ArtSlant - Recently added en-us 40 Emily Roz - Front Room Gallery - November 7th - December 28th <p>The paintings in Emily Roz&rsquo;s exhibition &ldquo;Ripe&rdquo; will surely make you blush. Referencing seedpods of a specific Southern Magnolia tree from the artist&rsquo;s youth in Chapel Hill, these lush, tactile paintings exude the sexuality of the reproduction system of the <em>Magnolia grandiflora. </em>The large, cone-like forms of the Magnolia fruit are made from multiple ovaries, which bear vivid red seeds, that hang from the individual follicles by long silken threads. Roz&rsquo;s depiction of these intimate parts of the pods is done at a larger scale, which arouses one&rsquo;s desire for closer inspection.</p> <p>Emily Roz exaggerates the visceral and sensual qualities
 of the pods through the use of saturated colors and the 
drama of baroque light. Roz enhances the shallow visual 
depth with the macro-texture of each form. She captures 
each minute detail of the final stages of propagation as 
the hard, lustrous crimson seeds protrude and penetrate their tantalizing furry enclosures. The exacting detail of these structures is counterbalanced by her use of the flat blue negative space surrounding the pods. These seemingly infinite fields of color paired with intense detail are inspired by Roz&rsquo;s love of Northern Renaissance and Flemish paintings that use color in both realistic and symbolic ways.</p> <p>&ldquo;These paintings are my way of flirting. They want to turn you on, in a painting kind of way. Their texture and shapes may make you blush while their color and light appeals to you on a more cerebral level. Plants and animals have evolved for their essential purpose: to procreate. In these paintings I explore how both artworks and people pull out all the stops to get attention. These paintings are reminders of the universal impulse to use whatever resources we have to attract and connect, physically, emotionally or intellectually.&rdquo;</p> <p>- Emily Roz</p> <p>Born in 1972, Emily Roz received a BA from Hampshire College where she studied Art History, Literature and Weaving. She went on to receive an MFA in Fiber from Cranbrook Academy of Art. Her work has been exhibited nationally and internationally. She has been reviewed in <em>The New York Times, New York Magazine, Time Out New York, The Washington Post, Joy Quarterly, W+G</em> <em>Williamsburg News + Art, Apollo Magazine, The Brooklyn Rail and NewCity Chicago. </em>Emily was raised in Chapel Hill, North Carolina and currently works in Queens, and lives in New York with her husband and son. This is her third solo show at the Front Room Gallery.</p> Wed, 29 Oct 2014 19:08:33 +0000 George Horner - Judith Charles Gallery - November 4th - December 6th <p>Judith Charles Gallery is pleased to announce the first solo exhibition at the gallery by art world fixture George Horner, <em>I Gave You a Retrospective at the City Dump</em>. Horner is a multi-disciplinary artist whose work uses humor, insult and wit to tell a personal story. The works often leave one with a smile and a feeling of nostalgia. Horner has been making art for over 30 years. The show is comprised of mostly text based letterpress posters and neon signs gleaned from personal conversations and overheard banter. &nbsp;His work has been featured in Artforum, Art in America, New York Magazine, as well as countless other publications. He has recently exhibited at the San Antonio Museum of Modern Art. Horner has participated in countless exhibitions around the world including many prestigious New York galleries over the years. Please join us on for the opening reception on Tuesday November 4<sup>th</sup> from 6 pm to 9 pm. &nbsp;</p> Wed, 29 Oct 2014 19:02:00 +0000 - Smack Mellon - October 7th - November 6th <p>The application deadline is&nbsp;November 6, 2014, 4PM EST</p> <p>The 2015 Studio Program will be housed on the lower level of Smack Mellon&rsquo;s building at 92 Plymouth Street. &nbsp;The residency will take place from June 1, 2015 - May 15, 2016.</p> <p>Smack Mellon offers free studio space to eligible artists for an eleven-month period. The program provides 6 artists working in all visual arts media a free private studio space and a $5000 fellowship (dependent upon funding). The program does not provide living space. Artists also have access to shared facilities that include: a state-of-the-art digital production lab, including a set of 27" iMac workstations professionally configured for video and graphics editing, calibrated video monitors, a 3D-capable HD projector, surround-sound monitor speakers, flatbed scanners, a wide-format photo printer, a color laser printer and wireless internet access; a fabrication shop; and a shared kitchen/lounge area. Our staff is on-hand to provide technical support and to respond to the studio needs of our resident artists.</p> <p>Artists have access to a wood and metal fabrication shop with equipment including table saw, grinder, drill press, welding equipment, and hand tools. &nbsp;</p> <p>Studios range in size from 250 to 300 square feet. Not all studios have windows. Artists will not be permitted to choose their studio.</p> <p>Artists who are accepted into the program must be prepared to actively use their studio a minimum of 50 hours a month or they will lose it.</p> <p>**Please also note that due to the possibility of flooding in our basement studios, we strongly recommend that artists keep anything valuable off the floor at all times; therefore artists accustomed to working on the floor should think carefully about whether our studios will meet their needs.&nbsp;</p> <p>Eligibility<br />All applicants must be United States citizens or legal Permanent Residents of the United States, 18 years or older, may not be enrolled in any degree program, and must be able to demonstrate need for a studio. Applicants may not be a resident artist in another studio program at the same time as the 2015-16 Smack Mellon residency.</p> <p>Selection Process<br />A panel of arts professionals and artists will review applications and select artists for the 2015 season. Artists will be selected based on the quality of their work and their potential for making the most of their time in the program. All applicants will be notified by email. Please do not call the office for selection results.</p> Wed, 29 Oct 2014 18:29:22 +0000 Bruce Wrighton - Laurence Miller Gallery - October 30th - December 20th <p><span style="font-family: arial, helvetica, sans-serif; font-size: medium;">Laurence Miller Gallery presents <em>Bruce Wrighton: The Downtown Men, </em>a series of 20 color portraits taken in downtown Binghamton, New York, between 1986 and 1988. </span></p> <p><span style="font-family: arial, helvetica, sans-serif; font-size: medium;">In the two years prior to his death, at the age of 38 in 1988, Wrighton photographed extensively on the streets of Binghamton, using a cumbersome 8 x 10 inch tripod-based camera. His subjects had to pose as long as six minutes while Bruce ensured that everything was correct in his viewfinder. In that time, his subjects would relax and drop their defenses, thereby allowing the photographer to produce an image both enduring and sympathetic. The parking lot attendant, the security guard, the man in the Johnny Cash tee-shirt - all responded to Bruce's quest, as he worked to produce a body of work offering a unique slice of America.</span></p> <p><span style="font-family: arial, helvetica, sans-serif; font-size: medium;">Wrighton's portraiture has often been compared to that of August Sander and Diane Arbus. His work is in many important museum and corporate collections, including the Getty Museum, the Rijksmuseum in Amsterdam, the California Museum of Photography, Goldman Sachs and&nbsp; Dow Jones in New York, and the University of Pittsburgh.</span></p> Tue, 28 Oct 2014 20:05:29 +0000 Will Brown, Thomas Devaney, Vincent Katz - Laurence Miller Gallery - December 4th 5:30 PM - 7:30 PM <p><span style="font-family: arial, helvetica, sans-serif; font-size: medium;">Laurence Miller Gallery hosts an evening with photographer Will Brown - celebrating his monograph <em>The Picture that Remains,</em> published earlier this year. There will be a book signing, including the artist himself as well as Thomas Devaney, whose poems&nbsp;accompany the images in the book, and Vincent Katz, who wrote the introductory text.&nbsp;There&nbsp;will also be poetry readings by Devaney and Katz, as well as&nbsp;by Yvonne Jacquette and Jacob Burckhardt, who will read the poems of Edwin Denby.&nbsp;</span></p> Tue, 28 Oct 2014 19:33:53 +0000 Will Brown - Laurence Miller Gallery - October 30th - December 20th <p style="text-align: justify;"><span style="font-family: arial, helvetica, sans-serif; font-size: medium;">Laurence Miller Gallery presents <em>Will Brown: A Tender Light,</em> featuring 28 intimate black-and-white photographs taken in the early 1970's in Queen Village, an old mercantile area in south Philadelphia. This will be Brown's first solo exhibition in New York.</span></p> <p style="text-align: justify;"><span style="font-family: arial, helvetica, sans-serif; font-size: medium;">Storefronts, old cars, and neighborhood residents are the primary focus here. Most often shooting early on Sunday mornings, Brown was able to capture scenes when the streets were mostly deserted, bathed in&nbsp;a very tender light - dusty shopfront windows, bedraggled Cadillacs, old apartment buildings with their windows and doors now tinned-up. The quality of light is reminiscent of the light in Eugene Atget's early morning vistas of Paris and the surrounding parks.&nbsp;</span></p> Wed, 29 Oct 2014 15:44:38 +0000 Daniel Gordon - Wallspace Gallery - October 30th - December 20th <p style="text-align: justify;">Wallspace is pleased to announce<em> Screen Selections and Still Lifes</em>, Daniel Gordon&rsquo;s second solo exhibition at the gallery, opening Thursday, October 30th and running through December 20th.</p> <p style="text-align: justify;">The exhibition is comprised of two bodies of work, a new group of large-scale still lifes, the artist&rsquo;s most ambitious and complex to date, and a new body of work, <em>Screen Selections</em>, which takes the textile-inspired backdrops Gordon uses in constructing his tableaux as a point of departure.</p> <p style="text-align: justify;">The still lifes on view compress a range of historical iconography into one cacophonous plane through a post-internet assemblage that includes analog and digital processes. Skulls, vases, fruit and vegetables are rendered in impossible perspective, made manifest through an obsessive culling and meticulous reconstructing&nbsp; of internet images. Here, Cubism, German Dadaism, Fauvism, Wiener Werkstaatte textiles and digital artifacts collide to form a vibrant surface, reverberating across time periods and styles.</p> <p style="text-align: justify;">While the still lifes are immersive and almost psychedelic in their optical density, the<em> Screen Selections</em> assert themselves as abstract compositions that appear divorced from time, place or context. In these works, Gordon selects sections from his constructed backgrounds and re-presents them as their own discrete, self-referential works. The patterning and colors that once framed objects within the compositions are now foregrounded and flattened out, reintroduced into the two-dimensional plane (i.e. screen) from which they were initially extracted.</p> <p style="text-align: justify;">Daniel Gordon (b. 1980, Boston, MA) holds a BA from Bard College and an MFA from Yale School of Art. He is the recipient of the 2014 Paul Huf Award and has participated in numerous important group exhibitions including New Photography 2009 at the Museum of Modern Art, NY and Greater New York 2010 at MoMA PS1. His work is currently on view in a solo exhibition, <em>Shadows, Patterns, Pears</em>, at FOAM, Amsterdam and in Secondhand, at Pier 24, San Francisco. The following books on his work are available at the gallery:<em> Still Lifes, Portraits and Parts</em>,(Morel, 2013); <em>Flowers and Shadows</em>,(Onestar Press, 2011); and <em>Flying Pictures</em>, (powerhouse Books, 2009).</p> Tue, 28 Oct 2014 16:57:39 +0000 Maurizio Cattelan - Venus Over Manhattan - November 7th - January 10th, 2015 <div class="section panelOverview panelOverview" data-selector="Overview"> <div class="text-overview showFullText"> <p style="text-align: justify;">From 7 November&nbsp;to 10 January 2015&nbsp;Venus Over Manhattan and Sotheby&rsquo;s S|2 (30 October &ndash; 26 November 2014) will present&nbsp;<em>Cosa</em> <em>Nostra</em>, the first major exhibition of Maurizio Cattelan&rsquo;s work since <em>Maurizio Cattelan:&nbsp;All,</em>&nbsp;the 2011/12 Guggenheim retrospective, and the artist&rsquo;s subsequent retirement. Curated by Adam Lindemann, this exhibition will showcase a range of works from Cattelan&rsquo;s career, including many of the artist&rsquo;s most recognizable iconography that has made him one of the most idiosyncratic and unique of his generation. A direct response to&nbsp;<em>All</em>,&nbsp;<em>Cosa Nostra</em>&nbsp;will utilize a distinct and dramatic exhibition design in each presenting venue, highlighting the artist&rsquo;s works as powerful, individual objects. At Venus Over Manhattan, the works will exist in isolation; at S|2, the viewer will be immersed in their images.</p> <div class="textFull"> <p style="text-align: justify;">Alexander Rotter, Co-Head of Sotheby&rsquo;s Worldwide Contemporary Art Department, commented: &ldquo;Maurizio Cattelan is one of the most distinctive artists of our time. Whether we are amused, shocked, or even outraged, no one can walk by a Cattelan without appreciating the profound force of his work.&rdquo;Adam Lindemann commented: &ldquo;Our title of&nbsp;<em>Cosa Nostra</em>&nbsp;refers to Maurizio&rsquo;s Italian roots and sensibility, as well as to my confidence in him. It&rsquo;s also a wink to S|2 and Venus&rsquo;s collaboration on this exciting double show.&rdquo;</p> <p style="text-align: justify;">Cattelan&rsquo;s body of work forces his viewers to consider their position within the world. His absurdist compositions are unsettling both physically and psychologically. This is most profoundly realized in the works which display taxidermied animals in a variety of environments.</p> <p style="text-align: justify;">In 1997, Cattelan observed the decrepit, pigeon-filled Italian pavilion of that year&rsquo;s Venice Biennale prior to the opening. He responded by presenting taxidermied birds sprawled throughout the space in a work entitled&nbsp;<em>Turisti,</em>&nbsp;thus elevating this debris to the level of high art. The exhibition will feature all of the taxidermied animals in Cattelan&rsquo;s repertoire.</p> <p style="text-align: justify;">In the&nbsp;<em>Untitled</em>&nbsp;sculpture using a broom and canvas, Cattelan recalls the monochromatic paintings of Piero Manzoni and Lucio Fontana to create a self-supporting balancing act using the weight of the object resting on the canvas to shape the pictorial plane. The artist recalls Duchampian humor by using found objects to question the nature of the art object as well as the nature of the art world much like the Arte Povera master himself. Executed in 2009, one from this edition of three was jointly acquired by the Menil Collection, Houston and the Dallas Museum of Art.</p> <p style="text-align: justify;"><em>Ave Maria</em>, from 2007, is comprised of three uniformed arms extending bodiless from the wall in a fascist salute. Confronting issues of mass violence, power and conformity, Cattelan&rsquo;s severed arms are hung on the wall as if a decorative element in a home. Instead of uniforms, the arms don everyday business suits, drawing an analogy between the everyday banality and conformity of office life and fascist Germany.</p> <p style="text-align: justify;">Throughout his career Cattelan has reveled in the interplay between good and evil, humor and irreverence. With the unnerving wax sculpture&nbsp;<em>Him</em>, the artist confronts us with the head of Adolf Hitler on the kneeling body of a twelve-year old boy, hands clasped, if not quite in prayer then in a gesture of obeisance unlikely in history&rsquo;s most reviled leader.</p> </div> </div> </div> Tue, 28 Oct 2014 16:51:42 +0000 Artie Vierkant - Untitled New York - November 2nd - December 14th <p style="text-align: justify;">UNTITLED is certified to announce Artie Vierkant&rsquo;s first solo exhibition with the gallery, <em>A Model Release</em>.</p> <p style="text-align: justify;">Vierkant&rsquo;s work often exists at the intersection of the abstract conceptual ideal of an object and its physical manifestation. With a focus on where these two points bridge and diverge, the artist has most recently engaged the notion of intellectual property. In his ongoing series <em>Exploits</em>, Vierkant has negotiated directly with intellectual property holders of various kinds for the right to produce objects based on their properties. Crucially for Vierkant, this means the work is not <em>about </em>intellectual property &mdash; it <em>is </em>intellectual property. Sourcing this as a material for producing work, the artist explores the reality that whether it is a persons right to their own image or the rights to produce an object (as in the case of a patent), we live in a culture that readily formalizes abstract territories and makes them available for negotiation and exchange.</p> <p style="text-align: justify;">The exhibition consists of two distinct, albeit intimately related, bodies of work. The back room is composed of two patents from the artist&rsquo;s <em>Exploits </em>series, in which he has been licensed from the patent holders to produce &lsquo;Detachable storage rack for a metallic structure&rsquo; by Rex Rothing of Key Largo, Florida, and &lsquo;Air filter and method of constructing same&rsquo; by George Love of Baltimore, Maryland. As the newest iteration of the <em>Exploits </em>series, which debuted last year, the works here acknowledge the breadth that a piece of intellectual property is able to entail, demonstrating the amorphous boundaries that can exist within a single piece of intellectual property, and its expansive possibilities.</p> <p style="text-align: justify;">The video on display in the front space, <em>Antoine Office, Antoine Casual</em>, represents a departure from the <em>Exploits </em>series, although employing similar ideas and questions. Instead the video turns this concept of property toward the idea of image rights and the body. For <em>Antoine Office, Antoine Casual </em>Vierkant has captured two photographic 3D scans of the same individual. Depicted in both office and casual attire, Antoine&rsquo;s image has been animated using stock motion capture data, effectively making his image perform the actions of other individuals.</p> <p style="text-align: justify;">Vierkant&rsquo;s work looks beyond surface level questions of representation and symbolism, and instead works in the domain of taking an active and actual involvement with the structures and issues he seeks to engage. Through doing so, the artist opens a broader conversation about the informational systems and structures governing our immaterial and material experience.</p> <p style="text-align: justify;"><strong>Artie Vierkant </strong>was born in 1986 in Brainderd, Minnesota. He lives and works in New York. Vierkant received his MFA from the University of California San Diego in 2012. He has had recent solo exhibitions at Higher Pictures, New York (2014), New Galerie, Paris (2013), and Exile, Berlin (2013). He has also recently participated in group exhibitions at galleries and institutions including Ullens Center for Contemporary Art, Beijing, China (2014), International Center of Photography, New York (2014), UNTITLED, New York (2013), Fonds M-Arco, Marseille, France (2013), Institute of Contemporary Art London (2012), and Carlos/Ishikawa, London (2012).</p> Tue, 28 Oct 2014 16:45:26 +0000 Jolika Sudermann, Alma Söderberg - The Goethe-Institut (Wyoming Building) - November 4th 7:00 PM - 8:00 PM <p style="text-align: justify;">In this performance, the duo <strong>Sudermann &amp; S&ouml;derberg</strong> explore elements of language and communication that cannot be found in the dictionary. <em>A Talk</em> is a journey into the musicality of spoken language and the melody, gesture, and rhythm of human interaction. <br /><br /> <strong>Jolika Sudermann</strong> studied dance theater in Hamburg and mime at the Amsterdamse Hogeschool voor de Kunsten. She teaches at Tanzfabrik Berlin and also engages in community dance and theater projects with adolescents and asylum seekers. <br /><br /> <strong>Alma S&ouml;derberg</strong> works as a choreographer and performer after having studied flamenco, contemporary dance, and choreography. She creates performances where sound, movement, and speech are of equal importance. She also performs with the Berlin-based ensemble, John The Houseband.</p> Tue, 28 Oct 2014 16:40:18 +0000 Thomas Scheibitz - Tanya Bonakdar Gallery - October 23rd - December 20th <div class="text"> <p style="text-align: justify;">Tanya Bonakdar Gallery is pleased to announce the gallery's eighth solo exhibition with Thomas Scheibitz. Entitled <em>Studio Imaginaire, </em>the exhibition presents new painting, relief and sculpture by the artist that invite exploration of the studio as a space between workshop and utopia. Pushing beyond the studio practices of predecessors ranging from Courbet to Mondrian and Bacon, Scheibitz utilizes the formal elements of painting to investigate iconographic questions and the rhetoric of the signifier and the signified. </p> <p style="text-align: justify;">The title of the exhibition, <em>Studio Imaginaire,</em> references Andre Malraux and the <em>Mus&eacute;e Imaginaire</em>, an idea that Scheibitz identifies with in his own practice of collecting and referencing an ever-expanding archive. In the <em>Mus&eacute;e Imaginaire</em>, Malraux sought to amass two-dimensional graphic representations of art from all cultures and time periods, which could be curated, juxtaposed, and reconfigured with limitless facility. Thomas Scheibitz&rsquo;s new works skillfully bring together selections culled from the artist&rsquo;s vast collection of found imagery, in a continuation of the artist&rsquo;s hallmark practice developed over nearly two decades. From fashion photography to Renaissance-era maps, Scheibitz gathers visual information that interests him and then uses it as source material. Through layering, refining and expanding upon these images taken from the common lexicon of contemporary experience, Scheibitz synthesizes the various forms into compositions that superbly distill the amalgamation of relationships in the final tableau. In a similar sense, Scheibitz riffs on Malraux&rsquo;s <em>Mus&eacute;e Imaginaire</em> with the desire to examine the studio itself as a crucial space in which ideas, images and styles can freely coalesce.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">The works in the exhibition are united by both their formal characteristics and their palette of bright primary colors, steely blue-grays, and vibrant neons. Numerals and letters find equal footing with the simplified geometries of pyramids, stars, and arrows. Distilled into formal icons, these elements are the building blocks of the artist&rsquo;s precise compositions.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">In the downstairs gallery, Scheibitz presents paintings that represent the imagined space of the studio, which are meant to function as places for mental reflection. In each work, the artist alludes to the creative process, while also complicating our perception of it. For instance, in the large-scale painting <em>Wheel of Fortune </em>a central ring demarcates a type of organizational diagram whose contents belong to some unknown system of logic, an assemblage of colors and symbols purposefully suggested while their meaning is decisively left open. In the titular painting of the exhibition, alphanumeric icons and recognizable symbols are brought together in the field of the imagined artistic workspace to construct and define the planar elements that slip between didactic representation and an abstracted composition.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Upstairs, reliefs are featured in the main space, in addition to the installation <em>Stage Imaginaire </em>in the side gallery. &nbsp;The elements that compose the stage set serve as a kind of parallel and three-dimensional explanation of Scheibitz&rsquo;s formal vocabulary, showing how the artist arranges and rearranges his compositions.&nbsp;A large format letter &ldquo;A,&rdquo; or perhaps an artist&rsquo;s easel, mingles with the compositional elements of paintings here materialized in three dimensions. In these works, Scheibitz investigates the concept of "viewable storage," a space somewhere between still life and conceptual laboratory, which is simultaneously both private and exhibit-ready. Scheibitz sees the assembly of these components as the expression of an intimate mental space, which he translates into the subjects of relief pieces like <em>Portrait E.S., Cloud </em>and<em> Guitar</em>. This transmutation of ideas and imagery is the process by which the artist forms the grammar of the <em>Studio Imaginaire</em> and undertakes the endeavor to reify the imaginary.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Based in Berlin, Thomas Scheibitz&rsquo;s recent notable exhibitions include <em>ONE - Time Pad</em> originating at MMK, Museum f&uuml;r Modern Kunst, Frankfurt Am Main and traveled to Baltic Center for Contemporary Art, 2012-2013 (solo); <em>Thomas Scheibitz: Lineage ONE / Stilleben &amp; Statistics</em>, Jarla Partilager, Berlin, 2011-2012 (solo); <em>Thomas Scheibitz: Il flume e le sue fonti/ The River and its Source</em>, Collezione Maramotti, Reggio Emilia, Italy, 2011 (solo); <em>Surveyor: An exhibition of human exploration, observation, and construction of the landscape</em>,&nbsp; organized by Curator Heather Pesanti, Albright-Knox Art Gallery, Buffalo, NY, 2011 (group); <em>If Not in This Period Of Time - Contemporary German Painting1998-2010,</em> Museu de Arte de S&atilde;o Paulo, Brazil,&nbsp; 2010-2011 (group); <em>A moving plan B- chapter ONE, Selected by Thomas Scheibitz</em>, The Drawing Room, London, 2010 (group); <em>Der ungefegte Raum</em>, Galerie im Taxispalais, Innsbruck, Austria, 2010 (solo); among others.</p> </div> Tue, 28 Oct 2014 16:34:27 +0000 Klara Liden - Reena Spaulings Fine Art - November 1st - November 1st Tue, 28 Oct 2014 16:29:16 +0000 - Recess Activities, Inc. - November 1st 3:00 PM - 5:00 PM <p style="text-align: justify;"><em>A European friend once wrote to me, &ldquo;I wish your country will open up one day.&rdquo; What a strange word, I thought: &ldquo;Open up!&rdquo; Is it not what the policeman shouts at the door? Open up to what or whom? To modernization? To the global market? To capitalism? To penetration? Or, less aggressively, to adaptation? Or, ultimately, to translation? Or is it just opening up a space, some sort of a void?</em> &mdash;Bavand Behpoor, &ldquo;Politics of Opening: Translation as Authorship&rdquo;</p> <p style="text-align: justify;">Architect and scholar Craig L. Wilkins, writer Bavand Behpoor, and curators of The Back Room, Ava Ansari and Molly Kleiman, will discuss the strategies, challenges, and urgencies for devising proactive and celebratory engagements with marginalized spaces in Iran and the US. The event will act as a coda to the eight-week, three-channel telepresence workshop conducted this spring by The Back Room in collaboration with CultureHub, with participating artists, architects, and writers at Sazmanab Center for Contemporary Art, Tehran; and Mani Studio, Isfahan. The program is supported by La MaMa and The Doris Duke Foundation for Islamic Art.</p> <p style="text-align: justify;">November 1, 3pm<br /> <a href="" target="_blank">RSVP</a></p> Tue, 28 Oct 2014 16:25:50 +0000 Hans Haacke - Paula Cooper Gallery - 521 W. 21st Street - October 25th - November 22nd <p style="text-align: justify;">The Paula Cooper Gallery is pleased to present an exhibition of works by Hans Haacke. The show, on view from October 25 to November 22 at 521 West 21st Street, will include installation, sculpture, and photography from various periods of Haacke&rsquo;s fifty-year career. Opening Reception October 25, 6-8pm.</p> <p style="text-align: justify;">The most recent work on view will be the maquette for <em>Gift Horse</em>, 2013, Haacke&rsquo;s winning proposal for the Fourth Plinth at London&rsquo;s Trafalgar Square. The bronze sculpture depicts the skeleton of a horse, derived from an engraving by George Stubbs, whose equine portraits reflected the equestrian culture of the British upper class. An electronic ticker tape&mdash;tied to the horse&rsquo;s foreleg like a bow on a gift&mdash;displays the live feed of the London Stock Exchange. Here, the artist makes an oblique nod to Adam Smith whose 1776 book <em>The Wealth of Nations</em> marked the birth of modern capitalism and introduced the commonly cited yet often misunderstood idea of &ldquo;the invisible hand of the market&rdquo; as the source of common welfare. According to the artist, &ldquo;Some 250 years later, followers of Smith&rsquo;s &lsquo;mythical hand&rsquo; flock to the City of London, to Wall Street and other market places around the world, while the less fortunate look to the bare bones of the horseplay of today&rsquo;s gentry.&rdquo; The final sculpture, which will measure over 13 feet in height, will be unveiled in Trafalgar Square on March 5, 2015 and on view for eighteen months.</p> <p style="text-align: justify;">In <em>Together</em>, 2013, Haacke revisits his seminal 1969 installation, <em>Circulation</em>, examples of which are now in the collection of the Museo Nacional Centro de Arte Reina Sof&iacute;a in Madrid and the Generali Foundation in Austria. In this work, water is pumped from two sources through a continuous and interconnected network of transparent tubing. Haacke&rsquo;s interest in the circuitous flow of elements laid the groundwork for his other systems, which explore interaction and interdependence within physical, biological and social structures.</p> <p style="text-align: justify;"><em>Condensation Floor</em> is one of the original works of Haacke&rsquo;s canonical <em>Condensation</em> series, which he initiated in 1963. Water evaporates and condenses in a sealed Plexiglas box responding to changes of light and temperature in its environment. In this floor-bound work from that period, the reflective properties of light and water are dramatically displayed along a six-foot-square surface.</p> <p style="text-align: justify;">The show will also include a selection of new photographs by the artist.</p> <p style="text-align: justify;">Haacke has lived and worked in New York since 1965. He was born in Cologne, Germany in 1936 and attended the Staatliche Werkakademie in Kassel from 1956 to 1960. He was awarded a Fulbright Grant in 1961 to study at the Tyler School of Art at Temple University in Philadelphia. From 1967 to 2002 he taught at the Cooper Union in New York City. He has been given many one-person exhibitions at museums including the Museo Nacional Centro de Arte Reina Sof&iacute;a, Madrid, the Akademie der K&uuml;nste, Berlin, the Tate Gallery, The New Museum of Contemporary Art, and the Centre Georges Pompidou. His work was exhibited at the 2000 Whitney Biennial, four times at documenta (1972, 1982, 1987, 1997) in Kassel and at biennales in Gwangju, Sharjah, Johannesburg, S&atilde;o Paolo, Sydney and Tokyo. Haacke was awarded the Golden Lion with Nam June Paik for their German Pavilion at the 1993 Venice Biennale. In 2000, Haacke&rsquo;s permanent installation <em>DER BEV&Ouml;LKERUNG (To The Population)</em> was inaugurated at the Reichstag, the German Parliament building in Berlin, and in 2006, he completed another public commission in Berlin, this one on Rosa-Luxemburg-Platz, commemorating the famous philosopher and activist for whom the square was named.</p> Tue, 28 Oct 2014 16:18:13 +0000 Alexander Kaletski - Mary Boone Gallery - 5th Ave. - October 30th - December 20th <p style="text-align: justify;">On 30 October 2014, Mary Boone Gallery, in cooperation with Anna Zorina Gallery, will open at its Fifth Avenue location <em>Red Carpet</em>, an exhibition of works by ALEXANDER KALETSKI.</p> <p style="text-align: justify;">This new body of work captures the artist&rsquo;s unique peripheral perspective on an American culture fueled by celebrities, fame and red carpet iconicity. Although riddled underlying commentary, the work evades conceptual heavy handedness - a testament to Kaletski&rsquo;s sly wit and refined artistry.</p> <p style="text-align: justify;">The artist&rsquo;s formative years were spent in the Soviet Russia where red embodied authority. The color was used pervasively in propaganda to depict dictators with an aura of distinction and dominance. Bold red symbolized devotion to Communist ideology and nationalism. Constantly surrounded by slogans and flags, Kaletski grew bitter toward the ubiquitous color. Upon moving to America, the color took on a different meaning. Red no longer represented dictatorship, but instead symbolized entertainment, sexuality, fame and luxury.</p> <p style="text-align: justify;">With <em>Red Carpet</em>, Kaletski has produced a collection of paintings that not only are humorous, sophisticated and thought provoking, but also complex and culturally telling.</p> <p style="text-align: justify;">Each painting begins with an abstract form created through the interaction of a drippy white background and the deep red path, creating a diminishing perspective. The resulting passageway is dually suggestive of a journey to nowhere and an entrance into a lifestyle of glamour and success.</p> <p style="text-align: justify;">After decades of living in New York, Kaletski no longer sees red as solely indicative of political sentiments, but more profoundly as a celebration of American optimism.</p> <p style="text-align: justify;">The red carpet broadens the horizon and lures one to accomplish seemingly impossible goals. His new red emphasizes both the achievement of success as well as the contingencies of life on a pedestal.</p> <p style="text-align: justify;">The exhibition, at 745 Fifth Avenue, is on view through 20 December 2014 and will run concurrent with a show of the Artist&rsquo;s work at Anna Zorina Gallery in Chelsea.</p> Tue, 28 Oct 2014 15:45:31 +0000 Francesco Clemente - Mary Boone Gallery - 24th St. - November 6th - December 20th <p style="text-align: justify;">On 6 November 2014 Mary Boone Gallery will open at its Chelsea location <em>Two Tents</em>, an exhibition of new work by FRANCESCO CLEMENTE.</p> <p style="text-align: justify;">A tent fulfills a fundamental human need for shelter, yet nomadic peoples throughout history have fashioned them not only for physical protection, but as a psychic refuge.</p> <p style="text-align: justify;">Francesco Clemente has spent his forty-year career as a nomad, proceeding from his native Italy and alighting for extended periods in New York, Brazil, and India. The quest manifest in his work is for an understanding of the self that traverses geography and civilizations.</p> <p style="text-align: justify;">Here Clemente presents <em>Angels&rsquo; Tent </em>and <em>Devil&rsquo;s Tent</em>, a pair of voluminous Mughal-style canvas tents &ndash; each ten feet high and twenty feet wide &ndash; that square off with one another in the main Gallery space. Created in cooperation with craftspersons in Jodhpur, India, the tent exteriors are richly painted, decorated, and embroidered with repeating wave or cloud-like formations that give the effect of opulent camouflage.</p> <p style="text-align: justify;">Clemente has painted every surface of the interior of each tent with pertinent imagery. The <em>Angels&rsquo; Tent </em>features angels reclining on plinths amid symbols of weightlessness &ndash; rainbows, umbrellas, leaves, netting &ndash; all in the intense pastel colors of Holi pigments.</p> <p style="text-align: justify;">Darker hues define the <em>Devil&rsquo;s Tent</em>, where earth-bound subjects dominate: skeleton, suited men in monocle and top hat, bees and honeycomb, a firing brick kiln. Clemente brilliantly evokes the potent opposing forces that define human nature and beliefs.</p> <p style="text-align: justify;">A group of twenty-five works on handmade paper created in Delhi in 2013-2014 combine Clemente&rsquo;s distinctive execution of watercolor with Indian miniature painting. The figural subjects portray the breadth of sensual, emotional and spiritual experience. </p> <p style="text-align: justify;">Intricate gold patterns added by traditional artisans give the backgrounds the shimmering look of Indian silk brocades.</p> <p style="text-align: justify;">Also on view in New York concurrent with the exhibition is <em>Francesco Clemente: Inspired by India </em>at the Rubin Museum of Art. This show affords a deeper understanding of Clemente&rsquo;s long engagement with the culture and artistic practices of India. </p> <p style="text-align: justify;">The Mary Boone Gallery exhibition, at 541 West 24 Street, is on view through 20 December 2014.</p> Tue, 28 Oct 2014 15:41:27 +0000