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Summer Solstice
La Vie en Rond
H29 presents La Vie en Rond, including nearly 50 artists from Belgium, Europe, the US and Australia. Many of the participating artist have long been working exclusively with the formal vocabulary of the round: meander, dot, circle or shere. The media ranges from wall painting, video, photography, sculpture and performance.
My Eyes Keep Me in Trouble
The Speed of Colour
Participating artists include Eric De Nie, Tony Harding, Gilbert Hsiao, John De Rijke, John Tallman, Henriette van 't Hoog. Accompanied with an edition of 6 prints, 30 x 42cm, 235 euros.
SNO 38: Ward Denys, Billy Gruner, Clemens Hollerer, Andrew Leslie, Tilman, & Rik Rue
Justin Andrews: Discursive Geometry
Sarah Braman: Love Songs
Color! Die Farbe in der konkreten Kunst
Participating artists Aria Arvelaiz-Gordon, Carlos Cruz-Diez, Julian Gil, Jo Kuhn, Müller-Emil, Dany Paal, Keummi Paik-Bauermeister, Miriam Prantl, Sigurd Rompza, Peter Staechelin, Hans Steinbrenner, Marie-Thérèse Vacossin, Gido Wiederkehr, & Martin Wörn.
National Endowment for the Arts Announces
Study provides the first look at 21st century labor trends among working artists. The National Endowment for the Arts (NEA) announces the release of Artists in the Workforce: 1990-2005, the first nationwide look at artists' demographic and employment patterns in the 21st century. Artists in the Workforce analyzes working artist trends, gathering new statistics from the U.S. Census Bureau to provide a comprehensive overview of this workforce segment, its maturation over the past 30 years, along with detailed information on specific artist occupations.
Unpainted: Recent Abstract Painting
Thomas Robertello Gallery presents Unpainted – Recent Abstract Painting. Participating artists include Patrick Berran, Laura Fayer, Callum Innes, Bob Jones, Jim Lee, Stephanie Serpick, and Don Voisine. Each artist in this group exhibition proves that abstract painting can continue to provide a vital and necessary voice, visually, conceptually, and aesthetically. Expanding boundaries and defining what a painting can be, the artists reveal that beauty, purity of concept, design, intelligence, and visually compelling treatment of the medium have much to offer in the present.
Geraldo de Barros
Matthias Hoch: New Photographs
MINUS SPACE Congratulates...
2008 Artists' Fellowships
183rd Annual Invitational Exhibition
Usain Bolt Breaks 100 Meter World Record in NYC
On Saturday night, Usain Bolt of Jamaica ran the 100 meters in 9.72 seconds, breaking the previous world record of 9.74 seconds. This was only the fifth time Bolt has competed in a professional race at this distance.
New CCNOA Friends Membership Multiple
CCNOA announces its new Friends Membership Multiple 2008, created by the Austrian artist Clemens Hollerer. Started in 2004, CCNOA's Friends membership program provides additional funding for the continuation and expansion of its exhibition and publication programs. To reserve your copy of the CCNOA Friends Multiple 2008, please send an e-mail to info@ccnoa.org.
My Eyes Keep Me in Trouble
A traveling group exhibition featuring 30 international artists.
Julian Dashper
Et in Arcadia Ego:
Ann Pibal
Pibal’s paintings feature deceptively simple compositions that utilize
An Interview with Karl Benjamin, by Julie Karabenick
John Weber: In Memoriam (1932-2008)
Born in Los Angeles in 1932, New Yorker art dealer John Weber had a prominent role in the contemporary art world and was one of the first dealers in Soho in the 70s, leaving his mark on New York’s art scene of that period. Owner of the popular John Weber Gallery, which opened in West Broadway in Soho in 1971, he then moved to Chelsea in the ’90s where he began his rise in the art world. After leaving the Navy, Weber accepted a job at the Dayton Art Institute as member of the curatorial staff. Later he attended the Institute of Fine Arts at New York University and worked for the Martha Jackson Gallery in New York. He then made the successful move to the Dwan Gallery in Los Angeles, where he was involved in many outstanding shows and worked with artists like Robert Smithson, Walter De Maria, Arman, Yves Klein, Franz Kline, Sol LeWitt, Andy Warhol, Richard Long, Jeff Koons, Joseph Beuys, Hans Haacke and many more, collaborating as well with the Fluxus Group and the Arte Povera movement. (courtesy: Flash Art Magazine)
Alan Ebnother: Upcoming Exhibitions
Alan Ebnother: Painting Green Color Blind: Black, White, and Gray in Contemporary Art
Michael Zahn: As Michael Zahn
Eleven Rivington presents an exhibition of new paintings by Brooklyn-based artist Michael Zahn. This is the artist’s first solo exhibition in New York and his first with the gallery. The work at Eleven Rivington, As Michael Zahn, presents a picture of an exhibition as an immersive domain, and mediates the various networks in which contemporary painting is enmeshed, including the artist's studio, the gallery, domestic interiors, and common spaces. The artist’s aesthetic language of hard-edge abstraction is used as a default, and is informed by spatio-temporal frameworks familiar from digital environments such as computer desktops, banking interfaces, and video games, grounding Zahn’s works in the present moment. Also, be sure to check out a new online interview with Michael Zahn at Henri Art Magazine.
Be Part of the Solution: Renewable Energy
MINUS SPACE is now powered by wind. Community Energy is committed to increasing the domestic supply of clean, fuel-free energy and is delivering real solutions to climate change in the form of new wind power generation and carbon offsets. The cost for wind power is two and a half (2.5) cents more per kilowatt-hour than standard power. For the average NYC resident, this adds up to about $10/ month more on your electric bill, depending on your usage. By switching to wind power, you can reduce carbon dioxide emissions by the equivalent of planting about 418 trees or not driving about 5,325 miles each year. You also help cut America's dependence on fossil fuels, including foreign oil, by purchasing wind power.
Manfred Mohr: Upcoming Exhibitions
bit international - [Nove] tendencije Infinity and Beyond: Mathematics in Contemporary Art Bildertausch 3: New Presentation
of Marli Hoppe-Ritter Collection It from Bit: Manfred Mohr & Gabriel Orozco Manfred Mohr: "visuell zuhören"
Dan Flavin / Josef Albers
Gering & López Gallery presents an exhibition of work by Dan Flavin and Josef Albers. Pairing two highly influential artists of the 20th Century, the exhibition will allow the viewer to rediscover, evaluate and place into a new context these very diverse materializations of color and line. Though Albers and Flavin used vastly different approaches, both challenged the function of perception and went on to make significant contributions to the history of art. Albers, the Modernist, blurred the line between fine and applied art and employed traditional painting methods to conduct pioneering experiments in color theory and composition. Flavin, the Conceptualist, defied convention by using commercially available fluorescent lights and placing authenticity in the viewer's mind rather than the artist's hand. Both utilized architecture and the ability of the human eye to animate their color theories.
Drawing a Conclusion
Curated by Danny Lacy, the exhibition includes works by Ernesto Burgos, Nadine Christensen, Matthew Deleget, Anthony Farrell, Torben Giehler, Lily Hibberd, Chris LG Hill, Heidi Linck, Nick Mangan, Rob McHaffie, Ola Vasiljeva, Gabriella & Silvana Mangano.
No Chromopobia
An exhibition of non-objective color paintings. Participating artists include Carla Aurich, Diane Ayott, Kate Beck, Siri Berg, Sharon Brant, Cathleen Daley, Julie Gross, Molly Heron, Kazuko Inoue, Marthe Keller, Joanne Klein, Pat Lipsky, Joanne Mattera, Lynn McCarty, Joan Mellon, Margaret Neill, Mary Obering, Doug Ohlson, Rose Olson, Paula Overbay, Susan Post, Cora Roth, Rebecca Salter, Susan Schwalb, Yuko Shiraishi, Louise P. Sloane, Linda Stillman, Rella Stuart-Hunt, Soonae Tark, Li Trincere, Suzanne Ulrich, Jean Wolff, & Tamar Zinn.
Unfinished Business: Dutch Abstracts
Edward Shalala: Canvas Thread in Nature Paintings, Represented by Photography
I Look for Brightness Blog
Dan Flavin: Constructed Light
The focus of this exhibition is the experience of Dan Flavin's work - sculptural installations composed of mass-produced light fixtures and fluorescent tubes - within the architecture and shifting natural light of the Pulitzer building.
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 Survey 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
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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 c |
