ArtSlant - Current exhibits en-us 40 Maureen Gallace - 303 Gallery - September 17th - October 31st <p style="text-align: justify;">303 Gallery is pleased to present our fifth exhibition of new paintings by Maureen Gallace.<br /> &nbsp;<br /> Quietly refining her practice over 20 years at the limits of painterly representation, Gallace&rsquo;s recent works find her training her eye on the sea, translating the simultaneously calm and unnerving duality inhabiting the edges of the earth. Within these intimate vistas are a multitude of moments, a nearly filmic rendering of the ocean&rsquo;s persistent pull. &nbsp;Evoked by means of a deliberate yet improvisational hand, Gallace&rsquo;s graceful marks make it feel as though time spent looking at the ocean has been stretched spontaneously, waves frozen into a hesitance that can exist only in memory or its evocation. In <em>July 4th</em>, the seascape materializes as broad color fields, with details punctuating the scene in capricious ellipses. The ocean trails off, it continues inside and outside the picture plane, allowing but one glimpse of the sublime and continuous neverending.<br /> &nbsp;<br /> Gallace&rsquo;s subjects are not always so ephemeral. The brushwork in <em>Storm </em>is more blunt, the depiction more vivid and physical. Thirsty shrubs dot the foreground, terrestrial tethers in sublunary greens and yellows. A misty light suffuses the scene, one of tranquility before the charge of nature. A deep reverence for the sea exists alongside a casual sense of fraternity and awe. Pushing paint onto her panels in pointedly autonomous strokes, a kind of tapestry emerges, a way of recording an evanescent coexistence with our own surroundings. Gallace&rsquo;s stark and simple titles exude a manner of acceptance and composure in the face of nature&rsquo;s grandiloquence, and point to a conceptualist&rsquo;s fascination with subtleties in the infinitely repeatable. Neither ocean nor painting can ever be the same twice.<br /> <br /> Maureen Gallace has exhibited internationally, including solo exhibitions at La Conservera, Murcia, Spain, 2011; The Art Institute of Chicago, 2006; Douglas Hyde Gallery, Dublin, 2004; Dallas Museum of Art, 2003; and Museum Schloss-Hardenberg, Velbert, Germany, 1996. Group shows in which she has participated include 'September 11', MoMA PS1, New York, 2011; Whitney Biennial 2010, New York; and 'Ideal Standard Life' at Spiral/Wacoal Art Center, Tokyo, 1996. Gallace&rsquo;s paintings are included in the collections of the Whitney Museum of American Art, the Art Institute of Chicago, Dallas Museum of Art, Wadsworth Atheneum, and the Fondazione Di Vignola, Italy, among others.</p> <p style="text-align: justify;">303 Gallery represents the work of Doug Aitken, Valentin Carron, Hans-Peter Feldmann, Ceal Floyer, Karel Funk, Maureen Gallace, Tim Gardner, Dominique Gonzalez-Foerster, Kim Gordon, Rodney Graham, Mary Heilmann, Jeppe Hein, Jens Hoffmann, Larry Johnson, Matt Johnson, Jacob Kassay, Karen Kilimnik, Alicja Kwade, Elad Lassry, Florian Maier-Aichen, Nick Mauss, Mike Nelson, Kristin Oppenheim, Eva Rothschild, Collier Schorr, Stephen Shore, Sue Williams, Jane and Louise Wilson.</p> Wed, 26 Aug 2015 17:44:24 +0000 Danny Rolph - 532 Gallery Thomas Jaeckel - October 1st - October 31st <p style="text-align: justify;">For his first solo show at 532 gallery Danny Rolph presents a new body of work made over the last year. The visual impact of Rolph&rsquo;s works engages the viewer&rsquo;s senses in a delicious ferment. The high velocity color and fractured narratives explored in these recent paintings show an uncompromising commitment to explore the compositional potential on all the canvases and triplewall plastic that he works upon. Many references populate these new works. The influence of Pop Art as well as Vermeer&rsquo;s studio narratives and Tiepolo-like skies are located in the sharp, delicate, clean, irregular and emotive compositions he employs. They are spatially indulgent and adhere to a vocabulary indebted to the power of visual discovery.</p> <p style="text-align: justify;">About the artist:</p> <p style="text-align: justify;">Rolph has an MA in painting from the Royal College of Art, London and was awarded the Rome Scholarship at the British School at Rome. He is a professor of Fine Art at Bucks New University and is a visiting lecturer at the Royal Academy Schools, London. Rolph&rsquo;s recent solo exhibitions include &lsquo;Paradiso&rsquo;, Barbara Davis Gallery, Houston 2014; &lsquo;Atelier&rsquo;, E.S.A.D. Valence, France 2013; &lsquo;kissing balloons in the jungle&rsquo;, Poppy Sebire gallery, London 2012 and &lsquo;ten minutes from now&rsquo;, Eden Rock Gallery, St.Barths, Caribbean 2011. His work is represented in many international collections including the Metropolitan Museum of Art, New York and the Tate Gallery, London.</p> Sat, 05 Sep 2015 06:24:40 +0000 Joan Miro, Jean Paul Riopelle - Acquavella Galleries - October 1st - December 11th <p style="text-align: justify;">Acquavella Galleries is pleased to present <em>Riopelle / Mir&oacute;: Color, </em>an exhibition of painted bronze&nbsp;sculptures by Joan Mir&oacute; and oil paintings by Jean Paul Riopelle, on view from October 1 to December 11, 2015. The&nbsp;exhibition highlights how the artists&rsquo; lives and works intersected through professional relationships, overlapping literary and&nbsp;artistic groups, personal experiences, and intellectual inquiry. Riopelle and Mir&oacute; worked with the same dealers on both sides&nbsp;of the Atlantic, traveled in the same circles, and even shared a studio in the South of France. Their ideas and approaches to&nbsp;art differed considerably, but as contemporaries, colleagues and friends, it is compelling to view their work side by side in&nbsp;conversation.</p> <p style="text-align: justify;">This exhibition focuses on work from the 1960s. Riopelle&rsquo;s exuberant, impastoed canvases, including two large-scale&nbsp;triptychs, are shown alongside four whimsical and vividly painted bronzes by Mir&oacute;. All of Mir&oacute;&rsquo;s sculptures in this&nbsp;exhibition were cast at the Clementi foundry outside Paris, which was partly owned by Riopelle at that time. While Riopelle&nbsp;and Mir&oacute; never formally collaborated, there is a discernible visual link between their art that resonates across media and&nbsp;decades. <em>Riopelle / Mir&oacute;: Color </em>offers a chance to reevaluate interpretations of the periods and styles in which the artist&rsquo;s lived&nbsp;and worked, and demonstrates both artists&rsquo; infinite inventiveness.</p> <p style="text-align: justify;">&ldquo;We are delighted to present the first exhibition showing work by Jean Paul Riopelle and painted bronzes by Joan Mir&oacute;,&rdquo;&nbsp;said Acquavella Galleries Director Esperanza Sobrino. &ldquo;Though they were a generation apart, the artists were friends for&nbsp;many years, and their expressive use of luminous color creates an unusual and interesting dialogue.&rdquo;&nbsp;</p> <p style="text-align: justify;">Riopelle, a Canadian &eacute;migr&eacute;, pioneered a style of painting in which vibrant swaths of colors were applied to the canvas with&nbsp;demonstrative strokes from a palette knife or directly from paint tubes. The resulting compositions were highly texturedwith a range of gloss that resulted in mosaic-like surfaces. Artist Pierre de Ligny Boudreau described the artist as one who&nbsp;&ldquo;delves into nature&rsquo;s seasons and from this feast of color draws a clear, dazzling sensation [into his work].&rdquo;</p> <p style="text-align: justify;">It was not until the mid 1960s when sculpture played a major role in Mir&oacute;&rsquo;s oeuvre. Over the decade he would create&nbsp;nineteen glossily painted bronzes sculptures. Mir&oacute; combined found objects in unexpected ways, creating assemblages of&nbsp;rustic and everyday elements collected from around his studio or during walks along the beach. The artist used factorygrade,&nbsp;full gloss paint in striking primary hues to set apart disparate objects and parts of objects. He dubbed these creations&nbsp;his phantasmagoric &lsquo;monsters&rsquo; and went as far as to leave instructions for the sculptures to be repainted their original&nbsp;brilliant hues after the his death, ensuring that they remain insusceptible to the passage of time.</p> <p style="text-align: justify;">Jean Paul Riopelle&nbsp; (1923-2002) was born in Quebec, Canada. He moved to Paris in 1947 and was the only Canadian to associate&nbsp;with the surrealists. The artist represented Canada at the Venice Biennale in 1954 and 1962. Retrospectives of Riopelle&rsquo;s work&nbsp;have been held at the Kolnischer Kunstberein (Cologne, Germany); National Gallery of Canada, Ottawa, Canada; Mus&eacute;e National&nbsp;des Beaux-Arts du Quebec, Quebec City, Canada; Fondation Maeght, Saint Paul-de-Vence, France; and the Musee d&rsquo;Art Moderne&nbsp;de la Ville de Paris.</p> <p style="text-align: justify;">Joan Mir&oacute;&nbsp; (1893-1983) was a Catalan painter, sculptor and ceramicist of international acclaim. There are two museums dedicated&nbsp;to his work: Fundaci&oacute; Joan Mir&oacute;, Barcelona and Fundaci&oacute; Pilar i Joan Mir&oacute;, Palma de Mallorca. Mir&oacute;&rsquo;s work is held in the&nbsp;permanent collections of countless museums and retrospectives have been held in the Museum of Modern Art New York; Museo&nbsp;Nacional Centro de Arte Reina Sof&iacute;a, Madrid; the Galerie Lelong, Paris; Tate Modern, London; the National Gallery of Art,&nbsp;Washington, D.C.; Albertina Museum, Vienna; Kunsthaus, Z&uuml;rich; and the National Art Center, Tokyo.</p> Thu, 27 Aug 2015 07:53:31 +0000 M.F. Husain - AICON GALLERY - New York - September 17th - October 24th <p style="text-align: justify;">Masterworks celebrating the 100th Birthday of India's most iconic artist.</p> <div><em>"... in '48 I came out with five paintings, which was the turning point in my life. I deliberately picked up two or three periods of Indian history. One was the classical period of the Guptas, the very sensuous form of the female body. Next was the Basohli period, the strong colors of the Basohli miniatures. The last was the folk element. With these three combined, and using colors very boldly as I did with cinema hoardings, I went to town. That was the breaking point ... to come out of the influence of the British academic painting and the Bengal Revivalist School."</em></div> <div>&nbsp;</div> <div>-M. F. Husain&nbsp;(<em>P. Nandy, The Illustrated Weekly of India, December 4 - 10, 1983</em>)</div> <div>&nbsp;</div> <div> <div align="justify"><strong>Aicon Gallery, New York</strong>&nbsp;proudly presents<em>Husain at Hundred</em>, an extensive retrospective of India's most iconic Modern painter, M. F. Husain, in honor of what would be the artist's 100th birthday this year, featuring landmark<strong>masterworks on canvas</strong>&nbsp;from every decade of Husain's career. The exhibition traces the growth and advancement of the artist's unique figurative style, as well as his pioneering and ever-evolved merging of Western Modernist techniques with themes from India's epic historical and mythological texts, along with its ongoing struggle for an independent modern identity and stability in a post-colonial world.We are also honored to host a discussion with<strong>Sumathi Ramaswamy</strong>, Professor of History &amp; International Comparative Studies at Duke University, concerning Colonialism and Independence in Husain's art during the Opening Reception.</div> <div>&nbsp;</div> <div align="justify">Long considered a pioneer of Modern Indian art, Husain initially made&nbsp;a living as a billboard painter and children's furniture designer, painting at first in his spare time until joining the<strong>&nbsp;Bombay Progressive Artist's Group (PAG)</strong>&nbsp;in 1947. His background in billboard painting gave rise to two pivotal aspects of Husain's future practice: first, an understanding of how to communicate visually with the 'everyman' of India; and second, a strong appreciation for the high drama of Bollywood. The PAG grew to be the most influential group of Modern artists in India, seeking new forms of expression to capture and convey India's complex past, along with its emerging post-colonial future. The fusion of Indian subject matter with Post-Impressionist colors, Cubist forms and Expressionist gestures forged a synthesis between early European modernist techniques and the ever-shifting cultural and historical identities of India.&nbsp;</div> <br /> <div align="justify">Since his beginnings in the&nbsp;<strong>1940s</strong>, Husain sought to radically redefine and redirect the course of Indian painting, paving the way for Modern Indian art's now recognized presence on the international stage. In the&nbsp;<strong>1950s</strong>&nbsp;and&nbsp;<strong>1960s</strong>, Husain began moving away from heavily gestural and thick impasto techniques, simplifying and stripping his subjects of overt detail through confident but visceral line-work. A master of radiant and saturated colors paired with earthen tonalities, Husain's use of color became a distinguishing element of his&nbsp;style, but one he would leave and revisit continually throughout his career. Gradually drawn to the expression of inner feelings and emotions through color and brushstroke, he moved away from representations of reality, into abstraction and expressionism, to become the prolific artist known as the "Picasso of India" (Forbes Magazine). His odyssey to find the most immediately communicative elements of painting drew him to the residual remains of Cubism, earning him an invitation in 1971 to exhibit alongside Pablo Picasso for the Sao Paulo Biennial. He was later awarded the Padma Bhusan in 1973. Thus, a rising star by the early&nbsp;<strong>1970s</strong>, Husain reached a level international prestige unparalleled by any other Indian artist of his time. Husain himself became a legend in his lifetime - an imposingly tall, bearded, and perpetually barefoot man with a shock of white hair, often brandishing an oversized paintbrush - who elevated himself from the ordinary man to a distinctive icon.&nbsp;</div> <div align="justify">&nbsp;</div> <div align="justify"> <div> <div align="justify">Entering into the&nbsp;<strong>1980s</strong>&nbsp;and&nbsp;<strong>1990s</strong>, Husain painted his country with the eye of a man who knew his subject uncomfortably well; he knew India's insecurities, blemishes and inner turmoil. Beyond the controversy that eventually led him into exile, he was above all an artist radically and permanently redefining Indian art, while remaining unafraid to confront the growing social and political issues of his country's transformations. Regardless of these conflicts, Husain won the Padma Vibhusan in 1991. Between&nbsp;<strong>1990</strong>and&nbsp;<strong>2006</strong>, his paintings increasingly stirred resentment from Hindu nationalist groups, who campaigned against Husain's religious paintings of the 1970s. By 2007, charged with hundreds of suits citing indecent portrayals of Hindu deities, Husain's past obscenities warranted his arrest. Husain lived in self-imposed exile from 2006 until his death in 2011.</div> </div> <div align="justify">&nbsp;</div> <div align="justify">In addition to his prolific output of canvases and drawings, Husain was also well known for the many series of limited edition prints, serigraphs and silkscreens he produced in collaboration with his most active patrons. Two important projects in particular, one with<strong>Chester and Davida Herwitz</strong>&nbsp;in the U.S. and another with&nbsp;<strong>Anil Relia</strong>&nbsp;in Ahmedabad, brought Husain's iconic style and most popular themes such as the Ramayana, Mahabharata and the artist's impressions of Mother Teresa to a wider audience than ever before. In addition to the canvases, the current exhibition features a select set of large format serigraph scrolls from Husain's collaboration with Relia, drawn from his well-known Mother Theresa and Horses series, being shown for the first time in the United States.</div> <div>&nbsp;</div> <div align="justify">Husain, both the artist and the iconoclast, was known for his boldness; he never shied away from expressions of critiques of modern India, which helped lay the foundations for the pervading themes of Modern and Contemporary Indian art to this day. The artist consistently explored the blending of folk, religious, political and mythological subject matter to create unprecedentedly unique, vibrant and sometimes controversial works. His endless quest for his cultural roots and willingness to absorb diverse influences from both the Eastern and Western art historical canons made M. F. Husain arguably the most prolific and recognizable figure of Modern Indian art, and an artist long overdue for a serious reevaluation on an international scale.&nbsp;</div> </div> </div> Sun, 06 Sep 2015 10:28:52 +0000 Rita McBride - Alexander and Bonin - September 10th - October 24th <p style="text-align: justify;">Alexander and Bonin starts the fall season with <em>Access</em>, a solo exhibition of new work by sculptress Rita McBride. The exhibition will include patinated, water-jet-cut brass keys, door knockers, locks, keyholes, and rings.</p> Fri, 14 Aug 2015 17:00:12 +0000 Jack Tworkov - Alexander Gray Associates - September 3rd - October 24th <p style="text-align: justify;">Alexander Gray Associates presents <em>Jack Tworkov: Mark and Grid, 1931&ndash;1982</em>, its first exhibition of work by Jack Tworkov (b.1900, Biala, Poland&mdash;d.1982, Provincetown, MA), since recently becoming the representative of the artist&rsquo;s Estate. <em>Jack Tworkov: Mark and Grid</em> examines the artist&rsquo;s stylistic progression featuring work from different decades, and highlighting his conceptual approach to painting during the 1960s and 1970s. The accompanying exhibition catalog includes a segment of an unpublished original transcript of an interview between Tom E. Hinson, art historian and Emeritus Curator of Photography, Cleveland Museum of Art (OH), and Jack Tworkov recorded at his Provincetown studio in 1975.<br /> <br /> Tworkov arrived to the United States from Poland at age thirteen. He attended Columbia College as an English major, and spurred by his sister, the artist Janice Biala, he left Columbia in 1923 to begin art classes at the Art Students League and the National Academy of Design in New York. By the late 1940s, Tworkov was balancing his time between painting, his family, and teaching, working and exhibiting in New York City and the artist colony in Provincetown, MA. Although he embraced American culture, Tworkov often expressed a sense of alienation both in his public life as well as in his private existence as a deeply intellectual painter who defied the whims of the avant-garde in order to forge his own progressive and humanist approach to art. This sentiment is embodied in a 1947 journal entry where Tworkov asserted, &ldquo;Style is the effect of pressure.&rdquo; <br /> <br /> Jack Tworkov was a prominent presence in the post-war New York City arts scene. He was a founding member of the New York School&rsquo;s seminal Eighth Street Club that included Willem de Kooning, Franz Kline, and Ad Reinhardt, among others. Fairfield Porter called him &ldquo;one of the more deliberate and intellectual&rdquo; artists among the abstract expressionists. In addition to participating in many of the Club&rsquo;s debates, Tworkov was an instrumental figure behind the 1951 exhibition <em>9th Street: Exhibition of Paintings and Sculpture</em> at the 9th Street Gallery, New York&mdash;which included Jackson Pollock, Robert Motherwell, and Lee Krasner. In addition to the recognition his worked received, Tworkov was a highly regarded teacher and mentor to younger generations of painters. In the summer of 1952 he taught alongside Stefan Wolpe, Charles Olsen, John Cage, and Merce Cunningham at Black Mountain College where students included Robert Rauschenberg, Dorothea Rockburne, and Jonathan Williams. During this time, Tworkov developed his characteristic loose brushwork as seen in <em>Departure</em> (1952&ndash;53), a work inspired by the theme of Homer's <em>Odyssey</em>. The painting, an emblematic example of his work from the decade, on loan for the exhibition, offers an underlining gridded pattern delineated by sporadic swaths of color that organize the composition.<br /> <br /> While at the forefront of the development of Abstract Expressionism, Tworkov was one of the first artists to question the movement&rsquo;s commodification, cult of personality, and absorption into academia. He distinguished his views against the defined movement expressing, &ldquo;&hellip;I wanted to get away from the extremely subjective focus of Abstract-Expressionist painting. I am tired of the artist&rsquo;s agonies.&hellip;Personal feelings of that sort have become less important to me, maybe just a bit boring. I wanted something outside myself, something less subjective.&rdquo; Richard Armstrong observed in his 1987 essay, the continual presence of a diagonal axis structuring Tworkov&rsquo;s paintings that can be traced back to the early 1950s. In contrast to the action painters&rsquo; portrayal of personal struggles on canvas, Tworkov remained committed to a deliberate mark enveloped in spontaneity.<br /> <br /> As Chair of the Art Department of the School of Art and Architecture at Yale University (1963&ndash;1969), Tworkov taught artists such as Jennifer Bartlett, Chuck Close, Nancy Graves, Brice Marden, Michael Craig-Martin, and Robert Mangold, among others. His tenure at Yale coincided with a radical stylistic shift in his painting towards diagrammatic configurations spurred by a renewed interest in geometry and mathematics. Using the rectangle as a measurement tool and foundation of his compositions, Tworkov moved away from any reliance on automatism and turned to a methodical creative process. In his words: &ldquo;I soon arrived at an elementary system of measurements implicit in the geometry of the rectangle which became the basis for simple images that I had deliberately given a somewhat illusionistic cast.&rdquo; By the late 1960s, Tworkov had transformed his drawings from spontaneous sketches into calculated studies and the impulsiveness of his earlier brushstrokes into measured delineations. For the artist, it was vital that the intersection of vertical, horizontal, and diagonal lines reinforced the painting&rsquo;s fundamental structure, while the mark of his brush would be analogous to the undulating beat in music. <em>Note</em> (1968), is a signature example. <br /> <br /> A forerunner of post-Minimalism, Tworkov entered the 1970s with a conceptual perspective towards painting that evolved into self-imposed rules and limits, yet retained the presence of the artist&rsquo;s hand. Compositions from the early 1970s, larger in scale than previous work, offer playful variations on numbering systems where the divisions within the canvas followed the Fibonacci sequence of 3,5,8. Strategic linear moves underscore paintings from the &ldquo;Knight Series,&rdquo; one of Tworkov&rsquo;s pivotal bodies of work from this decade. <em>Knight Series #8 (Q3-77 #2)</em> (1977), on view for the first time in New York, highlights patterns based on the various possibilities of the Knight&rsquo;s move across a chessboard. Tworkov created the first painting in the series in 1975, the same year Saigon fell and the Vietnam War came to an end. He had taken an ardent position against the War, an attitude that was reflected in his paintings through metaphors of sequence that favored compositional logic and order over chaos and ambiguity.<br /> <br /> Throughout his career, Tworkov fundamentally reinvented painting for himself by adhering to limits that defined his grids and marks and became fertile ground for his creative process, as shown in <em>Compression and Expansion of the Square (Q3-82 #2)</em> (1982), his final painting completed just months before his death. In his words, &ldquo;The limits impose a kind of order, yet the range of unexpected possibilities is infinite.&rdquo; Without forgoing the bravura that distinguished his work from the 1950s, Tworkov developed a new visual vocabulary in order to continuously investigate spatial possibilities. As the art historian Lois Fichner-Rathus wrote, &ldquo;To [Tworkov] the process of personal growth as an artist is paramount in importance. Rather than producing endless variations on the solution to a single artistic problem, [he] has always felt compelled to generate new problems.&rdquo;</p> Tue, 06 Oct 2015 08:44:17 +0000 Heinrich Anton Mùˆller, Francis Palanc, Jeanne Tripier - American Folk Art Museum - October 13th - January 10th, 2016 <p style="text-align: justify;"><em>Art Brut in America: The Incursion of Jean Dubuffet</em> is the first major U.S. exhibition to explore the introduction of art brut to America. The nearly two hundred works of art on view, by both canonical and lesser-known art brut figures, were amassed and identified as <em>art brut</em> by French artist Jean Dubuffet, beginning in 1945. The selection is drawn exclusively from the renowned Collection de l&rsquo;Art Brut in Lausanne, Switzerland, where Dubuffet donated his collection in 1971.</p> <p style="text-align: justify;">The exhibition reflects on two seminal but unexplored moments in mid-twentieth century America: between 1952 and 1962, 1,200 works from Dubuffet&rsquo;s art brut collection were displayed in the East Hampton estate of his friend, the artist and collector Alfonso Ossorio. Slightly prior to their installation, in December 1951, Dubuffet delivered a provocative speech titled &ldquo;Anticultural Positions&rdquo; at the Arts Club of Chicago, which challenged established ideas about art analysis and modes of creation.</p> <p style="text-align: justify;">The presentation highlights Dubuffet&rsquo;s passionate belief in a new art paradigm that was non-Western and non-hierarchical, and that championed creators who are &ldquo;uncontaminated by artistic culture.&rdquo;</p> <p style="text-align: justify;"><em>Organized in collaboration with the Collection de l&rsquo;Art Brut, Lausanne, Switzerland. Curated by&nbsp;Val&eacute;rie Rousseau, PhD, Curator, Self-Taught Art and Art Brut, American Folk Art Museum. An exhibition catalog will be available.</em></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">The exhibition is presented in memory of Sam Farber (1924&ndash;2013), a devoted trustee of the American Folk Art Museum and a passionate collector of art brut and art by the self-taught. The exhibition is supported in part by Consulate General of Switzerland in New York, Joyce Berger Cowin, the David Davies and Jack Weeden Fund for Exhibitions, the Ford Foundation, the Leir Charitable Foundations, public funds from the New York City Department of Cultural Affairs in partnership with the City Council, the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature, and the Swiss Arts Council Pro Helvetia.</p> Sun, 27 Sep 2015 15:59:40 +0000 Josiah McElheny - Andrea Rosen Gallery - September 10th - October 24th <p style="text-align: justify;">Andrea Rosen Gallery is proud to present&nbsp;<em>Paintings</em>, an exhibition of new work by Josiah McElheny. This is the artist&rsquo;s fourth solo exhibition with the gallery.</p> <p style="text-align: justify;">Josiah McElheny&rsquo;s artwork has often investigated the history of twentieth century modernism in architecture and design, in the hope of expanding on the dominant historical narrative and the criticality of our relationship to it. While continuing this dialogue with the history of aesthetics,&nbsp;<em>Paintings</em>&nbsp;represents a shift in McElheny&rsquo;s work towards a focus on the history of painting, and proposes that there is ongoing potential to be found in the utopian and revolutionary desires that gave rise to abstract painting at the beginning of the twentieth century.</p> <p style="text-align: justify;">In 2007, McElheny exhibited his work alongside the paintings of the &ldquo;lost&rdquo; pioneer of abstraction, Hilma af Klint (1862-1944), as part of a curatorial collaboration with curator Iris M&uuml;ller-Westermann at the Moderna Museet in Stockholm. Af Klint is now finally credited with making the first non-objective painting in the Western fine-art tradition, and it is both her grand imagination and sense of purpose, and the idea of how histories are and can be constantly re-written, that has informed and inspired McElheny&rsquo;s new works.</p> <p style="text-align: justify;">In looking at the history of abstraction, through a scholarly approach, McElheny traces some of the essential moments of the past century. Referring to specific works by artists Kazimir Malevich, Wassily Kandinsky, Maya Deren, Ellsworth Kelly, Ad Reinhardt and Albert Oehlen, that were canonical touchstones and contributions to the conceptual fabric of this history, are here reimagined through the lens of the recently re-discovered visionary, af Klint. Her presence is seen in the various colors, prismatic effects, geometries and other elements of af Klint&rsquo;s symobolic language that appear in McElheny&rsquo;s paintings, conceptually collaged into the compositional approaches of these other familiar historical and living artists.</p> <p style="text-align: justify;">The smooth surface of McElheny&rsquo;s works, each faced with a plane of glass, is something that one sees&nbsp;<em>through</em>, and&nbsp;<em>beyond</em>. Challenging a Modernist perspective that painting is defined by and bound to its surface, these paintings&mdash;constructions of wood, mirror, glass, paint and, in two instances, video projection&mdash;acknowledge a painting&rsquo;s physical and imaginable space. Creating an image on, in and behind this material plane, the paintings alternation from &ldquo;flat&rdquo; to &ldquo;deep&rdquo;, when simply viewed from the front and then the side.</p> <p style="text-align: justify;">Five paintings structured after works by Kandinsky and Malevich&mdash;McElheny&rsquo;s&nbsp;<em>Crystalline Prism Painting I, II, III, IV,&nbsp;</em>and&nbsp;<em>VI&mdash;</em>feature press-molded and polished glass prisms inset into a field of black, matte oil paint brushstrokes, visible behind or through a surface made of a sheet of&nbsp; &ldquo;museum glass&rdquo;. The geometry of each prism offers a visual portal into a landscape of refracted light. Two related photograms,&nbsp;<em>Prism I</em>&nbsp;and&nbsp;<em>Prism II</em>&nbsp;translate these prismatic shapes into two-dimensional black and white abstractions, where their strict geometry is transmuted into an organic latticework.</p> <p style="text-align: justify;">Within three large monochromatic works&mdash;<em>Blue Prism Painting V, VI&nbsp;</em>and&nbsp;<em>VII</em>&mdash;one sees arrangements of solid, cut and polished blue glass forms, each form creating an ellipse at its apex.&nbsp; Here, the surface of the painting is a plane of blue architectural glass; subtle tonal variations play out across a grid structure borrowed from Reinhardt. The black exterior frame and the painting itself, in these works, are in essence one and the same (another nod to Reinhardt). Within, a mirrored interior naturally refracts light into the prismatic objects and also seems to extend the space of the room.&nbsp; In a related work, McElheny&rsquo;s&nbsp;<em>Window Painting I</em>&mdash;which echoes an iconic painting by Ellsworth Kelly from 1949&mdash;mirror and tinted grey glass create a mysterious space &ldquo;beyond&rdquo;. But here the cylindrical prismatic objects standing inside seem to depict something, perhaps bottles, smokestacks or skyscrapers.</p> <p style="text-align: justify;">Finally, two works entitled&nbsp;<em>Projection Painting I&nbsp;</em>and&nbsp;<em>Projection Painting II</em>&nbsp;both present an animated, fractured landscape behind a large glass surface; upon each landscape, its own video projection plays out across a set of painted, undulating planes. Combining a ceiling mounted projector and wall-bound painting into a single work, they take as their starting point contemporary painter Albert Oehlen&rsquo;s forays into projections on paintings. As well, they return to McElheny&rsquo;s merging of sculpture and film in his earlier &ldquo;Screens for Looking at Abstraction&rdquo;.&nbsp;<em>Projection Painting I</em>&nbsp;and&nbsp;<em>II&nbsp;</em>are both made in homage to another pioneer of abstraction (and surrealism), the filmmaker Maya Deren.&nbsp; Starting with lost and &ldquo;abandoned&rdquo; footage created by Deren, McElheny has re-filmed, deconstructed and extensively processed these moving images to suggest a world of abstraction that sometimes coalesce into bodies or objects, or, in reverse, where mannerist bodies passing through the painting seem to dissolve themselves into granular abstraction.</p> <p style="text-align: justify;">Across all these works, McElheny hopes to suggest the possibility of an expanded experience of viewing, a view of the images that exist within painting where the viewer&rsquo;s own physical movement offers additional vistas, imaginary or not. In McElheny&rsquo;s hands, mining the past lays the groundwork for a path forward, giving a glimpse not only into what could have been, but visions for what might be.</p> <p style="text-align: justify;">Accompanying the exhibition, is a new publication, a supplemental book that presents scholarly texts by curator and art historian, Iris M&uuml;ller-Westermann, Senior Curator of International Art at Moderna Museet, Stockholm and by New York based scholar, critic and curator, Alex Bacon; in addition it includes a visual essay that traces the specific historical inspirations and touchstones for this group of works, in hopes to speak to both the past and future. An expanded exhibition catalogue, building upon the initial publication, will be published in October 2015.</p> <p style="text-align: justify;">Josiah McElheny lives and works in New York. Recent exhibitions include&nbsp;<em>Dusty Groove</em>, Corbett vs. Dempsey, Chicago;<em>Josiah McElheny: Towards a Light Club</em>, Wexner Center for the Arts, Columbus, OH<em>; Two Clubs at The Arts Club of Chicago, In Collaboration with John Vinci</em>;&nbsp;<em>The Past Was A Mirage I&rsquo;</em><em>d Left Far Behind</em>, Whitechapel Gallery, London;&nbsp;<em>Some Pictures of the Infinite</em>, Institute for Contemporary Art, Boston; and&nbsp;<em>The Light Club of Vizcaya: A Women&rsquo;s Picture</em>, Vizcaya Museum &amp; Gardens, Miami. McElheny has forthcoming exhibitions at MAK, Vienna, Carpenter Center for the Visual Arts, Harvard University, Cambridge, MA, and Madison Square Park, New York. In 2014, The University of Chicago Press published&nbsp;<em>Glass! Love!! Perpetual Motion!!!: A Paul Scheerbart Reader</em>, co-edited by McElheny and Christine Burgin.</p> Fri, 11 Sep 2015 17:38:00 +0000 Sara Cwynar, Lukas Geronimas, Josh Reames, Cole Sayer - Andrea Rosen Gallery 2 - September 10th - October 24th Thu, 27 Aug 2015 08:06:11 +0000 Robert Overby - Andrew Kreps Gallery @ 537 W. 22nd - September 10th - October 31st Sat, 05 Sep 2015 06:47:35 +0000 Mark Grotjahn - Anton Kern Gallery - September 10th - October 29th <p style="text-align: justify;">In his fourth solo exhibition at Anton Kern Gallery, painter and sculptor Mark Grotjahn presents a new body of painted bronzes. This is the first gallery exhibition to further elaborate upon the artist&rsquo;s 2014 sculpture presentation at the Nasher Sculpture Center in Dallas.</p> <p style="text-align: justify;">In a radical act of transformation, Grotjahn takes the most casual throwaway material, the cardboard box, and turns it into the most solid and noble of art mediums: the pedestal-mounted bronze sculpture. With their rough cutouts for eyes and mouths, glued-on cardboard tubes and toilet paper rolls for pipe-like noses, and ripped cardboard surfaces for texture and definition, these assemblages resemble primitive, child-like masks. Cast in bronze, Grotjahn paints them in decisive hues of green, purple, and red, inflected with smaller doses of other colors that are applied in gestural, expressionistic trails of paint and chromatic networks. Elevated on pinewood pedestals, the masks function simultaneously as paintings and as three-dimensional objects.</p> <p style="text-align: justify;">The mask or the grotesque face, a central although not always visible motif in Grotjahn&rsquo;s painting and drawing practice from the beginning, has broken out of the flat surface into a three-dimensional form, and thereby freed the artist from the need to adhere to any face-like verisimilitude in the painting process. Grotjahn&rsquo;s painted sculptures have become true hybrids&mdash;not mere combinations of two techniques, but rather unprecedented crossbreeds. They add an unparalleled step to the genealogy of modern art and of painted sculpture in particular, entering a dialogue with modernist concepts of the found object, the assemblage and welded sculpture (Pablo Picasso, Julio Gonz&aacute;lez) as well as non-Western-art-inspired objects and masks (Henri Matisse, Andr&eacute; Derain, Ernst Ludwig Kirchner). Grotjahn is creating paintings without pictorial reference that are yet deeply rooted in the ancestry of the mask as an object of ritual, reflection and analysis of the unconscious.</p> <p style="text-align: justify;">An accompanying exhibition catalogue, published by Distanz, will be available in late 2015.</p> <p style="text-align: justify;">Mark Grotjahn was born in 1968 in Pasadena, California. He received his MFA from the University of California, Berkeley, and his BFA from the University of Colorado, Boulder. His work has been presented in solo exhibitions at the Nasher Sculpture Center, Dallas, TX; Kunstverein Freiburg, Freiburg, Germany (both 2014); Aspen Art Museum, Aspen, CO (2012); Portland Art Museum, Portland, OR (2010); Kunstmuseum Thun, Thun, Switzerland (2007); Whitney Museum of American Art, New York, NY (2006); and the Hammer Museum, Los Angeles, CA (2005). His work is in the collections of The Broad Art Foundation, Santa Monica; Carnegie Museum of Art, Pittsburgh; Cleveland Museum of Art, Cleveland; Dakis Joannou Collection, Athens, Greece; De La Cruz Collection Contemporary Art Space, Miami; Des Moines Art Center, De Moines; Fran&ccedil;ois Pinault Collection, Venice, Italy; Hammer Museum, Los Angeles; Hirschhorn Museum and Sculpture Garden, Washington D.C.; Los Angeles County Museum, Los Angeles; Museum of Contemporary Art, Los Angeles; Museum of Contemporary Art, Chicago; Museum of Modern Art, New York; Rubell Family Collection; San Francisco Museum of Modern Art, San Francisco; Solomon R. Guggenheim Museum, New York; Stedelijk Museum, Amsterdam, Netherlands; Tate Modern, London, UK; Walker Art Center, Minneapolis; Whitney Museum of American Art, New York. He lives and works in Los Angeles.</p> Fri, 14 Aug 2015 16:57:22 +0000 William Joyce - Arkell Museum - September 26th - January 3rd, 2016 <p style="text-align: justify;">William Joyce has world-wide recognition as an author, illustrator filmmaker and pioneer in the animation industry. Books published by Simon &amp; Schuster include The Fantastic Flying Books of Mr. Morris Lessmore, The Guardians of Childhood book series: The Man in the Moon, The Sandman: Story of Sanderson Mansnoozie, Nicholas St. North and the Battle of the Nightmare King, E. Aster Bunnymund and the Warrior Eggs at the Earth&rsquo;s Core! and Toothania: Queen of the Tooth Fairy Armies. His latest books are <cite>Billy's Booger,The Mischievians and Sandman and the War of Dreams.</cite></p> <p style="text-align: justify;">Joyce co-founded Moonbot Studios a transmedia storytelling company specializing in books, apps, film and video games. Named by Newsweek magazine as &ldquo;One of the 100 people to watch in the new millennium&rdquo;, William has been involved in the world of digital animation from its full-scale inception at Pixar Animation. His projects have been produced by nearly every major film studio including Disney, Twentieth Century Fox and DreamWorks Animation. His feature films include Epic, Rise of the Guardians, Robots and Meet the Robinsons. His television series include George Shrinks and Rolie Polie Olie for which he won three Emmy Awards. In 2012, he won an Academy Award for The Fantastic Flying Books of Mr. Morris Lessmore, an animated short film about the curative powers of story.</p> <p style="text-align: justify;">(Exhibition developed by the National Center for Children&rsquo;s Illustrated Literature, Abilene, Texas)</p> Mon, 29 Jun 2015 17:08:15 +0000 Andrew Wyeth, Walter Launt Palmer, Edward W. Redfield, Grandma Moses - Arkell Museum - September 26th - January 3rd, 2016 <p style="text-align: justify;">This exhibition, drawn from the permanent collection, features the work of 19th and early 20th century American painters admired for their winter landscapes. Artists in this exhibition include Andrew Wyeth, Walter Launt Palmer, Edward W. Redfield, Anna Mary Robertson Moses (Grandma Moses) and other artists famous for their distinctive views of winter.</p> Wed, 26 Aug 2015 17:52:28 +0000 Lior Shvil - Art in General - September 12th - November 21st <p><strong>Art in General</strong>&nbsp;is pleased to present&nbsp;<em>PROTOCOLS</em>, a New Commission by Lior Shvil in the 6th floor gallery. This performance is programmed in conjunction with&nbsp;<strong>Performa 15</strong>.<br /><br />Shvil&rsquo;s New Commission&nbsp;<em>PROTOCOLS&nbsp;</em>will include a large-scale installation inspired by military counter-insurgency (COIN) training courses, which will be activated by a series of improvisational theater workshops and live performances based on combat procedures throughout the run of show. Reflecting on the psychological effects of the built environment, Shvil&rsquo;s installation echoes specialized facilities made to imitate the urban terrain of conflict areas. These sites become alternate realities, or stage sets, for the soldiers in them, playing insurgents and civilians in each &ldquo;mission.&rdquo; The biomechanics and squad positioning perfected in training exercises are of key interest to the artist, as they are inherently tied to architectural context, and part of his larger investigation in deconstructing relationships between site, history, narrative, and testimony.<br /><br />Audience members will be invited to work directly with the artist in collaboration with theater director Hollis Witherspoon via an open call for non-professional actors. Participants will rehearse scripts, exercises, and protocols based on Army training manuals and Shvil&rsquo;s own military experience. Stereotypes embedded in specific roles and choreographies will be investigated and challenged, with opportunities for new understanding to develop. These workshops and performances, rooted in social theater, will be free and open to members of the public as spectators or actors. Throughout this evolving exhibition, audience members will be offered a rare opportunity to both witness and take part in creating content and meaning.<br /><br /><strong>Lior Shvil</strong>&nbsp;was born in Tel Aviv, Israel and lives and works in New York. In 2010, he received his&nbsp;MFA&nbsp;from Columbia University. He holds a Bachelor&rsquo;s degree in Architecture, and has completed a Post Graduate program in Art and Design from the Bezalel Academy, Jerusalem. Shvil has recently been included in exhibitions at the&nbsp;ICAMuseum, Philadelphia, PA; The&nbsp;RFC&nbsp;Museum, Miami, FL; The Neuberger Museum, Purchase, NY; SculptureCenter, Long Island City, NY; and Socrates Sculpture Park, Long Island City, NY. Solo exhibitions of Shvil&rsquo;s work have been held at High Desert Test Sites, Joshua Tree, CA (2015); Givon Gallery, Tel Aviv, Israel (2014);&nbsp;CAGE, New York, NY (2014); Andrea Rosen Gallery 2, New York, NY (2011); and Recess, Brooklyn, NY (2010).<br /><br /><strong>WISH&nbsp;TO&nbsp;PARTICIPATE?</strong><br />Register to participate in the workshops with the artist and performances on November 14 and 21.<br />Email&nbsp;<a href="" rel="nofollow"></a>&nbsp;to get involved! (No experience necessary).</p> Tue, 25 Aug 2015 22:27:31 +0000 Nino Chubinishvili aka Chubika - Art in General - September 12th - November 21st <p><strong>Art in General</strong>&nbsp;is pleased to present&nbsp;<em>The Echoes</em>, a New Commission by Nino Chubinishvili aka Chubika in the Storefront Project Space. The exhibition is presented as part of the International Collaborations program in partnership with the Center for Contemporary Art, Tbilisi, Georgia, and will mark the artist&rsquo;s first institutional solo exhibition in the United States.&nbsp;<br /><br />Integrating her diverse background in costuming and successful career as a fashion designer, Chubika&rsquo;s artistic practice blends sculptural and theatrical elements with wearable utility. She maps the plasticity and expressive potentialities of unconventional materials onto familiar objects, distancing them from associations with passive consumption. The artist&rsquo;s affective installations, sculptures, animations, and collaborative performances aim to transmit spiritual ideas at a subconscious level, where performative objects reveal hidden messages over time. Her work&rsquo;s relationship to metaphor is an embodied and self-reflexive one, best absorbed subliminally by those who occupy the garments or installations.&nbsp;<br /><br />Chubika sees objects that adorn the body as visual signifiers or archetypes of a collective unconscious, tools for navigating the space between ideals and reality.&nbsp;<em>The Echoes</em>&nbsp;takes an emotive approach to animating both the personal and political, reflecting on Georgia&rsquo;s fight for independence after the collapse of the Soviet Union in the early 1990s, while also addressing the artist&rsquo;s personal journey during that period of monumental transition. Using mirrors and other reflective materials, Chubika activates Art in General&rsquo;s Storefront Project Space to evoke the dual perspectives of a historical event, the conceptual and muscle memories that are continuously formed and reformed.<br /><br /><strong>Nino Chubinishvili aka Chubika</strong>&nbsp;lives and works in Tbilisi, Georgia. She received a degree in Stage and Costume Design from the Academy of Fine Arts in Tbilisi and a post-graduate degree in Fashion Design from the Institute Francais de la Mode in Paris. Chubika has recently been included in exhibitions at the Georgian National Museum, Tbilisi (2014); Weltkunstzimmer, D&uuml;sseldorf (2014); Artarea, Tbilisi (2013); Cobra Museum, Amsterdam (2009); and Artisterium, Tbilisi (2008). In 2014, Chubika collaborated with choreographer Julie Nioche on a dance performance for the annual Avignon Festival in Avignon, France. She has worked with multiple fashion houses including Kenzo and Pierre Cardin, and designed costumes for theater companies throughout Georgia.</p> Tue, 25 Aug 2015 22:30:54 +0000 Yuriko Sejimo - Ashok Jain Gallery - September 30th - October 25th Thu, 24 Sep 2015 16:25:12 +0000