ArtSlant - Recently added http://www.artslant.com/ny/Events/show en-us 40 Carol Brown Goldberg - Denise Bibro Fine Art - February 5th - March 14th <p><strong>Denise Bibro Fine Art, </strong>in Chelsea, New Yorkpresents Carol Brown Goldberg&rsquo;s,<em>Paintings: The Color of Time</em>. Running from <strong>February 5<sup>th</sup>- March 14<sup>th</sup>, 2015.</strong></p> <p>Goldberg&rsquo;s work is noted for its use of reflective chips nestled among acrylics on canvas. Mesmerizing and colorful, they are almost hypnotic in nature. Subtle yet bold in style, her work is prolific and instantly recognizable.</p> <p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Goldberg draws much of her inspiration from music, light, geometric pattern, and brightness. When the Vero Beach Museum displayed her work, they described it as such&hellip;<em> &ldquo;Goldberg infuses the surfaces of her canvases with pulverized polymer to intensify her colors and give them an almost Venetian look. Unlike the work of earlier artists whose hard-edged, geometric compositions seem flat and contained, Goldberg&rsquo;s paintings gather energy and pull viewers into a limitless &lsquo;abstract universe&rsquo;.&rdquo;</em> Historian and art critic Donald Kuspit stated her art as <em>&ldquo;Musical abstractions, acknowledging, as Kandinsky did, that all art aspires to the condition of music, which is abstract and expressive at once&hellip;&rdquo;</em></p> <p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Goldberg is from Baltimore, Maryland. She studied at the <em>University of Maryland</em>, where she received a B.A. in American Studies, and the <em>Corcoran School of Art</em> in Washington D.C, where she earned her second B.A. and studied under Gene Davis. Upon graduation from the <em>University of Maryland</em>, she was given the Eugene M. Weisz award. She has taught at <em>American University </em>and the <em>University of Maryland. </em>She is also a recipient of the Maryland State Arts Award. Her work has been shown in many solo and group exhibitions, and is in many Museum collections, such as the <em>New Orleans Museum of Art</em>, the <em>National Museum for Women in the Arts </em>and the <em>Kreeger Museum.</em></p> <p>&nbsp;</p> <p align="center">For More Information Visit our Website or Call the Gallery:</p> <p align="center">www.DeniseBibroFineArt.com</p> <p align="center">212.647.7030</p> Sat, 24 Jan 2015 20:39:52 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Carole Robb - Denise Bibro Fine Art - February 5th - March 14th <p><strong>Denise Bibro Fine Art</strong>, Chelsea, New York presents Carole Robb&rsquo;s first solo show at DBFA entitled<em> Passionate Collisions. </em>The show will run from <strong>February 5<sup>th</sup>- March 14<sup>th</sup>, 2015.</strong> &nbsp;</p> <p>Robb&rsquo;s grandiose images coincide with the scale and theme of her work. She travels from New York to London and Rome to rediscover the romantic and aesthetic atmosphere of each of these Cities of Love. She catches couples embracing in the same locations that couples embraced centuries ago. Her work studies personal relationships and the romances and emotions that cohabit them. She replicates what it&rsquo;s like to be in love on canvas. As Robb says in her own words, <em>&ldquo;Every generation rediscovers passion...We can look back at the epic tale of the lover affair between Paris and Helen of Troy that started a war to see the moral complexities of love, but in its simplest form its to do with emotional connection&hellip; 27 centuries later we still feel the immediate emotional connection.&rdquo; </em>&nbsp;Love or the lack of love is a base connection of what it is to be human.</p> <p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Peter de Francia, a painter and author, says of Robb<em>, &ldquo;What appears to be the most impressive feature of her work is the manner in which she fuses memory with freshness of renewed experience. Carole Robb&rsquo;s paintings are un part touchstones of reality- of here and now- merged with the graduated experience derived from the past. This is why her work is and will remain memorable.&rdquo;</em></p> <p>Carole Robb was born in Scotland. She studied painting at the <em>Glasgow School of Art</em> and earning an MFA at the <em>University of Reading</em> in England<em>. </em>She is the recipient of many awards including the British Prix de Roma, a Fulbright Award, and a British Arts Council Major Award. Her artworks can be found in several private and museum collections, such as the <em>Metropolitan Museum of Art</em> in New York and the <em>Victoria and Albert Museum</em> in London.</p> <p>&nbsp;</p> <p align="center">For More Information Visit our Website or Call the Gallery:</p> <p align="center">www.DeniseBibroFineArt.com</p> <p align="center">&nbsp;</p> Sat, 24 Jan 2015 20:35:22 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Don Kimes - Denise Bibro Fine Art - February 5th - March 14th <p><strong>Denise Bibro Fine Art</strong>, in Chelsea New York is pleased to announce Don Kimes&rsquo;s second solo exhibition at DBFA,<strong><em> Finding Memory: New Works</em>. </strong>The show will run from <strong>February 5<sup>th </sup>- March 14<sup>th</sup>, 2015.</strong></p> <p><strong><em>Finding Memory: New works</em></strong> is inspired by the old and blemished paintings that were destroyed by a flood almost a decade ago in Kimes home. Fortunately, Kimes was fascinated by the outcome, drawing incentive from the way the ruined work looked after the natural incident.</p> <p>Kimes&rsquo;s acrylic and ink paintings are marked by bold splashes of color and unique textures. He draws inspiration from the effects of nature and time. He has replicated the look of casualty and destruction within his work deliberately, influenced by the effects of time and the power of nature, loss and rebuilding. Kimes&rsquo;s work reflects the process of discovering beauty in the midst of tragedy, the rebirth after the catastrophe. In his own words, &ldquo;<em>I am using the second part of my life to re-paint the first.</em>&rdquo;</p> <p>Noted painter Margaret Grimes says of Kimes&hellip; <em>&ldquo;Although the form and media of Don Kimes&rsquo; work varies from decade to decade, the essential themes remain the same: a fascination with the natural elements, the power and processes with nature, the fragility of human attempts to control and interact with them, and above all the passage of time&hellip; It is amazingly appropriate that this work will be shown in Chelsea, itself an area so recently devastated by its own life-changing floods. As is so often, the individual experience of the artist serves as a shamanistic function in the community.&rdquo;</em></p> <p>Kimes has had numerous solo exhibitions throughout the United States and Europe. Selected shows include the Galleria Moenia di Giuliana Dorazio, Italy; Katzen Museum of Art, Washington D.C.; Fowler Kellogg Galleries Chautauqua, New York; International Art &amp; Artists, Washington D.C.; Casa Di Culture, Mexico; National Academy of Sciences, Washington D.C. and America Haus in Munich Germany. Kimes splits his time between Washington D.C., as head of the Studio Art Program at American University and as the Artistic Director in the Visual Arts at Chautauqua Institution in New York.</p> <p align="center">&nbsp;</p> <p align="center">For More Information Visit our Website or Call the Gallery:</p> <p align="center">www.DeniseBibroFineArt.com</p> <p align="center">212.647.7030</p> <p>&nbsp;</p> Sat, 24 Jan 2015 21:05:02 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Boomoon - Flowers Gallery NY - March 5th - April 4th <p>Boomoon (b.1955) is a South Korean photographer currently working in Seoul and Sokcho. Since the 1980&rsquo;s, he has been engaging with natural landscapes in his work as a means of self-reflection, producing large format photographs of vast expanses of sky, sea and land. Devoid of human existence, the central emphasis of his work is the experience of the infinity of nature and the representation of its presence.</p> <p>&ldquo;<em>It is of profound importance to understand Boomoon&rsquo;s capacity to create an experiential space for the viewer and allow us to embody essential vantage points upon the optical splendor and ordering of the physical world. Significantly, Boomoon&rsquo;s camera perspective does not simulate an overtly human scale or optical perspective. He goes beyond being a photographer who offers us the sense of an omniscient but still human visual exploration of the world. Instead, his acute avoidance of a hyperbolic signature photographic style means that we are liberated viewers that can move into, above and beyond the natural phenomena that his camera explores, unhindered by an overbearing sense of his authorship.</em>&rdquo;<br />- Charlotte Cotton, taken from <em>Constellation</em>, published by Daegu Art Museum.</p> <p>Boomoon&rsquo;s debut US solo exhibition at Flowers will comprise of selected works from his series <em>Naksan</em>. Naksan is located on the east coast of the Korean peninsula, taking its name from a beach overlooking the Sea of Japan (East Sea). The series, conceived during the heavy snow storms of 2005, 2010 and 2014, is characterized by details of crashing waves on the snow covered seashore. The photographs are dominated by a blank plane in the lower half of the image where the snow has accumulated on the beach. The snow is rendered as a singular flat surface devoid of scale or perspective, accentuating the horizon line that cuts midway through the pictorial plane.</p> <p>Confronted by the vastness of Boomoon&rsquo;s immense and isolated landscapes, the viewer is presented with a meditative space in which to consider our metaphysical and spiritual connection with nature.</p> <p>The poet and critic Shino Kuraishi wrote that Boomoon&rsquo;s photographs are <em>&ldquo;so large that they extend beyond the perimeter of the human body and systematically arranging them to provide separate encounters with individual viewers, he creates sites conducive to a highly contemplative experience. Wherever I stand in front of Boomoon&rsquo;s landscapes, I am inevitably drawn into dialogue with myself.&rdquo;</em></p> Sat, 24 Jan 2015 16:33:21 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Suzanne McClelland - Team Gallery - Wooster St - February 22nd - March 22nd <p style="text-align: justify;">Team (gallery, inc.) is pleased to announce a solo show by the New York-based painter Suzanne McClelland. Entitled&nbsp;<em>Call with Information</em>, the exhibition will run from 22 February to 22 March 2015. Team (gallery, inc.) is located at 47 Wooster Street, between Grand and Broome, on the ground floor. Concurrently, our 83 Grand Street space will house&nbsp;<a href="http://www.artslant.com/ny/events/show/371413-world-with-difficulties" target="_blank"><em>World with Difficulties</em></a>,<em>&nbsp;</em>a one-person exhibition of new work by Jakob Kolding.</p> <p style="text-align: justify;">Words and numbers serve as the springboard for Suzanne McClelland's paintings, which seek to occupy the semiotic gap between representation and the represented, between a name and the thing itself. Her practice is born of extensive reading and listening, reflecting upon the resonances and overtones of words and numbers. Rather than limiting herself to the semantic and visual qualities of text, the artist examines language's complex networks of aural and optic associations. Handwriting becomes a form of drawing, a means to explore the disparity between spoken and written language. Semi-legible letters and numbers curl and twist on the canvases, bringing to mind speech's bodily genesis.</p> <p style="text-align: justify;">For this exhibition, the artist employs documents and information associated with American extremism as source material, turning her attention to domestic terrorists and hate groups. The contrast here - between the words and the extremely physical actions they describe - is pronouncedly stark. McClelland's particular interest in these people - as opposed to other violent criminals - stems from their classification as domestic terrorists, nationals considered enemies of the state. This highly specific status derives from the ideological motivation of their crimes, leading to their designation as attacks on the nation itself, rather than its inhabitants, on a discursive construction, rather than a concretely extant populace. &nbsp;</p> <p style="text-align: justify;">FBI wanted posters of domestic terrorists provide the textual source material for one series of paintings. With these works, McClelland delivers an iconoclastic take on the genre of portraiture: bits of fragmented information - a height, an alias, an eye color, a crime - allow the viewer to put together an incomplete picture of an ultimately unavailable person. Here, text acts counter-intuitively as the indication of a void, the substantiation of an absence - language is used in a failed attempt to quantify the unmeasurable. Data endeavors to recreate the human but remains inadequate and superficial: these "portraits" are devoid of interiority, of the motivations that actually define their subjects in this context. The artist takes obscurity as a subject, using shrouding, the unavailability of information, to drive her painterly gesture.</p> <p style="text-align: justify;">A large painting over contiguous canvases consists of a blind contour drawing of the United States. Over each state is written the number of extremist hate groups existing therein, based on information provided by the US Southern Poverty Law Center. A map seeks to give physical shape to the otherwise diffuse notion of nationality: McClelland's piece explores the disconnect of a country from its geography. The work serves as a response to Jasper Johns' 1961 painting, which ostensibly addresses the same subject matter. However, unlike the latter work, which is a direct treatment of the image, McClelland's piece emphasizes its periphery associations, using controversial data to inform and dictate mark-making, her culling of information creating a simultaneously informational and expressive matrix.</p> <p style="text-align: justify;">Since the mid-1980s, Suzanne McClelland has shown her work extensively in the United States and abroad. Museum solos include The Whitney Museum of American Art in New York and the Orlando Museum of Art in Florida. Her work is included in many public collections, among them The Museum of Modern Art, The Metropolitan Museum of Art and The Brooklyn Museum in New York City; The Yale University Art Gallery, the Albertina in Vienna and the Walker Art Center. McClelland participated in the 1993 and 2014 Whitney Biennials and was recently included in The New Museum's&nbsp;<em>NYC 1993: Experimental Jet Set, Trash and No Star</em>.</p> Sat, 24 Jan 2015 08:38:17 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Jakob Kolding - Team Gallery - Grand St - February 22nd - March 22nd <div style="text-align: justify;">Team (gallery, inc.) is pleased to announce a show of new work by Berlin-based, Danish artist Jakob Kolding. Entitled&nbsp;<em>World with Difficulties</em>, the exhibition will run from&nbsp;22 February through 22 March 2015. Team is located at 83 Grand Street, between Wooster and Greene. Concurrently, our 47 Wooster Street space will host&nbsp;<a href="http://www.artslant.com/ny/events/show/371415-call-with-information" target="_blank"><em>Call with Information</em></a>, an exhibition of new work by Suzanne McClelland.&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <p style="text-align: justify;">Jakob Kolding's work takes public space as its subject: the ramifications of architecture and urban design, the ways in which the controlled environment influences behavior. For this exhibition, he has created an installation made up of life-sized wooden silhouettes of people, the fronts of which feature black-and-white lambda prints, while the backs are left unadorned, displaying the birch grain and structural supports. Highly recognizable modernist imagery is presented in the manner of shooting gallery targets, 19th century dioramas and carnival cutouts. The works are neither purely pictorial nor truly sculptural, and the tension between the expectation and actuality of presentation, between their simultaneous flatness and three-dimensionality, serves to defamiliarize the white cube setting, demanding from the viewer a constant navigation of his own spatial experience.</p> <p style="text-align: justify;">The figures, by evoking ingrained archetypes both contemporary and mythological, trigger in the viewer an immediate sense of recognition. This legibility points to our cultural tendency to transform human physicality into semiotic indicator, to understand bodies as reflections of character. While their scale and placement suggest actual people, their flatness, lack of color and visible contrivance render them hieroglyphs. Kolding's gesture is theatrical, an efficient pantomime that forgoes interiority for the sake of exterior signs.</p> <p style="text-align: justify;">Kolding employs strategies of sampling and re-framing; his imagery is for the most part appropriated and collaged, frequently allowing recontextualization to serve as his primary intervening gesture. His visual vocabulary is varied in its influences and reference points - ranging from the isolated figure drawings of Robert Longo, to the artificialist illustrations of Toyen, to the constructivist designs of El Lissitzky. Often times promotion and advertisement provide raw material for the artist's practice; the installation simultaneously exploits and reflects upon the polemical nature of propaganda - its power to politicize space and potential to actualize ideology - in order to interrogate the tendency of the built Capitalist environment to stifle and obliterate individualism.</p> <p style="text-align: justify;">Kolding has exhibited in museums and galleries internationally. These include The Museum of Contemporary Art, Chicago, IL; The Stedelijk Museum, Amsterdam, The Netherlands; The Frankfurter Kunstverein, Frankfurt, Germany; Fondazione Pastificio Cerere, Rome, Italy; Overgaden-Institut for Samtidskunst, Copenhagen, Denmark; Kunstverein in Hamburg, Germany;&nbsp;CCA Wattis Institute for Contemporary Arts, San Francisco, USA;&nbsp;The Museum of Contemporary Art, San Diego, California; and&nbsp;The University of Michigan Museum of Art, Ann Arbor.&nbsp;&nbsp;He is included in numerous public collections including The Museum of Modern Art in New York.</p> Sat, 24 Jan 2015 08:38:39 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Ernst Fischer - CUE Art Foundation - February 7th - March 14th <p>CUE is pleased to present an exhibition of new works by Ernst Fischer, including large format prints and video.&nbsp;</p> <p><strong>From the essay <em>Ernst Fischer "18%"</em> by Brienne Walsh</strong></p> <p>Fischer&rsquo;s experience as a commercial photographer led to an exploration of his relationship with the camera, which he calls &ldquo;the machine.&rdquo; Almost as if he wanted to destroy that relationship, he developed a microphotography rig that allows him to capture images that are between five and 50 times larger on the focal plane than they are in the real world. These objects vary from minerals to caviar to leeches. (He jokes that microphotography is only practiced by 60-year-old men in their backyard sheds . . . and himself.)</p> <p>Using the rig to move the lens closer and closer to his subject, he takes hundreds of digital photographs at increasingly miniscule depths, which he then feeds en masse into a computer program that attempts to extrapolate information from the data to reconstitute a seamless rendering of the object. In subverting this process, Fischer &rdquo;cracks&rdquo; the algorithm, which can interpret neither the specular highlights captured by the lens nor the sheer wealth of data. Instead of an extraordinarily detailed composite of the object, the computer spits out a flat image that resembles a topographical map. What Fischer hopes these images reveal is that machines, which are supposed to be able to emulate anything, including human vision, are just machines in the end. They cannot reproduce the mechanisms of &ldquo;seeing.&rdquo; They have limits. There&rsquo;s something profoundly reassuring about that.</p> <p>In &ldquo;18%,&rdquo; Fischer brings these explorations a step further. Rather than taking pictures of an object itself, he focuses on the reflection of the light source that illuminates it. &ldquo;The object is circumscribed, like the black hole that can only be &lsquo;seen&rsquo; by virtue of it bending the light that passes close by it,&rdquo; he explains.</p> <p>The resulting images, which include a series of refractions through zinc crystals, vary from resembling oil slicks to screen noise to melting objects. He describes them as looking very &ldquo;Goya.&rdquo; Comparisons to Romantic painters, and, more specifically German Romantic painters, arise frequently in Fischer&rsquo;s explanations of his own work, almost always followed by an apology. He describes such examples as schlocky and says that any move toward painterliness is preconscious.</p> <p>&nbsp;</p> Fri, 23 Jan 2015 21:39:22 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Terry Chatkupt, Julie Orser, Marco Rios - Simon Preston Gallery - February 15th 6:30 PM - 8:00 PM <p style="text-align: justify;">While the gallery is under-going renovations, we are hosting a series of evening screenings presented by and in collaboration with artists Marco Rios, Jenny Perlin &amp; Shelly Silver. During this period we will be opened by appointment only.</p> <p style="text-align: justify;">An evening featuring three Los Angeles based artists, whose work employs philosophical and material language of cinema. Each artist will show work that references a specific film bound by shared themes of fear, anxiety &amp; obsession.</p> <p style="text-align: justify;"><em>Transferase</em> (2011) by Terry Chatkupt; <em>Judy&rsquo;s Nightmare</em> (2014) by Julie Orser; <em>Despair Beyond Despair</em> (2011) and <em>Seconds Later</em> (2013) by Marco Rios. With reference to Miracle Mile (1988); Vertigo (1958); The Bird with the Crystal Plumage (1970) and Seconds (1966) respectively.</p> Fri, 23 Jan 2015 17:26:41 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Chantal Akerman - Simon Preston Gallery - February 8th 6:30 PM - 8:00 PM <p style="text-align: justify;">While the gallery is under-going renovations, we are hosting a series of evening screenings presented by and in collaboration with artists Marco Rios, Jenny Perlin &amp; Shelly Silver. During this period we will be opened by appointment only.</p> <p style="text-align: justify;">Jenny Perlin presents Chantal Akerman&rsquo;s, <em>News From Home</em>, 1976 &ndash; 77, (85 mins). Chantal Akerman is one of the most significant filmmakers of her generation, and a leading visionaire in experimental cinema since the early seventies. In <em>News From Home,</em> letters from Akerman&rsquo;s mother are read over a series of elegantly composed shots of 1976 New York, where our (unseen) filmmaker and protagonist has relocated. This unforgettable time capsule of the city is also a gorgeous meditation on urban alienation and personal and familial disconnection.</p> Fri, 23 Jan 2015 17:20:07 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Shelly Silver - Simon Preston Gallery - January 31st 6:30 PM - 8:00 PM <p style="text-align: justify;">While the gallery is under-going renovations, we are hosting a series of evening screenings presented by and in collaboration with artists Marco Rios, Jenny Perlin &amp; Shelly Silver. During this period we will be opened by appointment only.</p> <p style="text-align: justify;">In Shelly Silver&rsquo;s <em>Touch, </em>2013, (68 mins), a man returns to his childhood home in Manhattan&rsquo;s Chinatown after fifty years to care for his ailing mother. The protagonist and narrator, who remains nameless, is a librarian, cataloguer and recorder, gay man, watcher and impersonator. <em>TOUCH</em> is an essay narrated from one man&rsquo;s point of view. But it is also fiction, for this man is a made-up person, an amalgam of research, interviews, off-the-record comments, secrets, improbabilities, and free-floating desires.</p> <p style="text-align: justify;">Shelly Silver&rsquo;s work in film, video, and photography spans an eclectic range of subject matter and genres, exploring the personal and societal relations that identify and restrict us; the indirect routes of pleasure and desire; the stories that we dream or fabricate about others, and the stories that we construct about ourselves. <em>Stories, Cities, Makeshift Structures</em>, solo exhibition is currently on view at <a href="https://slought.org/resources/stories_cities_makeshift_structures" target="_blank">Slought,</a> Philadelphia until 20 February, 2015.</p> Fri, 23 Jan 2015 17:18:06 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Jim Dine - Senior & Shopmaker Gallery - February 6th - March 28th <p style="text-align: justify;">Senior &amp; Shopmaker is pleased to announce an exhibition of early prints and drawings by Jim Dine, an artist whose singular achievement in graphic media has earned him a distinguished place in American art history of the post-war era.</p> <p id="yui_3_17_2_1_1422032992532_541" style="text-align: justify;">Now in his 80th year, Jim Dine has been active as a printmaker since 1960, according this activity equal par to his work in drawing, painting, and sculpture.&nbsp; Using the mediums of intaglio, lithography, and woodcut to transformational effect, Dine has developed a lexicon of now legendary images.&nbsp; One of the primary themes in the early prints is the depiction of man-made objects isolated from their normal functions, which through Dine&rsquo;s expert hand, take on uncanny personae and character attributes. Among his other signature images, such as hearts, robes, and paintbrushes, tools have served as autobiographical stand-ins relating in part to childhood memories of a family-owned hardware store in Cincinnati. This imagery can also be read as a metaphor for art making, or &ldquo;the extension of the hand&rdquo; in Dine&rsquo;s words.&nbsp; The exhibition includes a rare set of hand-colored lithographs, <em>Ten Winter Tools (Handcolored)</em>, consisting of expressionistically drawn objects: a wrench, scissors, awl, fork, spoon, etc., to which the artist added understated touches of watercolor. Each is depicted on a separate sheet in serial fashion, hinting at nascent developments in minimal and conceptual art of the time. The series was created in a small edition of ten unique sets. <em>Tools-The Rainbow</em>, 1970, is one of Dine&rsquo;s earliest lithographs, and is also hand-colored with collage additions. In <em>Five Paint Brushes (first state)</em>, 1972, Dine exploits the expressive potential of etching, bringing a row of brushes to life in magical fashion. Also on view are two pastel and pencil drawings from 1962: <em>Scissor</em> and <em>Blue Crescent Wrench</em>.</p> <p style="text-align: justify;">Dine&rsquo;s paintings, sculptures, photography, and prints have been the subject of nearly 300 solo exhibitions worldwide. In 2011, the Jim Dine Print Archive was established at the Museum of Fine Arts, Boston. Consisting of more than 900 works, it is the largest repository of the artist&rsquo;s graphic work.</p> Sat, 24 Jan 2015 06:42:23 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list - Recess Activities, Inc. - January 22nd - March 14th <p style="text-align: justify;">On January 22, PK Worryshop will begin work on Movie in a Bar Mirror, as part of Recess&rsquo;s signature program, Session. Session invites artists to use Recess&rsquo;s public space as studio, exhibition venue and grounds for experimentation.</p> <p style="text-align: justify;">Over the course of their Session, PK Worryshop will explore the cinematic trope of the &ldquo;sad bar&rdquo; along with the historical use of private cinema viewing machines in such establishments.</p> <p style="text-align: justify;"><br /> PK Worryshop will use their Session to deconstruct the cinemascope into its component parts and reassemble them in skewed perspective. Through the use of projections and live and recorded sound, PK will transform the entirety of Recess into their own &ldquo;cinematic sadness machine,&rdquo; a Mirroscope into which visitors can step. The storefront of Recess will act as the screen of this Mirroscope viewing machine, turning the viewing inside out on itself.</p> <p style="text-align: justify;">Midway through their Session PK will lead a &ldquo;sad bar crawl&rdquo; through Soho using songs from sad bar scenes as waypoints.<br /> The videos and film works that will be viewed on the Mirroscope will be produced within the space by PK Worryshop and collaborators over the course of their Session.</p> <p style="text-align: justify;">About the Artist:<br /> PK is a collaborative attempt founded in 2013 by Kaila Guilmet and Porter Diteman, whose Worryshop is based in various zones in the New York City metropolitan area. The drift of PK can be likened to the recurrent locating of a History that sits discretely beside the loud and well-spoken orator.</p> <p style="text-align: justify;">http://www.pkworryshop.com/</p> <p style="text-align: justify;"><a href="http://www.recessart.org/wp-content/uploads/Screen-Shot-2014-08-28-at-2.57.11-PM.png"><img class=" wp-image-9412 alignnone" src="http://www.recessart.org/wp-content/uploads/Screen-Shot-2014-08-28-at-2.57.11-PM.png" alt="Supporters" width="172" height="89" /></a></p> <p style="text-align: justify;">This program is supported, in part, by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature and public funds from the New York City Department of Cultural Affairs in partnership with the City Council. This project is also supported in part by an award from the National Endowment for the Arts. Art Works.</p> <p style="text-align: justify;">Songs from a Sad Bar Crawl: Feb. 12, 6-8pm<br /> Mirroscope switches on: March 12, 6-8pm</p> Fri, 23 Jan 2015 17:09:39 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Antoni Tapies - Pace Gallery - 57th St. - February 12th - March 21st <p style="text-align: justify;">Pace is pleased to announce Antoni T&agrave;pies 1923&ndash;2012, the artist&rsquo;s first exhibition in New York since his death in 2012. On view at 32 East 57th Street from February 12 to March 21, 2015, the exhibition will present paintings, sculpture and works on paper. A concurrent exhibition of the artist&rsquo;s prints will be on view at Pace Prints from February 19 to March 21.</p> <p style="text-align: justify;">A new catalogue accompanying the exhibition will feature essays by Dore Ashton, Dan Cameron and Barbara Rose as well as an interview with the artist by Manuel J. Borja-Villel. These texts, all commissioned during Pace&rsquo;s more than twenty-year relationship with T&agrave;pies, will appear together for the first time in this new volume.&nbsp;</p> <p style="text-align: justify;">Pace&rsquo;s exhibition coincides with T&agrave;pies: From Within, a survey exhibition curated by former Tate Modern director Vicente Todol&iacute; that will be on view at the P&eacute;rez Art Museum Miami from February 6 to May 3, 2015.&nbsp;</p> <p style="text-align: justify;">In the nearly seven decades of his career, T&agrave;pies created a prolific and singular body of work that redefined painting and influenced future generations of artists. Presenting work made between the 1960s and his death, this will be the first exhibition at Pace to span multiple decades of the twentieth-century master&rsquo;s work.</p> <p style="text-align: justify;">Following the Spanish Civil War and World War II, T&agrave;pies sought to develop a new kind of painting. In the 1950s he began making his first matter paintings using materials such as marble dust and resin. These paintings positioned T&agrave;pies as a leading figure in Europe&rsquo;s avant-garde and signaled the beginning of a lifelong investigation of materials and forms that made him one of the most influential postwar artists.&nbsp;</p> <p style="text-align: justify;">Symbols drawn from his Catalonian heritage and studies of Eastern and Western spiritual traditions recur across the artist&rsquo;s work. Dan Cameron notes that these markings &ldquo;proliferate as a kind of. . . handwriting,a way for T&agrave;pies to make a mark in space which connects with the deepest human impulse to communicate through sign.&rdquo;</p> <p style="text-align: justify;">For T&agrave;pies, these markings and his handling of humble materials constitute what Barbara Rose describes as an act of consubstantiation. Describing the ritualistic dimension of the artist&rsquo;s work, she writes that &ldquo;the essential act for T&agrave;pies is not depiction or representation but the transformation of matter into spirit.&rdquo; She adds that for T&agrave;pies, art&rsquo;s purpose &ldquo;is to alter and heighten consciousness, bringing us into contact in the most powerful way with reality, not as it is pictured but as it literally exists in time and space.</p> <p style="text-align: justify;">Antoni T&agrave;pies (b. 1923, Barcelona; d. 2012, Barcelona) was a leading figure in Spain&rsquo;s postwar art movement. The artist participated in multiple clandestine artist groups during the 1940s and early 1950s, including the influential Dau al Set that he cofounded in Barcelona; a decade later, he was briefly associated with Group Zero. In 1950, T&agrave;pies had his first solo exhibition, and was hailed as a leading voice in Art Informel. In 1953, he had two solo exhibitions in the United States. In 1984, he established the Fundaci&oacute; Antoni T&agrave;pies, which hosts symposia and rotating exhibitions as well as one of the largest collections of the artist&rsquo;s work. T&agrave;pies represented Spain at the 45th Venice Biennale in 1993, for which he was awarded the Golden Lion. His work was featured in three other exhibitions at the Venice Biennale between 1952 and 1967, as well as multiple editions of the Carnegie International and Documenta. Other important group exhibitions include New Spanish Painting and Sculpture, The Museum of Modern Art, New York (1960); Art and Utopia. Action Restricted, Museu d'Art Contemporani de Barcelona (2004); and Destroy the Picture: Painting the Void, 1949&ndash;1962, Museum of Contemporary Art, Los Angeles (2012&ndash;13).</p> <p style="text-align: justify;">T&agrave;pies has been the subject of numerous one-artist exhibitions at venues including the Solomon R. Guggenheim Museum, New York (1962, 1995); Louisiana Museum of Modern Art, Humleb&aelig;k, Denmark (1974); The Seibu Museum of Art, Tokyo (1976); Albright-Knox Art Gallery, Buffalo, NY (1977); Stedelijk Museum, Amsterdam (1980); Museo Nacional Centro de Arte Reina Sofia, Madrid (1990, 2005); The Museum of Modern Art, New York (1992); Schirn Kunsthalle, Frankfurt (1993); Galerie Nationale du Jeu de Paume, Paris (1994); Museum of Contemporary Art, Kagawa (1996); Museu d&rsquo;Art Contemporani de Barcelona (2004); Dia Center for the Arts, Beacon, NY (2009); Museum f&uuml;r Gegenwartskunst Siegen, Germany (2011); and Guggenheim Bilbao (2013).</p> <p style="text-align: justify;">His work is represented in nearly one hundred collections internationally such as the Albright-Knox Art Gallery, Buffalo, NY; Galerie f&uuml;r Moderne Kunst, Hannover; Guggenheim Bilbao; Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington;Kunstmuseum Basel; Louisiana Museum of Modern Art, Humleb&aelig;k, Denmark; Moderna Museet, Stockholm;, Mus&eacute;e d&rsquo;Arte Moderne de la Ville de Paris; Mus&eacute;e d&rsquo;art Moderne, Centre Georges Pompidou, Paris; Museo de Arte Contempor&aacute;neo Internacional Rufino Tamayo, Mexico City; Museo Nacional Centro de Arte Reina Sof&iacute;a, Madrid; Museum Ludwig, Cologne; The Panza Collection, Museum of Contemporary Art, Los Angeles; Museum of Fine Arts, Boston; The Museum of Fine Art, Houston; The Museum of Modern Art, New York; Nationalgalerie, Berlin; San Francisco Museum of Modern Art; Solomon R. Guggenheim Museum, New York; Stedelijk Museum, Amsterdam; Tate Gallery, London; Tehran Museum of Contemporary Art; and Yale University Art Gallery, New Haven, CT.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">This exhibition is T&agrave;pies&rsquo; ninth at Pace and first since his death in 2012. &nbsp; </p> Fri, 23 Jan 2015 17:05:56 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Amaryllis DeJesus Moleski, Sheena Rose - Museum of Contemporary African Diasporan Arts (MoCADA) - February 7th - May 31st <p style="text-align: justify;"><em>Vision Quest </em>is a collection of whimsical, visual tales of powerful female protagonists on earthly and otherworldly adventures. Artists Amaryllis DeJesus Moleski and Sheena Rose use works on paper, hand-drawn animations and mixed-media works to recount their experiences and create new stories of voyages through time and space. Existing at the crux of the playful and the political, the artists have invented their own visual languages to document women&rsquo;s stories in ways that diverge from dominant narratives of female experience. Each body of work exists as a travel narrative that blurs the lines between past, present and future, and invites viewers to faraway lands while exposing the magic that exists all around us.</p> <p style="text-align: justify;">In Amaryllis DeJesus Moleski&rsquo;s drawings, imagined futuristic mythologies are born. Her characters transport spectators to other dimensions, and tell stories of a potential future where femininity and queerness are valued and exalted. Referencing Egyptian hieroglyphics, beauty products, comics, spiritual archetypes and outer space, Amaryllis creates visionary accounts of beings who exist at the intersection of goddess and human. By defying eurocentric art historical rules of proportion and scale, Amaryllis&rsquo; characters exist authentically, and invite onlookers to do the same. Sheena Rose uses hand-drawn lines to document her everyday experiences and perceptions of the world around her. Originally from Barbados, West Indies, Sheena is a world-traveller. She photographs her journeys across the globe and translates them into a unique language of lines, making each place she visits her own. Through line weight, texture, repetition and mixed-media interventions into her drawings, Sheena captures the energy of each landscape she illustrates. Viewers are given the opportunity to see the world through her eyes, from her particular physical perspective. Each drawing is an act of agency, personal reflection and connection to her viewers. Amaryllis and Sheena&rsquo;s practices are simultaneously tools for personal processing and public calls for self-determination.</p> <p style="text-align: justify;"><em>Vision Quest</em> examines travel, whether cross-continental or to another galaxy, as a tool for escaping the confines of stereotypes, and an opportunity for self-exploration and definition. The artists&rsquo; use of widely accessible materials &mdash; including pens, markers, watercolor, and computer and construction paper &mdash; reflects their desires to connect with their viewers in a relatable way and bring them into the artistic process. From disparate angles of the supernatural and the everyday, <em>Vision Quest</em> highlights the importance of documentation, storytelling and record keeping from one&rsquo;s own point of view. <em>Vision Quest</em> emphasizes the power of art to transport us from our current realities and inspires us to embark on quests of our own.</p> <p style="text-align: justify;"><strong>Opening Reception on Saturday, February 7 | 6-9PM, with&nbsp;</strong><strong>Sounds by Ushka</strong></p> Fri, 23 Jan 2015 16:50:26 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Group Show - Moeller Fine Art New York - January 19th - March 14th <p style="text-align: justify;">Moeller Fine Art is pleased to announce &ldquo;Looking at Drawings,&rdquo; on view January 19 &ndash; March 14, featuring nineteenth and twentieth century works on paper from private collections, many on the market for the first time. Highlights include a suite of caricatures by French court painter Jean-Baptiste Isabey from the distinguished collection of the Marquis Philippe de Chennevi&egrave;res, early charcoal nudes by Otto Dix, and important watercolors from Erich Heckel to Paul Klee and from Mark Tobey to Yayoi Kusama.</p> Fri, 23 Jan 2015 16:48:07 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list James Benning, Peter Hutton - Miguel Abreu Gallery Orchard St - January 24th - March 8th <p style="text-align: justify;">Miguel Abreu Gallery is pleased to announce the opening, on Saturday, January 24, of <em>Nature is a Discipline</em>, an exhibition of film and video works by James Benning and Peter Hutton.</p> <p style="text-align: justify;">Internationally recognized as two of the most accomplished American filmmakers of their generation, Benning and Hutton have been making motion pictures since the early 1970s; up until just the past few years, both have primarily worked in 16mm. The two men have related interests in documenting our modern relationship to landscapes, both natural and manmade, but do so with distinct approaches and sensibilities that have evolved over the decades. Recently, they have each responded to the increased difficulties of working in small-gauge celluloid by turning to new technologies. Since 2009, Benning has abandoned film to create new moving-image work exclusively using video, ranging from high-definition cinematography to appropriated YouTube clips, while Hutton has begun transferring work produced on 16mm to digital formats for screening.</p> <p style="text-align: justify;">As a result of this shift to digital, both artists have begun making pieces intended for installation in galleries and museum spaces, in addition to new works for theatrical projection in cinemas. <em>Nature is a Discipline </em>presents three recent installations that will show for the first time in New York: Hutton&rsquo;s <em>At Sea </em>(2004-07) and <em>Three Landscapes </em>(2013), and Benning's <em>Tulare Road </em>(2010).</p> <p style="text-align: justify;"><em>At Sea </em>is a new iteration of Hutton's longform 16mm work of the same name, transformed into three looping channels that echo the tripartite structure of the earlier film. Hutton, himself a former seaman with the Merchant Marines, documents the life of a modern cargo ship through each of these sections, from a ship&rsquo;s construction in a South Korean port, to frosty journeys across the northern Atlantic, to workers disassembling a rusting ship for scrap on the shores of the Indian Ocean. <em>Three Landscapes </em>is also composed of three parts, but here the sections play off one another in ways more comparative than narrative. Each channel examines groups of laborers in vastly different locales: salt miners in the deserts of Ethiopia, farm workers in the green Hudson Valley, and bridge repairmen in post-industrial Detroit. As with Hutton&rsquo;s 16mm films, both <em>At Sea </em>and <em>Three Landscapes </em>are projected silently, allowing for a deeper engagement with their remarkable sense of composition and elegantly unhurried pace.</p> <p style="text-align: justify;">Benning shot <em>Tulare Road </em>on a highway in California's Central Valley, an area that the director had previously explored in his film <em>El Valley Centro </em>(2000). Here, the only part of the SoCal landscape pictured is a lonely stretch of road extending to a distant horizon. Shot three times and presented on three adjoining channels, each version displays an almost identical composition of land and road under different weather formations, from dense fog to cloudy blue skies. The startling clarity of HD video plays against the landscape&rsquo;s eerie stillness, broken intermittently by the rising and falling roar of passing cars or trucks. While Benning has always gravitated towards a kind of minimalism in his filmmaking, his work in the last decade has, at times, become ever more formally attenuated, and <em>Tulare Road </em>continues his interest in the extended long take framed by a fixed camera, here enhanced by the repetition of the multiple channels and their infinite looping. &ldquo;I have an interest in exploring space-time relationships through film,&rdquo; Benning has stated. &ldquo;There&rsquo;s real time, and there&rsquo;s how we perceive time.</p> <p style="text-align: justify;">Time affects the way we perceive place. That&rsquo;s where I get this idea of &lsquo;looking and listening.&rsquo; In my films, I&rsquo;m very aware of recording place over time, and the way that makes you understand place. Once you&rsquo;ve been watching something for a while, you become aware of it differently.&rdquo;1</p> <p style="text-align: justify;">Writing on <em>At Sea</em>'s theatrical version for <em>Artforum</em>, P. Adams Sitney argued that Hutton&rsquo;s work is exemplary of the longstanding influence of Emersonian ideas on the American avant-garde cinema, particularly Emerson&rsquo;s belief that we can teach ourselves to experience the world, through looking, in ways that can lead to deep aesthetic insights. In <em>Nature </em>(1836), Emerson argues that &ldquo;nature is a discipline;&rdquo; rather than merely an inert set of objects to behold, nature constitutes the entirety of that from which we derive our subjective experiences. By honing this discipline of nature, we may achieve a kind of enlightenment. Filmmakers like Hutton and Benning have, furthermore, been able to extend this practice of looking, through the technologies of cinema, into ever-new areas.</p> <p style="text-align: justify;">Sitney writes that in Hutton&rsquo;s work, for example, &ldquo;subtle fluctuations in the visible field&mdash;of light, or figures and objects in motion, or slight camera movements&mdash;configure the ecstatic concentration of the filmmaker&rsquo;s attention.&rdquo;2 Benning himself may be echoing Emerson when he writes that &ldquo;seeing is a discipline,&rdquo; and has also favored a similar quote by Henry Thoreau: &ldquo;No method nor discipline can supersede the necessity of being forever on the alert. What is a course of history, or philosophy, or poetry, no matter how well selected, or the best society, or the most admirable routine of life, compared with the discipline of looking at what is to be seen?&rdquo;3</p> <p style="text-align: justify;">Nathaniel Dorsky, another contemporary of Benning and Hutton&rsquo;s, has spoken of this discipline of looking in spiritual terms&mdash;what he calls a &ldquo;devotional cinema&rdquo;&mdash;but one need not turn to religion to understand these artists&rsquo; shared reverence for the continued possibilities of the photographic image, both in its content and its materials, in its specific colors, light properties, and moods. Years before cinema&rsquo;s birth, Emerson imagined that the sensory encounter with nature could itself be a form of philosophical engagement, a way to better understand the self. If technology has continued to create new augmentations to human sight, then, these artists suggest, we may still find new pathways to insight as well through these same means. But in order to discover this, to continue to think about our place in the landscape, we must, like good sailors, remain on watch.</p> <p style="text-align: justify;"><em>A series of screenings of 16mm films by Benning and Hutton will accompany the exhibition; further details will follow in a future press release.</em></p> <p>1 Interview with Danni Zuvela, <em>Senses of Cinema</em>, October 2004.</p> <p>2 P. Adams Sitney, &ldquo;Immanent Domain: P. Adams Sitney on the films of Peter Hutton,&rdquo; <em>Artforum</em>, May 2008.</p> <p>3 James Benning, &ldquo;Life is Finite,&rdquo; Wexner Center for the Arts Blog, September 30, 2008.</p> <p style="text-align: justify;"><em>&nbsp;</em></p> Fri, 23 Jan 2015 16:33:05 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list