ArtSlant - Closing soon http://www.artslant.com/ny/Events/show en-us 40 Andrew Jordan - Dixon Place - April 12th, 2013 - May 6th, 2013 <p>As an image maker,<strong> Andrew Jordan</strong> is dedicated to experimentation and exploration. Taking a song about meeting strangers on the internet from Joseph Keckler's new piece, <em>I am an Opera, </em>as inspiration, Jordan sought to create a series of photographic portraits of real-life internet strangers quickly and collaboratively by stripping away the pressures and formalities of more normative social interactions.<br /><br />Jordan used three websites known for facilitating face to face transactions with strangers--Craigslist, Facebook and Grindr--to connect with his subjects. He worked quickly, meeting with people as soon as possible, and attempted to approach each meeting without expectations other than a desire to explore the ephemeral tension and magic of the unknown. Each participant was invited to be photographed with an object, item, or garment that represented him or her. Jordan accepted each participant's ideas and compositional suggestions, and thus each photographŒwas collaboratively composed. All portrait subjects will receive copies of their photographs.<br /><br />Everything is voluntary. Let's see who shows up.</p> Tue, 23 Apr 2013 22:27:07 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list - MoMA (Museum of Modern Art) - March 6th, 2013 - May 6th, 2013 <div class="description"> <p class="top">Fluxus was an international network of artists active in the 1960s and 1970s. Through the tireless efforts of its founder George Maciunas, Fluxus presented festivals and concerts and distributed artists’ multiples, which Maciunas fabricated in his Soho loft. Collective, performative, anti-institutional, and irreverent, Fluxus sought to bridge the gaps between different artistic mediums and between art and life.</p> <p>In 1973 Maciunas announced his intention to design a grand art history chart, an exhaustive chronicle of Fluxus that would also narrate the movement’s origins since the beginning of performance-based art. Later that year, he produced the breathtakingly detailed <em>Diagram of Historical Development of Fluxus and Other 4 Dimentional, Aural, Optic, Olfactory, Epithelial and Tactile Art Forms</em>, which he called, simply, “the chart.”</p> <p>The chart positions Fluxus, often relegated to an art historical footnote, as the culmination of a distinguished artistic lineage. It elucidates connections between various artistic phenomena that are often considered only in isolation.</p> <p>Maciunas’s chart—which he never considered complete—reveals not only the history of Fluxus but also an ambitious reckoning with modernism and its legacy. This exhibition of objects in the Museum’s Gilbert and Lila Silverman Fluxus Collection Archives presents the “final” 1973 version of Maciunas’s chart alongside archival documentation that illustrates its genesis and its significance in the very history of art it maps.</p> </div> Sun, 03 Mar 2013 23:58:43 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list - Apexart - March 20th, 2013 - May 8th, 2013 <p><em>Exhibition Space</em> considers the aesthetic and conceptual implications of photography and its pivotal role in two early milestones of the US exploration of space. Begun in 1948 using the most powerful telescope in the world, the Palomar Observatory Sky Survey was the first systematic attempt of photograph and catalogue the visible universe. The resulting 1,870 plates took ten years to complete, and are some of the most technically advanced prints ever made. Project Echo was the first manmade object photographed in space. Hastily conceived as NASA's first response to Sputnik, Echo I was an inflatable Mylar sphere 100 feet in diameter, a communications satellite whose primary mission was to be visible to the naked eye. Photos of Echo began appearing in the US press almost immediately after its launch in 1960. Meanwhile, models of Echo, called "the most beautiful object ever put in space," were exhibited at the US Capitol, and at World's Fairs throughout the 1960s.<br /><br /><br /> <br /> <strong>Greg Allen</strong> is a writer and filmmaker based in Washington DC. He has published his art writings in <em>Cabinet</em> magazine and <em>The New York Times</em>, and on his blog, <a href="http://greg.org/">greg.org</a>: the making of, since 2001. Allen published <em>Canal Zone Richard Prince Yes Rasta: Collected Court Documents from Cariou v. Prince</em>, in 2011, and exhibited paintings at both Postmasters Gallery and Printed Matter in 2012.</p> Mon, 29 Apr 2013 22:48:28 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list GUTAI - Solomon R. Guggenheim Museum - February 15th, 2013 - May 8th, 2013 <p>In February 2013, the Guggenheim Museum will open the first U.S. museum retrospective exhibition ever devoted to Gutai, the most influential artists collective and artistic movement in postwar Japan and among the most important international avant-garde movements of the 1950s and ‘60s. The exhibition aims to demonstrate Gutai’s extraordinary range of bold and innovative creativity; to examine its aesthetic strategies in the cultural, social and political context of postwar Japan and the West; and to further establish Gutai in an expanded, transnational history and critical discourse of modern art.<br /> <br /> Organized thematically and chronologically to explore Gutai’s unique approach to materials, process and performativity, <em>Gutai: Splendid Playground</em> explores the group’s radical experimentation across a range of media and styles, and demonstrates how individual artists pushed the limits of what art could be or mean in a post-atomic age. The range includes painting (gestural abstraction and post-constructivist abstraction), conceptual art, experimental performance and film, indoor and outdoor installation art, sound art, mail art, interactive or “playful” art, light art and kinetic art. The Guggenheim show comprises some 120 objects by 25 artists on loan from major museum and private collections in Japan, the U.S. and Europe, and features both iconic Gutai and lesser-known works to present a rich survey reflecting new scholarship, especially on so-called “late Gutai” works dating from 1965-1972. <em> Gutai: Splendid Playground</em> is organized by Ming Tiampo, Associate Professor of Art History, Carleton University, and Alexandra Munroe, Samsung Senior Curator of Asian Art, Guggenheim Museum.</p> Mon, 07 Jan 2013 02:27:40 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Mark Ther - Czech Center New York - March 21st, 2013 - May 9th, 2013 <p itemprop="description">Exhibition by the Czech artist MARK THER, featuring his award winning film Das Wandernde Sternlein, 2011.<br />The film takes place in the dark forest of the Czech frontiers, the Sudetenland, and presents woods and wilderness as the site of childhood nightmares and secret rituals.<br /><br />Exhibition opening: Thursday, March 21 at 7PM. Open through May 9.<br />Taste Czech wine - Supported by Vino z Czech <a href="www.vinozczech.com" rel="nofollow">www.vinozczech.com</a><br />... and Czech beer - supported by Staropramen <a href="http://www.staropramen.com" rel="nofollow">www.staropramen.com</a><br /><br />To enumerate all the possibilities of meaning and pathos one finds in the vast oeuvre of Mark Ther, who, in his late 20s, has already become a prolific video artist in the Czech Republic, one would have to write an entire book. Rather than producing a body of work that boasts a coherent message, Ther’s videos – incredibly short, cinematic, hilarious, and confusing – have concerned themselves with the enunciation of a definitive style, a style that is marked by the joyful revivification of a camp aesthetic that is as sophisticated as it is playful, as well as a flippant sense of humor that has its roots in Eastern European absurdism. What distinguishes Ther’s work from that of other contemporary Czech artists is its fearless exploration of sexuality and transgenderism, topics that he manages to engage in without politicizing his commitment. Unlike most video artists belonging to his generation, Ther experiments with narrative in all of his videos; his is a liberated – and liberating – approach, one that isn’t blinded by the conceits of age. Although they frequently, through music and visuals, hearken back to the 1980s, perhaps the kitschiest decade yet, there’s something timeless in so many of these pieces that make them work so well in the here and now. Perhaps we’d do best to call it Ther’s time.<br />-By Travis Jeppesen<br /><br />Das wandernde Sternlein, 2011, 20min, FullHD<br />The video Das wandernde Sternlein, awarded in 2011 with the Jindrich Chalupecky Award, cumulates several issues and strategies used by its author Mark Ther in his previous work.<br />The story begins with a tale narrated by a very old lady in Sudeten dialect. She brings us in the times of late 1930s and she reminds us how one of the children she knew disappeared in the woods under very odd circumstances. Then we see a wood in late afternoon, soon will be dark. A man is chasing a 11–year-old boy. Then the man molests the child and finally strangles him. This scene is very realistic, but very unnatural in the same time. After that we have a detailed look at the dead children´s body, when the rapist leaves.<br />The video was awarded by an international committee for Ther's “courage to overcome social prejudices and taboos”. On the other hand, the video Das wandernde Sternlein was received also with controversy, especially by parents and conservatives. ~Ladislav Zikmund-Lender<br /><br />Mark Ther is the 2011 Jiri Chalupecky Prize finalist.</p> Mon, 18 Mar 2013 18:19:50 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list - IPCNY International Print Center New York - January 18th, 2013 - May 10th, 2013 <p><b>International Print Center New York</b> announces the presentation of <i>Pop-Up! The Magical World of Movable Books — Selections from the Collection of Bernard S. Shapiro</i>, an exhibition of children’s pop-up books. <i>Pop-Up! </i>will be on view from January 18 - March 9, 2013 in IPCNY’s gallery at 508 West 26th Street, 5th floor.  </p> <p class="p2"><b>Bernard S. Shapiro </b>(1917-2009) was a Boston-based entrepreneur with many interests who formed the collection over a period of some twenty years.  The collection numbers over 250 books, of which thirty-five were originally shown at the Norman Rockwell Museum in Stockbridge, MA in the winter of 2012.  IPCNY has selected seventeen from the children’ book portion of the collection for presentation here. </p> <p class="p2"> Mr. Shapiro’s first acquisition was Lothar Meggendorfer’s <i>International Circus:  A Reproduction of the Antique Pop-Up Book,</i> purchased at a neighborhood bookshop in Brookline, MA.  It remained a centerpiece of his collection, inspiring the many acquisitions that followed, discovered in antique shops and bookstores in Boston, New York, Canada, and overseas during travels. </p> <p class="p2">An illustrated brochure with a curatorial essay by <b>Leonard S. Marcus </b>will accompany the Exhibition.  Mr. Marcus is one of the world’s leading authorities on children’s books and illustrations.  The author of more than twenty books, Mr. Marcus is a frequent contributor to the New York Times Book Review and is a founding trustee of the Eric Carle Museum of Picture Book Art in Amherst, Massachusetts. He is currently curating the New York Public Library’s major exhibition for 2013, which will open on June 7 and will remain on view through March 2014.</p> <p class="p2"><i>Pop-Up!</i> will be presented in the <i>Viewing Room</i> adjacent to IPCNY’s main gallery, where<i> New Prints 2013/Winter</i> will be on view. Exhibition design is by Artist and facilitator, Grayson Cox. IPCNY is grateful to Barbara Stern Shapiro for generously lending the selections from Mr. Shapiro’s collection of pop-up books for the exhibition, and to the Norman Rockwell Museum for its assistance with the project. The exhibition is made possible thanks to the generous contributions of two anonymous individuals.  A grant from the PECO Foundation supports IPCNY’s Exhibitions Program this season.</p> Mon, 04 Mar 2013 22:56:05 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Dennis -RedMoon Darkeem, Firelei Báez, Yael Ben-Zion, Cecile Chong, Nicky Enright, Lorra Jackson, Sara Jimenez, Saya Woolfalk - Rush Arts Gallery - April 4th, 2013 - May 10th, 2013 <p>The 2010 census shows a 32 percent increase since 2000 of Americans who identify themselves as belonging to a multiracial background. They represent the growing multiracial diversity that has become more evident in our country and in our communities during the Obama era. Dimensions Variable: Multiracial Identity features artists whose work expresses various aspects of their diverse, yet highly individual backgrounds. The exhibition attempts to move beyond the polarized discussions of race and identity politics of the 1980s and 90s and past the limitations imposed by political correctness. It also contests the idea of a "post-racial" society presented by political commentators after the election of Barack Obama. In the four years since the biracial president's first inauguration, race has remained a critical and contentious topic in national politics. Challenging a monolithic view of race, this exhibition examines contemporary issues of identity, hybridism, and racial ambiguity. At times the artists in the show directly tackle issues that relate to race and cultural awareness. At other times, the artists deal with these issues subtly by acknowledging the spread of multiculturalism in our global society and the ways in which race and ethnicity are fluid and dependent upon perception and context.</p> <p>In an effort to understand unfamiliar cultures or to foster solidarity within a community, people are frequently categorized into singular compartments according to ethnic or national origin. Current artists are looking at the political implications of racial categories and perceptions about mixing cultures. In his work, Nicky Enright explores the U.S. census, its history of ingrained prejudices, and the absurdity of categorizing one's race into insufficient and inaccurate labels; the census has only allowed respondents to indicate more than one race since 2000. Israeli-American artist Yael Ben-Zion's photographic series investigates the implications of intermarriage. Herself part of an interfaith "mixed marriage," she was appalled when she learned of the State of Israel's campaign to target Jews who were "lost" to intermarriage. She set out to photograph other couples who are facing challenges because they chose to share their lives regardless of their ethnic origins, races, or religions.</p> <p>By exposing the problems of categorization, artists are opening up the dialogue about identity to make it more inclusive. Lorra Jackson's paintings explore her own multi-ethnic background of Korean and African American to engage the story of identity in the United States. Her figurative series on the platypus—an animal that was difficult for scientists to classify when it was discovered—challenges culturally-defined notions regarding race and ethnicity. Cecile Chong, who was born and raised in Ecuador of Chinese parents, creates cross-cultural narratives using subjects and materials that are appropriated from international sources. Her encaustic and multi-media works depict figures in fantastical landscapes that reflect the recurring global exchange of ideas and influences.</p> <p>For these artists, personal significance and experience are portrayed in a way that is relevant to broad audiences. Dennis Redmoon Darkeem addresses the historical displacement of people of color, integrating imagery and objects from his Native American and African American cultural roots into his paintings, sculpture, and mixed-media installations. Sara Jimenez is interested in "embodied inheritance, female lineage and ancestry, and the presence of a loved figure as she exists in memory." Her drawings on nylon explore her relationship to her Filipino grandmother, Lola Meldy. Through her grandmother, Jimenez reflects on her own identity and her place in the world. As a material, the nylon represents a fragile, permeable representation of memory, as well as a second skin available in a range of hues to match one's complexion. It molds to the body and hides imperfections.</p> <p>Mixed race identity can lead to a sense of feeling caught between cultures or not fitting into the communities with which one identifies. To address this disorientation, artists are exploring ideas about hybridism, ambiguity, and transmutation. Firelei Báez explores her Dominican and Haitian identity through Caribbean folklore, black female subjectivity, and aspects of her personal history. Her Ciguapa series depicts a mythological female creature that dwells in the Dominican highlands and preys on errant men. Avoiding literal representations of the Ciguapa, Báez's shape-shifting beast constantly transitions from animal to human to vegetative forms, re-conceptualizing and challenging romanticized notions of the tropics. Saya Woolfalk depicts a fictional multi-racial utopia as seen through the eyes of an anthropologist in The Ethnography of No Place series. The Empathics project depicts Woolfalk's invented race of women, a mix of ethnic identities, who progressively transform from human to plants. While each series takes a different approach—the former from the position of an outsider's observation, the latter portrayed as self-representation—they can both be seen as allegories for how conceptions of race and identity might evolve.</p> <p>Through their investigations, these artists show that issues of race and identity remain complex and continually shifting in this country. By engaging this topic in new ways, their work fosters an open, inclusive, and ongoing dialogue. Recognizing that today's viewers are more culturally aware, artists challenge us to acknowledge the significance of the growing diversity in our communities.</p> <p>Artist's Talk May 4 from 4 to 6pm</p> Tue, 26 Mar 2013 01:03:21 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Anne Harris - Alexandre Gallery - April 6th, 2013 - May 11th, 2013 <p>The gallery is pleased to present an exhibition of new paintings and related drawings by Anne Harris.  Included are a series of six medium-sized self-portrait oil paintings, related pastel and Mylar drawings and two earlier works.  This is Harris’s third one-person show with the gallery. </p> <p>In her new self-portraits, Harris shows us, in a manner that is both brutal and liberating, the physical and emotional consequences of middle-age for women. The youthful curve between her waist and hips is gone and her belly fat is starting to fold over her hips. Her breasts flatten and sag, having completed their youthful functions. Her skin is transparent and has lost its elasticity, veins are more pronounced. Her face is pale in some works and, in others, it is flushed and blotchy. Some of these changes are suggested in the titles Harris gives these portraits including <em>Pink Face</em> and <em>Invisible</em>. The latter refers not only to the fact that women become physically transparent as they age—thin skin and white hair—but they also become invisible because they no longer carry the signs of youth, youth being what is sought and seen today.</p> <p>Harris’s body in her self-portraits, signals what might be understood as the beginning of the process of a woman’s physical demise, starting with the loss of her ability to create new life. Harris’s paintings, however, are not about lamenting these losses. In fact, as is emphasized by the title and content of two other self-portraits tentatively titled <em>Pale Angel</em> and <em>Angel, </em>she seems quite ready to accept the fact that her body, having performed its earthly purpose of conveying life is transforming, readying itself for a new phase.  Harris’s paintings, however, do not dwell on the fact of death but rather find in it a release, a semblance of freedom, perhaps even a different kind of birth. This can be seen in the fact that, while physically grounded in their body’s solidity, the heads and elongated necks of these figures—slightly smaller in proportion to the bodies—appear to hover above their bodies, contributing to a spectral quality in these works. Her expressions in these works register confidence, resolve, and poise, and in <em>Invisible resized</em>, we glimpse a slight smile. These figures seem to possess knowledge or a state of consciousness that exists beyond the realm of the ordinary.  Her figures appear to emerge from thin air and, despite their physicality, exist in a state and space of suspension.</p> <p>            Harris was born in 1963 and received an M.F.A. in from Yale.  She has exhibited her work in Chicago, New England and New York.  In 2003 her work was the subject of a mid-career survey at Bowdoin College Museum of Art curated by Alison Ferris.  She currently teaches at the School of the Art Institute of Chicago.</p> Sun, 07 Apr 2013 23:43:00 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list - Collective .1 Design Fair - May 8th, 2013 - May 11th, 2013 <h3>Hours</h3> <table> <tbody> <tr> <td>Wednesday May 8</td> <td>11am - 7pm</td> </tr> <tr> <td>Thursday May 9</td> <td>11am - 7pm</td> </tr> <tr> <td>Friday May 10</td> <td>11am - 9pm</td> </tr> <tr> <td>Saturday May 11</td> <td>11am - 5pm</td> </tr> </tbody> </table> <h3>Admission</h3> <p>$25 per day<br />$30 for a four day pass<br />Children 12 and under free</p> <h3>Exhibitors</h3> <p><!--[if gte mso 9]><xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:TrackMoves/> <w:TrackFormatting/> <w:PunctuationKerning/> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:DoNotPromoteQF/> <w:LidThemeOther>EN-US</w:LidThemeOther> <w:LidThemeAsian>X-NONE</w:LidThemeAsian> <w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript> <w:Compatibility> <w:BreakWrappedTables/> <w:SnapToGridInCell/> <w:WrapTextWithPunct/> <w:UseAsianBreakRules/> <w:DontGrowAutofit/> <w:SplitPgBreakAndParaMark/> <w:DontVertAlignCellWithSp/> <w:DontBreakConstrainedForcedTables/> <w:DontVertAlignInTxbx/> <w:Word11KerningPairs/> <w:CachedColBalance/> </w:Compatibility> <w:BrowserLevel>MicrosoftInternetExplorer4</w:BrowserLevel> <m:mathPr> <m:mathFont m:val="Cambria Math"/> <m:brkBin m:val="before"/> <m:brkBinSub m:val="--"/> <m:smallFrac m:val="off"/> <m:dispDef/> <m:lMargin m:val="0"/> <m:rMargin m:val="0"/> <m:defJc m:val="centerGroup"/> <m:wrapIndent m:val="1440"/> <m:intLim m:val="subSup"/> <m:naryLim m:val="undOvr"/> </m:mathPr></w:WordDocument> </xml><![endif]--></p> <p><!--[if gte mso 9]><xml> <w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true" DefSemiHidden="true" DefQFormat="false" DefPriority="99" LatentStyleCount="267"> <w:LsdException Locked="false" Priority="0" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Normal"/> <w:LsdException Locked="false" Priority="9" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="heading 1"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/> <w:LsdException Locked="false" Priority="39" Name="toc 1"/> <w:LsdException Locked="false" Priority="39" Name="toc 2"/> <w:LsdException Locked="false" Priority="39" Name="toc 3"/> <w:LsdException Locked="false" Priority="39" Name="toc 4"/> <w:LsdException Locked="false" Priority="39" Name="toc 5"/> <w:LsdException Locked="false" Priority="39" Name="toc 6"/> <w:LsdException Locked="false" Priority="39" Name="toc 7"/> <w:LsdException Locked="false" Priority="39" Name="toc 8"/> <w:LsdException Locked="false" Priority="39" Name="toc 9"/> <w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/> <w:LsdException Locked="false" Priority="10" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Title"/> <w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/> <w:LsdException Locked="false" Priority="11" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/> <w:LsdException Locked="false" Priority="22" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Strong"/> <w:LsdException Locked="false" Priority="20" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/> <w:LsdException Locked="false" Priority="59" SemiHidden="false" UnhideWhenUsed="false" Name="Table Grid"/> <w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/> <w:LsdException Locked="false" Priority="1" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 1"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 1"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 1"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/> <w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/> <w:LsdException Locked="false" Priority="34" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/> <w:LsdException Locked="false" Priority="29" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Quote"/> <w:LsdException Locked="false" Priority="30" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 1"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 1"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 2"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 2"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 2"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 2"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 2"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 3"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 3"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 3"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 3"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 3"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 4"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 4"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 4"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 4"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 4"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 5"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 5"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 5"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 5"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 5"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 6"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 6"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 6"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 6"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 6"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/> <w:LsdException Locked="false" Priority="19" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/> <w:LsdException Locked="false" Priority="21" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/> <w:LsdException Locked="false" Priority="31" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/> <w:LsdException Locked="false" Priority="32" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/> <w:LsdException Locked="false" Priority="33" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Book Title"/> <w:LsdException Locked="false" Priority="37" Name="Bibliography"/> <w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/> </w:LatentStyles> </xml><![endif]--><!--[if gte mso 10]> <style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; line-height:115%; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} </style> <![endif]--></p> <ul type="disc"> <li class="MsoNormal" style="mso-margin-top-alt: auto; mso-margin-bottom-alt: auto; line-height: normal; mso-list: l0 level1 lfo1; tab-stops: list .5in;"><span style="font-size: 12pt; font-family: 'Times New Roman','serif'; color: #000000;">21st Twenty First</span></li> <li class="MsoNormal" style="mso-margin-top-alt: auto; mso-margin-bottom-alt: auto; line-height: normal; mso-list: l0 level1 lfo1; tab-stops: list .5in;"><span style="font-size: 12pt; font-family: 'Times New Roman','serif'; color: #000000;">Casati Gallery</span></li> <li class="MsoNormal" style="mso-margin-top-alt: auto; mso-margin-bottom-alt: auto; line-height: normal; mso-list: l0 level1 lfo1; tab-stops: list .5in;"><span style="font-size: 12pt; font-family: 'Times New Roman','serif'; color: #000000;">Demisch Danant</span></li> <li class="MsoNormal" style="mso-margin-top-alt: auto; mso-margin-bottom-alt: auto; line-height: normal; mso-list: l0 level1 lfo1; tab-stops: list .5in;"><span style="font-size: 12pt; font-family: 'Times New Roman','serif'; color: #000000;">Cristina Grajales Gallery</span></li> <li class="MsoNormal" style="mso-margin-top-alt: auto; mso-margin-bottom-alt: auto; line-height: normal; mso-list: l0 level1 lfo1; tab-stops: list .5in;"><span style="font-size: 12pt; font-family: 'Times New Roman','serif'; color: #000000;">Grey Area</span></li> <li class="MsoNormal" style="mso-margin-top-alt: auto; mso-margin-bottom-alt: auto; line-height: normal; mso-list: l0 level1 lfo1; tab-stops: list .5in;"><span style="font-size: 12pt; font-family: 'Times New Roman','serif'; color: #000000;">Jousse Entreprise</span></li> <li class="MsoNormal" style="mso-margin-top-alt: auto; mso-margin-bottom-alt: auto; line-height: normal; mso-list: l0 level1 lfo1; tab-stops: list .5in;"><span style="font-size: 12pt; font-family: 'Times New Roman','serif'; color: #000000;">Nicholas Kilner</span></li> <li class="MsoNormal" style="mso-margin-top-alt: auto; mso-margin-bottom-alt: auto; line-height: normal; mso-list: l0 level1 lfo1; tab-stops: list .5in;"><span style="font-size: 12pt; font-family: 'Times New Roman','serif'; color: #000000;">kinder MODERN</span></li> <li class="MsoNormal" style="mso-margin-top-alt: auto; mso-margin-bottom-alt: auto; line-height: normal; mso-list: l0 level1 lfo1; tab-stops: list .5in;"><span style="font-size: 12pt; font-family: 'Times New Roman','serif'; color: #000000;">J Lohmann Gallery</span></li> <li class="MsoNormal" style="mso-margin-top-alt: auto; mso-margin-bottom-alt: auto; line-height: normal; mso-list: l0 level1 lfo1; tab-stops: list .5in;"><span style="font-size: 12pt; font-family: 'Times New Roman','serif'; color: #000000;">Lost City Arts</span></li> <li class="MsoNormal" style="mso-margin-top-alt: auto; mso-margin-bottom-alt: auto; line-height: normal; mso-list: l0 level1 lfo1; tab-stops: list .5in;"><span style="font-size: 12pt; font-family: 'Times New Roman','serif'; color: #000000;">MAGEN H GALLERY</span></li> <li class="MsoNormal" style="mso-margin-top-alt: auto; mso-margin-bottom-alt: auto; line-height: normal; mso-list: l0 level1 lfo1; tab-stops: list .5in;"><span style="font-size: 12pt; font-family: 'Times New Roman','serif'; color: #000000;">Maison Gerard</span></li> <li class="MsoNormal" style="mso-margin-top-alt: auto; mso-margin-bottom-alt: auto; line-height: normal; mso-list: l0 level1 lfo1; tab-stops: list .5in;"><span style="font-size: 12pt; font-family: 'Times New Roman','serif'; color: #000000;">Mark McDonald</span></li> <li class="MsoNormal" style="mso-margin-top-alt: auto; mso-margin-bottom-alt: auto; line-height: normal; mso-list: l0 level1 lfo1; tab-stops: list .5in;"><span style="font-size: 12pt; font-family: 'Times New Roman','serif'; color: #000000;">Todd Merrill</span></li> <li class="MsoNormal" style="mso-margin-top-alt: auto; mso-margin-bottom-alt: auto; line-height: normal; mso-list: l0 level1 lfo1; tab-stops: list .5in;"><span style="font-size: 12pt; font-family: 'Times New Roman','serif'; color: #000000;">Modernity</span></li> <li class="MsoNormal" style="mso-margin-top-alt: auto; mso-margin-bottom-alt: auto; line-height: normal; mso-list: l0 level1 lfo1; tab-stops: list .5in;"><span style="font-size: 12pt; font-family: 'Times New Roman','serif'; color: #000000;">Mondo Cane</span></li> <li class="MsoNormal" style="mso-margin-top-alt: auto; mso-margin-bottom-alt: auto; line-height: normal; mso-list: l0 level1 lfo1; tab-stops: list .5in;"><span style="font-size: 12pt; font-family: 'Times New Roman','serif'; color: #000000;">Ornamentum</span></li> <li class="MsoNormal" style="mso-margin-top-alt: auto; mso-margin-bottom-alt: auto; line-height: normal; mso-list: l0 level1 lfo1; tab-stops: list .5in;"><span style="font-size: 12pt; font-family: 'Times New Roman','serif'; color: #000000;">Sienna Patti </span></li> <li class="MsoNormal" style="mso-margin-top-alt: auto; mso-margin-bottom-alt: auto; line-height: normal; mso-list: l0 level1 lfo1; tab-stops: list .5in;"><span style="font-size: 12pt; font-family: 'Times New Roman','serif'; color: #000000;">R 20th Century</span></li> <li class="MsoNormal" style="mso-margin-top-alt: auto; mso-margin-bottom-alt: auto; line-height: normal; mso-list: l0 level1 lfo1; tab-stops: list .5in;"><span style="font-size: 12pt; font-family: 'Times New Roman','serif'; color: #000000;">Sebastian + Barquet</span></li> <li class="MsoNormal" style="mso-margin-top-alt: auto; mso-margin-bottom-alt: auto; line-height: normal; mso-list: l0 level1 lfo1; tab-stops: list .5in;"><span style="font-size: 12pt; font-family: 'Times New Roman','serif'; color: #000000;">Southern Guild</span></li> <li class="MsoNormal" style="mso-margin-top-alt: auto; mso-margin-bottom-alt: auto; line-height: normal; mso-list: l0 level1 lfo1; tab-stops: list .5in;"><span style="font-size: 12pt; font-family: 'Times New Roman','serif'; color: #000000;">Volume Gallery</span></li> <li class="MsoNormal" style="mso-margin-top-alt: auto; mso-margin-bottom-alt: auto; line-height: normal; mso-list: l0 level1 lfo1; tab-stops: list .5in;"><span style="font-size: 12pt; font-family: 'Times New Roman','serif'; color: #000000;">Wexler Gallery</span></li> </ul> Wed, 24 Apr 2013 07:19:10 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Tim Ripley - Denise Bibro Fine Art - April 4th, 2013 - May 11th, 2013 <p><b>Denise Bibro Fine Art</b>, in Chelsea, New York is pleased to announce its exclusive representation of Chicago artist, Tim Ripley and his first solo exhibition in New York.</p> <p><i>Soft Cell</i> refers to the tiny soft polymer clay forms and environments that Ripley carefully sculpts, which are the precursor for his deftly painted oil paintings on panel. Ripley's works remind us that technology has changed the way we perceive the world around us. Simulations, reproductions, and symbols have become more "real" than the subject they represent. This concept has become central to the process of Ripley's works. His technical method includes physically sculpting polymer clay forms, and then composing his pictorial landscape by photographing them. The artist manipulates the value, color, texture and scale with digital editing programs, in high resolution for each layer. The generated digital print serves as a reference for the painting. Color decisions are based on a combination of sources: the print, the screened digital image and the actual sculpture created. Using a technique of "wet into wet," with tiny brushes, painting three or four times over the work, he achieves the "Smooth" gradient shading effect he desires. A gloss varnish enhances the refined surface giving each work both a clean modern effect, as well as a timeless quality.</p> <p>The fundamental idea behind the arduous process is to represent the surreal pseudo digital forms and environments created through mediations of form and subject. The titles of his paintings however, were taken from the names of 80's movies, an obtuse relation to the painting's subject matter. Ripley's bright and shining adolescence shines through his titles, performing as a direct reference to the culture he grew up in, and the time period that shaped his character.</p> <p> </p> <p>Ripley has an M.F.A from Northwestern University and a B.A. from Columbia College in Illinois. Besides showing extensively in the Chicago area, Tim Ripley's works have also been included in exhibitions in Cleveland, Ohio and Houston, Texas.</p> Fri, 05 Apr 2013 04:31:55 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Alan Gussow - Driscoll Babcock - April 18th, 2013 - May 11th, 2013 <p>DRISCOLL BABCOCK GALLERIES presents <em>Interrupted Spring</em>, an exhibition of oil paintings and works on paper by Alan Gussow (1931-1997), which captures the energy of natural environment through a lively synthesis of abstract expressionism and realism, presenting a profound and poetic artistic vision. Gussow’s unique imagery conveys the intimate link between man and the environment, invoking his personal encounters with the smells, sounds, tastes, and tactile sensations of nature.</p> <p><br /> “His paintings are elegant, joyous, celebratory and occasionally elegiac representations of the world he treasured and embraced, the world of natural phenomena,” notes John Driscoll, president of Driscoll Babcock.</p> <p><br /> With nature as his muse, Gussow sought to reconcile his perceptual experiences and transform them into persuasive visual expression. Many works in this exhibition—<em>Interrupted Spring</em> (1975), <em>Vegetable Garden in a March Rain</em> (1975) and <em>Edges of A Delayed Spring</em> (1987)—reflect Gussow’s intuitive awareness of the shifting colors and textures of the changing seasons, as thawing frost and spring rain make way for a lush explosion of buds and greenery. The rich color associations and fluctuating brushstrokes in these works suggest a dynamic shift in focus from the panorama towards the detail, and a new emphasis on the rhythm, color, and texture of the productive earth. </p> <p> <br /> The observational work <em>Evening Bird Song with Crickets and Fireflies</em> (1978), a synesthetic mingling of visual and sound patterns, exemplifies his expansion of painting’s potential to embody sensations that extend far beyond the visual. His quick, darting lines capture the fleeting buzz around him and create a sustained momentum that enlivens the entire surface of the canvas. By the 1970’s, the experience of gardening as a process fully infiltrated Gussow’s work. In <em>May Garden</em> (1976), an all-over pattern of stitch like strokes of black ink at first glance resembles a sort of abstract calligraphy, but in actuality chronicles the hive of invisible activity observed beneath the sprouting soil.  The exhibition includes six of black and white ink on paper works, which are being exhibited for the first time.</p> <p><br /> Gussow desired to create art not simply from the viewing of nature, but from his palpable sense of place. He created a new visual language rooted in man’s universal interconnectedness with nature, one that continued to evolve alongside his own relationship with the environment.</p> <p> </p> <p><br /> ABOUT ALAN GUSSOW<br /> Driscoll Babcock Galleries has handled the work of Alan Gussow since 2001. The gallery has staged two solo exhibitions of his work: <em>Alan Gussow: A Painter’s Nature</em> (2009) and <em>Alan Gussow: Oils</em> (2006). Additionally, Gussow’s work has been the subject of more than a dozen solo museum exhibitions, including the Corcoran Gallery of Art, Washington, D.C.; The National Arts Club, New York; Flint Institute of Arts, MI; Arkansas Art Center, Little Rock, AK; Mississippi Museum of Art, Jackson, MS; and the Portland Museum of Art, Portland, ME.</p> <p><br /> Gussow’s work can be found in public collections throughout the United States and in Europe, including The Metropolitan Museum of Art, New York; the Kemper Museum of Contemporary Art, Kansas City, MO; Corcoran Gallery of Art, Washington, D.C.; Arkansas Art Center, Little Rock, AK; Flint Institute of Arts, MI; Palmer Museum of Art, University Park, PA Montgomery Museum of Art, AL; Greenville County Museum of Art, SC; and the National Museum, Udine, Italy.</p> <p><br /> In addition to being recognized as an artist, Gussow was an avid environmentalist and activist. He advised Senators Robert F. Kennedy and George McGovern on key environmental issues, served on the Board of Directors of the Friends of the Earth, and had a strong national presence, serving as an expert witness on environmental conservation issues before Congress and several legislative committees. He served as a Consultant in the Arts for the National Park Service, and was an active teacher for 40 years. His many written works include the books, “A Sense of Place: The Artist and the American Landscape” and “The Artist as Native: Reinventing Regionalism.”</p> Sat, 13 Apr 2013 23:14:00 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Bill Brandt - Edwynn Houk Gallery - April 4th, 2013 - May 11th, 2013 <p>Edwynn Houk Gallery is delighted to present a selection of vintage prints by the British photographer, Bill Brandt, from the collection of the artist’s family. The exhibition coincides with the major retrospective that is currently at the Museum of Modern Art, Bill Brandt: Shadow and Light (until August 12). Edwynn Houk Gallery has exclusively represented the Estate of Bill Brandt for 30 years.<br /> <br /> Bill Brandt (British, b. Germany, 1904-1983) is widely acknowledged to be one of the most innovative photographers of the twentieth century, with a professional career spanning over 50 years. Working in a variety of styles and genres – from photojournalistic documents of English society in the 1930s and life in London during World War II, to portraits of England’s artistic elite, and finally to his surrealist and ground breaking nudes of the 1950s – Brandt’s diverse output as a photographer reflected the wide variety of his interests. Consequently, Brandt cannot be reduced to a single style or look. The prints on view will clearly articulate this variety.<br /> <br /> This exhibition will present photographs from his family’s collection, many of which will be on view for the first time. It will include prints that explore British society, taken during the time of his first two publications, The English at Home (1936) and A Night in London (1938). Throughout the 1930s and 40s, his photographic dramatizations focused on the vast differences between the social classes and decidedly English types, seen in “Parlourmaid at a Window in Kensington,” 1939, and “Barmaid at the Crooked Billet Tower Hill,” 1939. The strong influence of Brassaï’s “Paris du Nuit” can be felt in his “Soho Bedroom,” 1934. <br /> <br /> The journalistic assignments during the War laid the foundation of his subsequent career, with portraits of writers (“Dylan Thomas and his Wife Caitlin, in Their Room, Manresa Road, Chelsea,” 1944), and artists (“Eye Portrait, Henry Moore,” 1960) as well as English landscapes (“Stonehenge under Snow,” 1947). It is in these photographs that Brandt’s shift away from the purely documentary to the more poetic can be keenly felt. A bewildering and beguiling atmosphere permeates, compounded by Brandt’s own reticence. He quietly insisted that the images should speak for themselves. <br /> <br /> Finally, in the 1950s, Brandt gained renown as an artist and not just a photographer, with his stunning and unforgettable nudes. The mastery of the female nude has long been considered an important threshold for a photographer, and it’s Brandt’s creative use of shadow, reflection and a wide-angle lens for a dramatic, almost surrealist, perspective that makes his nudes so distinctive and unique. Brandt had done some work in fashion photography in the late 1940s, but like Man Ray and Erwin Blumenfeld who before him in Paris had done fashion work, Brandt often had more interest in the model than what she wore. His radical reworking of the genre can be seen in “Belgravia London,” 1953 and “East Sussex Coast,” 1957.<br /> <br /> Brandt was born in Germany to an aristocratic British banking family. Suffering from tuberculosis as a teenager, he spent seven years recovering at a Swiss sanatorium. It is there that he first took up photography. As a young man, he lived in Vienna and then in Paris, where he worked in the atelier of Man Ray. Finally, in 1934, he relocated to Britain permanently. Brandt continues to be considered Britain’s greatest photographer of the modern era, and certainly one of the major forces in the elevation of photography as an art form.</p> Mon, 18 Mar 2013 22:49:45 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Group Show - Flowers Gallery NY - April 11th, 2013 - May 11th, 2013 <p class="p1">Flowers is pleased to present an exhibition titled Cityscapes surveying several of our artists who engage with the themes of urban life. Included in this collection are David Hepher, Peter Howson, Patrick Hughes, Lucy Jones, Nadav Kander, John Keane, Mona Kuhn, Jiro Osuga, Tai-Shan Schierenberg and Renny Tait. </p> <p class="p1">Each of these artists interacts with the city in a unique capacity. David Hepher uses real building materials, such as concrete, in his paintings. Patrick Hughes and Lucy Jones both lead us to question our perception of reality with their works: Hughes with his three-dimensional relief paintings and Jones with her impressionistic interpretations of the cityscape. Peter Howson, Nadav Kander and John Keane bring social commentary to the discussion, drawing on the presence of war and violence, and also the rapid development of urban settings. Photographer Mona Kuhn is know for her nude portraiture, but here she shows us a glimpse of Venice, exposed. Renny Tait and Tai-Shan Schierenberg explore the light, textures and geometry of the city in their paintings, while Jiro Osuga plays with spaces that make up contemporary city life.</p> Wed, 10 Apr 2013 20:01:07 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list tallur l.n. - Jack Shainman Gallery 24th Street - April 11th, 2013 - May 11th, 2013 <p><em>You have a right to perform your prescribed action; but you are not entitled to the fruits of your action.</em><i><br /> <em>Never consider yourself the cause of the results for your activities; and never be associated with not doing your duty.</em></i><br /> -The Bhagavad Gita, verse 47</p> <p><strong>Jack Shainman Gallery</strong> is pleased to announce <strong><i>New Yorked</i></strong>, Tallur L.N.’s first solo exhibition with the gallery. Employing a range of materials including bronze, wood, terracotta, silicone, concrete and silver, the show includes sculpture, wall pieces and a site-specific installation.</p> <p>Dr. Chaitanya Sambrani wrote, “Tallur’s work reaffirms the death of future-driven progress. The future is already obsolete. Eternal and omnipresent speed propels us headlong into a chaotic intermingling of conditions where the vernacular and the international commingle in uneasy marriages, and where epiphanies are only to be found stumbled upon in the refuse heap amongst the endlessly accumulating pile of debris.” Challenging the bondage of materiality and the futility of desire, Tallur reaches deep into dichotomies between the tangible and the ethereal, the figurative and the abstract, the decorative and the conceptual to bring forth new meanings on contemporary existence.</p> <p><em>Karma Yoga </em>is a model for a larger sculpture of similar form and is titled after the belief that a person’s present is based on his or her past and this process of continuity will be in action until the individual attains a zero balance. Tallur is exploring the ways to become liberated through the repetitious movement of the body as it works the machinery in an endless cycle without clear consequence.</p> <p>In <em>Chromataphobia</em>, a large recreation of the Laughing Buddha holding a wooden log, Tallur describes the title’s meaning as an abnormal and persistent fear of money and its diagnosis as a state in which rhythm is lost to a greed for growth and speed. This rhythm he speaks of can only return through the passage of time. Viewers are encouraged to hammer their own coins into the wood’s cracks and crevices. With every insertion the participants are to clear their minds of worry and negative thoughts and make a wish for themselves. The unfixed concept of value is explored throughout Tallur’s practice. In <em>Chromataphobia</em>, the viewer/participant is brought into the ritual where the liquid, the presumed and the trade values of an object are intertwined with their meanings: tangled, snagged and reformed. </p> <p>In <em>Unicode</em>, Tallur tackles contemporary problems of information storage and loss using traditional techniques and lush material to bridge the past, present and future and point toward thematic interconnectedness through time. The bronze figure stands erect, holding a staff while sections of the body reveal erosion that has penetrated deep beyond the surface. Indicative of much of his practice, Tallur bridges historical iconography with present conditions exploring our phobias and fetishes. </p> <p>Tallur L.N., lives and works between Seoul, South Korea and Karnataka, India. He was awarded <em>The Skoda Prize for Indian Contemporary Art</em>, 2012 and was part of the <em>Kochi-Muziris Biennale</em>, India, 2012-13. He has been exhibited internationally, including solo exhibitions in Germany, South Korea, India, China and the United States. Selected group exhibitions include <em>The 7th Asia Pacific Triennial of Contemporary Art (APT 7)</em>, Queensland Art Gallery, Gallery of Modern Art, Brisbane, Australia, 2012; <em>Critical Mass: Contemporary Art from India</em>, Tel Aviv Museum of Art, Israel<br /> 2011; <em>Meditation: Asian Art Biennial</em>, National Taiwan Museum, Taiwan, 2011; <em>The Empire Strikes Back: Indian Art Today</em>, Saatchi Gallery, United Kingdom, 2010 and <em>La Route de la Soir</em>, Tri Postal, France, 2010.</p> Sat, 06 Apr 2013 23:35:35 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Tiong Ang, Carolina Raquel Antich, Leonard Bullock, Guglielmo Achille Cavellini, Quisqueya Henriquez, Greg Kwiatek, Chantal Michel, Ralph Provisero - LYNCH THAM - March 28th, 2013 - May 11th, 2013 <p>LYNCH THAM specializes in contemporary art, representing historical artists as well </p> <p>as mid-career and emerging artists working in all media. The gallery identifies artists of </p> <p>historical importance, and dedicates itself to a reemergence of their careers. Also of </p> <p>interest is the discovery and launching of the artistic careers of new and emerging </p> <p>talents. </p> <p> </p> <p>Florence Lynch is formerly from Florence Lynch Gallery, a contemporary art gallery of </p> <p>international standing, previously located in New York’s Chelsea gallery district. Lynch </p> <p>has over 15 years of art world experience, and has worked as an independent curator, </p> <p>critic and lecturer. </p> <p>  </p> <p>Lynch has a Master of Arts degree in Art Administration and Art History. She is fluent </p> <p>in 5 languages. </p> <p>  </p> <p>Bee Tham’s career spans over 15 years in public and private sectors. Trained as a </p> <p>diplomat and European political specialist at the Foreign Service Office of Singapore, </p> <p>Tham has also held leadership positions in marketing and communications - She has </p> <p>launched advertising campaigns that won the Cannes Gold Lion at Cannes Lion </p> <p>Festival of Creativity. </p> <p>  </p> <p>Tham has a Master of Art in Philosophy and an Honors Degree in Philosophy and </p> <p>History.  </p> <p><b> </b></p> <p><b>Media enquiries:   </b></p> <p>Florence Lynch /Bee Tham </p> <p>Tel: 917-327-3580 / 917-288-9099; info@lynchtham.com</p> Wed, 24 Apr 2013 20:39:30 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Basim Magdy - Marisa Newman Projects - April 4th, 2013 - May 11th, 2013 <p>Newman Popiashvili gallery is pleased to present A Steady Progress of Nothingness, the third solo exhibition at the gallery by Egyptian artist Basim Magdy. The artist will present a film, a slide projection and paintings.<br />Magdy’s titles for his works and exhibitions always play on the idea of human achievement through the ages, but hints at the ultimate failure that occurs with each generation. Highlighting this idea in My Father Looks For An Honest City, 2010, Magdy asked his own father to reenact Diogenes of Sinope’s philosophical statement of carrying a lamp in daytime. Diogenes, who was one of the founders of the philosophy of cynicism, was most known by his repeated act of carrying a lamp in daylight supposedly “looking for an honest man.”<br />Magdy filmed his father walking through a transformative urban landscape with a flashlight in hand – a city that is suspended in the process of construction. The backdrop of generic unfinished structures partially urbanized and still full of nature, allowing images of petrified wood, doves, fake palm trees, stray dogs, and a flashlight to evolve as dystopian protagonists.<br />The double slide projection titled A 240 Second Analysis Of Failure And Hopefulness (with Coke, Vinegar And Other Tear Gas Remedies), 2012, consists of 160 color slides shown on two synchronized slide carousel projectors. Shot over a period of one month and developed through an elaborate process of exposure to common household chemicals, the images depict a demolition site as it emerges into a construction one. For this process, Magdy has selected liquids such as vinegar, coca cola and others, which have been used as anti tear–gas remedies by revolutionaries throughout the Middle East over the past two years.<br />Once applied to the slide film, the household chemicals distort the color palette of the slides in unusual ways, resulting in an unlimited number of variations. Magdy is especially interested in exploring the analogue photographic medium at this particular period because of the limited time before the film ceases to exist completely. The projects produced in this expiring medium, however, will remain as evidence to the incredible generosity and flexibility this medium has offered.<br />Both the slide projection and the video deal with imagery of demolition and construction, bringing the sense of a real landscapes coupled with the tragic and abandoned desolation of our future. Basim Magdy continues to bring up the notions of failure and the search for something unknown.<br />Born in Assiut, Egypt, Magdy currently lives and works in Basel and Cairo. His work has recently appeared in La Triennale: Intense Proximity, Palais de Tokyo, Paris, curated by Okwui Enwezor; Newtopia, the State of Human Rights, Mechelen, Belgium, curated by Katerina Gregos; Sharjah Biennial, Sharjah, UAE, curated by Yuko Hasegawa; Future Generation Art Prize, PinchukArtCenter, Kiev, Ukraine, curated by Bjorn Geldhof. Upcoming shows in 2013 include the 13th Istanbul Biennial, Turkey, curated by Fulya Erdemci; Biennale Jogja XII, Indonesia, curated by Agung Hujatnikajennong and Sarah Rifky; and Dissident Futures at Yerba Buena Center for the Arts, San Francisco, curated by Betti-Sue Hertz</p> Tue, 07 May 2013 02:57:39 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list