Louise Fishman, Triumvirate, 2020, oil on linen,
23 × 16 inches; 58.4 × 40.6 cm
June 3, 2021
BOMB’s 40th Anniversary Gala & Auction
June 8-June 22, closing at 5:00pm EDT
BOMB Magazine × Artsy present BOMB 40th Anniversary Gala & Auction featuring works by artists including Louise Fishman, Louise Lawler, Trenton Doyle Hancock, William Wegman, Sanford Biggers, Fred Tomaselli, Richard Prince, Dorothea Rockburne, Cindy Sherman, Damián Ortega, and Lawrence Weiner.
Celebrating its 40th year, BOMB, a nonprofit, is now a multi-platform publishing house that provides unique insight into the creative process from its flagship print quarterly to its online Daily, its archive of 8500 primary-source documents, its essays by cultural thinkers, its Oral History Project that documents the life stories of influential African American artists, and its latest podcast series, FUSE. They champion artists of all backgrounds and disciplines because inclusive dialogue is integral to a vibrant democracy.
“It will always be of inestimable historical value to have provided these intimate glimpses into the personal centers of the creative process,” the critic and philosopher Arthur Danto declared. “The [BOMB] interviews refer to the culture in its fluid and formative state, and in this way contribute to its direction. In and through them the culture encounters itself.”
Every year, they host a Gala and Auction in New York, where they honor art luminaries. This year, they will celebrate their 40th Anniversary at the Gala on Friday, October 29, 2021 at Capitale in NYC where they will honor collector, Pamela Joyner, and visuals artists Walton Ford and Kiki Smith, and Salute Linda Goode Bryant.
Will Boone, Trespasser, 2021, enamel, acrylic, vinyl , resin, and poster on canvas,
48 × 30 inches; 121.9 × 76.2 cm
June 1, 2021
Printed Matter Benefit Auction
June 1-15, 2021, closing at 12pm EDT
Printed Matter + Artsy are thrilled to present Printed Matter’s Spring Benefit Auction featuring more than seventy artworks from contemporary artists in support of the organization’s work on behalf of artists’ books and publishing.
The proceeds from this auction will provide vital support for Printed Matter, the world’s leading nonprofit organization dedicated to the distribution, understanding and appreciation of artists’ books and related publications. Founded in 1976, Printed Matter represents over 12,000 titles by some 6000 artists from across the globe, and provides a broad range of free programs and services to artists and the public, including events and exhibitions, Art Book Fairs, and a broad distribution platform through its two nonprofit bookstores and its website printedmatter.org, one of the most extensive bibliographic databases for artists’ publications in the world.
Funds raised in this benefit auction will play a critical role in Printed Matter’s rebound from lost revenue due to the Covid pandemic, and will help ensure that Printed Matter will continue to thrive into the future.
During the pandemic, Printed Matter has worked hard to support artists while connecting artists’ books and audiences in new ways, from its first-ever Virtual Art Book Fair to an ongoing calendar of online events addressing a broad range of themes in artists’ publishing. In these precarious and challenging times the importance of the work we do has become even more clear. Artists’ books bring people together and connect us — they open spaces for people to experiment, collaborate, explore, discover, and learn, and we need them more than ever.
Liverpool Biennial 2021 explores notions of the body. Drawing on non-Western ways of thinking, The Stomach and the Port challenges an understanding of the individual as a defined, self-sufficient entity. The body is instead seen as a fluid organism that is continuously shaped by and shaping its environment.
Liverpool’s dynamic as a historical international port city – a point of global contact and circulation – provides the perfect ecosystem in which to situate these enquiries. More than 50 international artists have been invited to respond to the theme within the context of Liverpool.
The Biennial programme is presented in locations across Liverpool, including public spaces, historic sites and the city’s leading art venues: Bluecoat, FACT, Open Eye Gallery, Tate Liverpool and Victoria Gallery & Museum. New for 2021, Liverpool Biennial’s reach will also expand to the city’s historic Lewis’s Building.
Participating artists confirmed to date are:
Larry Achiampong, Black Obsidian Sound System, Erick Beltrán, Diego Bianchi, Alice Channer, Judy Chicago, Ithell Colquhuon, Christopher Cozier, Yael Davids, Ines Doujak & John Barker, Dr. Lakra, Jadé Fadojutimi, Jes Fan, Lamin Fofana, Ebony G. Patterson, Sonia Gomes, Ane Graff, Ayesha Hameed, Camille Henrot, Nicholas Hlobo, Laura Huertas Millán, Sohrab Hura, Invernomuto & Jim C. Nedd, Rashid Johnson, KeKeÇa, Jutta Koether, SERAFINE 1369, Ligia Lewis, Linder, Luo Jr‐shin, Jorge Menna Barreto, Haroon Mirza, Neo Muyanga, Pedro Neves Marques, Roland Persson, Anu Põder, Reto Pulfer, André Romão, Kathleen Ryan, Zineb Sedira, Xaviera Simmons, Teresa Solar, Daniel Steegmann Mangrané, Jenna Sutela, UBERMORGEN & Leonardo Impett, Luisa Ungar, Alberta Whittle, Zheng Bo, David Zink Yi
Liverpool Biennial is the UK’s largest festival of contemporary visual art. Taking over historic buildings, unexpected spaces and art galleries, the Biennial has been transforming the city through art for over two decades. A dynamic programme of free exhibitions, performances, screenings and fringe events unfolds over the 15 weeks, shining a light on the city’s vibrant cultural scene.
Liverpool Biennial 2021: The Stomach and the Port is curated by Manuela Moscoso and the Liverpool Biennial team.
Reggie Burrows Hodges, Hurdling: Sky Blue, 2020, acrylic and pastel on linen
68 × 52 inches, 172.7 × 132.1 cm; 69¼ × 53 inches, 175.9 × 134.6 cm (framed)
May 18, 2021
American Academy of Arts and Letters recognizes Thaddeus Mosley and Reggie Burrows Hodges
May 19, 2021, 7 pm EDT
The American Academy of Arts and Letters announced today the 18 artists who will receive its 2021 awards in art. Due to the pandemic, the awards will be acknowledged on May 19 during the Academy’s online Ceremonial. The art prizes and purchases, totaling $500,000, honor both established and emerging artists. The award winners were chosen from a group of 125 artists who had been invited to submit work. The members of this year’s award committee were: Catherine Murphy (Chair), Nicole Eisenman, Ann Hamilton, Philip Pearlstein, Judy Pfaff, Joel Shapiro, Amy Sillman, Kiki Smith, and Terry Winter
Arts and Letters Awards in Art
Eleven awards of $10,000 each to honor exceptional accomplishment and encourage creative work.
Suzanne Bocanegra • Lisa Corinne Davis •
Coco Fusco • Suzanne Joelson • Thaddeus Mosley •
Aki Sasamoto • Ming Smith • Elizabeth Tubergen •
Marie Watt • Dyani White Hawk • Carment Winant
Jacob Lawrence Awards in Art
Two awards of $10,000 each to visual artists.
Lauren Halsey • Reggie Burrows Hodges
The American Academy of Arts and Letters was founded in 1898 as an honor society of the country’s leading architects, artists, composers, and writers. Early members include William Merritt Chase, Childe Hassam, Julia Ward Howe, Henry James, Edward MacDowell, Theodore Roosevelt, Augustus Saint-Gaudens, John Singer Sargent, Mark Twain, and Edith Wharton. The Academy’s 300 members are elected for life and pay no dues. In addition to electing new members as vacancies occur, the Academy seeks to foster and sustain an interest in Literature, Music, and the Fine Arts by administering over 70 awards and prizes, exhibiting art and manuscripts, funding performances of new works of musical theater, and purchasing artwork for donation to museums across the country.
Sculpture Milwaukee
E Wisconsin Ave, Milwaukee, WI 53202
Sculpture Milwaukee will return to the streets of downtown Milwaukee this summer for its fifth annual exhibition. This year features a dynamic roster of international artworks guest curated by Chicago-based artist Theaster Gates — described by the Tate Modern as “one of the world’s most influential living artists” — and Milwaukee-based artist Michelle Grabner, Crown Family Professor of Art at the School of the Art Institute of Chicago and recent recipient of a 2021 Guggenheim Fellowship.
For the first time, Sculpture Milwaukee will present a titled exhibition, introduce a guest artist program featuring emerging artist Lauren Yeager, and boast increased community collaboration and partnered activities. The exhibition title, there is this We, is drawn from the opening line of the poem An Aspect of Love, Alive in the Ice and Fire by Gwendolyn Brooks, the first Black poet to be awarded a Pulitzer prize.
“The poetics of perseverance and determination vibrate in the art that Theaster and I have selected,” remarks Grabner. “The exhibition’s title reflects the collective power of the works included in the 2021 exhibition, and honors a belief in social change through the provocations of the artistic imagination.”
Sculpture Milwaukee Board Chair Wayne Morgan reiterated that message, “This extraordinary exhibition could not be more timely. On the heels of the hardships wrought by the pandemic, as well as issues of racial inequities brought to the forefront via the Black Lives Matter social justice movement, Theaster and Michelle are inviting us to consider some incredibly challenging questions and give thought to how we intend to move forward as a community and as a country.”
A host of local collaborations are highlighted throughout the exhibition. A work by Betty Gold, to be permanently installed on the Milwaukee Art Museum campus, will be unveiled in tandem with Sculpture Milwaukee’s 2021 exhibition. Works by Salvador Jiménez-Flores were produced through the Arts/Industry program at the John Michael Kohler Arts Center. Artist Matthias Neumann will be traveling to Milwaukee to construct his work on site with the help of architecture students from the University of Wisconsin-Milwaukee. In addition, an array of community engagement programs are slated for the Summer and Fall in conjunction with new and returning partners, including the Urban Ecology Center, TRUE Skool, Milwaukee Institute of Art and Design, 3rd Street Market Hall, and the Milwaukee Symphony Orchestra.
“We demonstrated last year we can safely create and implement a full, in-person cultural experience in the midst of the pandemic, while utilizing our unique exhibition to reflect and contribute to the most important community conversations. This has created a pathway for an even more robust experience in 2021,” remarks Executive Director Brian Schupper. “As Milwaukee continues its post-pandemic recovery, Sculpture Milwaukee is a destination in and of itself, and an invitation to re-discover and re-consider our shared urban center.”
The new sculptures will be installed beginning later this month, joining fifteen sculptures that remain on view from the 2020 exhibition. With social distancing built into its fabric, Sculpture Milwaukee will welcome guests throughout the year, and will include the return of limited in-person tours and programming, as well as offer free self-guided audio tours accessible on their website.
The 2021 exhibition will debut new works by Thaddeus Mosley, Jason Pickleman, and Brad Kahlhamer. The full roster of artists to be featured in the exhibition also include: Kevin Beasley, Betty Gold, Allison Janae Hamilton, Kara Hamilton, Salvador Jiménez-Flores, Deborah Kass, Matthias Neumann, Virginia Overton, Dan Peterman, Sara Greenberger Rafferty, John Riepenhoff, Christine Tarkowski, and Lauren Yeager.
Paul Lee,
Tambourine Stack Collapse, 2020, printed image, card and acrylic paint on canvas and paper
24 × 19 inches;
60.96 × 48.26 cm
April 24, 2021
Paul Lee, Tambourine Heart
April 24 – May 22, 2021
Adams and Ollman
418 NW 8th Ave,
Portland, OR 97209
In collaboration with Karma, New York, and co-organized with Ellen Langan, Adams and Ollman is pleased to announce a solo exhibition with artist Paul Lee on view at the gallery from April 24 through May 22, 2021. The exhibition, “Tambourine Heart,” features a new series of collages made from Lee’s distinct index of materials.
Since the late 1990s, Lee’s artistic output has often blurred the distinctions between sculpture, drawing, collage, and painting. Characterized by a palpable presence of the hand, the artist’s ongoing formal experimentation and investigation of materiality returns to the same functional objects rendered into reliquary. Imbuing material experience of the familiar with an undeniable numinousness and wonder, Lee’s formal language bends toward subversive, emotional and poetic ends.
Incorporating the practice of collage-making as a daily ritual this past year, Lee constructed these works from the existing archive of materials on hand in his studio. Beginning with a ground of painted paper, then applying remnants of hand-dyed towels, canvas splattered with paint or mimicking the circumference of a tambourine, cutouts of photos, and window screens, these works convey both past use and aesthetic potential. “Tambourine Heart” marks the first time Lee has exhibited collages in over 15 years.
Collage stands as a metaphor for material improvisation. In these new works—larger in scale than the intimate collages from his past—Lee shifts the various components in a process of non-linear play, reconfiguring notions of identity and meaning. Viewers are invited to toggle between expectation and ambiguity, to confront the body’s simultaneous presence and absence. Towels touch the body, the screen obscures it. Painted bath towels unite to form a horizon line, one between wet or dry, body and landscape, or earth and sky. An echo of a tambourine’s surface, displaced from its use, now forms a planetary body or black hole. The artist’s evocative signature color palette remains intentional: for Lee, color is fundamental to the experiences around us. Reds, blacks, lavenders, and greens reference desire, longing, death, water, and landscape—such associations and interpretations are always semiotic, various and shifting.
These works incorporate another constant for Lee—a single found photograph of an idealized face of a man. The artist dissects this image, cutting it into perfect circles that isolate fragments of flesh, nose, ears and lips, while at other times collaging over the face’s whole. This pathos bends to the circle as a universal symbol of perfection and for Lee, a stand-in for a tambourine bell rendered silent. That idealized face is often doubled and mirrored, hiding behind a world of abstracted shape, color and form.
Accompanying and footnoting these works on paper are three new tambourine sculptures, intimate constructions reformulated from the same arsenal of materials, further expanding Lee’s inimitable language.
The compositions appear as self-contained worlds that do not resolve. Rather, they reveal a key thread or narrative throughout Lee’s work—one that explores the places of transition between public and private, mind and body, body and world, connection and separation, restraint and desire, the place of tending to both what remains and to what can be anew.
Paul Lee (b. 1974, London, UK) lives and works in New York. Recent exhibitions include David Shelton Gallery, Houston (2020); Karma, New York (2019); Modern Art, London (2018); Michael Lett, New Zealand (2017); Jeffrey Stark, New York (2016); Maccarone, Los Angeles (2016); Untilthen, Paris (2015); and University of the Arts, Philadelphia (2015).
Marley Freeman, close, 2021, oil and acrylic on linen, 20 × 20 inches; 51 × 51 cm
April 24, 2021
Marley Freeman, Happy Living Things
April 22- July 31, 2021
Travesía Cuatro
Guadalajara, Mexico
Avenida de la Paz 2207
Col. Lafayette
44140 Guadalajara, Jalisco
Mexico
There are many possible explanations for the success of the multi-hued provocations that are Marley Freeman’s oil and acrylic paintings. A brilliant and imaginative colorist, and a master in the art of glazing, she surrenders to fate, knowing “Painting” itself will give her the answers that she is looking for. As an absolute submission to the eternal art of painting, this enamored artist patiently remains open to the demands of the work itself. What might appear to be a hasty execution, due to its freshness, is the result of a thoughtful meditation. She often returns to the work at intervals of days, weeks, and even months until she is able to give it the final brushstroke. Chance meets control; speed relies on the artist’s creative absorption.
The results are small gems that overwhelm us with their fierce vitality. Delicate and enigmatic, her paintings emerge as subjective landscapes emotionally close to Abstract Expressionism; they even possess something of a jazz swing, which moves us to think that Freeman is also pursuing an inquiry into the spiritual. She welcomes the challenge of jumping into the abyss, unprotected, knowing she is powerful when in sync with the beat of her prodigious intuition. This aspect of Freeman’s process shelters and invigorates her and as an ancient and experienced medium, she lets herself be guided. She resists and succeeds: the end is always the light.
It may be that this balance of color and shapes, so skillfully achieved in her paintings, is the result of having grown up among the antique and vintage colorful fabrics in which her father traded. On several occasions, she has gone even further in accepting that legacy by combining her paintings exhibited in the galleries alongside sculptures draped with pieces in her family collection. In these installations, cause and effect are intimately united, generating a cosmology of concepts where the paintings become like astral bodies and the brocades, like paintings: a symbolic knot of ideas carrying us to that place that has no name -almost utopian.
For this project at Travesía Cuatro, Marley has been inspired by “The Rime of the Ancient Mariner” by Samuel Taylor Coleridge. The vulnerability of the sailor in the poem, his guilt for having killed the albatross, and his final redemption, have inspired her to associate those human feelings of uncertainty to the times of trauma and loss in which we are living today, intentionally transmitting a longing for salvation into her paintings. The beauty of the poem overwhelms us in its tragic emotion intertwined with moments of great imagination implicit in Romanticism; but it also moves us through passages filled with colors, winds, and the flights of birds, as if in the midst of that tragic beat, color, and thrill for life were bringing uplifting news. This mood is echoed in the crimsons, cobalts, magentas, emeralds and ochres with which Marley delights us in her paintings and that together with the titles taken from passages in the poem, complete this new project. Lukas Geronimas has made four beautiful frames in wood: they add another layer of meaning to her work, this time in a suggestive modernist key. The chromatic range of Freeman’s palette combined with generous spacing on the gallery walls, convey, once again, that her output -in its silent tenderness- possesses a timeless quality.
Tabboo! 1982-88
Book Launch and Signing at Karma Bookstore
May 1, 2021, 4-6 pm EST
Gordon Robichaux and Karma present a book launch and signing at Karma Bookstore –
136 East 3rd Street, New York City, Saturday, May 1, 2021, 4-6 pm.
This clothbound volume appraises the formative years, from 1982 to 1988, of legendary performer, painter, designer, puppeteer and muse Tabboo!’s career. The book displays historical ephemera—including homemade flyers for performances at iconic clubs—along with the artist’s paintings. Additionally, an essay on the “Glamorous Life” by Jarrett Earnest explicates the thematic concerns of the catalog. In a 1995 interview with Linda Simpson about his early work, he observed: “the subject matter was drag, glamour, ladies’ shoes, lingerie, hairdos, vinyl—same as now.” Tabboo!: 1982–1988 underscores the joy of creating and living,
exuberantly.
Moon Garden, 2020,
printed image, washcloth and acrylic paint on canvas and paper, 24 × 19 inches; 61 × 48.3 cm
April 15, 2021
The Moon and The Echo: responses to The Moon and The Melodies (1986) by Harold Budd and Cocteau Twins
Softcover
15 × 19 cm
76 pages
The Moon and The Echo is the first in a new series of anthologies from London-based publisher Pilot Press seeking contemporary responses to works of art made during the AIDS crisis.
In the first iteration, responses were sought to the 1986 collaborative studio album The Moon and The Melodies by the late composer Harold Budd (1936-2020) and the Scottish dream pop band Cocteau Twins.
Mark Flood, Dominoes , 2021, Ever Gold [Projects], San Francisco, installation view
April 8, 2021
Mark Flood, Dominoes
April 14 – May 15, 2021
Ever Gold [Projects]
1275 Minnesota Street
Suite 106
San Francisco, CA, 94107
The Museum of Crypto Art (M○C△), in conjunction with Ever Gold [Projects], presents Dominoes, a solo exhibition by Mark Flood which will open up simultaneously in real life at Ever Gold and in virtual reality at M○C△ on April 14th. Dominoes will feature Flood’s first NFTs, as well as analog counterparts on canvas.
The increasingly feeble-minded Flood has suggested that he views his perfect NFTs as “souls” and the relatively flawed paint-on-canvas versions as “bodies that are born in blood, struggle, suffer, and eventually die.”
Flood’s NFTs are digital designs created by the artist over the last five years. They are created with the same novel techniques Flood used for other traditional painting series to “hyper-evolve” corporate logos, US Flags, Rothko paintings, and typography. Works from these series have been featured in exhibitions such as Available NASDAQ Symbol, (Zach Feuer), GOOGLE MURDER-SUICIDE (Maccarone, New York), Astroturf Yelp Review Says Yes (Peres Projects, Berlin), American Buffet Upgrade, (Stuart Shave/Modern Art, London), and The Insider Art Fair (Center 548, New York).
Flood’s NFTs will be released on SuperRare under the name american_buffet, in a series of drops beginning on opening night of the exhibition. SuperRare describes itself as an online “marketplace to collect and trade unique, single-edition digital artworks.”
The traditional painted acrylic-on-canvas versions of Flood’s NFTs will be on view at Ever Gold [Projects] in San Francisco as the artist’s fourth solo show with the gallery. These paintings were created over the last few months as “portraits” of the NFTs, and each NFT has a corresponding 60 × 48 inch painting. The Paintings and the NFTs are offered separately.
Flood refers to these new artworks as “Dominoes” simply because they remind him of domino games from childhood. Specifically, the designs remind him of the ivory game-pieces crowded together face-down in “the boneyard.”
Four of Flood’s NFTs have already been acquired by M○C△ and under the curatorial vision of the director, Colborn Bell, have each been transformed into virtual reality site-specific architectural experiences, each displaying the NFT artwork that the space was designed after.
Ann Craven,
Roses (on Blue with Orchids, after Buffet), 2021, 2021, oil on canvas, 84 × 72 inches; 213.4 × 182.9 cm
April 7, 2021
RxART Virtual Visit: Ann Craven
April 19, 2021 1:00 PM EST
Ann Craven (b. 1967, Boston, MA) is known for her lush, serial portraits of the moon, birds, and flowers, as well as her painted bands of color. After completing each work, she dates and titles each palette, rendering it a unique and isolated index of her process. Craven’s predilection for the copy—both from referent photographs and from her own plein air paintings—is both an homage to Pop Art and an exploration of remembrance. As she explains, “My paintings are a result of mere observation, experiment, and chance, and contain a variable that is constant and ever-changing—the moment just past.” Craven presented her first retrospective, titled TIME and curated by Yann Chevalier, at Le Confort Moderne in Poitiers, France in 2014. Recent solo exhibitions include the Center for Maine Contemporary Art, Rockland, Maine (2019); Shane Campbell Gallery, Chicago (2019); Karma, New York (2018); Southard Reid, London (2017); Maccarone, New York (2016); among others.
Craven’s solo show, Animals Birds Flowers Moons, is currently on display at Karma. Her paintings are in the public collections of the Museum of Modern Art, New York; Whitney Museum of American Art, New York; New Museum, New York; and the Museum of Contemporary Art in Chicago, among others.
Andrew Cranston, Da da da, 2020, oil and varnish on hardback book cover, 7⅝ × 5⅞ inches; 19.5 × 15 cm
March 23, 2021
Andrew Cranston in Dear John
March 19 – April 17, 2021
Adams and Ollman
418 NW 8th Ave
Portland, OR 97209
Andrew Cranston is featured in Dear John, a group exhibition at Adams and Ollman. In collaboration with Fleisher/Ollman Gallery (Philadelphia), and conceived as a special tribute to the maverick art dealer John Ollman, featuring major works by James Castle (1899–1977) in conversation with a range of contemporary artists. Born profoundly deaf and believed never to have learned to read, write, or sign, James Castle spent his lifetime making art on his family’s farm in Idaho. Creating sophisticated drawings, books, and sculptures from humble materials such as discarded envelopes, matchboxes, twine, and soot, Castle produced a complex body of work: one that is not only deeply personal—as it intimately documents the artist’s life and surroundings—but also provides the viewer with a fascinating glimpse into rural American life and landscape of the last century.
Ann Craven, Moon (After Pink Full Moon over Quiet Water), 2021, 2021, oil on canvas, 40 × 30 inches; 101.6 × 76.2 cm
March 18, 2021
Ann Craven in conversation with Jessamine Batario
The Brooklyn Rail
March 23, 2021, 1PM
Artist Ann Craven joins art historian and Rail guest critic Jessamine Batario for a conversation over Zoom.
Ann Craven (b. 1967, Boston, MA) is known for her lush, serial portraits of the moon, birds, and flowers, as well as her painted bands of color. After completing each work, she dates and titles each palette, rendering it a unique and isolated index of her process. Craven’s predilection for the copy—both from referent photographs and from her own plein air paintings—is both an homage to Pop Art and an exploration of remembrance. As she explains, “My paintings are a result of mere observation, experiment, and chance, and contain a variable that is constant and ever-changing—the moment just past.” Craven presented her first retrospective, titled TIME and curated by Yann Chevalier, at Le Confort Moderne in Poitiers, France in 2014. Recent solo exhibitions include the Center for Maine Contemporary Art, Rockland, Maine (2019); Shane Campbell Gallery, Chicago (2019); Karma, New York (2018); Sothard Reid, London (2017); Maccarone, New York (2016); among others.
Craven’s solo show, Animals Birds Flowers Moons, is currently on display at Karma. Her paintings are in the public collections of the Museum of Modern Art, New York; Whitney Museum of American Art, New York; New Museum, New York; and the Museum of Contemporary Art in Chicago, among others.
Jessamine Batario is an art historian of modern and contemporary art. She received her PhD in Art History from The University of Texas at Austin. Batario currently lives in Waterville, Maine, where she is the Linde Family Foundation Curator of Academic Engagement at the Colby College Museum of Art.
Maja Ruznic,
Siege, 2019, oil on canvas, 80 × 70 inches; 203.2 × 177.8 cm
March 13, 2021
Robert F. Agrella Gallery
Santa Rosa Junior College
Visiting Artist Lecture Series
Maja Ruznic
March 17, 2021, 3:30 PM
The Robert F. Agrella Gallery will be hosting an artist talk featuring the work of Maja Ruznic.
Ruznic states, “I realized when I could see the tooth of the canvas, the canvas is breathing. That is a different kind of texture”. Ruznic starts by pouring thin layers of previously used Gamsol (paint thinner) from her preceding paintings. There is no waste in this methodology, one painting grows out of the other. This is Ruznic’s signature mark-making, using gravity to place color and form onto the canvas or paper, which she then re-negotiates with line and brushwork.
Her double major in art came after studying psychology, and some of these studies indicated to her the way that memory exists in the mind. It is not a static thing that is recalled and then put back in its place; it is a living, developing idea which is never really objective. Ruznic’s work is like this, a dream object. This is by design, as she wants the viewer to feel as if they are trying to capture a cloud in a bottle – something that seems plausible but no one has ever done.
Close to Home
Creativity in Crisis
Spring 2021–Fall 2021
Close to Home: Creativity in Crisis brings together seven Bay Area artists ― Carolyn Drake, Rodney Ewing, Andres Gonzalez, James Gouldthorpe, Klea McKenna, Tucker Nichols, and Woody De Othello ― and their deeply personal responses to the COVID-19 pandemic and social upheaval of 2020. Their projects emerged from the profound curtailing of daily life that resulted from shelter in place: the disruption of routines and the inaccessibility of studios or materials, the instability in employment, and the delicate and sometimes untenable balance struck between family needs and work obligations. These challenges demanded an adaptive way of working; rather than closing off opportunities, the constraints prompted new approaches and new lines of inquiry.
Individually, the artists demonstrate a startlingly wide range of artistic, emotional, and political responses, a reminder of how this unprecedented period affects each of us differently. Taken together, their work emphasizes our shared experience in this collective crisis.
Maja Ruznic, Ancestors II, 2020, acrylic and oil on linen, 100 × 76 inches; 254 × 193.04 cm
February 25, 2021
In the Sliver of the Sun:
Maja Ruznic
March 6-September 26, 2021
The Hartwood Museum
238 Ledoux Street
Taos, New Mexico 87571
The works in this series, titled In the Sliver of the Sun, depict ghostly figures that arouse a sense of touch through erasure. Simultaneously fading into and emerging from the horizon, they seem to be returning from a long journey. Ruznic uses thin stains and washes of acrylic and oil paint to create the initial compositions for these works. She builds up the surfaces by scumbling and layering, then sands the dry paint to expose the tooth and texture of the canvas. This unique subtractive process leaves us with a sense of ghostly materiality—an undefined absence.
Maja Ruznic was born in Bosnia and Herzegovina in 1983. After fleeing the Bosnian War, she and her family immigrated to the United States in 1995. She went on to study at the University of California, Berkeley and received her MFA from California College of the Arts. Ruznic’s experiences as a Bosnian war refugee and immigrant prefaced her artistic preoccupations with history, myth, suffering, and trauma. Vivid and darkly humorous, her figures emerge from the canvas with the hazy incandescence of memory.
She has exhibited internationally and her work has been written about extensively, most notably in Artforum, ArtMaze Magazine, Juxtapoz, New American Paintings, Studio Visit Magazine, and the San Francisco Bay Guardian. Ruznic lives and works in Roswell, New Mexico.
Keith Mayerson, Me in the Proust Room for our 40th birthday, oil on linen, 22 × 30 inches; 55.9 × 76.2 cm
February 22, 2021
Artist talk: Keith Mayerson
USC Roski School of Art and Design
Wednesday, February 24, 2021 5:00pm EST
Keith Mayerson (b. 1966, Cincinnati, OH) is inspired by symbols of American history and pop culture, and depicts familiar figures who have impacted the country’s consciousness, in addition to personal scenes and his abstract “iconscapes”. His work allegorizes themes of resilience, determination, and the “American dream.” Iconic images, heroes, places, and events are rendered luminous and transcendent through Mayerson’s micro-managed brushwork and coloring. His subjects are often selected for their backstories and cultural impact; in Mayerson’s paintings, they embody contemporary national feelings and sentiments. While his formal features hint at a French Impressionist influence, his images could be seen to recall the work of Symbolists, in their spiritual components, cultural commentary and review, in addition to being inspired by the more visionary aspects of American Modernists and the Old Masters. Mayerson’s paintings are informed by his immersion into his subjects. Like a method actor, he listens to albums, biographies, or other audio materials on the figures in question while painting them. The entrenched conceptual investment and consideration behind his practice imparts an earnest, emotive resonance. His exhibitions are often installations of images that create larger narratives. Each work is imbued with allegorical content that relates to the world, yet allows through its formal nuances for the transcendent and sublime. The works stand on their own for form and content, but like a prose poem of images on walls, experienced in context the images as a series, the viewer creates the ultimate meaning for the installations. Since the George W. Bush era, his long running non-linear narrative “My American Dream” has been presented in separate exhibitions as “chapters” and the ongoing series continues through today.
Keith Mayerson studied Semiotics and Studio Art at Brown University and received an MFA from the University of California, Irvine. Mayerson’s work was prominently featured in the Cleveland Museum of Contemporary Art with a solo show My American Dream, the 2014 Whitney Biennial, and the Whitney Museum’s inaugural downtown show, America is Hard to See. His graphic novel Horror Hospital Unplugged, a collaboration with the writer Dennis Cooper, is well known among graphic artists. A graphic novel biography of James Dean is forthcoming, to be published by Fantagraphics, and is editing a book on the outsider cartoonist Frank Johnson, also for Fantagraphics to be published soon.
His recent solo exhibitions include the Elaine de Kooning House Foundation, East Hampton (2019); Marlborough Gallery, New York (2019); and the Bridge, Bridgehampton (2019). He will be having solo exhibitions of painting and drawing at KARMA Gallery NYC, forthcoming this September, 2021. Keith Mayerson’s work is featured in the permanent collections of the Whitney Museum of American Art, the Museum of Modern Art, New York, the Museum of Contemporary Art, Los Angeles, the Los Angeles County Museum of Art, the San Francisco Museum of Modern Art, the Berkeley Art Museum, the Cleveland Museum of Art, and the Columbus Museum of Art, The Davis Museum of Art of Wellesley College, MA, American University Museum, Washington, D.C., the RISD Museum and the Institute of Contemporary Art, Miami.
Reggie Burrows Hodges,
Pace House (self Portrait), 2021, acrylic and pastel on linen, 11 × 13 inches; 27.9 × 33 cm
February 10, 2021
Rockland, ME, January 29, 2021 – Just in time for Valentine’s Day, the Center for Maine Contemporary Art is offering its annual “Art You Love” benefit auction in partnership with Artsy, the global online auction platform. Featuring more than 50 works of art by leading and emerging artists connected with Maine, the CMCA auction is an opportunity to purchase art you love and support CMCA’s exhibitions and educational programming for all ages.
This is the fourth year CMCA has partnered with an online auction house to bring its benefit auction to a global collecting market. “The Artsy platform is respected worldwide and allows people to bid on works of art no matter where they are located,” says former CMCA director Suzette McAvoy, who assisted with organizing this year’s auction. “We are immensely grateful to the artists and galleries that have contributed works in support of CMCA. There is something for buyers at every point in the market, with works by emerging to established talents.”
Bidding for CMCA’s “Art You Love” auction, cmcanow.org/auction, opens at noon on Friday, Feb. 12, and runs through 5 p.m. EST on Friday, Feb. 26. At the close of the auction, successful bidders will be notified by CMCA to make arrangements for shipment of the art.
Artists contributing to the 2021 CMCA Benefit Art Auction include:
Jeffery Ackerman, Bo Bartlett, Gideon Bok, Katherine Bradford, Meghan Brady, Jenny Brillhart, Fanny Brodar, Emily Brown, Jackie Brown, Tom Burckhardt, Sam Cady, Avy Claire, Cathy Cone, Julie Crane, Ann Craven, Dan Mills, Grace DeGennaro, Lois Dodd, Michel Droge, Betsy Eby, Carol Eisenberg, Jeff Epstein, Inka Essenhigh, Melanie Essex, Clint Fulkerson, Jessica Gandolf, Harold Garde, Elizabeth Greenberg, Peter Halley, Reggie Burrows Hodges, Jill Hoy, Jeanie Hutchins, Alex Katz, Sal Taylor Kydd, Megan Magill, Jonathan Mess, Tracy Miller, K. Min, Steve Mumford, Colin Page, David Row, Gail Savitz, Claire Seidl, Anneli Skaar, Gail Skudera, Suzy Spence, Emilie Stark-Menneg, Sara Stites, Barbara Sullivan, William Wegman, Kathy Weinberg, Nicole Wittenberg, James Wolfe, Deborah Zlotsky, Dudley Zopp
CMCA has held a benefit fine art auction showcasing work by national and emerging artists associated with Maine for more than 40 years. For assistance or further information on this year’s “Art You Love” auction, please contact Justine Kablack at jkablack@cmcanow.org or visit cmcanow.org.
Ann Craven,
Pensée #35 (Reims, France, April 15, 2008), 2008, watercolor on paper.
23 × 15 inches; 58.4 × 38.1 cm
February 10, 2021
Rockland, ME, January 29, 2021 – Just in time for Valentine’s Day, the Center for Maine Contemporary Art is offering its annual “Art You Love” benefit auction in partnership with Artsy, the global online auction platform. Featuring more than 50 works of art by leading and emerging artists connected with Maine, the CMCA auction is an opportunity to purchase art you love and support CMCA’s exhibitions and educational programming for all ages.
This is the fourth year CMCA has partnered with an online auction house to bring its benefit auction to a global collecting market. “The Artsy platform is respected worldwide and allows people to bid on works of art no matter where they are located,” says former CMCA director Suzette McAvoy, who assisted with organizing this year’s auction. “We are immensely grateful to the artists and galleries that have contributed works in support of CMCA. There is something for buyers at every point in the market, with works by emerging to established talents.”
Bidding for CMCA’s “Art You Love” auction, cmcanow.org/auction, opens at noon on Friday, Feb. 12, and runs through 5 p.m. EST on Friday, Feb. 26. At the close of the auction, successful bidders will be notified by CMCA to make arrangements for shipment of the art.
Artists contributing to the 2021 CMCA Benefit Art Auction include:
Jeffery Ackerman, Bo Bartlett, Gideon Bok, Katherine Bradford, Meghan Brady, Jenny Brillhart, Fanny Brodar, Emily Brown, Jackie Brown, Tom Burckhardt, Sam Cady, Avy Claire, Cathy Cone, Julie Crane, Ann Craven, Dan Mills, Grace DeGennaro, Lois Dodd, Michel Droge, Betsy Eby, Carol Eisenberg, Jeff Epstein, Inka Essenhigh, Melanie Essex, Clint Fulkerson, Jessica Gandolf, Harold Garde, Elizabeth Greenberg, Peter Halley, Reggie Burrows Hodges, Jill Hoy, Jeanie Hutchins, Alex Katz, Sal Taylor Kydd, Megan Magill, Jonathan Mess, Tracy Miller, K. Min, Steve Mumford, Colin Page, David Row, Gail Savitz, Claire Seidl, Anneli Skaar, Gail Skudera, Suzy Spence, Emilie Stark-Menneg, Sara Stites, Barbara Sullivan, William Wegman, Kathy Weinberg, Nicole Wittenberg, James Wolfe, Deborah Zlotsky, Dudley Zopp
CMCA has held a benefit fine art auction showcasing work by national and emerging artists associated with Maine for more than 40 years. For assistance or further information on this year’s “Art You Love” auction, please contact Justine Kablack at jkablack@cmcanow.org or visit cmcanow.org.
Paul Mogensen,
no title (graphite and acrylic lacquer, four rectangles), 1966,
graphite and acrylic lacquer on canvas,
4 parts, overall: 132 × 84 × 2 inches; 335.3 × 213.4 × 5.1 cm
January 23, 2021
Paul Mogensen
January 23–March 6, 2021
Blum & Poe
2727 S. La Cienega Boulevard
Los Angeles, California 90034 blumandpoe.com
Taking cues from modernist jazz, Pittsburgh-based, self-taught artist Thaddeus Mosley wields a mallet and chisel to rework salvaged timber into monumental biomorphic sculptural forms. Three of Mosley’s human scale works, Region In Suspension (1996), Oval Continuity (2017), and Branched Form (2017) have been cast in bronze and installed at Eastside Bond plaza in East Liberty. Join us as we mark this significant installation of work by an artistic legend with a conversation celebrating Mosley’s body of work facilitated by art historian and curator Kilolo Luckett. Watch the conversation here.
Dike Blair,Untitled, 2020, oil on panel, 7 1⁄2 × 10 inches; 19 × 25.4 cm
December 2, 2020
Henni Alftan & Dike Blair
Karma × VSF Zoom Walkthrough
with Henni Alftan, Dike Blair, and Linda Norden
Friday, December 4, 6PM EST / 3PM PST
Saturday, December 5, 12AM CET / 8AM KST
Registration required. Register for the Zoom Walkthrough here.
Robert Grosvenor, Untitled , 1968/2019, at Institute of Contemporary Art, Miami. Photo: Adam Fratus.
November 18, 2020
The spring program of Institute of Contemporary Art, Miami (ICA Miami) includes a presentation of the large-scale sculpture Untitled (1968/2019) by Robert Grosvenor, the 2020 recipient of the Ezratti Family Prize for Sculpture. Upon its installation at ICA Miami in 2019, the seminal work, which marks a crucial transformation in the artist’s work, had not been restaged for 40 years. Set to be reinstalled at ICA Miami this spring, the work was recently acquired by ICA Miami thanks to the Prize. The Ezratti Family Prize for Sculpture is awarded by ICA Miami to a living artist in recognition of their exceptional contributions in the area of sculpture. The inaugural winner, Damián Ortega, was awarded the prize upon its launch in 2019. Building on the museum’s history of commissioning and presenting new works, the prize reflects ICA Miami’s ongoing commitment to promoting experimentation in artistic practice and providing an international platform for influential voices in contemporary art.
“ICA Miami’s spring program showcases artists whose works advance important and inclusive narratives of contemporary art. Through these exhibitions, we invite audiences to engage with thrilling new works, grapple with some of the most pressing matters of our time, and consider how contemporary art challenges and responds to our current world,” said ICA Miami Artistic Director Alex Gartenfeld . “This spring, we also celebrate the pioneering artist Robert Grosvenor as the recipient of the annual Ezratti Family Prize for Sculpture. Grosvenor’s contributions to sculpture and influence on his generation merit greater recognition, and we are pleased to collect and preserve an important and monumental work by the artist.”
Henni Alftan, Precision, 2020, oil on canvas, 21 1⁄4 × 25 1⁄2 inches; 54 × 65 cm
November 18, 2020
Henni Alftan & Dike Blair
Karma × VSF
Opening November 28, 2020
Various Small Fires
79 Dokseodang-ro, Hannam-dong
Yongsan-gu, Seoul, South Korea http://www.vsf.la/seoul/
Various Small Fires is pleased to present a two-person exhibition with Henni Alftan and Dike Blair in collaboration with Karma, NY in its Seoul location.
Featuring six new paintings by each artist, the work of Alftan and Blair negotiates the pure rendering of an image and the conceptual grounding behind a painting’s creation. Their explorations of the everyday share a similar focus on small, simple moments, and offer unassuming scenes without commentary: a delicately folded scarf, a hand in a coat pocket, a bowl of Cheez-It crackers. Yet both their practices are also strongly tied to notions of process; their preparative stages cross over into different mediums and methods. Alftan’s paintings begin as a text description of the subject she has in mind, from which she synthesizes a visual plan. Blair’s pieces start as photographs taken by the artist, who uses them as other painters would use a preliminary sketch. The resulting works are translations, both from one medium to another and from the realm of life into that of the picture.
The focus on the artistic process itself is explicitly incorporated in Precision (2020). Self-conscious in its subject matter, the work’s depiction of a paint brush, hand, and surface recall the action that birthed it. As Alftan states: “small perceptions of the everyday will merge with reflections on looking, painting and image making: the motif of my works is equally painting itself, its history, the paint as a physical substance, the tableau as an object.” Her dimensional handling of her medium further alludes to the visual deception that is representational painting; her brush work faintly recalls the fine grain wood of the paint brush handle. Alftan’s livening of her surface through variations in texture breaks the pictorial illusion, and invites the viewer to consider her work as examinations of the qualities of paint itself. As Elizabeth Buhe states, “Rather than pulling the onlooker into illusionistic space, the paintings project into lived space.”
Precision also introduces the formal elements that characterize Alftan’s oeuvre. The picture closely focuses on an action, heightened and made tense by the framing. Her work is visually defined by cinematic cropping and simplified forms; their unusual perspectives imbue even the smallest moments with a sense of gravity. Pockets and coats play with notions of concealment and exposure: a hand is hidden inside plaid folds, a collar is upturned to obscure the bottom of a carefully cropped face. Other elements resemble static freeze frames: scissors are held open in mid motion, and papers, lifted by the wind, are unnaturally frozen while falling through space.
On the other hand, Blair creates images that, while meticulously constructed, appear candid. He fuses the visual language of the quick snapshot with the laborious, careful study of figurative painting. The outcome is equally diaristic and cerebral; while paintings are understood as fiction, photographs imply fact. Blair manipulates the way his materials signify, contending with their respective historical legacies. His slow, painterly consideration of quickly documented subjects further creates an air of nostalgia, reflection, and wistfulness. The beauty of the everyday is laid bare, and documented with sincerity.
As Helen Molesworth states, Blair’s paintings log “the intensity of human habit.” Half eaten food, a used match, a lighter casually laying on the table—the work evokes universal memories. An open door, bright and blurred against a dark room, prompts a recollection of squinting, bleary eyes. Lenses folded on top of a book echo the routine of wearing and removing reading glasses. Traces of human activity can be read throughout Blair’s oeuvre, with the appearance of flash further alluding to the artist’s layered process. The result is at once new and familiar, personal and collective, and a reminder of the beauty of deliberate, close looking.
The exhibition will be accompanied by a fully-illustrated publication featuring a newly commissioned essay by Linda Norden.
_____
Henni Alftan (b. 1979) is represented in the public collections of the Helsinki Art Museum, Helsinki; Amos Anderson Art Museum, Helsinki; Hammer Museum, Los Angeles; Dallas Museum of Art, Dallas; JNBY Art Center, Shanghai; and the Kuntsi Museum of Modern Art, Vaasa; among others. Recent exhibitions include Karma, New York (2020); Studiolo, Milan (2019); TM-Galleria, Helsinki (2018); and Z Gallery Arts, Vancouver (2017).
Dike Blair (b. 1952) is featured in the collections of the Whitney Museum, New York; Brooklyn Museum, New York; Los Angeles County Museum of Art, Los Angeles; and the Museum of Contemporary Art Los Angeles, among others. Recent solo exhibitions include The Modern Institute, Glasgow (2019); Karma, New York (2018); Frieze, New York (2018); Secession, Vienna (2016); and Jüergen Becker Gallery, Hamburg (2016).
“Artists paint themselves, viewers see themselves – this is not related” – Gene Beery
The world has been confined to DIY hermetically sealed chambers for months on end. Packaged and pickled, we continue to wait out the unknown. In his studio, Mathew Cerletty has continued work on a series of paintings of idealized household objects, scaled up and isolated on single color backgrounds. His subjects float, concentrated, preserved and contaminant free, in a purified space that only leaves room for the viewer.
Approaching a Cerletty painting often begins with humor and recognition, but one quickly realizes the exchange is not entirely stress-free. We understand and know these objects yet they continually resist our apprehension. According to Cerletty, “I paint them in the hope that they can evolve and remain interesting for different reasons over time.” It’s a strategy that’s proved effective as quarantine hit and symbols take on new meaning.
As looming questions of interpretation draw us in, often until nose is pressed to canvas, we can steady ourselves through craft and technique, and seeing that yes, this picture is painted. The production of these images is refined on a molecular level. Thin layers of paint are applied over months in a seeming attempt to blot out any light from behind the curtain, capturing us on a threshold that Michael Fried cites as “an imaginary boundary between the world of the painting and that of the beholder.”1
The recapitulating attempts to penetrate Cerletty’s impervious wall are perpetual, igniting a tête-à-tête whose only conclusion is layered multivalency. But in the sincerity of painstaking craft there’s warmth; this is a game that wants to be played. Cerletty’s careful attention conveys significance and his subjects always return a scrutinizing gaze, seeking connection with a viewer who might catalyze the work’s completion.
Mathew Cerletty (b. 1980, Milwaukee, Wisconsin) is an American artist living and working in Brooklyn, New York. Solo exhibitions include: Karma, Standard (Oslo), Office Baroque, Blum & Poe, Algus Greenspon, Team Gallery and Rivington Arms. Group exhibitions include: “Flatlands”, Whitney Museum of American Art; “Sputterances”, Metro Pictures, organized by Sanya Kantarovsky, and “The Painter of Modern Life” curated by Bob Nickas, Anton Kern Gallery, New York.
Paul Lee in conversation with
Stonewall National Museum & Archives’
Executive Director Hunter O’Hanian
October 13, 2020
Paul Lee joined Stonewall Museum and Archives’ Executive Director Hunter O’Hanian to share a slideshow of work and discuss abstraction as a different way of representing queerness. Watch the full conversation here.
Reggie Burrows Hodges, Black Ground: In the Service of Others, acrylic on canvas, 54 × 68 inches; 137.2 × 172.7 cm
October 23, 2020
Reggie Burrows Hodges is a 2020
recipient of the annual Joan
Mitchell Painters & Sculptors Grant joanmitchellfoundation.org
In this moment of profound change and contraction within the arts landscape, we at the Foundation felt it was particularly important to continue with this annual grants cycle, providing artists with flexible financial support as well as the recognition essential to career progress.
The 2020 Painters & Sculptors Grants recipients are:
Zarouhie Abdalian, New Orleans, LA
Natalie Ball, Chiloquin, OR
Rina Banerjee, New York, NY
Bahar Behbahani, Brooklyn, NY
Sarah Cain, Los Angeles, CA
Luke Luokun Cheng, Falls Church, VA
Jesse Chun, Brooklyn, NY
Gabriel Dawe, Dallas, TX
Joey Fauerso, San Antonio, TX
Colette Fu, Philadelphia, PA
Reggie Burrows Hodges, Maine
Linda Infante Lyons, Anchorage, AK
Kahlil Robert Irving, Saint Louis, MO
Tomashi Jackson, Cambridge, MA
Caroline Kent, Chicago, IL
Fred H.C. Liang, Boston, MA
Melissa Melero-Moose, Reno, NV
Julio César Morales, Chandler, AZ
Demetrius Oliver, New York, NY
Diego Rodriguez-Warner, Aurora, CO
Arvie Smith, Portland, OR
Edra Soto, Chicago, IL
Cory Kamehanaokalā Holt Taum, Kahaluʻu, HI
Jordan Weber, Des Moines, IA
Didier William, Elkins Park, PA
The selected artists were first nominated by artist peers and arts professionals from throughout the United States and then chosen through a multi-phase jurying process, which this year was conducted virtually. In addition to the $25,000 financial award, grantees also gain access to a network of arts professionals, who can provide consultations on career development and financial management, and become eligible to apply for residencies at the Joan Mitchell Center in New Orleans.
“The Foundation first launched the Painters & Sculptors Grants 27 years ago with the vision to support and nurture the lives and careers of working artists, recognizing that creative endeavor is best supported through robust and unrestricted financial support. This year, the $625,000 in unrestricted funds awarded through the Painters & Sculptors Grants builds on the nearly $1,000,000 in relief funding that the Foundation will have given by year’s end to the coalition efforts Artist Relief and Creative Response NOLA, and direct aid to former grant recipients in need. All of these efforts are made possible by artist Joan Mitchell’s foresight to establish, in her will, a Foundation that serves the ongoing and changing needs of working artists,” said Christa Blatchford, Executive Director of the Joan Mitchell Foundation. “We are delighted to be able to recognize the artistic achievements of our new grantees and to continue to offer important lines of support, especially in a year that has brought particular challenges to the artistic community.”
The Foundation continues to deepen its historic commitment to increasing equity and access in its selection processes, expanding the pool of nominators and jurors to include more geographic, ethnic, and experiential diversity to ensure that grant nominees reflect a spectrum of backgrounds and approaches to their work. For 2020, the Foundation engaged more than 100 nominators from across 45 states, Washington D.C., and Puerto Rico. The final selections were made by an outside jury—a group of artists and arts professionals who rotate annually—with an eye toward artists whose work has contributed to important artistic and cultural discourse and are deserving of greater recognition on a national level.
The 2020 grantees encompass a wide breadth of demographic backgrounds, range in age from 28 to 82, and hail from across 17 states and territories across the U.S. Their work represents a range of formal techniques, approaches, and concerns, and engages with complex and universally relevant issues, including immigration, protest and patriotism, the multiplicity of identity, and under-represented histories, among many others.
Mark Flood, Vote For Law And Order [Orange On Raw Cardboard], 1992, acrylic on cardboard, 36 × 36 inches, 91.4 × 91.4 cm; 36½ × 36½ inches, 92.7 × 92.7 cm (framed)
October 11, 2020
Mark Flood in World Peace
October 8, 2020—January 17, 2021
Curated to appear together for the first time, the works in World Peace reflect the culture of identity, and the divided and fractured political climate of America’s past and present. This timely and compelling multi-media exhibition contains photography, sculpture, video, site-specific installations, works on paper and protest art that address the culture of American politics. The group show features both local and world-renowned artists, featuring commentary on contemporary media culture, the criminal justice system, and the relationship between science and religion.
Showcased local and international artists include: Enrico Baj, Robert Beck, Huma Bhabha, Nayland Blake, Jennifer Bolande, Alexander Calder, Class Action Collective, Renee Cox, Catharine Czudej, Jessica Diamond, Marcel Dzama, Naiad Einsel, Mark Flood, Richard Frank, Nicholas Galanin, Richard Hamilton, Spencer Heyfron, Jonathan Horowitz, Corita Kent, Glenn Ligon, Marilyn Minter, Cady Noland, Spencer Platt, Wendy Red Star, Tabor Robak, Lorraine Schneider, Taryn Simon, Devin Troy Strother, Tracy Sugarman, Frank Thiel, Hank Willis Thomas, Bill Traylor and Julia Wachtel.
MoCA Westport Executive Director Ruth Mannes and Director of Exhibitions Liz Leggett collaborated with Todd von Ammon, art dealer, independent curator and director of von ammon co., in Washington, D.C. to curate the exhibition.
Matthew Wong, Untitled, 2016, acrylic on paper,
12 × 9 inches; 30.5 × 22.9 cm
September 16, 2020
Matthew Wong in
Artists for New York
Hauser & Wirth
Online: October 1-22, 2020
Exhibition opens: October 6-22, 2020 hauserwirth.com
Matthew Wong will participate in ‘Artists for New York’, a major initiative to raise funds in support of a group of pioneering non-profit visual arts organizations across New York City that have been profoundly impacted by the COVID-19 pandemic.
The project by Hauser & Wirth brings together dozens of works committed by over 100 foremost artists across generations, from both within and outside of the gallery’s program. The works will be sold to benefit these institutions that have played a significant role in shaping the city’s rich cultural history and will play a critical role in its future recovery.
The coronavirus pandemic has taken an unprecedented toll upon the arts in New York. Facing dire budget shortfalls for fiscal year 2020 caused by necessary and prolonged closures during the pandemic, and expecting further impact upon earned income and contributed revenue in the year ahead, the city’s small and mid-scale institutions are extremely vulnerable at this moment. ‘Artists for New York’ will raise funds to support the recovery needs of fourteen of these organizations: Artists Space, The Bronx Museum of the Arts, Dia Art Foundation, The Drawing Center, El Museo del Barrio, High Line Art, MoMA PS1, New Museum, Public Art Fund, Queens Museum, SculptureCenter, The Studio Museum in Harlem, Swiss Institute, and White Columns.
Beginning 1 October 2020, Hauser & Wirth will present all of the artworks donated to ‘Artists for New York’ to a global audience online. Many of the artworks will also be shown to the public at Hauser & Wirth’s two New York gallery spaces at 542 West 22nd Street and 32 East 69th Street from October 6th – 22nd.
Marley Freeman, Here in Bedlam, 2020, watercolor on paper,
6 × 6 inches; 15.2 × 15.2 cm
September 10, 2020
Marley Freeman in
Artists for Artists Fundraiser
New York Academy of Art
October 1–October 26, 2020 nyaa.edu
Now in its 25th year, the New York Academy of Art’s annual fall gala auction will take now be known as “Artists for Artists.” This new name reflects the mission of the event, in which major artists donate work to fund scholarships for art students at the Academy and support the next generation of artists.
While previously the works were available for viewing one-night-only at Sotheby’s, this year instead all 200+ artworks in Artists for Artists will go on view at the Academy for a full month, October 1 – 26. Visitors will be able to view the works by appointment in a socially distanced format. As always, the Academy has received donations from a breathtaking array of major contemporary artists, including Jeff Koons, Kiki Smith, Laurie Simmons, Shepard Fairey, Inez van Lamsweerde and Vinoodh Matadin, Hugo Guinness, Ross Blecknerand more, as well as many affordable works from the Academy’s cadre of young emerging artists. Works will be available for bidding at ARTSY.com for the duration of the show.
On October 20, the Academy will livestream a special digital event – Artists for Artists Live! Artists for Artists Live will feature a live auction of the top lots, editorial content about the Academy and its mission, and special appearances from celebrity supporters including Padma Lakshmi, Brooke Shields and Liev Schreiber. Artists for Artists will be livestreamed on YouTube and the Academy’s website.
Artists for Biden is an online-only sale of works by leading contemporary artists to support the Biden Victory Fund. Register for early access to the sale that includes donations by Carol Bove, Cecily Brown, Sam Gilliam, Jenny Holzer, KAWS, Ed Ruscha, Tavares Strachan, Carrie Mae Weems, Kehinde Wiley, and others. Artists for Biden features donations by a diverse group of more than one hundred artists.
The Biden Victory Fund is a joint fundraising committee authorized by Biden for President, the Democratic National Committee, and forty-seven State Democratic Parties to put Joe Biden and Kamala Harris in the best position to beat Donald Trump and to ensure Democratic victories up and down the ballot. One hundred percent of proceeds from Artists for Biden will provide resources needed to elect Joe Biden and Kamala Harris to the White House and support other Democrats across the country in the lead up to Election Day.
Featuring artists represented by a range of galleries, this sale inaugurates the launch of Platform, a standalone website and initiative developed by David Zwirner to host online sales for industry peers and partners.
Dike Blair, oil paint on Priority Mail envelope, 12 1⁄2 × 9 1⁄2 inches; 31.7 × 24.1 cm
September 4, 2020
Dike Blair, Paul Lee, and Nicolas Party in
USPS Mail Art Fundraiser This Long Century
August 25–September 8, 2020
In order to raise funds for the support of the USPS, This Long Century is raffling of a series of unique mail art works by 60 artists, including Dike Blair, Paul Lee, and Nicolas Party. To enter, purchase an $11 book of stamps from the USPS and email your receipt to info@thislongcentury.com
Terms & Conditions:
– Buy an $11 book of stamps from the USPS
– Receipt should be dated between Aug 25 – Sept 08
– E-mail the receipt to info@thislongcentury.com
– Include your full name and mailing address
– One entry per person
– One artwork per winner
– You must currently reside in the U.S.
– Winners drawn on 09/08/20
Matthew Wong Postcards
September 10-December 11, 2020
ARCH Athens
https://archathens.org/
ARCH is pleased to announce Postcards, a solo exhibition by Matthew Wong in collaboration with the Matthew Wong Foundation and Karma, New York. An exhibition of Wong’s paintings was planned to accompany the artist’s summer residency in Greece, which would have begun this past May. The title and concept for Postcards developed from his personal musings in preparation for the show. Postcards features twenty of Wong’s most recent works on paper, depicting both remembered and imagined landscapes.
Postcards will run from September 10th to December 11th, 2020, and will be accompanied by a fully-illustrated publication with an essay by Winnie Wong available for pre-order here. Exhibition opening: September 10th, 2020 (12–9 PM). Hours of operation: Tuesday–Saturday (11AM–6PM) or by appointment. Admission is free.
Left to right: Illusory Progression, Bronze, 94 × 34 × 20 inches; 238.8 × 86.4 × 50.8 cm, Edition of 3, 1AP. True to Myth, 2020, Bronze, 104 × 38 × 37 inches; 264.2 × 96.5 × 94 cm, Edition of 3, 1AP. Rhizogenic Rhythms, 2020, Bronze, 82 × 32 × 35 inches; 208.3 × 81.3 × 88.9 cm, Edition of 3, 1AP
August 31, 2020
Thaddeus Mosley in
Frieze Sculpture at
Rockefeller Center 2020
September 1—October 2, 2020 frieze.com
Three monumental freestanding sculptural editions, all specifically fabricated for Frieze Sculpture, entitled Illusory Progression, True to Myth, and Rhizogenic Rhythms have been sited on 5th Avenue in front of the Channel Gardens. These bronze works are the first multiple cast works in Mosley’s 60 year career and are based on his unique sculptures with salvaged Pittsburgh timber and discarded wood fragments and demonstrates what he describes as “weight in space.”
Exploring themes of women’s suffrage, migration, urban planning, and ecology, the free outdoor exhibition returns to the heart of Manhattan. A special exhibition of site-specific works by artists Ghada Amer, Beatriz Cortez, Andy Goldsworthy, Lena Henke, Camille Henrot and Thaddeus Mosley will comprise the second year of Frieze Sculpture at Rockefeller Center. Usually held in the spring as part of the wider programming of Frieze New York, Frieze Sculpture at Rockefeller Center was postponed and readapted this year due to the COVID-19 pandemic. Presented in partnership with Tishman Speyer, the major public art initiative places significant sculptural works by leading artists in open, public locations throughout Rockefeller Plaza, allowing for ample social distancing space in compliance with all City and State guidelines. Offering free admission to all, Frieze Sculpture at Rockefeller Center will be on display from September 1–October 2, 2020.
Curated by Brett Littman (Director of the Isamu Noguchi Foundation and Garden Museum in Long Island City, New York), the second edition is inspired by the site’s and the city’s natural materials of earth, rock, and plants, and by the 50th anniversary of Earth Day, the original date when Frieze Sculpture at Rockefeller Center was scheduled to debut.
Gennarieollo (part II) is curated by Daniele Balice with Farah Al Qasimi, Henni Alftan, Alex Ayed, Jonathan Binet, Camille Blatrix, Dennis Cooper, Isabelle Cornaro, Enzo Cucchi, Simone Fattal, Owen Fu, Mario Giacomelli, Rafik Greiss, Thomas Jeppe, Kayode Ojo, Honyan Ren, Jackson Shelby, Shabahang Tayyari
“Gennariello” is a series of letters Pier Paolo Pasolini wrote for publication in the newspaper Corriere della Sera between March and October 1975, shortly before his murder that November. The letters are addressed to an imaginary student named Gennariello, a young boy from Naples. Writing as a teacher to his pupil, Pasolini employed this metaphoric stratagem to develop his analysis of various themes, including semiology, politics, aesthetics and sexuality.
The inspiration for this group show at Balice Hertling is the work of Pasolini, particularly the topics raised in “Gennariello”: the pedagogical influence of objects (“the discourse of things”) and their linguistic power, intellectuals’ cynical acceptation of history, the conformism of modern society, and the irreversible damages provoked by progress.
On the occasion of the launch of Mungo Thomson’s new book, Mail, he will be in conversation with Tosh Berman this Saturday, August 15th at 3pm PST / 6pm EST.
This online event has been organized by Artbook at Hauser & Wirth LA. Mail is available for purchase from our Bookstore, here.
Marley Freeman, Venuses balcony, 2020,
oil and acrylic on linen,
12 × 7 inches; 30.48 × 17.78 cm
July 27, 2020
Marley Freeman in
50 Artists: Art on the Grid
June 29-September 20, 2020 publicfund.org
“Venuses Balcony takes its title from Samuel R. Delany’s 1999 non-fiction classic Times Square Red, Times Square Blue. In a kind of eulogy for the Times Square red light district of the 1970s and 80s, Delany theorizes the nature of interclass contact. The Venus—whose balcony figures prominently throughout Delany’s first-person account—was one of many iconic theaters lost to gentrification. Painted in oil and acrylic on linen, Venuses Balcony captures the vibrant, bustling character of social relations in New York.”
— Marley Freeman
Marley Freeman’s Venuses balcony will be displayed at the following locations; Nassau St between Gold St & Navy St, Northern Blvd Between 164 St & Station Rd, Ave C between E 5th St & E 6th St, 106 St between 2 Ave & 3 Ave, 40 Ave between 12 St & 13 St, Oriental Blvd between Amherst St & West End, Myrtle Ave between Lewis Ave & Marcus Garvey Blvd, Balcom Ave between Dewey Ave & Schley Ave, West End Ave between W 72 St & W 71 St, and Northern Blvd between 164 St & Station Rd.
Art on the Grid responds to this historic moment. Our lives have been completely transformed by the devastation of a global pandemic and the rise of one of the largest social justice movements in modern history. This spring, Public Art Fund invited 50 emerging New York-based artists to reflect on the current situation as a way to help our communities process the challenges we face together. In different ways, COVID-19 and the renewed urgency over systemic racism that led to protests in our streets and a movement for change have reshaped our day-to-day lives including the ways we interact and experience our city. The exhibition gives a highly visible public platform to artists whose regular creative outlets have been stifled, commissioning them to make new, responsive works of art. Art on the Grid enables the people of New York to reflect, to engage with the city in new ways, and to begin conversations with neighbors, friends, and strangers alike.
The exhibition roster features 50 artists from 18 countries. The artists were prompted to respond to the broad themes of reconnection and renewal, interpreted through their different perspectives and personal narratives. The resulting works draw on their experiences of New York City, its people, and places. They include reflections on moments of spontaneity, intimacy, isolation, loss, healing, and rebuilding, as well as aspirations to create a more just, inclusive, and equitable future. Now more than ever, public art–open, free, and accessible to all–has the ability to serve as a vital tool in the creative and spiritual recovery of our city.
The 50 artworks in Art on the Grid form a decentralized group exhibition on the city’s public transportation and communication infrastructure. Launched in two phases—on June 29 and July 27—the works are housed on 500 bus shelters’ advertising panels and on more than 1,700 wifi kiosks’ digital screens located across the five boroughs. Clusters of works by multiple artists along a bus route are intended to create new art viewing itineraries or simply to enliven the days of those who encounter them fortuitously. The captivating works conceived by these artists re-envision the city itself as an outdoor gallery, reminding us that even in times of adversity, artistic expression is indispensable to the creation of a culture that truly reflects and responds to our contemporary world.
Art on the Grid is curated by Public Art Fund Director & Chief Curator Nicholas Baume, Public Art Fund Curator Daniel S. Palmer, and Public Art Fund Assistant Curator Katerina Stathopoulou.
Louise Fishman, Serenissima, 2012, oil on linen, 70 × 88 inches. Collection of Jan and Barry Zubrow.
June 9, 2020
Louise Fishman is included in the New York Studio School Alum and Friends online exhibition, curated by Judy Rifka. On Tuesday, June 9th at 6:30pm, a virtual opening will take place here.
A digital catalogue for the exhibition is available here.
New York Studio School
Alum and Friends Online Exhibition
Online opening Tuesday June 9, 2020 6:30pm
June 1-30, 2020 https://nyss.org/
Alex Da Corte, Morning Paper, 2020, edition of 20.
June 8, 2020
Alex Da Corte participates in Art for Philadelphia, a Philadelphia-based artist initiative raising money for the Philadelphia Community Bail Fund. Other artists participating in the initiative include Jonathan Lyndon Chase, Sharon Hayes, Marcus Maddox, Tiona Nekkia McClodden, Becky Suss, and David Hartt. Prints are sold in editions of 20, and the initiative runs until July 4th.
Frieze New York Viewing Room
May 8-15, 2020 frieze.com
Frieze Viewing Room is an ambitious new digital initiative that will launch with an online edition of Frieze New York. The mobile app and web-based platform will be live May 8–15, 2020, with an invitation-only preview May 6–7, and will offer visitors the opportunity to enter over 200 virtual viewing room spaces.
Abroms-Engel Institute for the Visual Arts
The University of Alabama at Birmingham
Thursday, May 14, 5:00 pm CT / 6:00 pm ET
Thaddeus Mosley will give a virtual gallery walkthrough of his current exhibition for the University of Alabama at Birmingham’s art museum’s Inside the Arts series. He will be joined by Tina Ruggieri, the Assistant Curator at AEIVA.
Alex Da Corte, still from Rubber Pencil Devil, 2018, HD digital video, color, sound; 2 hr. 56 min. Whitney Museum of American Art, New York; promised gift of Candace and Michael Barasch
April 16, 2020
Whitney Screens: Alex Da Corte’s Rubber Pencil Devil
Online, live-streamed on Vimeo
Friday, April 17, 7:00 pm whitney.org
Engage with video art in the Whitney’s collection while you’re at home with our new series: Whitney Screens. Every Friday, we’re featuring special screenings of video works recently brought into the collection, all by emerging artists, in keeping with the Whitney’s long tradition of supporting artists at the beginning and during key moments of their careers.
Created for the 2019 Carnegie International in Pittsburgh, Alex Da Corte’s Rubber Pencil Devil is composed of fifty-seven short films packed with references from pop culture—from childhood television icons like Mister Rogers and Sesame Street characters to queer icons like Peter Pan and Dolly Parton. Over the course of nearly three hours, Da Corte presents these familiar characters in very unconventional ways to consider ideas of vulnerability, empathy, and contemporary life.
This screening will present Rubber Pencil Devil in its entirety, with an introduction by David Breslin, DeMartini Family Curator and Director of Curatorial Initiatives.
TRUE LIFE, 2013, archival pigment print, anodized metal frame, 30 × 37 1⁄2 inches, Ed. of 5 + 2 AP
April 4, 2020
Alex Da Corte in Critical Dialogues Series
Tyler School of Art and Architecture at Temple University (Virtual Lecture)
Thursday, April 9, 6:00 pm tyler.temple.edu
Alex Da Corte works across a range of media, including video, performance, installation, painting and sculpture. He regularly combines high-and low-brow American cultural references from branded domestic items to figures from popular culture—to explore and interrogate personal and cultural politics, alienation and the psychological parameters of the human experience.
The happening will take place in the same space it originally scandalized fifty-seven years ago. The performance is free and open to the public.
Words by Rosalyn Drexler
Choreography by Kate Watson-Wallace
Featuring Kristel Baldoz, Melanie Cotton, Danielle Currica, Julia Eichten, Jessica Emmanuel, Ya-ya Failey, Ann-Marie Gover, Imma, Andrew Smith, and Kim Thompson, along with Da Corte and Watson-Wallace. Music composed by Marco Buccelli and Xenia Rubinos, performed with Sunny Ali and Karna Ray.
Parker Gallery is proud to present its second solo exhibition with Marley Freeman. The exhibition features recent paintings and a selection of antique textiles from Paul Freeman Textile Artifacts. The textiles are displayed on freestanding cardboard armatures, referencing architectural monuments at an intimiate, human scale.
The recent paintings encompass elements of abstraction, figuration, portraiture and landscape painting all at once, without yielding to any restrictive genre. Freeman’s paintings are nebulous enigmas, frustratingly and rewardingly elusive of language.
Each canvas demonstrates a striking autonomy; individual paintings present their own, idiosyncratic principles and personalities as though they were created in separate and distinct moments in time. Yet upon closer examination we see a specific color percolate in one and return in another, suggesting they were worked on together and with others, making their individuality ever more triumphant.
Spur With Energy (2019) simultaneously suggests a bird’s eye view of snarled mid-city traffic, a circuit breaker, and a friendly robot. The power of free association is ripe in Marley’s paintings, but is merely the amuse-bouche of their potential and enduring allure. Consider also The Future Arrived Too Early (2019), depicting two seated figures in folding chairs on a speckled floor in front of a wall smattered with splotches of seafoam green. Dividing the zones of floor and wall are dozens of horizontal bands in brilliant color, abstracting our already tenuous notion of pictorial space.
Owl (Great Horned Owl Purple Looking), 2014, 2014, Oil on linen, 40 × 30 inches; 101.6 × 76.2 cm
February 2, 2020
Ann Craven in CMCA’s “Art You Love” Online Benefit Auction
Opens Friday February 14, 12:00 pm cmcanow.org/auction cmcanow.org
Bidding opens on February 14, noon | Closes on February 28, 5pm
Just in time for Valentine’s Day, give the gift of art to yourself or your loved ones—every auction purchase directly benefits CMCA’s exhibitions and educational programming. Don’t miss out on this unique opportunity to support the art and artists of Maine.
Contributing artists: Jeff Ackerman, Gideon Bok, Katherine Bradford, Meghan Brady, Jenny Brillhart, Marcie Jan Bronstein, Emily Brown, Tom Burckhardt, Tom Butler, Sam Cady, Julie Crane, Ann Craven, Grace DeGennaro, Lois Dodd, David Driskell, Lynn Duryea, Carol Eisenberg, Inka Essenhigh, Melanie Essex, Alan Fishman, Tom Flanagan, Linden Frederick, Peter Halley, Alex Katz, Sal Taylor Kydd, Tracy Miller, Dan Mills, K. Min, Anne Neely, Tessa G. O’Brien, Colin Page, Danica Phelps, Peter Ralston, Alison Rector, David Row, Tollef Runquist, Kate Russo, Claire Seidl, Gail Skudera, Lesia Sochor, Emilie Stark-Menneg, Sara Stites, Barbara Sullivan, Greta Van Campen, Susan Headley Van Campen, Tim Van Campen, Don Voisine, William Wegman, Kathy Weinberg, Jim Wolfe, Robert Younger, and Dudley Zopp.
Alex Da Corte works across a range of media, including video, performance, installation, painting and sculpture. He regularly combines high-and low-brow American cultural references from branded domestic items to figures from popular culture—to explore and interrogate personal and cultural politics, alienation and the psychological parameters of the human experience.
In the French language, a pansy is called pensée, which means “a thought given.” The name is supposedly derived from its likeness to a pensive human face.
It is a flower that possesses a litany of artistic usage throughout history. Pensée is also a “bouquet” of flowers, or “thoughts”, inescapable as a middle ground between the worldly and the ethereal as an extended portrait of the human spirit. Rendering a chronology of thoughts about life and death, the artist dedicated this pensée project to the life of her mother.
Craven’s subjects are often of nature, fleeting things that shift and bloom in cycles of perpetual change, their representations as mercurial as their memories.
Ann Craven’s Pensée watercolors (all 23 × 15 inches) were exhibited first at the FRAC Champagne-Ardenne in Reims France in 2008, then at Maccarone Gallery in New York City in 2011 as part of the show Ann Craven: Watercolors, and in 2016 at Galerie des Multiples in Paris in the show: 100%, 2015 + Flower Power.
In 2013 Karma Books published “PENSÉE.” This 98 page book gathers the entire series of ninety-two pensée watercolors that Ann Craven painted in 2007-08 while in residency at the FRAC Champagne-Ardenne in Reims, France.
Ann Craven is renowned for her bold portraits of the moon, birds and flowers. Major solo exhibitions of her work have been held at the Center for Maine Contemporary Art, KARMA, Southard Reid, and Nina Johnson Gallery, among others. Her work is in the permanent collection of the Whitney Museum, the Museum of Modern Art, and the Hammer Museum, among others. She currently lives and works in New York City.
Hirshhorn Museum
Independence Ave SW & 7th St SW
Washington, DC hirshhorn.si.edu
Alex Da Corte’s vibrant installations and mesmerizing video works can be found just as readily at major international art ventures, such as the 2019 Venice Biennale exhibition May You Live in Interesting Times, as on an electronic billboard in Times Square, New York. His visually stimulating and intellectually compelling work spans across a variety of media, including video, installation, sculpture, and painting, and takes cues and inspiration from contemporary pop culture. As a self-proclaimed “anthropologist of the immediate past,” he mines everyday objects from consumer culture to transport viewers through otherworldly experiences created with otherwise mundane, familiar images and items. A long-time Philadelphia resident, Da Corte has an extensive, personal history with the Marcel Duchamp galleries at the Philadelphia Museum of Art, a connection that becomes clear through the elevated status of the everyday through his work.
As part of an upcoming exhibition in Philadelphia—Invisible City: Philadelphia and the Vernacular Avant-garde, which highlights Philadelphia’s artistic accomplishments during the 1960s and ’70s, Da Corte will reinvent Allan Kaprow’s 1962 Happening, Chicken. Happenings grew out of challenges to the categories of art that were initiated by Duchamp and his contemporaries in the early twentieth century. Invisible City: Philadelphia and the Vernacular Avant-garde is curated by Sid Sachs and Jennie Hirsh. More information can be found at https://www.uarts.edu/invisiblecity.
“Radical Acts” is a program series explores the legacy of Marcel Duchamp through the lens of contemporary artists working today.
Schedule
5:30–6:30 pm | Come early to enjoy a happy hour at Dolcezza Café in the Lobby. Drinks for purchase.
6 pm | Doors open to Lerner Room and after-hours access to Marcel Duchamp: The Barbara and Aaron Levine Collection.
6:30–7:30 pm | On Duchamp: Alex Da Corte: Conceptual artist Alex Da Corte will join Hirshhorn chief curator Stéphane Aquin to unpack the legacy of Marcel Duchamp and new ways of reinvigorating found materials through the lens of his extensive practice and upcoming projects
We encourage you to arrive early. Lerner Room seating is limited. Any open seats may be released to walk-up visitors 10 minutes before the program.
Mungo Thomson at Frieze Projects
Frieze Los Angeles 2020
Paramount Pictures Studios Back Lot
5515 Melrose Ave, Los Angeles, CA 90038
February 14-16, 2020 Frieze.com
Saturday, February 15: 11am–7pm
Sunday, February 16: 11am–6pm
Making use of a list of mediums too lengthy to enumerate, Mungo Thomson (b. 1969, Woodland; lives in Los Angeles) aligns himself with the droll and heady legacy of California conceptualism.
Thomson borrows from design worlds (graphic and product) to contemplate human existence vs. geological time. He has isolated the font on the Times magazine masthead in an ongoing series of paintings on mirrors (Time through the ages) and slowed down the lilting tunes of new age musician William Ackerman (the long play record ’It Takes a Year’ actually takes 365 days to hear).
Snowman recasts the seemingly ubiquitous cardboard delivery box into a bronze monument for our age. Recasting also is an appropriate term for the transformation of these disposable (but environmentally damaging) cardboard boxes into the durable, mineralogical bronze. Thomson seizes the everyday, too easily cast off consumer objects of our day and produces anthropological relics for the future.
Frieze Projects 2020 is co-curated by Rita Gonzalez (Terri and Michael Smooke Curator and Department Head of Contemporary Art, LACMA) and Pilar Tompkins Rivas (Director, Vincent Price Art Museum).
Grave, 2019, bronze and enamel, 90 × 36 × 48 inches; 228.6 × 92.4 × 121.9 cm
January 19, 2020
Will Boone at Frieze Projects
Frieze Los Angeles 2020
Paramount Pictures Studios Back Lot
5515 Melrose Ave, Los Angeles, CA 90038
February 14-16, 2020 Frieze.com
Saturday, February 15: 11am–7pm
Sunday, February 16: 11am–6pm
Will Boone (b. 1982, Houston; lives in Los Angeles) creates paintings, sculptures and installations that draw inspiration from diverse references, including forms of pop, vernacular, and industrial culture, lore and history, and subcultural aesthetics. Boone’s The Three Fates, P-22, and Grave, reimagine figures from vintage hobby kits popular in the 1960s as life-sized, stand-alone sculptures. In these works he isolates menacing witches around a cauldron, a cougar ready to pounce, and a gravestone from a monster set, reconfiguring classic Americana toys to create new narratives and associations. His works foreground materiality, transforming the plastic manufacturing techniques of the post-war era figurines by upscaling them to cast bronze, finished with a loose enamel painting technique reminiscent of the hobbyist’s brush. Frieze Projects 2020 is co-curated by Rita Gonzalez (Terri and Michael Smooke Curator and Department Head of Contemporary Art, LACMA) and Pilar Tompkins Rivas (Director, Vincent Price Art Museum).
Contemporary Arts Museum Houston is hosting a catalogue signing of the newly-released publication that accompanies the exhibition Will Boone: The Highway Hex. Catalogues will be available in the Museum Shop, and the artist will be present to sign and personalize your copy.
Blue Pencil Drawing (Zinnia Omelette),
2019.
Inkjet and White Out on paper, cast polyester resin frame, plexiglass, mat-board, coroplast, wooden
strainer, hardware.
17 3⁄16 × 14 13⁄16 in (43.66 × 37.62 cm)
Courtesy of the artist and Karma, NY
December 10, 2019
Alex Da Corte in the Space 1026 Art Auction
Friday, December 13th, 2019
6 pm
Space 1026
844 North Broad Street
Philedelphia, PA 19130
Installation view of Nicolas Party: Pastel at The FLAG Art Foundation, 2019.
Photography by Steven Probert.
December 10, 2019
Artist Talk: Louis Fratino, Loie Hollowell, Nicolas Party, Billy Sullivan,
and Robin F. Williams in Conversation, Moderated by Glenn Fuhrman
December 10th, 2019
6:00 pm – 8:00 pm
Hauser & Wirth Publishers Bookshop
548 West 22nd Street
New York, NY 10011
Alex Da Corte, Blue Pencil Drawing (Big Chill Spook), 2019, Inkjet and White Out on paper, cast polyester resin frame, plexiglass, mat-board, coroplast, wooden strainer, hardware, 17 3⁄16 × 14 13⁄16 inches
November 10, 2019
Alex Da Corte in The Swiss Institute’s 2019 Benefit Auction
November 10, 2019, 6:30 pm
Angel Orensanz Foundation
172 Norfolk Street
New York, NY 10002 swissinstitute.net
SI Artist Tribute
CHRISTINA FORRER
SI Special Tribute
RUDOLF STINGEL
SI Honoree
ANNABELLE SELLDORF
SI Visionary Award
ANTONIE & PHILIPPE BERTHERAT
and saluting SI’s education partner
THE EDUCATIONAL ALLIANCE SIROVICH CENTER
Creative Direction
RAÚL DE NIEVES
Auction
SIMON DE PURY
Benefit Co-Chairs
Akris, Larry Gagosian, LUMA Foundation, Stiftung Usine
Benefit Co-Hosts
Shelley Fox Aarons and Philip E. Aarons, Monique and Max Burger and the TOY Family, Massimo De Carlo, Milan/London/Hong Kong, Consulate General of Switzerland in New York, Paula Cooper, Florian Gutzwiller, Hauser & Wirth, Lévy Gorvy, Luhring Augustine, Ricola, Lisa Schiff
Benefit Committee
Sarah Arison, James Keith Brown and Eric Diefenbach, Sadie Coles HQ, Beat Curti, Matthew Dontzin and Elissa Doyle, Eurostruct, Mark Fletcher and Tobias Meyer, Heather Flow, Gladstone Gallery, David Kordansky, Maren Krass, Caroline Lang, Rachel and Jean-Pierre Lehmann, Pierre-André Maus, Marjorie Mayrock, Susanne von Meiss, Metro Pictures, Melanie Munk, Carolina Nitsch, PIN-UP, Galerie Eva Presenhuber, Almine Rech, Thaddaeus Ropac, Melissa Stewart, Clarice O. Tavares, Begum Yasar
John Baldessari, Jean-Michel Basquiat, David Bates, Alighiero Boetti, Margaret Bourke-White, Georges Braque, Mathew Cerletty, Walker Evans, Danny Fox, Charles Gaines, Philip Guston, David Hockney, Robert Indiana, On Kawara, Paul Klee, Joseph Kosuth, Barbara Kruger, Tony Lewis, Kerry James Marshall, Ryan Morozowski, Yoshitomo Nara, Ed Ruscha, Emily Mae Smith, Cy Twombly, Lawrence Weiner, Jonas Wood, and Christopher Wool.
Hosted by the graduate programs in Painting and Sculpture at Boston University, the Tuesday Night MFA Lecture series brings practicing artists to campus to present their work. All lectures are free and open to the public.
Mathew Cerletty (CFA’02) utilizes a hyper-realistic approach to painting that marries the quotidian and the surreal within a range of motifs and subjects. While an undergraduate at Boston University, Cerletty developed the ability to carefully paint the figure in the academic, representational mode. Today, he has developed a practice in which virtuosic yet slightly uncanny depictions of human subjects, corporate logos, and domestic objects are rendered in high-key color and with flat precision. Pervading Cerletty’s paintings is a deadpan sense of humor tempered by a disarming sincerity towards his seemingly banal subjects.
His work has been exhibited in museums including Whitney Museum of American Art, the Hermitage Museum in St. Petersburg, and the Museum of Contemporary Art in San Diego; and at galleries including Rivington Arms, Team Gallery, Plum and Poe in New York, and the Boston University Art Galleries. He is represented by Office Baroque in Brussels, Belgium and Standard in Oslo, Norway.
Dike Blair, Untitled, 2018 oil on wooden panel, 10 × 7 1⁄2 inches; 25.4 × 19.05 cm
October 22, 2019
Dike Blair, Robert Duran, Marley Freeman, and Paul Mogensen in TWO × TWO for Aids and Art Auction
October 26, 2019
The Rachofsky House
8605 Preston Road
Dallas, TX 75225 twoxtwo.org
The 21st annual benefit dinner and art auction that jointly benefits amfAR and the Dallas Museum of Art. The black-tie gala dinner will feature a live and silent auction of significant contemporary art, as well as the presentation of amfAR’s 2019 Award of Excellence for Artistic Contributions to the Fight Against AIDS. Sponsored by Sotheby’s, Highland Park Village, Headington Companies, Neiman Marcus, Chubb Personal Insurance / IMA | Waldman, and Todd Events.
A Dream, 2019, oil on canvas, 70 × 80 inches; 177.8 × 203.2 cm
October 10, 2019
We are deeply saddened to announce the sudden passing of our friend, Matthew Wong. Our heartfelt condolences go out to his family and friends.
A service in celebration of Matthew’s life will be held at Connelly-McKinley Funeral Homes on Monday, October 21, 2019 from 1 to 2:30 p.m., followed by the burial at Rosehill Cemetery from 3 to 5 p.m. A reception will be held afterwards at the Cactus Club Cafe from 5:30 p.m. onwards.
Adam Gordon | Alan Miller | Andrew Stahl | Clementine Bruno | Jennifer Packer | Marley Freeman | Sean Steadman | Sebastian Jefford | Stanislava Kovalcikova | Tenant of Culture | Vincent Fecteau
Join the Drawing Center on Thursday, September 19 for an evening of music, cocktails, and a silent auction featuring works generously donated by over 40 leading artists.
Participating artists include; Tomma Abts, Richard Aldrich, Noel W Anderson, Kamrooz Aram, Attributed to Arrow (Southern Cheyenne), Tauba Auerbach, Joe Bradley, George Condo, John Currin, Alex Da Corte, Trisha Donnelly, Leonardo Drew, Isa Genzken, John Giorno, Maryam Hoseini, Rashid Johnson, Anna K.E., Brad Kahlhamer, Fernanda Laguna, Bill Lynch, Calvin Marcus, Park McArthur, Hugo McCloud, Troy Michie, Jeanette Mundt, Oscar Murillo, Chris Ofili, Laura Owens, Maia Cruz Palileo, Adam Pendleton, Ronny Quevedo, Jessi Reaves, Ugo Rondinone, Alan Shields, Josh Smith, Cauleen Smith, Rudolf Stingel, Ryan Sullivan, Henry Taylor, Johanna Unzueta, Cecilia Vicuña, Adrián Villar Rojas, Mary Weatherford, Michael Williams, and Matthew Wong.
Da Corte will discuss his reworking of American pop culture as well as his recent contributions to the 57th Carnegie International in Pittsburgh and the 58th La Biennale di Venezia. His most recent solo exhibition was held at Kölnischer Kunstverein, Köln, Germany (2018). Other recent solo exhibitions include Karma, New York (2018); Secession, Vienna, Austria; Art + Practice, Hammer Museum, Los Angeles (2016); MASS MoCA, North Adams, Massachusetts (2016); Museum Boijmans van Beuningen, Rotterdam, Netherlands (2015); and Institute of Contemporary Art, Philadelphia (2014, together with Jayson Musson).
Join artist Ann Craven and Christopher B. Crosman, founding curator, Crystal Bridges Museum of American Art and former director, Farnsworth Art Museum, as they discuss her current exhibition on view at CMCA, Birds We Know.
Gertrude Abercrombie, Ross Bleckner, Chen Ching-Yuan, Van Hanos, Brook Hsu, Helen Johnson, Jennifer J. Lee, Sally Michel, Jonny Negron, Alexandra Noel, Jules Olitski, Lauren Satlowski, Hiroshi Sugito, Issy Wood, and Matthew Wong
Alvin Loving, Septehedron 34, 1970, Acrylic on shaped canvas, 88 5⁄8 × 102 1⁄2 inches, Whitney Museum of American Art, New York; gift of William Zierler, Inc. in honor of John I. H. Baur 74.65. Courtesy the Estate of Al Loving and Garth Greenan Gallery, New York
June 28, 2019
Interactions of Color: Alex Da Corte and David Breslin in Conversation Whitney Museum of American Art, Floor 8
Monday, July 1, 7 pm
Join artist Alex Da Corte and David Breslin, DeMartini Family Curator and Director of the Collection and curator of the exhibition Spilling Over: Painting Color in the 1960s, for a conversation about abstraction, color, and optical perception in painting and related media.
Alex Da Corte creates vibrant and immersive large-scale installations that include wall-based works, sculptures, and videos. Colorful and humorous, his work combines personal narrative, art-historical references, pop-culture characters, and the glossy aesthetics of commercial advertising to explore the absurdity and psychological complexity of the images and stories that pervade contemporary American life.
With Charles Avery, Katherine Bradford, Peter Doig, Alex Dordoy, Loie Hollowell, Matthew Day Jackson, Claudia Martínez Garay, Benny Merris, William Monk, Ciarán Murphy, Rosalind Nashashibi, Lucy Skaer, Matthias Weischer, and Letha Wilson
With Ericka Beckman, Scott Benzel, Andrew Cameron, Guendalina Cerruti, Alex da Corte, Charlotte Houette, Karen Kilimnik, Sherrie Levine, Signe Rose, Adam Stamp, and Michael Zahn
Mathew Cerletty, Print, 2018, inkjet and watercolor on Epson Hot Press Bright 330gsm paper, 18 × 18 inches; 45.7 × 45.7 cm
May 17, 2019
Mathew Cerletty, Marley Freeman and Nicolas Party in 2019 White Columns Benefit Auction Exhibition
May 18–May 29, 2019
Auction: May 29 at 6:30 pm
91 Horatio Street
New York, NY 10014
Time, Turn, and Light, 2019. Collection of the City and County of San Francisco. Photo courtesy of San Francisco Arts Commission by Ethan Kaplan Photography.
April 16, 2019
Woody De Othello at San Francisco International Airport
Opened on February 6, 2019 (permanent installation)
Derrick Alexis Coard, David Hammons, Dave McKenzie, Julie Mehrutu, Wardell Milan, Jason Moran, Wangechi Mutu, William Pope L., Walter Price, Gary Simmons, Henry Taylor, Kara Walker, Nari Ward, Jack Whitten
Gillian Carnegie, Lois Dodd, Thomas Eggerer, Michael Fullerton, Michael Krebber, Stuart Middleton, Elizabeth Peyton, Walter Price, Elliot Jamal Robbins, Giangiacomo Rossetti, Nolan Simon, Katharina Wulff
Alex Da Corte, Rubber Pencil Devil, 2018, HD Digital video, Runtime: 2 hours, 55 mins, 52 seconds
January 1, 2019
Alex Da Corte in the 57th edition of the Carnegie International.
Curated by Ingrid Schaffner
October 13, 2018 – March 25, 2019
Carnegie International, 57th Edition
Opening in November 2018, M WOODS presents a solo exhibition by Swiss artist Nicolas Party. Working across painting, pastel, sculpture, video and installation, Party is renowned for a deep sense of site specificity and temporality in his projects, which often feature hand-painted murals that exist on gallery walls only for the duration of an exhibition. Within these painted environments sit two and three dimensional works which, through a style and colour system unique to the artist, offer a contemporary take on traditional subjects such as still life, portraiture, landscape and the sculptural bust.
Party’s exhibition at M WOODS will be his first at a non-profit institution in Asia and his largest to date, bringing together recent works with a suite of new sculptures and wallpaintings created on site at the museum.
Monument, 2017, prefabricated steel bunker, bronze and enamel, 120 × 120 × 360 inches; 304.8 × 304.8 × 914.4 cm, 2017,Desert X, Coachella Valley, California, installation view
February 25, 2017
Desert X 2017
February 25 – April 30
Coachella Valley, CA
Curated by Desert X Artistic Director Neville Wakefield.
The Coachella Valley and its desert landscape became the canvas for a curated exhibition of site-specific work by established and emerging artists, whose projects amplified and articulated global and local issues that ranged from climate change to starry skies, from tribal culture and immigration to tourism, gaming, and golf. The art works, in various indoor and outdoor locations, were available free and offered visitors a way to see the valley and reflect on serious and playful issues through the lens of the participating artists’ creativity and work.
