ArtSlant - Closing soon en-us 40 MaryKate Maher - NURTUREart Gallery - May 30th, 2014 - June 5th, 2014 <p>NURTUREart presents a solo exhibition and performance by Mary Kate Maher, a special presentation on the occasion of Bushwick Open Studios 2014.</p> <p><em>Braced Position</em></p> <p>The work in this exhibition focuses on formal combinations in which objects are positioned in coercive relationships with each other. One element supports the other suggesting a tentative but working foundation. Sculptures reference natural forms: rocks, chunks of marble and wood; base materials serving as surrogates, describing an underlying relationship of forms. Inlaid ovals of out-of-focus space become moments of visual vibration, resisting the definition of foreground or background, both animating and obscuring the surface on which they are placed.Things pretend to be alright, to be acceptable, to blend in. They do their best to accommodate each other. There is an intimacy in this: embracing and pulling back against a type of structural apathy.</p> <p>In the concurring performance:&nbsp;<em>Forced Posture, extension of the studio body a large</em>, unwieldy object is moved from one location to another by hand and body alone. This act is similar to the manner in which the artist moves work in the studio. Propping and pushing, hoisting objects that are too heavy to lift by sheer might. Instead she uses her body as a simple machine. Her body becomes a lever, a pulley, a tripod, allowing the viewer to witness the awkward, vulnerable, Sisyphean moments usually hidden behind the studio walls.</p> <p>The performance will be held on Sunday, June 1 at noon, and will take place between the artist&rsquo;s studio and NURTUREart Gallery.</p> Sun, 25 May 2014 18:33:18 +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 - Edward Hopper House Art Center - June 6th, 2014 - June 6th, 2014 <p>&nbsp;<strong>Free First Fridays&nbsp; - Free admission 12-5 on the first Friday of each month, </strong>made possible by <strong>First Niagara Bank Corporation</strong></p> Wed, 21 May 2014 18:11:27 +0000 Group Show - NURTUREart Gallery - December 15th, 2013 - June 6th, 2014 <div id="_mcePaste">NURTUREart is pleased to present <em>Videorover: Season 7</em>, curated by <strong>Nicholas O&rsquo;Brien</strong> and featuring works by artists: <strong>Alison Ballard, Rachelle Beaudoin, Bianca Boragi, Javier Bosques, Jonathan Johnson, Tamara Johnson, Zohar Kfir, Joy McKinney, Mores McWreath + Cathy Park Hong, David Politzer, Michael Szpakowski, Sam Winks, </strong>and<strong> Magdalen Wong</strong>. The seventh season of<em> Videorover</em> premiered at UnionDocs on Sun. December 15 at 7:30PM for a one night screening event.</div> <p>This season features a variety films and video works loosely connected by O&rsquo;Brien&rsquo;s invitation to consider &ldquo;winter&rdquo; (as a season and as an expanded notion) as overarching topic. The coldest of the seasons in the north, &ldquo;winter&rdquo; can actually signify a multitude of cultural, social, and historical conditions, often requiring moments of solace and self-reflection. The artists presented in this program offer diverse approaches to dealing with the cold and isolation that this contemplative time can bring.</p> <p>While some artists point to the absurdity of hyper-consumerism that plagues the holiday season, others point to an underlying lonesomeness that comes from the high potential for prolonged cabin fever. Wry humor, coy performance, subtle narrative, geographical juxtaposition, affectionate documentation, and evocative sound are pervasive among all selections, used to break through the sheets of ice that wrap this time of year. O&rsquo;Brien has put together a program to bring about a hopeful warmth not just to battle the impending chilliness, but also to light the fire of a collective hearth.</p> <p><em>Videorover,</em> NURTUREart&rsquo;s dedicated video program, aims at becoming an ever-expanding forum for emerging and underrepresented artists working in video. After the premier screening, <em>Videorover: Season 7</em> will be shown on rotation at the main gallery space at NURTUREart until from December 16 &ndash; 23; after which, the videos will move to the Videorover Project Space, where they will show on a rotation of one video per day for the duration of the season.</p> Thu, 30 Jan 2014 23:51:27 +0000 Richard Renaldi - Benrubi Gallery - April 17th, 2014 - June 7th, 2014 <p>Bonni Benrubi Gallery is pleased to present This Grand Show, an exhibition of photographs by Richard Renaldi. The exhibition will open on Thursday April 17, 2014, and will be on view through Saturday June 7, 2014. This Grand Show will run concurrently with Renaldi's show Touching Strangers at the Aperture Foundation Gallery.<br /><br /> Richard Renaldi's new images are a meditation on the narrative power of pure landscape photography and a rereading of the American story inscribed across a damaged land. Inspired by the words of preservationist John Muir, who witnessed his absolute faith in America's wilderness clash with the imperatives of the twentieth century, Renaldi's new work occasions a present-day evaluation of Muir's vision on the 100th anniversary of his death.<br /><br /> Working with references to Muir contemporaries Timothy O'Sullivan and Thomas Moran, Renaldi looks for iconic and densely metaphorical vistas. In "Monument Valley, Utah" a classic view of the Navajo monoliths is punctuated by the serene figure of a dog sleeping in the foreground, oblivious of the approaching shadow of night. The image is somehow tranquil, yet menacing. In "Sumatra, Montana," two horses seek refuge from the prairie sun and wind, an ancient clapboard house the only visible shelter for miles around.<br /><br /> A diptych titled "The Big Top; Geneva, Ohio" reveals a canvass night sky stretched over a nearly empty circus, the only figures a lone trainer and the ghostly blur of a trapeze artist swinging like a pendulum in the center of the ring. When P.T. Barnum branded his traveling circus the "Greatest Show on Earth" he might well have been describing the grandeur of the American continent. Though at the core of Barnum's guileful proclamation was a hint that the artifice was fleeting.<br /><br /> "This grand show is eternal," wrote John Muir a few years before his death in 1914, yet Renaldi has cataloged the portents of a land continually vanishing into ephemera. A bakery window in Paris, Texas frames an oddly architectural cake, its whorls of icing intricately constructed. But the decorations seem incomplete: a totem left to grow stale in the darkened shop as the city lights come on. In one of the exhibition's most mournful images, a long-forgotten arcade console featuring the space shuttle Challenger leans gently into the dust.<br /><br /> Richard Renaldi was born in Chicago in 1968. He received his BFA in photography from New York University in 1990. Exhibitions of his photographs have been mounted in galleries and museums throughout the world, including Jackson Fine Art, Atlanta, GA.; Robert Morat Galerie, Hamburg, Germany; The Cleveland Institute of Art, Cleveland, OH; Pavillon Populaire, Montpellier, France; and Fotografins Hus, Stockholm, Sweden. In 2006 Renaldi's first monograph, Figure and Ground, was published by the Aperture Foundation. His second monograph, Fall River Boys, was released in 2009 by Charles Lane Press. Renaldi's most recent monograph Touching Strangers, is to be released by the Aperture Foundation in the spring of 2014. He currently lives and works in New York City.</p> Tue, 01 Apr 2014 01:52:25 +0000 Thilo Heinzmann - Bortolami Gallery - May 2nd, 2014 - June 7th, 2014 <p>Bortolami is pleased to present an exhibition of new work by Thilo Heinzmann, the artist's third solo show at the gallery. Heinzmann's work displays an impressive variety of formal and material means, while also forcefully articulating the consistency with which Heinzmann deploys his artistic interests across this full spectrum:</p> <p>A relief-arrangement of small, irregular marble blocks; hues of powdery pigment; sculpted rags of hessian in flesh-tone dyes; sharply perforated metal surfaces; intricately shaped and then glazed porcelain bodies, reminiscent of forms of nature; cotton fluff; slabs of styrofoam; sprinkled dispenses of oscillating, colored resin that in some places sit on white grounds, oozing effects of liquidity, while in other parts being soaked into the textile on which they have landed, coloring the material from within its very woven structure; the reflective splashes of poured and hardened zinc; and even mere traces of movement left on otherwise minutely worked, matte planes of black, which now achieve the improbable - to catch refractions of light, in their full darkness.</p> <p>Against the ground of this rich diversity emerges a set of formal echoes and correspondences through which the various strands and specimens of Heinzmann's work answer each other: the marble's white responds to the white tones of glazed and non-glazed porcelain, to the color of cotton and styrofoam, and to that of smooth metal surfaces. The superimposed, zigzagging splashes of zinc emerge as variations on a motif that also includes the expanses of pigment, breathed onto the ground of the picture's support, and the curved paths of the resin. And the form-creating gestures on black stand as correlates to the shapes cast in hessian and zinc. Across this remarkable range, artistic form here displays its binding power, while also articulating the very wealth of colors, matter, textures, which Heinzmann's art steals from the world.</p> Sun, 27 Apr 2014 01:57:34 +0000 Clint Jukkala - BravinLee Programs - May 2nd, 2014 - June 7th, 2014 <p>BravinLee programs is very pleased to present Cosmic Trigger, new paintings by Clint Jukkala.&nbsp;</p> <p>&nbsp;Clint Jukkala&rsquo;s new paintings combine elements of landscape, abstraction and portraiture into one enigmatic, compelling and almost satirical image.&nbsp; The paintings suggest that seeing and believing are subjective acts without absolutes. Observation is a meeting of minds, a negotiated agreement between the artist&rsquo;s painterly devices and the viewer&rsquo;s various contraptions for seeing and perceiving. &nbsp; &nbsp; &nbsp;&nbsp;</p> <p>&nbsp;Artist&rsquo;s Statement:</p> <p>&nbsp;&ldquo;I've been thinking about perspective and the lenses through which we see.&nbsp; The idea that in many ways the outer world- "reality" is a fiction performed in our mind- a combination of our nervous system and lived experiences.&nbsp; I'm interested in our awareness of our own thinking and sense perceptions- our consciousness.&nbsp; I approach this with a sense of humor that reflects the irrational space of knowing and believing.</p> <p>&nbsp;I want my paintings to encourage the viewer to think about looking in through looking out and vice versa.&nbsp; For a while now I've been interested in frames and framing devices- first these elements were rectangular, now they are often circular or oval-like.&nbsp; They tend to suggest eyes, goggles and periscopes- things to look through or things looking out.&nbsp; These forms exist in worlds that often evoke landscape elements like water, grass and sky.&nbsp; I want the paintings to point in many directions without settling in any one place.</p> <p>&nbsp;I conceive of painting as tactile as well as visual and I'm guided by the experiential qualities of both color and material.&rdquo;</p> <p>&nbsp;Clint Jukkala received his BFA from the University of Washington in Seattle and his MFA from Yale.&nbsp; His work has been shown at Feature Inc., and Jeff Bailey Gallery in New York, The deCordova Sculpture Park and Museum in Lincoln, MA, and Fred Giampietro Gallery in New Haven, CT.&nbsp; He lives in Philadelphia and is Chair of the Graduate Program at PAFA- Pennsylvania Academy of the Fine Arts</p> <p>&nbsp;For more information:</p> Mon, 21 Apr 2014 23:35:23 +0000 Hilla Becher, Bernd Becher, August Sander - Bruce Silverstein Gallery - May 1st, 2014 - June 7th, 2014 <p>Bruce Silverstein in collaboration with Sonnabend Gallery is pleased to present August Sander / Bernd and Hilla Becher: A Dialogue, curated by Hilla Becher.<br />This thought-provoking exhibition offers a visual and conceptual parallel of the best-known typological projects from the 20th century&mdash;images of industrial and residential architecture by Bernd and Hilla Becher are juxtaposed with August Sander&rsquo;s portraits of German citizens from his rigorous People of the Twentieth Century series.<br />This new context for these iconic images provokes a fascinating conversation between these artists&rsquo; works occurring on both a formal and ideological level. It is relevant to note that the Bechers&rsquo; contribution to contemporary art as artists and educators resides in their radical presentation of their photographs as a typology, or classification of images of the same subject&mdash; i.e. grain elevators, coalbunkers, water towers, etc.&mdash;in a grid format which necessitates the viewer&rsquo;s interpretation of the group of images as a single work as well as a comparative study of the differences between the individual subjects. This current exhibition is unusual as the Bechers&rsquo; architectural images are displayed as singular &ldquo;portraits&rdquo; while Sander&rsquo;s photographs of people are presented as typological grids.<br />August Sander (1876-1964) began his People of the Twentieth Century series in 1911&mdash;his attempt to capture through &ldquo;absolute photography&rdquo; a &ldquo;true psychology of our time and our people&rdquo;&mdash;a mirror of the age. He worked to create portraits of individuals from various social strata and their particular surroundings as an attempt to order the myriad types of human characters he saw around him and create a more universal portrait of human existence in the 20th century. An earlier manifestation of the Bechers&rsquo; attitude, Sander&rsquo;s project in its totality highlights a tension between image and document, specific and general.<br />Bernd and Hilla Becher (b.1931-2007 / b.1934) first collaborated in 1959 after meeting at the Kunstakademie D&uuml;sseldorf in 1957. They set out to document via photography the various designs of industrial buildings in the Ruhr Valley, choosing for a background a flat, uniformly lit sky, and decidedly portraying the buildings exactly as they were, as clearly and legibly as possible. By the 1960s, they defined their conceptual approach to presenting these images as typologies, employing a purposefully neutral, reductive style of image-making that prioritizes their systematic practice and chosen mode of display, creating an interpretation of these images both as aesthetic, formal exercises, and documents of industrial architecture.<br />August Sander&rsquo;s work and the Bechers&rsquo; works have been exhibited widely. Their images are a part of the world&rsquo;s most celebrated collections.</p> Tue, 22 Apr 2014 20:11:16 +0000 Heather Morgan - DACIA GALLERY - May 15th, 2014 - June 7th, 2014 <p style="text-align: left;"><span style="font-size: small;">Dacia Gallery is pleased to present &ldquo;Eidolon&rdquo; an exhibition of new works by Heather Morgan, a figurative painter whose sultry and damaged women cavort unrestrained through opulent settings with commanding self-possession. Vivid and theatrical as these images are, the viewer is thrust into discomfiting intimacy with these defiant vixens. Morgan's works invite the viewer to look and to covet, presenting an alluring world that is also potent and seething. Beauty quivers with pain and flaw in the distorted, luminous subjects that populate Morgan&rsquo;s paintings. The figures stretch out louche before the viewer and bravely offer themselves with a conflicting, penetrating gaze. These unflinching yet vulnerable pastel heroines become all the more unknowable, as they reveal themselves in their fractured splendor.</span></p> <table border="0" cellspacing="0" cellpadding="0" align="center"> <tbody> <tr> <td style="text-align: left;"><span style="font-size: small;"><span style="font-family: arial,helvetica,sans-serif;">ARTIST BIO</span></span></td> </tr> <tr> <td style="text-align: center;"><span style="font-size: small;"> &nbsp;</span></td> </tr> <tr> <td style="text-align: justify;"><span style="font-size: small;"> <span style="font-family: arial,helvetica,sans-serif;">Heather Morgan, painter and bon vivant, was born in Staten Island in 1973. She completed her B.F.A. in painting at Boston University in 1996, making up the &ldquo;expressionist wing&rdquo; of the school for the arts and haunting the underground music scene. She received her M.F.A. in painting/printmaking at Yale University in 1999. Morgan spent five years in East Berlin cultivating fluency in German, exhibiting and publishing work with Karoline Mueller at Ladengalerie, one of Berlin&rsquo;s oldest galleries and a proponent of representational artists of the former GDR. Upon returning to the United States, Heather maintained a studio in Boston and then New York, and has shown at various New York and German galleries and institutions before joiining with Dacia Gallery in 2010. Heather next solo show at Dacia will be held in Spring 2014. Her last solo show was Lascivious, and she has shown regulary in our group shows to much fanfare: Black&amp;White Holiday Show, Dacia's Anniversary Show, Dacia's Universal Art Project, and Hyperboreans.</span></span></td> </tr> <tr> <td><span style="font-size: small;"> &nbsp;</span></td> </tr> <tr> <td style="text-align: left;"><span style="font-family: arial,helvetica,sans-serif; font-size: small;"> ARTIST STATEMENT</span></td> </tr> <tr> <td><span style="font-size: small;"> &nbsp;</span></td> </tr> <tr> <td style="text-align: justify;"><span style="font-size: small;"> <span style="font-family: arial,helvetica,sans-serif;">Desperate times call for decadent measures. We are in a state of constant war on a ruined planet, leaving the lights on, murmuring about extinction.&nbsp; The women in Heather Morgan&rsquo;s paintings kick up their heels in celebration of life as they contemplate death, aware of the tragic absurdity of our situation.&nbsp; We are doomed, so we should be dancing.</span></span></td> </tr> <tr> <td><span style="font-size: small;"> &nbsp;</span></td> </tr> <tr> <td style="text-align: justify;"><span style="font-size: small;"> <span style="font-family: arial,helvetica,sans-serif;">Morgan's sultry and damaged women cavort unrestrained through opulent settings with commanding self-possession. Here are lingerie and stockings galore. But these are no playthings. These women are performing their identities, and it is a tense and fevered display, aching with self-consciousness.</span></span></td> </tr> <tr> <td><span style="font-size: small;"> &nbsp;</span></td> </tr> <tr> <td style="text-align: justify;"><span style="font-size: small;"> <span style="font-family: arial,helvetica,sans-serif;">The possibilities for self-creation are illustrated in a succession of vivid characters loosely based on the artist, her acquaintance, and recognizable cultural constructions; cigar-chomping chicks, androgynes, harlots, fighters, dancing queens, the starved, the tragically hip, the desperate (but not serious).</span></span></td> </tr> <tr> <td><span style="font-size: small;"> &nbsp;</span></td> </tr> <tr> <td style="text-align: left;"><span style="font-size: small;"> <span style="font-family: arial,helvetica,sans-serif;">Vivid and theatrical as these images are, the viewer is thrust into discomfiting intimacy with these defiant vixens. These works invite the viewer to look and to covet, presenting an alluring world that is also potent and seething. Beauty quivers with pain and flaw in the distorted, luminous subjects that populate Morgan's paintings. The figures stretch out louche before the viewer and bravely offer themselves with a conflicting, penetrating gaze. These unflinching yet vulnerable pastel heroines become all the more unknowable, as they reveal themselves in their fractured splendor.</span></span></td> </tr> </tbody> </table> Thu, 05 Jun 2014 23:20:16 +0000 - Edward Thorp Gallery - April 25th, 2014 - June 7th, 2014 <p>American Quilts and Coverlets from the 19th through the mid 20th Century</p> Tue, 08 Apr 2014 01:45:33 +0000 Chris McGraw - Fred Torres Gallery - May 8th, 2014 - June 7th, 2014 <p>In such a beautiful world today, I exist alongside great rhythm, extraordinary<br />melody, and an astounding harmony. With such beauty around me, I feel as though my<br />work is already done as an artist. I believe that my main intention as an artist is to focus<br />attention on the lovely movements of colors through space and time. The practice that I<br />utilize to express my outlook on these movements is a simple one, based on intuition and<br />vision. I employ these two mindsets when I am working and when I experience the world<br />in general, by rearranging and grouping objects and ideas. My physical work becomes<br />more about this act than any message I am trying to present, because I feel that in simple,<br />personal expressions, there can be found the basis of all movement. I believe that I am<br />uniquely capable of seeing and quickly understanding large currents of objects and ideas<br />within the world, and am able to act as a mirror to them in a sense. This mimicry<br />becomes my means of translating my own perceived reality.<br />The discourse of life and the path of objects and ideas through space and time are my<br />greatest inspirations. I believe that these inhabit and influence environment, and can be<br />understood and read. My connections with the various environments that surround me are<br />very deep and significant, and allow me to cohesively understand my own path through<br />them.</p> <p><br />Grey Mourn</p> <p><br />In the deception of the grey mourning,<br />the horrified population sits waiting -<br />while gasping wind pronounces warning<br />to the great, exhausting surrender.<br />Floating figures stain the horizon&rsquo;s birth,<br />in an unspoken awe for it&rsquo;s hidden truth.<br />Arguing storm clouds that blanket the Earth<br />create disbelief seen only in brief youth.</p> <p><br />2 sheep sleep<br />standing and connected<br />disjointed in their views<br />walking towards their gods<br />almost pull apart<br />their hips are hard<br />holding even from odds</p> <p><br />There was an absence to their yelling,<br />they were screaming so softly<br />yet could not be missed.<br />Could their phantom falling<br />under the halo streetlight -<br />that mourned under a violet sky,<br />go exhaustingly unheard<br />through the slumbering night.<br />They were almost dying.<br />They laid there talking,<br />their lives<br />went<br />slowly<br />by.</p> <p><br />Only bodies<br />now identified the sprinting ghouls<br />that ran so far and fast from us.<br />We missed them, could not catch them<br />no matter how hard we searched.</p> Wed, 07 May 2014 22:16:06 +0000 - Guild Hall - May 3rd, 2014 - June 7th, 2014 <p>The 2014 winners will be announced promptly at 4:15pm in the Museum lobby, and we hope you will join us.&nbsp;&nbsp;</p> <p>The 76th Guild Hall Artists Members Exhibition is the oldest non-juried museum exhibition on Long Island and one of the few non-juried exhibitions still offered. The top honor is a solo show in the Museum&rsquo;s Spiga Gallery.</p> Fri, 02 May 2014 01:02:38 +0000 Lee Kit - Jane Lombard Gallery - April 24th, 2014 - June 7th, 2014 <p>&lsquo;Some images started to appear in my mind. You didn&rsquo;t know that actually I was like watching a movie in my mind,while I was listening to you talking.<br />The movie was quite colorful though.&rsquo;<br />-------------------------------------------<br />&lsquo;You have plenty of photographs. You have seen thousands of images.<br />What do you remember?&rsquo;<br />-------------------------------------------<br />Lombard Freid Gallery is pleased to present Lee Kit&rsquo;s second solo exhibition in New York. Following his highly acclaimed installation at the 55th Venice Biennale, Lee (b.1978, Hong Kong) further explores his obsession with the ordinary through series of staged domestic scenes and paintings. Lee&rsquo;s practice proposes the poetics of the everyday; merging art with daily life, questioning the ways in which the viewer interacts with and perceives one&rsquo;s surroundings. His work retains traces of past interventions and mediations, provoking both shared and individual memories. The everyday objects found in these installations offer a personal and social narrative that reaches beyond their singular potentials; here, they mingle with sound and film, creating an immersive and cinematic environment.<br />Lee&rsquo;s latest work can be regarded as a continuation, he says, of the exhibition &lsquo;You (you).&rsquo;, which premiered at the 55th Venice Biennale and was reprised as &lsquo;You.&rsquo;, both curated by M+ and West Kowloon Cultural District. With &lsquo;You.&rsquo;, Lee&rsquo;s elegant cardboard paintings and hand-painted cloths are joined by small, nearly overlooked sculptures: a stack of towels, painstakingly folded, resting in a corner; a single blue bucket; a table set for two, devoid of diners. For Lee, the spaces in between are as significant as these contemporary readymades, the emptiness just as poignant.<br />------------------------------------------<br />&lsquo;All these words are vague. For example, &ldquo;The weather is nice. How are you?&rdquo;&rsquo;<br />&lsquo;&rdquo;How are things on the West Coast?&rdquo; It doesn&rsquo;t matter whatever your answer is, after I asked you this question.&rsquo;<br />------------------------------------------<br />Lee Kit (b. Hong Kong, 1978) studied traditional Chinese painting at the Chinese University of Hong Kong.<br />His work premiered in New York at Lombard Freid Gallery with the solo exhibition '1, 2, 3, 4&hellip; (2011). Since then, he has become one of the most internationally acclaimed contemporary artists, exhibiting at such institutions as the New Museum, New York; Tate Modern, London; Sharjah Art Foundation, UAE; and Museum of Modern Art, New York. In 2013 he was selected to represent Hong Kong at the 55th Venice Biennale with his exhibition 'You (you.)', which he reprised in 2014 in an exhibition curated by M+ and West Kowloon Cultural District, Hong Kong. Upcoming exhibitions include solo shows at S.M.A.K., Belgium and Mother&rsquo;s Tankstation, Ireland, as well as a group exhibition at the Staatliche Kunsthalle, Germany and participation in the Kiev Biennial, Ukraine.</p> Thu, 17 Apr 2014 21:56:51 +0000 Fran├žois Morellet - Josee Bienvenu Gallery - April 17th, 2014 - June 7th, 2014 <p>Josee Bienvenu is pleased to announce Preliminaries, an exhibition of works by Francois Morellet organized in collaboration with Galerie Herve Bize. This will be the first one-person exhibition in New York by this major French artist since 1997.&nbsp;The exhibition will focus on a lesser known but essential aspect of the artist's work: his drawings. While Morellet and his systematic approach to art making is renown internationally through numerous exhibitions, publications and articles, his works on paper have been rarely exhibited.&nbsp;The exhibition brings together key works on paper from the 1950s to 2000, presenting an ensemble of exceptional quality for the first time in the United States.<br /> <br /> Far from being hermetic, Francois Morellet's work, where language and a form of irony surface constantly, is often characterized by the oxymoron: "un rigoureux rigolard".&nbsp;Since the early 1950s, Morellet took part in the international avant-garde by conceiving a form of geometric abstraction&nbsp;shaped by systems that reduced the artist&rsquo;s subjectivity to a minimum. A specific system determines&nbsp;each&nbsp;work and its execution; therefore drawing is essential&nbsp;to Morellet's work. It is a unique process&nbsp;that&nbsp;allows him to articulate his intentions. Through drawing, Morellet anticipates and sets up what will be experimented on another scale with other materials in the rest of his work.&nbsp;<br /> <br /> Morellet&rsquo;s work fits alongside the&nbsp;Incoherents&nbsp;art movement, the work of Alphonse Allais, Francis Picabia, and of course, Marcel Duchamp. Other influences include the work of Swiss artist Max Bill, Jean Arp&rsquo;s and Sophie Tauerber-Arp&rsquo;s duo-collages, tapa cloths from Oceania, Hispano-Moresque art from Granada, as well as a strong influence from his father accounting for his predilection for language games and acute sense of humor.<br /> <br /> Francois Morellet&rsquo;s drawings could be considered very&nbsp;discreet works &ndash; because of their modest scale and also for&nbsp;the parsimonious choice of processes and techniques. However, this absolute economy of means does not affect the impact of the work, on the contrary, it shows that a drawing contains everything and stands as its own entity. In the 1950-1960&rsquo;s most of Morellet&rsquo;s drawings were preparatory works for paintings and other projects, whether executed or not, but they cannot be considered as studies only. They function as autonomous works and lay the foundation for the drawings of the 1970s - 1990s, primarily engaged with the concept of pictorial space as a structure. Francois Morellet was very forward thinking throughout his life, even one of the first artists to use neon light, and&nbsp;continued to experiment with new materials.<br /> <br /> Francois Morellet was born in 1926 in Cholet, France. Selected recent exhibitions include: Fran&ccedil;ois Morellet, Ikon Gallery, Birmingham; Fran&ccedil;ois Morellet 5*3, Le Box, Marseille; Dynamo, Grand Palais, Paris; Dynamo, Grand Palais, Paris, Light show, Hayward Gallery, London (2013); Ghosts in the Machine, New Museum, New York, Neon - Who&rsquo;s afraid of red, yellow and blue?, La Maison Rouge, Fondation Antoine de Galbert, Paris (2012); Fran&ccedil;ois Morellet, R&eacute;installations, Centre Pompidou, Paris (2011); Fran&ccedil;ois Morellet. Mes images, Mus&eacute;e d'art ancien et contemporain, Epinal, Fran&ccedil;ois Morellet, 9 + 1, Installationen, Museum Pfalzgalerie, Kaiserslautern, L'esprit d'escalier, commande du Mus&eacute;e du Louvre, Paris (2010); Fran&ccedil;ois Morellet chez Le Corbusier, Couvent de la Tourette, Eveux, La quadrature du carr&eacute;, une introspective, Museum Ritter, Waldenbuch (2009); Fran&ccedil;ois Morellet, raison et d&eacute;rision, Museum W&uuml;rth, Erstein, Fran&ccedil;ois Morellet, 45 ann&eacute;es lumi&egrave;re, Ch&acirc;teau de Villeneuve, Vence (2008); Fran&ccedil;ois Morellet, Ma Mus&eacute;e, Mus&eacute;e des Beaux-Arts, Nantes, Blow up, 1952-2007, Quand j'&eacute;tais petit je ne faisais pas grand, Mus&eacute;e d'Art Moderne de la Ville de Paris (2007); Fran&ccedil;ois Morellet, D&eacute;mon&eacute;tisations, Mus&eacute;e d'Orsay, Paris (2006); Beyond Geometry: Experiments in Form, 1940s-70s, Los Angeles County Museum of Art, LACMA (2004).<br /> <br /> His work is featured in numerous major public and private collections, including: Tate Gallery, London; Centre Pompidou, Paris; Nationalgalerie, Berlin; Stedelijk Museum, Amsterdam; LACMA, Los Angeles; MoMA, New York; Guggenheim Museum, Abu Dhabi; Philadelphia Museum of Art, Philadelphia; Hirshhorn Museum, Washington; Kunstmuseum, Bern; Moderna Museet, Stockholm; Mus&eacute;e d'Art Moderne de la Ville de Paris, Paris; The Tel Aviv Museum of Art, Tel Aviv; Louisiana Museum of Art, Humlebaek. Several retrospectives were devoted to his work, notably in 1985 at the Brooklyn Museum, New York, and in 1986 and 2011 at the Pompidou Center, Paris.&nbsp;Francois Morellet realized many public commissions throughout his career and was one of the very rare contemporary artists invited to create a permanent installation for the Musee du Louvre, Paris.<br /> <br /> *ART&sup2; is An International Platform on Contemporary Art, presented by the Cultural Services of the French Embassy in the U.S. in collaboration with the New York presenters Institut fran&ccedil;ais, the French Ministry of Culture and Communication and FACE (French American Cultural Exchange).<br /> <br /> *Herve Bize has been working closely with Francois Morellet for more than 25 years. This project is a first collaboration between the two galleries.</p> Mon, 26 May 2014 23:19:42 +0000 Ai Yamaguchi - Joshua Liner Gallery - May 8th, 2014 - June 7th, 2014 <p>Joshua Liner Gallery is pleased to present an exhibition of new and recent work from Japanese artist Ai Yamaguchi. shinchishirin will be Yamaguchi's first exhibition with the gallery and her first New York solo show since 2002. The artist will be in attendance during the opening reception.<br /><br />Feminine beauty is a key theme in all of Yamaguchi's work. As with many other cultures, hair is an important symbol of beauty in Japan. The artist often depicts girls' hair as part of the scenery &mdash; these rivers and mountains of long black hair mimic brush strokes and traditional Japanese calligraphy.<br /><br />One aspect of traditional Japanese art that Yamaguchi incorporates into her work is Japanese poetry, or Waka. The artist often takes apart poems and plays with the words to create new verses &mdash; evidenced in the exhibition title, shinchishirin. Taken from several different poems from the early Heian Period anthology, the Kokin Wakashu (in English, 'Collection of Japanese Poems of Ancient and Modern Times'): shin means "heart," chi means "earth," shi means "words," and rin means "forest." shinshichirin expresses the idea that if the waka takes root in the great earth that is the heart, its flowers will bloom into a forest of words.&nbsp;<br /><br />The shapes of canvases from Yamaguchi's white gesso paintings are all different characters from Japanese words she doesn't care for, neither their sound or significance. These words are broken down hiragana characters &mdash; the most fundamental syllabary in Japanese. Considered a feminine way of writing, during the Heian period (794-1185) hiragana was used exclusively by the ladies of the royal court. In hiragana &mdash; unlike with typed fonts &mdash; when written vertically with a brush, the shape of each letter becomes more organic, similar to western cursive. By physically beautifying the words through her canvases, the artist hopes to gain a different perspective and sensitivity towards these words &mdash; words sown like the seeds of Yamaguchi's forest. She uses shinchishirin painting as a cleansing process.<br /><br />Having come from a background of industrial arts where she is concentrated in textiles and fabrics, Yamaguchi experiments with new techniques and media. For example, she developed a unique blanket-canvas style where she covers wood panels in a blanket, or futon, and covers them with cotton fabric. This technique adds a three-dimensional quality to the canvas itself, beneath the vibrant colors of her two-dimensional, anime-like figures.&nbsp;<br /><br />For this exhibition, Yamaguchi also experiments with non-gesso blanket-canvases, layered in multiple planes &mdash; similar to the Japanese wooden doll art of kimekomi ningyo. Creating a subdued and understated drama &mdash; compared with some of her bolder pieces &mdash; closer inspection is necessary to see the details that would otherwise be missed, luring the viewer into the narrative of the canvas.<br /><br />Yamaguchi's art is deeply rooted in traditional Japanese themes and values, yet it is undeniably modern and pop. Though the artist does not draw men, this does not mean they do not exist in the world of the girls she portrays. Yamaguchi depicts the untold lives of women as beautiful and alluring, yet innocent and fragile.&nbsp;<br /><br />Born 1977, Ai Yamaguchi currently lives and works in Tokyo, Japan. Selected solo exhibitions include: hoshi at Mizuma Art Gallery, Tokyo, Japan, ashita mata at 10 Chancery Lane Gallery, Hong Kong, China, yorokobi at NADiff modern, Tokyo, Japan (2012); kumogakure at Aki Gallery, Taipei, Taiwan (2011); hogara hogara at NADiff Gallery, Tokyo, Japan, kiyu at Mizuma Art Gallery, Tokyo, Japan (2010); hana wa no ni aruyouni/flowers as they are in the filed at Roberts &amp; Tilton, Los Angeles, CA (2008). Selected group exhibitions: 20 Years Art x Mags Exhibition at Giant Robot, Los Angelese, CA (2014); Ukiyo-e POP Culture from Edo to Today at Shizuoka City Tokaido Hiroshige Museum of Art, Japan (2013).</p> Fri, 09 May 2014 17:00:57 +0000 Jory Rabinovitz - Martos Gallery - April 18th, 2014 - June 7th, 2014 <p>In 1983, the U.S. government began minting pennies with a ratio of 97.5% zinc and 2.5% copper&mdash;an inverse of the previous formula of 95% copper and 5% zinc. The coin had become increasingly more valuable as a commodity of copper than as the molecule of a fiat currency. This decision would ensure to repress speculative desires to hoard, melt and debase the coin. Martos Gallery is pleased to present <em>Eighty Three</em>, a solo exhibition of new works by Jory Rabinovitz, on view from April 18 through May 31 with an opening reception on Friday, April 18 from 6 - 8 pm.</p> <p>In this new body of work, Rabinovitz starts with common US one-cent coins. First separating pre and post 1983 coins, he then refines them to their base metal, copper and zinc, then oxidizes them to produce pigment&mdash;copper making Viridian Green and Zinc producing Zinc White. The pigments are bonded in place by fabric, brick and concrete and the cameos of the coins etched onto the metals.</p> <p><br /><em>The Atom and The Void</em></p> <p>Democritus once said, &ldquo;Nothing exists except atoms and voids; everything else is just opinion.&rdquo;</p> <p>I personally like the way 8 and 3 look next to each other. I like to think they look like handcuffs coming undone. Years ago, I enjoyed picturing the pair as a line seeing an infinity symbol and standing to its left (our right) and trying really hard to mimic it while pathetically failing. Whatever the case, aside from each number having allusions to parts of anatomy, starting with the letter B&mdash;that oddly enough looks like many of those body parts&mdash;there always seems to be some kind of binate between the two numbers. I've since learned not to&nbsp;anthropomorphize numbers; it&rsquo;s a bad habit.</p> <p>One day a few summers ago, I got a letter from a hospital where I had received treatment. I opened it and can only remember seeing an owed balance starting with the number 83, followed by zeros. The total sum of digits being one hand count (sorry, I don&rsquo;t like to say the number out loud). It may have been caused by the palpitations in my heart, but a vision came to me. I could acutely feel the blood pump through my veins&mdash;so much so that I could almost see it. As I looked from the paper to the sun coming through my window, the number burned into my retina and remained in front of the vibrant red hue of my closing eyelids. The number broke down into individual tally marks, then slowly into circles and back to lines, almost like a dancing binary code.&nbsp;Then it was as if I could see every cell making up my own body at once.</p> <p>The cells turned from small coin-like shapes to some generic textbook or CGI rendering of blood cells. This morphing happened faster and faster until both became some kind of hybrid I know I had never seen before. They became a mobile army, and&nbsp;I felt an omnipotent corporeal control. When I opened my eyes all objects in my room appeared to be made up of this substance. It was as if all metaphorical content and actual material relations had fused and were indistinguishable. The illusion subsided, and I saw the little handcuffs and then they went back to being an 8 and a 3. I contemplated how I could ever pay this debt. I still haven&rsquo;t.</p> Mon, 26 May 2014 23:33:29 +0000