ArtSlant - Recently added http://www.artslant.com/ny/Events/show en-us 40 Jesús Rafaël Soto - Galerie Perrotin New York - January 15th, 2015 - February 21st, 2015 <p style="text-align: justify;">Galerie Perrotin presents <strong>&ldquo;Chronochrome,&rdquo; </strong>a double exhibition dedicated to <strong>Jes&uacute;s Rafael Soto </strong>(1923-2005), held simultaneously in its <a href="http://www.artslant.com/par/venues/show/2475-galerie-perrotin---turenne" target="_blank">Paris</a> and New York spaces. Organised in collaboration with the artist&rsquo;s estate and curated by Matthieu Poirier, the exhibition will present some sixty works from his estate or from institutions, made between 1957 and 2003. This two-part exhibition continues the current international rediscovery of Soto, which is illustrated by the recent retrospective at the Mus&eacute;e National d&rsquo;Art Moderne - Centre Pompidou (2013), and by his inclusion in &ldquo;Dynamo. A Century of Light and Movement in Art. 1913-2013&rdquo; at Galeries Nationales du Grand Palais (2013), as well as in the current &ldquo;ZERO: Countdown to Tomorrow, 1950s&ndash;60s&rdquo; at the Guggenheim Museum in New York, in the Frank Lloyd Wright building where Soto had a majorretrospective back in 1974.</p> <p>&nbsp;</p> <p class="Pa1" style="text-align: justify;">For Soto, colour is experienced in and for itself only in the real time and space of perception. The term &ldquo;chronochrome&rdquo; is used less in its original sense (it was a process for making colour films, invented in 1912) than to describe the kinetic exploration of the monochrome. Soto was a close friend of Yves Klein, but in Soto&rsquo;s work, purecolour leaves the stable support of the surface in order to become avibratory phenomenon.</p> <p>&nbsp;</p> <p style="text-align: justify;">Jes&uacute;s Rafael Soto was born in Venezuela in 1923. He trained at art school in Caracas and came to Paris in 1950, which remained his base for the rest of his life. His work developed gradually from his first Parisian pieces, created partly under the influence of theNeoplasticism of Piet Mondrian and the theories of Laszl&oacute; Moholy-Nagy on light and transparency in his writings Vision in Motion.</p> <p>&nbsp;</p> <p class="Pa1" style="text-align: justify;">In the 1950s he conceived his first &ldquo;optical vibrations,&rdquo; theconstituting principle that would remain active in almost all his future work: a play of grids on two distinct levels, a few centimetres apart. The first of these levels is irregular and transparent and constituted by either silkscreened motifs or painted rods, and the second, behind it, has fine painted vertical lines in black and white. This relation between foreground and background is crucial: visually, it generates an undulating, changing effect (moir&eacute;) every time the beholder&rsquo;s viewpoint shifts, even if just a little. From then on, Soto abandoned two-dimensional painting in favour of these &ldquo;reliefs&rdquo; in which that interstice between the two layers plays such an important role, and for sculptural pieces in which a &ldquo;rain&rdquo; of coloured rods or threads create a complex immaterial effect that contrasts with the simplicity of the material elements, just as the rhythmic mobility of the vibration belies the neutrality of the colour.</p> <p>&nbsp;</p> <p class="Pa1" style="text-align: justify;">The properties of the work thus vary with the angle from which it is viewed, creating a motor effect in the observer and integrating the elasticity of perception. This dynamic quality was oftenmisunderstood in Soto&rsquo;s early work, as it was in the art of Heinz Mack and Bridget Riley. Soto was alternatively heralded as the hero of &ldquo;kinetic art&rdquo; or &ldquo;op art&rdquo;&mdash;a status he regularly rejected as he sought to establish his singularity. Even if he declined the invitation to feature in &ldquo;The Responsive Eye&rdquo; at New York&rsquo;s Museum of Modern Art in 1965 because of what he saw as an excessive prominence given to Victor Vasarely and his purely &ldquo;optical&rdquo; paintings, his approach nevertheless fits within the context of what the show&rsquo;s curator,William Seitz, termed &ldquo;perceptual abstraction&rdquo;: a new kind of art rather based on phenomenology, which made spatio-visualperception a medium in its own right, thereby breaking with the expressionist, informel or concrete regimes of the abstraction then in fashion.</p> <p>&nbsp;</p> <p class="Pa1" style="text-align: justify;">&ldquo;Chronochrome&rdquo; also echoes the exhibition of Soto at the ARC / Mus&eacute;e d&rsquo;Art Moderne de la Ville de Paris in 1969. In the catalogue to that show, Jean Clay stressed the highly spiritual dimension of the &ldquo;radical dematerialisation&rdquo; undertaken by the artist. He quotedKazimir Malevich&rsquo;s attack on the theoretical framework that,according to him, governed the new abstract painting of the day. &ldquo;Malevich&rsquo;s prophecy, made in 1919, is being fulfilled,&rdquo; stated Clay. &ldquo;&lsquo;Whoever makes abstract constructions, based on the mutual relations of colours within the picture is still confined to the world of aesthetics, rather than bathing in philosophy.&rsquo;&rdquo; Whether in the radical abstraction of the Suprematist painter, or that of the Kinetic artist, the aim was to escape the logic of pictorial confinement. The work was to be &ldquo;open&rdquo;&mdash;to borrow the expression coined by Umberto Eco with regard to kinetic art. Jean Clay seemed to see Soto&rsquo;s Penetrables (1967 onwards) as the extreme incarnation of this logic, arguing that the &rdquo;rain&rdquo; of fine, translucent and coloured plastic rods were the ultimate development of the &ldquo;ambiguous space&rdquo; that had first emerged in the first plexiglas reliefs of the 1950s.</p> <p>&nbsp;</p> <p class="Pa1" style="text-align: justify;">The modest dimensions of the older works certainly do not mean a lack of visual and spatial impact, however. On the contrary, as Clay affirmed, &ldquo;through the play of stripes at various angles,&rdquo; Soto obtained &ldquo;surprising effects of unequal weight, as if each sheet corresponded to a different planet, as if each series of stripes was responding differently to the laws of universal gravity. [&hellip;] A step to one side sets in motion a whole play of divergent levitations, creating the disturbing sensation that contradictory physical rules are prevailing simultaneously over the micro-space that Soto has managed to trap.&rdquo; At play here, then, we have a psycho-physiological (and not imaginary) experience of weightlessness, within a universe crisscrossed by forces described as &ldquo;non-Euclidian,&rdquo; that is to say, escaping rational apprehension: during the moment of contemplation, the effect surpasses the intellect&rsquo;s capacity to grasp it.</p> <p>&nbsp;</p> <p style="text-align: justify;">The works brought together at Galerie Perrotin in Paris and New York may disconcert, disorient and seem elusive. The eye&mdash;and also the body in the case of one Penetrable&mdash;is subtly trapped, wandering endlessly in spaces that oscillate between painting and sculpture, object and image. In the way it enters our perceptual space and refuses to be fully grasped, a work by Soto is, as Henri Bergson would put it, an object that no one has seen and that no one ever will see in its totality. Whether with a wall relief, a sculpture or an environment, the artist invites us to have an experience that is always unique, new every time: the experience of an incompleteness, a space-time continuum that can never be summed up in an image or verbalaccount. This may be the prime quality of the monochrome staccato in which traditional painting and sculpture are singularly subverted and become atomised in time and space. This unique aesthetic makes Soto a major figure not only in the history of abstraction, but also in the greater history of modern and contemporary art.</p> <p>&nbsp;</p> <p style="text-align: justify;"><strong>Matthieu Poirier </strong>holds a doctorate in art history from the Sorbonne, where he has also taught. Formerly a resident at Centre Allemand d&rsquo;Histoire de l&rsquo;Art, he recently curated or co-curated "Post-Op" at Galerie Perrotin (2014), "Dynamo" at Galeries Nationales du Grand Palais and "Julio Le Parc" at Palais de Tokyo (2013).</p> <p>&nbsp;</p> <p style="text-align: justify;"><strong>On the occasion of the exhibition a 190 page catalogue will be published, with texts by Matthieu Poirier and Arnauld Pierre.</strong></p> <p style="text-align: justify;">Galerie Perrotin presents <strong>&ldquo;Chronochrome,&rdquo; </strong>a double exhibition dedicated to <strong>Jes&uacute;s Rafael Soto </strong>(1923-2005), held simultaneously in its Paris and <a href="http://www.artslant.com/ny/venues/show/44670-galerie-perrotin-new-york" rel="nofollow" target="_blank">New York</a> spaces. Organised in collaboration with the artist&rsquo;s estate and curated by Matthieu Poirier, the exhibition will present some sixty works from his estate or from institutions, made between 1957 and 2003. This two-part exhibition continues the current international rediscovery of Soto, which is illustrated by the recent retrospective at the Mus&eacute;e National d&rsquo;Art Moderne - Centre Pompidou (2013), and by his inclusion in &ldquo;Dynamo. A Century of Light and Movement in Art. 1913-2013&rdquo; at Galeries Nationales du Grand Palais (2013), as well as in the current &ldquo;ZERO: Countdown to Tomorrow, 1950s&ndash;60s&rdquo; at the Guggenheim Museum in New York, in the Frank Lloyd Wright building where Soto had a majorretrospective back in 1974.</p> <p class="Pa1" style="text-align: justify;">For Soto, colour is experienced in and for itself only in the real time and space of perception. The term &ldquo;chronochrome&rdquo; is used less in its original sense (it was a process for making colour films, invented in 1912) than to describe the kinetic exploration of the monochrome. Soto was a close friend of Yves Klein, but in Soto&rsquo;s work, purecolour leaves the stable support of the surface in order to become avibratory phenomenon.</p> <p style="text-align: justify;">Jes&uacute;s Rafael Soto was born in Venezuela in 1923. He trained at art school in Caracas and came to Paris in 1950, which remained his base for the rest of his life. His work developed gradually from his first Parisian pieces, created partly under the influence of theNeoplasticism of Piet Mondrian and the theories of Laszl&oacute; Moholy-Nagy on light and transparency in his writings Vision in Motion.</p> <p class="Pa1" style="text-align: justify;">In the 1950s he conceived his first &ldquo;optical vibrations,&rdquo; theconstituting principle that would remain active in almost all his future work: a play of grids on two distinct levels, a few centimetres apart. The first of these levels is irregular and transparent and constituted by either silkscreened motifs or painted rods, and the second, behind it, has fine painted vertical lines in black and white. This relation between foreground and background is crucial: visually, it generates an undulating, changing effect (moir&eacute;) every time the beholder&rsquo;s viewpoint shifts, even if just a little. From then on, Soto abandoned two-dimensional painting in favour of these &ldquo;reliefs&rdquo; in which that interstice between the two layers plays such an important role, and for sculptural pieces in which a &ldquo;rain&rdquo; of coloured rods or threads create a complex immaterial effect that contrasts with the simplicity of the material elements, just as the rhythmic mobility of the vibration belies the neutrality of the colour.</p> <p class="Pa1" style="text-align: justify;">The properties of the work thus vary with the angle from which it is viewed, creating a motor effect in the observer and integrating the elasticity of perception. This dynamic quality was oftenmisunderstood in Soto&rsquo;s early work, as it was in the art of Heinz Mack and Bridget Riley. Soto was alternatively heralded as the hero of &ldquo;kinetic art&rdquo; or &ldquo;op art&rdquo;&mdash;a status he regularly rejected as he sought to establish his singularity. Even if he declined the invitation to feature in &ldquo;The Responsive Eye&rdquo; at New York&rsquo;s Museum of Modern Art in 1965 because of what he saw as an excessive prominence given to Victor Vasarely and his purely &ldquo;optical&rdquo; paintings, his approach nevertheless fits within the context of what the show&rsquo;s curator,William Seitz, termed &ldquo;perceptual abstraction&rdquo;: a new kind of art rather based on phenomenology, which made spatio-visualperception a medium in its own right, thereby breaking with the expressionist, informel or concrete regimes of the abstraction then in fashion.</p> <p class="Pa1" style="text-align: justify;">&ldquo;Chronochrome&rdquo; also echoes the exhibition of Soto at the ARC / Mus&eacute;e d&rsquo;Art Moderne de la Ville de Paris in 1969. In the catalogue to that show, Jean Clay stressed the highly spiritual dimension of the &ldquo;radical dematerialisation&rdquo; undertaken by the artist. He quotedKazimir Malevich&rsquo;s attack on the theoretical framework that,according to him, governed the new abstract painting of the day. &ldquo;Malevich&rsquo;s prophecy, made in 1919, is being fulfilled,&rdquo; stated Clay. &ldquo;&lsquo;Whoever makes abstract constructions, based on the mutual relations of colours within the picture is still confined to the world of aesthetics, rather than bathing in philosophy.&rsquo;&rdquo; Whether in the radical abstraction of the Suprematist painter, or that of the Kinetic artist, the aim was to escape the logic of pictorial confinement. The work was to be &ldquo;open&rdquo;&mdash;to borrow the expression coined by Umberto Eco with regard to kinetic art. Jean Clay seemed to see Soto&rsquo;s Penetrables (1967 onwards) as the extreme incarnation of this logic, arguing that the &rdquo;rain&rdquo; of fine, translucent and coloured plastic rods were the ultimate development of the &ldquo;ambiguous space&rdquo; that had first emerged in the first plexiglas reliefs of the 1950s.</p> <p class="Pa1" style="text-align: justify;">The modest dimensions of the older works certainly do not mean a lack of visual and spatial impact, however. On the contrary, as Clay affirmed, &ldquo;through the play of stripes at various angles,&rdquo; Soto obtained &ldquo;surprising effects of unequal weight, as if each sheet corresponded to a different planet, as if each series of stripes was responding differently to the laws of universal gravity. [&hellip;] A step to one side sets in motion a whole play of divergent levitations, creating the disturbing sensation that contradictory physical rules are prevailing simultaneously over the micro-space that Soto has managed to trap.&rdquo; At play here, then, we have a psycho-physiological (and not imaginary) experience of weightlessness, within a universe crisscrossed by forces described as &ldquo;non-Euclidian,&rdquo; that is to say, escaping rational apprehension: during the moment of contemplation, the effect surpasses the intellect&rsquo;s capacity to grasp it.</p> <p style="text-align: justify;">The works brought together at Galerie Perrotin in Paris and New York may disconcert, disorient and seem elusive. The eye&mdash;and also the body in the case of one Penetrable&mdash;is subtly trapped, wandering endlessly in spaces that oscillate between painting and sculpture, object and image. In the way it enters our perceptual space and refuses to be fully grasped, a work by Soto is, as Henri Bergson would put it, an object that no one has seen and that no one ever will see in its totality. Whether with a wall relief, a sculpture or an environment, the artist invites us to have an experience that is always unique, new every time: the experience of an incompleteness, a space-time continuum that can never be summed up in an image or verbalaccount. This may be the prime quality of the monochrome staccato in which traditional painting and sculpture are singularly subverted and become atomised in time and space. This unique aesthetic makes Soto a major figure not only in the history of abstraction, but also in the greater history of modern and contemporary art.</p> <p style="text-align: justify;"><strong>Matthieu Poirier </strong>holds a doctorate in art history from the Sorbonne, where he has also taught. Formerly a resident at Centre Allemand d&rsquo;Histoire de l&rsquo;Art, he recently curated or co-curated "Post-Op" at Galerie Perrotin (2014), "Dynamo" at Galeries Nationales du Grand Palais and "Julio Le Parc" at Palais de Tokyo (2013).</p> <p style="text-align: justify;"><strong>On the occasion of the exhibition a 190 page catalogue will be published, with texts by Matthieu Poirier and Arnauld Pierre.</strong></p> <hr /> Fri, 26 Dec 2014 18:11:49 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list - Limner Gallery - January 29th, 2015 - February 21st, 2015 Fri, 26 Dec 2014 10:37:54 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list M.F. Husain, S. H. Raza, F.N. Souza, Ram Kumar, Krishen Khanna, V.S. Gaitonde, Tyeb Mehta, Akbar Padamsee - Queens Museum of Art - March 1st, 2015 - June 28th, 2015 <p style="text-align: justify;"><em>After Midnight: Indian Modernism to Contemporary India 1947/1997</em> presents a comparative study of art created in the wake of two defining moments in Indian history. The first, Indian independence in 1947 was notable for the emergence of the Progressives Artists Group. The second was 1997, which marked 50 years of India&rsquo;s independence, a period that coincided with economic liberalization, political instability, the growth of a religious right wing, as well as a newly globalizing art market and international biennial circuit, in which Indian artists had begun to participate. The year 1997 also prompted a host of several important international exhibitions of Indian art around the world including the first Indian exhibitions in the United States: <em>Out of India</em>, at the Queens Museum and <em>Traditions/Tensions</em> at The Asia Society 1996-1997. <em>Telling Tales: 5 Women artists from India</em>, held at the Victoria Gallery, Bath, UK was followed by <em>Private Mythology: Contemporary Art from India</em>, curated by The Japan Foundation in Tokyo, 1998.</p> <p style="text-align: justify;"><em>After Midnight</em> will be the first exhibition large-scale examination of Indian art in the United States prominently featuring the Modern masters, core members of the Progressives including M.F. Husain, S. H. Raza, F.N. Souza, and their extended circle of friends such as Ram Kumar, Krishen Khanna, V.S. Gaitonde, Tyeb Mehta, and Akbar Padamsee.</p> <p style="text-align: justify;">The contemporary section of the show brings to the fore pertinent issues that have taken place from 1997 to the present. These include a critique of globalization-at-large, affected by the changing economy that forever altered the nation. Not only did this prompt economic growth in India that created opportunities for growth and progress, but at the same time it brought several setbacks such as the exploitation of labor and rural migration to name a few.</p> <p style="text-align: justify;"><em>After Midnight</em>, while a large-scale survey show itself, adopts a critical position against blockbuster exhibitions of Indian art that have undertaken tokenist representation of India, or have attempted to illustrate the nation through its art. Instead of capitulating to the market forces and the need of the West to &ldquo;present&rdquo; and &ldquo;frame&rdquo; Indian cultural practices, the intent of the exhibition is to dismantle the stereotypical nationalist presentations of India. The exhibition attempts to produce and present art practices, dialogues, and questions emerging from an Indian context to be embraced within the larger global framework of modernity.<em> After Midnight</em> resists being mapped or firmly placed with the boundaries of the nation. Instead, it looks to draw on a new critical body of knowledge that has arisen from a new globalism, in which everything seems to be in the process of being redefined, including individual freedom and rights and the idea of India itself. Most importantly the exhibition disbands positions that are no longer useful, to allow for an expanded, inclusive dialogue of art and culture to emerge. The exhibition includes work in a variety of media and consists of both existing works and new commissions.</p> <p style="text-align: justify;"><em>After Midnight: Indian Modernism to Contemporary India</em> is curated by Dr. Arshiya Lokhandwala, who currently lives and works in Mumbai.</p> <p style="text-align: justify;">Precursors to this exhibition include a two-day symposium (Fall 2012) and a forthcoming publication <em>After Midnight: Indian Modern and Contemporary Art, 1947/1997</em>. Contributors include: Rakhee Balaram, Rina Banerjee, Akeel Bilgrami, Rebecca Brown, Luis Camnitzer, Doryun Chong, Iftikhar Dadi, Salah M. Hassan, Geeta Kapur, Arshiya Lokhandwala, Saloni Mathur, Naeem Mohaiemen, Parul Dave-Mukherji, Vidya Shivadas, Shuddhabrata Sengupta, and Ajay J. Sinha</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><em>After Midnight</em> is supported in part by UBS and The Andy Warhol Foundation for the Visual Arts. Additional support from the New York City Department of Cultural Affairs and New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.</p> <p style="text-align: justify;"><img class="alignnone wp-image-455 " src="http://www.queensmuseum.org/wp-content/uploads/2013/11/ubs-colour-500x188.jpg" alt="UBS logo" width="80" height="30" />&nbsp;&nbsp;<a href="http://www.queensmuseum.org/wp-content/uploads/2013/11/Warhol-Foundation-Logo.jpg"><img class="alignnone wp-image-2763" src="http://www.queensmuseum.org/wp-content/uploads/2013/11/Warhol-Foundation-Logo.jpg" alt="Warhol Foundation Logo" width="150" height="16" /></a> <img class="alignnone size-full wp-image-435" src="http://queensmuseum.org/wp-content/uploads/2013/10/NYCulture_logo_CMYK-8.061.jpg" alt="NYCulture_logo_CMYK 8.06" width="88" height="40" />&nbsp;&nbsp; <img class="alignnone size-full wp-image-436" src="http://queensmuseum.org/wp-content/uploads/2013/10/nysca_cmyk1.jpg" alt="nysca_cmyk" width="42" height="48" /></p> Fri, 26 Dec 2014 10:34:22 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Damien Echols - Sacred Gallery NYC - January 9th, 2015 - February 28th, 2015 Fri, 26 Dec 2014 10:22:36 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Robert Weingarten - Marlborough Gallery New York - January 6th, 2015 - January 31st, 2015 <p style="text-align: justify;"><span style="font-size: small;">Marlborough Gallery is pleased to announce <em>Pentimento Series</em>, a solo exhibition of seventeen pigment prints by Robert Weingarten. The exhibition will open at Marlborough Gallery on January 6 and will continue through January 31, 2014. This is the artist&rsquo;s fourth exhibition with Marlborough Gallery, and the first exhibition at the gallery&rsquo;s main 57th Street space.</span></p> <p style="text-align: justify;"><span style="font-size: small;">A <em>pentimento </em>describes changes and alterations in an artwork, marked by traces of previous work made by the artist that are often only visible using advanced imaging technologies. In <em>Pentimento Series</em>, Weingarten layers historic imagery of iconic sites alongside contemporary images. Through the appropriation of archival images, Weingarten shines light on the historical events that once took place in these recognizable locations that are now often dramatically altered, or on occasion, amazingly similar. Continuing with the technique of digital composite images first developed in his 2011 series <em>Portraits Without People</em>, Robert Weingarten&rsquo;s <em>Pentimento Series </em>explores the ever-changing meaning of place, as latent images of the past subtly emerge in the present.</span></p> <p style="text-align: justify;"><span style="font-size: small;">In <em>Paris (1940)</em>, rows of cars are seen driving toward l&rsquo;Arc de Triomphe in the present day, as German troops simultaneously march along the Champs &Eacute;lys&eacute;es to seize control of Paris. Weingarten layers the iconic wartime photograph with a Disneyland advertisement featuring a gleeful child. From the boy&rsquo;s vantage point, it appears he is watching the troops descend down the streets. With sharp juxtapositions, Weingarten creates a portrait of a place, showing not just its current state but its growth and history. The noted scholar and curator, Colin Westerbeck, explains the effect as Weingarten working &ldquo;his way through the history of photography in order to arrive at his unique vision of photography as history.&rdquo;</span></p> <p style="text-align: justify;"><span style="font-size: small;">In <em>Guernica (1937)</em>, the modern day city is framed within a sepia vignette of post-war ruins. Through the use of translucent layers, the past looms, monochromatic and ghostly, directing the eye towards a vision of the present moment.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Another depiction of a seemingly familiar and idyllic spot is <em>Hooverville (Central Park, NY 1931). </em>Taken at the Great Meadow in Central Park, the site&rsquo;s former life as a Hooverville reveals a harsher aspect that in the wake of Occupy Wall Street reverberates today more than ever. Historic photographs of shanty town residents create an uneasy tension with leisurely sunbathers enjoying the park. <br /></span></p> <p style="text-align: justify;"><span style="font-size: small;">Born and raised in Brooklyn, New York, Weingarten&rsquo;s work is the result of his abilities as an autodidact combined with an intense passion for photography. Weingarten&rsquo;s first exhibition with Marlborough was the <em>6:30 A.M. </em>series, begun in 2003, in which Weingarten captured an identical ocean view from his home in California at the same time each day for one year. The series chronicles the changing colors of the sky, water and land to create, as publisher Hatje Cantz described, &ldquo;magnificent, vividly colored images reminiscent of abstract realism paintings.&rdquo; This interest in photographic abstraction became more pronounced in the <em>Palette Series (2004-2007) </em>and later, <em>Portraits Without People (2011)</em>, in which Weingarten produced photocompositions of images representing the subject&rsquo;s biographical detail, akin to Andy Warhol, or Arman&rsquo;s <em>Portrait Robot </em>series, in which he created portraits by selecting the items that best express the individual.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Since the 1990s, Robert Weingarten&rsquo;s work has been shown in over eighty exhibitions in the United States and abroad. The artist&rsquo;s work is included in a number of permanent collections including the George Eastman House, the J. Paul Getty Museum, the Museum of Fine Art, the Los Angeles Country Museum of Art, The Metropolitan Museum of Art and the Whitney Museum of American Art. He holds the distinction, Fellow of the Royal Photographic Society, and has been the recipient of several awards in photography. Robert Weingarten&rsquo;s work is the subject of numerous monographs and publications.</span></p> <p style="text-align: justify;"><span style="font-size: small;">An illustrated catalogue will be available at the time of the exhibition.</span></p> Fri, 26 Dec 2014 10:20:16 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Andrea Dezsö - Nancy Margolis Gallery - February 21st, 2015 - March 28th, 2015 Fri, 26 Dec 2014 10:19:20 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Heidi Howard - Nancy Margolis Gallery - January 15th, 2015 - February 15th, 2015 Fri, 26 Dec 2014 10:19:07 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Clive Smith - Marlborough Gallery New York - January 6th, 2015 - January 31st, 2015 <p style="text-align: justify;">The Directors of Marlborough Gallery are pleased to announce the New Year with the forthcoming exhibition of new paintings by the English artist, Clive Smith. Entitled <em>Beak, Claw, Hand, Brush </em>it will be Smith&rsquo;s fourth show with Marlborough and his first since his highly successful show, <em>Pleasuring My Guilt</em>, at Marlborough Chelsea in 2008. </p> <p style="text-align: justify;">Known for his outstanding work in depicting the human figure and in portraiture this show will reveal a startling change of course. The subject of the new paintings is for the most part the depiction of bird&rsquo;s nests which the artist has painted on a large scale. Intrigued by the intricate and complex structure of nests, Smith has used this subject to create images that are at once realistic and abstract. Smith states, &ldquo;I had turned to the still life, still working in my observational representational technique and simplified my subject matter for it to become equally about abstraction.&rdquo;</p> <p style="text-align: justify;">The exhibition will consist of seven paintings ranging in size from twenty-two by twenty two inches to sixty-five by sixty inches. In some of the works Smith incorporates home references such as wall paper or ceramic dishware. As in all his work Smith&rsquo;s painting is noted for its tonal clarity and an alluring brushwork that is as much a part of the form as it is the content. Four paintings are variations of <em>Beak, Claw, Hand, Brush </em>in which the artist zooms in on nests and their interweaving forms from various perspectives with backgrounds that range from neutral to cobalt blue. Smith states, &ldquo;There is a simpatico between the build of my paint and the physical structure of the bird nests.&rdquo; Two other works in the show were inspired by Carel Fabritius&rsquo; 1654, <em>The Goldfinch, </em>which was on loan from the Hague&rsquo;s Mauritshuis to The Frick last season. Smith has painted two engaging paintings, each with a goldfinch perched dramatically dead on the edge of what appears to be a cut circle into the linen canvas to reveal wallpaper depicting flowers and branches on the wall on which the painting hangs.</p> <p style="text-align: justify;">In regard to his intention behind these works, Smith says, &ldquo;I want to understand a subject through the empathetic medium of painting. I have been using the found bird nests to explore and to imagine what it might feel like to build the nest through my brushstrokes, using the source material to direct and inspire my painting. With these paintings I can be both representational and abstract in an organic exploration of form and space.&rdquo;</p> <p style="text-align: justify;">Smith was born in 1967 in St. Albans, England. He studied painting and drawing at the Arts Students League in New York from 1995-97. In 1998 he won the BP Portrait Award&rsquo;s Third Prize at London&rsquo;s National Portrait Gallery, and in 1999 he received First Prize. His first show in New York was at Marlborough Chelsea in 2000. The artist lives and works in New York City.</p> <p style="text-align: justify;">The exhibition with be accompanied by a fully illustrated brochure.</p> Fri, 26 Dec 2014 10:18:13 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Jiri Georg Dokoupil - Paul Kasmin Gallery 515 West 27th Street - January 8th, 2015 - February 7th, 2015 <p style="text-align: justify;">Paul Kasmin Gallery is pleased to announce the representation of <strong>Jiř&iacute;</strong><strong> Georg Dokoupil </strong>in the United States. The gallery will present an exhibition of new works by the artist titled <em>New Paintings </em>from <strong>January 8 &ndash; February 7, 2015</strong> at <strong>515 West 27<sup>th</sup> Street</strong>. This is the artist&rsquo;s first solo show in New York in over two decades.</p> <p style="text-align: justify;">Comprised of large-scale works on canvas from the artist&rsquo;s <em>Soap Bubble Paintings </em>series, the exhibition demonstrates Dokoupil&rsquo;s continuously varied experiments with non-traditional media and chemical processes. As a founding member of the Cologne-based M&uuml;lheimer Freiheit and Junge Wilde (&ldquo;Wild Youth&rdquo;), a group of young artists in the late 1970s, he rejected the reductive, austere, and unapproachable nature of Minimal and Conceptual Art during this time in favor of a more animated style and saturated palette.</p> <p style="text-align: justify;">The first Soap Bubble Paintings were developed in the early 1990s by creating alchemical compounds fusing pigment and soap in various proportions. Dokoupil stages dynamic areas of tension between chemistry and art as the traces, now consisting of soap-lye enriched with metallic pigments and diamond dust, accumulate in the form of two molecular layers and result in translucent bubbles. The resulting organic forms settle on the canvas with calculated spontaneity, displaying holographic tendencies and shifting perspectives. Seeking to reinvent traditional painting techniques, Dokoupil&rsquo;s pictures are aesthetically bold and dynamic yet conceptually rigorous.</p> <p style="text-align: justify;">Jiř&iacute; Georg Dokoupil was born in Kronov&mdash;former Czechoslovaki&mdash;in 1954. In 1976 he studied at the Academy of Fine Arts, Cologne and attended classes at the Universities of Frankfurt and New York&rsquo;s Cooper Union. His work is in the collections of Neue Galerie, Berlin; Staatsgalerie Stuttgart; The National Museum of Contemporary Art, Seoul; Kunstmuseum Horsens, Denmark, The Rubell Family Collection, Miami, FL; Soci&eacute;t&eacute; General Collection, Paris; Migros Museum, Zurich; and Centre Georges Ponpidou, Paris. He lives and works in Berlin, Germany.</p> <p style="text-align: justify;">A fully illustrated, limited edition catalogue will accompany the exhibition.</p> Fri, 26 Dec 2014 10:18:08 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Ann Toebbe - Monya Rowe Gallery - January 11th, 2015 - February 22nd, 2015 Fri, 26 Dec 2014 10:15:28 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Group Show - Hunterdon Art Museum - January 11th, 2015 - May 10th, 2015 <p style="text-align: justify;">Tapestries might conjure up images of medieval castles, unicorns and other mythical beasts, but a new exhibition at the Hunterdon Art Museum weaves a fascinating picture of how the art form has evolved in the past 70 years.</p> <p style="text-align: justify;"><em>Contemporary International Tapestry</em> highlights the work of three generations of artists from nine countries who are elevating tapestry to a whole new level of technical and aesthetic excellence. The exhibition opens Jan. 11, 2015, with a reception from 2 to 4 p.m. featuring talks from artists from around the world. Everyone is welcome to attend.</p> <p style="text-align: justify;">&ldquo;At the Museum,&nbsp;visitors can appreciate in intimate settings all aspects of the broad scope of today&rsquo;s tapestries and the individuality of their makers,&rdquo; said Carol K. Russell, curator for the exhibition and a leading expert in the field. &ldquo;There is no sameness of imagery; no stiffness of the noble class; no disconnect from present-day life and concerns.&nbsp; People, animals, symbols, abstractions &ndash; and even new ways of visualizing a familiar thought or theme &ndash; are brought to life in the hands of artists from various cultures and countries. &ldquo;</p> <p style="text-align: justify;">The exhibition featuring 39 artists will fill three of the four Museum galleries, includes loom work by some of the most renowned artists working today, among them:</p> <ul style="text-align: justify;"> <li>Archie Brennan, a leading international figure in tapestry for more than 25 years. Brennan joined his fellow artisans in 1948, as an apprentice, and has served as director of the prestigious and award-winning Dovecot Studios in Edinburgh.</li> <li>Joan Baxter is inspired by the rich cultural heritage and wild beauty of the highlands of Scotland where she resides. &ldquo;I choose to work in the traditional woven tapestry medium because I like the way my initial ideas can develop and expand during the slow and deliberate making process,&rdquo; Baxter notes. &ldquo;The process, although a very ancient one, allows me to push boundaries in design, technique, materials and concepts.&rdquo;</li> <li>Designer Yael Lurie and tapestry weaver Jean Pierre Larochette have collaborated on work for more than four decades and across three continents. Lurie, daughter of a painter, was brought up in a kibbutz in Israel and trained as a painter. Larochette, born in Argentina, is descended from a long line of French Aubusson weavers. The two met through the patronage of Jean Lurcat, the Frenchman widely credited for reviving tapestry in 20<sup>th</sup>-century France. &ldquo;The history of tapestry in the U.S. in the latter part of the 20<sup>th</sup> century owes much of its success, direction and development to Jean Pierre Larochette and Yael Lurie&rdquo; according to Susan Martin Maffei, another internationally known tapestry artist whose grand-scale tapestry appears in HAM&rsquo;s exhibition.</li> <li>Polish artist Włodzimierz Cygan has always been on the cutting edge of tapestry and textile architecture and continues to reinvent his medium and his messages. Such talent has been rewarded with the Bronze Medal at the sixth International Fiber Art Biennial from Lausanne to Beijing and Zhengzhou, China. His tapestry, Orbitrek 29, earned the Grand Prix at the 12th International Triennial of Tapestry in Lodz, Poland.</li> </ul> <p style="text-align: justify;">&ldquo;We hope visitors will take away a new perspective on an ancient art form,&rdquo; Russell writes. &ldquo;Tapestry can and shall endure through the centuries, though its messages have become more personal. The art form has indeed evolved and become its truest self in the hands of individuals.&rdquo;</p> <p style="text-align: justify;">Other artists featured in the exhibition are: Jo Barker, Helga Berry, Rebecca Bluestone,&nbsp; Elizabeth J. Buckley, Soyoo Hyunjoo Park Caltabiano, Alla Davydova, Annelise De Coursin, Susan Edmunds, Alex Friedman, Ina Golub, Barbara Heller, Susan Hart Henegar, Silvia Heyden, Dirk Holger, Peter Horn, Constance Hunt, Susan Iverson, Ruth Jones, Aino Kajaniemi, Jane Kidd, Lialia Kuchma, Christine Laffer, Ewa Latkowska-Żychska, Bojana H. Leznicki, Lore Lindenfeld, Susan Martin Maffei, Julia Mitchell, Janet Moore, Jon Eric Riis, Ramona Sakiestewa, Micala Sidore, Elinor Steele, Sarah Swett and Linda Wallace.</p> <p style="text-align: justify;">To commemorate and celebrate this exhibition, Russell has written a new book, <em>Contemporary International Tapestry,</em> to be released by Schiffer Publishing early next year featuring images and information about the artists included in the exhibition.</p> <p style="text-align: justify;">The exhibition closes May 10, 2015.</p> <p style="text-align: justify;">The Museum also plans several programs related to the exhibition:</p> <ul style="text-align: justify;"> <li>Sunday, Feb. 22, 2015, at 2 p.m. &ndash; <em>Weaving Demonstration and Guided Tour</em> with curator Carol K. Russell. Free with admission. Registration is required as space is limited.</li> <li>Sunday, March 22, 2015, 9 a.m. to 4:30 p.m. &ndash; <em>A Day of Contemporary Tapestry</em> featuring lectures with artists Archie Brennan and Susan Martin Maffei as well as an interactive demonstration with Brennan.</li> <li>Sunday, April 19, 2015, 1:30 to 3:30 p.m. &ndash; <em>Handweaving Tapestries with Carol K. Russell</em> for children ages 6 and up.</li> </ul> <h4 style="text-align: justify;"><strong>You can learn more and register for these programs <a style="color: #ff6600;" href="http://hunterdonartmuseum.org/contemporary-international-tapestry-related-programs/" target="_blank">here!</a></strong></h4> Fri, 26 Dec 2014 09:59:43 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Joanne Ungar, KIM HOLLEMAN - Front Room Gallery - January 9th, 2015 - February 8th, 2015 Fri, 26 Dec 2014 09:54:01 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Erwin Olaf - Hasted Kraeutler - January 8th, 2015 - February 28th, 2015 <p style="text-align: justify;">Hasted Kraeutler is pleased to announce, <em>Waiting: Selections from Erwin Olaf: Volume I &amp; II</em>, a major exhibition of Erwin Olaf&rsquo;s artworks. Organized to celebrate Aperture&rsquo;s release of the new monograph <em>Volume II,</em> following the 2008 debut of <em>Volume I</em>. The exhibition is an abbreviated retrospective for the internationally celebrated artist, beginning January 8 and running through February 28, 2015.</p> <p style="text-align: justify;">Hasted Kraeutler has worked with Dutch artist Erwin Olaf (b. 1959) since 2005, and was the first gallery to represent his work in North America. Now a prominent name, Erwin Olaf has gained global recognition designing the Dutch side of the Euro coin in 2013, and winning the 2011 Johannes Vermeer Award, among other accolades. Known for stunningly stylized work throughout which a provocative tension reigns, Olaf employs high polish to both perverse and eerily seductive effect.&nbsp; A compelling frisson is generated in the space between his superficially sleek surfaces and the depth of emotion they convey; between their expressive power and their formal silence. Every work Olaf produces is characterized by an almost overpowering energy of potential and poise, hovering in a place where all action is merely suggested or insinuated.</p> <p style="text-align: justify;"><em>Waiting</em> unites a careful selection of images culled from the astounding collection contained in both of Aperture&rsquo;s volumes. It also marks the worldwide unveiling of the new series, <em>Waiting</em>, which includes recent photographs and a related video installation&mdash;functioning, therefore, both as the collective title for Olaf&rsquo;s latest work and as an apt description of his production throughout recent decades.</p> <p style="text-align: justify;">The exhibition is anchored by a split-screen video installation that occupies a room conceived specifically for it, and features a poignant musical score created in close collaboration with a composer over the course of six weeks. Drawing on the shapes and shadows of film noir, the piece depicts a striking young woman with a sharp black bob as she sits at a round table in a restaurant, waiting for someone. Pictured from a different angle on each of the two screens, she appears elegant and self-possessed, at first, but as the moments pass with no sign of her date, her patience frays. Viewers are forced to wait with her&mdash;and as she grows restless, we do as well. With no indication of how this story will end, we watch the muscles in her face contort and strain as disappointment settles around her; we experience, along with her, the slow and agonizing process of disillusionment, our hope shattered along with hers. The music is the only sound we have, our only hint of time&rsquo;s passing&mdash;and its harmony progresses like a requiem for moments lost.</p> <p style="text-align: justify;">Exhibited alongside the installation, the photographs explore the experience of waiting&mdash;a psychological state that Olaf has described as occupying &ldquo;<em>an odd place in between two emotions that is quickly disappearing, as everybody now has a phone or an IPad that connects them to the world</em>.&rdquo; We see evidence of this creeping torture mapped across beautiful faces, as they eventually crumble under the weight of devastation. As with all of Olaf&rsquo;s work, it is here, in the moments where nothing explicitly &ldquo;happens,&rdquo; that the majority of life takes place.</p> <p style="text-align: justify;">Erwin Olaf&rsquo;s photographs have been widely exhibited internationally, including in museums such as the Stedelijk Museum, in Amsterdam; Annenberg Space for Photography, Los Angeles, California; Bilbao Art Centre, Bilbao, Spain; Groninger&nbsp;Museum, Groningen; The Museum of Contemporary Art, Toronto, Canada; MonteVideo, Amsterdam; Modern Art Gallery of Bologna, Bologna, Italy;&nbsp;Museum of Modern Art,&nbsp; Moscow, Russia; The Hague Museum of Photography, The Hague; Photo&nbsp;Museum Antwerp, Antwerp; Institut N&eacute;erlandais, Paris; and Rijksmuseum, in Amsterdam.&nbsp; His photographs are included in the permanent collection of several of these instutitions, as well as notable collections including, The George Eastman House, 21 c Museum, The West Collection, Sir Elton John Collection, and the Martin Margulies collection.</p> Fri, 26 Dec 2014 09:46:32 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Melissa Brown - Essex Flowers - January 18th, 2015 - February 22nd, 2015 Fri, 26 Dec 2014 09:41:54 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Group Show - Derek Eller Gallery - January 9th, 2015 - February 7th, 2015 Fri, 26 Dec 2014 09:39:12 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list - Asia Society Museum - February 10th, 2015 - May 10th, 2015 <p style="text-align: justify;"><em>Buddhist Art of Myanmar</em> will be the first exhibition in the West focusing on works of art from collections in Myanmar. The exhibition comprises approximately 70 spectacular works&mdash;including stone, bronze and wood sculptures, textiles, paintings, and lacquer ritual implements&mdash;from the fifth through the nineteenth centuries. Artworks include objects created for temples, monasteries, and personal devotion, which will be presented in their historical and ritual contexts. The exhibition will explore how Buddhist narratives were communicated visually and the multiplicity of regional styles. Many of the works in the exhibition have never been shown outside of the country. Works will be on loan from the National Museum of Myanmar in Yangon and Naypyidaw, the Pagan (Bagan) Museum, the Kyauktaw Mahamuni Museum, Sri Ksetra Museum, and the Kaba Aye Buddhist Museum, as well as works from public and private collections in the United States. The exhibition is organized by guest curators Donald M. Stadtner and Sylvia Fraser-Lu in conjunction with Adriana Proser, Asia Society&rsquo;s John H. Foster Senior Curator for&nbsp;Traditional Asian Art.</p> <p style="text-align: justify;">A fully illustrated catalogue, copublished by Asia Society and Yale University Press, will accompany the exhibition.</p> Fri, 26 Dec 2014 09:36:45 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list