ArtSlant - Closing soon en-us 40 James Little - June Kelly Gallery - May 16th, 2013 - June 18th, 2013 <p style="text-indent: 20px; line-height: 150%;"><span style="color: #000080; font-family: Book Antiqua;" color="#000080" face="Book Antiqua">An exhibition of recent work by James Little --- including large horizontal abstract canvases with brilliantly colored vertical geometric shapes for which the artist is best known that are interspersed with smaller works in a similar style but a quieter palette -- will open at the June Kelly Gallery on May 16.  The exhibition, entitled <i> Never Say Never</i>, will remain on view through June 21.</span></p> <p style="text-indent: 20px; line-height: 150%;"><span style="color: #000080; font-family: Book Antiqua;" color="#000080" face="Book Antiqua">Little mixes his own colors with pure pigment and heated beeswax and puts multiple layers of each color on his canvases.  This technique gives his paintings uncanny depth, intensity and resonance.</span></p> <p style="text-indent: 20px; line-height: 150%;"><span style="color: #000080; font-family: Book Antiqua;" color="#000080" face="Book Antiqua">"Color is the crucial element in Little's work," writes Karen Wilkin, the art historian and critic in an essay in the exhibition invitation.  Over the years, just as the divisions within his paintings have varied from sharply pointed narrow triangles to parallel bands, his palette has shifted from saturated colors to paler, luminous hues with the cool matte quality of Renaissance frescoes.</span></p> <p style="text-indent: 20px; line-height: 150%;"><span style="color: #000080; font-family: Book Antiqua;" color="#000080" face="Book Antiqua">"In recent works, the colored bands talk to each other across the expanse of the picture in ways that suggest illusions of pleating and expanding, before subsiding into the flat continuum.  Repetitions of groupings of bars, their clear chroma set off by neutrals, create internal syncopations."</span></p> <p style="text-indent: 20px; line-height: 150%;"><span style="color: #000080; font-family: Book Antiqua;" color="#000080" face="Book Antiqua">"We are confronted," Wilkin says, "by almost imperceptible chromatic shifts across the picture that provide vitality and animation."</span></p> <p style="text-indent: 20px; line-height: 150%;"><span style="color: #000080; font-family: Book Antiqua;" color="#000080" face="Book Antiqua">According to Wilkin, Little has two main concerns with color, in his words, "How to make it flat and how to make it interesting. Color has to have some humanity in it."</span></p> <p style="text-indent: 20px; line-height: 150%;"><span style="color: #000080; font-family: Book Antiqua;" color="#000080" face="Book Antiqua">Little lives and works in New York City. He holds a BFA degree from the Memphis Academy of Art and an MFA degree from Syracuse University.</span></p> <p style="text-indent: 20px; line-height: 150%;"><span style="color: #000080; font-family: Book Antiqua;" color="#000080" face="Book Antiqua">Little has participated in numerous one-person and group exhibitions throughout the United States and Europe.  His paintings are represented in museum, corporate and private collections, including Everson Museum of Art, Syracuse; New Jersey State Museum, Trenton; Studio Museum in Harlem, New York City; Tennessee State Museum, Nashville; Arkansas Arts Center, Little Rock; Library of Congress, Washington, DC, and Maatschappij Arti Et Amicitiae, Amsterdam, Holland.</span></p> Tue, 11 Jun 2013 02:24:29 +0000 Ethel Gittlin - Walter Wickiser Gallery - May 18th, 2013 - June 18th, 2013 <p>"Ethel Gittlin’s new body of work, “Full Circle,” emerges from the natural world, but in it reality is abstracted and transformed. The colors and patterns seem to float across each canvas like leaves on the water. Crisp, delicate and organic, the shapes are self-contained, yet in harmony with their surroundings. We may think we decipher blossoms, seeds or pods, but, on closer inspection, the brilliantly hued figures refuse to be pinned down. They are familiar, yet alien. One senses their origin in the forces of nature, but the artist’s individual sensibility is clearly at work here, molding the motifs into larger, flowing patterns. </p> <p>The power of these paintings lies as much in Gittlin’s use of negative spaces as in her use of positive ones. While the shapes suggest organic structures, it’s the space in between that defines the forms and provides them with an environment. In 17th-century Japan, Ogata Korin and his followers in the Rinpa school pioneered a subtle and sophisticated use of negative space in the sumptuous designs they painted on lacquer ware, scrolls and screens. This vision, in which the form of what is not there is as important as what is, influenced generations of Asian artists and, by the late 19th century, had spread across the globe to influence the work of the Impressionists and their descendants. That sensibility is evident in the work of Manet, Degas, Cassatt and many in the generations that followed." **   - Mona Molarsky</p> <p align="right"> </p> <p align="right">** Mona Molarsky is a writer based in New York City. She has written for Art News, City Arts, The Nation and many other publications</p> Fri, 17 May 2013 04:04:30 +0000 - Solomon R. Guggenheim Museum - May 3rd, 2013 - June 19th, 2013 <p>Learning Through Art, the pioneering arts-education program of the Guggenheim Museum, presents <em>A Year with Children 2013</em>, an exhibition that showcases selected artworks by New York City public-school students in grades two through six. These students participated in a yearlong artist-residency program that partners professional teaching artists with classroom teachers in each of the city's five boroughs to design collaborative projects that explore art and ideas related to the classroom curriculum. Approximately one hundred creative and imaginative works, including drawings, prints, photographs, sculptures, paintings, and collage, will be on display during this six-week installation.</p> Mon, 01 Apr 2013 00:00:46 +0000 Hong Seon Jang, Buhm Hong, Hyungsuib Shin, Yusam Sung, Sun You - Jamaica Center for Arts and Learning - February 5th, 2013 - June 20th, 2013 <p><img src="" /></p> Tue, 05 Feb 2013 02:24:07 +0000 Greg Goldberg - Stephan Stoyanov/Luxe Gallery - April 17th, 2013 - June 20th, 2013 <div class="column"> <p>The show features abstract paintings and works on paper, all done in natural light at Goldberg's North- facing studio in New York. Each work is a hand-made object, built slowly over time by layering dozens of pigments to create unique color relationships. Rich in opaque, translucent and transparent hues, the paintings change with light throughout the day and over the seasons.</p> <p>Goldberg's ongoing dialog with art history is tied into his contemporary art practice. His use of color as a vehicle for expression was inspired by an early interest in Florentine Mannerist Jacopo Pontormo; his emphasis on light comes out of Venetian masters. The process of making each piece - from using rabbit- skin glue, a traditional lead ground and slow build-up of color - is connected to the Old Masters, while the investigation of the painting as subject matter ties the work to postwar American abstraction.</p> <p>While the works are evocative, they don't refer to anything other than the history of their own making. Up close, they reveal a complex structure as new color transitions and brushwork passages continue to come into focus. Tension is built by using pigments that reflect and absorb light and brushwork that feels suppressed in some areas and exuberant in others.</p> <p>The project as a whole is about creating rich visual sensations through ever-more-refined and unexpected color combinations. As the viewer is drawn into the exploration of the paintings' layered archeology, time seems to have slowed down. </p> </div> Sun, 17 Aug 2014 16:12:38 +0000 John Morrell - Atlantic Gallery - May 28th, 2013 - June 21st, 2013 <p>The artist will be present to discuss his work on Tuesday evenings, Fridays and Saturdays during the exhibition.</p> Mon, 13 May 2013 22:30:09 +0000 Richard Learoyd - McKee Gallery - May 9th, 2013 - June 21st, 2013 <p>McKee Gallery is pleased to announce Richard Learoyd’s latest exhibition: <em>Still/Life</em>, opening May 9 and continuing through June 20. A reception for the artist will be held May 9, from 6–8pm.</p> <p>This third exhibition with McKee Gallery will include twelve new works: a combination of portraits of people and still-lifes of dead animals, all created by the camera obscura technique. A process which creates unique photographs of alarming clarity and honesty. The tactile nature of naked flesh adjacent to images of dead flamingos, a dead hare, and a horse’s head, force the viewer to consider both the fragility of life and all its inherent beauty.</p> <p>Born in 1966 in Nelson, Lancashire, England, Richard Learoyd studied under the American photographer Thomas Joshua Cooper at the Glasgow School of Art, Scotland. His work held in the collections of the Metropolitan Museum of Art, San Francisco Museum of Modern Art, the Victoria and Albert Museum, London, Yale University Art Gallery, and others. He lives and works in London.</p> <p>A catalogue will accompany this exhibition, featuring 14 full-color photographs, and an essay by Charles Moffett.</p> <p>Any further questions or requests for images should be directed to Karyn Behnke:<a href="mailto:" rel="nofollow"></a></p> Thu, 09 May 2013 17:28:01 +0000 Bruce Conner - Paula Cooper Gallery - 521 W. 21st Street - May 7th, 2013 - June 21st, 2013 <p>The Paula Cooper Gallery is pleased to announce a one-person exhibition of works by renowned artist and avant-garde film pioneer Bruce Conner (1933-2008), which will be on view at 521 W 21 Street beginning May 7.</p> <p>This exhibition presents a selection of felt-tip pen and inkblot drawings dating from 1962 to 2000. The works underscore Conner’s ongoing interest in abstraction and the development of an intricate visual vocabulary: undulating densities of line, kinetic geometry, plays of light and dark. A prolific artist whose interests ranged from punk rock to non-Western mysticism, Conner maintained a crucial relationship to abstraction not only his drawings but also throughout his career.</p> <p>Central to the exhibition will be <i>EASTER MORNING</i>, considered to be Conner’s most abstract film. <i>EASTER MORNING</i> is a montage of dreamlike images generated from footage shot by the artist on a spring morning in San Francisco in 1966. Like the assemblages for which he first gained critical attention and the rhythmic patterning of his drawings, Conner’s films have been described as collages that explode linear narrative and produce a sense of “optical overload.”<sup>1</sup> <i>EASTER MORNING</i> breaks with the artist’s signature deconstructive editing process. He achieved the hypnotic rhythms in camera using frame rates, camera movements, and multiple exposures; Conner called it a “perfect movie.” The film was completed in 2008 shortly before the artist’s death. It is considered his last major work.</p> <p>In conjunction with the Jay DeFeo retrospective at The Whitney Museum of American Art, Conner’s 1967 short film, <i>THE WHITE ROSE</i> will be screened from April 25 to May 12, 2013. In 2000, the Walker Art Center in Minneapolis organized an exhibition of Conner’s work titled “2000 BC: The Bruce Conner Story, Part II.” This show traveled to the Modern Art Museum of Fort Worth, the M.H. de Young Memorial Museum in San Francisco, and the Los Angeles Museum of Contemporary Art. His works have been included in major exhibitions, such as the historic 1961 “The Art of Assemblage” at The Museum of Modern Art. His works are also in the collections of many major museums, including The Guggenheim Museum; The Metropolitan Museum of Art; The Whitney Museum of American Art; The Museum of Modern Art; The San Francisco Museum of Modern Art; Los Angeles County Museum of Art; The Walker Art Center, Minneapolis; The Art Institute of Chicago; The National Gallery of Art, Washington DC; Hirshhorn Museum and Sculpture Garden, Washington DC; and The Centre Pompidou, Paris.</p> <p>This exhibition has been organized with the support of the Conner Family Trust, San Francisco and Michael Kohn Gallery, Los Angeles.</p> Tue, 11 Jun 2013 03:08:04 +0000 Group Show - AICON GALLERY - New York - May 10th, 2013 - June 22nd, 2013 <p>The exhibition looks back though the history of post-independence Indian and Pakistani photography, from its early modernist interpretations through today, presenting a vast panoramic view of South Asia's complex past, present and future.</p> Sun, 05 May 2013 03:42:27 +0000 Lynda Benglis, Sean Bluechel, Jean Dubuffet, Mika Rottenberg, Axel Salto - Andrea Rosen Gallery 2 - May 4th, 2013 - June 22nd, 2013 <p>For Mika Rottenberg's current exhibition at Magasin 3, she produced an impressive and arresting group of sculptures — cast resin and hand-painted textures that seem to have been ripped from the walls of one of her film sets. These sculptures reference an iconic tactility that is key to all of her films and installations. Since Gallery 2's program is committed to encouraging alternative modes for understanding new and historical material through filters that may alter our perception, Andrea Rosen Gallery is delighted to announce a complex new group exhibition that juxtaposes Rottenberg's sculptures with the evocative surfaces of works by Lynda Benglis, Sean Bluechel, Jean Dubuffet, and mid-century ceramicist Axel Salto. <br /> <br /> An important painting from Dubuffet's Texturologie series avoids all figuration, but is not abstract. Literally a vast view of the ground seen from above, the gestural and gritty painting was intended to evoke a continuous, infinite space beyond the fragmented sphere of human action and intervention. Sean Bluechel prefers this dysfunctional arena, and his "Drunk Photos" engage multiple iconographies of sexuality, race and gender with a rough, physical sensibility. Axel Salto experimented with wild, organic forms and colors that were a radical departure from the prevailing, cool abstract styles of modern ceramics. Although his vessels are undoubtedly decorative, Salto was a trained painter fixated on formal problems – how does the thickness and sheen of a glaze change as it slides over bumps and into grooves? The dense, multi-colored accretions on Lynda Benglis's wax paintings are sensuous and visceral, but they are also ground-breaking, transitional pieces that demonstrate the artist's struggle to redefine painting and the relationship between the artwork and viewer in space. <br /> <br /> All of these works give form to our sensory perceptions. As Lynda Benglis said, "I am involved with bodily response so that the viewer has the feeling of being one with the material and that action, both visually and muscularly…in other words, you draw out the complete body through the work." </p> Tue, 30 Apr 2013 22:00:51 +0000 Christian Holstad - Andrew Kreps Gallery @ 537 W. 22nd - May 11th, 2013 - June 22nd, 2013 <p>The Andrew Kreps gallery is pleased to present <em>The Book of Hours, </em>Christian Holstad’s first solo exhibition with the gallery, which will feature sculpture, installation and drawings in an immersive installation. Enhanced by sound works by Martin Maugeais the show takes as its point of departure the religious devotionals of the same name. </p> <p>Books of Hours are often characterized as the “bestseller” of the Middle Ages. The most famous of these religious books were richly decorated with gilding and inks made with pigments of ground precious stones. These books were commissioned by the upper class and were meant to occupy ones time absorbing the reader in the rich and layered visual illustrations of the texts of Christianity. They were named for the time spent pouring through them perhaps in the same way a reader might pour over a morning newspaper. Both documents act as a snapshot of the time in which they were created but differ in their purpose. The Book of Hours promotes the rejection and/or suppression of natural desires as a path of religious enlightenment. In contrast, it could be seen that a contemporary newspaper is filled with stories that are the result of this same rejection of nature that have ultimately lead to spiritual erasure and ecological degradation.</p> <p>Mirroring street scenes around him through inexplicably crafted soft sculptures Christian depicts this disconnect from nature in a contemporary capitalist society. Discarded diapers both infant and adult lay discarded in a corner with an abandoned stroller - a tree stump emerging from a cobblestoned patch of dirt is hovered over by it’s own amputated trunk grown through an electrical wire and hordes of bees crashing out of the sky in a death fall present the perversity of our contemporary reality with harrowing beauty.</p> <p>It is this beauty – and the process of the creation of the hand-made environments and their respective monsters that give some accidental hope to these scenes with piles of feces topped with shrimp lovingly sewn of millinery thread and sequins. Sounds of harpsichord and organ emanate from within - the chords of which are derived from the accidental aural events that Martin Maugeais recorded in his daily early morning attempts at a perfect tone giving the scene a Baroque-like backdrop and bringing together the layers of the contemporary Book of Hours.</p> <p>Christian Holstad has had solo shows at Kunsthalle Zurich, Museum of Contemporary Art Miami, PS1, New York, and has been included in group shows at San Francisco Museum of Modern Art, Indianapolis Museum of Art, Indianapolis, The Power Plant, Toronto, Kunsthalle Düsseldorf, MoMA, New York, The Whitney Museum of American Art and the New Museum, New York.</p> <p>Martin Maugeais lives and works in Paris and New York. He studied computer programming, musical composition and visual music at the University of Paris 8 (Saint-Denis) and completed a Masters degree in in 2012. His practice includes music composition (both instrumental and digital), sound installations, and performing with bands Femme Fractale and The General Society.</p> <p><span style="color: #333333; font-family: Verdana,Arial,Helvetica,sans-serif; font-size: xx-small;" color="#333333" face="Verdana, Arial, Helvetica, sans-serif" size="1"><span style="font-size: xx-small;" size="1"></span></span></p> Sun, 19 May 2013 23:27:05 +0000 Hito Steyerl - Andrew Kreps Gallery @ 537 W. 22nd - May 11th, 2013 - June 22nd, 2013 <p>Andrew Kreps Gallery is pleased to present Hito Steyerl’s first exhibition with the gallery, which will feature the singular film work <em>In Free Fall, 2010.  </em>Incorporating a trio of works - <em>After the Crash</em>, <em>Before the Crash</em> and <em>Crash</em> – <em>In Free Fall</em> employs the setting and characters of an airplane junkyard in the Californian desert to tell the story of the current economic climate.</p> <p>The space of the junkyard allows various ‘crash’ narratives to unfold, with the stories of actual crashes and the remnants and afterlife of these machines becoming metaphors for economic decline.  The works are an investigation of planes as they are parked during the economic downturn, stored and recycled, revealing unexpected connections between economy, violence and spectacle, finding perfect example in the form of the Boeing 4X-JYI, an aircraft first acquired by film director Howard Hughes for TWA, which was subsequently flown by the Israeli air force before finding its way to the Californian desert to be blown up for the Hollywood blockbuster <em>Speed</em>. Through intertwined narratives of people, planes and places Steyerl reveals cycles of capitalism incorporating and adapting to the changing status of the commodity, but also points at a horizon beyond this endless repetition.</p> <p>Hito Steyerl is among the keenest observers of our thoroughly globalized, digitized condition. Her practice describes with uncommon precision the fluidity and mutability of images—how they are produced, interpreted, translated, packaged, transported, and consumed by a multitude of users. Most often, Steyerl’s art takes the form of video essays that comprise exhaustive research, montage, composite imagery, first-person voiceovers, and interviews. While her subjects vary widely, her work is consistently based on the premise that we are always implicated, consciously and unconsciously, in the stories that we tell. Hers is a documentary form that is emphatically transparent about its subjectivity and its uncertainty.</p> <p>Hito Steyerl, <em>In Free Fall</em>, 2010, installation view at Chisenhale Gallery. Co-commissioned by Picture This, Bristol, Collective, Edinburgh and Chisenhale Gallery, London. Supported by Arts Council England and Creative Scotland. </p> <p>Hito Steyerl (b. 1966) is based in Berlin. She has had solo exhibitions at the Art Institute of Chicago, E-flux in New York,  Picture This, Bristol; Collective, Edinburgh; Chisenhale Gallery, London, Villa Stuck, Munich; (all 2010); Neuer Berliner Kunstverein (2009); and Moderna Museet, Stockholm (2008). Group exhibitions include the upcoming Venice Bienale, Taipei Biennial; 1st Ural Biennial; Gwangju Biennial; Antiphotojournalism, La Virreina, Barcelona; Horizons, BAK, Utrecht (all 2010); <em>Dispersion</em>, ICA, London; U-Turn Kvadriennale for Samtidskunst, Copenhagen (both 2008); documenta 12, Kassel (2007) and Manifesta 5, San Sebastian (2004).</p> <p><span style="color: #333333; font-family: Verdana,Arial,Helvetica,sans-serif; font-size: xx-small;" color="#333333" face="Verdana, Arial, Helvetica, sans-serif" size="1"><span style="font-size: xx-small;" size="1"></span></span></p> Mon, 17 Jun 2013 22:23:04 +0000 Shio Kusaka - Anton Kern Gallery - May 23rd, 2013 - June 22nd, 2013 Sun, 23 Jun 2013 18:53:57 +0000 Anna Ostoya, Barbara Leoniak - Bortolami Gallery - May 3rd, 2013 - June 22nd, 2013 <p>Bortolami is pleased to announce the exhibition Disclosures, featuring new works by Anna Ostoya and Barbara Leoniak. As the centerpieces of her second show at the gallery, Ostoya presents four paintings and a text piece. Leoniak, who was invited by Ostoya to collaborate on the show, presents a series of six sculptures.</p> <p style="text-align: left;" align="justify">Painted over a period of two years, Ostoya’s works are semi-abstract compositions in oil on canvas. The artist based them on both reproductions of figurative works by early 20th century artists, and a snapshot of a recent social situation involving an eminent art-historian and a distinguished artist. Ostoya’s text piece Disclosures (Text) presents her desires for the exhibition and the ideas that shaped it.</p> <p style="text-align: left;" align="justify">The Leoniak’s sculptures respond to Ostoya’s sources. Modeled using strips of cardboard dipped in resin, they reinterpret Ostoya’s imagery through another medium and sensibility. While Ostoya’s paintings fragment the appropriated figures, Leoniak’s sculptures reconstitute them as fanciful anthropomorphic fillets.</p> <p>The show embraces a modernist tradition of object-based art, yet it aims to situate each work in a dialogue with its spatial and conceptual context. The works can be viewed as autonomous paintings and sculptures, but they can also be seen in relation to each other and to Disclosures (Text). In this way, the overall constellation surpasses the meaning of any single piece and the intentions of either artist.</p> <p style="text-align: left;" align="justify">The works in this show also revisit key moments in the history of the avant-garde, but they belie that history’s rhetoric of discontinuity and rupture. While the historic works, the key objects of appropriation, represent important episodes of vanguard criticality, Ostoya and Leoniak both embrace and subvert this tradition. They impishly mock the avant-garde “boys’ club” while acknowledging its social and political relevance in an age of inequality and unrest.</p> <p style="text-align: left;" align="justify">Underlying this whole endeavor is a belief in continuity. The dialogues between these paintings and sculptures as well as between the objects and text reflect a deeper commonality of voices and ideas. The contributions of each artist are manifestly distinct, but they are never univocal.</p> <p style="text-align: left;" align="justify">Although Leoniak was Ostoya’s first artistic mentor, the exhibition presents this relationship as polymorphous and non-hierarchical. Just as their appropriations of modern art emphasize recurrence over formal innovation, their dialogue places artistic continuity and communication over Oedipal competition. Such engagements seek to redefine artistic practice as inherently collaborative and to present the history of art as a conversation rather than a sequence of monologues.</p> <p style="text-align: left;" align="justify">Anna Ostoya is an artist living in Brooklyn. She graduated from the Whitney Independent Study Program in 2009. Her work has appeared in Manifesta 7, Rovereto, the 2nd Athens Biennial, and other exhibitions internationally. It will also be included in the forthcoming show New Photography at the Museum of Modern Art in New York.</p> <p style="text-align: left;" align="justify">Barbara Leoniak is an artist living in Cracow. She graduated from the Academy of Fine Arts there in 1977. Her work was shown internationally in the 1980s, and she received a golden leaf medal, in 1985, and a silver metal, in 1990, at the Winter Sculpture Salon in Warsaw.</p> Mon, 22 Apr 2013 23:19:30 +0000 Garth Weiser - Casey Kaplan Gallery - May 4th, 2013 - June 22nd, 2013 <p>Casey Kaplan is pleased to announce a solo exhibition of new works by Garth Weiser (b. 1979, Helena, MT). Weiser will present new paintings that expand upon two distinct, yet interrelated bodies of work first presented in his May 2011 exhibition with the gallery.</p> <p>Weiser’s paintings are the product of layers of contradiction, each resulting equally from chance as they do from a conscious manipulation of time and material. The works outwardly display a quick, surface effect that belies a slow, systematic building. Additionally, in what can almost be described as a process of cannibalization, Weiser uses previous paintings as source images for the production of new works; propelling his practice forward while simultaneously bearing the accumulative traces of translation and degradation.</p> <p>New interference-pattern works disguise themselves as monochromes and forgo the spinal element that characterized previous paintings, instead favoring an allover composition. Creating an attention that lingers on the surface, the pattern functions less as a screen and more as a barrier, limiting access to the painting’s layers. Despite maintaining their references to digital distortion and abstract organic patterns (such as wood grain and aquatic vibration as well as the mathematic correlations between the two), these works do not merely create an optical effect. Their muddled and degraded edges work to give shape to a pulsing, auditory hum. In some cases, the interference-pattern is slashed or scarred, interrupted by blistering lacerations that appear at once to be erupting from the under-painting and attacked on the surface. In other works, pigmented dust is applied as a final layer, which in a brief moment collapses the space and layers of the painting into a singular plane, as if they were cast in stone.</p> <p>The brazen finish of new copper works acts in direct and conscious opposition to the deceptively staid appearance of Weiser’s interference-pattern paintings, with their molten finish that is almost geologic in its force. Weiser first applies piles of colored paint in a free form and gestural manner. The copper membrane then covers and in effect hides the expressionistic under-painting. The works then become sites of excavation. Weiser uses a razor blade to scrape and gouge their surfaces with an intensity that at times punctures through the canvas itself. The brevity of the physical cut negates the series of fluid actions that precedes it. As the incision follows the impulsive and spontaneous gestures, they are rendered topological, hard-edged, and graphic – a slice reveals the heaped residue of a now dissolved process.</p> <p>Garth Weiser’s work is currently on view in <em>Pattern: Follow the Rules</em> at the Eli and Edythe Broad Museum at Michigan State University. Recent Exhibitions include: Albright-Knox Art Gallery, Buffalo (2012), <em>Nothing Beside Remains, </em>curated by Shamim Momin, Los Angeles Nomadic Division (LAND), Marfa, TX (2011), <em>Seeing is a Kind of Thinking: A Jim Nutt Companion</em>, curated by Julie Rodrigues Widholm, Museum of Contemporary Art Chicago, Chicago, IL (2011), White Flag Projects, St Louis (solo) (2010), and <em>Big New Field: Artists in the Cowboys Stadium Art Program</em>, Dallas Museum of Art, Dallas, TX (2010). Weiser received his MFA from Columbia University of the Arts in 2003.</p> Sun, 28 Apr 2013 01:09:35 +0000 Irina Sheynfeld - Ceres Gallery - May 28th, 2013 - June 22nd, 2013 <p class="BasicParagraph">Continuing in the tradition of pointillism and magic realism, Irina Sheynfeld’s work is vivid and mesmerizing. In her upcoming show “Wandering Stars” Irina explores the transitory nature of being, the moments between becoming and disappearing. Some of the artist’s work has social commentary context. Artist’s recent discovery of the found elements, gold leaves and silver branches adds a new dimension to her work, juxtaposing the reality to the magical elements of unseen.</p> <p class="BasicParagraph">Irina was born in Odessa, Ukraine, where she was academically trained at the Odessa College of Art. Upon arriving in NYC, Irina received a BFA from Parsons and an MFA from School of Visual Arts. She lives on the Upper West Side with her family. </p> Thu, 23 May 2013 20:52:39 +0000