ArtSlant - Recently added en-us 40 Peter Malone - The Painting Center - March 3rd - March 28th <p style="text-align: justify;">With these recent selections from a series of portraits begun in 2011, visitors to the Painting Center are invited to join the artist in exploring the possibilities inherent in a genre as old as painting itself. Straightforward, candid, and intentionally unmannered, each canvas is an attempt to get beyond the search for something new, in order to discover what painting can still illuminate in an era of exceptional cultural complexity.</p> <p style="text-align: justify;">Peter Malone, a current member of Blue Mountain Gallery, New York has participated in group and solo exhibitions at The National Academy of Design, New York; Long Island University, Brooklyn; the Municipal Gallery, Kharkov, Ukraine; the Munson Williams Proctor Art Museum, Utica, NY; the Islip Art Museum, Islip, New York; Gallery Henoch, New York; Pratt Institute, Brooklyn, New York; the Laguna-Gloria Art Museum, Austin, Texas; the Hudson River Museum, Yonkers, New York and the Southern Vermont Arts Center, Manchester, Vermont. He is the recipient of a 2014 Pollock-Krasner Foundation Grant, the author of Back Words: One Painter&rsquo;s voice in the Conversation (Amazon/CreateSpace, 2012), and he writes reviews and essays for and</p> Thu, 29 Jan 2015 18:29:27 +0000 Marianne Van Lent - The Painting Center - March 3rd - March 28th <p style="text-align: justify;">Marianne Van Lent is a painter of the natural world. Filtered through memory, her work examines the mysterious forces of the physical world and investigates our fragile position in the universe through the intersection of natural and technological modalities. Worlds (cosmologies) are represented both in the outer world of nature and the inner world of the psyche. Creating a multi dimensional collision of realms, the glimmer of unexpected openings provides inspiration for the process of painting. &rdquo; My painting process relates to the process of transcendence and transformation in which magic occurs through abstraction.&rdquo;</p> <p style="text-align: justify;">Marianne Van Lent lives and works in NYC and Athens, NY on the Hudson River. She received her BFA from Tyler School of Art and her MFA from Cornell University. Van Lent&rsquo;s paintings have been exhibited in the United States and Europe and inhabit many public and private collections. Recent solo exhibitions include <em>Cosmologies</em> at The Painting Center, New York and <em>Reflected Light</em> at Ulla Surland Fine Art, Fairfield CT. Her works can be seen online at <a title="" href="" target="_blank"></a></p> Thu, 29 Jan 2015 18:28:18 +0000 Robert Berlind, Susanna Heller, John L. Moore, Levent Tuncer - The Painting Center - February 3rd - February 28th <p style="text-align: justify;">The privilege of being invited into an artist&rsquo;s studio is something that many never have a chance to experience. Talismans offers a glimpse into the studios of four New-York based painters&mdash;Robert Berlind, Susanna Heller, John L. Moore, and Levent Tuncer&mdash;by presenting their paintings accompanied by objects and images from their studios. These objects or talismans represent people and things that have influenced and inspired the four. The idea for the exhibition is credited to the photographer John Coplans (also a former museum director, curator, and founding editor of Artforum), who told John L. Moore that he would have liked to organize an exhibition of artists&rsquo; bulletin boards, as he was always attracted to what artists chose to keep on view in their studios and how it related to their work.</p> <p style="text-align: justify;">In this exhibition, <strong>Robert Berlind</strong> says that he has made selections of works by others that he keeps in his living/working space, and that he has limited his choices to a poster for Alex Katz&rsquo;s 1972 exhibition at Hartford&rsquo;s Wadsworth Atheneum, Sky, a 1980 lithograph by Philip Guston that was likely among his last works, and a photograph by George Woodman. Berlind writes:<br /> <em><br /> I have been looking at each more or less daily, Katz when I am upstate in Cochecton, Guston when I am in New York. Both are for me utterly contemporary, that is to say, a beat ahead of me and therefore ongoing challenges. They always show something new. It would be too facile and not quite accurate to characterize them respectively as &ldquo;cool&rdquo; and &ldquo;hot.&rdquo; Katz&rsquo;s extreme technical refinement is grounded in a strongly felt response to the particular, stylish beauty Ada represents; while Guston&rsquo;s airborne pandemonium is held in place by his flawless, improvised composition. And yet the two pieces are based on antithetical approaches and procedures. I imagine many of us work with the pressure of such contrary impulses.</em><br /> <strong><br /> Susanna Heller</strong> has been in her Brooklyn studio since 1994, a place that she describes as a deeply layered space, created over time, where she spends every day, thinking, working, and living. Along with scores of drawings piled up to the fourteen-foot ceiling, Heller says she has:</p> <p style="text-align: justify;"><em>&hellip;a mixed bag of things I would describe as &ldquo;treasure/trash.&rdquo; These are a divergent collection of objects, photos, postcards, pictures of old work, quotes, notes, drawn painting reminders, chunks of paint, tiny painter&rsquo;s pallettes, and more. They have collected over the years here&hellip;and the &ldquo;outer surface&rdquo; is constantly in flux depending on current work, walks, and drawings or collages that are in the forefront of my thoughts. Often these things are in groups that I consider stories for possible paintings. I will display several of these &ldquo;groupings&rdquo; in this exhibition.</em></p> <p style="text-align: justify;">Heller says that for her:<br /> <em><br /> &hellip;a painting, like a walk, connects the physical experience (feet on the ground/paint on the canvas) to movement, energy, and space&hellip;I paint tactically, not strategically. The work is without a formula and I work with no physical hierarchies or imperatives&hellip;for me as a painter, drawer, or walker, I follow the &ldquo;thicks&rdquo; and &ldquo;thins&rdquo; of urban space and marks on surface. In taking in my painting, it is important that you can travel the ins and outs of your eye&rsquo;s trajectory, as they travel over the surface, into a color, or back towards a distant horizon: one either seen or imagined. These are the stories I need to tell myself as I work in the studio, so the studio itself becomes the raw material source or the staging for the paintings.&nbsp; </em></p> <p style="text-align: justify;"><strong>John L. Moore</strong> has chosen to present a selection of objects he lives with that are related to people and events in his life. Moore met John Coplans when he was director of the Akron Museum where Coplans began the photography work that brought him recognition as an artist. They had dinner together at least once a month for twenty years and Moore says he learned a lot from Coplans; a small photograph by Coplans is included here. Other objects include photos of his first influential art teachers, military buddies, a drawing by self-taught artist Nelly Mae Rowe, an African Mask (Gabon), and a poster for Aquarian Artists, an exhibition organized by international curator and artist Willoughby Sharp. There is also a post card sent by the young Jimi Hendrix to his father regarding his experience in paratrooper jump school. Moore writes:</p> <p style="text-align: justify;"><em>My work is informed by memories. Memories of things that I have experienced, or were told to me, things that I have read or dreamed. Since they are recurring, they often shape my thoughts and visual images. Readings on the history of the middle passage, particularly, the two million slaves that died in transit crossing the Atlantic, raised many unanswered questions that became the focus of my paintings. I often use the image of a mirror or mirror-less frames in my paintings as a metaphor for various contemporary issues of our own often conflicting histories. In this exhibition, River and Mirror, (2003) and Jimi (2013) are paintings that ask the question: How did I get here? One unknown ancestor made the crossing. The middle passage is in my DNA.</em></p> <p style="text-align: justify;">Painter <strong>Levent Tuncer</strong>, whose recent monumental paintings are inspired by a 15th-century Iranian drawing, lives and works in a large duplex, semi-raw loft in Bushwick. There he is surrounded by talismans, small items, and pictures that are out in the open in a seemingly disorganized way:<br /> &nbsp;&nbsp;&nbsp; <br /> <em>I have photos from my first year on earth next to some music CDs, a carved Indian head next to books, stones from Peru, turtles carved in stone, photos of friends, lovers, and family as well as art. Drawers open, with passing glimpses to my past. Many books I read at the same time, some notes on the walls&hellip;.It is as though, as this space is my life and time is a giant, intricate spider web; all these items and things are tiny little knots that connect the sections of this&hellip;conduits that make it possible for me, to place myself in relation to everything and thus live both in present and past tense at the same time, but also review who I am, afresh each time my gaze or hand touches these things. This is why at times I will paint and not go out for days and days, yet visiting a lifetime, in a sort of time travelling.</em></p> <p style="text-align: justify;">Turkish American Tuncer&rsquo;s intuitive, psychological paintings deal with dualities: order and disorder; history and fiction; repetition and change. His works are influenced by cross-cultural emblems including architecture, textiles, and tiles.&nbsp; Tuncer says that by repeating these images while still allowing them to mutate, he is able to create: a complex visual equivalent of cultural disjuncture&hellip;[that] subverts their repetitive rigidity&hellip;and suggest that order, like authority, is vital only when it evolves, and that it evolves only when challenged and made to diverge from its historical context.</p> <p style="text-align: justify;"><strong>This exhibition was made possible by The Wolf Kahn &amp; Emily Mason Foundation.</strong></p> Thu, 29 Jan 2015 18:26:27 +0000 Analia Saban - Tanya Bonakdar Gallery - February 19th - March 21st Thu, 29 Jan 2015 18:24:09 +0000 Ross Bleckner, Volker Eichelmann - Sargent's Daughters - February 11th - March 15th <p style="text-align: justify;">Sargent&rsquo;s Daughters is pleased to present &ldquo;Ross Bleckner and Volker Eichelmann&rdquo;, a two-person exhibition of paintings and collage works on paper. &nbsp;The exhibition will open on Wednesday, February 11th and run until March 15, 2015.<br /> &nbsp;</p> <p style="text-align: justify;">In this exhibition, Bleckner presents a group of 18 inch paintings, which span a period of roughly twenty years. This is the first time Bleckner has exhibited these works, though the format has been important to Bleckner throughout his career. Usually these paintings are made alongside larger works and serve alternately as experiments, tests, things left out, and things to be remembered. The choice of 18 inches corresponds to the Hebrew character meaning life and light, and is the title of the book accompanying the exhibition. The paintings presented here correspond to the different styles and bodies of work: Examined life paintings (1990), Burn Paintings (1991-1992), Architecture of the Sky Paintings (1993), Fading Consciousness Paintings (1996), Molecule, Blood and Disease Paintings (2000), Remembering Those Who Died Paintings (2000-Present), Crowd Paintings (Dissolving into One Another Paintings) (2002), Lifespan Paintings (2003), Meditation Paintings (2005), Flower Paintings (2010), Forgetting Paintings (2013), Brain Paintings (2013), Black Monet Paintings (2013-2014). As much as this selection demonstrates difference and variety, it is also tied together by ongoing material experimentation as well as reoccurring tropes, styles, and themes. Taken as a whole they depict Bleckner&rsquo;s career long, multifaceted look at spirituality, humanity, and mortality. &nbsp;<br /> &nbsp;<br /> Eichelmann&rsquo;s latest text paintings produced in 2014 and 2015 feature extracts from the writings of two of Britain&rsquo;s greatest eccentrics, William Beckford (1760-1844) and Stephen Tennant (1906-1987). Both were celebrated for epitomising the style and taste of their age. William Beckford, born to immense wealth, established himself as a most discerning collector of art and artefacts and housed his treasures in the ill-fated Fonthill Abbey, one of the most stupendous architectural confections ever constructed. In the 1920s Stephen Tennant was the most dazzling star of the ultimate fashion set, known as the Bright Young Things. He continued to be a legendary but reclusive figure in later life; writing poetry and designing endless book jackets for his long planned but never-to-be written book &lsquo;Lascar, A Story of the Maritime Boulevards&rsquo;. The extracts chosen by Eichelmann for these works conjure glittering images which Beckford and Tennant recorded in their diaries and letters. Miniature snapshots as seen through the eyes of 18th and the 20th century arbiters of taste flare up in the here and now. Beckford&rsquo;s and Tennant&rsquo;s words combined with Eichelmann&rsquo;s lyrical abstractions present prisms, refracting 18th, 20th and 21st century sensibilities. This is Eichelmann's first exhibition in New York City.<br /> &nbsp;<br /> Both Bleckner and Eichelmann&rsquo;s attention to the past is mirrored by a fascination with the future. &nbsp; History is never far from either of them, yet neither is caught in the web of nostalgia. &nbsp;Each work is as timeless as it is current: achieving a balance between past and present that endlessly resonates.</p> <p style="text-align: justify;"><strong>Ross Bleckner</strong>was born in 1949 in New York, NY. &nbsp;He&nbsp;received a Bachelor of Arts from New York University in 1971, a Master of Fine Arts from Cal Arts in 1973, and has taught at many of the nation's most prestigious universities. The Solomon R. Guggenheim Museum held a major retrospective of his works in 1995, summarizing two decades of solo shows at internationally acclaimed exhibition venues such as the San Francisco Museum of Modern Art, California; Contemporary Arts Museum, Houston; Moderna Museet, Stockholm; and the Carnegie Museum of Art, Pittsburgh. Works by Bleckner are also held in esteemed public collections around the world, including the Museum of Modern Art, New York; Museum of Contemporary Art, Los Angeles; Astrup Fearnley Museum of Modern Art, Oslo; Museo National Centro de Arte Reina Sofia, Madrid; and the Whitney Museum of American Art, New York. The artist lives and works in New York.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>Volker Eichelmann</strong> was born in 1973 in Hamburg, Germany. He studied at the Academy of Fine Arts, Vienna, Central St. Martins and Goldsmiths College, London. He has held solo exhibitions at Ancient &amp; Modern, London; Jessica Silverman Gallery, San Francisco; Galerie Andreas Huber, Vienna and participated in numerous group shows including, ZKM Karlsruhe; Hello Darkness, K21, D&uuml;sseldorf; and Das Glasperlenspiel at Vilma Gold Project Space, Berlin. Eichelmann curated &lsquo;Silver Mirros, Silver Wood&rsquo;, a group show of his works shown alongside a selection of 18th and 19th century objets d&rsquo;art for Frieze London 2014. He is currently Associate Professor at Kingston University and lives and works in London.</p> Thu, 29 Jan 2015 18:16:37 +0000 Paulette Tavormina - Robert Mann Gallery- New York - February 5th - March 21st <div id="block-yui_3_17_2_5_1420738495074_4608" class="sqs-block html-block sqs-block-html" data-block-type="2"> <div class="sqs-block-content"> <p style="text-align: justify;">Drawing inspiration from Old World artists, Paulette Tavormina renders luscious fruit, flowers, and food with a painterly eye to create rich tableaux.&nbsp;These intensely personal pictures bring to light the evocative life cycles of flora and fauna, imperfect in their vigor and subsequent decay. Inextricably tied for the artist to sensation and memory, each still life finds particular temperament in the character and balance of its objects.</p> <p style="text-align: justify;">Robert Mann Gallery is pleased to present&nbsp;Bodeg&oacute;n, a new series of sumptuous works by Tavormina.&nbsp; Meaning "from the pantry,"&nbsp;Bodeg&oacute;n is inspired by the paintings of 18th-century Spanish still life painter&nbsp;Luis Mel&eacute;ndez. Featuring the elegant everyday cookware of the rustic kitchen, these spreads bring the artist's signature gift for vibrant simplicity to a new cornucopia of&nbsp;grains, meats and sweets. Hearty loaves bookend bountiful fruits, grounded by burnished copper pots and humbly charismatic country jugs.</p> <p style="text-align: justify;">Accompanying Bodeg&oacute;n, Tavormina's&nbsp;Botanicals series recalls the botanical illustrations of the seventeenth and eighteenth centuries, re-imagining these scientific studies as exuberant cascades of flora and fauna. A fantastical menagerie of bugs, buds, and dewy blossoms burst against velvety black depths, leading the eye in figure eights around the canvas. &nbsp;And yet Tavormina's signature motifs of darkness and decay keep these works from pure flights of fancy&mdash;rather, they are visions of life in all of its subtle shades of beauty. &nbsp;</p> <p style="text-align: justify;">Paulette Tavormina has been exhibited internationally and was the winner of the Grand Prix at the 2010 International Culinaire Photography Festival in Paris. Largely self-taught, she has worked on set as a food stylist in Hollywood and also photographs works of art for Sotheby's. Her photography has been featured in publications including The New York Times, National Geographic, The Boston Globe, L'Express, Martha Stewart Weddings and Photo Technique magazine. She lives and works in New York City.</p> </div> </div> Thu, 29 Jan 2015 18:14:17 +0000 Sebastian Lloyd Rees - Room East - February 22nd - March 29th Thu, 29 Jan 2015 18:12:10 +0000 Group Show - Ronald Feldman Fine Arts - February 14th - March 21st <p class="text" style="text-align: justify;"><em>We are faced with a new kind of difficulty. We have two contradictory pictures of reality; separately neither of them fully explains the phenomena of light, but together they do.</em><br /> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Albert Einstein and Leopold Infeld, <strong>The Evolution of Physics</strong>, 1938 (on wave-particle duality)</p> <p class="text" style="text-align: justify;"><strong>Janine Antoni, Edgar Arceneaux, Cassils, Patty Chang, Julia Christensen, Chris Doyle, Eric Dyer, Ken Gonzales-Day, Brent Green, Kelly Heaton, Shih Chieh Huang, Jennie C. Jones, Brian Knep, Simone Leigh, Matthew Moore, Jason Salavon, Gregory Sale, Jesse Sugarmann, Miriam Simun, SuttonBeresCuller, Sam Van Aken, Quintan Ana</strong> <strong>Wikswo </strong>(List in Formation)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</p> <p class="text" style="text-align: justify;">Ronald Feldman Fine Arts will present <em>Wave &amp; Particle</em>, a group exhibition of more than two dozen artists who are awardees of the Creative Capital Foundation, in celebration of the foundation&rsquo;s 15th anniversary.&nbsp; In general, the artists in the exhibition address contemporary issues surrounding conditions that might be rectified; and the selection of artworks embraces the notion of synthesizing contradictory elements.&nbsp; Using the principles of quantum physics based on duality as a metaphor, the exhibition muses on how one might describe or consider objects that can be read in more than one way.</p> <p class="text" style="text-align: justify;">The exhibition presents a wide range of media including videos, sculptures, ready-mades, prints, photographs, floor works, ceiling hangings, and objects that incorporate electronics and light. &nbsp;The works tell jokes, breathe, induce altered states, invite spiritual contemplation, or call us to political action.&nbsp;</p> <p class="text" style="text-align: justify;">The exhibition is also a modest celebration of the Creative Capital Foundation&rsquo;s support of innovative and adventurous artists across the country through funding, counsel, and career development services.&nbsp; Its pioneering approach helps artists working in all creative disciplines to realize their visions and build sustainable practices. Since 1999, Creative Capital&rsquo;s awards program has committed more than $35 million in financial and advisory support to 465 projects representing 579 artists.&nbsp; Its Professional Development Program has reached 10,000 artists in more than 400 communities through workshops and webinars.</p> <p class="text" style="text-align: justify;"><em>Wave &amp; Particle</em> includes a very small sample of the artists working in the disciplines of visual arts, performing arts, moving image, literature, and emerging fields that Creative Capital has supported over the years.</p> <p style="text-align: justify;">Special thanks to Sean Elwood, Director, Programs &amp; Initiatives for Creative Capital.<br /> A press kit with more information can be found at: <a href="" target="_blank"></a></p> Thu, 29 Jan 2015 18:08:50 +0000 John Zurier - Peter Blum Gallery - February 13th - April 4th Thu, 29 Jan 2015 18:00:55 +0000 Elise Ansel - Phoenix Gallery - February 4th - February 28th <p style="text-align: justify;">I make paintings that are derived from Renaissance and Baroque depictions of bacchanals and figures in the landscape. My work is about reclaiming, re-visioning and re-presenting paintings that were created at a time when women were seen as objects rather than primary participants in the creative dialog. The paintings I work from are distant mirrors which I interpret through the lens of gestural abstraction. I use painterly notation and shorthand to translate historical paintings into a contemporary pictorial language. I use paint as a vehicle for feeling or sensation rather than as a means of illustration. My method is inspired by C&eacute;zanne&rsquo;s idea of &ldquo;la petite sensation,&rdquo; of using each brush stroke to communicate a sensation that is simultaneously optical and emotional. My paintings begin with a specific pictorial point of departure but then move towards abstraction as the representational content is balanced by focus upon color, composition and the materiality of the paint. Linear, rational readings are interrupted and replaced with a capacious awareness of the sensuous possibilities of paint. The historical paintings I work from become structures on which to hang paint; the soundness of these structures capacitates great improvisational freedom. The real subject becomes the substance and surface of oil paint, the variety of its applications, and the ways in which it can be used to celebrate life.<br /><br /><br /> <a href="" target="_blank"></a></p> Thu, 29 Jan 2015 18:00:29 +0000 Donna Huanca - Joe Sheftel Gallery - February 5th - March 8th <p>Joe Shef&shy;tel Gallery is pleased to present&nbsp;ECHO IMPLANT, Donna Huanca&rsquo;s first solo exhi&shy;bi&shy;tion with the gallery. An open&shy;ing recep&shy;tion and the first per&shy;for&shy;mance will be held on Thurs&shy;day, Feb&shy;ru&shy;ary 5, from 7-9pm. The exhi&shy;bi&shy;tion will be on view through March 8, 2015.<br /><br />Addi&shy;tional per&shy;for&shy;mances will be held on:<br />Sun&shy;day, Feb&shy;ru&shy;ary 15, 3-6pm<br />Sun&shy;day, March 1, 3-6pm<br />Sun&shy;day, March 8, 3-6pm<br /><br />For&nbsp;ECHO IMPLANT, Donna Huanca cre&shy;ates an immer&shy;sive instal&shy;la&shy;tion fea&shy;tur&shy;ing new paint&shy;ings and sculp&shy;tures that will be acti&shy;vated by sched&shy;uled per&shy;for&shy;mances in the exhi&shy;bi&shy;tion space.<br /><br />Donna Huanca&rsquo;s instal&shy;la&shy;tions fuse tac&shy;tile mate&shy;ri&shy;als, such as cloth&shy;ing and ephemera to cre&shy;ate per&shy;for&shy;ma&shy;tive archi&shy;tec&shy;tural col&shy;lages. Work&shy;ing pri&shy;mar&shy;ily with decon&shy;structed cloth&shy;ing, dipped in paint and solid&shy;i&shy;fied, her sculp&shy;tural ges&shy;tures pause a once-fluid life of the gar&shy;ment. Dur&shy;ing Huanca&rsquo;s dura&shy;tional per&shy;for&shy;mances the works inter&shy;act with the vul&shy;ner&shy;a&shy;bil&shy;ity of live mod&shy;els, cam&shy;ou&shy;flaged and infused into the sculp&shy;ture, giv&shy;ing life to oth&shy;er&shy;wise sta&shy;tic art&shy;works<br /><br />Born in Chicago, Huanca received a BFA in Paint&shy;ing from the Uni&shy;ver&shy;sity of Hous&shy;ton and stud&shy;ied at St&auml;delschule, Frank&shy;furt, Ger&shy;many. In 2012, Huanca was awarded a Ful&shy;bright Schol&shy;ar&shy;ship to live and work in Mex&shy;ico City.<br /><br />Recent exhi&shy;bi&shy;tions include:&nbsp;PSYCHOTRIA ELATAat Art Berlin Con&shy;tem&shy;po&shy;rary, Berlin, Ger&shy;many,SADE ROOM (famously reclu&shy;sive)&nbsp;at MoMA PS1 Printshop New York,&nbsp;Look where it got us, MonCHERI Brus&shy;sels, Bel&shy;gium,&nbsp;SEEING AURAS&nbsp;at ltd Los Ange&shy;les,&nbsp;SCRYING THREATS, Queer Thoughts, Chicago,&nbsp;RAW MATERIAL&nbsp;at Malm&ouml; Kon&shy;sthall, Swe&shy;den,&nbsp;2013 Arn&shy;hem Fash&shy;ion Bien&shy;nale, Nether&shy;lands,&nbsp;Pio&shy;neer Voices&nbsp;at the Gallery of North&shy;ern Nor&shy;way, and&nbsp;PANIC FEAR CRYING FITSat PRETEEN Gallery, Mex&shy;ico.<br /><br />*The open&shy;ing per&shy;for&shy;mance will fea&shy;ture gar&shy;ments by Women&rsquo;s His&shy;tory Museum, (Mat&shy;tie Barringer/ Amanda McGowan) in the gallery store&shy;front.<br /><br />For press inquiries and images, please con&shy;tact the gallery at</p> Thu, 29 Jan 2015 17:59:25 +0000 Bradley Wester - Pavel Zoubok Gallery - February 12th - March 14th <p style="text-align: justify;">PAVEL ZOUBOK GALLERY invites you to exhibitions of new work by RAVEN SCHLOSSBERG and BRADLEY WESTER, whose investigations of sex, representation and identity mine distinct niches of popular culture from Rock &amp; Roll to Disco.</p> <p style="text-align: justify;"><em>DISCO</em>urse<em>#2: Shine</em>, the second iteration of BRADLEY WESTER's ongoing series of constructions, employs a rich taxonomy of reflective surfaces and tactile materials to illuminate and connect the breadth of contemporary queer identities. His hybrid practice combines painting, drawing, collage, sculpture and digital imagery resulting in installations that integrate color, light and space into a shared sensory experience. For Wester, a New Orleans native steeped in the glitz of Mardi Gras, late 70s and early 80s discos were spaces in which the richness and diversity of class, race and sexuality came together in a glittering gumbo of hyper-stimulation. At the center of that space invariably hung the ubiquitous disco ball, a kind of queer mirror, to fuel the intense atmosphere of social and sexual release and unify the crowd under its expansive projection of light.</p> <p style="text-align: justify;">In Wester's <em>DISCO</em>urse, planes of reflective Mylar pegboard are the connective substrate for a motley set of humble, commercial materials including small canvases, disco balls, digital prints, found photos, holographic tape, tube lights, pipe cleaners, leather and chains. <em>DISCO</em>urse integrates technology into a rich tradition of queer artists who utilize sparkle and shine in their work, including the pioneering Thomas Lanigan-Schmidt, Tony Feher and Nayland Blake, among others. Wester's analog and digitally rendered components can be variously arranged and re-arranged, playing with the information-age conditions of reflexivity, hybridity, glitching and repurposing. <em>DISCO</em>urse is emphatically not nostalgic but rather reflects the artist's vision of a queer utopia that is optimistic, joyous and fun. In other words, Wester is putting the disco back into critical discourse.</p> <p style="text-align: justify;">Bradley Wester's work has been exhibited widely since the early 1990s. His work is in private and public collections including New Jersey State Museum, Trenton; Mississippi State Museum, Jackson; The Maslow Collection, Marywood University, Scranton PA; and The Prudential Insurance Company, Newark NJ. He is a recipient of numerous awards and fellowships including the A.I.R. Antwerpen International Artist Residency Award in Antwerp, Belgium, a Fulbright Senior Specialist Scholar Grant at Kyoto University of Art and Design in Japan, two The MacDowell Artist Colony Painting Fellowships and a Pollock&ndash;Krasner Foundation Grant. This is Bradley Wester's first solo exhibition at Pavel Zoubok Gallery.</p> Thu, 29 Jan 2015 17:58:03 +0000 Raven Schlossberg - Pavel Zoubok Gallery - February 12th - March 14th <p style="text-align: justify;">PAVEL ZOUBOK GALLERY invites you to exhibitions of new work by RAVEN SCHLOSSBERG and BRADLEY WESTER, whose investigations of sex, representation and identity mine distinct niches of popular culture from Rock &amp; Roll to Disco.</p> <p style="text-align: justify;">RAVEN SCHLOSSBERG'S new work envisions a Technicolor, psychedelic dystopia where the trappings of glamour thinly veil society's seedy underbelly. Compressing implied narratives into storyboarded picture planes, Schlossberg stages a surreal, sexual wilderness inhabited by roving girl gangs armed and empowered by their hyper-feminine attributes. Appearing as both heroes and anti-heroes, these ladies of the night are often bored by or indifferent to their supporting cast of hustlers, burlesque performers, gamblers, grifters, and the occasional wild beast. Interacting between planes ripped open through trompe l'oeil effects, characters enter and leave each picture through windows or "tears", implying further mischief behind and between the scenes.</p> <p style="text-align: justify;">Schlossberg's source materials are as diverse as her characters, deploying images culled from sexploitation and horror films, pulp crime and adventure magazines, comic books, and punk magazines, posters and fanzines. Reimagined through manipulation, alteration and redrawing, these images are distilled into unified worlds populated by an interchangeable troupe of performers who move seamlessly between works. The illusion of neon light, an effect Schlossberg achieves using a complex process of dyeing, painting, and printing onto fabric, adds to the radiant, kaleidoscopic mood. Light is also literally employed in three assemblages constructed from distressed and deconstructed musical instruments and vintage exit signs, illuminating the artist's deep ties to the underground Rock &amp; Roll scene.</p> <p style="text-align: justify;">Raven Schlossberg has been exhibiting her collage paintings for over twenty years, with solo exhibitions in New York, Dallas, Berlin, Frankfurt, Bonn, Konstanz, Basel and Paris. In addition to a solo exhibition at Museum Morsbroich in Leverkusen, Germany, her work has been featured in exhibitions at the Norton Museum of Art, Tampa Museum of Art, Daum Museum of Contemporary Art, Katonah Museum of Art, and The Hunterdon Art Museum. Schlossberg's work has been the subject of articles and reviews in publications including Art in America, ARTnews, Flash Art, New York Magazine, Beaux Arts and The Frankfurter Allgemeine Zeitung. This is Raven Schlossberg's second solo exhibition at Pavel Zoubok Gallery.</p> Thu, 29 Jan 2015 17:57:49 +0000 Ron Arad - Paul Kasmin Gallery 515 West 27th Street - February 12th - March 14th Thu, 29 Jan 2015 17:52:32 +0000 Anton van Dalen - P.P.O.W Gallery - February 13th - March 14th <p style="text-align: justify;"><strong>P.P.O.W&nbsp;</strong>is pleased to present an exhibition by Anton van Dalen, the artist&rsquo;s first show with the gallery and first solo exhibition in eight years. Since 1972 Van Dalen has lived in the East Village, documenting the ever-changing culture of the neighborhood through paintings, drawings, prints, stencils, collage works and performances that captured the evolving history of the place. </p> <p style="text-align: justify;">Van Dalen immigrated to the United States from Holland in 1965 and was captivated by the vibrancy, violence and cultural diversity of his neighborhood. As a child Van Dalen was influenced by the European Masters from Rembrandt to Van Gogh, as well as contemporary artists like Saul Steinberg, who took as subject matter their quotidian surroundings. Drawing on their practice as a source of inspiration, Van Dalen took to the streets, documenting the people and landscapes that surrounded him, creating a body of work that reads as a social and cultural documentation of one of New York&rsquo;s most dynamic neighborhoods.&nbsp; </p> <p style="text-align: justify;">For Van Dalen this practice was more than just a creative process, it was a social and political directive as well. Van Dalen named his house PEACE, brandishing it with a stenciled sign that remains in place today. He collaborated and worked alongside artists like Sue Coe, David Wojnarowicz, Martin Wong, and Keith Haring, who believed fervently that artists had to leave the studio for the streets to reflect on the issues plaguing the city and to take a stand against gentrification and related inequities. </p> <p style="text-align: justify;">The exhibition at P.P.O.W will feature new paintings by Van Dalen that present the now largely gentrified East Village populated with upscale bars, fast food restaurants, and well-heeled women.&nbsp; While Van Dalen&rsquo;s works do not aspire towards Photorealism, they do seek to create an accurate documentation of place, combining an imaginative aesthetic that features abstracted humans, skeletal animals and dramatically angled buildings, set against carefully detailed street signs documenting a specific place at a particular moment in time. </p> <p style="text-align: justify;">Van Dalen&rsquo;s depiction of a changed East Village is reflected in a shift in color palette, media and texture as well. Interested in mirroring what he describes as &ldquo;the colors of our time,&rdquo; his most recent body of work forgoes his black and white nightscapes in favor of a palette that mimics the light of flat screens, cell phones and&nbsp;computers. Despite this shift, much of the iconic imagery that has shaped Van Dalen&rsquo;s formal vocabulary remains.&nbsp; His works are peopled with rabbits and pigeons &ndash; symbols of nature that recall his early days in Holland &ndash; as well as cars and religious institutions that have formed the backdrop of his East Village works for decades. </p> <p style="text-align: justify;">Van Dalen will also exhibit, and perform, his work <em>Avenue A Cut-Out Theatre</em>, a portable model of his house, which he uses as a staging ground for telling the story of the evolution of the East Village. This one-man show incorporates a rotating selection of miniature cut outs and props that each contain a story about the neighborhood from the 1970s until the present.&nbsp; This performance has traveled throughout the United States and Europe, and has been performed at The Drawing Center and the Museum of Modern Art.</p> <p style="text-align: justify;">The exhibition will be complimented by a solo booth, at ADAA&rsquo;s The Art Show, of the artist&rsquo;s 1970&rsquo;s and early 80&rsquo;s graphite drawings and stencils. Taken together, the two installations act as a retrospective of sorts for the East Village and, on a larger level, serve as a reflection of the changing nature of inner-city life. </p> <p style="text-align: justify;"><strong>Anton van Dalen </strong>was born in Amstelveen, Holland and lives in New York City. He has been included in group exhibitions at notable institutions including the: Whitney Museum of American Art, New York; New Museum, New York; Contemporary Art Center, Cincinnati, and the New York Historical Society. He has also been the subject of solo exhibitions at: Temple Gallery, Tyler School of Art, Temple University, Philadelphia; University Gallery, University of Massachusetts, Amherst; and Exit Art, New York. <em>Avenue A Cut-Out Theatre</em> has toured since 1995 both nationally and internationally, and has been shown at numerous institutions including The Drawing Center, the Museum of Modern Art, and The New York Historical Society.</p> <p style="text-align: justify;"><em>Avenue A Cut-Out Theatre </em>performance: Sat. Feb. 28&nbsp;at 7pm</p> Thu, 29 Jan 2015 17:49:07 +0000 Jason Karolak - McKenzie Fine Art - February 13th - March 22nd Thu, 29 Jan 2015 17:36:25 +0000