ArtSlant - Recently added en-us 40 Jacob Aue Sobol - Yossi Milo Gallery - July 16th - August 28th <p style="text-align: justify;">Yossi Milo Gallery is pleased to present <cite>Arrivals and Departures</cite>, a series of photographs by Danish artist Jacob Aue Sobol, taken along the course of the Trans-Siberian Railway. The exhibition of nearly sixty 20&rdquo; x 24&rdquo; gelatin silver prints from the artist&rsquo;s most recent body of work will open on Thursday, July 16, and close on Friday, August 28 with a reception for the artist on Thursday, July 16, 5:00 &ndash; 8:00 pm. This is the artist&rsquo;s second exhibition at the gallery.</p> <p style="text-align: justify;"><cite>Arrivals and Departures</cite> chronicles Jacob Aue Sobol&rsquo;s travels across the Asian continent by train during 2012-2014, with stops in Moscow, Russia; Ulan Batar, Mongolia and Beijing, China, and numerous rural communities along the way. During three separate month-long trips, Sobol photographed the changing landscape from his window seat, as well as encounters with inhabitants of the locations where he disembarked. Using the camera as a tool to create contact, closeness and intimacy, Sobol&rsquo;s approach to photography is personal. His voyage along the Trans-Siberian Railway was, he says &ldquo;an investigation of the emotional states that control us, inspire us, and keep us moving.&rdquo; The images capture life&rsquo;s complexities: people, places and the relationships between them.</p> <p style="text-align: justify;">Sobol shoots in black and white, creating stark visual and emotional contrasts. Using a digital camera for the first time, but retaining the tight cropping and grainy imagery that characterize his <cite>Sabine</cite> and <cite>I,Tokyo</cite> series, the photographs are intense and immediate records of his subjects. Young couples in bed, animals traversing icy fields, stark corners of temporary lodgings are all depicted without reference to a specific place or time, reflecting the inter- connected, universal story that Sobol strives to tell.</p> <p style="text-align: justify;">Jacob Aue Sobol&rsquo;s work has been featured in solo exhibitions at the Museet for Fotokunst, Odense, Denmark; Rencontres D&rsquo;Arles, Arles, France; Fotografisk Center, Copenhagen, Denmark; C/O Berlin, Germany; ArtScience Museum, Singapore and in group exhibitions internationally, including <cite>Face of Our Time</cite> at the San Francisco Museum of Modern Art (2011). His publications include <cite>VEINS: Anders Petersen and Jacob Aue Sobol</cite> (2013); <cite>Avec Toi</cite> (2013); <cite>Arrivals &amp; Departures</cite> (2012); <cite>I, Tokyo</cite> (2008); <cite>Sabine</cite> (2004). Sobol studied at the European Film College and Fatamorgana, Danish School of Documentary and Art Photography. He was born in Denmark in 1976 and grew up in Br&oslash;ndby Strand. He currently lives and works in Copenhagen.</p> Fri, 03 Jul 2015 17:08:18 +0000 Joshua Caleb Weibley - TRANSFER - August 8th - September 19th <div id="exhibition-description"> <p style="text-align: justify;"><strong class="name">TRANSFER is pleased to present <em>&lsquo;CRUFT&rsquo;</em></strong>, an exhibition of drawings and electronic waste by Joshua Caleb Weibley.</p> <p style="text-align: justify;">&ldquo;CRUFT&rdquo; features drawings that were first exhibited in Seattle, WA depicting industry-standard guides to programs and coding languages (specifically, drawings of O&rsquo;Reilly Media&rsquo;s &ldquo;Animal&rdquo; books series). They are meticulously rendered by hand with a ruler and a pen on letter paper&mdash;line by line as if by an erratic ink-jet printer&mdash;and were originally devised for their first presentation with the nearby headquarters of and Microsoft in mind.</p> <p style="text-align: justify;">If a machine tried to empathize with and relate itself to organic life, it might see in the printing cycles of these books or the extinctions of the animals on their covers metaphors for its own product lifecycle and that of the different languages running through it that are outlined by O&rsquo;Reilly&rsquo;s series.</p> <p style="text-align: justify;">The exhibition&rsquo;s title is a jargon term for anything that is left over or redundant, employed particularly for superseded, unused technical and electronic hardware and useless, superfluous or dysfunctional elements in computer software. Here, the word comments on the works&rsquo; subjects (and status as remnants from the last exhibition) as well as on material needs implicitly associated with network-based art practices &mdash; like those supported by the exhibition venue TRANSFER in Brooklyn, NY.</p> <p style="text-align: justify;">As it happens, new regulations are in place as of this year in New York fining the improper disposal of old computers and their peripherals, televisions, fax machines, VCRs, DVD players, printers/scanners, video game consoles, MP3 players, tablets, and small servers. This is a positive development.</p> <p style="text-align: justify;">The seemingly disembodied immediacy of technological advancement is in no way as immaterial as we are often encouraged to believe. And so it is with materiality in mind that, in addition to presenting works from the earlier exhibition, &ldquo;Cruft&rdquo; will serve as an ad hoc electronic waste collection site.</p> <p style="text-align: justify;">Visitors are invited to bring e-waste to TRANSFER where it will remain on view parallel to the re-installed drawings for the exhibition&rsquo;s duration. At the close of the exhibition it will be properly removed with adequate care paid to potentially sensitive data still stored on any devices. For guidelines about what is appropriate to dispose of in this way, refer to or email</p> <p style="text-align: justify;">About the Artist :::<br /> <strong>Joshua Caleb Weibley</strong> was born the year O&rsquo;Reilly Media published their first &ldquo;Animal&rdquo; book. He currently works for the online hand-made goods marketplace Etsy in Brooklyn. Weibley&rsquo;s work is included in White Columns&rsquo; artist registry and has most recently been shown at Miyako Yoshinaga Gallery (New York), et al Projects (New York) and Veronica (Seattle) at which works in this exhibition were first presented under the title &ldquo;Colophon&rdquo;. Work in this show has been written about on The Creators Project and (perhaps appropriately enough as it shares a founder with O&rsquo;Reilly Media) on Makezine.</p> <p style="text-align: justify;">For more information: <a href="" target="_blank"></a></p> <h4>Opening Reception</h4> <p class="exhibition-event-date">TRANSFER on Saturday, August 8, 7 &ndash; 11 PM</p> <p class="exhibition-event-link"><a href="" target="_blank">Info + RSVP</a></p> </div> Fri, 03 Jul 2015 17:05:24 +0000 Group Show - Society of Illustrators - July 7th - July 25th <div style="text-align: justify;">The Society of Illustrators is pleased to present the first part of the two-part annual Comic and Cartoon Art Exhibit. <a title="Voted on by a prestigious group of professionals" href=";ItemID=12353" target="_blank">Voted on by a prestigious group of professionals</a> including publishers, editors, and artists, this year&rsquo;s show features work by masters in the field alongside talented newcomers.<br /><br />Gold and Silver medals are awarded to top pieces displaying high-quality technique, a strong narrative, and an interesting composition. <a title="An Opening Reception and Awards Presentation" href=";ItemID=12579" target="_blank">An Opening Reception and Awards Presentation</a> for all medal winners will take place on Friday, June 19th beginning at 6PM at the Society of Illustrators.<br /><br />Work featured in the Long Form Category include art created for graphic novels and comics books that are longer than 40 pages. A Gold Medal is awarded to <strong>Olivier Schrauwen</strong> for <em>Ars&egrave;ne Schrauwen</em> (Fantagraphics). Silver Medals go to <strong>Jaime Hernandez</strong> for <em>The Love Bunglers</em> (Fantagraphics) and <strong>Patrick Kyle</strong> for <em>Distance Mover</em> (Koyama Press).<br /><br />Work in the Single Category includes art featuring a self-contained narrative with or without a caption such as gag cartoons, political cartoons, and single-panel cartoons. A Gold Medal is awarded to <strong>Roger De Muth</strong> for <em>Squirrels Are Not Just For Breakfast Anymore</em>. Silver Medals go to <strong>Carolita Johnson</strong> for <em>Must Remember</em> and <strong>Liam Walsh</strong> for <em>Just Married</em>.<br /><br />The Comic Strip Category features short-form work created for newspapers, magazines, books, and online periodicals featuring four or more panels. A Gold Medal goes to <strong>Ma&euml;lle Doliveux</strong> for <em>Little Nemo</em><em>in Between Slumberland</em> (Locust Moon). Silver Medals go to <strong>Fran Krause</strong> for <em>Deep Dark Fears</em> and <strong>Tom Tomorrow</strong> for <em>Captain Kirk vs. the Internet</em>.</div> Fri, 03 Jul 2015 17:01:41 +0000 A.K. Burns - Participant Inc. - September 13th - October 18th Fri, 03 Jul 2015 16:47:22 +0000 Kazuo Kitai - MIYAKO YOSHINAGA Art Prospects - September 10th - October 24th Fri, 03 Jul 2015 16:44:45 +0000 Trevor Paglen - Metro Pictures - September 10th - October 20th Fri, 03 Jul 2015 16:42:14 +0000 Group Show - Margaret Thatcher Projects - July 23rd - August 31st Fri, 03 Jul 2015 16:39:41 +0000 Slowinski - Limner Gallery - July 18th - August 30th Fri, 03 Jul 2015 16:35:26 +0000 Group Show - Koenig & Clinton - July 16th - August 21st <p style="text-align: justify;">Koenig &amp; Clinton is pleased to announce&nbsp;<em>Organic Situation,&nbsp;</em>a group exhibition that parses ideas about human relationships to both organic and engineered environments. Our contemporary moment is one of the&nbsp;<em>network society</em>, in which our increasingly mediated experience of &lsquo;the natural world&rsquo; is blurred between the virtual and the real.&nbsp;<em>Organic Situation</em> offers varying perspectives on the&nbsp;interdependent roles of biology and technology in shaping perception, experience, and creative production.</p> <p style="text-align: justify;">Construing nature through language, image, and speech act, Paul Ram&iacute;rez Jonas mounts a grid of 165 printed sheets of paper to form <em>Paper Moon (I Create as I Speak) </em>(2008). A single excerpted sheet of the text reading &lsquo;I create as I speak&rsquo; rests on a lectern, inviting an incantation.</p> <p style="text-align: justify;">Two paintings by Denise Kupferschmidt draw on advertising, architecture and design elements from the early-20th Century to render &lsquo;universal&rsquo; figures against graphic imagery of urban geometries.&nbsp;Peter Scott&rsquo;s <em>High Line Billboard</em> (2015) offers a telling view of visitors framed by a now-iconic architectural feature on the local High Line park. Zo&euml; Ghertner&rsquo;s <em>False Fronts</em> diptych captures the aspirational fa&ccedil;ades of the rural American West.</p> <p style="text-align: justify;">Assembling topologies out of discarded advertisement vinyl, Kelly Jazvac&rsquo;s sculptural works coax new questions about landscape and disposability. Resembling natural rock formations, the digital refuse lumps of Tyler Coburn&rsquo;s <em>Waste Management </em>(2013-14) memorialize technological byproducts.</p> <p style="text-align: justify;">Photographs from Margaret Honda&rsquo;s series&nbsp;<em>Les animaux du Mus&eacute;um national d&rsquo;Histoire naturelle, Paris</em> (2005- 2007) present elusive images of threatened or extinct specimens. Also referencing <em>nature morte</em>, the sculptures of Jonathan Bruce Williams push the living dead into stereoscopic focus.</p> <p style="text-align: justify;">A grid of oil paintings by Peter Dreher depicts light recorded at regular intervals on one alpine ridge over several days&rsquo; time. Also in line with German Romanticism, Miljohn Ruperto&rsquo;s lenticular photograph <em>Do Your Best</em>&nbsp;(2014) attempts to convey Caspar David Friedrich&rsquo;sseminal painting<em>, The Sea of Ice </em>(1823-1824) in a newer medium.</p> <p style="text-align: justify;">Trading in the visual language of myths, rituals, dreams, and photographic documentation, Geoffrey Hendricks&rsquo;s Fluxus headstand performances invert the body&rsquo;s relationship to land, sea, and sky. Meanwhile, the collaborative single-channel video and performance <em>C.L.U.E. (Color Location Ultimate Experience)</em>&nbsp;(2007) by A.L. Steiner + robbinschilds follows sentient bodies into the outdoors.</p> Fri, 03 Jul 2015 16:23:52 +0000 Ernesto Molina - Josee Bienvenu Gallery - May 16th - July 4th <p style="text-align: justify;">Jos&eacute;e Bienvenu is pleased to present the fourth installment of "Present,"&nbsp;a series of guest-curated exhibitions in the Project Space.</p> <p style="text-align: justify;">In the 1970s, Ernesto Molina produced a series of collages made of press clippings that he superimposes and juxtaposes. Member of the Suma group, a collective of artists active in Mexico between 1976 and 1982, he uses&nbsp;an urban visual vocabulary borrowed from found objects and other detritus collected from the trash.</p> <p style="text-align: justify;">The exhibition brings together a series of 10 collages dated in 1976 and 1977.</p> <p style="text-align: justify;">Born in 1952 in Mexico City, Mexico. Ernesto Molina studied at the Escuela Nacional de Artes Pl&aacute;sticas of the Universidad Nacional Aut&oacute;noma de M&eacute;xico. He is a founding member of Group Suma, an alternative art and design group that explores and experiments with unconventional supports and materials using popular, everyday graphic resources.</p> <p style="text-align: justify;">Molina has participated in numerous exhibitions, including Grupo Suma: obra gr&aacute;fica y El Nopal Press (Museo Nacional de la Estampa), la era de la discrepancia, 1968-1997 (Museo Universitario de Ciencias y Artes, 2007) and Obras son amores. Arte-Vida-M&eacute;xico. 1964-1992 (Museo de Arte Moderno, 2013), all in Mexico City.</p> <p style="text-align: justify;">Alexis Fabry is a curator specializing in Latin American photography and a publisher of books bringing together photography, literature, and design (in 2013 he founded Toluca Editions with Olivier Andreotti). He has curated a number of exhibitions, including Urbes (the Leticia and Stanislas Poniatowski collection) at the Museo del Banco de la Republica (Bogota) and then the International Center for Photography (New York); America Latina, 1960-2013 at the Fondation Cartier (Paris); and El Peso de la Ciudad (the Anna Gamazo de Abello collection) at Foto Colectania (Barcelona).</p> Fri, 03 Jul 2015 16:17:02 +0000 Gabriel Hartley, Denise Kupferschmidt - Foxy Production - July 16th - August 14th Fri, 03 Jul 2015 16:10:02 +0000 Evan Nesbit - Eleven Rivington (Rivington Street) - July 9th - August 7th Fri, 03 Jul 2015 16:05:02 +0000 Evan Nesbit - Eleven Rivington (Chrystie Street) - July 9th - August 7th Fri, 03 Jul 2015 16:03:58 +0000 Group Show - Derek Eller Gallery - July 16th - August 21st Fri, 03 Jul 2015 16:01:15 +0000 Deborah Remington - Wallspace Gallery - June 26th - August 7th <p style="text-align: justify;">Wallspace is pleased to present an exhibition of paintings and drawings by Deborah Remington, made between 1963 and 1983.</p> <p style="text-align: justify;">It feels like an opportune time to consider Remington&rsquo;s idiosyncratic paintings and drawings. Having become used to looking at glowing, backlit images on computer screens, Remington&rsquo;s immaculately rendered forms, bathed in a completely unnatural light, can be understood and embraced in new ways by the today&rsquo;s viewer.</p> <p style="text-align: justify;">Although she was born on the East coast, Remington studied with Clyfford Still and Elmer Bischoff at the California School of Fine Arts (which later became the San Francisco Art Institute) and is closely associated with San Francisco&rsquo;s Beat generation. Although Remington&rsquo;s earlier work was tied to more traditional abstract painting, her signature works have never been part of any school or movement and the current climate of stylistic diversity finally provides a more receptive audience.</p> <p style="text-align: justify;">Remington&rsquo;s paintings present floating shield-like shapes organized around a central axis. These images, which are bilaterally symmetrical, are at once organic and machine-like. The frontal shapes suggest mirrors and armor, an imagery that is simultaneously attractive and off-putting, as well as compelling and unforgettable. It has roots in both the imagery of Surrealism and of the Machine Age.</p> <p style="text-align: justify;">Remington&rsquo;s palette is unusual as she tends to limit her colors to black and white, electric red and blue, a deep green and small touches of orange. This unexpected color system complements and expands upon the singularity of her imagery.</p> <p style="text-align: justify;">By altering her imagery to suit the medium and scale of her drawings, the central schema becomes asymmetric and increasingly segmented, as compared to her paintings. The graphite surface is velvety, giving the drawings a sense of touch and warmth. The light seems warmer as well, as though lit by incandescent bulbs rather than fluorescents, which otherwise light the paintings externally.</p> <p style="text-align: justify;">&mdash;Jay Gorney, New York, May 2015</p> <p style="text-align: justify;"><strong>DEBORAH REMINGTON </strong>(b. Haddonfield, NJ, 1930, d. 2010, Moorestown, NJ) received her BFA and MFA from the San Francisco Art Institute where she studied painting with Clyfford Still and became affiliated with the Bay Area&rsquo;s burgeoning Beat scene. She was one of six painters and poets - and the only woman - who in 1954 founded the now legendary 6 Gallery, where Allen Ginsberg first read his poem, &ldquo;Howl&rdquo; in public on October 7, 1955. After graduation, Remington spent two years in Japan studying calligraphy before returning to San Francisco, where she had three solo shows at the Dilexi Gallery and one at the San Francisco Museum of Art. In 1965, Remington moved to New York by which time she had gained renown for an aggressive and emblematic visual language influenced by abstract expressionism. She made her New York debut in 1967 at the Bykert Gallery, the premier New York gallery for new art at the time. She had three more solo shows there before it closed in 1975. She taught painting at the Cooper Union from 1973 to 1997 and at New York University from 1994-1999. A twenty-year retrospective (1963-1983) of the artist&rsquo;s work, curated by Paul Schimmel, was held at the Newport Harbor Art Museum, California, in 1983 (now Orange County Museum of Art), traveling to the Oakland Museum of Art and several other venues. More recently, Remington&rsquo;s work has been featured in several group exhibitions focused on the art of the 1950s and 60s including, Optical and Visionary Art Since the &lsquo;60s, which opened at the San Antonio Museum of Art in 2010 and traveled widely throughout the US. Upcoming exhibitions include: Her Action: Women of Abstract Expressionism, a traveling exhibition organized by the Denver Art Museum with a catalogue to be published by Yale University Press in 2016. Remington was the recipient of numerous grants and awards in her lifetime including a Guggenheim Fellowship (1984), a National Endowment for the Arts Fellowship (1979), and a Tamarind Fellowship (1973), among others. She was elected to the National Academy of Design in 1999 and received a Pollock-Krasner Foundation Grant that same year.</p> <p style="text-align: justify;">This exhibition is organized by Jay Gorney with generous cooperation from The Deborah Remington Charitable Trust for the Visual Arts and Margaret Mathews-Berenson, curator of the Trust.&nbsp;</p> <p style="text-align: justify;">Opening reception: Friday, June 26th, 6-8pm</p> Fri, 03 Jul 2015 15:42:05 +0000 Grace Weaver - Thierry Goldberg Gallery - July 2nd - August 7th <p align="justify">Thierry-Goldberg Gallery is pleased to present the first New York solo exhibition of Grace Weaver. The show opens on July 2nd with a reception from 6 to 8 and will run through August 7th. A self-professed fan of guilty pleasure music, Weaver likes to think of her paintings as pop songs. The title of the exhibition is borrowed from Katy Perry&rsquo;s hit single from 2010, Teenage Dream.</p> <p align="justify">In Match Point (2015) one of Weaver&rsquo;s most recent paintings in the exhibition, the vantage point is that of a tennis player taking a moment to bend over and tie his shoelace. A scaled-up male figure with red elongated limbs frames the opposing female player that stands in the distance on the other side of the tennis court. The upside down viewpoint of the pictorial composition contributes to the whimsical aspect of the work, where the difference in scale between the two figures make it seem as if the oversized head of the male character in the foreground is about to kiss (or eat) the miniature female figure in the back.</p> <p align="justify">Weaver&rsquo;s carefree millennial sensibility is also evident in Meet-Cute, a large two-panel painting from 2014. The painting depicts a busy street scene with bursts of bright color and stylized figures, where a high-heeled woman in a purple summer dress greets a man that carries a child on his shoulders. Weaver&rsquo;s colorful compositions of curved lines and playful usage of scale construct everyday narratives that feel current yet timeless.</p> <p>&nbsp;</p> <p align="justify">Grace Weaver (b. 1989, Vermont) currently lives and works in Brooklyn, NY. She holds an MFA from Virginia Commonwealth University, and a BA from University of Vermont. Weaver has previously had solo exhibitions at SPACE Gallery, Burlington, VT and at Burlington City Arts. She has also exhibited at 215 College Gallery, Burlington VT; Page Bond Gallery, Richmond, VA; and at Anderson Gallery, Richmond, VA.</p> <p align="justify">Opening: Thursday, July 2, 6-8</p> Fri, 03 Jul 2015 15:34:20 +0000