I Art NY

KILU

Sam — Fri, 18 Sep 2009 20:17:59 +0000

KILU
August 11th, 2009
Broadway Gallery NYC presents KILU

A Solo Exhibition

September 16-30, 2009

Opening Reception Thursday September 17, 2009, 6-8pm

Kilu’s sumptuous works form an anthology of color, depth and light. Presenting a crossroads of aesthetics, the artist skillfully manipulates the camera lens in each of his works, capturing the light and color as a continuous form. Constructing an explosive narrative in each work, he combines elements of gestural Abstraction with drawing-like marks that translate a radiant experience of spirituality and energy. The result of Kilu’s creative process culminates with far more than a photo or wall sculpture; the works are objects of discovery that possess a timeless, magical quality. Reminiscent of a dream voyage to another place, his works are deeply personal, evoking his own subconsciousness, while revealing universal truths about the journey and celebration of life.

Using fluorescent light and movement to explore color, luminosity, and sculptural space, German artist Kilu captures the energy of the life—from the people he meets to the places he travels. Conceiving his visual art behind a camera lens, Kilu conveys inventive points of view that form a synthesis between abstract and figurative elements. Kilu creates a narrative with light, utilizing abstract compositions that reveal a life within the darkness of the studio. His photos deliver compelling patterns with graceful colors, methodical lines and arches, an aesthetic that can be closely identified with time spent in Zurich, Switzerland before his relocation to New York.

The result of Kilu’s dark room journey culminates with far more than a photograph; the works are objects of discovery that possess a timeless, magical quality. Reminiscent of a dream voyage to another place, his works are deeply personal, evoking his own subconsciousness, while revealing universal truths about the journey and celebration of life. With a bravery and intuit, Kilu’s current work travels down many new paths, exploring new techniques and aesthetics. Light and its power to transform, however, will remain a central focus throughout his creation.

WORD UP a group show curated by Adam Eckstrom

Sam — Fri, 23 Jan 2009 22:31:25 +0000

Broadway Gallery is proud to present
“Word Up”
A follow up to “Dialect”
A group show by Adam Eckstrom

“Word Up”, the follow up show to “Dialect”, is an exhibition of five artists whose work use text and imagery to discuss the idea of personal locale and response. Dialect is defined as a regional variety of a language, with differences in vocabulary, grammar, and pronunciation. Word Up is both 1.a response used as an affirmation when we hear something that hits the nail on the head (that we think is precisely correct), or 2.something we say when we see something new and exciting. As Americans we speak many dialects, and different things make each of us say Word Up. Ghost of Dream, Greg Hopkins, Colby Bird, Jeff Barnett-Winsby, and Amanda Lechner all use text to help define specific dialects within their work. Ghost of a Dream uses the language of the American Lottery, to examine and digest the quest for easy money. Greg Hopkins uses slang from the Deep South that when coupled with Standard English could have multiple meanings. Colby Bird’s work lives life in today’s hip hop pop language driven culture, while Jeff Barnet Winsby’s images cover the dialogue between two individuals in middle America who have fallen in love through the walls of a jail. Amanda Lechner comes from the angle of the American folklore, turning its spoken word history back into the image and text. Together these artists examine a personal America through image and word.

DOROTHY IANNONE

Sam — Sun, 18 Jan 2009 21:03:33 +0000

DOROTHY IANNONE

22 July - 18 October 2009

Dorothy Iannone / Courtesy Air der Paris

Dorothy Iannone
Lioness
22 July - 18 October 2009

American-born, Berlin-based artist Dorothy Iannone, now, at the age of seventy-five, will have her first solo show in a US institution at the New Museum this summer. This long-overdue exhibition will feature Iannone’s signature early work, made between 1965 and 1978, including sculptures, paintings, drawings, and a video box. An early participant in the Fluxus movement in the 1960s, Iannone has continued to portray the female sexual experience as one of transcendence, union, and spirituality. Iannone works from the first-person perspective, charting her life and lovemaking onto wood, canvas, paper, and cloth, and through video and sound. Iannone’s stylized, intricate, and colorful depictions of herself and her longtime lover Dieter Roth synthesize elements of Egyptian frescoes, Byzantine mosaics, and ancient fertility statues. Inverting the gender paradigm of artistic inspiration, Iannone had devoted most of her oeuvre to Roth, her self-declared muse, depicting both him and herself as active lovers, comfortable with their desires and pleasure. By removing self-consciousness from her work, she dispels the taboo that so often surrounds sexuality, elevating it to an act of both bodily and spiritual union.

Since she started painting in 1959, Iannone has challenged contemporary culture through her singular artistic voice as well as her radical sensibility. In 1961, Iannone attempted to bring Henry Miller’s sexually explicit book Tropic of Cancer to the United States. After it was confiscated at the airport, she filed suit against the government, which concluded with the US raising their ban on Miller’s books. In another incident, Iannone was to be featured in a group exhibition at Kunsthalle Bern in 1969. Before it opened, the director demanded that the genitals in Iannone’s paintings be covered; in protest, Dieter Roth removed his work from the show and curator Harald Szeemann resigned from his position. “Lioness,” the title of this exhibition, is taken from Roth’s pet name for Iannone.

This exhibition is curated by Jarrett Gregory, Curatorial Assistant.

www.newmuseum.org

INTERSECTIONS INTERSECTED: THE PHOTOGRAPHY OF DAVID GOLDBLATT

Sam — Sun, 18 Jan 2009 20:32:48 +0000

INTERSECTIONS INTERSECTED: THE PHOTOGRAPHY OF DAVID GOLDBLATT

15 July - 11 October 2009

David Goldblatt
Man with an injured arm. Hillbrow, Johannesburg, June, 1972, 1972
Black-and-white photograph on matte paper
Courtesy the artist and Goodman Gallery, Johannesburg

INTERSECTIONS INTERSECTED: THE PHOTOGRAPHY OF DAVID GOLDBLATT

7/15/09 - 10/11/09

Over the last fifty years, David Goldblatt has documented the complexities and contradictions of South African society. His photographs capture the social and moral value systems that governed the tumultuous history of his country’s segregationist policies and continue to influence its changing political landscape. Goldblatt began photographing professionally in the early 1960s, focusing on the effects of the National Party’s legislation of apartheid. The son of Jewish Lithuanian parents who fled to South Africa to escape religious persecution, Goldblatt was forced into a peculiar situation, being at once a white man in a racially segregated society and a member of a religious minority with a sense of otherness. He used the camera to capture the true face of apartheid as his way of coping with horrifying realities and making his voice heard. Goldblatt did not try to capture iconic images, nor did he use the camera as a tool to entice revolution through propaganda. Instead, he reveals a much more complex portrait, including the intricacies and banalities of daily life in all aspects of society. Whether showing the plight of black communities, the culture of the Afrikaner nationalists, the comfort of white suburbanites, or the architectural landscape, Goldblatt’s photographs are an intimate portrayal of a culture plagued by injustice.
In Goldblatt’s images we can see a universal sense of people’s aspirations, making do with their abnormal situation in as normal a way as possible. People go about their daily lives, trying to preserve a sense of decency amid terrible hardship. Goldblatt points out a connection between people (including himself) and the environment, and how the environment reflects the ideologies that built it. His photographs convey a sense of vulnerability as well as dignity. Goldblatt is very much a part of the culture that he is analyzing. Unlike the tradition of many documentary photographers who capture the “decisive moment,” Goldblatt’s interest lies in the routine existence of a particular time in history.
Goldblatt continues to explore the consciousness of South African society today. He looks at the condition of race relations after the end of apartheid while also tackling other contemporary issues, such as the influence of the AIDS epidemic and the excesses of consumption. For his “Intersections Intersected” series, Goldblatt looks at the relationship between the past and present by pairing his older black-and-white images with his more recent color work. Here we may notice photography’s unique association with time: how things were, how things are, and also that the effects of apartheid run deep. It will take much more time to heal the wounds of a society that was divided for so long. Yet, there is a possibility for hope, recognition of how much has changed politically in the time between the two images, and a potential optimism for the future. Goldblatt’s work is a dynamic and multilayered view of life in South Africa, and he continues to reveal that society’s progress and incongruities.

—Joseph Gergel, Curatorial Fellow

www.newmuseum.org

IN & OUT OF AMSTERDAM

Sam — Sun, 18 Jan 2009 20:22:05 +0000

IN & OUT OF AMSTERDAM

19 July - 05 October 2009

Jan Dibbets
Untitled. 1969
Photolithographed postcard
4 1/16 x 6” (10.3 x 15.2 cm)
Publisher: Seth Siegelaub, New York. Printer: unknown. Edition: approx. 1,200. The Museum of Modern Art. Art & Project/Depot VBVR Gift.
© 2009 Jan Dibbets/Artists Rights Society (ARS), New York. The Museum of Modern Art Digital Imaging Studio, photograph: Jonathan Muzikar

IN & OUT OF AMSTERDAM:
Travels in Conceptual Art, 1960–1976

July 19, 2009–October 5, 2009

Special Exhibitions Gallery, third floor

In conjunction with the exhibition In & Out of Amsterdam: Art & Project Bulletin, 1968–1989

This exhibition examines approximately seventy-five works by artists of different nationalities relating to travel and the city of Amsterdam, which was the nexus of intense art activities in the 1960s and 1970s, when artists converged there from all over the world. Hanne Darboven, Gilbert & George, Sol LeWitt, Charlotte Posenenske, Allen Ruppersberg, and Lawrence Weiner, among others, spent considerable amounts of time in Amsterdam and often produced works in direct relation to the city. The Suriname-born Stanley Brouwn came to Amsterdam as a young adult in the mid-1950s, where he developed work that plays with the idea of dimensions and distances and prefigures a number of conceptual-based art practices. Reciprocally, some of the most influential Dutch artists traveled abroad extensively before establishing themselves in Amsterdam: Jan Dibbets studied in London, while Ger van Elk and Bas Jan Ader trained in Los Angeles. Because cross-influences between Dutch and American art scenes were so abundant, it is impossible to understand the historical significance of these artists without acknowledging their new mobility. In addition to drawings, installations, wall drawings, and films, the exhibition includes a large number of posters and ephemera.

Organized by Christophe Cherix, Curator, Department of Prints and Illustrated Books, The Museum of Modern Art.

The exhibition is made possible by MoMA’s Wallis Annenberg Fund for Innovation in Contemporary Art through the Annenberg Foundation; Sue and Edgar Wachenheim Foundation; Mondriaan Foundation, Amsterdam; and Jerry I. Speyer and Katherine G. Farley.

Additional funding is provided by Stichting Over Holland and The Consulate General of the Netherlands in New York.

The accompanying publication is made possible by The International Council of The Museum of Modern Art.

www.moma.org

IN THE MIDST OF DREAMS

Sam — Sun, 18 Jan 2009 20:20:37 +0000

IN THE MIDST OF DREAMS

09 September - 24 October 2009

In The Midst Of Dreams, 2009, Installation of polyester resin, fiberglass, stainless steel, marble pebbles, and light

Three resin heads of women, illuminated from within with white neon and rising out of a blanket of white marble stones covering the floor, make up the central work in Jaume Plensa’s upcoming exhibition “In the Midst of Dreams” at Galerie Lelong. The exhibition will open to the public on Thursday, September 10 from 6 to 8 pm. The artist will be present.

Since Plensa’s last exhibition at Galerie Lelong in 2006, he has been exploring the idea of what portraiture means in an increasingly diverse world community. Using computers, Plensa begins from a true subject from life, often a woman, and then alters her face so that race and sometimes gender are indeterminate. As in his series “Soul,” previously exhibited at Galerie Lelong, Plensa works the form to find a commonality expressing the inner presence that emanates from every man and woman. The heads are overlaid with texts related to various states of being. In one, Plensa refers to a text Oscar Wilde wrote in prison, detailing the abusive punishments of hunger, insomnia, and disease that were prevalent. The references to these emotional and physical deprivations express a darker side of the human condition.

By contrast, a related series of alabaster heads emanate a serene presence. The works bear female faces that emerge softly from within the stone. For these sculptures, Plensa used a photographic source and laser-cut stone, uniting a craft that goes back to Classical Greece with 21st-century technology. “In the Midst of Dreams” expresses Plensa’s vision of a universal, global humankind, where race and nationality are superseded by a common need for spirituality and dreams.

“In the Midst of Dream” is Plensa’s fourth solo exhibition at Galerie Lelong. Monographic museum exhibitions were presented recently by the Institut Valencia d’Art Moderne; Centro de Arte Caja de Burgos; Musée d’Art Moderne et Contemporain, Nice; and Frederick Meijer Gardens & Sculpture Park. He is represented in numerous public collections, including the Baltic Centre for Contemporary Art, Museo Nacional Centro de Arte Reina Sofía, Museu d’Art Contemporani de Barcelona, and North Carolina Museum of Art. Plensa is active in creating public commissions worldwide—most recently, he was selected to develop a site-specific installation for the Burj Dubai, the world’s tallest structure upon its completion this year. Other celebrated public works include Crown Fountain in Chicago’s Millennium Park and Breathing at the BBC Broadcasting Tower in London. In January 2010, the Nasher Sculpture Center in Dallas will present “Jaume Plensa: Genus and Species,” an exhibition of 9 large-scale sculptures and installations.

www.galerielelong.com

EVERY SAD SONG WILL HAVE A BRIGHTER DAY - GERALD PETIT

Sam — Sun, 18 Jan 2009 20:19:52 +0000

EVERY SAD SONG WILL HAVE A BRIGHTER DAY - GERALD PETIT

12 September - 18 October 2009

Crying over you, 2009
Glycee Print
47 x 38 Inches
Courtesy of LMAKprojects and the Artist

LMAKprojects is pleased to present Every Sad Song Will Have a Brighter Day a solo exhibit by Gerald Petit. This will be Petit’s second show with the gallery, as he will continue to relay his fascination with music and its surrounding visual elements. The exhibit features photographs, prints and a sculpture with imprinted imagery.

The exhibit’s main focus is the sculpture titled Osmosis Part 2, it addresses the taboos that were and still are broken by music and its culture. The work is filled with sexual references and derives its influence from 70’s Funk and Soul. Albums by Stevie Wonder’s Songs in the Key of Life or Innervision, any cover of the Parlamant/Funkadelic albums and even Miles Davis’ Bitches Brew come to mind. However the work also references painting archetypes, from Hokusai to David Hockney’s of this time.

Petit continues to explore the emotional responses that are evoked by music, and does so through the imagery of LP album covers. Petit feels that listening to an LP pulls the listener into the emotional realm of music, as there is a certain ritual that occurs as you listen to an LP. The ritual creates awareness for the participant and the cover and its imagery are a huge part of this experience. Some of the images exhibited are a play on cover art as they capture the relation between evocation and the literal. Petit visualizes the music, and conveys its emotions through his subject matter, he feels that through music the body becomes fixed into a sort of ecstatic trance of which ever state of mind it tries to emulate. In the series Crying over you, who’s shear production closely resembles the physicality of a vinyl record, is inspired by shots from Elvis fans in the 60’s, and is a perfect example of Petit’s fascination with emotion, but also conveys the irony and shallowness of obsession.

Also in the exhibit Petit presents a new work Fairy Queen, a color photograph as part of his ongoing series of his mother as muse, which started in 2001. The portrait relays the ecstatic state produced upon hearing a lecture, which is drawn from Fairy Queen by Olivier Cadiot, in which a fairy is visiting Gertrude Stein and they cross time and space through an enigmatic and metaphoric series of situations. The image offers the viewer a similar emotional experience other than through music.

Petit’s work is sincere in its depictions, ironic in its observations, and genuine in its attempt to create an efficient, positive and powerful image. Bob Dylan seems to capture it best: I’ll let you be in my dreams if I can be in yours.

After his residency at ISCP (NY) in 2004, Gerald Petit had his first solo-exhibit with LMAKprojects titled Facing the present that night at Otter Lake in 2005. He has since exhibited throughout Europe and Japan and featured at such institutes as Palais de Tokyo, Paris and Museu da Presidência da República, Portugal, Musée Niépce, Chalon-sur-Saône and the Biennale of Lyon in 2009.

Every Sad Song Will Have a Brighter Day will be on view from Saturday September 12th until October 18th, 2009. Our gallery hours are Wednesday through Saturday 11-6 and Sunday 12-6, if you need additional materials or have any questions please do not hesitate to contact us at louky@lmakprojects, bart@lmakprojects or 212 255 9707

www.lmakprojects.com

Friday, December 12

Sam — Fri, 12 Dec 2008 21:29:23 +0000

– Ad Reinhardt and Tony Smith: A Dialogue @ PaceWildenstein
– Gallery Talk: “Pop Art in MoMA’s Collection,” with Kelly Sidley, 1:30pm @ The Museum of Modern Art

New York’s Art Openings for Wednesday, Novermber 26th

Sam — Wed, 26 Nov 2008 22:18:22 +0000

— “New York Pre-Party for Miami Art Show,” 8pm-12am at High Bar
— Lecture, Surrealism: Dreams and Nightmares, 11:30am @ The Museum of Modern Art

National Art Openings

Sam — Wed, 26 Nov 2008 22:17:29 +0000

– Graphic Masters I: Highlights from the Smithsonian American Art Museum @ Smithsonian American Art Museum, Washington, DC
– Jim Hodges: Give More Than You Take 2008/2009 Lift Ticket @ Aspen Art Museum, Aspen, Colorado