Pace Gallery is pleased to present Adrian Ghenie: Recent Paintings, an exhibition of twelve new paintings and five collages. Adrian Ghenie is widely recognized as one of the leading artists of his generation for his oil paintings that blur the lines between figuration and abstraction. The exhibition at Pace is Ghenie’s first solo show in New York in almost four years. The new paintings illustrate the progression of Ghenie’s works toward greater and greater abstraction, while maintaining allegorical figuration that alludes to history and to the present. Recent Paintings will be on view from January 19 through February 18, 2017, at 510 West 25th Street.
In this recent body of work, the five collages give the viewer the opportunity to see the artist’s early intentions for his finished paintings. Since 2014, Ghenie has increasingly relied on the use of collage to develop the structure of his work. These collages that developed into paintings are a blueprint for fully understanding the juxtapositions that the artist makes between the past and present. In these new works, current social and political upheaval in Europe becomes critical subject matter, alongside the dynamic reimagining of pictorial reality. Ghenie’s thick brushstrokes, informed by the collages, dismantle subject and landscape alike to attain the dream-like nature of the finished paintings. In Recent Paintings, Ghenie continues this obscuration in three self-portraits, encouraging the viewer to question representation and perception of the self. With bold color and application, Ghenie has created works at once visually alluring and confounding.
Born in 1977 in Baia Mare, Romania, Adrian Ghenie was formally trained as a representational painter. He adopted conceptual tendencies from Dada that he synthesizes with his rigorous technical abilities, displaying both a Baroque mastery of chiaroscuro and a gestural handling of paint indebted to Abstract Expressionism. In 2008, Ghenie’s paintings began to explore themes of history, memory, and the former Communist regime of his native Romania, not through biographical reflection but rather through a direct address of the legacies of historical figures. The imagery in his paintings is largely derived from historical sources incorporated into dreamlike or cinematic vignettes in which figures appear in haunting interiors.
Adrian Ghenie has been represented by Pace since 2011. This is the third solo exhibition of his work with the gallery.
Tal R: Keyhole
Cheim & Read is pleased to present Tal R: Keyhole, an exhibition of recent paintings and drawings by the Copenhagen-based artist. The show will open on January 5, 2017, and continue through February 11. This is the third solo exhibition of Tal R’s work at the gallery.
Several years ago, Tal R put out a request to his friends and acquaintances to send him photographs of storefront façades in the red light districts of their cities, or that they saw in their travels. He also took many photos himself. From these images he developed the group of artworks that comprise Keyhole, a title he chose for its implications of voyeurism and concealment.
The drawings, dating between 2014 and 2016, are done in crayon and gouache on paper that is frequently painted or patinated. They are not studies for the paintings despite their similarity in image and tone—whimsically rendered frontal views of sex shops, massage parlors, strip clubs, gay bars, erotic theaters, and brothels—but constitute a separate body of work. (There are drawings that correspond to the subjects of the paintings selected for the show, but they are purposefully not included here.)
The paintings, all completed in 2016, are executed in pigment suspended in rabbit skin glue, a medium that Tal R has been exploring over a number of years for its freshness, immediacy, and delicacy of touch. If the series’ subject matter is clearly spelled out in the titles of drawings such as “Love Shop” and “Book XXX,” or a painting like “Sex Palace,” in many others—“House 44,” “L’Evasion,” “Naples,” and “Snow” (the incongruous name for a sex shop on the beach in Tel Aviv)— there is no outward indication of the storefront’s purpose. The artist’s methods of indirection are even more explicit in “Cabaret” and “Cabaret Closed,” in which the theater’s façade in the latter version is hidden behind a rollup security door painted in bands of dusky pink and yellow, turning the imagery virtually abstract—a graphic exercise of what the curator Marie Nipper calls his “constant probing of the borderline between the motif and its dissolution.”
Tal R approaches his subject matter non-judgmentally, seeing the façades not as conduits for sexual gratification but as metaphors of painting, in which what is presented to the eye succeeds only if it activates the imagination, tantalizing viewers with what is in the “back room,” as the artist calls it, the realm that will forever remain unseen and unknown.
“I should be unsure of what is in the back room,” he says, “I should not be controlling the symbols.” Put another way, he wants to entice viewers into a place of heightened anticipation, where their “ice cream melts faster than they can eat it.”
Tal R was born in Tel Aviv in 1967 and currently lives and works in Copenhagen. Between 2005 and 2014, he held a Professorship at Kunstakademie Düsseldorf. His most recent solo exhibitions include: Institut für Modern Künst, Nürnberg (2016); Cheim & Read, New York (2012, 2015); Contemporary Fine Arts, Berlin (2015, 2016); Sommer Contemporary Art, Tel Aviv (2011, 2015); Städtische Galerie Wolfsburg, Germany (2013); Pinakothek der Moderne, Munich (2013); ARoS Aarhus Kunstmuseum, Århus, Denmark (2013); Kunsthalle Düsseldorf (2012) Museu Brasileiro da Escultura, São Paolo (2012), Galerie im Taxispalais, Innsbruck (2012); Bonnefanten Museum, Maastricht (2008); Camden Arts Centre, London (2008); Louisiana Museum for Moderne Kunst, Denmark (2007); and Kunsthalle Mannheim (2007).
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. —Katharina Grosse
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.
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.
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 in situ 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—tools with which to develop further cuts, layers, and perspectival depths. Grosse’s gestures unfold all at the same time in unmixed acrylic colors, engulfing the viewer in a toxic sublime.
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’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.
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.
Katharina Grosse 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; Pérez 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.
Recent solo institutional exhibitions include "Hammer Projects: Katharina Grosse," UCLA Hammer Museum, Los Angeles (2001); "Der weisse Saal trifft sich im Wald," Kunstmuseum St. Gallen, Switzerland (2002); "Perspectives 143: Katharina Grosse," Contemporary Arts Museum, Houston (2004); "Constructions à cru," Palais de Tokyo, Paris (2005); "Atoms Outside Eggs," Serralves, Museu de Arte Contemporânea, Porto (2007); "Hello Little Butterfly I Love You What's Your Name," ARKEN—Museum for Moderne Kunst, Copenhagen (2009); "One Floor Up More Highly," Mass MoCA, Massachusetts (2010); "Third Man Begins Digging Through Her Pockets," MOCA, Cleveland (2012); "Two younger women come in and pull out a table," De Pont Museum of Contemporary Art, The Netherlands (2013); "WUNDERBLOCK," Nasher Sculpture Center, Dallas (2013); "Inside the Speaker," Museum Kunstpalast, Düsseldorf (2014); "yes no why later," Garage Museum of Contemporary Art, Moscow (2015); "Seven Hours, Eight Rooms, Three Trees," Museum Wiesbaden, Germany (2015); and Museum Frieder Burda, Germany (2016). Grosse's recent site-specific installations include Untitled Trumpet, 2015 for the 56th Biennale di Venezia (2015) and Rockaway! for MoMA PS1's "Rockaway!" program (2016).
Hyon Gyon: She's A Riot
Shin Gallery proudly presents “She’s a Riot”, our last show of the year which will be displayed in our main gallery and project space from December 20, 2016 until February 05, 2017. Hyon Gyon’s fourth solo with this gallery is filled with a plethora of mixed media sculptures and enormous paintings. Hyon Gyon has created a number of mixed media art pieces which illustrates how she perfectly fuses delicate materials such as satin with strong elements, cement, to create an aesthetically pleasing pieces of art. Get ready to become enraptured by golden walls embellished by haunting paintings such as Kedamono (2016), a blend of tenacious acrylics and gold leaf on a colossal canvas. The artist isn’t afraid to go from one extreme to the other to convey emotions. IT’S A LONELY ROAD (2016) shows how the artist is able to produce this piece with a diverse amount of materials such as ribbon, acrylic and cement arranged on a plastic chair. This sculpture easily can make the audience question their own journey and potentially remind them of their own loneliness. Then feelings will change when one encounters a mattress stitched with Hyon Gyon’s paraphernalia Self Portrait (2016) accompanied by pillows adorned with psychedelic designs. Bright colors and adorable stuff animals will make one be consumed with nostalgia and comfort. Hyon Gyon has a wide spectrum of influences ranging from her Korean heritage to iconic pop culture figures to sexual politics. The artist keeps exploring her influences and emotions to continue making art in her NYC studio. Hyon Gyon’s artistic evolution will eventually make her a voice for the avant garde for generations to come.
Hyon Gyon (b.1979) is based in New York, U.S. She received her B.A. from Mokwon University in Korea and her M.A. and PhD from Kyoto City University of Arts in Japan. She had one-person and group exhibitions at the Museum of Kyoto, Kyoto, in 2006; the Museum of Contemporary Art, Tokyo, in 2007 and 2010; Kyoto Art Center, Kyoto, in 2011; Asian Art Museum of San Francisco, San Francisco, in 2012, Brooklyn Museum, New York, Carnegie Art Museum, California, and Shin Gallery, New York, in 2016. Hyon Gyon’s work is included in, the collections of the Brooklyn Museum, the High Museum of Art, the Frederick R. Weisman Art Foundation, Kyoto Municipal Museum of Art, the Kyoto City University of Arts, and the Takahashi Collection, among others. She has received several fellowships and awards, including the Asao Kato International Scholarship, the Kyoto Cultural Award and the Tokyo Wonder Wall Competition Prize.
From stock futures to political prediction, the ongoing battle between empiricists and those that depend on instinct has come to a head. A line has been drawn between the fallibility/reliability of raw data versus an almost mystical seat-of-the-pants feel for a given situation, and this division has taken on a moral dimension.
This conflict—the static noise of so much information in contradiction and dispute—is the starting point for Andrew Kuo’s newest body of tragicomic acrylic on linen paintings. Formally, the paintings reflect the frictionless, perpetual motion of information. Many of them utilize the image of a deck of cards spread out in sliding stacks, their rectangular shapes repeated and overlapping, as if pushed into snaky piles by the hand of an unseen magician. In a digital analogue, the forms also mimic a proliferation of open windows on a computer desktop—a glut of data options. The paintings structure their content around some of the more popular cultural systems of coping: religion, psychotherapy and our normalizing routines.
As always, Kuo turns inward mapping microclimates of emotion, and the nuances of personal interaction (both with the living and the departed) in an attempt to organize his feelings to a degree sufficient to extract them from the realm of romanticism and into rationality. As a result, and despite evidence to the contrary, this is not abstraction. Instead it is a complex visualization of the specific mechanics of human struggle. For Kuo it’s a struggle that must contend with the big metaphysical questions (“Are we in the same clothes for eternity?” “Is haunting our enemies frowned upon?”) as well as the critical necessities (“lowering cholesterol”, “consistent hydration”). No to Self is the painted manifestation of the comedian’s trampled ego and the songwriter’s broken heart.
Street Squares is proud to present Francisco De Pajaro's first NYC solo show. Francisco AKA "Art is Trash" is known worldwide for his whimsical transient street art, where he turns a pile of trash waiting to be removed into a amazing work of art, that disappears as the sun rises and trash is collected.
"Mataura" represents a body of work that shows the more complex, fine art side of Francisico's persona. He will create an immersive environment that consumes the whole gallery, and the imagination of all who enter. A show not to be missed that is only on for one weekend!
Castle Fitzjohns, 98 Orchard St, NY, NY 10002 !
Cassina Projects Figure Of Speech
From Nov 10 2016
Cassina Projects and ARTUNER are pleased to announce Figure of Speech. This is the second chapter of a joint exhibition programme between the two ventures.
Figure of Speech is a three-person show featuring the work of David Czupryn, Georg Herold and Katja Seib. A ‘figure of speech’ is a rhetorical device that enriches text with complex layers of significance: it can be a specific arrangement or omission of words, a particular kind of repetition, or a departure from the words’ literal meaning. Some of the most commonly used ones are simile, metaphor, hyperbole, and personification. The use of such devices often refines text by means of bringing sentiments closer to the everyday, or conversely by elevating simple experiences. This exhibition looks at the practices of three contemporary German artists affiliated with the Kunstakademie Düsseldorf. Specifically, it explores the ways in which each of them articulates the characters within the different narratives weaved into their works. Indeed, in a way similar to the use of a figure of speech in verbal discourse, Czupryn, Herold and Seib evoke, through the protagonists of their paintings, a plethora of references and affects.
David Czupryn’s investigations of nature and artificiality merge with uncannily human emotions in his works on canvas. Personal episodes and dark stories take the shape of disquieting anthropomorphic assemblages of plants and plastics, polymers and minerals. Not interested in a faithful reproduction of nature as such, Czupryn’s alchemies mould the fantastic universes of his paintings in an illusionistic amalgamation of materials. Unlike the composite portraits by the 16th century Italian Master Giuseppe Archimboldo, upon closer inspection, Czupryn’s components – executed with hyperrealist detail – reveal themselves as unreal, non-existent, and otherworldly. The concurrent presence and absence of his characters – unnerving wallflowers quietly observing the audience – allows the artist to explore the uncanny and the unconscious.
Georg Herold is one of the most important German artists of the 20th century, best known for his sculptures made of a various range of materials – from bricks, bottles, wooden laths and underwear to bronze – as well as, at the other end of the spectrum, his caviar paintings, made by painstakingly arranging and numbering thousands of the precious black eggs on canvas. In Figure of Speech, the artist will present both his monumental humanoid bronze sculptures and the signature caviar paintings. Herold is resolved to interpreting the world according to his own canons: instead of asking questions to others, he seeks to question phenomena directly. It is essential for him to keep as unbound as possible from existing associations. Indeed, the caviar paintings are an investigation into displaced materials, into luxury and mortality, created with a substance that is simultaneously precious and degradable. The sculptures, on the other hand, embody the struggle between the maker and his creation, between desire and wish-fulfilment.
Katja Seib’s paintings delve into narrative emotions. They open like doors onto private scenes of tenderness, desire, sadness or reverie. Always somewhat mysterious, her works hold the promise of disclosing their secrets hidden in the details. They articulate ineffable feelings that are at once personal and universal. Often metaphorical, Seib’s painterly stories reflect with self-irony on the human condition in its infinite declinations. For her body of work presented in New York, unlike the one preceding it, the artist looks towards current events from the world at large, rather than at personal experiences. However, by portraying friends and people she feels close to, Seib brings such occurrences closer to an intimate dimension. Some, like the death of the legendary musician Prince, are moments that blur the boundaries between public and private, as they touch us deeply, without concerning us directly.
David Czupryn (b. 1983) is a German-born artist who lives and works in Düsseldorf. He graduated from the Düsseldorf Kunstakademie (2007–2015) where he studied sculpture under Georg Herold and painting under Lucy McKenzie and Tomma Abts. His work has been shown throughout Europe including Maschinen Haus, Essen, Kunstmuseum Solingen, Düsseldorf, Londonnewcastle Projectspace and Marlborough Contemporary in London. He participated in two spotlight exhibitions in 2016 on ARTUNER. This year he won the 70th International Bergischer Art Prize.
Georg Herold (b. 1947) was born in Jena, East Germany. He now lives and works in Cologne. Herold studied at the Academy of Fine Arts in Munich (1974-1976) and the Academy of Fine Arts in Hamburg (1977-1978). He holds professorships in Amsterdam, Frankfurt and Düsseldorf. One of the most renowned German artists of the last thirty years, Herold has shown throughout Europe and the US since 1977. He has had solo and two person exhibitions at institutions such as at the Museum of Modern Art, New York, the Stedelijk Museum, Amsterdam, Museum Brandhorst, München, the Kunstverein, Freiburg and at galleries such as Max Hetzler, Berlin, CFA, Berlin, Sadie Coles, London and The Modern Institute, Glasgow. His broad oeuvre, which covers sculpture, installation, photography, painting and video, has had a major influence on artists throughout Europe.
Katja Seib (b. 1989) was born in Düsseldorf, Germany where she lives and works. She received an MFA in painting and studied as a ‘Meisterschüler’ under Professor Tomma Abts. Her work has been exhibited in several German galleries including the KIT Museum in Düsseldorf, Parkhaus Düsseldorf Gallery and Fiebach Minninger Gallery, Cologne. She took part in a 2016 spotlight exhibition on ARTUNER.
David Czupryn, Georg Herold (Sculpture)
Georg Herold, Katja Seib
Georg Herold, Untitled, 2015
Seib Katja, If not, not, 2016
Seib Katja, Stranger in Moscow, 2016
Katja Seib, Georg Herold
Herold, Georg, Untitled, 2009
Katja Seib, Georg Herold, David Czupryn
Czupryn David, Plastikmann, 2016
Czupryn David, Caesium in egg, 2016
Andrea Rosen Gallery - Oct 14 to Nov 16 2016
“Kudo’s work is complex in its symbolic meaning, is extremely metaphorical, and bears little relationship to traditional agitprop of social realist art.” – Mike Kelley, 2008
Building on past shows that surveyed Kudo’s career and contextualized it vis-á-vis contemporaries like Paul Thek, Hannah Wilke, and Alina Szapocznikow, the current presentation will examine the artist’s development in the 1970s and ‘80s, highlighting the spiritual and symbolic currents to which Mike Kelley (quoted above) identified in an essay for Kudo’s 2008 retrospective at the Walker Art Center. The exhibition at Andrea Rosen Gallery brings together a survey of approximately eight string works and over twenty cages, spanning from 1966-1988.
Born in Osaka in 1935, Tetsumi Kudo was essential to the development of “anti-art” avant-garde art in Tokyo in the late 50s and early 60s that used store bought objects and found material in order to shock and revolt the status quo and to make art that would be defined by experience rather than medium, author, or commercial value.
Equally important to developments in Europe, Kudo settled in Paris in 1962 and quickly became associated with artists like Arman and Daniel Spoerri and critics such as Pierre Restany and Alain Jouffroy. Through performances (one attended by legendary gallerist Ileana Sonnabend), films, texts, and most importantly sculpture incorporating household objects, he sought to subvert the separation between art and lived experience and to interrogate mass consumerism and the rise of technology. In 1965 he wrote that religion and tradition had become commodities like “stockings, ice-cream, and instant coffee”. He believed that World War II and the rise of the market economy had rendered European Humanism, with its emphasis on the individual over the social, invalid.
In contrast, he suggested that pollution, technology, and humanity had become a symbiotic whole in which each affected the other in what had become intertwined “new ecology.” Kudo conceived of his work as models or maquettes of these realities. His inclusion of electronic circuitry, store-bought kitchen items, plastic dolls, and vacuum tubes, among other industrial produced materials renders his pieces as outtakes or parts of contemporary ecology.
Among the most sustained and complex expression of his ideas were the works he realized using birdcages, a series he began in 1965 and concluded in 1981. In these, body parts meld with transistors and circuit boards sprout plastic flowers. Votre portait (1974), which includes a face of the French Romanian poet, Eugène Ionesco, who symbolized European egotism for Kudo, suggests the impotence of anthropocentric culture in the face of technology, pollution, and consumerism, while also questioning how artists can respond to this helplessness.
This quandary engendered a series of cages titled Portrait d’artist dans la crise (Portrait of the artist in the crisis) that signals a more introspective turn in Kudo’s work. In the late 1970s, during a period of ill health, Kudo began including lengths of colored string and reams of magnetic tape in his works to suggest the energy of thoughts, memory, and life moving within and between the mind, the body, and the animate world. By 1981, he had ceased using figurative elements, instead affixing yarn and thread to papier mâché-like cylinders and cones. Kudo referred to these as trou noir or black holes and also suggested that several reflected the balance of centrifugal and centripetal forces, which he believed unified Japan, not in social terms, but in a pantheistic sense.
The exhibition aims to explore this underlying spirituality and holistic thinking in all of Kudo’s work.
Curated in conjunction with Joshua Mack. With the gracious cooperation of Hiroko Kudo and the Estate of the Artist.
The exhibition, entitled Do Something Interesting, See Something Odd will be on view at the gallery from November 3, 2016 through January 28, 2017, and an opening reception will be held at the gallery on Thursday, November 3 from 6-8 PM.
DoSomething Interesting, See Something Odd, delves ever deeper into Shimamoto’s revolutionary career trajectory. The exhibition provides an overview of the maturation of Shimamoto’s style and technique. Centerpieces include examples of his trademark Bottle Crash series, in which the artist created lively, abstract paint-smattered works by ceremoniously throwing bottles and other containers full of pigment at otherwise blank canvases, highlighting the innovative performance-based methods and the energy, visually documented within the works, with which Shimamoto approached his art over the course of his lengthy career. Pieces such as the 2011 Untitled (Ping Pong), which incorporates islands of ping pong balls across the surface of the canvas, exemplify a characteristic playfulness and desire to push the limits of what is possible in art that embodies the very spirit of Gutai, and of Shimamoto’s work and life.
Following an encounter with the elder artist Jiro Yoshihara as a young man, Shozo Shimamoto quickly became an integral member of Yoshihara’s Gutai group, the key artistic movement in a recovering post-war Japan. Yoshihara’s call to “do what has never been done” in art, inspired Shimamoto and his young compatriots to experiment and thereby create ground-breaking artwork that in many ways calls to mind the performative Happenings that began to pop up in the United States and Europe during the same period of the 1950s and 1960s. Following the dissolution of Gutai in the early 1970s, Shimamoto became a pioneer of the Mail Art movement, as well as an ambassador of peace, even being recognized as a nominee for the Nobel Peace Prize in 1996.
Born in Osaka in 1928, Shimamoto’s importance in the Gutai movement has been honored in exhibitions at prominent institutions including the Solomon R. Guggenheim Museum (New York), the Museum of Contemporary Art (Los Angeles), the Centre Pompidou (Paris), and multiple editions of the Venice Biennale. His work is also represented in the permanent collections of the Tate Modern (London), the Rachofsky House (Dallas), and the Osaka Museum of Art. Shozo Shimamoto passed away in 2013 at the age of 85.
Mitchell-Innes & Nash Gallery - Oct 13 to Nov 23, 2016
The exhibition, which includes installation, wall sculptures and sound, focuses on the increasingly pervasive trend of Healthy Living and Positive Lifestyles gaining momentum in the Middle East. In particular, GCC explores the ways in which these lifestyle attitudes are appropriated, employed, and transformed as part of a greater political mechanism.
The exhibition at Mitchell-Innes & Nash expands upon GCC’s 2016 project at the most recent Berlin Biennale, a sculptural installation of a woman and child. The woman is performing a Quantum Touch exercise, a non-contact touch therapy that became popular in the West in the late 1990s, on a boy as they stand on sand surrounded by a running track. The work, from where the exhibition borrows its title Positive Pathways (+), focuses on the ways that the positive energy movement and body healing practitioners have become co-opted by governments in the region – such as the creation of new ministerial positions like the UAE’s Ministry of Happiness, and the emergence of life coaches and Feng Shui consultants employed by hereditary leaders. Also on view will be a set of sculptural reliefs created using Thermoforming, a commonly used industrial process where thermoplastic sheets are heated and formed on a mold. The reliefs are based on 3D renderings of stills taken from YouTube videos and images found online of regional practitioners promoting the positive energy movement. Ranging from politicians to social media celebrities to TV clerics, these individuals utilize the Positive Energy attitude as a base for state policy. Referring to the erasure and creation of cultural myths, these reliefs create narratives of the present, a mechanism of both nation building and the politics of cultural extinction and creation.
Collective members: Nanu Al-Hamad (b. 1987) Khalid Al Gharaballi (b. 1981) Abdullah Al-Mutairi (b. 1990) Fatima Al Qadiri (b. 1981) Monira Al Qadiri (b. 1983) Aziz Al Qatami (b. 1979) Barrak Alzaid (b. 1985) Amal Khalaf (b. 1982)
Greene Naftali is pleased to present an exhibition of work by Berlin-born, Marrakech-based painter Katharina Wulff. This will be the artist’s third solo show at the gallery. With stylistic fluency that weaves a variety of art historical traditions with her own chimeric hand, Wulff creates ambiguously narrative tableaux that foreground female agency and consciousness. Wulff emerges from a generation of painters who developed a singular brand of figuration in the 1990s, including Kai Althoff and Lukas Duwenhögger.
For this exhibition, Wulff debuts a series of large-scale paintings that describe communal activity in her home of Marrakech, portraying crowded gyms and a hotel lobby. Also on view are earlier works, demonstrating Wulff’s continuing engagement with figurative painting that emphasizes the female form. Women in Wulff’s paintings are solid and durable in pose, acute and purposeful in expression, and centered amid detailed, labyrinthine scenes, abundant with incongruities and anachronisms. The figures of Esther, Untitled, and der Aufbruch (all 2012), appear as constants among variables: in the background, costumes jump from one era to another; delicate renderings seem immaterial against opaque and highly resolved areas of paint; figures are diminished or magnified more than perspective should allow. Wulff’s formal irregularities manifest not only the psychological depth ascribed to her figures, but also the artist’s mindful navigation of modernist tropes, deftly integrating the century’s innovations in her choices of color, style, and composition.
Within Wulff’s newest paintings, a dimension of social reality is explored within a long romanticized locale. Depicting the complex space of a hotel lobby from different angles, Wulff captures layers of economic and social exchange between waiters, desk clerks, and guests. Men bear more of a presence in these paintings, yet the female figure is still present, this time in an emphatic subversion of the male gaze. In a darkened hotel lobby, a woman steals a glance at an inexplicably nude male perched over a bar. In an all male gym, painted with intricate details of bulging veins and weight values inscribed in barbells, a young girl makes a peculiar appearance, leaning against a wall in her blue dress, observing the scene.
In an alcove gallery are Wulff’s freestanding, aromatic Mosharabieh cedar lattice panels, which extend the Moorish decor of her paintings into literal space. Working with craftsmen in her town, Wulff created a series of architectural elements to accompany her works. Also on view are Wulff’s drawings. Rendered in precise lines, some are methodical studies for the panels on view, while others geometrically map her figurative subject matter.
Bruce Silverstein Gallery is pleased to present The Toast Is Burning, the gallery’s first exhibition with Alfred Leslie. This show features new work by this accomplished and influential American artist, alongside a selection of his iconic, large-scale portraits from the 1960s.
Since the 1940s, Alfred Leslie (b.1927) has been celebrated for his achievements in film, painting, drawing, and poetry, including early recognition for his paintings featured in the Kootz Gallery exhibition New Talent, 1950, curated by Clement Greenberg and Meyer Shapiro, and the historic 9th Street Exhibition of 1951. As a filmmaker, Leslie is most known for his groundbreaking films Pull My Daisy, 1959, and The Last Clean Shirt, 1964, with text by Frank O’Hara. Leslie’s artist/writer collaborative magazine The Hasty Papers, 1960, which included contributions from John Ashbery, Jean Genet, Jack Kerouac, Alice Neel, and others, was a creative affront to the art world’s emphasis on discipline specificity.
Despite much exposure and praise for his abstract paintings and films, by the mid-1960s Leslie devoted himself entirely to realist painting. This set him apart from his peers and made him a leader in the return to representation in American painting. This transition also identified core precepts of Leslie’s creative interests—his prioritization of narrative, acceptance of artifice, and the development of what he called a confrontational style of portraiture. This phase of the artist’s career culminated in The Grisailles Paintings, 1960s-1990s; The Killing Cycle and Act and Portrait, 1960s-80s; and the watercolor series 100 Views Along The Road, 1966-1983.
Leslie once again is a pioneer. His recent works, termed Pixel Scores by the artist, are digitally painted portraits of characters from literature—ranging from Benito Pérez Galdós’ 1887 novel Fortunata and Jacinta, to Jennifer Egan’s A Visit from The Goon Squad, 2010, and Rachel Kushner’s The Flamethrowers, 2013—comprising a larger series entitled 50 Characters in Search of a Reader. In his recent interview with Phong Bui of the Brooklyn Rail, Leslie states:
"There’s a straight line from my post abstract paintings to the Pixel Scores…The Pixel Scores are not better because I do it this way—they’re just different in that it’s my way. We all work to put together the discontinuities of the things that we see all the time…I like to think of everything as automatic artifice, from images greatly disproportionate in scale to kitschy images of marshmallow clouds and whatnot, it’s all intermingled in these Pixel Scores. It’s all complete artifice, bound together—I hope—by first-class formal attributes."
Alfred Leslie was born in the Bronx, NY, in 1927. After military service in World War II, Leslie studied art from 1946 to 1947 with Tony Smith and William Baziotes at New York University. Leslie has been exhibiting his work since 1947. His circle of friends and collaborators is diverse and comprised of the leaders in American poetry, film, painting and photography. Leslie’s multi-disciplinary approach continues to challenge historians and critics who prefer to neatly categorize artists and movements. A tragic fire in 1966 forced him to cancel a mid-career retrospective at the Whitney Museum. Prior to the fire, Leslie’s radical shift in technique from abstraction to realism paved the way for other realist painters like Philip Pearlstein, Chuck Close, and Alex Katz to find a place in American art after Abstract Expressionism. His work is in the collections of museums worldwide, and he is the recipient of numerous grants and awards including an Artists Foundation Grant, a Guggenheim Foundation Grant, a Pollock-Krasner Foundation Grant, and a Medal of Merit from The American Institute of Arts and Letters. One of his works is included in the National Film Archives.
Matthew Sleeth: Rules to Live By at the Claire Oliver Gallery
Oct 27 - Dec 3 2016
Historically, photography has been dominated by two key philosophies: capturing candid narratives or creating constructed images. Matthew Sleeth’s studio practice holds a tension between these two positions; the viewer is not quite sure if they are looking at documentary snapshots, or scenes that are complete digital fictions created so convincingly they could depict reality. “I want the viewer to be able to see my departure from the traditions of orthodox documentary,” Sleeth explains. “I want to engage with my times – to make works of art that grapple with social and political ideals.” His singular vision is one of dynamic design, uncanny juxtapositions, and telling but subtle detail. What raises the work above the merely interesting subject matter is Sleeth’s enthusiasm to engage with the beautiful – a recently much mistrusted quality in contemporary art.
Disillusioned with the downward spiral of postmodern intellectualism, Sleeth seeks to engage with the world through the language of popular culture, advertising, fashion and, especially, design. Above all, the Artist’s works are about the social, political, and cultural landscape and those who inhabit it. “I am interested in speaking about people and places in a way that informs a broader reading of the subject as part of a cultural group and also as an individual,” he says. “The work itself is about the viewer. There is always a political and social undercurrent, but at its root there is a creation of a mood or context and what the viewer gets out of that experience. It’s about trying to find new visual languages; creating order out of chaos . . . I’m very much into creating order out of things.”
An Australian artist who lives and works between Melbourne and New York, Sleeth’s aesthetic has become conceptually driven across a range of media, including photography, video, sculpture, print making, and public installation. The medium he utilizes changes with the message of each project, and everything is guided by the overall concept. His work can best be understood as new media seen through the prism of photography, with a unifying aesthetic that explores what photography has become today. Mass-produced images are present in virtually every aspect of our daily lives; Sleeth experiments with new techniques and media to create fictitious scenarios of real-world possibilities that shatter the photographic way of seeing that we have become conditioned to expect.
Eden gallery is currently hosting the works of:
David Kracov, Dorit Levinstein, Romero Britto, Noah Lubin, Yoel Benharrouche, Stephane Cipre, Calman Shemi, Randy Cooper, Shlomi Nissim, Daniel Gastaud, Tommy, Todd Cray, Stephen Hall, Nelson Fabiano, Flore, Paul Sibuet and Joseph.
Jack Shainman Gallery is now presenting Claudette Schreuders’ fifth solo exhibition with the gallery, whose intimately scaled lithographs and sculptures speak to the ambiguities of the search for a South African identity in the post-apartheid era. Featuring a new group of painted and carved busts, Note to Selfreflects the artist’s diverse trove of personal and creative touchstones. The resulting body of work is both a tribute to these influences, as well as an opportunity to explore the uncanny intricacies of portraiture in wood.
The titular work of the exhibition depicts the artist standing, a paint-splattered apron tied around her waist, a sketchbook and pencil in hand. Her face looks out past the viewer, as if to pause between thoughts or summon inspiration from the well of individuals behind her, which include the musician Bonnie ‘Prince’ Billy, the painters Alice Neel, Balthus, and Paula Modersohn Becker, and several family members. Note to Self, 2015 is grounded firmly on the floor, while the menagerie of faces float on pedestals of varying heights, a retinue of inspiration made manifest from the annals of memory and creativity.
C24 Gallery is now presenting How Many Miles to Babylon: Recent Paintings from Los Angeles and New York, a group exhibition curated by Peter Frank. The exhibition includes the work of Chris de Boschnek, Fatemeh Burnes, Marc Dennis, Jedd Garet, F.Scott Hess, Heather Gwen Martin, Geraldine Neuwirth, and Lezley Saar.
How Many Miles to Babylon… will be the inaugural exhibition in C24 Gallery’s brand new ground floor gallery space. Hosted in a stunning newly constructed building on West 24th Street in the heart of the Chelsea art scene, the multilevel gallery boasts 4,500 square feet with an atrium rising twenty feet and adorned with a skylight.
Andrea Rosen Gallery is now presenting an extensive two-person exhibition with Pope.L and Will Boone. This three-room gallery exhibition highlights the work of each artist independently, allowing their juxtaposition to simultaneously foster connections, both in content and aesthetics, and at the same time allow a viewer to see each artist’s work through a new and potentially heightened filter.
Pope.L (b.1955) lives and works in Chicago, IL. His multidisciplinary practice has been the subject of numerous solo shows, at such venues as Susanne Vielmetter, Los Angeles; Littman Gallery, Portland; Galerie Catherine Bastide, Brussels; and Mitchell-Innes & Nash, New York. His largest museum retrospective to date, Trinket, was presented by MOCA, Los Angeles, in 2015. His work is included in the public collections of the Museum of Modern Art, the Whitney Museum of American Art, and the Studio Museum of Harlem, New York; the Walker Art Center, Minneapolis; and the Fogg Art Museum, Harvard University, Cambridge.
Will Boone, (b. 1982) lives and works in Los Angeles, CA. He has had recent solo shows at Karma, New York; Jonathan Viner, London; and the Rubell Family Collection, Miami. His work is featured in ongoing and upcoming group exhibitions at Gagosian Gallery, Rome; Venus Over Manhattan, New York; and Almine Rech, London.
Andrew Kreps Gallery is now presenting 'Semi-Quasi-Bower Recreational', an exhibition of new works by Robert Melee.
'In new paintings, sculptures, as well as large-scale installation, Melee continues his investigation of the psychology of the everyday. Often incorporating cast-off quotidian items in his works alongside vividly colored poured paint, Melee points towards a melancholy specific to domestic space, one that is derived simultaneously from familiarity, decoration, and otherness.
At the exhibition’s center is Bower Pool, a new installation that envelops the gallery’s architecture. Drawing its name from Bower birds, who construct lavish, colorful nests as part of a mating ritual, Melee’s installation employs a commercially available above ground pool, overturned and surrounding a column. Streamers, party favors, lights, and gold decorations spill out on the floor, representing an obsessive accumulation. While these low-budget materials root the installation in kitsch, they also ground it within a compulsion for embellishment, and its failed transformative quality. Initially overpowering in its scale, upon closer inspection, Bower Pool soon reveals its components for what they are, the deflated markers of celebration.
This itself becomes the impetus for a series of photographic sculptures, newly introduced to Melee’s practice. A mural size work titled Portrait of Debs occupies one of the gallery’s walls, and depicts fashion designer David Quinn, aka DEBS painting a room. What begins as a household chore, evolves into a drunken decadence, with DEBS alone, lost in paint, a drop cloth, and garland. Evoking a similar sense of solitude is a series of works composed from images taken by Melee in Atlantic City, that depict decorative elements in hotels and casinos – stacked chairs, endless carpets, artificial plants, and sculpture. Layered and collaged, these additive images begin to blur into forms and painterly marks, wavering between figuration and abstraction. Affixing domestic objects such as ceiling fans and chandeliers to these surfaces, Melee draws attention to a paradox present both by the city itself, as well as in his own practice: a sense of isolation and decay that is built through a repeated attempt at opulence.
Robert Melee lives and works in New York City. Semi-Quasi-Bower Recreational is Melee’s seventh exhibition at the gallery. His work has been exhibited extensively at venues including: Milwaukee Art Museum, Milwaukee, (solo), Corcoran Museum of Art, Washington D.C. (solo), The Contemporary Art Museum Houston, New Jersey MoCA, Asbury Park, MoMA PS1, Queens, Sculpture Center, Queens, and the New Museum of Contemporary Art, New York. Melee’s work is held in the collections of the Whitney Museum of American Art, New York, Haifa Museum of Art, Haifa, and the Milwaukee Museum of Art, among others. ' Andrew Kreps Gallery Press Release For more on this exhibition visit: Andrew Kreps Gallery
Hellen van Meene
Yancey Richardson Gallery is now presenting the solo exhibition of Hellen Van Meene, from Alkmaar, Netherlands !
'AWARDS/NOMINATIONS 2001 The Citibank Private Bank Photography Prize, Nominee 1999 Charlotte Köhlerprijs 1998 Startstipendium COLLECTIONS Art Institute of Chicago Brooklyn Museum of Art, New York Folkwang Museum Essen, Germany Frans Hals Museum, Netherlands Fries Museum, Netherlands Guggenheim Museum High Museum of Art Huis Marseille, Amsterdam Miami Art Museum Museo Artium del Pais Vasco, Spain Museum of Contemporary Art, Los Angeles San Francisco Museum of Modern Art Museum of Photography The Hague Stedelijk Museum Amsterdam Victoria & Albert Museum Museum of Modern Art, New York Albright-Knox Gallery, Buffalo, New York Mint Museum, North Carolina Museum of Fine Art, Boston, Massachusets National Museum of Women in the Arts, Washington DC' Yancey Richardson Press Release.
Klein Sun Gallery is now presenting “The Simple Line,” a solo show exhibition of new mixed media installations by Beijing-based artist Gao Rong, on view from January 7 through February 13, 2016.
'Gao has navigated notions of femininity and identity through domestic architectures in her previous series in which she created facsimile houses, rooms, and sites of memory rendered entirely in embroidered thread. Rather than romanticize the handicraft, however, Gao threads narratives together painstakingly through these embroidered fabrics, sometimes mimicking the act of suturing a wound. For her solo exhibition in our North Gallery, Gao condenses this process into abstract hoops that dissect the tensions between formalist styles and traditional folk craft indigenous to female domestic life in China. Each brilliant, iridescent thread is stretched across a wooden circle, symbolizing Gao’s constructions of space around herself and others, spaces that are in constant states of flux as the strings tense and relax on a never-ending loop.
Gao Rong was born in 1986 in Han Jin Hou Qi, Inner Mongolia. She received her B.A. from the Central Academy of Fine Arts in Beijing, China. Her work has been the subject of museum shows around the world including “Commune,” White Rabbit Collection, Sydney, Australia (2014); “More Light,” The 5th Moscow Biennale of Contemporary Art, Moscow, Russia (2013); “Transformation: A View on Chinese Contemporary Art,” Istanbul Modern Art Museum, Istanbul, Turkey (2012); “Sculpture China,” Central Academy of Fine Arts Museum, Beijing, China (2012); “All Our Relations,” 18th Biennale of Sydney, Sydney, Australia (2012); and “Super-Organism,” Central Academy of Fine Arts Museum, Beijing, China (2011).' Klein Sun Press Release.
AMERINGER McENERY YOHE is now presenting a solo exhibition by Stephen Dean. The exhibition will open on 7 January and will remain on view through 6 February 2016.
'Stephen Dean is a New York City based artist whose work summons the mesmerizing physiological and cultural phenomena of color. In his large-scale video installations, works on paper, and sculptures, Dean combines an ethnographic approach, using a precise sampling of objects and rituals, with an uncanny sense of poetic exploration and restless observation. His works are both illusionistic and physically present.
Dean further explores the possibilities and applications of color in the two bodies of works on paper exhibited.
The crossword puzzles contain close to 100,000 dots of watercolor playing with and against the printed pattern of the black squares, which creates glowing and fluid tapestry-like diagrams.
You are here, a series of three-dimensional works on layers of Chinese calligraphy paper, or rice paper, with glass head needles marking the intersection of lines, substitutes calligraphic and textual elements for units of saturated and transparent colors.
At first, appearing as analytical geometries of Minimalism, the works move towards free flowing polychromatic fields.
Both series serve as vehicles for meditating upon everyday cultural practices and generate a total immersion in a color-coded space. Either marking the space within lines or the intersections with colors, the works reflect intuitively on Eastern and Western perceptions of the grid while evoking the distinctive spacial dynamics between the games of chess and go.
Playing with ideas of series and sequences, variation and repetition, is in Dean’s case an end in itself, the seed or ingredient for making a picture and the picture itself.
STEPHEN DEAN (b. 1968, Paris, France) has been exhibited at national and international institutions, including Grand Rapids Museum of Art, Grand Rapids, MI; MAXXI, Rome, Italy; Los Angeles County Museum of Art, Los Angeles, CA; National Gallery of Art, Washington, D.C.; Musée du Quai Branly, Paris, France; Tinguely Museum, Basel, Switzerland; San Francisco Museum of Modern Art, San Francisco, CA; Henry Art Gallery, Seattle, WA; Miami Art Museum, Miami, FL; among others.
He has also participated in numerous biennials around the world, including the Moscow Biennial (2009), SITE Santa Fe Biennial (2006), 51st Venice Biennale (2005), the Sevilla Biennial (2004), the Istanbul Biennial (2003), and the Whitney Biennial (2002).
Dean’s work is included in private and public collections, such as the Solomon R. Guggenheim Museum, New York, NY; the Whitney Museum of Art, New York, NY; the National Gallery of Art, Washington, D.C.; Yale University Art Gallery, New Haven, CT; the Fond National d’Art Contemporain, Paris, France; Fondación la Caixa, Barcelona, Spain; the Fondación Jumex, Mexico City, Mexico; and others.
Stephen Dean lives and works in Long Island City, NY.' Ameringer McEnery Yohe Press Release.
Klein Sun Gallery is now presenting “Textbooks,” a solo exhibition of mixed media installations and sculptures by Beijing-based artist Li Hongbo, on view from January 7 through February 13, 2016.
'Best known for his kinetic paper sculptures that reinvent traditional Chinese folk craftsmanship, Li Hongbo presents four new series of works that comment on pedagogical systems as economic and social currencies across different cultures. Giant binder clips, textbooks, and classroom materials create a site-specific immersive exhibition. The installations in the “Absorption” series hint at the influence of education in society, debating historical distortion and propaganda woven into classroom lessons across America and China. After collecting secondhand high school, middle school, and primary school-level textbooks, Li assembled stacks of literature in his studio in Beijing, China. From these towers, he hand-carved the busts and effigies of school children, leaving the edges raw and unfinished. Uncharacteristically silent and stationary when crafted as statues, these pupils sit on battered, old, school desks which also tell stories of past lessons and conversations. Li creates a ghostly narrative in which education and impressionable vessels – youths who will determine our future – are inseparable.
Li Hongbo was born in Jilin, China, in 1974, and holds an MFA from the Experimental Art Department of the Central Academy of Fine Arts in Beijing. Currently on view at SCAD Museum of Art in Savannah, GA, is the solo exhibition “Irons for the Ages, Flowers for the Day,” which features 16,500 paper sculptures assembled in a site-specific installation (through January 24, 2016). He has also exhibited in notable group museum shows including “Forever Young,” Asia University Museum of Modern Art, Taichung, Taiwan (2015-2016); “CODA Paper Art,” CODA Museum, The Netherlands (2015); “Metaplasia – La China Ardente: Monumental Contemporary Sculptures,” Anciens Abattoirs, Mons, Belgium (2015); “FLOW_1: Italian and Chinese Contemporary Art in Dialogue,” Palladian Basilica, Vicenza, Italy (2015); “Experimental Art,” Central Academy of Fine Arts Museum, Beijing, China (2014); and “Stacked & Folded Paper as Sculpture,” The Dennos Museum, Traverse City, MI (2014).' Klein Sun Press Release.
'Walk this way…..Talk this way….Give us a kiss….on the fashion runway to Not So Plain Jane Maxwell at the JoAnne Artman Gallery in Chelsea…Can we talk this way about the “F” word, you know…..Feminism or Feminist? Think Gloria Steinem and her thought that “Patriarchy is about controlling female bodies…..this was and will always be basic.” Between fashion and female-ness, Jane Maxwell provides the pleasure in the walk and the talk…..no longer invisible. See it on the canvas as Maxwell displaces the fight with temporality of time and the ephemeral.....Mod paper dolls and feminine repose in color, text, and pop culture. Dressed becomes self-possessed and the invisible is made visible again.
Jane Maxwell is a mixed media artist from Boston, Massachusetts. Maxwell graduated with a BA in Literature from Middlebury College. She studied mixed media at the School of the Museum of Fine Arts in Boston and at the deCordova Museum School in Lincoln, Massachusetts. Her work has been featured in numerous newspaper and magazine articles and in several books on mixed media and collage. She has been a college guest lecturer on the topic of body image and art. Recently, Jane was selected to be included in the 30th anniversary edition of “Who’s Who in American Art.”
Jane Maxwell’s work will inspire, provoke, engage and mesmerize. With visual perceptions always changing, peek behind the stories told and you're sure to find the right artistic expression!' Joanne Artman Gallery Press Release.
Visit Stevenson Gallery to see the works of Zanele Muholi. 'Zanele Muholi was born in Umlazi, Durban, in 1972, and lives in Johannesburg. She co-founded the Forum for Empowerment of Women (FEW) in 2002, and in 2009 founded Inkanyiso (www.inkanyiso.org), a forum for queer and visual (activist) media. Muholi's self-proclaimed mission is 'to re-write a black queer and trans visual history of South Africa for the world to know of our resistance and existence at the height of hate crimes in SA and beyond'. Muholi studied Advanced Photography at the Market Photo Workshop in Newtown, Johannesburg, and in 2009 completed an MFA: Documentary Media at Ryerson University, Toronto. She has won numerous awards including the Fine Prize for an emerging artist at the 2013 Carnegie International; a Prince Claus Award (2013); the Index on Censorship - Freedom of Expression art award (2013); and the Casa Africa award for best female photographer and a Fondation Blachère award at Les Rencontres de Bamako biennial of African photography (2009). Her Faces and Phases series has shown at, among others, Documenta 13; the South African Pavilion at the 55th Venice Biennale; and the 29th São Paulo Biennale. She was shortlisted for the 2015 Deutsche Börse Photography Prize for her publication Faces and Phases: 2006-14 (Steidl/The Walther Collection). Muholi is an Honorary Professor of the University of the Arts, Bremen.' Stevenson Gallery Press Release.
Yossi Milo Gallery is now featuring the works of Lyle Rexer !
David Zwirner Gallery is now presenting the works of Donald Judd.
'The work of Donald Judd (1928-1994), one of the most significant American artists of the post-war period, has come to define what has been referred to as Minimalist art—a label to which the artist strongly objected on the grounds of its generality. The unaffected, straightforward quality of Judd’s work demonstrates his strong interest in color, form, material, and space. With the intention of creating work that could assume a direct material and physical "presence" without recourse to grand philosophical statements, he eschewed the classical ideals of representational sculpture to create a rigorous visual vocabulary that sought clear and definite objects as its primary mode of articulation.
Judd’s work has been exhibited internationally since the 1960s and is included in numerous museum collections. A survey exhibition of the artist’s work was organized by the Tate Modern, London, in 2004 and traveled to the K20 Kunstsammlung Nordrhein-Westfalen, Düsseldorf, and Kunstmuseum Basel. Other important exhibitions of the artist’s work include Donald Judd: Early Work 1955-1968, which traveled from the Kunsthalle Bielefeld, Germany to the Menil Collection, Houston in 2002-2003; Donald Judd: Colorist, held at the Sprengel Museum, Hannover, Germany, Kunsthaus Bregenz, Austria, and Musée d’Art Moderne et d’Art Contemporain, Nice in 2000-2001; Donald Judd: a good chair is a good chair, a comprehensive exhibition of the artist’s furniture and related drawings that was organized by Ikon Gallery, Birmingham, England in 2010; and Donald Judd: The Multicolored Works at the Pulitzer Foundation for the Arts, St. Louis, in 2013. A major retrospective of the artist's work will be held at The Museum of Modern Art, New York, in the Fall of 2017.
Permanent installations of the artist’s work can be found at Judd Foundation spaces in New York City, at 101 Spring Street, and Marfa, Texas, along with the neighboring Chinati Foundation. The Judd ranch houses, Casa Morales, Casa Perez and Las Casas, are available for viewing by special appointment.
Judd Foundation (Rainer Judd and Flavin Judd, Co-Presidents) is exclusively represented by David Zwirner. In 2011 in New York, the gallery exhibited a selection of works by the artist curated by Flavin Judd drawn from his seminal 1989 exhibition held at the Kunsthalle Baden-Baden, Germany, and in 2013 a major installation by Judd was included in Dan Flavin and Donald Judd, the inaugural exhibition at David Zwirner’s new 20th Street location in New York. Also in 2013, the gallery held an exhibition of works by Judd at our Mayfair, London location, the first gallery presentation of this seminal artist in London in nearly fifteen years and the first significant exhibition of Judd’s work in the U.K. since his 2004 retrospective at Tate Modern, London. In 2015, the gallery hosted an exhibition of the artist's works in Cor-ten steel at our 537 West 20th Street location in New York, the first comprehensive presentation of the artist's work in this distinctive material.' David Zwirner Gallery Press Release
For more on this exhibition visit: David Zwirner Gallery
Anton Kern Gallery is now presenting the works of artist Jim Lambie.
James Cohan Gallery is now featuring the works of Beatriz Milhazes ! 'Beatriz Milhazes is well known for her vibrantly colorful, kaleidoscopic collages, prints, paintings and installations which draw on both Latin American and European traditions. Milhazes’ rigorously structured compositions are punctuated by a recurring set of arabesque motifs inspired by Brazilian culture, ceramics, lacework, carnival decoration, music, and Colonial baroque architecture. As Milhazes explains, “I am seeking geometrical structures, but with freedom of form and imagery taken from different worlds.” The artist has also cited opera, classical and Brazilian popular music as having informed the upbeat energy of her stripes, lines, circular forms, and rays. The careful balance of harmony and dissonance in her work, combined with her Technicolor palette, are evident of the strong influence by such 20th century masters as Tarsila do Amaral, Oswald de Andrade, Matisse, Kandinksy and Delaunay. Milhazes has stated “I need to have all these elements and put them together. They are in some sort of a conflict that will never really end up anywhere. There are not peaceful surfaces. There should be some struggle on the surface and then create some activities for your eyes” (Interview with Beatriz Milhazes, RES Art World/World Art, No. 2 May 2008). As the Fondation Cartier further explains, Milhazes’ “use of intensely vibrant colors, such as fuchsia, gold or orange, endows her canvases with an explosive energy that many have compared to the breathtaking rhythm of fireworks.” James Cohan Gallery Press Release.
Carolina Nitsch Gallery is now presenting an exhibition by Tal R, featuring a new and encyclopedic suite of 67 woodblock prints, as well as a series of ceramic works inspired by the Chinese tradition of scholars rocks.
'Tal R was born in Tel Aviv in 1967 to a Danish mother and Czechoslovakian Jewish father. Raised in Denmark, where he still lives and works, he maintained a dual identity contrasted by his mother’s Scandinavian heritage and his father’s experience as a Holocaust survivor. In Tal’s work there is plain evidence of his connection to history and art historical movements such as Expressionism, Fauvism, and Symbolism, as well as traditional Scandinavian art and outsider or children’s art. He works in various media (collage, sculpture, painting and printmaking) to instinctively piece together complex worlds from a variety of sources. Almanach 67, 2015 originated with Tal R’s vast collection of wooden breakfast boards (Brotzeitteller in German), most commonly used in northern Europe, which range in size and are from different eras and have a precious history. The images were carved directly into these boards and then printed on Japanese paper, revealing varying intensities of woodgrain based on age, thickness, and warping of the boards. In an edition of 18, each suite is housed in a unique hand carved and painted wooden box. The symbols and iconography range from abstracted animals and faces to objects like rugs and vessels and amount to an unusual sort of pictographic language or alphabet, hence the title, Almanach. The Scholars, 2012 are Raku fired ceramic sculptures that started with discarded teddy bears. Similar to the breakfast boards, Tal had been accumulating these unwanted stuffed animals and this concept of “Kolbojnik” (leftovers) has often been referred to as his process for gathering inspiration. Motivated by a Chinese fairy tale about a monkey king that was born out of a rock, he covered each bear in clay to the point where they no longer resembled toys. Once fired, the stuffed animal would burn away leaving an unfamiliar shell. In Chinese tradition, Scholar’s Rocks are unusual pitted and hollowed stones that are seen as embodiments of the dynamic transformational processes of nature. Some of these rocks are admired for their resemblance to animals, birds, human figures, or mythical creatures. Tal writes, “In my scholars there are no animals, only sleeping figures within”. Tal R has had solo exhibitions at Louisiana Museum for Moderne Kunst, Denmark (2007), Kunsthalle Mannheim (2007), Bonnefanten Museum, Maastricht (2008), Camden Arts Centre, London (2008), Cheim & Read, New York (2012), Kunsthalle Düsseldorf, Germany (2012), Museu Brasileiro da Escultura, São Paolo (2012), Galerie im Taxispalais, Innsbruck (2012), Städtische Galerie Wolfsburg, Wolfsburg, Germany (2013), Pinakothek der Moderne, Munich, (2013), ARoS Aarhus Kunstmuseum, Århus, Denmark (2013) and also held a Guest Professorship at Kunstakademie Düsseldorf. Tal R is represented by Cheim & Read, New York.' Carolina Nitsch Press Release.
Nancy Hoffman Gallery is now presenting the works of Frank Owen.
'Frank Owen was born in Kalispell, Montana in 1939. He received his B.A. and his M.A. from the University of California at Davis. He was twice awarded a National Endowment for the Arts Fellowship in 1978-79 and in 1989-90, as well at the University of California Regents Fellowship in 1967-68.
Over the past three years, the artist has pursued two different directions in his work: a series he calls the Venetians, inspired by the sumptuous coloration of glass beads; and paintings inspired by nature of the Adirondacks in which the artist includes and embeds images of leaves, sticks, stones between layers of paint.
For Owen, the Venetian paintings are a visual equivalent of the pleasure principle. They are what he calls “the extravagant deployment” of all the things he knows how to do in paint, and “an excuse to do them.” In the ‘70s Owen invented his own system of painting, building a skin of many layers of paint on the surface of a canvas, a unique system. The skin of paint is built “in verso;” the first layer is, in fact, the top or surface layer of the finished painting; the final coat is the layer that touches the canvas.
Owen has for many years pursued a track of painting that responds to the local environment of the Adirondacks and its richness of nature. His nature paintings—close up and close in views—infused with the rugged mountainscape that surrounds him, are his personal response to 19th Century American luminists. In these abstract paintings, landscape (in microcosm) is the frame of reference. Leaves, sticks, stones, visual haiku that suggest the larger landscape, appear through layers of paint. As if peering through water and discovering pond life below, one peers into Owens’s paintings and discovers the mysteries nature has to offer. It is the nature paintings with their visual poetry that Owen now paints in large and small scale.
While many abstract paintings are more tailored in format, more predictable in their construction, Owen’s works are the opposite. They have an optical tactility, with a glass smooth surface. The physicality of paint is behind the surface due to Owen’s unique approach to building a skin of many layers of paint “in verso;” the first layer is, in fact the top or surface layer of the finished painting; the final coat is the layer that touches the canvas. This is a beguiling and bewitching technique befitting the Venetian series.
Owens’s paintings are brim-full of ideas, energy, color and movement. He stretches the definition of abstract painting to new levels with each new series.' Nancy Hoffman Gallery Press Release
Paul Kasmin Gallery is pleased to announce Max Ernst: Paramyths, Sculpture 1934 – 1967.
'The exhibition is comprised of 14 sculptures made of bronze and stone, spanning nearly 40 years of the artist’s sculptural oeuvre. This exhibition marks the first major solo presentation of Ernst’s sculptures in North America since 1993.
Max Ernst turned to three-dimensional materials and sculpture in intense bursts of activity at various moments in his career from his Cologne Dada period in the 1920s onwards. After spending the summer of 1934 in Switzerland with Giacometti quarrying and carving works in stone, he returned to Paris with a serious commitment to sculpture and developed the processes he would utilize for the rest of his career. Paramyths explores several phases of the artist’s sculptural output with iconic works ranging from 1934–1967 that emphasize the importance of sculpture within his artistic oeuvre.
Ernst is known for the inspired development of frottage and decalcomania, process-based methods of artistic production that served to unlock the powers of the imagination. These techniques also infused his approach to sculpture, but resulted in a very different vocabulary of simple forms derived from everyday objects he had on hand. Ernst would often accumulate and recombine these ordinary shapes, initially cast in plaster, to create anthropomorphic sculptures of rare poetry, humor, and symbolic power. Oedipe I, 1934 and La Belle Allemande, 1934, demonstrate this method of appropriating quotidian objects such as flowerpots, containers, and shells first molded in plaster and later cast in bronze. Ernst assigns new identities to these seemingly mundane, utilitarian forms by configuring them into constructions that embody a new language of modern sculpture. “The sculpture originates in an embrace, two-handed like love itself,” says the artist. “It is the most simple, the most primeval art.”
One exhibition highlights is La Plus Belle, 1967, a life-sized, limestone sculpture that pays homage to the artist’s wife Dorothea Tanning. Never before exhibited in the U.S., the sculpture was first shown the following year at the Alexander Iolas galleryin Paris. La Plus Belle exemplifies Ernst’s inventive synthesis of tribal and ancient artistic traditions and his playful approach to creating form.
In collaboration with the Destina Foundation, Amy Ernst, and Eric Ernst, the exhibition will be accompanied by a fully-illustrated, hard-cover catalogue featuring an essay by Dr. Michele Wijegoonaratna from The Metropolitan Museum of Art, as well as texts on each sculpture by Dr. Jürgen Pech, Curator at the Max Ernst Museum in Brühl, Germany.' Paul Kasmin Gallery Press Release
Zieher Smith & Horton gallery is now presentign the works of artist Rachel Rossin!
'In her first exhibition with the gallery, Rachel Rossin introduces her virtual reality experience alongside the oil paintings they inspire and are inspired by. Upheaving traditional notions of portraiture, landscape and still life, the paintings both inform and reflect the technological installation, an inversion of the most sacred of standards— age-old techniques with the flare of advance guard contemporaneity.
Rossin’s paintings, blurred, smeared, transmogrified environments caught in a state of permanent denouement, are hung alongside Oculus Rift headsets, where the viewer will experience a gravity defying 360 degree view of Rossin's world, including her apartment, her studio, and her paintings blown apart by the unlimited possibilities of the digital microcosm and her imagination. The New York Times described another of the artist’s installation’s at Brooklyn gallery Signal earlier this year as “immers[ing] yourself in a Dante-esque virtual reality.”
Rossin begins by making first “drafts” of the paintings, which are then brought into virtual reality where “worlds are set loose on themselves: gravity finds itself inverted and once strictly 2-d paintings are repurposed in cloth dynamics simulations…. The paintings are thus subjected to repurposing with the final result being work on canvas made from these virtual tableaus – manifesting what was previously digital into the physical – where I act as the entropic moderator” (interview with the artist).
In the parlance of information technology, the term lossy is used to define entropy in data encoding most commonly known in JPG and MP3 formats. In this context, the word is a metaphor for entropy being a fundamental law of our universe as per the 2nd law of thermodynamics. In short, loss is everywhere. Again in Rossin’s words:
“The exhibition posits that our relationship with reality isn't comprised of a separate virtual and real but looks more like a gradient between the two— with most of our modern lives being lived in the action of hopping from screen to screen. Like lossy compression, this process includes entropy as an inherent given— in optimizing what already exists by omitting the excess in worlds with their own internal logic.”
Rachel Rossin (b. 1987) lives and works in New York City. She has been both an artist and computer programmer since her childhood in West Palm Beach, Florida. She is currently a fellow at New Inc. in conjunction with the New Museum and was part the New Ideas Biennial in 2015 and 2013.' Zieher Smith & Horton Press Release.
Visit Mitchell-Innes & Nash Gallery to see the works of artist Karl Haendel, born in 1976 in New York, and current resident of LA!
UNIX Gallery is now presenting Pino Manos’ solo exhibition “Synchronicity” 'Italian has proven to be a particularly articulate language when it comes to fine-art terminology. Several Italian fine-art terms have been absorbed into the English-language lexicon—fresco, graffiti, chiaroscuro, among them. For those who aren’t up to date on mid-century Italian art history, rigorismo is rooted in the Spazialismo (Spatialism) movement and the Zero Group, which initially developed in Italy and Germany, respectively, in the 1940s and ’50s. Rigorismo is, in a sense, what it sounds like: a rigorous use of space. The movement posits that space is an active element in an artistic composition, not simply an empty area to be filled in. Milan-based Manos, the subject of “Synchronicity,” has been one of the movement’s key figures for decades. It’s an exciting selection of work, and an eye-opening articulation of the ideas that Manos has been exploring for more than six decades. In “Synchronicity,” space is not an area to be filled, and a canvas is not just a blank surface for artistic expression: the canvas itself is the art.' UNIX Gallery Press Release.
Agnosia, an Illuminated Ontology
Sean Kelly is delighted to announce ‘Agnosia, an Illuminated Ontology’, a major installation of neon works over five decades by internationally acclaimed Conceptual artist Joseph Kosuth.
'This will be Kosuth’s first exhibition at the gallery since 2011 and his first exhibition in the new space. The opening reception will take place on Friday, November 6, from 6:00 to 8:00pm, and the artist will be present.
Featuring over forty works dating from 1965 to the present, the installation simultaneously chronicles Kosuth’s fifty-year investigation into the role of language and meaning in art, and his consistent use of neon. The exhibition includes historic early works, featuring one of the most important neons Kosuth ever made, ‘Five Fives (to Donald Judd)’ [blue], (1965), alongside more recent works such as his ‘Camus Illuminated’ series (2013). Installed in a response to the gallery’s specific architectural space, ‘Agnosia, an Illuminated Ontology’ will employ areas never before activated for exhibition purposes, creating an all-encompassing and profound experience for the viewer.
A radical pioneer of conceptual and installation art, Kosuth initiated appropriation strategies, language-based works and the use of neon as a medium – considering it a form of ‘public writing’ without fine art associations – in the 1960s. Kosuth’s ongoing investigations into language and perception, and the appropriated use of literature, philosophy and psychology have characteristically taken the form of works in series, a format that opens up space for play and reflexivity in multiple directions. Key examples from the artist’s most iconic neon series will be on view, including elements from Kosuth’s renowned ‘Freud’ series (1981-1989), in which the artist puts the psychoanalyst’s texts regarding unconscious function-ing meaningfully into play using wall pieces and installations, and from his acclaimed ‘Wittgenstein’ series (1989-1993), which illustrate the fervent influence of the philosopher on Kosuth’s foundation of thinking, and belief that art should ask questions about itself, as a language engaged in the production of meaning. ' Sean KellyPress Release.
'In her first exhibition at Metro Pictures, Camille Henrot presents an installation comprising large gestural drawings and sculptural works that constructs a view of dysfunctions and felt inadequacies inherent to the interpersonal dynamics of any given social group, be it as citizens or family members. The works point out familiar social anxieties that are often brushed off as insignificant “headaches” or “hang-ups” and suggest a connection to more severe psychological and sociopolitical concerns.
The exhibition demonstrates the expansive breadth of her artistic output and far-reaching intellectual pursuits; Henrot absorbs and filters the vast and cacophonous amount of information so readily available today with striking agility and adeptly incorporates select elements into her works. In the exhibition, she includes a sculptural zoetrope, a ceramic sculpture based on pre-Colombian artifacts, and an installation of simplified telephones conceived by the artist to function as uniquely programmed self-help hotlines, which the artist developed in collaboration with writer Jacob Bromberg.' Metro Pictures Press Release.
Mathew Marks Gallery is now presenting a group exhibition of: Robert Adams, Vincent Fecteau, Robert Gober, Martin Puryear, Charles Ray, Anne Truitt, and Terry Winters!
The exhibition will be on view at Matthew Marks Gallery, 523 West 24th Street, from October 31 to February, 2016, Tuesday through Saturday, 10:00 AM to 6:00 PM.
Lyons Wier Gallery is pleased to announce our forthcoming exhibition "About-Face" by Cayce Zavaglia. Zavaglia’s meticulously hand-sewn portraits are exclusively of friends and family. 'Each piece uses one-ply cotton, silk and wool to realize the figure with an acrylic paint background that separates the foreground from the background. These labor-intensive art works read as photo-realistic paintings, and only after closer inspection is the work’s true construction revealed. Zavaglia has developed a technique which has been described as “Modern Pointillism,” that allows her to blend colors and establish tonalities that truly resemble the techniques used in classical oil painting. The direction in which the threads are sewn mimic the way brush marks are layered within a painting which, in turn, gives the allusion of depth, volume, and form. Her stitching methodology borders on the obsessive. This system allows her to visually evoke painterly renditions of flesh, hair, and cloth. Cayce Zavaglia’s embroidered portraits have facilitated her growing interest in a more re-contextualized approach to painting. By eliminating the use of paint to create her portraits and yet giving the illusion that it is still present has allowed Zavaglia to further tighten the tension between portrait and process and ultimately propose a new definition for “painting”. The work has the remarkable ability to conceptually transport the viewer into the emotional make-up of the sitter, creating a dialogue between each piece and its audience. This capacity moves her work beyond its technical prowess and into the realm of Conceptual Realism.' Lyons Wier Gallery. For more on this exhibition visit Lyons Wier Gallery!
Klein Sun Gallery is pleased to announce “Nature Chain,” the first solo show in the U.S. by Ling Jian, on view from November 19 through December 23, 2015.
'For the past two decades, Ling has explored the complex portrayals of woman-as-subject in his oil paintings which are hybrids of Eastern and Western aesthetics. In “Nature Chain,” an exhibition three years in the making, he further develops his observational style with large-scale commentaries on society’s obsession with beauty, desire and death.
“Nature Chain” comprises works wherein Ling presents hyper-realistic worlds destroyed by the idolatrous image in which they were created. At first glance, the women and sharks in his paintings appear superficially hollow, merely props for displays of zoological intercourse and commentary on the male gaze. Ling’s intent here, however, is to subvert these messages. The women in his “Siren” series are visions of contemporary beauty, but they are somehow distorted; the sharks are eerily anthropomorphized in their graceful sexual interplay.' Klein Sun Press Release.
Joanne Artman Gallery is now presenting the works of Suzanne Heintz !
'Known for her practice of subverting social norms, Heintz’s Playing House series continues her examination of the American Dream and the pressure to conform. Using two mannequins, dubbed Chauncey and Mary Margaret, Heintz stages both humorous and shocking family portraits of marital bliss and maternal love. Her radioactive color and expressionless characters hint at the darker side of conformity, namely what is lost when the image, or illusion, of happiness is confused with happiness itself. Playing House includes early photographs of Heintz’s domestic interiors up to her present practice, which incorporates public spectacle.
“This work isn't only for women in terms of marriage; it applies to anybody whose life doesn't fit expectations, whether that comes from their parents, their culture, or themselves. No one’s life turns out the way they or their Parents imagined it would. So many of us spend the second half of our lives trying to reconcile the choices we made in the first half. Just like any artist, I’m out to change perception. I want people, particularly women, to let go of the judgment, and embrace their lives, with or without the Mrs., PhD., or Esq. attached to their name,” Suzanne Heintz.' Joanne Artman Gallery Press Release.
Jack Shainman Gallery is now presenting Carlos Vega’s solo exhibition at the 24th Street gallery, Faith Need Not Fear Reason, which celebrates a unique moment in history when Christianity, Judaism, and Islam briefly coexisted peacefully. 'The gallery will exhibit this dynamic body of work for the first time in New York, which includes works from Vega’s recent solo exhibition at the Orlando Museum of Art earlier this year.
During a brief but fertile period in 12th century Spain, philosophers freely conducted their studies in the pursuit of enlightenment, unbound by religious dogma or laws of state. Vega’s inspirations for the works in this exhibition are three leaders that contributed to this unique moment in time: Averroes, an Islamic polymath, Maimonides, a Jewish scholar, and King Alfonso X “The Wise.” Each advocated for sophisticated scientific methods and cosmopolitan learning, expanding on the newly discovered works of Aristotle, and encouraging all to believe that faith need not fear reason. Vega urges us to contemplate the teachings of these three intellectuals as we continue to struggle with diversity in a modern world of intolerance.' Jack Shainman Press Release
Fredericks & Freiser is now presenting a solo exhibition of new paintings by Cary Smith. Smith’s hard-edged abstract paintings find their individual character from their highly intuitive color interactions, boldly direct paint application, and hand-painted precision.
“Smith’s approach to composition has been primarily based on the need to develop a flexible framework on which to hang color: a modular “architecture” in which color can be manipulated to what are ultimately emotional ends. As varied as Smith’s paintings are, they all share a very specific emotional temperature that balances between the intellectual and the visceral. The consequence of this state is that those viewers who are conceptually oriented often perceive Smith’s paintings as being “warm”, while the intuitive observer often feels that they are “cold”. It is this space between the Dionysian and the Apollonian, however, that Smith’s work finds its strength…
Smith’s paintings, even those that utilize a gray palette, revel in color. The artist’s color sense is anything but formulaic, with color choices being meticulously worked out and specific forms often being repainted a slightly different shade weeks or months after initial completion. Smith speaks of color “wanting to be fresh” and this desire, which borders on the obsessive, has resulted in a heightened palette that is mildly psychedelic, but at the same time strangely sober. Smith, when he looks at one of his paintings, does not want to see paint, but rather a believable and real color experience.” Fredericks & Freiser Press Release
Fergus McCaffrey is proud to present the gallery’s second solo exhibition of the work of Sadamasa Motonaga (1922–2011). 'The exhibition features works created after the artist’s residency in New York in 1966 and the dissolution of the Gutai group in 1972. Not only was Sadamasa Motonaga one of the central figures in the Gutai Art Association (1954–72), but he also broke down the barriers between manga, graffiti, and fine art to open up a dialogue between high and low culture in Japan, preparing the ground for the Superflat generation of the 1990s. Motonaga’s late works have taken decades to come to the attention of the West; however, the influence of these post-1966 works in Japan has been extremely profound, and his images are among the most recognizable in Japanese pop culture. Motonaga considered his paintings, children’s books, public artworks, and sculptural installations to be equal, and his work was critically and commercially embraced. The first of his twenty-six children’s books was released in 1973, and several of these have been in print continuously since their publication. Included in our 2015 exhibition are his original drawings for Moko MokoMoko, a children’s book with more than one million copies in circulation in Japan. A self-taught artist, Motonaga was a cartoonist and manga illustrator for local magazines and newspapers in the late 1940s. In 1953, his oil paintings began to reveal a language of cartoonlike anthropomorphic pictograms; he continued to create them until 1957, when the French art critic Michel Tapié suggested that Motonaga should pursue abstraction. The artist then developed his “high Gutai” style of large-scale paintings made up of multiple layers of viscous, brightly colored pigment that were carefully poured and manipulated into abstract forms. In 1966, Motonaga moved to New York City for several months and discovered airbrush technique, which led him to abandon his heavy layers of poured oil paint in favor of a return to his 1950s style of pictograms and anthropomorphic forms, which he modeled thoughtfully in luminous colors and Japanese ink. The later 1970s saw the artist adopt a more expressive stroke in which he rendered his familiar multi-legged triangle and animal-like heads in bold compositions bisected by grids and overlaid with large gestural loops, squares, and cubes.' Fergus McCaffrey Press Release.
Bryce Wolkowitz Gallery is pleased to announce our first exhibition with photographer Stephen Wilkes. This exhibition will feature a selection of photographs from his celebrated series Day to Night. 'Day to Night is an ongoing global photographic project that began in 2009. Working from a fixed camera angle, Wilkes captures the fleeting moments of humanity and light as time passes. After 24 hours of photographing and over 1500 images taken, he selects the best moments of the day and night. Using time as a guide, all of these moments are seamlessly blended into a single photograph in post-production, visualizing places that are part of our collective memory.
Wilkes sees the camera not only as a device used to capture images, but also as an instrument to collect information. From the first experiments with the camera obscura in the early 19th century to the advent of the digital capture, photography has continued to evolve alongside advancements in technology. Wilkes embraces these innovations and utilizes them as a way to reach beyond the constraints of a single frame to explore previously unimagined possibilities.
For more than two decades, Stephen Wilkes (b. 1957) has been widely recognized for his fine art and commercial photography. His photographs have appeared in The New York Times, Vanity Fair, CBS Sunday Morning and Time, among many others. In 1999, Wilkes completed a personal project photographing the unrestored areas of Ellis Island and the monograph, Ellis Island: Ghosts of Freedom, was published in 2006.
In the January 2016 issue of National Geographic, Wilkes will be featured as part of a special tribute to the 100th Anniversary of the National Park Service. Next summer, Wilkes will be included in an exhibition at the Brooklyn Museum, "Who Shot Sports: A Photographic History" curated by Gail Buckland.' Bryce Wolkowitz Press Release.
Andrea Rosen Gallery is pleased to announce Alina Szapocznikow, the gallery’s inaugural solo-exhibition of the artist since beginning to represent her Estate in 2014.
'On the heels of a major international traveling retrospective, this exhibition presents a meticulously assembled group of major figurative sculptures from the 1960s and 1970s. Ardently concentrating on life-size freestanding figures, these works represent some of the artist’s most significant bodies of work, lent from museums and private collections from around the world.
Szapocznikow, over the distilled course of fifteen years, developed a profound pioneering vision and formal language tensioned between lust and sexuality, and the threat of destruction. Embodying this dichotomy, her work contains an intense vividness of life that perhaps can be drawn to her personal history, surviving a youth in concentration camps; like a number of artists of her time, such as Paul Thek and Hannah Wilke, who came out of intensity, there is an incredible rigor and vibrance driven from the force of life.
After representing Poland in the 1962 Venice Biennale, she moved to Paris, fully formed, at a historically vital time, when artists from Marcel Duchamp to Yves Klein were simultaneously developing pivotal territories propelled out of Formalism. Evoking characteristics of Surrealism, Nouveau Réalisme and Pop Art, her works embraced both material rigor as well as her own deeply personal psychology, leading her to create “awkward objects”—visceral sculptures that unravel gravity and composition—to explore what she saw as the most vulnerable of all ephemeral manifestations, the human body.
At once seductive and unsettling, Szapocznikow’s work is often made from direct impressions and casts of body parts, each an attempt to fix the traces of the body and record the fleeting moments and absurd paradoxes of life. She infused a completely new set of materials: those she concocted and heavily documented in the laboratory of her studio—such as tinted polyester resin and polyurethane expanding foam—creating a post-human form of lamps that used casts made directly from her lips, to every day resources—pantyhose, newspaper clippings, photographs, with straw and resin, grass and foam—resulting in distinctly radical hybrids of the organic and inorganic.
While so significant in her time, Szapocznikow is now widely regarded as one of the most prominent figures in post-war Poland and Paris. Linking the intensely personal to our greater humanity, her work, a vessel for memory and formal innovation, singly holds the capacity to teach and unravel a multitude of historical threads that tell the story of the past sixty years.
Alina Szapocznikow was born in 1926 in Kalisz, Poland. After surviving three concentration camps during WWII, she trained at studios in Prague and the École des Beaux-arts in Paris. She first began showing her work in 1950 and held her first two-person show at the Zacheta National Gallery of Art, Warsaw, in 1957. Szapocznikow, along with two other artists, was selected to represent Poland at the Venice Biennale in 1962. A year later, she moved to Paris, where she continued to live until her untimely death in 1973 at the age of 47.' Andrea Rosen Gallery Press Release.
Alexander Gray Associates presents Passage, an exhibition featuring work by Ai Weiwei, Siah Armajani, Luis Camnitzer, Valie Export, Hans-Peter Feldmann, Mona Hatoum, Robert Longo, Ana Mendieta, Dennis Oppenheim, Regina Silveira, and Lorna Simpson.
'Together, the artworks trace the passage of time, collective and personal memory, histories, and diasporas.
Ai Weiwei’s Untitled (2006), is comprised of two Forever brand bicycles that have been dismantled and attached to one another, creating an angular form, buttressed in each corner by a bicycle wheel. The work repurposes existing mass-manufactured artifacts as an act of inversion tied to activism and criticism of Chinese policy. The artist has centered political dissidence at the core of his practice, as Phillip Tinari describes, to repurpose “the material produce of Chinese culture, or the set of skills that are behind those objects.”
In Untitled (1999) Mona Hatoum personalizes global diaspora by tracing her flight paths between her native Beirut and her adopted London, weaving her own hair into paper to create subtle lines. The cartographic stitches illuminate the links between her own DNA and the journeys on which she and many others have embarked leaving their homeland and moving across nations, bending notions such as nation and identity.
Brazilian artist Regina Silveira’s To be continued…. (Latin American Puzzle) (2001) constructs a map that eschews the physical geography of Latin America, and instead depicts a variety of national cultures through the reproduction of stereotypical images. The disjointed pictures on each puzzle piece form what the artist considers a “commentary on the view of Latin America from the outside, but also from the inside, because even as neighbors we know very little about the other countries on this continent.” For Silveira, the viewer makes a journey to what she describes as “distinct geographies and histories, times and spaces, fictional images and documents, to form nothing but mixed, totally arbitrary and open narratives.”
For Luis Camnitzer the space between textual and suggestive meanings allows for playful exercises aimed at shifting established notions. In the etching Fragment of Map (1968), a line divides the artwork’s surface diagonally, and text runs along each of the four edges so that each border of the paper suggests different interpretations for the same line. This work embodies Camnitzer’s ability to use language as a primary medium, a defining characteristic of his practice, and points to the possibility of multiple meanings of a single object or phrase suggesting how reality can be defined by ambiguity.
In both Valie Export’s silver gelatin photograph Shadow (1970) and Hans-Peter Feldmann’s Two Girls with Shadow (2004), shadows play a central role in challenging the viewer’s perception. For Valie Export, whose work is dominated by Feminist concerns that initially responded to the misogyny of the art of the Viennese actionists, the inclusion of her own body is a means of expressing her autonomy. Here the shade cast by her right hand looms over the word “SHADOW,” thus performing the action expressed by the central text. Reversing this relation, Feldmann used a found photograph depicting two girls, and carefully removed the silhouette of one, leaving both of their shadows to suggest an illusion based on presence and absence.
Lorna Simpson invokes personal memory in her work The Car (1995) by pairing an architectural image printed on 12 felt panels showing an arched plaza, with a narrative describing in the first-person, an unseen sexual encounter in a public space. While the relationship between the experience described and the represented space is not clear, their juxtaposition points to how intimate personal memories are often associated with public consciousness and spaces.
The traces of history and memory that run throughout the exhibition are central to Siah Armajani’s 19-foot drawing Written Berlin, Tomb for Dietrich Bonhoeffer and Walter Benjamin (2014–2015). The work, part of his “Tomb Series,” pays tribute to philosopher Walter Benjamin (b.1892 – d.1940) and the theologian Dietrich Bonhoeffer (b.1906 – d.1945), both of whom died during the time of the repressive National Socialist Party’s rule of Germany. In the drawing, Armajani drafted a cityscape of early twentieth century Berlin, interweaving the artist’s own calligraphic translations into Farsi of Benjamin’s memoir,Berlin Childhood around 1900 (posthumously published in 2006) and the biography Bonhoeffer: Pastor, Martyr, Prophet, Spy by Eric Metaxas (published 2011). Armajani’s “Tomb Series” pays tribute to twenty-five philosophers, activists, poets, and critical writers who have been foundational voices to his art and ideology. In Written Berlin, Armajani situates the tomb for both Benjamin and Bonhoeffer within a rendition of the historic Brandenburg Gate.
Dennis Oppenheim’s Rocked Hand (1970) exemplifies the artist use of his own body in earth art and performance. The stills, from a film of the same name, document the action described in an accompanying text, where the artist used his right hand to place rocks on his left until the latter is completely covered, virtually indistinguishable from the rocky ground on which it lays. The eight individual moments trace the passage of time through actions, as well as the physical movement of earth as a form of erasure and disappearance. Building on similar concerns, Ana Mendieta excavated her human form into sand to create the performance and photo-documentation Encantación a Olokún-Yemayá (Incantation to Olokun-Yemaya) (1977), an emblematic example from her “Silueta Series” as an attempt by the artist to search for identity and confront her notion that “there is the void, the orphanhood, […] There is above all the search for origin.”
The central figure in Robert Longo’s Head (2004) is not his own, but rather a charcoal drawing of the fragmented statue of the ancient Egyptian king Ozymandias. Longo’s preference for black and white stems from his interest in the tension this duality brings to documentation without over imposed narrative. The sculpture depicted as a ruin embodies the erosion of history and memory in the midst of a changing world.
About the Artists Ai Weiwei (b.1957) is Chinese born and lives and works in Beijing. Siah Armajani (b.1939) was born in Iran and moved to the United States in 1960 to attend Macalester College in Minnesota, where he continues to live and work. Luis Camnitzer (b.1937) is a German-born Uruguayan artist and writer who has lived and works in New York since 1964. Valie Export (b.1940) born Waltraud Lehner in Linz, Austria, and adopting the name Valie Eport, in 1967. She lives and works in Austria. Hans-Peter Feldmann (b.1941) is German-born and lives and works in Dusseldorf, Germany. Mona Hatoum(b.1952) born into a Palestinian family in Beirut, Lebanon. She lives and works in London and Berlin.Robert Longo (b.1953) was born in Brooklyn, NY, and lives and works in New York. Ana Mendieta(b.1948 – d.1985) was born in Havana, Cuba, and moved to Iowa at age 12 along with her sister. She lived and worked in New York until her death. Dennis Oppenheim (b.1938 – d.2011) was born in Washington, and lived and worked in New York from 1968 until his death. Regina Silveira (b.1939) was born in Porto Alegre, Brazil and is currently based in São Paulo. Lorna Simpson (b.1960) was born, and continues to live and work in, Brooklyn, NY.' Alexander Gray Associate Press Release.
The Curator Gallery now presents its newest exhibition, Fractured Botanicals, a solo show featuring photographs by Alexandra Penney and curated by Bill Shapiro.
'The exhibition explores the photographer’s fascination with the ephemeral. Featuring a seemingly unlikely pairing of explosively bright flowers and haunting black and white swamps, Penney reminds us that nothing lasts forever – from fresh blooms to disappearing swamplands – and life is constantly evolving.
Penney offers a new take on the time-honored subjects of botanicals and landscapes by breaking down the images to achieve a distinctly contemporary digital impressionism. From afar, viewers see flowers and swamps, but upon closer examination, the images are “fractured” into dots, lines, and oddly divergent patterns.
“I wanted to bring something new to these genres. That’s the major challenge for me: to discover an aspect that hasn’t been seen before,” says Penney. “These pictures disrupt our ideas of what a photograph of a tulip or a swamp should look like.”
Her exploration into this process began in 2001 with an early generation digital camera that took pictures at half a mega-pixel (compared with the 16 mega-pixels found in today’s smartphones). She loved the look they produced and began digitally manipulating the pictures with the goal of visually melding the seemingly opposing forces of nature and technology.
Most of the flowers seen in this exhibition are from the 27th Street flower market in New York, where Penney can frequently be seen in the early mornings scouting for the perfect blooms. The swamps were photographed on a series of road trips in the South, which included explorations of Georgia, Florida, Louisiana, and South Carolina.' The Curator Gallery Press Release.
Yossi Milo Gallery is now presenting FACADES, an exhibition of photographic works by German artist Markus Brunetti.
'Markus Brunetti’s FACADES series is the result of his travels through Europe from 2005 to the present day, capturing the façades of historic cathedrals, churches and cloisters in minute detail. In the tradition of Bernd and Hilla Becher’s serial documentation of German industrialization, the front surface of each structure is recorded in a precise and regulated style allowing for typologies and comparisons. The subjects are conceived as idealized designs, or as what might be called photographic drawings on paper, similar to the architects’ or builders’ original drawings and the engravings of Old Masters.
In the East Gallery, five large-scale archival pigment prints, each measuring 10 feet tall, depict towering structures such as Notre-Dame Cathedral in Chartres and Ulm Minster in Germany. In the West Gallery, ten 70” x 60” works represent a history of architectural styles ranging from Moorish to the early Romanesque, through Gothic, Renaissance and Baroque periods.
To create a single work, Brunetti exhaustively explores each façade from bottom to top, taking a large number of frames over the course of a few weeks or, if necessary, a few years. Miniscule ornamentations that would otherwise be overlooked or inaccessible, such as golden mosaics in the gables of Orvieto’s Duomo di Santa Maria Assunta or sculptural details on the soaring spires of Cologne Cathedral, become vividly clear. He then assembles the individual views into his own hyper-realistic interpretation of the entire façade, stripped of all modern-day elements and suggesting three-dimensional qualities. As a result,FACADES becomes a visual encyclopedia; an in-depth study of the relationships between form, religious function and cultural history.' Yossi Milo Press Release.
Andrea Rosen Gallery is now presenting Paintings, an exhibition of new work by Josiah McElheny. This is the artist’s fourth solo exhibition with the gallery.
'Josiah McElheny’s artwork has often investigated the history of twentieth century modernism in architecture and design, in the hope of expanding on the dominant historical narrative and the criticality of our relationship to it. While continuing this dialogue with the history of aesthetics, Paintings represents a shift in McElheny’s work towards a focus on the history of painting, and proposes that there is ongoing potential to be found in the utopian and revolutionary desires that gave rise to abstract painting at the beginning of the twentieth century.
In 2007, McElheny exhibited his work alongside the paintings of the “lost” pioneer of abstraction, Hilma af Klint (1862-1944), as part of a curatorial collaboration with curator Iris Müller-Westermann at the Moderna Museet in Stockholm. Af Klint is now finally credited with making the first non-objective painting in the Western fine-art tradition, and it is both her grand imagination and sense of purpose, and the idea of how histories are and can be constantly re-written, that has informed and inspired McElheny’s new works.' Andrea Rosen Press Release.
Unix Gallery is now presenting the works of Justin Bower ! 'Justin Bowe paints his subjects as de-stabilized, fractured post-humans in a nexus of interlocking spatial systems. His paintings problematize how we define ourselves in this digital and virtual age while suggesting the impossibility of grasping such a slippery notion. The ongoing decoding of the human body, a formula to each individual’s genome, confronts us with a radical question of “What are we? Am I a code that can be reduced and multiplied infinitely?” Bower’s paintings begin to open a dialogue to this destabilizing effect/trauma technology has on the individual that has infected the daily lives of contemporary man. He shows this destabilization through the doubling of features - multiple eyes, spliced noses, melting mouths - and the whiplash motion invoked in his Abstract Expressionist process. Bower uses paint as an instrument of dissection and inquiry. Flesh acts as a complex veneer, functioning as a biological boundary from externalized technologies; all the while the viewer realizes that the same externalized technologies are always already inside the subject. This ultimately creates an open system, an incomplete subject becoming and degrading, not knowing where the outside starts and the internal ends. The boundaries of the traditional subject are now leaking in Bower’s concept. ' Unix Gallery Press Release.
Marianne Boesky Gallery is now presenting First Morning, Barnaby Furnas’ sixth solo exhibition since joining the gallery in 2002.
'Since the 1990’s Barnaby Furnas has consistently painted sensory and epic material. He has illustrated battle scenes, suicides, rock concerts, Biblical stories, and monumental floods, all with the intent of capturing explosive energy and the passage of time on a two-dimensional canvas. With his new body of work, Furnas confronts a different, equally exciting subject, one he has looked forward to painting his entire career: the landscape. A suite of six paintings, these works are the artist’s contemporary rendering of what the first morning on Earth or the first American landscape might have looked like.' Marianne Boesky Press Release.
Susan Inglett Gallery is now presenting “Mind, Body & Soul,” an exhibition of recent work by gallery artist William Villalongo.
'With “Mind, Body & Soul,” William Villalongo invites the viewer to return to his magical Otherworld of Nymphs and Sirens, offering us edgy, multifaceted vignettes framed and softened by floral and velvet flocked borders. The artist layers his canvas with figures and narratives that allow for multiple paths of entry. By engaging with the classic but historically problematic motif of the nymph or bather, he raises the question of who can represent idealized female beauty while reframing the absurdities and conventions of the male gaze. Villalongo’s many Muses perform acts from the banal to the extraordinary, at times undergoing anatomical transformations in bursts of color and light. A male audience watches, lurking among the velvety borders of the picture plane.
The artist, in polarizing the concept of the visible and the invisible in his representations of female and male form, has constructed a visual metaphor that balances revelation and obscurity. This, along with the dismemberment and regeneration of the figure and reconfiguration of the narrative, has been essential to Villalongo’s revisionist retelling of the Art Historical canon as filtered through non-Western cultural influences.
Through narrative, Villalongo creates a picture in which figures—their interactions and gestures—bolstered by the physicality of the painting’s surface express the emotional and psychological where language often fails. The artist tells a story both familiar and fantastic woven with skewed perceptions and shaped by suggestive moments that tease the viewer into participating in a fiction that implicates reality within its idiosyncrasies. Willingly the viewer enters a surreal purgatory “Mind, Body & Soul,” trapped in the underbrush of Villalongo’s world.' Susan Inglett Gallery Press Release.
Lyons Wier Gallery is now presenting "Transformer," a new solo exhibition by James Gortner. ' "Transformer" continues Gortner's exploration of artistic production through works that incorporate both original and found elements. However, unlike his last exhibition whereby he assembled and painted upon found paintings in their entirety, in "Transformer" Gortner cuts and collages pieces from an even wider range of found paintings and discarded objects, incorporating them into a new composition. By layering the face of his panels with cut canvas, pieces, and parts of pre-existing found work, Gortner affects a beguiling surface beyond the two-dimensional picture plane. "Transformer" is, in a sense, a collective meta-sculpture of discarded energy that evidences the artist's own deftness of hand, supported by elements extracted from other artists' paintings and found objects. It is in this collaboration that Gortner draws his boundaries, asking the viewer to suspend traditional expectations of art making (that each painting should be original and authored in its totality by one artist) and instead consider how collaboration - whether blind or solicited - expresses a new authenticity and content ownership. Each work in "Transformer", much like an electrical transformer is, therefore, an energy mediation between the original intent of found work, and the new narrative of Gortner's creation. The visual nuances of Gortner's work contribute to the surrealistic and visionary nature of the narratives, and compound the impact of his compositions. "Transformer" embraces the artist's penchant for allegory, creating visuals ranging from a woman sprouting ram horns to a well-rendered man with wings and a longbow riding an abstracted dragon. In another composition, a woman sits in what could almost be considered a natural landscape, an idea that is sublimated by the elements of birds, moon and lake that are collaged into the painting's foreground and background. It is this oscillation between action and stillness, known and unknown, real and illusory, natural and unnatural, original and found that makes Gortner's paintings so captivating. All combined, "Transformer" brilliantly balances authorship and stewardship, and evidences the evolution of artistic process. The work embraces a unique visionary narrative - an idiomatic manifestation that James Gortner has made all his own.' Lyons Wier Gallery Press Release.
Margaret Thatcher Projects is now featuring the works of Omar Chacon.
'Brightly colored, glossy ovals and stripes of acrylic paint dazzle viewers of Omar Chacon’s artwork. Built layer upon layer, the drips and dots are a rainbow of colors and each individual oval shape is a unique composition that contributes to the work as a whole. At the start of each painting, thousands of acrylic ovals or drips are prepared, then peeled and collaged onto canvas. Taking advantage of the synthetic qualities of acrylic – its bright, slick sheen, and pliability, Chacon’s surfaces glisten with exuberant color, projecting a spirit of optimism with a nod to discovery, both in everyday life and in the surprising details of each painting.
Born in Bogota, Colombia, Omar Chacon received his MFA from the San Francisco Art Institute, CA and his BFA from the Ringling School of Art and Design, FL . In 2009, Chacon was selected as part of the Queens International Four during the 2009 Biennial at the Queens Museum of Art, New York. Chacon is the recipient of numerous awards including the 2007 William and Dorothy Yeck Award through the Miami University National Young Painters Competition and a 2008 New York Foundation for the Arts Fellowship. His paintings have been reviewed in Art & Antiques, Artnet, and Artweek Magazine, among others.' Margaret Thatcher Projects Press Release.
De Buck Gallery is now featuring an exhibition of Houston-based artist Joseph Cohen.
'Joseph Cohen’s Propositions, his series of primarily monochromatic panels, are thoughtful meditations on the physicality of painting in the contemporary world. Through his meticulous and unique process of utilizing hundreds of thin layers of hand-made paints, which incorporate metal specks, diamond dust, etc. along with pigment, Cohen creates tactile, almost viscous surfaces that seem to drip beyond the confines of two-dimensional space, an effect that is emphasized by the angularity of the panel emerging from the wall.
In Dasein, Cohen seeks to embrace an intimate relationship between the artist as creator, the object, and the viewer. The title of the exhibition derives from a German philosophical term, most associated with Heidegger, which translates as “being there” or “existence.” For Heidegger, dasein refers to the existence of an individual only as he exists within the world around him. Cohen reinterprets the term in the context of the exhibition, expressing a desire for viewers to lose themselves in the physical environment of the gallery space surrounded by artwork, as a means to abandon pre-conceived notions of what painting is. The exhibition serves as a starting point to experience the linked physical and chromatic qualities of the Propositions as a means to regain an intimacy and reflectiveness that is often lost in fast-paced contemporary life, between both the artist and the viewer vis-à-vis the artwork. ' De Buck Gallery Press Release.
Jonathan LeVine Gallery is now presenting Three-Planet Lifestyle, a solo exhibition of new works by Sao Paulo-based Brazilian artist Stephan Doitschinoff (Calma).
'At first glance, Doitschinoff’s work appears to be a visual narrative infused with religious and esoteric references but closer examination reveals a process of appropriation and re-signification. He uses recognizable religious icons such as the altar, the procession and anthropomorphic characters but removes all mystic and ideological content, appropriating the imagery and adding contemporary symbols created from personal reflection and observation. In Three-Planet Lifestyle, sinking boats full of books, moons studded with flags and collapsing skyscrapers allude to the rupture of a strict system and the consequences of unintentional actions.
For this series of paintings, drawings and sculptures, Doitschinoff was inspired by the teachings of Estonian writer and activist Kalle Lasn. As the founder and editor of Ad Busters, a publication dedicated to advance a new social activist movement for the information age, Lasn blames consumer culture for transforming humanity into a selfish species on the verge of ecological crisis. In 2006, the World Wildlife Fund confirmed his concerns in the Living Planet Report, outlining how mankind will need at least two planets’ worth of resources by 2050.
Multiple pieces carry the artists signature inscription, ‘CRAS’, referring to the human habit of procrastination. Doitschinoff states, “The clearest symptom of our time is procrastination and the strange idea that the future will fix itself. Since the complexity of environmental issues is so massive, society would rather deal with everyday tasks. Recycling, pedaling bikes and buying fair trade is only creating a falsely optimistic future and being used as a balm to alleviate individual guilt. While we tidy up our drawers and do the dishes – inside the house is on fire”. Jonathan LeVine Gallery Press Release.
Hoerle-Guggenheim Gallery is now featuring Jan Larsen’s Market Makers .
'Market Makers is Jan’s reflection on the exchange that takes place between art and commerce in the markets each day, drawing inspiration from the era that gave birth to mass-marketing and modern American consumer culture, on Madison Avenue in the late 1950’s and early 1960’s, as well as the past fifteen years of his own work in fine art.
Born in the Midwestern United States in 1967, Jan Larsen was raised in Pennsylvania and Boston, received an undergraduate degree with honors from Harvard College in 1989, a master’s degree in business management from Oxford University in 1991, and studied art as process at the Museum of Fine Arts in Boston. A son of art collectors, curators, and educators, Jan was raised amongst fine art and the artistic process. He came to New York in 1997 and has held painting and production studios there since, including four eponymous galleries, in Brooklyn, SoHo, and TriBeCa.' Hoerle-Guggenheim Gallery Press Release.
Heller Gallery is now presenting the works of Luke Jerram.
'Luke Jerram is an internationally respected multidisciplinary artist, whose practice mines scientific research, ecology, and community building and results in works ranging from discreet objects to large-scale public performances and installations. Jerram teamed up with virologists and scientific glass-makers to create small & elegant models of deadly viruses and bacteria, which are part of his Glass Microbiologyseries.
His Chandeliers are built of solar radiometers - simple science class props made to teach us how light and heat are converted into energy. A formal arrangement of hundreds of light-activated radiometers transforms them into anthropomorphic sculptures, which follow the same circadian rhythms we do.
Jerram is the recipient of numerous awards and grants and his extraordinary projects have won acclaim in cities around the world. His work is held in public collections in the United States and Europe including the Metropolitan Museum of Art, New York, NY; Chrysler Museum of Art, Norfolk, VA; Corning Museum of Glass, Corning, NY; Alexander Tutsek Foundation, Germany; The Wellcome Collection, England; CosmoCaixa, Spain; Bristol City Museum, England; Phaeno Science Center, Germany; and Shanghai Museum of Glass, China.' Heller Gallery Press Release.
In collaboration with the Roy Lichtenstein Foundation, Gagosian New York is now presenting “Roy Lichtenstein: Greene Street Mural.”
'In December 1983, Lichtenstein created Greene Street Mural, an unprecedented, site-specific, and temporary wall painting measuring 18' × 96 1/2' at the Castelli Gallery at 142 Greene Street. In accordance with Lichtenstein's intention, the work was destroyed after the six-week show. More than thirty years later, Gagosian will present to a new generation of viewers a full-scale painted replica of the original work, based on documentation from Lichtenstein's studio and produced under the supervision of his former studio assistant. In keeping with the momentous spirit of the original project, the replica will be destroyed at the close of the exhibition.
In Greene Street Mural, Lichtenstein layered pervasive images from his pop lexicon—marble-patterned composition notebooks, cartoonish brushstrokes, and Swiss cheese—with new motifs, including the Neo-Geo tropes of the Perfect/Imperfect paintings; faux woodblock shading patterns; and office items including filing cabinets, envelopes, and folding chairs. Echoing the self-reflexive and art-historical juxtapositions of the Artist's Studio paintings made during the same period, the mural conflates citations from Lichtenstein's own oeuvre with references to Picasso and Brancusi, Art Deco motifs, and depictions of the Great Pyramids. This heady mix epitomizes Lichtenstein's ability to absorb anything and everything that caught his eye into his constantly evolving artistic idiom.' Gagosian Gallery Press Release.
Fredericks & Freiser is now presenting an exhibition of new paintings by Keegan McHargue.
'In Topical, McHargue returns to the human figure, albeit broadly shaped, satirical versions. Though their expressions and gestures are generalized, McHargue defines them in surprisingly specific ways. A woman’s lower torso is a single grotesque foot. A butterfly with human legs drifts in outer space. An artist paints the landscape wearing a Colonial hairdo sporting the body of a Centaur. The topographies are identifiable yet seem as intuitive as the figures.
In an essay on the artist, Ross Simonini writes “ McHargue compresses and reduces and distills the image until it functions, like an icon, on the simplest, most unfettered visual wavelength. He thinks about the freedom inherent in minimalism while he works. It keeps his attention focused on the singularity of the idea, so that the image's energy appears to emerge from a point somewhere deep within itself and ripple outward into a sea of visual ideas, each one nestled into its neighbor, like a liquid puzzle. The feeling of looking is not dissimilar from seeing ancient Islamic and Hindu art, where narrative and space and subject flow into a single current.” Fredericks & Freiser Press Release.
Jack Shainman Gallery is now presenting Enrique Martínez Celaya’s first solo exhibition at the gallery Empires: Sea and Empires: Land. 'This exhibition, in two parts, comprises an interconnected group of new works that are revealed, hidden, or undermined by each other to create an experience that is simultaneously visceral and elusive.
Working in a variety of media including painting, sculpture, needlepoint and installation, as well as poetry and other writing, Martínez Celaya has created a new body of work characterized by the allusive complexity, emotional presence and intellectual rigor that he has developed over the past two decades.
He blends reality, fantasy and memory to create a world that is both semi-autobiographical and resonantly universal. His visual language approaches aspects of experience often addressed through literature, religion and philosophy such as the individual search for authenticity and belonging, the limitations of self-knowledge, the tension between possibility and regret, and the consequences of a stunted inner life.
The cumulative result explores the dynamics of will as we navigate a world that is often resistant to our strivings and regrets.' Jack Shainman Gallery Press Release.
Danziger Gallery is now presenting the first New York solo exhibition of work by the Los Angeles based artist Farrah Karapetian.
'Since 2002, Karapetian has been exploring the form of the photogram creating unique large scale cameraless works that blend performance and photographic process. Working in the studio and using one or more color enlargers Karapetian projects her subjects on to chromogenic paper creating both multi-colored and multi perspective views of the same moment. Using objects and people Karapetian’s pictures are both personal and political with subjects ranging from the relationship of U.S. Armed Forces veterans to their weapons to the effect of casting light through ice.
In her newest series, “Stagecraft”, Karapetian combines the idea of music, performance, and the form of musical instruments to produce luminously colored almost cubistic images. Using both real instruments and a skeletal and translucent drum set fabricated to her specifications, Karapetian alternates abstracted still lives of instruments with near life size photograms of musicians caught at moments of rest before or after the implication of sound.
The front two rooms of the gallery contain 21 differently scaled prints while the back “project room” displays the drum set or “negative” as Karapetian calls it that was used to produce many of the images.' Danziger Gallery Press Release.
New York Pace is now presenting Chuck Close: Red Yellow Blue an exhibition of new oil paintings.
'In his most recent work, Close continues his investigation of the grid as an organizational device, exploring minimal information processing in portraiture. Close abandons the expressionistic brushstrokes that have characterized his paintings since the 1990s. Rather, he applies multiple thin washes of paint in each cell of the grid, layering red, yellow and blue until they accumulate into extravagant full-color images.
The earliest works in the exhibition—portraits of Cecily Brown and Cindy Sherman—reveal the beginnings of this process, leaving the painting’s development visible.
When viewed up close, the portrayed subjects disintegrate into grids of color evocative of Paul Klee’s Magic Square paintings. These works attest to a heightened interest in the effects of color and suggest a new way of challenging the processes through which his portraits are constructed. It allows him to create distinct works from the same image through different saturations and juxtapositions of hue. ' Pace Press Release.
For more on this exhibition visit: Pace Gallery.
The Bright Eye of the Universe
Sundaram Tagore Gallery and curator Dr. Iain Robertson bring together emerging and established artists from China in The Bright Eye of the Universe: Six Chinese Artists Unite Heaven and Earth.
'Combining ancient techniques, historical iconography and Daoist philosophy, these innovative artists explore the ways in which traditional Chinese culture lives within the collective consciousness of the current generation.
Photography, paintings, ink on paper, and sculptural installations by this select group of rising talents will be on view at the gallery’s Chelsea location.
ABOUT THE ARTISTS:
YANG XUN, one of China’s most prominent and influential young artists, infuses his paintings with historical references and iconic imagery, producing ethereal, dream-like landscapes that propel the viewer to another place and time. His work is included in prestigious collections throughout China, including the Shanghai Art Museum, the Shenzhen Art Museum and the Chengdu Contemporary Art Centre.
In a departure from the colorful figurative works he’s known for, Beijing-based artist GUAN YONG presents a stunning new series of paintings articulated using a minimalist vocabulary. Rendered with humility and moderation—virtues of Daoist philosophy—he explores the effects of light on opaque objects and the point at which solid form dissolves into abstraction.
Photographer SHI GUOWEI skillfully transforms black and white images into visually compelling social commentary. In his new series of color-saturated landscapes, the artist draws attention to industry’s environmental effect on nature and the devastating impact of chemical pollution on future generations.
In his new series of architectonic paintings, HOU YONG questions the basic elements of painting, such as composition, visual language and meaning. By altering the assemblage of pictorial planes, he both guides and impedes the viewer’s sense of orientation, creating an intriguing new visual order.
The gravity-defying sculptural works by Mongolian artist ZHENG LU appear to be wholly Modern in their stainless-steel fabrication and ambitious technical execution, but a closer look reveals thousands of Chinese characters inscribed onto the surface of the metal—a nod to antiquity inspired by the artist’s longtime study of traditional Chinese calligraphy.
Contemporary ink artist HANG CHUNHUI embodies the meticulous skill and attention to detail that defines traditionalgongbi painting. The artist looks to the past not only in terms of technique, but also in his choice of subject matter—specifically landscape and nature—both fundamental themes in Chinese painting. Hang Chunhui recently exhibited at Det Nationalhistoriske Museum, Denmark, where he received the Brewer J.C. Jacobsen’s Portrait Award.' Sundaram Tagore Press Release.
Nancy Hoffman Gallery is now presenting the works of Joseph Raffael.
' Moving Toward the Light- is the title of a just-published book on Joseph Raffael, as well as the title of one of his newest, most ambitious works.
Known for his monumental watercolors celebrating nature, the artist’s work of the past three years continues to push into new terrain. Taking the viewer deeper and deeper into the mysteries of nature, Raffael remains ever the explorer of what the eye cannot behold, be it with blossoming branches in a profusion of blues, or palm fronds of greens, greys, silvers and lavenders.
Like an explorer combing the depths of the sea for wonders below, Raffael captures on his camera in an instant, wonders that surround him at his home and in his garden in France, transforming what he sees into a heightened vision in watercolor. Everything he paints is part of his quotidian universe.
Thirty years ago, Joseph Raffael and his wife Lannis moved to the South of France, wanting to simplify life for Joseph to devote himself to painting without distraction. Over this time, the couple, who live in a simple home overlooking the Mediterranean Sea, have created what might be called an earthly paradise. Lannis planted a garden with flowers every color of the rainbow in the midst of ancient trees, bushes and succulents. They created two koi ponds on the property, framed by stones the Mediterranean has washed smooth. The flowering plants matured, the carp grew large, the birds in the outdoor aviaries multiplied. It is this paradise teeming with life force that provides the artist with his subjects: flowers, koi, birds, shells, the abundance of the gardens that surround them.
Raffael photographs his world, zeroing in on what interests him. A selection process follows during which he views and reviews images and decides what to paint next. From the photograph he makes a “map” only he can follow, and then begins to paint in a unique and intuitive fashion in watercolor. He paints wet into wet, puddles the paint, surrounds images with an “inner frame” of paint, celebratory of the act of painting. While the works have a freshness and spontaneity, they take him months to paint as he carefully weaves tapestries of color in paint on paper. These are watercolors like no others, rich, sumptuous, saturated, luminous.' Nancy Hoffman Press Release.
Paul Kasmin Gallery is now presenting Two Rooms, a solo exhibition of two new sculptural installations by Will Ryman,
'Classroom presents 12 figures from the same cast, each made of a different natural resource or composite essential to various cultures and economies including cadmium, titanium, salt, iron, oil, chrome, copper, wood, and gold. Arranged in four rows of three, the figures evoke traditional classroom settings, interchangeable workers in a factory’s assembly line, or soldiers in military formation. Their youthful appearance references the practice of child labor so widespread in many countries. Corporations in developed countries often refer to their employees as their greatest “natural resource,” and in one interpretation of the installation, Ryman extends the metaphor to an inexorable conclusion: workers are a material to be mined and exploited in the service of industry. They are, to the extent possible, mechanized.
The Situation Room (2012–2014) is a life-size installation based on the iconic photograph that captured members of the Obama administration and U.S. military leaders watching in real time the Navy SEAL raid on Osama Bin Laden in Pakistan in 2011. Among those gathered in the White House Situation Room were President Barack Obama and Secretary of State Hillary Rodham Clinton. This millennia-old practice of leaders observing battle from behind the lines is made possible at a distance of more than 7,000 miles by twenty-first century technology.
Developed over the course of three years, the sculpture is composed of crushed black coal as a reference to industrial development and as a means to redact the specificity of the photograph, reducing the tableau to its elemental components. The Situation Room is a contemplation on war, power, propaganda, industrialization, and political theater. In its reductive monumentality, the artist’s appropriation of the photograph becomes an anonymous fossilization of the timelessness of war.' Paul Kasmin
Joshua Liner Gallery now presents It Looks Like It Says, a solo exhibition of new work from Los Angeles-based artist and graphic designer Geoff McFetridge.
'Involved in an abundance of creative and commercial projects ranging from murals to animations, textile and wallpaper design to sculpture, ceramics, painting, and work on paper, McFetridge’s signature style—rooted in simplistic imagery playing with smooth lines, matte colors, and perspective—is at the forefront of every project the artist undertakes.
Despite their simplistic, uncomplicated aesthetic, McFetridge’s works rendered in acrylic on canvas and paper are developed from a systematic process of repeatedly sketching and refining imagery, both in pencil on paper and the computer. The artist explains, “The process involved in making [these paintings] is that of drawing and redrawing an image until only the most essential pieces are left.” The Beach Seen Through Limo Tint portrays a woman lying down with a perfect circle for a head, a smooth stripe for the strap of a bathing suit and soft contoured limbs separated by variation in tone for perspective. Like pieces to a jigsaw, the shapes fit together to form cutout-like imagery that is rudimentary yet striking in its simplicity. McFetridge adds, “The paintings are done in a process of putting pieces together, like a puzzle. Until the last color is put down none of the colors make sense.”' Joshua Liner Press Release.
Cristin Tierney Gallery is now presenting 'Inside the Artist’s Studio', an exhibition of new works by Joe Fig.
'When walking through a museum, it is easy to forget that the perfectly hung paintings and well-lit sculptures are products of a long and arduous process. They are the end result of many moments of creative inspiration, but also myriad physical and logistical details. It is these details—aspects of an artist’s daily routine—that have motivated Fig to embark on a life-long exploration of the working lives of his fellow professional artists. Through visits and interviews, Fig meticulously documents his cohorts’ processes. For Inside the Artist’s Studio, he has translated these observations into a new body of paintings, sculptures and drawings representing the studios of some of today’s leading contemporary artists, including Leonardo Drew, Kate Gilmore, Roxy Paine, Will Ryman and Laurie Simmons.
The artworks are both a celebration of the creative process and a revelation regarding the mundane tasks involved in making art. In his sculpture of Kate Gilmore’s studio, Fig shows a ladder leaning against a seemingly commonplace yellow board with several pieces of paper scattered across the floor. Upon closer scrutiny, however, the yellow board reveals deep gouges forming a circle. It is a small detail that escapes immediate notice. But it is also one of the most telling and self-reflexive artifacts in the artist’s studio: on this plywood surface, Gilmore and several other women enacted her performance piece Walk the Walk in Bryant Park. Replete with such details, Fig’s works reward close and prolonged viewing.' Cristin Tierney Press Release
Joseph Gross Gallery is now presenting 'Fire Power', a solo exhibition of new works by Alison Mosshart.
'Fire Power marks the artist’s first solo show and includes 127 never before exhibited pieces including paintings, drawings, mixed media, and tapestries that reflect Mosshart’s life on the road.
Best known for her role as singer/songwriter for The Kills and The Dead Weather, Alison Mosshart is a self-taught artist whose work is personal, intuitive and responsive without being over-thought. A lifelong ‘maker,’ Mosshart created art as often as she could while on tour; only recently was she able to settle into a more formal studio space, allowing for the expansion into larger works. The work in Fire Power glorifies the transience of life on the road, with each piece a snapshot of a person, conversation, place, time or mood in Mosshart’s continuously mobile life. Works in Fire Power can be grouped into informal series’ including portraits, works on Persian carpets, and ‘tire track’ abstract pieces.' Joseph Gross Press Release.
Chamber Gallery is now presenting the works of Richard Hutten, Nick Ervinck, Piet Hein Eek, Nicolás Aracena Müller, Han Van Wetering, Koen Vanmechelen, Dirk Vander Kooij, Jantine van Peski and Esther Janssen, amongst others!
Cara Gallery is now presenting a solo exhibition by Polish artist Igor Mitoraj (1944-2014), his first show in New York after a hiatus of some twenty years.
'The artist’s colossal bronzes use the timeless iconography of ancient Greece, and yet they are informed with a contemporary relevance. Mitoraj’s figures carry on their shoulders the weight of life, eternity, and civilization. They are possessed of enormous contradiction between the ideals of strength and beauty and the frailty of the human condition. Their post-modern monumental scale suggests the glories and failures of entire civilizations. ' Cara Gallery Press Release.
Bruce Silverstein Gallery is now presenting Semi-Automatic, the first solo show of Mishka Henner’s work in the US.
'Selected for the upcoming 30th anniversary of MoMA’s New Photography exhibition, Henner’s work combines elements from mass media, public datasets, and internet culture to address a range of charged cultural and economic subjects.
Henner has described himself as an aggregator of data and images, often producing works that are dystopian in tone. Citing the influence of writers such as J. G. Ballard, Jean Baudrillard, and Michel Houellebecq, he writes, "America continues to dominate the European imagination. The optical superstructure it has helped create ensnares us but can also illuminate us.”
Many of Henner’s projects involve extensive documentary research combined with the meticulous construction of imagery from materials sourced online. In this exhibition, key works from his screen-based output over the past six years are presented alongside more recent works. In each, the free and fluid circulation of images is set against underlying economic systems. Prints, books, paintings and video works addressing state censorship; the sex trade; the art market; and the silver, beef and oil industries are brought together for the first time.' Bruce Silverstein Gallery Press Release.
Berry Campbell Gallery is opening its fall season with a retrospective by renowned Color Field painter, Dan Christensen (1942-2007).
'Christensen’s relentless experimentation with new tools and materials made him among the most ambitious abstract and gestural artists of his time. This important exhibition will feature more than twenty paintings from various periods of his forty year career: rare “early spray” paintings from the late 1960s, saturated stained canvases from the 1970s, dizzying spray ovals from the 1980s, pulsating orbs from the 1990s, and rhythmic calligraphic swirls from his last decade.
Several paintings have never been on public view. Berry Campbell will present the retrospective in a sixteen-page catalogue featuring a poem written as a tribute for Christensen by Billy Collins, the former Poet Laureate of the United States and Christensen’s close friend.' Berry Campbell Gallery Press Release
Asya Geisberg Gallery is pleased to present “Embodied Energies”, the third solo exhibition of installation artist Julie Schenkelberg.
'Expanding on her language of architectural decay, historical detritus, and domestic destruction, Schenkelberg has created a site-specific installation “Swan Song” that will traverse the polygon of the gallery walls, creating a variety of experiences for the viewer - encountering the expansive Rabelaisian work from the street, exploring intimate nooks created by claustrophobic canopies, and stumbling on piles of rubble.
In a process that began five years ago with the gathering of material from salvage yards, thrift stores, and scouring for family heirlooms, the artist spent ten weeks working in a disused church basement in the Midwest, before transferring “Swan Song” to the gallery, and completing it on site.
The winner of the ArtPrize Installation Juried award for her massive installation “Symptomatic Constant: Shipwreck in the Midwest”, Schenkelberg is well known for her site-specific works that disrupt and emerge from each location.' Asya Geisberg Gallery Press Release.
Andrea Rosen Gallery is now presenting 'Continuous Surfaces' at Gallery 2. The exhibition features new work by Sara Cwynar, Lukas Geronimas, Josh Reames, and Cole Sayer.
' Writing in Artforum, Alexander Provan proposed that “every era has its interface, and every interface determines how we relate to the world.”
If the late 20th century was defined by the graphical user interface made popular by personal computers, the early 21st century is marked by the proliferation of touch screens, which mediate increasingly broad swaths of everyday life. Touch screen devices like phones and tablet computers represent a radically new kind of surface, one that is both physically flat and thin, but experientially depthless.
Working across a range of media, the artists in the exhibition touch on how we might perceive a space of infinite and ever changing content, laminated to a surface defined by its attempt to recede into a flat plane. What might this sensation look like, and how can media invented centuries ago continue to adapt to the world in which we live?' Andrea Rosen Gallery Press Release
Andrea Meislin Gallery is now featuring 'Wrong Tools', a solo exhibition by Ofri Cnaani, curated by Adi Puterman. The show will include a participatory performance piece as well as a new series of Cnaani’s cyanotypes, or “blueprints.”
'For her fourth exhibition with Andrea Meislin, Cnaani will transform the gallery’s space into a temporary office and create a participatory lab for images, where, throughout the duration of the show, she will engage with gallery visitors in one-on-one sessions, providing them with visual “readings,” a one-of-a-kind custom-made image map. 'Andrea Meislin Gallery Press Release.
The Paula Cooper Gallery is now presenting a selection of new sculptures by Liz Glynn, entitled PATHOS (The Blind Exercises). The exhibition will be on view from September 12 through October 10, 2015 at 529 West 21st Street.
'The series is comprised of discretely handcrafted clay masks portraying a breadth of dramatic expressions. In ancient Greek theater, the mask transformed the performer into a character. A single player could trade identities by switching masks, whose exaggerated features revealed the individual’s emotional state and internal psychology. Glynn’s masks echo the historical tradition of these objects of classical antiquity – an exercise that emerges throughout her work as a means to scrutinize contemporary society. Taking its title from the Aristotelian concept of pathos (a quality that appeals to the emotions of an audience and is essential in the art of argument), the series explores themes of artifice and authenticity in the politics of modern performance and persuasion.
Each mask is initially formed through a blind action: a slab of clay is applied to the face of the artist and rudely manipulated. The ‘mask’ is removed from the face and the resulting gestures are pinched and poked to emphasize certain emotive aspects of the improvised form: a furrowed brow, a hollowed cheek, a gaping mouth. The finished masks are fired in a dark matte charcoal tone whose slight iridescent variation contours the folds and dimpled indents of the clay. While the final sculptures refer to an ancient form, the process is very much influenced by the expressive heroics often evidenced in the hand-hewn quality of works by the Otis school of California ceramicists, including Peter Voulkos and Paul Soldner.' Paula Cooper Gallery Press Release
Sean Kelley Gallery is now featuring the works of London based artist Idris Khan!
'In this new body of work, Khan overlays thousands of lines of writing until all of the words meld into a single image, obscuring any one viewpoint and eliminating a definitive reading of the text. Whether it is on large gesso panels, in a photograph or onto glass, Khan’s multilayered approach creates a sense of expanded time, allowing the viewer to contemplate a deeper meaning buried within language.
Through a continuous process of creating and erasing, adding new layers, whilst retaining traces of what has been, Khan creates something entirely new by way of superimposition and repetition. Two highlights of the exhibition will be a monumental sculpture comprised of seven panes of glass suspended in an aluminum framework – each pane containing words, which form an abstract radial constellation – and a large-scale site-specific wall drawing that Khan will be creating at the gallery.' Sean Kelley press release.