Select National and International Exhibits of Note

Bernar Venet at Paul Kasmin Gallery

New Drawings and Sculptures by Bernar Venet

Paul Kasmin Gallery (NYC)

March 9 – April 22, 2017

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Bernar Venet, Indeterminate Line
2016 Oilstick, graphite and collage on paper, 86 5/8 x 60 1/4 inches
See the original outside the Colorado Convention Center at Speer and Stout

Paul Kasmin Gallery announces Bernar Venet: Arcs, on view at 297 Tenth Avenue from March 9 – April 22, 2017. The exhibition features six large-scale drawings and three new sculptures by the French conceptual artist. The gallery will publish a fully-illustrated pamphlet with an essay by American art critic, Carter Ratcliff.

With this new series of drawings, the artist deepens his radical, lifelong exploration of the line and material. Ratcliff writes, “A drawing is an end in itself, not merely a step on the way to realizing a sculpture, nor is a small sculpture of any less importance than one of the artist’s immense outdoor pieces.” Stretching to seven feet tall, these drawings are the artist’s largest to date. Venet uses graphite, oilstick and collage to create groups of four, five and seven arcs in six different configurations onto a white background. With their exacting precision, Venet’s new work originates in his first conceptual sculpture. The interplay between sculpture and drawing brings out the inherent versatility of form in Venet’s oeuvre that transcends material boundaries.

Mirroring the drawings are three new sculptures made of six-foot-tall rolled steel finished in a black patina. The new Arc sculptures are comprised in groups of four, five and seven curved lines that extend upwards from its base at variations of 86.5 degrees.

Bernar Venet (b. 1941, Alpes-de-Haute-Provence, France), known for his groundbreaking sculpture works, has explored a range of disciplines over his five-decade conceptual practice, including sculpture, painting, photography, language and drawing. He first gained recognition in the 1960s for his iconic Tas de charbon (Pile of Coal), an amorphous sculpture without specific shape. 1979 marked a significant turning point in Venet’s career, when he began a series of wood reliefs—Arcs, Angles, Straight Lines—and created the first of his Indeterminate Lines pieces. Venet currently lives and works between New York, Paris and Le Muy, France.

Paul Kasmin Gallery
297 Tenth Avenue
NY, NY 10001
http://www.paulkasmingallery.com

 

Adam Milner: A History of Man at Casa Maauad

Adam Milner: A History of Man

Casa Maauad

August 18 - September 14, 2016

  • Opening Reception: Thursday August 18, 7pm-10pm
  • Former Denver artist Adam Milner at artist co-op Casa Maauad in Mexico City
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A History of Man is an investigation into the traces left behind by bodies — bodies of humans, of other animals, plants, and things. This collection of new works explores a longing to understand these bodies, to organize them, archive them, preserve them. Adam Milner, known for his rigorous and regimented documentation of his personal interactions through performance, archives, and drawings, steps back with this new work to look more broadly at stains and body matter. Boundaries break down and categories blur as to what defines a body and where it begins and ends.

Adam Milner (b. 1988, Denver, USA) has exhibited at the Aspen Art Museum, the Museum of Contemporary Art Denver, David B. Smith Gallery, and has an upcoming project, Remains at the Andy Warhol Museum. He currently lives and works in Pittsburgh as an MFA candidate at Carnegie Mellon University.

Casa Maauad
Altamirano 20, Colonia San Rafael
Ciudad de México, 06470
http://www.casamaauad.com
By appointment only

 

Jason DeMarte: Second Nature at Rule Marfa

Jason DeMarte: Second Nature

Rule Marfa

July 22 - September 17, 2016

rule-marfaJason DeMarte, Blue Mourning, 2016, pigmented ink print, 40 x 40 inches, edition of 4 (additional sizes available)

Second Nature continues the series of work, Confected, by DeMarte that was featured in a solo exhibition at RULE Gallery, Denver, in 2015. It extends his commentary on our cultural tendency to idealize the natural world while continually trying to improve upon it. He explores the veneer of material desire and constructed natural beauty by composing fictional tableaux that speak to our obsession with beauty, perfection and excess. By “improving” on the natural elements with lighting, careful arrangement, and post-processing, DeMarte illustrates how nature becomes just another commercial good, victim to our material desires.

With Second Nature, DeMarte's greater technical expertise with allows him to push the process further, resulting in compositions that are more premeditated and have a deeper understanding, ahead of time, of what feelings and responses his methods generate. This evolution mimics humanity's development of techniques that cultivate nature more, and with greater precision, to suit and stoke our desires. DeMarte's works present a second nature that has left behind few traces of the original.

Jason DeMarte, b. 1973, is currently a tenured professor of photography at Eastern Michigan University. He received his B.F.A. in Photography from Colorado State University and then his M.F.A in Photography from the University of Oregon. Previous to teaching in Mississippi, Jason taught photography for three years at Zayed University, an all-Muslim women’s University in the United Arab Emirates.

Rule Gallery
204 E San Antonio St
Marfa, TX 79843

 

Bruce Conner: It's All True at MoMA NY

Bruce Conner: It's All True

The Museum of Modern Art, New York

July 3 - October 2, 2016

  • If you can't make it out east (NY MOMA), see if you can sneak it in out west this fall (SF MOMA)
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Installation view of BRUCE CONNER: IT’S ALL TRUE
The Museum of Modern Art, New York, July 3-October 2, 2016
© 2016 The Museum of Modern Art; Photo: Martin Seck

The Museum of Modern Art, New York, and the San Francisco Museum of Modern Art announce a retrospective devoted to Bruce Conner, spanning his 50-year career. BRUCE CONNER: IT’S ALL TRUE is the artist’s first monographic museum exhibition in New York, the first large survey of his work in 16 years, and the first complete retrospective. Bringing together over 250 objects in mediums including film and video, painting, assemblage, drawing, prints, photography, photograms, and performance, the exhibition will be on view at MoMA (July 3 to October 2, 2016), SFMOMA (October 29, 2016, to January 22, 2017), and the Museo Nacional Centro de Arte Reina Sofia in Madrid (February 21 to May 22, 2017). The exhibition is organized by SFMOMA and co-curated by Stuart Comer, Chief Curator, Department of Media and Performance Art, MoMA; Laura Hoptman, Curator, Department of Painting and Sculpture, MoMA; Rudolf Frieling, Curator of Media Arts, San Francisco Museum of Modern Art; Gary Garrels, The Elise S. Haas Senior Curator of Painting and Sculpture, San Francisco Museum of Modern Art; with Rachel Federman, Assistant Curator, Painting and Sculpture, San Francisco Museum of Modern Art.

Bruce Conner (1933–2008) was one of the foremost American artists of the postwar era. Emerging from the California art scene, in which he worked for half a century, Conner’s work touches on various themes of postwar American society, from a rising consumer culture to the dread of nuclear apocalypse. Creating a body of work that exemplifies the fluidity between mediums that has become a hallmark of 21st-century art, Conner worked simultaneously in a range of mediums, often creating hybrids of painting and sculpture, film and performance, drawing and printing. He was an early practitioner of found-object assemblage, and his relief and free-standing sculptural objects such as CHILD (1959) and LOOKING GLASS (1964) were widely recognized equally for their masterful compositions and their daringly dark subject matter.

During this early period of his career, he also became a pioneer of avant-garde filmmaking and redefined the notions of cinema itself. Incorporating footage from a wide variety of sources— from countdown leaders and coming attractions to training films and newsreels—and adding later his own 16mm film footage, Conner developed a quick-cut method of editing which defined his oeuvre, and coupled with his use of pop music soundtracks, made films like COSMIC RAY (1961) and BREAKAWAY (1966) among the earliest precursors of the music video. Like his assemblages, Conner’s films also focus on disturbing but utterly current subject matter. Often politically pointed, they touch on issues of violence in American culture, the objectification of the female body, and nuclear holocaust. Because of their structural innovation and daring subject matter, films like A MOVIE (1958), REPORT (1963–67), and CROSSROADS (1976) have become landmarks of American experimental cinema.

In addition to his sculptural and filmmaking activities, throughout his career Conner produced a number of bodies of works on paper, utilizing drawing, collage, and a method of inkblot drawing using scored paper. He also produced two important photographic bodies of work, including a haunting group of black-and-white life-sized photograms from the mid-1970s that the artist called ANGELS.

Organized both chronologically and thematically, the exhibition will emphasize Conner’s polymathic abilities by integrating objects across the different mediums in which he worked. In addition to his most important bodies of work, the exhibition will feature aspects of Conner’s oeuvre that have rarely been seen before, including paintings from the 1950s, his photographs of punk bands from the 1970s, video work of the 2000s, and a large number of drawings, prints, and collages and media works that he made in the last decade of his life. During that period Conner continued to work with the moving image, as well as drawing, printmaking, and the creation of multiples, including a series of tapestries. Significantly, at this time Conner re-edited older film material and worked with large-scale digital installations. Late masterpieces like the multi-channel video installation THREE SCREEN RAY (2006) will be presented for the first time in conjunction with his historic works.

The Museum of Modern Art
11 West 53 Street
New York, NY 10019
http://www.moma.org

 

Aaron Siskind: Abstractions at the Art Institute of Chicago

Aaron Siskind: Abstractions

Art Institute of Chicago

April 18 - August 14, 2016

  • If there weren't enough good reasons to visit Chicago this summer... 
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Aaron Siskind. New York 2 1951, 1951. Gift of Mr. Noah Goldowsky. © Aaron Siskind Foundation

“First, and emphatically, I accept the flat plane of the picture surface as the primary frame of reference of the picture.”

—Aaron Siskind, “Credo,” 1950

Although he started his career as a documentary photographer, Aaron Siskind (American, 1903–1991) quickly became known for his abstract photographs. Socially and professionally close with many of the Abstract Expressionist painters in his native New York, Siskind created photographs in dialogue with painting, attempting to find a new language for photographic depiction that could transform an object into an image, a description into an idea. Across a decades-long career, his work explored what he called “the drama of objects,” imbuing forms with animism and rhythm.

Siskind spent two formative decades in Chicago, from 1951 to 1971, teaching at the city’s famed Institute of Design and mentoring generations of photographers. His relationship with the Art Institute of Chicago stretches back to 1955, when he was given a one-person show; the museum began consistently collecting his work the following year.

This exhibition, featuring 100 photographs drawn exclusively from the Art Institute’s extensive holdings of Siskind’s work, examines some of his most influential abstract photographs and series. Beginning with Siskind’s new attention to the power of a single object in the 1940s, the presentation continues through formally graphic series such as barely touching rocks in Martha’s Vineyard, seaweed shapes on sand, and divers silhouetted against the sky at Oak Street Beach. The show culminates in increasingly flat and abstract images of walls with peeling and dripping paint, including a series in homage to the painter Franz Kline. Twenty-five years after Siskind’s death, this exhibition demonstrates his ongoing relevance for a new generation of photographers embracing abstraction.

Art Institute of Chicago
111 South Michigan Avenue
Chicago, Illinois 60603
http://www.artic.edu

 

Theresa Anderson & Amber Cobb at Gray Contemporary

Sacks And Covers: Theresa Anderson & Amber Cobb

Gray Contemporary (Houston, TX)

February 27 - April 2, 2016

  • Opening Reception: Saturday, February 27th from 5-9pm

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(left) Amber Cobb, milky smooth, 2015 mattress cover, plastic, silicone 25" x 25"
(right) Theresa Anderson, 01/ sack, 2015 pigmented pillow soft foam, dragon skin, pantyhose 60" x 10" x 4"

Sacks and Covers is an exhibition that brings together the work of Theresa Anderson and Amber Cobb. Both artists have created new bodies of work that highlight a shared affinity to color, texture, material, and a process of reduction. Anderson's work stems from objects used in performance art, while Cobb's focus relates more closely to formal aesthetics, the end result for both is work that conveys a feeling of sensuality and sexiness. Each piece is anchored by gravity and defined as much by the physical weight of the materials as the conceptual weight of the objects they have employed.

Mardee Goff, Curator
Boulder Museum of Contemporary Art

Theresa Anderson (b. 1967, St. Paul, Minnesota) Theresa Anderson recently completed a two-year residency as a resource artist at Redline Denver. Her work has been exhibited nationally and internationally at such venues as the 2013 and 2015 Biennial of the Americas, Boulder Museum of Contemporary Art, Denver Art Museum, Soo Visual Art Center, Ice Cube Gallery and was included in the exhibition, Thief Among Thieves, at the MCA Denver.

Amber Cobb (b. 1980, St. Louis, MO) Cobb has created a diverse body of work that explores the duality of the attractive and the abject. Her work has been shown in national and international exhibitions at such venues as xiao shan xiao at the Hunan Province Art Museum in Kaifeng, China, Sweat Baby Sweat in Los Angeles, and Direct Connect in Berlin. In 2013 she was part of the Biennial of Americas and 2015 she was included in the exhibition, Thief Among Thieves, at the MCA Denver.

Gray Contemporary
3508 Lake Street
Houston, Texas 77098
Gallery Hours: Tuesday - Saturday, 11-5pm or by appointment
713.862.4425
http://www.graycontemporary.com

 

Snap to Grid at the LA Center for Digital Art

Snap to Grid: International Group Exhibition

Los Angeles Center for Digital Art

December 10, 2015 - January 2, 2016

  • Opening Reception: December 10, 2015
LaBier ObjectForTheOther1
Denver artist Brenda LaBier | Object for the OTHER I | 40 x 60" | Archival pigment print mounted on Dibond

In conjunction with the Downtown Art Walk, my work will be on view at the lacda 4,000 square foot gallery. All styles of artwork and photography where digital processes of any kind were integral to the creation of the images selected for Snap to Grid.

An internationally recognized gallery, lacda works with curators from LACMA, MoCA, California Museum of Photography, and organized exhibits at the Venice Bienniale, Photo L.A., Art Basel Miami, and many others.

Los Angeles Center for Digital Art
104 East Fourth Street
Los Angeles, CA 90013

 

Joseph Coniff at Rule Marfa

Stuff Like Air: New work by Joseph Coniff

RULE Marfa

October 9 - December 5, 2015

  • Public Reception: Friday, October 9, 6-9pm
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Joseph Coniff, blue flower, 2015, collage on embossed paper, 14 x 11 inches, 35.5 x 28 centimeters

RULE Gallery is pleased to announce the opening of its new location in Marfa, Texas. This will be RULE's second permanent space, expanding from its primary location in Denver, Colorado. The grand opening of RULE Gallery Marfa, located at 204 E. San Antonio St. Marfa, TX 79843, will be on October 9, 2015 with an inaugural exhibition entitled Stuff Like Air featuring new work by Joseph Coniff. The show will run through December 5, 2015.

Stuff Like Air, an exhibition of work by Joseph Coniff, debuts concurrently with the grand opening on October 9, and will be on view through December 5, 2015. The exhibition includes de- and re- constructed, tailored fabric works, as well as smaller works on paper. The tailored fabric works explore Coniff's reaction to the assumed dichotomies within a binary worldview, focusing on the perceptual possibilities inherent in relationships such as the figure and the ground. Coniff challenges the polarities of these relationships and looks with equanimity on what we might consider the foreground and the background, and the "empty" space between. Through these works, Coniff views the broken pattern as a line at which we can awake from malaise and gain a greater understanding of being.

About: Joseph Coniff earned his Bachelor of Fine Arts at the Rocky Mountain College of Art and Design in 2011. He has been included in New American Paintings, Creative Quarterly, Studio Visit Magazine, and Vogue Espana. Coniff was listed as one of Denver's 2012 Top Up-and-Coming Artists and was featured as one of Denver Westword's 100 Colorado Creatives in 2014. He has received two Denver Westword Best of awards, both for RULE Gallery solo exhibitions, the first in 2012, and the second in 2014. Coniff’s work has been exhibited nationally and internationally in Denver, New York, Los Angeles, and Berlin.

RULE Gallery, Marfa
204 E San Antonio St
Marfa, TX 79843

 

LightScape: James Turrell at Houghton

LightScape: James Turrell at Houghton

Houghton Hall, Norfolk, UK

June 7 - October 24, 2015

  • 120 miles north of London, not to miss if you are in the UK this summer
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‘Light is a powerful substance. We have a primal connection to it.’ - James Turrell

From June 7th to October 24th this year, Houghton Hall, Norfolk, will host an ambitious and important exhibition of James Turrell's light pieces, many collected by the Marquess of Cholmondeley, owner of Houghton, who has long been an admirer of his work.

Turrell is widely acknowledged as one of the most important artists working today. From the mid 1960’s onwards his principal concern has been the way we apprehend light and space. His study of mathematics and perceptual psychology, as well as his Quaker upbringing and background as a pilot, inform his practice. His first exhibition in 1967 of ‘projection pieces,’ used high intensity light projectors to give the illusion of a solid geometrical object, often seemingly floating in space. From these investigations of light, Turrell went on to begin his series of ‘Skyspaces’. These are enclosed viewing chambers that affect our perception of the sky.

Since then he has continued to create works using light as his medium. Perhaps his most celebrated works are his ‘Ganzfeld’ chambers, whole spaces immersed in light; as well as his more recent ‘Tall Glass’ series, which resemble windows of slowly changing colour. Meanwhile, Turrell continues work on a monumental project at Roden Crater, an extinct volcano in Arizona. Here he has created a series of viewing chambers, tunnels and apertures to heighten our sense of the heavens and earth in one of the most ambitious artistic endeavours of modern times.

The Illumination

The entire west façade of Houghton will be lit in a slowly evolving light show specifically created by Turrell. This 45 minute spectacle will begin at dusk and can only be seen on Friday and Saturday evenings. Visitors will be able to take advantage of the later closing times for the Hall, grounds and gardens. The restaurant will be open for dinner bookings and a pop-up café on the west front will provide drinks and snacks for those wanting to relax whilst watching the show unfold.

Houghton Hall
King's Lynn, Norfolk PE31 6UE
http://www.houghtonhall.com


Read more: LightScape: James Turrell at Houghton

The Fig and The Wasp at the Zhou b Art Center

The Fig and The Wasp

Zhou b Art Center (Chicago)

May 15 – June 12, 2015

  • Opening reception: Friday, May 15, 7-10pm
  • Presented by Denver collective Hyperlink
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Fike and Harris

Please join us for the upcoming exhibition The Fig and The Wasp at Hyperlink. This group exhibition explores collaboration in art making through multiple creative interpretations varying from traditional collaborations to audience-activated works. The participating artists include: Fike and Harris, Hannah Givler, Miller and Shellabarger, Peter Reese, and Tatiãna.

Hyperlink is a Denver-based collective of artists who select a new city each year to physically enact the way the internet has shaped our experience as artists. While the net has opened the floodgates for artists to easily disseminate their imagery, geographical distance is still often a real limitation to tangible and meaningful connections. Hyperlink artists connect to local artists through critical dialogue, curated exhibitions, and collaboration. For the 2014/15 year, Hyperlink has elected Chicago as their home page and will operate out of the Zhou B Art Center.

Zhou b Art Center
1029 W. 35th St. Room 015 (lower level)
Chicago, IL 60609
Gallery hours by appointment: This email address is being protected from spambots. You need JavaScript enabled to view it.

 

Fibremen 4: 4th International Fibre Art Exhibition

Fibremen 4: 4th International Fibre Art Exhibition

Kherson, Ukraine

October 23 - November 5, 2014

  • Curated and organized by Ludmila Egorova
  • Featuring Denver artist J. Bruce Wilcox

fibremen
 

 

Yoshitomo Saito: Ethos in Bronze at Haines Gallery

Yoshitomo Saito: Ethos in Bronze

Haines Gallery (San Francisco)

July 10 - August 30, 2014

  • Opening Reception: Thursday, July 10, 5:30 - 7:30pm  
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Gymnopédies: Loop, 2013, bronze, unique, 34 x 24 x 4 inches

For his ninth exhibition at Haines Gallery, Yoshitomo Saito presents a selection of recent bronze works, ranging from singular, freestanding sculptures to large-scale wall installations. He has spent the last thirty years casting varied and highly intricate forms, with a particular affinity for natural objects. For Saito, the works in Ethos in Bronze resonate with the avant-garde sensibility of French composer and pianist Erik Satie.The nuanced tension and eccentric quality exemplified by Satie’s groundbreaking compositions Gymnopédies (1888) and Gnossiennes (1889-1897) are echoed in Saito’s ability to shape our perceptions of the familiar through the poetic, almost alchemical approach to his medium.

Organic forms from Saito’s native Japan and current environment in Colorado fill the exhibition. He explores this perennial interest with a new approach, grinding all or part of each work’s surface to reveal and revel in the natural hue and texture of the bronze.This recent strategy renders the material in a new light, celebrating the medium’s ability to appear fresh, clean and contemporary. For instance, the subtle treatment of the bamboo poles and their striking, angular arrangements in Gymnopédies: Bamboo Gymnast #1 and #2 celebrate this union of material and form.The unusual combination of elements in Gymnopédies: Golden Stitch were inspired by the aftermath of a flood in Colorado, and the manner in which disparate elements suddenly became intertwined.The lustrous lines of the entangled reeds operate harmoniously in relation to the rough, highly textured objects – like shells, bark and roots.

After first training as a glassblower in Tokyo, Saito began working in bronze during his time as a graduate student at California College of the Arts. He employs a process known as lost wax or investment mold casting, a laborious technique with a long history from around the world. While many contemporary artists typically outsource bronze casting to commercial foundries, Saito has instead developed a sophisticated studio space that allows him to produce these works independently.

Saito’s work has been exhibited internationally and collected by institutions including the Hawaii State Foundation on Culture and the Arts, Honolulu; de Young Museum, San Francisco; California College of the Arts, Oakland/San Francisco; and Oakland Museum of California. Publications such as Art in America, San Francisco Chronicle and Sculpture Magazine have discussed his work and dynamic practice. Saito lives and works in Denver.

Haines Gallery
49 Geary St #540
San Francisco, CA 94108
415.397.8114
http://www.hainesgallery.com

 

Vik Muniz: Pictures of Anything at the Tel Aviv Museum of Art

Vik Muniz: Pictures of Anything

Tel Aviv Museum of Art

March 28 - August 2, 2014

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This comprehensive exhibition of Vik Muniz covers 25 years of the artist's oeuvre, in which familiar images from the history of art and other sources are transformed in scale and into unexpected materials — sugar, chocolate, ketchup, diamonds, dust and garbage— in a process culminating in a new photographic image. Muniz' work challenges conventional viewing and raises questions about appropriation, original and copy. The exhibition includes most of his series, including Pictures of Chocolate, Pictures of Dust, Pictures of Earth, and Pictures of Garbage.

Tel Aviv Museum of Art
Lilly & Yoel Moshe Elstein Multi-Purpose Gallery Herta and Paul Amir Building
27 Shaul Hamelech Blvd
The Golda Meir Cultural and Art Center
61332012 Tel Aviv, Israel

 

The Photographic Nude at LightBox

The Photographic Nude 2014

LightBox Photographic Gallery (Astoria OR)

February 8 - March 4, 2014

  • Juror: Mark Sink
  • Juror’s Award Winner: Reverend Bobby Anger
  • Juror’s Honorable Mentions: Sharon Harris, Carol Dass, Jamey Looney
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NX, Juror's Award Winner by Reverend Bobby Anger

MichaelGranger
LightBox Gallery's Michael Granger - photo by Ken Hamel/DenverArts.org

This juried exhibit explores the artistic and creative view of the body and it’s form. This exhibit celebrates the nude in photography by embracing a variety of styles. We welcome the timeless elegance of a classical study, while also encouraging alternative and provocative styles. Studies of the whole or partial human form, nude or semi-nude.

Juror’s Statement: The Photographic Nude 2014

Congratulations to winners. This was a super enjoyable yet painful judging experience. Out of a few hundred submissions I had to narrow it to fifty. My first run of selections was over two hundred i liked …. next down to hundred, then it became very difficult. I simply chose images that touched me. At times I chose several of one artist. I made the decision just to follow that mood of the moment. There were so many strong ones i could have selected fifty totally different on another day. I am super impressed by the quality of the work. Over all I was looking for work that had a good concept and story that spoke to you. I like work that explores with unique ideas and explores technically. I love to see letting chance happen. I love collage. I am from the old world of photographic craft in printing and alternative processes so those are near and dear to me. ~ Mark Sink

About our Juror, Mark Sink

Mark Sink lived in NYC through the 1980s and worked with and documented the lives and works of Andy Warhol, Jean-Michel Basquiat, Rene Ricard and other art luminaries of the 1980s. In the early 1990s Sink was a inspiration and co-founder of the Museum of Contemporary Art Denver. In recent years, Sink works as a private art consultant in Denver, independently curating a wide range of artists and shows. The most recent of note is MOP, the Month of Photography Denver that stirs up over eighty venues into one month of celebrating photography. Well known for his images made with the plastic Diana camera, recently is exploring collodion wet plate technique with partner Kristen Hatgi. Sink’s work is in numerous museum collections as well as gallery solo and group shows world wide. He is represented by G. Ray Hawkins in California, Robin Rice in NYC, and Rule Gallery in Denver. Photography runs deep in Sink’s family heritage. Sink’s great-grandfather was photographer James L. Breese, who was the founder of the Camera Club of New York, one of the earliest organizations of fine art photographers. Even further back, Samuel Finley Breese Morse, Breese’s uncle, is known as “the father of American photography”.

LightBox Photographic Gallery & Fine Printing
1045 Marine Drive
Astoria, Oregon 97103-4219
503.468.0238
http://lightbox-photographic.com

 

Ana Maria Hernando at Marfa Contemporary

Ana Maria Hernando: The Illuminated Garden

Marfa Contemporary (Marfa TX)

February 7 - March 23, 2014

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Ana Maria Hernando creates installations, paintings, drawings and prints with a layering of natural and formal elements. Designs derived from her Argentinian background are blended with images of plants and insects. Hernando says, “Flowers are my inspiration. They are sensual delicate, quiet, beautiful. I see them as

the utmost expression of a plant. Using patterns as a backdrop for the flowers is a reminder to me of the playfulness between sensuality and spirituality, the hiding and the revealing, the fullness and the sparseness, the rules and the inspirations.”

Marfa Contemporary
100 East San Antonio St.
Marfa, TX 79843
432.729.3500
http://MarfaContemporary.org

 

Jen Thario: Cover the Spread at the University of Hawaii Art Gallery

Jen Thario: Cover the Spread

University of Hawaii Art Gallery

January 26 - February 14, 2014

  • MFA Thesis Exhibition from ex-CORE member Jen Thario
  • Closing Reception: Thursday, February 13. 6-8pm
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Cover the Spread is a series of kinetic vehicles constructed from found materials. Much like a pull toy or a pet, each is designed to transport a living plant. The plants chosen for this project utilize wind driven seed dispersal, require little soil or care to thrive, and are able to germinate in sidewalk cracks and other verge habitats. This project seeks to hack the urban environment through the distribution of undervalued plant life and transform the fractures in the city into micro sites of carbon sequestration and reslilience.

University of Hawai'i Art Gallery
Manoa Campus
2500 Campus Road
Hawai'i Hall 202
Honolulu, HI 96822

 

David Hockney: A Bigger Exhibition at the de Young

David Hockney: A Bigger Exhibition

de Young Museum

October 26, 2013 - January 20, 2014

yosemite2 1
David Hockney, Yosemite II, October 5th 2011
iPad Drawing printed on six sheets of paper (71 3/4 x 35 3/4 in. each)
mounted on six sheets of Dibond; 143 1/2 x 107 1/4 in. overall
© 2013 David Hockney

David Hockney: A Bigger Exhibition (October 26, 2013-January 20, 2014) marks the return of the celebrated British artist to California with an exhibition assembled exclusively for the de Young. Expansive in scope and monumental in scale, this show is the first comprehensive survey of his 21st-century work and represents one of the most prolific decades of his career. Renowned for his use of traditional media as well as evolving technologies, Hockney has selected monumental paintings, Photoshop portraits, digital films that track the changing seasons, vivid landscapes created using the iPad, as well as never-before-exhibited charcoal drawings and paintings completed in 2013.

Large-scale, multi-canvas oil paintings and digital movies shot with multiple cameras, some requiring as many as 18 monitors for their display, portray Hockney’s beloved England. His unique perspectives of California, Iceland, and Norway are also presented, including iPad drawings of Yosemite. The portraits, central to Hockney’s practice since his youth, depict friends, colleagues, and family members, and provide a glimpse of the artist’s personal and intimate relationships with his sitters. This first comprehensive showing of Hockney’s diverse output since 2002 includes a new series documenting the arrival of spring in 2013 and reveals the artist at the peak of his creative powers.

de Young Museum
50 Hagiwara Tea Garden Drive in Golden Gate Park
San Francisco, CA 94118
415.750.3600
http://deyoung.famsf.org

 

Terry Maker: You Are Here at Kirk Hopper Fine Art

Terry Maker: You Are Here

Kirk Hopper Fine Art (Dallas)

October 18 - December 7, 2013

  • Opening Reception: Friday, October 18th, 6:30 - 8:30 pm
  • Boulder and Robischon Gallery artist Terry Maker exhibition in Dallas TX
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Terry Maker - Cycle, 2013, laundry basket, cast resin shirts, 63" x 32" x 24"

(from the press release)

Terry Maker explores mark making, both literally and figuratively. Intrigued by the mundane and sacred, she utilizes a variety of commonplace, discarded, domestic objects combined with traditional art making materials to compose sculptural forms that are subsequently cut, drilled and scraped to reveal the “guts” of the matter. Through this process, Maker examines the core principles central to the physical and spiritual concerns inherent to her work.

You are Here addresses issues of human desire, death and resurrection. The exhibition tells a story of a Big Persona and his or her varying degrees of hubris along the journey of self-fulfillment. Various works throughout the exhibit symbolize this pursuit, while the shape of the circle- a symbol of unity, wholeness and eternity, often anchors the conceptual dialogue. The oversized “Belts on a Nail” series speak of indulgence and overconsumption, while “You Are Here Hat”, a giant baseball cap with an image of Maker’s art sewn on, references an artist’s “team” becoming his or her identity. Solid graphite circular works speak of a larger than life desire to make one’s mark.

The viewer winds through a trail of cast resin, suitcases, book sculptures and a towering pile of moth eaten laundry—vestiges of our mundane human story. The vicious cycle of the search for incessant satisfaction brings one to contemplate life’s meaning and negotiate the bigger questions.

Terry Maker, born in Texas and residing in Denver, received an MA in Education from Texas Tech University and an MFA in Painting from CU Boulder. She exhibits nationally and internationally in New York, California, New Mexico, Texas, Colorado, London and Dubai. Maker has had one-person exhibits and/or installations at the Boulder Museum of Contemporary Art, the Museum of Contemporary Art Denver, the Colorado Springs Fine Arts Center, the Denver Botanic Gardens and the Cornell DeWitt Gallery in New York City, among others.

Kirk Hopper Fine Art
3008 Commerce Street
Dallas, Texas 75226
214.760.9230
http://www.kirkhopperfineart.com

 

Beyond Eden at the LA Municipal Art Gallery

Beyond Eden: A multi-gallery event celebrating the new contemporary art scene in Los Angeles

LA Municipal Art Gallery at Barnsdall Park (LA, CA)

October 12 - 13, 2013

  • Participating galleries include C.A.V.E. Gallery (Venice, CA), Copro Gallery (Santa Monica, CA), Spoke Art (San Francisco, CA), and Thinkspace (Culver City, CA)
  • http://www.beyondedenart.com

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Regan Rosburg is a participating artist in a multi-gallery event taking place this weekend in Los Angeles: BEYOND EDEN. The world's hottest contemporary artists have created new work that addresses the strife of the world's animals and endangered species. Rosburg's piece, "Juste Milieu," comments on the inseparable bond between the animals of the air and the animals of the ocean. Her piece is a visceral, ethereal experience. Using her signature style of multimedia, and including a real bird skull and black widow, one can feel both the sadness and hope that is carefully crafted into this piece. Also evident is Rosburg's dedication to raising awareness of plastic in the world's oceans.

Location: LA Municipal Art Gallery at Barnsdall Park
4800 Hollywood Blvd., Los Angeles, CA 90027
Opening Reception with artists: Saturday, October 12, 2013 from 5:00pm - 11:00pm

 

Winogrand's Women are Beautiful at the Worcester Art Museum

Winogrand's Women are Beautiful

Worcester Art Museum

August 9 - November 10, 2013

  • Organized by Assistant Curator of Prints, Drawings and Photographs, Nancy Burns
winogrand
Untitled (Centennial Ball, Metropolitan Museum, New York), 1969, gelatin silver print
Gift of the Schorr Family collection, 1991.269
© The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco

(from the press release)

Hailed as a pioneer of the "snapshot aesthetic," Garry Winogrand used a wide-angle lens on his Leica M4 camera to produce spontaneous images emphasizing how everyday subjects, like people, dogs, or crowds, interact with the landscape around them. His work features oblique perspectives, often resulting in awkwardly composed photographs made by the stealthy eye of a private investigator. However, Winogrand is also routinely criticized for exploiting the subjects of his work. In particular, his 1975 publication Women are Beautiful features eighty-five photographs of young adult women, typically composed to emphasize their breasts and backsides.

Friend and fellow photographer Joel Meyerowitz, said of Winogrand, "[his] pictures are both a slam and an embrace. He's a contradiction, and so the pictures are contradictions." Featuring sixty-eight photographs from Women are Beautiful, this exhibition attempts to negotiate these contradictions to provoke a new and insightful engagement with Winogrand and his conception of "what women are". 

Organized by Assistant Curator of Prints, Drawings and Photographs, Nancy Burns, Winogrond's Women ore Beautiful, presents the photographer's most popular portfolio through the lens of five varying themes. These themes seek to promote Winogrand's significance within the canon of photography, while engaging directly with the censure his works receive from art historians and feminists alike.

WAM's showing includes a mobile website highlighting 15 works along with supplementary material about Winogrand.

This exhibition serendipitously coincides with a retrospective focusing on Winogrand's unpublished work organized by SFMOMA (San Francisco Museum of Modern Art) and the National Gallery, Washington, D.C.

Worcester Art Museum
55 Salisbury Street
Worcester, MA 01609
508.799.4406
http://www.worcesterart.org

 

Sweat Baby Sweat: Gildar Gallery Pop Up in LA

Sweat Baby Sweat: Gildar Gallery Los Angeles Summer Pop Up Show

7466 Beverly Blvd #7 Los Angeles, CA 90036

July 21 - August 12, 2013

  • Opening Reception: Sunday, July 21st from 5-9PM
  • Featuring Works By Alex Becerra, Andrew Birk, Amber Cobb, Huey Crowley, Debora Delmar Corporation, Devon Dikeou, Ryan Everson, Shawn Huckins, Matt Jones, Adam Milner, Mark Mulroney, William Stockman, Mario Zoots
  • Curated By Adam Stamp
RyanEversonSweatBabySweat700

(from the press release)

Gildar Gallery invites you to get wet at SWEAT BABY SWEAT, a summer group show at our pop-up space in sunny Los Angeles. Curated by LA-based artist, Adam Stamp, this exhibition brings together friends of both Adams (Stamp and Gildar) from New York, Mexico City, Denver, Portland, and Los Angeles.

SWEAT BABY SWEAT gathers a group of artists whose subjective concerns are integral to the fantasies and realities of Los Angeles - addressing the more obvious traits of heat, sexiness, carnality, obsession, excess, and outward mobility or the less told stories of loneliness, alienation, failure, and defeat. Whether looking at the shining surface or the dark underbelly of a land where big dreams go to live and die, a stalwart ability to laugh it off is requisite for long-term survival. So too a discernible sense of humor persists within the works in Sweat Baby Sweat.

The term "sweat" circulates as an unencumbered cultural signifier, with its duel interpretation being equally valid in light of the show. While sweat takes into account the varied sensory experiences connected to vigorous pleasure, sex, dancing, summer, and the sun, it is equally connected to the notion of hard labor. Despite real-world/art-world obstacles, work flows uninhibitedly from each creator. The act of work is both an extension of the self and central to each artist’s cult of personality, so any labor, in a traditional sense, comes naturally. For each of these artists, distinctions between exuberant play and strenuous undertaking dissolve in the heat of their oft-possessed creative practice.

Los Angeles, the city that practically invented summer, is the ideal setting to gather this cohort of hot, hardworking artists from across North America. An exhibit that turns its back on the notion on summer group shows as lazy and boring, Sweat Baby Sweat makes a strong statement about the changing conditions of a 24/7/365 art-world. During the season of elaborate vacations and the coveted summer break, these artists just can’t stop, won’t stop putting in work. 

 

Jonas Burgert: Sticht at Produzentengalerie Hamburg

Jonas Burgert: Sticht

Produzentengalerie Hamburg

June 8 - July 27, 2013

  • Opening Reception (in Hamburg): Friday, 7th June at 6pm
  • Burgert was a resident artist at DU back in 2008 and his works are in the permanent collection at the DAM
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Jonas Burgert, sticht, 2013, oil on canvas, 220 x 180 cm

Produzentengalerie Hamburg
Admiralitätstraße 71
20459 Hamburg
Tel: +49 (0) 40 / 37 82 32
http://www.produzentengalerie.com 

 

Dmitri Obergfell, The Visigoths at Galleria Upp

Dmitri Obergfell, The Visigoths

galleria upp (Venice)

March 16 – May 11, 2013

  • Curated by Marco Tagliafierro
DO Les Statues Meurent aussi
Denver artist Dmitri Obergfell at galleria upp, Venice, Italy

(from the press release)

galleria upp of Venice is pleased to present The Visigoths, the first solo exhibition in Italy of Dmitri Obergfell (Denver, 1986), curated by Marco Tagliafierro. Through a series of sculptures, reproductions of busts chosen from among the cliché of classical statues, the show presents a metaphorical incursion, forced erosion that traces a culture’s depletion and becomes emblematic of necessary change. The young artist made nine plaster and graphite busts for this show. They are not exact replicas of the major references of western sculptural production inasmuch as they are reproduction of reproductions: a violent coercion to repetition that paradoxically accelerates the process of taking distance from the classical archetype.

Obergfell falls into the vertiginous cycle of transcriptions of the “original” to which the entire West clings, attempting to ground itself in the ever more evanescent memory of its past splendor. Beginning by treating these statues as souvenirs or kitsch schlock, Obergfell ends up presenting already depreciated ‘signs,’ shadows of themselves, imitations of fake originals. But the research doesn’t stop here, liable to interface with what Gillo Dorfles has already sufficiently explored.

Obergfell’s act, a partial annulment of the constitutive features of these sculptural “replicants”—closed mute systems that have lost their communicative function—, attempts to open a breach in the shut and self- referential system these artifacts express. Obergfell uses his sculptures like chalk on a blackboard, to create the space around them, and finally, then, puts them back on pedestals. Now brutally mutilated, these figures no longer suffer from neglect, if not that of a lazy eye whose negligence no longer contemplates art and makes statues also die (a quote dear to the artist leading directly to the title of Alain Resnais and Chris Marker’s documentary). 

Galleria Upp
Giudecca 282
30133 Venezia
Italia
Martedì-Sabato, 15.00-19.00
t. +39 328 4643887
http://www.galleriaupp.com


Jonas Burgert: Schutt und Futter at kestnergesellschaft

Jonas Burgert: Schutt und Futter

kestnergesellschaft (Hannover, Germany)

February 22 - May 20, 2013

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Jonas Burgert, Schutt und Futter (2012), 380 x 600 cm, Öl auf Leinwand, © Jonas Burgert

(from the press release)

In the exhibition »schutt und futter« the kestnergesellschaft presents the latest works by the painter Jonas Burgert (*1969 in West Berlin, lives in Berlin).

Jonas Burgert’s monumental paintings are opulent and richly detailed. His artistic repertoire draws on a rich fund cultural, historical and ethnological references. Fantastical figures, burlesque theatrical characters and surreal mythical beings populate his pictorial spaces. As participants in carnivalesque processions or entangled in mutual activities, they nonetheless remain isolated loners. Bandaged, naked or distorted bodies evoke feelings of insecurity. Burgert’s figures are not individuals, but correspond to more archetypal symbols of existential self-reassurance.

Burgert portrays universal gestures of human expression with a wide spectrum of painterly means, and imparts an auratic power to his works. He often composes his images as box-like stages, on which he unfolds the visual wealth of his imagination. Spatial openings such as wells, chasms or windows refer to a different sphere, while the sense of space is destabilised through proportional discrepancies. The illusionistic portrayal is at times interrupted by peripheral fringes of colour, paint stains, monochrome surfaces and very diverse brushwork, and transformed into abstract, ornamental structures. Burgert’s images reflect the potential of painting to create meaning. They activate a sensuous ability to bring about spaces and atmospheres, and to mirror our existence.

Jonas Burgert studied painting at the Berlin University of the Arts. His work first became known to a wider public in 2005 with the exhibition »Geschichtenerzähler« at the Hamburger Kunsthalle, and has been widely collected since then. Presentations followed in international galleries, including the Denver Art Museum, the Falkenberg Collection in the Overbeck-Gesellschaft, Lübeck, the Olbricht Collection in the Museum Folkwang, Essen, and the Deichtorhallen, Hamburg. Important institutional solo exhibitions were shown at the Kunsthalle Tübingen (2010) and the Kunsthalle Krems (2011).

kestnergesellschaft
Goseriede 11, 30159
Hannover, Germany
+49 511 70120 0
http://www.kestnergesellschaft.de


Anish Kapoor at the MCA Australia

Anish Kapoor

Museum of Contemporary Art Australia (Sydney)

December 19, 2012 - April 1, 2013  

  • Curator: Elizabeth Ann Macgregor
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Anish Kapoor

(from the MCA press release)

The Museum of Contemporary Art Australia (MCA) presents the first major exhibition in Australia of Mumbai-born, London-based artist Anish Kapoor.

This unique exhibition includes works from the early stages of Kapoor’s career to the present day. It explores the artist’s continual experimentation across a variety of materials including clay, plastic, pigment, steel and wax to create works of great visual power and emotional impact.

Highlights include one of the artist’s most ambitious works for a gallery, Memory (2008), commissioned by Deutsche Bank in consultation with the Solomon R. Guggenheim Foundation for the Deutsche Guggenheim. In the work’s first presentation in the Southern Hemisphere, Memory completely fills the MCA’s sizable Level 3 Gallery as if squeezed between the white walls. Viewers experience the rust-coloured bulbous structure from several angles including a window that looks into the cavernous interior space. By restricting the ability to view the whole work from a single point, Kapoor challenges the public to imagine the object in its entirety by piecing together memories of the work from different locations.

The exhibition also comprises a selection of the early works that first brought Anish Kapoor to prominence. Created following a short trip to India, 1000 Names (1979–80) consists of primary coloured geometric forms produced using brightly coloured powdered pigments placed on the floor or situated on the wall.

Another highlight is Void (1989), a large concave shape coated in a deep blue pigment that toys with perception. The shape changes from a convex to a concave form depending on where the viewer is situated, whilst the colour of the piece disrupts the ability to determine the object’s true proportions.

The MCA’s spacious Level 1 North Gallery is the ideal setting for the enormous wax sculpture My Red Homeland (2003). In this monumental circular sculpture, a large motorised steel blade slowly cuts a course through 25 tons of wax and Vaseline mixed with a deep red pigment. Over the period of an hour the blade traces the circumference of the structure, which measures 12 metres in diameter, endlessly dissecting and re-shaping the wax into new forms. Drawing associations with organic material such as blood, My Red Homeland stimulates not only an emotional but also a physical response.

“I am delighted that the MCA will be presenting the first major exhibition of my work in Australia. The show includes a wide range of work including examples of my more recent sculpture which I hope will be of interest to new audiences.” Anish Kapoor CBE

“An exhibition of the work of Anish Kapoor is long overdue in Australia and we are so pleased that Anish accepted our invitation to make a major exhibiton for the MCA. An exhibition that includes some of his most ambitious gallery-based works as well as the earlier pigment works that are so distinctive will undoubtedly resonate with a broad audience.” Elizabeth Ann Macgregor OBE

Anish Kapoor was born on 12 March 1954 in Mumbai (Bombay). He moved to London in the early 1970s where he has lived and worked ever since. He studied art at Hornsey College of Art (1973-1977) and at Chelsea School of Art (1977-1978). His first solo exhibition was held at Patrice Alexandre in Paris in 1980.

Museum of Contemporary Art Australia
140 George Street
The Rocks
Sydney, Australia
+61 2 9245 2400
http://www.mca.com.au

 

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