ART BLOG ART BLOG

Tuesday, September 2, 2014

Ann Craven




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Ilja Karilampi XXXERCISE @ The Suzanne Geiss Company opens this Thursday, Sept 4th, 2014


Pieter Schoolwerth, Your Vacuum Sucks @ What Pipeline opens September 5th, 2014 from 6 - 9 pm

What Pipeline presents

Pieter Schoolwerth
Your Vacuum Sucks

September 5 - October 11, 2014

Opening September 5, 6 - 9 pm

Screening and Artist Talk September 6, 2 pm

What Pipeline
3525 W Vernor Hwy
Detroit, MI 48216

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Dave Hickey

Okay, you guys are going to kill me for this but it's a good little idea. I have all these "friends," you know, and so many of them seem chippy and aggrieved at the acidic, acerbic texture of the contemporary art world. There is one cure that I know will work. Fall in love. Embrace mushy romance big time with chocolates, roses and lingerie. Hold hands in the bookstore. Make out in the barn. Sip drinks in dark hotel bars. Smooch in taxicabs swishing down Park Avenue. Send affectionate texts for no particular reason. Stare into one another's eyes. My own favorite moment of mushy romance: standing semi-naked with my love bunny, looking out a hotel window from the fortieth floor, watching the snow swirl down on the giant city. This strategy will make the Faculty Budget Committee Meeting tomorrow more tolerable. You can play footsie under the table. Get sweet, for Christ's sake. We're little bitty humans.

Eternal September @ Tomorrow (NEW YORK) opens September 7th, 2014 from 6-8pm

Eternal September
 
Bradley Kronz
Jason Matthew Lee
Mary Ann Aitken
Oto Gillen
Valerie Keane

106 Eldridge Street
New York, NY, 10002

Tobias Madison: Deficiency Depletion @ Freedman Fitzpatrick opens Sunday, September 7th, 2014 from 7-9pm

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Shit Like Hair @ White Flag Projects opens Saturday, September 6th, 2014 from 6-8pm

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“Post-Speculation, Act I” with HOWDOYOUSAYYAMINAFRICAN? @ P! opens Tuesday, September 9th, 2014 from 7-9pm

SEPT 1 – NOV 1, 2014
CURATED BY PREM KRISHNAMURTHY AND CARIN KUONI 

POST-SPECULATION, ACT I 
SEPT 1 – SEPT 12 
OPENING EVENT: TUESDAY, SEPTEMBER 9, 7–9PM 

FEATURING: HOWDOYOUSAYYAMINAFRICAN? 

POST-SPECULATION, ACT II 
SEPT 21 – NOV 1 
OPENING RECEPTION: SUNDAY, SEPTEMBER 21, 6–8PM 

FEATURING: 
ÅBÄKE 
LYNN HERSHMANN LEESON 
JOSIAH MCELHENY  
SARAH OPPENHEIMER 
WALID RAAD 
AMIE SIEGEL 
GABRIEL ACEVEDO VELARDE

Post-Speculation begins where Speculation, Now ends: as a postscript, a footnote, an addendum, and a reflection of a book that does not yet exist. In an age of geopolitical upheaval, unstable financial markets, environmental uncertainty, and distributed artistic production, Post-Speculation explores the fringe, the edge, and the double-bind of this broad topic. 

“Speculation” is often associated with financial markets and defined as measuring investment risk against future returns. At the same time and in its original usage, “speculation” is the creative leap of looking both beyond and within the known in order to imagine something unexpected. In this context, speculation is a framework for action and thought that can be constructive in a historic moment of radical change and uncertainty. Ironically, the concrete environment of the exhibition setting provides the foil to engage in such provocative questioning

The exhibition begins with Post-Speculation, Act I. For eleven days, the art collective HOWDOYOUSAYYAMINAFRICAN? will occupy P! in order to launch  thewayblackmachine.net, an internet archive of activism around black embodiment inspired by The Wayback Machine (web.archive.org). Addressing contemporary conditions such as police brutality, American-funded international violence, and the ways that memes and hashtags collapse and make legible such threats to personhood, the collective’s conceptual and spatial intervention uses the gallery itself as a medium that extends into the street. Designed by A(n) Office with HOWDOYOUSAYYAMINAFRICAN?Act I will feature multiple screens, projections, black walls, and void space. Through performances and architectural maquettes, multiple operations are modeled on and for theHouse Opera | Opera House, a found/acquired house in Detroit that places art at the center of the community and offers community members a space to create. 

This implicit merging of closeness and distance, reality and story, sets the stage for Post-Speculation, Act II, a group exhibition building upon the conditions left by Act I. The exhibition opens with Sarah Oppenheimer’s reactivation of her 2012 façade installation at P!, C-010100. Like other aspects of the show, Oppenheimer’s work plays on the reversal of temporal sequence, restoring the gallery windows to a mirrored condition from two years ago. Similarly,  Josiah McElheny continues his series of “collaborations with dead artists” that result in temporary and site-specific works. For Act II, he speculates on how Blinky Palermo (1943–1977) might restage one of his monotonal murals in the New York gallery space, responding to both the physical environment and other artworks. Peruvian-born, Berlin-based artist Gabriel Acevedo Velarde presents Ciudadano Paranormal (2013), featuring video interviews with state employees regarding their encounters with the “ghosts” of government institutions. The video is accompanied by fantastical drawings that reflect on the Modernist architecture where these encounters have allegedly occurred. With a sensitivity keenly attuned to translating the ever-shifting present, Lynn Hershmann Leeson’s Synthia (1999–2004) uses real-time financial data to control the movements and mood of a fictional female character as she wanders the city. European art and design collective Åbäke presents a series of photograms and glass cubes produced in collaboration with Finnish glass-blowing icon Oiva Toikka. The resulting series, A History of the World (2014), abstractly represents events spanning the history of the universe, from the Big Bang to Heat Death. The photographs from Amie Siegel’s Black Moon / Hole Punches (2010) series trace parallel time within post-apocalyptic science fiction and the 2008 economic recession and housing crash. At an accompanying event in October, Siegel will screen her short film Black Moon (2010) at The New School in conversation with the exhibition curators. Finally, Walid Raad presents Section 88: Act XXII_Views from Inner to outer compartments (2010), which is part of the project  Scratching on things I could disavow. Shown for the first time in New York, these floor-to-ceiling photographic strips hide miniature architectural details that become literal and metaphorical thresholds to access new spaces and experiences. Through this combination of site-specific installations, real-time explorations, and otherworldly dimensions, the exhibition itself becomes a speculative playing field for the interactions of objects and ideas. 

Post-Speculation precedes the launch of Speculation, Now, a comprehensive consideration of the speculative in disciplines ranging from art to anthropology, history, and science. The book is published by Duke University Press, in association with the Vera List Center for Art and Politics at The New School, and designed by Project Projects, with an anticipated book launch in early November 2014. 

A proposition rather than a statement, Post-Speculation also inaugurates Parallel Systems 2014–2015, a yearlong series of exhibitions and events at P! focused on the embedded structures of thought, belief, and action that shadow our commonly-held rational systems. 
For more information, contact David Knowles at +1 (917) 219-4373 or david@p-exclamation.org.

The House Opera | Opera House is supported by the Graham Foundation for Advanced Studies in the Fine Arts. Post-Speculation is presented as a collaboration between P! and the Vera List Center for Art and Politics.


Monday, September 1, 2014

Josh Faught: I know I came into this room for a reason @ Kendall Koppe opens Friday, September 5th, 2014 from 6-9pm

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Nicholas Buffon coming up @ Freddy, Baltimore


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Dave Hickey

If you spend a little time every day, as I do, trying to figure out what’s going in the world of art and music, Leonard Meyer had a sweet little idea in the 1960’s. In an essay from that period, Meyer grants the fact that since Manet and Wagner, the cultural landscape has given birth to hundreds of styles and manners. This, Meyer suggests, gives the appearance of a narrative: a sequence of dominant styles that follow one upon the other. Meyer then observes that, even though hundreds of styles and manners have come into being, not one of them has died. There are still Situationists in Slovakia, Post-impressionists in Potsdam, and Cubists in Cuba. Given this rather obvious fact, Meyer recasts the historical narrative of art and music into an expanding delta of tributaries branching off one from the other.

These branchings and divagations create a wide delta of styles that differ from one another in increments of increasing delicacy. The apparent “history” of contemporary art history, then, is nothing more than the consequence of shifting public taste. So imagine the delta of the Mississippi illuminated by a giant swinging spotlight out in the gulf, illuminating first one style-tributary and then another, each with its own “art-history.” By this path, Meyer comes to a conclusion that he shares with many continental theorists, that “everything is always there”---that what we call art history is something more like a history of public boredom and its longing for change. This means things must change, and I like that.


Sunday, August 31, 2014

Andy Meerow: Blackberries, The Bones of One Chicken @ Bodega opens September 6th, 2014

Andy Meerow
Blackberries, The Bones of One Chicken
September 6 - October 5

"You didn't earn the knowledge for yourselves, so you don't take responsibility for it. You stood on the shoulders of geniuses to accomplish something as fast as you could, and before you even knew what you had, you patented it and packaged it." 
-Dr. Ian Malcolm, Jurassic Park, 1993

In Winter 2014, HBO premiered Doll and Em, a British comedy in which actor Emily Mortimer plays herself. Her co­star, Dolly Wells (Mortimer's best friend on and off screen) is cast as Mortimer's newly hired personal assistant. The series traffics in its own discomfort. The stressfulness of the show comes in part from the monetized friendship between it's best­ friend­ co­stars and the lavishly over­privileged Hollywood scenarios they inhabit. Yet even more, Doll and Em pulls tension from the conceptual set­up in which Mortimer, with her slant self­mimicry, becomes bisected on the uncanny line between a subject and its representation. The resultant drama unveils a universal non­truth of personhood, one which we might experience as humor.

In 1979 Tim and Nina Zagat established the first Zagat's Guide as a way to collect and correlate the experiences of restaurant diners. They began by surveying their immediate friend group. At present, hundreds of thousands of restaurant goers contribute to the reviews, which are set up on a 30­point system based on ratings for food, decor, service, and cost. The guide delivers us another sort of non­voice, that of the aggregated collective. As a piece of writing, as a work, it too feels disembodied ­ a ghost­written critique of urban excess spoken with wry detachment from its own outrage. A plate of greens is "unbearably" spicy. A bowl of noodles is "beyond."

Blackberries, The Bones of One Chicken is a show about voice.

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Willie Nelson: Bubbles in my Beer



Al Freeman


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Excerpt from Role Models by John Waters

Yes, Tennessee Williams was my childhood friend.  I yearned for a bad influence and Tennessee was one in the best sense of the word: joyous, alarming, sexually confusing, and dangerously funny.  I didn't quite "get" "Desire and the Black Masseur" when I read it in One Arm, but I hoped I would one day.  The thing I did know after finishing the book was that I didn't have to listen to the lies the teachers told us about society's rules.  I didn't have to worry about fitting in with a crowd I didn't want to hang out with in the first place.  No, there was another world that Tennessee Williams knew about, a universe filled with special people who didn't want to be a part of this dreary conformist life that I was told I had to join.

Saturday, August 30, 2014

"Stop Rushing Me!," 2003, Leon Golub

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Katherine Bernhardt

Watermelon, Basketballs, Popsicles, and Cigs, 2014

Bacon and Eggs, 2014
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Richard Hawkins & Marcel Alcala

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Friday, August 29, 2014

Otto Muehl @ Maccarone opens Friday, September 12th, 2014 from 6-8pm

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Adam Marnie @ 55 GANSEVOORT opens Thursday, September 4th from 7 - 9pm

55 GANSEVOORT
ADAM MARNIE
"RECURSION"

September 4 - October 5, 2014
Opening Reception: Thursday, September 4th from 7:00 to 9:00pm

"Recursion" presents the most recent iteration of Marnie’s ongoing engagement with site-specific installation. Addressing the quotidian publicness of this storefront and its chopped vestibule interior, Marnie has elected to block out one side of the space with a large red work. He uses the same standard building materials repeatedly employed in the service of his interventions: inkjet prints, drywall, glue. Screws through the face of the work affix it in a mock-permanence, particular to an orthodox use of the substrate. As such, the work hovers between the surface of the wall and something hung on it. It pulsates. Centered on the wall, a border surrounds it—setting off the bulls-eye nature of the work with a precision that turns attention away from it onto the surrounding architecture. Installed to the left of the doorway, and further obscured by the clouded glass of the windows, the dead-on view that normally attends such a work is denied. Caught in a net of self-negation, the boundaries of the work are torn between expansion and collapse.

Adam Marnie (
born 1977) has shown his work in numerous New York galleries, with recent solo exhibitions at Halsey McKay (2014) and Derek Eller (2013); group exhibitions with Andrea Rosen, Know More Games and James Fuentes; and across the US: David Petersen Gallery, Minneapolis; Fourteen30 Contemporary, Portland; and Night Gallery, Los Angeles. His work has been reviewed in The New York TimesThe Brooklyn RailThe East Hampton StarLast Magazine, and Night Papers. He is also publisher and editor-in-chief of the biannual magazine F, the second issue of which is due out late this fall.

The exhibitions at 55 Gansevoort are entirely visible, at all hours, by peering through the windowed doors.

Contact: Ellie Rines; info@ellierines.com248-672-6791

Yellowman: Duppy Or Gunman



"Kodeboch," 2014, Michael Rey

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Jack Bilbo @ David Zwirner, London opens Wednesday, September 3rd, 2014

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Frank Sinatra

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Nicholas Buffon

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By Night With Torch and Spear @ Johan Berggren Gallery opens September 4th, 2014 from 5-8pm

Renaud Jerez
Veit Laurent Kurz
Stuart Middleton

Opening: September 4th, 5-8 pm
Exhibition period ends: October 4th
Gallery opening hours:
Wednesday – Friday 12-5.30 pm, Saturday 12-4 pm

Johan Berggren Gallery
Monbijougatan 17G, 211 53 Malmö, Sweden

Henry Codax @ Martos Gallery opens Friday, September 5th, 2014

HENRY CODAX

September 5 - October 4, 2014

Martos Gallery is pleased to present a solo show of monochrome paintings by Henry Codax. Working for the first time in an iridescent hue, Codax’s third show features thirteen 7 x 7 foot silver paintings that seamlessly line the walls of the gallery. The exhibition will be open to the public September 5 - October 4, 2014, with an opening reception on Friday, September 5 from 6-8 pm.

Henry Codax has exhibited in institutions both nationally and abroad including Michael Thibault Gallery, Los Angeles; Gavin Brown’s Enterprise, New York; Galerie Triple V, Paris; Office Baroque, Belgium; Carriage Trade, New York, and Galerie Susanna Kulli, Zurich. With the exception of exhibition history, there is no other biographical information known about the artist.

Martos Gallery 
540 West 29th Street
New York NY 10001

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Heather Guertin: Development @ Brennan & Griffin opens Sunday, September 7th, 2014

September 7 - October 12, 2014

The Built Environment - Lower East Side in Istanbul @ Mixer opens Friday, September 19th, 2014

Anna K.E.
Carol Szymanski
Eli Ping
Erica Baum
Frank Heath
Jill Magid
Josh Tonsfeld
Joshua Abelow
Robin Cameron

curated by Kathleen Madden


Hugh Scott-Douglas: Promises to Pay in Solid Substance @ Jessica Silverman Gallery opens September 5th, 2014

Hugh Scott-Douglas
Promises to Pay in Solid Substance
September 5 - November 1, 2014
488 Ellis Street, San Francisco, CA
Opening reception: Friday, September 5, 6-8PM

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"David Petersen," 2014, Joshua Abelow

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Quintesa Matranga @ Either Way opens September 7th, 2014

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Gene Beery: A Nice Painting Book















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Chloe Wise



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