ArtSlant - Openings & events en-us 40 Trong G. Nguyen - Hotel Particulier - May 21st, 2013 6:00 PM - 9:00 PM <table width="100%"> <tbody> <tr> <td> <table cellspacing="0" border="0" align="center" width="520" cellpadding="0"> <tbody> <tr> <td align="center"> <table cellspacing="0" border="0" width="100%" cellpadding="0"> <tbody> <tr> <td> <div><b><i>Throne,</i> as part of MULTIPLE SINGULARITIES.</b> <div><b><span size="3" style="font-size: medium;">May 7 - June 8th 2013.</span></b></div> </div> </td> </tr> <tr> <td height="10"></td> </tr> </tbody> </table> <table cellspacing="0" border="0" width="100%" cellpadding="0"> <tbody> <tr> <td height="10"></td> </tr> <tr> <td> <div><b><span size="2" style="font-size: small;">Reception on Tuesday May 21, 2013.</span></b></div> </td> </tr> <tr> <td height="10"></td> </tr> </tbody> </table> <table cellspacing="0" border="0" width="100%" cellpadding="0"> <tbody> <tr> <td height="10"></td> </tr> <tr> <td> <p><b><span size="2" face="arial, sans-serif" style="font-family: arial,sans-serif; font-size: small;">Trong G. Nguyen</span></b></p> <p><i><span size="2" face="arial, sans-serif" style="font-family: arial,sans-serif; font-size: small;">Throne, 2012 - 2013</span></i></p> <p>Edition of 64.</p> <p><span size="2" face="arial, sans-serif" style="font-family: arial,sans-serif; font-size: small;">Published by Hotel Particulier.<br /></span></p> <p><span size="2" face="arial, sans-serif" style="font-family: arial,sans-serif; font-size: small;"><span style="text-decoration: underline;">Opening reception</span>: Tuesday, May 21, 6 - 9pm</span></p> <p><span size="2" face="arial, sans-serif" style="font-family: arial,sans-serif; font-size: small;">Hotel Particulier invited Trong Gia Nguyen to encompass the idea of chairs, of early adopters and advocates of a new venture. </span>Nguyen’s project Throne created a matrix with the 64 standard metal folding chairs of Hotel Particulier, by adorning each with a distinctly located patch of 24K gold leaf. Conceptually and literally, the 64 puzzled segments of gold form a single, entire golden chair, which can only be fully realized in the mind’s eye of the beholder. <span size="2" style="font-size: small;">The chairs are furnishing Hotel Particulier's caf</span><span size="2" style="font-size: small;">é</span><span size="2" style="font-size: small;"> until acquired, and then gold leaf is applied on the matrix.</span></p> <p><span size="2" face="arial, sans-serif" style="font-family: arial,sans-serif; font-size: small;"> </span></p> <p><span size="1" style="font-size: xx-small;"><i>Trong Gia Nguyen is a multi-disciplinary artist based in Brooklyn, New York. His work is invested in examining and shaking structures of power as they relate to the dynamics of culture, politics, and economy. He has produced everything from iPhone applications (Metaphysical GPS) to installation, film, painting, sculpture, performances, and web-based actions. Nguyen has exhibited extensively with works in public and private collections.<br /></i></span></p> <br /> <p><span size="2" face="arial, sans-serif" style="font-family: arial,sans-serif; font-size: small;"><b>Coolife Studio</b><br /></span></p> <p><i><span size="2" face="arial, sans-serif" style="font-family: arial,sans-serif; font-size: small;">Eclosion</span></i></p> <p><span size="2" face="arial, sans-serif" style="font-family: arial,sans-serif; font-size: small;">Edition of 100.</span></p> <p><span size="2" face="arial, sans-serif" style="font-family: arial,sans-serif; font-size: small;">Published by Hotel Particulier.<br /></span></p> <p><span size="2" face="arial, sans-serif" style="font-family: arial,sans-serif; font-size: small;"><span style="text-decoration: underline;">Opening reception</span>: Tuesday, May 21, 6 - 9pm<br /></span></p> <div><span size="2" face="arial, sans-serif" style="font-family: arial,sans-serif; font-size: small;">Hotel Particulier invited creative duo Pauline Rochas and Carole Beaupré of Coolife studio to create a visual, reflecting beginnings for the first series of an edition of notepads - entitled Eclosion. Inspired by the ones found in Hotels, collected and cherished by creatives and writers, the notepad series at Hotel Particulier are published in collaboration with particular individuals highlighting their traits and works."</span></div> <div></div> <div> <p class="p1"><span size="1" face="arial, sans-serif" style="font-family: arial,sans-serif; font-size: xx-small;"><i>Carole Beaupré and Pauline Rochas are the still life photography duo behind Coolife. Both FIT alumni, they have worked exclusively with digital cameras and technology since the beginning of their collaboration in 2000. Every image they produce displays precision and purity. Recent clients have included Shiseido, Smirnoff Vodka, Elizabeth Arden, Maestro Dobel Tequila, Koral Jeans Los Angeles, Grey Goose Vodka, Ralph Lauren Fragrances, Estée Lauder, Lancôme, Moët &amp; Chandon, David Yurman, Origins, Casa Dragones, by Kilian, T: The New York Times Style Magazine.</i></span></p> </div> <p></p> </td> </tr> <tr> <td height="10"></td> </tr> </tbody> </table> </td> </tr> </tbody> </table> <table cellspacing="0" align="center" width="520" cellpadding="0"> <tbody> <tr> <td align="center"><span color="#444444" style="color: #444444;">Hotel Particulier 4 - 6 grand street New York 10013</span><br /><span color="#444444" style="color: #444444;">between Varick and 6th avenue.</span><br /> <div><span color="#444444" style="color: #444444;"><span color="#444444" style="color: #444444;"><a href="" rel="nofollow"><span color="#444444" style="color: #444444;">facebook/hotelparticulier</span></a> </span> </span><span color="#444444" style="color: #444444;">+1.646.329-6341</span></div> </td> </tr> </tbody> </table> </td> </tr> <tr> <td></td> </tr> </tbody> </table> Thu, 16 May 2013 11:26:47 +0000 Nicolas Provost - International Studio & Curatorial Program (ISCP) - May 21st, 2013 6:30 PM - 8:30 PM <p><span style="line-height: 1.5;">Nicolas Provost</span> will present some of his recent video works that deal with the relation between visual art and the cinematic experience. He will discuss his ideas and creative process of his <em style="line-height: 1.5;">Plot Point Trilogy</em> which he filmed in New York, Las Vegas and Tokyo and his experience with the film industry through the making of his first feature film <em style="line-height: 1.5;">The Invader</em>.</p> <p>Nicolas Provost (born in Ronse, Belgium) lives and works in Brussels following 10 years in Norway. His films have been exhibited worldwide and have earned awards and screenings at prestigious festivals including the Sundance Film Festival, Venice Film Festival, Berlinale, San Sebastian Film Festival and Locarno Film Festival. Solo exhibitions include The Seattle Art Museum; Musée d’art moderne et contemporain, Strasbourg, France; Tim Van Laere Gallery, Antwerp, Belgium; and Haunch of Venison, London. His award-winning first feature film <em>The Invader</em> had its world premiere at the Venice Film Festival 2011.</p> Mon, 13 May 2013 23:15:52 +0000 - Museum of the City of New York - May 21st, 2013 6:30 PM - 8:30 PM <p><span style="color: dimgray;" color="dimgray"><span style="font-family: Verdana;" face="Verdana"><span style="font-size: xx-small;" size="1"><span style="color: dimgray; font-family: Verdana; font-size: xx-small;" color="dimgray" face="Verdana" size="1"><span style="font-family: Verdana;" face="Verdana"><span style="font-size: small;">Photography of the dead was a common practice in the 19th and early 20th centuries, a way for mourners to visually “embalm” their loved ones. Until recently, however, this once ubiquitous genre of American photographs was largely unexplored. <strong>Dr. Stanley B. Burns</strong>, Professor of Medicine and Psychiatry, NYU Langone Medical Center, and distinguished author, archivist, and collector, has amassed the most comprehensive collection of this genre in the world and published three books on the subject: the <i>Sleeping Beauty </i>series. Dr. Burns will speak about how postmortem photography shaped American culture in the 19th century.</span> </span></span></span></span></span></p> Fri, 17 May 2013 03:32:22 +0000 Severo da Ravenna, Desiderio da Firenze - The Metropolitan Museum of Art - May 21st, 2013 9:30 AM - 5:30 PM <p>In celebration of the recently published catalogue of Robert Lehman's collection of European sculpture and metalwork, this exhibition presents a selection of Italian bronze sculpture of the sixteenth and early seventeenth centuries, displayed as a group for the first time. Featuring bronze casts after models created by masters such as Severo da Ravenna and Desiderio da Firenze, this selection includes independent figural statuettes as well as functional objects created in key centers of Italian bronze production, in particular Padua and Venice. During the sixteenth and early seventeenth centuries, bronze statuettes were generally displayed in private studies, where they were accompanied by functional aids to scholarship such as inkwells, writing boxes, and candleholders. The scholars who inhabited these studies often had a profound interest in classical antiquity. Thus, it is unsurprising that classicizing motifs and figures from Greco-Roman mythology abound in these small works in bronze.</p> Mon, 29 Apr 2013 02:13:44 +0000 Christian Boltanski, Jacqueline Hoang Nguyen, Yoshua Okón, Stuart Ringholt, Althea Thauberger - Apexart - May 22nd, 2013 6:00 PM - 8:00 PM <p>An Unsolicited Proposal Program winning exhibition.</p> <p>Submitted Proposal:<br /><br />Artist Jacqueline Hoang Nguyen tells the story of an unexplained laughter epidemic that began in the town of Kashasha in Tanganyika in central Africa in January 1962, spanning six months, and contaminating and incapacitating hundreds. The epidemic began with in a classroom, possibly the result of a joke, and quickly spiraled out of control – a true social contagion. Its darker underbelly, however, lies in the reality that 1962 marked Tanganyika's independence and citizens were facing increased pressure. It was, in fact, an outbreak of mass hysteria – a Mass Psychogenic Illness. <br /><br /> In his 1953 lecture "Un-knowing: Laughter and Tears," Georges Bataille points to laughter as beyond the extreme limit of knowledge, the confusion, intoxication and uncertainty of laughter, and its close relation to trauma: <br /><br /> "There is something intoxicating in tears, as in laughter. One would, I think, have no difficulty in showing that tears can be considered as related to laughter, to the invasion of the unknown, to the elimination of a part of this world which we consider as the world known in all the parts generally seen as a whole."1 <br /><br /> Because it is unknowable and ambiguous, there is power in laughter. The motivation for this exhibition is to pursue research into laughter as a destabilizing force, emancipated from the joke and entering the realm of power relationships, reactions to political landscapes and human emotion. 2012 is the fiftieth anniversary of the 1962 epidemic, which began from the giggling of three schoolgirls but which had much deeper roots. This epidemic, which highlights the cyclical and paradoxical nature of laughter, was at its core an involuntary response to a radically changed reality, not unlike the one we are currently experiencing. Unexpected modes of expression come spilling in out in times of distress or exhaustion. <br /><br /> Nguyen's installation For An Epidemic Resistance (2009) anchors the exhibition. The artist takes the 1962 event as a conceptual point of departure. Organized as a grid of hanging speakers, the installation provides a spatial approximation of the classroom in which the epidemic broke out: laughter spreads between speakers as one walks through the installation. Sam Taylor-Wood's eight-minute video Hysteria (1997) provides a close reading of emotional confusion. The video frames a woman's face, and we cannot discern whether she is laughing or crying. Shahryar Nashat's Modern Body Comedy (2006) is an ambiguous power game. In this seductive and unsettling film, two men enact an enigmatic narrative upon on stage set. There is a frightening, exhilarating discord between communication and intent on the part of the actors, such that one loses a sense of reality as the story escalates. The film culminates in a troubling denouement. Althea Thauberger's Anatomie Artistique (2011) speaks to past and present readings of women's bodies. Her photograph transposes a woman in a pose associated with hysteria in nineteenth-century medicine, with a similarly posed yogi. It is a beautiful, sad and clever formal exploration of the interpretation and confusion of form. <br /><br /> 1. Georges Bataille, "Un-knowing: Laughter and Tears," reprinted in October 36, Spring 1986, 98.</p> Thu, 20 Jun 2013 05:59:48 +0000 Clint Jukkala, Alexander Kroll, Evan Nesbit, Erik Olson, Eric Sall, Amanda Valdez - BravinLee Programs - May 22nd, 2013 6:00 PM - 8:00 PM <p>Floaters are deposits of various size, shape, and consistency that exist within the eye’s vitreous humor. They may appear as spots, webs, fragments, or threads that float slowly before the observer’s eyes. In this exhibition, BravinLee programs presents the work of seven painters, whose abstracted imagery is located between the familiar and peculiar, revealing spatial ambiguities and vague references. Most of the work emerges out of abstraction and plays with its conventions and classifications, much like the floater that moves about your field of vision. The show includes work by Clint Jukkala, Alexander Kroll, Evan Nesbit, Erik Olson, Eric Sall, Bret Slater, and Amanda Valdez.<br /> <br /> <strong>Clint Jukkala</strong> received a B.F.A. in painting from the University of Washington in Seattle in 1995 and an M.F.A. in painting from Yale University in 1998. He is represented by Giampietro Gallery, New Haven, and his work has been included in recent exhibitions at the DeCordova Museum and Sculpture Park in Lincoln, Massachusetts, and ZieherSmith Gallery in New York. He has also shown at Envoy Enterprises and Jeff Bailey Gallery in New York.<br /> <br /> <strong>Alexander Kroll</strong> has shown his paintings and drawings extensively across the U.S. at galleries and institutions including: CB1 Gallery, Los Angeles; James Harris Gallery, Seattle; ACME, Los Angeles; Jessica Silverman, San Francisco; and the Armory Center for the Arts in Pasadena, among many others. Kroll has taught painting widely at universities including: Art Center College of Design, Otis College of Art and Design, Cal State Long Beach, and Yale University.<br /> <br /> <strong>Evan Nesbit</strong> lives and works in Nevada City, California. A recent graduate of the Yale M.F.A. program, Nesbit has had solo exhibitions at Ever Gold Gallery in San Francisco and Motus Fort in Tokyo. He was in a two-person exhibition this fall at Storefront, Bushwick.<br /> <br /> <strong>Erik Olson</strong> is a Canadian artist who has exhibited with Michael Gibson in Ontario, Doug Udell in Vancouver, and Skew Gallery in Calgary, as well as several other galleries in Canada. He has been the recipient of the Alberta Foundation for the Arts project grant several times.<br /> <br /> <strong>Eric Sall</strong> graduated from the Kansas City Art Institute in 1999 and earned an M.F.A. from Virginia Commonwealth University in 2006. Awards include a Joan Mitchell Foundation Grant and a Virginia Museum of Fine Arts Fellowship. His work belongs to permanent collections including: the Nerman Museum of Contemporary Art, Overland Park, Kansas; The Anderson Museum of Contemporary Art, Roswell, New Mexico; and the Saatchi Collection, London.<br /> <br /> <strong>Bret Slater</strong> received his M.F.A. from the Meadows School of the Arts at Southern Methodist University, Dallas. He has recently had solo shows with Elaine Levy Poject in Brussles; Mary Walker Gallery in Dallas; Morgan Lehman's project space, New York; and Annex 14 in Zurich, and he has an upcoming exhibition at Thomas Robertello Gallery in Chicago. His works are in the public collections of the Dallas Museum of Art, Texas and the Indianapolis Museum of Art, Indiana.<br /> <br /> <strong>Amanda Valdez</strong> received her M.F.A. from Hunter College in New York City and B.F.A. from The School of the Art Institute of Chicago. Her most recent solo exhibition was “Taste of Us” at Denny Gallery. She has exhibited in several group shows in New York and throughout the United States. She has been the recipient of a Yaddo Artist-in-Residency, MacDowell Colony Artist-in-Residency, and the 2011 College Art Association M.F.A. Professional-Development Fellowship, and she is a contributing arts editor at Dossier Journal and Bomb Magazine.</p> Mon, 13 May 2013 22:41:47 +0000 Elektra KB - BravinLee Programs - May 22nd, 2013 6:00 PM - 8:00 PM <p>BravinLee programs is pleased to present an exhibition in the gallery's project room by Elektra KB of new works on paper, photography, and a selection of cloth pages of her 20 page, hand-sewn artist’s book.<br /> <br /> The pages of the book, each a sewn and embroidered felt collage, depict guerilla warfare in a mythological, semi-autobiographical world parallel to ours: a female rebel army revolting against the forces of a tyrannical police state. The women are primitivist and often uniformed and weaponized--most wear only short petticoats and veils or ominous balaklava. They pose brazenly with machine guns and chainsaws in photo ops, but Elektra KB has rendered these weapons more like toys, and according to her rule-set for this alternative world, they shoot rays of light not ammo.<br /> <br /> As in Anthony Burgess’ “A Clockwork Orange,” Elektra KB’s world subsists on a complex play of invented language and iconography; however, her protagonists are righteous. “The Cathara Insurgent Women”—dancing warriors, rebels, heretics—fight against the shadowy forces of “The Theocratic Republic of Gaia”. The Insurgents call to mind simultaneously today’s feminists and activists like Susana Chavez, Medieval heretics, and the Aztecs in the era of Spanish conquest.<br /> <br /> Throughout the pages of the book, shadows leak and flow together representing the forces of Neo-colonization: mass scale and conspiratorial violence and murder, repression of free speech, and the oppression and alienation of women. Threads hang loosely from these shadows and war iconography, representing catharsis, repression, Barbarism, and physical emancipation à la Freud’s Death Drive.<br /> <br /> The title of the show is a modification of text, “There are men at the gates seeking a new world,” extracted from an essay in the first issue of a magazine produced by the late 1960s art group Black Mask (later Up Against the Wall Motherfuckers). The group, formed by painter Ben Morea and poet Dan Georgakas, declared that revolutionary art should be an integral part of life, as in primitive society, and not an appendage to wealth.<br /> <br /> Elektra KB is a graduate of the School of Visual Arts (2012). In 2013, her work has been exhibited in the group exhibitions “All The Best People” at 1 to 1 Gallery, New York, reviewed in Artforum (March 2013) by Carolyn Busta, and “Changing the World Through Art” at Marianne Boesky Gallery, New York. She will also have a solo exhibition in New York at Allegra LaViola Gallery, “The Cathara Insurgent Women vs. The Theocratic Republic of Gaia Beings,” opening May 29th, 2013, and a monograph of her work published by Tangled Wilderness/Combustion Books is due later this spring.</p> Mon, 13 May 2013 22:43:03 +0000 Ellsworth Kelly - MoMA (Museum of Modern Art) - May 22nd, 2013 10:30 AM - 5:30 PM <p>In celebration of Ellsworth Kelly&rsquo;s 90th birthday in May 2013, The Museum of Modern Art presents an exhibition of the first series of paintings the artist made after leaving New York City for Spencertown, in upstate New York, in 1970. The studio he rented in the nearby town of Chatham, in a building that had once been a theater, was more spacious than any he had previously occupied. After working there for a year, Kelly embarked on a series of 14 paintings that would become the Chatham Series. Each work takes the form of an inverted ell, and is made of two joined canvases, each canvas a monochrome of a different color. The works vary in proportion and palette from one to the next; careful attention was paid to the size of each panel and the color selected in order to achieve balance and contrast between the two. Kelly developed the concept of painting on joined panels while working in Paris in the early 1950s, and it is an approach he continues to explore in his current work. The series has not been exhibited in its entirety since it was presented at the Albright-Knox Art Gallery, Buffalo, in 1972, just a year after the paintings were finished. Reuniting this critical series provides a welcome opportunity to investigate a key moment in Kelly&rsquo;s artistic development.</p> Sun, 31 Mar 2013 23:06:51 +0000 Donna Kukama, Gabi Ngcobo, Kemang Wa Lehulere - New Museum - May 22nd, 2013 11:00 AM - 6:00 PM <div class="body"> <p>Founded in 2010, CHR responds to the institution of art and its global histories, reflecting on a period of rapid and unequal urban and cultural development in South Africa. CHR’s past activities mobilized around historic events and sites from the apartheid era to explore how established systems of thought (or ideologies) still condition contemporary life.</p> <p>With the support of a Museum as Hub Residency, CHR presents “After-after Tears,” an evolving, multifaceted exhibition that explores the lifespan of the organization and its operational strategies. The exhibition follows CHR’s decision to commit an institutional “death” in December 2012, ending its current project in order to foreclose the inevitable evolution of its experimental platform to more formal organization and to negotiate their growing international currency to different ends. CHR’s two years of activity (2010–12) can also be understood as a critical response to the infrastructure of a biennial, specifically the now defunct Johannesburg Biennale (1995, 1997)—activating sporadic but related events over two years instead of using the same period to organize a single exhibition open to the public for a few months. The platform asks what institutions are meant to look like, what they are supposed to do, who they should serve, for how long, and for how much money. The project utilizes the resources of the New Museum in New York to organize a gallery presentation that elucidates CHR’s working philosophy, while performances and public programs propose future directions for their activity. “After-after Tears” is organized by CHR members, Donna Kukama, Gabi Ngcobo, and Kemang Wa Lehulere, as well as associated members and invited guest contributors.</p> </div> Sun, 31 Mar 2013 23:34:05 +0000 - Robert Miller Gallery - May 22nd, 2013 6:00 PM - 8:00 PM <p><strong>Robert Miller Gallery is pleased to present </strong><em><b>62 Years Later: Gender Politics in the Arts</b></em><strong> a special panel discussion investigating gender politics within the art world 62 years after Lee Krasner’s first solo exhibition. Moderated by economist and founding President of Center for Talent Innovation Sylvia Ann Hewlett the panel features Lauren Flanigan, RoseLee Goldberg, Anne Pasternak, Laurie Simmons, and Heather Watts.</strong></p> <p> <br /> <em>62 Years Later</em> is organized on the occasion of the gallery’s current exhibition <em>(Untitled) Hybrid</em>, a reflection on the legacy of Lee Krasner’s contributions to contemporary artistic practices featuring work by Polly Apfelbaum, Alisa Baremboym, Sarah Cain, Leidy Churchman, Joanne Greenbaum, Julia Hechtman, and Dona Nelson curated by Boston University Art Gallery Director Kate McNamara.<br />  <br /> In contemplation of Krasner’s struggles in becoming fully recognized as an important figure in the male-dominated Abstract Expressionist movement, this panel discussion will explore the ebb and flow of the art community’s dynamic relationship with gender.<br />  <br /> <strong>Sylvia Ann Hewlett </strong>is president and CEO of the Center for Talent Innovation, a nonprofit think tank where she chairs a Task Force focused on fully realizing the new streams of talent in the global marketplace. She is the author of 10 <em>Harvard Business Review</em> articles, 12 critically acclaimed nonfiction books including <em>Winning the War for Talent in Emerging Markets</em> and <em>Forget a Mentor, Find a Sponsor </em>(Harvard Business Review Press, Sept. 2013), and is ranked #11 of the world’s top business thinkers. Her writings have been widely published and she’s a featured blogger on A Kennedy Scholar and graduate of Cambridge University, she earned her PhD in economics at London University.<br />  <br /> <strong>Lauren Flanigan</strong> is an American operatic soprano who has had an active international career since the 1980s. Named by <em>TIME Magazine</em> as "the thinking man's diva" and awarded by ACSAP and the Center for Contemporary Opera for her commitment to performing the works of living composers, Flanigan has firmly established herself as a unique musical presence in the world today.  She has been featured on the Live from the Met telecast of <em>I Lombardi</em> (opposite Luciano Pavarotti) and the Live from Lincoln Center telecasts of The Richard Tucker Gala, <em>Lizzie Borden</em>, and <em>Central Park</em>, which was written for her.  She has performed at many of the world’s leading opera houses including La Scala, Teatro San Carlo, Bayerische Staatsoper, Lyric Opera of Chicago, San Francisco Opera, and the Metropolitan Opera. Last year Flanigan was given a prestigious yearlong creative residency at The Park Avenue Armory, during which she founded the group Not Your Mothers Kurt Weill Ensemble and was given 25 Weill songs cut from movies and shows to arrange and perform.  Two of those programs called <em>Unknown/Unsung: The Music of Kurt Weill</em> are regularly performed to sold out houses at The Neue Galerie. Flanigan is also the founder and the director of Music and Mentoring House, a not-for-profit organization providing upscale affordable housing and hands on mentoring to students studying in the arts in NYC. Most recently, Flanigan was selected to be part of a world premiere performance of <em>Beauty Intolerable</em>, a collection of love songs composed by Sheila Silver based on the poetry of Edna St. Vincent Millay, co-presented by American Opera Projects, The Edna St. Vincent Millay Society, ClaverackLanding, and Symphony Space.<br />  <br /> <strong>RoseLee Goldberg</strong> is Founding Director and Curator of Performa, the leading organization for the research, production and presentation of visual art performance, which launched the Performa biennial to great international acclaim in New York in 2005. Former director of the Royal College of Art Gallery in London and curator at the Kitchen in New York, she pioneered the study of performance art with her book <em>Performance Art from Futurism to the Present</em>, first published in 1979 and available in 12 languages. Other books include <em>Laurie Anderson</em>, and <em>Performance Since the 1960s</em>. She is the recipient of the Agnes Gund ICI Curatorial Award, and is a Chevalier of the Order of Arts and Letters presented by the French government. She is Clinical Professor in Art History at New York University where she has taught since 1987.<br />  <br /> <strong>Anne Pasternak</strong>, the President and Artistic Director of Creative Time, joined the organization in the fall of 1994, with the goal of presenting some of the most adventurous art in the public realm. Creative Time began commissioning innovative art in New York City in 1972, introducing millions of people every year to contemporary art while making sure it plays an active role in public life.  Just a few years ago, Creative Time began working nationally making it the only national public arts organization with programs that have reached from New York to New Orleans, from Denver to Dallas, and from PA to LA.  Renowned projects under her direction range from exhibitions and performances in the historic Brooklyn Bridge Anchorage, sculptural installations in Grand Central Station’s Vanderbilt Hall, sign paintings in Coney Island and skywriting over Manhattan to the Tribute in Light, the twin beacons of light that illuminated the former World Trade Center site six months after 9/11.  She has worked closely with such artists as Doug Aitken, Laurie Anderson, David Byrne, Jenny Holzer, Gary Hume, Vik Muniz, Takashi Murakami, Shirin Neshat, Steve Powers, Cai Guo Qiang, and many more. In addition to her work at Creative Time, Pasternak curates independent exhibitions, consults on urban planning initiatives, and contributes essays to cultural publications. She lectures extensively throughout the United States and Europe, and she served as a guest critic at Yale University.<br />  <br /> <strong>Laurie Simmons</strong> is an internationally recognized artist.  Since the mid-70’s, Simmons has staged scenes for her camera with dolls, ventriloquist dummies, mannequins and occasionally people, to create images with intensely psychological subtexts. Her photographic based works are collected by many museums including in New York: The Metropolitan Museum of Art, The Museum of Modern Art, The Whitney Museum of American Art and the Guggenheim as well as The Museum of Contemporary Art, Los Angeles, Walker Art Center and the Hara Museum, Tokyo. In 2006 she produced and directed her first film titled "The Music of Regret", starring Meryl Streep, Adam Guettel and the Alvin Ailey 2 Dancers with cinematography by Ed Lachman. The film premiered at The Museum of Modern Art, New York, and has been screened at many international museums and film festivals including the Whitney Museum. Simmons was featured in Season 4 of the PBS series "Art 21: Art in the Twenty- First Century". Her most recent exhibitions were at Salon 94 Bowery, NYC, Wilkinson Gallery, London Baldwin Gallery in Aspen, The Gothenburg Museum in Sweden and Koyama Gallery in Tokyo. Her book titled “The Love Doll” was published last January. Simmons lives and works in New York City and Cornwall, Connecticut with her husband, the painter Carroll Dunham.<br /> <br /> <strong>Heather Watts </strong>was born in Los Angeles, and was brought to New York to study at the School of American Ballet on a Ford Foundation scholarship. She was invited to join New York City Ballet by George Balanchine in 1970, and he promoted her to Principal Dancer in 1978. During her career at NYCB, Watts worked closely with Balanchine and Jerome Robbins, dancing leading roles in virtually all of the company's ballets, and both Balanchine and Robbins created roles especially for her.  In addition to her career at NYCB she traveled extensively as a guest artist, and was an acclaimed international star. Since her retirement from the stage in a gala performance in 1995, Watts has been a contributing cultural editor at <em>Vanity Fair</em> magazine, has served as a panelist for the NEA, and serves on the Artists Committee for the Kennedy Center Honors. She taught academic courses in 2006 and 2007 on Balanchine’s life and work at Harvard University, and she received two Derek Bok awards for distinguished teaching. She was the <em>Class of 1932 Visiting Lecturer</em> in Dance at Princeton University for 2011-12, and also recently co-created a new seminar for the Dance Education Laboratory at the 92nd St Y. Among the many awards that Watts has received are the Jerome Robbins Award, the Dance Magazine Award, the Lions of the Performing Arts Award from the New York Public Library. In 2012, she received a Doctorate in Fine Arts <em>honoris causa</em> from Hunter College.</p> Sat, 18 May 2013 23:49:11 +0000 Shio Kusaka - Anton Kern Gallery - May 23rd, 2013 6:00 PM - 8:00 PM Sun, 23 Jun 2013 18:53:57 +0000 Francesco Siclari - BROADWAY GALLERY - May 23rd, 2013 6:00 PM - 8:00 PM <p>Soho’s Broadway Gallery is getting romantic this spring. Francesco Siclari will<br /> be having a solo show from May 23rd to June 5th with a reception from 6pm to<br /> 8pm on May 30, 2013. If you’ve never had to opportunity to travel to Italy, this<br /> might be your chance to drink in the serenity of its landscape and culture without<br /> the plane ticket. With a wide range of subjects, Siclari presents paintings of<br /> landscapes, cities, boats, and people . History meets emotion. Tradition means<br /> originality. Canvas meets life.</p> <p>Francesco Siclari has been painting and showing art internationally since the<br /> 1960s. Born in Campo Calabro on the tip of Italy’s boot, he first stepped towards<br /> the world of painting due to his sheer infatuation with painting’s expression. As<br /> a child, he would always draw due to the inaccessibility and expense of oil. His<br /> aim has always been for the viewer to see the world in a way they have never<br /> thought to see it. It was worth the sacrifice of patience while he continued his<br /> family studies without asking for money for art supplies from his family. Then,<br /> a birthday miracle from his brother, Dominic, came in the form of 10,000 lire.<br /> Finally, Siclair had oils to create with and he was able to dedicate his time to<br /> working with the oils after his studies were complete. His brother pushed him<br /> further and urged him to do shows once he saw the canvases adding up. We are<br /> all very lucky that he took his brother’s sound advice.</p> <p>Broadway Gallery has the pleasure of exhibiting some of Siclari’s best pieces.<br /> Oil paintings such as Canal Grande – Venezia (1985), La Poesia del Silenzio<br /> – Phuket (1994), Nudo nel Blu (1988), Positano (2002) and Quiete ai Murazzi<br /> (1988) will all be shown. Everyday subjects are suddenly not so ordinary.<br /> His technique of using glistening color and thin, see-through glazes take the<br /> moments he captures and adds romance and omnipresence. He adds emotion<br /> to each piece through bold imagery and an originality that is all his own. For<br /> example, in Canal Grande – Venezia, the viewer watches as a gondolier is about<br /> to take off down the canal. The depth of the water’s murky blue works with the<br /> cities horizon line off in the distance, while the lighting created the glazed oil paint<br /> enchants and mesmerizes. He uses a geometric border that becomes lighters as<br /> it moves toward the center of the piece and allows for a moment that is not only<br /> emotional, but also pensive.</p> <p>Mark your calendars for this optical delight into Italy through Siclari’s brush. Gaze<br /> into the silences. Question yourself as you find nuances within tradition and let<br /> Siclari show you that emotion lives wherever you do.</p> Mon, 29 Apr 2013 23:03:55 +0000 Anita Sto, Giorgio Savona - BROADWAY GALLERY - May 23rd, 2013 6:00 PM - 9:00 PM <p>Thursday, May 23rdt, 2013 independent curators <a href="" rel="nofollow" target="_blank"><strong>Anita Sto</strong></a> and <a href="" rel="nofollow" target="_blank"><strong>Giorgio Savona</strong></a> will present <em>TO SLEEP, PERCHANCE TO DREAM</em>, a preview of the working progress by the conceptual multimedia artist, Anita Sto and the Photographer Giorgio Savona.</p> <p>The exhibition will be held at Broadway Gallery, 473 Broadway, 7th Floor, New York, NY 10013.</p> <p><em>TO SLEEP, PERCHANCE TO DREAM</em>, is a work based on the idea of Giorgio Savona. This event at Broadway Gallery would be the preview of theirs work on suicide. Savona and Sto’s project consists in representing five forms of suicide: Seppuku, hanging, drowning, poisoning and wrist cutting.</p> <p>The intention of their piece is to capture the intimate emotions and solitude within which one might be overwhelmed at the point to decide to interrupt life. Suicide and is a form of expression to communicate a message. One who commits a suicide is nothing else than the director of a play in which there are an actor and a stage. The body is the actor, the stage is the place. The decisions are final in many of these cases; in so far death is the lowest common denominator.</p> <p>There are various suicide methods (romantic, exhibitionist, apathetic, ideological), for which each one hides a message (guilt, revenge, blackmail, disappointment...) into a specific form. The body –– even the death body, is the element which confers life to this message. Suicide methods can be classified according to two modes of interrupting one's life processes: physical or chemical. Chemical methods of suicide produce latent evidence of action, whereas physical methods provide direct evidence –– body and stage carry the message.</p> <p>“This work is all about Life and Passion”.</p> <p></p> <div><a href="" rel="nofollow" target="_blank">Project's <strong>Facebook Page</strong></a></div> <div><strong> </strong></div> <div><strong><a href="" rel="nofollow" target="_blank">Kickstarter Fundraising Campaign</a><br /></strong></div> Wed, 15 May 2013 12:02:07 +0000 Judith Schaechter - Claire Oliver Gallery - May 23rd, 2013 6:00 PM - 8:00 PM <p>Please join us for the opening reception with the Artist:<br />Thursday, May 23 from 6-8 p.m.<br /><br /><br />The Battle of Carnival and Lent, Judith Schaechter's new exhibition at Claire Oliver Gallery, tackles one of the most  fundamental struggles known to man, the war humankind wages between good and evil.  Dancing on the psychological border between spiritual aspiration and human suffering, the Artist questions the association of an environment of confinement/reflection in the name of self betterment and the harsh realities of the physical experience of imprisonment; She is  speaking about the 'prisons' we all encounter, be they mental or physical.</p> <p>Schaechter's title window in the exhibition (and the largest in scale), inspired by the 16th century Brugel painting with the similar name "The Fight Between Carnival and Lent", contains 96 figures (almost all previous Schaechter works  contain only a single figure) locked in a mythic battle between virtue and vice.  Depicted here by somber monks and garish clowns, hilarity and mayhem seduce impulse control; no blood is spilled in the Artist's rendition; here, softened by humor, we see the constant battle we face between our will, our desires, and our choices.</p> <p>Inspired by the history of Philadelphia's notorious gothic castle-like structure,  Eastern State Penitentiary, where they were on temporary exhibition, these 17 works draw on mythology, the Bible, and even famous works of art from ages past.  Schaechter's archetypes struggle with an angel on one shoulder and a devil on the other, exploring in turn the stories of Atlas, Prometheus, Noah, Icarus, Mary Magdalene and Andromeda.</p> <p>Along with the figurative/narrative windows, there are a matching number of purely decorative patterned works which Schaechter calls "militant ornamentalist", a nod to the great strength of 13th century European cathedrals, such as Chartres.  Although ornamentation suffered in popularity during the Modernist period of art history, its power to move people has not been diminished.  One has only to look to the great traditions of Islamic or Asian art to see the hypnotic and spiritual relevance ornamentation has.</p> <p>Elisabeth Argo, Curator at the Philadelphia Museum of Art, says of the work, "When I saw Judith's new works, my thoughts went to Guernica, Bruegel and Diego River's murals on industry or Otto Dix's paintings looking at war.  She's (Schaechter) looking at this moment and the issues of humanity and those artists were too."</p> <p>Says Schaechter of these works: I have strong feelings about this work appealing to those who are in transition, those who have known pain, grappled with despair.  The parallels between cell and cathedral go beyond just appearances.  In a church the windows are charged with profound meaning; the "windows" here are more than a mere "ray of hope" for the churchgoer and incarcerated alike.</p> <p>Judith Schaechter's works of art are included in the permanent collections of many important museums worldwide including The Metropolitan Museum of Art, NYC, the Smithsonian Institution, Washington, D.C., and the Victoria and Albert Museum, London, U.K. She has been included in preeminent Biennales including the Venice Biennale and the Whitney Biennial. Among other prestigious awards, Ms. Schaechter is the recipient of a Guggenheim Fellowship, a USA Artists Fellowship, and two NEA grants.</p> <p> </p> Sat, 04 May 2013 16:00:38 +0000 Group Show - ClampArt - May 23rd, 2013 6:00 PM - 8:00 PM <p>ClampArt is pleased to present “New York City, c. 1985,” a group exhibition including artworks by Armand Agretsi, Amy Arbus, Janette Beckman, Janet Delaney, Andrew Garn, Nan Goldin, Arlene Gottfried, Keizo Kitajima, Catherine McGann, Jeanette Montgomery Barron, Mark Morrisroe, Christine Osinski, Gunar Roze, Gail Thacker, and Brian Young.</p> Mon, 06 May 2013 23:15:38 +0000 William Trost Richards - National Academy Museum - May 23rd, 2013 11:00 AM - 6:00 PM <p style="text-align: justify;"><span style="font-size: small;">William Trost Richards is regarded today as one of our finest landscape and marine painters of the 19th century. The ground breaking retrospective of the Philadelphia native&rsquo;s work held exactly forty years ago at the Brooklyn Museum of Art played a pivotal role in setting in motion the current estimation of the artist&rsquo;s talents and accomplishments. This was the first of many significant exhibitions of Richards&rsquo; work that have been organized by the art historian and curator Linda Ferber, whose efforts have played a critical role in blazing the trail for the recognition of his achievements as a painter, watercolorist and draftsman. It is especially felicitous that the Academy&rsquo;s exhibition is taking place on the fortieth anniversary of the showing in Brooklyn.</span></p> <p style="text-align: justify;"><span style="font-size: small;">This exhibition features approximately sixty works from the National Academy Museum&rsquo;s permanent collection, the majority of which have never been on public view. In 1954, the estate of Richards&rsquo; daughter Anna Richards Brewster bequeathed a group of more than one hundred pictures by the artist to the Academy, which cover every aspect of Richards&rsquo; long career. At this time the institution also dispersed approximately four hundred works by Richards from the Brewster estate to museums across the United States. In special recognition of Anna Richards Brewster&rsquo;s generosity and devotion to her father&rsquo;s accomplishments we include her 1892 portrait of her father, seated before his easel with brush in hand, adding finishing touches to one of his seascapes. Also included are four paintings by Richards borrowed from private collections, which reflect the artist&rsquo;s development and changing interests as a landscape and marine painter. In preparation for this exhibition a significant group of oils and works on paper from the museum&rsquo;s holdings were conserved with the support of grants from The Conservation Treatment Grant Program of Greater Hudson Heritage Network, and the Sherman-Fairchild Foundation.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Richards was a native of Philadelphia, Pennsylvania. In the 1850s he studied intermittently with the German-born landscape painter Paul Weber, and greatly admired the landscapes of Thomas Cole and Frederic Edwin Church. In the 1860s, Richards came under the influence of the British writer and aesthetician John Ruskin, and the English Pre-Raphaelites. During this decade he began working in watercolor, and his enthusiasm for the medium blossomed in the 1870s when he began to devote his primary attention to marine painting. Over the course of his career Richards was an inveterate traveler in America and Europe. In the 1850s and 1860s, he journeyed throughout the northeast in search of subjects for his brush. In 1874, he spent his first summer working in Newport, Rhode Island. In 1890 he settled permanently in the state, where for most of the decade he resided in a grand house across from Newport, on the southern tip of Conanicut Island, overlooking the Atlantic Ocean. In the late 1870s Richards began traveling to Europe in quest of discovering dramatic coastal scenery. Over the next twenty-five years he nvestigated the shorelines of Great Britain, France and Norway, among other places. At the end of his life Richards rededicated himself to landscape painting, and began making summer trips to the Adirondacks, the site of some of his most important early achievements.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The National Academy thanks Questroyal Fine Art, LLC, New York, NY and William Vareika Fine Arts Ltd, Newport, RI for their support of <em>William Trost Richards: Visions of Land and Sea</em>.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The National Academy is grateful to the following for their generous support of our operations: The Bodman Foundation, The Bonnie Cashin Fund, in honor of Henry W. Grady, the Alex J. Ettl Foundation,&nbsp; the F. Donald Kenney Exhibition Fund, The Estate of Geoffrey Wagner in memory of Colleen Browning, NA, and public funds from the New York City Department of Cultural Affairs in partnership with the City Council.</span></p> Sun, 11 Aug 2013 15:16:42 +0000