ArtSlant - Recently added en-us 40 Corina Reynolds - Open Source Gallery - October 11th - November 1st <p>Corina Reynolds presents &ldquo;Northwestern Expansion,&rdquo; an installation for Open Source Gallery.</p> <p>When explorers in the 1400&prime;s patiently waited through harsh winters with their ships sometimes frozen in place during their search for the Northwest Passage, they were making progress while waiting. The occupants of a waiting room are not explorers, per say, but they are making progress towards a goal while in a state of pause&mdash;every second they get closer to their destination.</p> <p>&ldquo;Northwestern Expansion&rdquo; is an immersive installation examining the act of waiting in pursuit of one&rsquo;s goals. Reynolds recreates a waiting room and executive office from the Northwestern section of the Jacob K. Javits Federal Building in Manhattan, which is home to the Social Security Administration, New York City Immigration, and many other government offices. In her installation, Open Source&rsquo;s main gallery becomes a container that holds a &ldquo;core sample&rdquo; of the Javits building&rsquo;s 31st floor. Reynolds uses the search for the Northwest Passage, a northern trade route from the Atlantic to the Pacific Ocean, as well as traditional waiting rooms as a metaphor for the waiting we do daily. These acts of waiting in office buildings, like the icy search for the Northwest Passage, are motivated by money, prestige, and exchange. Through carefully controlled light, surface, space, and typical waiting room furnishings such as vinyl flooring, industrial carpeting, service counters, and office chairs, Reynolds puts the viewer in intermission, evoking the experience of waiting and allowing individuals to examine their own ambitions.</p> <p>Corina Reynolds is an artist who works with installation, video, and performance. Her immersive works invite the viewer to experience the hierarchies present every day in society. She earned her BFA from San Diego State University her MFA from the Cranbrook Academy of Art and in 2012 co-founded Small Editions, an artist book studio and press in Brooklyn. In 2011, Reynolds was an artist-in-residence at the Wassaic Project in New York. From 2011-2013, she taught courses in bookbinding and artist book publication at the Interlochen Center for the Arts. Reynolds has exhibited across the U.S. in New York, Michigan, Iowa, and California.</p> Tue, 30 Sep 2014 15:46:06 +0000 - Tampa Museum of Art - October 11th - January 11th, 2015 <p>Few places continue to enthrall us like Paris and the rich legacy of the artists who made the &ldquo;City of Light&rdquo; their home. Together, these artists, including the well-known leaders of French impres- sionism&mdash;Claude Monet, Pierre Auguste Renoir, Camille Pissarro&nbsp;and Alfred Sisley&mdash;came to define 19th-century Parisian moder- nity, bringing to life the cafeĢs, city streets, and brightly lit seaside resorts of the French capital and its environs.&nbsp;Renoir to Chagall: Paris and the Allure of Color&nbsp;showcases 55 masterpieces from the renowned collection of the Dixon Gallery and Gardens.</p> Tue, 30 Sep 2014 05:24:24 +0000 Philippe Weisbecker - Zieher Smith & Horton - September 4th - October 4th <p>Zieher Smith &amp; Horton&nbsp;inaugurate their collaboration with a survey spanning over 20 years featuring 75 drawings, books and objects by French artist&nbsp;Philippe Weisbecker. Ranging from structural peculiarities to gravestones to objects of interior design and what the artist aptly dubs &ldquo;workshop utilities,&rdquo; his renderings serve as an elaborate platform for the visual Flaneur whose practice is informed by decades of careful study of the history of art, design, architecture and the persistent act of making in multiple media.<br /><br />Working principally on careworn, antique paper, Weisbecker&rsquo;s eye for the local is informed by a deep understanding of the strange and the useful, evoking from them a sophisticated simplicity. Weisbecker has said &ldquo;When I go to a new town, I don&rsquo;t go to the art museum; I go to the hardware store.&rdquo; Far from utilitarian, however, the drawings themselves are collapsed essences of the forms they depict.<br /><br />In one series, titled &ldquo;Structures Elementaire,&rdquo; Weisbecker summons Sol LeWitt by way of flattened radio towers created with a hand-made soft edge and warmth that turns fact into epiphany. Indulgent and elemental, the vibe approaches worship. Steeped in Minimalism and Art Brut, Weisbecker manages to find a way for the two disparate strains to comfortably commingle.<br /><br />Evoking those tricky interstices, the artist writes &ldquo;I like the way the object&hellip; passes from three to two dimensions, the dimensions of the support. The object no longer has any protruding angles or sides to allow my mind to apprehend or examine it. In the space between its carapace, which offers itself to view, and its support, from which it is now indissociable, resides all its mystery.&rdquo;<br /><br />Born in 1942,&nbsp;Philippe Weisbecker&nbsp;was raised in France. From 1966 to 1968 he lived in Tunisia and lived in New York City from 1968 until 2006. He now divides his time between Barcelona and Paris. He has exhibited and published widely in the United States, France, Japan, Spain, Belgium and Italy. This is his first exhibition with the gallery.</p> Tue, 30 Sep 2014 02:14:19 +0000 - Matthew Marks Gallery - 526 W. 22nd St. - October 4th - November 29th Tue, 30 Sep 2014 01:53:58 +0000 David Humphrey - Fredericks & Freiser - October 9th - November 8th <p><strong>Fredericks &amp; Freiser</strong>&nbsp;is pleased to present an exhibition of new work by&nbsp;<strong>David Humphrey.</strong>&nbsp;The artist will exhibit painting and sculpture that continue his method of developing images from the public realm into imaginative hybrids of the social and eccentrically individual, the historic and vividly contemporary.<br /><br /><em>Work and Play</em>&nbsp;elaborates themes of looking, making, and imagining. Humphrey's subjects disassemble and reorganize themselves within his psychologically charged spaces. Spontaneous gestures cavort with photo-mechanically derived images, promiscuous abstract shapes and animals to tell stories of consciousness set loose into a world of objects and resistant matter.&nbsp;<br /><br /><strong>About the Artist<br />David Humphrey</strong>&nbsp;(b. 1955) lives and works in New York. He has had solo exhibitions at the McKee Gallery, New York, Sikkema Jenkins &amp; Co, New York, Fredric Snitzer Gallery, Miami, and the Contemporary Art Center, Cincinnati. His work is in many public collections including the Walker Art Center, Minneapolis, The Metropolitan Museum of Art, New York, and The Carnegie Museum of Art, Pittsburgh. He is currently teaching in the MFA programs of Columbia and the University of Pennsylvania. An anthology of his art writing, titled&nbsp;<em>Blind Handshake,</em>&nbsp;was published in 2010. This is his second solo exhibition at Fredericks &amp; Freiser.</p> Tue, 30 Sep 2014 01:47:13 +0000 Emma Amos, Romare Bearden, Siona Benjamin, Beverly Buchanan, Rimma Gerlovina, Roger Shimomura, Jaune Quick-To-See Smith, Flo Oy Wong, Valeriy Gerlovin - Flomenhaft Gallery - October 8th - November 29th Tue, 30 Sep 2014 01:43:05 +0000 Antoine Catala - 47 Canal - September 28th - November 2nd <p>I don&rsquo;t feel the same anymore. <br />I feel new. I don&rsquo;t know how to describe the sensation. <br />Do you? <br />Can you feel how I feel? <br />Is really the sole purpose of emotions the survival of a gene pool? The ultimate bonding gel. <br />Through the screen, can you tell how I feel? My voice, do I sound nervous or happy? <br />Can one learn new feelings? A new type of anger, with a hint of pride, a new breed of painless <br />joy. <br />Can you teach me how to feel, because I lost touch? <br />It&rsquo;s like something recently severed, and emotions are drifting inside of me. <br />When I was a little boy, I put myself in other's shoes. I would mimic people around me, <br />copy the way they walked, the way they sat or spoke. It would open a window into their minds. <br />Empathic machines are coming, like children, learning. <br />Will I be able to outsource my feelings to emobots one day. I wouldn't have to deal with shitty <br />emotions anymore. Let the emobots process my crappy moods and re-infuse my body with good vibes. <br />Fleeting. <br />If emotionomics is to become a reality, would I ever be able to purchase a meal with the <br />sensation of freedom that permeates through me today? Pay with a confused transactional smile. <br />This is personal, and it&rsquo;s not. <br />It&rsquo;s all transparent. Let&rsquo;s put our feelings on the table. <br />Antoine Catala (born in 1975, Toulouse France) lives and works in New York and has exhibited <br />extensively both in the US and abroad. Recent solo exhibitions include: Heavy Words, curated by <br />Florence Derieux at Peep-Hole, Milan (2014) and Image Families, curated by Linus Elmes at <br />UKS, Oslo (2013). His work has also been included in Archeo, curated by Cecilia Alemani, High <br />Line, New York, NY; Meanwhile...Suddenly and Then, 12 Biennale de Lyon, France curated <br />by Gunnar B. Kvaran; ProBio, organized by Josh Kline, EXPO 1: New York, MoMA PS1, New <br />York, NY; Empire State, curated by Alex Gartenfeld and Norman Rosenthal, Palazzo delle <br />Esposizioni, Rome, Italy and Puddle, pothole, portal, co-curated by Ruba Katrib and Camille <br />Henrot, Sculpture Center, Long Island City, NY, opening in October.</p> Tue, 30 Sep 2014 01:25:36 +0000 - Wave Hill - September 6th - December 7th <p>The &ldquo;Conservation President,&rdquo; as Theodore Roosevelt (1858-1919) would later come to be known, had some of his earliest experiences with nature during the idyllic summers his family spent at Wave Hill House in the years 1870 and 1871, when Theodore was 12 and 13. The budding naturalist found a haven here at Wave Hill where he could study, draw, and record his observations of local flora and fauna. Already in the drawings and diaries of those early years were signs of his adventurous spirit and relentless desire to categorize, preserve and even conquer the world around him.</p> <p><em>The Young Naturalist&nbsp;</em>closes Wave Hill&rsquo;s programming on illustrious residents, such as Mark Twain, Arturo Toscanini, and Bashford Dean. This exhibition assembles materials related to Roosevelt&rsquo;s abiding love for the Hudson River Valley, including reproductions of childhood drawings, political cartoons, and two prized books: his boyhood favorite&nbsp;<em>The Boy Hunters</em>, and his own adult memoir&nbsp;<em>African Game Trails.</em>&nbsp;This remarkable dedication to natural history is also celebrated in Glyndor Gallery&rsquo;s&nbsp;<em>Recapturing the Scenic Wilds</em>.</p> Tue, 30 Sep 2014 01:09:36 +0000 Alexa Hoyer, Lori Nix, Ruth Marshall, Hugh Hayden, Jessica Segall, Liselot van der Heijden, Dana Levy, Mark Dion, Richard Barnes - Wave Hill - September 6th - December 7th <p>Inspired by the naturalist legacy of Theodore Roosevelt (1858&ndash;1919), a former resident of Wave Hill House who had a lifelong passion for discovering and collecting specimens for public exhibit,&nbsp;<em>Recapturing the Scenic Wilds</em>investigates and complicates the notion of the natural history display. In the 1870&rsquo;s when Roosevelt was 11 and 12 years old, his family spent two summers at Wave Hill, and the burgeoning naturalist developed his ardent interest in birds, taxidermy and the study of nature.</p> <p>&nbsp;This attraction to natural history and its display is shared by the nine artists whose work is on view here. Each artist responds in various ways to this type of artificially &ldquo;organic&rdquo; exhibit, where the experience of the natural world is transformed into a tightly controlled scene, tableau or informational resource, often revealing as much about our relationship to nature as it does about the subject depicted. The artists expose the blurred lines between artificial and natural, artistic and scientific. In the context of Wave Hill, a garden where aesthetic sensibility is a horticultural emphasis, the use of an alluring visual framework to convey scientific and historical information becomes a fitting parallel to the strategies of the natural history museum.</p> <p>Alexa Hoyer&nbsp;and&nbsp;Liselot van der Heijden&nbsp;present voyeuristic photographs from their ongoing projects in the American Museum of Natural History, whether of fake flora or spectators&rsquo; silhouettes.&nbsp;With cinematic flair,&nbsp;Dana Levy&nbsp;lets live animals loose among dead specimens.&nbsp;Mark Dion&rsquo;s works from the&nbsp;<em>Provisions &amp; Equipment - Clark Expedition&nbsp;</em>series cheekily turn the natural historian into a specimen.&nbsp;Richard Barnes&rsquo;&nbsp;camera catches the diorama in tenderly off-guard moments, with renovation underway or parts in storage.&nbsp;Lori Nix&rsquo;s pictures of miniature displays insert a macabre humor into natural history. The knitted pelts of&nbsp;Ruth Marshall, exact replicas of actual specimens, raise awareness of the plight of large and small cats in the wild.&nbsp;Jessica Segall&nbsp;presents &ldquo;in-progress&rdquo; results of her field study of the invasive bird species of New York.&nbsp;Using real feathers and braided fur,&nbsp;Hugh Hayden&nbsp;suggests that nature is the ultimate luxury product.&nbsp;</p> Tue, 30 Sep 2014 01:06:43 +0000 Jackie Battenfield - Wave Hill - September 6th - May 31st, 2015 <p>In her exhibition&nbsp;<em>Another Garden,&nbsp;</em>Jackie Battenfield presents a group of Mylar and Dura Lar paintings which trace the twisting lines of budding tree branches. Through a meditative and painstaking process, she uncovers a deep affinity between the gestural unfolding of a branching tree limb, and the dispersion of pigments in liquids. The magnolias pictured are inspired directly by her long involvement with Wave Hill, where she also mentors emerging artists in the Van Lier Visual Artist Fellowship and the Sunroom Project Space.</p> <p>In 2009, a survey of Battenfield&rsquo;s graphic works,&nbsp;<em>Moments of Change,&nbsp;</em>was presented at the Joel and Lila Harnett Museum of Art, Richmond, VA, and later traveled to the University of Arizona Museum of Art, Tucson, AZ.&nbsp; She is the recipient of a Pollock-Krasner Award, the Warren Tanner Award, the David Alfaro Siqueiros Award (Volunteer Lawyers for the Arts, and the U.S. Fulbright Specialist Program. Her work is represented in more than 500 collections worldwide including the New York Public Library, NY; The Zimmerli Art Museum, NJ; the Progressive Corporation, and the United States Embassy Collections, Brazil, Cambodia, Croatia, Jamaica and Peru. Battenfield is also the author of&nbsp;<em>The Artist's Guide: How to Make a Living Doing What You Love</em>, now in its eighth printing.</p> Tue, 30 Sep 2014 01:00:05 +0000 Dan Flavin, Robert Janitz, Ralph Eugene Meatyard - Team Gallery - Grand St - October 19th - November 16th <p>Team (gallery, inc.) is pleased to announce&nbsp;<em>ghost outfit</em>, a group show of work by Dan Flavin, Robert Janitz and Ralph Eugene Meatyard. Organized by Todd von Ammon, the exhibition will run from 19 October through 16 November 2014. Team is located at 83 Grand Street, between Greene and Wooster. Concurrently, our 47 Wooster Street space will host&nbsp;<em>tl;dr</em>, an exhibition by Cory Arcangel.&nbsp;<br /><br /><em>ghost</em>&nbsp;<em>outfit</em>&nbsp;weds three artists who, despite generational gaps and disparate media, share a concern with material and conceptual duplicity. The pieces in the show use light and light-sensitive material to provide moments of both literal and figurative masking, in which an object&rsquo;s surface acts simultaneously as barrier and point of access. Content and medium disguise one another, rendering the subject the camouflage itself &ndash; as well as the resulting obscurity.&nbsp;</p> <p>Dan Flavin&rsquo;s fluorescent sculptures resist corporeal definition: a piece&rsquo;s intangible glow undercuts its own object-hood, posing unanswerable questions of where the work begins and ends. The act of illumination serves here to cloud perception, rather than to clarify, materializing new spaces and disrupting existing ones.&nbsp;<br /><br />Robert Janitz&rsquo; oil paintings here take the same rough form: milk-white wax brushed in wide swaths to hide slightly visible black underpainting. Their composition recalls the streaks left by a squeegee on a pane of glass but, while window-washing serves to enhance transparency, Janitz&rsquo; brushstrokes create and foreground opacity, cloaking the painting with, of all things, its own paint.&nbsp;<br /><br />Alchemic black and white photographs by Ralph Eugene Meatyard utterly confound their subject matter. The inexpensive plastic of a child&rsquo;s toy appears identical to a tombstone&rsquo;s weathered granite, while blurred streaks of light obscure the very water that reflects them. The artist&rsquo;s camera acts directly counter to traditional expectations of the medium, seeking to shroud and transfigure, rather than to show or document.&nbsp;<br /><br />Dan Flavin lived from 1933 to 1996. Celebrated in his lifetime, he has been the subject of major international museum retrospectives and is included in most major public collections.&nbsp;<br /><br />Ralph Eugene Meatyard lived from 1925 to 1972. Little known in his life, he has since achieved significant recognition, with solo museum exhibitions including The Art Institute of Chicago and the de Young Museum of San Francisco.&nbsp;<br /><br />Robert Janitz was born in Germany in 1962 and now lives and works in New York. Last February, he was the subject of a monographic exhibition at Team, his first with the gallery. A solo show currently hangs at Meyer Riegger in Berlin.&nbsp;</p> Tue, 30 Sep 2014 00:52:44 +0000 Tommy Hartung - On Stellar Rays - October 19th - November 30th <p>On Stellar Rays is pleased to announce the opening &mdash; on Sunday, October 19 &mdash; of Tommy Hartung&rsquo;s exhibition&nbsp;<em>THE BIBLE</em>. The exhibition marks the gallery&rsquo;s third solo exhibition of Hartung&rsquo;s work, and presents a feature length video,&nbsp;<em>THE BIBLE</em>, and an accompanying sculptural installation.</p> <p><em>THE BIBLE</em>&nbsp;is an animated sci-fi docudrama, sourcing the narrative structure and archival content of the Old Testament to create a cinematic d&eacute;rive of fictitious news footage. The video investigates Hartung&rsquo;s personal experiences with evangelicalism; broader cultural familiarity with biblical violence and sensationalism; and the atemporal and subjective recording of historic information that is specific to the Bible. Hartung weaves a similarly non-linear structure, using analogous contemporary forms of information dissemination &ndash; citizen journalism, fan labor, real-time video gameplay, browsing the web, surfing television channels, pervasive advertising &ndash; mirroring a world that remains steeped in sympathetic magic and anthropomorphism.</p> <p><em>THE BIBLE</em>&nbsp;contains numerous references to the Old Testament, often citing contemporary events in parallel. The fall of humanity is represented through allusions to Big Brother, war crime accounts, and American exceptionalism&rsquo;s notions of democracy. Wikileaks whistleblower Chelsea Manning appears as a spectral projection to recite her statement to the court at sentencing, alluding to Joseph, son of Jacob, who was betrayed by his people. Other contemporary references present Vietnam veteran John Constantino, self-immolating on the National Mall during the government shutdown of 2013; firsthand footage of a Tamil family hiding in crude bunkers to avoid shelling; a heart-wrenching news account of the stoning of a gay couple in Kenya. These recent events portray the perpetual and inescapable impact of broader political and religious beliefs on the well-being of the individual.</p> <p>Hartung&rsquo;s video sets are hand-constructed in the studio, transforming commonplace materials into dynamic props and landscapes. Studio shots are spliced with actual found footage, using unconventional visual and audio effects. The process, along with post-editing and rotoscoping, recontextualizes wide-ranging news footage as science fiction.</p> <p>Drawing upon a diverse range of influences, including Letterist filmmaker Isidore Isou, Adam Curtis, Jan &Scaron;vankmajer, and Chris Marker, Hartung experiments with moving images and the conventions of narrative, fragmenting and deconstructing source material. Focusing on ideologies that use magical thinking to justify or explain violent and traumatic events,&nbsp;<em>THE BIBLE</em>&nbsp;continues Hartung&rsquo;s ongoing interests in how belief systems are constructed through moving images to mesmerizing and powerful effect.</p> Tue, 30 Sep 2014 00:25:16 +0000 Virginia Pierrepont - Noho Gallery - M55 Art (Noho - M55) - October 14th - November 1st <p>Virginia&nbsp;Crawford Pierrepont&nbsp;is an accomplished contemporary painter who lives and works between Long Island and Maine. Born in New York City, Virginia has been an artist all her life. She received a BFA in painting and printmaking from The Rhode Island School of Design in 1981. In 1985, she accepted a summer Artist in Residence program at the Skowhegan School of Painting and Sculpture, Skowhegan, Maine, where she worked on Fresco Murals. Returning to NYC, she established Virginia Designs in 1987 with a studio at 285 West Broadway and Canal, painting Trompe L&rsquo;oeil murals and large decorative canvases. Virginia showed her charcoal drawings and watercolor landscapes in the late 80's and 90's in Queens before moving with her family to Long Island. Currently, Virginia is finishing an MFA from Johnson State College, and the Vermont Studio Center in Johnson, Vermont.</p> <p>I paint because I love to paint, working from a raw energy that pulls deep from my bones. With ink, charcoal, paper and glue, I rip, throw, swirl and draw my way into a timeless narrative. My work speaks about tension and release, memory and love, always touching a timeline of images and deep feelings I have lived. Emerging through layers of transparent walnut washes and opaque acrylic paints, my charcoal images emerge, sometimes on the surface, sometimes under.</p> Tue, 30 Sep 2014 00:19:36 +0000 Eva Hild - Nancy Margolis Gallery - October 16th - November 15th <p><strong>Eva Hild</strong>, Sweden, creates&nbsp;ethereal, flowing ceramic sculptures, for which she is well known. Interested in the dualism between negative and positive space, explorations of air, light, and movement are central to her works. Hild received her MFA from the University of Gothenburg, Sweden. She is the recipient of numerous grants and awards, namely the Visual Art Fund grant, Special Prize at the World Ceramic Biennale, Korea, and the Sten A. Olsson Fund for Science and Culture. Hild has made numerous works in public spaces, as large-scale metal sculptures. Her work can be found in public and private collections including the Museum of Arts and Design, New York, the Museum of Modern Ceramic Art, Japan, the Museum of Contemporary Ceramics, Shanghai, the Mint Museum, North Carolina, the National Museum of Art, Architecture and Design, Oslo, the National Museum, Stockholm, and the Museum of Fine Arts, Boston.</p> Tue, 30 Sep 2014 00:14:44 +0000 Curtis Carman, John Hanning - Mixed Greens Gallery - September 11th - November 15th <p>Mixed Greens is thrilled to present&nbsp;<em>Color Dot Connect</em>, an ambitious, site-specific window installation by John Hanning and Curtis Carman. The artists use popular, nostalgic, and often humorous imagery and materials (such as Pac-Man prints and feather boas) that draw from their personal experiences, showing the overlap and connectivity between their lives as well as their relationship to a broad, universal context.<br /><br />John Hanning&rsquo;s work has largely been informed by his experience of growing up queer in the conservative South as well as living with HIV. Mixed-media collages often combine his childhood portraits with iconography such as Rubix cubes and the Virgin Mary, personalizing the widely recognizable imagery while placing his stories into a broader narrative, shared by many. Similarly, Curtis Carman&rsquo;s sculpture and performance work investigates constructed identities using a variety of recognizable materials and found objects, sprinkled with a spoonful of wit and frivolity. In addition to living with HIV, Carman&rsquo;s drag persona plays a central role in his work. Recently, he began applying drag costume elements such as sequins, rhinestones, and feathers to readymade objects, creating an over-the-top aesthetic he equates with the exuberant joy of life.<br /><br />In&nbsp;<em>Color Dot Connect</em>, Hanning and Carman join forces for the first time, using dots and circles to visually and thematically anchor their collaboration. From prints of clustered Pac-Men to sequin-adorned basketballs to a halo wrapped with feather boas, the mixed media installation incorporates round objects, materials, and images from previous explorations to signify universality, infinity, and common ground. The sense of humor imbued in the work emanates a positive outlook that the artists have developed through the years. The title, borrowing the proverbial &ldquo;connect the dots,&rdquo; refers to not only the similarity between the two artists experiences of living with HIV but also an attempt to share the joy of embracing life while having survived AIDS.&nbsp;<br /><br />&ndash;&ndash;&ndash;&ndash;&ndash;&ndash;&ndash;&ndash;<br /><br /><em>Curtis Carman received his MFA in sculpture from Hunter College, CUNY. In addition to his own performance work, he has appeared with Karen Finley, Michael Mahalchick, and Zachary Fabri. Carman&rsquo;s work has been exhibited at LMCC Swing Space, La Mama Gallery, The Jersey City Museum, General Public in Berlin, and Documenta XII in Kassel, Germany. Past awards include an LMCC Artist&rsquo;s Grant, a Visual AIDS Artist Grant, two Welfare Scholarship Grants, and a Tom Woods Award. Curtis Carman is proud to be a Visual AIDS archive member since 1999.<br /><br />John Hanning is a Brooklyn-based collage and digital artist born in Arkansas. His work has been shown in numerous group exhibition venues including Leslie + Lohman Museum of Gay and Lesbian Art, NYC; Limner Gallery, Hudson, NY; SKH Gallery, Great Barrington, MA; and throughout New York City. In 2013, he teamed up with Visual AIDS for a storytelling-collage workshop in conjunction with the NYPL Exhibition, Why We Fight: Remembering AIDS Activism. For his most recent project, The Fulton Area Business Alliance selected Hanning to create a series of community art projects. Hanning is also the founder of COSMODESU INC, which owns and manages the rights for Cosmo, Hanning&rsquo;s stick-figure-alter-ego and virtual avatar.&nbsp;</em><br /><br /><em>Visual AIDS utilizes art to fight AIDS by provoking dialogue, supporting HIV+ artists, and preserving a legacy, because AIDS is not over.</em></p> Tue, 30 Sep 2014 00:09:34 +0000 Nayda Collazo-Llorens - LMAK Projects - October 17th - November 30th <p>LMAKprojects is pleased to present Dis/connect, Nayda Collazo-Llorens&rsquo; fourth solo exhibition with the gallery. The works in this exhibition evidence the artist&rsquo;s ongoing interest in how our minds process information, specifically dealing with concepts of navigation and noise. Dis/connect examines connectedness and disconnection as simultaneous conditions, whether referring to memories, language, displacement, location, communication or media. The works in this exhibition function as conceptual and formal explorations of our contemporary condition, as we engage in fluid, elastic and often paradoxical navigation between multiple states of being.<br />The exhibition includes a new wall installation titled Geo Dis/connect, consisting of 360 framed images of found maps that have been trimmed and combined with solid colored areas. The work&rsquo;s grid format, geographic references and color bands suggest a level of interconnectedness as much as fragmentation and disruption. Also included in the exhibit are works on canvas from the Locus Rackets Hypnotic series, which echo similar ideas. New York based critic Kathleen MacQueen wrote in BOMB Daily about the artist&rsquo;s process and work: &ldquo;Her own practice of daily drawings&mdash;visual communication in a non-verbal accumulation of signs, symbols, marks, and traces of passing experience and awareness&mdash;now coalesces in paintings that pulse with a myriad of connotations, including webs, weather charts, echograms, geological topography, and mazes.&rdquo;</p> Mon, 29 Sep 2014 23:57:49 +0000