ArtSlant - Current exhibits en-us 40 Patrick Jackson and Asha Schechter - 3A Gallery - January 23rd - February 21st <p>I've known Asha Schechter since about 1991 and Patrick Jackson since about 2001.&nbsp; The three of us moved to New York in 2002 and lived in a carriage house across from Prospect Park Southwest. They had bedrooms on the third floor and I lived at the base of the stairs, on the second floor. My rent was slightly less. It worked out well, because I was a nightclub photographer working late and had the living room to myself during the day. Patrick had a studio at the Marie Walsh Sharpe Foundation and he let me use a wall to work on drawings.&nbsp; That was really cool of him. Asha worked at Jane Magazine as a photo editor and hooked me up with several freelance photo jobs. Sometimes I would go with a beauty editor to 34th Street or Bryant Park and ask random women if they had a pedicure, a tattoo, or a belly button piercing. I'd photograph them if they had one of these beauty trends. Sometimes we asked random people if they could point out who they thought was hot. I also photographed blind dates: there was one at a Mets game, another between Talib Kwali and Santi White, before she was Santogold. One photo job allowed me to pay an entire month's rent. Jane Magazine went bankrupt, but it was a good run.</p> <p>I recently introduced Asha and Patrick to Mieko, suggesting that they do a two-person show at 3A Gallery. Maybe this is a small way of returning their favors, but we&rsquo;ll see how it goes. I don't know too much about what they're making for the show, but Asha has told me his video involves a barista championship, which sounds pretty incredible. I can relate since I was once a barista in Los Angeles, where both Patrick and Asha currently live and work. I often served coffee to Ryan Gosling.</p> <p>Patrick emailed me this paragraph about his work: "I began these pieces by sitting at a large tray of clay and sculpting what came to mind. These final wall reliefs are casts of the originals, made of a reddish-brown plasticine often used in prototyping. So far, I&rsquo;ve made twelve of these, and as they've grown in number I've come to see them as my subconscious iconography."</p> <p><em>&nbsp;</em></p> Fri, 08 Jan 2016 17:02:06 +0000 Rekha Rodwittiya - AICON GALLERY - New York - February 4th - February 27th <div align="justify"><strong>Aicon Galler</strong>y New York is proud to announce<strong><em>Rekha Rodwittiya - The Rituals of Memory: Personal Folklores and Other Tales</em></strong>, the first major showing of the artist's work in New York City in two decades. A pioneering feminist artist and voice from the Indian subcontinent, Rodwittiya rose to prominence throughout the 80s and 90s through her strikingly idiosyncratic depictions of female forms, rituals and spaces. Drawn from both the personal experiences and memories of her own feminist journey and the larger historical struggles of women through the centuries, her work was an early rejection of the tropes of a male dominated South Asian art world and its traditionally voyeuristic treatment of the female subject. This exhibition is the second in a series of exhibitions re-examining figuration in Modern and Contemporary South Asian art to be held at Aicon Gallery, New York over the next two years.</div> <div>&nbsp;</div> <div align="justify">Rekha Rodwittiya's iconic, starkly delineated female figures are often viewed as concrete embodiments of the artist's complex psychological insights into the personal and historical struggles and day-to-day challenges of modern womanhood. The simply rendered yet powerful, sometimes confrontational, figures in these works seem to simultaneously stand as symbols of an ongoing struggle in the feminist realm, while refusing to be reduced to objects for visual consumption or easy interpretation. The classically poised figures carry or are surrounded by everyday household objects, reminiscent of the mythical attributes of deities found accompanying ancient sculpture. By deliberately calling attention to both the trappings and traditions of viewing the naked female body, stretching from antiquity straight through to early modernism, Rodwittiya re-appropriates these familiar archetypes and their objects of domesticity for use in her highly individual interpretation of feminist art practice.</div> <div align="justify">&nbsp;</div> <div align="justify"><span style="text-align: left;">Key to this practice and central to the striking group of a dozen or so works on canvas in this exhibition is the tension created between Rodwittiya's confrontational avatars and the viewer. Imbued with both a deeply personal cache of experience and ideology as well as centuries of feminist history, the figures often directly stare down the viewer, demanding a reckoning with the past struggles and injustices they embody rather than a simple aesthetic assessment as objects of visual art. However, these figures are not here solely to intimidate or confront, but also seek to engage our empathy and appreciation for the deeper meanings behind their existence. Rodwittiya herself provides some context into her desires surrounding this delicate interplay, stating that "the female figure, often in isolation, becomes the presence that bears witness to the passage of time. Embodied through the centuries with the energies that hold the continuums of being a life-giving force, I place the female figure as the central focus to be protective guardians of the universe."</span></div> <div align="justify">&nbsp;</div> <div align="justify"> <div> <div align="justify">In addition to this central group of works on canvas, the exhibition features a large body of mixed media works combining Rodwittiya's iconic figures with intricately woven collage work derived from her personal photography. Significantly, this represents the first use of photography in the artist's work in over twenty-eight years and marks the return of yet another important layer to the complex autobiographical nature of her process. The outlines of these new figures are derived from those used in past paintings, while the montaged photographs function as elements of dress or in some cases a second skin. Once again these new works use the female form to create a site of retrieval for both personal and shared histories, "retraced liked mapped terrains...archived like from an archaeological survey."</div> </div> &nbsp; <div> <div> <div align="justify">Also on view will be a rarely seen suite of Rodwittiya's early works drawn from the Chester and Davida Herwitz Collection, providing a retrospective view into the artist's formative years. Assembled during trips to India from the 1960s through 1980s, the Herwitz Collection represents the largest and most comprehensive collection of Indian Modern Art ever assembled outside of India. The collection includes masterworks by M. F. Husain, Tyeb Mehta, Jamini Roy and countless other modern masters from the subcontinent.</div> </div> </div> <div align="justify"><strong>&nbsp;</strong></div> <div align="justify"><strong>Rekha Rodwittiya</strong>&nbsp;was born in Bangalore in 1958. She studied painting at the Faculty of Fine Arts, Baroda (B.A. fine 1981), and at the Royal College of Art, London (M.A. 1984, on the Inlaks Scholarship). She held her first solo show in 1982 in Baroda, and has subsequently held solo exhibitions in New Delhi, Mumbai, Singapore, New York, London, Venice and Stockholm, among other locations. Her work has been included in several group exhibitions in India and internationally, including the VI International Triennial, New Delhi (1986), India in Switzerland: Six Young Contemporaries, Geneva (1987), Dialogues of Peace, Geneva to celebrate the 50th anniversary of the United Nations, Geneva, Inside Out: Women Artists of India, a touring exhibition in the UK (1995-96) and many others. She has traveled widely and lectured on contemporary Indian art at the invitation of many institutions and participated in several fellowships and artist residencies in Sweden, France, the United States, and the U.K. She has also written at length on contemporary art and routinely curates exhibitions of young artists' works. This is her first solo exhibition with Aicon Gallery New York.</div> </div> Sat, 30 Jan 2016 12:29:37 +0000 - American Folk Art Museum - January 21st - May 8th <p style="text-align: justify;">Enigmatic, evocative, and often simply strange, fraternal references are a rich part of contemporary American popular culture. But the seductive mystique of secret societies, with their cryptic signs, gestures, and arcane rituals, has been inculcated in our American experience since the early eighteenth century. Before the age of mass production, the artist who painted a portrait or embellished a piece of furniture might have also decorated a parade banner, an apron, symbols on a chart, or a backdrop for a fraternal lodge. More important, he or she encoded the ideals of fellowship, labor, charity, passage, and wisdom&mdash;the core of fraternal teachings&mdash;into the many forms associated with fraternal practice. The iconic art and objects showcased in <em>Mystery and Benevolence</em>&nbsp;relate the tenets of fraternal belief through a potent combination of highly charged imagery, form, and meaning. The exhibition explores the fascinating visual landscape of fraternal culture through almost two hundred works of art comprising a major gift to the American Folk Art Museum from Kendra and Allan Daniel.</p> <p style="text-align: justify;">Co-curators: Stacy C. Hollander, Deputy Director for Curatorial Affairs, Chief Curator, and Director of Exhibitions, American Folk Art Museum, and Aimee E. Newell, Director of Collections,&nbsp;Scottish Rite Masonic Museum &amp; Library. An exhibition catalog will be available.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">The exhibition is supported in part by Joyce Berger Cowin, Kendra and Allan Daniel, 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, and the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.</p> Thu, 14 Jan 2016 16:02:58 +0000 William Pope.L - Andrea Rosen Gallery - January 30th - March 5th Sun, 24 Jan 2016 11:41:43 +0000 Larry Bell, Anne Collier, Bernard Piffaretti - Andrea Rosen Gallery - January 30th - March 5th Sun, 24 Jan 2016 11:41:47 +0000 Robert Melee - Andrew Kreps Gallery @ 537 W. 22nd - January 9th - February 13th Thu, 17 Dec 2015 17:49:26 +0000 Francis Upritchard, Martino Gamper - Anton Kern Gallery - January 14th - February 20th Wed, 09 Dec 2015 16:26:15 +0000 Group Show - Apexart - January 21st - March 5th <p style="text-align: justify;"><em>Setting Out </em>seeks to untangle the terms that motivate and define contemporary expeditions. It holds in one hand the historical legacy of science, art, and society and their pursuit of all knowable and natural frontiers. It holds technology in its other hand and its connivance with human curiosity to see beyond each horizon. Together these fields create an image of the edge of human understanding. In its original use, the term expedition implied &ldquo;setting out with aggressive intent&rdquo; to procure a &ldquo;prompt supply&rdquo; of something desired. Today, the frontiers of contemporary expeditions exceed physical geography. <em>Setting Out </em>asserts that the horizon towards which today&rsquo;s explorers reach has turned back on itself: it now resides within sociological and technological atmospheres, ones born from the integration of remote viewing technologies into our cultural consciousness. To examine these atmospheres, the work showcased in <em>Setting Out </em>dovetails at the inexhaustible curiosity and desire to bring the human experience into all worlds.</p> <p style="text-align: justify;"><strong>Shona Kitchen </strong>is an artist/designer exploring psychological and social consequences of today&rsquo;s technological landscape. She holds an MA from The Royal College of Art, London and has exhibited, lectured, and been published worldwide.</p> <p style="text-align: justify;"><strong>Aly Ogasian </strong>works across a variety of disciplines including sculpture, video, sound, drawing, writing, and photography. Ogasian graduated from Queen&rsquo;s University with a BFAH in Sculpture and has exhibited in both the United States and Canada. She is currently pursuing her MFA in Digital + Media at Rhode Island School of Design.</p> <p style="text-align: justify;"><strong>Jennifer Dalton Vincent </strong>is a Rhode Island based artist/writer whose work examines the social and environmental outcomes of sustainable technologies. Before graduating from Brown University, she owned and operated a restaurant in Warren, Rhode Island dedicated to sustainable food ways.</p> <p style="text-align: justify;">For more information please contact or visit</p> Wed, 09 Dec 2015 16:33:17 +0000 Thea Gvetadze, Mamuka Japharidze, Nika Machaidze, Nino Sekhniashvili, Gio Sumbadze - Art in General - February 2nd - April 2nd <p style="text-align: justify;"><strong>Art in General</strong> is pleased to announce the inaugural exhibition at its new ground floor gallery at 145 Plymouth Street in Dumbo, Brooklyn, opening on January 30, 2016. The exhibition <em>Beyond Credit</em> is presented in partnership with the Center of Contemporary Art in Tbilisi, Georgia, as part of Art in General&rsquo;s acclaimed <a href="" target="_blank">International Collaborations</a> program. <br /> <br /> <span style="font-size: medium;">An Art in General International Collaboration</span><br /> <br /> This exhibition features the work of five Georgian artists who are highly regarded internationally but relatively unknown in the United States. <em>Beyond Credit</em> seeks to explore the artist&rsquo;s process, as a mixture of modes involving rational thinking, intuition, contradiction, accident, mistake, and absurdity, all of which serve as the building blocks for not only their artistic practices, but also their lives. The show aims to investigate the artist&rsquo;s condition as one who is trained as a &ldquo;professional creative,&rdquo; and how that creativity often infuses the habits, structure, and trajectory of their individual paths. What does it mean to live a life in a state of unbroken creativity, detecting inspiration and art everywhere and at all times? The notion of &ldquo;credit&rdquo; in this context suggests the status and position of artists in relation to over commercialized and monetized aspects of art as products. <em>Beyond Credit</em> attempts to not only present finished pieces authored by the five artists on view, but rather to show evidence of five lives as the result of their ongoing creative processes, and to consider these lives as continuous, unfolding artworks themselves.<br /> <br /> <strong>Art in General&rsquo;s International Collaborations</strong> program provides emerging artists abroad with the opportunity to create and present new work in New York, introducing audiences to exciting artists from regions of the world that are otherwise underrepresented in the U.S. Through this collaborations program, Art in General offers similar opportunities to New York-based artists to present works at international partner institutions. <br /> <br /> <strong>Thea Gvetadze</strong> has studied at the Tbilisi State Academy of Arts, the Gerrit Rietveld Academy in Amsterdam, and the D&uuml;sseldorf Art Academy. Her paintings have been shown in numerous exhibitions, including the Georgian pavilion of the 50th Venice Biennale, the Museum Kunst Palast in D&uuml;sseldorf in 2005, and the Kunsthalle Z&uuml;rich in 2008. Featured in the 2015 installation <em>At Home With Good Ideas</em> for the Pulse Art Fair, New York, Gvetadze presented a series of ceramic works that explore domestic customs of Georgian life.<br /> <br /> <strong>Mamuka Japharidze</strong> currently lives and works in Shindisi, Georgia, and also spends time in the UK. Japharidze works across a broad range of mediums, including public happenings, archived images, video, photography, drawing, sculpture, and sound works. His practice is often inspired by natural surroundings within the context of Tbilisi. In the 2014 exhibition <em>Re: Museum</em> at the Georgian National Museum, Japharidze presented Media&rsquo;s Garden, a mixed media installation of indigenous plant life and video projections of dense local forests which have a mystical history. Japharidze was selected to represent Georgia at the 48th Venice Biennale.<br /> <br /> <strong>Nika Machaidze</strong> (also known by the pseudonyms Nikakoi and Erast) is a Georgian video artist, film director, and musician. Machaidze studied animation and film direction at the Shota Rustaveli Theatre Institute in Tbilisi. He has worked as a writer, director, composer and editor for Georgian television. Under the name Nikakoi, Machaidze produces a type of electronic music with references to Georgian folk music. He has won numerous awards, including the grand-prix at the Paris Electronic Music Festival in 1999.<br /> <br /> <strong>Gio Sumbadze</strong> is a Georgian multimedia artist living in Tbilisi. His practice encompasses collage, graphic design, photography, sculpture, and video installation. Sumbadze&rsquo;s artworks focus on architecture and the structure of natural forms, and specifically architectural planning that mirrors or confronts nature. Sumbadze represented Georgia at the 55th Venice Biennale in 2013 in which he created a &ldquo;parasitic&rdquo; addition onto an existing Venetian building titled <em>Kamikaze Loggia,</em> referencing the common practice of extending pre-existing structures in Georgia. He is a graduate of the Tbilisi State Academy of Arts.<br /> <br /> <strong>Nino Sekhniashvili</strong> is an artist based in Tbilisi, Georgia. She is a graduate of the Tbilisi State Academy of Arts and studied fine arts with Rosemarie Trockel at the Art Academy D&uuml;sseldorf as well as graphic design at the Art Academy of Tiflis. Sekhniashvili has attended numerous artistic residencies including the Helsinki International Artist Programme (HIAP) in Finland. In her often conceptual work, she uses varied mediums and primarily focuses on the notion of identity. Sekhniashvili is a founder of Gallery Nectar, an exhibition and performance space in Tbilisi. <br /> <br /> <strong>Wato Tsereteli</strong> is an artist, curator, and creative administrator. He is the founder of Center of Contemporary Art in Tbilisi. The CCA Tbilisi operates as an exhibition space and academic institution offering an alternative, affordable Master&rsquo;s program for artists and arts professionals. Tsereteli has curated and taken part in numerous exhibitions in Georgia and internationally, including the 53rd Venice Biennale. He holds a MA from the department of Photography at the Academy of Fine Arts, Antwerp, Belgium.<br /> <br /> <br /> Special support for this exhibition has been provided by the <a href="" target="_blank">Trust for Mutual Understanding</a>, New York and <a href="" target="_blank">Project ArtBeat</a>, Tbilisi, Georgia.</p> Sat, 23 Jan 2016 17:20:34 +0000 Cameron Rowland - Artists Space: Exhibitions - January 17th - March 13th <p style="text-align: justify;"><em>13th Amendment to the U.S. Constitution<br /> Passed by Congress January 31, 1865. Ratified December 6, 1865.</em></p> <p style="text-align: justify;"><em>Section 1.</em></p> <p style="text-align: justify;"><em><br /> Neither slavery nor involuntary servitude, except as a punishment for crime whereof the party shall have been duly convicted, shall exist within the United States, or any place subject to their jurisdiction.</em></p> <p style="text-align: justify;"><em>Section 2.</em></p> <p style="text-align: justify;"><em><br /> Congress shall have power to enforce this article by appropriate legislation.</em></p> <p style="text-align: justify;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Property is preserved through inheritance. Legal and economic adaptations have maintained and reconfigured the property interests established by the economy of slavery in the United States. The 13th constitutional amendment outlawed private chattel slavery; however, its exception clause legalized slavery and involuntary servitude when administered "as a punishment for crime whereof the party shall have been duly convicted." Immediately following the passage of the 13th amendment the advent of laws designed to criminalize black life, known as Black Codes, aligned the status of the ex-slave and the pre-criminal:</p> <p style="text-align: justify;">Using the 13th amendment, Southern state governments effectively enmeshed themselves within the antebellum cycle of accumulation. The system of convict leasing financialized prisoners by leasing their labor to private industry. Many former slaves were leased back to former slave owners, now as a fully fungible labor force.&sup2; Although no longer designated as private property, ex-slaves functioned as a kind of public property whose discounted labor benefited both the governments that leased them and the corporations that received them.&sup3;</p> <p style="text-align: justify;"><br /> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;U.S. steel, coal and railroad industries grew as a result of extensive convict lease programs in the South.⁴ Corporate production was limited, however, by insubstantial Southern roads. In the early 20th century, the majority of roadways in the rural south were unpaved dirt roads. Due to rain, sections frequently became impassable. In 1904 less than 3 percent of Georgia's 57,000 miles of roads were paved with gravel, stone, or sand clay, and none with bituminous macadam.⁵ The U.S. Department of Agriculture Office of Public Roads, established in 1905, and local, non-governmental "good roads" associations influenced Southern Progressive politicians in prioritizing road development. Up to this point, most Southern states had employed the largely ineffective statute labor system, which conscripted all citizens of a state to work on the roads a few days per year. As a more reliable alternative, politicians turned to convict labor: "In North Carolina and elsewhere in the South where enthusiasm for good roads reigned, convict leasing was attacked, and the state was urged to put convicts to work on the roads; the good roads movement became 'identified with the movement to take the prisoner out of the cell, the prison factory and the mine to work him in the fresh air and sunshine.'"⁶ The Progressive rhetoric of penal reform emphasized mutual benefit&mdash;William L. Spoon, a civil engineer and good roads advocate in North Carolina stated in 1910: "The convict is forced to do regular work...and that regular work results in the upbuilding of the convict, the upbuilding of the public roads, and the upbuilding of the state."⁷<br /> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Unlike convict leasing, which facilitated private corporations use of prisoners' labor, the chain gang system restricted the labor of the incarcerated to "state-use."⁸ Organized labor championed this restriction as convict leasing competed with "free market" labor.⁹ Progressive politicians rationalized the alternative chain gang system via a procedural legal framework that continues to characterize liberal reforms today: "the punishment [of convicts] ought not to be at the hands of a private party who may be tempted by the exigencies of business ... to make punishment either more or less."&sup1;⁰ More contemporary liberal reforms to reduce judicial discretion include the establishment of mandatory minimum sentences. As Naomi Murakawa describes, while this kind of proceduralism reduces the variance of punishment, it also contributes to the "pursuit of administrative perfection" and effectively strengthens U.S. carceral machinery.&sup1;&sup1; By 1928, every U.S. state's convict lease laws had been repealed in favor of laws that restrict prison labor to state-use. In this way:</p> <p style="text-align: justify;">The interwoven economy of road improvement and prison labor expanded on previous stages of industrialization. The development of transport infrastructure and logistics was a precondition for the shipping of slaves across the Atlantic, and was the primary purpose of the slave and convict leased labor used to build U.S. railroads. The transition to chain gang labor extended this genealogy, adapting it to the development of publicly owned infrastructure.</p> <p style="text-align: justify;"><br /> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;The rate of incarceration in the U.S. remained at approximately 110 people per 100,000 from 1925 to 1973.&sup1;&sup3; Following the passage of the Omnibus Crime Control and Safe Streets Act of 1968 signed by President Johnson and the Drug Abuse Prevention and Control Act of 1970 signed by President Nixon, the scale of prison development and the rate of incarceration increased dramatically. By 2014 the rate of incarceration had risen to 612 people per 100,000.&sup1;⁴ Despite the rhetoric of colorblindness, the administration of racialized law has effectively maintained racial order. In 2014, an estimated 539,500 black people made up the majority of the 2.3 million people sentenced in prison in the United States, and were incarcerated at over 5 times the rate of whites.&sup1;⁵ Ruth Wilson Gilmore writes that the development of prisons in California beginning in the 1970s served to utilize the state's nonproductive surpluses of "finance capital, land, labor, and state capacity."&sup1;⁶ As inert overaccumulation, the stasis of these surpluses constituted an impending crisis. The "prison fix," as Gilmore terms it, financed prison construction through government issued bonds. California avoided crisis by developing "public markets for private capital" that would use its surplus to fuel the expansion of its prison system.&sup1;⁷<br /> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Through an increasing set of capitalizations, people in prison have become part of a nexus of government economic interests. While inmates serve as captive consumers to various private suppliers, many jails and state prisons also impose pay-to-stay fees. These daily fees incurred for residing at the institution can range from $1 to $142.&sup1;⁸ These fees often outweigh the wages of typical work programs, forming a debt that is immediately up for collection upon release.&sup1;⁹ Outside of prison, formerly incarcerated drug felons are denied welfare benefits and food stamps. In 2013, 37 states imposed some form of restrictions on access to Temporary Assistance for Needy Families (TANF) welfare benefits for drug felons, and 34 states imposed some form of restrictions on access to Supplemental Nutrition Assistance Program (SNAP) food stamps for drug felons.&sup2;⁰<br /> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;State-use laws still prescribe U.S. federal and state prison institutions as the primary conduits of inmate labor.&sup2;&sup1; In 2005, the Bureau of Justice Statistics recorded that 775,469 of the 1,321,685 people in public prisons (not including jails) working in prison industries, institutional support services, public works, farming or other forms of labor.&sup2;&sup2; Many state codes have work requirements or options for requirement.&sup2;&sup3; New York correctional code states: "The commissioner and the superintendents and officials of all penitentiaries in the state may cause inmates in the state correctional facilities and such penitentiaries who are physically capable thereof to be employed for not to exceed eight hours of each day other than Sundays and public holidays."&sup2;⁴<br /> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;The state-use of prisoner labor does not result in publicly traded profit, but rather in savings. The savings function of the neoliberal state is a reflection of governance modeled after business. In New York, inmates provide savings on the basis that they are paid $0.16 to $1.25 an hour.&sup2;⁵ This reduced labor cost does not appear as an increased profit margin, but is dispersed as savings on the cost of the products and services rendered to the state and as revenue intended to offset the operating budget of the Department of Corrections and Community Supervision. The savings provided by the state-use of inmate labor describes a discrete dependence between the state's correctional and economic systems. Without profits or direct comparison to market rates, it is difficult to quantify the total savings that inmate labor provides the state.&sup2;⁶<br /> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;In the early 1990s, many states began to expand the savings function of inmate labor by offering commodities made in state prison industry facilities to private nonprofit organizations within the same state. New York added this provision to its correctional code in 1991.&sup2;⁷ Nonprofit partnerships often serve a savings function themselves, allowing the state to carry out operations through grants or contracts without having to maintain full-time or unionized staff. The savings function is a form of austerity that may be more efficacious than profit. These savings, as absences of costs and information, operate as financial and rhetorical instruments of governmental opacity.</p> <p style="text-align: justify;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;91020000 is the customer number assigned to Artists Space upon registering with Corcraft; the market name for the New York State Department of Corrections and Community Supervision, Division of Industries. Corcraft's mission is: "to employ inmates in real work situations producing quality goods and services at competitive prices, delivered on time as required by the State of New York and its subsidiaries at no cost to the taxpayer."&sup2;⁸ By law, Corcraft can only sell to government agencies (including other states) at the state and local levels, schools and universities, courts and police departments, and certain nonprofit organizations.</p> <p style="text-align: justify;">&ndash; Cameron Rowland</p> <p style="text-align: justify;"><br /> __________</p> <p style="text-align: justify;">&sup1; &nbsp;Douglas A. Blackmon, <em>Slavery by Another Name: The Re-Enslavement of Black Americans from the Civil War to World War II</em>, (New York: Anchor, 2009), 53.</p> <p style="text-align: justify;"><br /> &sup2; &nbsp;"By the late 1870s, the defining characteristics of the new involuntary servitude were clearly apparent. It would be obsessed with ensuring disparate treatment of blacks, who at all times in the ensuing fifty years would constitute the vast majority of those sold into labor. They were routinely starved and brutalized by corporations, farmers, government officials, and small-town businessmen intent on achieving the most lucrative balance between the productivity of captive labor and the cost of sustaining them. The consequences for African Americans were grim. In the first two years that Alabama leased its prisoners, nearly 20 percent of them died. In the following year the mortality rate rose to 35 percent. In the fourth, nearly 45 percent of them were killed." Blackmon, <em>Slavery by Another Name</em>, 57.<br /> &sup3; &nbsp;As ruled in <em>Ruffin v. Commonwealth</em>, the prisoner "is in a state of penal servitude to the State. He has, as a consequence of his crime, not only forfeited his liberty, but all his personal rights except those which the law in its humanity accords to him. He is for the time being a slave of the State. He is civiliter mortus; and his estate, if he has any, is administered like that of a dead man." Ruffin v. Commonwealth, 62 Va. 790, 796 (Va. 1872).<br /> ⁴ &nbsp;Alex Lichtenstein, <em>Twice the Work of Free Labor: The Political Economy of Convict Labor in the New South</em> (New York: Verso, 1996), 40.<br /> ⁵ &nbsp;Lichtenstein, <em>Twice the Work of Free Labor</em>, 177.<br /> ⁶ &nbsp;Alex Lichtenstein, "Good Roads and Chain Gangs in the Progressive South: 'The Negro Convict is a Slave'," <em>The Journal of Southern History</em> 59, no. 1 (1993): 87.<br /> ⁷ &nbsp;William L. Spoon, "Road Work and the Convict," <em>Southern Good Roads</em> 2 (November 1910): 15.<br /> ⁸ &nbsp;Kim Gilmore, "Slavery and Prisons: Understanding the Connections," <em>History is A Weapon</em>, accessed January 6, 2016, <a href="" target="_blank"></a>.<br /> ⁹ &nbsp;Lichtenstein, <em>Twice the Work of Free Labor: The Political Economy of Convict Labor in the New South</em>, 158.<br /> &sup1;⁰ &nbsp;Eugene C. Branson, "Eugene Cunningham Branson Papers, Correspondence," <em>Journal of Labor</em> (July 17, 1908): 4.<br /> &sup1;&sup1; &nbsp;Naomi Murakawa, <em>The First Civil Right: How Liberals Built Prison America</em> (New York: Oxford, 2014), 26.<br /> &sup1;&sup2; &nbsp;Lichtenstein, "Good Roads and Chain Gangs," 106.<br /> &sup1;&sup3; &nbsp;Bureau of Justice Statistics, <em>Sourcebook of Criminal Justice Statistics</em> (Washington, DC: Department of Justice, 1925-1973).<br /> &sup1;⁴ &nbsp;Bureau of Justice Statistics, <em>Prisoners in 2014</em> (Washington, DC: Department of Justice, 2014), 1.<br /> &sup1;⁵ &nbsp;Bureau of Justice Statistics, <em>Prisoners in 2014</em> (Washington, DC: Department of Justice, 2014), 15.<br /> &sup1;⁶ &nbsp;Ruth Wilson Gilmore, <em>Golden Gulag: Prisons, Surplus, Crisis, and Opposition in Globalizing California</em> (Berkeley: University of California, 2007), 57.<br /> &sup1;⁷ &nbsp;Gilmore, <em>Golden Gulag</em>, 63.<br /> &sup1;⁸ &nbsp;Lauren-Brooke Eisen, "Paying for Your Time: How Charging Inmates Fees Behind Bars May Violate the Excessive Fines Clause," <em>Brennan Center for Justice</em>, modified July 31, 2014,<br /> &sup1;⁹ &nbsp;"By 1988, forty-eight states authorized some form of correctional fees. Room and board fees grew rapidly in the second half of the 1980s, becoming even more common in the 1990s and into the 21st century. By 2004, approximately one-third of county jails and more than fifty percent of state correctional systems had instituted "pay-to-stay" fees, charging inmates for their own incarceration." Lauren-Brooke Eisen, "Paying for Your Time: How Charging Inmates Fees Behind Bars May Violate the Excessive Fines Clause."<br /> &sup2;⁰ &nbsp;The 1996 Personal Responsibility and Work Opportunity Reconciliation Act welfare reform "...imposed a denial of federal benefits to people convicted in state or federal courts of felony drug offenses. The ban is imposed for no other offenses but drug crimes. Its provisions that subject individuals who are otherwise eligible for receipt of SNAP or TANF benefits to a lifetime disqualification applies to all states unless they act to opt out of the ban." Marc Mauer and Virginia McCalmont, <em>A Lifetime of Punishment: The Impact of the Felony Drug Ban on Welfare Benefits</em> (Washington D.C.: The Sentencing Project, 2013), 1-2.<br /> &sup2;&sup1; &nbsp;Passed in 1979, the Prison Industry Enhancement Certification Program currently allows participating states (38 prison systems in total) to establish joint ventures in which inmates work for private corporations (Bureau of Justice Assistance, <em>Prison Industry Enhancement Certification Program</em> [Washington, D.C.: Department of Justice, 2012], 4). The majority of private prison contracts reviewed by In The Public Interest include occupancy guarantees of 80-100% (In the Public Interest, <em>Criminal: How Lockup Quotas and "Low-Crime Taxes" Guarantee Profits for Private Prison Corporations</em> [Washington D.C.: In The Public Interest, 2013], 6). However, the PIECP includes only 5000 prisoners out of the total 2.3 million prisoners. (Bureau of Justice Statistics, Census of State and Federal Correctional Facilities, [Washington, D.C.: Department of Justice, 2005], Appendix table 16). Private prisons hold 8.4% of this total prison population. (Bureau of Justice Statistics, <em>Prisoners in 2014</em>,15).<br /> &sup2;&sup2; &nbsp;Bureau of Justice Statistics, Census of State and Federal Correctional Facilities, (Washington, DC: Department of Justice, 2005), Appendix table 16.<br /> &sup2;&sup3; &nbsp;Extensive case law, most recently Sanders v. Hayden, 544 F.3d 812, 814 (7th Cir.2008), has ruled that inmates are not employees of the state and are not protected by the Fair Labor Standards Act.<br /> &sup2;⁴ &nbsp;New York Correctional Code &sect; 171.<br /> &sup2;⁵ &nbsp;Michael Virtanen, "For Low Pay and a Chance, Inmates get to Work," <em>Bloomberg Businessweek</em>, last modified February 13, 2012, <a href="" target="_blank"></a>.<br /> &sup2;⁶ &nbsp;As Corcraft is a New York State Preferred Source, government agency customers do not conduct a price comparison. This is ostensibly because Corcraft offers the lowest prices on all the products it provides.<br /> &sup2;⁷ &nbsp;New York Correctional Code &sect; 171.<br /> &sup2;⁸ &nbsp;"Who We Are," Corcraft, accessed January 6, 2016, <a href=";storeId=10001&amp;catalogId=10051" target="_blank">;storeId=10001&amp;catalogId=10051</a>.</p> <p style="text-align: justify;">Leading Exhibition Supporters:<br /> The Friends of Artists Space; The 40 Years Artists Space Program Fund; New York City Department of Cultural Affairs; Pedro Barbosa &amp; Patricia Moraes; ESSEX STREET, New York</p> <p style="text-align: justify;">Exhibition Supporters Circle:</p> <p style="text-align: justify;"><br /> Shane Akeroyd; James Cahn &amp; Jeremy Collatz; Eleanor Cayre; Lonti Ebers; Alfred Gillio &amp; Paul Bernstein; David Joselit &amp; Steve Incontro; Anne Simone Kleinman &amp; Thomas Wong; Glenn Ligon; Barbara &amp; Howard Morse; Eleanor H. Propp; R. H. Quaytman; Rob Teeters &amp; Bruce Sherman</p> <p style="text-align: justify;">Artists Space Exhibition Program Supporters:</p> <p style="text-align: justify;"><br /> Lambent Foundation Fund of Tides Foundation; The Andy Warhol Foundation for the Visual Arts Cowles Charitable Trust; The Horace W. Goldsmith Foundation; New York City Department of Cultural Affairs in partnership with the City Council; New York State Council on the Arts, a State Agency</p> <p style="text-align: justify;">Every southern state except Arkansas and Tennessee had passed laws by the end of 1865 outlawing vagrancy [understood as either homelessness and joblessness] and so vaguely defining it that virtually any freed slave not under the protection of a white man could be arrested for the crime.&sup1;</p> <p style="text-align: justify;">[T]he state became the direct exploiter of that labor in an effort to build and maintain a transportation infrastructure that might contribute to the expansion of the manufacturing and commercial sectors. And just as that earlier system of forced labor was driven primarily by the dictates of political economy rather than humane penology, so too was the decision to remove the South's forced labor pool from private enterprise and give it to the "people" in the interest of a more public notion of economic development.&sup1;&sup2; </p> Fri, 08 Jan 2016 07:57:39 +0000 Sara Ludy - bitforms gallery - January 7th - February 7th <p style="text-align: justify;">bitforms gallery is very pleased to announce <em>Subsurface Hell</em>, Sara Ludy&rsquo;s first solo exhibition with the gallery.</p> <p style="text-align: justify;">The works in <em>Subsurface Hell</em> investigate digital feng shui. While the ancient Chinese doctrine identifies physical, cosmic, and psychic energy, Ludy applies its philosophical methodology to her lived experience online. The organization of our physical environments affects us deeply: there is something to be said about the feel of a certain room, or how you like to lie on a particular side of the bed. Ludy&rsquo;s practice distills her movement through virtual space. Following the tenets of feng shui, the exhibition design further reflects on this.</p> <p style="text-align: justify;">The name of a folder on her computer, <em>Subsurface Hell</em> is an archive of found photos Ludy has collected since 2000. Though there are many themes within the folder&mdash;everyday life, domesticity, interiors, objects, life forms, virtual reality&mdash;narratives emerge from the continually growing archive. The feed epitomizes Ludy&rsquo;s notion of the digital uncanny: content is recognizable in its form, but removed from experience. Everything happens all at once and is irreducibly flattened: cute animals, memes, terrorist attacks, photos of family and friends, natural disasters. In the deluge of content, none of which can be absorbed in its entirety, Ludy saves images to fully process her online experience.</p> <p style="text-align: justify;"><em>Low Prim Room</em> (2012 &ndash; 2016) is an installation with a selection of 1056 found images from this living archive; a digital painting from Ludy&rsquo;s Clouds series is projected as the border. Named after the terminology in <em>Second Life</em> to describe a 3D object containing very little information (and thus having a small graphic footprint in one&rsquo;s limited 3D real estate), Low Prim Room centers in on the feeling certain images contain and emit. Twelve images from the set are enshrined on the rear wall, grouped together because of similar formal qualities or subject matter. The appearance of the room resembles a <em>tokonoma</em>, a recessed area in Japanese homes dedicated to art, giving weight to images that may otherwise be scrolled by, ignored, or unseen. Linked to a website that began as Ludy&rsquo;s <em>Low Prim</em> Tumblr archive in 2012, new images are always being uploaded. This feed is viewable online at <a href="" target="_blank"></a>.</p> <p style="text-align: justify;">Ludy&rsquo;s image making process is a sort of digital catharsis, a mythology where she becomes a conduit for the glut of images online. This is her method for processing information and transforming its energy into something more holistic. In <em>Cloud Relief 1</em> and <em>2</em> (2015 &ndash; 2016), the source material dissolves into charged virtual mist. These pooling ashes crystallize into <em>Animistics</em> (2013 &ndash; 2016), a series of mystical objects.</p> <p style="text-align: justify;">An online work, <a href="" target="_blank"><em></em></a> (2015), serves as an extension of the exhibition.</p> <p style="text-align: justify;">Please join us for Ludy&rsquo;s live audiovisual performance <em>\O/</em> at the gallery on January 21 at 6:30 PM.</p> <p style="text-align: justify;"><strong>BIOGRAPHY</strong></p> <p style="text-align: justify;">Sara Ludy&rsquo;s practice investigates the confluence of the physical and virtual. Her works include websites, animation, video, sculpture, and audio-visual performance. Traversing the online virtual world <em>Second Life</em>, Ludy photographs domestic interiors, landscapes, and other scenes that are iconographically familiar, yet feel otherworldly. Alongside this practice, she three-dimensionally renders architectural forms and sculptures, each one imbued with the mysticism of the digital uncanny: a space between what is known and unknown, within reach but just out of grasp.</p> <p style="text-align: justify;">Previous exhibitions of Ludy&rsquo;s work include Museum of Contemporary Art Chicago, Chicago; Berkeley Art Museum, California; Honor Fraser, Los Angeles; bitforms gallery, New York; Postmasters Gallery, New York; Klaus von Nichtssagend, New York; Interstate Projects, Brooklyn; Eyebeam Center for Art and Technology, New York; Vancouver Art Gallery, Vancouver; Western Front, Vancouver; Kuenstlerhaus Bethanien, Berlin; Carroll Fletcher, London; Espace Verney-Carron, Lyon; and C-Space, Beijing.</p> Fri, 08 Jan 2016 08:10:49 +0000 Zhu Jinshi - Blum & Poe | New York - January 7th - February 13th <p style="text-align: justify;">Blum &amp; Poe is pleased to present a survey of paintings by Beijing-based painter&nbsp;Zhu Jinshi.&nbsp;This is Zhu's first solo exhibition in New York and his second solo presentation with the gallery.</p> <p style="text-align: justify;">Zhu&rsquo;s painting practice is divided into two parts: all-over paintings which literally cover the canvases end to end with paint often the depth of the human hand, and what are known as Liu Bai paintings (direct Chinese translation: &ldquo;leaving blank&rdquo;). Liu Bai, a traditional aesthetic approach to compositional balance in Chinese painting, was conceived as a form of &ldquo;blankness,&rdquo; rather than &ldquo;emptiness,&rdquo; embodying great philosophical nuance. In parallel with works such as these, Zhu has recently explored the flat application of the black monochrome, with all of its minimalist and philosophical implications. One all-black painting,&nbsp;<em>Kant</em>&nbsp;(2015), will be on display, its one-inch deep surface scored by a delicate web of shallow grooves and ripples. This exhibition will also feature three sculptural works;&nbsp;<em>Bank</em>&nbsp;(2013) and&nbsp;<em>Head Sculpture</em>&nbsp;(2015), consisting of enormous slabs of paint laid upon plinths; and&nbsp;<em>Nine Levels</em>&nbsp;(2015), a minimal, modular installation conceived especially for the gallery terrace.</p> <p style="text-align: justify;">All the works in the exhibition are accumulations of Chinese aesthetic and socio-political histories and hard labor, drawn from the artist&rsquo;s experience growing up during the Cultural Revolution. Born in 1954 in Beijing, and later assigned by the government to work in factories, it was in this oppressive context that he developed his early identity as an artist.&nbsp;Zhu joined a group of artists of similar age called the Stars (Xing Xing) in 1979. That year, after being denied a show at the National Gallery in Beijing, they staged an unauthorized exhibition outside the museum, which has since been widely recognized as a breakthrough in Chinese cultural expression. Thereafter, Zhu and others began to explore abstraction. By the mid-1980s, many Chinese artists had relocated to Western countries, including Zhu Jinshi and Qin Yufen who moved to Berlin in 1986. After living in the West for twenty years, Zhu Jinshi moved back to Beijing, where he currently lives and works.&nbsp;</p> <p style="text-align: justify;">This exhibition is one in a series that Blum &amp; Poe is hosting with the intention of illuminating the narrative of postwar art in China, Japan, and Korea &mdash; serving as a point of contrast and correspondence between east and west &mdash; in both of which Zhu Jinshi is steeped, in knowledge and reference.</p> <p style="text-align: justify;">Zhu Jinshi has been the subject of numerous solo exhibitions.&nbsp;<em>Performance in Paint</em>, curated by Melissa Chiu, director of the Hirshhorn Museum and Sculpture Garden in Washington DC, is on view at the Inside-Out Museum in Beijing until January 31, 2016. Other important solo shows include&nbsp;<em>On the Road</em>, City of Prague Museum, Czech Republic (2002);&nbsp;<em>Tao of Rice Paper</em>, Museum of Vancouver, Canada (1997); and&nbsp;<em>Fangzhen</em>, DAAD Galerie, Berlin (1990).&nbsp;Recent group exhibitions include&nbsp;<em>Alone Together</em>, Rubell Family Collection, Miami (2012);&nbsp;<em>Mind Space: Maximalism in Contrasts</em>, University of Pittsburgh, Pennsylvania (2011); and&nbsp;<em>China Now &ndash; Art in Times of Change</em>, ESSL Museum, Vienna, Austria (2006).</p> Tue, 22 Dec 2015 10:02:17 +0000 Em Rooney - Bodega - January 10th - February 7th Wed, 09 Dec 2015 16:37:55 +0000 Ann Veronica Janssens - Bortolami Gallery - January 9th - February 20th <p style="text-align: justify;">Bortolami is pleased to announce a solo exhibition of Ann Veronica Janssens, coinciding with her show at the Nasher Sculpture Center in Dallas, Texas.<br /> <br /> Using light as her primary material, Janssens manipulates negative spaces to create interactive experiences. Sharing similar concerns with Light and Space artists (like sensory phenomena, translucence, and ambience), Janssens focuses on challenging viewers&rsquo; perceptions. Her luminous installations create gradient zones between light and shadow, and opacity and transparency.<br /> <br /> The exhibition begins with an eight-foot fluorescent light piercing the wall. The light accompanies visitors as they pass from the entrance to the main gallery, linking the two different spaces with shared luminosity.<br /> <br /> Inside, Janssens presents a mound of blue glitter, echoing the sweeping gestures of action painting while adopting the floor as another work surface. Two platinum structures, seemingly floating from the wall, flank the space. They both block visibility and reflect one's gaze. A set of gilded California blinds hangs on the far wall, both precious and mundane in its material and function. <br /> <br /> In the third room, Janssens installed an iconic haze sculpture that materializes light into a star-shaped form. This materiality, however, is evasive. Its palpability is purely visual. Janssens&rsquo; intervention provides the minimum conditions necessary for the viewer to experience light as a solid, yet intangible, object.<br /> <br /> Ann Veronica Janssens (b. 1956 in Folkestone, UK) lives and works in Brussels. Her work has been the subject of numerous solo exhibitions including WIELS - Contemporary Art Centre in Brussels (Belgium), the Espai d'art contemporani in Castell&oacute; (Spain), the Museum Morsbroich in Leverkusen (Germany), the Neue Nationalgalerie in Berlin (Germany), the Kunstverein M&uuml;nchen (Germany), the Mus&eacute;e d'Orsay in Paris (France), the CCA Wattis Institute for Contemporary Arts in San Francisco (USA), the Ikon Gallery in Birmingham (UK), the Kunsthalle Bern (Switzerland) the Beppu project (Japan) , Museo Cappella Sanseverro, with Nord Project, in Naples (Italy) and Unlimited at Art Basel (Switzerland).<br /> <br /> In 1999, she co-represented Belgium at the Venice Biennale with fellow artist Michel Fran&ccedil;ois.<br /> <br /> Ann Veronica Janssens's exhibition at the Nasher Sculpture Center in Dallas opens on January 21, 2016. Currently on view at S.M.A.K in Ghent (Belgium) is a two-person exhibition with Ayşe Erkmen.</p> Fri, 08 Jan 2016 08:23:57 +0000 David Bradford - Bowery Gallery - February 2nd - February 27th Sun, 24 Jan 2016 11:45:50 +0000 - BravinLee Programs - February 4th - March 19th <p>Chuck Agro, Philip Akkerman, Janine Antoni, Robert Arneson, Luis Cruz Azaceta, Leonard Baskin, Jack Beal, Max Beckmann, Bradley Biancardi, Todd Bienvenu, Matt Bollinger, Deborah Brown, Delia Brown, Peter Burns, Jim Butler, Chuck Close, Lovis Corinth, Sophie Crumb, Mary DeVincentis, Eric Doeringer, Diane Edison,&nbsp;Ralph Fasanella, Dan Fischer, Kathleen Gilje, Mary Glenn,&nbsp;Mark Greenwold, Irene Hardwicke, Barkley L. Hendricks, Judith Henry, Scott Kahn,&nbsp;Dennis Kardon, Deborah Kass, K&auml;the Kollwitz, Kurt Kauper, David Kramer, Laura Krifka, Charlotte Lee, John Lees, Andrew Lenaghan,&nbsp;Beverly McIver, Catherine Murphy, Erik Olson, Carl Ostendarp, Philip Pearlstein, Erika Ranee, Charles Ritchie, Kenny Rivero, Walter Robinson, Giordanne Salley, Tom Sanford, Cindy Sherman, Devan Shimoyama, Cary Smith, Lava Thomas, Betty Tompkins, Eugene Von Bruenchenhein, Martin Wilner, Aaron Zimmerman</p> <p>The self portrait is the lingua franca&nbsp;of the smartphone&nbsp;era.&nbsp; The scourage and proliferation of &ldquo;selfes&rdquo; and &ldquo;profiles&rdquo; is certainly indicative that we are enduring the best of times-as well as the worst of times in the apothesosis of onanistic humanism.&nbsp; Despite its utter debasement in the hand-held device, adolesentalized epoch, the self portrait in the 21st Century remains an elevated, vital, interesting, important and revealing genre.&nbsp; The show includes&nbsp;nearly&nbsp;60 self-portraits, some are literal, others allude to autobiography in a psychological or metaphorical way.</p> Mon, 01 Feb 2016 23:46:38 +0000