Curator's Notebook is an ongoing collection of links, events, artists, and cultural refuse of which the SculptureCenter staff has recently found of interest.
Sep 17, 2009
The Art of Blandman
Thu, Sep 24, 2009
New Museum theater
New York, NY 10002
Throughout his career, Michael Smith's original approach to video, installation, and performance has broken artistic ground-albeit subtly. Steering away from the transgressive actions associated with avant-garde performance, Smith employs the idioms of popular entertainment and comedy to critique culture at large. His eponymous alter ego Mike, who is known for pathologically banal behavior, sends up cultural normalcy and spotlights the ways people consume ideas and lifestyles marketed to them. For this event, New Museum Adjunct Curator and Rhizome Executive Director Lauren Cornell will talk with Smith about his use of comedy, both as a way to engage and quantify audience response and to generate new work. Their conversation will cut through Smith's expansive body of work by focusing on pieces that have been exhibited at the New Museum, including Down in Rec Room, shown in "Not just for Laughs: The Art of Subversion" in 1981; Government Approved Home Fallout Shelter Snackbar (made in collaboration with Alan Herman), shown in "The End of The World" in 1983; and Open House, a site-specific installation by Smith and Joshua White created for the New Museum in 1999. Photo credit: Mike: circa 1979 Photo: Kevin Noble
Sep 16, 2009
September 12 - October 24th, 2009
630 Greenwich Street
New York, NY 10014
A sculpture show featuring: Carol Bove, David Lamelas, Corey McCorkle, Oscar Tuazon, Eli Hansen, Kaari Upson, H.C. Westermann
Wood can be shaved, chopped, molded, carved -- or merely left alone. The choice of found wood, the materially old and worn washed-up along shore or usurped from the wilderness, illustrates a concentration on the forms and ideas in culture that re-surface time and again, suggesting a broader examination of the meaning of survival. Once-living trees now as sculptural conceit further constituent the concept of regeneration - the tree in itself being a haunting emblem for the passage of time. Via the use of wood as art object comes an acknowledgment of the vulnerability of all things.
Certain works in this exhibition contemplate wood's function as shelter and as element of support, and in other instances as an element of intrusion, proposing a paradoxical dialogue around its inherent principles. Other instances present meditation on design practices and an investigation of culture's emphasis on decorative motif and industrial-fabricated forms of the medium. Wood is further utilized as allegory of past sculptural conventions, specifically the late 20th century's romanticization of the unlimited availability of natural resources as raw material, as well as the post-modern idealization of monumental sculptural produced by immense industrial means, when mass-production began to dominate culture-at-large.
Curated by Ellen Langan
Sep 16, 2009
Tim Hyde: How to Draw a Cathedral
Opening Reception: Thursday, September 17th, 6-8PM
September 17 - October 31, 2009
at Max Protetch
511 W. 22nd Street
New York, NY 10011
Tim Hyde's photographs and videos examine the psychological and bodily experience of space, navigating the acts of inhabiting and moving through built environments, natural landscapes, and socially engineered infrastructures in both subjective and objective terms.
The exhibition will feature three new bodies of work: two photographic projects and a video. In addition, Hyde has curated an exhibition of video works by other artists dealing with related issues, which will run concurrently in the gallery's Project Space. This video exhibition will close on Thursday October 15th.
All three bodies of work on view foreground aspects (time, emotion, language) of structures, physical and otherwise, that often fall outside our conscious experience of space.
Sep 16, 2009
Ann Craven: Shadows Moon
Opening Saturday, September 5th, 3PM
Armand Hertzstraat 21 bus 1
BE-3500 Hasselt, Belgium
While Ann Craven is, fundamentally, a painter, her work unfolds within a conceptual framework which constantly reflects on the production, reproduction and distribution of images. As a painter she consciously situates her oeuvre on the divide between the 'aura' of uniqueness of the iconic image, as in traditional religious imagery, and the devaluation of images in 'the age of mechanical reproduction' (W. Benjamin). Craven's work incorporates the many paradoxes that are intrinsic to a world which is saturated with images to the point that these images become inseperable from reality. The grid of images through which nature is perceived is one of the main focal points of her work. Ann Craven paints traditional subjects like birds, flowers or deer, often refering to popular sources like field guides or greeting cards. These images might at one point have represented real emotions, but by reproducing them in even bolder colors on large canvases, the sweetness of the pictures is highlighted up to the point that they become perverse. By hanging various handpainted copies of one and the same painting side by side with large 'Stripes paintings' composed of oblique lines in the same colors, we are barred from an all too easy reading of these pictures as nothing more than appealing representations of nature. We are reminded that these paintings are - indeed - paintings, colored patterns on a flat surface, as well as cultural artifacts that mediate our perception.
Text: Peter Pollers
Aug 21, 2009
Tom Burr's Sentence at Bortolami
Opening Thursday, September 10th, 6-8PM
510 W 25th Street
New York, NY 10011
Movies and sitcoms, like Men in Black and Bewitched, acknowledge the crux of the ephemeral by giving protagonists the unearthly power of being able to snare those moments. They stop time with a click, a twitch or a wiggle. Burr positions himself as this hero and casts the viewer as his sidekick. We walk into a room full of scattered objects, many of which appear to have been suddenly abandoned. It feels almost-familiar; you are in your neighbor's bedroom, perhaps. The scale is human and humane and even in his most monumental works bears a direct proportional relationship to the spectator. Materials have a latent potential-the hinged figure could collapse flat, the shirt could fall, the bare wood could be painted, varnished or otherwise concealed.
A sense of timing lingers between the objects and their ownership remains ambiguous. It might appear that there is a story or scene involved-and in fact there may be. Or not. Officially, no specific narrative is ever revealed by the artist, no interpretation or assignation ever described as blatantly 'wrong.' The shirt or pants may have belonged to the artist, or his lover, or his father. The portraits may be devotionals culled from a fan's stash of memorabilia-to Jim Morrison, Brad Davis, John Cage, Kate Bush, etc. Or they may be surrogates, stand-ins meant to represent elements of the artist himself, discrete clues about the artist's own biography or experience.
The use of language enhances this ambiguity. Titles for works and for exhibitions are deliberately elusive, typically bearing many meanings and leaving the visitor to speculate which-if any-bear real significance. Sentence, sliver, silver, and so forth.
Jul 3, 2009
On the Pleasure of Hating
Opening Thursday, July 9th, 6-8PM
July 9 - August 23, 2009
at Lisa Cooley
34 Orchard Street
New York, NY 10002
On the Pleasure of Hating
Love turns, with a little indulgence, to indifference or disgust; Hatred alone is immortal.
Josh Faught, Simone Leigh, Nicolas Lobo, Shana Lutker, Mike Quinn, Dario Robleto
Curated by David Hunt
"Nature seems (the more we look into it) made up of antipathies: without something to hate, we should lose the very spring of thought and action. Life would turn to a stagnant pool, were it not ruffled by the jarring interests, the unruly passions, of men. The white streak in our own fortunes is brightened (or just rendered visible by making all around it as dark as possible; so the rainbow paints its form upon the cloud. Is it pride? Is it envy? Is it the force of contrast? Is it weakness or malice? But so it is, that there is a secret affinity, a hankering after, evil in the human mind, and that it takes a perverse, but a fortunate delight in mischief, since it is a never-failing source of satisfaction. Pure good soon grows insipid, wants variety and spirit. Pain is a bittersweet, wants variety and spirit. Love turns, with a little indulgence, to indifference or disgust: hatred alone is immortal."
-William Hazlitt, 1823
The Plain Speaker
Image: Dario Robleto, Sinew of Purpose, 2008. Leather, cut paper, lead and silver coated roses, ribbon, waxed thread, sepia and ink. 60" x 22" x 22". Courtesy the artist and D'Amelio Terras.
Jun 23, 2009
This World & Nearer Ones
Opening Reception: Saturday, June 27th, 2 - 4 pm
Fridays: 11-4 pm, Saturdays and Sundays: 12-6 pm
at Governors Island
Edgar Arceneaux, AA Bronson and Peter Hobbs, The Bruce High Quality Foundation, Adam Chodzko, Tue Greenfort, Jill Magid, Teresa Margolles, Anthony McCall, Nils Norman, Susan Philipsz, Patti Smith and Jesse Smith, Tercerunquinto, Tris Vonna-Michell, Mark Wallinger, Klaus Weber, Lawrence Weiner, Judi Werthein, Guido van der Werve, and Krzysztof Wodiczko
Curated by Mark Beasley
PLOT is a new public art quadrennial, produced and presented by Creative Time. This World & Nearer Ones is the first edition of PLOT, and will be held this summer on Governors Island. 19 artworks by international contemporary artists will be presented.
Image: Tue Greenfort, Project for the New American Century, 2009. Photograph by Charlie Samuels, courtesy Creative Time.
Jun 22, 2009
No Bees, No Blueberries at Harris Lieberman
Opening Reception: Friday, June 26th, 6 - 9 pm
June 26 - July 30, 2009
at Harris Lieberman
89 Vandam Street
New York, NY 10013
John Baldessari, Andrea Blum, Douglas Boatwright, Kim Seob Boninsegni, The Bruce High Quality Foundation, Heman Chong, Martha Colburn, Ann Craven, Das Institut (Kerstin Braetsch & Adele Roeder), Nikolas Gambaroff, Nicolás Guagnini, Guyton/Walker, Karl Haendel, Gareth James (with Roe Ethridge), i-cabin, Haley Mellin, Olivier Mosset, Steven Parrino, Luciano Perna, Allen Ruppersberg, SALOON (with Debo Eilers, Jane Jo, Jason Loebs, Charles Mayton, Blake Rayne, Georgia Sagri, Thomas Torres Cordova, Viola Yesiltac), Karin Schneider, Peter Simensky (with Charlotte Beckett, Patty Chang, Jennifer Cohen, Rachel Foullon, James Hyde, The Invisible Glove, Daniel Lefcourt, Michael Mahalchick, Ohad Meromi, Carter Mull, Adam Putnam, Allison Smith, Meredyth Sparks, Jane Virga)
Curated by Sarina Basta and Tyler Coburn
No Bees, No Blueberries takes its title from a playful observation, made by artist Andrea Blum, linking the low yield of blueberries last summer to a decline in the bee population. Over the centuries, various communities have attempted to explain the cyclical disappearance and rehabilitation of bees by the preoccupying issues of the times, from the recent concern with global climate change and the predominance of synthetic insecticides, in the 1960s, to a 19th century theory of the "low moral fiber" of the insects themselves.
In the midst of an economic moment that increasingly draws focus to the top-down frailty of the art world, No Bees, No Blueberries investigates the artist, her resilience, her capacity for self-organization and the flexibility of her communities. Many of the exhibiting artists pair formal pursuits with meditations on social structures. Among them, Peter Simensky, Nikolas Gambaroff and SALOON employ sub-curated artworks and performances that call conventional delineations of production into question. Nicolás Guagnini, Heman Chong and Kim Seob Boninsegni assemble visual lexicons from the material and rhetorical fragments of exhibition posters and propaganda. John Baldessari's shallow-relief sculptures and Ann Craven's fluttering birds offer representations of the organic and programmatic forces at play throughout the exhibition.
A series of performances and events will run concurrently with No Bees, No Blueberries, with contributions from B'ling, The Bruce High Quality Foundation, Catherine Czacki/Summer Guthery, Cleopatra's and others.
Image: Kim Seob Boninsegni, no regrets, 2009. Ink on paper, 12" x 8.25".
Jun 16, 2009
Lessons in the Sky: A Filmic Tribute to Audubon
Tuesday, June 16, 2009, 8:30pm
Dia at the Hispanic Society
Audubon Terrace, Broadway between
155th and 156th streets, New York City
By subway take number 1 train to 157th and Broadway
John James Audubon's New York farm, Minniesland, once occupied 40 wilderness acres of what is now the Washington Heights Neighborhood in Upper Manhattan. This cinematic tribute to the universal pastime of bird watching is a nod to the farmland that once comprised this region, Audubon's life work with birds, and the timeless current of artists' studies of wildlife. This screening will showcase artist-made short films and videos on birds and natural history in a variety of genres including performance, documentary, experimental, animation, audio works, and found footage. Includes works by Simone Bennett, Klara Hobza, Nina Katchadourian, Emily Kuehn, Julia Oldham, and Dana Sherwood and the Black Forest Fancies, among others.
Organized by Andrea Grover
Jun 9, 2009
Samara Golden: There's More but it's invisible
May 29 - June 27, 2009
at Marvelli Gallery
526 West 26th Street, 2nd Floor
New York, NY 10001
There's more but it's invisible is an installation constructed out of prints of items from Ebay and Blogs, found objects, photos of found objects, mirrors, monitors, video and lighting equipment. The surveillance camera broadcasts live images of the audience onto a monitor within the installation. Samara creates a continuous circuit of transmitting and receiving between sculpture, monitor and viewer. These elements produce a hyper stimulating scenario that allows the freedom to interact with the piece in different ways.
Also, check out this recent interview with Samara Golden at Rhizome!
Apr 28, 2009
Kalup Linzy at The Studio Museum
April 2 to June 28, 2009
at The Studio Museum in Harlem
144 West 125th Street
New York, NY 10027
Kalup Linzy: If it Don't Fit is the first museum survey of the artist's work, and includes over twenty videos made over the last seven years, a drawing suite and a one-night acoustic performance (June 22nd, 7-9PM). From his original take on the soap opera and sketch comedy genres to his music videos and filmic shorts, this compilation tracks the artist's clever and complex approach to questions or race, gender, class, sexuality and national identity. The title, If it Don't Fit, is appropriated from a song Linzy used in a recent video. With innuendo and double entendre, this blues lyric speaks to both the disappointments and hopes of attempting to belong to aesthetic genres, social categories and intimate relationships.
Image: Kalup Linzy, photo by Grant Delin
Apr 22, 2009
Carol Bove with Janine Lariviere: Plants & Mammals
April 15 to September 10, 2009
at The Horticultural Society of New York
148 West 37th Street 13th Floor
New York, NY 10018
Plants & Mammals features several sculptures and a collage by Carol Bove, accompanied by Twentieth Century Narcissus, a book project by Janine Lariviere. In addition, daffodils from the artist's garden are periodically on view in the gallery. The exhibition explores the cultural history and significance of flowers:
Carol Bove, quotes in the press release:
"Flowers are shaped by many forces. They reflect commerce, taste, intellectual labor, fashion, customs, human emotional life. They are indexical with a culture in a given moment. They are the living expression of social forces and social experience. But all of this content remains part of a hidden dimension. Flowers are so lovely and gratuitous, even dismissible. When they are read at all it tends to be for the content of an interpersonal gesture. Like romantic intentions. Or solidarity with the bereaved.
Forces bearing on flowers are: nature and intellectual property; capitalism and sentimentality; historiography and "period eye." Period eye is an idea I think about a lot ? it's how a moment's mentality is outwardly manifested, or what looks good at a particular time."
Curated by Jodie Vicenta Jacobson
Apr 20, 2009
Nils Norman and Eva Diaz on Alternative Architecture and Outlaw Design at Cabinet
Friday April 24, 7 pm - 8:30 pm
300 Nevins Street, Brooklyn, NY
FREE. No RSVP necessary.
Many people today are stimulated by Buckminster Fuller's post-war dome technologies, as well as other 1960s and 1970s-era shelter designs, to radically rethink architectural structures, both as a practical solution to urban housing crises and as a key historical trope of innovative "guerrilla" architecture. The difference today: gone is the frontiersman logic of back-to-the-land, drop-off-the-grid, atomized micro-environmentalism; gone too is the technological euphoria of the consumption of appropriate "tools." What enters instead is a proposition of sculptural structures as temporary interventions in urban sites, of kiosk production and shelter-information display hybrids. Eva Diaz and Nils Norman will discuss these issues with special reference to Norman's previous work and his upcoming collaboration at SculptureCenter, "The University of Trash."
Reception will follow.
Nils Norman is organizing an exhibition (with Mike Cataldi) at SculptureCenter in Queens called "The University of Trash" to open in May. Drawing from utopian ideals and radical urban projects undertaken since the 1960s, the artists will create a large installation using entirely recycled and re-purposed materials.
Eva Diaz is working on "Dome Culture in the 21st Century," a project about the influence of Buckminster Fuller on art practices today. She wrote her dissertation on models of artistic experimentation at Black Mountain College as argued by Josef Albers, John Cage, and Buckminster Fuller.
Mar 31, 2009
Alex Schweder + Ward Shelley: Stability and Other Tenuous Positions
March 21 - May 2, 2009
at Lawrimore Project
831 Airport Way S.
Seattle, WA 98134
The centerpiece of Stability and Other Tenuous Positions by artists Alex Schweder and Ward Shelley is STABILITY., an architectural performance piece that will be occupied by the artists 24 hours a day for the first week of the show. In counterpoint to its name, STABILITY. is a piece in which balance is a matter of negotiation, and negotiation is the performance.
Like a see-saw, this 25 x 5 foot structure is a shared living space balanced on a central pivot with the two artists living at either end. When occupied the two bodies will need to move in the space in relation to one another to keep the structure straight. Visually separated by a kitchen and bathroom in the center, the occupying bodies will sense each other through displacement of weight. Activities will naturally change (willingly or not) as the house and behaviors shift.
Mar 13, 2009
Practice vs. Object at Miguel Abreu Gallery
March 9 - April 19, 2009
at Miguel Abreu Gallery
36 Orchard Street
New York, NY
R.H. Quaytman, Scott Lyall, Sam Lewitt, Liz Deschenes & Miguel Abreu
"But I am saying that we should look not for the components of a product but for the conditions of a practice. When we find ourselves looking at a particular work, or group of works, often realizing, as we do so, their essential community as well as their irreducible individuality, we should find ourselves attending first to the reality of their practice and the conditions of the practice as it was then executed. And from this I think we ask essentially different questions." - Raymond Williams
Practice vs. Object considers an object within the context of a wider body of activities. While the dissemination of graphic documentation and written description may aid in the task of presenting a visual artist's practice, this show attempts to shape this effort within the frame of an exhibition. It attempts to use the filter of time to de-emphasizing any single object's status as the index of an entire practice (or artist). The exhibition will culminate in a screening of the 16 mm film Morongo Pass (1995) by Miguel Abreu, included to note one example of how artists often shift into or between separate, but related, fields. The repositioning of artist into the role of dealer, curator, art handler, registrar, critic, educator, collector, student, art advisor, etc. is not rare but in considering the resulting effects on what and how we produce, we might better understand Williams's concentration on practice over object.
Image: Practice Versus Object [installation view, main gallery], March 5 - April 19, 2009, Miguel Abreu Gallery, New York. Photo: John Berens
Mar 10, 2009
Mungo Thomson: The Varieties of Experience
March 3 - April 4, 2009
at John Connelly Presents
625 West 27th Street
New York, NY 10001
From the press release:
John Connelly Presents is pleased to announce an exhibition of new work by Los Angeles-based artist Mungo Thomson. Thomson pairs a distinctly West Coast conceptual sensibility with an interest in cosmology, mysticism, and reception. In Thomson's diverse art?ranging from films and sound works to publications, drawings, and photographic wall murals?simple processes of inversion and transformation are joined with an expansive sense of space and context.
The Varieties of Experience includes a sound work, films, and Thomson's new drawing project, The Ellipses. These drawings are made, in ink on polyethylene, using commercial drafting templates. These templates are made by a number of different manufacturers, in different styles and for different graphic applications. The shapes punched out of the templates represent every projection of the ellipse shape, on a spectrum of 5 to 85 degrees, between a line at one end and a circle at the other. Filled with black ink on a bright white surface, the negatives of these shapes form warping grids and patterns that take on a strong optical character. The drawings are both by and of the templates. As a group they form a graphic record of another disappearing technology. At the same time their abstraction is meant to be evocative of cosmological phenomena like the the phases of the moon and the elliptical rotation of the planets around the sun.
Image: Mungo Thomson, Installation View, The Varieties of Experience, 2009. Foreground: b/w, 2008, 12" white vinyl LP. Background: Untitled (Margo Leavin Gallery 1970-), 2009, Super-16mm Film, Silent, 5:11.
Feb 25, 2009
Kenneth Anger at PS1
February 22 - September 14, 2009
22-25 Jackson Ave
Long Island City, NY 11101
From the press release:
P.S.1 Contemporary Art Center presents Kenneth Anger, the first major survey of the filmmaker's body of work at a U.S. museum in over a decade. Making films since 1947, Anger is considered internationally as a pioneering and influential force in avant-garde cinema. Anger's work constitutes a radical critique of Hollywood, often evoking and referencing pop icons within occult settings and depicting youth counterculture in the midst of violence and eroticism. Anger does not use a narrative-based style, but rather lyrically explores themes of ritualistic transformation and transfiguration. His films are imbued with a baroque splendor stemming from the heightened sensuality of his opulent colors and imagery. They are often accompanied by a haunting soundtrack, composed by renowned musicians such as Mick Jagger and Bobby Beausoleil.
Image: Kenneth Anger, Inauguration of the Pleasure Dome (1954-66). Photo: Elisa Mogavero. Courtesy P.S.1 Contemporary Art Center.
Feb 20, 2009
Artist Profile: Hanna Sandin
Hanna Sandin's latest sculptural works reference syntactical structures through the form of the mobile. The mobile has numerous references, from children's toys designed to facilitate cognitive development to the work of sculptor Alexander Calder. Sandin's mobiles present a fragmented visual grammar built of contemporary objects and materials. Through her playful examination of the structure of language stripped of meaning, the elements of the mobiles devolve into pure abstraction, as three-dimensional objects are flattened into line, form, color.
Hanna Sandin, Fig. 7: tree extracted from shared forest of fig. 2, 2009. Steel, wire, string, found objects.
Hanna Sandin received a BFA from RISD in 2003. In 2005, she received the Emerging Artists Fellowship from Socrates Sculpture Park and was featured in the 2005 EAF exhibition. Sandin also received a fellowship from A.I.R. Gallery where she had a solo exhibition, (ROOT(FRAG(ADVP(RB as)(IN if)(..))), in June 2008. She is currently in residence at the Workspace program at LMCC, and will be included in a group show at Gallery Susan Tarasieve, Paris, this June.
Feb 13, 2009
Nostalgia Isn't What It Used To Be
La MaMa E.T.C. presents in association with the Dyke Division of Two-Headed Calf.
Co-programmed by Sharon Hayes and Brooke O'Harra.
February 13 - 15, 2009
Friday & Saturday at 10:00pm
Sunday at 5:30pm
at La MaMa
74A East 4th St.
New York, NY 10003
Friday, February 13th, 10pm
Wu Ingrid Tsang
The Nonsense Theater
Saturday, February 14th, 10pm
Keegan Monaghan & Nik Gelormino
Wu Ingrid Tsang
Ken Okiishi, Marcelle Meyer, Nick Mauss, a roving spotlight,
Duane Reade, some songs, Jean Cocteau and other special
Valentine's Day guest appearances
Sunday, February 15th, 5:30pm
Tara Mateik, Dropsy Dousman and Michael O'Neill
Feb 5, 2009
Artist Profile: Louise Despont
Inspired by the cosmologies of Rudolf Steiner and Gustave Swedenbourg, the work of artist-mystics Emma Kunz, Egyptology and the poetry of Novalis, Louise Despont creates drawings on antique ledger paper with architectural stencils that evoke balance and counterbalance, symmetry and counter-symmetry. She often gives further life to her drawings by using them in stop-motion animations that result in a kind of ink-blot ballet of lines, triangles, circles and squares.The daughter of an architect and a naturopathic healer, Despont conceives art that mediates between the poles of science and spirit, the material and the immaterial.
Jan 30, 2009
On From Here at Guild & Greyshkul
Final Show at Guild & Greyshkul
on view from Friday, February 6th through Sunday the 8th
Opening Thursday, February 5th from 6-10pm
28 Wooster Street
New York, NY 10013
On From Here Artists:
Ellen Altfest, Gavin Anderson, Uri Aran, Cory Arcangel, Daniel Arsham, Nathan Azhderian, Frank Benson, John Bianchi, Dike Blair, Sean Bluechel, David Brooks, Ernesto Caivano, Alejandro Cardenas, Sarah Charlesworth, Nicole Cherubini, Anna Conway, Ian Cooper, Devon Costello, Kate Costello, Valerie Crosswhite, Benjamin Degen, Lucas DeGiulio, Jessica Dickinson, Devon Dikeou, Francesca DiMattio, Matthew Dipple, Trenton Duerksen, Jacob Dyrenforth, Adriana Farmiga, Eric Fertman, John Finneran, Rachel Foullon, Alison Fox, Daniele Frazier, Karl Friedrich, Chie Fueki, Jackie Gendel, Hope Gangloff, Amy Gartrell, Max Galyon, Drew Gilmore, Amy Granat, Sabrina Gschwandtner, Marc Handelman, Valerie Hegarty, Jay Heikes, Adam Henry, Jamie Isenstein, Ryan Johnson, Matt Keegan, David Kennedy-Cutler, Anya Kielar, Aaron King, Josh Kline, Alex Kwartler, Blaze Lamper, Andrew Lampert, Lansing-Dreiden, Lou Laurita, Daniel Lefcourt, Devin Leonardi, Justin Lieberman, Pam Lins, Sven Loven, Austin Lynch, Mirabelle Marden, Yuri Masnyj, Glynnis McDaris, Daniel McDonald, Tom McGrath, Megan McLarney, Ohad Meromi, Marilyn Minter, Monica Moran, Aaron Morse, Daniel Newman, Dennis Palazzolo, Isabel Asha Penzlien, Robert de Saint Phalle, Carlos Charlie Perez, Eileen Quinlan, Sara G. Rafferty, Lisi Raskin, Andre Razo, Athena Razo, Christine Rebet, Stephen G. Rhodes, Mariah Robertson, Jacob Robichaux, Halsey Rodman, Amanda Ross-Ho, Jonathan Roth, Mika Rottenberg, Tommy Rouse, Heather Rowe, Sterling Ruby, Robin Schavoir & Lea Cetera, Rebecca Schiffman, Michael Shea, Trevor Shimizu, Dana Schutz, Emily Mae Smith, Ruby Sky Stiler, Kirsten Stoltmann, Mateo Tannatt, Anthony Titus, Patricia Treib, Kon Trubkovich, Natsuko Uchino, Justin Valdes, Nichole van Beek, Sara VanDerBeek, Johannes VanDerBeek, Garth Weiser, Dustin Yellin, Yelena Yemchuk, Kevin Zucker
Jan 27, 2009
Mary Temple: Currency
Drawings on view
Saturday March 7, 2009 in
the Hall of Americas at
The Brooklyn Museum
200 Eastern Parkway
Brooklyn, New York 11238
Mary Temple has been making one drawing of a world leader every day since September 24, 2007, using the event of Mahmoud Ahmadinejad speech at Columbia University as a departure point.
"My goal in the beginning was simply to concentrate on one event each day?to try to grasp a minuscule portion of the barrage of information that surrounds each of us in a 24-hour news cycle. As the research and drawings accumulated, I found that the news events marked my own personal history as well as delineating a (biased) global event time line. In order to underscore that relationship, and the diaristic nature of the undertaking, I hung the drawings in a calendar format-7 day (columns) across, and 5 to 6 week (rows) down. I placed the drawings on the page according to my own feelings of optimism or pessimism regarding the day's event, the higher on the page the greater my hope for world harmony."
Image: Mary Temple, Currency, 2007-present, (detail, May 6, 2008)
Jan 21, 2009
Michael Mahalchick: For What It's Worth
Opening reception: January 23, 6 - 9 PM
January 23 - February 22, 2009
55 Chrystie St
New York, NY 10002
From the press release:
Michael Mahalchick's For What It's Worth is a celebration and ritual offering to the collective ewwwwww. Mahalchick's scavenged materials, low and despised, are offered proudly for our inspection and praise. The valueless is in fact the most valuable thing here. The cast off refuse of our throw-away culture is given dignity by the transformational imagination of the artist. In this way Mahalchick is a problem solver, a real go to guy for life's stickiest problems. And when Mahalchick asks what's it worth, our snap guarded answer of 'nothing' slowly gives way to an affirming, Everything!
Image: Michael Mahalchick, detail from You Want This?, 2009. Courtesy of the artist and CANADA gallery.
Jan 17, 2009
Michael Smith Solo Exhibition in Milan
January 17 - March 14, 2009
at Galleria Emi Fontana, in Milan, Italy
On the occasion of his second solo show at Galleria Emi Fontana Michael Smith is presenting Mike, one of Smith's alter egos he has performed since the early '80s. In the artist's own words, "Mike is a vehicle, kind of an empty shell." Mike is a character of uncertain age whose acts show the struggle of becoming an adult while approaching each new situation with an unprejudiced eye in a mix of comic and mass media references. This exhibition presents the whole spectrum of the media in which the Mike character takes part. Alongside his drawings, Smith's audio works will be presented for the first time - both being intimate and disturbing works at the foundation of his performances, videos, installations and photography.
Image: Michael Smith, Mark Fisher, Go For It Mike, 1984. Video, colour, sound. 4'40''. Courtesy the artist and Galleria Emi Fontana, Milano
Jan 15, 2009
Gedi Sibony: My Arms Are Tied Behind My Other Arms
January 23 - April 19, 2009
at the Contemporary Art Museum St. Louis
Gedi Sibony: My Arms Are Tied Behind My Other Arms is the first monographic museum exhibition of the New York-based artist's work. The exhibition features major new works in a site-specific installation and several recent pieces including Party Me Manners (2008). From the press release:
"Using materials such as carpet, cardboard, hollow doors, and metal pipes, he playfully evokes the effortless magic of the mundane. Sibony's sculptures achieve a nonchalant awkwardness, a proud nudity, and an overall implausibility that bring together space, weight, and materiality in ways that seem happily accidental. In the context of the near-collapse of our contemporary socio-political reality, these works quietly promote an economy of means, re-use, transparency, and the power and beauty of bare essentials."
Image: Gedi Sibony, Partly Me Manners, 2008. Door and paper, 88 x 24 x 4 inches. Vanmoerkerke Collection, Belgium. Courtesy of Greene Naftali Gallery, New York.
Jan 8, 2009
Out of Line at Lombard-Freid Projects
Opening reception Friday, January 16, 2009, 6-8pm
January 16 - February 21, 2009
at Lomard-Freid Projects
531 West 26th Street, 2nd Floor
New York, NY 10001
Out of Line brings together drawings by six international artists. The title of the show references the transgressive spirit that pervades the practice of the artists represented in the exhibition. Work in the show includes drawings from Tala Madani's sketchbooks, and concept sketches from Michael Rakowitz's paraSITE project, which proposes the appropriation of exterior ventilation systems on existing structures as a means for providing temporary and portable shelter for the homeless.
Image: Michael Rakowitz, Concept sketch for paraSITE 6, 1997. Drawing and collage on paper. 9 1/4" x 13 1/2". Image Courtesy of the artist and Lombard-Freid Projects, NY.
Jan 7, 2009
Jerome Travel and Study Grant Program
Applications are now being accepted for the Jerome Travel and Study Grant Program. This is an opportunity for emerging artists in the disciplines of Music (composers/sound artists), Theater (playwrights/creators of performance art), and Visual Arts to have support for research, training programs, and individualized study. Grants range from $1,500 for short trips of three to six days and $5,000 for trips of one week or longer. Travel must occur between June 1, 2009 through December 31, 2011. Emerging artists living in the five boroughs of New York City or Minnesota are eligible to apply.
Applications are due February 20, 2009.
Information meetings in New York City are:
Thursday, January 8 at 5:30p
475 Tenth Ave @ 36th Street
New York, NY 10018
T. 212 966 7745
F. 212 925 2928
Friday, January 9 at 1:00p
145 Avenue of the Americas (btw Spring and Broome)
Entrance on Dominick
New York, NY 10013
For further information and eligibility requirements for the Travel and Study Grant Program, go to the Jerome Foundation web site, www.jeromefdn.org or contact the Jerome Foundation at firstname.lastname@example.org.