ArtSlant - Recently added en-us 40 Taku Obata - Jonathan LeVine Gallery - 529 W. 20th - November 22nd - December 20th Thu, 23 Oct 2014 08:17:21 +0000 Kai and Sunny - Jonathan LeVine Gallery - 529 W. 20th - November 22nd - December 20th Thu, 23 Oct 2014 08:16:43 +0000 Doze Green - Jonathan LeVine Gallery - 557C West 23rd - November 20th - December 20th Thu, 23 Oct 2014 08:14:46 +0000 Guglielmo Achille Cavellini - LYNCH THAM - November 5th - December 21st <div class="gmail_quote" dir="ltr"> <div> <div><strong>GUGLIELMO ACHILLE CAVELLINI&nbsp;/&nbsp;Centennial Exhibition</strong></div> </div> <div> <div>5 Nov&nbsp;to 21Dec&nbsp;2014</div> </div> </div> <div class="gmail_quote" dir="ltr">Opening Reception:&nbsp;Wednesday,&nbsp;5 Nov&nbsp;2014, 6-8pm<br />175 Rivington Street, New York</div> <div class="gmail_quote" dir="ltr">&nbsp;</div> <div class="gmail_quote" dir="ltr"> <p><span style="font-family: verdana, sans-serif;">LYNCH THAM is pleased to present select carbon works by the celebrated Italian artist Guglielmo Achille Cavellini.&nbsp; The year 2014 is an important marker in Cavellini&rsquo;s career as art institutions across Europe and the United States celebrate the centenary of his birth.&nbsp; In addition to the gallery presentation, a local Cavellini Festival, organized by Mark Bloch is scheduled from&nbsp;November 14-16. On&nbsp;November 14, the library at the Museum of Modern Art, New York, will host a reception and special viewing of their vast Cavellini archive.&nbsp; The weekend will also include a series of performances and interventions at various New York museums and non-profit spaces.</span></p> <p><span style="font-family: verdana, sans-serif;">&nbsp;</span></p> <p><span style="font-family: verdana, sans-serif;">The exhibition at LYNCH THAM includes Cavellini&rsquo;s ontological carbon series created from 1970 to 1990.&nbsp; The works feature fully and partially charred pictures and objects; including geometric abstraction of chromatic scale with portraits and image of Italy&rsquo;s physical outline as an aesthetic and personal symbol. These pieces contributed to the deep innovation Cavellini had undertaken in his work and when combined, in terms of background and form, carbon became an absolute texture, which expanded through a continued citation.&nbsp;</span></p> <p><span style="font-family: verdana, sans-serif;">&nbsp;</span></p> <p><span style="font-family: verdana, sans-serif;">Cavellini engaged in an extensive postage-art exchange for which he became well known.&nbsp;&nbsp;This exchange turned him into the leader of a new way of communicating in art.&nbsp; He became a mythical figure for a generation of underground artists and was regarded as a liberator that would break the chains of a closed system that often excluded artists.&nbsp; In 1970, he invented the term&nbsp;<em>autostoricizzazione</em>&nbsp;(self-historicization) and started a long work of conceptual self-promotion, which sought to bypass the roles of the critic and the market.</span></p> <p><span style="font-family: verdana, sans-serif;">&nbsp;</span></p> <p><span style="font-family: verdana, sans-serif;">Cavellini was born in Brescia, Lombardy where he lived and worked until he died in 1990.&nbsp; His artist&rsquo;s books are represented in the permanent holdings of New York&rsquo;s Franklin Furnace and in the archive on 20th century art maintained by the Venice Biennale. His work is in many private and public collections including the Civiche Raccolte Comune di Milano, Museo Pecci Prato, Museo MART Rovereto, Museo di Cavalese Trento, Collezione citta di Pesaro, Civica Raccolta del disegno Sal, FRAC Nord Pas de Calais and Le Consortium Dijon in France, among many others.&nbsp;</span></p> <p><span style="font-family: verdana, sans-serif;">&nbsp;</span></p> <p><span style="font-family: verdana, sans-serif;">2014 venues for the Centennial Exhibitions include Emily Harvey Foundation, Venezia, Italy; Museo MART di Rovereto, Rovereto, Italy; Ludwig Museum of Contemporary Art, Budapest, Hungary; ICI, Italian Cultural Institute, San Francisco, CA; Center of Contemporary Art (Lu.C.C.A.), Lucca, Italy;&nbsp;Public Library of Cairo Montenotte, Cairo;&nbsp;Spazio Contemporanea, Brescia, Italy, among others.&nbsp; A comprehensive exhibition on mail art, curated by Mark Bloch, is scheduled for November-December at White Box, New York.</span></p> <p><span style="font-family: verdana, sans-serif;">&nbsp;</span></p> <p><span style="font-family: verdana, sans-serif;">&nbsp;</span></p> <p><strong><span style="font-family: verdana, sans-serif;">Media enquiries:</span></strong></p> <p><span style="font-family: verdana, sans-serif;">Florence Lynch / Bee Tham</span></p> <p><span style="font-family: verdana, sans-serif;">Tel:&nbsp;<a href="tel:%2B1-917-327-3580" target="_blank" rel="nofollow">+1-917-327-3580</a>&nbsp;/&nbsp;<a href="tel:%2B1-917-288-9099" target="_blank" rel="nofollow">+1-917-288-9099</a></span></p> <p><span style="font-family: verdana, sans-serif;"><a href="" target="_blank" rel="nofollow"></a></span></p> </div> Wed, 22 Oct 2014 21:45:45 +0000 Timothy Kane, David Scher, Paul Scher - The Boiler (Pierogi) - October 29th 8:00 PM - 10:00 PM <p>A one night, live performance by ONEM, a performance group founded in 1969 in St. Paul, Minnesota by Timothy Kane, Paul Scher, and David Scher. In conjunction with David Scher&rsquo;s &ldquo;Suspended Interruption,&rdquo; exhibition, on view at Pierogi (177 N 9<sup>th</sup> Street) until November 16.&nbsp;</p> Wed, 22 Oct 2014 18:41:19 +0000 Sam Samore - Team Gallery - Grand St - November 23rd - December 21st <div style="text-align: justify;">Team (gallery, inc.) is pleased to announce a solo exhibition of new works by American photographer Sam Samore. Entitled&nbsp;<em>Accumulation of Shapes (Part One)</em>, the exhibition will run from&nbsp;23 November through 21 December 2014. Team is located at 83 Grand Street, between Wooster and Greene. Concurrently, our 47 Wooster Street space will host&nbsp;<a href="" target="_blank"><em>Traffic Jam</em></a>, an exhibition by German artist Andreas Schulze.</div> <p style="text-align: justify;">For his third solo exhibition with the gallery, Sam Samore presents a new series of portraits of the French actress Juliette Dol. Each work consists of two images, apparently sequenced a few frames apart, which are cropped and then joined together with a narrow black line of separation. Directly referencing the cinematic device of the split screen, the resulting works not only engage both the formal and conceptual relationships between film and photography, but also serve as in-depth investigations into obsession, inconclusive narrative and the complex psychological corridors of desire. &nbsp;</p> <p style="text-align: justify;">Printed on rag paper and exhibiting Samore's signature treatment of photographic grain, these black and white images both adhere to and depart from the artist's past works.&nbsp; While the texture and content are evocative of previous series - particularly his&nbsp;<em>Situations</em>&nbsp;- the artist in this instance offers a more complete visual scope of a singular subject. Fragmentation, both spatial and psychological, have been central themes in Samore's practice since the nineties; however, in these portraits, the rupturing of the self is the primary focus. The split of the subject into parts echoes the separation of model from camera and spectator from constructed image. The physical gaps between the two "halves" of these photographs instigate our natural urge to locate a legible sequence, their very unknowability activates a compulsion to unify the images into a cohesive whole. &nbsp;</p> <p style="text-align: justify;">Each photograph depicts Dol in the process of an immediately identifiable but mysterious action: we see her recumbent on a bed, fully clothed in a bathtub full of water, approaching a doorway, navigating through a dark space by flashlight with eyes fixed on an indeterminate point in the distance. By cleaving together two slightly different images, Samore makes a clear reference to the physicality of film cells. Slight variations in the subject's position or the camera's depth of field imbue the images with a kinetic quality that reinforces the unsettling sense that we are accessing only fragments of a whole. The coupling of known and unknown quantities pays direct service to the&nbsp;Film Noir trope of doubling, though Samore is careful to disrupt the narrative experience by ultimately withholding even the suggestion of conclusivity. &nbsp;</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Sam Samore has been exhibiting his work for the past forty years. Prominent monographic exhibitions have been held at De Appel in Amsterdam, P.S.1 MoMA in New York, Casino Luxembourg, and the Kunsthalle Z&uuml;rich. Samore participated in the 46th Venice Biennale, the Istanbul Bienniale 2007, and the Tirana Biennale 2005. The artist has had recent solo gallery exhibitions in Brussels, Berlin, and Paris.&nbsp;</p> Wed, 22 Oct 2014 16:04:14 +0000 Andreas Schulze - Team Gallery - Wooster St - November 23rd - December 21st <div> <div style="text-align: justify;">Team (gallery, inc.) is pleased to announce&nbsp;<em>Traffic Jam</em>, a show of new work by Cologne-based artist Andreas Schulze. The exhibition will run from&nbsp;23 November through 21 December 2014. Team is located at 47 Wooster Street, between Broome and Grand. Concurrently, our 83 Grand Street space will host an <a href="" target="_blank">exhibition</a> of new photographs by New York-based artist Sam Samore. &nbsp;</div> <div style="text-align: justify;">&nbsp;</div> </div> <div style="text-align: justify;">For his third exhibition with the gallery, Andreas Schulze has turned his focus to a single modern design typology: the automobile. On each of the gallery's three walls hangs a series of starkly colored, larger-than-life paintings of cars. Schulze, who is perhaps best known for immersive, spatially transformative installations, both acknowledges and destabilizes our existing pictorial understandings of quotidian objects. These swollen, cartoonish renderings of vehicles -- immediately discernable as such -- pose as light and familiar members of our visual culture. The works' apparent playfulness, however, is compromised by a palpable melancholy and, subsequently, undermined altogether by their<em>Verfremdungseffekt</em>.&nbsp;</div> <p style="text-align: justify;">&nbsp;</p> <div style="text-align: justify;">In the way that a child's drawing posits a car as the mere sum of its visible parts - a misshapen assemblage of windshields, wheels and windows - so do these works evince little concern for actual automotive design. The paintings' essential&nbsp;wrongness, paired with their grandiose scale and impassive presentation, effects a Brechtian alienation. These are not depictions of automobiles; rather, they are pictures of pictures, explorations of the rough, indelible images that fundamentally inform our perception of these highly aestheticized machines. The artist's painterly act, like functional design, relies on cultural pre-conceptions and expectations. Imagination, invention and beauty occur within a semi-rigid template - a car painting must contain certain elements in order to be recognizable as such. Within this framework, these works accomplish the extraordinary: the self-imposed limitations serve not as a means to snide self-commentary, but as a gateway to an uncompromised artistic purity.</div> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Emerging in the fertile Cologne scene of the 1980s, Schulze became associated with a group of young painters of the M&uuml;lheimer Freiheit, the name of a shared studio in which they exhibited their work. This group included the painters Hans Peter Adamski, Peter B&ouml;mmels, George Condo, Walter Dahn, Jiri Georg Dokoupil, Gerard Kever and Gerhard Naschberger. Though working closely and frequently collaborating with these peers, Schulze has developed an anomalous and haunting painting practice whose influence is becoming more and more widely regarded.<br />&nbsp;</p> <p style="text-align: justify;">Schulze was born in Hannover in 1955 and has been exhibiting his work since 1981 - his longstanding relationship with gallerist Monika Spr&uuml;th beginning in 1983. Schulze's work has been exhibited at museums internationally including the Museum of Modern Art in New York, the Tate Museum in London, the K&ouml;lnischer Kunstverein, the Solomon R. Guggenheim Museum, Kunstaele in Berlin and at the Kunstverein and the Sammlung Falckenberg, both in Hamburg. A retrospective is currently touring three venues: Villa Merkel in Neckel, The Shirn Kunsthalle in Frankfurt, both in Germany, and the Kunstmuseum Sankt Gallen in Switzerland.</p> Wed, 22 Oct 2014 16:04:48 +0000 Andreas Kocks - Winston Wachter Fine Art - October 16th - December 1st <p style="text-align: justify;">Winston W&auml;chter Fine Art, New York is pleased to announce its third solo exhibition with German artist Andreas Kocks. A sculptor best known for his large-scale paper&nbsp;installations, Kocks playfully integrates elements of drawing, painting, and architecture&nbsp;into his abstract and meticulously crafted sculptures. Working from a limited palette,&nbsp;Kocks carves thick sheets of watercolor paper to create textured, layered works that give&nbsp;the illusion of three-dimensional brush strokes, splatters, and drips.</p> <p style="text-align: justify;">In previous series, Kocks has created site-specific installations that include monumental&nbsp;structures that span from floor to ceiling and blur the boundaries of defined architectural&nbsp;space. THE SINGLES COLLECTION marks a transition into and an exploration of&nbsp;mostly framed works. Working within a contained space, Kocks finds ways to maintain&nbsp;the energy and movement found in his larger pieces while navigating a defined perimeter.&nbsp;These concentrated pieces seem to burst and ooze out of their frames. Some of them even&nbsp;contain elements that do, literally, extend beyond the frame.</p> <p style="text-align: justify;">The personal face-to-frame quality of these smaller, individual pieces allows for a more intimate dialogue between the viewer and each work to evolve, a dialogue which Kocks has compared to the personal relationship that can develop between a person and a piece of music that is listened to over and over. The exhibition title is a nod to this musical inspiration as well as to the fact that each artwork stands alone: a single that viewers can return to again and again.</p> <p style="text-align: justify;">The use of metal in several of the new pieces elegantly compliments the fragility of the paper structures and also signifies an expansion in the artist&rsquo;s palette and choice of materials. The gold, silver, and aluminum leaf that cascade and swirl across the various works originates from the artist&rsquo;s past experiences with heavier sculptures, but has been introduced here to highlight the personal, reflective, mirroring elements of these framed pieces.</p> <p style="text-align: justify;">With artworks that always seem to embody a transitory state&shy;&ndash; between a sketch and a sculpture, falling apart and arising, lightness and weight, stillness and motion&ndash; Kocks is a master at balancing the subtle paradoxes that keep viewers captivated and coming back for more.</p> Wed, 22 Oct 2014 10:16:35 +0000 Muhanned Cader - Talwar Gallery - NY - October 24th - January 31st, 2015 Wed, 22 Oct 2014 10:08:43 +0000 Oscar Tuazon, Eli Hansen - Maccarone (Greenwich Street) - November 8th - December 17th Wed, 22 Oct 2014 09:49:45 +0000 Brenda Garand - Lesley Heller Workspace - October 23rd - December 6th <p style="text-align: justify;">Lesley Heller Workspace introduces the sculpture and drawings of<strong> Brenda Garand</strong> in her first New York solo exhibition, <em>Northern Passage. </em>Garand is French Canadian, Abenaki and English. This distinct personal heritage is essential to her work. Garand has spent years investigating the cultural links between the French and the indigenous peoples along the Northeastern corridor.Her work abounds with fluvial references, not only the physical pressure of water teeming along the narrow banks of the Northern rivers, but also the cultural pressure of merging peoples and histories.</p> <p style="text-align: justify;">Her sculptures are made of a variety of materials such as steel, wire, roofing paper, fabric, wool, silk, and rope. The combination of these elements convey both strength and fragility, and allude to the traditions of fishing, hunting, fur-trading, and trapping- all reinforcing a sense of place and history.</p> <p style="text-align: justify;">Garand&rsquo;s titles often reflect the language and religious concepts of the Algonquin peoples. <em>Lac-M&eacute;gantic</em> is Abenaki- Lac, meaning lake and M&eacute;gantic<em>, </em>&nbsp;meaning to host many fish; <em>Manitoulin,</em> means spirit island in Ojibwe. &nbsp;The idea of the Supreme Being manifests itself in <em>Manitou</em>.</p> <p style="text-align: justify;">Garand&rsquo;s personal narrative is significant in the <em>Dirge</em> series of sculptures and her large floor sculpture, <em>It's Like Falling Into Water</em>. They express the mourning her parents&rsquo; passing, as well as the loss of life and livelihood caused by the floods caused by Hurricane Irene in 2011. All however are imbued with optimism, and of a life yet to live. Her <em>Deluge</em> drawings, made with clay, india and walnut inks, are ruminations of change. They recollect the floating forms she saw in the White River during the flood- known and unknown.</p> <p style="text-align: justify;">Coming from a familiar sense of place, yet unknown to the viewer, Garand&rsquo;s work symbolizes the adaptations that become necessary when nature&rsquo;s power creates challenges and forces modification. They reflect lives that are constantly in motion, like the rushing water near her Vermont studio door.</p> <p style="text-align: justify;">Brenda Garand received her MFA in Sculpture from Queens College, City University of New York and her BFA in Sculpture from the University of New Hampshire.&nbsp; Recent exhibitions include: Lesley Heller Workspace NYC <em>Building Beauty</em>;National Academy Museum 183<sup>rd</sup><em>Annual: An Invitational Exhibition of Contemporary American Art </em>NYC; Reeves-Contemporary 535 West 24<sup>th</sup> St, NYC; Honey Space&nbsp; <em>Object Salon</em> 148 11<sup>th</sup> Ave.NYC<em>; </em>Wright State University Art Galleries <em>Brenda Garand &ldquo;Northern Fiction&rdquo; Sculpture, </em>Dayton, Ohio; Spheris Gallery Hanover, NH; &nbsp;American Academy of Arts and Letters <em>Invitational Exhibition of Painting and Sculpture </em>NYC; im n iL, <em>Two Ones: Brenda Garand and Betsey Garand</em> Brooklyn NY; Hampshire College, Amherst MA; A.V.C. Contemporary Arts Gallery, The Fuller Building, 57th St. NYC; 55 Mercer Gallery NYC; The College of William and Mary,Williamsburg VA; and the Meguro Museum of Art, Tokyo, Japan.&nbsp; Garand is the recipient of a Fulbright Grant to France; a Fulbright Berlin Seminar; The Marion and Jasper Whiting Foundation Grant to Bayeux, France; The Andrew W. Mellon Foundation Research Grant, New Hampshire State Council on the Arts Individual Fellowship; Dartmouth College Senior Faculty Grant; Vermont Artist in Residence at The Carving Studio and Sculpture Center; and a Vermont Arts Council Individual Artist Grant.&nbsp; Residencies include Yaddo, Ragdale, Dorland Mountain Arts Colony, Atelier Silex in Qu&eacute;bec, and the Pouch Cove Foundation in Newfoundland, Canada.&nbsp;&nbsp; Garand is Full Professor of Studio Art at Dartmouth College. Prior to this position she taught for eleven years as an adjunct at Queens College, City University of New York.&nbsp; She has also taught at The Chautauqua Art Institute, Parsons School of Design, and The New York Studio School. She has been a visiting artist at Princeton University, Colby College, the Vermont Studio Center, University of Massachusetts at Dartmouth, University of New Hampshire, and the University of North Alabama in Florence, Western Connecticut State University, and Roger Williams University.</p> Wed, 22 Oct 2014 09:47:57 +0000 Group Show - Lesley Heller Workspace - October 23rd - December 7th <div class="documentBody"> <p style="text-align: justify;">Emily Dickinson did it. It is considered the lowliest of art-like activities, only practiced by spinsters and faeries. In this case the flowers are "pressed" into serving as new content in a post-nature constellation of beauty and longing. In the face of unavoidable decay, they have an elegiac function to perform still, their loveliness a balm for the bitter pills we swallow<strong>.&nbsp; &nbsp;&nbsp;&nbsp;Catherine Howe</strong></p> </div> Wed, 22 Oct 2014 09:46:33 +0000 Duane Hanson - Gagosian Gallery @ Park & 75 - October 30th - December 3rd <p style="text-align: justify;"><em>I want to achieve a certain tough realism which speaks of the fascinating idiosyncrasies of our times.</em><br /> &mdash;Duane Hanson<br /> <br /> Gagosian New York is pleased to present Duane Hanson&rsquo;s <em>Security Guard</em> (1990).<br /> <br /> In his hyper-realistic sculptures portraying working-class Americans, Hanson eschewed the predominant Expressionist and Minimalist concerns of the 1950s and 1960s for an unflinching investigation of the human condition. Early life-size tableaux depicting soldiers killed in action, police brutality, and the homeless confronted viewers with devastating truths largely overlooked in the art of the time.<br /> <br /> Throughout his forty-year career, Hanson&rsquo;s uncanny sculptural likenesses of blue-collar workers&mdash;repairmen, waitresses, and bricklayers&mdash;inhabited exhibition spaces eliciting surprise, embarrassment, amusement, and sympathy from unsuspecting viewers. Although his world-weary figures owe something to Pop and Photorealism, their veracity prompted responses from viewers normally reserved for interactions with other living people. These sculptural illusions, radical in the context of their time, anticipated the later gestures of contemporary provocateurs such as Chris Burden, Maurizio Cattelan, and Fred Wilson.<br /> <br /> The appearance of a single uniformed <em>Security Guard</em>&mdash;leaning against the wall of an otherwise empty storefront gallery, eyes fixed to the floor and shortwave radio in hand&mdash;refreshes and updates the visceral experience and critical relevance of Hanson&rsquo;s art for our own time.<br /> <br /> <strong>Duane Hanson</strong> was born in Alexandria, Minnesota in 1925, and died in Boca Raton, Florida in 1996. Selected solo exhibitions include Louisiana Museum of Modern Art, Humleb&aelig;k, Denmark (1975); Des Moines Art Center, Iowa (1977); Corcoran Gallery of Art, Washington, D.C. (1978); Whitney Museum of American Art, New York (1979); Kunsthaus Wien, Austria (1992); Montreal Museum of Fine Arts, Canada (1994, traveled to Modern Art Museum of Fort Worth, Texas); Daimaru Museum of Art, Tokyo (1995, traveled to Genichiro-Inkuma Museum of Contemporary Art, Kagawa; and Kintetsu Museum of Art, Osaka); Saatchi Gallery, London (1997); &ldquo;Duane Hanson, A Survey of his Work from the 30's to the 90's,&rdquo; Museum of Art, Fort Lauderdale (1998, traveled to Flint Institute of Arts, Michigan; Whitney Museum of American Art, New York; and Memphis Brooks Museum of Art, Memphis; and &ldquo;Duane Hanson: More than Reality, 2001,&rdquo; Schirn Kunsthalle, Frankfurt (2001, traveled to Padiglione d'Arte Contemporanea, Milan; Kunsthal Rotterdam, The Netherlands; National Galleries of Scotland, Edinburgh; and Kunsthaus Z&uuml;rich).</p> Wed, 22 Oct 2014 09:38:10 +0000 Blair Thurman - Gagosian Gallery - 980 Madison Ave. - November 1st - December 20th Wed, 22 Oct 2014 09:35:43 +0000 Walter de Maria - Gagosian Gallery - 980 Madison Ave. - November 8th - December 20th <p style="text-align: justify;">Gagosian Gallery is proud to announce the representation of the Estate of the late Walter De Maria, a vital figure in the evolution of Minimalism, Conceptual art, Land art, and installation. De Maria died in July of 2013 at the age of 77.<br /> <br /> On November 8, the first exhibition of sculptures and works on paper from the Estate will be presented at 980 Madison Avenue. This will be the sixth exhibition of De Maria&rsquo;s work to be held at Gagosian Gallery&rsquo;s locations since 1989.<br /> <br /> The works on view, which date from 1976 to 1990, include a pair of floor sculptures from the <em>Equal Area Series</em> (1976&ndash;90). Each of the 25 pairs in the series comprises a 7/8-inch thick, solid stainless steel circle and square which, despite their distinctive geometries, measure nearly the same square space.&nbsp; A British racing green wall as backdrop recalls the installation of Pair number 19, at the Moderna Museet, Stockholm in 1989.<br /> <br /> <em>Large Rod Series: Pedestal Rods 5, 7, 9, 11, 13</em> (1984) comprises five highly-polished solid stainless steel rods ranging from 5 to 13 sides, placed atop individual pedestals and spaced two meters apart. This work is part of a thirteen-year span of horizontal sculptures, beginning with <em>The Broken Kilometer</em> (1979), in which De Maria explored mathematical sequences through the grouping of similar polygonal forms. <em>The Pure Polygon Series</em> (1976), an editioned portfolio of seven drawings executed with a stencil, complements these sculptures.&nbsp; And, finally, De Maria's prescient meditation on the incalculable reality of existence, <em>There exists in the Universe more than One Billion Galaxies</em> (1988), will also be on view.<br /> <br /> A nonprofit entity established by Larry Gagosian, the Walter De Maria Foundation will be dedicated to managing the late artist's rights and reproductions, advising on curatorial matters, and overseeing the preparation of a major monograph. Elizabeth Childress, former director of the De Maria studio, and current director of the Walter De Maria Collection and Archives, commented, &ldquo;Walter so wished to establish his own foundation, but sadly he did not accomplish this during his lifetime. It is an important step to have this entity as both a protection and a promotion of his legacy.&rdquo;<br /> <br /> <strong>Walter De Maria</strong> was born in 1935 in Albany, California. He lived and worked in New York from 1960 until his death in 2013. For more than five decades, he was a singular figure whose rigorous and visionary works changed the very parameters of art history. Combining precise geometry with vast scale, his remarkable installations gave fresh impact and new meaning to the experience of looking at art, while enhancing and expanding the appreciation of the surrounding world. Among the eleven permanently sited installations by the artist are<em> The New York Earth Room</em> (1977), New York; <em>The Broken Kilometer</em> (1979), New York; <em>The Lightning Field</em> (1977), New Mexico; <em>The Vertical Earth Kilometer </em>(1977), Kassel, Germany; <em>Monument to the Bicentennial of the French Revolution 1789&ndash;1989</em> (1989&ndash;90), Assembl&eacute;e Nationale, Paris; and the <em>Large Red Sphere</em> (2010), in the T&uuml;rkentor building, Munich.</p> Wed, 22 Oct 2014 09:35:30 +0000 Willie Doherty - Alexander and Bonin - October 25th - December 6th <p style="text-align: justify;">An exhibition of two recent video installations and photographic works by Willie Doherty will open at Alexander and Bonin on Saturday, October 25th .</p> <p class="Default" style="text-align: justify;"><em>The Amnesiac, </em>2014, Doherty&rsquo;s most recent video work, is a 10 minute single-channel video installation which extends his interest in themes of landscape and memory. The video follows an unidentified man as he drives along a country road. His journey is interrupted by what might be a momentary lapse in concentration from the tedium of driving, a daydream or a rupture in the fabric of the everyday. He returns to somewhere half remembered or half forgotten; a reminder that traces of past events, whether or not visible, remain embedded within the landscape.</p> <p class="Default" style="text-align: justify;">The video is accompanied by a group of 10 photographs, titled <em>Damage, </em>2014, which were made at the same location where the video was shot. The photographs are details of tree trunks that bear the physical markings of past acts of violence. Doherty explores the boundaries between the visible and invisible, past and present, the tangible and intangible.</p> <p class="Default" style="text-align: justify;"><em>Remains, </em>2013 is a 15 minute single-channel video installation, first shown at Art Unlimited Basel, and included in his retrospective <em>UNSEEN </em>(September 2013-January 2014) at City Factory Gallery in Derry, Northern Ireland and currently on view at the De Pont Museum in Tilburg. <em>Remains </em>was made in a number of locations in Derry that have been used since the early 1970s to carry out kneecappings, a form of punishment shooting used to control drug use and other forms of so called &lsquo;antisocial behavior&rsquo;. The ghosts of events past are summoned by the narrator as his recounting unearths a repository of memories, specific to the unimposing landscape, and ultimately reveals a continuing cycle of violence, enacted in the same locations.</p> <p class="Default" style="text-align: justify;">Doherty&rsquo;s meditations, in video and photography, on the changing political landscape of Northern Ireland have been a central theme of his work since 1985. With a new series of black and white photographs, titled <em>Future Fear, </em>made in Derry during the summer of 2014, Doherty returns to some of the locations that he has photographed in the past. These photographs reveal an ongoing state of unease, a place suspended between the familiarity and comfort of violence and the anxiety and uncertainty of change.</p> <p style="text-align: justify;">Willie Doherty was born in1959 in Derry, N. Ireland and now lives and works in County Donegal, Republic of Ireland. In 2015 a selection of his video works will be shown at CAM-Funda&ccedil;&atilde;o Calouste Gulbenkian, Lisbon. Past solo exhibitions include those at the Dallas Museum of Art (2009), Lenbachhaus, Munich (2007), Laboratorio Arte Alameda, Mexico City (2006), the Renaissance Society, Chicago (1999), and Tate Liverpool (1998). He has participated in the Biennale di Venezia (2007, 2005, 1993) and the Bienal de S&atilde;o Paulo (2002) and dOCUMENTA (13), Kassel (2012).</p> Wed, 22 Oct 2014 09:28:56 +0000