ArtSlant - Current exhibits en-us 40 Dominique Gonzalez-Foerster - 303 Gallery - April 17th, 2014 - May 31st, 2014 <p>303 Gallery is pleased to present "euqinimod &amp; costumes", our first exhibition of the work of Dominique Gonzalez-Foerster.</p> <p>For her first exhibition at 303 and in a New York gallery, Dominique Gonzalez-Foerster will present a new typology of works by revealing an unusual part of her personal archives from the mid-sixties until now, both intimate and social, both fetishistic and symptomatic: her personal clothing and textiles.</p> <p>While walking through the exhibition "Club to Catwalk: London Fashion in the 1980s" at the Victoria &amp; Albert Museum in London, Gonzalez-Foerster had an epiphany that the inflatable Michiko Koshino coat with a movable tail she used to wear belonged to the museum collection and that the exhibited Michiko Koshino coat actually belonged to her wardrobe. Through this revelation a conversation followed, not about fashion, trends, brands, lifestyles, but on clothes and textiles in a larger sense as possible autobiographical evidences and as the symptoms of Gonzalez-Foerster's artistic personality through different periods. Corresponding to different aspects of her practice and to an exhibition itself as far as textiles and clothing could be considered as ready-mades and narratives, Dominique's wardrobe constitutes a new field of exploration into the biographical self.</p> <p>Gonzalez-Foerster's work has a history of a strong and vivid relation to textiles and clothing considered not only as materials and surfaces but also as objects of meditation and reverie. Textiles have been present in different forms, like carpets combined with books in her various "tapis de lecture", and in different forms as well, such as in "Nos ann&eacute;es 70" under the form of an Indian fabric bringing back her mother's room in the seventies, or in "RWF", staging Rainer Werner Fassbinder's room with a brown velvet spread covering the filmmaker's bed. In 2012, Gonzalez-Foerster began work on the the ongoing opera project "M.2062", connecting her research with 19th century issues and the Gesamtskunstwerk, appearing in costume as characters including King Ludwig II, Scarlett O'Hara and Edgar Allan Poe. Clothes evolve from being canvases for moods, attitudes and psychological moments similar to rooms, spaces and dioramas; they turn into apparitions as characters become costumes. By twisted extension, this logic is taken to a new conclusion: Gonzalez-Foerster's clothes appear as costumes, narratives and fictions which mirror a fragmented and multiple inner self.</p> <p>A subjective description of a selection of works from this exhibition will be featured in the upcoming booklet "euqinimod and costumes" composed by Tristan Bera.</p> <p>Dominique Gonzalez-Foerster lives and works in Paris and Rio de Janeiro. In 2015, her career will be the subject of a major survey exhibition at Museum of Modern Art, Rio de Janeiro and Centre Pompidou, Paris. In May of this year, <em>1984-1999 The Decade</em> will open at the Centre Pompidou-Metz in France, where Gonzalez-Foerster has designed all scenography and the exhibition scape. Recent solo exhibitions of her work include <em>Splendid Hotel,</em> Palacio de Cristal in collaboration with the Reina Sofia Museum in Madrid; M.2062, Stedelijik Museum, Amsterdam; <em>Belle Comme le jour,</em> Art Unlimited, Basel; T.1912, Guggenheim Museum, New York; <em>chronotopes &amp; dioramas,</em> Dia Art Foundation, New York; <em>TH.2058,</em> Turbine Hall, Tate Modern, London; <em>Nocturama,</em> Museo de Arte Contempor&aacute;neo de Castilla y L&eacute;on; <em>Expodrome,</em> Mus&eacute;e d'art moderne de la Ville de Paris/ARC; <em>Multiverse,</em> Kunsthalle Z&uuml;rich; and <em>Dominique Gonzalez-Foerster - Prix Marcel Duchamp,</em> Centre Pompidou, Paris. She also participated in <em>Making Worlds,</em> the 53rd Venice Biennale; Skulptur Projekte M&uuml;nster; and Documenta 11, Kassel (2002). Gonzalez-Foerster is the recipient of the 2002 Marcel Duchamp Award.</p> Tue, 06 May 2014 13:54:35 +0000 - ABC NO RIO - April 9th, 2014 - May 8th, 2014 <p>ABC No Rio is pleased to present RESx, organized by members of the artists&rsquo; group<br />Colab. Complementing an exhibition at James Fuentes Gallery of original work from the Real Estate<br />Show of 1980, artists involved in that seminal exhibition are also organizing events and activities at<br />Cuchifritos in the Essex Street Market as well as this exhibition at ABC No Rio. RESx will be feature<br />new work on the themes of real estate, land-use, and the right to housing.<br />The original Real Estate Show opened on New Year&rsquo;s Eve, 1979 at 123 Delancey, now part of the<br />proposed massive Essex Crossing development. The Real Estate Show led the creation of ABC No Rio.</p> Fri, 21 Mar 2014 04:38:07 +0000 Jean-Michel Basquiat - Acquavella Galleries - May 1st, 2014 - June 13th, 2014 <p>Acquavella Galleries is pleased to present Jean-Michel Basquiat Drawing: Work from the Schorr Family Collection, an exhibition of works by Jean-Michel Basquiat curated by Fred Hoffman from May 1 to June 13, 2014. The show will feature 22 works on paper and two paintings from the collection of Herbert and Lenore Schorr, who were the artist&rsquo;s devoted collectors, supporters, and friends. "We have had the pleasure of knowing Herb and Lenore Schorr for over thirty years, and are delighted to present the first exhibition on their important collection of works by Jean-Michel Basquiat,&rdquo; said William Acquavella. &ldquo;Focusing on the significance of drawing in Basquiat's practice, we are pleased to show these remarkable works on paper, many of which are being exhibited to the public for the first time."<br /> <br /> Herbert and Lenore Schorr began collecting the work of Jean-Michel Basquiat in 1981, before his first New York exhibition. &ldquo;During the artist&rsquo;s seminal years 1982-83 the Schorrs acquired several of his most important paintings, but in contrast to virtually every other early collector, the Schorrs also pursued and acquired a great number of works on paper both directly from the artist and from his early dealers,&rdquo; explained curator Fred Hoffman. &ldquo;The Schorrs astutely understood that working on paper was equally central to his practice as painting on canvas. Their collection demonstrates both the focus and ambition that the artist invested in the medium of drawing.&rdquo;<br /> <br /> Basquiat showed an affinity for drawing at an early age and this practice was a central component of his artistic output. Between 1980-88, the artist produced approximately 1000 works on paper, which articulate complex narratives, revealing flawed power structures and hinting at fundamental failings in social discourse.<br /> <br /> The portrait of Herbert and Lenore Schorr that will be included in the exhibition highlights the impact their support had on the artist&rsquo;s short but prolific career. &ldquo;We had so much confidence in him from the beginning and couldn&rsquo;t understand why other people couldn&rsquo;t see it,&rdquo; explained Lenore Schorr. &ldquo;A wonderful exhibition that he did at Fun Gallery in 1983 didn&rsquo;t receive a single review and we were the only ones to buy a painting.&rdquo; That painting, Leonardo da Vinci&rsquo;s Greatest Hits is now considered a seminal example of the artist&rsquo;s work and will be one of two paintings on view. <br /> <br /> Curator Fred Hoffman, Ph.D. met Jean-Michel Basquiat in 1982 and worked closely with him during the artist&rsquo;s residency in Venice, California from 1982-84. With Hoffman's help, Basquiat produced five editions of prints, published in 1983 by New City Editions. Hoffman also assisted in the production of the artist&rsquo;s 1984 silkscreen paintings and co-curated Basquiat&rsquo;s retrospective at the Brooklyn Museum in 2005. He is the Ahmanson Curatorial Fellow at the Museum of Contemporary Art, Los Angeles. <br /> <br /> Jean-Michel Basquiat (b.1960 d.1988) has been the subject of numerous major museum exhibitions throughout the United States and Europe. In 2005, a retrospective exhibition, Basquiat, opened at the Brooklyn Museum of Art, and subsequently traveled to the Museum of Contemporary Art, Los Angeles and the Museum of Fine Arts, Houston. A 2010 retrospective, organized by the Fondation Beyeler in collaboration with the Mus&eacute;e d&rsquo;Art Moderne de la Ville de Paris, marked what would have been Basquiat&rsquo;s 50th birthday. His work is included in private and public collections throughout the world, including The Broad Art Foundation, Santa Monica; Centre Georges Pompidou, Paris; Museu d' art Contemporani de Barcelona, Spain; and The Museum of Modern Art, New York.<br /> <br /> A fully illustrated catalogue with an essay by Fred Hoffman will accompany the exhibition.</p> Tue, 15 Apr 2014 05:57:20 +0000 Adeela Suleman - Aicon Gallery - New York - April 17th, 2014 - June 6th, 2014 <p style="text-align: justify;">Aicon Gallery is pleased to present recent works by Adeela Suleman in her second New York solo exhibition, Towards the End. The exhibition hinges around a new group of monumental hand-beaten steel reliefs, rendered in the filigree tradition of Islamic art, depicting beheaded figures engaged in violent, but also absurd, scenes of armed conflict.<br /> <br /> From the Paleolithic into Neolithic eras, prehistoric humans shaped stone tools amid a progression of cultural and technological developments. Neolithic domestication led to permanent settlements, refining crafts such as pottery and weaving, to ultimately give rise to Bronze Age metallurgy. The emergence of metal tools advanced the technology of early civilization, including the first modern tools of war. In history, warriors are often portrayed with favored armaments &ndash; swords, lances, bows, shields, guns &ndash; adorning suits of protective armor. Arms not only provide visual evidence of a soldier&rsquo;s capacity and stature, but also testify to his established role in the social hierarchy.<br /> <br /> In the Mubarizun &ndash; No More series, Suleman portrays soldiers in binary identities, simultaneously as decorated heros and headless entities of war. Depictions of senseless killing lead to scenes of violent chaos and anarchy, rather than exploring the alternatives of altruistic reason and harmony. Decapitated soldiers march purposefully to battle, yet are unable to comprehend why. Historically, the term &ldquo;mubarizun&rdquo; (translated: duelers, or champions) referred to an elite unit of the Rashidun army comprised of top warriors &ndash; the master swordsmen, lancers and archers of their time. The Mubarizun were a recognized branch of the Muslim army, its sole purpose to slay as many opposing commanders, often in a duel preceeding the battle, for the purpose of demoralizing the enemy. In Mubarizun &ndash; No More Series 1, Suleman portrays two soldiers on a bed of flowers after beheading each other, with petal-like blood drops spraying from their severed necks as a crow sits unaffected upon one of the figures. The sculptures address, among other things, the archetypal history of human violence, paired with the inherent ambivalence of modern warfare, where killing on both small and large scales has become increasingly depersonalized and ambiguous in terms of accountability.<br /> <br /> Suleman&rsquo;s metal sword series, Karr Wa Farr, also incorporates the iconography of early Islamic warfare. Literally translated, &ldquo;karr wa farr&rdquo; means attack and flee, which was an early Arabian cavalry tactic. To weaken the enemies, infantry would use systematic advances and abandonments with spears and swords interspersed with arrow volleys. The strategic moment was reserved for a counterattack, supported by a flanked cavalry charge. In this sculptural series, Suleman depicts a small snake impaled upon a sword, whose blade is a wilted leaf, mounted upon a pedestal rendered in an arabesque pattern. Art, in this case, bears witness to the futility and ultimate impotence of violence as a means of social or cultural transformation, from past to present and into the future.<br /> <br /> Signature to her style, many of Suleman&rsquo;s sculptures are rendered in relief. Fashioned from hammered stainless steel, the finished works rise subtly from walls and platforms with intricate and shimmering detail. Despite their polish and refinement, the reliefs retain the humanistic aura of their hand-crafted creation and are rife with questions and suggestions beyond their figurative content. Suleman transforms basic subjects &ndash; often birds, plants, vases, weaponry, drapes and crowns &ndash; into a more complex iconography, revealing a deeper engagement with political, gender and societal concerns. Initially drawn to functional metallic objects such as colanders, drains, nuts and bolts, Suleman continues to create sculptures that both seek to beautify and dissect these prevalent themes. <br /> <br /> The recurring motifs in Suleman&rsquo;s work &ndash; organic subjects such as birds and flowers &ndash; form detailed, repetitive patterns, which are replete with symbolic meaning. Abstracted notions of loss and disappearance quietly resonate through her sculptures. In lieu of tombs, memorials and funerals, the works confront our earthly fears, but remain suggestive of transcendental relief. They may be seen simultaneously as symbolic representations of the coexistence between love of nature and the chaos of man, in addition to the fragmented documentaries referencing recent violent and catastrophic occurrences within the artist&rsquo;s sociopolitical landscape.</p> <p style="text-align: justify;">Adeela Suleman studied Sculpture at the Indus Valley School of Art and completed a Master&rsquo;s degree in International Relations from the University of Karachi. She is currently the Coordinator of Vasl Artists&rsquo; Collective in Karachi, in addition to being the Coordinator of the Fine Art Department at Indus Valley School of Art and Architecture. Suleman has participated extensively with group and solo exhibitions worldwide, including Phantoms of Asia at the Asian Art Museum, San Francisco, the 2013 Asian Art Biennial at the National Taiwan Museum of Fine Art, Hanging Fire &ndash; Contemporary Art from Pakistan at The Asia Society, New York; Gallery Rohtas 2, Lahore; Canvas Gallery, Karachi; Aicon Gallery, New York; and, the International Exhibition of Contemporary Art, Bologna, Italy (2008). Reviews and features of work appear in Artforum and the New York Times, among other publications. The artist lives and works in Karachi, Pakistan.</p> Wed, 16 Apr 2014 07:22:34 +0000 Robert Kinmont - Alexander and Bonin - April 12th, 2014 - May 24th, 2014 <p>Robert Kinmont was born in Los Angeles in 1937 and currently lives in Northern California. Between 1968 and 1981, he exhibited in galleries and institutions such as the San Francisco Museum of Art; the de Young Museum, San Francisco; the Smithsonian Institution, Washington D.C. and the 1968 &ldquo;Sculpture Annual&rdquo; at the Whitney Museum, New York. Between 1981 and 2004, Kinmont studied Buddhism and worked as a carpenter and returned to his artistic practice in 2005. One-person exhibitions of his sculpture and photography took place at Alexander and Bonin in 2009 and 2011, and in 2010 his work was included in several group exhibitions such as &ldquo;The Traveling Show&rdquo; at Fundaci&oacute;n/Colecci&oacute;n Jumex, Mexico City, and &ldquo;The Moon is An Arrant Thief&rdquo; at the David Roberts Foundation, London. In 2011, Kinmont&rsquo;s work was included in &ldquo;State of Mind,&rdquo; a survey of new California art circa 1970 co-organized by the University of California, Berkeley Art Museum and the Orange County Museum of Art. His work is on view in &ldquo;Ends of the Earth: Art of the Land to 1974,&rdquo; at the Geffen Contemporary at the Museum of Contemporary Art, Los Angeles until September 3rd. The exhibition will subsequently travel to Haus der Kunst, Munich.</p> Tue, 08 Apr 2014 04:07:08 +0000 Heidi Bucher - Alexander Gray Associates - April 9th, 2014 - May 18th, 2014 <p>Alexander Gray Associates presents its inaugural exhibition of Heidi Bucher, featuring emblematic works from the 1980s and 1990s. Bucher (b.1926, Winterthur, Switzerland &ndash; d.1993, Brunnen, Switzerland) maintained an important, but overlooked practice dedicated to the exploration of materiality, space, and the body. The exhibition focuses on Bucher&rsquo;s &ldquo;skinnings,&rdquo; the works for which the artist is most well-known. Studies of personal, cultural, and collective memory and experience, the &ldquo;skinnings&rdquo; examine architectural elements of historically and personally significant buildings. Having studied fashion, Bucher began her career creating body wrappings, body shells, and latex casts of clothing, exploring clothes as second skins that hid women both physically and psychologically. Bucher&rsquo;s move towards architectural imprints, which began after returning to Switzerland from Los Angeles in the early 1970s, was an extension of her earlier clothes-based works and her investigation of the body in space. <br /> <br /> Heidi Bucher created pieces like <em>Obermühle</em> (c.1980s) by applying fabric or caoutchouc to the interior surfaces of rooms, including doors, floor segments, windows, and entire walls. Layering latex on top, she removed the fabric and latex as one, often peeling off paneling, plaster, and pigments in the process. Her &ldquo;skinnings" embody both the materials used and the architectural features of the space. In some cases, Bucher applied a top coat of iridescent mother-of-pearl paint, giving the works a patina-like finish as in <em>Untitled (floor fragment)</em> (n.d.). Through a highly physical process of artistic creation, Bucher engaged with notions of personal and collective memory. As she stated, &ldquo;We paste the rooms and then listen. We observe the surface and coat it. We wrap and unwrap. Life, the past, becomes entangled in the cloth and remains fixed. Slowly we loosen the layers of rubber, the skin, and drag yesterday into today.&rdquo; Bucher&rsquo;s works enabled her to appropriate historically and personally charged spaces and make them her own. <em>Villa Bleuler</em> (c.1991), a tile imprint of the nineteenth century estate, is indicative of the domestic environments and spaces on the verge of decay or destruction that primarily concerned Bucher; she worked on the historic villa right before it was renovated to house the Swiss Institute for Art Research. The resulting objects carry great emotional significance, containing a personal story of the artist&rsquo;s past.<br /> <br /> Heidi Bucher&rsquo;s work has been exhibited extensively throughout Europe and North America. She is currently the subject of a solo exhibition at the Swiss Institute in New York. In 2004, Bucher was the subject of a retrospective exhibition at the Migros Museum f&uuml;r Gegenwartskunst, Zurich, Switzerland. Her work was exhibited in the 1972 exhibition <em>Bodyshells</em> at the Los Angeles County Museum of Art, CA; as well as the 1971 exhibition <em>Soft Sculptures to Wear</em> at the Museum of Arts and Design, New York. Recent exhibitions featuring her work include the Centre Culturel Suisse, Paris, France (2013); Mus&eacute;e Rath, Gen&egrave;ve, Switzerland (2013); Kunstmuseum Luzern, Lucerne, Switzerland (2012); and the Museum Bellerive, Zurich (2008). Her work is in the permanent collection of the Migros Museum f&uuml;r Gegenwartskunst, Zurich.</p> Mon, 31 Mar 2014 22:43:53 +0000 Michael Manning - American Contemporary - April 24th, 2014 - June 1st, 2014 <p>A large cloud of vapor slowly seeps from the lips of young blonde woman filling the back room of an<br />upscale Los Angeles brunch hot spot with the distinct smell of pi&ntilde;a colada. The screen on her iPhone is cracked but flickers with notifications. She picks up her phone and types, &ldquo;what is even the deal with Ukraine? am I rite?&rdquo; tweet sent.<br />#TOTALCOLLAPSE<br />NOTES :<br />SRIRACHA MAYO OVER EVERYTHING<br />Starbucks in the Forbidden City<br />Angry Birds Tapestries hanging next to Turkish rugs<br />Dreamcatcher designed with the Kansas City Chiefs logo hand sewn by Native American<br />Ming Tsai&rsquo;s TV show East meets West<br />Teriyaki pork belly gordita sliders<br />All fusion restaurants really<br />Corporate social responsibility bro<br />FEEDBACK LOOOOOPPPPPPSSSSSSS<br />I buy a pair of jeans online, I get confirmation email about those jeans gmail generates ad about jeans<br />like those jeans I am forever fed more information about a specific sub section of jeans CAN I EVER<br />ESCAPE THESE JEANS?????<br />Did you buy those jeans online?<br />Stock image of all ethnicities putting one hand on top of each other&rsquo;s<br />Pitbull - Timber ft. Ke$ha<br />#FARMSTEP<br />Plastic iced coffee cup filled with milky brown liquid as the universal<br />Subculture doesn&rsquo;t exist<br />SALAD PIZZA<br />Confuse print and paint<br />APPLE WHITE<br />Commodification of crypto-currency (doge coins etc. pretty much just beanie babies)<br />The studio visit that made you realize aura is still relevant<br />Freeway overpass graffiti of a youtube link that is a video of the tagger painting the link<br />For his exhibition at American Contemporary Michael Manning will present new paintings and wall<br />graphics, along side a series of videos. His paintings are produced on a computer, printed and hand<br />finished. He lives and works in Los Angeles. Recent exhibitions include; Material Images. Johannes Vogt Gallery, NY, Bright &amp; Contemporary, Smart Objects, LA, and a solo presentation at NADA Miami<br />2013 with Bill Brady KC, FL.</p> Mon, 05 May 2014 00:44:56 +0000 Frederic Church, Mark Dion, Louis Rémy Mignot, Albert Bierstadt, Carleton Watkins, Thomas Moran, Eduard Ender - Americas Society Gallery - April 29th, 2014 - July 26th, 2014 <p>Americas Society will present <em>Unity of Nature: Alexander von Humboldt and the Americas</em>, the first exhibition in New York to focus on the intrepid Prussian explorer, scientist, diplomat, and author. Alexander von Humboldt (1769&ndash;1859) was reputedly the second most well-known person in France in the early nineteenth century, his popularity eclipsed only by Napoleon&rsquo;s. The eminent Harvard paleontologist Stephen Jay Gould said he was "probably the world's most famous and influential intellectual [of the early nineteenth century]," yet he is virtually unknown in the United States today.</p> <p>From 1799 to 1804, Humboldt traversed about 6,000 miles, journeying through the Spanish American colonies (modern-day Venezuela, Colombia, Ecuador, Peru, Mexico, and Cuba) to observe nature in the "torrid zone." Over the three decades after his return, Humboldt published some thirty volumes relating to his journey, the most renowned of which is the beautifully illustrated <em>Vues des Cordill&egrave;res, et Monumens des Peuples Indig&egrave;nes de l'Am&eacute;rique</em> (1810). <em>Unity of Nature</em> will serve as a re-introduction of Humboldt to the American public. Included in the exhibition will be books, sculpture, scientific instruments, and paintings, especially landscapes by the artists who followed in his footsteps to South and Central America. Oftentimes the first European to venture into the interior areas of South America, Humboldt and his travel publications inspired many American artists, including Frederic Edwin Church (1826&ndash;1900) and Louis R&eacute;my Mignot (1831&ndash;1870) who were among the first to retrace his voyage. Their goals were not only to follow Humboldt's journey, but also to adhere to his scientific-aesthetic principles, especially in their portrayals of nature, a major theme of the exhibition. During the latter part of the nineteenth century, Humboldt&rsquo;s writings helped fuel a belief in manifest destiny influencing painters such as Albert Bierstadt (1830&ndash;1902) and Thomas Moran (1837&ndash;1926) as well as the photographer Carleton Watkins (1829&ndash;1916).</p> <p>Sections of the exhibition are devoted to Humboldt's impact on Latin American independence and U.S. expansionism encompassing material relating to the explorer's 1804 visit to the United States and meeting with Thomas Jefferson, his final years, and death in 1859, a year in which Charles Darwin published <em>On the</em> <em>Origin of Species</em> and Frederic Church exhibited his iconic painting "Heart of the Andes." New York-based artist Mark Dion, who often addresses ecological issues in his work, will offer a contemporary response to Humboldt&rsquo;s classification of nature by exploring the tradition of scientific field illustration. On exhibit will be a drawing cabinet he created during an artists&rsquo; residency in Colombia, where he collected specimens daily from the local rain forest and then worked with a team of colleagues to record his findings through a series of watercolors and drawings.</p> Wed, 30 Apr 2014 09:31:09 +0000 Wolf Kahn - Ameringer | McEnery | Yohe - April 24th, 2014 - May 31st, 2014 <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <p><span style="font-family: georgia, palatino;">With paintings dating from 1960 to 2014, this exhibition of works illustrates the complex evolution of Wolf Kahn&rsquo;s prolific career.</span></p> <p><span style="font-family: georgia, palatino;">Kahn&rsquo;s early works are nearly monochromatic, concentrating on subtle varying tonalities. Though nature was his inspiration, the subject matter remains allusive. However, by the late 1960s, Kahn began his transition to a bolder palette. Amidst this shift, the subject becomes increasingly explicit while abstractly depicted.</span></p> <p><span style="font-family: georgia, palatino;">The landscape, both real and fantastic, becomes a conduit for imagination and invention and acts as a vehicle for Kahn&rsquo;s painterly gesture and bold exploration of color.</span></p> <p><span style="font-family: georgia, palatino;">Like the late works of Matisse, Avery, and Hofmann, Kahn&rsquo;s paintings from the last decade are a great flowering that celebrate joy, beauty, color, and life.&nbsp;</span></p> </div> </div> </div> Fri, 25 Apr 2014 01:56:36 +0000 Sandra Mendelsohn Rubin - Ameringer | McEnery | Yohe - April 24th, 2014 - May 31st, 2014 <p><span style="font-family: georgia, palatino;">In this body of work, Sandra Mendelsohn Rubin creates small, but meticulously detailed paintings of the rural northern California landscape, often from an aerial perspective.</span></p> <p><span style="font-family: georgia, palatino;">While in the past she worked solely from life, Rubin utilizes digital photography in her most recent paintings as a supplement to her usual method. Instead of compromising her work, photography as a tool enables Rubin to portray the human presence, made evident through the use of aerial perspectives, in the framework of the natural environment. The use of photography furthers the artist&rsquo;s desire to further bond her works to the physical world.</span></p> <p><span style="font-family: georgia, palatino;">On each canvas, there are several layers of undiluted oil paint applied straight form the tube.&nbsp; The detailed application of paint is enhanced by the somewhat diminutive scale of these works, which transforms the impression of far-off space into an intimate experience. These works are inherently small in order to convey intensity of detail in a way that allows the viewer to physically feel a connection with the surface being depicted.&nbsp;</span></p> <p><span style="font-family: georgia, palatino;">Although the rural northern California landscape remains her inspiration, water has now become the primary focus. It is the element that ties together this particular body of works and is present in some form, whether manmade or natural, on each canvas with the exception of one. The subject of water as a focal point is a reflection on its implicit presence in everyday life.</span></p> Fri, 25 Apr 2014 01:59:23 +0000 Nancy Brooks Brody - Andrew Kreps Gallery @ 535 West 22nd - April 5th, 2014 - May 10th, 2014 <div style="text-align: justify;"><span style="font-size: small;">Andrew Kreps Gallery is pleased to present a solo exhibition by New York artist, Nancy Brooks Brody in the 535 West 22nd Street gallery. The exhibition,&nbsp;<em>SUITES IN SPACE: Merce Drawings and Color Forms</em>, features two new series of works. Merce Drawings are linear compositions executed on top of still&nbsp;photographic images of Cunningham performances, which foreground shapes made by the body as it traveled through space and time. To create&nbsp;<em>Merce Drawings</em>, Brody prints low-res images culled from the Internet onto newsprint. These photographs of dancers&rsquo; bodies capture a tilted head or a shift in weight to create fixed points that guide the visual plane. While Brody makes several prints of the same image, each unique work underscores the live act of drawing - the unpredictability and the inscription of movement onto time. The painting-objects,&nbsp;<em>Color Forms</em>, are further meditations on the&nbsp;impression a body leaves behind. For these works, Brody embeds enamel-painted shapes made of lead into shallow clefts carved directly into the wall. An extension of her life drawing practice, they are characteristic of Brody&rsquo;s investment in transmissions, transitions and form.<br /><br />Brody creates painting, drawing and sculptural works in which the tension between precision and chance give way to a sense wonder. In this exhibition, she continues her consideration of abstract forms inspired by traces of corporeality.&nbsp;<br /><br />Nancy Brooks Brody was born in New York, where she lives and works. She has exhibited two solo shows at Virgil de Voldere Gallery, New York. Selected groups exhibitions include Brooklyn Museum, New York; La Mama La Galleria, New York; FRAC Haute-Normandie, France; White Columns, New York; Slingshot Project, Brussels; Artists Space, New York; Vera List Center for Arts and Politics, New York and The Drawing Center, New York. Nancy Brooks Brody has been a member of the queer women&rsquo;s collective, fierce pussy, since 1991.</span></div> <p><span style="font-size: xx-small;">&nbsp;</span></p> Mon, 14 Apr 2014 08:39:57 +0000 Marc Camille Chaimowicz - Andrew Kreps Gallery @ 537 W. 22nd - April 5th, 2014 - May 10th, 2014 <p>The Andrew Kreps Gallery is pleased to present <em>Gustave 2014&hellip;</em> the gallery&rsquo;s first exhibition with London and Dijon-based artist Marc Camille Chaimowicz. Known for his pioneering work of the 1970&rsquo;s, his work has continued to blur the distinctions between performance and installation, as well as art and life. <br /><br />Over the past four decades, from the performances and installations in the 70&rsquo;s through his designs for furniture, ceramics and patterns for mass-produced consumer items, Marc Camille Chaimowicz has developed an unmistakable formal idiom and signature style. His belief in beauty, lightness and elegance is expressed in his preference for graceful curves, delicate forms, and a characteristic palette of pastel shades. This nuanced approach reflects the ambiguity of the artwork, which is always situated somehow &ldquo;in-between&rdquo;. Chaimowicz takes pleasure in breaking down the hierarchy of applied and fine art. His pattern designs appear rooted in the painterly vocabulary of modernism, especially that of French painting and literature, to whose legacy he feels attached. <br /><br />For his show entitled Gustave <em>2014&hellip;</em> Chaimowicz has built a cruciform wall in the middle of the gallery creating intimate interior spaces in which carpet, wallpaper, furniture, painting and prints are installed to create layered and wholly unique tableaus reflecting the artist&rsquo;s idiosyncratic dandyism.&nbsp; Depicting a place neither here nor there, and in a time not delineated, these environments are imbued with a sense of nostalgia that both resists and invites the viewer. A second &ldquo;chapter&rdquo; of prints created from images from his seminal catalog which hi-jacked the traditional form of an interiors magazine are featured along with a slide-projector work, originally exhibited at the Tate which layers images of the artist upon themselves.<br /><br />In his own words, &ldquo;We should resist the tyranny of linear time for one which is much more elusive, labyrinthian, gracious and once understood, perhaps even kindly. Once we recognize that it can fold in on itself &ndash; wherein, for example, recent events can seem distant and more distant ones seem closer &ndash; we then have a greater fluidity of means.&rdquo;<br /><br />Marc Camille Chaimowicz was born in postwar Paris and has had major solo exhibitions internationally at the Serpentine Gallery, London, Le Consortium, Dijon, Nottingham Contemporary, Nottingham, Secession, Vienna, Inverleith House, Edinburgh and inaugurated the new Artist Space with a solo installation in 2009. His works have been included in several group shows at Weltkulturen Museum, Frankfurt; the Tate Britain, Raven Row, and the Royal Academy of Arts all in London and in 2008 his work was included in the Berlin Biennial for Contemporary Art.</p> Tue, 08 Apr 2014 04:14:19 +0000 Group Show - Apexart - March 20th, 2014 - May 10th, 2014 <p>Saturdays at 4pm:<br />An accompanying performance series organized by Regina Miranda will feature:<br />Claire Porter, Frederick Curry, Mariangela Lopez, Patricia Niedermeier, and others.</p> <p><br />Our bodies and our lives are defined by codes. Smart phone apps tell us where we are, genetic codes map our past and future, and religious codes mandate what we can put in and on our bodies. Exoskeletons running military software promise to turn us into real-life iron men, fashion designer-coders write programs that automatically generate 3D printed clothing, and roboticists work tirelessly to build human replicas.<br />Codes and machines are voraciously claiming more and more of our time, our attention, and our physical selves. With each new year we spend more time interacting with computers and less time interacting with people and our natural environment. Abstract mathematical frameworks are increasingly portrayed as the only valid way to make sense of the world. Humanist approaches wield less and less influence. Many of us occupy this landscape with fascination, enchantment, and unease.<br />Coding the Body interrogates the relationships between humans and code. It explores how code is being used to understand, control, decorate, and replicate us. The exhibition celebrates the beauty of code and its manifestations while casting a wary eye on its ever expanding power.</p> Tue, 04 Mar 2014 02:51:23 +0000 Ogden Pleissner - Arkell Museum - February 15th, 2014 - June 1st, 2014 <p>Ogden Minton Pleissner said that he could be called &ldquo;a landscape painter, a painter of landscapes who also liked to hunt and fish.&rdquo; He traveled out West, to Quebec, through New England and the South prepared with both fishing and sketching equipment. The Arkell collection includes both watercolors and oil paintings by this American artist who found success as an artist with his first solo show at Macbeth Gallery in 1933. Works in the Arkell collection date from 1936-1942 and depict diverse locations that include southern United States, Wyoming, Nebraska, and war time in the Aleutian Islands.</p> Sun, 23 Feb 2014 23:36:26 +0000 - Arkell Museum - February 15th, 2014 - June 1st, 2014 <p>The exhibition features painted, sketched and printed views of the Mohawk River and Erie Canal from the mid 18th through the 21st century.</p> Sun, 23 Feb 2014 23:37:27 +0000 Alex Perweiler, Zachary Susskind, Louis Eisner, Jack Greer, Brendan Lynch, Dylan Lynch, Nick Darmstaedter, Isaac Brest - Art in General - September 22nd, 2013 - September 1st, 2014 <p>Art in General is pleased to present <strong>+1</strong>, a New Commission by The Still House Group.</p> <p><strong>The Still House Group</strong> is an emerging artist-run organization based in Red Hook, NY. Still House is inspired by the ideals of a young creative demographic bound by expectations of subordination to preexisting models, and supports a unit of young artists, providing them with an environment to conceptualize, produce, and exhibit their work. The strong emphasis on collaboration encourages members of the group to assist, critique, and formally represent one another, ultimately creating a collective drive that balances the advancement of individual careers with the growth of Still House the entity. The group attempts to escape the traditional gallery set-up, gearing itself, regardless of the seemingly insurmountable challenges, toward the goal of creative sustainability.</p> <p>Founded in 2007 by Isaac Brest and Alex Perweiler as an online viewing platform, Still House has produced numerous exhibitions in New York, Los Angeles and Miami. During 2010, the group conducted an eight-month residency in an abandoned Department of Transportation office in TriBeCa, and has since built a permanent, multi-faceted arts institution currently based in Red Hook, Brooklyn. This location serves as a hub for new work, a satellite environment to the art center of Manhattan where young artists engage in a space of their own.</p> Mon, 09 Jun 2014 12:31:05 +0000