ArtSlant - Openings & events en-us 40 Wolfgang Tillmans - Andrea Rosen Gallery - May 3rd, 2013 6:00 PM - 8:00 PM <p>After a year that saw Wolfgang Tillmans' work presented in six significant solo museum survey exhibitions at the Kunsthalle Zurich; São Paulo Museum of Modern Art; Moderna Museet, Stockholm; Museo de Arte del Banco de la República, Bogota; Kunstsammlung NRW (K21), Düsseldorf; and the Museo de Arte de Lima (MALI), Peru, we are excited to announce Wolfgang Tillmans' eleventh one person exhibition at the gallery. The exhibition titled from Neue Welt consists of carefully chosen works from a four-year project begun in 2008, which culminated in Tillmans' 2012 exhibition at the Kunsthalle Zurich and in the publication <i>Neue Welt</i> published by Taschen in 2012. The exhibition will also include a wall of 128 pages from Tillmans' newest book <i>FESPA Digital / FRUIT LOGISTICA</i> published by Walther König in 2012. Few artists have the ability to not only contribute to the cultural landscape, but to actually redefine the lens through which that culture is apprehended. <br /> <br /> <i>"Through combining production modes of making and presenting (at once creative, analytic, interpretive), and by inhabiting the roles of photographer, curator, designer, critic, and historian all under the rubric of artist, Tillmans occupies a rare if not singular position in the field of contemporary art."</i><br /> -Julie Ault, <i>"The Subject is Exhibition,"</i> Yale University Press, 2006<br /> <br /> <i>"If a technique existed that could print out my visual memories of the last years, I guess it would to some degree look like a faux Tillmans retrospective. And I don't believe this experience is limited to myself."</i><br /> -Jan Verwoert, <i>"Survey,"</i> Phaidon Press, 2002<br /> <br /> Tillmans' career has been marked by a remarkable ability to continually expand the scope of his work. His practice develops in ways both obvious and subtle, not just in new images, but also in the paper, framing devices, size, and the printing technology utilized in the prints. After two decades of consistently sized prints, the most readily visible changes in this exhibition will be new sizes of work as well as new inkjet paper and ink that leads to works of remarkable color, physicality, and intensity. The radicality of Tillmans' practice is premised not on the rupture from one project to another, but in a continual reinvention and translation of his own image making. Over time, bodies of work intertwine and earlier works are consistently integrated so that new exhibitions are not merely forums for new pictures, but sites where the adjacency of images can create new meaning. The uncanny ability of a Tillmans photograph to feel relevant whether made in the early 1990s, at the turn of the 21st century, or today is a testament to his unique ability.<br /> <br /> <i>"I wanted to know: How does the world appear twenty years after I've begun to form a picture of it? Can there be a 'new' view of it? And 'new' also in the sense of greatly expanded technical possibilities. The tremendous political and economic shifts of recent years, and technical advancements, have considerably altered the world's appearance."</i> <br /> -Wolfgang Tillmans, interview with Beatrix Ruf, Taschen, 2012<br /> <br /> Reflecting an increasingly globalized world, the works in this exhibition picture a massively expanded geographic range from the United States and Europe to Asia, the Middle East, Africa and the farthest reaches of the planet including Tasmania and the southernmost tip of South America. These works not only react to the implied accessibility of place in the 21st century, but reflect Tillmans' desire to bring to light political and economic realities.<br /> <br /> <i>"When do things become visible? What can pictures make visible?"</i><br /> -Wolfgang Tillmans, <i>Manual</i>, Verlag der Buchhandlung Walther König, 2007<br /> <br /> Tillmans' work not only addresses what subjects can be brought to the fore, but questions the nature of perception itself and the tools and apparatuses that generate images. From his earliest days using a standard, commercial photocopier, Tillmans has always embraced the accessible and democratic potential of new technologies rather than deploying technology as spectacle—to make work more removed from a lived reality. Even now, having made the natural switch to incorporate more digital technology, Tillmans seeks out the very edges of his medium. Recently, in an interview with Michelle Kuo in Artforum, Tillmans addressed not only the implications of the rapid changes in inkjet printing technology, but also the arbitrary parameters of medium and what it might mean that these boundaries are so vigorously defended.<br /> <br /> <i>"These shifts, some chosen, some forced on us by technological development, shouldn't be seen as a threat. They are profoundly exciting."</i> <br /> -Wolfgang Tillmans, interview with Michelle Kuo, <i>Artforum,</i> 2012<br /> <br /> A Tillmans exhibition is always a manifestation of the extreme rigor with which he approaches his practice, both on a conceptual and a technical level. In his eleventh exhibition at the gallery, Tillmans continues his relentless project to make work that is urgent, meaningful, and critical, so that it can be as inspiring to us as the world is to him.<br /> <br /> <i>"The search, or research, that is his praxis seems to be sustained by a fundamental belief in the world and its potential for change. Every picture, every exhibition, every publication is required to create a situation whereby—in the contact between the pictorial objects and the public, from the individual viewer to the great mass of those with an interest in art—those present sense the possibility of change, of a new becoming."</i><br /> -Tom Holert, <i>"The Unforeseen,"</i> Moderna Museet, 2012<br /> <br /> <br /> Born in Remscheid, Germany, in 1968, Wolfgang Tillmans lives and works in Berlin and London. Tillmans was awarded the prestigious Turner Prize from the Tate in 2000. Since his last exhibition at Andrea Rosen Gallery in 2010, Tillmans' work has been published in four monographs: <i>Abstract Pictures</i> (Ostfildern: Hatje Cantz, 2011), <i>Zacheta Ermutigung</i> (Warsaw: Zachęta National Gallery of Art, 2011), <i>FESPA Digital / FRUIT LOGISTICA</i> (Cologne: Verlag der Buchhandlung Walther König, 2012), and <i>Neue Welt</i> (Cologne: Taschen, 2012). Taschen has also released a limited Art Edition publication of the <i>Neue Welt,</i> with 72 Tillmans photographs, printed on 24 folded sheets; this signed and numbered portfolio available in an edition of 500 is the first oversized Tillmans publication to date. His work can be found internationally in collections including The Museum of Modern Art, New York; The Metropolitan Museum of Art; The Solomon R. Guggenheim Museum; The Hammer Museum, Los Angeles; Museum of Contemporary Art, Chicago; The Hirshhorn Museum, Washington; Walker Art Center, Minneapolis; Tate Gallery, London; Museo Nacional Centro de Arte Reina Sofia, Madrid; Museum Ludwig, Cologne; The Stedelijk Museum, Amsterdam; Centre Pompidou, Paris among many others. A significant installation of his work is currently on view at MoMA on the Second Floor Contemporary Galleries.</p> Mon, 22 Apr 2013 23:11:04 +0000 Lynda Benglis, Sean Bluechel, Jean Dubuffet, Mika Rottenberg, Axel Salto - Andrea Rosen Gallery 2 - May 3rd, 2013 6:00 PM - 8:00 PM <p>For Mika Rottenberg's current exhibition at Magasin 3, she produced an impressive and arresting group of sculptures — cast resin and hand-painted textures that seem to have been ripped from the walls of one of her film sets. These sculptures reference an iconic tactility that is key to all of her films and installations. Since Gallery 2's program is committed to encouraging alternative modes for understanding new and historical material through filters that may alter our perception, Andrea Rosen Gallery is delighted to announce a complex new group exhibition that juxtaposes Rottenberg's sculptures with the evocative surfaces of works by Lynda Benglis, Sean Bluechel, Jean Dubuffet, and mid-century ceramicist Axel Salto. <br /> <br /> An important painting from Dubuffet's Texturologie series avoids all figuration, but is not abstract. Literally a vast view of the ground seen from above, the gestural and gritty painting was intended to evoke a continuous, infinite space beyond the fragmented sphere of human action and intervention. Sean Bluechel prefers this dysfunctional arena, and his "Drunk Photos" engage multiple iconographies of sexuality, race and gender with a rough, physical sensibility. Axel Salto experimented with wild, organic forms and colors that were a radical departure from the prevailing, cool abstract styles of modern ceramics. Although his vessels are undoubtedly decorative, Salto was a trained painter fixated on formal problems – how does the thickness and sheen of a glaze change as it slides over bumps and into grooves? The dense, multi-colored accretions on Lynda Benglis's wax paintings are sensuous and visceral, but they are also ground-breaking, transitional pieces that demonstrate the artist's struggle to redefine painting and the relationship between the artwork and viewer in space. <br /> <br /> All of these works give form to our sensory perceptions. As Lynda Benglis said, "I am involved with bodily response so that the viewer has the feeling of being one with the material and that action, both visually and muscularly…in other words, you draw out the complete body through the work." </p> Mon, 22 Apr 2013 23:12:45 +0000 Anselm Kiefer - Gagosian Gallery- 21st St. - May 3rd, 2013 6:00 PM - 8:00 PM <p><em>Beauty requires a counterpart. And in thinking about this flaw, the other flaw occurred to me as well: the Morgenthau Plan. For it too ignored the complexity of things.</em><br />—Anselm Kiefer</p> <p style="text-align: justify;">Gagosian Gallery is pleased to present an exhibition of recent paintings and sculpture by Anselm Kiefer, which further explores the historical and formal concerns of "Morgenthau Plan," his exhibition that inaugurated Gagosian Le Bourget in Paris last October.</p> <p style="text-align: justify;">Born at the close of World War II, Kiefer reflects upon and critiques the dangerous myths that propelled the Third Reich to power. Fusing art and literature, painting and sculpture, the artist engages German history and the ancestral epics of life, death, and the cosmos to reinforce lessons of the past.</p> <p style="text-align: justify;">The exhibition at Le Bourget and the subsequent body of work on view in New York draw upon the Morgenthau Plan as an apt metaphor for a common pitfall of the creative process—namely, works that put forth beauty without any other detectable motive. Kiefer presents the shortsighted, wrong-minded initiative as a representation of ideas—artistic and political—that ignore “the complexity of things.”</p> <p style="text-align: justify;">Proposed in 1944 by former United States Treasury Secretary Henry Morgenthau, the plan was conceived to transform post-war Germany into a pre-industrial, agricultural nation, allegedly in order to limit the country’s ability to wage war. Morgenthau sought to divide Germany into two independent states, annexing or dismantling all German centers of industry in an arrangement that would have led to the death of millions by pestilence and starvation. Although the Morgenthau Plan was never realized in its original and most extreme form, it represented an alternative post-war Germany potentially occupied more by farmland and plant-life than industry. In his latest paintings, Kiefer explores the landscape of this double-sided initiative. Flowers—one of his central leitmotifs—bloom through the devastation.<br /> <br /> Revisiting a process used earlier in his career, Kiefer paints directly onto color photographs of fields in bloom that he took near his property in southern France, then printed to fit canvases of various sizes. <em>Der Morgenthau Plan</em> depicts an area overgrown with flowers, rendered in thick impasto that completely obscures the original photograph. From top to bottom, the vast canvas dramatically transitions from light to dark, ending in a carpet of drab, black and green mulch. <em>Morgenthau Plan: Laßt tausend Blumen Blühen / Let a thousand flowers bloom </em>conflates the travesty of the German post-war plan with Mao Zedong’s shrewd co-optation of the idealistic classical Chinese maxim, “Let a hundred flowers bloom; let a hundred schools of thought contend,” designed to expose and flush out anti-Communist dissidents. Kiefer reflects on the misappropriation of this passage for autocratic purposes: amid pastel blossoms, black petals spring up above the rest into a muddled ochre landscape.</p> <p style="text-align: justify;"><em>O Halme, ihr Halme, O Halme der Nacht</em>, a huge dark canvas that transports the viewer to a desolate world by night, features an airplane wing that Kiefer fabricated from metal, jutting from its upper center. Like chalk on a blackboard, faded German cursive hovers in the night sky: ‘<em>O Halme, ihr Halme, O Halme der Nacht</em>' (O Stalks, your stalks, O Stalks of the Night). In the barren landscape below, only a few stalks are blooming.</p> <p style="text-align: justify;"><strong>Anselm Kiefer</strong> was born in 1945 in Donaueschingen, Germany. After studying law, he began his art education in Karlsruhe and then Düsseldorf, where he studied informally under Joseph Beuys. His work has been shown and collected by major museums throughout the world. Recent retrospective surveys include “Anselm Kiefer: Heaven and Earth,” the Modern Art Museum, Fort Worth, Texas (2005, traveled to Musée d'art contemporain de Montréal, the Hirshhorn Museum and Sculpture Garden, Washington, D.C., and the San Francisco Museum of Modern Art) and “Anselm Kiefer,” Guggenheim Museum Bilbao (2007). In 2007, Kiefer inaugurated the “Monumenta” program at the Grand Palais, Paris with a vast site-specific installation of sculptures and paintings. In 2009, he directed and designed the sets for Am Anfang (In the Beginning) at the Opéra National de Paris.</p> <p style="text-align: justify;">Kiefer lives and works in France.</p> Thu, 04 Apr 2013 23:44:52 +0000 Don Voisine - McKenzie Fine Art - May 3rd, 2013 6:00 PM - 8:00 PM <p class="xmsonormal">McKenzie Fine Art is pleased to announce an exhibition of new paintings by Brooklyn artist Don Voisine, opening on Friday, May 3rd with a reception for the artist from 6 to 8 p.m., and running through Sunday, June 9, 2013. This will be the artist's third solo exhibition with the gallery.  On Sunday, June 2<sup>nd</sup> at 4:30 p.m., please join us for a conversation between the artist and writer Deven Golden; refreshments will be served.</p> <p class="xmsonormal">Don Voisine is well known for his hard-edged abstractions executed in oil on wood panels. His works explore the seemingly limitless possibilities of a standard format of overlapping geometric fields of black set against light grounds, bracketed by bands of color. Narrow colored stripes are sometimes added next to the bands, creating movement and additional contrast. The black geometric fields, sometimes rectilinear, sometimes irregular, are set atop one another, differentiated by the use of matte and glossy textures, as well as by directional brushwork. The black fields and colored bands are laid over neutral grounds ranging from cool, icy whites to creamy, warm tones.</p> <p class="xmsonormal">In his new work there is a strong feeling of containment, as many of the colored bands are situated left and right as opposed to top and bottom. This format enhances a feeling of compression in the compositions. In some, matte black border bands have been added, creating an all-around framework. The central black fields occasionally overlap the black borders, appearing to step outside the framework of the composition. In the new work, the colored bands have become more vivid and intense in palette, and there is a distinct shift away from muted tones. The twisting and crossing black geometric fields of the earlier work have been abandoned in favor of a greater irregularity in the newer paintings, but the tension between angled edges and the underlying sense of movement remain. Some of the black fields are playfully suggestive: swinging doors and walking figures spring to mind. The artist employs a diptych format in several paintings, creating rhythms back and forth, like a paired dance. In some, symmetry is retained even though the forms don’t mirror one another exactly. Throughout, with a deceptively reductive abstract vocabulary, Voisine mines the manifold possibilities of his format and creates taut, muscular, and elegant compositions with rich surface textures and complex inner tensions.</p> <p class="xmsonormal">Don Voisine has been exhibiting his work nationally and internationally since the 1970s. Recent exhibitions include group shows at the National Academy Museum in New York, the Crocker Art Museum in Sacramento, CA, the Hôtel de Sauroy in Paris, Galerie Lindner in Vienna, as well as solo exhibitions at Alejandra von Hartz Gallery in Miami and Gregory Lind Gallery in San Francisco.</p> Tue, 23 Apr 2013 22:17:01 +0000 Richard Misrach - Pace Gallery - 510 W 25th - May 3rd, 2013 6:00 PM - 8:00 PM <p>Pace and Pace/MacGill Gallery are pleased to present <em>On The Beach 2.0,</em> an exhibition of new large-scale photographs by Richard Misrach. The exhibition will be on view at 510 West 25th Street from May 4 through June 29, 2013. An opening reception will be held on Friday, May 3 from 6 to 8 PM.</p> <p>Nine years after introducing his On the Beach series at Pace, Misrach revisits the same subject matter to create a dynamic dialogue with the earlier work. New digital technology has enabled him to capture movement and also to freeze the motion of the water, yielding an abstract, painterly effect heretofore unseen in his work.</p> <p>Shooting from a hotel balcony in Hawaii, Misrach documents the sea’s changes in color and energy, as well as the humans who enter the ocean’s immensity to float, swim, surf, perform, and sometimes curl at its edge. Parts of this body of work are the closest Misrach has come to portraiture, though while human figures are present, they are dwarfed in the vast landscape—usually comprised entirely of the sea. The artist obscures their faces, or captures them obscuring themselves, wrapping their bodies in a towel or holding up a newspaper to protect their skin from the scorch of sun. The natural world remains the central character—powerful and unknowable. Nineteenth-century Romanticism filters through Misrach’s Californian sensibility to yield a new sublime.</p> <p>The first On the Beach series was named after Nevil Shute’s 1957 post-apocalyptic novel that ends with a couple in a submarine searching for other surviving humans. However, Misrach’s messages of warning—his recent book Petrochemical America documents chemical run-off in the Mississippi, an area known as Cancer Alley—have not prevented him from depicting the magnificence of the earth, all the while exploring issues relating to the planet’s potential destruction.</p> <p></p> <p>Some of Misrach’s first artistic forays took place in the desert, where he drove around in a van with a cumbersome 8 x 10 view-camera. New digital equipment permits him to photograph with speed, capturing a couple shifting through the movements of a tandem surfing routine, or in low light to arrest subtle tones of the sea at dawn or dusk.</p> <p>The individual works have neutral titles, reflecting the date and time that they were made (<em>Untitled, February 14, </em><em>2012, 6:19 PM</em>). By contrast, the exhibition title, On the Beach 2.0, conjures Silicon Valley and software technology with built-in obsolescence, as rusted and dated as the Sputnik that was launched into orbit the same year that Shute’s<em> On the Beach</em> was published. By contrasting temporal moments with the unfathomable qualities of the sea, Misrach—typically interested in physically liminal spaces—turns his attention to the metaphysical shifts in consciousness that may occur while surrounded by the sea.</p> <p><strong> Richard Misrach</strong> (b. 1949, Los Angeles) received a B.A. in 1971 from the University of California, Berkeley. He is the recipient of numerous awards, including four National Endowment for the Arts Fellowships (1973, 1977, 1984, 1992), a Guggenheim Fellowship (1979), the International Center of Photography Infinity Award for a Publication (1988), the Kulturpreis for Lifetime Achievement in Photography from the German Society of Photography (2002), and the Lucie Award for Achievement in Fine Art Photography (2008).</p> <p></p> <p>Misrach’s photographs have been the subject of numerous exhibitions and can be found in over 50 museum collections worldwide, including the Centre Pompidou, Paris; the High Museum of Art, Atlanta; the Los Angeles County Museum of Art; the Metropolitan Museum of Art, New York; the Museum of Fine Arts, Houston; the Museum of Modern Art, New York; the National Gallery of Art, Washington, D.C.; the San Francisco Museum of Modern Art; and the Whitney Museum of American Art, New York.</p> <p>Monographs of his work include: <em>Telegraph 3 A.M.: The Street People of Telegraph Avenue, Berkeley</em> (1974); <em>Desert Cantos</em> (1987); <em>Bravo 20: The Bombing of the American West</em> (1990); <em>Violent Legacies: Three Cantos (</em>1992); <em>Crimes and Splendors: The Desert Cantos of Richard Misrach</em> (1996); <em>The Sky Book</em> (2000); <em>Richard Misrach: Golden Gate</em> (2001); <em>Pictures of Paintings</em> (2002);<em> Chronologies</em> (2005);<em> On the Beach</em> (2007); <em>Destroy This Memory</em> (2010);<em> Petrochemical America</em> (2012); and<em> Golden Gate</em> (2012).</p> <p>Misrach lives in the San Francisco Bay Area and works predominantly in the American West. He has been represented by Pace/MacGill Gallery since 2002.</p> Tue, 23 Apr 2013 01:38:11 +0000 - Solomon R. Guggenheim Museum - May 3rd, 2013 10:00 AM - 7:45 PM <p>Learning Through Art, the pioneering arts-education program of the Guggenheim Museum, presents <em>A Year with Children 2013</em>, an exhibition that showcases selected artworks by New York City public-school students in grades two through six. These students participated in a yearlong artist-residency program that partners professional teaching artists with classroom teachers in each of the city's five boroughs to design collaborative projects that explore art and ideas related to the classroom curriculum. Approximately one hundred creative and imaginative works, including drawings, prints, photographs, sculptures, paintings, and collage, will be on display during this six-week installation.</p> Mon, 01 Apr 2013 00:00:48 +0000 - White Columns - May 3rd, 2013 12:00 PM - 6:00 PM <p><strong><span style="text-decoration: underline;">Auction: Saturday, May 18 at 7pm – tickets required.</span></strong><br />  <br />   <br /> White Columns is please to announce its 2013 Benefit Exhibition and Auction. Featuring donated works by more than 90 contemporary artists the Benefit Exhibition will open on May 3 and conclude with a live auction on May 18. Proceeds from the Benefit will support White Columns’ programs and services to artists and the public.<br />  <br /> <strong>The Meredith Monk Project:</strong><br />  <br /> As a part of the 2013 Benefit we have commissioned 20 artists - including. Tauba Auerbach, Martin Creed, Wade Guyton, Elizabeth Peyton, and Terry Winters - to create a new work in response to four recordings by the legendary composer, singer, and choreographer Meredith Monk. The resulting artworks will be on view in the Benefit Exhibition and will be sold at the May 18<sup>th</sup> Auction. 50% of the proceeds from the sale of these works will help directly support Meredith Monk, and 50% will help support WhiteColumns. This fall White Columns will release Monk’s four recordings as a 12” vinyl E.P. on its record label ‘The Sound of White Columns.’<br />  <br /> (Each year White Columns will raise funds to support the work of a significant individual artist through its Benefit Exhibition and Auction. In 2012 White Columns commissioned new works in support of the artist, musician and poet Malcolm Mooney.)</p> Thu, 25 Apr 2013 21:51:43 +0000 Jorge Macchi - Alexander and Bonin - May 4th, 2013 6:00 PM - 8:00 PM <p>Alexander and Bonin is pleased to announce <em>Loop</em>, the first one person exhibition by Jorge Macchi in New York.<br />  <br /> For this exhibition Macchi will divide the gallery into three spaces. Each space will contain works which manifest the measure of time and reiterate its extension in space through a series of projections, objects and watercolors. Jorge Macchi’s finely tuned vocabulary results in works which are simultaneously poetic and uncanny.<br />  <br /> Time stands still in a number of Macchi’s recent works. <em>Pendulum</em>, 2013 a curved I-beam supported by two plastic stools, appears to buckle under its own weight. As the title suggests, this tensile irregularity also demarcates the path of a pendulum’s swing, as if to solidify the infinite number of repetitive momentary positions of its arc. <em>First Second, </em>2013 employs a similar logic, capturing a moment in a material. Macchi has cast the narrow wedge between the hour marking twelve and the tick of the first second on a clock’s face in concrete. This cast triangle renders space-time solid while at the same time leaving open the possibility of development, like a step on a spiral staircase of simultaneity.<br />  <br /> The video installation, <em>XYZ</em>, 2012 will occupy the rear space of the gallery. The image of a station clock with hands frozen is projected in such a way that the three hands rest perfectly into the seams of the corner of a darkened room. In his work Macchi fuses architecture, space and time into a simple yet unfamiliar congress.<br />  <br /> The two-channel video projection <em>From Here to Eternity, </em>2013 will be shown on the gallery’s second floor.<br /> This work is the most recent collaboration between the artist and the musician Edgardo Rudnitzky.  Two clips were extracted from the classic Hollywood film: the first from the opening title sequence and the second while the words ‘THE END’ appear on the screen. The clips have slightly different lengths creating a chaotic sound mixture and are combined with a third audio channel in real time using notes from the original soundtracks and from music sung by women.<br />  <br /> Jorge Macchi was born in 1963 in Buenos Aires where he continues to live and work. Since the mid-1980s, his work has been shown throughout the Americas and Europe. Currently, ten large-scale installation works from 2007–2013 are being shown in ‘Container’ a one-person exhibition at the Kunstmuseum, Lucerne. In 2011, his work was the subject of a survey exhibition, ‘Music Stands Still’ at the Museum of Contemporary Art (SMAK) in Ghent.   His work was represented in the 11<sup>th</sup> Biennale de Lyon (2011); the 12<sup>th</sup> Istanbul Biennial (2011); ‘All of this and nothing’, Hammer Museum, Los Angeles (2010); ‘Brave New Worlds’ at the Walker Art Center (2007).   In 2005, Jorge Macchi, in collaboration with Edgardo Rudnitzky, represented Argentina at the Venice Biennale. His installation for the 2012 Liverpool Biennial, <em>Refraction </em>will be exhibited in June in the Art Unlimited section of Art Basel.</p> Fri, 07 Jun 2013 00:53:06 +0000 Marc Quinn - Mary Boone Gallery - 24th St. - May 4th, 2013 5:00 PM - 7:00 PM <p>On 4 May 2013 Mary Boone Gallery will open at its Chelsea location All the Time in the World, an exhibition of four new large-scale bronze sculptures and one oil-on-canvas work by <strong>MARC QUINN.  </strong></p> <p>Part of the artist's The Archaeology of Art series, the sculptures take the form of finely detailed seashells that highlight the beautiful, symmetrical and yet perfectly natural forms which, almost implausibly, are made by forces of nature at the bottom of the sea.  Quinn says, "To me, looking at these natural forms is like looking at the archaeology of art."</p> <p>According to Quinn, the form of the shell is like a found structural diagram of how the present becomes the past, with the rings on the outside of the shell suggesting the past and a polished reflective front showing the present.  With these sculptures, the artist is able to collaborate with creatures from the beginning of time, and the beginning of art, and therefore somehow making the shells a part of the space-time continuum.</p> <p>Through the use of state-of-the-art technology, Quinn is able to create exact scaled models, which are used for the casting of the bronze sculptures. The process begins by selecting real shells from nature, which are then scanned with a digital 3D scanner. That code is then converted into a digital 3D map and outputted to a 3D printer, which produces the shell model to be cast in bronze. Consequently, Quinn's shell sculptures are born much in the same way that an organism uses its DNA to reproduce.</p> Sun, 28 Apr 2013 00:33:42 +0000 Nancy Nowacek, Alan and Michael Fleming, Katya Grokhovsky, and choreographer Corinna Brown and the Dean Street FOO Dance - New Museum - May 4th, 2013 11:00 AM - 6:00 AM <p><b>New Museum's Ideas City Festival / Perambulant</b></p> <p><b>Saturday, May 4</b></p> <p><b>11am – 6pm</b></p> <p><b>Rivington between Bowery and Chrystie</b></p> <p><b> </b></p> <p>The NARS Foundation is delighted to announce its participation in the New Museum's Ideas City Festival on Saturday, May 4. <em>Perambulant, </em>a series of live performances and workshops<em>,</em> invites the public to engage in spontaneous and guided interactions throughout the day.  Performances by artists Nancy Nowacek, Katya Grokhovsky, twin brothers Alan and Michael Fleming, and choreographer Corinna Brown and the Dean Street FOO Dance will be interspersed with cross-disciplinary movement workshops for children and adults.<br /> <br /> The artists will lead workshops that encourage the audience to explore the functional capacity of the body as an untapped resource. The performance project “Insourcing” by Nowacek will tap into the unused muscle power of New Yorkers by engaging a chain of sidewalk-bound citizens in the relay of an object across the IDEAS CITY territory. Starting at the festival’s perimeter, the artist will begin transport of a large object too unwieldy for her to move alone by enlisting the aid of those around her. Hitchhiking rides with various New Yorkers as far as they can go, the object will become flotsam in the tide of pedestrians, making its way to the festival center over the course of the afternoon. Grokhovsky will investigate the often untapped and ignored potential of touch and connection with strangers in her live durational performance, “Slow Dance.”<br /> <br /> Alan and Michael Fleming will present a series of architectural interventions using artists’ bodies. Incorporating different bodily forms into the architectural facades of the Lower East Side, the artist duo will act as living ornaments on the surface of the building’s exterior. Through these various interventionist actions they hope to re-examine the body as object, structure, or support. Brown’s work will explore a psychotherapeutic awareness of the body in urban spaces. Brown’s Dean Street FOO Dance will perform a Butoh-inspired version of the classic children’s book Madeline. Brown will then invite the public/audience to participate in “Sidewalk Butoh” where she will psychotherapeutically guide participants on a journey of transformation from human body to elements of nature to man-made materials, internally juxtaposing natural and artificial worlds in an internal dance.</p> <p><b>11am; 2pm; 5pm</b>:  Katya Grokhovsky's "Slow Dance"</p> <p><b>12pm</b>:  Nancy Nowacek’s "Insourcing" (Grand Street)</p> <p><b>12pm &amp; 1pm</b>:  Alan and Michael Fleming's Architectural Interventions Performances</p> <p><i> Each</i> <i>Performance to be followed by Movement Workshop</i></p> <p> </p> <p><b>3pm &amp;  4pm</b>:   Corinna Brown &amp; Dean Street FOO Dance, "Madeline”</p> <p><i>Each performance to be followed by "Sidewalk Butoh" workshop</i></p> Mon, 22 Apr 2013 17:43:18 +0000 Group Show - New Museum - May 4th, 2013 11:00 AM - 6:00 PM <p>The exhibition explores a new direction in contemporary design through twenty-five projects—presented through artifacts, objects, and films. In the place of standardized, industrialized perfection, the exhibition embraces imperfection as evidence of an emerging force of identity, individuality, and nonlinearity in design. As design welcomes the new technologies of the information age, the field itself is being reshaped. Some have built their practice around the collaborative ideology of the open source movement; others explore the opportunities opened up by new low-cost fabrication technologies. Some are exploring new economic models of production; others are challenging the established hierarchies between designers and end-users.</p> <p>In the last few years, exponential technologies have substantially transformed how we work, communicate, and relate. Network culture today permeates everyday life and this has profoundly impacted the way designers think and work and the nature of the objects they produce. This exhibition explores these transformations and offers a critical contextualization within the history of design. “Adhocracy” is purposefully heterogeneous, embracing everything from medical innovation to cultural and political criticism, and from furniture design to weapons manufacturing. It will include many examples of practitioners whose work embraces open source hardware design, and will particularly emphasize the idea of the “commons” in relation to production.</p> <p>“Adhocracy” acknowledges that the world of people who make things is in upheaval. In the last two decades, exponential growth in various technologies—from global communications networks to fast, low-cost digital prototyping—have radically transformed everyday life, and many from the industry speak of a new industrial revolution. If the last industrial revolution was about making perfect objects—millions of them, absolutely identical, produced to exactingly consistent quality standards—this one is about making just one, or a few. Its birthplace is not the factory but the workshop, and its lifeline is the network. As the theater of a fast-moving debate over society’s future, design is today engaged in a struggle between bureaucracy and improvisation, authority and the irrepressible force of networks, in search of a new language and a new commons. If design is no longer the domain of a select few creating products of consumption for “the many,” according to the top-down model of bureaucratic industrialism, what is it? This exhibition argues that rather than the closed object, the maximum expression of design today is the process—the activation of open systems, tools that shape society by enabling self-organization, platforms of collaboration independent of the capitalist model of competition, and empowering networks of production. Design is migrating from the rigid domain of bureaucracy towards the rhizomatic realm of adhocracy.</p> <p>The exhibition will include several projects centered around on-site laboratories of production, such as Blablablab’s “Be Your Own Souvenir” project, where visitors to the exhibition can have their body scanned and reproduced in miniature by 3-D printers, or Unfold’s “Stratigraphic Manufactury,” in which a “digital artisan” will create 3-D-print porcelain artifacts on-site. Visitors will be encouraged to interact with many of the installations, including an app censored by Apple that maps every US drone strike from 2004 through the present.</p> <p>Curated by Joseph Grima, Editor of <em>DOMUS</em> magazine, “Adhocracy” was originally organized by Grima and IKSV for the 2012 Istanbul Design Biennial. Grima has adapted his original exhibition for New York and the New Museum and opens as part of the second biennial IDEAS CITY Festival in downtown Manhattan (May 1–4).</p> Mon, 29 Apr 2013 00:47:22 +0000 Group Show - New Museum - May 4th, 2013 8:00 PM - 12:00 AM <p>Curated and produced by NBNY, “Change of State” is a follow-up to NBNY’s projection project “Let Us Make Cake,” a feature of the inaugural Festival of Ideas for the New City in 2011. Change of State features twelve building-scale works by notable artists and architects. Contributors will activate the building facade with imagery drawn from a variety of mediums—from painting and animation to text and video.</p> <p>Change of State is a moment of transformation—physical or social, perceived and actual—and a visual challenge to the symbolic power of the built environment. Change of State disrupts perceptions of architectural form to investigate the possibilities inherent in transitions. Through this ephemeral intervention, Change of State illuminates the untapped potential of the building facade and calls for a heightened civic consciousness in public space.</p> <p>The projection will be on public view on the façade of the museum on May 4, 2013, with projections emerging at 8 p.m. and continuing until midnight. Change of State is a one-hour program, beginning on the hour each hour.</p> Fri, 03 May 2013 04:02:31 +0000 Group Show - RAMIS BARQUET GALLERY - May 4th, 2013 3:00 PM - 6:00 PM <p>Galleria Ramis Barquet is pleased to present Cinco de Mayo, a group exhibition of Uriarte talavera by contemporary Mexican artists. Founded in the year of Mexican independence 1824, as a family workshop, Uriarte continues the tradition of 16th century talavera pottery distinguished by brightly colored decoration, designs fused with glazes and earthenware made from the fine off-white clay surrounding Puebla city. Originally adorned with chromatic hispano-islamic motifs brought to Mexico after the Spanish conquest of the Aztec empire, the company has widely experimented with new designs and forms since the early 20th Century, introducing indigenous pre-colonial influences and even Art Nouveau into the lexicon of the individually hand crafted designs.<br />  <br /> Early examples of Uriarte talavera were acquired by the Metropolitan Museum of Art and the Pennsylvania Museum of Art prior to this twentieth century revival, and presently pieces from the workshop are in the permanent collections of the Museo José Bello y Gonzalez, Puebla and the Franz Mayer Museum, Mexico City. The self- perception of Uriarte is inextricably bound with that of Mexican nationhood and the modern achievements of the country. In accordance, Uriarte and the Franz Mayer Museum sponsored an exhibition entitled ‘El cinco de mayo de 1862 Uriarte Talavera Contemporánea’, also shown in Canada and the United States during 2012. Thirty renowned Mexican Artists working in conjunction with the company’s skilled artisans, created sixty-four pieces and eleven murals related to the Battle of Puebla and the commemoration of its 150th anniversary. These included Aída Aguilera, Luis Argudín, Silvia Barbescu, Feliciano Béjar, Marna Bunnell, Marcos Castro, Alberto Castro Leñero, Francisco Castro Leñero, Joaquín Conde, Alex Dorfsman, Mónica Dower, Demián Flores, Pedro Friedeberg, Cisco Jiménez, Luis Nishizawa, Maribel Portela and Cristina Rubalcava.<br />  <br /> A curated selection of works by artists represented by Ramis Barquet, allows the first opportunity to acquire some of the exhibited works. Diverse in composition and in interpretation of the historic event, the designs range from murals by Fernanda Brunet, decorated busts and statuettes by Miguel Perez and Cisco Jiménez, and whimsical Surrealistically inspired experimentations in form of Pedro Friedeberg.</p> <p> <br /> <strong>Intending to capture some of the energy, revelry and exuberance of the annual Cinco de Mayo festival, the gallery is hosting a mid-day opening for the first time on Saturday May 4th sponsored by 1800 Tequila.</strong></p> Sat, 27 Apr 2013 23:41:52 +0000 - Smack Mellon - May 4th, 2013 4:00 PM - 8:00 PM <p><a href="" rel="nofollow"><strong>KENTUCKY DERBY PARTY AND ART AUCTION</strong></a><br /><a href="" rel="nofollow">To benefit Smack Mellon programs</a></p> <p><a href="" rel="nofollow"><strong>Saturday, May 4, 4pm</strong></a></p> <p>Tickets are $250 - Each ticket admits 2 people and guarantees one artwork. Food and drinks are included in the ticket price.</p> <p>Honoring Sage and Coombe Architects</p> <p>Co-Chairs:<br />Mickalene Thomas and David Salle</p> <p>For $250 you and your guest will attend the best Derby Party outside Louisville and you will bring home an original work of art. Guests bet on horses, which determines the order in which the artwork is selected. Betting window opens at 4pm and closes at 5:30pm. </p> <p>Event is held at:<br />Smack Mellon<br />92 Plymouth Street<br />Brooklyn, NY 11201</p> <p>MC: World Famous *BOB*<br />Music: Demolition String Band</p> <p>Benefit Committee:<br />Luisa Caldwell, Rebecca Graves, Elana Herzog, Paddy Johnson – Art F City, Lisa Kim, Jane Kojima, Rita MacDonald, Marci MacGuffie, Dara Meyers-Kingsley and Evan Kingsley, Greg Starner, and Hrag Vartanian – Hyperallergic</p> <p>Sponsors:<br />Blanc &amp; Rouge<br /><br />Classic Party Rental<br />KelSo Beer Company<br />Recycle-A-Bicycle<br />Two Trees Management Co. LLC</p> <p>Food by Urban Rustic</p> <p>View full list of participating artists here:<br /></p> <p></p> Fri, 12 Apr 2013 17:12:23 +0000 David Brooks - Storm King Art Center - May 4th, 2013 10:00 AM - 5:30 PM <p>Storm King Art Center has invited American sculptor and installation artist<br />David Brooks (b. 1975) to create a site-specific work for its 2013 season. A<br />Proverbial Machine in the Garden comprises a vintage tractor buried in an area<br />at the southern portion of the property. Visitors may walk above concretereinforced<br />trenches to view the tractor below from different perspectives.<br />Referencing Leo Marx’s classic text The Machine in the Garden: Technology<br />and the Pastoral Ideal in America (1964), Mr. Brooks’ installation considers<br />the relationship between the individual and the built and natural environments.<br />His artistic practice is inseparable from his deep interest in environmental<br />preservation. He has spent a significant amount of time in both South Florida<br />and the Amazon rainforest—two sites of great ecological richness that are<br />threatened by human encroachment and over-development. Speaking to Storm<br />King’s agrarian past and present, as a landscaped site, A Proverbial Machine<br />in the Garden poses questions about how we both use and consume the<br />natural world, thus stimulating awareness of the intra-relationship between<br />society and nature.<br />According to the artist, the tractor is also symbolic of the machinery that<br />helped shape Storm King’s “natural” environment while foreshadowing a<br />future in which machines like it will have become obsolete, and possibly<br />buried in the very soil that they were designed to control.<br />Organized by Storm King Associate Curator Nora Lawrence, A Proverbial<br />Machine in the Garden is part of Storm King’s program presenting work by<br />emerging artists and providing audiences with new and inspiring experiences<br />with outdoor art.</p> Tue, 22 Oct 2013 16:23:54 +0000 Thomas Houseago - Storm King Art Center - May 4th, 2013 10:00 AM - 5:30 PM <p>On view from May 4 until November 11, 2013, Storm King Art Center will present a special exhibition of works by Thomas Houseago (b. 1972), installed across Storm King’s landscape and in the galleries of its museum building. Organized by Storm King Director and Curator David R.<br />Collens and Associate Curator Nora Lawrence, this will be the first-ever monographic museum exhibition in the United States devoted to the work of the artist. Born and raised in England and based in Los Angeles, Houseago has created a body of primarily sculptural work that simultaneously exudes a sense of physical strength and emotional vulnerability. He has taken a particular interest in outdoor sculpture, and as such Storm King is an ideal venue for his work.<br />The exhibition will feature the artist’s hallmark representational sculpture—energetic figures inspired by the human form—while also exploring some of the connections to abstraction in his work. It will include sculptural relief, works on paper, and indoor and outdoor freestanding sculpture in several media, from bronze and aluminum to felt, Tuf-Cal plaster, and charcoal. He calls upon a wide and ever-expanding range of influences, from Hellenistic statuary, to early Modernist sculpture, to pop music and culture. The trace of his hand is frequently detectable in his finished works, as are moments of preparatory drawing, traces of hemp-laden plaster, and wood scraps that initially served only structural purposes. Spanning his career, the exhibition will posit him as an heir to the modern and postmodern traditions of outdoor sculpture for which Storm King is known.</p> Tue, 22 Oct 2013 16:23:54 +0000