ArtSlant - Closing soon en-us 40 Louise Belcourt, Erik Schoonebeek, Nichole van Beek (USA), Brian Scott Campbell - Jeff Bailey Gallery - June 27th, 2013 - June 27th, 2013 Thu, 08 Aug 2013 17:58:47 +0000 Josh Thorpe - 3A Gallery - May 31st, 2013 - June 28th, 2013 <p><span style="font-family: helvetica; font-size: small;">Poems about wayward dogs, loose figurations in low light, a large wall painting about a Roman toga. Maybe some ukulele or electric guitar. Doodles, sketches, funny faces, nocturnes. </span></p> <p><span style="font-family: helvetica; font-size: small;"> </span></p> <p><span style="font-family: helvetica; font-size: small;">Josh Thorpe makes installations, paintings, drawings, music, and texts. He teaches writing at University of Toronto and works at a heritage architecture firm. Recent work includes exhibitions or special projects at Toronto Sculpture Garden, Museum of Contemporary Canadian Art, Plug In ICA, Printed Matter, and David Roberts Art Foundation, UK. Articles and interviews have been published by Canadian Art, Border Crossings, and the Power Plant, and in 2009 Art Metropole published Thorpe's book, <i>Dan Graham Pavilions: A Guide</i>. In 2011, Thorpe was a finalist in the Toronto Friends of the Visual Arts Artist Award and was elected to the Sobey Art Award Ontario Long List. For images and information, please go to <a href="" rel="nofollow" target="_blank"></a>.</span></p> Thu, 16 May 2013 19:44:12 +0000 Group Show - BROADWAY GALLERY - June 12th, 2013 - June 28th, 2013 <p>Globalization creates unexpected relationships and contrasts in contemporary art. This series focuses on the significance of exhibiting a variety of works in a pluralistic art world. Inspired by salon-style hanging, most commonly attributed to the Salon de Paris held during the 18th and 19th centuries; Broadway Gallery NYC continues this legacy with a contemporary and fresh outlook. Following a trend of previous exhibitions at Broadway Gallery NYC, this show pays tribute to the format of a salon hanging. It is a tradition that awakens contemporary culture to a dynamic collective consciousness.</p> <p>A few notable themes in this exhibit that cross cultures are romanticism, spirituality, and humanity. Part of an ongoing series, Artists at Home and Abroad reaches out to the diverse community of New York. In addition to the exhibition on display at Broadway Gallery NYC, are several concurrent Internet projects, and a print catalog. Furthermore, this exhibit offers writers and viewers an exciting opportunity to submit essays and comments on the nature and significance of biennials, fairs and public exposure for new and emerging artists.</p> <p>This exhibit uses the space as another medium altogether; incorporating the maximum floor-to-ceiling gallery space activates the wall with art works in various media by artists, each of whom offer a unique perspective to the show. These artists have transformed the gallery walls into a compendium of generational takes on figuration, portraiture, and abstraction.</p> <p>Visitors will be surprised to see the stunning results. The speed of interactions via new media allows for global artistic conversations previously unheard before. In an attempt to integrate the numerous artistic languages, this exhibit was installed in a unique format. Two long parallel walls have been carefully installed to create dialogue in the spatial order. Artists at Home and Abroad allows the viewer access to some of the past and current pivotal artistic ideas while introducing newer talent, to generate fresh creative energy through unexpected juxtapositions.</p> Mon, 27 May 2013 22:38:09 +0000 Leonor Anker, Greg Whyte - Gallery 2 - June 6th, 2013 - June 28th, 2013 Wed, 22 May 2013 15:53:21 +0000 Babs Reingold - ISE Cultural Foundation - May 4th, 2013 - June 28th, 2013 <p>The Last Tree is a monumental installation of 193 tree stump sculptures encased in metal pails and placed in a grid formation to transform the gallery space into a barren landscape. The number of stumps corresponds to that of the countries in the world, namely, those members of the United Nations. One large tree rises from the grid, as a symbol of the "last tree," which is in danger of its extinction from the earth. The devastated stumps are poised to witness the destruction of the "last tree" – a fate that humanity is bringing onto itself. Accompanying video projections and sounds amplify the urgency of the situation.<br /> <br /> The project was originally inspired by the anthropologist Jared Diamond's lecture on his book, Collapse: How Societies Choose to Fail or Succeed (2005), and his question, "What do you imagine the Easter Islander was thinking when he chopped down the last tree?" The artist Babs Reingold makes each of us - the viewer examine this question on a personal and visceral level. At what point do we recognize and act upon our self-destruction? Even though her motifs are trees, they stand-in for a collective humanity. To borrow Reingold's interpretation, The Last Tree ultimately is a "vision of a holocaust of sorts, humans destroying a vital part of themselves." Her intention is a cautionary requiem for humanity. <br /> <br /> It is telling that Reingold's "trees" are created through laborious processes. Their shells are made of stained silk organza and stuffed with human hair, which the artist has collected from numerous beauty salons over the years. The diversity of hair from anonymous donors carries each person's DNA, which remains even after death. Hence, the use of hair in The Last Tree installation exemplifies a human condition that exists after an environment is destroyed. Upon closer examination, the tree stumps resemble small creatures with lives of their own. Their surfaces have been hand-sewn, with detailed embellishment to give each a unique character. <br /> <br /> Over the last eighteen years Reingold has worked with these rather unusual materials in manifold ways to address the issues of beauty, poverty, and environment. Her best known works include a triptych, A Question of Beauty (2007), which chronicled the artist¡Çs own hair loss over 365 days, and a major installation, Hung Out In the Projects (2010), which reveals the "wreckage of humans trapped in a poverty." The latter, shown at the Morean Art Center, St. Petersburg, FL, helped earn a 2010 State of Florida Individual Artist Fellowship. Her solo shows include galleries in Los Angeles, Atlanta, Savannah, Buffalo, and St Petersburg; museum shows in Jersey City, Newark, Buffalo, and Tampa. She has works in countless private collections, including Savannah College of Art and Design, as well as in the collections of Newark Museum and Museum of Fine Art, St Petersburg, FL.</p> Mon, 15 Apr 2013 23:04:50 +0000 CHRISTIANE LÖHR - Jason McCoy Gallery - May 8th, 2013 - June 28th, 2013 <p><b>Jason McCoy Gallery is pleased to present the second New York solo exhibition of the German artist Christiane Löhr. The show will feature a selection of sculptures, new works on paper, as well as site-specific installation.</b> </p> <p>Based in Germany and Italy, Christiane Löhr works with organic materials. Her sculptures transform ivy seeds, plant stalks, tree blossoms, and horsehair, for example, into elaborate geometric constructs. Instead of manipulating these ingredients with foreign materials such as paint or glue, Löhr’s practice is based on the pure act of “ordering”. She carefully evaluates her materials; she studies their overall structure and physical characteristics, assesses their resistance and elasticity. By organizing single elements into intimately scaled volumetric forms, Löhr derives at a unified entity that exudes both harmony and tranquility. </p> <p>Löhr’s sculptures encourage focused observation. When studied up close, they pay homage to the wealth and delicacy of detail found in nature. In that sense, Löhr provides a pedestal for the often overlooked and yet omni-present remnants of environmental organisms. Carefully installed, these objects of nature further engage in a dialogue with architecture. Seen outside their natural context and carefully installed in manmade spaces, they gain an iconic presence and clarity. Though Löhr’s oeuvre shares aesthetic qualities with Minimalism and the Arte Povera movement, her exclusive focus on nature makes for a rather unique stance. “<i>My sculptures all share something</i>”, she explains. “<i>This might be defined as a whole, which is made up of a number of individual elements that suddenly seem inseparable. I have the sense that the work process itself is strict, each work has its own logic and follows a vision of clear gesture and form that comes from within</i>.” </p> <p>In addition, Löhr’s works on paper expand on the exploration of light. Whereas the sculptures are meticulous and precise, these works embrace a gestural quality a sense of spontaneity. Abstract, yet reminiscent of plant structures, these are rendered in a strictly black and white or grey and white palette. They are concentrated analyses of the interplay between translucency and opacity, biomorphic form and geometric rhythm. For the past year, Löhr has focused on increasing the size of her works on paper. This exhibition will feature a selection of new examples. </p> <p>Christiane Löhr was born in Wiesbaden in 1965. She has exhibited extensively in Europe and Asia, including at the 49th Biennale di Venezia. Her solo exhibition at the Villa Panza in Varese, Italy, in 2010, was the last exhibition conceived by the acclaimed collector Giuseppe Panza. Christiane Löhr lives and works in Cologne and Prato, Italy.</p> Wed, 01 May 2013 21:05:01 +0000 Ajiki Hiro - Joan B. Mirviss LTD - May 3rd, 2013 - June 28th, 2013 <p>Joan B. Mirviss LTD is delighted to present our first exhibition focused exclusively on the ceramic art of the Japanese tea ceremony, with over forty recent works by master teabowl artist <b>Ajiki Hiro.</b> Using a multiplicity of forms and a broad array of captivating glazes and patterns, Ajiki is renown in Japan for his unrivalled range of unique and personalized teabowls. He is one of the very few active ceramists so focused on this highly complicated and revered implement.</p> <p>For over twenty-five years, Ajiki Hiro (b. 1948) has concentrated on the art of perfecting the teabowl, or <i>chawan,</i> the central element in the Japanese tea ceremony (<i>chanoyu</i>). As an artist, he views the tea ceremony as an intimate form of communication between host and guest as well as a spiritual experience.  The teabowl, while appreciated as a work of art, is really a functional drinking vessel that offers, when held, a magical combination of balance, form and weight that should complement the taste and sensibility of both the user and the host. For this artist, his goal is to convey to the recipient, his own energy and personality, and for the viewer, in selecting a particular teabowl, to reveal his own values and taste.</p> <p>Ajiki recently commented: <i>“The small space embraced within your palms [when holding a teabowl] becomes a mirror to reflect both yourself and the world around you, telling a story… the tea ceremony itself offers a space and time for communication as participants share equally in the moment.”</i></p> <p>Initially trained as a western-style painter when an art student, Ajiki brings a highly developed color sensibility combined with bold patterning to his evocative ceramics as well as to his interest in calligraphy and traditional Japanese painting.  With his vast range of shapes and styles, this potter stands alone in Japan, particularly in his passion for salt-glazed (<i>enyû</i>) teabowls. His <i>basara</i> series of teabowls and tea caddies (<i>chaire</i>) has received great acclaim. Derived from the late-16<sup>th</sup>-century tastes of the militaristic ruling class, <i>basara</i> implies gorgeous but refined beauty, but in Ajiki’s oeuvre, is evoked in the richly colored checkerboard patterns on his faceted vessels. Individual rectangles contain glazes varied both in color and texture, sometimes gold and occasionally silver, one balancing and contrasting with another as the bowl is rotated in the palm of one’s hand.</p> <p>In 1987, Ajiki won the prestigious Grand Prize at the Modern Tea Forms Exhibition of the Tanabe Museum of Art for a <i>basara-</i>style teabowl and numerous awards have followed. His work can be found in public and private collections in Japan and internationally, including the Metropolitan Museum of Art. While our gallery has represented Ajiki for over a decade, this exhibition marks his first solo exhibition in the United States.</p> <p> <b> </b></p> Fri, 05 Apr 2013 00:36:05 +0000 Oliver Vernon - Joshua Liner Gallery - May 30th, 2013 - June 28th, 2013 <p>Joshua Liner Gallery is pleased to present <em>Renegade Trajectories</em>, an exhibition of new paintings and works on paper by Oliver Vernon. This is Vernon’s third solo show with the gallery, and the artist will be present at the opening reception on May 30.</p> <p>Combining elements of landscape painting, figuration, and abstraction, Vernon’s practice pushes all of these categories beyond easy distinction, creating a hybrid visual language all his own. “The picture plane is a continuum of give and take,” says Vernon, “where positive and negative space give way to each other in rhythmic intervals. Energy oscillates and migrates, initiating changes along the way. And color is a navigational tool to guide the eye through the chaotic scape.”</p> <p>Vernon lives in the Sierra Nevada region of northern California, and glimpses of these breathtaking vistas turn up frequently in his work. However, landscape is never a subject or even backdrop, per se, but instead a visual cue toward the expansive scale of Vernon’s abstraction. In many works, this takes the form of a wave-like torrent of arching brushstrokes and cascading patterns that dominate the canvas, devouring mountains, valleys, clouds, and the horizon, or nimbly swirling everything into the overall composition. The effect is destabilizing, imposing an abstract system on the more common notion of a fixed, physical reality—landscape gives way to visual frenzy, flights of imagination, and transformation.</p> <p>In <em>Renegade Trajectories</em>, Vernon explores this dynamic with twelve medium-sized acrylic on linen or canvas paintings and a suite of twelve ink on paper works. The exhibition will showcase several large-scale paintings, the largest measuring nearly 8-x-7 feet. In the painting <em>Excavation</em>, a jagged cyclone of geometric shapes, architectural elements, and quasi-anatomical forms swirl about a distant horizon, pulling it in or ushering it forth. In the dramatic painting <em>Flashback</em>, this force takes the form of an orange and violet-tinted flood, inundating the picture with a chaotic rush of brushstrokes, graphic patterns, and semi-figurative material. As the artist notes, “These incidents or events take place in worlds within worlds. Everything is whirring with activity as parts of systems engage with other systems in a state of constant flux.”</p> <p>In his works on paper, Vernon’s use of Sumi ink imparts an even sharper contrast of forces, of positive and negative space, in black, white, and subtle gray scale. Hard-edged but somehow serene, these pictorial spaces draw viewers into a spiral of connected facets (or dimensions)—cascading flower petals, lozenge forms, pulmonary or lung tissue, honeycomb—giving way to a brightening horizon beyond. Ultimately, the distinctions of figuration/abstraction, figure/ground, are not the artist’s primary interest. In all of his work, Vernon is most fascinated by the dynamic interplay between these surreally juxtaposed elements—in his own words, “not the what but the how.”</p> <p><em>Reception Thursday May 30 from 6-8pm</em></p> Tue, 18 Jun 2013 00:18:41 +0000 - Sperone Westwater - May 10th, 2013 - June 28th, 2013 <p class="p1">In his fourth solo show at the gallery, Wim Delvoye presents new and recent laser-cut stainless steel and bronze sculptures, including the monumental Gothic tower <i>Untitled (Suppo) </i>which will be suspended from the gallery's ceiling. By combining religious symbols with Gothic, Baroque and Rococo architectural elements and industrial machinery, Delvoye recontextualizes these items, often creating work that is subversive and provocative. The exhibition will be on view on floors 1 and 2 through June 28.</p> Mon, 22 Apr 2013 16:50:39 +0000 Mark Greenwold - Sperone Westwater - May 10th, 2013 - June 28th, 2013 <p class="p1">Complex in execution, psychology, and pictorial space, Mark Greenwold's small-scale, meticulously crafted paintings and drawings confuse the imagined and real. Due to his painstaking painting process, Greenwold rarely exhibits. This is his first show at the gallery and will be on exhibition on floor 3 through June 28.</p> Mon, 22 Apr 2013 17:01:24 +0000 Alexander Gorlizki - Van Doren Waxter Gallery - April 25th, 2013 - June 28th, 2013 <p>Van Doren Waxter is pleased to present <i>Alexander Gorlizki: For Immediate Release</i>, an evolving solo exhibition featuring works on paper, installation, sculpture, and for the first time, works on cloth by Alexander Gorlizki. The exhibition will be on view from April 25th to June 28th, 2013. <br /> <br /> Gorlizki’s works on found paper, book pages and photographs create intricate and dense worlds with quirky characters and pattern-filled abstractions. Mixing Eastern and Western iconographies with realistic and imaginatively depicted personae, Gorlizki presents witty, surreal scenarios often suggesting a narrative or happening, and other times rooted in pure abstraction. In <i>There’s Someone Else</i>, rolling turquoise hills have a Buddha-like head at their apex, in this case a photograph of Lana Turner, her hair replaced with leafy plant life. Various figures and forms pepper the page including a light bulb sporting underwear and a rendition of Dante staring across the scene. In a number of works, Gorlizki has left a large portion of the base picture exposed and deliberately modified the image to a rather humorous effect. In <i>A Woman of Means</i>, a fashion model’s pet dogs have mutated into an amorphous leopard with tentacles. Much of the imagery has roots in the artist’s interest in the applied arts and design ranging from traditional Afghan textiles to medieval tapestries and Russian ceramics from the 1920s. <br /> <br /> The interplay between various cultural iconographies is echoed in the production methods of the work. For nearly two decades, Gorlizki has commissioned a wide range of artisans and craftspeople specializing in highly skilled, traditional techniques; the most long-standing of these creative relationships is with Riyaz Uddin, a master miniaturist painter in Jaipur, India, with whom Gorlizki established an atelier in 1996. Much of the imagery that has evolved in the works on paper, produced at the atelier in Jaipur and the artist’s studio in Brooklyn, NY, have now been applied to larger works on cloth in the Pichvai (temple hanging) tradition, as well as sculptural objects as Gorlizki has recently renewed his work with stone carvers, metal casters and tailors, among others. <br /> <br /> The exhibition’s title, <i>For Immediate Release</i>, refers to the context of viewing art in the form of a press release, but also represents a pent up creative energy being released, not necessarily in an orderly fashion, to show the artistic process as an organic form. There is a cathartic element to this concept in which the process and product are equally as important. Mirroring this sentiment, portions of the installation will be gradually rotating in and out producing a constantly changing display. This exhibition aims to create a fully immersive environment and a window into the artist’s mind. Artist-designed wallpaper will cover the walls and wool rugs patterned with Gorlizki’s signature abstractions will adorn the floor creating a colorful backdrop for the assemblage of works on canvas, paper and sculpture. <br /> <br /> Alexander Gorlizki was born in London, U.K., in 1967 and received his M.F.A. from the Slade School, London, U.K. He currently lives and works in Brooklyn, NY. His work is included in the collections of the Victoria &amp; Albert Museum, London, UK, the Royal Ontario Museum, Toronto, CA, the Museum Kunst Palast, Düsseldorf, Germany, and the Denver Art Museum, Denver, CO. Recent solo exhibitions include Jhaveri Contemporary, Mumbai, India, Kudlek van der Grinten Galerie, Cologne, Germany, and John Berggruen Gallery, San Francisco, CA. Recent group exhibitions include <i>Watching Me Watching You</i>, Denver Art Museum, Denver, CO, 2011.</p> Wed, 17 Apr 2013 23:40:55 +0000 Salman Toor - Aicon Gallery - New York - May 10th, 2013 - June 29th, 2013 <p>Aicon Gallery New York is proud to present The Happy Servant, an exhibition of recent works by Salman Toor. Toor’s paintings are an eclectic mix of the exhausted categories of old and new, where inspiration from Old Master painting techniques meld seamlessly with imagery from South Asian mass-media and popular culture, including graphic paintings from local Lahore cinema billboards and contemporary advertising from Bollywood and fashion magazines. The exhibition features a group of eleven paintings exploring the complex and often-uncomfortable relationships between servants and masters. Within these works, Toor transforms signs of poverty and commercial products into heroic symbols and absurdly idealized motifs through the metaphysical qualities of oil paint.<br /> <br /> With Toor’s masterfully whimsical way with paint, these scenes are much more than the literal amalgamation of their commercial sources. Instead, they stage their own private masquerade, cloaking the fantasies of contemporary subjects with a veneer of museum-worthy Old Master virtuosity. The works, however, are not simply an exercise in technical skill, but rather the result of a complicated personal relationship with Western art history, by which the artist has re-interpreted his own place in his native social fabric. For Toor, aspiring towards the vivid scenes and technical perfection of the Renaissance and Baroque masters remains both a feasible and contemporary impulse, capable of yielding unique interpretations of the entrenched tenets of South Asian culture and advertising. In this lens, Toor’s work is set apart in an age of exhausted irony and innumerable iterations of commercial imagery.<br /> <br /> In Girl with Driver, a salmon-colored Honda Civic becomes as luxurious as a silk cravat in an Ingres painting. The artist transforms this common sight in urban Pakistan – a woman in the backseat with a male driver up front – from its quotidian origins into an allegory of the humdrum of the present and the venerable painting of the past, simultaneously beautiful and grotesque. However, Toor’s realism is selective, which can be seen in the fantastical luminosity of the colors and stylized anatomy of the figures, while visual clichés - the woman smelling a flower from the car side – provide a running commentary of the absurd social subtexts of such a scene. The composition and typecast figures in this and other works are culled from the ubiquitous advertisements for jewelry, beauty products (‘Fairness Creams’), new shopping malls and cell phone providers dominating Pakistan’s urban media landscape.<br /> <br /> Both The Rickshaw Driver's Dream and Driver and Maid depict fantastic scenes of personal and collective wish-fulfilment through an impossible combination of visual references and cultural stereotypes, including the famous group dances of Bollywood musicals and the painted covers for Mills and Boon romance novels from the 1970s. The Rickshaw Driver borrows its compostion from Titian's Three Ages of Man (circa 16th century Venice), which itself was most likely influenced by Giorgioni’s themes and motifs of landscapes and nude figures. In Toor’s work, this familiar scene of idyllic romance is pushed over the edge into Bollywood pathos by the presence of ever-ready backup dancers, who have spontaneously broken into their routine in support of the “leading couple.” In this cinematic trope, the class differences that typically dominate South Asian society are instantaneously dissolved and cooks, gardeners, landlords and drivers all rejoice in choreographed triumph for a singular imaginary couple. As a result, it highlights the comedically absurd nature of mass-marketed culture and advertising in modern-day India and Pakistan that often serves to mask a much darker social reality.<br /> <br /> Similarly, poverty oscillates between caricature and reverence in The Happy Servant, while The Happy Sweeper brushes away in a sentimental Disneyland of daisies and four-leaf clovers. In both works, one senses the inherent isolation of the central figure in an otherwise carelessly jubilant gathering or classically-inspired milieu. Further emphasizing this skewed reality in both works are the subjects’ frozen smiles, which exude a foreboding quality slithering under a skin of frivolity. <br /> <br /> In all his works, Toor deftly presents a subtle melding of the consumeristic and social fantasies perpetuated by the mass-media of urban India and Pakistan, along with a Renaissace-era spirit of light, technique and idealis. This collaboration presents a unique vision of the complexities and exchanges between South Asian popular culture and the art historical traditions of Western idealization. Salman Toor (b. 1983) lives and works between New York and Karachi, Pakistan. This is his first solo exhibition in New York.</p> Tue, 25 Jun 2013 01:47:30 +0000 Youmna Chlala - Art in General - April 20th, 2013 - June 29th, 2013 <p>Art in General is pleased to present <em>Days of Being Wild</em>, a short film by Youmna Chlala, opening on April 20 and running through June 29, 2013.</p> <p><strong>Youmna Chlala</strong> is an artist and writer born in Beirut and based in New York. Her work investigates the relationship between fate and architecture. She has exhibited and performed in the US, Middle East, Canada and Europe at institutions such as Camera Austria, Graz; the San Jose Museum of Art, San Jose, CA; Yerba Buena Center for the Arts, San Francisco,CA; and Mashrabia Gallery, Cairo, Egypt. She has participated in the International Roaming Biennial of Tehran (Berlin and Istanbul); and has read her fiction as part of the 2008 Whitney Biennial. Chlala has received residencies and fellowships at Headlands Center for the Arts, CA; CAMAC: Center for Art and Technology, France; Fine Arts Work Center, MA; AIWA, Lebanon; Makan House, Jordan; Goethe-Institut and European Cultural Fund. She is the Founding Editor of the <em>Eleven Eleven Journal of Literature and Art</em>.</p> Mon, 25 Mar 2013 22:45:23 +0000 Letha Wilson - Art in General - April 20th, 2013 - June 29th, 2013 <p>Art in General is pleased to present a new body of work by Letha Wilson, opening Saturday April 20 and running through June 29, 2013.</p> <p><strong>Letha Wilson</strong> was born in Honolulu, raised in Colorado, and currently lives and works in Brooklyn, NY. She received her BFA from Syracuse University in 1998 and her MFA from Hunter College in 2003. Her work has been shown at many venues including the the Aldrich Museum of Contemporary Art, Ridgefield, CT; Bemis Center for Contemporary Art, Omaha, NE; the Bronx Museum of the Arts, Bronx, NY; Essl Museum, Vienna, Austria; Gallery Diet, Miami, FL; P.P.O.W, NY, NY; Socrates Sculpture Park, NY, NY; and toomer labzda, NY, NY. Recent solo exhibitions include, <em>Letha Wilson</em>, Higher Pictures, NY, NY (2013); <em>Photography Is</em>, Higher Pictures, NY, NY (2012); <em>Punch the Sky</em>, Vox Populi, Philadephia, PA (2011); and <em>Lost Horizons</em>, Buffalo Arts Studio, Buffalo, NY (2009). Wilson was an artist in residence at Bemis Center for Contemporary Arts, Omaha, NE (2011); The Corporation of Yaddo, Saratoga Springs, NY (2012), and the Skowhegan School of Painting and Sculpture, Skowhegan, ME (2009).</p> Tue, 18 Jun 2013 19:09:53 +0000 Kimberlee Venable - Art in General - April 20th, 2013 - June 29th, 2013 <p>Art in General is pleased to present a new site-specific installation by Kimberlee Venable, opening on April 20 and running through June 29, 2013.</p> <p><strong>Kimberlee Venable</strong> is an artist living and working in Brooklyn, NY. She received her MFA from School of Visual Arts, NY, NY in 2012 and her BFA from the Cleveland Institute of Art, Cleveland, OH in 2000. Recent exhibitions include <em>EXCEEDINGLY FEMININE</em>, Vaudeville Park, Brooklyn, NY (2012); <em>Walking Forward-Running Past</em>, Art in General, New York, NY (2012); <em>stillspotting nyc</em>, Solomon R. Guggenheim Museum, NY, NY (2011); and <em>P h a n t a s m o r g a n i c a</em>, Allegra La Viola Gallery, New York, NY (2010).</p> Mon, 25 Mar 2013 22:50:14 +0000 Ian Hamilton Finlay - David Nolan Gallery - May 8th, 2013 - June 29th, 2013 <p>David Nolan Gallery is pleased to present its 8th exhibition of work by the celebrated Scottish artist, Ian Hamilton Finlay (1925-2006). On view from May 8th until June 22nd, the exhibition focuses on an array of the artist’s “maritime” works. The sea, together with the vessels that venture upon and qualifiedly domesticate it, is a theme that has coursed through Finlay’s work since his earliest poems, cards and artist’s books of the 1950s and ‘60s. The works gathered here span five decades.<br /> <br /> Among Finlay’s abiding preoccupations is the relationship between written language and image, between a text (a word, a phrase, a bit of signage) and its both literal and figurative contexts. Finlay, who began as a writer, experimented ceaselessly with ways of generating, inflecting and provocatively destabilizing verbal meaning through the manipulation of written language’s physical properties: i.e, through the often witty play with typography, color, composition, scale, materials. By the early 1960s, Finlay had gained a reputation as one of Britain’s foremost practitioners of Concrete Poetry, yet he had also become increasingly interested in securing for his “poems” greater <i>gravitas</i>, in equipping them with both an irresistible physical presence and a far-reaching metaphoric range. Finlay’s early love for making toy boat and plane models provided a key, and his poems – his poems’ language – moved from the page onto wood, glass, plexiglass, tile, metal, stone and eventually onto (and into) the landscape, or Nature, itself. (Finlay’s famous garden Little Sparta, a life work, can be perceived as one sustained, sensuous, “concrete” poem.) The allusive range of Finlay’s poems, or “poem-objects,” likewise stretched outward from the immediate here and now to the farthest edge of the ocean’s or heaven’s vastness and, temporally, to the earliest nature philosophy of the Pre-Socratic Greeks. (One of the <i>Ship’s Bells</i> exhibited here makes tongue-in-cheek reference to the Pre-Socratic concept of a harmony of opposites.)</p> <p>Words or written symbols set upon materials like wood or stone automatically become <i>inscriptions</i>, and over time Finlay came to both powerfully and hauntingly exploit inscription’s special character as a commemorative, or memorializing, device. The pear in <i>Au Pair</i> is a perfect rounded fruit, with a little fillip of sauciness to its contour: a girl idealized – and metaphorically preserved – in recollection. The girl is invoked yet necessarily remains forever absent. The title of the current exhibition is the title of a 1968 concrete poem that reappears here, in full, as a sear-white inscription on a tablet of dark glass. The poem’s “nets,” “lights,” “fish” and “roofs,” conjured with tender simplicity, have been transformed into interchanging images that mediate between raw nature (a black “ring of waves”) and a transcendent, metaphysical light. This work, a landscape of the artist’s thought and a brilliant exercise in verbal economy, is at once elegiac and exultant. <br /> <br /> In the main gallery, the large horizontal ceramic work <i>Wave Rock</i> (1974-5) describes another landscape, a shoreline where the sea’s recurring “wave”s break upon and mingle with the land’s “rock”s. Here, the points at which the two opposed elements (water and earth), the two different words, collide a third word, “wrack” – or living seaweed – tentatively emerges. This work, like others of Finlay’s, both chronicles and re-enacts the complex, contradictory relation between the natural and the humanly constructed worlds, between Nature and Culture: nature (sea, rock, earth, woods, wind, wildflowers, stars) can only be represented and made intelligible to us when ordered through cultural constructs (through language or visual tropes) that perforce belie Nature’s essential untamed “naturalness.” We have been given, perhaps, the action of the sea but in words and images only – suggestively, circuitously, abstractly, beautifully.</p> <p>The early stone sculpture, <i>The Fisherman’s Cross</i> (1967), alludes by title to both early Christianity (fishers of men, <i>ΙΧΘΥΣ</i> or the Icthys cross) and the crosses placed to commemorate loved ones lost at sea. The repetition of the word “seas” shapes a cruciform but also implies endless, circling movement like that of the ocean or life itself. The single word “ease,” at the work’s still center, is a longed-for idyllic state – a static place rather than a shifting condition – achieved, however, only in death. The mainspring of meaning in all Finlay’s art is metaphor, or the coupling, within a single work, of radically unlike terms (e.g., seas/ease/cross, wave/rock, pear/<i>au pair</i>/girl, sea poppy/fishing boats/a constellation of stars, hazel grove/ship, swallow/anchor, chrysalis/propeller, etc.). These unlike terms, when linked together, begin to reverberate, as we search for their relation or connection. They are brought by Finlay to behave as “multivalent” pointers, or mutable invocatory signs. Through metaphor, the sea or stone or cloud, fishing boat or anchor or bell, is lifted out of the literal universe into the realm of the imagination, of culture. With this “transfiguration” of terms, however, comes the inescapable loss of the real thing.<br /> <br /> A Finlay metaphor can be the outcome of a single word carefully inflected by its setting, and many of the artist’s “maritime” works are based simply on the name of a boat with, occasionally, the boat’s home-port tag. Boats’ names are by custom highly figurative, but in Finlay’s hands they become doubly so. <i>Hazel Grove</i> (hazel wood is traditionally used for the frames of coracle boats) and <i>Lea Rig</i> (Scots for a ridge of grassy, unplowed land) may consist only of painted letters resembling the signage on trawlers’ hulls, but they metaphorically carry the thought of a green place and of cultivation – of culture – onto the void wilderness of the ocean. In Finlay’s art, the Sea – untamed, unfathomable, undifferentiated, vast, other – deepened over time into a symbol, or meta-trope, the figurative reservoir of all the poet-artist’s images and representations in still inchoate form. A Finlay work is like (is) a fragile but sturdy vessel – a venture of uncertain success – that, by dint of skill and luck, will eventually return landside, or “home, happy but tired.” Yet the sailor-artist’s enduring challenge, the never-perfectly-attained object of his assays and, in the end, his ultimate bourn is the Sea, the dark “ring of waves.” <br /> <br /> Ian Hamilton Finlay was born in Nassau, the Bahamas, and moved to Scotland as a child. The artist’s renowned garden “Little Sparta,” in southern Scotland, is a prolonged meditation upon the relation of nature and culture, borrowing many of its forms from the English Neoclassical landscape tradition.</p> Sun, 23 Jun 2013 01:17:43 +0000