ArtSlant - Current exhibits en-us 40 Hans-Peter Feldmann - 303 Gallery - September 15th - October 29th <div class="text paragraph-styling"> <p style="text-align: justify;">303 Gallery is proud to present our seventh solo exhibition of new work by Hans-Peter Feldmann.</p> <p style="text-align: justify;">Feldmann&rsquo;s obsessive collecting of popular images and ephemera has earned him a singular position in the history of conceptual art, with his early books and photographic experiments commonly considered a rosetta stone for the birth of postmodernism. In recent years, Feldmann&rsquo;s oeuvre has incorporated photography, sculpture, installation, drawing, and as highlighted in this exhibition, painting. Feldmann in fact began his art career as a painter, but quickly abandoned the medium, not satisfied with his own technical skill. Applying his extraordinary eye for images that are both categorically banal and cunningly suggestive, Feldmann&rsquo;s version of a painting show consists of found paintings that are manipulated and placed into unexpected dialogues. Whether nudging insipid aristocratic portraits toward transcendent farce or uncovering hidden secrets in the pabulum of vernacular landscape painting, Feldmann begins to dissect the force that images enact upon the subconscious, simultaneously subverting and sublimating their capacities.</p> <p style="text-align: justify;">In another perversion of the exalted stature of the artwork, the majority of paintings in this exhibition are to be suspended from the ceiling as opposed to hung on the walls. As in Lina Bo Bardi&rsquo;s design for the Museu de Arte de Sao Paolo (1968), this &lsquo;floating installation&rsquo; democratizes the experience of the artwork, putting the viewer on equal ground with the paintings. Viewed as a collection of objects rather than an arrangement of metaphysical tableaux, the paintings inhabit space as things-themselves, a stark contrast to the contrived, impenetrable status symbols often conferred onto works of art.</p> <p style="text-align: justify;">This notion is very much in keeping with Feldmann&rsquo;s general modus operandi, wherein his paintings are sourced from auctions before being altered or &ldquo;arranged.&rdquo; His &lsquo;Sea Paintings&rsquo; for example, consist simply of 15 seascape paintings (both old and new, large and small, and from a mix of amateurs and better known painters such as Patrick von Kalckreuth) arranged salon style on a single wall. Repetition becomes a disjunctive impulse, as the paintings in combination with each other begin to reveal a certain latency of shared experience, a tabula rasa through which we can appreciate not only the impulse to paint and reproduce nature, but the construction of nature itself.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Hans-Peter Feldmann has shown in prestigious international venues for over 50 years. Recent solo exhibitions include a comprehensive show focused on his photographic works at C/O Berlin (2016), as well as a traveling survey at Deichtorhallen in Hamburg (2013), the Serpentine Gallery in London and BAWAG Contemporary in Vienna (both 2012). Additional exhibitions were mounted at the Museo Reina Sofia in Madrid (2010), the Malm&ouml; Konstall (2010), the Kunsthalle D&uuml;sseldorf (2010), and the Arnolfini in Bristol (2007-2008). Feldmann is consistently included in important group exhibitions, including the Walker Art Center in Minneapolis (2016), Palais de Tokyo in Paris (2013), S&atilde;o Paulo Biennial (2012), the Bass Museum of Art in Miami (2012), the Venice Biennale (2009), and Muse&eacute; d&rsquo;Art Moderne de la Ville de Paris (2008). In 2010, Feldmann was awarded the Hugo Boss Prize resulting in a solo exhibition at New York&rsquo;s Guggenheim Museum. His work has been collected over the years my numerous public institutions including The Museum of Modern Art, New York, Tate Modern, London, Centre Pompidou, Paris, Hirschhorn Museum, Washington DC, and the Hammer Museum, Los Angeles. The artist lives and works in D&uuml;sseldorf.&nbsp;</p> </div> Sun, 24 Jul 2016 06:31:15 +0000 Susana Guerrero - 532 Gallery Thomas Jaeckel - September 15th - October 22nd <p style="text-align: justify;">We are pleased to present Susana Guerrero&rsquo;s first US solo exhibition, <em>Anatomy of a Myth</em>&nbsp;in New York.</p> <div style="text-align: justify;">Through her inventions, Susana Guerrero is set upon taking up themes of mythology and utopia (<em>mythopia</em>), bringing together a genealogy of the materials, an anthropology of human experience, guided by the murmur of a dream.&nbsp; She allows a perceptual interpretation of a different kind.</div> <p style="text-align: justify;">Many of Guerrero&rsquo;s artworks evoke a contemporary mythology that puts on the same plane the visible physical reality, the substance of dreams and the subconscious, the hidden reality.</p> <p style="text-align: justify;">There&rsquo;s a kind of reformulation of ancient mythologies, constituting personal thoughts of the sacred through mythical stories, traditions and legends, superstitions and intuitive revelations.</p> <p style="text-align: justify;">In the process of making the artwork, Guerrero reveals a binding ritual.&nbsp; The choice of every material, the configuration of every shape, of every element, brings a poetic meaning and symbolism to her artwork.</p> <p style="text-align: justify;">Indications of imaginary blood and path through veins and arteries, active heart, organs out of place yet connected to a life system.&nbsp; Guerrero may posit a relatively fractured or whole woman, or a person in different bodily states.&nbsp; As she makes the crisply graphic work, more figurative forms are mixed with unspecifiable shapes or abstracted forms in parts of her composition.</p> <p style="text-align: justify;">Her most vivid construction would be derived from a varying &ldquo;mythopia&rdquo;.&nbsp; The result is formed with features that may be confrontational or bacchanal.&nbsp; Parts of it may be supposed to urge identification or resist it.&nbsp; In this case, the filling of the space often places a situation akin to a breaking out, a way of purifying the spirit and getting to new ideas.</p> <p style="text-align: justify;">Susana Guerrero is a&nbsp;Fine Arts PHD, Miguel Hernandez University, Elche, Spain (2012).&nbsp; She received an Advanced Studies Award (D.E.A.), Miguel Hernandez University, Elche (2007), and&nbsp;graduated Sculpture and Print,&nbsp;Polytechnic University in Valencia, Spain (1996-1997).&nbsp; She was granted Fellowships from: Project LLP-Erasmus, Academia Belle Arti di Macerata, Italia (2004); Artist Residency in Lithography at M&uuml;nchner Kunstlerhaus, Munich, Germany (2004); Ceramic Fellowship LABORATORIO DE FORMA, Empresa Grupo Sargadelos, Cervo, Lugo (2003); Program of Artistic Residency from Mexican Government thru Mexican Institute of International Cooperation from Foreign Affairs of Mexico, run by Gilberto Aceves Navarro (2002); Program of Artistic Residency from Mexican Government thru Mexican Institute of International Cooperation from Foreign Affairs of Mexico, National School of&nbsp; Fine Arts, M&eacute;xico (2000); PROMOE, Universidad Nacional Autonoma de Mexico, Centro de Extension Taxco, Guerrero, Mexico (1997); ERASMUS Anotati Scholi Kalin Tehnon, Athens, Greece (1995).</p> <p style="text-align: justify;">She&nbsp;is a professor at Miguel Hernandez University, Fine Arts Campus, Altea, Spain, since 2003.&nbsp; Guerrero&rsquo;s work is in several institutional collections, including: Kunstlerhaus, Munich, Germany; Instituto Mexicano de Cooperacion Internacional, Mexico; Universidad Nacional Autonoma de Mexico; City Hall of Alicante; City Hall of Leganes, Madrid; City Hall of Elche; Alicante Instituto de Cultura Juan Gil Albert; Universidad de Cantabria; Foundation Spanish Contemporary Print Museum of Marbella; Universidad Miguel Hernandez, Elche; Palau de la Musica, Valencia.</p> Fri, 07 Oct 2016 07:32:25 +0000 Anila Quayyum Agha - Aicon Gallery - New York - October 20th - November 26th <p class="Default" style="text-align: justify;"><em>Press Preview &amp; Opening Reception: Thursday, October 20</em><em>th </em><em>6:00pm &ndash; 8:00pm </em></p> <p class="Default" style="text-align: justify;"><em>35 Great Jones St., New York NY 10012 </em></p> <p class="Default" style="text-align: justify;"><em>Featuring the Artist in discussion with <strong>Sona Datta</strong>, </em></p> <p class="Default" style="text-align: justify;"><em>Curator of South Asian Art, Peabody Essex Museum </em></p> <p class="Default" style="text-align: justify;"><strong>Aicon Gallery </strong>is pleased to present <em>Walking with My Mother&rsquo;s Shadow</em>, the first major New York solo exhibition by <strong>Anila Quayyum Agha</strong>. In 2014, Anila&rsquo;s now iconic sculptural installation <em>Intersections </em>was awarded the Public Vote Grand Prize and tied the Juried Grand Prize at the 2014 <strong>ArtPrize </strong>competition in Grand Rapids, MI. The installation has since traveled internationally and nationally with critical acclaim in exhibitions at the National Sculpture Museum in Valladolid, Spain, The Contemporary Art Museum in Dallas, TX; Rice University Art Gallery in Houston, TX, and the Peabody Essex Museum in Salem, MA. Derivations of <em>Intersections </em>have been exhibited in Korea, Turkey, and the U.A.E. as well as in the United States. Currently, <em>All The Flowers Are For Me </em>is showing at the Brooklyn Academy of Music (BAM) in Brooklyn, NY. Agha&rsquo;s Opening Reception and exhibition in New York will inaugurate Aicon Gallery&rsquo;s newly expanded space, which is designed over two floors and spans three large gallery spaces. This expansion significantly broadens the art gallery&rsquo;s programming and curatorial vision.</p> <p class="Default" style="text-align: justify;">Anila has lived on the boundaries of different faiths such as Islam and Christianity, and in cultures like Pakistan and the USA. Her art is deeply influenced by the simultaneous sense of alienation and transience that informs the migrant experience. This consciousness of knowing what is markedly different about the human experience also bears the gift of knowing its core commonalities, and it is these tensions and contradictions that are embodied in her artwork. Through the use of a variety of media, from large sculptural installations to embroidered drawings, she explores the deeply entwined political relationships between gender, culture, religion, labor and social codes. In her work she has used combinations of textile processes and sculptural methodologies to reveal and question the gendering of traditional craft as inherently domestic and, thus, excluded from being considered a fine art form.</p> <p style="text-align: justify;">Anila&rsquo;s current work in this exhibition reflects on the complexities of love, loss and gains; experienced by her over the past year. The works on paper and the sculptural installations were borne from a mix of emotions following her son&rsquo;s wedding and her mother&rsquo;s passing within weeks of each other early this year. The personal loss of a mother, in a broader sense, is compounded by the communal loss - of loved ones, identities, homes and countries &ndash; experienced by myriad people across a world ravaged by the atrocities of war and displacement. Simultaneously, Anila also sees this body of work as reflective of joy for her son&rsquo;s future life, along with the lives of many others across the world who have been given second chances through resettlement in new lands, but who will always carry with them a sense of loss for their uprootedness.</p> <p class="Default" style="text-align: justify;">Throughout her oeuvre, Anila remains fascinated by the interplay of presumed opposites that are never quite so: male and female, the definite and the amorphous, the geometric and the organic. In this new body of work, these concerns emerge in an exploration of joy and grief, the nuptial and the funereal, the seen and the unseen. Within these works she examines the amoebic transparency of sorrow, and its ability to reflect and inflict light and darkness. Anila worked with materials that are transparent or ethereal, that inhabit the limbo of loss, a space between visibility and invisibility, reality and unreality, light and shadow, real and unreal. These materials appear fragile, but are often resilient, hardy, even stubborn just like sorrow when cut, pushed, pulled, scraped, or sewn together.</p> <p class="Default" style="text-align: justify;">Materials such as steel, cut with delicate patterns, or embroidery and beads on white, black and brown paper, reflect and refract light. They represent space that belongs to one more than the other, evaluate the color of her body and the bodies of others, and the cycles of life and death. The series in white reference the white of marble gravestones and shrouds, both of which are a central element of death and its commemoration in Pakistan. The black drawings speak of the surface and the hidden layers often not seen or mined. The brown drawings talk of our bodies, and the longing to belong and to matter. The red and black sculptural installations magnify floral and geometric motifs to inhabit a large space, covering and beautifying all that are in it.</p> <p class="Default" style="text-align: justify;">In the floral beauty of the patterns and layers, the cuts and embroidery strive to capture the identity, beauty, and femininity of her mother and other mothers that become obscured by gravestone and shroud. These patterns pay homage to the organic to which death is inevitably linked but from which new life also emerges. The many colored, metallic embroidery threads in these works are often used in women&rsquo;s wedding dresses in Pakistan but never for shrouds. In stitching these threads into paper, and cutting patterns in steel, she connects the wedding that is believed the beginning of a woman&rsquo;s life-giving journey, and the funeral that is its ultimate end. This interplay of the nuptial and the funereal suggests the larger cycle of life binding us through gossamer fragility and beauty of a bloom that will undoubtedly fade.</p> <p style="text-align: justify;">Anila Quayyum Agha was born in Lahore, Pakistan and lives and works in Indianapolis, IN. She has an MFA from the University of North Texas and currently is the Associate Professor of Drawing at the Herron School of Art and Design at Indiana University Purdue University Indianapolis (IUPUI). She has exhibited in over twenty solo shows and fifty group shows. Her work is in the collections of the <em>Peabody Essex Museum </em>in Salem, MA and the <em>Kiran Nadar Museum of Art </em>in New Delhi, India. Anila has also won numerous awards and grants like the Efroymson Artist Fellowship. The most recent accolade is the prestigious Glen W. Irwin, Jr., M.D. Research Scholar Award, awarded by IUPUI. This is her first major solo exhibition in New York City and with Aicon Gallery.</p> Fri, 07 Oct 2016 07:44:03 +0000 Mark Morrisroe - Alexander and Bonin - October 15th - December 22nd Wed, 14 Sep 2016 20:00:09 +0000 Ree Morton - Alexander and Bonin - October 15th - December 22nd Wed, 14 Sep 2016 20:00:16 +0000 Willie Doherty - Alexander and Bonin - October 15th - December 22nd Wed, 14 Sep 2016 20:02:54 +0000 - American Folk Art Museum - October 6th - February 26th, 2017 <p style="text-align: justify;"><em>Securing the Shadow </em>is a contemplation of American self-taught portraiture through the lens of memory and loss. Humanity demands that no life should pass without some recognition, whether it is in the form of a marked grave, a portrait painted after death, or a postmortem photograph. Such tokens were once proof of life&mdash;one last opportunity to secure a shadow that would survive beyond the limit of individual memories.</p> <p style="text-align: justify;">American gravestones offer standing testimony to the changing social structure of dying from the colonial period through the nineteenth century as portraits of the deceased slowly replaced stark memento mori of winged death heads, hourglasses, and the like. In painted portraiture, the transition from frank mortuary depictions to living images coincided with a cultural shift as the individual came to be privileged over the community and a redemptive view of death replaced a more intractable belief in original sin. Posthumous portraits and the postmortem daguerreotypes that ultimately replaced them are memories fixed in colored pigments on canvas and vapors on silver. We cannot help but hear them whisper through the years, &ldquo;remember me,&rdquo; because, as photographer Mathew Brady warned in 1856, &ldquo;you cannot tell how soon it may be too late.&rdquo;</p> <p style="text-align: justify;">Stacy C. Hollander, Exhibition Curator</p> <p style="text-align: justify;">Deputy Director for Curatorial Affairs and Chief Curator, American Folk Art Museum</p> Fri, 23 Sep 2016 17:24:56 +0000 Tetsumi Kudo - Andrea Rosen Gallery - October 14th - November 16th <p style="text-align: justify;">Curated in conjunction with Joshua Mack.<br /> With the gracious cooperation of Hiroko Kudo&nbsp;and the Estate of the Artist.</p> <p style="text-align: justify;"><strong>&ldquo;Kudo&rsquo;s work is complex in its symbolic meaning, is extremely metaphorical, and bears little relationship to traditional agitprop of social realist art.&rdquo;&nbsp;&ndash; Mike Kelley, 2008&nbsp;</strong></p> <p style="text-align: justify;">Andrea Rosen is proud to present the gallery&rsquo;s third exhibition exploring the work and ideas of Tetsumi Kudo (1935-1990).&nbsp; Building on past shows that surveyed Kudo&rsquo;s career and contextualized it vis-&aacute;-vis contemporaries like Paul Thek, Hannah Wilke, and Alina Szapocznikow, the current presentation will examine the artist&rsquo;s development in the 1970s and &lsquo;80s, highlighting the spiritual and symbolic currents to which Mike Kelley (quoted above) identified in an essay for Kudo&rsquo;s 2008 retrospective at the Walker Art Center.&nbsp; The exhibition at Andrea Rosen Gallery brings together a survey of approximately eight string works and over twenty cages, spanning from 1966-1988.</p> <p style="text-align: justify;">Born in Osaka in 1935, Tetsumi Kudo was essential to the development of &ldquo;anti-art&rdquo; avant-garde art in Tokyo in the late 50s and early 60s that used store bought objects and found material in order to shock and revolt the status quo and to make art that would be defined by experience rather than medium, author, or commercial value.</p> <p style="text-align: justify;">Equally important to developments in Europe, Kudo settled in Paris in 1962 and quickly became associated with artists like Arman and Daniel Spoerri and critics such as Pierre Restany and Alain Jouffroy. Through performances (one attended by legendary gallerist Ileana Sonnabend), films, texts, and most importantly sculpture incorporating household objects, he sought to subvert the separation between art and lived experience and to interrogate mass consumerism and the rise of technology.&nbsp; In 1965 he wrote that religion and tradition had become commodities like &ldquo;stockings, ice-cream, and instant coffee&rdquo;.&nbsp; He believed that World War II and the rise of the market economy had rendered European Humanism, with its emphasis on the individual over the social, invalid.</p> <p style="text-align: justify;">In contrast, he suggested that pollution, technology, and humanity had become a symbiotic whole in which each affected the other in what had become intertwined &ldquo;new ecology.&rdquo; Kudo conceived of his work as models or maquettes of these realities. His inclusion of electronic circuitry, store-bought kitchen items, plastic dolls, and vacuum tubes, among other industrial produced materials renders his pieces as outtakes or parts of contemporary ecology.</p> <p style="text-align: justify;">Among the most sustained and complex expression of his ideas were the works he realized using birdcages, a series he began in 1965 and concluded in 1981. In these, body parts meld with transistors and circuit boards sprout plastic flowers. Votre portait (1974), which includes a face of the French Romanian poet, Eug&egrave;ne&nbsp;Ionesco, who symbolized European egotism for Kudo, suggests the impotence of anthropocentric culture in the face of technology, pollution, and consumerism, while also questioning how artists can respond to this helplessness.</p> <p style="text-align: justify;">This quandary engendered a series of cages titled Portrait d&rsquo;artist dans la crise (Portrait of the artist in the crisis) that signals a more introspective turn in Kudo&rsquo;s work. In the late 1970s, during a period of ill health, Kudo began including lengths of colored string and reams of magnetic tape in his works to suggest the energy of thoughts, memory, and life moving within and between the mind, the body, and the animate world. By 1981, he had ceased using figurative elements, instead affixing yarn and thread to papier m&acirc;ch&eacute;-like cylinders and cones. Kudo referred to these as trou noir or black holes and also suggested that several reflected the balance of centrifugal and centripetal forces, which he believed unified Japan, not in social terms, but in a pantheistic sense.</p> <p style="text-align: justify;">The exhibition aims to explore this underlying spirituality and holistic thinking in all of Kudo&rsquo;s work.<br /> <br /> <em>Tetsumi Kudo work has been widely recognized since the 1960s, exhibiting throughout Europe and Japan. His work can be found in the collections of Centre Georges Pompidou; Mus&eacute;e d&rsquo;Art Moderne de la Ville de Paris; Museum of Modern Art, New York; the Guggenheim Museum; Walker Art Center; Stedelijk Museum; the Pinault Collection; Aomori Museum of Art; National Museum of Art, Osaka; National Museum of Modern Art, Tokyo; Museum of Contemporary Art, Tokyo; among others. His work is the subject of a large scale retrospective this Fall at the Fridericianum in Kassel, Germany (2016). Other significant exhibitions include: a retrospective in 2013 (Osaka Museum, Aomori Museum, and National Museum of Art, Tokyo); Walker Art Center (2008), La Maison Rouge, Paris (2007), The National Museum of Art Osaka (1994), the Van Reekum Museum, Apeldoorn and the Stedelijk Museum (1991).</em></p> <p style="text-align: justify;">Text by Joshua Mack</p> Fri, 07 Oct 2016 07:56:14 +0000 Jorge Eielson - Andrea Rosen Gallery 2 - October 14th - November 16th <p style="text-align: justify;">Andrea Rosen Gallery 2 is pleased to announce an exhibition of Jorge&nbsp;Eielson&rsquo;s <em>Quipus</em> series.</p> <p style="text-align: justify;">Over the course of 60 years, Jorge Eielson (1924-2006), a self-described&nbsp;&lsquo;worker of word&hellip; of image&hellip; of colour&hellip; of space,&rsquo; developed a practice&nbsp;that eschewed strict categorization, encompassing poetry, sculpture,&nbsp;painting, performance, and theatre. Breaking out of the restrictive two dimensional&nbsp;boundaries of the flat surface was one of Eielson&rsquo;s chief preoccupations, as was idiom, in its visual and written form. As a poet and&nbsp;painter, the artist emphasized the importance of language, and explored it&nbsp;from a narrative and symbolical perspective. Eielson&rsquo;s paintings&ndash;&ndash;most&nbsp;notably the&nbsp;<em>Quipus&nbsp;</em>series dating back to 1963&ndash;&ndash;are saturated with&nbsp;Peruvian heritage, while simultaneously revealing a framework within&nbsp;which metaphor, language, color, and an almost scientific study of form&nbsp;are exercised.</p> <p style="text-align: justify;">Rising to prominence as part of the Peruvian movement known as &lsquo;Generation 1950,&rsquo; Eielson boldly left his native&nbsp;Peru to relocate to Europe in 1948&ndash;&ndash;first visiting Paris, then settling in Italy. Actively engaging with the cultural&nbsp;milieu of his adoptive countries, Eielson befriended the likes of Raymond Hains and the members of the MADI group&nbsp;in Paris, and became acquainted with Alberto Burri, Mimmo Rotella and Cy Twombly, among others, in Rome. While&nbsp;he maintained strong social rapports with his peers, Eielson&rsquo;s art developed independently of them and their affiliate&nbsp;movements. Neither espousing the consumerist rhetoric challenged by pop art, nor abiding to the formal diktats of&nbsp;minimalism or the rigorous critical inquiry of conceptualism, Eielson&rsquo;s visual output rested on a set of distinct&nbsp;conceptual and formal precepts.</p> <p style="text-align: justify;">Eielson&rsquo;s series&nbsp;<em>Quipus</em>&ndash;&ndash;literally &ldquo;knot&rdquo;&ndash;&ndash;displays a language built from a shifting range of themes and variations of&nbsp;a single motif. From the deep blue fabric fanning over the pitch-black background of&nbsp;<em>Quipus 30B</em>&nbsp;(1991), to the tense&nbsp;intersection of&nbsp;<em>Quipus Vert no. 3&nbsp;</em>(1971), the knot exercises control over Eielson&rsquo;s chromatic surfaces, with each color,&nbsp;twist and intersection concretizing a symbol or word. Taking its name from a traditional Incan encoding device&nbsp;designed to collect data and keep track of values within compositions of knotted string, the quipus faded from use with&nbsp;the Spanish conquest, but maintained a powerful hold as a historical symbol. Its role as an iconic stand-in for an&nbsp;ancestral heritage, combined with varying material properties, first drew Eielson to the quipus, leading him to evolve&nbsp;and establish a body of work recognized as one of his own visual linguistic systems. Like his contemporary Lucio Fontana, whose&nbsp;<em>Spatial Concepts&nbsp;</em>were conceived as relentless variations on a motif, so, too, were Eielson&rsquo;s&nbsp;<em>Quipus</em>.&nbsp;The knot was to Eielson what the slash and hole were to Fontana.</p> <p style="text-align: justify;"><br /> Jorge Eielson was born in 1924 in Lima Peru. He participated in four Venice Biennales in his lifetime, with works&nbsp;from his&nbsp;<em>Quipus&nbsp;</em>series first exhibited at the Biennale in 1964. His work has been exhibited internationally, and is in&nbsp;the collections of the Museum of Modern Art, New York; Museo de Arte de Lima; The Rockefeller Collection; and the&nbsp;Blanton Museum of Art, Austin, TX. A major retrospective of Eielson&rsquo;s work is forthcoming in October 2017 at the<br /> Museo de Arte de Lima in Peru.&nbsp;</p> <p style="text-align: justify;">With thanks to Archivio Eielson, Saronno and Centro Studi Jorge Eielson, Florence for their support of this exhibition.</p> <p class="p1" style="text-align: justify;">For media inquiries, please contact Justin Conner at&nbsp;<a href=""></a>.</p> Wed, 12 Oct 2016 14:12:38 +0000 Goshka Macuga - Andrew Kreps Gallery @ 537 W. 22nd - September 15th - October 29th <p style="text-align: justify;">Andrew Kreps Gallery is pleased to announce&nbsp;<em>On the other side of&nbsp;tomorrow</em>, Goshka Macuga&rsquo;s fourth solo exhibition with the gallery.</p> <p style="text-align: justify;">Continuing a project initiated at the Fondazione Prada, Milan, Macuga&rsquo;s exhibition is the result of intensive research into questions surrounding the conclusion of mankind, reflecting on issues of time, collapse, renewal, and the categorization of knowledge. Central to this investigation are themes that force questions about what makes us human, particularly the rapidly developing fields of robotics and artificial intelligence.</p> <p style="text-align: justify;">New large-scale sculptures, part of an ongoing series titled&nbsp;<em>International Institute of International Co-operation</em>, imagine encounters between a wide-ranging group of thinkers. Taking the original Institute of the same name, which was founded in the 1920s as an intellectual advisory body to the United Nations as a starting point, the works span histories and numerous disciplines, they include artists, philosophers, mathematicians, and spiritualists &ndash; all of whom have influenced our understanding of the complexities of human nature. Each configuration in turn proposes a trans-historical conversation between those who have contributed to similar topics of thought across various moments in time.&nbsp;&nbsp;</p> <p style="text-align: justify;">A monumental table displaying a scroll made in collaboration with Patrick Tresset, titled&nbsp;<em>Before the Beginning and After the End (End of Systems),&nbsp;</em>occupies half of the gallery<em>.&nbsp;</em>Covered in biro sketches of formulas, geometric compositions and recognizable artworks, their provisional appearance belies their making; drawn by a robotic system developed by Tresset called &ldquo;Paul-n&rdquo;, the scroll represents Paul-n&rsquo;s attempt to illustrate the rich history of the implementation of systems in artistic practice. As the information moves in and out of legibility, one is lead to wonder whether the narrative has been elaborated on, or erased by Paul-n&rsquo;s own interpretation of the information, and subsequent interventions.</p> <p style="text-align: justify;">Goshka Macuga lives and works in London. Recent solo exhibitions include&nbsp;<em>Now this, is this the end... the end of the beginning or the beginning of the end?,&nbsp;</em>Schinkel Pavillon, Berlin, 2016,&nbsp;<em>Time as Fabric,&nbsp;</em>New Museum, New York, 2016,&nbsp;<em>To the Son of Man Who Ate the Scroll,&nbsp;</em>Fondazione Prada, Milan, 2016, and&nbsp;<em>Exhibit A,&nbsp;</em>Museum of Contemporary Art, Chicago, 2012. Macuga was nominated for the Turner Prize in 2008, and has also participated in the 8th Berlin Biennale, 2014,&nbsp;<em>dOCUMENTA (13),&nbsp;</em>Kassel, and Kabul, 2012,&nbsp;<em>Making Worlds,&nbsp;</em>The 53rd International Art Exhibition, Venice Biennale, 2009, and the 5th Berlin Biennale, 2008.</p> Sun, 11 Sep 2016 17:36:10 +0000 Jonas Wood - Anton Kern Gallery - September 8th - October 29th <p style="text-align: justify;">For his fifth solo exhibition at Anton Kern Gallery, Jonas Wood presents a group of portraits that depict his family, close friends, and the artist himself. Through exuberant color, line, and scale, these paintings express the artist&rsquo;s interpretation of intimate moments from his life, and memorialize figures who are paramount to him.<br /> <br /> This body of work expands upon Wood&rsquo;s signature style: an uncanny blend of realism and abstraction that distorts the subject and adds a new layer of meaning. The objects and people that Wood surrounds himself with and are represented in his work give a rare insight into the many facets of the artist&rsquo;s character&mdash;much like the layered and constructed paintings themselves. As Cecilia Alemani writes, &ldquo;Wood&rsquo;s expanding gallery of athletes, portraits and still lives are animated by familiar yet universal elements, allowing his drawings and paintings to radiate at the intersection between personal mythology and collective identity.&rdquo;<br /> <br /> In Robin and I (Double Portrait), which depicts the artist and his late mother, the gaze of the subjects highlight their individual personalities while revealing deep familial affection. One of the monumental works, Diet 7Up Frimkess Pot, references a ceramic pot by husband-and-wife collaborators Michael and Magdalena Suarez Frimkess. Wood&rsquo;s depiction of the playfully adorned vessel draws a parallel between the Frimkess&rsquo; united working relationship, and Wood&rsquo;s artistic collaborations with his wife, the artist Shio Kusaka.<br /> <br /> Wood&rsquo;s practice encompasses multiple genres, most of which reference the family, piecing together and layering a collage of memories, places, people, heroes, and art objects. The technique Wood has perfected over the years begins with collecting source material, much of which consists of personal photographs and drawings. Starting with abstract blocks of colors on canvas, Wood continues to layer forms, and patterns of intricate detail, flattening both the figure and the spatial environment. The collapsing of planes creates an immediacy of the image.<br /> <br /> Portraits, a book designed by Karma and the artist, will be published in conjunction with the exhibition.</p> Thu, 13 Oct 2016 14:45:05 +0000 Petri Saarikko, Alberto Baraya, Joscelyn Gardner, Sasha Huber, Kapwani Kiwanga, Pia Rönicke, Beatriz Santiago Muñoz - Apexart - September 7th - October 22nd <p style="text-align: justify;"><em>Botany under Influence</em> delves into the politics of plants and explores systems of meaning that have been impressed upon nature, flora, and seeds throughout eras of imperialism, colonialism, and globalization. Unearthing forgotten and parallel histories, this exhibition reveals how the exportation of natural resources has affected worldwide power structures and cultural behavior. It pushes us to reconsider common perceptions and representations about nature &lsquo;having always been there,&rsquo; being &lsquo;neutral&rsquo; or &lsquo;passive,&rsquo; when instead plants embody the larger History and are integral actors in it.<br /> <br /> On view: September 8 - October 22, 2016<br /> <br /> Featuring work by:<br /> Alberto Baraya<br /> Joscelyn Gardner<br /> Sasha Huber &amp; Petri Saarikko<br /> Kapwani Kiwanga<br /> Pia R&ouml;nicke<br /> Beatriz Santiago Munoz<br /> <br /> more at: <a href="" rel="nofollow" target="_blank"></a></p> Thu, 13 Oct 2016 14:56:32 +0000 Edward Buyck - Arkell Museum - March 1st - October 30th <div class="textbox" style="text-align: justify;">Edward Buyck (1888-1960) was commissioned to paint two historic views of Canajoharie as part of the Sesquicentennial celebration and pageant of Clinton&rsquo;s Brigade that brought boats overland from the Mohawk River at Canajoharie to Otsego Lake. Canajoharie&rsquo;s 150th anniversary celebration of Revolutionary War events opened with a two mile long parade that included floats carrying log cabins, stage couches, a wagon and other regional historic treasures from the American Revolution. Militia hauling boats in a reenactment of Clinton&rsquo;s Brigade at Canajoharie also marched along with the parade that attracted a crowd of 15,800 people on June 15, 1929. <div class="content"> <div class="field field-name-body field-type-text-with-summary field-label-hidden"> <div class="field-items"> <div class="field-item even"> <p style="text-align: justify;">The exhibition features both of the the paintings created by Buyck for the Sesquicentennial celebration along with 18th century paintings of Americans by Gilbert Stuart and Benjamin West.</p> <p style="text-align: justify;">Exhibitions are supported in part by the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature.</p> </div> </div> </div> </div> </div> Fri, 30 Sep 2016 06:45:41 +0000 Ieva Epnere - Art in General - September 17th - November 5th <p style="text-align: justify;"><strong>Art in General</strong> is pleased to present <em>Sea of Living Memories</em>, a New Commission by artist Ieva Epnere. The project is Epnere&rsquo;s first institutional solo exhibition in the United States, and is presented in partnership with <a href="" target="_blank"><strong>kim? Contemporary Art Centre</strong></a>, Riga, Latvia as part of Art in General&rsquo;s International Collaborations program.</p> <p style="text-align: justify;">In Epnere&rsquo;s multidisciplinary practice&mdash;which includes film, photography, and sculpture&mdash;personal and private stories offer alternative pathways into larger meditations on identity, tradition, and ritual. Her new body of work, <em>Sea of Living Memories</em>, addresses the impermanent nature of identity in response to Latvia&rsquo;s evolving post-Soviet society. For Epnere, fiction is a valuable instrument for exploring one&rsquo;s sense of self, casting identification as the hybrid product of invented myth and historical narratives. The military heritage of the Baltic coast is of particular interest to her, as she investigates the struggles of former army personnel and local citizens&mdash;who came of age under a dominant Soviet regime&mdash;as they adapt to the new social realities of a contemporary system. In the exhibition&rsquo;s central video work, Epnere highlights the delicate boundaries between individual and collective memory, and between nostalgia for the past and hope for the future, which are uniquely palpable in this formerly restricted region. An additional selection of videos serves as an archive of the artist&rsquo;s research, presenting first-person narratives as told by residents of the Baltic coast.</p> <p style="text-align: justify;">In this exhibition, the installation elements serve as material reminders of the Soviet legacy, while internalized, psychological imprints of a restrictive past maintain a more ephemeral presence of equal weight and unwavering impact. Here, the geopolitical and personal collide as the familiarity of nationalist sentiments of &ldquo;belonging&rdquo; to the state come into contact with a globalized world. Epnere channels this dualism in the projection of desires back and forth in time, as the current generation lives double lives, navigating varying conditions and truths simultaneously, locally and elsewhere.</p> <p style="text-align: justify;"><strong>Ieva Epnere</strong> (b. 1977) lives and works in Riga, Latvia. Recent solo shows include <em>Pyramiden and other stories</em>, Zacheta Project Room, Warsaw, Poland (2015); <em>A No-Man&rsquo;s Land, An Everyman&rsquo;s Land</em>, kim? Contemporary Art Centre, Riga and Liepaja Museum, Liepaja, Latvia (2015); <em>Waiting Room</em>, Contretype, Brussels (2015); <em>Galerie des Hospices</em>, Canet-en-Roussillon, France (2014). Group exhibitions include <em>Contemporary Landscape</em>, Art Festival Cēsis 2016, Latvia (2016); <em>62nd International Short Film Festival</em>, Oberhausen, Germany (2016); <em>Identity: Behind the Curtain of Uncertainty</em>, National Art Museum of Ukraine (2016); <em>Something eerie</em>, Signal &ndash; Center for Contemporary Art, Malm&ouml;, Sweden (2016); <em>BRUXELLES &agrave; l&rsquo;infini</em>, Centre Wallonie-Bruxelles &agrave; Paris, France (2016); <em>SALON DER ANGST</em>, Kunsthalle Wien, Vienna, Austria (2013). Epnere is a Fall 2016 resident at the International Studio &amp; Curatorial Program in New York.</p> Sun, 11 Sep 2016 17:43:43 +0000 - Artists Space : Books & Talks - September 17th - December 17th Wed, 14 Sep 2016 20:07:03 +0000 - Asia Society Museum - March 8th - January 8th, 2017 <p style="text-align: justify;">On the occasion of the 60th anniversary of the founding of Asia Society, this exhibition celebrates the legacy of collecting and exhibiting Asian art that John D. Rockefeller 3rd and Blanchette Hooker Rockefeller set in motion for Asia Society. This exhibition plays with the notion of context by juxtaposing historical and contemporary works to trigger distinctive ways of thinking about artworks and the people that produce them, both past and present. The exhibition is a testament to the visionary commitment to Asia and its art begun by Mr. and Mrs. John D. Rockefeller 3rd, and that continues to the present at Asia Society.</p> Fri, 08 Jan 2016 08:04:53 +0000