Current Exhibitions & Events | ArtSlant en-us 40 Stephen Hobbs, William Kentridge, Diane Victor, Mary Wafer - David Krut Projects - October 4th, 2016 - January 26th <p style="text-align: center;">**EXTENDED THROUGH SAT, JANUARY 26, 2017**</p> <p style="text-align: justify;">David Krut Projects is pleased to present UNNATURAL LANDSCAPES, a group show featuring works by Stephen Hobbs, William Kentridge, Diane Victor, &amp; Mary Wafer which explore the social and cultural history of South Africa&rsquo;s built environment.</p> <p style="text-align: justify;">South Africa&#39;s abundant rural wildlife and dynamic urban centers tell a complex story of the country&rsquo;s social and political transformation over the past 20 years. Many of these landscapes were manufactured from colonial times, and during the Apartheid era to include some and exclude others, creating caverns and scars on an otherwise vibrant and culturally rich context.</p> <p style="text-align: justify;">This exhibition needles this history through the lens of four of Johannesburg&rsquo;s most highly regarded artists working today, revealing some of these blemishes and lending insight into the complex, and sometimes muddy interrelationship between nature, human nature, and the artifice of the human-made cities as economic and divisive instruments of power.</p> <p style="text-align: justify;">For more information please contact or</p> <p style="text-align: justify;">&nbsp;</p> Thu, 15 Dec 2016 23:26:56 +0800 Samuel Levi Jones - Galerie Lelong - December 8th, 2016 - January 28th <p>Galerie Lelong is pleased to present&nbsp;<em>Burning all illusion</em>, Samuel Levi Jones&rsquo;s first solo exhibition with the gallery. Known for deconstructing institutional and academic books as a gesture of challenging historical and contemporary power structures, Jones unveils new paintings that incorporate found texts on black history, law and higher education.</p> <p>Through the abstraction of book covers into compelling compositions, Jones explores the disillusionment of the very systems the volumes represent. Several works are comprised of desecrated law books, articulating the artist&rsquo;s resolute perspective on the flawed American justice system. One of the central works in the exhibition,&nbsp;<em>Talk to Me&nbsp;</em>(2015), is a monumental, multi-panel composition comprised of law books, whose scale and impact powerfully interrogates the justice system&rsquo;s limitations for certain groups. Jones is not solely focused on the violent confrontations with the law that continue to make headlines, but rather the injustices that go unreported. Seeking out narratives of individuals overlooked by society and the media, Jones creates works that resemble quilts, a craft long associated with collaborative storytelling. The new painting<em>&nbsp;Burning all illusion</em>&nbsp;(2016) brings together several reference books of various colors and themes into a patchwork with loose threads and rough edges, prompting open-ended questions about the recorded and unrecorded histories of our collective experience.</p> <p>Jones builds upon a movement within abstract painting that prioritizes formal investigations while also addressing social and cultural issues. Using a process that recalls radical forms of art that employ detritus and everyday found materials, Jones reveals the social discrimination at play in how value is assigned to different cultures and the objects that represent them. Through his process of simultaneously preserving evidence of the texts through their bindings while erasing the content, Jones re-examines history and generates new perspectives from which to grapple with society&rsquo;s ongoing ignorance and apathy.</p> <p>Born in Marion, Indiana, Samuel Levi Jones now lives and works in Chicago, Illinois. Jones completed a private residency program in Northern California in summer of 2016, during which he produced new work for the exhibition from books deaccessioned by the Department of African American Studies at the University of California, Berkeley. Recent museum exhibitions include&nbsp;<em>After Fred Wilson</em>&nbsp;at the Indianapolis Museum of Contemporary Art and&nbsp;<em>Unbound&nbsp;</em>at the Studio Museum in Harlem, New York. His work is included in museum and public collections such as the San Francisco Museum of Modern Art; The Rubell Family Collection, Miami; Los Angeles County Museum of Art; and Studio Museum in Harlem, New York. In 2014, Jones was the recipient of the Joyce Alexander Wein Artist Prize, an annual award given to an emerging or mid-career African-American artist.</p> <p>In conjunction with the exhibition, Galerie Lelong will hold an artist talk moderated by Sara Reisman, Artistic Director for The Shelley &amp; Donald Rubin Foundation, on Saturday, December 10, 2-4pm.</p> <p>For press enquiries, please contact Danielle Wu at (212) 315-0470 or&nbsp;<a href="" style="border: 0px; margin: 0px; padding: 0px; color: rgb(102, 102, 102); text-decoration: none;"></a>.</p> Thu, 17 Nov 2016 17:44:18 +0800 Bruce Sargeant - ClampArt - December 1st, 2016 - January 28th <p style="text-align: justify;">Opening Reception:<br /> Thursday, December 1, 2016<br /> 6:00 &ndash; 8:00 p.m.</p> <p style="text-align: justify;">ClampArt is pleased to announce &ldquo;Bruce Sargeant (1898-1938): Parlor, Gymnasium &amp; Field&rdquo;&mdash;curated by New York artist Mark Beard (Bruce Sargeant&rsquo;s great nephew).</p> <p style="text-align: justify;">Mark Beard has devoted more than two decades of his life to researching and collecting the work of Bruce Sargeant, a painter who largely concentrated on the idealization and celebration of the male form. Had Sargeant not met with a tragic and untimely death at the age of 40, he may have gone on to achieve the fame and renown awarded to such painters as James McNeill Whistler, Thomas Eakins, and Winslow Homer&mdash;artists to whom his style is often compared. Instead, Sargeant&rsquo;s oeuvre remained relatively unknown for years until it was brought to light by the efforts of Beard.</p> <p style="text-align: justify;">The current exhibition gathers canvases in which Sargeant portrays his young models in various private settings such as the parlor and studio; to quasi-public spaces including the gymnasium; on to the field and in the great outdoors. Mark Beard&rsquo;s selection of a wide array of scenes reflects his great uncle&rsquo;s interest in men of all social echelons&mdash;from ranchers and people of the working class up the social ladder to sportsmen and art collectors alike.</p> <p style="text-align: justify;">Mark Beard (1956-) was born and raised in Salt Lake City. His portraits, nudes, bronzes, and handcrafted books have been exhibited worldwide, and he has also designed more than twenty theatrical sets in New York, London, and Germany. His works are in numerous museum collections including the Metropolitan Museum of Art, New York; the Museum of Modern Art, New York; the Whitney Museum of American Art, New York; the Museum of Fine Arts, Boston; the Wadsworth Atheneum Museum of Art, Hartford, Connecticut; and the Princeton, Harvard, and Yale University Museums, among many others.</p> Mon, 05 Dec 2016 00:32:07 +0800 Group Show - Edward Thorp Gallery - December 15th, 2016 - January 28th <p style="text-align: justify;">On December 15th, E dward Thorp Gallery will inaugurate its new Chelsea space with an exhibit, &ldquo;REGROUPING,&rdquo; comprising of newly completed work by gallery affiliated artists, severa l of whom will have solo shows in the coming year. This first exhibition will highli ght the program for the season and the continuing direction of the gallery.</p> <p style="text-align: justify;">Each artist will introduce two pieces.&nbsp; Works presented will include paintings utilizing a diverse variety of s cale, material and support. From expressive tactile figuration to cool geometric abstra ction, images range from colorful spatial conundrums to the politically charged to f antastical animalistic forms.&nbsp; Th e works of Matthew Blackwell, Judith Simonian, Chuc k Webster, Jenifer Kobylarz, Shawn Spencer, June Leaf, Sarah Gamble, and Neil Fa rber are featured in tandem with ​ ​ Markus Baenziger, who will exhibit his most recen t, meticulously fabricated, sculpture; Edward Finnegan&rsquo;s and Sarah Faux&rsquo;s torn, collaged works on paper; and Mark DeLong&rsquo;s recently completed densely woven, stitch ed, cardboard constructions.</p> <p style="text-align: justify;">After sixteen years in i ts original Chelsea location, &ldquo;REGROUPING&rdquo; will mark a new chapter for Edward T horp Gallery and its artists. The change of architectural context will create opportuni ties and possibilities in which to explore new orientations in their work.</p> Wed, 14 Dec 2016 01:49:34 +0800 Robert Crumb, Aline Kominsky-Crumb - David Zwirner- 525 W. 19th - January 12th - February 18th <p style="margin: 0px; color: rgb(51, 51, 51); font-family: Avenir, Helvetica, Arial, san-serif; font-size: 12px; background-color: rgb(255, 255, 255); text-align: justify;">David Zwirner is pleased to present the gallery&rsquo;s first exhibition of the collaborative work of Aline Kominsky-Crumb and R. Crumb in its 525 West 19<span style="position: relative; font-size: 9px; line-height: 0; vertical-align: baseline; top: -0.5em;">th</span>&nbsp;Street location. Both pioneers of underground and alternative comics, Kominsky-Crumb and Crumb have created a groundbreaking portrait of their shared lives and creative collaborations over the past four decades. In their ongoing &ldquo;Aline &amp; Bob&rdquo; comics, the two artists have rendered their innermost thoughts, fears, and fantasies alongside the day-to-day realities of family life in the twentieth and twenty-first centuries, each in their own distinctive style. The exhibition, a version of which was previously on view at the Cartoonmuseum Basel, will present an extensive selection of collaborative ink drawings from throughout the run of &ldquo;Aline &amp; Bob,&rdquo; as well as solo works by both artists in a variety of media.</p> <p style="margin: 0px; color: rgb(51, 51, 51); font-family: Avenir, Helvetica, Arial, san-serif; font-size: 12px; background-color: rgb(255, 255, 255); text-align: justify;">&nbsp;</p> <p style="margin: 0px; color: rgb(51, 51, 51); font-family: Avenir, Helvetica, Arial, san-serif; font-size: 12px; background-color: rgb(255, 255, 255); text-align: justify;">By the time Kominsky-Crumb and Crumb met in 1972, they had each established themselves as foremost figures in the underground comics scene in San Francisco: Kominsky-Crumb with her autobiographical comics that appeared in the influential all-female anthology&nbsp;<em>Wimmen&rsquo;s Comix</em>, and Crumb with his genre-defining comic strips of the 1960s and early 1970s like&nbsp;<em>Fritz the Cat</em>,&nbsp;<em>Mr. Natural</em>, and&nbsp;<em>Keep on Truckin&rsquo;</em>. Indeed, Crumb had, almost clairvoyantly, predicted their union: they were introduced by mutual friends who were inspired by Aline&rsquo;s resemblance to a Crumb character named &ldquo;Honeybunch Kaminski.&rdquo; Not long after they met the two began to draw themselves and each other in joint strips and these collaborative experiments soon became a central creative endeavor for the couple, the results of which were first published in 1974 as&nbsp;<em>Aline and Bob&rsquo;s Dirty Laundry Comics</em>.</p> <p style="margin: 0px; color: rgb(51, 51, 51); font-family: Avenir, Helvetica, Arial, san-serif; font-size: 12px; background-color: rgb(255, 255, 255); text-align: justify;">&nbsp;</p> <p style="margin: 0px; color: rgb(51, 51, 51); font-family: Avenir, Helvetica, Arial, san-serif; font-size: 12px; background-color: rgb(255, 255, 255); text-align: justify;">From the beginning, Kominsky-Crumb and Crumb have explored the possibilities of creative tension and juxtaposition in these strips. Kominsky-Crumb&rsquo;s more rough-hewn renderings, reminiscent of the expressionist styles of George Grosz and Otto Dix, stand alongside Crumb&rsquo;s finely crosshatched and exquisitely detailed draftsmanship, which draws inspiration from the classic illustrators of the late nineteenth and early twentieth centuries. These productive differences are matched, however, by a perfect melding of storytelling and humor: both artists push the boundaries with a taboo-shattering confessional mode in which their deepest anxieties and most personal thoughts are laid bare with a satirical and self-deprecating irony, at once cutting, shocking, and warmly generous.</p> <p style="margin: 0px; color: rgb(51, 51, 51); font-family: Avenir, Helvetica, Arial, san-serif; font-size: 12px; background-color: rgb(255, 255, 255); text-align: justify;">&nbsp;</p> <p style="margin: 0px; color: rgb(51, 51, 51); font-family: Avenir, Helvetica, Arial, san-serif; font-size: 12px; background-color: rgb(255, 255, 255); text-align: justify;">&ldquo;Aline &amp; Bob&rdquo; is a unique project within the comics world. Together, they have created a joint portrait of their lives, from the bohemia of the Bay Area in the 1970s to the south of France, where they moved permanently in 1991, and from the early stages of dating to their current roles as doting grandparents. Along the way, this indispensable document of the family has expanded to include their daughter Sophie, herself a comics artist, who has collaborated on a number of stories with her parents since 1992.</p> <p style="margin: 0px; color: rgb(51, 51, 51); font-family: Avenir, Helvetica, Arial, san-serif; font-size: 12px; background-color: rgb(255, 255, 255); text-align: justify;">&nbsp;</p> <p style="margin: 0px; color: rgb(51, 51, 51); font-family: Avenir, Helvetica, Arial, san-serif; font-size: 12px; background-color: rgb(255, 255, 255); text-align: justify;">&nbsp;</p> <p style="margin: 0px; color: rgb(51, 51, 51); font-family: Avenir, Helvetica, Arial, san-serif; font-size: 12px; background-color: rgb(255, 255, 255); text-align: justify;">Since 1971,&nbsp;<strong>Aline Kominsky-Crumb</strong>&nbsp;has been a pioneering figure in the world of comics. Born Aline Goldsmith in Long Island, New York in 1948, Kominsky-Crumb earned her BFA from the University of Arizona in 1971. Kominsky-Crumb was one of the first contributors to the all-female anthology&nbsp;<em>Wimmen&rsquo;s Comix</em>&nbsp;in 1971, founded the seminal comics series&nbsp;<em>Twisted Sisters</em>&nbsp;with Diane Noonin in 1976, and, during the 1980s, served as editor for the influential alternative comics anthology&nbsp;<em>Weirdo</em>, to which she also contributed throughout its run. A collection of work from throughout her career was published in 2007 as&nbsp;<em>Need More Love: A Graphic Memoir&nbsp;</em>by M Q Publications.</p> <p style="margin: 0px; color: rgb(51, 51, 51); font-family: Avenir, Helvetica, Arial, san-serif; font-size: 12px; background-color: rgb(255, 255, 255); text-align: justify;">&nbsp;</p> <p style="margin: 0px; color: rgb(51, 51, 51); font-family: Avenir, Helvetica, Arial, san-serif; font-size: 12px; background-color: rgb(255, 255, 255); text-align: justify;">Previous solo exhibitions of her work include those held at DCKT Contemporary, New York (with her daughter Sophie Crumb); Art and Culture Center/Hollywood, Florida; the Museum of Comic and Cartoon Art, New York; and Adam Baumgold Gallery, New York. Her work has been published in&nbsp;<em>Artforum</em>,&nbsp;<em>The New York Times</em>,&nbsp;<em>The New Yorker</em>,&nbsp;<em>Time Out New York</em>, and numerous other magazines.</p> <p style="margin: 0px; color: rgb(51, 51, 51); font-family: Avenir, Helvetica, Arial, san-serif; font-size: 12px; background-color: rgb(255, 255, 255); text-align: justify;">&nbsp;</p> <p style="margin: 0px; color: rgb(51, 51, 51); font-family: Avenir, Helvetica, Arial, san-serif; font-size: 12px; background-color: rgb(255, 255, 255); text-align: justify;">Born in Philadelphia in 1943,&nbsp;<strong>R. Crumb</strong>&nbsp;has used the popular medium of the comic book to address the absurdity of social conventions, political disillusionment, irony, racial and gender stereotypes, and sexual fantasies and fetishes. Inspired by Thomas Nast, Honor&eacute; Daumier, T.S. Sullivant, James Gillray, amongst others, his drawings offer a satirical critique of modern consumer culture, and often seem to possess an outsider&rsquo;s perspective&mdash;a self-conscious stance which Crumb often relates to his personal life.</p> <p style="margin: 0px; color: rgb(51, 51, 51); font-family: Avenir, Helvetica, Arial, san-serif; font-size: 12px; background-color: rgb(255, 255, 255); text-align: justify;">&nbsp;</p> <p style="margin: 0px; color: rgb(51, 51, 51); font-family: Avenir, Helvetica, Arial, san-serif; font-size: 12px; background-color: rgb(255, 255, 255); text-align: justify;">In 2006, the artist joined David Zwirner, where he has had three solo exhibitions. Most recently,<em>&nbsp;Art &amp; Beauty&nbsp;</em>marked Crumb&rsquo;s first presentation at David Zwirner, London, on view April 15 though June 2, 2016. On occasion of the exhibition, David Zwirner Books published&nbsp;<em>Art &amp; Beauty Magazine: Drawings By R. Crumb</em>.</p> <p style="margin: 0px; color: rgb(51, 51, 51); font-family: Avenir, Helvetica, Arial, san-serif; font-size: 12px; background-color: rgb(255, 255, 255); text-align: justify;">&nbsp;</p> <p style="margin: 0px; color: rgb(51, 51, 51); font-family: Avenir, Helvetica, Arial, san-serif; font-size: 12px; background-color: rgb(255, 255, 255); text-align: justify;">The artist&rsquo;s 2010 gallery show,&nbsp;<em>The Bible Illuminated: R. Crumb&rsquo;s Book of Genesis</em>, presented 207 individual black-and-white drawings from his now landmark&nbsp;<em>The Book of Genesis Illustrated by R. Crumb</em>. The exhibition was also on view at the Hammer Museum, Los Angeles, in 2009, before traveling to the Portland Art Museum, Oregon; Columbus Museum of Art, Ohio; Bowdoin College Museum of Art, Brunswick, Maine; and the San Jose Museum of Art, California. In 2013, it was presented as part of the 55th Venice Biennale, curated by Massimiliano Gioni.</p> <p style="margin: 0px; color: rgb(51, 51, 51); font-family: Avenir, Helvetica, Arial, san-serif; font-size: 12px; background-color: rgb(255, 255, 255); text-align: justify;">&nbsp;</p> <p style="margin: 0px; color: rgb(51, 51, 51); font-family: Avenir, Helvetica, Arial, san-serif; font-size: 12px; background-color: rgb(255, 255, 255); text-align: justify;">A retrospective of Crumb&rsquo;s work was held in 2012 at the Mus&eacute;e d&rsquo;Art Moderne de la Ville de Paris. In 2011, his work was the subject of a solo exhibition at the Museum of American Illustration at the Society of Illustrators, New York. A major solo show devoted to Crumb&rsquo;s work was organized by the Yerba Buena Center for the Arts, San Francisco, in 2007, and traveled from 2008 to 2009 to the Frye Art Museum, Seattle; Institute of Contemporary Art, Philadelphia; Massachusetts College of Art and Design, Boston; and the Grand Central Art Center, Santa Ana, California.</p> <p style="margin: 0px; color: rgb(51, 51, 51); font-family: Avenir, Helvetica, Arial, san-serif; font-size: 12px; background-color: rgb(255, 255, 255); text-align: justify;">&nbsp;</p> <p style="margin: 0px; color: rgb(51, 51, 51); font-family: Avenir, Helvetica, Arial, san-serif; font-size: 12px; background-color: rgb(255, 255, 255); text-align: justify;">Work by the artist is represented in major museum collections worldwide, including the Brooklyn Museum, New York; Carnegie Museum of Art, Pittsburgh; Museum Ludwig, Cologne; and The Museum of Modern Art, New York.</p> <p style="margin: 0px; color: rgb(51, 51, 51); font-family: Avenir, Helvetica, Arial, san-serif; font-size: 12px; background-color: rgb(255, 255, 255); text-align: justify;">&nbsp;</p> <p style="margin: 0px; color: rgb(51, 51, 51); font-family: Avenir, Helvetica, Arial, san-serif; font-size: 12px; background-color: rgb(255, 255, 255); text-align: justify;">In 2016, the Cartoonmuseum&nbsp;Basel hosted the above-mentioned major two-person exhibition,&nbsp;<em>Aline Kominsky-Crumb &amp; Robert Crumb &ndash; Drawn Together</em>, and published an extensively illustrated catalogue. Collections and anthologies of their collaborative work include&nbsp;<em>The Complete Dirty Laundry Comics&nbsp;</em>(Last Gasp, 1993) and&nbsp;<em>Drawn Together: The Collected Works of R. and A. Crumb</em>&nbsp;(Liveright, 2012). Kominsky-Crumb and Crumb currently live in the south of France.</p> <p style="margin: 0px; color: rgb(51, 51, 51); font-family: Avenir, Helvetica, Arial, san-serif; font-size: 12px; background-color: rgb(255, 255, 255); text-align: justify;">&nbsp;</p> <p style="margin: 0px; color: rgb(51, 51, 51); font-family: Avenir, Helvetica, Arial, san-serif; font-size: 12px; background-color: rgb(255, 255, 255); text-align: justify;">For all press inquiries and to RSVP to the January 12 press preview, contact Kim Donica at David Zwirner +1 212 727 2070&nbsp;<a href="" style="color: rgb(85, 85, 85); text-decoration: none;"></a></p> Tue, 10 Jan 2017 19:20:34 +0800 Group Show - Danese/Corey - January 6th - February 4th Fri, 09 Dec 2016 00:04:05 +0800 Michelle Grabner - James Cohan Gallery - December 8th, 2016 - January 28th <div class="line-height4" id="moz-reader-content" style="display: block;"> <div class="page" id="readability-page-1"> <div class="text"> <p style="text-align: justify;">They are human in scale, relating both to Grabner&rsquo;s own body and the physicality of their fabrication. To create these sculptures, Grabner first made wax positives of the blanket she intended to cast. Molten bronze was then poured into the moulds, burning out both the fabric and wax, thereby sacrificing the original textile. Grabner reassembled the full blanket, changed into bronze, from these constituent parts.&nbsp; The draping form of the reconstituted textile reminds the viewer of Grabner&rsquo;s process and that this hardened bronze sculpture was once a soft, pliable fabric. Both blanket and bronze are one object with a single linear history.</p> <p style="text-align: justify;">As David Getsy writes in the accompanying catalogue essay, &ldquo;Grabner&rsquo;s sculptures&hellip;conjure the blankets&rsquo; past lives. Her initial choice to use them as patterns for her works gave these textiles a new life and purpose, and in making paintings from their structures she honored the embedded intelligence in the domestic labor and traditions that produced them. This canny engagement with conventions of both sculpture and abstract painting combine to make a twofold case: first, for the powerful familial associations and intelligence born from traditional artist practices embodied by the blankets she chose and, second, for the larger place of such &ldquo;women&rsquo;s work&rdquo; of making handmade textiles as crucial to major debates in Western art&rsquo;s history. In their sophisticated layering of the meanings and uses of these blankets, throws, and afghans, Grabner&rsquo;s sculptures demand a different kind of attention to the complexity and capacity of such traditional artistic practices, themselves often handed down generation by generation.&rdquo;</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>Michelle Grabner</strong> holds an MA in Art History and a BFA in Painting and Drawing from the University of Wisconsin&ndash;Milwaukee, and an MFA in Art Theory and Practice from Northwestern University. Grabner is the Crown Family Professor of Painting at the School of the Art Institute of Chicago where she joined its faculty in 1996. Other recent faculty appointments include, Milton Avery Graduate School of the Arts at Bard College, Yale University School of Art, and Skowhegan School of Painting and Sculpture. Her writing has been published in <em>Artforum</em>, <em>Modern Painters</em>, <em>Frieze</em>, <em>Art Press</em>, and <em>Art-Agenda</em>, among others. Grabner also runs The Suburban and The Poor Farm with her husband, artist Brad Killam. She co-curated the 2014 Whitney Biennial at the Whitney Museum of American Art along with Anthony Elms and Stuart Comer. Currently Grabner and Jens Hoffmann are working as co-artistic directors for <em>FRONT</em>, a triennial art exhibition in Cleveland and vicinity opening in July 2018.</p> <p style="text-align: justify;">She has been the subject of a solo exhibitions at the Indianapolis Museum of Art, the Museum of Contemporary Art, Cleveland, INOVA, The University of Wisconsin, Milwaukee; Ulrich Museum, Wichita, Kansas; and University Galleries, Illinois State University, Normal. She has been included in group exhibitions at Museum of Contemporary Art, Chicago, Illinois; Walker Art Center, Minneapolis, Minnesota; Tate St. Ives, UK; and Kunsthalle Bern, Switzerland. Her work is included in the permanent collection of Walker Art Center, Minneapolis, Minnesota; Museum of Contemporary Art, Chicago, Illinois ; MUDAM, Luxemburg; Milwaukee Art Museum, Wisconsin; Madison Museum of Contemporary Art, Wisconsin; Daimler Contemporary, Berlin, Germany; Smithsonian American Art Museum, Washington D.C. and the Victoria and Albert Museum, London, UK.</p> <p style="text-align: justify;"><strong>David J. Getsy</strong> is the Goldabelle McComb Finn Distinguished Professor of Art History at the School of the Art Institute of Chicago. His books include <em>Abstract Bodies: Sixties Sculpture in the Expanded Field of Gender </em>(Yale University Press, 2015); <em>Rodin: Sex and the Making of Modern Sculpture </em>(Yale University Press, 2010); and <em>Body Doubles: Sculpture in Britain, 1877-1905 </em>(Yale University Press, 2004).</p> </div> </div> </div> Sat, 10 Dec 2016 23:56:27 +0800 Joan van Barneveld - LMAKgallery - January 6th - February 12th <p style="text-align: justify;">LMAKgallery is pleased to announce Joan van Barneveld&rsquo;s Day for night. On view will be a selection of paintings from his recent museum solo-exhibition MIRROR/STAGE at the Bonnefantenmuseum in Maastricht, the Netherlands, in combination with recently finished works. Returning to painting Van Barneveld focuses on a distillation of colors, under layers of white wash -stepping away from is typical &lsquo;black on black&rsquo; works.</p> <p style="text-align: justify;">Van Barneveld&rsquo;s new works are composed of layers of silkscreen, painted areas and washes culminating into ghost like imagery and unfocused states of the omitted. The inanimate objects and the elements of time such as shadows create mysterious, calm compositions and which find poetry within the solemn.</p> <p style="text-align: justify;">In the work there are slight references of urban landscapes, but rather than holding on to the visual narrative the viewer is beckoned into layers of color that lead to a barren space. These bleached color fields, give an interesting new perspective on what we usually see uncovered in Van Barneveld&rsquo;s &lsquo;black&rsquo; works as they both exult the beauty of the stillness.</p> <p style="text-align: justify;">Van Barneveld&rsquo;s third exhibition with the gallery shows his visual development and his persistent and admirable dedication to finding the content in the bereft; an oxymoron that has taken him years to review and the viewer reaps the reward as they are confronted with an overwhelming wall of visual information of nothing &ndash; and its silence is deafening.</p> <p style="text-align: justify;">For more information or press inquiries, please contact Bart or Louky Keijsers Koning at, or call 212 255 9707.</p> Fri, 30 Dec 2016 10:30:17 +0800 Lee Bul - Lehmann Maupin - January 12th - February 11th <p style="text-align: justify;"><span style="font-family: arial; font-size: small; white-space: pre-wrap; background-color: rgb(255, 255, 255);">Considered to be one of the leading Korean artists of her generation, for her fifth exhibition with the gallery Lee Bul will present new mixed media drawings, sculpture and installation. Though varied in media and content, the three series represented are united in their exploration of structural systems&mdash;from the individual body, to larger frameworks of architecture, cities, and utopian societies&mdash;a progressively expanding discipline that has become a hallmark of Lee Bul&rsquo;s oeuvre.</span></p> Mon, 12 Dec 2016 19:34:17 +0800 Titus Kaphar - Jack Shainman Gallery 20th Street - December 16th, 2016 - January 28th <h6 style="text-align: justify;">Jack Shainman Gallery&nbsp;is pleased to present&nbsp;Titus Kaphar&rsquo;s&nbsp;second solo exhibition, on view at both our Chelsea locations.&nbsp;Shifting Skies&nbsp;is an investigation into the highest and lowest forms of recording history. From monuments to mug shots, this body of work seeks to collapse the line of American history to inhabit a fixed point in the present. Historical portraiture, mug shots, and YouTube stills challenge viewers to consider how we document the past, and what we have erased. Rather than explore guilt or innocence, Kaphar engages the narratives of individuals and how we as a society manage and define them over time. As a whole, this exhibition explores the power of rewritten histories to question the presumption of innocence and the mythology of the heroic.</h6> <h6 style="text-align: justify;">Kaphar received an MFA from the Yale School of Art and is the distinguished recipient of the Gwendolyn Knight and Jacob Lawrence Fellowship. In 2016, he was named the Artist as Activist Fellow: Racial Justice + Mass Incarceration by the Robert Rauschenberg Foundation, and in 2015 he was awarded a Creative Capital Grant for the Visual Arts. Kaphar&rsquo;s work has been included in solo and group exhibitions&nbsp;at MoMA PS1; the Studio Museum in Harlem; the Seattle Art Museum; and the Savannah College of Art and Design. His work is included in the collections of The Museum of Modern Art, New York; Brooklyn Museum; Pérez Art Museum Miami; and the Studio Museum in Harlem, among others.</h6> <h6 style="text-align: justify;">Kaphar&rsquo;s ambitious installation,&nbsp;The Vesper Project, is currently on view at the Lowe Art Museum in Miami, the last stop on a tour that also included at the Contemporary Arts Center, Cincinnati, Ohio; the Katzen Arts Center at American University, Washington, DC; and the New Britain Museum of American Art, Connecticut.</h6> <h6 style="text-align: justify;">Gallery hours are Tuesday through Saturday from 10 am to 6 pm. For additional information and photographic material please contact the gallery at <u></u></h6> Thu, 15 Dec 2016 02:05:50 +0800 Dana Levy, Taro Masushio, Anh Thuy Nguyen, Margeaux Walter - Miyakoyo Shinaga Art Prospects - January 5th - February 18th <p style="text-align: justify;"><b>From January 5 to&nbsp;February&nbsp;18, 2017,</b>&nbsp;MIYAKO YOSHINAGA&nbsp;is pleased to present&nbsp;<i>Surface Unrest</i>, the gallery&rsquo;s group exhibition by&nbsp;<b>Anh Thuy Nguyen,&nbsp;</b><b>Dana Levy,&nbsp;</b><b>Margeaux Walter,</b> and&nbsp;<b>Taro Masushio</b><b>.</b>&nbsp;An opening reception for the artists&nbsp;will be held on&nbsp;Thursday, January 5, 2017 from 6pm to 8pm. &nbsp;The artists will be present. &nbsp; &nbsp;</p> Thu, 15 Dec 2016 02:12:49 +0800 Matt Johnson - 303 Gallery - January 12th - February 5th <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> Sat, 14 Jan 2017 23:59:15 +0800 Sergei Eisenstein - Alexander Gray Associates - January 7th - February 11th <p style="text-align: justify;">Alexander Gray Associates in collaboration with Matthew Stephenson presents a rare private collection of drawings by the Russian filmmaker and theorist, Sergei Eisenstein on view for the first time in the Americas. These sexually explicit drawings, completed between 1931&ndash;1948, span the period of his travels in Mexico and the United States in the 1930s until his death in Moscow in 1948.<br /> <br /> A renowned film director and film montage innovator, Eisenstein also wrote extensively and made upwards of 5,000 drawings throughout his life, including designs for film sets and storyboards. This group, however, reveals Eisenstein&rsquo;s sexual imagination, in part informed by his own bisexuality as well as his considerable reading and travel. Arranged in groupings that demonstrate a diversity of content, the drawings on view are intimately scaled, mostly monochromatic, with flashes of colored pencil typically in red or blue.<br /> <br /> As historian Joan Neuberger notes, during his time in Mexico, &ldquo;Eisenstein confirmed that drawing was no less important in his work as an artist than film-making and theory writing,&rdquo; though it remains lesser-known. Many of his films are subtly subversive in his refusal to broadly prioritize propagandistic Soviet Realism over experimentation with camera techniques. In his &ldquo;sex drawings,&rdquo; Eisenstein engages in pointed institutional critiques, occasionally through the inclusion of Christian iconography and clergy members entwined in sexual acts that might be read as sacrilegious. He also illustrates figures engaged in intercourse in public spaces including the circus, nightclubs, and the streets. One red and black pencil drawing includes the text &ldquo;Drag,&rdquo; and features two figures in an environment that evokes a nightclub, likely in New York. One figure wearing a man&rsquo;s suit appears to be reaching up the second figure&rsquo;s dress as they recline on a sofa. Through his exploration of this content, Eisenstein constructs succinct and transgressive visual stories in a medium that was intentionally less public-facing than his films.<br /> <br /> Also present in many of these drawings are irreverent depictions of inter-species relations including: a scene of matadors and bulls engaged in oral sex, and a fornicating alligator and rabbit captioned &ldquo;Fucking, according to the Best System.&rdquo; These pairings highlight Eisenstein&rsquo;s fascination with dualities, which he called the &ldquo;unity of opposites,&rdquo; as well as his interest in representing a broad range of behaviors and desires reflecting the Freudian topicality of their time. Eisenstein&rsquo;s experiences in Hollywood are apparent in these drawings, in particular his interest in Walt Disney&rsquo;s films, which he claimed were &ldquo;the greatest contribution of the American people to art,&rdquo; and which informed his sometimes cartoonish style demonstrated in a drawing of a nude man draped backwards over an expressively wide-eyed giraffe.<br /> <br /> After spending six months in California, Eisenstein traveled to Mexico to begin filming <i>&iexcl;Que Viva M&eacute;xico!</i>, an epic about the country&rsquo;s history. He intended his trip to last three to four months; it lasted over a year. In 1946, Eisenstein wrote, &ldquo;it was in Mexico that my drawing underwent an internal catharsis, striving for mathematical abstraction and purity of line. The effect was considerably enhanced when this abstract, &lsquo;intellectualized&rsquo; line was used for drawing especially sensual relationships between human figures.&rdquo; This interest in line and interplay of figures underscores his connection to the work of Mexican muralists including Diego Rivera, who Eisenstein first met in 1927, and whose work he greatly admired.<br /> <br /> The drawings on view have a rich history. When departing Mexico, Eisenstein was stopped, questioned and his luggage searched at the United States border where the drawings were nearly confiscated for their incendiary nature. Upon his return to Moscow at the height of Stalin&rsquo;s rule he kept the explicit images hidden until his death in 1948. His widow, the writer and filmmaker Pera Atasheva, donated most of his graphic archive, with the exception of his sex drawings, to the Russian State Archives of Literature and Art in Moscow (RGALI). Atasheva entrusted the erotic drawings to Eisenstein&rsquo;s close friend and collaborator, the famous Soviet cinematographer Andrei Moskvin, who protected the director&rsquo;s reputation by keeping these drawings hidden. After Moskvin&rsquo;s death in 1961, his widow safeguarded the drawings. In the late 1990s her heirs sold the drawings to the family of present owner. A quarter of the drawings were also donated to the permanent collection of the State Hermitage Museum in St. Petersburg.<br /> <br /> Also on view to provide visual context and connection to Eisenstein&rsquo;s cinematic practice is a continual projection of the 1979 edit of <i>&iexcl;Que Viva M&eacute;xico!</i>, Eisenstein&rsquo;s unfinished film which he began filming in Mexico in 1931. The film footage was edited by various people and released without Eisenstein&rsquo;s participation in 1933, 1934, 1939,1940, and ultimately by his assistant director, Grigorii Alexandrov in 1979.<br /> <br /> <br /> <b>About Matthew Stephenson</b><br /> Matthew Stephenson is a London based art dealer advising and representing artists and artist&rsquo;s estates and assisting private collectors and institutions through the exhibition, acquisition and selling of 19th, 20th century and contemporary art.</p> Thu, 15 Dec 2016 22:54:15 +0800 Miguel-Ángel Cárdenas - Andrea Rosen Gallery - January 6th - February 4th <p style="text-align: justify;">Andrea Rosen Gallery is pleased to present the first solo exhibition in the United States of Colombian-Dutch artist Miguel &Aacute;ngel C&aacute;rdenas (1934-2015). Born in Colombia, C&aacute;rdenas moved to Amsterdam in 1962, where he adopted the name Michel Cardena. While he ambitiously explored a variety of media including painting, assemblage, performance, video, and photography, this exhibition focuses on a group of his wall-bound sculptures, as well as examples of video and drawing.</p> <p style="text-align: justify;">C&aacute;rdenas&rsquo;s sculptures are recognizable within the context of concurrent post-war movements such as Nouveau R&eacute;alisme in France, Pop Art in the United States, and the Nul Group in the Netherlands, while also drawing from his Latin American heritage. Sharing with these groups an interest in utilizing everyday consumer goods as a new artistic material, C&aacute;rdenas&rsquo;s work remains distinct with its playful and provocative imaginings of sexuality and eroticism.</p> <p style="text-align: justify;">Rejecting repressive cultural traditions (starting with his Catholic upbringing in Colombia), C&aacute;rdenas&rsquo;s multi-faceted body of work stems from his embrace of openness and experimentation. Recalling Claes Oldenburg&rsquo;s soft sculptures and Arman&rsquo;s consumer good&nbsp;<em>Accumulations</em>, C&aacute;rdenas&rsquo;s assemblages arrange everyday objects, such as packaged food and colorful plastic toys, into suggestive compositions evocative of internal sex organs or genitalia peeking out from behind unzipped pants. In these &ldquo;tensages&rdquo; (tensions), as C&aacute;rdenas called them, ribbed tubes connect slick geometric forms, and taut vinyl flaps open to reveal a rotary telephone with its receiver exposed, supine, atop a finger dial and a pastel pink goblet.</p> <p style="text-align: justify;">A pioneer of video and performance art in the Netherlands, C&aacute;rdenas situated the body&nbsp;at the heart of his practice, much like many of his contemporaries working in these media such as Marina Abramović, Vito Acconci, Chris Burden, and Carolee Schneemann. Refuting perceptions of the body as taboo, abject or vulnerable, C&aacute;rdenas&rsquo;s work uniquely positions itself as a site for positive sensation and connective potential. Staging happenings and video works under his production company&nbsp;<em>warming up etc. etc. etc.</em>&nbsp;(represented by a logo of an abstracted flower/sex organ), C&aacute;rdenas explored the notion of &ldquo;warmth&rdquo; in relation to social interactions and sexual arousal. Infusing &quot;warmth&quot; into everyday environments and actions&mdash;raising the thermostat, facilitating conversation, melting an ice cube, cooking a meal&mdash;C&aacute;rdenas&rsquo;s bold works created a friction which he hoped would lead to an increasingly liberated society.</p> <p style="text-align: justify;"><em>Miguel &Aacute;ngel C&aacute;rdenas was born in El Espinal, Colombia, in 1934 and died in Amsterdam, the Netherlands, in 2015. He studied architecture at the Universidad Nacional in Bogota (1952-1953) and visual arts at the Academia de Bellas Artes (1955-1957) and the Escuela de Artes Gr&aacute;ficas in Barcelona (1962), before moving to the Netherlands where he lived for the remainder of his life. In&nbsp;</em><em>1964 C&aacute;rdenas was included in the seminal exhibition &ldquo;New Realists and Pop Art,&rdquo; which travelled from The Hague to Vienna and Brussels. In 1972 C&aacute;rdenas established an artist-run space called the In-Out Center along with a group of Amsterdam-based international artists. The In-Out Center hosted exhibitions of early video and performance art in addition to supporting conceptual and collaborative projects. &nbsp;C&aacute;rdenas&rsquo;s work is in the collections of the Stedelijk Museum, Amsterdam, Netherlands; Moderna Museet, Sweden; Gemeentemuseum, The Hague, Netherlands; and Museum Boijmans Van Beuningen, Rotterdam, Netherlands, among others.</em></p> <p style="text-align: justify;">With thanks to Instituto de Vision, Bogota, Colombia for their support of this exhibition.</p> <p style="text-align: justify;">For media and press inquiries, please contact Brittni Zotos at <a href=""></a>.</p> Thu, 05 Jan 2017 02:08:57 +0800 Fredrik Værslev - Andrew Kreps Gallery @ 537 W. 22nd - January 7th - February 11th <p style="text-align: justify;">Andrew Kreps Gallery is pleased to announce <em>Merman</em>, Fredrik Vaerslev&rsquo;s third exhibition with the gallery.</p> <p style="text-align: justify;">&nbsp;Central to V&aelig;rslev&rsquo;s practice is the detour, and even the avoidance of the artist&rsquo;s gesture. In his works, he&nbsp;employs marks that range from colloquial appropriations to those that find bedfellows in painting&rsquo;s past. Often leaving his paintings outdoors, V&aelig;rslev conflates these references with the uncertainty of nature, undermining his own decided actions&nbsp;and moves and allowing the works to accrue the accidental traces of weather - like turpentine gone sour, or monochromes corroded into color fields. As they become inextricably tied to the environment in which they were created, abstraction gradually expands into the representation of real objects and phenomena.&nbsp;</p> <p style="text-align: justify;">&nbsp;In his most recent body&nbsp;of works, V&aelig;rslev envelops his own practice as a material, literally stitching together elements belonging to his past series &ndash; both canopy paintings, which resemble commercial awnings, and monochromes.&nbsp; Recombined, these retrospective compositions verge on figurative, likening themselves to boat sails, some of which are even adorned with maritime insignia. The works situate themselves as an autobiographical conceit, further tying the constituent abstract elements to a collaborative network of intention, history, and chance.&nbsp;</p> <p style="text-align: justify;">&nbsp;Fredrik V&aelig;rslev&rsquo;s work is currently the subject of a traveling exhibition titled&nbsp;<em>All Around Amateur,&nbsp;</em>on view at Le Consortium, Dijon, curated by Anne Pont&eacute;gnie, through February 17, 2017, originated at&nbsp;Bergen Kunsthall, curated by Martin Clark, 2016. Other solo exhibitions include:&nbsp;Kunsthal Aarhus, Aarhus, 2016, Museo Marino Marini, Florence, 2015, CAC &ndash; Passerelle, Brest, 2015, and The Power Station, Dallas, 2014.</p> Sat, 07 Jan 2017 18:30:02 +0800 Diego Perrone - Casey Kaplan Gallery - January 12th - February 18th <div class="line-height4" id="moz-reader-content" style="display: block;"> <div class="page" id="readability-page-1"> <div class="large-item"> <p style="text-align: justify;">Casey Kaplan and Massimo De Carlo are pleased to present <em>Self Portraits</em> and <em>Herbivorous Carnivorous</em>, two concurrent exhibitions by Italian artist Diego Perrone (b. 1970, Asti). Debuting in New York and Milan, Perrone presents new glass sculptures accompanied by Biro on paper drawings.</p> <p style="text-align: justify;">Diego Perrone approaches his practice with aesthetic inventiveness by reimagining stylistic and classically technical processes. He accesses a transitory space that merges representation with the indescribable. At the center of this exhibition, a bridge between convention and innovation is built through Perrone&rsquo;s exploration of a time-honored technique of casting glass. As molten glass solidifies within its plaster mold, individual fragments are heated and fused together to produce distinct yet amorphous shapes and imagery. Pigment-infused minerals and oxides form gradations and clouds of color that filter through the translucent glass, each layer caught between crystal and soil.</p> <p style="text-align: justify;">Perrone&rsquo;s usage of cast glass originated from his previous series of fiberglass sculptures, entitled <em>La fusion della campana (The casting of the bell)</em> (2005-2008). Conceived from traditional metal and bronze casting techniques, Perrone merged the three stages of bell casting into objects that were not bells, but bizarrely abstracted tubular and natural forms attached to bell shells. Tradition, time, and space were compressed into liquefied structures resembling excavated landscapes.</p> <p style="text-align: justify;">In a 2013 presentation at Museion Bolzano, Italy, Perrone applied this process using glass, presenting a series of sculptures in which representations of an ear and its spiral innards emerged. The repetition of the ear canal throughout the artist&rsquo;s practice, initially appearing in Biro on paper drawings in 1995, connects an anatomical anomaly to organic forms within nature. To Perrone, a material&rsquo;s capacity to simultaneously cloak the passing of time through a physical object merges notions of permanence with the elusiveness of elements forever in motion. Curing for months on end, immiscible liquids are paused in a forced interaction within each glass sculpture. This tumultuous phase, resulting in the irregular contouring of diverging planes, is captured in a single object nebulously shaped as the artist in profile.</p> <p style="text-align: justify;">The spherical glass heads contain recurring motifs within Perrone&rsquo;s practice. Imagery of koi fish and tractors circle the space of the artist&rsquo;s psyche. The repetition of symbols rooted in the artist&rsquo;s rural upbringing alludes to living landscapes, by land or by sea (or in this case, pond), as they persist within the artist&rsquo;s consciousness. In a surreal daze the tractor plows through from the corporeal to the cerebral. Perrone&rsquo;s works on paper embody similar perspectives of the artist in profile. Viewed from peculiar downward angles, the agitated red Biro drawings are guided by striations of color and line, converging into forms that seem to shift and vibrate.</p> <p style="text-align: justify;">Translated by the physical and mental consumption of his surroundings, natural shapes and landscapes dwell within the artist&rsquo;s mind. Each artwork in <em>Self Portraits</em> and <em>Herbivorous Carnivorous</em> addresses and challenges an overwhelming yet calming feeling of emptiness, where even the most fleshly actions are coated by a tangible mist.</p> <p style="text-align: justify;"><em>Self Portraits</em> marks Diego Perrone&rsquo;s fourth exhibition with Casey Kaplan in New York. Perrone has participated in exhibitions at venues and institutions internationally, such as Fondazione Sandretto Re Rebaudengo, Torino (2016); Triennale di Milano, curated by Vincenzo de Bellis (2015); Museo Ettore Fico, Torino (2015); Castello di Rivoli Museo d&rsquo;Arte Contemporanea, Turin (2014); 55th International Exhibition of Art, Venice Biennale (2013); Museion, Project Room, Bolzano (2013) (solo); Museo Marino Marini, Florence (2013); Museum of Contemporary Art, Zagreb, Croatia (2012); National Center for Contemporary Art, Grenoble (2010); Museum of Contemporary Art Chicago, IL (2010); Contemporary Art Museum, St. Louis, MI (2008) (solo); Malmo Art Museum, Sweden (2008); and Mus&eacute;e d&rsquo;Art Contemporain, Bordeaux (2008) (solo), among others. Perrone&rsquo;s work is held in the permanent collections of the Solomon R. Guggenheim Museum, New York; Centre Pompidou, Paris; and Castello di Rivoli, Torino. The artist lives and works in Asti and Milan.</p> </div> </div> </div> Tue, 10 Jan 2017 16:11:57 +0800 Mira Dancy, Jane Freilicher, Daniel Heidkamp - Derek Eller Gallery - January 6th - February 5th <p style="text-align: justify;">Derek Eller Gallery is pleased to present an exhibition of works by Jane Freilicher, Mira Dancy, and Daniel Heidkamp. Freilicher&#39;s historic paintings will be hung in conversation with new work by contemporary artists Dancy and Heidkamp in a show that highlights common interests: improvisation, painting as a window, studio as subject, and the desire to interact with, and, at times, reinvent the New York cityscape.</p> <p style="text-align: justify;">From the 1950s until her death in 2014, Jane Freilicher painted images of the countryside and the city as seen from her studios in Watermill and Manhattan, New York. In company with the work of her peers Fairfield Porter and Larry Rivers, Freilicher&rsquo;s paintings utilized expressionist technique but were in direct opposition to the heroic abstraction that was in vogue when she began her career. The gallery will exhibit paintings from the 1980s, 1990s and 2000s depicting&nbsp; the view from her lower Fifth Avenue studio window. This body of work documents the changing skyline of lower Manhattan, albeit imprecisely; Freilicher admittedly would reinvent things when the paintings needed it. In a 2009 interview, poet and fellow New York School member John Ashbery described her work as &ldquo;inviting the spectator to share her discovering of how impossible it is really to get anything down.&rdquo; As a result of this process, the subject of these paintings seems less the city and more a celebration of intuitive image making or the sanctuary of the studio.</p> <p style="text-align: justify;">In Mira Dancy&rsquo;s work, images are layered and reflected to a dizzying effect. Fragments of advertisements, storefront windows of retail spaces, signs, and repeated figures from the artist&rsquo;s own dramatic lexicon merge into new images. In this exhibition, a canvas depicting a table top (a nod to Freilicher&rsquo;s penchant for still lives set against the backdrop of the city) includes a rose and a study for the other canvas in the show, inviting the viewer into an intimate space within the artist&rsquo;s studio. In addition a neon sign by Dancy will serve as a more literal reconfiguring of the cityscape, by manipulating the view into the gallery window, that beckons the viewer in.</p> <p style="text-align: justify;">In Daniel Heidkamp&rsquo;s observational paintings, his immediate surroundings offer a framework for stylistic, technical, and, at times, narrative improvisation. The paintings in this exhibition depict views through windows in New York City hotel rooms as well as in his Brooklyn studio. The paintings do not purport to be indexes of these spaces. &nbsp;Rather, embellishments are added and the skyline is adjusted for compositional effect ,and &ldquo;Easter Egg&rdquo; surprises as varied as a Mike Kelley sculpture or a ballet class in a distant window are invented, and slipped in.</p> <p style="text-align: justify;">Jane Freilicher&rsquo;s paintings are included in museum collections including MoMA, New York, the Whitney Museum of American Art, the Metropolitan Museum of Art, and the Cleveland Museum of Art. Her work has been the subject of numerous gallery and museum exhibitions, and was included in the 1955, 1972, and 1995 Whitney Biennials. In 2005 she won the American Academy of Arts and Letter&rsquo;s Gold Medal in Painting.</p> <p style="text-align: justify;">Mira Dancy has had solo exhibitions at Night Gallery, Los Angeles, Chapter NY, New York, and Galerie Hussenot, Paris. She was included in the 2015 Greater New York at MoMA PS1, and in 2016 mounted her first museum solo exhibition, &ldquo;Future Woman&rdquo; at The Yuz Foundation, Shanghai, China.</p> <p style="text-align: justify;">Daniel Heidkamp has had solo exhibitions at White Columns, New York, Loyal Gallery, Stockholm, Sweden, Half Gallery, New York, The Journal Gallery, Brooklyn, and Pace Prints, New York. He has recently been included in group exhibitions at Wilkinson Gallery, London, Marlborough Chelsea, New York, and Zach Feuer Gallery, New York, His work will be included in a group exhibition at the Metropolitan Museum of Art, New York in June of 2017.</p> Sat, 07 Jan 2017 18:31:20 +0800 Juan Davila, Jess, Helen Johnson, E’wao Kagoshima, JP Munro, David Rappeneau, Vanessa Gully Santiago, Christine Wang - Foxy Production - January 15th - February 19th Fri, 16 Dec 2016 00:09:34 +0800 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> Fri, 16 Dec 2016 00:38:17 +0800 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> Fri, 16 Dec 2016 00:40:49 +0800