Current Exhibitions & Events | ArtSlant https://www.artslant.com/ny/Events/show en-us 40 Kim Guiline - Lehmann Maupin - February 16th - March 18th Mon, 12 Dec 2016 11:41:51 +0000 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list Katharina Grosse - Gagosian Gallery- 24th St. - January 19th - March 11th <p style="text-align: justify;"><em>A painting is simply a screen between the producer and the spectator where both can look at the thought processes residing on the screen from different angles and points in time. It enables me to look at the residue of my thinking.</em><br /> &mdash;Katharina Grosse</p> <p style="text-align: justify;">Gagosian is pleased to present new paintings and sculpture by Katharina Grosse. A prominent figure on the international art circuit, this is her first gallery exhibition in New York and at Gagosian, following a series of significant public commissions in the U.S. in recent years.</p> <p style="text-align: justify;">Grosse approaches painting as an experience in immersive subjectivity. With a spray gun, she disconnects the artistic act from the hand, stylizing gesture as a propulsive mark. The resulting pictures are distinct, but never predetermined. Spatial tensions rise through shifts in chromatic temperature. Challenging boundaries, she reintroduces her body as an active agent within a vision of contemporary existence that is at once physically isolated and densely networked.</p> <p style="text-align: justify;">Embracing the events and incidents that arise as she paints, Grosse opens up surfaces and spaces to the countless perceptual possibilities of the medium. While she is widely known for her temporary and permanent <em>in situ</em> work, which she paints directly onto architecture, interiors, and landscapes, her approach begins in the studio. With calculated focus, she allows new patterns and procedures in her paintings to emerge from action, further multiplying this potential with stencils cut from cardboard and thick foam rubber&mdash;tools with which to develop further cuts, layers, and perspectival depths. Grosse&rsquo;s gestures unfold all at the same time in unmixed acrylic colors, engulfing the viewer in a toxic sublime.</p> <p style="text-align: justify;">In this exhibition, selected works from several interconnected suites of untitled paintings produced during the last twelve months demonstrate this constant interaction of process and material. Base shapes migrate from one painting to another, appearing in new layers or fusing into clusters that advance and retreat. The paintings record Grosse&rsquo;s ongoing choices about color, density, and velocity. In one group, monadic forms proclaim their specific hues within larger zones of color. A red shape takes its place amidst expressive jewel-toned streaks. A plane of cerulean blue opens, or perhaps closes, to a black and yellow void. In other more complex orchestrations, these coloristic moments become so compelling that the canvas, which supports it all, is easily forgotten.</p> <p style="text-align: justify;">A recent cast metal sculpture sprawls across the floor, its torqued and rippled surface hosting overlapping sprays and drips. White space splices through encrusted abstraction and fluid propulsions refute the boundaries of each plane. Between driftwood and space junk, the sculpture transforms as one moves around its smooth crests and sharp-edged cavities. Grosse compresses the natural, the industrial, and the technological, generating fields of color that hover between three and four dimensions.</p> <p style="text-align: justify;"><strong>Katharina Grosse</strong> was born in 1961 in Freiburg/Breisgau, Germany and currently lives and works in Berlin. Her work is featured in the collections of Museum of Modern Art, New York; Albright-Knox Art Gallery, Buffalo, NY; Staatliche Museen zu Berlin; QAGOMA, Australia; P&eacute;rez Art Museum Miami, FL; Istanbul Modern, Turkey; and Centre Georges Pompidou, Paris, as well as commissions for public and private buildings in the US and Europe.</p> <p style="text-align: justify;">Recent solo institutional exhibitions include &quot;Hammer Projects: Katharina Grosse,&quot; UCLA Hammer Museum, Los Angeles (2001); &quot;Der weisse Saal trifft sich im Wald,&quot; Kunstmuseum St. Gallen, Switzerland (2002); &quot;Perspectives 143: Katharina Grosse,&quot; Contemporary Arts Museum, Houston (2004); &quot;Constructions &agrave; cru,&quot; Palais de Tokyo, Paris (2005); &quot;Atoms Outside Eggs,&quot; Serralves, Museu de Arte Contempor&acirc;nea, Porto (2007); &quot;Hello Little Butterfly I Love You What&#39;s Your Name,&quot; ARKEN&mdash;Museum for Moderne Kunst, Copenhagen (2009); &quot;One Floor Up More Highly,&quot; Mass MoCA, Massachusetts (2010); &quot;Third Man Begins Digging Through Her Pockets,&quot; MOCA, Cleveland (2012); &quot;Two younger women come in and pull out a table,&quot; De Pont Museum of Contemporary Art, The Netherlands (2013); &quot;WUNDERBLOCK,&quot; Nasher Sculpture Center, Dallas (2013); &quot;Inside the Speaker,&quot; Museum Kunstpalast, D&uuml;sseldorf (2014); &quot;yes no why later,&quot; Garage Museum of Contemporary Art, Moscow (2015); &quot;Seven Hours, Eight Rooms, Three Trees,&quot; Museum Wiesbaden, Germany (2015); and Museum Frieder Burda, Germany (2016). Grosse&#39;s recent site-specific installations include Untitled Trumpet, 2015 for the 56th Biennale di Venezia (2015) and Rockaway! for MoMA PS1&#39;s &quot;Rockaway!&quot; program (2016).&nbsp;</p> Wed, 14 Dec 2016 16:42:19 +0000 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list Matt Johnson - 303 Gallery - January 12th - February 25th <p style="text-align: justify;">303 Gallery is proud to present our second solo exhibition of new work by Matt Johnson.<br /> &nbsp;<br /> For this occasion, Johnson will exhibit a selection of sculptures in carved, bent, and painted wood. The objects depicted in his new works are the casual detritus of art studios or building sites, whose forms are the result of usage and discarding. Crumpled cardboard boxes, shards of cut drywall, a discarded cup, pizza box, and rolls of blue painter&rsquo;s tape are preserved in stasis, forms that would normally be realized only in the temporality between utility and refuse. These simple moments of dispossession become the generators of their own poiesis, as their incidental elegance is preserved through replication as sculpture. In a conceit to the transient fragility of sculpture proffered by artists like Fischli &amp; Weiss, a certain lack of the essential qualities that confer existence upon an object is imbued in Johnson&#39;s forms. This impermanent nature is borne out by the sculptural constructions themselves, as their wooden armatures form the supports for objects that you would usually expect to see crumble in front of you.<br /> &nbsp;<br /> Johnson&#39;s approach to display lends the exhibition a scientific quality, as objects are arranged in constellations that seem to hint at a gravitational attraction created by their masses and the spaces between them. Long concerned with creating rifts in the negotiation between expectation and reality, Johnson&#39;s sculptures are arranged to communicate with each other, and seem to morph according to their imposed relations. The rubble of production, artistic, commercial and otherwise, is used to create a new type of codification, one in which objects between states and materials in flux become their own profligate and surreptitious communicators. An incorporeal form of predicate dualism begins to take hold, wherein an object can be both itself and signify a potential beyond both form and function.<br /> &nbsp;<br /> Matt Johnson has exhibited widely in such international venues as The Serpentine Gallery, London (2005); The Hammer Museum, Los Angeles (2005, 2009); The Mori Art&nbsp;Museum, Tokyo (2007); The Hydra Workshop, Hydra, Greece (2011); The Walker Art Center, Minneapolis (2012). A series of the artist&#39;s <em>Lautner Beams</em>, inspired by cast-offs from John Lautner&rsquo;s demolished Shusett House was installed in the lobby of the Pacific Design Center in West Hollywood in 2015. His site-specific work&nbsp;<em>Untitled (Swan)</em> was unveiled as part of Wanderlust, a group exhibition installed along New York&rsquo;s Highline in 2016, where it is on view until March 2017.&nbsp; Born in&nbsp;New York, Johnson currently lives and works in Los Angeles.</p> Sun, 29 Jan 2017 17:01:02 +0000 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list David Humphrey - Fredericks & Freiser - January 19th - February 25th <p style="text-align: justify;"><strong>David Humphrey</strong> has been making paintings of conversations and using the idea of conversation as a method since he first began showing in the nineteen eighties. Families, amorous partners, animal predators and pets, co-workers and all manner of social groups have conversed (and continue to) in his work over the last three decades. By mixing images found in electronic or print media with imagined subjects, or by performing types of painting (like gestural abstraction or photo-projection) as self-collaboration, Humphrey builds a dialog with others into his process.</p> <p style="text-align: justify;">These new works stoke conversations between abstract forms and a variety of human or animal protagonists. Locations talk to people, recognizable images chat with paint smears while looping gestures address spectators within the picture. &ldquo;I&rsquo;m glad we had this conversation&rdquo; was overheard by Humphrey on a crowded street and he thought it seemed neither glad nor a conversation, and that the &ldquo;we&rdquo; was bossily one sided. Humphrey celebrates the slippery ways images don&rsquo;t always mean what they seem to be saying. His work promotes the open-ended conversations that happen between us and the objects and people around us, virtually and physically.</p> <p style="text-align: justify;"><strong><u>About the Artist</u></strong><br /> David&nbsp;&nbsp;Humphrey&nbsp;(b. 1955) has been the subject of 44 solo exhibitions including McKee Gallery, NY; Sikkema Jenkins, NY; Fredric Snitzer Gallery, Miami; and Contemporary Art Center, Cincinnati. His work is in the collections of several museums and public collections including Walker Art Center, Minneapolis; Carnegie Museum of Art, Pittsburgh; The Metropolitan Museum of Art, NY; Museum of Fine Arts, Boston as well as the Saatchi Gallery, London.&nbsp;He is currently teaching in the MFA program of Columbia. He was awarded the Rome Prize in 2008.</p> Sun, 29 Jan 2017 06:43:42 +0000 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list Jeff Whetstone - Julie Saul Gallery - January 7th - March 4th <section class="col-2-2"> <article id="release"> <p style="text-align: justify;"><em>A bridge is an aspiration: to move forward, to connect, to go above and beyond.</em></p> <p style="text-align: justify;">Julie Saul Gallery is pleased to announce our third solo exhibition with Jeff Whetstone. He is known for photographing and writing about the relationship between people, politics, and their environment in the south. Whetstone recently moved to Princeton and has located his new project in Trenton, New Jersey.</p> <p style="text-align: justify;">One hundred years ago, the slogan &ldquo;TRENTON MAKES / THE WORLD TAKES&rdquo; was welded onto the Lower Trenton Bridge across the Delaware River. The letters are nine feet high and lit up in red neon at night. These words have become a trademark of the city, and a curiosity for the millions of Americans traveling to and from New York by car and train. Whetstone photographed the Lower Trenton Bridge in several formats, focusing on structural elements, letters of the slogan, portraits of drivers, birds, and the landscape to mine both cultural and physical infrastructure. He has dismantled the slogan into individual letters to make new words, phrases, and sounds to reflect contemporary aspirations, realities, and mantras. Through a process he calls &ldquo;aggregate contact printing,&rdquo; Whetstone has created large silver gelatin prints comprised of multiple negatives that present new words and images. For example, &ldquo;Heel, Hand, Knee&rdquo; (83 x 49&rdquo; contact print) incorporates 186 individual negatives.</p> <p style="text-align: justify;">At the time of the sign&rsquo;s installation, the manufacture and design of suspension bridges was Trenton&rsquo;s most important industry. Trenton&rsquo;s Roebling Factory was responsible for designing and producing the century&rsquo;s powerful symbols of American architecture, ingenuity, and infrastructure &ndash; including the Brooklyn Bridge and the Golden Gate Bridge. The decline of American manufacturing over the last fifty years has transformed Trenton&rsquo;s slogan into an omen. Today what is left behind is the city itself, reckoning with the world&rsquo;s claim on it, in a time when many Americans are questioning connections and metaphorical bridges.</p> <p style="text-align: justify;">A native of Chattanooga, Tennessee, Whetstone holds a BS from Duke and a MFA from Yale. He served for five years as an artist-in-residence at Appalshop, Inc., in Kentucky and received a Guggenheim Fellowship in 2007 for a body of work entitled New Wilderness. His work has been reviewed in the <em>New York Times</em>, the <em>Los Angeles Times</em>, <em>The New Yorker</em>, <em>New York Magazine</em>, and <em>Art News</em>, among other publications. Prior to his appointment at Princeton, he was a professor at the University of North Carolina at Chapel Hill for fourteen years.</p> <p style="text-align: justify;">His work has been exhibited widely in group and solo exhibitions, and is currently in the <em>Southern Accent</em> show at the Nasher, which will travel to the Speed Museum Louisville, Kentucky and the Blanton Museum in Austin, Texas. Whetstone&rsquo;s work is in the collections of the Nasher Museum at Duke, the Weatherpoon, Greensboro, the Cleveland Museum of Art, Yale University Art Gallery, New Haven, and the Elton John Collection, Atlanta.</p> </article> </section> Thu, 15 Dec 2016 16:38:17 +0000 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list Forsyth Harmon - Julie Saul Gallery - January 7th - March 11th <p style="text-align: justify;">Reception and book signing Saturday, January 21, 2017, 3-6 pm</p> <p style="text-align: justify;">We are pleased to present in our project gallery a selection of watercolor portraits by Forsyth Harmon from her latest publication, <em>The Art of the Affair: An Illustrated History of Love, Sex and Artistic Influence</em>.</p> <p style="text-align: justify;">Harmon&rsquo;s series of watercolor portraits embodies the likenesses of some of the most influential creators of the twentieth century, radiating the love and heartbreak they enjoyed, endured, and ultimately poured into the great works that survived them. The selection of drawings weaves its way through the long chain of love, affections, and artistic influences among writers, musicians, and artists &mdash; from Frida Kahlo to Colette to Hemingway to Dali; from Coco Chanel to Stravinsky to Miles Davis to Orson Welles.</p> <p style="text-align: justify;">Forsyth Harmon is a New York-based artist and writer. Together with Catherine Lacey, she is the co-author of <em>The Art of the Affair: An Illustrated History of Love, Sex and Artistic Influence</em> (Bloomsbury 2017), and is completing her first illustrated novel, Justine. Her work has most recently appeared in <em>The Believer</em>, <em>The Awl</em>, and <em>Convolution</em>. She received both her BA and MFA from Columbia University.</p> Thu, 15 Dec 2016 16:40:49 +0000 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list Group Show - Jeff Bailey Gallery - January 7th - February 26th <p style="text-align: justify;">Jeff Bailey Gallery is pleased to present&nbsp;<strong>ABANDONED LUNCHEONETTE</strong>, a group exhibition featuring paintings, works on paper, photography and sculpture.&nbsp;<br /> <br /> Luncheonettes came into being in the early 20th century, in small towns and big cities, serving quick meals in informal settings. The meals would be considered comfort food today: satisfying, familiar and easy to prepare, like pancakes, hot dogs or cupcakes. The environment would be shiny, clean and welcoming, for dining alone, a couple on a date, or small parties.&nbsp;<br /> <br /> Perhaps their simplicity and familiarity is just as comforting as the food. Over and over again, one knows what to expect. But when your local or favorite luncheonette is shuttered, what memories might remain?&nbsp;<br /> <br /> The title of the exhibition is taken from the 1973 Hall and Oates song of the same title. A couple, &ldquo;he was the dishwasher,&rdquo; meet many years later inside the derelict luncheonette where they first were attracted to each other, now &ldquo;drawing faces in the tabletop dust.&rdquo;&nbsp;</p> Wed, 04 Jan 2017 18:45:10 +0000 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list Moon Beom, Margaret Evangeline, Christian Faur, Dan Hernandez, Will Kurtz, Jim Toia - Kim Foster Gallery - January 7th - February 25th <p style="text-align: justify;">Kim Foster Gallery is pleased to present &ldquo;Winterfell&rdquo; a group exhibition inspired by the cold blustery season, politics and the medieval fantasy Game of Thrones.</p> <p style="text-align: justify;"><br /> Dan Hernandez creates a world in which mythological and religious iconography coexist with video game imagery. He blurs boundaries, rearranges hierarchies and calls into question our notions of iconography, collectibles and devotion. Christian Faur&rsquo;s work deconstructs and transforms. He creates computer systems that convert code into an infinite set of possibilities of color, pattern, and tonality. This information becomes imagery that comprises thousands of colored crayon tips. His unique process suggests element from both high and low culture.</p> <p style="text-align: justify;"><br /> D Dominick Lombardi&rsquo;s series &ldquo;Tatooed Tokyo&rdquo; combine the destructive/creative approach of graffiti with the aesthetics of the tattoo. The works consist of a linear design painted over a completed, sometimes abandoned painting. They mark an end of one way of thinking and begin a new path of esthetic release. Will Kurtz uses standard &ldquo;classic&rdquo; techniques to mold, form and breathe life into his subjects. Newspaper and magazine advertising are magically transformed like alchemy into street people and rambunctious animals.</p> <p style="text-align: justify;"><br /> Jim Toia manipulates nature. He takes advantage of the way in which mushrooms drop their spores, corralling them to make incredibly complex visual networks of swirling, twisting, and indefinable imagery. Blanche Nettles Powers&rsquo; inspiration is similar, but her outcome is more ethereal. The surface appears to be an even translucent layer, but in reality is comprised of hundreds of different sized strokes and markings.</p> <p style="text-align: justify;"><br /> Moon Beom&rsquo;s paintings conjure a mystical world of mountains, cliffs, rivers, and forests that materialize from complex abstractions. This world could be anywhere between welcoming and treacherous. Similarly, Margaret Evangeline&rsquo;s paintings are a result of devotion to the vulnerabilities of the discovery process, of finding one&rsquo;s way to significant content through maintaining a stance of openness to failure.</p> <p style="text-align: justify;"><br /> Our House of Winterfell is a struggle with the elements, dark forces, survival and enlightenment.</p> Sun, 05 Feb 2017 16:42:41 +0000 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list Carl Ostendarp - Elizabeth Dee Gallery - January 21st - February 25th <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;">Elizabeth Dee is pleased to present the fifth solo show of new paintings by Carl Ostendarp at the new gallery space in Harlem.&nbsp; There will be an opening on Saturday, January 21st from 5-8PM. Over the past two decades, Ostendarp has mined sources as varied as Pollock&rsquo;s drips, Newman&rsquo;s zips, American color fields, Pop Art, and Surrealism to forge his own unique and influential brand of abstract painting.&nbsp;</p> <p style="text-align: justify;">In an ongoing study of the formative period of painting between the mid sixties and mid seventies, Ostendarp continues to explore contexts ranging from the emotional, historical and conceptual.&nbsp; He often responds directly to the physical gallery space&nbsp;through the spatial embodiment of his paintings. &nbsp;In this new exhibition, Ostendarp looks more specifically at artists he has studied for decades, particularly Ad Reinhardt&#39;s late black paintings at the Jewish Museum exhibition of 1966, Lee Lozano&rsquo;s wave paintings at the Whitney Museum of American Art in 1970, and Barnett Newman&#39;s <em>Stations of the Cross</em>, which was shown in the legendary exhibition&nbsp;<em>Lema Sabachthani </em>(organized by Lawrence Alloway) at the Guggenheim Museum that same year. Beyond Newman&rsquo;s personal relationship to religion and&nbsp;radicality, this show addressed the theme of the Holocaust through his abstract methods. Ostendarp describes this interest for the exhibition: &quot;The exhibition as a whole is intended as&nbsp;a response to the social, political and psychological state of society, not as an&nbsp;expressionistic gesture but as an&nbsp;expression.&rdquo;</p> <p style="text-align: justify;">The sizes, aspect ratios and locations of the works in this show are deduced from the architectural geometry of the gallery for the purpose of creating one complete painting installation, in order to present the work as a thematic group cycle. The large paintings are divided into two integrated groups, all with loosely painted, semi-transparent grounds (applied with a mop). All of the works in the exhibition contain thin-stained fields in contrast to opaque areas, derived from the same color of gray, which calls to mind newsprint, documentary film and photography. The works in the first group share a signature horizon drip-line image that the artist has mainly produced in mural-installation works of the last 10 years, rooted in the iconography of Ostendarp&rsquo;s first stand-alone paintings of the mid 90&rsquo;s. In these works, the opaque areas are located at the bottom of the canvasses, in what would be understood to be the &ldquo;ground&rdquo; which the &ldquo;seeping painting&rdquo; is yet to cover. Their overall effect relays a sense of entropy and restlessness in the image.</p> <p style="text-align: justify;">In the second group of works, the paintings feature opaque painting words on similarly loose grounds. The words retain the character of &ldquo;voices,&rdquo; being sourced from hand-drawn cartoons and embodying meaning as expression. Not found in any official language dictionary, these expressions are not words but technically referred to as ejaculations; vocal sounds that are pre-language such as &ldquo;ACK!,&rdquo; &ldquo;ECH!,&rdquo; &ldquo;ARGH,&rdquo; &ldquo;MMP!,&rdquo; etc. &nbsp;According to Ostendarp, &ldquo;these [are] expressions that summon up or refer to unwilled responses like disgust and outrage.&rdquo;</p> <p style="text-align: justify;">Ostendarp has had over 33 solo exhibitions and participated in over 170 group shows internationally.&nbsp;According to Howard Halle, &quot;Ostendarp was part of a wave of Yale-trained painters during the early-to-mid-&rsquo;90s, who took a dyspeptic approach to reviving various art-historical genres.&rdquo;&nbsp;The artist is a founding member of the Elizabeth Dee Gallery. &nbsp;Recent exhibitions include:&nbsp;<em>Blanks</em>&nbsp;at Elizabeth Dee, New York;&nbsp;<em>Everything Falls Faster than an Anvil</em>&nbsp;at Pace Gallery, London; and&nbsp;<em>Pop Abstractions</em>&nbsp;at Garth Greenan Gallery. He has been a professor, teaching at several schools, including&nbsp;The Cooper Union, prior to his 17 years at Cornell. Ostendarp received his B.F.A. from Boston University and his M.F.A. from Yale University.&nbsp; He currently directs the Graduate Program of Art at Cornell University.</p> <p>For more information, please contact Martha Scott Burton, Gallery Assistant, at <a href="mailto:marthascott@elizabethdee.com">marthascott@elizabethdee.com</a>.</p> </div> </div> </div> Wed, 18 Jan 2017 06:45:44 +0000 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list David Reed - Gagosian Gallery - 980 Madison Ave. - January 17th - February 25th <p style="text-align: justify;"><em>Everyone on the edge of the Grand Canyon was afraid his neighbor, his friend, would jump. I liked to imagine jumping. I ran for the edge, vaulted the guard rail, flung myself into space, feet first, sleeves flapping.</em><br /> &mdash;David Reed</p> <p style="text-align: justify;">Gagosian New York is pleased to present an exhibition of early brushmark paintings by David Reed. Curated by Katy Siegel and Christopher Wool, this presentation follows the exhibition&#39;s premiere at the Rose Art Museum, Brandeis University. This is Reed&rsquo;s first exhibition with the gallery.</p> <p style="text-align: justify;">&ldquo;Painting Paintings (David Reed) 1975&rdquo; reunites many canvases first shown in 1975 at Susan Caldwell Gallery, New York, which had a strong impact on Christopher Wool, then a young artist. More than forty years later, Reed&rsquo;s paintings are complemented by a group exhibition of artists who were similarly exploring the relationship between process and image-making in painting, drawing, sculpture, and film.</p> <p style="text-align: justify;">When Reed came to New York from Southern California in the 1960s, he entered an art world that was skeptical about the ability of painting to be forward-looking. The young artist sympathized with the humanist, even metaphysical current in painters like his teachers Philip Guston and Milton Resnick, even as he admired the deadpan materiality of contemporaneous experiments in sculpture and film. Seeking to make paintings that were as direct as a poured steel sculpture, between 1974 and 1975 he prepared tall, vertical canvases, either as single panels or as many as five panels bolted together; the height of the canvases was determined by the door to his studio, the widths by the limit of his own reach. Working wet into wet, Reed then painted primarily black or red strokes from left to right, top to bottom, and sometimes diagonally, quickly filling the canvas.</p> <p style="text-align: justify;">These works, presented on the sixth floor of Gagosian&#39;s Madison Avenue location, describe particular moments, suggesting both the stillness of the resulting image and the suspended motion of their making. In <em>#49</em> (1974) red strokes melt into one another on the left side, but become drier and more autonomous as they move to the right. In the center, splatters express a tremor frozen in time, as Reed removed the canvas from the wall while it was still wet, and dropped it. Inevitably, the pure immediacy of the moment vanishes, becoming an image of itself.</p> <p style="text-align: justify;">These fundamental questions of process and image in art inform the group exhibition presented on the fifth floor. Charcoal drawings by Joyce Pensato and a blackboard painting by Cy Twombly reveal layers of gesture and erasure; Andy Warhol&rsquo;s <em>Rorschach</em> (1984) alludes to the hidden meaning behind abstraction; <em>Pendulum </em>(1976), a Super 8 film by James Nares, documents a sphere swinging perilously through a desolate Lower Manhattan street; Barry Le Va has installed his <em>On Center Shatter-or-Shatterscatter (within the Series of Layers Pattern Acts)</em> (1968&ndash;71), stacking panes of glass and smashing all but the top pane with a sledgehammer. Jack Whitten&rsquo;s <em>The Speedchaser</em> (1975) was made with a specialized tool designed to spread paint across the entire surface of the canvas with a single gesture. The evidenced actions that run through these works all find parallels in Reed&rsquo;s paintings, which evoke direct human activity, but also inevitably become images as well. The painting by Reed included in the group exhibition, <em>#78-2</em> (1975), a slender canvas with a thick black vertical stroke on an off-white ground, is echoed, surprisingly, in Sigmar Polke&rsquo;s <em>Streifenbild IV</em> (Stripe painting IV, 1968), with its four pastel strokes on a mauve ground.</p> <p style="text-align: justify;">The most recent works in the exhibition, Wool&rsquo;s <em>Untitled </em>(1995), and Josh Smith&rsquo;s <em>Untitled </em>(2004) and <em>Untitled </em>(2006), resonate with Reed&rsquo;s 1975 paintings in specific ways. Wool&rsquo;s painting is a picture created through physical and material action; the small Smith canvases were originally used as palettes for larger works, then repurposed as paintings themselves. For Wool, Reed&rsquo;s approach to painting represents a cyclical continuation between generations. In bringing these works together, Siegel and Wool follow Reed&rsquo;s example, challenging linear conceptions of artistic influence and encouraging viewers to trace alternative timelines in swinging arcs, dripping strokes, and reconfigured blots.</p> <p style="text-align: justify;">Artists exhibited include: David Reed, Barry Le Va, James Nares, Joyce Pensato, Sigmar Polke, Dieter Roth, Joel Shapiro, Josh Smith, Cy Twombly, Andy Warhol, Jack Whitten, and Christopher Wool.</p> <p style="text-align: justify;">&ldquo;Painting Paintings (David Reed) 1975&rdquo; is accompanied by an in-depth, fully illustrated book, which expands on the themes of the exhibition, describing the paintings, and also reflecting on the complex relations between past and present. It includes texts by Richard Hell and Reed, as well as an extensive conversation between Siegel and Wool.</p> <p style="text-align: justify;"><strong>David Reed</strong> was born in 1946 in San Diego, California and currently lives and works in New York. His work is featured in institutional collections worldwide, including the Albright-Knox Art Gallery, Buffalo; The Art Institute of Chicago; Centre Georges Pompidou, Paris; FRAC &ndash; Auverge, Clermont Ferrand; Museum f&uuml;r Moderne Kunst, Frankfurt am Main; Kunstmuseum St. Gallen; The Metropolitan Museum of Art, New York; Museum of Contemporary Art, San Diego; National Gallery of Art, Washington, DC; Orange County Museum of Art, Newport Beach; Virginia Museum of Fine Art, Richmond; Roswell Museum and Art Center, NM; Sammlung Goetz, Munich; Solomon R. Guggenheim Museum, New York; and Ulrich Museum of Art, Wichita, KS, among others. Recent solo institutional exhibitions include &ldquo;David Reed - You look good in blue,&rdquo; Kunstmuseum St. Gallen, Switzerland (2001, traveled to Kunstverein Hannover, Germany); &ldquo;Leave Yourself Behind. Paintings and Special Projects 1967&ndash;2005,&rdquo; Ulrich Museum of Art, Wichita State University, KS (2005, traveled to Roswell Museum and Art Center, NM; Luckman Gallery, California State University, Los Angeles); &ldquo;David Reed: Lives of Paintings,&rdquo; Douglas F. Cooley Memorial Art Gallery, Reed College, Portland, OR (2008); &ldquo;David Reed &ndash; Heart of Glass, Paintings and Drawings 1967&ndash;2012,&rdquo; Kunstmuseum Bonn, Germany (2012); &ldquo;The Mirror and The Pool,&rdquo; Kunstmuseum Krefeld, Museum Haus Lange, Germany (2015); &ldquo;Two by Two: Mary Heilmann &amp; David Reed,&rdquo; Museum f&uuml;r Gegenwart, Hamburger Bahnhof, Berlin, Germany (2015), and &ldquo;David Reed: Vice and Reflection &ndash; An Old Painting, New Paintings and Animations,&rdquo; P&eacute;rez Art Museum, Miami, FL (2016).</p> Thu, 22 Dec 2016 07:10:16 +0000 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list Rita McBride - Alexander and Bonin - January 12th - March 4th <p style="text-align: justify;">Alexander and Bonin is pleased to announce the opening of four solo exhibitions of the work of <a href="https://www.artslant.com/ny/events/show/435973-threshold" target="_blank">Jorge Macchi</a>, <a href="https://www.artslant.com/ny/events/show/435969-premium-new-markers" target="_blank">Rita McBride</a>,<a href="https://www.artslant.com/ny/events/show/435971-eye-of-the-beholder" target="_blank"> Paul Thek</a>, and <a href="https://www.artslant.com/ny/events/show/436962-o-caseiro-the-housekeeper" target="_blank">Jonathas de Andrade </a>on Thursday, January 12, 2017.</p> <p style="text-align: justify;"><em>Premium New Markers </em>, a series of sculptures by<strong> Rita McBride</strong> will be shown in the entrance gallery . The works are inspired by Joseph Beuys&#39; 7,000 Oaks project, inaugurat ed in 1982 at Documenta 7. Beuys&rsquo; plan called for the planting of 7,000 trees, each paired with a basalt marker. Sixteen of these tree/ marker pairs can be found on West 22nd Street, close to DIA Chelsea. Deriving their shape from those basalt totems, McBride&#39;s <em>Premium New Markers</em> are clad in Abet laminate, a material emblematic of post -modern architecture and design of the 1980s. With an eye trained on modern objects and architecture, McBride&rsquo;s sculptures toy with the formalism and functionalism of public structures and their oft-overlooked role as mainstays in public space.</p> <p style="text-align: justify;">For press inquiries contact Laura Braverman at 212 367 7474 or lb@alexanderandbonin.com</p> Mon, 09 Jan 2017 14:07:22 +0000 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list Paul Thek - Alexander and Bonin - January 12th - March 4th <p style="text-align: justify;">Alexander and Bonin is pleased to announce the opening of four solo exhibitions of the work of <a href="https://www.artslant.com/ny/events/show/435973-threshold" target="_blank">Jorge Macchi</a>, <a href="https://www.artslant.com/ny/events/show/435969-premium-new-markers" target="_blank">Rita McBride</a>,<a href="https://www.artslant.com/ny/events/show/435971-eye-of-the-beholder" target="_blank"> Paul Thek</a>, and <a href="https://www.artslant.com/ny/events/show/436962-o-caseiro-the-housekeeper" target="_blank">Jonathas de Andrade</a> on Thursday, January 12, 2017.</p> <p style="text-align: justify;"><em>Eye of the Beholder</em>, an exhibition of works on paper and small paintings by <strong>Paul Thek</strong> includes a pencil triptych executed in 1970 while he was living and working in Amsterdam. The three pages are filled with rows of vertical marks with a tender drawing of a lamb in the center , which points to Thek&rsquo;s continued engagement with Christian iconography and Dutch Baroque painting . The exhibition title is taken from a turquoise watercolor which was included in Thek&rsquo;s final lifetime installation</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">For press inquiries contact Laura Braverman at 212 367 7474 or lb@alexanderandbonin.com</p> <p style="text-align: justify;">&nbsp;</p> Mon, 09 Jan 2017 14:06:57 +0000 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list Jorge Macchi - Alexander and Bonin - January 12th - March 4th <p style="text-align: justify;">Alexander and Bonin is pleased to announce the opening of four solo exhibitions of the work of <a href="https://www.artslant.com/ny/events/show/435973-threshold" target="_blank">Jorge Macchi</a>, <a href="https://www.artslant.com/ny/events/show/435969-premium-new-markers" target="_blank">Rita McBride</a>,<a href="https://www.artslant.com/ny/events/show/435971-eye-of-the-beholder" target="_blank"> Paul Thek</a>, and <a href="https://www.artslant.com/ny/events/show/436962-o-caseiro-the-housekeeper" target="_blank">Jonathas de Andrade</a> on Thursday, January 12, 2017.</p> <p style="text-align: justify;"><strong>Jorge Macchi</strong> is considered one of Argentina&rsquo;s leading artists. Although Macchi has worked in a wide range of mediums from installation, sculpture, and works on paper to video and performance art, he has recently directed his efforts to painting, the discipline in which he was initially trained. The exhibition at Alexander and Bonin includes ten oil paintings made over the past three years. Departing from the ordinary and coincidental, his paintings alter scale and context, employing a system of layered visual complications and interruptions that offers a sensorial, disconcerting, and contemplative experience. Macchi&rsquo;s paintings have been termed &ldquo;anti-iconic&rdquo;<sup>1</sup> by curator and art historian Cuauht&eacute;moc Medina, in that they seek to escape an overcoded, predictable interpretation of the medium and move toward an understanding of painting tied to individual experience and ambiguity.</p> <p style="text-align: justify;"><em>Premium New Markers </em>, a series of sculptures by<strong> Rita McBride</strong> will be shown in the entrance gallery . The works are inspired by Joseph Beuys&#39; 7,000 Oaks project, inaugurat ed in 1982 at Documenta 7. Beuys&rsquo; plan called for the planting of 7,000 trees, each paired with a basalt marker. Sixteen of these tree/ marker pairs can be found on West 22nd Street, close to DIA Chelsea. Deriving their shape from those basalt totems, McBride&#39;s <em>Premium New Markers</em> are clad in Abet laminate, a material emblematic of post -modern architecture and design of the 1980s. With an eye trained on modern objects and architecture, McBride&rsquo;s sculptures toy with the formalism and functionalism of public structures and their oft-overlooked role as mainstays in public space.</p> <p style="text-align: justify;"><em>Eye of the Beholder</em>, an exhibition of works on paper and small paintings by <strong>Paul Thek</strong> includes a pencil triptych executed in 1970 while he was living and working in Amsterdam. The three pages are filled with rows of vertical marks with a tender drawing of a lamb in the center , which points to Thek&rsquo;s continued engagement with Christian iconography and Dutch Baroque painting . The exhibition title is taken from a turquoise watercolor which was included in Thek&rsquo;s final lifetime installation</p> <p style="text-align: justify;"><em>Selected Works 1987-1988</em> at Brooke Alexander, New York. In the video gallery is<strong> Jonathas de Andrade</strong>&rsquo;s <em>O Caseiro/ The Housekeeper </em>(2016), a work constructed symmetrically in two narratives with synchronized shots. On the left, Joaquim Pedro de Andrade&rsquo;s 1959 film, O Mestre de Apipucos shows the daily life of Gilberto Freyre in his home in Recife. Freyre is the historicist who wrote the remarkable 1933 book<em> Casa Grande e Senzala (The Masters and the Slaves)</em>. On the right, Jonathas de Andrade constructs a mirroring of Pedro de Andrade&rsquo;s film, substituting Freyre with a fictional caretaker of the aristocratic residence. The parallel between the two characters establishes a tension that underlines aspects of class and race, two of the main subjects that Freyre dealt with&nbsp; in his work.</p> <p style="text-align: justify;">For press inquiries contact Laura Braverman at 212 367 7474 or lb@alexanderandbonin.com</p> <p style="text-align: justify;"><sup>1</sup> Cuauht&eacute;moc Medina, &ldquo;A Renewable Opacity,&rdquo; in Jorge Macchi &ndash; Prestidigitador (Mexico City: MUAC, Museo Universitario Arte Contempor&aacute;neo, 2014): 18.</p> Mon, 09 Jan 2017 14:07:26 +0000 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list Steve Wolfe - Luhring Augustine - Chelsea - February 4th - March 11th <p style="text-align: justify;">Luhring Augustine announces an exhibition organized in honor of the life and work of Steve Wolfe (1955-2016) titled <em>Remembering Steve</em>, on view in our Chelsea gallery.</p> <p style="text-align: justify;">At the heart of Wolfe&rsquo;s practice are iconic twentieth century works of literature, music, and visual art which inspired him and became the subject of his practice.&nbsp; <em>Remembering Steve</em> is comprised of sculptures and works on paper from the mid 1980s onwards; spanning the course of three decades.</p> <p style="text-align: justify;">Working in the tradition of tromp l&rsquo;oeil, Wolfe re-creates worn books and used records, primarily from the 1960s and 1970s, that have influenced his personal and artistic sensibilities. He sought to represent his subjects with complete accuracy, rendering every detail of the original object, which bore the signs of age and use.&nbsp; Using lithography, silkscreen, drawing and other labor intensive processes, he was exhaustive and exacting in his method, with some pieces taking several years to complete.&nbsp; From his earliest mature work and throughout his career, his art explored the intersections between material culture, intellectual history, and personal and collective memory. &nbsp;The resonance of his oeuvre is now even more profound as the beloved books and records he so faithfully reproduced are rapidly being replaced by digital surrogates.</p> <p style="text-align: justify;">Steve Wolfe&#39;s work is found in many important private collections as well as prestigious public institutions, including The Whitney Museum of American Art, New York; The Museum of Modern Art, New York; The Menil Collection, Houston; The Art Institute of Chicago; The Dallas Museum of Art; and the San Francisco Museum of Modern Art. In 2009, he was the subject of a one-person exhibition that originated at the Whitney Museum of American Art and traveled to the Menil Collection and the Los Angeles County Museum of Art.</p> <p style="text-align: justify;">Along with the exhibition, Luhring Augustine is organizing a catalogue raisonn&eacute; of Steve Wolfe&rsquo;s work. We request that anyone in possession of a work by the artist contact us with information to ensure the publication is a thorough and complete record of his oeuvre. For further information about the artist and the forthcoming catalogue raisonn&eacute;, please contact Natalia Sacasa at 212-206-9100 or <a href="mailto:natalia@luhringaugustine.com">natalia@luhringaugustine.com</a>.</p> Thu, 22 Dec 2016 17:12:56 +0000 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list Willys de Castro - Luhring Augustine - Chelsea - February 4th - March 11th <p style="text-align: justify;">Luhring Augustine is pleased to announce an exhibition of works by the Brazilian artist Willys de Castro (1926 &ndash; 1988), featuring a selection of early gouaches, concrete poems, and <em>Objetos ativos (Active objects)</em>, the works for which he is best known.</p> <p style="text-align: justify;">A founding member of the Neoconcrete movement, de Castro worked alongside contemporaries such as Lygia Clark, H&eacute;lio Oiticica, and Lygia Pape in formulating an approach to geometric abstraction centered on the phenomenological experience of the viewer. For these artists, a complete reading of an artwork transcended its fixed visual properties, encouraging instead a means of perception meant for the entire body. The curator Gabriel P&eacute;rez-Barreiro has noted, &ldquo;Few artists have explored the delicate relationship between form and perception in greater depth than Willys de Castro. His achievements, modest in scale, but great in significance, summarize and embody with exquisite exactitude one of the key questions of twentieth century art: how to create simple forms with complex consequences.&rdquo;</p> <p style="text-align: justify;">De Castro&rsquo;s <em>Active objects </em>consist of geometric compositions most commonly painted on canvas-covered strips of wood. His decision to hang these structures perpendicular to the wall had groundbreaking implications, most notably in blurring their status as paintings. By reorienting the frontal axis along the object&rsquo;s narrowest edge, de Castro introduced a sculptural dimensionality to these works, which complicated their apprehension from any single vantage point. His experiments with figure-ground relationships as well as positive and negative space enacted dialogues of rhythm and color across adjacent and opposing surfaces. In order to fully grasp his system of mirroring and counterbalance, one must move back and forth before the object, bridging together mental images of its distinct facets. While some of the artists in de Castro&rsquo;s circle created artworks that invited physical manipulation, he was able to highlight the individual subjectivity of each viewer by transferring a form of authorship without requiring alteration of the work itself.</p> <p style="text-align: justify;">De Castro&rsquo;s desire to push the boundaries of painting can be traced back to his early gouaches and concrete poems of the 1950s. In these works, overlapping geometric forms appear to break up the two-dimensional plane of his compositions, while the use of language introduces an external verbal component that becomes inextricable from the visual. Each compositional element is carefully mapped out according to a mathematical logic, offering distinct and valuable insight into de Castro&rsquo;s meticulous design aesthetic and essentialist point of view.</p> <p style="text-align: justify;">Born in Uberl&acirc;ndia, Minas Gerais, de Castro is among the most influential figures within the legacy of Brazilian modernism. Recent surveys of his work were held at the Instituto de Arte Contempor&acirc;nea, S&atilde;o Paulo in 2016; Royal Academy of London in 2014; and Pinacoteca do Estado de S&atilde;o Paulo in 2012. His work is featured in the permanent collections of institutions worldwide, including the Museu de Arte de S&atilde;o Paulo; Museu de Arte Moderna Rio de Janeiro; Museum of Fine Arts, Houston; Blanton Museum of Art, Austin; and Museum of Modern Art, New York.</p> <p style="text-align: justify;">This exhibition was first presented at Cecilia Brunson Projects, London (October 8 &ndash; December 9, 2016), and was accompanied by a catalogue with texts by the artist, Gabriel P&eacute;rez-Barreiro, and Rodrigo Naves. Galeria de Arte Almeida e Dale, S&atilde;o Paulo and Galeria Mar&iacute;lia Razuk, S&atilde;o Paulo were important collaborators in organizing this show.</p> Thu, 22 Dec 2016 17:13:49 +0000 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list Lisa Alonzo - Claire Oliver Gallery - January 19th - February 25th <p>In <em>Danger and Play</em>, Lisa Alonzo continues her confrontational narratives seen through the lens of consumption. The title, taken from the Nietzsche quote, may at first blush seem contrary to the artist&rsquo;s activist voice, however as one see&rsquo;s the exhibition as an entirety, it becomes evident she means the idiom to be taken tongue planted firmly in cheek.</p> <p>Applying acrylic paint to panel through a pastry piping bag, Alonzo adds new layers of meaning with the symbolic application of the materials used to render the image. Paint as frosting. Paint as pixels. Something to be ingested; a beautiful cake: sweet, bright, and non-confrontational on the exterior, the works hide important questions just below the surface.</p> <p>All art is political in the sense that it influences or is influenced by society&rsquo;s views. Drawing a parallel between the current partisan climate in America to the stratagems of chess, Alonzo moves the pieces of a Gothic set through bucolic landscapes and gritty streets, inviting dialogue (The invasion of the Goths is widely recognized as a major reason for the fall of the Roman Empire) and questioning the manipulation that leads to a possible regime change. Regime normally refers to governing parties, here the artist asks us: could it now also reference race, culture, or gender?</p> Fri, 06 Jan 2017 21:42:47 +0000 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list Jonathas de Andrade - Alexander and Bonin - January 12th - March 4th <p style="text-align: justify;">Alexander and Bonin is pleased to announce the opening of four solo exhibitions of the work of <a href="https://www.artslant.com/ny/events/show/435973-threshold" target="_blank">Jorge Macchi</a>, <a href="https://www.artslant.com/ny/events/show/435969-premium-new-markers" target="_blank">Rita McBride</a>,<a href="https://www.artslant.com/ny/events/show/435971-eye-of-the-beholder" target="_blank"> Paul Thek</a>, and Jonathas de Andrade on Thursday, January 12, 2017.</p> <p style="text-align: justify;"><em>Selected Works 1987-1988</em> at Brooke Alexander, New York. In the video gallery is<strong> Jonathas de Andrade</strong>&rsquo;s <em>O Caseiro/ The Housekeeper </em>(2016), a work constructed symmetrically in two narratives with synchronized shots. On the left, Joaquim Pedro de Andrade&rsquo;s 1959 film, O Mestre de Apipucos shows the daily life of Gilberto Freyre in his home in Recife. Freyre is the historicist who wrote the remarkable 1933 book<em> Casa Grande e Senzala (The Masters and the Slaves)</em>. On the right, Jonathas de Andrade constructs a mirroring of Pedro de Andrade&rsquo;s film, substituting Freyre with a fictional caretaker of the aristocratic residence. The parallel between the two characters establishes a tension that underlines aspects of class and race, two of the main subjects that Freyre dealt with&nbsp; in his work.</p> <p style="text-align: justify;">For press inquiries contact Laura Braverman at 212 367 7474 or lb@alexanderandbonin.com</p> <p style="text-align: justify;">&nbsp;</p> Mon, 09 Jan 2017 14:05:16 +0000 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list Group Show - Ceres Gallery - January 31st - February 25th <p style="text-align:center">Juried by&nbsp;<strong>Helga Christoffersen</strong>,&nbsp;<strong>The New Museum</strong></p> <p style="text-align:center">Organized by the&nbsp;<strong>Women&#39;s Caucus for Art</strong></p> <p style="text-align:justify">The Women&#39;s Caucus for Art at Ceres Gallery is pleased to present WAGE ON! Women, Art, and Money as the featured exhibition of the 2017 WCA National Conference. It offers a timely opportunity to address the impact of a changing political and economic landscape.This exhibition extends themes set by the Minnesota WCA Chapter with their expansive &quot;Women and Money&quot; project and is intended to inspire a rich dialogue.</p> <p><a href="http://www.ceresgallery.org/images/wage_on_catalog.pdf" target="_blank" title="wage_on_catalog.pdf"><em>click here </em></a>Wage On catalog</p> Sat, 18 Feb 2017 00:17:00 +0000 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list Derek Fordjour, Emily Henretta, Lucia Hierro, Kenny Rivero - Elizabeth Dee Gallery - January 21st - February 25th <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;">In its newest initiative, Elizabeth Dee is pleased to present, Selections, an exhibition series designed to bring visibility to the dynamism of today&rsquo;s emerging artists. Works included in Selections are chosen by esteemed curators, who are actively engaged with the up and coming artistic voices shaping our society. Elizabeth Dee has invited culturally influential curator Larry Ossei-Mensah to organize the inaugural edition of Selections, which will be open to the public starting Saturday, January 21st from 5-8PM.</p> <p style="text-align: justify;">The inaugural installment of Selections features the work of four artists based in Harlem and the South Bronx: <strong>Derek Fordjour, Emily Henretta, Lucia Hierro</strong> and <strong>Kenny Rivero.&nbsp;</strong></p> <p style="text-align: justify;">Ossei-Mensah has selected a group of artists whose rigorous approach to experimentation pushes the boundaries of their practice in response to a continuously shifting landscape that challenges tradition and is ripe with possibilities. Via a creative lens that explores a myriad of topics from the autobiographical to environmental, these artists&rsquo; inquisitive approach to their practice results in work that spans a broad range of mediums, such as felt, works on paper, sculpture and collage.&nbsp;</p> <p style="text-align: justify;"><strong>Derek Fordjour</strong> (b. 1974) mines the allegorical relationship between art and sports to investigate questions of value with relation to personal self-worth and notions of winning and losing&mdash;in how they are derived, consumed and maintained.&nbsp;</p> <p style="text-align: justify;"><strong>Emily Henretta</strong> (b. 1982) uses discarded materials imbued with a certain history to re-manufacture &amp; re-contextualize objects that evoke the structures which support and challenge human life, architecture, technology, weather and landscape. By augmenting the form of her materials, Henretta models a space that is neither entirely of the past or of the future.&nbsp;</p> <p style="text-align: justify;"><strong>Lucia Hierro</strong> (b. 1987) explores the body as a collection of fragmented signifiers, such as language, taste and culture. &nbsp;Hierro probes these ideas through the utilization of a broad spectrum of techniques that include digital media, collage and felt painting constructions.&nbsp;</p> <p style="text-align: justify;"><strong>Kenny Rivero </strong>(b. 1981) investigates ideas of hope, loss and memory through coded gestures based on certainty and fiction. Rivero invents narratives that seek to find the truth based on his experiences that reality fails to address.</p> <p style="text-align: justify;"><strong>Larry Ossei-Mensah</strong> is a Ghanaian-American independent curator and cultural critic who uses contemporary art and culture as a vehicle to redefine how we see ourselves and the world around us. He has organized exhibitions at commercial and nonprofit galleries throughout New York City featuring a roster of critically acclaimed artists including Firelei Baez, ruby amanze, Hugo McCloud and Brendan Fernandes to name a few. Ossei-Mensah is also the Co-Founder of ARTNOIR, a global collective of culturalists who design multimodal experiences aimed to engage this generation&rsquo;s dynamic and diverse creative class. He has documented contemporary art happenings for various publications and his writings have profiled some of the most dynamic visual artists working today&mdash;Derrick Adams, Mickalene Thomas, Kehinde Wiley, Lorna Simpson and street artist JR.</p> <p style="text-align: justify;">For questions, please contact Martha Scott Burton, Gallery Assistant, at marthascott@elizabethdee.com.</p> </div> </div> </div> </div> Wed, 18 Jan 2017 06:47:27 +0000 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list John Bradford - Bowery Gallery - January 31st - February 25th <div class="contentleft"> <p style="text-align: justify;">Cezanne said &quot; What art needs is to re-do Poussin over again after nature.&rdquo; There is something both nostalgic and unsentimental in that: he was yearning for permanence that could affirm his intuitive sensations, even as the values that had sustained permanence seemed to be evaporating around him.</p> <p style="text-align: justify;">No moment, of course, can ever be held on to. Something always has to give. But the genius of the whole thing was that painters&rsquo; relentlessness in holding on, regardless, had always been framed by a shared Westphalian narrative, which had allowed both the modern world and immutable beauty to be suspended, without irony, in a delicate, artificial harmony for 250 years. For Cezanne and the modernists who followed, that holding on continued to be worthy of affirming.</p> <p style="text-align: justify;">In these paintings, my &ldquo;nature&rdquo; is to see almost everything as an artificial reference: a certain sky is more Corot or Freilicher, sunsets are often Claudes, winter trees in front of buildings have the texture of Pissarro or a brown that is scumbled over a white like in a Kossoff.</p> <p>&nbsp;</p> <p>To contact artist e-mail: i<a href="mailto:info@bowerygallery.org">nfo@bowerygallery.org</a></p> </div> Mon, 30 Jan 2017 13:54:21 +0000 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list