Current Exhibitions & Events | ArtSlant en-us 40 Mark Morrisroe - Alexander and Bonin - October 15th - December 22nd Wed, 14 Sep 2016 22:00:09 +0200 Ree Morton - Alexander and Bonin - October 15th - December 22nd Wed, 14 Sep 2016 22:00:16 +0200 Willie Doherty - Alexander and Bonin - October 15th - December 22nd Wed, 14 Sep 2016 22:02:54 +0200 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 17:57:43 +0200 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 09:48:13 +0200 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 08:35:26 +0100 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 08:51:48 +0200 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 17:22:50 +0200 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 16:28:58 +0200 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 17:40:01 +0200 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 20:38:41 +0200 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 18:30:50 +0200 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 16:14:14 +0200 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 10:50:06 +0100 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 10:50:36 +0100 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 19:14:23 +0200 Sydney Blum - Kim Foster Gallery - October 20th - December 17th <p class="p8" style="text-align: justify;">Icarus-Colour-Space, a new series of work by Canadian based artist Sydney Blum, is shaped like a wing, suggesting a continuum of time and space. The ways in which the grids, colors and shapes are composed make you feel as if you are about to take off. This is where the title of the exhibition, Icarus-Colour-Space, comes in. Icarus is, of course, the figure in Greek myth whose father fashioned wings of feathers and wax so that they could escape imprisonment on an island. Icarus, young and full of life, skateboarded through the sky, as it were. Yet in spite of his father&rsquo;s warnings, he flew too near the sun, the wax on his wings melted, and he fell to his death.</p> <p class="p8" style="text-align: justify;">Sydney Blum has used the idea of Icarus flying towards the sun as the impetus of her new work. Here, she attempts to describe and create the motion and sensation of flying but in solid form: an incongruity that is not lost on her. She juxtaposes and distorts colors and lines and shapes in such ways as to produce seemingly contradictory vibrating waves of energy in our consciousness. We see the form, the suggestion of a wing, a shield, an expanding and contracting grid underlaid with gradations of color. The flight that draws us through this complex undulating interplay of color, shapes, shadows and light takes us somewhere else. Towards the sun, perhaps. Into the unknown, certainly.</p> <p class="p8" style="text-align: justify;">In the previous series &ldquo;Fuzzy Geometry&rdquo; we were guided to an inner world of uncertain boundaries of color and space, while this new work describes a movement outward, upward. The mechanics are quite visible and intentionally evident as one moves around the pieces cantilevered from the wall. Perhaps a collaboration between Icarus&rsquo; father and the Wright Brothers. It is strangely optimistic.</p> <p class="p8" style="text-align: justify;">For Sydney, the creation of a piece of sculpture is an exploration. The development of the process, sourcing the materials and designing the structures are only a part of the whole undertaking. She examines a large selection of computer programs and websites in her research into earth energies, the vibrations of color, grid formations, oscillation, geometric theory, seismology, interference patterns, dowsing, Tai Chi, Chi Gong, shape theory and metallurgy. It is quite evident that she is deeply interested in subtle energies. For the new series, she has also had lengthy discussions with printers who produce the raw materials for the pieces, and she has worked closely with a metal machinist to design the movable mechanism holding the sculptures out from the wall. All this is in addition to thinking deeply about the meaning and implications of her work, manipulating the materials, and engaging her creativity and imagination throughout every aspect of the project.</p> <p class="p8" style="text-align: justify;"><em>Sydney Blum has had exhibitions at P.S. 1, the New Museum, the Sculpture Center, the Fine Arts Museum of Long Island, Massachusetts College of Art in Boston as well as locations in Europe. Her work has been reviewed and discussed in international art journals, including Art Forum, Art in America and The New York Times. She taught at the Parsons College of Fine Art in New York for 17 years. She has received grants from Artist Space, the New York Foundation for the Arts and Creation Grants for Arts Nova Scotia.</em></p> <p class="p2" style="text-align: justify;">&nbsp;excerpt from essay by Elizabeth Spence</p> Thu, 20 Oct 2016 10:59:38 +0200 Margaret Evangeline - Kim Foster Gallery - October 20th - December 17th <p class="p2" style="text-align: justify;">&ldquo;Gravitational Waves&rdquo; was in part inspired by the announcement of the proof of Einstein&rsquo;s 70-year-old prediction of the existence of gravitational waves. The artist recently had a dinner conversation at KentPresents with the renowned physicist Kip Thorne whose research led to the proof of Einstein&rsquo;s theory, capturing the sound of two black holes colliding at the birth of our universe some 1.3 billion light years away.</p> <p class="p2" style="text-align: justify;">Evangeline wrote &ldquo; &hellip;I was compelled by the sound of the fleeting chirp of the collision of two black holes in part because my work processes personal and familial mythologies. This event was heard and recorded in Livingston Parish, Louisiana near my birth place. I never suspected that research of this import was happening there. &rdquo; The Louisiana event propelled her to act. Years before she learned from a fellow resident at Santa Fe Art Institute to follow the faintest traces of what you cannot understand because somewhere on Earth there will be someone doing work that provides the support for yours. &ldquo;I just didn&rsquo;t expect it to come from the field of science&hellip;&rdquo;</p> <p class="p2" style="text-align: justify;">Seeing a conceptualized illustration of energy inside a black hole struck her as the drawings she made of camellias from her mother&rsquo;s garden. Evangeline claims that her mother&rsquo;s camellias felt important and that she knew that they would inspire something some day when she was ready. The artist believes that we are built to understand the world through patterns of accidents and coincidences.</p> Thu, 20 Oct 2016 10:59:26 +0200 Liu Wei - Lehmann Maupin - November 2nd - December 17th <p style="text-align: justify;"><strong>Lehmann Maupin</strong> is pleased to announce an exhibition of new work by <strong>Liu Wei</strong>. The gallery&rsquo;s second exhibition with the Chinese artist will be shown in both its New York locations. Each space will feature an installation alongside new paintings in which Liu Wei continues his examination of the physiological and psychological conditions that shape reality. <strong>The gallery will host an opening reception for the artist on Wednesday, November 2, from 6-8 PM at 536 West 22nd Street and 201 Chrystie Street.</strong></p> <p style="text-align: justify;">Over the past two decades, Liu Wei has resisted commitment to a specific medium or way of making, choosing instead to work with a wide range of media that facilitates the conceptual nature of his work. While many of his paintings, sculptures, installations, and videos reference Chinese culture and its modern landscape, his focus lies in universal issues affecting contemporary society, such as the transformative effect of urbanization on the landscape and unbalanced hierarchies of authority. Liu Wei approaches these concepts with an open mind, without imparting a particular political line of thinking. As part of the post-Mao generation, the artist has expressed how the rapid development of China and the constant shifting of ideology and values created an uncertain state of reality, which has deeply informed his artistic pursuits. Central to Liu Wei&rsquo;s practice is his manipulation and alteration of perception as a tool to create environments where viewers encounter a complex and varied existence.</p> <p style="text-align: justify;">For his sculptural installation at 536 West 22nd Street, Liu Wei was inspired by the Jorge Luis Borges poem Mirrors (1960), particularly the segment that reads, &ldquo;...Everything happens and nothing is recorded, In these rooms of the looking glass&hellip;.&rdquo; The monumental sculpture&mdash;comprised of mirrors that form a single, floating box&mdash;passes through walls and blocks off established pathways of the gallery as a way to drastically alter the existing architecture and the experience of the space. For Liu Wei, the presence of the viewer, who will be able to circumnavigate the box, is as important to the installation as the physical and material characteristics of the sculpture. The piece is intended to provoke a phenomenological experience of space that can be only activated by the viewer.</p> <p style="text-align: justify;">Architecture has long been a source of inspiration for the artist, as one of the defining characteristics of both modernity and urbanism. This is echoed in the gray monochromatic paintings also installed at West 22nd Street. The thick, tactile impasto of oil paint applied like rough plaster to the canvas recalls industrial building materials, while a series of metal bars installed in front of the paintings creates a visual and conceptual disruption to the viewing experience. This metal barrier, like the mirrored sculpture, provides a framing structure for the paintings, while also activating the viewer&rsquo;s awareness of their physical presence within the space, as a consumer of visual information.</p> <p style="text-align: justify;">At Chrystie Street, Liu Wei builds upon his concern for activating space with a complex installation composed of objects made from military canvas, metal, and wood. Surrounding the installation is a series of colorful, irregularly shaped paintings on steel that resemble views of the horizon. This entire installation is intimately linked to Liu Wei&rsquo;s fascination with the ways technology has enhanced and altered our understanding of the world. His representation is fragmented and disjointed in a way that mimics how we receive and process information. Liu Wei&rsquo;s work suggests that the illusion of a panoramic view of the world drastically alters our own perception of reality, which is no longer simply informed by our immediate locale.</p> <p style="text-align: justify;"><br /> <strong>About the artist</strong><br /> Liu Wei (b. 1972, Beijing; lives and works in Beijing) graduated from the National Academy of Fine Arts, Hangzhou in 1996. Liu Wei&rsquo;s work has been featured in international exhibitions, most recently at the Qatar Museum, Doha (2016); Fondation Louis Vuitton, Paris (2016); PLATEAU, Samsung Museum of Art, Seoul (2016); the Ullens Center for Contemporary Art, Beijing (2015); the Rubell Collection, Miami (2014); Long Museum, Shanghai (2014); Minsheng Art Museum, Shanghai (2011); Centre Pompidou, Paris (2010); National Art Museum of China, Beijing (2010); Ullens Center for Contemporary Art, Beijing (2010); Long March Space, Beijing (2010); Saatchi Gallery, London (2008); Bonniers Kunsthall, Stockholm; and Mudam Luxembourg, France (2008), to name a few. He has participated in numerous international biennials, including the 11th Shanghai Biennale (2016); 3rd Aichi Triennial, Nagoya (2016); 13th Biennale de Lyon (2015); 11th Sharjah Biennial (2013); 4th Gwangju Triennial (2012); 8th Shanghai Biennial (2010); 6th Busan Biennial (2008); 3rd Guangzhou Triennial (2008); and 51th Venice Biennial (2005). In 2016, Liu Wei was awarded the Atron AAC Award, Artist of the Year.</p> Thu, 13 Oct 2016 19:25:45 +0200 Ragnar Kjartansson - Luhring Augustine - Chelsea - November 5th - December 22nd <div class="content"> <div class="line-height4" id="moz-reader-content" style="display: block;"> <div class="page" id="readability-page-1"> <div class="content"> <p style="text-align: justify;">Luhring Augustine is pleased to announce concurrent exhibitions of Ragnar Kjartansson&rsquo;s recent work in our Chelsea and Bushwick galleries.&nbsp;</p> <p style="text-align: justify;">Kjartansson engages multiple artistic mediums, creating video installations, performances, drawings, and paintings that draw upon myriad historical and cultural references.&nbsp; An underlying pathos and irony connect his works, with each deeply influenced by the comedy and tragedy of classical theater. The artist blurs the distinctions between mediums, approaching his painting practice as performance, likening his films to paintings, and his performances to sculpture. Throughout, Kjartansson conveys an interest in beauty and its banality, and he uses durational, repetitive performance as a form of exploration.&nbsp;</p> <p style="text-align: justify;"><em>Scenes from Western Culture</em> (2015), which will be on view in Chelsea, is a series that depicts idyllic representations of Western life. The nine videos, or &ldquo;cinematic paintings,&rdquo; present non-narrative scenes: a couple dining at a New York restaurant, children playing in a garden in Germany, a woman swimming in a private pool. The picturesque tableaux unfold almost like advertisements, portraying tranquil, inviting moments that captivate in their beauty. Also on view in Chelsea will be <em>Architecture and Morality</em> (2016), a series of paintings Kjartansson completed during a two week period in the West Bank in conjunction with the Center for Contemporary Art in Tel Aviv. Taking his easel and paints to the contested Israeli settlements, the artist made representational oil paintings of homes en plein air from morning till dusk, finishing one painting a day. Kjartansson&rsquo;s straightforward landscapes contrast with the political complexity of the region they represent.&nbsp;</p> <p style="text-align: justify;">In the Bushwick gallery Kjartansson will present <em>World Light - The Life and Death of an Artist</em> (2015), a four-channel video based on Icelandic author Halld&oacute;r Laxness&rsquo;s four-volume novel <em>World Light</em> (1937-40). <em>World Light</em> portrays the tale of an orphan who yearns to become a masterful poet and his search for greatness, a quest which is riddled with difficulties, mediocrity, and tragedy. Kjartansson produced and filmed his take on the epic novel with his friends and family over one month at Vienna&rsquo;s Thyssen-Bornemisza Art Contemporary (TBA21) in 2014. As a performance that was open to the public, the artist and his comrades built sets, made costumes, wrote music, rehearsed, and filmed scenes on site. The documentation and culmination of the performance realized in Kjartansson&rsquo;s video materializes the essence of the novel it depicts, poignantly showcasing a romantic, idealistic undertaking and revealing its human imperfections.&nbsp; With its broken narrative of longing, death, and art, Kjartansson describes the video as a cubist painting of a novel.</p> <p style="text-align: justify;">Kjartansson (b. 1976) lives and works in Reykjav&iacute;k. The artist currently the subject of a survey exhibition at the Hirshhorn Museum and Sculpture Park, Washington, D.C., which traveled from the Barbican Centre, London, having been on view from July to September 2016. Kjartansson has had major solo shows at the Mus&eacute;e d&#39;art contemporain de Montr&eacute;al; the Palais de Tokyo, Paris; The New Museum of Contemporary Art, New York; the Migros Museum fur Gegenwartskunst, Zurich; the Fondazione Sandretto Re Rebaudengo, Turin; the Frankfurter Kunstverein; the BAWAG Contemporary, Vienna; the Carnegie Museum of Art, Pittsburgh; the Museum of Contemporary Art North Miami; and the Institute of Contemporary Art, Boston. Kjartansson participated in <em>The Encyclopedic Palace</em> at the Venice Biennale in 2013, Manifesta 10 in St. Petersburg, Russia in 2014, and he represented Iceland at the Venice Biennale in 2009. The artist is the recipient of the 2015 Artes Mundi&rsquo;s Derek Williams Trust Purchase Award and Performa&rsquo;s 2011 Malcolm McLaren Award.</p> </div> </div> </div> </div> Sat, 05 Nov 2016 10:52:08 +0100