NY ESSENTIALS: ART IN JUNE
Saturday, June 2, 2012
, Posted by LATINO EVENTS Y TESPIS MAGAZINE at 5:08 PM
Muchas de las muestras que comenzaron en Mayo continúan hasta mediados o finales de Junio asi que aún tienen un tiempito para que se vayan de galerías y se inspiren!. Tenemos un par de aperturas significativas este mes: la primera es Caribbean Crossroads, la nueva exhibición presentada por tres importantes museos de la ciudad super conectados con la experiencia latina y caribeña de Nueva York: El Museo del Barrio, Queens Museum of Art y el Studio Museum de Harlem. No se pierdan la fiesta de apertura en El Museo el 12 de Junio, que también es, de paso, el día de Museum Mile!.
La segunda apertura es Art of Another Kind: International Abstraction and the Guggenheim y que presenta a artistas latinos tales como José Guerrero y Antoni Tàpies. Y otra imperdible que abrió el mes pasado, es Cloud City, la muestra del argentino Tomás Saraceno en el techo del Met Museum.
Por lo demas: El vanguardista brasileño Hélio Oiticica los espera en la Galería Lelong con su serie Penetrables; La Gagosian presenta tanto al argentino-italiano Lucio Fontana como también a Pablo Picaso en la cuarta de una serie de muestras que la galería ha conducido en los últimos tiempos sobre la obra del artista español. El genio de Brancusi como fotógrafo los espera en la Galería Bruce Silverstein y la segunda instalación de For Rent nos trae a Marc Latamie a la galería de The Americas Society. El artista mexicano Carlos Estrada-Vega exhibe su obra dedicada a Africa en la Margaret Thatcher. Si se pasean por la Park Avenue no dejen de buscar las esculturas del venezolano Rafaél Barrios.
Para otras muestras sobresalientes visiten Soho Art Walks, las nuevas esculturas de Anish Kapoor en la Gladstone Gallery y la obra de Craig Norton en Jim Kempner Fine Art que nos lleva a la reflexión sobre los horrores de las guerras recientes y el Post Traumatic Stress Disorder que afecta a tantos veteranos. La muestra de Keith Haring sigue en el Brooklyn Museum y la de Gran Caribe en el Museo del Barrio. RECOMENDAMOS
La segunda apertura es Art of Another Kind: International Abstraction and the Guggenheim y que presenta a artistas latinos tales como José Guerrero y Antoni Tàpies. Y otra imperdible que abrió el mes pasado, es Cloud City, la muestra del argentino Tomás Saraceno en el techo del Met Museum.
Por lo demas: El vanguardista brasileño Hélio Oiticica los espera en la Galería Lelong con su serie Penetrables; La Gagosian presenta tanto al argentino-italiano Lucio Fontana como también a Pablo Picaso en la cuarta de una serie de muestras que la galería ha conducido en los últimos tiempos sobre la obra del artista español. El genio de Brancusi como fotógrafo los espera en la Galería Bruce Silverstein y la segunda instalación de For Rent nos trae a Marc Latamie a la galería de The Americas Society. El artista mexicano Carlos Estrada-Vega exhibe su obra dedicada a Africa en la Margaret Thatcher. Si se pasean por la Park Avenue no dejen de buscar las esculturas del venezolano Rafaél Barrios.
Para otras muestras sobresalientes visiten Soho Art Walks, las nuevas esculturas de Anish Kapoor en la Gladstone Gallery y la obra de Craig Norton en Jim Kempner Fine Art que nos lleva a la reflexión sobre los horrores de las guerras recientes y el Post Traumatic Stress Disorder que afecta a tantos veteranos. La muestra de Keith Haring sigue en el Brooklyn Museum y la de Gran Caribe en el Museo del Barrio. RECOMENDAMOS
* Caribbean Crossroads > El Museo del Barrio, Queens Museum of Art y el Studio Museum de Harlem > Junio 12- Enero 6, 2013.
Arnaldo Roche Rabell We Have to Dream in Blue, 1986 84 x 60 inches Oil on canvas.
Collection of John Belk & Margarita Serapion Photo courtesy of Walter Otero Gallery The exhibition Caribbean: Crossroads of the World is the culmination of nearly a decade of collaborative research and scholarship organized by El Museo del Barrio in conjunction with the Queens Museum of Art and The Studio Museum in Harlem. Presenting work at the three museums and accompanied by an ambitious range of programs and events, Caribbean: Crossroads offers an unprecedented opportunity to explore the diverse and impactful cultural history of the Caribbean basin and its diaspora. More than 500 works of art spanning four centuries illuminate changing aesthetics and ideologies and provoke meaningful conversations about topics ranging from commerce and cultural hybridity to politics and pop culture.
* Art of Another Kind: International Abstraction and the Guggenheim, 1949–1960 > June 8–September 12 > GUGG.
José Guerrero, Signs and Portents, 1956. Oil on canvas, 175.9 x 250.2 cm. Solomon R. Guggenheim Museum, New York 57.1465. © 2012 Artists Rights Society (ARS), New York/VEGAP, Madrid. Photo: David Heald © The Solomon R. Guggenheim Foundation
Comprising approximately 100 works by nearly 70 artists, like José Guerrero (above), the exhibition explores international trends in abstraction in the decade before the Guggenheim's iconic Frank Lloyd Wright-designed building opened in October 1959, when vanguard artists working in the United States and Europe pioneered such influential art forms as Abstract Expressionism, Cobra, and Art Informel.
* Tomás Saraceno on the Roof: Cloud City > Through November 4 > Met Museum > SARACENO.
Artist Tomás Saraceno (born in Tucumán, Argentina, in 1973) will create a constellation of large, interconnected modules constructed with transparent and reflective materials for the Museum's Iris and B. Gerald Cantor Roof Garden. Visitors may enter and walk through these habitat-like, modular structures grouped in a nonlinear configuration. Over the past decade, Saraceno has established a practice of constructing habitable networks based upon complex geometries and interconnectivity that merge art, architecture, and science. The interdisciplinary project "Cloud Cities/Air Port City" is rooted in the artist's investigation of expanding the ways in which we inhabit and experience our environment.
* Picasso and Françoise Gilot: Paris–Vallauris 1943–1953 > Hasta Junio 30 > Gagosian Gallery > PICASSO.
PABLPO PICASSO. Paloma et sa poupée, December 13, 1952
Oil on plywood 28 3/4 x 23 1/2 inches (73 x 60 cm)
© 2011 Pablo Picasso/Artists Rights Society (ARS), New York.
Private Collection. Photo by Eric Baudouin
This is the fourth major exhibition in an ongoing series on the life and work of Pablo Picasso, following the critical and popular success of “Picasso: Mosqueteros” (2009), “Picasso: The Mediterranean Years” (2010), and “Picasso and Marie-Thérèse: L’amour fou” (2011). The exhibition includes many important loans from museums, including the Museum of Modern Art, New York and the Israel Museum, as well as from private lenders.
This exhibition is a departure from its precedents in that it has been conceived as a visual and conceptual dialogue between the art of Picasso and the art of Françoise Gilot, his young muse and lover during the period 1943–53. The result of an active collaboration between Gilot and Picasso’s biographer John Richardson, assisted by Gagosian director Valentina Castellani, “Picasso and Françoise Gilot” celebrates the full breadth and energy of Picasso’s innovations during these post-war years, as well as presenting Gilot’s paintings alongside his marvellously innovative depictions of her and their family life. It is the first time that their work has been exhibited together—that the painterly dialogue between the fascinated mature male artist and the self-possessed young female artist can be retraced and explored.
* Postal Geography > Postcards from the García Lorca and De Los Ríos families > Junio 4 - Julio 7 > Instituto Cervantes > LORCA.
Postal Geography is an exhibit that presents a collection of postacards that families García Lorca and De Los Ríos exchanged from 1910 to 1960. The mailing between two families, which works as a personal record of the twentieth century’s history, cultivates a larger knowledge about the work and life of Federico García Lorca.
On the other hand, New York based plastic artist, Nuria Rabanillo, joins this month’s tribute to Lorca at ICNY with various works on the poet and his stay in the Big Apple.
Special Events:
Postcards between the Lorca and De los Ríos families.
Garcia Lorca's Route in New York.
Lorca, así que pasen cien años.
The Lover from Uruguay.
De la Riva Guarín Duo.
Una casa para Bernarda Alba.
Desde hace 34 años los 10 museos que se ubican entre las calles 82 y la 105 de la 5ta Avenida, celebran este festival abriendo sus puertas al público y cerrando unas 23 cuadras para armar una de las fiestas más estupendas de Nueva York. Acceso gratuito a los museos y música, entretenimiento y actividades artísticas para los más chicos. Alegrándole a vida a muchos.
* HELIO OITICICA: PENETRABLES > Hasta Junio 16 > Galerie Lelong > HELIO.
Photo by Alex Guerrero ®2012
One of the most influential artists of the twentieth century, Oiticica investigated color in space in a cohesive, continuous oeuvre, until his untimely death in 1980. He began with the Grupo Frente, Sêco, and Metaesquema drawings and then liberated his painting into space with series entitled Bilateral, Relevos Espaciais, Bólide, Núcleo, Penetrável, and Parangolé. Not only are the Penetrables a natural progression in his own work, but also within the continuum of the art historical canon. Oiticica avowed, “It is not a matter of copying Mondrian, but of blazing the trail for a painting of pure color, space, time and structure.”
For the first time in New York, three of the late Brazilian avant-garde artist Hélio Oiticica’s rarely-seen multi-sensorial installations of color: Penetrável PN1 (1960); Penetrável Filtro (1972); and Penetrável PN28 “Nas Quebradas” (1979) will be on view at Galerie Lelong. Oiticica’s invention of the Penetrável (Penetrable) series brought a new dimension to his work, allowing him to create built environments and develop outdoor installations such as the well-known Magic Square series. The Penetrables are considered among the first artistic installations, and have not been credited enough for their contribution to early conceptual art.
* LUCIO FONTANA: Ambienti Spaziali > Hasta Junio 30 > En Gagosian Gallery > FONTANA.
Photo by Alex Guerrero ®2012
This is the fourth major exhibition in an ongoing series on the life and work of Pablo Picasso, following the critical and popular success of “Picasso: Mosqueteros” (2009), “Picasso: The Mediterranean Years” (2010), and “Picasso and Marie-Thérèse: L’amour fou” (2011). The exhibition includes many important loans from museums, including the Museum of Modern Art, New York and the Israel Museum, as well as from private lenders.
This exhibition is a departure from its precedents in that it has been conceived as a visual and conceptual dialogue between the art of Picasso and the art of Françoise Gilot, his young muse and lover during the period 1943–53. The result of an active collaboration between Gilot and Picasso’s biographer John Richardson, assisted by Gagosian director Valentina Castellani, “Picasso and Françoise Gilot” celebrates the full breadth and energy of Picasso’s innovations during these post-war years, as well as presenting Gilot’s paintings alongside his marvellously innovative depictions of her and their family life. It is the first time that their work has been exhibited together—that the painterly dialogue between the fascinated mature male artist and the self-possessed young female artist can be retraced and explored.
* Postal Geography > Postcards from the García Lorca and De Los Ríos families > Junio 4 - Julio 7 > Instituto Cervantes > LORCA.
Postal Geography is an exhibit that presents a collection of postacards that families García Lorca and De Los Ríos exchanged from 1910 to 1960. The mailing between two families, which works as a personal record of the twentieth century’s history, cultivates a larger knowledge about the work and life of Federico García Lorca.
On the other hand, New York based plastic artist, Nuria Rabanillo, joins this month’s tribute to Lorca at ICNY with various works on the poet and his stay in the Big Apple.
Special Events:
Postcards between the Lorca and De los Ríos families.
Garcia Lorca's Route in New York.
Lorca, así que pasen cien años.
The Lover from Uruguay.
De la Riva Guarín Duo.
Una casa para Bernarda Alba.
* Museum Mile Festival > Junio 12 > 5ta Avenida, de la calle 82 a la 105 > 6-9PM > MMF.
* HELIO OITICICA: PENETRABLES > Hasta Junio 16 > Galerie Lelong > HELIO.
Photo by Alex Guerrero ®2012
One of the most influential artists of the twentieth century, Oiticica investigated color in space in a cohesive, continuous oeuvre, until his untimely death in 1980. He began with the Grupo Frente, Sêco, and Metaesquema drawings and then liberated his painting into space with series entitled Bilateral, Relevos Espaciais, Bólide, Núcleo, Penetrável, and Parangolé. Not only are the Penetrables a natural progression in his own work, but also within the continuum of the art historical canon. Oiticica avowed, “It is not a matter of copying Mondrian, but of blazing the trail for a painting of pure color, space, time and structure.”
For the first time in New York, three of the late Brazilian avant-garde artist Hélio Oiticica’s rarely-seen multi-sensorial installations of color: Penetrável PN1 (1960); Penetrável Filtro (1972); and Penetrável PN28 “Nas Quebradas” (1979) will be on view at Galerie Lelong. Oiticica’s invention of the Penetrável (Penetrable) series brought a new dimension to his work, allowing him to create built environments and develop outdoor installations such as the well-known Magic Square series. The Penetrables are considered among the first artistic installations, and have not been credited enough for their contribution to early conceptual art.
* LUCIO FONTANA: Ambienti Spaziali > Hasta Junio 30 > En Gagosian Gallery > FONTANA.
Photo by Alex Guerrero ®2012
Fontana's fascination for the advancements of science and technology during the twentieth century led him to approach art as a series of investigations into a wide variety of mediums and methods. As a sculptor, he experimented with stone, metals, ceramics, and neon; as a painter he attempted to transcend the confines of the two-dimensional plane. In a series of manifestos, beginning with the Manifesto blanco (White Manifesto) of 1946, Fontana announced his goals for a "spatialist" art, one that could engage technology to achieve an expression of the fourth dimension in a radical new aesthetic idiom that melded the categories of architecture, sculpture, and painting.
Six of his groundbreaking environments, known as Ambienti Spaziali, have been faithfully reconstructed, providing a completely new perspective for the rich and varied retrospective of more than one hundred major works that surrounds them.
* BRANCUSI: THE PHOTOGRAPHS > Hasta Junio 23 > En Bruce Silverstein > BRANCUSI.
Six of his groundbreaking environments, known as Ambienti Spaziali, have been faithfully reconstructed, providing a completely new perspective for the rich and varied retrospective of more than one hundred major works that surrounds them.
* BRANCUSI: THE PHOTOGRAPHS > Hasta Junio 23 > En Bruce Silverstein > BRANCUSI.
Photo by Alex Guerrero ®2012
Featuring over 40 original prints, each made by Brancusi himself, this exhibition reveals Brancusi’s visionary dedication to the photographic medium as means of personal expression—an art form that the artist explored parallel to his sculpture. The photographs are integral to understanding Brancusi as an artist as they indicate that he was not only fully aware of photography’s power to guide, control, and enhance the viewer’s experience of his three-dimensional works, but also to completely transform them into new works of art. By physically placing and positioning his sculptures in his studio, Brancusi creates complex compositions that often incorporate radical lighting; his photographs express a unique pictorial vision that moves decisively beyond mere documentation and firmly establishes Brancusi as one of the most remarkably innovative image-makers in the history of the medium.
* For Rent: Marc Latamie > Hasta Julio 28 > Americas Society Gallery > FOR RENT.
Photo by Alex La Cruz
The second installment in the For Rent series featuring artist Marc Latamie (b.1952). Devoted to mid-career artists from the Caribbean and Canada, For Rent is based on the concept of transferring the use and symbolic value of Americas Society’s art gallery to the artist for the development of an in-situ installation.
In his first solo exhibition in the United States, Marc Latamie reflects on the colonial trade and cultural exchange between Martinique and France. The artist explores the history of the Caribbean through absinthe, a spirit that embodied the zeitgeist of French modern art from Henri Toulouse-Lautrec to Paul Cézanne and Pablo Picasso. For more than a century the spirit was a symbol of Parisian bohemia representing abandonment and decadence. First introduced in the late eighteenth century in Switzerland, absinthe later found great popularity in France and across Europe. It was believed to carry powerful addictive properties that effected one’s perception and behavior. France introduced Martinique to absinthe, an alcohol the island continued to produce despite France’s prohibition by 1915. As a result, Latamie grew up with absinthe regularly brewed in homes throughout Martinique, and recalls that as a child he would sniff the absinthe perfume kept in his grandmother’s cabinet.
* HISPANIC SOCIETY > Permanent collection on view > Vision of Spain. Joaquín Sorolla >Audubon Terrace > The Hispanic Society of America.
Featuring over 40 original prints, each made by Brancusi himself, this exhibition reveals Brancusi’s visionary dedication to the photographic medium as means of personal expression—an art form that the artist explored parallel to his sculpture. The photographs are integral to understanding Brancusi as an artist as they indicate that he was not only fully aware of photography’s power to guide, control, and enhance the viewer’s experience of his three-dimensional works, but also to completely transform them into new works of art. By physically placing and positioning his sculptures in his studio, Brancusi creates complex compositions that often incorporate radical lighting; his photographs express a unique pictorial vision that moves decisively beyond mere documentation and firmly establishes Brancusi as one of the most remarkably innovative image-makers in the history of the medium.
* For Rent: Marc Latamie > Hasta Julio 28 > Americas Society Gallery > FOR RENT.
Photo by Alex La Cruz
The second installment in the For Rent series featuring artist Marc Latamie (b.1952). Devoted to mid-career artists from the Caribbean and Canada, For Rent is based on the concept of transferring the use and symbolic value of Americas Society’s art gallery to the artist for the development of an in-situ installation.
In his first solo exhibition in the United States, Marc Latamie reflects on the colonial trade and cultural exchange between Martinique and France. The artist explores the history of the Caribbean through absinthe, a spirit that embodied the zeitgeist of French modern art from Henri Toulouse-Lautrec to Paul Cézanne and Pablo Picasso. For more than a century the spirit was a symbol of Parisian bohemia representing abandonment and decadence. First introduced in the late eighteenth century in Switzerland, absinthe later found great popularity in France and across Europe. It was believed to carry powerful addictive properties that effected one’s perception and behavior. France introduced Martinique to absinthe, an alcohol the island continued to produce despite France’s prohibition by 1915. As a result, Latamie grew up with absinthe regularly brewed in homes throughout Martinique, and recalls that as a child he would sniff the absinthe perfume kept in his grandmother’s cabinet.
* HISPANIC SOCIETY > Permanent collection on view > Vision of Spain. Joaquín Sorolla >Audubon Terrace > The Hispanic Society of America.
Vision of Spain. Detail. Joaquín Sorolla.
* Broadway > An Exhibition by Peter Stanick > Junio 7-28 > One Art Space > STANICK.
Mr. Stanick basic concept is a question of perception (or lack there of) in common, everyday tasks, Stanick spent a long time pursuing this question within the conventional aspects of the art world before becoming involved with internet in 1996. Today, with technology advancing to the level it has, Stanick can now pursue images that may not have been possible ten years ago.
* CARLOS ESTRADA-VEGA: BUILDING A PAINTING > Hasta Junio 23 > Margaret Thatcher Projets > ESTRADA
Photo by Alex Guerrero ®2012
The exhibition Building a Painting, which features several large-scale works the artist created for his solo exhibition Africa at the Museo Casa Chihuahua in Chihuahua, Mexico, is not merely a new body of work, but the marker of a new era of work for the artist. The shift into making larger paintings with dramatically smaller elements begins an evolution that emphasizes the artist's metaphysical intentions—the attention, the discipline, the engaged meditation—as expressed by the physical effort applied in creating the paintings. The series presented in Building a Painting is a meditation on the African continent as the cradle of humanity, and the transitions, struggles and metamorphosis it is currently undergoing as it builds and rebuilds itself.
* Rafael Barrios on Park Avenue. Nine monumental sculptures by this Venezuelan artist > Hasta Junio 30.
Photo by Alex Guerrero 2012
From 51st Street to 67th Street, Park Avenue Malls, Manhattan.
* ANTONI MUNTADAS: ELEVEN > Hasta Junio 15 > Kent Fine Art > MUNTADAS.
Stadium, 1989
MUNTADAS: ELEVEN presents eleven works created in varying periods and under varying circumstances. This exhibition marks the first time these works have been seen in New York, beginning with the earliest, Diálogo, produced in 1980 in Madrid; to the series Sentences, begun in 1999; to Look/See/Perceive of 2009; to recent work like The Ordeal of Picasso's Heirs and Carteras sin ministro, both from 2012. Although Muntadas is well known for constructing critiques of what he calls the "media landscape" in large and complex projects, each of these eleven works embody a particularly direct and personal engagement with issues of perception, interpretation, and representation.
* Tony Rocco > TRANSICIONES > Hasta Agosto 13 >
Pregones Theater > ROCCO.
The exhibition delves into the transitions of place, subject matter, and technique during his 20-year photographic career. Rocco’s uses his unique documentary style to takes us on a jaunt through his childhood neighborhood of South Philadelphia, the gritty North Philadelphia barrio where he has worked his entire adult life as a public school teacher, and his ongoing investigations of his mother’s native Colombia. TRANSICIONES also shows Rocco’s technical progression as we see his experimentations with color and digital photography that compliment his foundation in traditional black and white.
* ON AIR > Soledad Arias > Hasta Junio 22 > RH Gallery > ARIAS.
Soledad Arias’ text-based work explores the slippage of meanings in the aesthetic and literary reading of texts. The title of the exhibition, ON AIR, refers to live broadcasting relating to the dialog initiated by Arias’ work while also relating to the breath of air necessary for speech. The work explores the materiality of text as well as its poetic, visual and phonetic meanings within the context of dialogue and colloquial communication.
* VOCES Y VISIONES: Gran Caribe > Hasta Diciembre 9 > El Museo Del Barrio.
Francisco Oller y Cestero (Puerto Rican, 1833-1917) Platanos Amarillos (detail), ca. 1892-93 Oil on wood panel Gift of Joseph and Carmen Ana Unanue 2009.32
This exhibition features works that explore the vast diversity and complexity of the Caribbean basin, as an accompaniment to El Museo’s upcoming exhibition, Caribbean: Crossroads of the World, presented in collaboration with Studio Museum in Harlem and Queens Museum of Art.
* Ticked PINK > Our New Pop-Up Gallery Exhibit > Ends AUGUST 13 > Elisa Contemporary Art > PINK.
"El Corazon Inocente" de Ana Maria Hernando.
Ticked PINK means “to be delighted” and to “glow with pleasure” and when you see the vibrant palettes, rich textures and imagined worlds in the artwork of our group of international artists you’ll bask in those feelings as well. There are the pulsating digital orbs of Canadian artist Franco DeFrancesca and the expressionistic organic landscapes of Los Angeles Flow artist Kimber Berry, as well as thickly layered and dimensional paintings of Austin artist, Allison Gregory that literally drip with joy. And everyone is sure to delight in "El Corazon Inocente" by Argentinian artist, Ana Maria Hernando. The limited edition lithograph is covered by hand cut petals of rice paper.
OTHER HIGHLIGHTS
* The SoHo Arts Walk > 3rd Thursdays from May to September > SOHO
The SoHo Arts Walk is a collaboration of the fine art galleries of SoHo. From May through September, every third Thursday brings visitors into the neighborhood to enjoy the dynamic art scene. Visit more than 20 galleries in the heart of New York's historical art sector and enjoy the vibrant environment.
2012 dates | Throughout the day : 6/21, 7/19, 8/16, 9/20
* Byzantium and Islam: Age of Transition >Through July 8 > MET MUSEUM > MET.
* ANISH KAPOOR: New Work > Hasta Junio 9 > Gladstone Gallery > KAPOOR.
Photo by Alex Guerrero 2012
Spanning both gallery spaces (w24th St and w21 St), this two-part exhibition demonstrates Kapoor’s ongoing exploration of the formal and conceptual framework that has informed his artistic practice for over three decades. In these new sculptural works, Kapoor brings together two major facets of his approach to the three-dimensional form, reflecting both the highly engineered and more organic processes within his oeuvre. At once austere and intimate, messy and refined, Kapoor’s work dually confronts and expands the basic nature of materiality and form.Our 24th Street location features a multi-part installation comprised of twenty-two freestanding concrete sculptures. Formed by densely textured layers of poured concrete and mounted on metal palettes, these heaping sculptures evoke the sensorial nature of materiality and mass. Intentionally employing materials that could not hold their initial shape, Kapoor let the pieces unravel to create new organic forms that hover between contemporary object and ancient entity. These works linger in a state between coalescence and collapse, a relationship that speaks to Kapoor’s ongoing interest in the idea of “objectness” and the incomplete nature of the sculptural form.
* CRAIG NORTON: Tim Came Home from the War and Isn't Timmy Anymore > Hasta Junio 17 > En Jim Kempner Fine Art > NORTON.
Craig Norton. Take a Spin, the Game of Going Off to War, 2012
Craig Norton’s installations have brought social awareness to issues such as civil rights and lynching in America (the subject of his first show at Kempner), the Holocaust and other genocides, and gun violence in America. This most recent tableaux evolved from conversations Norton had with a family friend, a veteran who returned after three tours of duty with a purple heart and severe brain injuries. As a result of these injuries, the veteran felt lost, isolated, and unable to connect with those around him, symptoms commonly associated with Post Traumatic Stress Disorder. Using powerfully gestural and evocative collage techniques, Norton draws attention to PTSD as a pressing national crisis.
Tim Came Home from the War and Isn’t Timmy Anymore, is a confrontational narrative about the horrors of war and the struggles endured by soldiers upon return from battle. This narrative was created using Norton’s signature technique: a combination of expressive, photo-realistically drawn faces and hands with swaths and swirls of wallpaper collage. Three-dimensional wooden structures - walls, doors, caskets – are incorporated into the tableaux, adding a new sense of psychological and physical depth
A highlight from the show, Take A Spin, the Game of Going Off to War, uses dark humor to illustrate the mental and physical unpredictability every soldier faces. Similar to a game, viewers are invited to “spin the wheel” to see the various options: lose an arm, leg or genitals; come home unhurt, unchanged, the same as when you left; accidentally kill a non-combatant; die; suffer PTSD; spin again.
* EVELYN HOFER > Photographs > Retrospectiva > Hasta Junio 22 > Danziger Gallery > HOFER.
Photo by Alex Guerrero 2012
Evelyn Hofer was born in Marburg, Germany in 1922 and died in 2009 in Mexico City. In the years in between, Hofer created a body of work that both looked back to the tradition of August Sander and anticipated the color work of William Eggleston, causing her to be called "the most famous unknown photographer in America" by New York Times art critic Hilton Kramer – a devout supporter of her work.
Hofer's studies covered everything from photographic technique to art theory. She didn't just learn composition and the underlying theories of aesthetics, she also learned the chemistry involved in producing prints. Beginning in the early 1960s she became one of the first fine art photographers to adopt the use of color film and the complicated dye transfer printing process as a regular practice. Throughout her long career, Hofer continued to shoot in both color and black and white – determining which was the more apt for the picture at hand. Hofer's goal was to go beyond documentary photography to create a subjective interpretation of the world, conveying both the spirit of the time and a timeless message. A street photographer of a different stripe, Hofer's street pictures convey the artist's concern with sociological connections and offer a pointed look at society and its conditions. Her trades-people and toffs, her families and social groups are more than just intimate portraits – they epitomize the possibilities and restrictions of the human condition.
* ROY NACHUM: OPEN YOUR EYES > Hasta Junio 10 > En Joseph Nahmad Contemporary > No website yet > 450 West 14th st. New York.
Photo by Alex Guerrero 2012
* CRAIG NORTON: Tim Came Home from the War and Isn't Timmy Anymore > Hasta Junio 17 > En Jim Kempner Fine Art > NORTON.
Craig Norton. Take a Spin, the Game of Going Off to War, 2012
Craig Norton’s installations have brought social awareness to issues such as civil rights and lynching in America (the subject of his first show at Kempner), the Holocaust and other genocides, and gun violence in America. This most recent tableaux evolved from conversations Norton had with a family friend, a veteran who returned after three tours of duty with a purple heart and severe brain injuries. As a result of these injuries, the veteran felt lost, isolated, and unable to connect with those around him, symptoms commonly associated with Post Traumatic Stress Disorder. Using powerfully gestural and evocative collage techniques, Norton draws attention to PTSD as a pressing national crisis.
Tim Came Home from the War and Isn’t Timmy Anymore, is a confrontational narrative about the horrors of war and the struggles endured by soldiers upon return from battle. This narrative was created using Norton’s signature technique: a combination of expressive, photo-realistically drawn faces and hands with swaths and swirls of wallpaper collage. Three-dimensional wooden structures - walls, doors, caskets – are incorporated into the tableaux, adding a new sense of psychological and physical depth
A highlight from the show, Take A Spin, the Game of Going Off to War, uses dark humor to illustrate the mental and physical unpredictability every soldier faces. Similar to a game, viewers are invited to “spin the wheel” to see the various options: lose an arm, leg or genitals; come home unhurt, unchanged, the same as when you left; accidentally kill a non-combatant; die; suffer PTSD; spin again.
* EVELYN HOFER > Photographs > Retrospectiva > Hasta Junio 22 > Danziger Gallery > HOFER.
Photo by Alex Guerrero 2012
Evelyn Hofer was born in Marburg, Germany in 1922 and died in 2009 in Mexico City. In the years in between, Hofer created a body of work that both looked back to the tradition of August Sander and anticipated the color work of William Eggleston, causing her to be called "the most famous unknown photographer in America" by New York Times art critic Hilton Kramer – a devout supporter of her work.
Hofer's studies covered everything from photographic technique to art theory. She didn't just learn composition and the underlying theories of aesthetics, she also learned the chemistry involved in producing prints. Beginning in the early 1960s she became one of the first fine art photographers to adopt the use of color film and the complicated dye transfer printing process as a regular practice. Throughout her long career, Hofer continued to shoot in both color and black and white – determining which was the more apt for the picture at hand. Hofer's goal was to go beyond documentary photography to create a subjective interpretation of the world, conveying both the spirit of the time and a timeless message. A street photographer of a different stripe, Hofer's street pictures convey the artist's concern with sociological connections and offer a pointed look at society and its conditions. Her trades-people and toffs, her families and social groups are more than just intimate portraits – they epitomize the possibilities and restrictions of the human condition.
* ROY NACHUM: OPEN YOUR EYES > Hasta Junio 10 > En Joseph Nahmad Contemporary > No website yet > 450 West 14th st. New York.
Photo by Alex Guerrero 2012
The exhibition, which continues to explore Nachum’s signature themes of perception and vision, consists of paintings and an installation and is divided into four parts, Parallel Realities, Color Blind, Invisible Mirrors and Sea of Crowns.
Roy Nachum's elegant visual tropes eloquently reveal the conundrums of vision, narrative and poetics. While it is common for art to result in quite different experience from view to viewer, Nachum's work is extraordinarily variable in how it is experienced as well as how it is understood. It is an exhibition that will literally and figuratively Open Your Eyes.
*American Identities: A New Look > Ongoing > Brooklyn Museum > Identities.
Edward Hicks (American, 1780–1849). The Peaceable Kingdom, circa 1833–34. Oil on canvas, 17 7/16 x 23 9/16 in. (44.3 x 59.8 cm). Brooklyn Museum, Dick S. Ramsay Fund, 40.340
This major installation of more than three hundred fifty objects from the Brooklyn Museum's premier collection of American art integrates a vast array of fine and decorative arts (silver, furniture, ceramics, and textiles) ranging in date from the colonial period to the present. For the first time, major objects from these exceptional collections are joined by selections from the Museum's important holdings of Native American and Spanish colonial art.
* Francesca Woodman > Una retrospectiva > Hasta Junio 13 > Guggenheim Museum > Woodman.
Roy Nachum's elegant visual tropes eloquently reveal the conundrums of vision, narrative and poetics. While it is common for art to result in quite different experience from view to viewer, Nachum's work is extraordinarily variable in how it is experienced as well as how it is understood. It is an exhibition that will literally and figuratively Open Your Eyes.
*American Identities: A New Look > Ongoing > Brooklyn Museum > Identities.
Edward Hicks (American, 1780–1849). The Peaceable Kingdom, circa 1833–34. Oil on canvas, 17 7/16 x 23 9/16 in. (44.3 x 59.8 cm). Brooklyn Museum, Dick S. Ramsay Fund, 40.340
This major installation of more than three hundred fifty objects from the Brooklyn Museum's premier collection of American art integrates a vast array of fine and decorative arts (silver, furniture, ceramics, and textiles) ranging in date from the colonial period to the present. For the first time, major objects from these exceptional collections are joined by selections from the Museum's important holdings of Native American and Spanish colonial art.
* Francesca Woodman > Una retrospectiva > Hasta Junio 13 > Guggenheim Museum > Woodman.
Francesca Woodman, Polka Dots, Providence, Rhode Island, 1976. Gelatin silver print, 13.3 x 13.3 cm. Courtesy George and Betty Woodman. © 2012 George and Betty Woodman
Francesca Woodman is the first comprehensive survey of the artist’s brief but extraordinary career to be seen in North America. More than thirty years after her death, the moment is ripe for a historical reconsideration of her work and its reception. Woodman’s oeuvre represents a remarkably rich and singular exploration of the human body in space and of the genre of self-portraiture in particular. Her interest in female subjectivity, seriality, Conceptualist practice, and photography’s relationship to both literature and performance are also hallmarks of the heady moment in American photography during which she came of age.
* CINDY SHERMAN > Muestra en la Galería Metro Pictures > Hasta Junio 9 > Chelsea > CINDY.
Photo by Alex Guerrero 2012
*Keith Haring: 1978–1982 > Hasta Julio 8 > Brooklyn Museum > KH.
Keith Haring (American, 1958–1990). Untitled, 1980. Sumi ink on Bristol board, 20 x 26 in. (50.8 x 66.0 cm). Collection Keith Haring Foundation. © Keith Haring Foundation
This is the first large-scale exhibition to explore the early career of one of the best-known American artists of the twentieth century. Tracing the development of Haring’s extraordinary visual vocabulary, the exhibition includes 155 works on paper, numerous experimental videos, and over 150 archival objects, including rarely seen sketchbooks, journals, exhibition flyers, posters, subway drawings, and documentary photographs.
OUTSIDE OF NYC
* Photography in Mexico > Selected Works from the Collections of SFMOMA and Daniel Greenberg and Susan Steinhauser > Ends July 8 > SFMOMA > MEXICO
Lola Álvarez Bravo, Los gorrones, ca. 1955, printed later; gelatin silver print; Collection of Daniel Greenberg and Susan
* Photography in Mexico > Selected Works from the Collections of SFMOMA and Daniel Greenberg and Susan Steinhauser > Ends July 8 > SFMOMA > MEXICO
Lola Álvarez Bravo, Los gorrones, ca. 1955, printed later; gelatin silver print; Collection of Daniel Greenberg and Susan
Steinhauser; © 1995 Center for Creative Photography, The University of Arizona Foundation
Presenting a complex synthesis of art and politics, this exhibition explores Mexico's distinctively rich and diverse photography tradition from the 1920s to the present. It begins in the period following the Mexican Revolution, when international artists such as Tina Modotti and Edward Weston found creative inspiration in Mexico and, in turn, helped to inspire Mexican photographers like Lola Álvarez Bravo and Manuel Álvarez Bravo. Including photographs made for the illustrated press at midcentury and documentary investigations from the 1970s and 1980s, the exhibition concludes with contemporary examinations of social, environmental, and economic concerns both within Mexico and along its northern border. The selection of more than 150 photographs showcases works by Manuel Carrillo, Graciela Iturbide, Elsa Medina, Pablo Ortiz Monasterio, Mariana Yampolsky, and many more.
* Art of the Americas > New wing > Ongoing > Museum of Fine Arts > Boston > MFA.
A view of the 20th-century art through the mid-1970s galleries. Art of the Americas. MFA Boston. Photo: Alex Guerrero ®2012
The new wing takes a global perspective on Art of the Americas, showcasing more than 5,000 works of art produced in North, Central, and South America over the course of three millennia. Art in all media will be arranged chronologically on four floors. The wing's 53 brand-new galleries include nine beautiful period rooms and four Behind the Scenes galleries to enhance the way visitors experience and interact with the collection.
* The New Wing for Contemporary Art at the MFA, Boston > Ongoing > Contemporary.
A view of the Wing for Contemporary Art. MFA, Boston. Photo: AlexGuerrero ®2012.
The Linde Family Wing for Contemporary Art has seven new galleries to introduce innovative approaches to contemporary art and design within the context of the MFA's collections. The wing is also a lively social space—a gateway to experience contemporary culture, including art, music, performances, film, readings, lectures, courses, and artist demonstrations.
Presenting a complex synthesis of art and politics, this exhibition explores Mexico's distinctively rich and diverse photography tradition from the 1920s to the present. It begins in the period following the Mexican Revolution, when international artists such as Tina Modotti and Edward Weston found creative inspiration in Mexico and, in turn, helped to inspire Mexican photographers like Lola Álvarez Bravo and Manuel Álvarez Bravo. Including photographs made for the illustrated press at midcentury and documentary investigations from the 1970s and 1980s, the exhibition concludes with contemporary examinations of social, environmental, and economic concerns both within Mexico and along its northern border. The selection of more than 150 photographs showcases works by Manuel Carrillo, Graciela Iturbide, Elsa Medina, Pablo Ortiz Monasterio, Mariana Yampolsky, and many more.
* Art of the Americas > New wing > Ongoing > Museum of Fine Arts > Boston > MFA.
A view of the 20th-century art through the mid-1970s galleries. Art of the Americas. MFA Boston. Photo: Alex Guerrero ®2012
The new wing takes a global perspective on Art of the Americas, showcasing more than 5,000 works of art produced in North, Central, and South America over the course of three millennia. Art in all media will be arranged chronologically on four floors. The wing's 53 brand-new galleries include nine beautiful period rooms and four Behind the Scenes galleries to enhance the way visitors experience and interact with the collection.
* The New Wing for Contemporary Art at the MFA, Boston > Ongoing > Contemporary.
A view of the Wing for Contemporary Art. MFA, Boston. Photo: AlexGuerrero ®2012.
The Linde Family Wing for Contemporary Art has seven new galleries to introduce innovative approaches to contemporary art and design within the context of the MFA's collections. The wing is also a lively social space—a gateway to experience contemporary culture, including art, music, performances, film, readings, lectures, courses, and artist demonstrations.
Currently have 0 comments: