s <a href=",_Sculptors,_and_Architects" rel="nofollow"><em>Lives Of The Artists</em></a> opened the doors for practitioners to rightfully be recognized as artists, perhaps igniting the desire to present themselves to the outside world, recording their existence in history. The phenomenon of Self-Portraiture continues to be a formidable theme for contemporary artists today. In the age of the instant &lsquo;Selfie&rsquo;, a demand for a slower, more cerebral practice is ever more necessary.</p> <p class="p1"><strong><em>The Incredible Likeness Of Being</em></strong> features new works by Yigal Ozeri, Sam Trioli, Zlatan Vehabovic, Erika Harrsch and Richard Wathen.</p> Tue, 23 Aug 2016 17:23:03 +0000 Alix Pearlstein - On Stellar Rays - September 8th - October 16th <div class="WordSection1"> <p>On Stellar Rays is pleased to announce <em>Harem ROOM-1</em>, Alix Pearlstein&rsquo;s third solo exhibition with the gallery, presenting sculpture and video. Taken together, Pearlstein&rsquo;s new work, located within the unstable present, arouses the disquiet felt moving through an anxious populace.</p> <p><em>Harem</em>, meaning a group of women <em>perceived</em> as centering around a particular male.</p> <p>- A group of female animals sharing a single mate.</p> <p>- A prohibited, or forbidden place.</p> <p>- Separate quarters.</p> <p>- Kept safe, or &lsquo;sanctuary.&rsquo;</p> <p><em>Room</em>, meaning a space that can be occupied or where something can be done, especially viewed in terms of whether there is <em>enough. Enough room.</em></p> <p>- Room for contemplation, play, transgression.</p> <p>- Capacity, scope, leeway, latitude, freedom, opportunity and chance.</p> <p><em>Harem ROOM-1 </em>is the title of a figurative installation central to Pearlstein&rsquo;s exhibition, which utilizes a little-known meaning of the term <em>harem</em> to refer to a collection of like, fetishized elements. Here, applied as a framework, the harem presumes an act of subjugation and objectification, forcing parallels to social orders and hierarchies, as well as personal relationships and desires.</p> <p>&nbsp;Two videos will be presented in adjoining galleries.</p> <p><em>New City (People on Sunday)</em> is set in Canal Street Park and on an adjacent rooftop in downtown New York City on a very windy day; a group of five actors occupy these locations through shifting relationships with the urban landscapes, &nbsp;each other and a restless gaze. &nbsp;Two stacked channels juxtapose simultaneousviewpoints, collapsing and restructuring time. This work posits a point of view on a specific place, in an anxious time through insistent presence.</p> </div> <p>&nbsp;<em>The Weather</em> tracks the shifting mood of a group of nine people, as they are pushed, pulled or stuck between two positions. They pass back and forth from side to side in a blank white space, following in the direction of or against a laterally tracking camera. A rubber plant occupies one side of the space, serving as a gathering, resting, hiding place, obstruction or refuge.*</p> <p>The pace slows, as the group seems to become afflicted by a malaise. A reckoning follows as they brace for what comes next.</p> <p>&nbsp;Alix Pearlstein's work in video, installation, sculpture, photography and performance has been widely exhibited. Select solo exhibitions include de Cordova Museum, Boston, MA; Sams&oslash;n Projects, Boston, MA; Ballroom Marfa, Marfa, TX; Atlanta Contemporary Art Center, Atlanta, GA; Contemporary Art Museum, St. Louis, MO; The Kitchen, New York; MIT List Visual Arts Center, Cambridge, MA; The Museum of Contemporary Art, Chicago, IL; School of the Museum of Fine Arts, Boston, MA. Recent performances include Art Public at Art Basel, Miami, FL; The Park Avenue Armory, New York; and Esopus Space, New York. Group exhibitions include Whitechapel Gallery, London, UK; ParaSite, Hong Kong; INOVA, Milwaukee, WI; &nbsp;MoBY-Museums of Bat Yam, Israel; Internationale d&rsquo;Art de Queb&eacute;c, Canada; Center for Contemporary Art, Tel Aviv, Israel; Annual Exhibition of Visual Art, Limerick, Ireland; Whitney Museum of American Art, New York; SMAK, Ghent, Belgium; ICA Philadelphia, PA; Biennale de Lyon, France; and The Museum of Modern Art, New York.&nbsp;</p> <p>Pearlstein is a recipient of the Foundation for Contemporary Arts 2011 <em>Grants to Artists</em> award. She is on the faculty of the SVA MFA Program, and the Board of Governors of the Skowhegan School, and lives and works in New York City and Orient, New York.</p> <p>* <em>The Weather </em>will be on view at the gallery opening, and Saturdays and Sundays, in the gallery&rsquo;s basement space.</p> Mon, 22 Aug 2016 21:56:49 +0000 Guillaume Bresson, Ana Prata - Cuchifritos Gallery + Project Space - August 26th - September 25th <p>"Formerly we used to represent things visible on earth, things we either liked to look at or would have liked to see. Today we reveal the reality that is behind visible things, thus expressing the belief that the visible world is merely an isolated case in relation to the universe and that there are many more other, latent realities. Things appear to assume a broader and more diversified meaning, often seemingly contradicting the rational experience of yesterday&hellip;"</p> <p>&ndash; Paul Klee,&nbsp;<em>Creative Confession</em>&nbsp;(1920)</p> Fri, 19 Aug 2016 19:21:28 +0000 Ryan Brown - Y Gallery - September 10th - October 9th Fri, 19 Aug 2016 17:35:17 +0000 Mie Olise, Manuela Viera-Gallo, Summer Wheat - Y Gallery - August 8th - September 6th Fri, 19 Aug 2016 17:34:17 +0000 Angela Washko - TRANSFER - August 27th - October 8th <div id="exhibition-description"> <p style="text-align: justify;"><strong class="name">TRANSFER is pleased to present &lsquo;The Game: The Game&rsquo; the gallery&rsquo;s first solo exhibition with Angela Washko including a special soundtrack by Xiu Xiu.</strong></p> <p style="text-align: justify;"><em>&lsquo;The Game: The Game&rsquo;</em> is an immersive installation and platform to experience the first chapter of a video game presenting the practices of several prominent seduction coaches (aka pick-up artists) through the format of a dating simulator. In the game these pick-up gurus attempt to seduce the player using their signature techniques taken verbatim from their instructional books and video materials.</p> <p style="text-align: justify;">Players explore the complexity of the construction of social behaviors around dating as well as the experience of being a woman navigating this complicated terrain. The video game is presented alongside the video and print-based source materials from the seduction coaches themselves as well as handmade cyanotype prints, videos and books produced by the artist in response to her experience investigating this field and the ways in which women are literally presented as objects in physical and digital space.</p> <p style="text-align: justify;"><em>&lsquo;The Game: The Game&rsquo;</em> is a continuation of <a href="" target="_blank"><em>&lsquo;BANGED&rsquo;</em></a> a year-long project in which the artist interviewed &lsquo;Bang&rsquo; series author and manosphere figurehead Roosh V and tried to get in contact with his alleged sexual partners. After working on <em>&lsquo;BANGED&rsquo;</em>, the black and white ways in which this field has been portrayed seemed too simple and unfair to all parties who encounter it and provoked this question: Is practicing &ldquo;game&rdquo; inherently wrong and dishonest or can it be practiced in a way that simply levels the dating playing field in favor of those who are otherwise socially or physically disadvantaged?</p> <p style="text-align: justify;">By disguising the most notorious PUAs alongside game-less individuals and PUAs-in-training and placing the player into the perspective of a woman forced to distinguish between them all &ndash; Washko hopes to add levels of complexity to public conversations around both pick-up and feminism which have both found themselves most often presented in highly polarized, dichotomous positions in mainstream media.</p> <p style="text-align: justify;">The first chapter of the game will be presented at TRANSFER along with a musical score composed by Xiu Xiu, whose perverse, challenging, personal and complex music complement the murky, frequently dark, isolating and complicated experiences and aesthetics presented in <em>&lsquo;The Game: The Game&rsquo;</em>.</p> <p style="text-align: justify;"><em>A full inventory of work from &rsquo;The Game: The Game&rsquo; is available from the gallery. Please inquire with the to request information.</em></p> <h4 style="text-align: justify;">ABOUT THE ARTIST///</h4> <p style="text-align: justify;">Angela Washko is an artist, writer and facilitator devoted to creating new forums for discussions of feminism in the spaces most hostile toward it. She is currently a Visiting Assistant Professor at Carnegie Mellon University. In 2012, Washko founded The Council on Gender Sensitivity and Behavioral Awareness in World of Warcraft as an ongoing intervention inside the most popular massively multiplayer online role-playing game of all time. In 2015, she interviewed seduction author, manosphere leader and former pick-up artist dubbed &ldquo;the web&rsquo;s most infamous misogynist&rdquo; as her practice has moved away from tactical media and toward digital ethnography. &lsquo;The Game: The Game&rsquo; is her first video game project.</p> <p style="text-align: justify;">A recent recipient of a Franklin Furnace Performance Fund Grant, a Frank-Ratchye Fund for Art at the Frontier Grant, and a Rhizome Internet Art Microgrant, Washko&rsquo;s practice has been highlighted in Art in America, Frieze Magazine, Time Magazine, The Guardian (UK), ArtForum, ARTnews, The Hairpin, VICE,Hyperallergic, Rhizome, the New York Times, The Creator&rsquo;s Project, and more. Her projects have been presented nationally and internationally at venues including Kiasma Museum of Contemporary Art (Helsinki, Finland), Los Angeles Museum of Contemporary Art, the Milan Design Triennale, The Andy Warhol Museum (Pittsburgh, PA), the Shenzhen Independent Animation Bienniale (Shenzhen, China), Moving Image Art Fair (London and NYC), the Rotterdam International Film Festival, Transmediale (Berlin, Germany) and Institute for Contemporary Art Boston. Her writing has been published in Creative Time Reports, FIELD Journal of Socially Engaged Art Criticism, Copenhagen University Peer Reviewed Journal (NTIK), Neural Magazine, VASA Journal of Images and Culture, .dpi Feminist Magazine of Art and Digital Culture, Hyperallergic, ANIMAL NY and more.</p> <h4 style="text-align: justify;">ABOUT THE MUSICIAN///</h4> <p style="text-align: justify;">Xiu Xiu was founded in 2002 and has since released over 70 albums, film scores, books, 7-inch records and modern classical works. They have toured extensively all over the world and have been called &ldquo;self flagellating&rdquo;, &ldquo;harsh&rdquo;, &ldquo;brutal&rdquo;, &ldquo;shocking&rdquo; and &ldquo;perverse&rdquo; but also &ldquo;genius&rdquo;, &ldquo;brilliant&rdquo;, &ldquo;unique&rdquo;, &ldquo;imaginative&rdquo; and &ldquo;luminous&rdquo; by international press.</p> <p style="text-align: justify;">Xiu Xiu has a long history of collaborating with artists including (but not limited to) Dahn Vo, Swans, David Horvitz, Lawrence English, Grouper, Merzbow, Tim Berne, Eugene Robinson, Mary Halverson, Larsen, John Congleton and now Angela Washko.</p> </div> Fri, 19 Aug 2016 17:31:29 +0000 Katherine Hubbard - The Kitchen - October 21st 7:00 PM - 8:00 PM <p style="text-align: justify;">In this new body of work, photography, writing, and performance come together to place the mechanics and processes of analog photography in relation to new, possible narratives about cities, class, and image-making itself. One starting point is The Kitchen&rsquo;s building, both its original function as an ice storage facility in service to an ice plant next door and its current uses. <strong>Katherine Hubbard</strong> asks, &ldquo;If narrative acknowledges that everything is scripted, then how do we begin to re-script? How is photography failing us in our efforts to do so and how is this failing a social issue having nothing to do with images of the world and having everything to do with how we see the world itself?&rdquo; Curated by Matthew Lyons.</p> <p style="text-align: justify;"><strong><big>Performances in the gallery: Friday, October 14 and Friday, October 21 at 7pm. FREE. Capacity is limited. First-come, first-served.</big></strong></p> <p style="text-align: justify;">Katherine Hubbard: <em>Bring your own lights </em>is made possible with support from Jerome Foundation and The Andy Warhol Foundation for the Visual Arts, and in part by public funds from New York City Department of Cultural Affairs in partnership with the City Council and New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature. Additional support provided by&nbsp;Baxter St at the Camera Club of New York.</p> Fri, 19 Aug 2016 17:21:15 +0000