current exhibitions & events | ArtSlant https://www.artslant.com/ny/Events/show en-us 40 - The Jewish Museum - April 11th, 2003 - December 31st, 2035 <p>At the heart of The Jewish Museum is its permanent exhibition, <i><a target="_blank" href="http://www.thejewishmuseum.org/exhibitions/CultureAndContinuity">Culture and Continuity: The Jewish Journey</a></i>, representing one of the world's great opportunities to explore Jewish culture and history through art. This vibrant two-floor exhibition features 800 works from the Museum's remarkably diverse collection of art, archaeology, ceremonial objects, video, photographs, interactive media and television excerpts. It examines the Jewish experience as it has evolved from antiquity to the present, over 4,000 years, and asks two vital questions: How has Judaism been able to thrive for thousands of years across the globe, often in difficult and even tragic circumstances? What constitutes the essence of Jewish identity? <br /><br />The exhibition traces the dynamic interaction among three catalysts that have shaped the Jewish experience: the constant questioning and reinterpretation of Jewish traditions, the interaction of Jews and Judaism with other cultures, and the impact of historical events that have transformed Jewish life. <i>Culture and Continuity: The Jewish Journey</i> proposes that Jews have been able to sustain their identity, despite wide dispersion and sometimes tragic circumstances, by evolving a culture that can adapt to life in many countries and under various conditions. Survival as a people has depended upon both the continuity of Jewish ideas and values and the flexibility to adapt to changing circumstances.<br /><br />We invite you to visit the Museum and see <i>Culture and Continuity: The Jewish Journey</i> in person. Visitors to the Museum can enjoy random access audio guide tours of the exhibition, including a "Director's Highlights" audio guide featuring Joan Rosenbaum, Helen Goldsmith Menschel Director of The Jewish Museum, and a special audio guide for children and families. Audio guides are free of charge with Museum admission and were made possible by Bloomberg.<br /><br /><i>Bring a <a target="_blank" href="http://www.thejewishmuseum.org/exhibitions/CultureAndContinuity">copy of the exhibit's web page on the Jewish Museum's Web site </a>to The Jewish Museum Admissions Desk with your e-mail address and you will receive one 50% admissions discount.</i></p> Wed, 08 Jul 2009 02:05:47 -0700 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list WM ROSE - ARTBREAK - August 17th, 2009 - August 17th, 2020 <p>THE GALLERY IS AT  WWW.ARTBREAK.COM    WHERE YOU MAY SEARCH FOR</p> <p> </p> <p>WILLIAM RO-SEY       THERE YOU MAY CONTACT  WCD207@GMAIL.COM TO OFFER THE FAMILY A PRICE IRREGARDLESS OF PRICE MARKED</p> Thu, 24 Dec 2009 14:12:51 -0800 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list Peter Borgese - PETER BORGESE MODERN ART GALLERY - September 19th, 2013 - January 6th, 2034 <p>A new chapter of surrealism created by Borgese, painter of modern conceptualism,&nbsp;to captivate, stimulate, and motivate the senses of the viewer for a life time; is exhibited in this body of work at gallery&nbsp;Borgese. There are over 30 original fine art&nbsp;paintings and 20 drawings&nbsp;framed and hung for you to view, purchase, take home or have delivered.</p> Sun, 02 Mar 2014 09:46:25 -0800 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list - Housatonic Museum of Art - August 15th, 2011 - October 20th, 2020 <p>The Housatonic Museum of Art is pleased to announce <em>Polaridad Complementaria: Recent Works from Cuba, </em>an exhibition that<em> </em>introduces North America to the new generation of influential artists from Cuba. <em> </em><em>Polaridad Complementaria </em>is on view in the Burt Chernow Galleries at the Housatonic Museum of Art from <strong>August 15</strong> through <strong>October 20, 2011<br /> </strong> <br /> Developed by the Centro de Arte Contemporaneo Wifredo Lam, Havana, <em>Polaridad Complementaria</em> offers audiences the opportunity to become acquainted with the island’s current and upcoming artistic talent. More than 40 works of painting, drawing, sculpture, photography, video and installation art provide a sense of the serious aesthetic and conceptual concerns that characterizes Cuban art today. The 24 artists presented here are mainly young artists who have attained international recognition. The majority of these artists have taken part in fairs and biennials abroad and all have exhibited in Europe, Latin America and were featured in various editions of the Havana Biennial. Several have exhibited in the United States, including René Peña, Abel Barroso, Aimeé García, Yoan Capote, Eduardo Ponjuán, Lázaro Saavedra, Sandra Ramos and Roberto Fabelo.<br />  <br /> Often compared to American photographer Robert Mapplethorpe, artist René Peña explores the relationship between individuals within society and the struggle for their own identity. Abel Barroso carves three-dimensional pieces using wood and various printing methods to create a conversation about technology and the third-world. From Zulueta, Cuba, Duvier del Dago takes things one step further, combining drawing with handmade 3D design examining the unattainable, whether it be the material or the ideal. From simplistic to intricately fabricated, these artists create a narrative of Cuba today.<br />  <br /> Diverse in both medium and themes, the artists featured in <em>Polaridad Complementaria</em> understand the power of their art to address a wide range of social issues. The exhibition highlights works that connect the local context with global concerns and universal human issues. After many years, <em>Polaridad Complementaria</em> opens a pathway for dialogue and cultural exchange between Cuba and the United States, two countries with historic ties and common cultural processes, despite troubled relations.<br /> <br /> <strong>Margarita Sánchez Prieto</strong> is curator, researcher and art critic at Centro de Arte Contemporaneo Wifredo Lam in Havana and recipient of the National Prize of Curatorship at the 2000 Havana Biennial. She has curated various exhibitions and lectured extensively on Cuban and Latin American art throughout South America, Europe and Canada. Her work has been published in various art magazines and she is the author of the anthology <em>An Outlook of Latin American Art in the Decade of 1980</em>.  <br /> <br /> Director of the Wifredo Lam Contemporary Art Centre and curator and art critic of the Havana Biennial, <strong>Jorge Fernandez Torres</strong> has curated over 15 major exhibitions in Cuba, Spain, Central, and South America. He was a member of the Commission for Cuban Cultural Development of UNESCO in 1997 and on the Advisory Council for the Arts of the National Library of Cuba in 2000 and 2001 as well as Vice Rector of the Higher Institute of Arts in Havana for the past ten years. He is the Author of several texts in catalogues of Cuban art and as professor of contemporary art at the Higher Institute of Arts (ISA), and has lectured all over the world. <br /> <br /> <em>Polaridad Complementaria: Recent Works from Cuba</em> was developed by the <strong>Centro de Arte Contemporáneo Wifredo Lam</strong>, Havana and is toured by International Arts &amp; Artists, Washington, DC. </p> Sun, 09 Oct 2011 18:50:07 -0700 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list Molly Dilworth - The James Hotel - May 1st, 2013 - January 1st, 2023 <p>Painting for the garden at The James Hotel, 27 Grand Street, NYC. Opening May 1, 2013.<br /><br />Ghost acreage is extraterritorial land annexed for production. Historically, American land was used to produce cotton for space-constrained Europe; today variations of this practice can be found everywhere in industrial production from food to electronics.<br /><br />The designs for the Urban Garden pillar at The James Hotel were generated by sampling from visual and historical markers on 6th Avenue immediately adjacent to the pillar. Examples include the multicolored z-shaped crosswalk pavers, the Avenue of the Americas lamppost medallions and the statue of Juan Pablo Durate who helped found the Dominican Republic and establish its independence from Hati.<br /><br />During the colonial period, residents of Lower Manhattan and Carribean countries shared the experience of being subjects and revolutionaries. While mostly invisible today, evidence of these histories can be found just outside the Urban Garden.</p> Thu, 09 May 2013 13:03:07 -0700 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list - Queens Museum of Art - November 9th, 2013 - November 9th, 2023 <p>The Queens Museum will always be inextricably linked to the 1939 and 1964 World&rsquo;s Fairs, and with a collection of more than 10,000 objects pertaining to the two expositions, the Museum is a key resource to both scholars and fans. In an effort to provide visitors with a greater understanding of the scope of the Museum&rsquo;s enormous holdings of 1939 and 1964 World&rsquo;s Fair artifacts and memorabilia, the newly installed World&rsquo;s Fair Visible Storage and Gallery on the second floor displays more than 900 three-dimensional pieces arranged by the date of each World&rsquo;s Fair, and within these categories, arranged by donor. The dense installation provides an opportunity to study a large number of related works of World&rsquo;s Fair objects up close, and to compare and contrast a wide range of items from 1939 and 1964. The Visible Storage provides unprecedented access to students, scholars, and the general public to explore the collection that was formerly hidden in the Museum&rsquo;s art vault, off-limits to the public. Many of these objects have never been displayed in the history of the Queens Museum.</p> <p>Visible Storage addresses the challenge of organizing a public exhibition space while fulfilling the traditional purpose of safely displaying and storing an important cross-section of the Museum&rsquo;s collections in a climate-controlled and easily accessible environment. Light sensitive objects, such as documents, photographs and textiles, remain stored in dedicated low-light facilities.</p> <p>These large glass cases now house more than 90% of the three-dimensional objects in the Museum&rsquo;s World&rsquo;s Fair collection. New acquisitions and private collections that, in most cases, have been donated to the Museum, will be added to the Visible Storage allowing visitors to gain new insight into the history and evolution of the World&rsquo;s Fairs through a visual understanding, and a palpable sense of place by exploring these artifacts and memorabilia. Furthermore, with all the objects donated by a particular collector displayed as a group, the collections within the collection become evident.</p> <p>As milestone anniversaries of both the 1939 and 1964 World&rsquo;s Fairs near, Visible Storage pays homage to momentous events in the history of Flushing Meadows Corona Park and the Queens Museum. These objects simultaneously evoke the past and a yearning for tomorrow. Linking thematically with the beloved Panorama of the City of New York and its slightly more modest relative, the Relief Map of the New York City Water Supply System, the Visible Storage completes the triumvirate at the heart of the NYC Building&rsquo;s rich history as a World&rsquo;s Fair pavilion. The World&rsquo;s Fair collection is ever-growing, those interested in donating artifacts can email worldsfair@queensmuseum.org or call 718.592.9700 x122.</p> <p>Also on view within the World&rsquo;s Fair Gallery is <em>ChronoLeap: The Great World&rsquo;s Fair Adventure</em>, a virtual experience and game that transports visitors back in time to the 1964 World&rsquo;s Fair. The World&rsquo;s Fair offered a glimpse of the future, with different pavilions featuring exhibitions showcasing the latest innovations in science and technology as an avenue for better lifestyles. <em>ChronoLeap</em> allows for a virtual experience of the Fair, complete with pavilion tours and a conversation with Fair President Robert Moses. <em>ChronoLeap</em> is organized by Dr. Lori C. Walters, a Research Assistant Professor with the Institute for Simulation and Training and Department of History at the University of Central Florida. Funded by both the National Endowment for the Humanities and the National Science Foundation, the project explores the use of 3D virtual environments as an educational tool to expand the understanding of Science, Technology, Engineering and Mathematics (STEM) education.</p> Sun, 08 Dec 2013 13:54:47 -0800 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list Anselm Kiefer - Mass MOCA - September 29th, 2013 - December 1st, 2028 <p>In a major collaboration with the Hall Art Foundation, the keystone of which is a large and long-term exhibition of sculpture and paintings by Anselm Kiefer, MASS MoCA opens a 10,000 square-foot building at MASS MoCA specially re-purposed by the Hall Art Foundation and devoted to the art of Anselm Kiefer.</p> <p>The exhibition includes <em>&Eacute;troits sont les Vaisseaux (Narrow are the Vessels)</em> (2002), an 82-foot long, undulating wave-like sculpture made of cast concrete, exposed rebar, and lead; <em>The Women of the Revolution (Les Femmes de la Revolution)</em> (1992), comprised of more than twenty lead beds with photographs and wall text; <em>Velimir Chlebnikov </em> (2004), a steel pavilion containing 30 paintings dealing with nautical warfare and inspired by the quixotic theories of the Russian mathematical experimentalist Velimir Chlebnikov; and a new, large-format commission created by the artist specifically for the installation at MASS MoCA.</p> <p>Anselm Kiefer, who first visited MASS MoCA in 1990 when it was still in the early planning stages, ranks among the best-known and most important of post-World War II German artists living and working today. Born in 1945 in southern Germany during the final days of the collapse of the Third Reich, Kiefer experienced divided postwar Germany firsthand. Across his body of work, Kiefer argues with history, addressing controversial and even taboo issues from recent history with bold directness and lyricism. Kiefer often turns to literature and history as prime source material for his work, as he did, for example, in the suite of paintings that comprise <em>Velimir Chlebnikov </em>(2004).</p> <p>The artist often builds his imagery on top of photographs, layering his massive canvases with dirt, lead, straw, and other materials that generate a &ldquo;ground&rdquo; that reads literally of the earth itself. Within these thick, impastoed surfaces Kiefer embeds textual or symbolic references to historic figures or places: these become encoded signals through which Kiefer invokes and processes history.</p> <p>A law student, Kiefer switched his studies to art in 1965 and held his first solo exhibit in 1969. During the early 1970s he studied with conceptual artist Joseph Beuys, whose interest in using an array of cultural myths, metaphors, and personal symbolic vocabulary as a means to engage and understand history inspired Kiefer. The artist has described his own art-making process as stimulated by Beuys&rsquo; philosophies: &ldquo;Painting, for me, is not just about creating an illusion. I don&rsquo;t paint to present an image of something. I paint only when I have received an apparition, a shock, when I want to transform something. Something that possesses me, and from which I have to deliver myself. Something I need to transform, to metabolize, and which gives me a reason to paint.&rdquo; Like Beuys, whose works were often constructed of fragile, organic materials (including blood, fat, and honey), Kiefer&rsquo;s works often incorporate unusual, fugitive materials such as ash, clay,and dried plant materials. With their rough-hewn textures and expansive narrative formats that often evoke charred landscape and historical, sometimes apocalyptic settings, Kiefer&rsquo;s work did not conform to the pared-down Minimalist or Conceptualist movements that were becoming mainstream at the time he was a student. Instead he created massive, dark paintings, books constructed of large sheets of lead, and figurative works that explored German folklore and were inspired by Caspar David Friedrich, among others.</p> <p>Kiefer&rsquo;s works are often realized in large formats, which in turn demand special exhibition spaces. MASS MoCA is adept at collaborating with artists, collectors, foundations, and cultural institutions to bring important bodies of art to the public, best exemplified by its 2008 partnership with Yale University Art Gallery, the Williams College Museum of Art, and the studio of Sol LeWitt, which realized a 25-year exhibition devoted to LeWitt&rsquo;s monumental wall drawings, a landmark quasi-permanent installation that was named "#1 Museum Exhibition of the Year" by Time magazine. The museum is proud to host an array of distinct curatorial points of view, within its renovated 19th singular factory campus.</p> <p>The Hall Art Foundation makes available works of postwar and contemporary art from its collection and from the collection of Andrew and Christine Hall for the enjoyment and education of the public. In addition to the dedicated gallery space at MASS MoCA, the Hall Art Foundation operates a contemporary art space in Reading, Vermont.</p> Sun, 13 Apr 2014 18:26:48 -0700 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list - MASS MoCA, North Adams, MA - September 28th, 2013 - December 1st, 2028 <p>In a major collaboration with the Hall Art Foundation, the keystone of which is a large and long-term exhibition of sculpture and paintings by Anselm Kiefer, MASS MoCA opens a 10,000 square-foot building at MASS MoCA specially re-purposed by the Hall Art Foundation and devoted to the art of Anselm Kiefer.</p> <p>The exhibition includes <em>&Eacute;troits sont les Vaisseaux (Narrow are the Vessels)</em> (2002), an 82-foot long, undulating wave-like sculpture made of cast concrete, exposed rebar, and lead; <em>The Women of the Revolution (Les Femmes de la Revolution)</em> (1992), comprised of more than twenty lead beds with photographs and wall text; <em>Velimir Chlebnikov </em> (2004), a steel pavilion containing 30 paintings dealing with nautical warfare and inspired by the quixotic theories of the Russian mathematical experimentalist Velimir Chlebnikov; and a new, large-format commission created by the artist specifically for the installation at MASS MoCA.</p> <p>Anselm Kiefer, who first visited MASS MoCA in 1990 when it was still in the early planning stages, ranks among the best-known and most important of post-World War II German artists living and working today. Born in 1945 in southern Germany during the final days of the collapse of the Third Reich, Kiefer experienced divided postwar Germany firsthand. Across his body of work, Kiefer argues with history, addressing controversial and even taboo issues from recent history with bold directness and lyricism. Kiefer often turns to literature and history as prime source material for his work, as he did, for example, in the suite of paintings that comprise <em>Velimir Chlebnikov </em>(2004).</p> <p>The artist often builds his imagery on top of photographs, layering his massive canvases with dirt, lead, straw, and other materials that generate a &ldquo;ground&rdquo; that reads literally of the earth itself. Within these thick, impastoed surfaces Kiefer embeds textual or symbolic references to historic figures or places: these become encoded signals through which Kiefer invokes and processes history.</p> <p>A law student, Kiefer switched his studies to art in 1965 and held his first solo exhibit in 1969. During the early 1970s he studied with conceptual artist Joseph Beuys, whose interest in using an array of cultural myths, metaphors, and personal symbolic vocabulary as a means to engage and understand history inspired Kiefer. The artist has described his own art-making process as stimulated by Beuys&rsquo; philosophies: &ldquo;Painting, for me, is not just about creating an illusion. I don&rsquo;t paint to present an image of something. I paint only when I have received an apparition, a shock, when I want to transform something. Something that possesses me, and from which I have to deliver myself. Something I need to transform, to metabolize, and which gives me a reason to paint.&rdquo; Like Beuys, whose works were often constructed of fragile, organic materials (including blood, fat, and honey), Kiefer&rsquo;s works often incorporate unusual, fugitive materials such as ash, clay,and dried plant materials. With their rough-hewn textures and expansive narrative formats that often evoke charred landscape and historical, sometimes apocalyptic settings, Kiefer&rsquo;s work did not conform to the pared-down Minimalist or Conceptualist movements that were becoming mainstream at the time he was a student. Instead he created massive, dark paintings, books constructed of large sheets of lead, and figurative works that explored German folklore and were inspired by Caspar David Friedrich, among others.</p> <p>Kiefer&rsquo;s works are often realized in large formats, which in turn demand special exhibition spaces. MASS MoCA is adept at collaborating with artists, collectors, foundations, and cultural institutions to bring important bodies of art to the public, best exemplified by its 2008 partnership with Yale University Art Gallery, the Williams College Museum of Art, and the studio of Sol LeWitt, which realized a 25-year exhibition devoted to LeWitt&rsquo;s monumental wall drawings, a landmark quasi-permanent installation that was named "#1 Museum Exhibition of the Year" by Time magazine. The museum is proud to host an array of distinct curatorial points of view, within its renovated 19th singular factory campus.</p> <p>The Hall Art Foundation makes available works of postwar and contemporary art from its collection and from the collection of Andrew and Christine Hall for the enjoyment and education of the public. In addition to the dedicated gallery space at MASS MoCA, the Hall Art Foundation operates a contemporary art space in Reading, Vermont.</p> Wed, 22 Jan 2014 07:10:19 -0800 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list Michael Oatman - Mass MOCA - October 23rd, 2010 - October 31st, 2020 <p><em>all utopias fell</em> is a project in three interrelated parts: <em>The Shining</em>, <em>The Library of the Sun</em>, and <em>Codex Solis</em>.</p> <p><em>The Shining</em> is a 1970s-era &lsquo;satellite&rsquo; that has crash-landed at MASS MoCA. This beautifully reflective, repurposed Airstream trailer &ndash; with large parachutes and active solar panels &ndash; is inspired by an earlier era of pulp aeronauts like Buck Rogers, Tom Swift and Tom Corbett: Space Cadet, as well as the works of Giotto, Jules Verne, NASA, and Chris Marker&rsquo;s 1962 film <em>La Jet&eacute;e</em>. Visitors can climb a staircase in the Boiler Plant and enter into the craft where they will encounter <em>The Library of the Sun</em>. Hybridizing a domestic space, a laboratory and a library, it has the feel of a hermitage, where the occupant will &lsquo;be right back&rsquo;, only it is 30 years later. Videos relating to the sun and its mythology flicker to life on the cockpit&rsquo;s instrumentation panels. In addition to these elements, visitors will be stunned by a stained glass window in what was once the windshield of the vehicle. Once inside the craft, visitors will also be able to view <a href="http://www.massmoca.org/event_details.php?id=371" target="_blank" rel="nofollow"><em>Codex Solis</em>, a massive field of photovoltaic (PVs) or solar panels</a>. At 50kw, the field will generate 7% of the power consumed by MASS MoCA. In addition to this 230-foot long grid, mirrors are interspersed in the middle of the field, and suggest an absent text. The arrangement of mirrors and solar panels is based on a specific quote by an unnamed author, and will not be revealed by the artist; instead the public will be encouraged to spend time with the piece, watch the reflected sky, and solve the riddle as birds and planes, inverted, fly by.</p> <p>Supported by the Massachusetts Technology Collaborative's Renewable Energy Trust and the Massachusetts Cultural Council.</p> Tue, 21 Jan 2014 18:44:50 -0800 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list Gerard de Lairesse, Margareta Haverman, Rembrandt van Rijn - The Metropolitan Museum of Art - October 16th, 2018 - October 1st, 2020 <div class="rich-text"> <p style="text-align: justify;"><span style="font-family:serif;"><span style="font-size:18px;">Dutch paintings of the seventeenth century&mdash;the Golden Age of Rembrandt, Hals, and Vermeer&mdash;have been a highlight of The Met collection since the Museum&#39;s founding purchase in 1871. This exhibition will bring together some of the Museum&#39;s greatest paintings to present this remarkable chapter of art history in a new light. Through roughly sixty-five works of art organized thematically, the exhibition will orient visitors to key issues in seventeenth-century Dutch culture&mdash;from debates about religion and conspicuous consumption to painters&#39; fascination with the domestic lives of women.</span></span></p> <p style="text-align: justify;"><span style="font-family:serif;"><span style="font-size:18px;">The exhibition will provide a fresh perspective on the canon and parameters of the Dutch Golden Age by uniting paintings from The Met&#39;s Benjamin Altman, Robert Lehman, and Jack and Belle Linsky bequests. Works typically displayed separately in the Museum&#39;s galleries&mdash;such as Rembrandt&#39;s <em><a href="https://www.metmuseum.org/art/collection/search/459082">Gerard de Lairesse</a></em> and Lairesse&#39;s own <em><a href="https://www.metmuseum.org/art/collection/search/436843">Apollo and Aurora</a></em>&mdash;will be presented side by side, producing a visually compelling narrative about the tensions between realism and idealism during this period. The presentation will also provide the opportunity to conserve and display rarely exhibited paintings, including Margareta Haverman&#39;s <em><a href="https://www.metmuseum.org/art/collection/search/436634">A Vase of Flowers</a></em>&mdash;one of only two known paintings by the artist and the only painting by an early modern Dutch woman currently in The Met collection. The exhibition takes its title from one of the period&#39;s major works of art theory, Philips Angel&#39;s <em>The Praise of Painting</em> (1642), a pioneering defense of realism in art.</span></span></p> <p style="text-align: justify;"><span style="font-family:serif;"><span style="font-size:18px;">#MetDutchMasterpieces</span></span></p> </div> Tue, 24 Jul 2018 07:42:47 -0700 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list america martin, Greg Miller, Billy Schenck - JoAnne Artman Gallery - September 5th - October 26th <p><strong>JoAnne Artman Gallery</strong>, Presents:<br /> <strong><em>THE WILD BUNCH- FEATURING BILLY SCHENCK, GREG MILLER + AMERICA MARTIN</em></strong></p> <p>FALL 2019</p> <p>Artists&rsquo; Reception: Thursday, September 5th, 2019 from 6pm-8pm</p> <p>Please RSVP: 949.510.5481 by August 29th, 2019</p> <p><br /> <strong>JoAnne Artman Gallery</strong><br /> 511A West 22nd St. | New York, NY 10011<br /> Contact: &nbsp;JoAnne Artman<br /> Telephone: &nbsp;949-510-5481 | E-mail: joanneartman@aol.com<br /> Website: www.joanneartmangallery.com</p> <p>&nbsp;</p> <p><strong><em>THE WILD BUNCH</em></strong></p> <p>&nbsp;</p> <p>There are few subjects in American history that can ignite the imagination as much as the mystery, romance and mythology associated with the American Frontier. The theme of the Wild West has long been popular in American art, film, and literature. Often, the visual imagery is heavily tied in with the folklore that has been created around the Wild West and Native American tradition. Artists Billy Schenck, Greg Miller and America Martin all have their own particular ties to the vast landscape and history of the region that was once considered the Frontier. In their recent bodies of work, each artist independently explores this history through imagery sourced from both personal narrative as well as popular culture. JoAnne Artman Gallery is proud to present <em>The Wild Bunch</em>, an exhibition of recent works by Schenck, Miller and Martin, in which the artists undertake topics ranging from individual agency to remembered history through the lens of each unique process.</p> <p>&nbsp;</p> <p>Billy Schenck utilizes specific frames of reference in his oil on canvas depictions of the American West, establishing visual links between notable moments of American and film history, along with the history of visual modes of production.&nbsp; Stark contrasts, use of pattern, vivid hues, and a pop sensibility imbibe the work with a contemporary edge, while taking on some of the most popular tropes of Hollywood&rsquo;s film industry. Frequent motifs in Schenck&rsquo;s work include heroes, villains, the seductive femme fatale, as well as alluring imagery of Native American figures, frequently juxtaposed with subversive text or a winking acquiescence via visual symbols or motifs. Schenck sources his imagery from both personal references as well as historical sources such as newspapers and other print media tying his personal narratives to those that came before.</p> <p>&nbsp;</p> <p>Greg Miller&rsquo;s mixed media approach ties together the history of Pop Art, the processes of collage and assemblage as well as the concepts of urban decay and collective memory. Utilizing collected paper ephemera, Miller draws on his urban Californian roots to create tangible, evocative, visual narratives across his compositions through both image and text, with moments of poetic juxtaposition and historical allusion. Often using historical texts, illustrations, newspaper and photographs as a base, Miller completes the works with elements of typography as well as the painted form resulting in visual landscapes of great narrative depth. Miller&rsquo;s unique brand of Americana celebrates as well as notes our ties to iconic imagery that transcends the conventions of the passage of time.</p> <p>&nbsp;</p> <p>LA-based artist America Martin draws inspiration from her Colombian heritage, the natural world, as well as the landscape of Southern California. Her work frequently features the human figure shown in relationship to nature, with animals and plants used analogously to traits of personality. Martin works in a variety of media including painting, drawing, printmaking, and sculpture, yet her unique use of line and portrayal of form is notable across medium. Luscious, generous strokes of the brush, thick layers of paint and a bold use of line are signatures of her work, with much attention paid to composition. Martin often treats the figure and background with equal importance. In her recent body of work, she returns to the subject of Native American portraits, mixing indigenous motifs with her signature style and featuring depictions of the human form as solid, grounded, and in tune with its environment and spirit</p> <p>&nbsp;</p> <p><strong><em>These artists&rsquo; work will inspire, provoke, engage and mesmerize. With visual perceptions always changing, peek behind the stories told and you&#39;re sure to find the right artistic expression</em></strong></p> Fri, 28 Sep 2018 14:22:10 -0700 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list Ierimonti - Ierimonti Gallery - November 15th, 2018 - January 3rd, 2020 <p><span style="font-family:cambria; font-size:10.000000pt">Ierimonti Gallery is pleased to present </span><em>Floating Garden</em><span style="font-family:cambria; font-size:10.000000pt">, Motoi Yamamoto&rsquo;s first solo exhibition in NewYork. </span></p> <p><span style="font-family:cambria; font-size:10.000000pt">The mainspring of Yamamoto&rsquo;s work derived from the death of his sister at a young age, and the death of his wife in the fall of 2016.<br /> His works is represented by large &ndash; scale labyrinths and patterns for the loved ones who passed away as well as his strong desire to hold on to his memories with them. </span></p> <p><span style="font-family:cambria; font-size:10.000000pt">Motoi Yamamoto has been using salt for his installation for nearly 25 years since his sister passed away in 1994.<br /> Salt has been an essential part of human lives worldwide. In Japan, salt is a sacred substance used for funerals. Japanese use salt after a funeral in order to purify their spirits from the impurity of death. &ldquo;I&rsquo;m also attracted to salt not only because of its cultural and historical background, but also its translucent colors as well as the ocean where it come from as the birth place of all life.</span><span style="font-family:cambria; font-size:10pt">I then began to think that the salt I&rsquo;m using for my artworks might have been in the ocean at one point, supporting our lives, holding the &ldquo;memories of life&rdquo; within itself.&rdquo;</span></p> <p><span style="font-family:cambria; font-size:10.000000pt">Drawing a labyrinth with salt is for the artist a way to follow a trace of his memory. In this way he is able to touch a precious moment in his memory which can not be attained through pictures or writings.<br /> He draws all the lines by himself when he works on installation. He never erase or re-draw the lines</span><span style="font-family:cambria; font-size:10pt">&ldquo;We all live in the real world where life can not be undone or rewind. Lines I draw reflect myself who is alive in this moment&rdquo;. But it depends not only on his psychological or physical condition, but also on the condition of the floor or the level of humidity. He always silently follows the trace, that is controlled as well as uncontrolled from the starting point until completion.</span></p> <p><span style="font-family:cambria; font-size:10.000000pt">The series of works named &ldquo;Floating Garden&rdquo; is similar to lacework, an act of slowly rediscovering pieces of memories tucked quietly in the drawers in the mind of the artist, and weaving them together. He draws countless tiny cells with salt or paint and these cells symbolize pieces of memories and fragments of small daily events that he and his sister and his wife shared. </span></p> <p><span style="font-family:cambria; font-size:10.000000pt">Motoi has been drawing swirls and labyrinths (patterns with lines that intertwine like a maze). Such patterns have been used as a symbols to represent rebirth. Swirls symbolize life and death, resurrection, and rebirth showing a strong vitality and eternity mainly in East Asia. Labyrinths symbolize almost exactly the same aspects in the West, originated from Scotland and Greece. </span></p> <p><em>Motoi Yamamoto born in 1966 in Hiroshima and lives in Kanazawa, Japan. Graduated from Kanazawa College of Art in 1995.<br /> Some of the past exhibitions include MoMA P.S.1., Hermitage Museum (St. Petersburg), Tokyo Metropolitan Museum of Contemporary Art, 21</em><em>st </em><em>Century Museum of Contemporary Art, Kanazawa, &ldquo;Return to the Sea&rdquo;. </em></p> <p>&nbsp;</p> Thu, 08 Nov 2018 07:34:06 -0800 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list Arlene Shechet - Kohler Experience Center - March 8th - March 8th, 2020 <p>The Kohler Experience Center is proud to present a selection of work by renowned artist Arlene Shechet, on display March 2019 through early 2020. The display features the molds and two top portions of Shechet&rsquo;s <em>Tall Feather</em> sculpture, a piece in her public art installation <em>Full Steam Ahead</em> on view at Madison Square Park until the end of April. Kohler&rsquo;s display provides a fascinating inside look into the artist&rsquo;s creation process, as she seeks to redefine our perception of public art. Many of Shechet&rsquo;s pieces for <em>Full Steam Ahead </em>were created during her residency at John Michael Kohler Arts Center&rsquo;s Arts/Industry program hosted by the Kohler Co. pottery and foundry, where she was given the time and resources to stretch the limits of sculpture. Kohler believes art is essential to the human experience, having the power to move people to empathize, to question, and to act. Since 1974, the Arts/Industry residency program has been enriching the lives of artists and the Kohler craftsmen who work beside them in the factory.</p> Mon, 04 Mar 2019 08:15:15 -0800 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list - The Painting Center - January 1st - December 31st Mon, 29 Apr 2019 01:17:15 -0700 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list - The Painting Center - January 1st - December 31st Mon, 29 Apr 2019 01:18:58 -0700 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list Elisa Johns - Morgan Lehman Gallery - September 12th - November 2nd <p><span style="background-color:rgb(255, 255, 255); color:rgb(34, 34, 34); font-family:arial,helvetica,sans-serif; font-size:small">In her first solo exhibition with the gallery, this LA-based artist delivers painterly, impasto visions of the landscape of the American West on wide expanses of canvas, often at a monumental scale.</span></p> Fri, 26 Jul 2019 06:39:39 -0700 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list Claudia Doring-Baez - Denise Bibro Fine Art - October 3rd - November 9th <p><strong>DENISE BIBRO FINE ART,</strong>&nbsp;529 West 20 Street, Chelsea, NYC is pleased to announce Claudia Doring-Baez&rsquo;s first solo exhibition with the gallery,&nbsp;<strong><em>Outside It: Paintings</em>.</strong>&nbsp;The show runs October 3 &ndash; November 9, 2019.</p> <p>Doring-Baez&rsquo;s current works are inspired by the famous late French photographer Brassa&iuml;&rsquo;s photographs of Paris by night, everyday Parisian life, and photos of Picasso&rsquo;s sculptures. Doring-Baez shares Brassa&iuml;&rsquo;s love of romance, atmosphere, nightlife, and the enchanting Parisian lifestyle. The extraordinary and ordinary become fantastical. Doring-Baez delves inside of each of his images. She captures the spirit and character of the moment of that time.</p> <p>Although Doring-Baez shares the same affinity for the subject matter; she develops her own interpretation of that moment of life and circumstance.</p> <p>Doring-Baez&rsquo;s interpretations become new Brassa&iuml;-ish vignettes with a totally new perspective and distinction. The work takes her to places Brassa&iuml; has been, but she has never. She immerses herself into a life of nuance, intrigue, naughtiness&hellip; brothels, prostitution, gay bars, and m&eacute;nage &agrave; trois&rsquo;&hellip;&hellip; The common is uncommon, the Risqu&eacute; is par for the course.</p> <p>Doring-Baez&rsquo;s process is spontaneous and bombastic. Her love of the flow of drawing and sketching is reflected in her use of paint giving her work a raw freshness. It is more important to Doring-Baez that the forms and shapes in her paintings are fluid and that she creates amalgamations of the unexpected.</p> <p>Doring-Baez has been painting since childhood, after she accompanied her mother, also a painter, to noted artist, Robin Bond&rsquo;s studio in Tacubaya, Mexico. She has lived and painted in New York for the past thirty years. She received her B.A from Columbia University NYC, and her M.A from The New York Studio School, NYC, where she did her thesis work, inspired by Cindy Sherman. She has been in numerous exhibitions in New York City and Mexico.</p> <p><strong>Reception: Thursday, October 3, 2019, 6-8 pm. The artist will be present.</strong></p> Tue, 24 Sep 2019 10:55:01 -0700 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list Adolfo Doring - Denise Bibro Fine Art - October 3rd - November 9th <p><strong>Denise Bibro Fine Art</strong>&nbsp;is pleased to announce its first exhibition of photography and video work by the late multidisciplinary artist, Adolfo Doring. His diptych silver gelatin black and white images are from his<em>&nbsp;<strong>POSTED 162 Grams</strong>&nbsp;</em>series and the larger photos are from his&nbsp;<strong><em>American Burger</em></strong>&nbsp;series. Doring&rsquo;s solo exhibition runs October 3 &ndash; November 9, 2019.</p> <p>Doring&rsquo;s diptychs are based on images of females and environmental scenes that he posted on Instagram from August 2014 &ndash; September 2015. Each image of a female figure and the environment were assigned a layer of meta-data to differentiate the two types of images, then a second set of meta-data was assigned to indicate the number of likes for each image, which he would combine to make a diptych. When selecting which images would be placed on the right and the left, Doring left it completely up to chance; he flipped a coin. In his own words, &ldquo;The random nature of the process has given me the unexpected pleasure of experiencing unexpected compositions.&rdquo;</p> <p>The&nbsp;<em>American Burger</em>&nbsp;series and the video shown about highways in Mexico City display the commercialism, fast pace and unpredictability in the city, although quite different they are still in tone with his humanistic and idiosyncratic style. The video shown sets a contrasting tone from the rich, vintage tones of the photograph, echoing the nuts and bolts of the infrastructure of motorways in his native city, Mexico City, full of the life, movement and pace of the city.</p> <p>His compositions are silver gelatin prints. His photographs reference the daguerreotypes of nineteenth-century photography. As New York writer, Miss Rosen states<em>, &ldquo;&hellip; when regular people who might not be able to afford a portrait could have likenesses preserved&mdash;much in the same way digital photography has democratized the image making. By translating digital photographs back to film, Doring illustrates that progress is not necessarily a linear affair, just as randomness is a valuable tool in the creative process.&rdquo;</em>&nbsp;Rosen further notes&nbsp;<em>&ldquo;&hellip;. that somewhere where between chance and mystery lies imagination.&rdquo;</em></p> <p>Doring has been behind the camera since he was a teenager in Mexico City, where he shot his first documentary about the stark divide between rich and poor. Later he had an extensive and illustrious career making films, documentaries, music videos, taking photographs, and crafting art installations centered upon his videos. He studied law at Universidad Anahuac in Mexico City, Mexico, and Sociology and Film at Columbia University, New York. His video work in the music industry earned him an MTV Music Video Award. His narrative films and documentaries earned him critical praise (Metro premiered at the Tribeca Film Festival in 2009) and his video installations have travelled the world over. Since 2010 his works have been featured in many Whitebox Center shows as well as in other exhibitions curated by Silvas Von Morisse Gallery, New York, NY;&nbsp;Raul Zamudio-in Shanghai, China; Monterrey, Mexico; San Jose, Costa Rica; and Saint Angelo, Italy.</p> <p>Adolfo&rsquo;s untimely death in 2016 leaves behind a rich legacy for future generations to cherish.</p> <p>Reception: Thursday, October 3, 2019, 6-8 pm.&nbsp;</p> Tue, 24 Sep 2019 10:56:44 -0700 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list Bri Cirel and Andre Veloux. - Krause Gallery - 149 orchard st (LES) NYC 10002 - October 12th - November 12th <p>&quot;Deluxe&quot; - RECEPTION: Saturday, October 12th, 6:30-8:30 pm through November 12th</p> <p><img class="w580" src="http://i1.cmail20.com/ei/j/E4/2B2/1CA/csimport/ECLarge-Untitled15.151700.jpg" style="display:block; height:auto; line-height:12px; outline:none; width:580px" /></p> <p>2 Person show - &quot;Deluxe&quot; Andre Veloux and Bri Cirel</p> <p>Two very different aesthetics with one common concept, the &ldquo;subject&rdquo; matters.</p> <p><span style="font-size:11px"><span style="font-size:12px"><strong>Andre Veloux Show Link</strong>:</span></span><br /> <a href="https://krausegallery.cmail20.com/t/j-i-cliiyn-l-n/" style="color: rgb(93, 118, 245); font-weight: bold; text-decoration: none;">https://www.krausegallery.com/andre-veloux</a></p> <p><strong><span style="font-size:12px">Bri Cirel Show Link:&nbsp;</span></strong><br /> <a href="https://krausegallery.cmail20.com/t/j-i-cliiyn-l-p/" style="color: rgb(93, 118, 245); font-weight: bold; text-decoration: none;">https://www.krausegallery.com/bricirel</a></p> <p>Bri Cirel and Andre Veloux use radically different mediums, one traditional (two dimensional) oil painting, the other contemporary (two and three dimensional) Legos, yet together their work resonates complementary messaging that provides social commentary on art and gender politics.</p> <p>While Cirel&rsquo;s paintings focus on the portrayal of female bodies in art, Veloux&rsquo;s works play with forms that challenge traditional gender representation by depicting figures and couples that visually lean towards genderless. Veloux observes that &ldquo;once one of the figures is objectified then it is usually perceived as female&rdquo;. Whereas Cirel places attention on the idea that &ldquo;images of women in art and advertising are often not about the woman who&rsquo;s image is depicted. The image is of her, but not about her.&rdquo;</p> <p>Both artists share interests in how gender controls perceptions and creates bias standards in art, media and life. The two meet while showing together in multiple group shows and started conversing through social media as they gravitated towards each other&#39;s artwork.<br /> Cirel explains, &ldquo;I was immediately drawn to Veloux&rsquo;s aesthetic because I love the play of pixelation and dimension. Once I began learning more about his concepts, I felt strongly connected to his messaging&rdquo;.</p> <p>Using Lego tiles and blocks as his medium, Veloux cleverly controls the amount an image is pixelated, allowing the viewer to question what they see. He explains &ldquo;Playing on our ideas of gender and how we interpret images, these figures are simultaneously gendered and genderless and reveal in many of us a need to identify gender in what we see&rdquo;.</p> <p>Cirel also plays with obscuring her figures using text as a way to contain or omit imagery of the nude female form. Depicting classical nudes cropped and encased within words such as &ldquo;Some Body&rdquo; and &ldquo;Tits And Art&rdquo;, Bri delivers two elements that sometimes compete for the viewers attention and likewise asks them to question their perception. She explains &ldquo;I juxtaposed the depiction of a classic nude with the pornographic term (&ldquo;tits&rdquo;) specifically to challenge the viewer to see the figure as both a female Art Nude and as a naked person.&rdquo;</p> <p>Though the concepts may be challenging, the two artists make works that are beautiful and pleasant to view. With calming color palettes and soft nude forms, the works invite you to look at the subjects and asks that you consider how they are being depicted.</p> Fri, 04 Oct 2019 13:13:58 -0700 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list