ArtSlant - Recently added en-us 40 Jane Benson - Pavel Zoubok Gallery - October 22nd - November 25th Tue, 06 Oct 2015 17:02:54 +0000 Max Ernst - Paul Kasmin Gallery 515 West 27th Street - October 22nd - December 5th Tue, 06 Oct 2015 16:47:38 +0000 Simon Hantai - Paul Kasmin Gallery - 10th Ave - October 22nd - December 5th Tue, 06 Oct 2015 16:43:17 +0000 Martha Wilson - P.P.O.W Gallery - October 22nd - December 22nd <p style="text-align: justify;"><strong>P.P.O.W&nbsp;</strong>is pleased to present an exhibition of new works by Martha Wilson. Since the early 1970s, Wilson has created conceptually based performances, videos, and photo/text compositions that grapple with constructions and manifestations of feminism, identity, and the way we construct and present ourselves. Frequently taking herself as subject, Wilson creates transgressive, avant-garde works that address political and social issues, teasing out complexity and nuance by infusing her work with playful gestures and humorous juxtapositions. </p> <p style="text-align: justify;"><em>Mona/Marcel/Marge</em> will feature new photo/text works that draw on self-portraiture, art history, political figures, and popular culture to comment on subjectivity, identity, and gender. While this new body of work draws a clear line to her work from the 70&rsquo;s through today, her work and attitude has evolved from what Wilson describes as &ldquo;the concerns of a young woman to the concerns of an old lady,&rdquo; and sees her turning an eye to the way in which the public gaze projects social values onto women as they grow older. &ldquo;I&rsquo;m looking at age and the status of women,&rdquo; Wilson says, &ldquo;but we are still in the same absurd state that we were in in the 70s... This is my current response to the predicament that we find ourselves in when born female.&rdquo; </p> <p style="text-align: justify;">With this body of work Wilson depicts herself in the role of subjects as diverse as famous women throughout history like Tipper Gore and Michelle Obama, a panda bear, and a Mona Lisa/Marge Simpson mash-up. The vast majority of her works include text placed alongside or overlaid upon her photographs--a direct expression of the inner landscape she is trying to craft and a comment on the experiment that she is enacting. </p> <p style="text-align: justify;">The works &ndash; from <em>New Wrinkles on the Subject</em>, in which she here turns her face into a line drawing of wrinkles, to <em>Life/Style Lift</em>, a portrait of her face taken while hanging upside down, spoofing a company that advertises face lifts on TV &ndash; see her meditating on the condition of and expectations for an aging woman in America. </p> <p style="text-align: justify;">Wilson&rsquo;s work also draws on art history, positioning her in relationship to the artists she admires, is responding to, and is working in relationship to or against. Portions of the gallery will be painted terra cotta red and Wedgewood blue, mimicking the walls used to display classic works of art in museums around the world. From <em>Self-Portrait with Felt Hat, 2014</em>, a diptych that features Van Gogh&rsquo;s <em>Self-Portrait with Felt Hat, 1887/8</em>, alongside her modern iteration of the work; to <em>Homage to Ad</em>, which will include nine never-before seen photos from the 1974 photoshoot for <em>A Portfolio of Models,</em> darkened to near-black and portrayed in a grid like Al Reinhardt&rsquo;s <em>Abstract Painting, </em>1960-66, Wilson carves out a distinctly female position for herself in the cannon of art history. </p> <p style="text-align: justify;">Wilson continues to prod social norms and mine the stereotypes and conventions that plague our everyday lives in an effort to propose new ways of looking at and thinking about gender politics, identity, and social values. Subtle humor has always permeated Wilson&rsquo;s work, but we here see her taking a more overtly funny and lighter approach, inviting viewers to join her in laughing at the absurd reality of contemporary society.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>Martha Wilson</strong> (b. Philadelphia, PA) lives and works in New York. Written into and out of art history according to the theories and convictions of the time, Wilson first gained notoriety thanks to the attention of curator Lucy R. Lippard, who placed Wilson's early efforts within the context of conceptual art and the work of women artists. Commenting on Wilson's first projects, art historian Jayne Wark wrote in 2001:</p> <p style="text-align: justify;"><em>In her conceptually based performance, video and photo-text works, Wilson masqueraded as a man in drag, catalogued various body parts, manipulated her appearance with makeup and explored the effects of "camera presence" in self-representation. Although this work was made in isolation from any feminist community, it has been seen to contribute significantly to what would become feminism's most enduring preoccupations: the investigation of identity and embodied subjectivity.</em></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Wilson's early work is now considered prescient. In addition to being regarded by many as prefiguring some of the ideas proposed in the 1980s by philosopher Judith Butler about gender performativity, many of her photo-text pieces point to territory later mined by Cindy Sherman, among many other contemporary artists.&nbsp; </p> <p style="text-align: justify;">As Founding Director of Franklin Furnace Archive, Inc., Wilson was described by <em>The New York Times </em>critic Holland Cotter in 2008 as one of &ldquo;the half-dozen most important people for art in downtown Manhattan in the 1970s.&rdquo; Franklin Furnace is an artist-run space that champions the exploration, promotion and preservation of artists&rsquo; books, installation art, video, online and performance art. She was a founding member in 1978 of DISBAND (including Ilona Granet, Donna Henes, Ingrid Sischy and Diane Torr), the all-girl conceptual feminist punk rock band of artists who couldn&rsquo;t play any instruments, and has since performed in the guises of political figures, including Alexander Haig, Nancy Reagan, Barbara Bush, and Tipper Gore.&nbsp; In 2008, she had her first solo exhibition in New York at Mitchell Algus Gallery<em>, Martha Wilson: Photo/Text Works, 1971-74</em>; in 2009, <em>Martha Wilson: Staging the Self</em> began international travel under the auspices of ICI (Independent Curators International); and in 2011, ICI published the <em>Martha Wilson Sourcebook:</em> <em>40 Years of Reconsidering Performance, Feminism, Alternative Spaces.</em> Martha Wilson joined P.P.O.W Gallery in 2011 and mounted a solo exhibition, <em>I have become my own worst fear</em>, that September.</p> Tue, 06 Oct 2015 16:23:17 +0000 Robert Rauschenberg - Pace Gallery - 25th St. - October 23rd - December 12th <p style="text-align: justify;">*Pace is pleased to announce an exhibition of late works by Robert Rauschenberg on view at 534 West 25th Street from October 23 to December 12, 2015. Presented in collaboration with the Robert Rauschenberg Foundation, the exhibition is Pace&rsquo;s first posthumous presentation of work by the artist and will feature bodies of work from his first three exhibitions at the gallery in the 1990s. A new catalogue with an essay by art historian Jonathan Fineberg will accompany the exhibition.</p> Tue, 06 Oct 2015 16:18:14 +0000 Keith Mayerson - Marlborough Chelsea - October 30th - December 23rd Tue, 06 Oct 2015 16:06:23 +0000 George Herms - Marlborough Chelsea - September 12th - October 17th <p style="text-align: justify;">Since the 40s, George Herms has created work across several disciplines, but he is most widely recognized for his collages and found-object sculptures. Historically, his work is associated with the California assemblage movement, the Semina artist circle, and with contributing to the development of the West Coast aesthetic. Herms&rsquo; work has been exhibited at the Museum of Contemporary Art, Los Angeles, CA; the Los Angeles County Museum of Art, Los Angeles, CA; the Whitney Museum of American Art, New York, NY; The Museum of Fine Arts, Houston, TX; and the Museum of Modern Art, New York, NY.</p> <p style="text-align: justify;">He has received three fellowships from the National Endowment for the Arts; a John Simon Guggenheim Fellowship in Sculpture; the Prix de Rome Fellowship in Sculpture from the American Academy in Rome; the Adolph and Esther Gottlieb Foundation Award; and was a visiting scholar at the Getty Research Institute. His work is included in public collections at the Walker Art Center, Minneapolis, MN; the Menil Collection, Houston, TX; the Hammer Museum, Los Angles, CA; and the San Francisco Museum of Modern Art, San Francisco, CA. George Herms (b. 1935, Woodland, CA) currently lives and works in Irvine, CA.</p> Tue, 06 Oct 2015 16:05:26 +0000 Stanya Kahn - Marlborough Chelsea - September 12th - October 17th <p class="Pa1" style="text-align: justify;">Marlborough Chelsea is pleased to present <em>Die Laughing</em>, a solo exhibition of video paintings and drawings by Los Angeles artist Stanya Kahn.</p> <p class="Pa1" style="text-align: justify;">The show is centered around Kahn&rsquo;s 2015 video <em>Don&rsquo;t Go Back To Sleep</em>, a feature-length, fictional rumination on contemporary malaise that borrows its structure as much from the confessional template of reality television as any historical cinematic avant garde. An experimental post-apocalyptic narrative shot in the (actual) remnants of the last housing crisis, the video follows a group of blue-scrubbed medical professionals holed up in abandoned Midwestern McMansions prepping for impending disasters. Alternately coping and dying (from mysterious external forces,) these doctors perform grisly surgeries and ritual burials, while navigating a stream of vague but endless stressors. They mull details and sugar binge on what seems to be the only nourishment: party food. We wonder who else is left? The cops? The state? The caretakers are now also the victims; collaboration and mutual effort are key; a deadpan gallows humor emerges where sentiment might have been.</p> <p class="Pa1" style="text-align: justify;">Immersing non-actors in largely improvised scenarios, Kahn&rsquo;s directorial approach invited the performers&rsquo; agency and participation to develop the story live on set. Her editing and sound design shape darkly comedic and uncanny scenes in which reality and fiction blur, furthering a dysphoric sense of time, space, affect and uncertainty. With original compositions by Kahn and musician Keith Wood (of Chelsea Light Moving and Hush Arbors), the audio score performs a driving role. In keeping with Kahn&rsquo;s lo-fi, poor theater aesthetics, the piece is decidedly lacking in special effects (smoke bombs, cow livers and blood) and hospital tech (surgery performed with cosmetic instruments and only mescal for anesthetic). Eschewing mainstream cinema&rsquo;s luxury illusion economy, <em>Don&rsquo;t Go Back to Sleep </em>conjures a sneaky dread that operates as an apt parable for the current/forthcoming medical or ecological calamities for which a Californian like Kahn is an apt cultural seismograph.</p> <p class="Pa1" style="text-align: justify;">The paintings and drawings distill the black humor of the video into disarming text and image combinations. These works fittingly evoke single panel cartoons and filmmaker&rsquo;s storyboards. Like the video, the two-dimensional pieces originate in the artist&rsquo;s clever writing and their formal presence is a satisfying combination of the off-handed and highly considered. Jokes, for Kahn, are the delivery mechanism for the brutal truth.</p> <p class="Pa1" style="text-align: justify;"><em>Don&rsquo;t Go Back to Sleep </em>will screen in a continuous loop for the duration of the exhibition. Start times for the video are as follows: 10:00, 11:15, 12:30, 1:45, 3:00, 4:15 (last full run), 5:30.</p> <p class="Pa1" style="text-align: justify;"><em>Don&rsquo;t Go Back to Sleep </em>was made with the support of Grand Arts, Kansas City, MO and the Guggenheim Foundation.</p> <p style="text-align: justify;">Stanya Kahn (b. 1968) lives and works in Los Angeles, CA. Recent solo exhibitions include shows at Susanne Vielmetter Los Angeles Projects, Los Angeles, CA (2014); Pigna Project Space, Rome, Italy (2013); The New Museum, New York, NY (2012). Recent group exhibitions include the Museum of Contemporary Art, San Diego, CA (2015); 356 Mission, Los Angeles, CA (2014); Institute for Contemporary Art, London (2013).</p> Tue, 06 Oct 2015 16:04:35 +0000 Svenja Deininger - Marianne Boesky Gallery 24th St - October 17th - November 14th Tue, 06 Oct 2015 15:54:59 +0000 Jeff Wall - Marian Goodman Gallery - October 20th - December 19th <p style="text-align: justify;">Marian Goodman Gallery New York and London are pleased to announce two exhibitions of new &nbsp;work by Jeff Wall, which will open and run concurrently from late October through December 2015. The exhibition at Marian Goodman Gallery, New York will open on Tuesday, October 20th, from 6 - 8 pm; and Marian Goodman Gallery, London, on Friday, October 30th &nbsp;from 5:30 &ndash; 7:30 pm.&nbsp;<br /><br />Both exhibitions will present new photographs created over the last eighteen months. &nbsp;&nbsp;<br /><br />A passionate dedication to the possibilities within the medium of photography and an analytic precision is at the heart of Wall&rsquo;s practice. The current exhibitions in New York and London offer a close look at the artist&rsquo;s most recent body of work, continuing and extending a process spanning close to four decades in a disciplined quest for a new form of representation based on the idea of everyday life, a distinct relationship to the canon of art, and to the documentary tradition.&nbsp;<br /><br />Highly respected for pioneering a hybrid form of picture making which has influenced a generation, Jeff Wall&rsquo;s work combines formal innovation with a discerning reflection on and research into conditions and social interactions in the real world. &nbsp;From the beginning he has merged the pictorial tradition with photography and cinema, beginning in 1978 with large format color transparency works, then introducing black and white works in 1996, and in 2007, color prints: &ldquo;I thought, for my purposes, that painting needed to be more psychologically intense, cinema needed to be &ldquo;arrested&rdquo; and photography needed to be made viable at the scale of the human body, the scale of natural vision, a scale painting had mastered.&rdquo; &nbsp;<br /><br />Wall&rsquo;s approach to the medium &nbsp;of photography is grounded on &ldquo;the great collage which everyday life is, a combination of absolutely concrete and specific things created by no one and everyone, all of which becomes available when it is unified into a picture.&rdquo; &nbsp;A &nbsp;picture &nbsp;might be &nbsp;engendered from an &lsquo;instant&rsquo;, a &nbsp;&lsquo;mise en scene&rsquo;, or &nbsp;the &lsquo;before&rsquo; or &lsquo;after&rsquo; of a real or imagined event, a methodology that has given rise to the relevance of what he &nbsp;terms the &nbsp;&lsquo;near-documentary&rsquo;, which &nbsp;has &nbsp;been at the forefront of his thinking in recent years . &nbsp;By integrating, truth and artifice, the street and the studio, documentary and the cinematographic, Jeff Wall engages in a boundless exploration of open and closed spaces and the relationships between them, rendering his subjects through a selective strategy of reportage or construction, while being partial to neither.&nbsp;<br /><br />Jeff Wall has exhibited in major institutions world-wide since the 1970s. His work is currently on view through December 19th at the Fondation Henri Cartier-Bresson, Paris for which a catalogue&nbsp;Jeff Wall: Smaller Pictures, was published. Also recently, an important exhibition,&nbsp;Jeff Wall: Tableaux, Pictures, Photographs 1996-2013, traveled from the Stedelijk Museum, Amsterdam to the Kunsthaus Bregenz, Austria in 2014 and ended in May of this year at the Louisiana Museum, Denmark. A catalogue was published on the occasion of this touring exhibition in 2014. In 2013 Wall&rsquo;s work was presented in separate solo exhibitions at the National Gallery of Victoria, Melbourne; the Tel Aviv Museum of Art, Israel; PAC Padiglione d&rsquo;Art Contemporanea, Milan, Italy, and the Pinakothek der Moderne, M&uuml;nchen. Other recent solo shows were held at the National Gallery of Victoria, Melbourne (2012), and the Museo Tamayo, Mexico City (2008). In 2007 he had a touring solo retrospective at the Museum of Modern Art, New York; The Art Institute of Chicago, and the San Francisco Museum of Art. Wall has been the recipient of numerous prizes, including the Erna and Victor Hasselblad Foundation International Award in Photography (2002); and the Roswitha Haftmann Prize for the Visual Arts (2003).&nbsp;<br /><br />He will show new work in the Project Room at the Perez Museum, Miami, opening October 22nd 2015 through January 17, 2016.<br /><br />Please join us at the opening receptions for the artist in New York on Tuesday, October 20th, from 6-8 pm, and in London on Friday, October 30th , from 5:30 to 7:30pm. &nbsp;</p> Tue, 06 Oct 2015 15:41:33 +0000 Rineke Dijkstra - Marian Goodman Gallery - October 20th - December 19th <p style="text-align: justify;">Marian Goodman Gallery New York is pleased to present new work &nbsp;by Rineke Dijkstra which will &nbsp;open on Tuesday, October 20 and will be on view through December 19, 2015. &nbsp;A &nbsp;press preview will be held on Tuesday, October 20th, from 10:30 am to 12 noon.&nbsp;<br /><br />In the South Gallery Dijkstra will present <em>The Gymschool, St Petersburg, 2014</em> a three channel video installation originally commissioned for Manifesta, the European Biennial of Contemporary Art 2014. This will be its first U.S. presentation.<br /><br />Beginning with her photographic portraits in 1991 and video portraits in 1996, Rineke Dijkstra&rsquo;s work has often captured transitional moments within stages of identity formation from childhood through adolescence and has been marked by an intimacy and empathy with her subjects. Highlighting these qualities and others in her new work The Gymschool, St Petersburg, 2014 Dijkstra reveals how physical gestures and forms allow us to decipher the emotional composition of young gymnasts in training at a school in St. Petersburg.&nbsp;<br /><br />In<em> The Gymschool</em>, Rineke Dijkstra&rsquo;s new three-channel video installation at the Marian Goodman Gallery , New York, the fundamental concept is rehearsal. We see eleven young pupils at a prestigious gymnastics school in St. Petersburg, Russia, preparing for a competition by bending their bodies into the most improbable shapes. Elements resurface that have fascinated Dijkstra throughout her career, since her earliest beach portraits: control, the line between posing and being yourself, and ways of showing human emotion through abstract forms. These fascinations were already in evidence in Dijkstra&rsquo;s famous photograph Hilton Head Island, S.C., U.S.A., June 24, 1992, which portrays a girl in an orange bikini searching for the right pose (her hand on her hair, her footprints in the sand). They also came to the fore in her video The Krazyhouse (Megan, Simon, Nicky, Philip, Dee), Liverpool, UK, 2009 in which young people search for the ideal steps so that they can lose themselves in the music and dancing&mdash;but how do these people relate to the viewer, and when are they being authentic?<br /><br />To film <em>The Gymschool</em>, Dijkstra went to the Zhemchuzhina Olympic School in St. Petersburg, where girls are trained in rhythmic gymnastics, an Olympic sport that is like a cross between gymnastics and ballet. Rhythmic gymnastics has five components (or &ldquo;apparatuses&rdquo;): rope, ribbon, hoop, clubs, and ball. In each component, the girls are expected above all&mdash;even more than in ballet&mdash;to show technical mastery. They are expected to assume extreme, almost inhuman poses while suppressing all forms of emotion. This creates a unique tension; the gymnasts must make their bodies as expressive as possible, but they are not supposed to have personal emotions.<br /><br />Dijkstra opens her film with eight-year-old girls, whose abilities are still fairly limited, and ends with a twelve-year-old who is so physically flexible that she almost transcends her own humanity. The structure of the work reveals a remarkable progression; as the film goes on and the poses become increasingly implausible, the girls seem gradually dehumanized. Sometimes their suppleness makes them seem like animals&mdash;the girl in the opening shot twirls like a young spider, and there are moments when other girls resemble a crab, a seahorse, or an awakening caterpillar. At other times the gymnasts look most like abstract sculptures, a fact that Dijkstra underscores by showing them from three camera angles at once and filming them in a white, gallery-like space. That makes The Gymschool much like a visit to a museum where works by Eadweard Muybridge, Henry Moore, and Francis Bacon have suddenly begun to live and breathe.<br />Meanwhile, perceptive viewers of The Gymschool will notice the continual small irregularities that betray humanity; a leg that will not lift, a stubborn ball, a face that turns a shade too red, a girl&rsquo;s flash of pride after a superbly executed routine. For Dijkstra, these moments not only reveal potent dilemmas of humanity, beauty, and perfection; she also emphasizes in The Gymschool that the greatest art always emerges where the surface begins to burst open, where perfection shows a crack, where contradictory emotions converge in a single, compelling image. At moments like that, life is captured in all its elusive grandeur&mdash;and that is exactly what Dijkstra impressively achieves in this film.<br /><br />&bull; Text by Hans den Hartog Jager, 2015<br /><br />Rineke Dijkstra, born in 1959 (Sittard, The Netherlands), currently lives and works in Amsterdam. She studied at the Gerrit Rietveld Academy in Amsterdam. Her work has appeared in numerous international exhibitions and biennials such as the 1997 and 2001 Venice Biennial, the 2005 Sharjah Biennial, the 2003 International Center for Photography&rsquo;s Triennial of Photography and Video in New York and the 1998 Sao Paulo Biennial. In 2014 her work was presented in solo shows at the Guggenheim Museum, Bilbao and at the Corcoran Gallery of Art, Washington D.C. A major retrospective exhibition of her work was organized in 2013 by The Solomon R. Guggenheim Museum, New York and the San Francisco Museum of Modern Art, San Francisco. In 2005, &nbsp;The Stedelijk Museum in Amsterdam presented a large overview of her work, which also travelled &nbsp;to Jeu de Paume in Paris, La Caixa in Barcelona and Fotomuseum Winterthur. She is the recipient of several international awards including The Citibank Photography Prize in 1999.<br /><br />Please join us at the opening reception on Tuesday, October 20th from 6-8 p.m.</p> Tue, 06 Oct 2015 15:38:43 +0000 Keith Sonnier - Maccarone (Greenwich Street) - November 6th - December 19th Tue, 06 Oct 2015 15:28:07 +0000 Cynthia Daignault - Lisa Cooley - November 1st - December 20th Tue, 06 Oct 2015 15:25:23 +0000 Sandra Lerner - June Kelly Gallery - October 15th - November 14th <p style="text-indent: 20px; line-height: 150%; text-align: justify;"><span style="color: #000000; font-family: arial,helvetica,sans-serif; font-size: small;">An exhibition of new paintings by gallery artist Sandra Lerner, subtle landscapes that convey sweep, energy and grandeur and a hint of landscape, will open at the June Kelly Gallery on Thursday, October 15.&nbsp; The works will remain on view through November 14.</span></p> <p style="text-indent: 20px; line-height: 150%; text-align: justify;"><span style="color: #000000; font-family: arial,helvetica,sans-serif; font-size: small;">Lerner, who has been described as a romantic visionary, provides insights in her art into inescapable truths, but her paintings also please the eye and afford aesthetic pleasure.</span></p> <p style="text-indent: 20px; line-height: 150%; text-align: justify;"><span style="color: #000000; font-family: arial,helvetica,sans-serif; font-size: small;">Critic Donald Kuspit, who wrote an essay in the exhibition invitation, says Lerner&rsquo;s works &ldquo;seem rooted in the grand tradition of romantic landscape painting, with the landscape reduced to its abstract fundamentals, streamlined to its expressive essentials.&rdquo;</span></p> <p style="text-indent: 20px; line-height: 150%; text-align: justify;"><span style="color: #000000; font-family: arial,helvetica,sans-serif; font-size: small;">But Kuspit added that the elements of her paintings suggest that &ldquo;something more is at stake than romantically suggestive pure art.&rdquo;</span></p> <p style="text-indent: 20px; line-height: 150%; text-align: justify;"><span style="color: #000000; font-family: arial,helvetica,sans-serif; font-size: small;">The horizon line in Lerner&rsquo;s paintings is in perpetual movement, in endless flux.&nbsp; In some works, Kuspit says, the line seems seductive, even voluptuous, while in others it seems agitated and tense, as though a nerve at loose ends.&nbsp; Sometimes it seems labored, at other times it flows effortlessly.</span></p> <p style="text-indent: 20px; line-height: 150%; text-align: justify;"><span style="color: #000000; font-family: arial,helvetica,sans-serif; font-size: small;">But, says Kuspit, whatever its expressive effect and momentum, and whether it alludes to the horizon or &ldquo;exists for its own pure abstract sake, Lerner&rsquo;s line is inevitable, unstoppable, constant.&rdquo;&nbsp; It is more metaphysical than physical, he writes, and signifies universal creativity.<br /> &ldquo;The over-all geometry and atmosphere of Lerner&rsquo;s paintings &ndash; their tightly closed planes, sacred architecture, and subtle luminosity and intense energy, just as indwelling &ndash; suggest their meditative character,&rdquo; he writes.&nbsp;&nbsp; &ldquo;Clearly the central sacred structure &ndash; symbolizing the spiritual aspiration of the painting as a whole &ndash; is a meditative device.&rdquo;</span></p> <p style="text-indent: 20px; line-height: 150%; text-align: justify;"><span style="color: #000000; font-family: arial,helvetica,sans-serif; font-size: small;">&ldquo;Lerner repeats it like the sacred syllable &lsquo;om,&rsquo;&rdquo; Kuspit continues, &ldquo;inducing a similar exalted, transcendent state of mind.&nbsp; Her paintings convey this altered consciousness even as they &lsquo;demonstrate&rsquo; the process of alteration.</span></p> <p style="text-indent: 20px; line-height: 150%; text-align: justify;"><span style="color: #000000; font-family: arial,helvetica,sans-serif; font-size: small;">&ldquo;They remind us that there is more than one kind of consciousness, just as string theory reminds us that there is more than one universe.&nbsp; Lerner is an ecstatic mystic, her whole being in touch with the Tao through the medium of paint.</span></p> <p style="text-indent: 20px; line-height: 150%; text-align: justify;"><span style="color: #000000; font-family: arial,helvetica,sans-serif; font-size: small;">Lerner lives and works in New York and Connecticut. She received a bachelor&rsquo;s degree in art from Hofstra University and studied independently with Leo Manso, Jerry Okomoto and Harry Sternberg.&nbsp; She also studied calligraphy and Japanese painting in Tokyo with the master Kampo Harada.</span></p> <p style="text-indent: 20px; line-height: 150%; text-align: justify;"><span style="color: #000000; font-family: arial,helvetica,sans-serif; font-size: small;">Lerner has participated in many one-person and group exhibitions throughout the United States and Japan.&nbsp; She is represented in numerous public and private collections, including The Aldrich Museum of Contemporary Art, Ridgefield, Connecticut; Heckscher Museum, Huntington, New York; Jane Voorhees Zimmerli Art Museum, Rutgers University, New Brunswick, NJ; Kampo Museum, Kyoto, Japan; World Study Museum, Fukuoka, Japan; Price Waterhouse and 3M Corporation.</span></p> <p style="text-indent: 20px; line-height: 150%; text-align: justify;"><span style="color: #000000; font-family: arial,helvetica,sans-serif; font-size: small;">She has created sets for performances by Eiko and Koma, the Japanese dancers and choreographers.</span></p> Tue, 06 Oct 2015 15:20:42 +0000 Chen Wenbo - Klein Sun Gallery - October 14th - November 14th <div class="left"> <p style="text-align: justify;">Klein Sun Gallery is pleased to announce &ldquo;The Fat Years,&rdquo; a solo exhibition of paintings by Chen Wenbo&nbsp;from October 14 through November 14, 2015.</p> <p style="text-align: justify;">Irregular, fragmented and distorted, the hyper-realistic subjects in Chen Wenbo&rsquo;s &ldquo;Broken&rdquo; paintings convey satirical messages, which have been inspired by the &ldquo;carnivalesque&rdquo; &ndash; the English translation of the term coined by Russian critic Mikhail Bakhtin to describe a social landscape mired in revelry.&nbsp; Chen paints everyday objects as shiny, glossy beacons of desire.&nbsp; Drawing from the theory of &ldquo;fat years,&rdquo; an illusion of accelerated economic growth manipulated by higher powers, Chen is both a critic and participator in this bubble of celebration.&nbsp; The audience too, cannot escape this dichotomy: the installed canvases are sliced and carved into silvers, revealing just enough of an illusion to entice; the exhibition walls&nbsp;are fully painted in vivid color.</p> <p style="text-align: justify;">A prominent painter in the figurative movement, Chen is separate from his contemporaries in his stylistic observations.&nbsp; While others air their views through zeitgeist agitprop styles, Chen always chooses to disseminate his socio-political stances through subversion.&nbsp; He paints the mundane as fantastical and brilliant in soft flourescents, as if though a looking glass.&nbsp; His attention is not limited to China; skepticism over market crashes in New York in the late 2000s triggered the artist to consider the inevitable instabilities across the Western and Eastern megacities, and to look at who is presenting the facts and for what purpose.</p> <p style="text-align: justify;">Chen Wenbo was born in Sichuan, China, in 1969, and graduated from the Sichuan Academy of Fine Arts in 1991.&nbsp; Chen has been the subject of solo and group shows including &ldquo;China 8: Chinese Contemporary Art,&rdquo; NRW-Forum Düsseldorf, Düsseldorf, Germany (2015); &ldquo;Re-View,&rdquo; Long Museum, Shanghai, China (2014); &ldquo;Civilization,&rdquo; OCAT Xi&rsquo;an, Xi&rsquo;an, China (2014); &ldquo;Chen Wenbo: Broken Series,&rdquo; Ullens Center for Contemporary Art, Beijing, China (2009); &ldquo;Follow Me,&rdquo; Mori Art Museum, Tokyo, Japan (2005); and &ldquo;Mahjong: Contemporary Chinese Art from the Sigg Collection,&rdquo; Kunstmuseum Bern (Museum of Fine Arts), Bern, Switzerland (2005).</p> </div> Tue, 06 Oct 2015 15:16:40 +0000 Li Liao - Klein Sun Gallery - October 14th - November 14th <div class="left"> <p style="text-align: justify;">Klein Sun Gallery is pleased to announce &ldquo;Attacking the Boxer from Behind is Forbidden,&rdquo; a solo exhibition by Li Liao that showcases a new site-specific performance, on view from October 14 through November 14, 2015.</p> <p style="text-align: justify;">In Li&rsquo;s multi-media and performance works, planned elements &ndash; a video, an instruction, or a routine &ndash; are usually catalyzed or interrupted by an action unscripted by the artist. In this way, Li inquisitively, and sometimes aggressively, plies the boundaries between auteur and subject, artist and observer, private and public. He is best known for the piece, <em>Consumption</em> (2012), where he utilized the self as vehicle for experimentation within the rigid construct of economic greed. He assembled an installation consisting of an iPad framed by the objects, leeched of character, that created it: a lab coat, a badge ID with a number and Li&rsquo;s work contract. This piece was featured in <em>The New Yorker</em> and <em>The New York Times</em>.&nbsp;</p> <p style="text-align: justify;">Whereas <em>Consumption</em> encapsulates a narrative of socio-economic conflict in a singular moment, Li Liao&rsquo;s new work reverses that concept in initiating ephemeral bursts of conflict, confrontation and narrative. The new performance piece, <em>Attacking The Boxer From Behind is Forbidden</em> (2015), features a hired boxer crouched at the gallery from 12pm to 5pm, Tuesday to Saturday; as visitors enter the gallery, they unknowingly also enter a silent &lsquo;boxing ring&rsquo; of tension, and the boxer&rsquo;s volleyed gazes and defensive stances act as cues for participation and reaction. Interrupting the white walls of the commercial space, this performance complicates our sense of expectation.</p> <p style="text-align: justify;">Contextualizing this piece are older works by Li which also touch upon the themes of probability and possibility. In the looping video, <em>A Slap in Wuhan</em> (2010), Li is seen waiting with his eyes closed for a visitor to arrive and the video only concludes after a stranger, hired through an online forum, turns up and physically assaults him as per instructions. In another corner of the gallery, <em>Single Bed</em> (2011), is screened in two short films. Here, Li lay down in public spaces in Wuhan, China, and drifted asleep, resulting in a seemingly innocuous and humorous capture of puzzled onlookers. However, the video piece is a subtle study of intervention and society&rsquo;s reluctance to interfere. Finally, the exhibition space is dotted with 100 images that make up <em>Weight Loss Plan</em> (2011), a photographic chronicling of Li&rsquo;s journey surviving on just 350 Renminbi a month &ndash; the same amount of money he used to spend a month ten years ago.</p> <p style="text-align: justify;">Li Liao was born in 1982 in Hubei, China. He graduated from the Fine Arts Department of Hubei Academy of Fine Arts, Hubei, China, with a BA in 2005. His work has been the subject of notable museum exhibitions including: "2015 Triennial: Surround Audience," New Museum, New York, NY (2015); &ldquo;Hugo Boss Asia Art,&rdquo; Rockbund Art Museum, Shanghai, China (2013); "ON/OFF," Ullens Center for Contemporary Art, Beijing, China (2012) and "rites, thoughts, notes, sparks, swings, strikes. A hong kong spring," Para/Site, Hong Kong (2012).</p> </div> Tue, 06 Oct 2015 15:13:55 +0000