Laura Shill and Joel Swanson: Personal Structures

Palazzo Bembo (Venice, Italy)

May 11 – November 26, 2017

  • Part of the 57th Venice Biennale
  • Curated by Black Cube Executive Director + Chief Curator, Cortney Lane Stell
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Black Cube is partnering with the GAA Foundation, a Dutch non-profit organization, to host a large-scale exhibition, titled Personal Structures, which will coincide with the 57th Venice Biennale. The exhibition will take place in the Palazzo Bembo, located off the Grand Canal in Venice, Italy.

About the exhibition:

Black Cube will present two bodies of work by American artists Laura Shill and Joel Swanson, both based in Colorado. The exhibition is curated by Black Cube Executive Director + Chief Curator, Cortney Lane Stell. Shill and Swanson’s installations consider the complexities of binary structures in gender and language, exploring the spaces in-between. The dichotomies presented in these works reference the age-old pattern of how humans perceive the world through contrast - good and evil, male and female, day and night - and go beyond the polarity of opposites by exploring the in-between spaces of gender norms and language.

The Personal Structures exhibition is free, open to the public, and will be on display from May 11 through November 26, 2017. Exhibition catalogues will be available following the vernissage.

About the Venice Biennale:

For more than a century, the Venice Biennale has been one of the most prestigious cultural institutions in the world. Ever since its founding in 1895, the Venice Biennale has been in the avant-garde, promoting new artistic trends and organizing international events in the contemporary arts.

The Venice Biennale’s 57th International Art Exhibition will take place at the Giardini and is titled VIVA ARTE VIVA, and is curated by Christine Macel. The 57th Venice Biennale will include 87 National Participations in the historic Pavilions at the Giardini, at the Arsenale and in the historic city center of Venice.

About the Palazzo Bembo:

The Palazzo Bembo is a palace in Venice, Italy, on the Grand Canal, near the historic by the Rialto Bridge. The building is a contemporary art exhibition venue. It was built in the 15th century by the noble family Bembo. The building is on the San Marco side of the Grand Canal, wedged in between Rio di San Salvador and Calle Bembo.

 

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

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

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

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

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

 

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

 

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