ArtSlant - Current exhibits en-us 40 Hans-Peter Feldmann - 303 Gallery - September 15th - October 29th <div class="text paragraph-styling"> <p style="text-align: justify;">303 Gallery is proud to present our seventh solo exhibition of new work by Hans-Peter Feldmann.</p> <p style="text-align: justify;">Feldmann&rsquo;s obsessive collecting of popular images and ephemera has earned him a singular position in the history of conceptual art, with his early books and photographic experiments commonly considered a rosetta stone for the birth of postmodernism. In recent years, Feldmann&rsquo;s oeuvre has incorporated photography, sculpture, installation, drawing, and as highlighted in this exhibition, painting. Feldmann in fact began his art career as a painter, but quickly abandoned the medium, not satisfied with his own technical skill. Applying his extraordinary eye for images that are both categorically banal and cunningly suggestive, Feldmann&rsquo;s version of a painting show consists of found paintings that are manipulated and placed into unexpected dialogues. Whether nudging insipid aristocratic portraits toward transcendent farce or uncovering hidden secrets in the pabulum of vernacular landscape painting, Feldmann begins to dissect the force that images enact upon the subconscious, simultaneously subverting and sublimating their capacities.</p> <p style="text-align: justify;">In another perversion of the exalted stature of the artwork, the majority of paintings in this exhibition are to be suspended from the ceiling as opposed to hung on the walls. As in Lina Bo Bardi&rsquo;s design for the Museu de Arte de Sao Paolo (1968), this &lsquo;floating installation&rsquo; democratizes the experience of the artwork, putting the viewer on equal ground with the paintings. Viewed as a collection of objects rather than an arrangement of metaphysical tableaux, the paintings inhabit space as things-themselves, a stark contrast to the contrived, impenetrable status symbols often conferred onto works of art.</p> <p style="text-align: justify;">This notion is very much in keeping with Feldmann&rsquo;s general modus operandi, wherein his paintings are sourced from auctions before being altered or &ldquo;arranged.&rdquo; His &lsquo;Sea Paintings&rsquo; for example, consist simply of 15 seascape paintings (both old and new, large and small, and from a mix of amateurs and better known painters such as Patrick von Kalckreuth) arranged salon style on a single wall. Repetition becomes a disjunctive impulse, as the paintings in combination with each other begin to reveal a certain latency of shared experience, a tabula rasa through which we can appreciate not only the impulse to paint and reproduce nature, but the construction of nature itself.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Hans-Peter Feldmann has shown in prestigious international venues for over 50 years. Recent solo exhibitions include a comprehensive show focused on his photographic works at C/O Berlin (2016), as well as a traveling survey at Deichtorhallen in Hamburg (2013), the Serpentine Gallery in London and BAWAG Contemporary in Vienna (both 2012). Additional exhibitions were mounted at the Museo Reina Sofia in Madrid (2010), the Malm&ouml; Konstall (2010), the Kunsthalle D&uuml;sseldorf (2010), and the Arnolfini in Bristol (2007-2008). Feldmann is consistently included in important group exhibitions, including the Walker Art Center in Minneapolis (2016), Palais de Tokyo in Paris (2013), S&atilde;o Paulo Biennial (2012), the Bass Museum of Art in Miami (2012), the Venice Biennale (2009), and Muse&eacute; d&rsquo;Art Moderne de la Ville de Paris (2008). In 2010, Feldmann was awarded the Hugo Boss Prize resulting in a solo exhibition at New York&rsquo;s Guggenheim Museum. His work has been collected over the years my numerous public institutions including The Museum of Modern Art, New York, Tate Modern, London, Centre Pompidou, Paris, Hirschhorn Museum, Washington DC, and the Hammer Museum, Los Angeles. The artist lives and works in D&uuml;sseldorf.&nbsp;</p> </div> Sun, 24 Jul 2016 06:31:15 +0000 Susana Guerrero - 532 Gallery Thomas Jaeckel - September 15th - October 15th Mon, 05 Sep 2016 15:12:44 +0000 James Rosenquist, Hans Hoffman, Claes Oldenburg, Kenneth Noland - Acquavella Galleries - July 5th - September 30th Sat, 02 Jul 2016 18:19:21 +0000 Rasheed Araeen - AICON GALLERY - New York - September 20th - October 15th <div style="text-align: justify;"> <div align="justify"><strong>Aicon Gallery New York</strong>&nbsp;is proud to announce a major new exhibition by London-based, Pakistani-born artist&nbsp;<strong>Rasheed Araeen</strong>. A pioneering artist and voice for alternative and Non-Western interpretations of Minimalist and Conceptual art in the 1960s and 70s, Araeen's work in this exhibition spans his oeuvre from his beginnings in Pakistan and London to the present day. The exhibition is framed by two important sets of works on canvas: the first, from the artist's early days in Karachi, comprised of his initial forays into densely-packed abstract scenes which foretell his later groundbreaking introduction of the kinetic into Minimalist art, and the second, a series of new canvases exploring color-field, movement, and depth through checkered grids derived from traditional Islamic architectural and textile patterning. Taken together, these paintings frame Araeen's nearly sixty-year long, constantly evolving journey into abstract painting, from frenetic, highly energetic works evocative of movement and dance, to formalist studies of the illusionistic and kinetic potential of geometric abstraction. Alongside the works on canvas, the exhibition will also include eight iconic wall and floor sculptures spanning Araeen's entire career from the 1960s to the current day. The exhibition sets the stage for Araeen's upcoming Retrospective at the Van Abbemuseum, Netherlands in February, 2017 and his participations in the 57th Venice Biennale and Documenta 14 - Universe in Universe, staged in 2017 in Kassel and Athens.</div> <div>&nbsp;</div> <div align="justify">Born in Karachi in 1935, Rasheed Araeen is an internationally recognized artist, writer and civil engineer. As an artist, he began his career in 1953, while studying civil engineering at Karachi's NED Engineering College. While still in Karachi in 1959, he pioneered the concept of making sculpture by burning and transforming an object from one material (or form) to another. After establishing himself in Karachi, he left for London in 1964 (where he presently resides). In 1965, he pioneered minimalist sculpture, representing what is arguably the only Minimalism in Britain. After being active in several groups for liberation struggles, democracy and human rights, he began to write in 1975, and published his own art journals:&nbsp;<em>Black Phoenix</em>&nbsp;(1978),&nbsp;<em>Third Text</em>&nbsp;(1987) and&nbsp;<em>Third Text Asia</em>&nbsp;(2008). During this time, he also curated two significant exhibitions:&nbsp;<em>The Essential Black Art</em>&nbsp;(1987), and&nbsp;<em>The Other Story</em>&nbsp;(Hayward Gallery, 1989). Of late, his work has garnered increasing and much overdue institutional attention and critical reconsideration. Amid a series of recent and forthcoming international exhibitions at fairs, biennials and galleries, Araeen's work has been collected by the Metropolitan Museum of Art, New York, the Tate Modern, London, and the Art Institute of Chicago, amongst other museums and institutions.</div> </div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Please contact Aicon Gallery (New for more information.</div> Wed, 07 Sep 2016 10:58:04 +0000 Joan Semmel - Alexander Gray Associates - September 8th - October 15th <p style="text-align: justify;">Alexander Gray Associates presents Joan Semmel:&nbsp;<em>New Work</em>, an exhibition of recent paintings and drawings. In this body of work, Semmel explores a central motif in her practice: her own likeness as a site to consider the state of the aging female body as an active, potent vessel for life and art; or in her words, &ldquo;used as a&nbsp;powerful expression of the artist&rsquo;s political or emotional&nbsp;intentions.&rdquo;&nbsp;<br /><br />Since 1974, Semmel has focused on her body as subject, beginning with her &ldquo;Self-Images&rdquo; series, in which she radically shifted the perspective of her compositions to capture an enhanced sense of intimacy. In her new work, she combines conceptual and formal concerns echoing many of her previous investigations. In her recent paintings she applies saturated abstract colors in a variety of styles; sometimes in linear strokes, others in flat swathes of pigment. Her command of a broad painterly language and predilection for vibrant hues emerges from her early training in abstract expressionism.<br /><br />Rooted in her belief that &ldquo;a unified style is not preordained,&rdquo; Semmel pushes beyond traditional notions of scale, as well as color, as shown in&nbsp;<em>Crossed Limbs</em>&nbsp;(2016), in which she depicts her figure in naturalistic tones, and crops the composition to the point that the forms of her body become a landscape. In&nbsp;<em>Blue Embrace</em>&nbsp;(2016), her depiction of close-up images and active use of foreground space emphasize the freckles and wrinkles of her own flesh, suggesting skin as both evidence and metaphor for age, but also as a decorative patterned surface which firmly situates the object as painting. She continues to use the camera as a tool in her studio process. In&nbsp;<em>Flesh Ground</em>&nbsp;(2016), Semmel layers in vivid green and pink two separate images of herself, both adapted from photographs. The superimposed images visually interact, often appearing to envelop each other, creating what Semmel describes as &ldquo;dialogues within each painting [which] entices the viewer to engage.&rdquo; In her new works, the visual embrace of self communicates protection as well as an intimate comfort with her own body and identity. In&nbsp;<em>Step Out</em>(2016), Semmel doubles the image as a means of expanding both the background and foreground of her compositions so that her figures appear to simultaneously enter and draw back from the viewer&rsquo;s space.&nbsp;<br /><br />Over five decades, Semmel&rsquo;s evolving practice has been characterized by a deep conviction in the possibility of expanding painting traditions to manifest her &ldquo;passion as a feminist to present female images that undercut the prevailing models, and to use paint as an instrument of joy and revelation.&rdquo; In the works on view, she synthesizes her longstanding engagement with content and form to render aging and memory through the act of painting, insisting through her chosen subject that &ldquo;the flesh permits us to fully experience our common humanity.&rdquo;</p> Wed, 07 Sep 2016 10:51:59 +0000 Andrea Zittel - Andrea Rosen Gallery - September 9th - October 8th Wed, 07 Sep 2016 10:53:30 +0000 Elaine Cameron-Weir - Andrea Rosen Gallery 2 - September 9th - October 8th Thu, 18 Aug 2016 04:30:01 +0000 Goshka Macuga - Andrew Kreps Gallery @ 537 W. 22nd - September 15th - October 29th <p style="text-align: justify;">Andrew Kreps Gallery is pleased to announce&nbsp;<em>On the other side of&nbsp;tomorrow</em>, Goshka Macuga&rsquo;s fourth solo exhibition with the gallery.</p> <p style="text-align: justify;">Continuing a project initiated at the Fondazione Prada, Milan, Macuga&rsquo;s exhibition is the result of intensive research into questions surrounding the conclusion of mankind, reflecting on issues of time, collapse, renewal, and the categorization of knowledge. Central to this investigation are themes that force questions about what makes us human, particularly the rapidly developing fields of robotics and artificial intelligence.</p> <p style="text-align: justify;">New large-scale sculptures, part of an ongoing series titled&nbsp;<em>International Institute of International Co-operation</em>, imagine encounters between a wide-ranging group of thinkers. Taking the original Institute of the same name, which was founded in the 1920s as an intellectual advisory body to the United Nations as a starting point, the works span histories and numerous disciplines, they include artists, philosophers, mathematicians, and spiritualists &ndash; all of whom have influenced our understanding of the complexities of human nature. Each configuration in turn proposes a trans-historical conversation between those who have contributed to similar topics of thought across various moments in time.&nbsp;&nbsp;</p> <p style="text-align: justify;">A monumental table displaying a scroll made in collaboration with Patrick Tresset, titled&nbsp;<em>Before the Beginning and After the End (End of Systems),&nbsp;</em>occupies half of the gallery<em>.&nbsp;</em>Covered in biro sketches of formulas, geometric compositions and recognizable artworks, their provisional appearance belies their making; drawn by a robotic system developed by Tresset called &ldquo;Paul-n&rdquo;, the scroll represents Paul-n&rsquo;s attempt to illustrate the rich history of the implementation of systems in artistic practice. As the information moves in and out of legibility, one is lead to wonder whether the narrative has been elaborated on, or erased by Paul-n&rsquo;s own interpretation of the information, and subsequent interventions.</p> <p style="text-align: justify;">Goshka Macuga lives and works in London. Recent solo exhibitions include&nbsp;<em>Now this, is this the end... the end of the beginning or the beginning of the end?,&nbsp;</em>Schinkel Pavillon, Berlin, 2016,&nbsp;<em>Time as Fabric,&nbsp;</em>New Museum, New York, 2016,&nbsp;<em>To the Son of Man Who Ate the Scroll,&nbsp;</em>Fondazione Prada, Milan, 2016, and&nbsp;<em>Exhibit A,&nbsp;</em>Museum of Contemporary Art, Chicago, 2012. Macuga was nominated for the Turner Prize in 2008, and has also participated in the 8th Berlin Biennale, 2014,&nbsp;<em>dOCUMENTA (13),&nbsp;</em>Kassel, and Kabul, 2012,&nbsp;<em>Making Worlds,&nbsp;</em>The 53rd International Art Exhibition, Venice Biennale, 2009, and the 5th Berlin Biennale, 2008.</p> Sun, 11 Sep 2016 17:36:10 +0000 Jonas Wood - Anton Kern Gallery - September 8th - October 22nd <p style="text-align: justify;">For his fifth solo exhibition at Anton Kern Gallery, Jonas Wood presents a group of portraits that depict his family, close friends, and the artist himself. Through exuberant color, line, and scale, these paintings express the artist&rsquo;s interpretation of intimate moments from his life, and memorialize figures who are paramount to him.<br /> <br /> This body of work expands upon Wood&rsquo;s signature style: an uncanny blend of realism and abstraction that distorts the subject and adds a new layer of meaning. The objects and people that Wood surrounds himself with and are represented in his work give a rare insight into the many facets of the artist&rsquo;s character&mdash;much like the layered and constructed paintings themselves. As Cecilia Alemani writes, &ldquo;Wood&rsquo;s expanding gallery of athletes, portraits and still lives are animated by familiar yet universal elements, allowing his drawings and paintings to radiate at the intersection between personal mythology and collective identity.&rdquo;<br /> <br /> In Robin and I (Double Portrait), which depicts the artist and his late mother, the gaze of the subjects highlight their individual personalities while revealing deep familial affection. One of the monumental works, Diet 7Up Frimkess Pot, references a ceramic pot by husband-and-wife collaborators Michael and Magdalena Suarez Frimkess. Wood&rsquo;s depiction of the playfully adorned vessel draws a parallel between the Frimkess&rsquo; united working relationship, and Wood&rsquo;s artistic collaborations with his wife, the artist Shio Kusaka.<br /> <br /> Wood&rsquo;s practice encompasses multiple genres, most of which reference the family, piecing together and layering a collage of memories, places, people, heroes, and art objects. The technique Wood has perfected over the years begins with collecting source material, much of which consists of personal photographs and drawings. Starting with abstract blocks of colors on canvas, Wood continues to layer forms, and patterns of intricate detail, flattening both the figure and the spatial environment. The collapsing of planes creates an immediacy of the image.<br /> <br /> Portraits, a book designed by Karma and the artist, will be published in conjunction with the exhibition.</p> Sun, 11 Sep 2016 17:39:35 +0000 Alberto Baraya, Joscelyn Gardner, Sasha Huber & Petri Saarikko, Kapwani Kiwanga, Pia Rönicke, Beatriz Santiago Muñoz - Apexart - September 7th - October 22nd <p><em>Botany under Influence</em> delves into the politics of plants and explores systems of meaning that have been impressed upon nature, flora, and seeds throughout eras of imperialism, colonialism, and globalization. Unearthing forgotten and parallel histories, this exhibition reveals how the exportation of natural resources has affected worldwide power structures and cultural behavior. It pushes us to reconsider common perceptions and representations about nature &lsquo;having always been there,&rsquo; being &lsquo;neutral&rsquo; or &lsquo;passive,&rsquo; when instead plants embody the larger History and are integral actors in it.<br /> <br /> On view: September 8 - October 22, 2016<br /> <br /> Featuring work by:<br /> Alberto Baraya<br /> Joscelyn Gardner<br /> Sasha Huber &amp; Petri Saarikko<br /> Kapwani Kiwanga<br /> Pia R&ouml;nicke<br /> Beatriz Santiago Munoz<br /> <br /> more at: <a href="" rel="nofollow" target="_blank"></a></p> Mon, 29 Aug 2016 19:57:22 +0000 Alberto Baraya, Joscelyn Gardner, Sasha Huber, Petri Saarikko, Kapwani Kiwanga, Pia Rönicke, Beatriz Santiago Muñoz - Apexart - September 8th - October 22nd <p style="text-align: justify;">The exhibition "Botany under Influence" investigates the economic and diplomatic implications of nature&rsquo;s uses and exchange flows. In the colonial era, for instance, Western powers built their wealth looting human and natural resources; systematically appropriating or exporting workforce, plants and minerals. As an aftereffect, control over flora and seeds has become a symbol of national, political and food sovereignties. <br /> <br /> Exploitation <br /> In "Herbarium of Artificial Plants" (2001&ndash;ongoing), Alberto Baraya (Colombia) collects and classifies synthetic specimens (plastic, cloth, paper) found following the ancient routes of colonial scientific or naturalist expeditions (17-19th centuries). In this parodic re-enactment &ndash; from the Americas to Asia or Australia &ndash; he investigates the economic and political agendas lying behind the inventory and categorization of the colonies&rsquo; indigenous flora. Baraya denunciates how those missions&rsquo; botanical plundering opened the way to territorial domination and requisition. Presented as photographs, his fictitious flowers reflect the constructed nature of colonial taxonomy and its dangers. <br /> <br /> Likewise, Joscelyn Gardner (Barbados) plays on natural history illustrations&rsquo; aesthetics in "Creole Portraits III" (2009-2011). Grounded in Caribbean colonial archives (diaries, abolitionist publications, plantation records), she addresses gaps in the history of slavery such as the masters&rsquo; sexual abuses on women. Despite abortion being prohibited, female slaves secretly used natural abortifacients. If the &lsquo;miscarriage&rsquo; was discovered, they were whipped and had to wear iron collars. Gardner intertwines depictions of the tropical plants swallowed with torture tools and elaborate feminine African hairstyles. She pays homage to those anonymous slaves &lsquo;naming&rsquo; them in her prints&rsquo; titles. <br /> <br /> Remembrance <br /> Another tribute is "Flowers for Africa" (2011-ongoing), celebrating African countries&rsquo; liberation struggles and access to sovereignty. Reproducing floral decorations found in archival photographs of those independences&rsquo; formalisations, Kapwani Kiwanga (Canada) comments on postcolonial transitions. The recreated arrangements revive the solemn historical testimonies they once bore. Inspired by official ceremonies embodying the passing of power, she hints at the everlasting decorum and staging of diplomatic negotiations. As her fresh bouquets sculptures naturally wither during the show, Kiwanga also questions us on what we choose to commemorate and why. <br /> <br /> Pia R&ouml;nicke (Denmark) explores herbariums&rsquo; documentary potential to record disappearances and moderate loss. In the context of a war-torn Syria, the transfer for safeguarding of food crops from Aleppo&rsquo;s grains&rsquo; bank to Svalbard Global Seed Vault inspired R&ouml;nicke's multimedia installation "The Pages of Day and Night" (2015). She mixes photogravures of plant samples collected during the 1760s Danish Arabia Expedition to Egypt and Syria; Syrian species recently sent to Norway; video; press clippings and poetry books (Adonis and Tomas Transtr&ouml;mer). <br /> <br /> The artists in "Botany under Influence" share counter official histories around flora, drowning us in an abundance of &lsquo;strange flowers.&rsquo; Despite the plants&rsquo; beauty, our unease reminds us that what is at stake with nature&rsquo;s circulation routes goes beyond relations of power: it is about our origins, memories and survival, as embodied in the performance "The Good Seed" by Ninar Esber (Lebanon). The artist relentlessly sorts and assembles corn kernel by colour and quality, echoing the widespread global rejection of difference, where any &lsquo;alien&rsquo; element gets marginalised. <br /><br /> Unsolicited Proposal Program Winner 2016-17</p> <p style="text-align: justify;"><strong>Clelia Coussonnet</strong> is an independent cultural project manager, art journalist, and curator of contemporary art that has also curated an exhibition of previously unseen 19th century glass plate negatives from Uzbekistan at the UNESCO. She was then charged with launching a platform on visual arts from the Caribbean. Amongst other editorial projects, she regularly contributes to publications such as <em>Another Africa</em>, <em>Diptyk</em>, <em>IAM</em>, and <em>Ibraaz</em>.<br /> <br /> <strong>apexart</strong>'s exhibitions and public programs are supported in part by the Lambent Foundation Fund of Tides Foundation, The Andy Warhol Foundation for the Visual Arts, Bloomberg Philanthropies, Degenstein Foundation, The Greenwich Collection Ltd., Affirmation Arts Fund, the Milton and Sally Avery Arts Foundation, and with public funds from 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 M. Cuomo and the New York State Legislature.<br /> <br /> This exhibition is funded in part by Danish Arts Foundation, Frame Contemporary Art Finland, Arts Promotion Centre Finland, and supported by gb agency, galeria nara roesler, Galer&iacute;a Agustina Ferreyra, FRAC &Icirc;le-de-France, and FRAC Poitou-Charentes.</p> Wed, 03 Aug 2016 17:13:36 +0000 - Arkell Museum - June 12th - October 16th <p style="text-align: justify;">Featuring colorful paintings of the American circus by artists from the 1920s and 1930s alongside circus-themed marketing materials used by the Beech-Nut Packaging Company in the 1930s.</p> <p style="text-align: justify;">The Circus coming to town was a highly anticipated event in small towns across America during the early decades of the 20th century. Leading American artists painted the spectacle of the parade as the circus arrived and the excitement under the big top. Images of circus cars, animals and acrobats were also used to market food products during the 1930s. The Beech-Nut Packaging Company was one of the companies to use the excitement and nostalgia of the circus to sell its products. This culminated in the creation of Beech-Nut miniature circuses that traveled across the country by bus, and a circus themed pavilion at the New York World&rsquo;s Fair in 1939.</p> <p style="text-align: justify;">Exhibition sponsored by the Beech-Nut Nutrition Company</p> Wed, 01 Jun 2016 18:38:01 +0000 Ieva Epnere - Art in General - September 17th - November 5th <p style="text-align: justify;"><strong>Art in General</strong> is pleased to present <em>Sea of Living Memories</em>, a New Commission by artist Ieva Epnere. The project is Epnere&rsquo;s first institutional solo exhibition in the United States, and is presented in partnership with <a href="" target="_blank"><strong>kim? Contemporary Art Centre</strong></a>, Riga, Latvia as part of Art in General&rsquo;s International Collaborations program.</p> <p style="text-align: justify;">In Epnere&rsquo;s multidisciplinary practice&mdash;which includes film, photography, and sculpture&mdash;personal and private stories offer alternative pathways into larger meditations on identity, tradition, and ritual. Her new body of work, <em>Sea of Living Memories</em>, addresses the impermanent nature of identity in response to Latvia&rsquo;s evolving post-Soviet society. For Epnere, fiction is a valuable instrument for exploring one&rsquo;s sense of self, casting identification as the hybrid product of invented myth and historical narratives. The military heritage of the Baltic coast is of particular interest to her, as she investigates the struggles of former army personnel and local citizens&mdash;who came of age under a dominant Soviet regime&mdash;as they adapt to the new social realities of a contemporary system. In the exhibition&rsquo;s central video work, Epnere highlights the delicate boundaries between individual and collective memory, and between nostalgia for the past and hope for the future, which are uniquely palpable in this formerly restricted region. An additional selection of videos serves as an archive of the artist&rsquo;s research, presenting first-person narratives as told by residents of the Baltic coast.</p> <p style="text-align: justify;">In this exhibition, the installation elements serve as material reminders of the Soviet legacy, while internalized, psychological imprints of a restrictive past maintain a more ephemeral presence of equal weight and unwavering impact. Here, the geopolitical and personal collide as the familiarity of nationalist sentiments of &ldquo;belonging&rdquo; to the state come into contact with a globalized world. Epnere channels this dualism in the projection of desires back and forth in time, as the current generation lives double lives, navigating varying conditions and truths simultaneously, locally and elsewhere.</p> <p style="text-align: justify;"><strong>Ieva Epnere</strong> (b. 1977) lives and works in Riga, Latvia. Recent solo shows include <em>Pyramiden and other stories</em>, Zacheta Project Room, Warsaw, Poland (2015); <em>A No-Man&rsquo;s Land, An Everyman&rsquo;s Land</em>, kim? Contemporary Art Centre, Riga and Liepaja Museum, Liepaja, Latvia (2015); <em>Waiting Room</em>, Contretype, Brussels (2015); <em>Galerie des Hospices</em>, Canet-en-Roussillon, France (2014). Group exhibitions include <em>Contemporary Landscape</em>, Art Festival Cēsis 2016, Latvia (2016); <em>62nd International Short Film Festival</em>, Oberhausen, Germany (2016); <em>Identity: Behind the Curtain of Uncertainty</em>, National Art Museum of Ukraine (2016); <em>Something eerie</em>, Signal &ndash; Center for Contemporary Art, Malm&ouml;, Sweden (2016); <em>BRUXELLES &agrave; l&rsquo;infini</em>, Centre Wallonie-Bruxelles &agrave; Paris, France (2016); <em>SALON DER ANGST</em>, Kunsthalle Wien, Vienna, Austria (2013). Epnere is a Fall 2016 resident at the International Studio &amp; Curatorial Program in New York.</p> Sun, 11 Sep 2016 17:43:43 +0000 - Artists Space : Books & Talks - September 17th - December 17th Wed, 14 Sep 2016 20:07:03 +0000 - Asia Society Museum - March 8th - January 8th, 2017 <p style="text-align: justify;">On the occasion of the 60th anniversary of the founding of Asia Society, this exhibition celebrates the legacy of collecting and exhibiting Asian art that John D. Rockefeller 3rd and Blanchette Hooker Rockefeller set in motion for Asia Society. This exhibition plays with the notion of context by juxtaposing historical and contemporary works to trigger distinctive ways of thinking about artworks and the people that produce them, both past and present. The exhibition is a testament to the visionary commitment to Asia and its art begun by Mr. and Mrs. John D. Rockefeller 3rd, and that continues to the present at Asia Society.</p> Fri, 08 Jan 2016 08:04:53 +0000 Rosallee O. Isaly - Atlantic Gallery - September 6th - October 1st <p>&nbsp;</p> <p>Atlantic Gallery is pleased to present an exhibition of new work by Rosalee O. Isaly entitled "Odyssey". These works tell the story of James Joyce's Ulysses which was inspired by the epic poem of Homer. Also, the word odyssey has come to refer to an epic voyage or task such as that taken by Ulysses, Leopold Bloom, and perhaps my own.</p> <p>I would like to dedicate this exhibit to my father, John Louis O'Hanley, who inspired me to study the classics and read James Joyce to us at the dinner table.</p> <p>Rosalee O. Isaly lives in New York City. She earned a BA from Loyola University in Chicago and an MFA from The School of Visual Arts in New York City.</p> Wed, 27 Jul 2016 18:51:58 +0000