|
|---|
 |
|---|
No Thing Impossible
Tobey Fine Arts presents No Thing Impossible, a group exhibition of non-objective works made with non-art materials. Participating artists include Shinsuke Aso, Keiko Narahashi, Jim Nolan & Peter Pezzimenti.
Marcie Miller Gross: a part
Jonathan Hartshorn & Joyce Kim: No Greater Solitude
Thierry Goldberg Projects is pleased to present “No Greater Solitude,” a two-person show about the reclusive nature of abstraction and memory, with drawings and installation by Jonathan Hartshorn and paintings by Joyce Kim. Perilous and murky, the works struggle with remembrance, personal and historical, in bleak retrospect.
Geometry as Image
Half Square Half Crazy
This publication explores the re-examination or the redeployment of forms and devices drawn from Minimal art by numerous contemporary artists. Taking into account their present adoption by the cultural and design industries, these artists update the inherent contradiction of the neo-avant-gardes of the 1960s—between an aspiration for the autonomy of art, and the heteronomy of the means to achieve this. Looking back on the aporias of such an historical heritage, the practices discussed here start afresh, initiate a new game, which privileges accident rather than essence, 'non-formalism' rather than formal resolution, and disfunctionality rather than efficient rationality. Half Square Half Crazy was a major group exhibition curated by Vincent Pécoil, Lili Reynaud Dewar, and Elisabeth Wetterwald. Published on the occasion of the exhibition at the Centre National d’Art Contemporain, Villa Arson, Nice, in 2007.
Help the People of Myanmar
Ruth Pastine: Ever Present
The Gallery Sonja Roesch is pleased to announce the exhibition Ever Present, featuring work by California-based artist Ruth Pastine. Ruth Pastine’s nearly monochrome paintings invest in the perceptual experience of color, light, and temperature. Suspending preconceived notions about visual experience, she investigates the mercurial shift of warm and cool color identities. The complementary oil colors are worked together on the canvas inch-by-inch, wet in wet , layer upon layer, an essential part of the rigor and seamless resolve of the surface of the work with a tiny 2-inch brush, creating an inner luminosity, which expands beyond the canvas. The work is clearly focused on the process of painting - taking the material aspect and transforming it through a disciplined work ethic into something spiritual – “optically immaterial”. The result is a visually vibrating surface as the center expands outwards and the edges contract inwards.
Esther Stocker: Abstract Thought is a Warm Puppy
CCNOA presents the new large site-specific installation entitled Abstract Thought Is A Warm Puppy by Italian artist Esther Stocker in their main space, a retrospective of collaborative works by Alexandra Dementieva (RU/B) & Aernoudt Jacobs (B) in their multimedia space as well as new works by Sacha Goerg (CH/B), Clemens Hollerer (A), Michal Skoda (CZ), and Justin Andrews (AUS) in their project space.
Focus: Ad Reinhardt and Mark Rothko
This installation, drawn from the Museum's collection of paintings by Ad Reinhardt and Mark Rothko, focuses specifically on the fertile years between the late 1940s and the early 1960s, during which each artist identified the style and format that would engage him for the rest of his career. Reinhardt's and Rothko's ideas about form and color challenged and reconsidered European artistic traditions and philosophies, giving rise to a unique American sensibility in art in general, and particularly in painting. Their paintings were characterized not by the grand, expressive gestures and brushwork of their Abstract Expressionist colleagues, including Jackson Pollock and Willem de Kooning, but rather by subtleties in color, form, and composition.
Charles Pollock:
Jason McCoy presents a selected group of Charles Pollock’s (1902-1988) paintings and works on paper from the 1960s. The 1960s marked a period of artistic freedom for Charles Pollock. He took a sabbatical year in Rome in 1962 and became an artist-in-residence at the University of Pennsylvania in 1965 and 1967. In 1967, he received both the Guggenheim Grant and the National Foundation of Arts Grant, allowing him to retire from teaching. That same year he moved with his wife and year-old daughter to New York, where he began working on a new body of work in his studio in the Bowery. In these works from the 1960s, Charles Pollock continued his exploration of color and, in fact, made it his main focus. Along these lines, he began to simplify the structure of his paintings. He made his compositions less dense and moved from biomorphic to geometric form. Monochromatic grounds are contrasted with rectangular shapes that are made of diagonal and harmonizing color stacks. Emanating a strong transcendental quality, these ethereal constructs seem to be floating in space, at once emergent from and receding into the surrounding atmosphere. Hinting at the underlying theme of existentiality, Pollock stated in 1965 that to him “color [...was] the means by which a dialogue is possible between the painter and his world.”
Unfinished Business: Dutch Abstracts
Kunstverein Medienturm in Graz presents the group show UNFINISHED BUSINESS – DUTCH ABSTRACTS. The exhibition with Dutch-based artists, working in the field of non-objective /abstract art, features as a second part of a duo exhibition, the first part being AUSTRIAN ABSTRACTS in Amsterdam, 2006.
Nowadays, one can sense a new interest in modernism and its variants amongst younger artists all over the world. For Holland and Austria being totally different countries with a very different history in modernism and very different geographic and political positions, it's interesting to look closer into the local aspects in this usually unlocal territory of art. UNFINISHED BUSINESS is about isolation breaking the isolation. It's about locality and internationalism, new and traditional ways of generating abstraction and its about progression and reference. Participating artists include Geeske Bijker, Krijn de Koning, Driessens & Verstappen,
Gerwald Rockenschaub: Swing
Kunsthalle Bern presents Swing, a solo-show by Gerwald Rockenschaub (b. 1952, Vienna), renowned pioneer of the crossover of minimalism and pop, design and club culture. For his exhibition in Bern, Gerwald Rockenschaub designed three new, large room installations, which were developed using a meticulously calculated virtual Kunsthalle. These installations will enter into a suspenseful dialogue with five new animated movies as well as several existing works.
The Day the Lights Went On, by Jerry Saltz
"Works of art often last forever, or nearly so. But exhibitions themselves, especially gallery exhibitions, are like flowers; they bloom and then they die, then exist only as memories, or pressed in magazines and books. Unless someone has the time, money and obsession to regather the work, research how it appeared and rehang a show -- and the Zwirner & Wirth gallery has all those things, plus the understanding that forays into recent history burnish the reputation..."
Breath of Life, by Alexandra Anderson-Spivy
"The galleries showing George Rickey’s sculpture post wall labels next to every piece reading "Please Don’t Touch and Don’t Blow." No wonder. It’s hard to resist the urge to apply a surreptitious little push to these supremely elegant abstractions. For Rickey was the 20th-century master of kinetic innovation and his fluid geometric constructions are born to move. His stacked hollow rectangles and circles and wavering columns of stainless steel, his gimbaled cubes and forests of polychromed squares and triangles, swaying blades, zigzagging beams and shining nebulae of metal are seductive even when standing still. But a breeze breathes magic and danger into this art. .."
Max Neuhaus: Circumscription Drawings
Max Neuhaus belongs to a generation of artists whose work changed the parameters and transformed the experience of art in the 1960s. A pioneer in the use of sound in contemporary art, he coined the term “sound installation” to describe his practice based on the creation of unique sounds for specific locations. As opposed to the temporal experience of hearing a piece of music, his work presents sound as a continuous material used to engage our perception of the physical space around us. Through the invisible medium of sound, Neuhaus alters the way we apprehend the world. He has said, “We sense the size and nature of the space around us with our ears as well as our eyes. Our culture is so visual, though, that we tend to forget about the aural side of things.” In addition to his work with sound, Neuhaus has long been engaged in drawing, producing visual counterparts to the sound pieces both as proposals for ideas to be executed later and as responses to existing sound works. Neuhaus calls this latter type “circumscription drawings”; they consist of two panels, an image and a corresponding text, hung side by side. The exhibition will bring together a selection of these drawings executed between 1992 and 2007, responses to sound works from as early as 1968, many of which have never been displayed in the U.S. The exhibition will coincide with the inauguration of the new sound work, Sound Line commissioned from Neuhaus for a location just outside the building’s north entrance.
Statements: Beuys, Flavin, Judd
Joseph Beuys, Dan Flavin, and Donald Judd were contemporaries of thought rather than form. Each took sculpture off its pedestal—literally and figuratively—and expanded the conventions of what constitutes a work of art, influencing scores of artists to do the same. Grouping Beuys, Flavin, and Judd in a new exhibition from the Walker’s collection provides “a snapshot of a vital moment in postwar cultural production,” says assistant curator Yasmil Raymond, and allows viewers to trace the influence of their ideas in contemporary art. “With this exhibition, visitors will see three different ‘statements’ that reflect distinct positions towards art-making and the ways in which these artists addressed the autonomy of art, its nature, and its social power. These are concerns that this generation of artists set in motion and continue to have relevance for artists today.”
On Kawara: 10 Tableaux and 16,952 Pages
For more than four decades, On Kawara has created paintings, drawings, and books that mark time in various ways, from paintings of individual dates to mailed postcards to diagrams and charts of weeks and months. On Kawara: 10 Tableaux and 16,952 Pages at the Dallas Museum of Art will mark one of Kawara’s very rare exhibitions in a United States museum, and will in fact be his first American museum exhibition in fifteen years. Kawara’s art is a record of life, not through self-expression but through everyday numbers, words, and images found in the public realm. In this exhibition, he will feature his largest-scale paintings. A group of these make reference to the United States’ moon landings in July 1969, the first time that humankind was able to see its habitat within the context of the universe as never before. The paintings of five decades were produced in the years 1966, 1976, 1986, 1996, and 2006, creating a self-portrait of the artist.
Anish Kapoor: Past, Present, Future
Anish Kapoor: Past, Present, Future assembles 13 works made since 1980, a period in which Kapoor's sculptures and installations have grown increasingly ambitious and complex. The first U.S. museum survey of Kapoor's art in more than 15 years, and the first ever to be seen on the East Coast, the exhibition premieres a new resin sculpture and features many pieces on view for the first time in this country.
Juan Gopar,
José Herrera,
This exhibition is made possible by Cámara de Santa Cruz de Tenerife, Canary Islands.
Jan van der Ploeg & Thom Puckey
Inner and Outer Space
Bernard Gilcozar: Untitled
When Donald Judd Came to Portland
"The Portland Center for Visual Arts (PCVA) was based on a very simple premise: artists talking to artists. The PCVA was founded in 1971 by three artists Jay Backstrand, Mel Katz, and Michele Russo. The exhibition space was located on the third floor of 117 NW Fifth Ave. Katz wanted to give something to the community as well as bring to Portland some of the things that he missed from New York. Usually, the PCVA sent a letter to an artist explaining that they wanted to have a exhibition of the artist's work in the Northwest and could they follow up with a phone call the following week. This was a strategy that proved to be tremendously successful and they were soon able to attract some of the best artists in the country to come to Portland and have a show. The PVCA was unique in every sense of the word. The artists liked working with the PCVA because although there was a limited budget for each of the shows, there was never any limit to an artist's ideas. After the first few New York artists had a good experience working in Portland, the PCVA had an excellent reputation and the original artists often recommended other artists who might be willing to come out here..."
Action/Abstraction: Pollock, de Kooning,
In Action/Abstraction: Pollock, de Kooning, and American Art, 1940-1976, the first major U.S. exhibition in 20 years to rethink Abstract Expressionism and the movements that followed, over fifty key works by 32 artists – among them Jackson Pollock, Willem de Kooning, Helen Frankenthaler, Mark Rothko – will be viewed from the perspectives of influential, rival art critics Clement Greenberg and Harold Rosenberg, the artists, and popular culture.
Four New Projects
The Suburban presents four new projects: Lars Wolter, Dan Walsh, Andrea Zittel and The Smockshop, & The John Riepenhoff Experience presents Sarah Clendening Sculptures.
John Armleder & Olivier Mosset
The Contemporary presents an ambitious exhibition with John Armleder and Olivier Mosset, two of the most influential artists working today, and whose work remains under-recognized in the United States. This widely anticipated exhibition—the inaugural show of the Contemporary’s new curatorial team—introduces the museum’s newest program of exhibitions, publications and events. The exhibition will be on view from May 9 to August 3, 2008. Signaling its commitment to artist-centered exhibitions, the Contemporary will hand over its galleries to Armleder and Mosset. Jointly conceived by the artists—who have been close for more than twenty years—the exhibition represents neither a curated two-person show nor two independent solo exhibitions, but an active juxtaposition of parallel (and opposite) artistic approaches. Proposing a guiding metaphor of artworks that act as obstacles, and obstacles that act as artworks, the artists will present an installation specifically designed for the museum’s main galleries. Armleder will contribute new pour and pattern paintings, a site-specific 45-foot wall-painting, and an installation of mylar Christmas trees. Mosset, in addition to a series of his infamous “circle paintings” from the 1960s, will present a large-scale installation of several dozen Toblerones, large cardboard sculptures based on anti-tank structures used by the Swiss army.
Tomma Abts
Larry Bell: New Small Works
Olafur Eliasson: Take Your Time
Take your time: Olafur Eliasson is the first comprehensive survey in the United States of works by Olafur Eliasson, whose immersive environments, sculptures, and photographs elegantly recreate the extremes of landscape and atmosphere in his native Scandinavia, while foregrounding the sensory experience of the work itself. Drawn from collections worldwide, the presentation spans over fifteen years of Eliasson's career. His constructions, at once eccentric and highly geometric, use multicolored washes, focused projections of light, mirrors, and elements such as water, stone, and moss to shift the viewer's perception of place and self. By transforming the gallery into a hybrid space of nature and culture, Eliasson prompts an intensive engagement with the world and offers a fresh consideration of everyday life.
Tilman
Julian Dashper
Analia Segal
Spectrum: Gabriele Evertz, Margaret Neill,
Opening: Georg Gaigl, Raimund Koch,
Stefan Schmid-k,
Touch
Includes artists Tom Benson, Lynne Harlow, Linn Meyers, Philomene Pirecki, Devin Powers, Mel Prest, Karen Schifano, Nancy White & Brent Hallard.
Sanne Bruggink, Ditty Ketting &
Michal Skoda
Heimo Zobernig
Donald Judd: The Writing of 'Specific Objects', 1965
The Tuymans Experiment, by Klara.be
Edna Andrade
Hartmut Böhm: Graphic Systems
The Discerning Eye of Rose Marie Frick
This group show was curated by Rose Marie Frick, and features work by artists for whom she has had an enduring interest. As an independent consultant and curator, and owner of the Frick Gallery in Belfast, Maine, she has carefully observed the artists in this show for several years.
Christa Blatchford: See Around
Brooklyn-based artist Christa Blatchford explores the perceptual and physical conditions of seeing, translating location through personal and sensory reference. By focusing on her subject with an extended gaze, and slightly altering fragments frame by frame, she draws attention to elements normally passed over by the quick encounter. In See Around, a four-channel video installation, Blatchford examines the boundaries of place. Isolating herself for periods of time on an island, her prolonged view envelopes the viewer in four fragments. Constructed walls reflect the impromptu structures that exist on the island, shelters that provide an intimate vantage point to visually navigate the surrounding landscape. The installation extends the psychological relationships in the film to the physical terrain, and the artist’s subtle manipulation of the perception of time, light, and location. Born and raised in New England, Christa Blatchford is a video artist that examines perception through the study of object, place, and personal experience. Her work has been included in a number of group exhibitions in New York, Boston, and Cape Cod. This is Blatchford's first solo exhibition in New York.
Jean Shin: Dress Code
Currents 102: Sarah Oppenheimer
Currents 102: Sarah Oppenheimer is an exhibition by the artist, entitled
Danish Konkrete: A Suvery Show of Danish
In Denmark ‘Konkret’ is used widely as a term to describe art that is geometrically-based – art that is not figurative nor Cobra expressionistic abstraction. The Danish ‘Konkret’ artists have never been as widely acknowledged as their Cobra colleagues, so this show offers a reassessment of their distinct form of abstraction which finds many echoes in Danish design and architecture. The exhibition will include paintings, screenprints, sculpture, weavings and furniture.
Ad Reinhardt, by Michael Corris
Born in Buffalo, New York, Ad Reinhardt (1913–1967) was a highly influential pioneer of conceptual and minimal art. His influence as teacher, writer, activist and critic was as significant as his art – Reinhardt taught at Brooklyn College from 1947 to 1967, and during this time also lectured at the California School of Fine Arts, the University of Wyoming, Yale University and Hunter College, New York. In latter times Ad Reinhardt has largely fallen out of the spotlight, and in this much-needed book Michael Corris gives a comprehensive account of the artist’s life, works and contributions to modern art. An artist with definite political beliefs, Ad Reinhardt immersed himself in the vibrant left-wing political and cultural circles of the 1930s and ’40s, only to find himself marginalized by the social and cultural conservatism that arose in postwar America. Corris examines Reinhardt’s art in this historical context, tracking the development of his entire oeuvre, ranging from his abstract paintings to his popular graphic artwork, which took the form of illustrations and cartoons. Ad Reinhardt also evaluates Reinhardt’s role in the art world as younger artists created successive avant-garde movements, such as Minimal and Conceptual art, and the impact his political beliefs ultimately had on his reputation and reception in the art world. This long-awaited book is a major contribution not only to Reinhardt scholarship, but also to the history of contemporary art in America.
To Infinity and Beyond:
Our era is driven by the possibilities inherent in reducing countless observations to one mathematical formula and of generating seemingly random phenomena from a set of precise rules. The geometry of the universe has been summarized in E=mc 2, the Book of Life has been translated into the four-letter code of DNA, and machines computing with two digits have discerned patterns in the world of science and in everyday life. Yet despite its central position in the modern intellectual landscape, mathematics has often mystified the non-specialist because its secrets are written in a foreign language of mathematical symbols. The intent of To Infinity and Beyond is to describe the ideas that drive mathematics—numbers, geometry, pattern, and so on—and to demonstrate how artists have expressed these topics. The exhibition will include an international selection of art inspired by mathematics, and the exhibition scripting will illuminate the sources of the work as found in symbols, formulas and graphs. Approximating a pictorial visualization of abstract concepts, To Infinity and Beyond will reveal the profound impact that these diagrams and patterns have had on the artists who create today's visual environment, and demonstrate that mathematics—because of its abstractness—is the international language of exact thought. Artists include: Richard Anuskiewicz, Max Bill, Mel Bochner, Squeak Carnwath, Roz Chast, Rupert Deese, Grace DeGennaro, Pedro De Movellan, Agnes Denes, M.C. Escher, Alfred Jensen, Jasper Johns, Donald Judd, Micha Lexier, Sol Lewitt, Anthony McCall, Manfred Mohr, Sharon Molloy, Francois Morellet, Olivia Parker, Rosamond Purcell, Rick Purdy, James Sanborn, Tom Shannon, Stephen Sollins, Bernar Venet, Julian Voss-Andreae, Ouattara Watts, Melvin Way, Rebecca Welz, Kevin Wixted and Richard Yarde.
Kate Shepherd: Schroeder Practices
Dieu Donné presents an exhibition of new works by painter Kate Shepherd. A full-color publication with essay by Maxwell Heller is available. Shepherd developed a new body of work in handmade paper through the Lab Grant Program for mid-career artists. These luminous, structural forms reveal another lineage of Shepherd’s exploration of color and the desire for a clear, communicative, and resolved language in painting. Her planar structures and interior/exterior spaces find seamless translation in paper, developed meticulously with collaborators Rachel Gladfelter and Megan Moorhouse. Shepherd concluded the residency with the creation of Rondeau, an edition of fifteen vibrant carnival flags; lace patterns of unmeasured triangles fit together to reveal interlocking diamonds.
George Rickey: Selected Sculptures from the Estate
The Maxwell Davidson Gallery presents an exhibition of works by George Rickey. While this is an unprecedented fifteenth exhibition for the artist at the Maxwell Davidson Gallery, it marks the first time the Estate of George Rickey has made a significant group of works available for sale. The exhibition will be retrospective in scope, tracing the 50-year evolution of Rickey's career as a sculptor from 1950 to 2001. What is intriguing about George Rickey's career is that although his dedicated sculpture making did not start until the artist was already in his forties, he is thought of as one of the great sculptors of the last century. Rickey worked tirelessly until the end of his life, his passion for redefining kinetic innovations never ceasing. As an artist, Rickey was always pushing the ideas of movement to the brink, yet he always stayed within his oeuvre. His career spanned five decades and countless transformations, of which almost all are captured in this 50-year survey.
Jack Tworkov: The Late Paintings
ACME Fine Art presents an exhibition of important oil paintings by one of New York School’s most distinguished practitioners, Jack Tworkov. The exhibition will feature paintings from the final 15 years of Tworkov’s distinguished career. Jack Tworkov was born on the cusp of the twentieth century in Biala, Poland, emigrated to the United States in 1913, and went on to become one of America’s most important and influential modern artists. Tworkov is perhaps best known as one of the original New York School painters. His arrival at avant-garde action painting as his means of expression came following a perhaps surprisingly traditional education that included study at the National Academy of Design with Charles Hawthorne, at the Art Students League with Boardman Robinson and Guy Pene du Bois, and in Provincetown Massachusetts with Ross Moffett. Although he had exhibited with the Societe Anonyme in New York as early as 1929, and was employed in the easel division of the WPA from 1935 to 1941, significant notoriety for Tworkov did not come until the mid-1940s in conjunction with his exploration of abstraction. Following a hiatus from painting from 1941 to 1945 to support the war effort, Tworkov began exhibiting his abstract work at the Egan Gallery in Manhattan in 1945. Now famous as one of the premiere galleries to exhibit the work of abstract expressionist artists, Egan also represented Franz Kline, George McNeil, Willem de Kooning and Giorgio Cavallon during this period. Egan mounted regular solo exhibitions of Tworkov’s work between 1945 and 1954, and it was during this timeframe that Tworkov developed his mature abstract expressionist voice, thereby establishing himself as one of the few true first-generation abstract-expressionists.
Daniel Göttin: Upcoming Sydney Exhibitions
Daniel Göttin: Sydney Tape Daniel Göttin Daniel Göttin: Network 40
Jessica Centner: Desire
Manfred Mohr: Installations et autres tableaux
Daan van Golden
Greene Naftali presents the first US exhibition of legendary Dutch artist Daan van Golden, organized for the gallery by Anne Pontegnie. Renowned and celebrated in the Netherlands since the sixties, he remains largely unknown in America--no doubt helping van Golden develop his reputation as an artist?s artist of the highest order. In its own manner, van Golden's art ties into the longstanding tradition of Dutch painting with its optical precision and patient distillation of reality into image. His strict, non-inventive imagery and studied magnifications prioritize close observation over imaginative invention as he indexes and enhances what would be fleetingly glimpsed aspects of art and life. This refocusing of the real poses an almost utopian proposition in art's reflective mediation, not unlike the canvases of other Dutch masters, from Vermeer to Mondrian.
Leon van den Eijkel: The Next Big Religion
Geometry of Motion 1920s/1970s
This exhibition considers the transformation of the art object from static image to light projection within two distinct artistic lineages: the unconventional optical techniques and social analyses of the 1920s Neue Optik, or "New Vision," generation of artists, among them László Moholy-Nagy, Hans Richter, and Marcel Duchamp; and the situational aesthetics advanced by Gordon Matta-Clark, Robert Smithson, and Anthony McCall in the 1970s. Drawing attention to the conditions and complexities of perception—both within the framework of institutional display and in other surroundings—these artists have redefined the social potential of visual agency.
Urge Your Senators to Co-Sponsor
the
Urge members of Senate to co-sponsor bipartisan legislation, S. 548, which would allow artists to take a fair-market value deduction for works given to and retained by nonprofit institutions. The U.S. tax system accords unequal treatment to creators and collectors who donate tangible works (e.g., paintings or manuscripts) to museums, libraries, educational or other collecting institutions. A collector may take a tax deduction for the fair-market value of the work, but creators may deduct only their "basis" value—essentially the cost of materials such as paint and canvas. Email your Senators now. It will take you less than a minute on Americans for the Arts' web site.
Terry Haggerty
Julian Stanczak
Dan Flavin: The 1964 Green Gallery Exhibition
15 Years, 15 Artists
John Armleder, Gerold Miller, Gerward Rockenschaub
Bob Bonies: Paintings 1965-2008
Roni Horn
Lee Ufan: New Work
Painter, sculptor, writer and philosopher Lee Ufan came to prominence in the late 1960's as one of the major theoretical and practical proponents of the avant-garde Mono-ha (Object School) group. The Mono-ha school of thought was Japan's first contemporary art movement to gain international recognition. It rejected Western notions of representation, focusing on the relationships of materials and perceptions rather than on expression or intervention. The artists of Mono-ha present works made of raw physical materials that have barely been manipulated.
John Phillips: New Paintings
Tadaaki Kuwayama: Paintings from the 1970s
Zipora Fried
Moti Hasson Gallery presents Zipora Fried, an exhibition of drawings, sculpture and video. This is the artist's first solo exhibition at the gallery. Architectural and intimate, weighty and delicate, Israeli-born, New York-based Zipora Fried's works evidence the hand as a primary vehicle for creation as well as the potential instrument for its negation. Fried's meticulous drawings and sculptures carry sumptuous gestures of simplicity and a hidden desire for flamboyance. A singular process is evident in all of Fried's work, in which the potential of familiar forms is intensified. Each object is fundamentally altered through a simple gesture, often to excessive extremes.
Kyle Jenkins
Marietta Hoferer: Unknown
Gerry Hayes & Scott Malbaurn
John Zurier: Night Paintings
Martin Wöhrl:
kontrapost
Spencer Brownstone Gallery presents a solo exhibition of new work by Munich based sculptor Martin Wöhrl, the artist’s first exhibition in the United States. Wöhrl’s wide-ranging practice routinely incorporates reinterpreted motifs and strategies drawn from the history of art, architecture, and design, and is characterized by an elliptical skirting of the borders between form and function. Often using found objects or materials sourced form budget DIY and hardware stores, the artist has crafted elevated minimalist platforms that can be enjoyed as sculpture - or used as stages or seating. He has produced a series of fish tanks modeled on utopian modernist housing, and standing lamps from recycled junk. His ongoing ‘Gloriole’ decorative wall works fashion baroque radiating halos from discarded shards of wood left on his workshop floor. For his exhibition at Spencer Brownstone Gallery, Wöhrl will present several new ‘Gloriole’ pieces alongside new works specially created in-situ at the gallery. Springing from the art historical concept of ‘Kontrapost’, the works in the show will be orchestrated as a series of unfolding dialectical ‘conversations’. The show’s centerpieces will be architectural structures in the form of columns, and two major wall pieces constructed from old wooden doors that have been carved, using power tools, with elaborate ornamental decorations referencing Bavarian folk decoration and corporate logos. The handcrafted detailing and sensitivity to color and patina sets the artist’s work apart from much contemporary critical discourse on the relationship between art and design. Wöhrl’s work ultimately offers a more generous and inclusive traversal of our shifting definitions of the aesthetic and the functional.
Alfonso Fratteggiani Bianchi: Umbrian Paintings
Hand, color, stone. In the work of Alfonso Fratteggiani Bianchi we encounter painting, and color, at a level of intensity and purity that is irresistible. Fratteggiani Bianchi’s small scale, monochromatic works are pure powdered pigment applied directly onto pietra serena, the Italian limestone native to the Umbrian district where he lives. Pure in this case means that there are no binders, glues, or mediums used to attach the pigment to the stone, only the porousness of the stone itself and Fratteggiani Bianchi’s hand. There is a sort of magic here, something that pervades the pieces themselves as well as the man who makes them. Originally doing work with music, founding the Institute for Contemporary Music in Perugia in 1986—a place where contemporary artists, both musicians and painters, from around the world came to study, create, and share—when Fratteggiani Bianchi first began to paint, he mixed his pigments with glue, applying them onto medium density board. The experiment did not satisfy him. As he remarks, “The glue dishonored the pigment,” by arresting it into a time, space, and density. When he looked at the pigment on his hands, it was beautiful, yet mixed with the glue it was “blocked, broken.”
Classical: Modern II —
Abstraction, Informel, Stuttgart & Karlsruhe Painting School
The Daimler Collection is pleased to announce the exhibition “Classical Modern II” at Daimler Contemporary, Haus Huth, Potsdamer Platz in Berlin. The “Classical : Modern I” exhibition, 2006, largely presented concrete and constructive tendencies in the Daimler Collection from Classical Modernism up to the post-war art period, while the second part of the series intends to introduce the complementary areas of the collection. The exhibition shows post-war tendencies, mainly from South Germany. Art history groups the names of the artists, about forty in all, from Ackermann to Zangs, under headings such as ‘Lyrical Abstraction’, ‘Informel’, ‘Tachism’, the ‘Stuttgart’ and Karlsruhe’ schools, ‘New Figuration’ ‘Zero’ and ‘Zen 49’. The show features about 80 works and is also presenting current work that can be related back to these earlier artists. Participating artists: Max Ackermann, Horst Antes, Willi Baumeister, Bernd Berner, Erdmut Bramke, Peter Brüning, Karl Fred Dahmen, Herbert Egl, Günter Fruhtrunk, Rupprecht Geiger, HAP Grieshaber, Otto Herbert Hajek, Bernhard Heiliger, Jan Henderikse, Gerhard Hoehme, Alfonso Hüppi, Norbert Kricke, Dieter Krieg, Uwe Lausen, Thomas Lenk, Heinz Mack, Georg Meistermann, Georg Karl Pfahler, Charlotte Posenenske, Lothar Quinte, Otto Herbert Ritschl, Rudolf Schoofs, K.R.H. Sonderborg, Walter Stöhrer, Artur Stoll, Heinrich Wildemann, Christa Winter, Fritz Winter, Lambert Maria Wintersberger, Herbert Zangs
Big Red Show
Karen Schifano: Out of Bounds
Tobey Fine Arts presents Out of Bounds, new paintings by Karen Schifano. While visually still in discourse with the minimalist geometric painting aesthetic, this exhibition makes a marked shift from that history. Off-kilter rectilinear shapes now recede and advance, producing a different kind of space; one representing conditions that are more contingent, dependent on something outside of themselves. As the viewer moves around the physical space of the gallery the paintings themselves change as well, opening many viewpoints and subjectivities to the shifting ground beneath normally comfortable mental assumptions. A dialogue is created in which space and time unfold in the viewer’s perception in ways that are optically and physically tied to the human body. Everything moves and changes, all is mutable, and everything can be in and out of bounds.
Kyle Jenkins: Intuitive Urban Geometries
Heartbeat Drawing: Sasaki
Manfred Mohr:
Joanne Klein: Abstractions
Joanne Klein’s use of color and form creates a compelling aesthetic vision. This current body of work exemplifies a movement away from the traditional use of the single canvas. Klein incorporates a series of canvases to create a distinct image. She continues to use geometric forms and densely saturated color, but her process of deconstruction and reduction is applied to the forms as they move from the single unit to separate units. The placement and interaction of the various units/canvases completes the visual concept. Klein’s interest in the vertical and horizontal dynamic is evident as these contrasting elements play a dominant role in the formal language of her paintings. Yet exploring the emotional impact of spatial interrelation is a consistent theme in her work. Concurrently, the color relationships are fundamental to the articulation of emotive content.
Dan Walsh
Paula Cooper Gallery presents an exhibition of new paintings by Dan Walsh. This is the artist’s sixth one-person show at the gallery, which has represented him for over fifteen years. Since the early 1990s, Walsh has approached the precedent-laden field of geometric abstraction with an idiosyncratic methodology based on the repetition of hand-drawn shapes or lines set within a clearly delineated picture plane. His early paintings used a simple vocabulary of squares, lines, and grids: spare yet casual, with an occasional tongue-in-cheek quality, they looked like diagrams, charts or sketches. Progressively integrating color into these pared-down environments, Walsh painted smooth, clearly contoured fields of color on which various shapes were composed: floating squares and rectangles hung from bisecting horizontal lines or huddled together at the corner of the canvas, suggesting weight, volume or movement. Walsh’s recent work addresses the canvas’s potential as a field of optical experience. Moving away from compositions of geometric forms, the artist’s dynamic color choices and systematic marks are used to energize the surface itself. The intense optical activity is reined in by deliberate repeated forms, creating works that, though pulsating with color, also appear meditative and serene. With these paintings, Walsh invites the viewer to contemplate the effects of color and shape variations in the experience of perception.
The Writings of Donald Judd:
The Chinati Foundation is pleased to announce a symposium dedicated to the writings of the late artist and museum founder Donald Judd. The symposium will offer a diverse range of presentations and subjects. Among the topics to be considered will be the relationship of Judd's writings to his art; his use of language and syntax; Judd's political views; how Judd produced and edited his essays; and Judd's art criticism and its relevance today. Chinati's symposium will focus on the critical essays and reviews of Donald Judd, one of the most significant artists of the last fifty years and the founder of the Chinati Foundation. Judd was a prolific writer from the late 1950s to the end of his life in 1994. He produced important pieces on art, architecture and their cultural and political contexts. Some of these are well known, others not. Judd was well-informed and outspoken, and from its very first publication his writing showed a distinctive style: it was direct, unusually hard-hitting, and yet marked by moments of subtle irony and humor.
Color Chart: Reinventing Color, 1950-Today
Color Chart celebrates a paradox: the lush beauty that results when contemporary artists assign color decisions to chance, readymade source, or arbitrary system. Midway through the twentieth century, long-held convictions regarding the spiritual truth or scientific validity of particular colors gave way to an excitement about color as a mass-produced and standardized commercial product. The Romantic quest for personal expression instead became Andy Warhol's "I want to be a machine;" the artistry of mixing pigments was eclipsed by Frank Stella's "Straight out of the can; it can't get better than that." Color Chart is the first major exhibition devoted to this pivotal transformation, featuring work by some forty artists ranging from Ellsworth Kelly and Gerhard Richter to Sherrie Levine and Damien Hirst.
Rupprecht Geiger: 100th Birthday
Freeze Frame
Thrust Projects presents the group exhibition FREEZE FRAME organized by gallery artist Elizabeth Cooper. FREEZE FRAME showcases 8 female abstract painters whose work breaks through the boundaries of abstraction in contemporary practice.
The exhibition explores a moment in abstraction at which there is no dominating style or agreed upon direction in painting, though cues are taken from a range of art historical stylistic tendencies. In this exhibition Thrust Projects will present artists whose work is influenced but not restrained by various veins of abstraction ranging from process and minimalism to gestural, lyrical and pictorial abstraction. Participating artists include Elizabeth Cooper, Lisa Hamilton, Jasmine Justice, Joyce Kim, Alisa Margolis, Carrie Moyer, Veronica Tyson-Strait & Wendy White.
Sensory Overload:
Sensory Overload tracks the development of Kinetic and Op art, whose optical stimulation and interactivity introduced new dimensions to art. Stanley Landsman's Walk-In Infinity Chamber (1968), which has not been on view for nearly fifteen years, together with Erwin Redl's dramatic Matrix XV (2007), a 25 x 50 foot LED installation, punctuate this extraordinary immersive experience. Chronological in its presentation, the installation begins with works by László Moholy-Nagy and Josef Albers, two Bauhaus instructors whose ideas stimulated the developments of these styles, followed by vibrant early Op art pieces from the 1950s and 1960s by European and American artists such as Victor Vasarely and Richard Anuskiewicz. The development of Albers' ideas into geometric abstraction during the 1970s is visible in the works of artists such as Al Held and Frank Stella, and the works of Peter Halley and Philip Taaffe and those of the so-called post-hypnotic artists such as Bruce Pearson and James Siena show the continuation of the optical tradition in the 1980s and 1990s. Select images, films, and videos will be projected in two black box theaters.
Chris Martin, with Craig Olsen
In the midst of preparations for his current exhibition at Mitchell-Innes & Nash Gallery in Chelsea ( January 26th–March 1, 2008), Chris Martin welcomed painter and Rail contributing writer Craig Olson to his Williamsburg studio to discuss his life and work.
Ruth Root
Imaging by Numbers: A Historical View of the Computer
Examining the intersection of digital technology and the graphic arts, Imaging by Numbers surveys the use of computers in printmaking and drawing through approximately 60 works created by nearly 40 North American and European artists from the 1950s to the present. Space, Color, and Motion presents time-based computer artworks by four artists exhibited in the exhibition Imaging by Numbers: A Historical View of the Computer Print — Jean-Pierre Hébert, Manfred Mohr, James Paterson, and C.E.B. Reas. These works explore computer-generated motion, an important aspect of computer art not featured in Imaging by Numbers.
Stretching a Point, edited by Willi Otremba
Stretching a Point, a new catalog published on the occasion of the show "perplex" with documentation of the shows "ich sehe was, was du nicht siehst" and "inner spaces" and relating to the show "the other sight". Edited by MS artist Willi Otremba. Cover image by MS artist Hartmut Böhm. Hardcover, 144 pages, printed by Kettler, ISBN 978-3-939825-80-7.
John Beech: NOHOW
CCNOA is pleased to announce a solo exhibition by British/American artist John Beech in the main space. The exhibition is comprised of a large sculpture, entitled NOHOW, and 84 works from Beech’s Monument Series Drawings.
Marc van Tichel: No Title Yet
Color as Field: American Painting, 1950-1975
Color field painting, which emerged in the United States in the 1950s, is characterized by pouring, staining, or spraying thinned paint onto raw canvas, creating vast chromatic expanses. Exemplified in the work of Helen Frankenthaler, Morris Louis, Kenneth Noland, Jules Olitski, Larry Poons, and Frank Stella, these paintings constitute one of the crowning achievements of postwar American abstract art. Surprisingly, there has not been a major exhibition or book to date that has examined the color field artists as a group or color field painting—its sources, meaning, and impact. Color as Field, encompassing approximately forty-one large-scale canvases, presents a remarkable opportunity for viewers to fully comprehend the aims of these artists, view their finest works in close relation to each other, and experience the beauty and visual magnetism of their pictorial handling of space and color.
James Lee Byars: Five Points Make a Man
Michael Werner Gallery presents Five Points Make A Man, a special two-part exhibition of American artist James Lee Byars (1932–1997). Part one of the exhibition is Five Points Make A Man, performed here for the first time and presented daily in the gallery from 7 February to 1 March. This is followed from 3 to 29 March by an installation of Byars’s sculpture The Diamond Floor, exhibited for the first time since 1995. James Lee Byars: Five Points Make A Man is accompanied by a fully illustrated catalogue featuring a text by Brenda Richardson.
New Mural by Julian Stanczak:
Additive
Commissioned by Fifth Third Bank, Julian Stanczak's new work Additive, a 364 foot mural of painted metal rods, recently opened in Cincinnati, Ohio.
Tony Smith: Smoke
Smoke, an asymmetrical network of 43 connected geometric elements fashioned from black-painted aluminum, now fills the 60-foot high atrium leading into the Los Angeles County Museum of Art’s Ahmanson Building, part of the original campus that recently has been renovated to join the new $56 million Broad Contemporary Art Museum, designed by Renzo Piano on Wilshire Boulevard. The renovations open on February 16.
Group Show
A group exhibit of selected gallery artists, featuring paintings, drawings, sculptures and installation by: Isabel Bigelow, Nancy Blum, Richard Bottwin, Kay Hwang, Joseph Hu, Kevin Finklea, Franco Mueller, Margaret Murphy, Jackie Tileston and Julie York. The show will also include invited artist Sara Hughes.
Shape Shifters: New York Painters
The exhibit, which includes 24 artists, is organized by James Biederman, UNCP’s Martha Beach Distinguished Professor of Painting. Biederman is an abstract painter who has worked many years in New York.
Howard Smith: Stroke and Structure
David Smith: Sprays
American sculptor David Smith produced a distinctive body of work using commercial aerosol paint almost immediately upon its invention in the mid-nineteen-fifties. Wielding the spray can with the assurance of a welder's torch and the immediacy of a paintbrush, Smith combined the sensations of sculpting, painting, and drawing. In these works on paper and canvas the artist freely explored the interplay of mass and weightless form. David Smith: Sprays, curated by Candida Smith, the artist's daughter, and Peter Stevens, Director of the David Smith Estate, is the first in depth exhibition of the artist's Sprays in nearly thirty years. The exhibition includes more than seventy works on paper and canvas dating from 1958 to 1964, many of which have not been exhibited before and three related sculptures. A fully illustrated catalogue with an introduction by Candida Smith and an essay by Peter Stevens accompanies this exhibition.
Robert Sagerman: Never. Ever.
The titles of Sagerman’s paintings derive from the number of applied daubs of paint that make up each work. His rigorous process involves the application of thousands of ‘marks’ of oil paint using dozens of colors he mixes and applies in thick, textural layers often resembling dense, three-dimensional materials like astroturf, mounds of confetti, candies, ribbon, textiles and so on. Sagerman laboriously builds the paintings mark by mark with a painstaking precision, resulting in a completely balanced array of colors to create a perfectly unified color-field. The final achievement is an energetic and fascinating work that radiates an imposing physical, spiritual and intellectual presence. "My understanding of my own work has continued to develop over time," Sagerman describes in a recent statement, "and it is that shift in perception that has led to the changes that gradually make their way into the work itself. I have come to sense three distinct ways in which my work functions, all of which hang in a kind of balance, reinforcing one another. First, there are the evocations that give the work its emotional weight, whether these involve landscape associations or naturalistic ones, relating to textures or to processes of growth. Second, there is that aspect that points not to the outside world but inwards, towards my own self. My fixation upon process - both in terms of my laborious method (apparent in the physical work itself) and my practice of numerical documentation - has helped me to concentrate on this meditative phase of the work, and has also served to highlight it for others. Lastly, there is an aspect of my work that points neither to the outside world nor to my own inner one but, as it seems to me, beyond either. It is with this final aspect that I time and again find the solutions to the conundrums that, for me at least, my work raises: There is a sense in which each painted work resonates as its own self, as a kind of a being that partakes - paradoxically, given the sheer weight of each work’s material substance - of a transcendent immateriality. So it is that painting for me is neither simply a reformulated and abstracted mode of landscape painting nor an exercise in tautological self-absorption. I return often to the feeling that my work for me is a calling into being of independent entities which partake of their own meaningful existence."
Pedro Cabrita Reis: True Gardens #6 (Graz)
Pedro Cabrita Reis' works consist of commonplace surroundings, construction materials and architectural semantic appropriated from an existing reality and miraculously transformed into altars of an almost spiritual experience. Practicing his alchemy of the everyday, the artist turns the familiar into sublime, the trivial into a precious and valuable, achieving the noble levels of human perception, emotion and appreciation of the world.
Diet Sayler: sich en Bild machen
Hans Haacke
Agnes Martin: Works on Paper
Peter Blum Gallery (Soho) presents Agnes Martin: Works on Paper. The exhibition includes
over 20 drawings and watercolors from 1960 to 2004, including the very last drawing she made in 2004. Also on view is the print portfolio On a Clear Day, an important group of 30 screenprints from 1973.
The exhibition looks at the development of Martin’s work, from her earliest studies of abstraction, to her
Olafur Eliasson: The New York City Waterfalls
Waterfalls by Danish artist Olafur Eliasson at four locations along the East River from mid-July to mid-October 2008.
The Dark Side
Chicago — U.S. researchers said they have made the darkest material on Earth, a substance so black it absorbs more than 99.9 percent of light. Made from tiny tubes of carbon standing on end, this material is almost 30 times darker than a carbon substance used by the U.S. National Institute of Standards and Technology as the current benchmark of blackness. And the material is close to the long-sought ideal black, which could absorb all colors of light and reflect none...
Chris Martin
Mitchell-Innes & Nash presents an exhibition of new paintings by Chris Martin. Martin’s paintings are investigations in color, form and texture, ranging from bold and graphic to gestural and expressionistic. Their surfaces are often distressed or collaged with elements including shellacked Wonder Bread, broken vinyl records and papier mâché forms. Martin is deeply engaged with the history of abstraction, andmany of his own paintings incorporate homages to artistic influences such as Paul Feeley, Yayoi Kusama and Alfred Jensen. Martin has described his art as “turning up the volume” of painting and many of his works refer to musicians including Miles Davis, John Coltrane and the “Godfather of Soul” James Brown.
Christopher Dean
This exhibition focuses on Christopher Dean's ongoing examination of monochromatic painting using the colour pink. Since 1993 Dean has produced a highly diverse body of pink single colour paintings that have been made using a wide variety of materials and techniques. Some of the earlier works incorporate elements of collage including objects such as d'oyleys and felt lettering, while more recently painted text has become the primary object of investigation. Historically monochrome painting has been seen as something of an end game when it comes to expanding the boundaries of contemporary art. The main object of this exhibition is to demonstrate that even the most reductive forms of art have the potential to engage with contemporary culture in new and unexpected ways.
Full House: Lotte Lyon & Manuela Mark |
