JACK SAL: Re/Vision

ZONE: CONTEMPORARY ART begins 2009 with “Jack Sal: Re/Vision,” a long overdue exhibition for a multi-faceted artist. His work appears in the many permanent collections, including the Museum of Modern Art and the International Center of Photography in New York City, the Stedelijk Museum in Amsterdam and the Museum Moderner Kunst in Vienna. He is a respected figure in Europe, where he has mounted a series of remarkable site-specific installations. He has collaborated with William Wegman and Sol Lewitt and exhibited along side Sigmar Polke and Nan Goldin. But Sal’s work remains largely unfamiliar to the American public.

 

ZONE is presenting a cross section of Sal’s work, including a chapel-like space of large-scale paintings, using gesso and silk surgical tape, created specifically for this installation. Minimalist yet profoundly humanistic, his work has a handmade look, which carries over into a group of smaller paintings and works on paper.

 

Sal is intensely aware of the temporal dimension of his work, in general, and this exhibition, in particular. He sees this new year as a “moment when the demarcation of change is upon mankind….” and it is the engagement of culture with such conditions that make up the conceptual language of the works created for Re/Vision. These art works refer to their own making and ultimately refer to the tabula rasa of this very important moment. Temperamentally, he has much in common with Terry Riley, the composer of seminal works of musical minimalism such as the serenely joyous “In C”. Like Riley, an unassuming figure who never crossed over into mainstream success, Sal works with pared-down idioms, avoiding epic emotions and climaxes, and finding lyrical grace in repetition on an intimate scale. In “Minor/Key” Sal makes an oblique musical reference, isolating an ebony piano key and enshrining it in a box.

 

While he sees marking as a basic artistic act, Sal also incorporates the natural processes inherent in some of his materials. A celebrated photographer, he uses photo-printing paper to capture light and has revived the cliché-verre technique used by nineteenth-century pioneers in the medium. He slices lead plates and allows them to weather naturally: the veining coalesces into landscape-like patterns. These small, square panels provide a dark counterpoint to the predominantly white works in the exhibition. Using a relatively simple palette, Sal explores a wide range of materials and ideas, offering a fresh vision of the art experience

JACK SAL: Re/Vision

January 22 – February 28, 2009

 

Opening reception

6-8pm, Thursday January 22

 
Related:
Artist Talk with Jack Sal

Art/&/Memory: The Work of Jack Sal

Alessandro Cassin, Lyle Rexer and Jack Sal
February 4, 2010
Jack Sal: Re/Vision, installation view

JACK SAL: Re/Vision

January 22 - February 28, 2009
whitehot magazine

WHITEHOT Magazine on Jack Sal: “Re/Vision”

Thomas Butter interviews Jack Sal
January 2009

Categories: exhibitions

Tags:

PASHA RADETZKI: Crossed House

ZONE: CONTEMPORARY ART is proud to present Pasha Radetzki in his first solo exhibition in New York. The exhibition showcases installation, sculpture, paintings, and drawings accompanied by sound. The concept of trans-space is manifest in the works on view and drawing on the artist’s childhood memories and heritage.

 

Crossed House is an interactive environment where a large-scale sculpture Cross cuts through a house. Viewers are invited to pass through the cross embodying themselves in the regeneration process of the site’s four cardinal directions. The installation adopts the Slavic nesting Doll within the Doll, Matryoshka construction tradition to present the house in all its dimensions, expanded and interconnected. This confirms the artist’s notion of “socium”: the micro-macro form coexists and interrelates, as there are multiple houses built in the space of one.

 

From the Republic of Belarus, the artist since 1999 has been based in New York. Pasha Radetzki has exhibited in Germany, Moscow, Spain, Mexico, South Korea and Taiwan. His works are included in the public and private collections of Exit Art, Moscow House of Photography, Belarus Museum of National History, and Faro Disegni inRome. In 2002 he was a recipient of an international ArtsLink Projects Award for installation from CEC International Partners, New York. Numerous fieldwork projects have taken the artist to the tribal areas of Mynamar and Laos, the Amazon delta, the Himalayan western region, Andean Puna, and Western China. Pasha Radetzki’s art reviews have appeared in The Village Voiceand New York Arts Magazine.

Crossed House

A solo exhibition by Pasha Radetzki

March 5 – 28, 2009

 

Opening reception

6-8pm, Thursday March 12

 

 

Categories: exhibitions

Material Matters: A Poetics of Possibilities

Exhibition guest curated by Dr. Howard Risatti, critic and Chair, Department of Craft/Material Studies at Virginia Commonwealth University

Zone: Chelsea Center for the Arts will present the work of a group of established artists and their young, emerging counterparts, all of whom work primarily in traditional Craft materials, but without relying on function as their primary support. 

 

In an art world in which Craft materials are regularly used in the manner of Fine Art (e.g., Rosemarie Trockel’s knitting and Jeff Koons’ slip-cast ceramics), traditional distinctions based on material alone hardly seem significant.  Material Matters: A Poetics of Possibilities features a wide range of objects in typical Craft materials that challenge conventional notions of Craft and explore the sensibilities guiding Craft disciplines. 

 

Craft has always involved a dialogue between material, form, and technique resulting in beautifully made objects that allow material to co-exist in itself. While few works in the exhibition are functional in nature, they all tend to have features that express the special nature of Craft.  Works included in this exhibition demonstrate that cross-cultural, global affinities in form, material, technique, and concepts have long been a part of Craft. 

 

Moreover, Craft generally adheres to an idea of the object as personally scaled and suitable for the domestic realm; thus out-sized, museum-scaled objects tend to be avoided.  In place of the grand, public gesture common to Fine Art, Craft works tend to be more intimate and personal in scale and sentiment–more like chamber music than grand opera. Because Craft objects invite touch, interactive qualities of “feel,” weight, and balance are part of their intimate aesthetic appeal.

Material Matters: A Poetics of Possibilities

An Exhibition of Art in Craft Media

Exhibition guest curated by Dr. Howard Risatti, critic and Chair, Department of Craft/Material Studies at Virginia Commonwealth University

 

June 30 – July 23, 2005

 

Opening Reception

6-8pm, Thursday, June 30

 

MATERIAL MATTERS: A POETICS OF POSSIBILITIES

 An Exhibition of objects in Craft Media

by Dr. Howard Risatti

 

        Most of the artists in this exhibition engage a wide range of materials traditionally associated with Craft–for example, among the more established artists, Jack Wax works in glass, Allan Rosenbaum in ceramic, Douglas Finkel in wood, James Meyer in metal, and John Hawthorne in fiber.  Because of this, they would be identified as “Craft artists.”  However, in an art world in which Craft materials are regularly being used in the manner of Fine Art, distinctions based on material alone hardly seem important any longer.  If they were, where would we place Rosemarie Trockel with her knitting, Mike Kelly with his stuffed animals, and Jeff Koons with his slip-cast ceramics?  What is important about material, as this exhibition demonstrates, is how it is ultimately used in the service of artistic expression. 

        When it comes to Craft, most people, whether consciously or not, still assume that Craft objects exhibit certain features, the most prominent of which is function.  This exhibition is decidedly not about function–in fact few works in it are actually functional, not even Bill Hammersley’s benches, Jason Hackett’s urns, or Adam Welch’s platters.  Rather, it is an exploration of the special meanings and sensibilities inherent in Craft.  For instance, embracing the global (currently so evident in the art world) is hardly new to Craft since Craft-disciplines have always had cross-cultural affinities in form, material, technique, and concepts. Artists in this exhibition such as Hyo-in Kim and Ji-Wan Joo exploit Korean and Western ceramics, similarly, Lydia Thompson’s work displays elements of African design, and Susan Iverson employs Peruvian weaving methods. 

        Craft objects tend to be relatively small and avoid the monumental scale implicitly invited by spacious contemporary museums. Ceramists Sergei Isupov and Suk-Jin Choi, fabric artists Nicole Haimbach and Maria Kovacs, and woodworkers Kate Hudnall and Travis Townsend, all create objects more closely scaled to the body than to monumental architecture. Their art works do not require large, formal exhibition spaces, but are quite at home in more personal and familial surroundings. 

        Craft objects tend to direct attention to the domestic realm rather than  public spaces, something evident in J. D. Garn’s ceramics and Cindy Myron’s metal work. They also tend to speak intimately and personally; more akin to chamber music than grand opera.  Moreover, in keeping with their sense of scale and setting, the concern with material in Craft includes fragility and interactive tactile sensations which, after all, are redolent with domestic life’s interpersonal and bodily relationships; such features are apparent in the glass works of Emilio Santini, Fumiaki Odajima, and Tim Wagner and the ceramics of Fiona Ross. 

        The Craft object speaks in another voice, one that compliments rather than contradicts Fine Art.  In doing so it suggests a cross-cultural understanding of personal space that is rich with poetic possibility.

Howard Risatti is Emeritus Professor of Contemporary Art and Critical Theory in the Department of Art History at Virginia Commonwealth University where he also was Chair of the Department of Craft/Material Studies from 2001-05.  Before receiving his PhD in art history, he earned BM and MM Degrees in music and is ABD in music theory and composition.  

 

His writings on art and craft have appeared in various journals including the Art Journal, Artforum, New Art Examiner, Artscribe, Latin American Art, The Chronicle of Higher Education, The Woman’s Art Journal, Art Criticism, The Studio Potter, Sculpture, and Ceramic Art & Perception.  Most recently he wrote on Jackie Matisse’s “Collaborations in Art and Science” for Sculpture Magazine, on “Contemporary American Ceramic Trends” for Korean Ceramics Monthly, and on the ceramic sculpture of Suk-Jin Choi for Ceramics Monthly. 

 

He has presented numerous papers on various subjects including functional crafts at the 2003 Cheongju Craft Biennial in Korea; Jackie Matisse’s virtual reality kites at the “Art and New Technologies” conference in Chalon sur Soane, France; Leo Steinberg’s “Contemporary Art and the Plight of its Public” at the 2005 College Art Conference in Atlanta; and Craft versus Design at the 2005 Society of North American Goldsmiths’ conference in Cleveland.

 

His first book was New Music Vocabulary and appeared in 1975 (University of Illinois Press); Postmodern Perspectives: Issues in Contemporary Art appeared in 1990 and the 2nd edition in 1998 (Prentice Hall).  The Mountain Lake Workshops: Artists in Locale (1996, Anderson Gallery & VA Tech Foundation) ) accompanied the exhibition that he curated of the same title.  In 1998 he co-authored with Kenneth Trapp Skilled Work: American Craft in the Renwick Gallery (Smithsonian Institution Press).  His latest book, A Theory of Craft: Function and Aesthetic Expression (UNC Press), is scheduled to appear in Fall 2007. 

Categories: exhibitions

YOOAH PARK

ZONE: Chelsea Center for the Arts is proud to present the second solo exhibition of the gallery artist Yooah Park. This exhibition showcases the many facets of her recent work, as she takes her signature fusion of inherited Asian art forms and Western abstraction in excitingly new directions.

 

Park’s new work represents an imaginative leap forward, but this flowering is rooted in her understanding of traditional techniques. Trained as a brush painter, she is extending the gestural language of calligraphy into unexpected forms and mediums. In a suite of 100 small, square paintings Park abandons the brush; instead she finger paints directly onto the translucent, skin-like fabric of liquid vinyl, with the visceral intensity of an abstract Expressionist.

 

Her blood-red medium is Inju, concocted from cinnabar, perilla oil and cotton. The color and viscosity of the medium allude to sealing wax, colophon signatures and Gyong-myon-ju-sa, the red mineral pigment used in Korean Bujeok, talismans fashioned to ward off evil spirits. The mix of cinnabar, mercury and sulfur in Gyong-myon-ju-sa represents a balance between positive and negative forces. The delicate and potentially dangerous ritual of mixing diverse elements lives at the root of the ancient mystical science of alchemy.

 

Ceramics have historically been an integral part of Korean culture. For the current exhibition, Park has hand shaped 13 monumental porcelain rice bowls, symbols of renewal and vitality. These majestic vessels – 32 ½ inches in diameter, 14 ½ inches tall – engulf the exhibition space, but the delicacy of the celadon glaze makes them seem weightless. It is as if the free spirit within the clay had been liberated. The gentle irregularities of the bowls are eloquent reminders of the casting process in which dynamic natural forces are guided by the artist’s shaping hand and eye.

 

Yooah Park was born in Seoul, Korea and currently works and resides in New York City. She has exhibited extensively abroad, including Seoul, Paris, New York, Beijing, and Tokyo. Her largest exhibition “Writing in the Void” was shown at the Center for Architecture and Design in Mexico City and at the Central House of Artists Museum in Moscow. Several of her works are also in international art museum collections.

YOOAH PARK

Solo exhibition

March 7 – March 29, 2008

 

Opening Reception

6-8PM, Friday March 7

 

 

Yooah Park combines the aesthetic traditions of her native Korea with twenty-first century global technologies. This exhibition showcases the many facets of her recent work, as she takes her signature fusion of inherited Asian art forms and Western abstraction in excitingly new directions.

 

Ceramics have historically been an integral part of Korean culture. In 2004, ZONE presented Park’s 63 Cubes, heavy, solid forms in an elegiac matte charcoal color that alluded to temple tiles and funeral rites. For the current exhibition, Park has hand shaped thirteen monumental porcelain rice bowls, symbols of renewal and vitality. These majestic vessels – 32 ½ inches in diameter, 14 ½ inches tall – engulf the exhibition space, but the delicacy of the celadon glaze which is the color of a lunar moth’s wings, makes them seem weightless. It is as if the free spirit within the clay had been liberated. The gentle irregularities of the bowls are eloquent reminders of the casting process in which dynamic natural forces are guided by the artist’s shaping hand and eye.

 

Park’s new work represents an imaginative leap forward, but this flowering is rooted in her understanding of traditional techniques. Trained as a brush painter, she is extending the gestural language of calligraphy into unexpected forms and mediums. She laser-cuts brushstroke characters out of aluminum, then, suspends them as mobiles in an installation of cascading columns. Paper-thin, reflective and dangerously sharp-edged, they slice through the air with the physical energy of Action painting and the cool clarity of twenty-first century techno-modernism. She has freed calligraphy from the two dimensions of paper and ink and given writing a precarious sculptural identity of kinetic art.

 

The riff on calligraphy continues with a suite of 200 small, square paintings. Liquid vinyl, a synthetic material used by contemporary fashion houses, provides the non-traditional support. Park abandons the brush; instead she finger paints directly onto the translucent, skin-like fabric, with the visceral intensity of an abstract Expressionist. Her blood-red medium is Inju, concocted from cinnabar, perilla oil and cotton. The color and viscosity of the medium allude to sealing wax, colophon signatures and Gyong-myon-ju-sa, the red mineral pigment used in Korean Bujeok, talismans fashioned to ward off evil spirits. The mix of cinnabar, mercury and sulfur in Gyong-myon-ju-sa represents a balance between positive and negative forces. The delicate and potentially dangerous ritual of mixing diverse elements lives at the root of the ancient mystical science of alchemy.

 

Metamorphosis results when traditional knowledge is combined with a bold spirit of experimentation. Park’s sequence of red paintings constitutes both a personal diary and a record of the creative process. The goal of true alchemy, the philosopher’s stone that turns base material into gold, is the process that leads to self-understanding. Park breathes new life into raw materials – clay, pigment, metal, synthetic – through the incantatory power of words and gestures.

 

– Dr. Jennifer Baahng

Yooah Park currently resides in the New York area, but frequently travels to her native Korea. For years she has studied and traveled between the two places, and her artwork reflects this dual identification. At first glance, the use of black ink and brush on handmade paper in a free and gestural manner belie the artist’s Asian background, but there is a decidedly Western element here that is less obvious. Park’s paintings are characterized by a lyrical sense of movement. This is related to the artist’s practice of painting from a live dancer performing in her studio, so that her paintings might have a greater quality of flowing grace. This art, therefore, which some would link to an Asian tradition of brush calligraphy, is also intimately connected with the study of the human form that has preoccupied Western art since the Renaissance.

Yooah Park’s pieces are filled with forms that seem to tumble and glide beyond the frame into an infinite space established by the diaphanous layers of carefully-laid paper. This is a space first articulated by the American canvas painters of the postwar New York school; Park brings it forth here through the use of materials with centuries of Asian heritage.

In today’s art world there is much talk of “bridging East and West.” Rarely do we see a vision that accomplishes such an integration. Neither Asian nor American, but rather a joyous fusion of the two, the art of Yooah Park succeeds as a new synthesis of aesthetic strengths from both spheres.

Solo Exhibitions

2006     Writing in the Void

            The Central House of Artists Museum, Moscow, Russia

            The Center for Architecture and Design, Mexico City, Mexico

2004     ZONE: Chelsea Center for the Arts, NY

2003     Gana Insa Art Center, Seoul

2002     Gana Insa Art Center, Seoul

2001     Andrew Bae Gallery, Chicago

2000     Hudson River Gallery, NY

1999     Jean Art Gallery, Seoul

1998     Space Untitled, NY

1997     Shirota Gallery, Tokyo

Gallery Bhak, Seoul

1996     Gallery Simon, Seoul

MANlF Seoul International Art Fair, Seoul

MAC 2000, Paris

1995     Seorim Gallery, Seoul

Gallery Ihn, Seoul

’95 Seoul Art Fair (J&C Gallery), Seoul

1994     East-West Cultural Studies, NY

’94 Seoul Art Fair (J&C Gallery), Seoul

1993     Sampoong Gallery, Seoul

1990     Jadite Galleries, NY

 Selected Group Exhibitions

2007     ZONE: Chelsea Center for the Arts, New York, NY

2006     ZONE: Chelsea Center for the Arts, New York, NY

2004     Korean Contemporary Art,

Forum Gallery, Dallas, TX

2003     Best Star, Best Artist,

Gana Insa Art Center, Seoul

2002     KCAF, Seoul, Korea

Works on Paper, New York

Art of Pacific Asia, New York

2001     KCAF, Seoul, Korea

Works on Paper, New York

Art of Pacific Asia, New York

Kwangju International Ceramic Expo,

Kwangju, Korea

2000     ACAF, Sydney, Australia

Art Miami, Miami, FL

Works on Paper, New York

Art of Pacific Asia, New York

1999     NICAF, Tokyo, Japan

ACAF, Sydney, Australia

Works on Paper, New York

Art of Pacific Asia, New York

1998     NICAF, Tokyo, Japan

SIAF, Seoul, Korea

Art Miami, Miami, FL

1997     NICAF, Tokyo, Japan

            MANIF, Seoul, Korea

SIAF, Seoul, Korea

1996     MANIF, Seoul, Korea

SIAF, Seoul, Korea

 

Related:
Yooah Park, installation view

Yooah Park: “Communion | Constellation”

at Galleria Multigraphic, Venice, Italy on the occasion of the 53rd Venice Biennale
June 5 - June 19, 2009
Yooah Park, solo exhibition, installation view

YOOAH PARK

March 7 - March 29, 2008
Yooah Park, installation view

Yooah Park: “Writing in the Void”

at The Central House of Artists Museum, Moscow and Center for Architecture and Design, Mexico City
June 28 - July 3, 2006 and August 10 - September 4, 2006

Categories: exhibitions

Tags:

FRONT LINES: Visions from Southeast Asia

ZONE:  CONTEMPORARY ART (formerly known as ZONE:  Chelsea Center for the Arts) proudly presents a group show of significant emerging artists from Taiwan, India, Pakistan, Thailand, Japan and North Korea, as the inaugural exhibition in its new 57thStreet location.  Today, contemporary Asian art is often defined by a homogenous international art market that focuses predominantly on China.  Yet, by widening our peripheral vision we discover relatively young artists who are creatively engaging with their own diverse traditions while expressing their personal visions.  The speculative potential of these artists, most born in the 1970’s, is extraordinary.

 

Yao Jui-Chung bridges the gap between traditional and contemporary.  Yao’s large-scale ink drawings are based on familiar Asian pictorial strategies but include sharp contemporary content, often sexual.  Golden Baby II – Blue Eyes, a plastic doll covered in gold leaf, gives the pudgy female form, embellished with tiny horns, the numinous mystery of an idol.  The iconic golden baby personifies the next evolution of global art. 

 

Ryota Unno also references earlier Asian art with multi-incident narrative paintings.  His lively mix of humor and satire incorporates modern tanks and mundane human activities in Edo-style panoramas. 

 

Krishna Murari’s multi-media fiberglass sculptures are both social critiques and powerful totems.  The female figures are covered in goat hide, alluding to women in India being treated like domestic animals.  Yet the strength of the figures suggests primeval dignity.  Murari’s wit and aesthetic force lift him far above the level of merely polemical art. 

 

Manil Gupta finds an original way to translate concerns about destructive human behavior into vibrant visual form.  His recent black-and-white acrylic paintings owe much to both Pop and Op Art.  But his sinewy stripes and decapitated figures have a unique dynamism, provoking thought as the viewer unravels labyrinthine patterns.

 

Mahbub Shah reinterprets the grid in his labor-intensive collages, remaining true to the Pakistani classical miniaturist tradition. Meticulously assembling found media materials, he creates images that float between representation and abstract geometry that are reminiscent of early forms of computer art, based on pixels. 

 

Pure geometry has often been understood as a mode of access to the spiritual.  Kisho Mukaiyamacreates meditative boxes, combining oil paint and wax to capture light.  His craftsmanship honors local art-making traditions and esoteric Buddhism, while his simplicity relates to Joseph Beuys and Josef Albers. 

 

The global nature of contemporary art is epitomized by Navin Rawanchaikul, a Thai artist with roots in the Hindu communities of what is now Pakistan.  He also holds permanent resident status in Japan.  His Navin Production Co., Ltd. organizes numerous projects that explore how local circumstance interacts with globalization trends. He uses taxis, painted with poster images in various languages, as traveling galleries to bring art to remote communities. 

 

Finally, this exhibition offers an unprecedented opportunity to view a remarkable collection of DPRK Posters (Democratic People’s Republic of Korea).  Since contemporary art has been largely banned under the Communist regime, these propaganda posters represent the only visual outlet for artists, who remain anonymous and whose subject matter is strictly controlled. Yet the graphic energy of many of these images shows considerable talent.  If North Korea follows the pattern of China, these social realist images may become the seeds of a new art, when the political climate changes. While these works reflect a very different mindset from the personal visions of the other artists in the exhibition, they open a tantalizing window into what may be the next front line in Asian art.

 

Front Lines:  Visions from Southeast Asia reminds us that all art, like all politics, is local. The art world often seems to be a “geography of nowhere,” in which artists from across the world become interchangeable commodities.  The artists in this show, in contrast, demonstrate both commitment to their own regional identities and openness to global dialogue.

 

ZONE:  CONTEMPORARY ART recognizes Ombretta Agro Andruff, David Heather, Natane Takeda and Jack Tilton for their curatorial collaboration.

FRONT LINES: Visions from Southeast Asia

November 7 – December 31, 2008

 

 

Opening Reception

6-8PM, November 14, 2008

 

Artists in exhibition:

Manil Gupta

Yao Jui-Chung

Kisho Mukaiyama

Krishna Murari

Navin Rawanchaikul

Mahbub Shah

Ryota Unno

DPRK Posters artists

 

Related:
Art in Asia

art in ASIA review on Front Lines: Visions from Southeast Asia

by Dominick D. Lombardi
January February 2009 No. 9
Yao Jui-Chung, Golden Baby II - Blue Eyes

FRONT LINES: Visions from Southeast Asia

November 7 - December 31, 2008

Categories: exhibitions

Tags:

Slought in New York at ZONE: Chelsea Center for the Arts

An archival exploration into the activities of Slought Foundation, Philadelphia, featuring information about past projects with William Anastasi, Arakawa + Gins, Günter Brus, Hélène Cixous, Braco Dimitrijevic, Fred Forest, Hermann Nitsch, Dennis Oppenheim, David Stephens, Marjorie Welish, et al.

 

How can organizations located on the periphery of major international art cities contribute to and provoke the cultural and political landscape? What can a young organization that resists the market-driven orientation of today’s cultural institutions achieve with minimal private funding and an all-volunteer staff? An archival exploration into the activities of Slought Foundation in Philadelphia since its inception in 2002. It will feature information about past projects with William Anastasi, Arakawa + Gins, Günter Brus, Hélène Cixous, Braco Dimitrijevic, Fred Forest, Hermann Nitsch, Dennis Oppenheim,  David Stephens, Marjorie Welish, as well as documentation of over 200 past performances, conversations, exhibitions, and publications at Slought Foundation that explore new futures for contemporary political and cultural life.

Slought in New York at ZONE:Chelsea Center for the Arts

Curated by Aaron Levy, Jean-Michel Rabaté, and Osvaldo Romberg

 

Opening Reception

6-9PM, Thursday November 29, 2007

 

 

In conjunction:

 

Thursday, November 29th, 7-8pm

“Should Art Abolish Art?”

A conversation with Arakawa + Gins and others

Moderated by Jean-Michel Rabate and Aaron Levy; Introduced by Osvaldo Romberg

 

Friday, December 7th, 6:30-8:30pm

“In Defense of Sloth: A Primer”

Organized by Cabinet Magazine and Slought Foundation by Aaron Levy and Sina Najafi

 

Saturday, December 8, 2007; 11:00am-5:30pm

“In Defense of Sloth: A Symposium” at The Great Hall, Cooper Union

Organized by Cabinet Magazine and Slought Foundation

Hosted by and in partnership with the Cooper Union, Irwin S. Chairman School of Architecture

Related:
Slought in New York, installation view

Slought in New York at ZONE: Chelsea Center for the Arts

Curated by Aaron Levy, Jean-Michel Rabaté, and Osvaldo Romberg
November 29 - December 15, 2007

Categories: exhibitions

Tags:

CHRISTOPHER HAUN: Empire Line

ZONE:Chelsea Center Center for the Arts is delighted to announce a major exhibition of new work by Christopher Haun. This is his first solo exhibition since joining the gallery.

 

Christopher Haun explores the historically fertile borderline between abstraction and landscape, building on his intimate familiarity with two uniquely American regions, the Hudson River and the California coast. The title of the exhibition, Empire Line, derives from Haun’s recent series based on his commuting experience on Amtrak’s eponymous train service. From his train car, Haun watches the same majestic panorama of a quintessential American landscape that inspired the nation’s first great art movement, the Hudson River School. Haun distills this sense of continuity – the temporal as well as spatial fluidity of the Hudson — in his wide, narrow-format images.  Empire Line, AM, West View, 2007abstracts the riverside view, playing a broad band of magenta against the broken rhythm of multitude of rectangles and vertical strips.

 

Haun’s background as an architectural draftsman is evident in his meticulous craftsmanship, giving Precisionist clarity of Charles Sheeler to a Romantic subject.  Haun’s materials and method underscore the complexity of his approach.  He has an affinity for Pop Art, most readily seen in his colorful collages that are comprised of a variety of everyday paper materials.  He constructs his tightly controlled zips of landscape from collage elements which have strong personal associations — surfing magazines, a testament to his passion for the sport, and gallery invitation cards for artists he admires. In some works, vibrantly colored steel, aluminum and vinyl add to the dialogue between nature and commercialization, a theme explored by the Hudson River School painters as well as Pop Artists.

 

The landscape genre is intrinsically Romantic, and painterly looseness is often considered part of that paradigm.  But Haun’s passion for nature is distilled into precise diagrams of moments in time.  Intimations of personal history add subtle layers of meaning to the visually cogent compositions of this elegant draftsman and colorist.

Christopher Haun

Empire Line

October 18 – November 24, 2007

 

 

Opening Reception

6-8PM, Thursday October 18, 2007

Christopher Haun explores the historically fertile borderline between abstraction and landscape, building on his intimate familiarity with two uniquely American Regions the Hudson River and the California coast.  The title of the exhibition, Empire Line, derives from Haun’s recent series based on his commuting experience on Amtrak’s eponymous train service. The “Empire Line” train travels along the eastern side of the Hudson River where the tracks wind along the riverbank literally at the edge of the water.  With its source in the Adirondack Mountains, the Hudson River flows through the rolling hills of upstate New York past bucolic small town America and into the hustling hub of Manhattan.

                       

From his train car, Haun watches the same majestic panorama of a quintessential American landscape that inspired the nation’s first great art movement, the Hudson River School.   A two-hour video record of this streaming Whistlerian landscape seen through the train window is on view in the gallery.  Haun distills that sense of continuity—the temporal as well as spatial fluidity of the Hudson—in his wide, narrow-format images. Empire Line, AM, West View, 2007abstracts the riverside view, playing a broad band of magenta against the broken rhythm of multitude of rectangles and vertical strips.  The streamlined shapes evoke not only the river, but also the design of the train cars, with their ribbons of windows and decorative stripes.

 

Haun’s background as an architectural draftsman is evident in his meticulous craftsmanship, giving Precisionist clarity of Charles Sheeler to a Romantic subject.  Haun’s materials and method underscore the complexity of his approach.  He has an affinity for Pop Art, most readily seen in his colorful collages that are comprised of a variety of everyday paper materials.  He constructs his tightly controlled zips of landscape from collage elements which have strong personal associations—surfing magazines, a testament to his passion for the sport, and gallery invitation cards for artists he admires. Although shredded and cut into precise geometric forms, vestiges of text survive in these mementos. The sharp rectangles and shapes cut from these materials Haun primarily uses as the colors in his palette.  In some works, vibrantly colored steel, aluminum and vinyl add to the dialogue between nature and commercialization, a theme explored by the Hudson River School painters as well as Pop Artists.

 

Haun investigates the layering of compositional elements in vertical as well as horizontal format.  His passion for surfing leads to meditations focusing on how the individual responds to waves as vertical phenomena.  He explains:  “My body is no longer heavy, but light and buoyant.  In the water, I literally experience a great weight being lifted, envisioning a huge burden lifted from spirit.”  This is the dynamic at work in Haun’s Spray series, in which triple, overlapping rectangles of blue wave rise into diffuse yellow acrylic skies.  More abstract images center on blocks of paint-and-collage in columns of intense, sometimes acidic color.  Some of these are oriented vertically while some are arranged horizontally.  The play of shape and color suggests Josef Albers, “Homage to the Square,” Pop Art and even a harder-edged Mark Rothko, but Haun’s pictures are also a record of his daily experiences, tastes and interests. 

 

The landscape genre is intrinsically Romantic, and painterly looseness is often considered part of that paradigm.  But Haun’s passion for nature is distilled into precise diagrams of moments in time.  Intimations of personal history add subtle layers of meaning to the visually cogent compositions of this elegant draftsman and colorist.   

 

                                                                                    Dr. Jennifer Baahng

Surfing waves is like making art. It is a meditation. It is tuning in to the rhythms of the earth, the moon, and the planets. It is beach culture and surf culture, slick and quick, slow and mellow. Returning to oneness, returning to nature is our destiny. In my daily practice, I return to nature. Going to the water’s edge and immersing myself in the womblike body of water that is the ocean, my body is no longer heavy, but light and buoyant.  In the water, I literally experience a great weight lifted, envisioning a huge burden lifted from my spirit. Riding the rhythmic pulse of nature, mine is an emotional connection to the wave riding experience.  In surfing as in art making, creative carving and slicing are a visceral expression of my spirit and my body. Intuitive and primordial, water is from where we came. We are water. Flowing and ebbing, forever-mutable liquid forms, capable of various forms- gaseous or solid. Moving in fast and slow motion, with opaque and transparent surfaces, with both shallowness and great depth, water is both the elixir of life and a vehicle for calming our spirit.

Christopher Haun

Categories: exhibitions

PILAR GOUTAS: Parteaguas

Pilar Goutas, Portrait CERO

Baahng Gallery is pleased to announce the gallery representation of Pilar Goutas and to present Parteaguas, her first solo exhibition with the gallery, showcasing murals, portraits, and paintings.  The exhibition runs from April 25 thru May 31, with the opening reception held at the gallery on Saturday, April 27th, 3 – 5PM, concurrently Madison Ave Gallery Walk 2019.

 

Delving into Latin American magical realism and rooted in indigenous heritage of Mexico, Pilar Goutas forges her own take on the Surrealist current inventing a unique style merging reality with the irrationality of the unconscious:  The portrait series, created using photomontage, collage, and superimposition of digitally morphed staged subjects, birth unsettling images with wits and sentiments;  The drawings and paintings are embedded with symbols and codes that are decipherable only as in gestures resulting a kind of pictorial intelligence. With a personal narrative, Parteaguas offers a mythical, abstract, and atemporal world:  It is a theater without categorization requiring no validation.

 

Pilar Goutas lives and works in Mexico. She studied Graphic and Fashion Design and her works have been exhibited among galleries and museums in Beijing, Berlin, Venice, New York, and Mexico City.

.

PILAR GOUTAS

PARTEAGUAS

April 25 – May 31, 2019

 

Opening Reception

Saturday, April 27th, 3-5PM

Parteaguas, it is the main idea from which the artistic work of Pilar Goutas departs, is the turning point that separates the precedent from the consequent, through which she demonstrates a continuous process of transferring itself during the creative act, where there is a before and an after or a beginning of an end. It is waterfall,the dividing line or the instant that separates a moment from another, a territory, an image, an idea or conception from another. Therefore,her work emerges from the embodiment of a figure to the creation of a language that suggests to rethink the paradigms and the conception of being.

 

The characters are the result of a journey of mutations from something preview to something new. They conclude as unique, characteristic of themselves. They represent the viabilityof the reconstitution of oneself, to encounter a solemn dimension where it is admissible to be. They reflect the possibility to breach borders, to cross limits, or change origins. They express of the inclusion of diversity, of the non-existent to make it evident, of what is there and what can be here.  Because the turning point of who we are, lies on us.

 

Pilar Goutas transfers emotions through writing. She creates a full language of codes and symbols that becomes decipherable when they are perceived as gestures. It is the expression that motivates to resignifying communication processes, ideas, concepts, ideas and feelings; a before and after. The intensity of the forces that bind the lines is devoid of order. Writing stripped of all formal reading discovers a desirable place to grant. The artwork becomes an unexplored dimension where it is conceivable to build, create and imagine all beings and their constant metamorphosis.

 

Pilar Goutas shows a transition to endless emotions and ideas that surround all events of an atmosphere evoked from their intensities. From the writing and the gestures, to the conception of surreal beings, she provokes to reassess what we are, how we feel and how we can transform us. The artistic displacement to an object of art or a mythical figure is her deepest proposal to express that from the breaking point everything is possible.

 

Natalie Gama Pourdanay

Categories: exhibitions

Tags:

FACE: Scanvenging Identity

ZONE: Chelsea Center for the Arts is proud to present FACE: Scavenging Identity, exploring the margins of mainstream portrait genre.

 

Traditional portraiture is a mix of realism and artifice, public persona and private life, interior and exterior.  It entails subtle negotiations between artist and model, even when the two are nominally the same.  The international artists in this compact but wide-ranging exhibition take a more unorthodox approach, but they retain the perennial fascination with human nature.  They challenge the conventions of the genre using a variety of mediums, including painting, collage, sculpture, photography and video.  Today, traditional social structures—once defined by nationality, class and gender—have necessarily given way to more individual and improvisational ways of constructing identity. 

 

Much of the work uncovers layers of meaning by focusing on human skin, from the distended belly of a pregnant woman to the leathery remains of a fetish-draped corpse. Some of the artists explore the physical limits of the body with close-ups so extreme that skin and hair become features in alien landscapes, or present parasitic forms that threaten our autonomy. 

 

Others emphasize theatricality and the rituals of self-presentation, whether in Africa or American subcultures.  Some create oneiric installations or provide space for the unleashing of raw emotion and the temporary disarrangement of the public face. They appropriate magazines for pictorial journals that blur the line between autobiography and image-making, or old master images to break them down into color charts.  This juxtaposition of works by both established and emerging artists creates an exciting matrix for fresh perspectives on visual anthropology.

FACE: Scavenging Identity

June 21 – August 11, 2007

 

Opening Reception

6-8PM, Thursday June 21

 

Artists in exhibition:

Silvana Agostoni

Steven Assael

Monique Baumann

Santiago Cal

Rainer Judd

Kirsten Justesen

Mark Mann

Renaud Muraire

Osvaldo Romberg 

Burton Silverman

Jean-Manuel Simoes

Valentin Stefanoff & Nina Kovacheva

 

Silvana Agostoni

Artist Statement

I have always felt the need to directly engage with the body.

To enthrone, enshroud or reveal it.

To address it’s scale, it’s sexuality, and it’s frailty.

I believe that of all the objects of perception, the human body is the one that has more effect on our sensibility, because it is ours, because it contains us.

The central idea of my work is the attraction and repulsion that is evoked by the human body.

By dissecting, magnifying and dislocating the body, I render it anonymous, strange and explore the issue of identification of the body with the self.   My intention is to create an uncanny bodily universe that draws in the viewer, and use the body as a bridge between the images and the spectator. I seek to elicit a reaction from the spectator based on physical recognition.

The “mirror stage” according to the French psychoanalyst Jaques  Lacan is the first stage in the formation of identity.   Between the age of six and eighteen months the infant experiences his body as fragmented and dispersed.   When the child recognizes himself in the mirror, he creates an ideal self-image and creates an imaginary physical control, which he has yet to attain.  

The body is marked out as a unified totality, complete and whole.

In contrast to this conception, my work represents the body as a vital chaotic force that is excluded from the false control, unity, identity and perfection of the ‘mirror stage’.

I want to introduce strangeness and unfamiliarity where a mirror image is expected, in order to obscure an anticipated pleasure of ideal reflection.

I seek to reveal both the violence of vision by photographing body parts with a clinical eye and the beauty of the body under a microscopic vision.

The work I am presenting is from two series. One is called Fisonomía: 16 C-prints

all 50 x 50 cm and Topografías: 10 C-Prints 50 x 50 cm and 10 C-prints

120 x 120 cm.

In both bodies of work, the body can be seen as a terrain in which I suggest the simultaneous existence of binary oppositions such as inside/outside, masculine/feminine, I/ otherness. 

Silvana Agostoni

Education

1994-1997:  Master of  Fine Arts in Photography.  School of  Visual Arts, New York, NY, USA.

1990-1994:  BFA in Graphic Design.  Universidad Autónoma Metropolitana, Mexico City.

Solo exhibitions

  1. Esfera, Observatorio XP.  Morelia, Michoacán, Mexico.
  2. Silvana Agostoni, Topografías.Centro de la Imagen, Mexico City.
  3. Fisonomía. Instituto Michoacano de Cultura, Morelia, Michoacán, Mexico.
  4. Silvana Agostoni, Physiognomy.White Columns, New York, NY. USA
  5. Construcciones Corporales.  Art Deposit, Mexico City. 
  6. Imágenes Etéreas. Galería de la Imagen. Universidad Autónoma del Estado de Querétaro. Mexico

Group exhibitions

2006

Zonema. Zone-Chelsea Center for the Arts. Nueva York, NY, EUA.

Hit the showers. Other Gallery. Banff Centre for the Arts. Canada

Fesitval Internacional de videoarte e Valencia. Valencia España

2005

The image outside of time. Antimatter Underground Film Festival. Victoria, Canada.

2004

2ª Bienal Nacional de Yucatán. Mérida, Mexico.

La Imagen que extraña al tiempo. Chroma video festival, Guadalajara, México.

Piel de Pieles, Barcelona Arte Contemporáneo, La Santa, Barcelona, Spain.

Creación en Movimiento, Galería Central, Centro Nacional de las Artes, México City.

2003

Creación en Movimiento. Galería Kunsthaus Santa Fe, San Miguel de Allende, Mexico.

El Sentido y los Sentidos, Espacio Cultural, Universidad Iberoamericana, México City.

2002

There is no translation. Prinzz Gallery, Kyoto, Japan. 

ARCO 2002. Galería Enrique Guerrero, Madrid, Spain.

Salón Internacional de Arte Digital, Casa de América, Havana, Cuba. 

ABC DF Palabras de Ciudad. Museo del Palacio de Bellas Artes. Mexico City.

Muestra 001. Contemporary Art  Fair, Galería Enrique Guerrero, Monterrey, Mexico. 

Fast Fwd. Galería Enrique Guerrero, Miami, Florida, USA. 

2001

Intro.  Museo Dell´ Arredo Contemporáneo, Ravenna, Italy.

Arco 2001. Galería Enrique Guerrero, Madrid, Spain.

Momenta, Arte Electrónico, Centro Nacional de las Artes, Mexico City.

Latin American Artist-Photographers from the LUAG Collection, El Museo de Historia, Antropología y Arte,

San Juan, Puerto Rico.

2000   

Latin American Artist-Photographers from the LUAG Collection, Museo del Barrio, New York, NY, USA.

VI Salón Bancomer-BVA, Fundación Cultural Bancomer, Mexico City.

Salón CANT V, Jóvenes con FIA, Galería Ateneo, Caracas, Venezuela.

Galería Enrique Guerrero, Feria Internacional de Arte, Caracas, Venezuela

1999

Herejías. Peep Show, Galería del Centro Multimedia, CNA. Mexico City.

10 Mexican Photographers:  A select end of the century generation. Dubois Gallery. Pennsylvania, USA.

XVIII Encuentro Nacional de Arte Joven. MUCA, Mexico City.

1998

New Visions: Five Contemporary Mexican Photographers. Houston Center for Photography. Houston, USA.

Foto construcciones, Museo de Arte Contemporáneo Alfredo Zalce, Morelia, Michoacán, Mexico.

New York Digital Salon, Visual Arts Museum, New York, NY,  USA.

1997

Salón Digital, Círculo de Bellas Artes. Madrid, Spain.

XVII Encuentro Nacional de Arte Joven, Museo Carrillo Gil. Mexico City.

8a Bienal de Fotografía,  Centro de la Imagen, Mexico City..

Grants

2006:                Residencia artística (Fotografía) Banff Centre for the Arts y FONCA.

2002-03Young Artist production award (Jóvenes Creadores). FONCA. Mexico.

2000                 Cultural project award  (Coinversión y Fomento a Proyectos Culturales.) FONCA. Mexico.

1999                 Digital imaging residency. Centro Multimedia, CNA.  Mexico.

1998                 Young Artist production award (Jóvenes Creadores). FONCA. Mexico

1995-97             IPS grant, American Association of  University Women, New York, NY,  USA. 

1995-97             Study abroad grant. FONCA. Mexico

Distinctions

Selected at the 2ª Bienal Nacional de Yucatán. 2004

Selected at the Salón Bancomer, 2000

Selected at the Octava Bienal de fotografía. 1998

Selected at the Encuentro Nacional de Arte Joven 1998

Selected at the Encuentro Nacional de Arte Joven 1997

Teaching experience

2005:    Personal vision: Centro de la Imagen, Mexico City.

            Conceptual photography.  Centro de Las Artes, Monterrey NL., Mexico.

2002:    Photography after photography. Centro Multimedia, CNA, Mexico City.

2001:    Profesor of photography, seminar. BFA in Visual Arts, UAEM, Mexico.

1999:    The digital image . Centro de la Imagen. Mexico City.

1998:    Photography in the age of digital reproduction. Centro de la Imagen.  Mexico City.

Lectures

2003:    Primer Coloquio de Fotografía UAM-X: The photographic image as text.

Universidad Autónoma Metropolitana, Mexico City.

2002:    Art and Photography at the Centro de la imagen: Lecture on personal work.

Selected Bibliography

  • 52 Mujeres en el Arte Mexicano. Catálogo publicado por SEDESOL y CONACULTA, Mexico, 2005.
  • El Arte en México. Catalog published by Financiarte. Mexico. 2004.
  • Creación en Movimiento, Jóvenes Creadores. Catalog, CONACULTA-FONCA, Mexico. 2003.
  • Segre Erica, The Poetics of Skin. Surface and Inscription in Contemporary Mexican Photography.

   Bulletin of Hispanic Studies, Vol 79, no.3. Liverpool University Press.  July, 2002.

  • ABC DF, Diccionario Gráfico de la Ciudad de México. Diamantina. 2001.
  • Luna Córnea, 21/22. Centro de la Imagen-CONACULTA. 2001.
  • Silvana Agostoni, catalog published by Galería Enrique Guerrero, Mexico 2000.
  • VI Salón de Arte Bancomer. Catalog. Fundación Cultural Bancomer. Mexico, 2000.
  • Medina Cuauhtemoc, Ejercicios del no-lugar. Article published in journal Reforma, may 31, 2000.
  • Castellanos Alejandro, Al filo del siglo. Panoramas, february, 2001.
  • Sepúlveda Luz Maria, El Cuerpo Humano en la Fotografía Actual. Tierra Adentro #105. CONACULTA. Mexico,
  • 10 Mexican Photographers. A select end of the century generation. Catalog. Dubois Gallery, PA, USA. 1999
  • Rodríguez José Antonio, Por ver no se paga: imágenes olvidadas. El Financiero, Mexico, August 26, 1999.
  • Rodríguez José Antonio, Foto Mexicana de entre siglos. Tierra Adentro #100. CONACULTA. Mexico, 1999.
  • Rodríguez José Antonio, Octava Bienal: una renovación. El Financiero. México, October 23, 1997.
  • Arreola Magalí,Revigorizar la fotografía mexicana. Reforma. Mexico, September 24, 1997
  • New York Digital Salon. Catalog. Leonardo: Journal for Art and Sciences. Vol. 30 No. 5. MIT Press. 1997

 

Steven Assael

Steven Assaelwas born in New York, New York in 1957. He attended Pratt Institute and presently teaches at The School of Visual Arts in New York. Mr. Assael balances naturalism with a romanticism that permeates the figures and surroundings of his paintings and drawings. The focus of his work is the human figure, either individually or in a group, rendered in glowing relief by gentle beams of warm and cool light. Steven Assael’s classical talents are as rare as they are essential to the diverse art world of the late Twentieth Century.

Assael has had several solo shows nationally in recent months, including the Columbus Museum of Art, Cress Gallery of Art at the University of Tennessee, Lowe Gallery in Atlanta, and Forum Gallery in Los Angeles. In 1999, a retrospective one-person exhibition was held at the Frye Art Museum in Seattle, Washington. Steven Assael’s work has also been exhibited at The Arkansas Arts Center, (AR), The New York Academy of Art, (NY), The Arnot Art Museum in (NY) and is represented in the public collections of The Hunter Museum of Art in Chattanooga, (TN), The Kemper Museum of Contemporary Art & Design (MO), The Columbus Museum of Art (Columbus, OH) and the Metropolitan Museum of Art (NY).

http://www.forumgallery.com/adetail.php?id=207

 

Monique Baumann

Monique Baumann was born in 1959 in Zofingen.  After completing foundation courses at art schools in London and Zurich, she studied graphic design at the Lucerne School of Art and Design.  Since 1990, she has worked as an independent artist and illustrator.  Her work has been published in various international magazines and books and has received numerous awards.  In recent years, she has participated in group shows at Palais Lichtenstein, Feldkirch, Austria (2004); Galerie Gruner + Jahr, Hamburg, Germany (2005); and at Palais de Tokyo Hypegallery, Paris, France (2005). Monique Baumann has been living and working in Zurich and Paris since 1995.

Artist Statement

I often use found materials as a starting point for my work. I like to transform something that is already there into something new, engaging in a dialogue with the material and thus creating a new story. This process is a way of engaging with my urban environment and with contemporary reality, an immediate, sensual commentary and reflection on the world around me.

Painted Magazines

For a year I was commissioned to illustrate a column for the weekend supplement of the German newspaper “Sueddeutsche”. Instead of just archiving my specimen copies, I decided to rework each copy into a kind of artist’s book. Each focuses on a theme –a story, a topic that preoccupied me at the time, or a formal experiment. I used and combined a variety of techniques: I was painting and drawing in oil, acrylic, and ink, or I created collages with tape, postcards, photos and so forth. Sometimes I would integrate part of the contents of the magazine, sometimes I covered them entirely with my own work. Whereas the original magazine’s pages are rather thin and fragile, the reworked magazines have entirely different material quality. They are tangible objects, almost a kind of sculpture. Although each issue is self-contained, their entirety constitutes a chronicle of year in my life, reflecting my personal, formal, and intellectual preoccupations.

Polaroid Miniatures

I often take photographs, whether it’s analogue, digital, or Polaroid photographs. I decided to use my discarded Polaroids as a material basis for miniature paintings. Their format was a challenge since it called for a maximum reduction and condensation. The Polaroid Miniatures are mostly portraits. Some are inspired by the photographic image underneath the painting that was both extinguished and transform by it. Others were inspired by my collection of magazine photographs and everyday photography that I reinterpret in my paintings. Once again, I used a variety of styles, adapting my manner of painting to the subject at hand.

Monique Baumann

 

Santiago Cal

Artist Statement

The human image and its contextual implications have been the primary focus of my sculpture. The threads that run through my works are based on observations from my travels as well as the vastness of children’s dreams. These two work hand in hand, since most of my observations are of children daydreaming, entertaining themselves with meager objects and the Don Quixotesque role-playing. My interest in these activities boils down to the ability of participating in two realities at once; our reality and their conjured reality. This activity may be only a few seconds or a few minutes but in their minds they have tapped into an epic moment, a different scale of time. 

I am not interested in illustrating these moments but instead creating scenarios that allude to a narrative, which causes the viewer to create their own conclusions. The elements that act as catalysts for this to occur range from Rorschach like blots to mirrors which serve as invitations for the viewers to become integrated into the piece. In other works I manipulate an ordinary event by shifting the scale of the figures or creating a magical moment by stacking balls that seem to defy gravity. Although the pieces may seem as pleasantly wholesome they also contain elements of dark humor, melancholia and pointed social statements, all contributors to our inner dialogue and subconscious.

-Santiago Cal

Education

1998     M.F.A. – Virginia Commonwealth University. Richmond, VA

1995     B.F.A. – Kutztown University. Kutztown, PA

One Person Exhibitions

2007     just looking. Te Tuhi. Manukau City, New Zealand

2006     dory.Lied Gallery. Creighton University. Omaha, NE

2005     Tierra! Tierra!  Sheldon Memorial Art Gallery. Lincoln, NE

2003     new dose. Casa de Las Americas. Havana, Cuba

encounters. Olimpo Centro Cultural. Merida, Mexico

dissemination.Marxhausen Gallery. Concordia University, Seward, NE

electric fences. Capella de Los Remedios. Santo Domingo, Dominican Republic

durable view. Image Factory Art Foundation. Belize City, Belize

2001     milk clouds. Image Factory Art Foundation. Belize City, Belize

Selected Group Exhibitions

2007     Landings6.Centro de Wilfredo Lam. Havana, Cuba

Landings5. Art Museum of the Americas. Washington, DC

Landings4.Museum of Contemporary Art and Design. San Jose, Costa Rica

Bemis at 25.Lied Gallery. Omaha, NE

2006     Landings2.Centro de Artes Visuales. Merida, Mexico

            Landings3.Centro Cultural de Eduardo Leon Jimenes. Santiago de Los Caballeros,

Dominican Republic

            9thHavana Biennial. Havana, Cuba

            We are Belize – 25 Years of Independence 1981–2006. Kaohsiung Fine Art Museum.

Kaohsiung, Taiwan

            La Escultura Contemporanea. Jan Weiner Gallery. Kansas City, MO

            The Tugboat Show.Sheldon Memorial Art Gallery. Lincoln, NE

We are Belize. Image Factory Art Foundation. Belize City, Belize

            5thAnnual All Sculpture Show.Jackson Artworks. Omaha, NE

            Botanicals.Eisentrager-Howard Gallery. Lincoln, NE

            1stACP Festival. Museo de Arte Moderno. Santo Domingo, Dominican Republic

            Tugboat Presents.Elder Gallery. Lincoln, NE

2005     Small Wonders: a return to innocence. Home of Matthew. Lincoln, NE

            Latta Pichaz.Image Factory Art Foundation. Belize City, Belize

            @10.Image Factory Art Foundation. Belize City, Belize

2004     Nebraska Now.Bemis Center for Contemporary Art. Omaha, NE

Landings- Conkal Arte Conteporaneo. Conkal, Mexico

            West by Southwest– Burris Art Gallery. NMHU. Las Vegas, NM

2003     UNL Studio Art Faculty Exhibition. Eisentrager-Howard Gallery. Lincoln, NE

            Coleccion de la Fundacion GruberJez – Ex Convento de Conkal. Conkal, Mexico

2002     Zero- Ex Teresa Arte Actual. Mexico City, Mexico

Contemporary Art from Central America Isthmus – Taipei Fine Arts Museum.

Taipei, Taiwan

Zero- Museum of Modern Art. Santo Domingo, Dominican Republic

Zero- Galeria Sala Mendoza. Caracas, Venezuela

Zero- Galeria Sol del Rio. Guatemala City, Guatemala

Zero- Ex Convento de la Compania de Jesus. Antigua, Guatemala

artISMO- Museum of Contemporary Art and Design. San Jose, Costa Rica

ARCO– Galeria Sol del Rio. Madrid, Spain

Zero- Gallery Ze Dos Bois. Lisbon, Portugal

2001     Zero- La Capella. Barcelona, Spain

IV Caribbean Biennial- Museum of Modern Art. Santo Domingo, Dominican Republic     

20/XX- Image Factory Art Foundation. Belize City, Belize

Zero- Casa de Las Americas. Havana, Cuba

UNL Studio Art Faculty Exhibition- University of Nebraska. Lincoln, NE

1998     Notorious, New Sculpture. Armory Gallery. Blacksburg, VA

            searching for green. Thesis exhibition. Anderson Gallery. Richmond, VA

1997     The Movable Feast. 1708 Gallery. Richmond, VA

            Dr. Louis Harris Awards Exhibition. MCV Hospital. Richmond, VA

            New Works by New Artists. James Center. Richmond, VA

            7thAnnual National Juried Show. Donald Kuspit – Juror. 1708 Gallery. Richmond, VA

Grants and Awards

2007     Nebraska Arts Council Individual Artist Fellowship

2006     Maude Hammond Fling Faculty Research Fellowship. University of Nebraska.

Lincoln, NE

2005     Artist in Residence- Bemis Center of Contemporary Art. Omaha, NE

            Research Council Grant in Aid. University of Nebraska – Lincoln

2004     Nebraska Arts Council Individual Artist Fellowship

            Hixson-Lied Faculty Research Grant. University of Nebraska- Lincoln

2003     Artist in Residence – Poustinia Land Art Park. Benque Viejo del Carmen, Belize

Hixson-Lied Faculty Seed Grant. University of Nebraska- Lincoln

2002     Artist in Residence – Gruber- Jez Foundation. Cholul, Mexico

Layman Research Grant. University of Nebraska- Lincoln

Research Council Grant. University of Nebraska- Lincoln

2001     Fine and Performing Arts, Dean’s Research Grant. University of Nebraska- Lincoln

Layman Research Grant. University of Nebraska- Lincoln

Humanities Center Summer Research Grant. University of Nebraska- Lincoln

Human Rights and Human Diversity Research Grant. University of Nebraska- Lincoln

Selected Press and Reviews

Umelec Spring 2007. Czech Republic

ArtNexus. No.63. Miami, FL. 2007

ArtWorld Digest. March 2006. Brooklyn, NY

Belize Times. 6//2006 Belize City, Belize

Art Papers. July/August 2005. Atlanta, GA

La Prensa Literaria.11/20.2004. Managua, Nicaragua

Artes Revista Especializada en Arte Caribeno. October/December 2003.

            Santo Domingo, Dominican Republic

Gramma International Digital.4/23/2003. Havana, Cuba

Por Esto. 6/19/2003 Merida, Mexico

Art Nexus. No. 46 Miami, Florida

El Caribe. 10/30/02 Santo Domingo, Dominican Republic.

El Nacional. 6/15/02 Caracas, Venezuela

Prensa Libre. 4/8/02 Guatemala City, Guatemala

Atlantica Art Journal. 2/02 Madrid, Spain

ABC.2/18/02. Madrid, Spain

Time Out. 1/02 Barcelona, Spain

Casa de Las Americas Journal. 7/01 Havana, Cuba

El Pais. 12/01 Madrid, Spain

 

Rainer Judd

Rainer Judd’s photographs of natural landscapes are often perceived as painting until closer examination. As a filmmaker trained in the use of 16mm film her sense of the “grain” of a photo simulates a type of “chiaroscuro” within the image. Judd’s use of low tech equipment and techniques allows her to engage herself in the image capture. Every day places are transformed into abstract components of color and texture. The viewer is challenged to discover the image components while experiencing the visceral spaces and colors of the natural landscapes.

Judd’s watercolors of natural landscapes are made with small and specific brush strokes or “dots” used to define textures, subtle color shifts, numerous trees, grasses, and land; imagery such as an extremely leaning tree or the shadow of an animal gives an emotional quality to the landscape.

Her specific use of technique and imagery choice illuminates a reverence for a time and a place and references a narrative framework in both the imaginary world of her watercolors and the “real” places of her photography.

Filmography

writer and director

Remember Back, Remember When(2007)    9 min      super16                   director

Marfa Voices,  a work in progress(2006)                   42 min       video         co-director

Lost and Found(1992) music video                           3 min16mm               director

Plague Circuit (1991)                                          18 min  16mm               director

Three Pieces of Real Texas Time(1990)      10 min  video                            director

Waste Generation(1990)                                          6 min video                director

Instant End(1989)                                     5 min             16mm               director

Sprout (1989)                                           5 min             16mm               director

Carmelita’s Reception House (1989)                        17 min  16mm               segment director

Pantera(1989)                                            3 min           16mm               director

Untitled #1(1989)                                                  3 min16mm               director

producer

Marfa Voices, a work in progress(2006)        40 min               video            producer

Tales of Cerro Chino(1992)                                    60 min  video               producer

Foxtrot Romeo Film Festival, Marfa, Texas     1991-1993

actor

The Picture of Dorian Gray(2004)

The Pornographer, A Love Story(2004)

Wake(2003)

Town and Country(2001)                        

Reunion(2001)

Perfume(2001)

Head Games(2001)

Lost Souls(2000)

End of Days(1999)

The Hi-Line (1999)

Pure Killjoy(1998)

Long Time Since (1997)

Hugo Pool(1997)

Drowning in West(1996)

Jack (1996)

Toughguy(1995)                                   

selected crew

Even Cowgirls get the Blues(1993) set costumer

Betty Carstairs Story(1991) videographer, The Wooster Group

The Fisher King(1991) wardrobe assistant

New York Stories(1989) production assistant, segment “Life Without Zoe”

Anna (1988) production and post assistant, Magnus Films

Lives and works in Hudson and New York City

B.A. film New York University, Tisch School of the Arts 1991

selected exhibitions

2007     CCCA Studio Tours Art in the Landscape, Columbia County, NY

2006    Manhattan TransferZone Chelsea NY, NY

            ZC Collection Zone Chelsea NY, NY

2004    Manhattan Transfer Chatham, NY

Shout! Time and Space Limited, Hudson, NY

2003     101 Spring St.,Zing Magazine curated by Madeleine Hoffmann

2001     Silverlake Silverlining,  Los Angeles, CA

            Show, Pageant, Los Angeles, CA 

awards

2007     Art Production Fund,  Artists at Giverny Residency and Grant

1991     Texas Award at Dallas Video Festival for Plague Circuit (1991)

panels and discussions

2007     Judd Foundation: Oral History for Artist’s Legacies, a panel discussion.

2007     New York Foundation for the Arts: Artist’s Forum

2006    Zone Chelsea, John Weber’s Columbia County Artists discussion

press

Inside Out Hudson valley, January/February 2007

W Magazine, November 2006

Berkshire Living, February/March 2005

brilliant magazine, October 2004

Upstate House, October 2004

Interview Magazine, February 1992

selected collections

Arne Glimcher

Marc Glimcher

Jaime Frankfurt

John Howard

Jean Gabriel Mitterand

Carol Taylor

 

Kristen Justesen

Kirsten Justesen *1943. Lives and works in Copenhagen.

 Educated at the Royal Academy of Fine Arts 1975. Cand.phil 1977.

 A series of exhibitions, events, installations, performances and mural work in Denmark and the rest of world since the mid-60s.

 Visiting professor and lecturer at art academies in Scandinavia, the USA and the Middle East.

 Scenographic work at a number of Danish theatres since 1967; established the Scenography Department at the Danish National Theatre School in 1985-1990.

 Important co-operations in the 90s include concept and set design for Randi Patterson Company.

 Curated Body as Membrane together with VALIE EXPORT at Kunsthallen Brandts Klædefabrik 1995

 Justesen has received a series of grants, including the Anne Marie Telmanyi Award 1991; The Eckersberg Medal 1996; Life grants from The Danish Art Foundation 1998; The Carl Nielsen & Anne Marie Carl-Nielsen Award 2000; The Anna Nordlander Award 2003;The Thorvalsen Medal 2005 and a ISCP residency, New York 2006.

 Justesen has illustrated books, magazines, designed posters and a series of chasubles for Capernaum Church in Copenhagen.

 KORS DRAG was published 1999 at Brøndum.

 Represented in private and public collections, including Statens Museum for Kunst; The Dep. of Prints and Drawings; Museum of Modern and Contemporary Art, Aalborg; the New Carlsberg Foundation; Køge Art Museum of Sketches; Museum of International Ceramic Art of Denmark; The Art Museum Brundlund Castle; Museum Anna Nordlander, Sweden.

 Member of the Artist Society and the Academy of Fine Arts.

 Member of the board of The Odin Theatre, Holstebro and Kaleidoskop, Copenhagen.

 Kirsten Justesen’s activities comprise a wide range of genres, from body art and performance art to sculptures and installation. Justesen was part of the avant-garde scene of the 1960s, where she became a pioneering figure within the three-dimensional modes of art that incorporate the artist’s own body as artistic material. These experiments led her in the direction of the so-called feminist art which challenged traditional value systems during the 1970s. Her later works constitute broader investigations of relationships between body, space, and language.

Reviews:

http://findarticles.com/p/articles/mi_m1248/is_n11_v82/ai_15918949

Kirsten Justesen *1943. Lives and works in Copenhagen.

 Educated at the Royal Academy of Fine Arts 1975. Cand.phil 1977.

 A series of exhibitions, events, installations, performances and mural work in Denmark and the rest of world since the mid-60s.

 Visiting professor and lecturer at art academies in Scandinavia, the USA and the Middle East.

 Scenographic work at a number of Danish theatres since 1967; established the Scenography Department at the Danish National Theatre School in 1985-1990.

 Important co-operations in the 90s include concept and set design for Randi Patterson Company.

 Curated Body as Membrane together with VALIE EXPORT at Kunsthallen Brandts Klædefabrik 1995

 Justesen has received a series of grants, including the Anne Marie Telmanyi Award 1991; The Eckersberg Medal 1996; Life grants from The Danish Art Foundation 1998; The Carl Nielsen & Anne Marie Carl-Nielsen Award 2000; The Anna Nordlander Award 2003;The Thorvalsen Medal 2005 and a ISCP residency, New York 2006.

 Justesen has illustrated books, magazines, designed posters and a series of chasubles for Capernaum Church in Copenhagen.

 KORS DRAG was published 1999 at Brøndum.

 Represented in private and public collections, including Statens Museum for Kunst; The Dep. of Prints and Drawings; Museum of Modern and Contemporary Art, Aalborg; the New Carlsberg Foundation; Køge Art Museum of Sketches; Museum of International Ceramic Art of Denmark; The Art Museum Brundlund Castle; Museum Anna Nordlander, Sweden.

 Member of the Artist Society and the Academy of Fine Arts.

 Member of the board of The Odin Theatre, Holstebro and Kaleidoskop, Copenhagen.

 Kirsten Justesen’s activities comprise a wide range of genres, from body art and performance art to sculptures and installation. Justesen was part of the avant-garde scene of the 1960s, where she became a pioneering figure within the three-dimensional modes of art that incorporate the artist’s own body as artistic material. These experiments led her in the direction of the so-called feminist art which challenged traditional value systems during the 1970s. Her later works constitute broader investigations of relationships between body, space, and language.

 

Mark Mann

Artist Statement

In struggling to maintain control over the situations of our lives, we fight to distinguish ourselves.  But it is in the sad vulnerable moments, when we are completely overwhelmed, that we can’t help but be just like everyone else.  SADNESS is a simple expression of emotion.  In release there is relief.  

Mark Mann

Mark Mann is a director, producer, editor and visual artist living and working in downtown Manhattan. He has worked on projects for The United Nations, The United States Postal Service, Harper’s Magazine, MTV, and Missy Eliot, as well as numerous public relations firms, web-based companies, garage bands and production companies. His first short film, ‘Sangam’, plays weekly on the Sundance Channel and his most recent short, ‘Making a Living’, has been showcased in festivals across the country and abroad. He is currently directing a feature length documentary about two people who have been trying to finish their first film for almost 40 years. He has designed art installations that have shown in museums and festivals in Copenhagen, Paris, Barcelona, Croatia, Swaziland, San Francisco, Manhattan and Brooklyn.

Select Projects

Corporate

Sachs Insights….editor Corporate presentations for Nokia, Nissan, Best Buy and others

United States Postal Service ….dv shooter Nationwide interviews with small business owners about how the USPS has been integral to the growth of their businesses

The United Nations ….director/designer Documentary-style dvd fundraising package, designed to raise money for Humanitarian Relief in the Democratic Republic of the Congo

Harper’s Magazine ….director/designer Corporate pitch films, Targeted audience dvd packages, Publicity reels

Missy Eliot ….producer/editor Video-Wall backdrop for her concert in Madison Square Garden

MTV ….editor
Sonicnet.com tv commercial campaign

Disney ….director/designer
Various media and promotional packages

HBO ….producer
Dennis Miller Show promo commercial

ENK International ….director/designer Documentary style fashion shoots, DVD presentation packs, Runway shows, Archival footage, Trade show displaysa

New York Institute of Photography….dv shooter
Series of educational videos on photographic technique

Holy Cross College ….director/designer
DVD fundraising package

Film

Finding Heaven ….directorFeature-length doc in progress about two ageing hipsters who have been trying to finish their first film for almost 40 years, a film Martin Scorsese produced starring a bunch of Warhol Superstars

Making A Living ….writer/director/editora darkly intimate short film about the getting ready rituals of two damaged girls trying to make the best of the abusive patterns that rule their lives, and the guy who’s trying to make sense of them through the lens of his video camera – as they all deal with the inevitability of doing what they have to do to survive

Sangam ….producer/editor Official Selection, Sundance Film Festival 2004, short film category This short film is a meditation on the longing of the human spirit, focusing on a chance meeting between two men on a subway

Ashtanga, NYC ….dv shooter Official Selection, Tribeca Film Festival 2003, documentary category This documentary focuses on yoga in Manhattan during the chaos of 9/11, including interviews with Gwyneth Paltrow and Willem Dafoe

Art Installation

Sadness ….director/designer A multi-monitor video installation featuring 19 crying people Premiered in Brooklyn, New York

Bubbles ….director/designer A multi-monitor video installation featuring people chewing gum and blowing bubbles Premiered in Manhattan, New York

Eunuchs ….designer A multi-wall video installation concerning a tribe of eunuchs in India Premiered in Copenhagen, Denmark

Child Prostitution ….designerA multi-wall video installation concerning child prostitution in India Premiered in Barcelona, Spain

 

Renaud Muraire

Born in 1972 in Nice, France

Lives and works in Paris.

Renaud Muraire portrays modern day women, particularly within their intimacy.

Responding to media’s current codes, he uses representation of beauty and youth to question self-awareness, appearance and society’s demand.

Beyond contemporary preoccupations, beauty thereby embodies something inexplicable: gazes are sharp and flesh is marked, as scars being part of identity. This theatricality of appearance brings us closer to the subjects: spectator becomes voyeur, and privacy leads to a public scene. Closeness then merges with guilt of intrusion.

Renaud Muraire’s subjects often express vulnerability mixed with strength and power, which manifests something of our very contemporary age. The shown and expected perfection cannot hide internal feelings. These women seem to be imprisoned behind impossible physical diktats, using their beauty as a lead shield. Renaud Muraire is too haunted by the question of time. His subjects can be regarded as witnesses of external mutation, and the intimate reaction to this change. The consciousness of transience adds a very specific intensity to Renaud Muraire’s work. Through embezzling religious stereotypes (Icons Series), Renaud Muraire then places woman above human, allegory for her central position in today’s society.

Previous exhibitions:

  • Private solo exhibition, September 2005, Paris
  • Group exhibition, June 9th– July 14, 2006, Cologne (Germany), 3 sites (Gallery Seippel, Heinz Bossert Gallery and French Institute)

 

Osvaldo Romberg

Born in Buenos Aires, Argentina

Lives and Works in New York, Philadelphia and Isla Grande, Brazil

Selected Individual Exhibitions

  •  

                             Jesus de Buenos Aires,

                            Kunst Museum, Bonn  

                             Buildings Footprints,

                            Museum of Modern Art Buenos Aires, Buenos Aires

                            Framing  the Art,

                            Heike Curtze Gallery, Vienna

                            The War of the Jews

                            The Artist Workshop, Tel – Aviv

                             The Library is Burning

                             The University of Pennsylvania Library, Philadelphia

 2005              Translocations: Architectural Installations, 1980 – 2005, (cat.), PeKA                            Gallery for Experimental Art and Architecture, Technion, Haifa

Narrative Architectural (1987—2005), (cat.), Musée d’Art Moderne de

                      Saint Etienne, Saint Etienne

Text, Image, Object (1963 – 2005), (cat.), Van Abbemuseum, Eindhoven                         

Dear Theo…(the night Van Gogh cried), Galerie Heike Curtze, Berlin

2004              From Paradise to Paradise: A Hypertext about Love in Three Parts,

                      Julie M. Gallery, Tel Aviv, Israel

2003             From Paradise to Paradise: A Hypertext about Love in Three Parts,                          Universal Concepts Unlimited, New York

2001                 The Library Is Burning (recent books), Jan Van der Donk Gallery, New York

2000                 Besame Mucho: A Hypertext About Love (cat.), Domgrabungsmuseum, Salzburg, Austria, and White Box Gallery New York

                        Retinal-Non-Retinal (cat.), Staedtische Kunstsammlungen, Augsburg

1999                 Romberg´s Walks at the Kunsthistorische Museum(cat.), Kunsthistorische Museum, Vienna and Galerie Heike Curtze, Vienna

  • Bypass(1972-1997) (cat.), Kunstmuseum, Bonn;

Galerie Hohenthal & Bergen, Munich;

                    Osvaldo Romberg: A Survey (1974-1997), Stux Gallery, New York

1996                 +2000/-2000 Even(cat.), exhibited simultaneously at:

                        Fundacion Xavier Corbero, Barcelona;

                        Ludwig Museum, Budapest;

                        Ludwig Museum, Cologne;

                        Museum of Modern Art, Odessa;

                        Pennsylvania Academy of the Fine Arts, Philadelphia;

                        The Reykjavik Municipal Art Museum, Reykjavik;

                        Stadtgalerie, Saarbruecken;

                         Tel Aviv University Gallery, Central Library;

                         Sudo Museum, Tokyo;

                         Museum Moderner Kunst, Vienna.

1995                 Artist Space, New York: The Return of Martin Steel(prospect)

Galerie Hohenthal & Bergen, Cologne: New Books and Short Stories

1994                 Gimel Gallery, Jerusalem: Re-Citing, Books and Short Stories

1993                 Museum Moderner Kunst, Vienna: Building Footprints III(cat.)

                        Sprengel Museum, Hannover: On Scale (cat.)

Fundacion San Telmo, Buenos Aires: La vie en Valise: The Artist as Curator(cat.)

                        Galerie Heike Curtze, Vienna: New Works

                        Galerie Schueppenhauer, Cologne: New Works

1992                 Galerie Montaigne, Paris: Romberg: The ’70s, the ’80s

1991                 The Israel Museum, Jerusalem: Building Footprints(cat.)

                        MUHKA-Museum of Contemporary Art, Antwerp: Building                                                   Footprints II(cat.)

                        Wilhelm Lehmbruck Museum, Duisburg: On Scale(cat.)

1990                 The Jewish Museum, New York: Installations(cat.)

1988                 Galeria Julia Lublin, Buenos Aires: Prepictum, Postpictum + Working                                 Drawings(cat.)

1987                 Galeria Paolo Figueredo, Sao Paulo (cat.)

1986                 Museo de Arte de Sao Paulo: Hybrid Objects and Installations(cat.)

1985                 Tibor de Nagy, New York (cat.)

1984                 XLI Venice Biennial, Israel Pavilion: Retrospective 1972-1984 (cat.)

                        Utrecht Museum of Contemporary Art, Netherlands: Drawings(cat.)

                        Kunstmuseum, Hannover: Osvaldo Romberg und der Merzbau                                         von Kurt Schwitters (cat.)

                        Galerie Springer, Berlin:From Analysis to Metaphor

1983                 Galerie Stadler, Paris

1982                 Bauhaus-Archiv-Museum. Berlin: Color Environment                      

Musee D’Art Moderne, Strasbourg: Mythologies,  From Altamira to Manet, An Emotional Analysis of Art History(cat.)

Neue Galerie, Sammlung Ludwig, Aachen: Mythologies,  From  Altamira to Manet, An Emotional Analysis of Art History (cat.)

1981             Museum des 20. Jahrhunderts, Vienna: Mythologies,  From Altamira to                     Manet, An Emotional Analysis of Art History (cat.)                                             

1980                 Tel Aviv Museum, Tel Aviv: Mythologies,  From Altamira to Manet, An Emotional Analysis of Art History(cat.)

1979                 Galerie Stadler, Paris

1978                 Galerie Peccolo, Livorno: Works on Paper

1975                 International Cultural Center, Antwerp: Typologies(cat.)

1974                 Institute of Contemporary Art, London: Projects

1972                 Center of Art and Communication, Buenos Aires: Landscape as Idea (cat.)

Selected Group Exhibitions

2005              Domicile: Privé/Public, installations of “Syzygy III” and “The Last

                      Machu Pichu”, Musée d’Art Moderne de Saint Etienne, Saint Etienne

2000                 Topologies: Weiner, Le Va, Anastasi, Romberg, White Box                                               Gallery, New York

1999     Faith,The Aldrich Museum of Contemporary Art, Connecticut

                     Plural Speech, White Box Gallery, New York

1998                 Tel Aviv Museum: The Seventies

1997                 Unmapping the Earth, Kwangju Biennial, Korea.

Transversions,Second Biennial of Johannesburg, South Africa

1995                 Venice Biennial: Avant-Garde Walk a Venezia

                        Artists’ Museum, Mitzpeh Ramon, Israel: White Machu Pichu

1993                 Thread Waxing Space, New York: Les Levine, Osvaldo Romberg, Nancy Spero

Museum of Contemporary Art, Wright State University, Ohio: Quotations

1992                 Aldrich Museum of Contemporary Art, Ridgefield, Connecticut: Quotations

1991                 Helena Rubinstein Pavilion, Tel Aviv Museum of Art: Perspective

1989                 Aldrich Museum of Contemporary Art, Ridgefield, Connecticut:Projects, Installations

1985                 Kenynklist, Museum voor Schone Kunsten, Antwerp:Kunst in Israel

                        Wilhelm Hack Museum, Ludwigshafen:Apokalypse

                        18th Biennial: Sao Paulo:Artistas Convidados

1984                 Sprengel Museum, Hanover:Nackt in der Kunst

                        XLI Venice Biennial:Arte allo Specchio

                        Kunsthalle, Berlin:Rationalism

1983                 Neue Pinakothek, Munich:Three Artists about Monet

1976                 Lousiana Museum, Copenhagen:Latin American Art

Curatorial Work

2005                 Hermann Nitsch / Die Aktionen: 1962-2003, Slought         

            Foundation, Philadelphia

                      Cielito Lindo, Work by Julio Grinblatt, Slought Foundation,

                      Philadelphia

                      Co-Curator,Non-Retinal: Kovert Konflagration Kovenant,

                      Slought Foundation, Philadelphia                   

2004              The Other Epistemology, Museum of Reproductions, Slought

                      Foundation, Philadelphia

                      Me altar’s egoes:An Exhibtion of William Anastasi,

                 Slought Foundation, Philadelphia

                 Terror: A Collaboration between an Israeli and a Palestinian,

                 Slought Foundation, Philadelphia

2003               A Tribute to Coltrane, Co-Curated exhibition, Slought Foundation,

                      Philadelphia

                        Unconventional Three-Dimensional, Slought Foundation, Philadelphia

2001               First Blood, Ericson Gallery, Philadelphia

2000                 Co-curator, Faith: the impact of religion on contemporary art, Aldrich         Museum of Contemporary Art, Ridgefield, Connecticut

1999                 Unquiet Urbanism, White Box Gallery, New York

1997                 Narrative Sculpture, White Box Gallery, Philadelphia

1991               Paper As Knowledge, Dueren Biennial, Leopold-Hoesch-Museum, Dueren, Germany

Publications

Romberg, Osvaldo, The Inverted Pyramid, Text for the Paper Biennial of Dueren, Germany, 1991

Romberg, Osvaldo, Unquiet Urbanism, exhibition catalog, White Box Gallery, New York, 1999

Romberg, Osvaldo, Art to Art. Life to Life.From “Faith” exhibition catalog, Aldrich Museum of Contemporary Art, 2001

Romberg, Osvaldo, Hidden Texts, From “+2000/-2000, Even” exhibition catalog, 2001

Romberg, Osvaldo, Stupid Like a Painter, Text for Of the Diagram: The Work of Marjorie Welish, Slought Books, Philadelphia, 2003

Romberg, Osvaldo, Unconventional Three-Dimensional, Text for Unconventional Three-Dimensional exhibition, Slought Foundation, Philadelphia, September 2003

Romberg, Osvaldo, Text for Me altar’s egoes:An Exhibtion of William Anastasi, Slought Foundation, Philadelphia, 2004

Romberg, Osvaldo, Text for The Other Epistemology, Museum of Reproductions, Slought Foundation, Philadelphia, 2004

Romberg, Osvaldo, Redemption through Blood: Hermann Nitsch’s Theatre of Orgies and Mysteries, Text for Hermann Nitsch / Die Aktionen: 1962-2003, Slought Foundation, Philadelphia, 2005

Romberg, Osvaldo, Evolution, Revolution, and Cielito Lindo, Text for Cielito Lindo, Work by Julio Grinblatt, Slought Foundation, Philadelphia, 2005

Prizes

1967                 Gran Premio de Honor Cordoba, Argentina

1968                 Gran Premio Nacional Argentina

1974                 Premio Benson & Hedges, Argentina

1992              Prize Sandberg, Jerusalem

2004              Heilman Artist and Lecturer, Swarthmore College, PA

Works in Permanent Collections

MUHKA-Museum of Contemporary Art, Antwerp

Kunstmuseum, Bonn

Museo de Bellas Artes, Buenos Aires

Ludwig Museum, Cologne

Leopold-Hoesch Museum, Dueren

Wilhelm Lehmbruck  Museum, Duisburg

The Haifa Museum, Haifa

Sprengel Museum, Hannover

The Israel Museum, Jerusalem

California State University, University Library, Long Beach

Wilhelm Hack Museum, Ludwigshafen

Jewish Museum, New York

Museum of Modern Art,  New York

Philadelphia Art Museum, Philadelphia

The Tel Aviv Museum, Tel Aviv

Museum Moderner Kunst, Vienna

Library of Congress, Washington, DC

Burton Silverman

BORN: 1928,  Brooklyn, NY

EDUCATION: BA, Columbia University, NY

SELECTED SOLO EXHIBITONS:

 2004 Gallery Henoch, New York, NY

 2003  RL Foster Gallery, Denver, CO

 2001 Total Arts Gallery, Taos, NY

 2001 Gallery Henoch, New York, NY

 1999 Butler Institute of American Art, Youngstown, OH

  & Brigham  Young Museum of Art, Provo, UT

 1998 Merrill Gallery, Denver, CO

 1997 Gerold Wunderlich & Co., New York, NY

 1996 The Merrill Gallery, Denver, CO

 1996 Gerold Wunderlich & Co., New York, NY

 1993 Joseph Keiffer Gallery, New York, NY

 1991 Capricorn Galleries, Bethesda, MD

 1990 Cudahy’s Gallery, New York, NY

 SELECTED GROUP EXHIBITIONS:

 2006 The Outwin Boochever Portrait Competition Exhibition, Smithsonian National Portrait Gallery, Washington, DC

 2006 Gallery Henoch, New York, NY

 2005  Teachers from the Art Students League, Daniel Greene, Burton Silverman, & Sharon Sprung, Gallery Henoch, New York, NY

 2005 Art of the 20th Century, New York, NY

 2005 USArtists, Philadelphia, PA

 2005 San Francisco Int’l Art Expo, CA

2005  Art Chicago in the Park, IL

 2005 MA Doran Gallery, Tulsa, OK

 2004 US Artists, Philadelphia, PA

 2004 Art of the 20th Century, New York, NY

 2004Doran Gallery, Tulsa, OK

 2004 Gallery Henoch, New York, NY

 2004 Delaware Art Museum, Wilmington, DE

 2004 National Academy Museum, New York, NY

 2003 Art of the 20th Century, New York, NY

 2003 US Artists, Philadelphia, PA

 2003 Gallery Henoch, New York, NY

 2003 National Academy of Design, New York, NY

 2002 Gallery Henoch, New York, NY

 2001 National Academy of Design, New York, NY

 2000 Gallery Henoch, New York, NY

 1999 Gallery Henoch, New York, NY

 1999 Susan Conway Gallery, Washington, DC

 1999 Total Arts Gallery, Taos, NM

 1999 Colorado History Museum, Denver, CO

 1999 Van Vechten-Linberry Art Museum, Taos, NM

 1959-99 National Academy of Design, New York, NY

 1979-99 American Watercolor Society, New York, NY

 1997 The Ogunquit Museum, Ogunquit, ME

 1994 The South Bend Regional Museum, South Bend, IN

PUBLIC COLLECTIONS:

 The Anchorage Museum of Art and History, Anchorage, AK

 Brigham Young Museum of Art, Provo, UT

 The Brooklyn Museum, Brooklyn, NY

 The Butler Institute of American Art, Youngstown, OH

 Cornell University, Ithaca, NY

 The Delaware Museum, Wilmington, DE

 Denver Art Museum, CO

 The Dillard Collection, University of North Carolina, NC

 Hofstra Museum, Hempstead, NY

 The Mint Museum, Charlotte, NC

 The National Museum of American Art, Smithsonian Institution,

  Washington, DC

 The National Portrait Gallery, Smithsonian Institution, Washington, DC

 The New Britain Museum of American Art, New Britain, CT

 The Ogunquit Museum of American Art, Ogunguit, ME

 The Parrish Museum of Art, Southampton, NY

 The Philadelphia Museum of Art, Philadelphia, PA

 The Portsmouth Museum, Portsmouth, VA

 The Queensboro Community College Art Gallery, NY

 The Rutgers University Museum, Camden, NJ

 University of Utah, Salt Lake City, UT

AWARDS AND HONORS:

 2006 Jury’s Selection, The Outwin Boochever Portrait Competition, Smithsonian National Portrait Gallery, Washington, DC

 2005 Newington Cropsey Cultural Center Award for Excellence in the Arts, New York, NY

 2004 Gold Medal, Portrait Society of America

 2003 Members Award, Oil Painters of America, Taos, NM

 2002 Honorary Doctorate, Academy of Art College, San Francisco, CA

 2002 Dong Kingman Memorial Award,

  American Watercolor Society Annual

 1998 Saunders Waterford Award

 1998 The American Watercolor Society Annual, New York, NY

 1997 Paul and Margaret Berkelson Prize,

  National Academy of Design, New York, NY

 1997 Mario Cooper Award,

  The American Watercolor Society Annual, New York, NY

 1996 Clara Stroud Memorial, The AWS Annual, New York, NY

 1992 The Joseph Isidor Medal, NAD Annual, New York, NY

 1991 The High Winds Medal, AWS Annual, New York, NY

 1991 Smith Distinguished Visiting Professor,

  George Washington U., Washington, DC;

 1991 Elected Hall of Fame, Pastel Society of America

 1990 The Catherine Stroud Memorial Award,

  AWS Annual, New York, NY

 POSITIONS:

 2003-05 Membership Committeer; National Academy of Design

 2001-03 Assistant Treasurer; National Academy of Design

 1999-01 Member of the Council; National Academy of Design

 1992-94 Member of the Council; American Watercolors Society

 1976-78 Member of the Council; National Academy of Design

 

Jean-Manuel Simoes

I was born in 1964, in the suburbs of Paris, France.

From that situation, I got two citizenships French and Portuguese, from my parents and from my birthplace.

After graduating in business and administration I spent few years working in management and trading. I quit on my early thirties.

In 1998, I started a career in photography.

I have been working with major french and western newspapers and magazines (Le Monde, Le Monde 2, Paris Match, Wall Street Journal, Le Figaro, O Expresso, Le journal du Dimanche, Le Figaro Magazine, Focus, L’Express, Télérama, Time Magazine…).

I am represented in France by Editing Agency (Paris), and USA by WpN (New-York).

2007, « Sarkozy, Three years of Photography » at « Visa pour l’Image » Perpignan, France

2007, Nominated Kodal PhotoJournalist

2007, Exhibition Photo 4 Gallery, Paris

2006, « Sarkozy » was nominated at the AFP-Bendrihem price.

2006, « 36,4 » nominated at the AIDDA Paris price.

2006, « Par la fenêtre », nominated at the Kodak Paysage-Architecture price.

2005, « 36,4 » a work on the Paris ringroad was awarded « Prix Spécial du Jury » at the Festival du Scoop d’Angers.

2002, Rwanda nominated at Prix Bayeux war correspondant.

2000, Burundi nominated at Prix Bayeux war correspondant.

 

Valentin Stefanoff & Nina

Always very minimal with few images, without big special effects, often without text, with a very estimate sound, the common works of Nina Kovacheva and Valentin Stefanoff (mainly video and sonic installation) drive the spectators to pose himself a basic questions about existence in the contemporary world. Many of their recent video installations are intended to the façades of different museums and public buildings. For the video installation “In the Out” which is in the same principle they was awarded a “The 2002 UNESCO Prize for the Promotion of the Arts”.

VALENTIN  STEFANOFF

Born: 1959, Sofia, Bulgaria. Lives and works in Paris, France

National Academy of Fine Arts, Sofia. Graduated in 1985

Selected Solo Exhibitions:

2006 -Play for Two Hands and Black, , video installation on the façade of the National Academiy of Fine Arts, Sofia, Bulgaria

-Phases of Accumulation and Extraction in a Limited Space, Musée d’Art Modern et Contemporain, Strasbourg, France

2005 – Au-delà de ce qui est visible, curator Ruxanra Balaci, MNAC, Bucharest, Romunia

– Phases of Accumulation and Extraction in a Limited Space, National Art Gallery, Sofia, Bulgaria

2004 – Au delà de ce Qui est Visible, public project, Paris, France

2003- Currency, Gallery Mabel Semmler, Paris, France

2002 -Experimental Intermedia Galerie, Gent, Belgium

2000- Open – Closed, The Museum of Contemporary Art, Belgrad, Serbia & Montenegro

1999- Identifications of The Space II, Gallery Luc Queyrel, Paris

1997- Day-Box – exhibition “Anonymous” , ATA Centre for Contemporary Art, Sofia

1996- Methods for Self Educations, Galerie de C.I. A. and Galerie de l’Espace Hérault, Paris

1994- 6 x 4 x 16″- Gallery Bernard Jordan, Paris

– Gallery “Graficki Kolektiv, Belgrad, Serbia & Montenegro

– Cultural Centre “Wittgenstein”, Vienna, Austria

1993- 6 x 4 x 16 – Institut Français, Sofia, Bulgaria

1991- Musée des Beaux Arts, Le Locle, Switzerland

1989- Gallery Dogenzaka, Tokyo, Japon

Selected Group Exhibitions:

2006 – -Sometimes the Close is More Open Than Open and Open is More Closed Than Closed, commissaire Karine Vonna,Villa du Parc Centre d’Art Contemporain, France

2005 – Two Asias, Two Europes, curator Gu Zhenqing Shanghai Duolun Museum of Modern Art, China

            2004  -Au delà de ce qui est Visible, video installation, Nuit Blanche, Paris, France

-“3.39%”, Macedonian Museum of Contemporary Art, curator Magda Carneci/Maria Vassileva, Thessalonique, Grèce

 2003 -Wet Contact, Nuit Blanche, Musée du Montparnasse, Paris, France

 – Return Nature II, curator Gu ZhecunqingNanjingShenghuaArts Center, China

-16ès Instants Vidéo de Manosque, Manosque, France

– Video & Digital Art Festival, Novi Sad, Serbia

– One, Several, Many Odyssey – video installation, The Museum of Cinema, Thessalonique, Greece

– Media Art Festival, curator Matrina Grzinic, Maribor, Slovenia

– Export -Import, curator Maria Vassileva, Municipale Gallery – Sofia , Bulgaria

2002- Crossing Time international, Dartington Gallery, Dartington College of Arts, England

         – In The Out, 4thBiennial of Cetinje, Curators Iara Boubnova & Andrei Erofeev, Montenegro

– Wet Contact, Kunsthalle Faust, Hannover, Germany

– Mirror of the Balkans, Face -Identity, curator Zoran Eric, National Gallery – Museu, Kraljevu

         -Xth Festival Inner Space Multimedia Art «Sound and Image», Poznan

 2000 – International Art Forum for Video and New Media, Sofia, Bulgaria

1999- Stocholm Art Fair – Gallery Luc Queyrel                                  

1997 – SAGA-FIAC Edition, Stand Atelier Tanguy Garric, Paris

– Intergrafia ‘97-World Award Winner Gallery, Katowice, Poland

1996 – Seoul Art Fair’96, Stand Tanguy Garric, Seaul, Korea

1995 – The Message of The Sign-Between Letter and Image, Prague-Cracow

1994 – N Forms, Reconstructions and Interpretations-  Soros Foundation, Sofia

1993 -XXth International Biennale of Graphic Art, Ljubljana, Slovenia

1992- Chefs d’œuvres de l’estampe du XXème siecle-De Bonnard à Baselitz, The French National Library

1991- Triennial of The Contemporary Arts, New Delhi, India   –                                  

1989- L’Europe des Graveurs, Grenoble, France

Prizes and Grants:

2002 – The 2002 UNESCO Prize for The Promotion of The Arts, Paris, France

– Pollock-Krasner Foundation, New York, USA Annual Grant 2002

1995 – Pollock-Krasner Foundation, New York, USA Annual Grant 1995

Nina Kovacheva

Born:Sofia, Bulgaria, lives and works in Paris, France

Schools:National Academy of Fine Arts, Sofia, Bulgaria. Graduated in 1985

One person shoxws (selection):

2006 -Play for Two Hands and Black, video installation on the façade of the National Academiy of Fine Arts, Sofia, Bulgaria

– Phases of Accumulation and Extraction in a Limited Space, Musée d’Art Modern et Contemporain, Strasbourg, France

2005-Au-delà de ce qui est visible”, curator Ruxanra Balaci, MNAC, Bucharest, Romunia

            -Phases of Accumulation and Extraction in a Limited Space, National Art Gallery, Sofia, Bulgaria

2004 – Au-delà de ce qui est Visible, outdoor installation, Paris, France

            -Vidéo Retrospectif, curator Karine Vonna, Maillon – Wacken, Strasbourg, France

 2003 – Currency, Gallery Mabel Semmler, Paris, France

2002 –Wet Contact, Experimental Intermedia Gallery, Gent, Belgium

2001- Approche, Gallery Luc Queyrel, Paris, France

-Approche, Galerie Haos, Belgrade, Serbia

1998 – Sometimes… – Gallery Luc Queyrel, Paris, France

Group shows (selection):

2006-Important Announcement, curator Maria Vassileva, Galerie Municipale d’Art, Sofia, Bulgaria

-Voiler/Dévoiler, curator Karine Vonna, Villa de Parc, Contemporary Art Center, Annemasse, France

            -I am the Best, Les petits délices, curator Brent Klinkum, Caen

– 28e Festival International, Films de Femmes, Maison des Arts, Créteil Val de Marne

2005 – Two Asias, Two Europes, curator Gu Zhenqing, Duolun MOMA, Shanghai, China

2004 – Au-delà de ce qui est Visible,Nuit Blanche, Paris France

-0.039225, Cosmopolis, curator Magda Carneci Macedonian Museum of Modern Art, Thessaloniki, Greece

            – Falutriennalen , Dalanas Museum, Falun, Sweeden

2003- Return Nature II, NanjingShenghuaArts Center, curator Gu ZhenqingChina

            -Wet Contact, Nuit Blanche, Musée du Montparnasse, Paris, France

-One, Several, Many Odyssey, video installation, The Museum of Cinema, Thessalonique, Greece

-16ès Instants Video de Manosque, Manosque, France

 -Export -Import, curator Maria Vassileva, Municipale Art  Gallery – Sofia, Bulgaria

-9thInternational Festival of Computer Arts, curator Marina Grzinic, Maribor, Slovenia

  • – Kunsthalle Hannover, curator Harro Schmidt,Germany (catalogue)

– In the Out- video installation, curator Iara Boubnova ,4thBiennial for Contemporary Art, Cetinie Montenegro

-Musée de l’Erotisme, Paris, France

– Mirror of the Balkans, Face-Identity, curator Zoran Eric, National Museum, Kraljevu

2000 – The National Museum of Women in the Arts,Washington DC, USA

2002 – The 2002 UNESCO Prize for The Promotion of The Arts, Paris, France

1998 – Pollock-Krasner Foundation, New York, USA Annual Grant 1998

Renaud Muraire, Icon 2

New York Magazine on FACE: Scavenging Identity

Dirty, Hairy by Rachel Wolff

July 18, 2007

Categories: exhibitions

F*NOW

Group exhibition of New York University (NYU) art department students.

 

As the freshman class of 9/11, these students watched the Trade Center fall from the windows of their classrooms. Now, as they move into a marketplace which has developed an appetite for spontaneity, the authenticity of youth poses a new set of complications.

 

For this generation, the certainty of earlier decades is not an option. In a performance which symbolizes the theme of the show itself, Michael Miritello will walk to the gallery opening from his parent’s home on Long Island, the fourteen hour journey symbolizes the arduose path for young artists, from the comforts and stability of home and academia to the fiercely competitive realm of the New York Art World.? Miritello knows precisely where he wants to go, however he chooses in this act of defiance and social sculpture not to take any shortcuts.? A desk will be awaiting him at the opening reception whereupon arrival he will place his artist statement, take a seat and well deserved rest, and celebrate with his peers the fruits of their academic journey. Understanding that much work is yet to be done.?

 

This exhibition is a coming of age story, acceptance that this group is only but a swell amongst many waves of talent flowing through a vast ocean that is the international field of contemporary art, at least f’now.

F*NOW

Curated by James Fuentes

April 21 – May 5, 2005

 

Opening reception

6-8pm, April 21, 2005

 

Artists in exhibition:

George Pfau

Amelia Saul

Claire Connolly

Anne Kyle   

Deborah Hay

Renee Rivas       

Margaret Ward

Tara Eisenberg            

Emily Tanner

James Woodward

Noura Al-Salem 

Charlotte Marra 

William Russ Maschmeyer 

Wing- Sze Ho  

Michael Miritello  

Candice Yu  

Christina Caputo

Dana Liebermann & Tim Libert

Gina Mauro

Timur Civan  

Robert LaColla

Masanori Sugiura   

Laura DePeters

Lauren C. Schwarz  

Paige Hinkle 

Andrew M. Croce 

Haley McCrory                  

Nicholas Vissichelli                     

Kirsten Schuck 

Ben Guttin

Jessica Stephen 

In 1998 James Fuentes founded the James Fuentes Gallery at 558 Broome Street in New York City among the artists who presented solo shows were; Cheyney Thompson, Stephen G. Rhodes, Lizzi Bougatsos, Amy Granat, William Stone and Sean Dack, other significant exhibitions at the gallery included Jonas Mekas’ This Side of Paradise(1999) and Open Space(1999-2000) a series of 45 solo exhibitions that took place in a three-month period. Significant independent exhibitions include: The South Bronx Story(2001) an exhibition which hypothesized that Fashion Modawas a precursor to New York’s East Village movement;The United States of America vs. Alfredo Martinez (2003) prison work by an artist incarcerated in federal jail for forging the work and provenance of Jean Michel-Basquiat; and a series of solo and group exhibitions that inaugurated Gavin Brown’s enterprise at Passerby (2004). Jonas Mekas’ Farewell to Soho (GBE Passerby, 2004) was consequently included in Diary Filmby Liutauras Psibilskis and Magnus af Petersen at the Moderna Museet in Stockholm and Göteborg Konsthall, Sweden. Fuentes is the co-creator and co-executive producer of Jeffrey Deitch’s Artstar, an eight episode television series that broadcasted in June, 2006. He has been a member of the New Art Dealers Alliancesince 2003. Fuentes was Director at Lombard-Freid Fine Arts, New York in 2004 and in 2005 served as Director at Deitch Projects, New York. James Fuentes was born in New York City in 1977 and graduated from Bard College in 1998.

Categories: exhibitions