Current Exhibitions & Events | ArtSlant en-us 40 Mark Morrisroe - Alexander and Bonin - October 15th - December 22nd Wed, 14 Sep 2016 17:00:09 -0300 Ree Morton - Alexander and Bonin - October 15th - December 22nd Wed, 14 Sep 2016 17:00:16 -0300 Willie Doherty - Alexander and Bonin - October 15th - December 22nd Wed, 14 Sep 2016 17:02:54 -0300 Henry Leutwyler - Foley Gallery - November 3rd - January 8th, 2017 <p>Foley Gallery is pleased to present <strong>Document,</strong> an exhibition chronicling a twelve-year project by iconic photographer <strong>Henry Leutwyler.</strong> This will be the artist&rsquo;s <em>third</em> exhibition with the gallery.</p> <p>Document will feature a variety of possessions removed from their environment and intimately photographed as artifacts or bookmarks of our own understanding of American History. Representing icons of music, sports, politics and Hollywood, these still-life portraits invite the viewer to explore and perhaps better understand the owners to which the items once belonged.</p> <p>These previously owned objects directly or indirectly associate themselves to the person or to a particular time in our own history. Some are tools of the trade, others are more common and mundane; a glove worn by Michael Jackson, a guitar that once belonged to Prince, Jack Ruby&rsquo;s handgun and a key that turned the lock of James Dean&rsquo;s door at the Iroquois Hotel. All stoic images, now endowed with new meaning and emotion once their owners are identified. This revelation raises their status and comes to signify events or entire lives of those that we remember so well as being pioneers, great achievers or simply dark and notorious for the actions they took during their lifetime.</p> <p>The Document exhibition follows Leutwyler&rsquo;s third publication with Steidl. The October 2016 release of the book (bearing the same name) will include 208 pages and 123 color images that cover Leutwyler&rsquo;s extensive career.</p> <p>Leutwyler was born in Switzerland in 1961. Before settling in New York City, He lived in Paris for ten years, and began photographing the Ballet Bejart Dance Company. He travelled extensively with the company before focusing on theater and the arts. Leutwyler&rsquo;s past subjects include Michelle Obama, Julia Roberts, Tom Wolfe, Beyonc&eacute; Knowles, Martin Scorsese, and Spike Lee. His work has been featured in the New York Times Magazine, Portfolio, Esquire, Vogue, Vanity Fair, The New Yorker, and Time. His works have earned him the ASME 2008 Magazine Cover of the Year Award and Graphis Magazine 2008 Photographer of the Year.</p> <p>Document will remain on view through January 8th, 2017. Foley Gallery is open Wednesday through Saturday, 11 &ndash; 6pm, Sunday 12 - 6. To request images, please contact the gallery at 212.244.9081 or</p> Fri, 16 Sep 2016 12:57:43 -0300 Group Show - IPCNY International Print Center New York - October 1st - December 3rd <p style="text-align: justify;">International Print Center New York (IPCNY) presents&nbsp;<strong><em>Black Pulp</em></strong><em><strong>!</strong>,&nbsp;</em>an exhibition that examines evolving perspectives of Black identity in American culture and history from 1912 to 2016 through contemporary works of art and rare historical printed media. The exhibition includes works by artists, graphic designers, and publishers in formats ranging from little known comic books to covers for historic books and magazines, to etchings, digital prints, drawings, and media-based works by some of today&rsquo;s leading artists. The exhibition is organized by artists William Villalongo and Mark Thomas Gibson, and is accompanied by an illustrated catalogue, extensive didactics, and free public programming.</p> <p style="text-align: justify;">The exhibition features contemporary works by an intergenerational group of 21 artists from the Black diaspora: Derrick Adams, Laylah Ali, Firelei B&aacute;ez, Nayland Blake, Robert Colescott, Renee Cox, William Downs, Ellen Gallagher, Trenton Doyle Hancock, Lucia Hierro, Yashua Klos, Kerry James Marshall, Wangechi Mutu, Lamar Peterson, Pope.L, Kenny Rivero, Alexandria Smith, Felandus Thames, Hank Willis Thomas, Kara Walker, and Fred Wilson.</p> <p style="text-align: justify;"><strong><em>Black Pulp!</em></strong><em>&nbsp;</em>situates these works in the context of rare historical books, comics, newspapers, and related ephemera, from Alain LeRoy Locke&rsquo;s&nbsp;<em>The New Negro&nbsp;</em>(1925) and Wallace Thurman&rsquo;s quarterly&nbsp;<em>Fire!!: Devoted to the Younger Negro Artists&nbsp;</em>(1926) to Jackie Ormes&rsquo; comic strip&nbsp;<em>Torchy in Heartbeats&nbsp;</em>(1953). Other historical artists and writers on view are Gwendolyn Bennett, E. Simms Campbell, Miguel Covarrubias, Charles Cullen, Countee Cullen, Sadie Iola Daniel, Aaron Douglas, Emory Douglas, W.E.B. Dubois, George J. Evans, Jr., Elton C. Fax, Billy Graham, Oliver W. Harrington, George Herriman, Alvin Hollingsworth, Langston Hughes, Zora Neal Hurston, Charles S. Johnson, James Weldon Johnson, Lois Mailou Jones, Jacob Lawrence, Gertrude McBrown, Dwayne McDuffie, Owen Middleton, Richard Bruce Nugent, Laura Wheeler Waring, Charles White and Carter G. Woodson.</p> <p style="text-align: justify;"><a href="" target="_blank"><strong>New Benefit Editions</strong></a> by Mark Thomas Gibson available for purchase on the occasion of <em>Black Pulp!</em></p> <p style="text-align: justify;"><strong>Free Public Program</strong><br /> <strong><em>Strategic Existence: Satire, Comics, and Authorship</em></strong><br /> A panel discussion &amp; musical event on&nbsp;Saturday, October 22, 7:30&ndash;9:30pm<br /> School of Visual Arts (SVA) Theatre,&nbsp;333 West 23rd Street, NYC</p> <p style="text-align: justify;">Panelists: exhibiting artists Trenton Doyle Hancock and Laylah Ali, and Ariell Johnson of Amalgam Comics &amp; Coffeehouse in Philadelphia.<br /> Moderated by Michael B. Gillespie, Assoc. Prof. of Film at CCNY and author.<br /> Introductory remarks <em>Making Black Modern: An Historical Grounding</em>&nbsp;by Caroline Goeser, PhD and author.&nbsp;A special live musical performance by writer and musician Greg Tate and Burnt Sugar Arkestra&nbsp;Chamber will accompany this event. <strong><em>Black Pulp!</em></strong> curators William Villalongo and Mark Thomas Gibson will&nbsp;welcome the participants.</p> <p style="text-align: justify;">RSVP to&nbsp; The event is preceded by extended viewing hours of&nbsp;<strong><em>Black Pulp!</em></strong>&nbsp;at IPCNY from 6&ndash;7pm.</p> <p style="text-align: justify;"><strong>Credits</strong><br /> <strong>Black Pulp!</strong> at IPCNY is made possible through the generous support of Katherine Farley and Jerry I. Speyer, Agnes Gund, Sara and Joshua Slocum, Marnie S. Pillsbury, Bernard I. Lumpkin and Carmine D. Boccuzzi, and Peggy Cooper Cafritz.</p> Sat, 24 Sep 2016 14:44:11 -0300 Siah Armajani - Alexander Gray Associates - October 27th - December 17th <p style="text-align: justify;">Alexander Gray Associates presents its second exhibition of work by Siah Armajani (b.1939), featuring recent works from the &ldquo;Tomb Series&rdquo; (1972&ndash;present).</p> Fri, 07 Oct 2016 04:48:13 -0300 Mary Carlson - Elizabeth Harris Gallery - October 20th - December 3rd <blockquote> <p style="text-align: justify;">&ldquo;Descend, so that you may ascend." -<em> St. Augustine, Confessions</em><br />&ldquo;Vast Chairs of upturned faces, line o&rsquo;er line, Then my blood froze, for every face was mine." - <em>G.K.Chesterton, The Mirror of Madmen</em><br />&ldquo;Pleased to meet you." - <em>Mick Jagger/Keith Richards, lyrics from Sympathy for </em><em>the Devil</em><br /><br /></p> </blockquote> <p style="text-align: justify;">Mary Carlson's third exhibition at Elizabeth Harris Gallery, <em>Demons</em>, is a continuation of her 2014 show called Paradise which consisted of sculptures of various saints. Adam and Eve, and flowers made out of glazed porcelain. This exhibition starts with Shame, a figure referencing Massacio's Expulsion and goes on to depict various demons and figures - many inspired by Giotto's Scrovegni chapel in Padua, Italy. They range from the human-like demons in the last judgment, where people are swallowed, pushed and pulled in hell, to the figures elsewhere in the chapel - Envy, Judas, and Joachim. Envy is shown with an outreaching arm, a bag of money in the other, and a snake coming out of her mouth which then circles back to her forehead. Judas has a demon at his back whose paw is gently touching his shoulder. Joachim has gone to the desert to decide whether or not he should leave his wife, Anne. He has a dream and decides to stay with his wife and they become the grandparents of Jesus.</p> <p style="text-align: justify;">The show also includes St. Anthony the Great inspired by Martin Schongauer&lsquo;s etching of The Temptation of St. Anthony. St. Anthony lived in the desert in partial or complete isolation. He was haunted by illusions of wild beasts, snakes, wolves and scorpions. which would disappear once he verbally confronted them. After Anthony emerged from his isolation legend has it that he appeared serene and in good health. In Carlson's version the demons are not included but Anthony appears off-balance nevertheless.</p> <p style="text-align: justify;">Carlson is especially fond of various representations of Saint Margaret of Antioch - from the Western Church's depiction of her emerging from the body of a demon, to the Eastern Church's depiction of Margaret going after a demon with a hammer. Here's the story - Margaret of Antioch lived in the 4th century, and was asked by a Roman Governor to marry, but she refused. He threw her in a dungeon with a dragon who proceeded to swallow her. She escaped by tickling its innards and emerged intact. She is always depicted standing up; therefore not a victim. St. Margaret is also the patron saint of childbirth. pregnant women, and kidney diseases.<br /><br />Throughout her career, Carlson has depicted everything from furniture and dishes to US flags, underwater creatures and birds. In this show she uses as a starting point, paintings. frescos and manuscripts of various religious themes. She is a recipient of a John Simon Guggenheim Fellowship, grants from the National Endowment for the Arts, New York Foundation for the Arts. and 0 Louis Comfort Tiffany Fellowship in 2015. The artist would like to gratefully acknowledge the Louis Comfort Tiffany Foundation for their support. She has shown her work at the Venice Biennale. Vienna Kunsthalle. KOnstlerhaus Bathanien Berlin, the New Museum. ArtOmi, and many galleries in the US.<br /><br />Mary Carlson was born in Stevens Point, Wisconsin and she lives and works in New York City and upstate New York.<br /><br />The gallery is located at 529 West 20th Street, 6th floor, and is open Tuesday through Saturday 11-6. There will be a reception for the artist on Thursday. October 20th from 6-8pm.<br /><br />For further information contact Miles Manning at 212 463-9666.</p> Tue, 18 Oct 2016 10:14:18 -0300 Martha Clippinger - Elizabeth Harris Gallery - October 20th - December 3rd <p style="text-align: justify;">Elizabeth Harris Gallery is pleased to present<em> &iexcl;Loter&iacute;a!</em>, the gallery's third solo exhibition of works by Martha Clippinger. Located at 529 W 20th Street, 6th floor. The gallery is open Tuesday through Saturday,11:00am-6:00pm. The exhibition will run from October 20- December 3. 2016, with a reception for the artist on Thursday, October 20th.<br /><br />In <em>&iexcl;Loter&iacute;a!</em>, Clippinger presents recent painted wood constructions and mixed-media collages where color. geometry, and texture are all constants. The title of the exhibition takes its name from La Loter&iacute;a, a Mexican game of chance played on a gridded game board, is reflected in the broadside for the exhibition, which includes an essay by Stephanie Buhmann.<br /><br />Clippinger embraces a variety of materials and continues to produce works that blur the line between painting and sculpture. After spending the majority of 2014, living and working in Oaxaca, Mexico through the support of a Fulbright grant. Clippinger's recent works reflect encounters with the textiles, architecture. and light of the region.<br /><br />As Buhmann notes in her essay for <em>&iexcl;Loter&iacute;a!&nbsp;</em></p> <p style="text-align: justify;">&ldquo;Intuitive, experimental, and flexible, Clippinger is an artist who allows herself to make unexpected discoveries and to let her materials guide some of her decision-making process. Nevertheless. it is the grid that serves as stabilizing agent; it is from where Clippinger's constructed. painted and woven forms grow and against what they lean. The dichotomy of improvisation and structure marks the core of Clippinger's oeuvre."<br /><br />Born in Columbus, Georgia, Martha Clippinger received a BA from Fordham University and an MFA from Mason Gross School of Art, Rutgers University. She has been a fellow at the Sam and Adele Golden Art Foundation. MacDowell Colony. Edward F. Albee Foundation, and the Marie Walsh Sharpe Art Foundation. Clippinger has received numerous grants and awards, including a 2014 American Academy of Arts and Letters Purchase Award and a 2013 Fulbright-Garcia Robles research grant completed in Oaxaca. Mexico. Recent exhibitions include: Fleisher-Ollman Gallery. Philadelphia, PA: c2c Project Space, San Francisco, CA: Artspace, Raleigh, NC; Dorsky Gallery Curatorial Programs, Minus Space. and others in New York. Her work is included in several public collections including the Nerman Museum of Contemporary Art, Overland Park, KS. Capital One Corporate Collection, Richmond, VA, and the University of Texas Southwestern Medical Center, Dallas, TX. Her work has been featured in The Brooklyn Rail, Hyperallergic, and The Huffington Post. She is represented by Elizabeth Harris Gallery and lives and works in Durham, North Carolina.<br /><br />For further information please contact Miles Manning at 212 463 9666.</p> Tue, 18 Oct 2016 10:04:38 -0300 Carolee Schneemann - Galerie Lelong - October 21st - December 3rd <p style="text-align: justify;"><br />In their first joint exhibition since announcing dual representation in 2015, P&bull;P&bull;O&bull;W and Galerie Lelong are pleased to present the two-part solo exhibition by Carolee Schneemann, <a href="" target="_blank"><em>Further Evidence - Exhibit A</em></a> and <em>Further Evidence - Exhibit B</em>. Taking Schneemann&rsquo;s research on both the physical and metaphorical manifestations of the body as its starting point, the exhibition merges Schneemann&rsquo;s critical but lesser-known works of the eighties, nineties, and the present. Both presentations are centered on representation of bodies in captivity and visualizations of repressed histories of control and confinement. Though Schneemann&rsquo;s works from the sixties and seventies involving performance and the body are widely known, her later works have not received the same critical attention. <em>Further Evidence &ndash; Exhibit A</em> and <em>Further Evidence &ndash; Exhibit B</em> present a crucial selection of later works, highlighting in particular Schneemann&rsquo;s large-scale, multi-media installations that incorporate her research, installations, film, and video.<br /> <br /><em>Further Evidence - Exhibit A</em> at P&bull;P&bull;O&bull;W will present the rarely-seen <em>Known/Unknown: Plague Column</em> (1995-6), an installation which combines collage, sculptures, wall texts, photographs, and video. The title refers to a Viennese plague column from the 17th century, in which the bubonic plague is represented as a witch; the victory over disease is imagined as the conquering of an unruly and malignant femininity. Video loops of enlarged permutated cancer cells are juxtaposed with grids of religious icons. The savagery of the witch hunt and of breast cancer itself are unified within the maligned body, both feared and desired. <em>Known/Unknown: Plague Column</em> asks: Is there a continuity between this representation of the plague and our more recent imagination about cancer, a link between witch hunts and the current warfare model of cancer treatment?<br /> <br />Morphological vocabularies which originate in dreams initiate Schneemann&rsquo;s process. <em>Fresh Blood - A Dream Morphology</em> (1981-7), also on view at P&bull;P&bull;O&bull;W, began with a dream dominated by imagery of a bouquet of dried leaves and an umbrella. These images were united by the common form they shared &ndash; a &lsquo;V&rsquo; shape. Schneemann composed a visual vocabulary of related &lsquo;V&rsquo; forms in a series of works in varying media over the course of ten years.<br /> <br />The two multi-media installations on view in <em>Further Evidence &ndash; Exhibit B</em> at Galerie Lelong have an antecedent in Schneemann&rsquo;s works protesting the Vietnam War, including her films <em>Viet-Flakes</em> (1965), <em>Snows </em>(1967), and <em>Souvenir of Lebanon</em> (1983). These works activate Schneemann&rsquo;s characteristic process of collecting, filming, editing, and then exposing images which are suppressed. Commissioned by the Tate Liverpool in 2009, and on view in New York for the first time, <em>Precarious </em>is a multi-channel video installation. A motorized mirror system rotates the imagery 360 degrees to physically encapsulate the viewer. <em>Precarious </em>was motivated by Schneemann&rsquo;s research into the torture of animals, including photographs of cats in cages captured for Chinese food, as well as sequences of animals and prisoners dancing in captivity. Fleeting sequences in which a bird, a bear, prisoners, and Schneemann dancing are edited together within the shifting frames of cages and the confinement of the video format itself.<br /> <br /><em>Exhibit B</em> includes <em>Devour</em> (2003), a dual-channel video installation. The work is built upon the juxtaposition between what Schneemann terms the &ldquo;ecstatic normal&rdquo; of quotidian moments and atrocities. &ldquo;Evanescent, fragile elements&rdquo; of domesticity are contrasted with &ldquo;violent, concussive, speeding fragments&rdquo; of &ldquo;political disasters&rdquo; and &ldquo;ambiguous menace." As in <em>Precarious</em>, the momentum of the visual vocabulary belies the horrific subject. The architecture of the grid and the recurring relationship of the body to social politics are present throughout the installation.<br /> <br />Carolee Schneemann lives and works in upstate New York. She was the subject of the recent retrospective, <em>Carolee Schneemann: Kinetic Painting</em> at the Museum der Moderne Salzburg, Austria, in 2015, which was accompanied by a full-color catalogue. The exhibition will travel to the Museum f&uuml;r Moderne Kunst Frankfurt am Main, Germany, in 2017. A major monograph, <em>Carolee Schneemann: Unforgivable</em>, was published by Black Dog in December 2015. The Artist&rsquo;s Institute at Hunter College in New York held a multi-part exhibition, Carolee Schneemann Residency. In 2013, the artist was the subject of the solo exhibition, <em>Carolee Schneemann: Then and Now</em>, which traveled from the Mus&eacute;e d&eacute;partemental d'art contemporain de Rochechouart in France to the Museo de Arte Contempor&aacute;neo de Castilla y Le&oacute;n in Spain. In 2010, the Samuel Dorsky Museum of Art at the State University of New York in New Paltz presented the retrospective <em>Carolee Schneemann: Within and Beyond the Premises</em>. An impressive collection of over forty years of letters to and from the artist was published in <em>Correspondence Course: An Epistolary History of Carolee Schneemann and Her Circle</em>, edited by Kristine Stiles. Schneemann&rsquo;s work is included in major museum collections around the world, including the Museum der Moderne Salzburg, Museo Nacional Centro de Arte Reina Sof&iacute;a, Madrid; Museum of Modern Art, New York; San Francisco Museum of Modern Art; Tate Modern, London; Centre Georges Pompidou, Paris; and Hirshhorn Museum and Sculpture Garden, Washington, D.C.<br /> <br />For press enquiries for Galerie Lelong, please contact Danielle Wu, 212-315-0470 or <a href=""></a>.<br /> <br />For press enquiries for P&bull;P&bull;O&bull;W, please contact Abby Margulies, 614-827-5810 or <a href=""></a>.</p> Fri, 07 Oct 2016 07:52:06 -0300 Group Show - Anton Kern Gallery - November 10th - December 22nd <p style="text-align: justify;">Anton Kern Gallery is turning twenty and we celebrate this anniversary with <em>Implosion 20</em>, a group exhibition featuring the work of all 27 artists on roster, as well as works by artists who have shown previously or have had a personal connection to the gallery. In addition, we will present a series of events, kicking off with a special &lsquo;lecture&rsquo; performed by John Bock. The exhibition will mark the last show at this location before we move to Midtown Manhattan.</p> <p style="text-align: justify;">The show is based around the concept of <em>implosion</em>, not as a destructive force but as a centering force and act of integration. From its inception 1996, the gallery has grown organically out of the dialogue between Anton and our core roster of artists. This exhibition is to pay tribute to those who have shaped the gallery&rsquo;s trajectory and have made the gallery what it is today: a space of confluence for various media and artists of different backgrounds and locales.</p> <p style="text-align: justify;"><em>Implosion 20</em> will juxtapose new works with historic pieces that became milestones in the gallery&rsquo;s history. A video recording of Angus Fairhurst&rsquo;s live performance (with Phillip Bradshaw, Cerith Wyn Evans and Matt Collishaw) from his two-person show with Lothar Hempel, Low Expectations, commemorates the gallery&rsquo;s opening on September 19, 1996. The concert established the enduring interest in the intersection between visual art and music that defines the gallery and many of its participants.</p> <p style="text-align: justify;">During the opening reception on November 10th, John Bock will give a lecture-performance. As the first artist to exhibit at the 532 West 20th Street space, it is appropriate that he mark the closing of the space with an enactment of his piece, <em>Dünnh&auml;utiger Butcher</em> (Thin-skinned Butcher), a work in which Bock creates small clay portraits of members of the audience that he will give away. Accompanying the exhibition will be a weekly program of performances taking place in the gallery every Saturday afternoon with live music, poetry readings and other works by the gallery artists and their network of friends.</p> <p style="text-align: justify;">A zine on Implosion 20 and the gallery&rsquo;s history, featuring an essay by Bob Nickas, will be available on the occasion.</p> Fri, 04 Nov 2016 04:35:26 -0300 Hugh Scott-Douglas - Casey Kaplan Gallery - October 27th - December 17th <div id="moz-reader-content" class="line-height4" style="display: block;"> <div id="readability-page-1" class="page"> <div class="large-item"> <p style="text-align: justify;">Casey Kaplan is pleased to announce&nbsp;<em>Trade Winds</em>, our first solo exhibition with Hugh Scott-Douglas, featuring a new series of UV cured inkjet and resin printed canvases and a recent digital video work. Scott-Douglas works from a studio space in the Brooklyn Navy Yard, an urban industrial park with a long varied history of changing roles ranging from naval shipyard to film studio lot. Reflecting on this environment, he began researching the global shipping trade and found a mapping software able to track all thoroughfare of sea transport. Utilizing the capabilities of the program in a manner different from the software&rsquo;s intent, Scott-Douglas isolates the environmental conditions in each location &ndash; which appear as real-time graphemes of lines, arrows, and triangles &ndash; by removing all of the boats from the water. Specific to current, wind, and wave directions, these symbols are mapping the shifting conditions of the various trade routes, and become the basis of his artworks in layers of printed ink and resin.</p> <p style="text-align: justify;">Throughout Scott-Douglas&rsquo;s practice are motifs concerning an interest in systems of value, and the deconstruction of protocols and symbols. This can be seen in his previous series, such as:&nbsp;<em>Chopped Bills</em>&nbsp;and&nbsp;<em>Torn Cheques</em>&nbsp;(2013-2014), his folded billboard sculptures (2014) and a set of prints derived from the interior workings of watches in 2015. With his latest body of work, Scott-Douglas approaches similar queries.</p> <p style="text-align: justify;">Guided by a composite image of a thousand global satellites, each composition is an abstraction representing a different commercial shipping route. The individual artwork&rsquo;s titles, such as&nbsp;<em>Bossa Nova</em>&nbsp;(a journey from Salvador, Brazil to Tangier, Morocco) refer to the names of these naval thoroughfares. The artworks are created by zooming in on a specific oceanic area and removing the naval vessels from the coded mapping system. In a multi-phase process, the artist creates aerial maps with their own individual color schemes. Then with the aid of an industrial printer, a process akin to silkscreening is employed to render each image in its layers where current, wind, and wave directions are frozen, one on top of the next, as if time has collapsed into a perpetual present.</p> <p style="text-align: justify;">Alongside the canvas prints, Scott-Douglas presents&nbsp;<em>Shudder</em>, a 2-minute looped, digital video that considers the measurement of an amorphous form, air. With a camera attached on top of an air compressor and aimed at the artist&rsquo;s studio floor, the compressor is activated and begins to shake aggressively, creating wild gestures within the frame. Filmed also from an aerial perspective, what is experienced is the compressor filling with air in order to reach full pressure. When the compressor reaches its capacity and stops intaking air, the camera for a moment becomes still. In those few final seconds, the viewer can clearly see Scott-Douglas&rsquo; studio floor before the cycle repeats and the image becomes amorphous again. From hypnotic blur to splattered studio floor, the video documents the transition of nebulous air into controlled and measured units and imparts a tangibility to that which often goes unnoticed.</p> </div> </div> </div> Tue, 25 Oct 2016 03:51:48 -0300 Joan Mitchell - Cheim & Read - October 27th - December 31st <div id="moz-reader-content" class="line-height4" style="display: block;"> <div id="readability-page-1" class="page"> <div class="text color-light fs-16 lh-30 left"> <p style="text-align: justify;">Cheim &amp; Read is pleased to announce Joan Mitchell: Drawing into Painting, a survey of works on canvas and paper from 1958 through 1992, the year of the artist&rsquo;s death. The exhibition, which will open on October 27, 2016, and run through December 31, will be accompanied by a catalogue featuring an essay by Mark Rosenthal.</p> <p style="text-align: justify;">For Mitchell, drawing and painting were related but autonomous activities. Her pastels can be as dense as oil paintings, and her oil paintings can be as light and airy as watercolors. The exhibition includes art from each decade of her career, with a formal range spanning flurried strokes and gestural lines of rhapsodic color, to darkly massed forms and complex, multi-panel formats. Featured among the large works in oil on canvas are the ravishing diptych &ldquo;Heel, Sit, Stay&rdquo; (1977) and the turbulent &ldquo;La Grande Vall&eacute;e XVI Pour Iva&rdquo; (1983), painted in high contrasts of indigo, violet, lemon and lime.</p> <p style="text-align: justify;">Mitchell&rsquo;s move to France in 1959, as Rosenthal writes in his essay, &ldquo;suggests an aesthetic choice whereby she submerged American artistic developments within a profound embrace of French Impressionism.&rdquo; This decision represented a significant departure from the influences and goals of her colleagues in the New York School, and harked back to her student days at the School of the Art Institute of Chicago, where she was &ldquo;enthusiastically [&hellip;] engaged with Modernist French art, from &Eacute;douard Manet to Henri Matisse.&rdquo;</p> <p style="text-align: justify;">The hedonistic color and vibrant light that characterizes Mitchell&rsquo;s work, especially the paintings she made after settling in V&eacute;theuil, a village on the Seine near Giverny, significantly expanded the formal vocabulary of Abstract Expressionism. As Rosenthal notes, Mitchell &ldquo;evolved the New York School style by adding finesse to its gritty character and cultural awareness to its American outlook.&rdquo;</p> <p style="text-align: justify;">The sweep and complexity of Mitchell&rsquo;s painterly language is built on an armature of drawing, whether it&rsquo;s a feverish tangle of colored pencil lines or a series of loosely demarcated partitions dancing across a seven-panel pastel. Whatever its approach, each work in the exhibition embodies a unique consideration of color, gesture and structure, and a deeply felt understanding of the expressive potential of the graphic mark.</p> <p style="text-align: justify;"><br /> Joan Mitchell was born in 1925 in Chicago, and spent half her life in France, where she died in 1992. In 1951, her work was exhibited alongside that of Jackson Pollock, Willem de Kooning and Hans Hoffman in the celebrated &ldquo;Ninth Street Show,&rdquo; which marked the ascendancy of Abstract Expressionism within the development of modern art. Mitchell has since been the subject of numerous museum exhibitions, and examples of her work hang in nearly every major public collection of modern art, including the Art Institute of Chicago; Centre Georges Pompidou, Paris; the Guggenheim Museum; the Museum of Contemporary Art, Sydney, Australia; the Museum of Modern Art, New York; the Osaka City Art Museum of Modern Art, Japan; the Samsung Museum, Seoul; the Tate Gallery, London and the Whitney Museum of American Art, New York.</p> <p style="text-align: justify;">Mitchell&rsquo;s work is also featured in several current and upcoming historical surveys: Woman of Abstract Expressionism at the Denver Art Museum through Sep 25, 2016; Abstract Expressionism, a touring exhibition at the Royal Academy of Arts, London, September 24, 2016 &ndash; January 2, 2017, and the Guggenheim Museum Bilbao, February 3 &ndash; June 4, 2017; and Approaching American Abstraction at the San Francisco Museum of Modern Art, May 14, 2016-ongoing.</p> </div> </div> </div> Thu, 13 Oct 2016 12:22:50 -0300 Christina P. Day - CUE Art Foundation - October 29th - December 16th <p id="yui_3_17_2_1_1477578367623_624" style="text-align: justify;">CUE Art Foundation is pleased to announce a solo exhibition of new sculptural works and a large-scale installation by Christina P. Day. The works in <em>Stills and Composites</em> were created in response to recently discovered video footage from the wedding anniversary celebration of Day&rsquo;s great aunt and uncle in 1983. A home video camera was situated in the corner of the dance floor of the VFW hall, where guests repeatedly bumped into it. At times, the camera was pointed at the ceiling, or the back of a partygoer&rsquo;s head. The resulting film is a fragmentary, unobstructed recording of time. For her exhibition, Day employs found materials and architectural constructions to explore this mise-en-sc&egrave;ne&mdash;restaging the video from different perspectives.</p> <p style="text-align: justify;">For the installation <em>Playbacks #1-5</em>, Day extracted audio from the video, which plays on a row of five vintage Pioneer Mimmy headphones. The disembodied sound of an entertainer playing love songs on a Casio keyboard echoes through the headphones, as if just on the other side of the wall. Day&rsquo;s wall-mounted piece <em>Cascade (One&rsquo;s one and only)</em> was inspired by the corsages and boutonni&egrave;res of the guests in the video, and fashioned from the vinyl of a found seat cover. Transparent and yellowed with age, the hand-stitched flowers cast a warm glow on the gallery wall.</p> <p style="text-align: justify;">The large-scale installation <em>The light I&rsquo;ll be (1983)</em> is central to the exhibition. Composed of a white-walled cube, each side is interrupted by an impassable opening that offers a tantalizing view into the interior. Day has constructed a maze of walls and surfaces inside the cube, collapsing and manipulating the viewer&rsquo;s perspective. Curator Cecilia Alemani notes: &ldquo;Day&rsquo;s complex installations seem to also evoke a specific temporality, which proceeds with ruptures and hiatuses instead of being linear. Similar to Gordon Matta-Clark&rsquo;s practice of physically altering spaces and places, Day&rsquo;s artistic vocabularies challenge the sense of history and evoke a vertigo of displacement, both physical and temporal. It is a matter of a temporal tension between form and its deconstruction, between wholeness and the fragment. Day&rsquo;s works vacillate between inside and outside: they are fragments of an architectural environment that appear like slices cut out from buildings. Looking at these structures, it is difficult to say whether they are in the process of being built, if they are the structural parts of a more complete work, or if they are what remains of an old family memory.&rdquo;</p> <p style="text-align: justify;"><strong>Christina P. </strong><strong>Day </strong>lives and works in Philadelphia, PA. She earned a BFA from the University of the Arts, and an MFA from the Cranbrook Academy of Art. Her work has been exhibited at the Philadelphia Sculpture Gym, the Hongik Museum of Art (Seoul, Korea), the Philip and Muriel Berman Museum of Art (Collegeville, PA), NAPOLEON (Philadelphia, PA), the Artist-Run project at the Satellite Show (Miami, FL), the Philadelphia Art Alliance, and the Woodmere Art Museum (Philadelphia, PA). She has held residencies at Sculpture Space, the Vermont Studio Center, the Haystack Mountain School of Craft, and RAIR (Recycled Artist in Residency). She is a former member of the NAPOLEON artist collective of Philadelphia (2012-2016). She teaches in the Crafts/Fiber Program at the University of the Arts (Philadelphia, PA) and is a Professor of Fiber at the Maryland Institute College of Art (Baltimore, MD).</p> <p style="text-align: justify;">This exhibition is a winning selection from the 2015-16 Open Call for Solo Exhibitions. The proposal was unanimously selected by a jury comprised of panelists <strong>Cecilia Alemani</strong>, Donald R. Mullen, Jr. Director &amp; Chief Curator of High Line Art;&nbsp;<strong>Renaud Proch</strong>, Executive Director of Independent Curators International (ICI); and <strong>Rujeko Hockley</strong>, Assistant Curator of Contemporary Art at the Brooklyn Museum. In line with CUE&rsquo;s commitment to providing substantive professional development opportunities, panelists also serve as mentors to the exhibiting artists, providing support throughout the process of developing the exhibition. We are honored to work with panelist Cecilia Alemani as the Curator-Mentor for this exhibition.</p> <p style="text-align: justify;">This exhibition is sponsored in part by <a href="" target="_blank">RAIR (Recycled Artist in Residency)</a>.</p> Thu, 27 Oct 2016 11:28:58 -0300 Carol Bove - David Zwirner- 525 W. 19th - November 5th - December 17th <p style="text-align: justify;">David Zwirner is pleased to present an exhibition of new sculptures by Carol Bove, marking her first show with the gallery in New York. Spanning two adjacent spaces on 525 and 533 West 19th&nbsp;Street in Chelsea, <em>Polka Dots </em>follows the artist&rsquo;s 2015 exhibition at David Zwirner&rsquo;s London location. </p> <p style="text-align: justify;">Bove is known for her assemblages that combine found and made elements. Incorporating a wide range of domestic, industrial, and natural objects, her sculptures, paintings, and prints reveal the poetry of their materials. As the art historian Johanna Burton notes in the catalogue accompanying this exhibition, &ldquo;Bove brings things together not to nudge associative impulses into free play driven by the unconscious, but rather to conjure a kind of affective tangle that disrupts any singular, historical narrative.&rdquo;<sup>1</sup> </p> <p style="text-align: justify;">The exhibition presents a new series of large-scale &ldquo;collage sculptures&rdquo; that mark a departure within the artist&rsquo;s practice. To create these abstract assemblages, which merge various types of sculptural processes from her earlier works and references to art historical precedents, Bove combines three different types of steel. Six-inch square steel tubing that has been crushed and shaped at her studio is arranged with found scrap metals and punctuated by shallow, highly polished discs. The compositions are either fully or partially painted using a palette of bright colors evocative of Willem de Kooning&rsquo;s painting <em>Woman and Bicycle </em>(1952-1953). </p> <p style="text-align: justify;">Despite their heavy materiality, the sculptures appear lightweight, flexible, and improvisational. Their alternating surfaces create a play of textures&mdash;while the painted steel resembles clay or fabric, the overall forms evoke complex references that go beyond their stylistic appearances. The contorted shapes vaguely recall Anthony Caro&rsquo;s bolted and welded forms, John Chamberlain&rsquo;s crushed sculptures, Mark di Suvero&rsquo;s abstract expressionist configurations, and Louise Nevelson&rsquo;s accumulated assemblages, just as they can be seen to incorporate the collagist aesthetic of the Chicago Imagists of the 1960s, who combined disparate art historical styles and techniques.&nbsp;In <em>Daphne and Apollo</em>&mdash;a tight arrangement of solid red steel tubing wrapped around large pieces of found steel from a scrapyard&mdash;one material seems to morph into another with an allusion of movement similar to the Baroque sculpture of the same title by Bernini. </p> <p style="text-align: justify;">The new body of work is on view in both galleries along with other sculptures by the artist. In the first space, a large, white &ldquo;glyph&rdquo;&mdash;part of an ongoing series of flawlessly glossy, looping steel sculptures&mdash;is positioned on the floor ahead of three collage sculptures arranged on a broad, low pedestal. The adjacent gallery presents a configuration of the new sculptures, a glyph, and a large-scale, square steel grid. The latter acts as a kind of viewfinder into the room, which is painted a uniform matte black. The structure provides a shifting frame of the show, pictorializing relationships between the works and the viewer. </p> <p style="text-align: justify;">The exhibition is accompanied by a catalogue designed by Joseph Logan in close collaboration with Bove. Published by David Zwirner Books, it features new scholarship by Johanna Burton and photography by Andreas Laszlo Konrath taken over the course of multiple visits to the artist&rsquo;s Brooklyn studio. The publication explores both the process and the finished work, offering a behind-the-scenes look into Bove&rsquo;s practice. </p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Born in 1971 in Geneva to American parents, <strong>Carol Bove</strong> was raised in Berkeley, California and studied at New York University. She joined David Zwirner in 2011 and in 2015,&nbsp;<em>The Plastic Unit</em>&nbsp;marked her first solo exhibition at the gallery&rsquo;s London location. </p> <p style="text-align: justify;">Bove&rsquo;s large-scale sculptures are often exhibited outdoors and in public spaces. Most recently, the artist&rsquo;s steel-beam sculpture,&nbsp;<em>Lingam</em>, was installed in City Hall Park in New York as part of the 2016 summer group exhibition,&nbsp;<em>The Language of Things</em>, organized by Public Art Fund. In 2013, she created a series of sculptures specially for the High Line at the Rail Yards in New York. The project, entitled&nbsp;<em>Caterpillar</em>, was commissioned by High Line Art and ran through 2014. </p> <p style="text-align: justify;">Her work has been the subject of solo exhibitions at prominent institutions that include The Museum of Modern Art, New York; The Common Guild, Glasgow (all 2013); Palais de Tokyo, Paris (2010); Horticultural Society of New York (2009); Blanton Museum of Art,&nbsp;The University of Texas at Austin&nbsp;(2006); Kunsthalle Zürich; Institute of Contemporary Art, Boston (both 2004); and Kunstverein Hamburg (2003). Major group exhibitions include Documenta 13, Kassel, Germany (2012); 54th Venice Biennale (2011); and the Whitney Biennial, Whitney Museum of American Art, New York (2008). </p> <p style="text-align: justify;">In 2014, Bove debuted a new body of work alongside exhibition designs and sculptures by Italian architect Carlo Scarpa.&nbsp;<em>Carol Bove/Carlo Scarpa</em>&nbsp;was curated by the Henry Moore Institute in Leeds, England and produced in collaboration with Museion, Bolzano, Italy and Museum Dhondt-Dhaenens, Deurle, Belgium. The show was first hosted by Museion (November 2014 &ndash; March 2015), followed by the Henry Moore Institute (April &ndash; July 2015) and Museum Dhondt-Dhaenens (October 2015 &ndash; January 2016). </p> <p style="text-align: justify;">Between 2009 and 2013,&nbsp;Bove was a clinical associate professor of studio art in Steinhardt&rsquo;s Department of Art and Art Professions at New York University. </p> <p style="text-align: justify;">Work by the artist is represented in permanent collections worldwide, including the Fonds R&eacute;gional d&rsquo;Art Contemporain (FRAC) Nord-Pas de Calais, Dunkerque, France; Institute of Contemporary Art, Boston; The Museum of Modern Art, New York; Princeton University Art Museum, New Jersey; Wadsworth Atheneum Museum of Art, Hartford, Connecticut; Whitney Museum of American Art, New York; and the Yale University Art Gallery, New Haven, Connecticut. She lives and works in Brooklyn, New York.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>Johanna Burton</strong> is the Keith Haring Director and Curator of Education and Public Engagement at the New Museum, New York. Her writing has appeared in journals and publications, including&nbsp;<em>Artforum</em>,&nbsp;<em>Parkett</em>,&nbsp;<em>October</em>, and&nbsp;<em>Texte zur Kunst</em>.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>For press inquiries, contact</strong></p> <p style="text-align: justify;">Kim Donica +1 212 727 2070 <a href=""></a></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>Special Event</strong></p> <p style="text-align: justify;"><strong>Book Launch to celebrate the release of <em>Carol Bove: Polka Dots</em>, published by David Zwirner Books</strong></p> <p style="text-align: justify;">Saturday, November 12, 7&ndash;8:30 PM</p> <p style="text-align: justify;">Whitney Museum of American Art</p> <p style="text-align: justify;">99 Gansevoort Street, New York</p> Thu, 13 Oct 2016 12:40:01 -0300 Gabriel Hartley - Foxy Production - October 30th - December 18th <div class="ten columns frame frame-text"> <p style="text-align: justify;">Foxy Production is pleased to present Gabriel Hartley&rsquo;s&nbsp;<em>Reliefs</em>, a new series of paintings, reliefs, and studies on paper. Hartley is concerned with the many ways a painted image can be interpreted; as Jean-Fran&ccedil;ois Lyotard has written: &rdquo;Painting has little to do with the&nbsp;visible and much to do with the past and future, memory and the possible, acknowledgement and estrangement.&rdquo; Formal elements &ndash; texture, depth, color, and line &ndash; override the integrity of images of the city and body to allow the viewer multiple points of connection. Tapping into the history of&nbsp;modernist renderings of objects and figures, he transforms the pictorial plane into a meditation on perception.</p> <p style="text-align: justify;">Gabriel Hartley (London, UK, 1981) lives and works in London, UK. He holds a Post Graduate Diploma in Fine Art from the Royal Academy Schools, London, UK. Selected exhibitions include Lozenges, Pippy Houldsworth Gallery, London, UK (solo) (2015); Splays,&nbsp;Brand New Gallery, Milan, Italy (solo); Open Heart Surgery, The&nbsp;Moving Museum, London, UK (both 2013); Slap, Praz-Delavallade, Paris, France (solo) (2012); Crimping,&nbsp;Arte Furini Contemporanea, Rome (solo) (2011); Gabriel Hartley, Foxy Production, New York, NY (solo)(2010); Gabriel Hartley, Swallow Street, London, UK (solo); Jerwood Contemporary Painting Prize, Jerwood Space, London, UK (both&nbsp;2009); John Moores Painting Prize, Walker Art Gallery (2008); Bloomberg New Contemporaries, Club Row, London; Cornerhouse, Manchester; The New Art&nbsp;Gallery Walsall, UK&nbsp;(2007-2008).</p> </div> Mon, 24 Oct 2016 15:38:41 -0300 Mario Merz - Gladstone Gallery - 24 St. - November 10th - December 17th <div id="artistContentPastBio" style="text-align: justify;"> <p>Gladstone Gallery, in collaboration with Fondazione Merz, is pleased to present an exhibition of historic early works by Mario Merz. A leading member of Italy&rsquo;s Arte Povera movement of the 1960s and 70s, Merz created paintings, sculptures, and installations with an aim to oppose a monolithic culture and to celebrate perplexity. This goal manifested itself in the artist&rsquo;s deviation from the mass-media iconography popularized by Pop Art, the mythic emotionalism of Abstract Expressionism, and the machismo detachment of Minimalism. Instead, Merz and his Arte Povera contemporaries &ndash; such as Alighiero e Boetti, Luciano Fabro, and Jannis Kounellis, among others &ndash; employed simple, everyday materials and perceptive references to nature in order to ground their art in a relatable existential ambiguity.</p> <p>The three seminal works on view in this exhibition exemplify this stratagem. <em>Giap Igloo &ndash; If the Enemy Masses His Forces, He Looses Ground: If He Scatters, He Loses Strength</em> (1968) represents a body of work that became an enduring motif throughout Merz&rsquo;s career, since he began making igloo sculptures in 1967. Using the exterior world to create an interior space, igloos encapsulate Merz&rsquo;s drive to utilize social tradition as a means for individual reflection. At once a freestanding structure, this hemisphere is rendered meaningless without an inhabitant to provide utilitarian import. The instillation of subjective weight onto the objective form of the igloo is underscored by the neon words circumscribing the dome. A quotation from General Vo Nguyen Giap of the Vietnamese National Liberation Front describing the double-bind of combat strategy, the glowing letters provide a visual tension to the cracking clay exterior, while highlighting the artist&rsquo;s fascination with social mores &ndash; in this case, military and political custom.</p> <p>Further showcasing Merz&rsquo;s interest in exploring a collective conscience through prosaic media is his boxlike sculpture, <em>Sitin</em> (1968). The title of the work invokes the physical act of using one&rsquo;s body to occupy space &ndash; a fact emphasized by the position of the sculpture on the gallery&rsquo;s floor &ndash; and also points to the global escalation of political protests in 1968, of which the sit-in was an often-used technique. Through this gesture, Merz emphasizes the social significance of sitting as individual stance and collective action.</p> <p>The large-scale installation, <em>La bottiglia di Leyda (Leyden Jar)</em>, provides a visual culmination of Merz&rsquo;s Arte Povera endeavors: physical space is redefined as both deeply personal and simultaneously universal through the use of common materials. With wire mesh covering every wall of the gallery, Merz invites viewers into a communal environment that proudly incorporates the natural world, all while neon lights spell out the Fibonacci sequence. A remarkable numeric sequence that seems to exist throughout nature (from pinecones to snail shells), the Fibonacci numbers in this work stress a belief that, even though the world around us is sometimes inexplicable and chaotic, there is an order uniting us all.</p> <p>Mario Merz was born in 1925 and died in 2003 in Milan, Italy. He was awarded the Praemium Imperiale, Tokyo; the Oskar Kokoschka Prize, Vienna; and the Arnold Bode Prize, Kassel. Merz was the subject of numerous solo exhibitions at institutions around the world, including Funda&ccedil;&atilde;o de Serralves, Porto; Welhelm Lehmbruck Museum, Duisberg; Fundaci&oacute;n Antoni T&agrave;pies, Barcelona; and Solomon R. Guggenheim Museum, New York. His work is included in many prominent public collections, including Centre Georges Pompidou, Paris; Hirshhorn Museum and Sculpture Garden, Washington D.C.; The Museum of Modern Art, New York; Stedelijk Museum, Amsterdam; Walker Art Center, Minneapolis; and the Art Institute of Chicago, among many others. The Fondazione Merz in Turin, Italy, regularly displays both the works of its namesake and sponsors exhibitions by living artists.</p> </div> Thu, 13 Oct 2016 13:30:50 -0300 Carrie Mae Weems - Jack Shainman Gallery 20th Street - October 29th - December 10th <p style="text-align: justify;">Opening reception for the exhibition:&nbsp;Saturday, October 29th, 2-4pm&nbsp;at 513 West 20th&nbsp;Street and 524 West 24th&nbsp;Street.&nbsp;</p> <p style="text-align: justify;">Jack Shainman Gallery&nbsp;is pleased to announce&nbsp;Carrie Mae Weems&rsquo;&nbsp;first solo exhibition in New York City since the historic retrospective at the Guggenheim in 2014. Her influential career continues to address the rifts caused by race, class, and gender via imagery and text that is both sharply direct and beautifully poetic. This two-part exhibition highlights her recent investigations into performance, entertainment, and history.&nbsp;</p> <p style="text-align: justify;"><em>Blue Notes&nbsp;</em>(2014) and&nbsp;<em>An Essay on Equivalents, See&hellip;&nbsp;</em>(2011-2015) highlight figures on the periphery, bringing them front and center. The photographic series are paired with the enigmatic video installation&nbsp;<em>Lincoln, Lonnie, and Me&nbsp;</em>(2012), originally commissioned by the Mattress Factory, Pittsburgh, PA. The work rests on a 19th&nbsp;century optical trick, &ldquo;Pepper&rsquo;s ghost,&rdquo; in which a strategically lit pane of glass reflects people and objects as dematerialized versions on stage. Weems employs this phantasmagoria to examine her own relationship to history and two individuals in particular: the 16th&nbsp;president of the United States and artist/activist Lonnie Graham, her sometime collaborator. Here history becomes theater, a succession of ghostly projections that draw us in to the strange ways in which representation seduces and manipulates, and how some are left out of history altogether, their apparitions left to haunt the expanses of Western culture.&nbsp;</p> <p style="text-align: justify;">The theme of performance continues with&nbsp;<em>Scenes &amp; Take&nbsp;</em>(2016). Weems dons her black-robed muse persona&mdash;recognizable from the now iconic&nbsp;<em>Roaming&nbsp;</em>and&nbsp;<em>Museums&nbsp;</em>series&mdash;to stand before empty stage sets, documenting these encounters with vivid color photographs. The contemplative pose of the artist raises issues of who gets to be shown on screen; what do the fictional characters in television, theater, cinema, and visual art say about the cultural climate in which they are created, and how do these representations shift across time?&nbsp;</p> <p style="text-align: justify;"><em>All the Boys&nbsp;</em>(2016) responds to the recent killings of young African American men and suggests a darker reality of identity construction. Portraits of black men in hooded sweatshirts are matched with text panels. The written descriptions evoke police reports, underscoring how a demographic is all-too-often targeted and presumed guilty by a system plagued with prejudice.&nbsp;</p> <p style="text-align: justify;">Taken as a whole, the exhibition demonstrates that visual representation is ultimately performance: a tightly composed, laborious narrative. It takes serious work to unravel and refocus the greater dialogue toward inclusivity and acceptance. To look closely&mdash;past the bright lights, illusions, and constructions&mdash;is the first, crucial step.&nbsp;</p> <p style="text-align: justify;">Weems has participated in numerous solo and group exhibitions at major national and international museums including The Metropolitan Museum of Art, New York; Frist Center for Visual Art, Nashville; The Cleveland Museum of Art; Solomon R. Guggenheim Museum, New York; Prospect.3 New Orleans; The Walker Art Center, Minneapolis; and the Centro Andaluz de Arte Contempor&aacute;neo in Seville, Spain. A solo exhibition,&nbsp;<em>Carrie Mae Weems: I once knew a girl&hellip;</em>, is currently on view through January 7, 2017 at the Ethelbert Cooper Gallery of African &amp; African American Art at Harvard University. Her work is also part of&nbsp;<em>Southern Accent: Seeking the American South in Contemporary Art&nbsp;</em>at Nasher Museum of Art, Duke University through January 8, 2017.&nbsp;</p> <p style="text-align: justify;">Weems has received a multitude of awards, grants, and fellowships including Anderson Ranch Arts Center&rsquo;s National Artist Award; The Art of Change Ford Foundation Fellowship; the W.E.B. Du Bois Medal; the MacArthur &ldquo;Genius&rdquo; grant; US Department of State&rsquo;s Medals of Arts; Anonymous Was A Woman Award; Joseph H. Hazen Rome Prize Fellowship from the American Academy in Rome; The Herb Alpert Award in the Arts; the National Endowment of the Arts; and the Louis Comfort TIfffany Award; among many others.</p> <p style="text-align: justify;">She is represented in public and private collections around the world, including the Metropolitan Museum of Art, New York; the Museum of Fine Arts, Houston; the Museum of Modern Art, New York; Tate Modern, London; Whitney Museum of American Art, New York; National Gallery of Canada; and Museum of Contemporary Art, Los Angeles. </p> Thu, 27 Oct 2016 11:14:14 -0300 Amy Pleasant - Jeff Bailey Gallery - October 29th - December 18th <p style="text-align: justify;">Jeff Bailey Gallery is pleased to present new drawings and sculpture by <strong>Amy Pleasant</strong>.</p> <p style="text-align: justify;">Leaning. Lying. Sitting. Slouching. The everyday body arranges itself automatically to be comfortable, to sleep, to interact, to arouse, to pose.</p> <p style="text-align: justify;">In ink and gouache on paper, Pleasant fluidly captures these fleeting moments, distilling them into clean black silhouettes.&nbsp;As a group they are complemented by two sculptures, each made of curved planes in black, white, or grey. Viewed from changing angles, they suggest heads turning or at rest.</p> <p style="text-align: justify;">This is Pleasant&rsquo;s (born 1972, Birmingham, AL) sixth solo exhibition with the gallery. Other solo exhibitions include the Birmingham Museum of Art, AL; Atlanta Contemporary, GA; Clough-Hanson Gallery, Rhodes College, Memphis, TN. Group exhibitions include The Weatherspoon Art Museum, NC; The National Museum of Women in the Arts; Columbus Museum of Art, GA; Hunter Museum of American Art, Chattanooga, TN; Southeastern Center for Contemporary Art, NC; the Art in Embassies Program; the University of Arkansas, Fayetteville, AR; and the Zuckerman Museum of Art, Kennesaw, GA.&nbsp; Pleasant received her BFA from The School of the Art Institute of Chicago (1994) and MFA from the Tyler School of Art, PA (1999).&nbsp; She lives and works in Birmingham, Alabama.</p> Sat, 05 Nov 2016 06:50:06 -0300 Brenda Goodman - Jeff Bailey Gallery - October 29th - December 18th <p style="text-align: justify;">Jeff Bailey Gallery is pleased to present new paintings and works on paper by <strong>Brenda Goodman</strong>.</p> <p style="text-align: justify;">For over five decades, Goodman&rsquo;s paintings have swung like a pendulum between figuration and abstraction to a unique blending of the two. In her most recent work, neither vies for supremacy, but are blended together to evoke a range of psychic states: from isolation and fear to intimacy and contentment.</p> <p style="text-align: justify;">Ear-like appendages attach themselves to bulbous face-like forms. Organic shapes sprout what could be tentacles or legs. Stretching and reaching, twisting and turning, there is an implied longing and desire to connect.</p> <p style="text-align: justify;">The works vary in size from 6 x 8 inches to 52 x 60 inches. There is a power in the small works on paper and an intimacy in the large paintings. Surfaces are thick and thin, smooth and rough. Strength, delicacy and intensity of feeling &ndash; these are what set Goodman&rsquo;s paintings apart.</p> <p style="text-align: justify;">This is Brenda Goodman&rsquo;s (born 1943, Detroit) first solo exhibition at the gallery. She studied at the College of Creative Studies (then called the Detroit Society of Arts and Crafts). In 1976 she moved to New York City and her work was included in the 1979 Whitney Biennial. She has had 38 solo exhibitions. In 2015 she had a 50-year retrospective at the Center Galleries, College for Creative Studies, Detroit, MI. Also in 2015 her work was included in the American Academy for the Arts and Letters annual invitational where she received the Award in Art. She received fellowships from the National Endowment for the Arts and the New York Foundation for the Arts. Her work is included in the collections of the Carnegie Museum of Art, Pittsburgh, PA; Museum of Contemporary Art, Chicago, IL; the Santa Barbara Museum, CA; and the Detroit Institute of the Arts, MI. Since 2009, Goodman has lived and worked in the Catskill Mountains, New York.</p> Sat, 05 Nov 2016 06:50:36 -0300 Andrea Grützner - Julie Saul Gallery - October 29th - December 23rd <p style="text-align: justify;">Julie Saul Gallery is pleased to announce Berlin based artist/photographer Andrea Gr&uuml;tzner&rsquo;s first US solo exhibition. Working with the analog process, and assorted mirrors and gels, Grützner creates straight color photographs that are at the same time abstract and representational, ambiguous and descriptive. The title and subject of the exhibition, <em>Erbgericht</em> (Guesthouse), is a specific traditional village guesthouse in the eastern part of Germany. Grützner grew up near an Erbgericht in the village of Polenz, east of Dresden. One family has owned this specific guesthouse for five generations since 1889. She tells of the big old house, full of nooks and crannies, whose corners and objects have the memories of generations attached to them. It&rsquo;s a collage of material built over generations.</p> <p style="text-align: justify;"><em>Erbgericht</em> continues the abstract language of L&aacute;szl&oacute; Moholy-Nagy and the Bauhaus. Grützner creates strict rules for herself; the whole photograph, including the shadows and the composition, is taken in only one shot on analog film without any digital alterations. Through the use of color flash and the creation of strong shadow lines, the interiors look alienated and transformed to architectural details as Grützner enters into a visual dialogue with the building. "Shadows are traces and marks that have a direct relation to the object, but through the projection, these objects can appear twice as big or transformed and changed, they take on their own lives" and thus, says Andrea Grützner, "they work a lot like memories."</p> <p style="text-align: justify;">Andrea Grützner lives in Berlin and is a member of the photography collective Exposure Twelve. She earned her Master of Fine Arts degree in photography from the Bielefeld University of Applied Sciences in 2014 and subsequently has shown at festivals, and in solo and group shows worldwide.</p> <p style="text-align: justify;">Grützner received the PhotoVision Sponsorship Award and the Source Cord Prize in 2014, as well as the LEAD Award (silver) in 2015. She was a winner of Gute Aussichten 2014/2015 &ndash; young German photography prize, and most recently FOAM Talent 2016, on view at the Unseen photo fair in September. Kerber Verlag recently published a monograph <em>das Eck</em> (The Corner) which was developed during the course of her scholarship in Koblenzer Koblenzer Stadtfotografin 2015.</p> Thu, 13 Oct 2016 14:14:23 -0300