ArtSlant - Recently added en-us 40 Patricia Heal - Robin Rice Gallery - September 17th - October 26th <p>In her ninth solo show at the Robin Rice Gallery, veteran artist Patricia Heal documents her visual narrative of their enchanted home in upstate New York. Hidden within untouched forests lies Peabrook, a babbling brook running through the property. The classic architecture of the house is offset by uniquely quirky interiors designed by the English-born Patricia and her husband, Anthony Cotsifas, which generate an otherworldly existence within the estate. &ldquo;Peabrook is my Neverland,&rdquo; Heal states, in reference to J.M. Barrie&rsquo;s <em>Peter Pan</em>. &ldquo;It is a fictional place often described as a metaphor for eternal childhood.&rdquo; Heal hopes that, with just a visit to the gallery and a little imagination, you, too, can see Peabrook.</p> <p>&nbsp;</p> <p>Her use of the large format, now-extinct Polaroid film for her black and white photographs, and the warm soft colors found in many of the other pieces of the collection, contribute to the sense of antiquity and fantasy surrounding Peabrook. The whimsical subject matter, including mythical creatures and extensive taxidermy, complete the &ldquo;magical&rdquo; representation of Heal&rsquo;s home that she strove to depict. The simply framed 4&rdquo; x 5&rdquo;, 5&rdquo; x 7&rdquo; and 8&rdquo; x 10&rdquo; photographs sit within large mattes, in keeping with the classical quality of her images. &ldquo;I really wanted to work in film again, and this project seemed the right one to do it with,&rdquo; says Heal, who lists Sarah Moon and Andr&eacute; Kertesz as artistic inspirations.</p> <p>&nbsp;</p> <p>The dark and mysterious invitational image, &ldquo;Willow&rdquo;, depicts a portrait of a hooded woman, her downward gaze partially obstructed by the soft branches of a fern from the surrounding garden.</p> <p>The earth-toned image contains the unpredictable streaked effect of developed instant film.</p> <p>&nbsp;</p> <p>In another image, entitled &ldquo;Sitting Room&rdquo;, we see a positive image of a film negative. Most notable is the hanging rhinoceros head towering impressively over two antique sitting chairs. The rhinoceros head is an art piece made of resin; Heal says that she does not condone hunting, and collects taxidermy as homage to the animals. Taxidermy can found throughout her home, including a raven standing alert upon one of the aforementioned chairs in her living room.</p> <p>&nbsp;</p> <p>Patricia Heal was born in England, where she studied art and theater. After receiving her degree in photography, she moved to New York City. Currently, Heal works for leading editorial and commercial clients, and shares a studio with her husband, fellow photographer Anthony Cotsifas, and their bulldog, Moses. She has received numerous awards, including the Society of Publication Designers Award for Photography, the Communication Arts Photography Award, a Nikon/PDN Award, the IPA Lucie Fine Art Award, and a Fuji Film Promotion Award. In her previous show, Patricia focused on the wild ponies of Dartmoor and their habitat. After it was shown at the Robin Rice Gallery, her show was then exhibited in England at Stone Theatre in London and Bangwallop in Salcombe, Devon.</p> <p>&nbsp;</p> <p>To view all of the images exhibited, please direct yourself to <a href="" rel="nofollow"></a></p> <p>&nbsp;</p> Sun, 27 Jul 2014 22:37:46 +0000 James Brooks, Alan Shields, Manny Farber, Al Held - Van Doren Waxter Gallery - July 28th - August 29th Sat, 26 Jul 2014 23:40:41 +0000 Tiong Ang, Guglielmo Achille Cavellini, Carlo Ferraris, Greg Kwiatek, Walter Robinson - LYNCH THAM - July 28th - August 21st <p><em>The Season in Review</em>&nbsp;summarizes our recent exhibitions with works by the following artists: Tiong Ang, Guglielmo Achille Cavellini, Carlo Ferraris, Greg Kwiatek, and Walter Robinson.&nbsp;<br /><br />RECENT PRESS:<br /><a href="" rel="nofollow" target="_blank">W Magazine</a><br /><a href="" rel="nofollow" target="_blank">New York Magazine</a><br /><a href="" rel="nofollow" target="_blank">Art<em>space</em></a><br /><a href="" rel="nofollow" target="_blank">The New Yorker</a><br /><a href="" rel="nofollow" target="_blank">artnet News</a><br /><br />Gallery summer hours: Monday through Thursday, 10am to 6pm.<br /><br />We will be closed from 22&nbsp;August to 9 September 2014. We re-open&nbsp;on 10 September 2014 with an exhibition by leading&nbsp;Portuguese artist Pedro Calapez.&nbsp;</p> Sat, 26 Jul 2014 20:07:42 +0000 - Guild Hall - August 2nd 9:00 AM - 4:00 PM <p>Since 1946, Guild Hall has proudly hosted the annual Clothesline Art Sale, a community event that showcases original works by East End artists. Nearly 400 artists enter the sale each year, with their work attracting thousands of art lovers looking for the next&nbsp;de Kooning, Prince, or Sherman. Works range in price from $50 to $2,000, with all proceeds split 50/50 between the artist and Guild Hall. Proceeds from the sale benefit Guild Hall of East Hampton.</p> Fri, 25 Jul 2014 02:12:18 +0000 Tom Hammick - Flowers Gallery NY - September 11th - October 11th <p>Flowers is pleased to announce the New York solo debut of British artist Tom Hammick titled, <em>Hypnagogic</em>. The show, comprised of paintings and prints, will run from September 11th until October 11th 2014, with a reception for the artist on Thursday, September 11th, from 6-8pm.</p> Thu, 24 Jul 2014 20:22:54 +0000 - Gallery 69 - August 1st 10:00 AM - 7:00 PM Thu, 24 Jul 2014 10:15:18 +0000 Group Show - Jonathan LeVine Gallery - 557C West 23rd - August 6th - August 23rd Thu, 24 Jul 2014 08:45:07 +0000 Group Show - Jonathan LeVine Gallery - 529 W. 20th - August 6th - August 23rd Thu, 24 Jul 2014 08:42:03 +0000 Filippino Lippi, Vittore Carpaccio, Jose Guadalupe Posada, Pablo Picasso, Hugues Sambin, Sebastiano Conca - The Metropolitan Museum of Art - July 15th - September 29th <p>The summer rotation in the Robert Wood Johnson Jr. Gallery focuses on a selection of drawings and prints from southern Europe and Mexico and covers over 450 years of art in different media.</p> <p>The earliest works on view are drawings by two great artists of the Italian Renaissance: Filippino Lippi (Italian, ca. 1457&ndash;1504) and Vittore Carpaccio (Italian, 1460/66?&ndash;1525/26). They were close contemporaries and represent the two major artistic centers of fifteenth-century Italy: Florence and Venice, respectively. Filippino Lippi, the illegitimate son of the great painter Fra Filippo Lippi&nbsp;(Italian, ca. 1406&ndash;1469), was a brilliant muralist and easel-painter active in Florence and Rome. Filippino's virtuosity as a draftsman is especially evident in his quick expressive sketches and meditated life studies in the difficult technique of metalpoint; many of his highly inventive compositions were also recorded by engravers of his time, as seen in the present selection. Carpaccio was a prolific draftsman, unlike most Venetian Renaissance artists of his generation, and used drawings for a variety of purposes. Some of his drawings in the Museum's collection can be firmly connected to extant paintings by him, and others served as models for consultation in the workshop.</p> <p>The rotation also features several new acquisitions of the&nbsp;Department of Drawings and Prints. A rare, circular architectural print by the French Renaissance artist Hugues Sambin (French, ca. 1520&ndash;1601)&nbsp;forms the central focus of a selection of works on paper exploring the interest in Classical architecture in France during the sixteenth century. The monumental circular drawing of&nbsp;<em>Venus at the Forge of Vulcan</em>of the early eighteenth century is one of Sebastiano Conca's most accomplished extant works, and it is shown here with a group of exuberant compositional studies and figural drawings by Italian Baroque painters. On display nearby is the French nineteenth-century design for a mural by the artist Paul Chenavard (French, 1808&ndash;1895). This heretofore unidentified project represents the so-called&nbsp;<em>Gigantomachy</em>, or the battle of the Olympian Gods against the Giants, and is paired with other drawings and prints showing scenes of divine omnipotence.</p> <p>A separate group of drawings and prints focuses on Pablo Picasso (Spanish, 1881&ndash;1973). Picasso was a prolific printmaker who throughout his long career explored different printmaking techniques. His subjects embody a perpetual conversation, both between his own works and those of his predecessors and colleagues. In this selection from the Museum's collection, six works from his oeuvre are contrasted with prints and drawings by other artists. The comparisons highlight his connection to artistic traditions as well as his own very distinct contributions to art history.</p> <p>In part contemporary to Picasso's work, a large section of the rotation is dedicated to twentieth-century Mexican prints. Emerging from the political climate of the Mexican Revolution (1910&ndash;1920), the spirited prints and posters address political themes inspired by the unstable climate of the first half of the twentieth century, whereas others celebrate Mexican traditions and culture such as Jos&eacute; Guadalupe Posada's skeletons relating to the Day of the Dead.</p> Thu, 24 Jul 2014 08:14:51 +0000 Kelvin De Leon, Delphine Diallo, Heather Hart, Albert Vecerka - Studio Museum in Harlem - July 17th - October 26th <p>Harlem Postcards is an ongoing project that invites contemporary artists of diverse backgrounds to reflect on Harlem as a site of cultural activity, political vitality, visual stimuli, artistic contemplation and creative production. Representing intimate and dynamic perspectives of Harlem, the images reflect the idiosyncratic visions of contemporary artists from a wide range of backgrounds and locations. Each photograph has been reproduced as a limited edition postcard available free to visitors.</p> Thu, 24 Jul 2014 07:44:17 +0000 Group Show - Studio Museum in Harlem - July 17th - October 26th <p><em>Expanding the Walls: Making Connections Between Photography, History and Community</em>&nbsp;is an annual, eight-month residency in which New York&ndash;area high school students explore the history and techniques of photography. Through experimentation, gallery visits and workshops led by contemporary artists, the students build community as each explores and defines his or her art practice. Since the program&rsquo;s founding in 2001, the James VanDerZee (1886&ndash;1983) archives&mdash;housed at The Studio Museum in Harlem&mdash;have been the primary catalyst for the students&rsquo; critical reflections on the representation of culture and community. VanDerZee, the iconic chronicler of Harlem during its renaissance period, documented landscapes and social groups, and cultivated a thriving studio practice that represented an emergent black middle class. Now in its fourteenth year, the program and exhibition continue to be impassioned considerations of VanDerZee&rsquo;s timeless themes, and testaments to the Studio Museum&rsquo;s commitment to young, emerging artists.</p> <p>The title for this exhibition,&nbsp;<em>Vantage Point</em>, is a term that describes a position or place that affords a wide or advantageous perspective.&nbsp;<em>Vantage Point</em>&nbsp;presents the students&rsquo; perspectives and awareness of complex power dynamics, definitions of community, internal conflicts and victories. Like VanDerZee, the young artists meticulously construct works that range from realistic echoes of lived experiences to projected narratives that deliberately push perceived societal boundaries. Atzimba Xoyalta&rsquo;s&nbsp;<em>The Thinker</em>&nbsp;(2014), for example, is an intimate snapshot, photojournalistic in approach, illustrating the self-discovery of youth, while an untitled work by Gabriella Rosen uses the language of film noir to recast everyday people as superheroes. From these diverse vantage points students both collapse and expand the notions of lived and imagined experiences.</p> <p>Through their engagement with contemporary artists and museum professionals, excursions throughout New York and discussion groups focusing on the impact of art on society, students discover techniques to present their ideas to an intergenerational audience. For this exhibition,&nbsp;<em>Expanding the Walls</em>&nbsp;participants have selected VanDerZee photographs, displayed alongside their own, that resonate with the same sense of performance and production present in their works.</p> <p>&nbsp;</p> Thu, 24 Jul 2014 07:39:59 +0000 Dawit L. Petros, Leslie Hewitt, Terry Adkins - Studio Museum in Harlem - July 17th - March 8th, 2015 <p><em>Under Another Name</em>&nbsp;borrows its title from a line that appears in Ren&eacute;e Green&rsquo;s letterpress print&nbsp;<em>William Morris</em>. In it, she cites William Morris, a 19th century English artist, writer, textile designer and socialist. In his novel&nbsp;<em>A Dream of John Ball</em>&nbsp;(1888), which Green quotes, he writes: &ldquo;I men fight and lose the battle, and the thing that they fought for comes about in spite of their defeat, and when it comes turns out not to be what they meant, and other men have to fight for what they meant under another name&hellip;&rdquo;</p> <p><em>Under Another Name</em>&nbsp;considers work in multiple media, focusing on the relationship of various genres and media to one another. Here, ephemeral sculptures are captured as photographs; letterpress prints invoke the aesthetics of video; performances are recorded as drawings; sound is captured in objects; and photographs are abstracted into paintings. Rather than privileging one medium over another, the exhibition looks at their interdependence and what happens when a work is understood through the context of a new medium.</p> <p>&nbsp;</p> Thu, 24 Jul 2014 07:33:32 +0000 Jack Bradley - Queens Museum of Art - June 29th - September 21st <p>Fifty years ago, thousands of visitors from around the world crowded into Flushing Meadows Corona Park to attend the 1964-1965 World&rsquo;s Fair, dedicated to &ldquo;Man&rsquo;s Achievement on a Shrinking Globe in an Expanding Universe.&rdquo; Most, if not all, of those visitors probably had no idea that a man who had already achieved quite a lot in his lifetime made his residence less than two miles away from the Fair: Louis &ldquo;Satchmo&rdquo; Armstrong.</p> <p>Jazz&rsquo;s greatest genius had made Corona, Queens his home since 1943.&nbsp; By 1964, Armstrong didn&rsquo;t have much free time to spend there as &ldquo;Ambassador Satch&rdquo; was still traveling the world, more popular than ever after his surprise number one hit record, &ldquo;Hello, Dolly!&rdquo; knocked The Beatles off the top of the charts on May 9, 1964.</p> <p>To celebrate the Queens resident&rsquo;s big hit, the World&rsquo;s Fair declared June 30, 1964 to be &ldquo;Louis Armstrong Day.&rdquo; For once, Armstrong didn&rsquo;t have to ride the band bus or race to catch an airplane; he just had to pack his trumpet and make the short drive to Flushing Meadows Corona Park. A motorcade drove Armstrong through the fairgrounds that afternoon, before Armstrong and his All Stars put on one of their usual spectacular evenings of entertainment at the Singer Bowl (which would later be renamed Louis Armstrong Stadium).</p> <p>Armstrong&rsquo;s close friend and personal photographer Jack Bradley was on hand with his camera to document some of the day&rsquo;s events, including photos of Armstrong&rsquo;s motorcade, of the trumpeter on stage wearing a Native American headdress and posing with international fans backstage. Bradley&rsquo;s photos of Armstrong at the World&rsquo;s Fair have never previously been exhibited. Thanks to Bradley&rsquo;s photos, we can now take a peek into what must have been a very memorable day in Queens for one of the borough&rsquo;s true kings.</p> <p><em>Ambassador Satchmo at the World&rsquo;s Fair&nbsp;</em>is presented by The Louis Armstrong House Museum in partnership with the Queens Museum.</p> Thu, 24 Jul 2014 07:07:29 +0000 - New York Historical Society - August 22nd - November 30th <div class="field field-type-text field-field-teaser"> <div class="field-items"> <div class="field-item odd"> <p>Can one object define New York City? Can 101?&nbsp;<em>New York Times</em>&nbsp;urban affairs correspondent Sam Roberts has assembled a kaleidoscopic array of possibilities in a new book,&nbsp;<em>A History of New York in 101 Objects</em>. Featuring objects from the New-York Historical Society collection, this exhibition will assemble some of Roberts&rsquo;s choices, which together constitute a unique history of New York.&nbsp; By turns provocative, iconic, and ironic, and winnowed from hundreds of possibilities, his selections share the criteria of having played some transformative role in the city&rsquo;s history.</p> </div> </div> </div> <div class="field field-type-filefield field-field-full-view-teaser"> <div class="field-items"> <div class="field-item odd">Visitors to the New-York Historical Society may be familiar with many of the institution&rsquo;s more important holdings which will be on view, and without which no exhibition about the history of the city would be complete. Among them are the water keg with which Governor DeWitt Clinton marked the opening of the Erie Canal in 1825; the draft wheel used during the 1863 draft riots, the largest civil uprising in American history; the sterling silver throttle that powered the inaugural trip of the New York City subway in 1904; and a jar of dust collected by N-YHS curators at Ground Zero following the 9/11 attacks. Less well-known selections include a seventeenth-century English&ndash;Low Dutch dictionary revealing linguistic traditions that persist to the present; a section of the transatlantic cable that first facilitated the intercontinental exchange of telegraphs in 1858; or a pair of shoes belonging to a young victim of the 1904 General Slocum steamboat tragedy, which until 9/11 was the city&rsquo;s worst disaster.</div> </div> </div> <div class="body"> <p>Yet the city also can be described by far more ubiquitous objects that are no less unique to its DNA. The bubblegum pink Spaldeen ball, a staple of urban street games. The bagel, an unquestionably New York City food. Graffiti. The (now-extinct) subway token. The black-and-white cookie, which Roberts believes &ldquo;democratically says New York,&rdquo; because of its popularity at subway bakeries and elite establishments alike. Indeed, the selections themselves constitute a democracy of objects that taken together capture the monumental drama as well as the everyday spirit of an extraordinary city.</p> </div> Thu, 24 Jul 2014 06:59:09 +0000 Omar Berrada, Érik Bullot, Joshua Craze, Mariam Ghani - New Museum - July 16th - September 28th <div class="columns clearfix"> <div class="col-twothirds col-left"> <p>The Temporary Center for Translation is a site for pedagogical exchange founded on the importance of translation as a mode for thinking, making, and doing.</p> <div class="credit">Every translation sets into play distinct vocabularies and systems of meaning&mdash;linguistic and otherwise&mdash;and it is in these encounters that priorities and positions are negotiated. While fidelity to an original work or idea is paramount in some theories of translation, the Center questions what exactly constitutes a likeness. It also complicates the idea that a translator should aim to retain what is foreign about a work, which in turn helps articulate the distinctions between contexts that are national, political, cultural, or otherwise. Inevitable incongruities are important to the Center&rsquo;s activities: They provide the opportunity for devoted&mdash;though, in some cases, not so faithful&mdash;rewrites. A work may be radically reoriented from its original readership and stakes through translation, thereby asking the original and the translation to account for each other in new ways. At its base, the Center is dedicated to opening up the process of translation, making visible conversations that are a routine&mdash;but often hidden&mdash;part of the translation process.</div> </div> </div> <div class="body"> <p>A modest experiment rather than an enduring infrastructure, the Center&rsquo;s commitment during its short-term existence is to the facilitation and distribution of translations of select texts on visual culture. An essay by Lebanese artist and writer Jalal Toufic will be translated from English into Arabic and French, and an essay by contemporary Moroccan philosopher Abdessalam Benabdelali will be translated twice from Arabic into English. The first iteration will be a &ldquo;standard&rdquo; translation and the second, a more radical linguistic transformation drawing on experimental processing techniques by a writer-translator with no Arabic language skills. Acting as a temporary catalyst for collaborative translation, the Center will also facilitate collective translations of contemporary art texts selected by international partner organizations, using the online multilingual platform&nbsp;TLHUB.</p> <p>Also displayed within the Center are materials from other writers, editors, translators, and artists, including Omar Berrada and &Eacute;rik Bullot, Joshua Craze, Mariam Ghani, and the editors of and contributors to&nbsp;<em>Dictionary of Untranslatables</em>. These projects stage constant interplays between written, visual, and verbal expression, and exemplify a wide range of local vernaculars and specialized discourses, from official military grammar to the philosophy of language, theories of translation, associated political agendas, and the aestheticization of translation modalities. In addition, the Center houses a small, specialized resource collection intended for public use.</p> <p>The Temporary Center for Translation is an initiative of the Education Department and Dar al-Ma&rsquo;m&ucirc;n, conceived to be in dialogue with &ldquo;Here and Elsewhere&rdquo; and other current Museum programs. The Center looks specifically at the translator&rsquo;s role&mdash;with the complexity of her or his individual and institutional networks, impetuses, and desires&mdash;as integral to creating social, cultural, or political meaning in history.</p> <p>The Temporary Center for Translation is organized by Omar Berrada, Codirector of Dar al-Ma&rsquo;m&ucirc;n, Marrakesh, Taraneh Fazeli, Education Associate, and Alicia Ritson, Research Fellow, with Chaeeun Lee, Education Intern. The Center&rsquo;s institutional partner is Dar al-Ma&rsquo;m&ucirc;n. Special thanks to&nbsp;TLHUB&nbsp;and Princeton University Press.</p> </div> Thu, 24 Jul 2014 06:53:49 +0000 McCauley (“Mac”) Conner - Museum of the City of New York - August 29th - January 11th, 2015 <p>McCauley (&ldquo;Mac&rdquo;) Conner (born 1913) grew up admiring Norman Rockwell magazine covers in his father&rsquo;s general store. He arrived in New York as a young man to work on wartime Navy publications and stayed on to make a career in the city&rsquo;s vibrant publishing industry. The exhibition presents Conner&rsquo;s hand-painted illustrations for advertising campaigns and women&rsquo;s magazines like&nbsp;<em>Redbook</em>&nbsp;and&nbsp;<em>McCall&rsquo;s</em>, made during the years after World War II when commercial artists helped to redefine American style and culture.</p> Thu, 24 Jul 2014 06:43:41 +0000