ArtSlant - Current exhibits en-us 40 Florian Maier-Aichen - 303 Gallery - June 5th - August 1st <p>Florian Maier-Aichen was born in Stuttgart, Germany in 1973. His work has been exhibited and collected by such public art collections as the Hammer Museum, Los Angeles, the Carnegie Museum of Art, Pittsburgh, the Denver Art Museum, Denver, the Walker Art Center, Minneapolis, and the Whitney Museum of American Art, New York. Maier-Aichen has also had solo exhibitions at 303 Gallery, New York, Museum of Contemporary Art Los Angeles, Blum + Poe Gallery, Los Angeles, and most recently Galerie Baronian Francey, Brussels in 2008. Maier-Aichen lives and works in Cologne, Germany and Los Angeles.</p> Tue, 29 Jul 2014 00:03:38 +0000 Waneke Gartz, Frank Stürmer, Trevor Shimizu, Mieko Meguro, Satoru Eguchi, Dan Graham, Daniel Brant - 3A Gallery - July 14th - August 16th <p>Group show featuring artists who happen to be cat lovers</p> Fri, 13 Jun 2014 20:13:28 +0000 - 47 Canal - June 27th - August 2nd Mon, 14 Jul 2014 01:18:35 +0000 Jean Dubuffet, Miquel Barcelo - Acquavella Galleries - June 30th - September 19th <p>Acquavella Galleries is pleased to present Dubuffet | Barcel&oacute;, an exhibition of paintings by French postwar painter Jean Dubuffet and acclaimed Spanish artist Miquel Barcel&oacute;, on view from June 30 to September 19, 2014. The exhibition&nbsp;will feature distinct bodies of work from each artist &ndash; several of Barcel&oacute;&rsquo;s recent white paintings and dark bleach portraits will be shown alongside a selection of Dubuffet&rsquo;s landscapes and portraits. Since he was a teenager, Barcel&oacute; has been drawn to Dubuffet&rsquo;s poetic writings and unconventional aesthetic. In juxtaposing portraits and landscapes by both artists, this exhibition aims to highlight<br />their thematic and material affinities.<br /><br />Dubuffet employed various techniques to represent soil in his series of Texturologies from the 1950s. Acting as an inventory of various types of terrain, these paintings celebrate the nuances of material. Dubuffet initially intended to create the series as an assemblage evocative of earth&rsquo;s expanse that could be endlessly extended; however, his attachment to these initial paintings<br />prevented him from producing this assemblage, and they remain as individual works. With their encrusted, tactile surfaces, Dubuffet&rsquo;s Texturologies evoke the textures of the earth. This obsession with formlessness extends to Dubuffet&rsquo;s portraits, several of which are included in this exhibition. His methods of rendering the human figure reflect his fascination with primitive and naive art practices.<br /><br />Barcel&oacute;&rsquo;s most recent series of white paintings also pay tribute to boundless terrain. An artistic nomad, he has traveled widely, relying on cultural and geographic diversity for inspiration. Earthly textures &ndash; sand or waves of the ocean, for example &ndash; have long influenced his painting practice. Several heavily impastoed canvases, in particular, pay tribute to the coastal terrain of his native Majorca. The intensely textured Huitres II recalls Barcel&oacute;&rsquo;s travels across the arid, rugged terrain of the Sahara. This work is simultaneously devoid of and brimming with color &ndash; indicating the heat, light, and texture of the desert. Barcel&oacute;&rsquo;s recent portraits are<br />similarly personal. These paintings, made with bleach, chalk, and charcoal on dark canvas, present ethereal renderings of the artist&rsquo;s colleagues and friends.<br /><br />Jean Dubuffet (1901 &ndash; 1985) was born in Le Havre, France. In 1918 he moved to Paris to study at the Acad&eacute;mie Julian, which he left after six months to study independently. After abandoning painting to work at his family&rsquo;s wine business for several years, Dubuffet fully committed himself to being an artist in 1942. His fascination with Hans Prinzhorn's Artistry of the Mentally Ill deeply influenced<br />his artistic practice, and led to his coining of the term &ldquo;Art Brut.&rdquo; For Dubuffet, the raw and uninhibited expression of Art Brut provided a fresh and alternative direction to what he saw as the stifling decorum and conformity of French culture and the Western tradition. Painting in a deliberately crude manner, Dubuffet developed a technique of thick impasto, called haute p&acirc;te, and frequently<br />incorporated unorthodox materials ranging from cement and gravel to leaves, dust, and even butterfly wings into his works. His controversial materials and mark-making solidified his legacy as an iconoclastic figure in the canon of postwar European painting. His work has been exhibited in and collected by major public and private institutions across the world.&nbsp;<br /><br />Miquel Barcel&oacute; (b. 1957) was born in Felanitx, Majorca and divides his time between Majorca, Paris, and Mali. The youngest artist to ever show at the Mus&eacute;e du Louvre, Barcel&oacute; represented Spain at the 53rd Venice Biennale and drew wide acclaim for his<br />participation in Documenta VII in Kassel, Germany. He has had retrospectives at renowned institutions, including the Centre Pompidou, Paris; Museo Nacional Centro de Arte Reina Sofia, Madrid; Museo Rufino Tamayo, Mexico; and the Guggenheim Museum, Bilbao, Spain. His work is included in many esteemed public and private collections worldwide.</p> <p>&nbsp;</p> Tue, 24 Jun 2014 04:34:33 +0000 Kazi Salahuddin Ahmed, Masum Chisty, Khaled Hasan, Imran Hossain Piplu, Promotesh Das Pulak, Dhali Al Mamoon, Yasmin Jahan Nupur, Mohammad Wahiduzzaman, Wakilur Rahman - AICON GALLERY - New York - July 24th - September 6th <p style="text-align: justify;" align="justify"><span style="font-size: small;"><strong>Aicon Gallery</strong>&nbsp;is proud to present&nbsp;<em>Readymade</em>, the first ever extensive survey exhibition of contemporary Bangladeshi art held in New York. The exhibition features nine artists collectively exploring the complex and interlocking cultural, political, economic and environmental issues currently facing the often paradoxical and rapidly changing society and state of Bangladesh in the new millennium. The nation's exploding population, the daily socioeconomic struggles of the lives of millions, the consequences of climate change, shifting cultural and gender demographics and the future of industry and economic growth are just some of the vastly influential issues informing and challenging the visual and verbal language of Bangladesh's diverse and quickly growing contemporary art scene. The work in this exhibition unpacks these issues through the concept of the&nbsp;<em>readymade</em>, both in its art historical context, and as a term referring to Bangladesh's massive and unwieldy ready-to-wear garment industry, which has made headlines recently due to the tragic consequences of its lack of regulation and harsh suppression of reform, while also remaining the economic backbone of Bangladesh's growing economy.&nbsp;</span><span style="font-size: small;">&nbsp;</span></p> <div style="text-align: justify;" align="justify"><span style="font-size: small;">When Marcel Duchamp challenged high art by making the mundane monumental, he called it readymade. The spaceless conjunction of 'ready' and 'made' is fraught with tension, simultaneously existing as an affirmation, yet a contradiction. This signifies convenience at the cost of quality, access at the cost of wholesomeness, and success at the cost of failure. Ultimately, it marks a divide that is hard to bridge. As Bangladesh encounters these many divides and contradictions, 'readymade' becomes an identity in itself.</span><br /><br /></div> <div style="text-align: justify;" align="justify"><span style="font-size: small;">With rising levels of greenhouse gases in the environment, the global climate is changing. Extreme storms, long the scourge of low-lying Bangladesh, are increasing in frequency and ferocity; and, there is the rising sea level. Bangladesh presents the largest assemblage of humans at such a low elevation. It is inherently readymade for a natural disaster of epic proportions. With a still trotting, if not galloping, population growth and a shrinking landmass from rising waters, Bangladesh is also a readymade demographic time bomb. About 40% of the population is below the age of 25. If these tens of millions of young men and women are not educated and put to work, Bangladesh is readymade for social unrest.</span></div> <div align="justify"> <p style="text-align: justify;" align="justify"><span style="font-size: small;">Yet, it is in readymades that Bangladesh seeks a path to redemptive transformation. Readymade is the locally popular term for ready-to-wear clothing. It is an industry of which Bangladesh, with its large work force and low wages, has become the global epicenter, with the garment industry comprising nearly 90% of its Gross Domestic Product. This epicenter, occasionally shaken by a tragedy of epic proportions, is merely inconvenienced by smaller everyday tragedies. Labor organizers disappear into the night, while dissenting workers find their jobs-and at times, limbs-gone. The lack of economic diversity promotes an endemic occurrence of sweatshops and unsafe labor conditions, favoring capitalism over social welfare, susceptible to poverty and malnutrition of children, with a growing sex trade of prostitution and child trafficking into India. It is an industry readymade to propel Bangladesh forwards or back; and, at times, it seems to do both.</span><span style="font-size: small;">&nbsp;</span></p> <p style="text-align: justify;" align="justify"><span style="font-size: small;">Whether a storm changes the coastline or a factory collapses upon its occupants, it takes a myriad of tragedies for the world to focus on Bangladesh. Can tragedy be the price of good-tidings to come? The disaster, in the case of a factory-collapse, is not natural but manmade. For the looming tragedy of climate change, man's authorship should at least allow for remediation. Will the proverbial 'silver lining' be a clear establishment of a civil society's predominance? The political leaders, no matter how tainted, know that they would have to seek the people's mandate, sooner rather than later. Bangladesh has had a growing democracy for three of its four decades in existence. From being the poorer, undernourished and fledging of the two wings of Pakistan - the nation it broke from in 1971 - Bangladesh today has peace, a vibrant economy, higher rates of development and greater empowerment of its people, especially its women.</span></p> <p style="text-align: justify;" align="justify"><span style="font-size: small;">Is Bangladesh, then, readymade to chart a way forward? Are its artists ready to play a part in this charted route? Culture has always been integral to Bangladesh's identity. It was born of a struggle to protect a language and its associated culture. "Readymade", the first major curated exhibition of contemporary Bangladeshi art in New York, seeks to re-introduce a society long known as a reliable source of disaster news, as one that is at a fork. A big disaster may yet unfold of many little ones; but equally, there is hope for the emergence of a civil society, with art and artists at its vanguard.&nbsp;</span></p> </div> Fri, 25 Jul 2014 08:22:23 +0000 Vera Neumann - Alexander Gray Associates - June 26th - August 12th <p>Alexander Gray Associates presents its inaugural exhibition of artworks by Vera Neumann (b. 1907, Stamford, CT &ndash; d. 1993, North Tarrytown, NY), <em>Vera Paints a Summer Bouquet</em>, a selection of iconic watercolors and drawings of Neumann&rsquo;s primary muse: bountiful, abundant, and joyful flowers. These artworks, made between the 1950s and 1980s, will be exhibited for the first time, although many of the images will be familiar to collectors of Vera scarves, napkins, and apparel. Her original drawings were the basis for all her designs of scarves, apparel, table linens, and a wide variety of licensed household and fashion items. Arranged salon-style in the Gallery&rsquo;s ground-floor space, the watercolors and drawings include images of flowers from Neumann&rsquo;s Hudson Valley garden: daffodils, tulips, irises, bleeding hearts, roses, delphinium, daisies, sunflowers, and poppies; many featuring the Vera ladybug icon.</p> Mon, 28 Jul 2014 22:26:58 +0000 Jean-Baptiste Bernadet - American Contemporary - June 11th - August 9th <p>Bernadet&rsquo;s paintings present mark making as a layered language and a process of active contemplation.<br />He describes a process of infinite gesture where every mark is engaged in a moment of call and response and ideas of total completion are impossible.<br />Exhibited together the paintings suggest an almost fluid continuum. Though they may appear inextricably connected, the energetic sea of gestures that fill each individual painting also reveal a more localized conference of mark making. Each piece is an individual exploration of the potential inherent in Bernadet&rsquo;s definitively free design. These works are not trapped within an overly formalized language, nor are they completely loose; there is structure, interconnectedness, and communication. It is these conditions that create a focus for meaning as well as allowing for greater and more detailed level of freedom.<br />In French &ldquo;fugue&rdquo; is a noun, not a verb, meaning running away (Je veux fuguer: I want to run away). The paintings are definitely the result of action: to paint, to contemplate, to experiment, to layer, to respond, but when finished, they become nouns, things. As &ldquo;things&rdquo; they are not concretely abstract, nor are they figurative. Like language they sit in a space in between; they are individual objects filled with a vibrant and restless energy. This does not mean they are agitated per se, but that they are unwilling to settle. They are unable to stop. The paintings are not of course running away, they are instead moving towards something.<br />That something is defined purely in the process of their making. Viewing them allows a symphony of glimpses to occur: moments seized by other moments, gestures disclosing other gestures, and marks illuminating other marks. Each brushstroke is active and still energized, combining to create a constant and defining breeze of animation across the surface of each painting. In this way, they are not silent, they are words annunciated.<br />Jean-Baptiste Bernadet was born in Paris in 1978. He has lived and worked in Brussels since 2000, and was artist-in-residence at Triangle Studios in Brooklyn in 2012, APT Studios in Brooklyn in 2011, and Chinati Foundation, Marfa, Texas, in 2010. His recent exhibitions include: Karma, New York NY, Valentin, Paris, Ricou Gallery, Brussels, Casado Santapau Gallery, Madrid, Marfa Book Company Gallery, Marfa, Texas, TORRI, Paris, and Galerie Saks, Geneva. Bernadet participated in the Young Belgian Art Prize, Palais des Beaux-Arts de Bruxelles, Brussels. (All 2013)</p> Sun, 08 Jun 2014 00:32:27 +0000 - American Folk Art Museum - Lincoln Square - May 13th - August 17th <p>This groundbreaking exhibition posits an original premise that considers the changing implications of self-taught in the United States from a deeply entrenched and widespread culture of self-education in the early national period to its usage today to describe artists working outside the art historical canon and often in isolated circumstances.</p> Sun, 30 Mar 2014 23:11:56 +0000 Franklin Evans - Ameringer | McEnery | Yohe - June 5th - August 1st <p>AMERINGER | McENERY | YOHE is pleased to announce <em>paintingassupermodel</em>, the gallery's first solo exhibition with artist Franklin Evans. &nbsp;Evans presents a new installation comprised of wall painting/collages, eight large paintings, 1,500 square feet of digital prints on paper/canvas/silk, photographic sculptures, floor works, and sculpture vitrines that alter the architecture of the gallery. &nbsp;The exhibition will open on 5 June and will remain on view through 1 August 2014. &nbsp;A public reception for the artist will be held on 5 June from 6:00 to 8:00 PM.&nbsp;</p> <p>Evans alludes to Yve-Alain Bois' 1993 book&nbsp;<em>Painting as Model</em>, using parts of Bois' essays on Mattise, Mondrian, and Newman within the context of his current studio investigations. &nbsp;In addition to the aforementioned artists, these investigations include: Young, Irwin, Giselle, Blue Nude, Romanian Blouse, brian, grid, The Dance, Boogie-Woogie, paint chips, 3-year old, scarface, trompe l'oeil, Halvorson, Guyton, X, Pollock, de Kooning, process, von Heyl, digital recapturing, Dilg, Dupuis, Baltz, Westide Piers, Basel Miami, spine, hands, butt, back, drag, lips, pink, facepaint, arm, wing, flight, floor, primary, secondary, tertiary, derivatives, double negative, Henri, text, arch drawing, energy, field, Weatherford, Jacobs, assistant, fabrication, Kanter, Sololab, DiOrio, Luque, rhizome, measure, clarity, unstretched, object, eyes, smile, orange, Irwin Orange, New York, divisionism, window, wall, photo, Noland, model, financial modeling, Vir Heroicus Sublimus, supermodel, drag queen, markets, belief, Mike Kelley, order, failure, and spreadsheets.&nbsp;</p> <p>Evans' practice is a network, in constant flux, in absorption of adjacent content, in defocused experience of the contemporary, in rhizomic replication, and in reference to itself. &nbsp;The work occupies the field of painting/installation with studio process and sit as its subject. &nbsp;His work flips between digital and material, process and object, thought and action, and the present and memory. &nbsp;Evans uses art history (often painting history) as a significant input to his practice, and investigations of specific artists become content and media within his unfolding worlds. &nbsp;His interest and self-narrated alignment of his practice to Matisse, Mondrian, and Newman made Bois' three essays on these artists in&nbsp;<em>Painting as Model</em> a focus for Evans. &nbsp;Evans sifts his reading of Bois for content related to his own practice. &nbsp;His work does not illustrate Bois' thought, but rather Evans uses Bois' text become components of Evans' installations. &nbsp;These installations offer synaptic experience of art, the heroic, the functional, and camp.</p> Fri, 30 May 2014 01:31:38 +0000 Stephen Dean - Ameringer | McEnery | Yohe - June 5th - August 1st <p>AMERINGER | McENERY | YOHE is pleased to announce an exhibition of recent works by Stephen Dean. &nbsp;The exhibition will open 5 June and will remain on view through 1 August 2014. &nbsp;A public reception for the artist will be held on 5 June from 6:00 to 8:00 PM.</p> <p>Stephen Dean is known for his vibrant large-scale celebratory videos, sculptures, and works on paper, which explore the saturdated edge of the color spectrum.&nbsp;</p> <p>Inspired by Francis Picabia's late abstract paintings of circles,&nbsp;<em>Jugglers&nbsp;</em>is a new series of works on paper that engage the motion and instability of color. &nbsp;Made with dichroic glass disks inserted in Kraft paper or aluminum black foil, in configurations of 3s, these works blend geometric sequence adn anthropomorphic qualities, while striking an archaic simplicity.&nbsp;</p> <p>Drawn by its unlikely combination of saturation and transparency, Dean has been working with variously sized dichroic glass for several years. &nbsp;Originally designed by NASA to separate light waves for the visors of its spacesuits and satellite mirrors, dichroic glass was introduced to the art world in the 1970s by Larry Bell and was widely embraced by craft enthusiasts.&nbsp;</p> <p>In Dean's&nbsp;<em>Jugglers</em>, the dynamic contrast of stillness and motion holds our attention. &nbsp;As our brain is hardwired to see faces in almost anything, viewers here are presented with geometric masks. &nbsp;The sheets of paper - punctured with variataions of green, purple or orange glass, reflecting their complementary colors - directly radiate a hypnotic iridesence. &nbsp;Upon closer inspection of any individual disk, the changing hues take on a spatial and temporal dimension of their own, opening a cavity or a window that eventually reveals the wall through its tinted transparency. &nbsp;Color appears as we rarely see it, in its raw state.&nbsp;</p> <p>STEPHEN DEAN was born in 1968 in Paris, France. &nbsp;He has exhibited extensively both nationally and internationally. &nbsp;Exhibitions include &ldquo;Fútbol: The Beautiful Game,&rdquo; Los Angeles County Museum of Art, Los Angeles, CA; &ldquo;Junkies&rsquo; Promises,&rdquo; Paul Kasmin Gallery, New York, NY; &ldquo;Shock of the News,&rdquo; National Gallery of Art, Washington, DC; &ldquo;Les Maitres du Désordres,&rdquo; Musée du Quai Branly, Paris, France; &ldquo;Double Down: Two Visions of Las Vegas,&rdquo; San Francisco Museum of Modern Art; &ldquo;Mouth Open, Teeth Showing: Major Works from the True Collection," Henry Art Gallery, Seattle, WA; &ldquo;VOLTA,&rdquo; Miami Art Museum, Miami, FL; among others.</p> <p>Dean has also participated in numerous biennials, which include the Moscow Biennial, SITE Santa Fe Biennial, 51st Venice Biennale, the Istanbul Biennial, and the Whitney Biennial.</p> <p>Dean&rsquo;s work may be found in the permanent collections of the Solomon R. Guggenheim Museum, New York, NY; the Whitney Museum of Art, New York, NY; the National Gallery of Art, Washington, DC; Yale University Art Gallery, New Haven, CT; the Fond National d&rsquo;Art Contemporain, Paris, France; Fondacion la Caixa, Barcelona, Spain; and the Fundacion Jumex, Mexico City, Mexico.</p> <p>Stephen Dean lives and works in Long Island City, NY.</p> Fri, 06 Jun 2014 01:02:09 +0000 Liz Deschenes, Martin d’Orgeval, Gaylen Gerber, Karl-Heinz Hargesheimer, Sherrie Levine, Baron Adolphe Humbert de Molard, Alfred Stieglitz, James Welling - Andrea Rosen Gallery - June 28th - August 15th <p><em>Back Grounds: Impressions Photographiques (2),</em>&nbsp;a historically-rooted exhibition organized with Olivier Renaud-Clement, traces a profound lineage of conceptual, process-based photography. Ranging from early experimentations of the early 19th century in France to our contemporary era, this exhibition juxtaposes pioneering historical legacies with divergent contemporary trajectories, as means of building a contextual foundation for the experience and re-experience of such work. The resulting orchestration is an intimately curated dialogue between artists Liz Deschenes, Martin d&rsquo;Orgeval, Gaylen Gerber, Karl-Heinz Hargesheimer, Sherrie Levine, Baron Adolphe Humbert de Molard, Alfred Stieglitz, and James Welling, which traverses between realms of methodology and intention, and channels attention to the processes of looking.</p> Mon, 28 Jul 2014 22:29:03 +0000 Matthew Ronay - Andrea Rosen Gallery 2 - June 28th - August 22nd <p>Andrea Rosen Gallery is pleased to present &ldquo;Wavelength,&rdquo; a project-based exhibition of Matthew Ronay&rsquo;s meditative daily drawings. Realizing an integral pillar of the Gallery 2 mission, the exhibition sheds light on an unexplored aspect of the artist&rsquo;s practice, presenting a uniquely content driven and experimental exhibition.<br /> <br /> Finding ritual in repetition, Ronay&rsquo;s abstract and richly saturated gouaches navigate the human respiratory system. The selected works exhibited represent a greater project structured by daily engagements over the course of 100 sittings, putting color to paper, and drawing from what Ronay refers to as &ldquo;muscle memory,&rdquo; an unconscious tracing of forms, curves and weights that come from one&rsquo;s inner being. Based on shapes called wavelengths, the amorphous drawings, vibrating, linear and obtuse on purple scapes, mimic the chambers of the body and embody breathing exercises that rise and fall, flux and sustain.<br /> <br /> Often presenting immersive and enigmatic sculptural installations, which embody and explore bodily processes and portals, bringing a heightened awareness to the human experience, Ronay here isolates a single engagement, a self-circling process that extends beyond the realm of form and relates not only to his art, but to the artist himself. Discovering the personal within this rhythm, Ronay precipitates the device of repetition, a device that, as Josef Helfenstein describes, &ldquo;has to do with the importance of emotion.&rdquo; Tracing an obsessive continuity of imagery, Ronay&rsquo;s engagements illuminate a strong historic lineage of ritual and repetition that transcends art history, while retaining a resonant emotive quality grown from inner necessity.<br /> <br /> <em>Matthew Ronay was born in 1976 in Louisville, Kentucky. His work was recently subject of a solo exhibition at Kunstverein Lingen, Germany. Earlier solo institutional presentations include concurrent presentations at the University of Louisville, Kentucky and the Kentucky Museum of Art and Craft, Louisville, KT in 2013; Luettgenmeijer, Berlin; La Conservera, Murcia, Spain; Artpace, San Antonio, TX; and Parasol Unit Foundation for Contemporary Art, London. His work was included in the 2004 Whitney Biennale and in the 12th Lyon Biennial in 2013; as well as notable international exhibitions at the Schirn Kuntshalle, Frankfurt; LWL-Landesmuseum f&uuml;r Kunst und Kulturgeschichte, Germany; the Astrup Fearnley Museum for Modern Art, Oslo; and Serpentine Gallery, London. Ronay currently lives and works in New York. </em></p> Sat, 21 Jun 2014 23:38:15 +0000 Laura Aldridge, Lee Maida - Andrew Kreps Gallery @ 535 West 22nd - July 2nd - August 15th <p>The Andrew Kreps Gallery is pleased to present the two-person exhibition,&nbsp;<em>Earth Minutes</em>&nbsp;with artwork by Laura Aldridge and Lee Maida, in the 535 West 22nd Street gallery. Aldridge and Maida&rsquo;s three-dimensional works evidence an interest in color, the legacy of images and the malleable, textured life of material. The exhibition embraces these works as conduit-vessels, which transmit the labor of creative process (built, pressed, cut, stitched, thought, imagined, analyzed, read, touched). In the artists&rsquo; work, &lsquo;material&rsquo; can be understood in triple-form: as textile, as a substance from which an artwork is made, and as a subject of inquiry. The latter, compiled from a field of references, including the figure, feminism and the history of art.&nbsp;<em>Earth Minutes</em>&nbsp;is assembled like a Surrealist poem to accentuate the interplay between shapes, content and desire, as they resonate throughout the show.</p> <p>Laura Aldridge&rsquo;s freestanding and wall mounted sculptures are reminiscent of upright bodies with arms widespread. They bring to mind images of people carrying protest banners or perhaps wearing sandwich boards, large flags on a windless day or laundered clothes draped over a line. The banners are composed of vibrant fabrics in colors such as electric orange, saturated lavender and minty green. These wide sheaths are then suspended across a thin tube of wood or plastic acrylic, which hangs from a tall, slender metal pole. When light comes through the porous material it illuminates the &lsquo;moves&rsquo; that the artist has made &ndash; cutting out sections of cloth to create pockets of translucency or sewing together layers for increased opacity. This mode of assemblage is prevalent throughout Aldridge&rsquo;s work and extends to her use of images, which she prints directly onto the fabric. Using a combination of found images and her own photographs, Aldridge mutates fingers, stone pots, plants, pear trees and faces into hyper-real flotsam of home/studio life. The exhibition also features Aldridge&rsquo;s gleaming sculptures made of glass vessels, filled to the brim with dyed rice and stacked one over the other. Each glass tower is topped with an emergent lump of fluidly molded, bisque fired clay. The ceramics are oceanic and unadorned. Through an exploration of scale, form and posture, as they manifest in her materials, Aldridge elicits a unique, visceral proximity between the viewer and her work.</p> <p>Lee Maida&rsquo;s reliefs are equally fluent in the language of sculpture and painting, though they hardly seem bothered by either one. Laid out across the floor or pressed up against the wall, they consist of layers of ripped textiles (faux leather, rubbery vinyl and electric or moldy colored cotton blends come to mind), which are held in place by hardware store nails. The nails do two jobs at once, temporarily securing the layers of fabric, as well as plates of thin, undulating kiln-dried clay. The fabrics&rsquo; many colors are revealed through slits and rips that run the length of each piece while the ceramic forms have been molded and sliced, then pinned on top of or laid out across the fabric sheaths. These works are made from a composite of image possibilities: specific references to a particular painting&rsquo;s content, color and mark making; generalized image grabs from magazines and blogs; impulsive and personal pictures from the artists&rsquo; own archive. Mashed together, they tug on our psyche. They are screwball and familiar in equal measure. In tandem with the reliefs, the artist creates drawings, watercolors and sculptural assemblages that flesh out the different aspects of any given subject. For the show, Maida&rsquo;s suite of works, are drawn from her observations of Manet&rsquo;s&nbsp;<em>Le D&eacute;jeuner sur l'herbe</em>. Compressing aspects of the painting together with randomly generated images of lunch in the grass, she creates yet another humorous tableau.</p> <p>Laura Aldridge (b.1978, Frimley) lives and works in Glasgow. UK. Aldridge&rsquo;s most recent solo exhibitions include Openaries (in collaboration with Anna Mayer) commissioned by Glasgow International, Glasgow (2014); Things Held Inside//The New Sea, Kendall Koppe, Glasgow (2012); LAxLA, Milagro Allegro Commu&shy;nity Gardens, Los Angeles, (2012); Underside, backside, inside, even, CCA, Glasgow (2012); and at Studio Voltaire, London (2011). Her most recent group projects include Wearing Potentiality (curated by Attilia Fattori Franchini), The Basement at Paradise Row, London (2014); Out of Doors, Supplement, London; The Cat Show (curated by Rhonda Lieberman), White Columns, New York; Laura Aldridge &amp; Sara Barker &amp; Sue Tompkins, Shane Campbell Gallery / Lincoln Park Space, Chicago; Every Day, Gallery of Modern Art, Glas&shy;gow (all 2013). She is preparing for her largest institutional show to date at Tramway, Glasgow (2015). She was recipient of the Glasgow Life Craft Award in 2011.</p> <p>New York based artist Lee Maida was born in Brideport, Connecticut. She has had solo exhibitions at Ed. Varie, New York (2012) and ACP/Parker Jones, Los Angeles (2010). Maida has participated in numerous group shows at venues such as Joe Sheftel, New York; Andrew Edlin, New York; Commonwealth &amp; Council, Los Angeles; Silvershed, New York; SOMArts, San Fransciso; Taxter &amp; Spengeman, New York. Upcoming exhibitions include "Changing Table" at Kate Werble, cuated by Jody Graf and "Couplings" at Taylor Macklin, curated by Piper Marshall. Maida is currently an artist-in-residence at Abrons Art Center.</p> Thu, 17 Jul 2014 12:23:51 +0000 Hito Steyerl - Andrew Kreps Gallery @ 537 W. 22nd - July 2nd - August 15th <p>The Andrew Kreps Gallery is pleased to present&nbsp;<em>How Not To Be Seen: A Fucking Didactic Educational Installation</em>, an exhibition by Berlin-based artist Hito Steyerl. The exhibition features two videos as well as sculptural-photographic objects, and is her second with the gallery.<br /><br />Hito Steyerl is among the most adroit observers of our thoroughly globalized, digitized condition. Her practice describes with uncommon precision the fluidity and mutability of images&mdash;how they are produced, interpreted, translated, packaged, transported, and consumed by a multitude of users.<br /><br />Her video,&nbsp;<em>How Not to be Seen: A Fucking Didactic Educational .MOV File</em>, begins with a sweeping shot of photo calibration targets in the California desert utilized by the military and acts as an instructional film on how to avoid being seen in an age of digital surveillance. The proposals for this include becoming smaller than the pixels of high-resolution satellite surveillance (1 foot) or vanishing in virtual shopping malls using green-screen effects, living in a gated community, or even being a female over 50.<br /><br />In her own words: &ldquo;This condition opens up within and by means of an avalanche of digital images, which multiply and proliferate while real people disappear or are fixed, scanned and over-represented by an overbearing architecture of surveillance. How do people disappear in an age of total over-visibility? Which huge institutional and legal effort has to be made to keep things unspoken and unspeakable even if they are pretty obviously sitting right in front of everyone&rsquo;s eyes? Are people hidden by too many images? Do they go hide amongst other images? Do they become images?&rdquo;<br /><br />In another video entitled&nbsp;<em>Strike</em>&nbsp;(2010) she tests the idea to literal breaking point, smashing a blank LCD screen to create a jagged abstract pattern. The screen is destroyed &ldquo;on-screen&rdquo;, and the &ldquo;physical&rdquo; viewing apparatus becomes palpably present. The film powerfully reminds us that images also have a physical existence; the limitations of its production, replication and dispersal can fundamentally alter its impact.&nbsp;<br /><br />In addition, the artist explores a system of physical circulation between the viewer and her art works through a series of precise architectural inventions in the space, with a collaboration with the architects at Studio Markus Miessen.<br /><br />Hito Steyerl is a filmmaker, video artist and writer. Currently, the Van Abbe Museum in the Netherlands is hosting her first large-scale mid-career survey show, and in the last year she has had solo exhibitions at both the Art Institute Chicago and the ICA, London. Her work has been included in the 2013 Venice and Istanbul biennales, the 2010 Gwangju and Taipeh biennales, the 2008 Shanghai Biennale, Documenta12 in Kassel in 2007 and Manifesta 5 in 2004. She is a professor of Art and Multimedia at the University of Arts in Berlin. She will have a solo exhibit at Artists Space, New York in Spring 2015.</p> Tue, 01 Jul 2014 01:04:06 +0000 Shio Kusaka, Jonas Wood - Anton Kern Gallery - July 2nd - August 22nd <p style="text-align: justify;">Anton Kern Gallery is pleased to announce <em>Displayed </em>an exhibition curated by artist and White Columns&rsquo; director Matthew Higgs.<br /> &nbsp;<br /> <em>Displayed </em>is an exhibition of artworks that, in very different ways, explore the methodologies &ndash; both formal and psychological &ndash; of display and presentation. Borrowing from the languages of architecture, the museum, interior design, retail, and advertising among other disciplines, the works in <em>Displayed</em> variously consider our shifting relationships with &ndash; and attachments to &ndash; objects and the circumstances in which we encounter them: whether it be the gallery, the store, the street, the home, etc.<br /> &nbsp;<br /> Central to <em>Displayed</em> is the mercurial practice of artist Nancy Shaver, whose antique store &lsquo;Henry&rsquo; in Hudson, NY is an eccentric laboratory dedicated to nurturing a confusion between art and commerce, between the applied and fine arts, between good and bad taste. In <em>Displayed</em> Shaver juxtaposes her own sculptures &ndash; which often take the form of assisted ready-mades &ndash; with finds from estate sales and thrift stores establishing a fluid, albeit unstable taxonomy of objects. Elsewhere B. Wurtz creates low-fi armatures that privilege &ndash; even celebrate &ndash; the marginal and the maligned (a plastic shopping bag, a tube sock etc.). Josh Smith&rsquo;s &lsquo;Stage Painting&rsquo; is essentially a jerry-rigged monument to himself. On the gallery&rsquo;s exterior walls, exposed to the elements, Chris Martin displays his paintings, where the gallery itself becomes a kind of pedestal, and Martin&rsquo;s paintings a form of &lsquo;advertising&rsquo;: alerting the passerby to the nature of the business conducted within. (A scenario echoed in Moyra Davey&rsquo;s early 1990s photographs of New York newsstands, with their informal grids and stacks of magazines and newspapers.) Rachel Harrison&rsquo;s ad-hoc telephone booth-like structure functions as if a vitrine, or container for its enclosed sculptural event. The museum vitrine, a device that both frames and protects, is self-consciously present in Annette Kelm&rsquo;s documentary accounts of feminist ephemera. Carissa Rodriguez&rsquo;s Ikebana display and Marc Camille Chaimowicz&rsquo;s faux floral bouquet each, in quite distinct ways, seek to apply order to nature.<br /> &nbsp;<br /> In these and other works in <em>Displayed</em> the artist explicitly engages with, amplifies and disrupts the aesthetic &ndash; and psychological &ndash; possibilities inherent to the processes of selection, arrangement and presentation. (A process analogous to the role of the curator, the window dresser, or the art director, each of whom identifies, organizes and choreographs things in space). The artworks in <em>Displayed</em> self-reflexively explore these dynamics and tensions: where the distinction between <em>what</em> is presented and <em>how</em> it is presented is often moot.<br /> &nbsp;<br /> Created by a intergenerational group of artists the works in <em>Displayed</em>, like the artists themselves, are willfully idiosyncratic, each made with specific intent, yet seen together these artworks are, I would suggest, representatives of a broad yet pervasive aesthetic tendency, an under-acknowledged &lsquo;movement&rsquo; of sorts &ndash; &ldquo;displayism&rdquo; perhaps &ndash; that has shadowed the history of modernism (and what followed): its legacy evident in the practices of Marcel Broodthaers, Haim Steinbach, Gulillaume Bijl, John Armleder, Isa Genzken, Barbara Bloom, Louise Lawler, and Carol Bove among many others.</p> <div style="text-align: right;"><em>&ndash;Matthew Higgs, June 2014</em></div> <p style="text-align: justify;">*Matthew Monahan&rsquo;s work <em>Hephaestus </em>will continue to be on view in the back gallery through August 22.</p> Thu, 10 Jul 2014 19:41:20 +0000 Winslow Homer - Arkell Museum - June 6th - August 24th <p>This exhibition organized by the Syracuse University Art Gallereis highlights Homer&rsquo;s fascination with coastal and nautical scenes as an illustrator and special correspondent for the American pictorial press. The images include early illustrations for periodicals including<em> Frank Leslie&rsquo;s Illustrated Newspaper</em> and <em>Harper&rsquo;s Weekly </em>,as well as rare lithographs and large etchings made after Homer&rsquo;s paintings. The exhibition defines Homer&rsquo;s transition from an illustrator of the pre- and post war years through his travels abroad that mark his evolution to the pre-eminent American painter of the late 19th century.</p> <p>This exhibition, curated by Andrew Saluti, Assistant Director of the SUArt Galleries, features thirty-five original prints including wood engravings, lithographs, and etchings. The exhibition is drawn from the permanent collection of the Syracuse University Art Collection, and focuses on the illustrious career of Winslow Homer as a draftsman and printmaker.</p> Sun, 25 May 2014 21:09:47 +0000