January 26, 2013

In her own words: Kyle Staver


“Lately I have been painting dragons, distressed maidens, and bulls with bad intentions. Titian, Rembrandt, Picasso, Redon, and Ryder have all preceded me to this trough and drunk deeply.

"Perhaps the greatest inspiration for my recent work is the Metropolitan Museum’s Courbet exhibition: the personal/mythic narrative and atmosphere in Courbet’s work reminds me of the dark and weighty atmosphere of my native northern Minnesota, where the winter sun sets early and night goes on forever. The Northern light also leaves many corners shrouded and ambiguous. My palette is now deeper, and the emotional tone of the paintings veers toward anxiety as seen in Stags at Pork Chop Hill, with deer caught in a train’s headlights on a cold winter night. The Boys of Pinetop Pond D inhabits a dark pine forest clearing with a foreboding drama unnamed but clearly sensed. The scenes in Europa and The Flying Fish (2011), Danae and the Parakeet (2011), Diana and Acteon (2012), Prometheus (2012), and St. George and the Dragon (2012) operate as Mythical metaphors for looming unavoidable disaster. My works have moved away from personal vignettes to more universally shared narratives.

 
Kyle Staver, Trapeze, 2012, oil on canvas, 68 x 58 inches. Images courtesy of the artist.

"These new painting are less the France of Matisse and Bonnard and more the Minnesota of my memory. They reflect my growing awareness of the uncertainties of life. I don't think it's an accident that these Mythical subjects are often taken up by artists in mid to late career. My recent paintings' latent anxiety, emotional/tonal heaviness, and darkness are not just reflections of my home in Northern Minnesota's climate: I have grown increasingly interested in speaking with the big boys of western art, stepping into their homes, working with their darker palettes and their darker subjects, classical mythology, especially. I don’t feel at odds with artists like Titian and Rembrandt—I’m not arguing with them as a contemporary female painter, although my own take on these mythic women is often quite different. I don’t subjectify my women; rather, they allow me to reinvestigate a myth from my point of view: rather than rape, there’s pleasurable co-joining, as in Danae and the Parakeet; rather than the terrified victim, there’s resistant outrage, as in Europa and the Flying Fish. At times I’m feeling closer to late Rembrandt than other painters who took on these subjects. I think of him as my friend, urgent and present in my studio. He’s someone I listen to very carefully. Our Danaes share a sense of erotic pleasure. They are not victims so much as active participants in a golden, sexual light. This is a wonderful conversation to be having, but I’m only ready for it now, after many years of painting."

"Kyle Staver: Paintings, Prints, Reliefs," John Davis Gallery, Hudson, NY. Janaury 31 -February 24, 2013.

Image at top: Kyle StaverEuropa and the Flying Fish, 2011, oil on canvas, 68 x 54 inches.

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January 24, 2013

Thin and thick: Mario Naves and Brett Baker

At Elizabeth Harris Gallery, Mario Naves has the front room and Brett Baker, publisher of Painter's Table, has the back. Two years ago, after making collages for twenty years, Naves turned to painting larger geometric abstractions on canvas. His buoyant compositional strategies recall those of his earlier collages, but the smoothly painted, unified surfaces and saturated color of his new work evoke the Indian and Persian miniatures and the 16th-century Netherlandish paintings that Naves considers touchstones.

Mario Naves, Obscure Reference, 2012, acrylic and oil on canvas on wood, 24 x 20 inches

Where Naves paints thin and elegantly hard edge, keeping his lively images on the surface, Baker goes thick and clotty, creating small-scale blocks of abstraction, seemingly squeezed directly from the tube. Baker's paintings are darker and more obsessive than Naves, and they suggest that he is entertaining a philosophical question, trying to convince himself that, despite all practical evidence to the contrary, meaning resides in the process. And so he continues--we all do. The key may be in the painting pictured below, titled Sisyphus (After Camus).

Brett Baker, Sisyphus (after Camus), 2008-2011, oil on canvas, 6 x 6 inches.

A quick Google search of the title turned up the website for the Albert Camus Society, where I learned that, in 1942, Camus published a book of essays called The Myth of Sisyphus. In 2011, Svenja Schrahé, in an essay about the book, wrote that
Sisyphus was one of the wisest men on earth, extremely skilled in trickery and the founder of Corinth. After deceiving the gods, Zeus banished him into Tartarus, a prison-like waste land beneath the underworld. Here, Sisyphus endlessly rolls a rock up a hill, just to have it roll back to start anew. A Sisyphean task became synonymous with senseless work that man has to do nowadays. From the beginning on it is the very clear tone of the book, that the value of life is the most important issue.
All other themes resolve about the question of suicide, mortality and faith. The term ‘faith' is burdened with a heavy religious meaning, but for the French writer it is not a matter of one believes in God or not, but rather to believe in oneself. Camus examines how an honest affirmation of life can come into existence without pinning it down to external influences. It is life that matters, the pure ability to be part of this world...
Or, in the language of painting, process and materiality.

 "Mario Naves: Recent Paintings " Elizabeth Harris Gallery, New York, NY. Through February 2, 2013.
"Brett Baker: Paintings," Elizabeth Harris, New York, NY. Through February 2, 2012.

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January 13, 2013

Andrew Ginzel's list of selected NYC shows and events

February 4, 2013 / SOME but not all NYC SELECTED SHOWS TO SEE /Listed south to north. Compiled by artist Andrew Ginzel for his students at the School of Visual Arts.
 
LOWER EAST SIDE
Monsalvat, a project by Merkx & Gwynne / Bureau / 127 Henry / thru 2/17
Sharon Butler / Pocket Utopia / 191 Henry / thru 2/17
Andrea Mary Marshall / La Viola / 179 East Broadway / thru 2/16
Khalil Rabah / e-flux / 311 East Broadway / thru 4/20
Georgie Nettel / Reena Spaulings / 165 East Broadway / thru 4/? Opening 3/3
Christopher K. Ho curated by Sara Reisman / Forever & Today / 141 Division / thru 2/17
Tyler Dobson / 47 Canal / thru 2/24
How I Wrote Elastic Man: A.Doran; F.Evans; D.Newman; D.Sokilow; P.vonZweck; I.S.Weeks  / Invisible-Exports / 14a Orchard / thru 3/10
Brion Nuda Rosch / DCKT / 21 Orchard / thru 2/10
Matthew Watson / Sheftel / 24a Orchard / thru 2/24
Renata Poljak / Stoyanov / 29 Orchard / thru 2/17
Anna Plesset / Untitled / 30 Orchard / thru 2/24
Les LeVeque; Pearl Blauvelt / Schuss / 34 Orchard / thru 2/24
Jimmy Raskin / Abreu / 36 Orchard / thru 2/17
Ilja Karilampi / Leslie-Fritz / 44 Hester / thru 2/17
Caitlin Masley / Lu Magnus / 55 Hester / thru 2/14 (extended)
John Pomara / Horton / 55-59 Chrystie / thru 3/10 Opening 2/8
Alan and Michael Fleming / Rucker / 141 Attorney / thru 3/10
Peter Wachtler / Ludlow 38 / 38 Ludlow / thru 2/17
Barry Stone / Nichtssagend / 54 Ludlow / thru 2/10
But The Clouds / Room East / 41 Orchard / thru 3/3
Lucas Knipscher; Win McCarthy; Sigmar Polke / Uffner / 47 Orchard / thru 3/3
Beatrice Scaccia / Bosi / 48 Orchard / thru 2/10 (extended)
Alessandro Brighetti / Scaramouche / 52 Orchard / thru 3/10
X-tra: L. Beck; L. Dona; S. Grodesky; Black Lake; F. Marcaccio; K. Raja; P. Rostovsky; D. Wiener / Heller / 54 Orchard / thru 3/3
Jason Karolak / McKenzie / 55 Orchard / thru 3/17 Opening 2/8
DeCenter: Centenary of the Armory Show / Abrons / 466 Grand / thru 4/7 Opening 2/17
Gavin Kenyon / Ramiken Crucible / 389 Grand / thru 3/3
Marin Majic; Nothing & Everthing curated by Tim Hawkinson / Straus / 299 Grand / thru 2/8
Sarah Walker / Artifact / 84 Orchard / 1/23 thru 3/3 Reception 2/6 (7-9 PM)
It’s Over There: M.Keegan; J.Richards; M.Lund; R.Marcus; E.Mast; L.Skaer; V.Yesiltac / Subal / 131 Bowery / thru 2/10
Max Warsh / Toomer Labzda / 100a Forsyth / thru 2/24
Caleb Considine / Essex Street / 114 Eldridge / thru 2/24
Bubi Canal / Munch / 245 Broome / thru 3/10 Opening 2/8
Marco Rios / Preston / 301 Broome / thru 2/17
Owen Kydd  / Beauchene / 327 Broome (new location) / thru 2/24
Johnny Abrahams / Hanley / / 327 Broome (new location) / thru 2/24
Romulo Sans / White Box / 329 Broome / thru 2/10
Permutation 03.1: Re-Learning / P! / 334 Broome / thru 3/2 Opening 2/7
Sadie Benning; Thomas Kovachevich; Dona Nelson / Callicoon / 124 Forsyth / thru 2/17
Siri Berg / Hionas / 124 Forsyth (new, second location) / thru 2/17
Omar Khayyam / Ping / 131 Eldridge / thru 2/16
Andy Graydon / LMAK / 139 Eldridge / thru 2/10
Benjamin Senior / Fuentes / 55 Delancey / thru 3/1 Opening 2/6
Cal Crawford / Brennan & Griffin / 55 Delancey / thru 2/24
Maya Bloch / Thierry Goldberg / 103 Norfolk / thru 2/17
Becky Beasley; Alicja Kwade / Cooley / 107 Norfolk / thru 3/17 Opening 2/10
Erik Wysocan / Gitlen / 122 Norfolk (new location) / thru 2/17
Nevermore / On Stellar Rays / 133 Orchard / thru 3/10
Thomas Bayrle / The Artist’s Institute / 163 Eldridge / thru 7/14 Opening 2/10
Tectonic Drift: Amanda Church; Brian Cypher; Stacy Fisher; Gary Petersen; Russell Tyler / Morris / 163 Chrystie / thru 3/16 Opening 2/13 (6-9 PM)
Casey Ruble  / Foley / 97 Allen / thru 2/24
Nathaniel Robinson / Feature / 131 Allen / thru 2/9
Jane Mount / Bekman / 6 Spring / thru 2/17 Opening 2/8
Color or Colour: Ben Eine; Lee Baker; Katrin Fridriks; Michael Bevilacqua / Charles Bank / 196 Bowery / thru 2/17 (extended)
The White Album organized by David Fierman & Amie Scally  / James / 143B Orchard / thru 2/22
All The Best People / 1:1 / 121 Essex – floor 2 / thru 2/14
SexEd: Chapter 1 curated by Liz Slagus & Norene Leddy / Cuchifritos / 120 Essex (SE corner of market) / thru 3/10 Opening 2/9 (4-6:30 PM)
Camila Sposati / Eleven Rivington / 11 Rivington / thru 2/10
Environmental Services: Doug Weathersby; Carolyn Salas / Dodge / 15 Rivington / thru 2/17
Narcissister / Envoy / 87 Rivington (second location) / thru 2/10
Takuro Kuwata / Salon 94 / 1 Freeman Alley / thru 2/23
David Kramer; Michael Harrington / Mulherin+Pollard / Freeman Alley – 187 Chrystie / thru 2/24
Metal Coyote curated by Aldo Sanchez / Y / 165 Orchard / thru 2/17
Hooper Turner / Frosch & Portmann / 53 Stanton / thru 3/10
Drew Conrad / Fitzroy / 195 Christie / thru 2/22 (extended)
Ishmael Randall Weeks / Eleven Rivington / 195 Chrystie (second location) / thru 2/10
Robin Rhode / Lehmann Maupin / 201 Chrystie / thru 3/9
Nari Ward thru 4/21; NYC 1993 thru 5/26 Opening 2/13 / New Museum / 231-235 Bowery
Takuro Kuwata / Salon 94 / 243 Bowery / thru 2/25
Fabio Viale; Quadreria Italian Paintings / Sperone Westwater / 257 Bowery / thru 2/23
Lauren Dicioccio; Word: R. Wynne; S. Hyland; K. Fandell; C. Conant; T. Allen / Tomlinson Kong / 270 Bowery / thru 3/29
Vandana Jain / Station Independent / 164 Suffolk / thru 2/10
Snout to Tail: Anna-Sophie Berger; Zak Kitnick; Sean Paul / JTT / 170 A Suffolk / thru 2/17
Dream Out: Joke Schole; Steel Stillman; Sally Webster / Show Room / 170 Suffolk / thru 2/24
Paul Resika / Harvey / 208 Forsyth / thru 2/10
Katrina del Mar / Participant / 253 E Houston / thru 2/17
Kurt Johannessen Opening 2/8; Michael Alan / NOoSPHERE / 251 E Houston / thru 2/24
Melissa Dubbin; Aaron Davidson / Audio Visual Arts / 34 E 1 / thru 2/17
Decopolis / The Proposition / 2 Extra Place (East 1st St. off Bowery) / thru 2/24 Opening 2/6
Joel Holmberg / American Contemporary / 4 E 2 / thru 2/22
Jaimie Warren thru 2/6 Closing talk 8 PM; Herbie Flether thru 2/28 Opening 2/9 / The Hole / 312 Bowery

TRIBECA & SOHO & NOHO & EAST VILLAGE & MURRAY HILL
13.0.0.0.0 / RH / 137 Duane / thru 2/7 (extended)
Dark Paradise curated by Tim Goossens; Etc. / Clocktower – Art on Air / 108 Leonard, 13th floor / thru 4/1
Timothy Paul Myers / Masters & Pelavin / 79 Jay / thru 2/23
Strauss Bourque-LaFrance / Kansas / 59 Franklin / thru 2/9
Adam McEwen / The National Exemplar / 381 Broadway @ White – suite 206 / thru 2/28
Meric Algun Ringborg; Shezad Dawood; Anetta Mona Chisa; Lucia Tkacova / Art in General / 79 Walker / thru 3/23
Open Sesame organized by Ola El-Khalidi / Apexart / 291 Church / thru 3/2
Jon Kessler / Swiss Institute / 18 Wooster / thru 4/28 Opening 3/6
Saya Woolfalk / 3rd Streaming / 10 Greene – floor 2 / thru 4/25
Richard Ross / Feldman / 31 Mercer / thru 2/16
Dynasty curated by Amy Goldrich; Christopher Ho; Omar Lopez-Chahoud; Sara Reisman / Hotel Particular / 6 Grand / thru 4/20
Rutherford Chang / Recess Activities / 41 Grand / thru 3/9 Reception 2/7
DIS / Geiss / 76 Grand / thru 2/24
Black Cake curated by Alex Gartenfeld / Team / 83 Grand / thru 2/16
Alexandre Singh; Ignacio Uriarte; Ishmael Randall Weeks  / Drawing Center / 35 Wooster / thru 3/13
Black Cake curated by Alex Gartenfeld / Team / 47 Wooster / thru 2/16
Frozen Lakes / Artists Space / 38 Greene / thru 3/24
Martin Soto Climent / Clifton Benevento / 515 Broadway / thru 3/2
SHYU Ruey Shiann curated by Sean C.S. Hu / ISE Foundation / 555 Broadway / thru 3/1
Mel Bochner / Freeman / 560 Broadway @ Prince / thru 2/?
Encounter: J. Abelow; A. Sabah; R.E. Meatyard; F. Killaars; A. Feldman curated by Y.Baras / Zurcher / 33 Bleecker / thru 2/24
Brennan Gerard; Ryan Kelly / Werble / 83 Van Dam / thru 2/16
Four houses, some buildings and other spaces / 80WSE / NYU / 80 Washington Square East / thru 3/16
Allen Ginsberg / NYU Grey Art Gallery / 100 Washington Square East / thru 4/6
Leo Steinberg curated by David Cohen & Graham Nickson / New York Studio School / 8 E 8 / thru 3/9
Robert Whitman / Broadway 1602 / 1181 Broadway @ 28 – floor 3 / thru 2/20
 
CHELSEA & WEST VILLAGE
Christopher Knowles; Nick Relph / Gavin Brown / 601 Washington - 620 Greenwich / thru 2/23
Andy Kaufman / Maccarone / 630 Greenwich / thru 2/16
The Stairs curated by Sebastian Black & Mathew Cerletty / Algus Greenspon / 71 Morton / thru 3/2
Looking Back selected by Richard Birkett / White Columns / 320 W 13 enter on Horatio bet. Hudson & 8th Ave. / thru 2/24
Kinesthetics: Art Imitating Life / Pratt / 144 W 14 / thru 4/27 Opening 2/7
Casting the Divine thru 2/11; Place of Provenance thru 3/25; Radical Terrain thru 4/29; Etc. / Rubin Museum / 150 W 17
Margaret Lee; Matthew Higgs / Murray Guy / 453 W 17 / thru 2/23
Daniel Buren / Petzel / 456 W 18 (new, second location) / thru 2/16
Dieter Roth; Bjorn Roth / Hauser & Wirth / 511 W 18 (new, second NYC location) thru 4/13
Matthew Benedict / Alexander and Bonin / 132 10th Ave. @ 18  / thru 3/9
John Byam / Edlin / 134 Tenth Ave. / thru 3/6
Paul Resika / Bookstein / 138 Tenth Ave. @ 19 / thru 2/9
Diana Cooper / Postmasters / 459 W 19 / thru 2/9
Jacob Kassay / Kitchen / 512 W 19 / thru 2/16
Dan Perjovschi / Lombard-Freid / 518 W 19 / Closed while in recovery
Alyce Santoro; Alison Fox; Sam Messer / Gasser Grunert / 524 W 19 / thru 2/16
Luc Tuymans / Zwirner / 519 W 19 / thru 2/9
Francis Alys / Zwirner / 525 & 533 W 19 / thru 2/9
INsite-INchelsea / Rosenfeld / 100 Eleventh Ave. @ 19 / thru 3/9
Steve Burtch / Nyehaus / 358 W 20 / thru 3/2
Jason & Sarah Kane / Hansel and Gretel Picture Garden / 511 W 20 / thru 2/23
Zwelethu Mthethwa  / Shainman / 513 W 20 / thru 2/23
Davi Det Hompson / ZieherSmith / 516 W 20 / thru 3/2
Daniel Buren / Bortolami / 520 W 20 / thru 2/16
Sin Titulo / Bienvenu / 529 W 20 - floor 2 / thru 3/3
Marina Zurkow / Bitforms / 529 W 20 - floor 2 / thru 2/16
Carter Hodgkin / Bibro / 529 W 20 - floor 4 / thru 2/9
Henry Darger / Ricco-Maresca / 529 W 20 - floor 3 / thru 2/9
Peter Wayne Lewis / Skoto /  529 W 20 - floor 5 / thru 2/23
Faith Ringgold / ACA / 529 W 20 - floor 5 / thru 3/10 Opening 2/9
Sandy Walker / Harris / 529 W 20 - floor 6 / thru 3/9 Opening 2/7
Josette Urso / Markel / 529 W 20 - floor 6 / thru 3/9 Opening 2/7
Ron Klein / Scott / 529 W 20 - floor 7 / thru 2/16
Mara Held / Snyder / 529 W 20 - floor 10 / thru 3/2
Jimmy Ong / Rollins / 529 W 20 - floor 10 / thru 2/23
David Shrigley / Kern / 532 W 20 / thru 2/16
Dan Flavin; Donald Judd / Zwirner / 537 W 20 (new, additional location) / thru 3/16 Opening 2/15
Sin Titulo; Leo Gabin / Dee / 545 W 20 / thru 2/16
Deep Cuts curated by David Humphrey and Wendy White / Kustera / 520 W 21 / thru 3/2
Lustlands: Lakis & Aris Ionas; Nadja Argyropoulou with others / Family Business / 520 W 21 / thru 2/16 Closing Reception 2/16
Sabine Hornig; Dirk Stewen / Bonakdar / 521 W 21 / thru 2/23
Repetition 1960-1975 / Cooper / 521 W 21 / thru 2/9
Charlie Roberts / Kravets Wehby / 521 W 21 / thru 2/23
Giorgio Griffa / Kaplan / 525 W 21 / thru 3/2
Miroslaw Balka / Gladstone / 530 W 21 / thru 3/30 Opening 2/21
Meg Webster thru 2/9; Julian Lethbridge thru 2/16 / Cooper / 534 W 21
Doug Aitken / 303 / 547 W 21 / thru 3/16
How to Tell the Future from the Past  / Haunch of Venison / 550 W 21 / thru 3/2
Stephen Pusey / Guided By Invoices / 558 W 21 / thru 2/9 (extended)
Bohemian Nights organized by Ingrid Dinter / IMC / 56 W 22 / thru 2/8 (extended)
Nayland Blake / Marks / 502 W 22 / thru 4/19
Almanac / Newman Popiashvili / 504 W 22 / thru 2/16
Jacolby Satterwhite / Rowe / 504 W 22 / thru 2/16
Darren Almond / Marks / 522 W 22 / thru 4/19
Maria Loboda / Kreps / 525 W 22 / thru 2/16
Esteban Vicente / Ameringer McEnery Yohe / 525 W 22 / thru 2/9
Luigi Ghirri / Marks / 526 W 22 / thru 4/19 Opening 3/5
Jorge Queiroz / Sikkema Jenkins / 530 W 22 / thru 3/2
Damien Hirst / Nitsch / 534 W 22 / thru 3/2
Walt Kuhn / DC Moore / 535 W 22  - floor 2 / thru 3/16 Opening 2/7
Suzanne Treister / PPOW / 535 W 22 - floor 3 / thru 2/16
David Hilliard / Yancy Richardson - floor 3 / 535 W 22 / thru 2/16
Charlotte Dumas / Saul / 535 W 22 - floor 6 / thru 3/9 (extended)
Amy Cutler / Tonkonow / 535 West 22nd - floor 6 / thru 3/9
David Allee / Morgan Lehman / 535 W 22 - floor 6 / thru 2/16
Lawrence Beck / Sonnabend / 536 W 22 / thru 2/9
Steven Bindernagel / CRG / 548 W 22 / thru 2/23
H.C. Westermann; Dan Attoe / Franklin Parrasch / 548 W 22 / thru 2/16
This is This: D.Bader; A.DaCorte; N.Darmstaedter; N.Dash; M.Flood; B.Lynch; G.Revoir; Z.Susskind / Feuer / 548 W 22 / thru 2/16
Kenseth Armstead / Churner & Churner / 205 Tenth Avenue @ 22 / thru 3/16 Opening 2/7
Joseph Stashkevetch / Von Lintel / 520 W 23 / thru 2/16
Ersatz Affiches: Barbara Bloom; Ernst Caramelle; Anna Craycroft; Simryn Gill; Matt Mullican / Williams / 521 W 23 / thru 2/9 Reception 2/9
Raven Schlossberg / Zoubok / 533 West 23 / thru 2/9
Todd Kelly / Geisberg / 537b W 23 / thru 3/9
New Year 2013 / Thatcher / 539 W 23 / thru 2/9
A.R. Penck / Koenig / 545 W 23 / thru 2/23
Niko Luoma / Wolkowitz / 505 W 24 / thru 2/16
Svenja Deininger / Boesky / 509 W 24 / thru 2/16
Takesada Matsutani / Richard / 514 W 24 / thru 3/16 Opening 2/7
Charles Lutz / C24 / 514 W 24 / thru 3/1
Alighiero Boetti / Gladstone / 515 W 24 / thru 3/23 Opening 2/7
Trevor Paglen / Metro Pictures / 519 W 24 / thru 3/9 Opening 2/7
Stefanie Gutheil / Weiss / 520 W 24 / thru 2/9
Shaun O’Dell / Inglett / 522 W 24 / thru 2/9
Ken Lum / Jancou / 524 W 24 / thru 2/? Opening 2/? Closed for restoration
Jeff Muhs / Lyons Wier / 542 W 24 / thru 2/9
Aaron Bobrow / Rosen / 525 W 24 / thru 3/23 Opening 2/8
Cesare DeCredico; Black Lake; Peik Larsen; Max Razdow / Freight + Volume / 530 W 24 / thru 2/16
Ragnar Kjartansson / Luhring Augustine / 531 W 24 / thru 3/9
Marco Brambilla / Klagsbrun / 534 W 24 / thru 2/23
Gary Panter / Fredericks Freiser / 536 W 24 / thru 2/23
Keith Sonnier / Boone / 541 W 24 / thru 2/23
Jacob Kassay; Lawrence Weiner; Olivier Mosset / Rosen / 544 W 24 (second, new location) / thru 2/23 Opening 2/9
Jean-Michel Basquiat / Gagosian / 555 W 24 / thru 4/6 Opening 2/7
Paul Laffoley / Kent / 210 Eleventh Ave – floor 2 / thru 3/9
Henri Michaux; Group / Thorp / 210 Eleventh Ave - floor 6 / thru 3/2 (extended)
Greetings From Paradise / Fischbach / 210 Eleventh Ave. – floor 8 / thru 3/15 Opening 2/7
Dan Flavin; Donald Judd / Senior & Shopmaker / 210 Eleventh Avenue – floor 8 / thru 3/30 Opening 2/8
Leonard Contino curated by Mark di Suvero / Cue Art Foundation / 137 W 25 (new location) / thru 3/9
Brian Clarke / Pace / 508 W 25 / thru 2/16
Song Dong / Pace / 510 W 25 / thru 2/23
Tim Berg; Rebekah Myers / Dean / 511 W 25 / thru 2/16
Gayleen Aiken / Ross / 511 W 25 / thru 3/2
Peter Soriano / Lennon, Weinberg / 514 W 25 / thru 2/23
Tom Ngo; Alex Paik; Benrei Huang / Margolis / 523 W 25 / thru 3/23 Opening 2/14
Nicolas Touron; Kosyo Minchev / Stux / 530 W 25 / thru 2/23
Peter Waite / Winston Wachter / 530 W 25 / thru 3/2
John Parks / Jaeckel / 532 W 25 / thru 2/16 (extended)
Song Dong / Pace / 534 W 25 / thru 2/23
Paint: W.Bailey; D.Bates; J.Berthot; C.Garabedian; J.Glantzman; J.Lees; S.Lewis; G.Moore; D. Reed; J.Walker / Cunningham / 541 W 25 / thru 2/16
Hilary Harkness; Tom Molloy  / Flag Art Foundation / 545 W 25 - 9th Floor / thru 5/18 Opening 2/8
Robert Lazzarini; Yoshiaki Mochizuki / Marlborough / 545 W 25 / thru 2/16
McDermott & McGough / Cheim & Read / 547 W 25 / thru 2/23
Gayle Wells Mandle; Julia Mandle / Heller / 568 W 25 / thru 2/16
Liz Glynn; Jason Kraus; Dashiell Manley; Stephen Prina / Harris Lieberman / 508 W 26 (Ground Floor) / thru 2/16
Tony Conrad / Greene Naftali / 508 W 26 - floor 8 / thru 2/23
Beth Lipman / Oliver / 513 W 26 / thru 3/9
Wendell Castle / Freidman Benda / 515 W 26 / thru 2/9
George Little / Cristea / 521 W 26 / thru 2/16
Jane Hammond  / Pace Prints / 521 W 26 / thru 3/2
Ivan Puig / MagnanMetz / 521 W 26 / thru 3/9
Larry Poons / Howard / 525 W 26 – floor 4 / thru 3/2
Larry Poons / Danese / 525 W 26 – floor 4 (new, temporary location) / thru 3/2
Roy De Forest / Adams / 525 W 26 / thru 2/9
Johanna Unzueta / Vogt / 526 W 26 - floor 2 / thru 2/9
Tom Sanford / Bravin Lee / 526 W 26 - floor 2 / thru 2/9
Hugh Steers / Gray / 526 W 26 - floor 2 / thru 2/23
Senga Nengudi / Erben / 526 W 26 - floor 4 / 1/17 thru 2/23
The Beacon / Salomon / 526 W 26 - floor 5 / thru 2/16
She / Cullen / 526 W 26 - floor 5 / thru 2/9
Distance and Desire / Walther / 526 W 26 – floor 7 / thru 3/9
Nancy Spero / Galerie Lelong / 528 West 26th / thru 2/16
Color Shift curated by Jordan Tate / Mixed Greens / 531 W 26 / thru 2/9
Wang Xieda; Sol LeWitt / Cohan / 533 W 26 / thru 2/9
Anna Betbeze; Josh Brand; Jessica Jackson Hutchins; Josh Tonseldt / Mitchell-Innes & Nash / 534 W 26 / thru 2/23
Robin Rhode / Lehmann Maupin / 540 W 26 / thru 2/23
Caro; Frankenthaler; Louis; Noland; Olitski; Stella / Kasmin / 293 Tenth Ave. / thru 2/23
Deborah Kass / Kasmin / 515 W 27 / thru 2/23
Michele Pred; Lisea Lyons / Hoffman / 520 W 27 / thru 3/16 Opening 2/7
Hosook Kang / Tagore / 547 W 27 – floor 1 / thru 2/23
China Blue; Gary Pennock; Sujin Lee / AC Institute / 547 W 27 – floor 2 / thru 2/23
Emma Amos / Flomenhaft / 547 W 27 / thru 3/2
Wit / The Painting Center / 547 W 27 – floor 5 / thru 3/2
Keun Young Park / Accola Griefen / 547 W 27 – floor 6 / thru 2/23
Thomas Barrow / Eller / 615 W 27 / thru 2/9
Gaylen Gerber / Wallspace / 619 W 27 / thru 2/9
Michael Waugh / Winkleman / 621 W 27 / thru 2/9
Sascha Braunig / Foxy Production / 623 W 27 / thru 2/9
Jackie Gendel / Bailey / 625 W 27 / thru 2/9
Alexander Melamid / Art Amalgamated / 317 Tenth Ave. @ 29 / thru 2/23
Alexander Melamid / Art Amalgamated / 130 W 29 –suite 1004 / thru 2/23
Sandra Vasquez de la Horra / Nolan / 527 W 29 / thru 2/16
Aaron Aujla; John Pittman; Charles Harlan / Martos / 540 W 29 / thru 2/16
Dan McCarthy / Shoot the Lobster / / 540 W 29 / thru 2/16
Reduce Reuse Recycle / Tierney / 546 W 29 / thru 2/26
 
MIDTOWN & UPTOWN & HARLEM
Terence Koh; Laurent Grasso; Johan Grimonprez / Kelly / 475 Tenth Avenue @ 36 / thru 2/9
Drawing Surrealism / Morgan Library / 225 Madison @ 36 / thru 4/21
Black + White / VanDeb / 313 W 37  - floor 7 / thru 2/21
Peter Nadin / Horticultural Society of NY / 148 W 37 / thru 2/8
Timothy Linn / Heskin / 443 W 37 / thru 3/16 Opening 2/14
The Book Lovers / EFA Project Space / 323 W 39 / thru 3/9
Tamara Gonzales / NYPL Mid-Manhattan – ground floor – NW corner / Fifth Avenue @ 40th / thru 5/23
(Un)Natural Limits: T.Hirshhorn; M.Kessler; Superflex; M.L.Ukeles; L.Weinberger; DesireM.C. / Austrian Cutural Forum / 11 E 52 / thru 4/1
To be a Lady: Forty-Five Women in the Arts curated by Jason Andrew / Norte Maar / 1285 Ave. of the Americas @ 52 / thru 3/22 (extended)
Alina Szapocznikow thru 3/28; Trisha Donnelly thru 4/8; Performing Histories thru 5/25; Tokyo 1955-1970 thru 2/25; Etc. / MoMA / 11 W 53
Wolfgang Laib thru 3/11/ Inventing Abstraction 1910-1925 thru 4/15; Meiro Koizumi thru 5/6 / MoMA / 11 W 53
Charles Clough; Beatrice Mandelman / Findlay / 724 Fifth @ 57 – floor 8 / thru 2/23
Patricia Broderick; Ilse Murdock / de Nagy / 724 Fifth Ave. @ 57 / thru 2/23
Eve Biddle; Davide Cantoni; Troels Carlsen; Danilelle Durchlag; Kelly Go / Davidson / 724 Fifth Ave. @ 57 / 2/5 thru 3/9 Reception 2/7
Joan Synder / Gering & Lopez / 730 Fifth Ave. @ 57 / thru 2/23
Glenn Goldberg; Terrell James; Kevin King; Li-lan; Nick Lamia; Victoria Neel; Bryan Osburn; Kenneth Blom / McCoy / 41 E 57 / thru 2/8
Lois Dodd / Alexandre / 41 E 57 / thru 2/16
Bernard Frize / Pace / 32 E 57 / thru 3/9
Francisco Leiro; Ricardo Maffei / Marlborough / 40 W 57 / thru 2/9
Rosy Keyser / Blum / 20 W 57 – floor 2 (new location) / thru 3/? Opening 2/28
Vista Bonita: Alexander; Hafif; Kauffman / Franklin Parrasch / 20 W 57 / thru 2/16
Nicolas Carone / Washburn / 20 W 57 / thru 4/6 Opening 2/7
Tacita Dean / Goodman / 24 W 57  / thru 3/9
Francisco Leiro; Ricardo Maffei / Marlborough / 40 W 57 / thru 2/9
Winter Group / McKee / 745 Fifth @ 57 / thru 2/?
Peter Saul; Jim Shaw / Boone / 745 Fifth @ 57 / thru 2/23
The Art of Scent thru 2/24, Etc. / Museum of Art and Design / 2 Columbus Circle @ 59
New York I Love You Sometimes curated by George Terry / Classic Six / 1 E 62 – floor 3 / thru 2/23
Specific Collisions curated by Melissa Gordon / Boesky / 118 E 64 / thru 2/23
Rafael Ferrer / Baumgold / 60 E 66 / thru 3/16 Opening 2/8
Gutai / McCaffrey / 23 E 67 / thru 2/23
Osvaldo Romberg / Faria / 35 E 67 / thru 3/23 Opening 2/7
Open Work in Latin America, NY & Beyond: Conceptualis Reconsidered, 1967-1978 / Hunter / Lexington & 68 / thru 5/5 Opening 2/7
Anj Smith / Hauser & Wirth / 32 E 69 / thru 2/23
Paperwork: A Brief History of Artist’s Notebooks / Roth / 160A E 70 / thru 3/29 Opening 2/14
Kurt Schwitters / Jacobson / 17 E 71 / thru 3/30
Joel Shapiro / Starr / 5 E 73 / thru 3/23
Anthony Caro; Jules Olitski / Freedman / 25 E 73  / thru 2/9 (extended)
John McLaughlin / Van Doren Waxter / 23 E 73 / thru 3/? Opening 2/20
Jay DeFeo thru 6/2 Opening 2/28; Sinister Pop; Blues for Smoke thru 4/28 Opening 2/7 Etc. / Whitney Museum / Madison @ 75
James Jean / Tilton / 8 E 76 / thru 2/16
Brice Marden / Gagosian / 980 Madison @ 77th / thru 2/23
A.R. Penck / Werner / 4 E 77 / thru 3/9
Alexander Calder / L&M 45 E 78 / thru 2/9
Enoc Perez / Acquavella / 18 E 79 / thru 2/9
J. Bock; G. Condo; M. Kippenberger; J. Munoz; R. Prince; C. Sherman; A. Warhol / Skarstedt / 20 E 79 / thru 2/23
Faking It:…before photoshop thru 6/27; Matisse thru 3/17; Etc. / Met Museum / 5th Avenue @ 82nd
Gutai thru 5/8 Opening 2/15; Zarina Hashmi thru 4/21; Etc. / Guggenheim / 1071 Fifth Avenue @ 89
Seismic Shifts; The 2013 Annual / National Academy / 1083 Fifth Avenue @ 89 / thru 5/5
Sharon Lockhart; Ori Gersht thru 3/24; Etc. / Jewish Museum / 1109 5th Avenue @ 92
Fore; Etc. / Studio Museum /144 W 125 / thru 3/10
 
BROOKLYN
Nancy Manter / Kentler International Drawing Space / 253 Van Brunt / Red Hook / thru 3/31 Opening 2/15
Materializing “Six Years” thru 2/17; Duron Jackson thru 2/10; El Anatsui thru 8/4 Opening 2/8; Etc. / Brooklyn Museum / 200 Eastern Pwy.
Sign of the Tides: Helmut Dick; Karni Dorell; Jennifer Protas; Roel van Timmeren / FiveMyles / 558 St. Johns Place, Brooklyn / thru 2/21
Maximilian Goldfarb / Gridspace / 112 Rogers Avenue , Brooklyn / thru 3/4
Eric LoPresti / Kunsthalle Galapagos / 16 Main / Dumbo / thru 3/10 Opening 2/6
Tilman / Minus Space / 111 Front / Dumbo / thru 2/9
Bahar Behbahani / Causey / 11 Front / Dumbo / thru 3/3 Opening 2/7
Catherine Mosley; Hannah Smith Allen; Yet ? organized by Leila Daw & Elisabeth Munro-Smith / AIR / 111 Front, / Dumbo / thru 3/3 Opening 2/7
Faranu & Mike Redman / Transparent Studio: Bose Pacia / 163 Plymouth / Dumbo / thru 2/12 Reception 2/7 (6-9 PM)
Janet Biggs; Aude Moreau (Brooklyn-Montreal) / Smack Mellon / 92 Plymouth / Dumbo / thru 2/24
Michel Auder; Andrew Neel / Microscope / 4 Charles Pl. / Bushwick / thru 2/11
J. Brown; H. Coulis; M. Hailey; S. Homer; R. Litt; C. Andrews;  / Storefront Bushwick / 16 Wilson Avenue / Bushwick / thru 3/10 Opening 2/8 (6-9 PM)
Giacometti; and Drawings / Norte Maar / 83 Wycoff  #1B, Bushwick / thru 2/24
Jessica Ann Peavy / Agape / 56 Bogart / Bushwick / thru 2/24
Brooklyn-Montreal: Sebastien Cliché; Sylvie Cotton; Chelsea Knight; Mark Tribe / Momenta / 56 Bogart / Bushwick / thru 2/17
Kevin Curran; Paul D’Auostino; Barbara Friedman; Joan Louge; Cathy Quin / Studio 10 / 56 Bogart / Bushwick / thru 3/10 Opening 2/8 (7-9 PM)
Elise Engler / Henry Contemporary / 56 Bogart / Bushwick / thru 2/10
Tad Beck; Diana Cherbuliez / Theodore / 56 Bogart / Bushwick / thru 2/24
Siobhan McBride thru 3/9 Opening 2/8 (7-9 PM) / Videorover: Season 5 curated by Rachel Steinberg thru 5/17 / Nurtureart / 56 Bogart, Bushwick
Lester Johnson / et al / 56 Bogart / thru 2/28 (exyended)
Jene Highstein curated by Bonnie Rychlak / ArtHelix / 56 Bogart / Bushwick / thru 2/25
Rachel de Joode / Interstate / 66 Kickerbocker Ave. / Bushwick / thru 3/17 Opening 2/16
Michelle Forsyth / Auxiliary Projects / 2 St. Nicholas – space 25, Bushwick / thru 2/10
Drafted / Schema Projects / 92 St. Nicolas / Bushwick / thru 2/24
Jan Holthoff / Pettit / 119 Ingraham #312 /, Bushwick / thru 2/25 (extended)
Angular Seduction curated by Vincent Como / TigerStrikeAsteroid / 44 Steward Ave. #49, Bushwick / thru 2/17
Korakrit Arunanondchai / Clearing / 505 Johnson Ave. / thru 3/24 Opening 2/9 (4-8 PM)
Julian Kreimer / Weeknights / 566 Johnson Ave. / thru 2/17
Brural: Peripheral Vision curated by Daria Kostina & Irina Danilova / Active Space / 566 Johnson Ave. / thru 2/24
Aki Sasamoto / Soloway / 348 S. 4th / Williamsburg / thru 2/24 (extended)
Nation / Sideshow / 319 Bedford / Williamsburg / thru 3/3
Brooklyn-Montreal: P. Martinez; J. Favreau; S. Brower; M. Beausejour / Parker’s Box / 193 Grand / Williamsburg / thru 2/17
Jeff Elrod / Journal / 106 North 1st / Williamsburg / thru 2/17
Sean Hemmerle / Front Room / 147 Roebling / Williamsburg / thru 3/10 Opening 2/15 (7-9 PM)
Strings: Monica Bate; Luisa Pereira; Johann Diedrick / Ventana244 / 244 N 6 / Williamsburg / thru 3/2 Opening 2/8 (6-9 PM)
Andrea Way; Brooklyn-Montreal: William Lamson; Isabelle Hayeur / Pierogi / 177 N 9th / Williamsburg / thru 2/10
Kevin Cooley / The Boiler / 191 N. 14th St. / Greenpoint / thru February
Heji Shin / Real / 673 Meeker / Greenpoint / thru 2/24
Paperazzi / Kurnatowski / 205 Norman / Greenpoint / thru 2/10
Morph / Fowler / 67 West  #206 / Greenpoint / 2/11 thru 2/28 Reception 2/16 (7-10 PM)
Thomas Buildmore; Charles Wilkin / Calico / 67 West  #206 / Greenpoint / thru 3/1 Reception 2/8 (7-10 PM)
Lyndsy Welgos / Rawson / 223 Franklin / Greenpoint / thru 3/? Opening 2/16

STATEN ISLAND, QUEENS, BRONX
Matt Blackwell; Lars Kremer / Valentine / 464 Seneca, Ridgewood, Queens / thru 3/10 Reception 2/15 (6-9 PM)
Exhibition Game curated by Joe Nanashe / Small Black Door / 19-20 Palmetto, Ridgewood, Queens / thru 2/24
Real Op: Jeff Fichera; Cathy Nan Quinlan; Aaron Williams / Parallel / 1717 Troutman #220 / Ridgewood, Queens / thru 2/17
Emergent Systems / Harbor / 1717 Troutman #258 / Ridgewood, Queens / thru 2/10 (extended) Closing 2/9 (6-9 PM)
Corey Escoto / Regina Rex / 1717 Troutman #329 / Ridgewood, Queens / thru 2/17
Tracing the Fish Bladder curated by Guy Goldstein / Radiator / 10-61 Jackson / Long Island City / thru 3/1
In Practice: Double Life; Nairy Baghramian / Sculpture Center / 44-19 Purves St. Long Island City / thru 3/25
H. Bhabha; T. lanigan-Schmidt thru 4/1; Now Dig This! thru 3/11; New Pictures thru 3/3; Etc. / MoMA PS1 / 22-25 Jackson / Long Island City
Donut Muffin curated by J. Duffett & T. Gonzales / Dorsky Curatorial Programs / 11-03 45th Ave., Long Island City / thru 3/10
How Much Do I Owe You / No Longer Empty @ The Clock  Tower / 29-27 41st Ave., Long Island City / thru 3/13
Nancy Dwyer; Visual Conversations / Fisher Landau Center for Art / 38-27 30th Long Island City, Queens / thru 4/7
Emerging Artist Fellowship / Socrates Sculpture Park / 32-01 Vernon Blvd. / LIC / thru 3/31
Process and Progress: Engaging in Community Change / Bronx River Art Center / 305 E 140 / The Bronx / thru 5/30
Joan Semmel / Bronx Museum / 1040 Grand Concourse, The Bronx / thru 6/9
Contemporary Cartographies / Lehman College / Bedford Park Blvd West, The Bronx / 2/5 thru 5/11 Reception 3/18
Vital Signs: Dean Dempsey; Susan Fenton, Amy Jenkins; Lorie Novak; Dread Scott / Pelham / 155 Fifth Ave. / Pelham / thru 3/30
 
OTHER:
Walter De Maria / The Broken Kilometer / DIA / 393 West Broadway / ongoing
Walter De Maria / The New York Earth Room / DIA / 141 Wooster / ongoing
A. Ruppersberg; R. Artschwager; El Anatsui; V. Overton; S. Finch; T. Houseago; Lilliput (group) / High Line Park
Leo Villareal / Madison Square Park / thru 2/15
Sandra Gibson & Luis Recoder / Madison Square Park / thru 4/5 Opening 3/1
Monika Sosnowska / Public Art Fund / Doris C. Freeman Plaza: 5th Avenue @ 60th / thru 2/17
Mark di Suvero / Brooklyn Bridge Park Pier 1 / ongoing
Oscar Tuazon / Public Art Fund / Brooklyn Bridge Park / thru 4/26
 
SELECTED EVENTS:
Monday, 2/4, 6:30 PM / David Diao on Barnett Newman / DIA / 535 W 22 – floor 5 / $
Tuesday, 2/5, 6:30 PM / Donald Baechler on his work / New York Studio School / 8 W 8 / FREE
Tuesday, 2/5, 7 PM / Vitaly Komar on his work / SVA / Amphitheater / 209 E 23 / FREE
Tuesday, 2/5, 8 PM / Trenton Doyle Hancock on his work / Columbia / Prentis Hall / 632 W 125 / FREE
Wednesday, 2/6, 6:30 PM / Rebecca Rabinow on Matisse / New York Studio School / 8 W 8 / FREE
Wednesday, 2/6, 7 PM / Mierle Laderman Ukeles on her work / The New School Kellen Auditorium / 66 Fifth Avenue / FREE
Thursday, 2/7, 6:30 PM / Christopher K. Ho reads, with curators Sara Reisman & Herb Tam / MOCA / 215 Centre / RSVP / FREE
Friday, 2/8, 9 AM / Performa: Black Surrealism film program / NYU Einstein Aud. Barney Bldg. / 34 Stuyvesant / RSVP / FREE
Friday, 2/8, 1-5:30 PM / Performa: Black Surrealism conference / NYU Einstein Aud. Barney Bldg. / 34 Stuyvesant / RSVP / FREE
Friday, 2/8, 6:30 PM / Black Lake: Susan Jennings & Slink Moss perform / Heller / 54 Orchard / FREE
Saturday, 2/9, 1-5:30 PM / Performa: Black Surrealism conference / NYU Einstein Aud. Barney Bldg. / 34 Stuyvesant / RSVP / FREE
Sunday, 2/10, Noon -3 PM / Open Studios / Wave Hill / 675 W 252 Street, Bronx / RSVP / FREE
Sunday, 2/10, 3 PM / Walkthrough of Donut Muffin with curators Jessica Duffett and Tamara Gonzales / Dorsky / 11-03 45th Ave., Long Island City / FREE
Sunday, 2/10, 6 PM / Morgan O’Hara; Gerano Cecere / Cornelia St. Café / 29 Cornelia / FREE
Monday, 2/11, 7 PM / Agneiwszka Kurant on Subjective Histories of Sculpture / Arnhold Hall, Parsons, The New School / 55 W 13 -  floor 2 / FREE
Tuesday, 2/12, 6-8 PM / Interval Measures: P. Apfelbaum; T. Feher; S. McClelland; A. Pibal; D. Oliver on view / Terras / 143 Reade / FREE
Tuesday, 2/12, 6:30 PM / Svetlana Alpers; David Rosand; Robert Storr with David Cohen on Leo Steinberg / New York Studio School / 8 W 8 / FREE
Tuesday, 2/12, 6;30 PM / RoseLee Goldberg on performance / Columbia / Prentis Hall / 632 W 125 / FREE
Wednesday, 2/13, 6:30 PM / Melissa Chiu on Art in China / New York Studio School / 8 W 8 / FREE
Wednesday, 2/13, 7 PM / Johan Grimonprez on his work / The New School Kellen Auditorium / 66 Fifth Avenue / FREE
Thursday, 2/14, 6 PM / “Wit” artist’s panel discussion / Wit / The Painting Center / 547 W 27 – floor 5 / FREE
Thursday, 2/14, 6:30 PM / Michael Brennan on his work / Brooklyn Art Space / 168 7th Street / Brooklyn / FREE
Tuesday, 2/19, 6:30 PM / Julian Bell and David Carrier: After the End of Art / New York Studio School / 8 W 8 / FREE
Tuesday, 2/19, 7 PM / Mark Lilla on The Artist, the Autist and the Fool / SVA / Theater / 333 W 23 / FREE
Tuesday, 2/19, 8 PM / Elizabeth Price on her work / Columbia / Prentis Hall / 632 W 125 / FREE
Wednesday, 2/20, 6:30 PM / Martin Kersels on his work / New York Studio School / 8 W 8 / FREE
Wednesday, 2/20, 6:30 PM / Tom Finkelpearl & others on What We Made  / Arnhold Hall, Parsons, The New School / 55 W 13 -  floor 2 / FREE
Wednesday, 2/20, 7 PM / Julie Ault on her work / The New School Kellen Auditorium / 66 Fifth Avenue / FREE
Monday, 2/25, 6:30 PM / Shannon Ebner on the Bechers / DIA / 535 W 22 – floor 5 / $
Tuesday, 2/26, 6:30 PM / Simon Carr; David Cohen; Mari Lyons with Deborah Rosenthal on Walter Sickert / New York Studio School / 8 W 8 / FREE
Tuesday, 2/26, 8:30 PM / Sarah Sze on her work / Columbia / Prentis Hall / 632 W 125 / FREE
Wednesday, 2/27, 7 PM / Paula Hayes on her work / The New School Kellen Auditorium / 66 Fifth Avenue / FREE
Friday, 3/1, 6:30 PM / The Review Panel: David Cohen; Ellie Bronson; Jonathan Goodman; John Yau / National Academy / 1083 Fifth @ 89 / $
Sunday, 3/3, 3 PM / Alchemy: panel on painting, sculpture & cooking: P.Bui; J.Fyfe; EJ Hauser; C.King; L.Luloff / Dorsky / 11-03 45th Ave., LIC / RSVP / FREE
Monday, 3/4, 6:30 PM / Thomas Schutte on his work / Public Art Fund @ New School / Arnhold Hall / 55 W 13 / $10  Free: all students & New School ID
Tuesday, 3/5, 6:30 PM / Judy Glantzman and Dawn Clements in conversation / New York Studio School / 8 W 8 / FREE
Tuesday, 3/5, 6:30 PM / Tamara Gonzales with Arezoo Moseni / NYPL Mid-Manhattan – ground floor – NW corner / Fifth Avenue @ 40th / FREE
Tuesday, 3/5, 8 PM / TBD on their work (check: http://blogs.cuit.columbia.edu/vals/vals-2012-2013-schedule) / Columbia / Prentis Hall / 632 W 125 / FREE
Wednesday, 3/6, 6:30 PM / Leah Dickerman on Inventing Abstraction / New York Studio School / 8 W 8 / FREE
Wednesday, 3/6, 7 PM / Wu Tsang on his work / The New School Kellen Auditorium / 66 Fifth Avenue / FREE
Thursday, 3/7, 7 PM / Saya Woolfalk performance / 3rd Streaming / 10 Greene – floor 2 / FREE
Saturday, 3/9, 7:30 PM / Photo as Art Panel: E. Tapley; A.J.J. Davis; C. Talese; E. Felicella; R.L.O. Jennings; S. Hemmerle / Zendo / 588 Broadway / Donation
Sunday, 3/10, 4 PM / Nancy Manter speaks on her work / Kentler International Drawing Space / 253 Van Brunt / Red Hook / FREE
Tuesday, 3/12, 6:30 PM / Catherine Murphy and Roger White in conversation / New York Studio School / 8 W 8 / FREE
Tuesday, 3/12, 8 PM / Charlie White on his work / Columbia / Prentis Hall / 632 W 125 / FREE
Wednesday, 3/13, 6:30 PM / Jack Flam on Courbet’s Modernity / New York Studio School / 8 W 8 / FREE
Wednesday, 3/13, 7 PM / Hans Haacke on his work / The New School Kellen Auditorium / 66 Fifth Avenue / FREE
Wednesday, 3/20, 6 PM / Margaret Evangeline; Jonathan Goodman; Dominique Nahas; Lilly Wei in conversation / NYPL – room 227 / 5th Ave. @ 42 / FREE
Wednesday, 3/20, 7 PM / Jack Whitten on his work / The New School Kellen Auditorium / 66 Fifth Avenue / FREE
Thursday, 3/21, 7 PM / Ilya and Emilia Kabakov on their work / SVA / Theater / 333 W 23 / FREE
Sunday, 3/24, Noon -3 PM / Open Studios / Wave Hill / 675 W 252 Street, Bronx / RSVP / FREE
Tuesday, 3/26, 6:30 PM / Dana Shutz on her work / New York Studio School / 8 W 8 / FREE
Tuesday, 3/26, 8 PM / TBD on their work (check: http://blogs.cuit.columbia.edu/vals/vals-2012-2013-schedule) / Columbia / Prentis Hall / 632 W 125 / FREE
Wednesday, 3/27, 6:30 PM / Kathryn Galitz: becoming Jacques-Louis David / New York Studio School / 8 W 8 / FREE
Tuesday, 4/2, 6:30 PM / Joan Snyder on her work / New York Studio School / 8 W 8 / FREE
Tuesday, 4/2, 8 PM / Wangechi Mutu on her work / Columbia / Prentis Hall / 632 W 125 / FREE
Wednesday, 4/3, 6:30 PM / Garth Evans and William Tucker in conversation with Ann Compton / New York Studio School / 8 W 8 / FREE
Wednesday, 4/3, 7 PM / Martin Kersels on his work / The New School Kellen Auditorium / 66 Fifth Avenue / FREE
Friday, 4/5, 6:30 PM / The Review Panel: David Cohen; Elisabeth Kley; Hearne Pardee; Martha Schwendener / National Academy / 1083 Fifth @ 89 / $
Tuesday, 4/9, 8 PM / Hito Steyerl on his work / Columbia / Prentis Hall / 632 W 125 / FREE
Wednesday, 4/10, 7 PM / Dolores Zinny on her work / The New School Kellen Auditorium / 66 Fifth Avenue / FREE
Tuesday, 4/16, 8 PM / Mary Reid Kelley and Patrick Kelley on their work / Columbia / Prentis Hall / 632 W 125 / FREE
Wednesday, 4/17, 7 PM / Nayland Blake on his work / The New School Kellen Auditorium / 66 Fifth Avenue / FREE
Tuesday, 4/23, 8 PM / Leslie Hewitt on her work / Columbia / Prentis Hall / 632 W 125 / FREE
Wednesday, 4/24, 7 PM / Pedro Lasch on his work / The New School Kellen Auditorium / 66 Fifth Avenue / FREE
Wednesday, 5/1, 7 PM / Fia Backstrom on her work / The New School Kellen Auditorium / 66 Fifth Avenue / FREE
Saturday, 5/4, 2:30 PM / Tamara Gonzales with Sharon Butler / NYPL Mid-Manhattan – ground floor – NW corner / Fifth Avenue @ 40th / FREE
Wednesday, 5/8, 6:30 PM / Ugo Rondinone on his work / Public Art Fund @ New School / Tishman Aud. / 66 W 12 / $10  Free: students & New School ID
Friday, 6/7, 6:30 PM / The Review Panel: David Cohen; Eva Diaz; Ken Johnson; Chloe Rossetti / National Academy / 1083 Fifth @ 89 / $


Note: Opening receptions are 6 to 8 PM unless otherwise noted; not all openings are receptions. All information subject to change. 


Please send suggestions for future lists to andrew@jonesginzel.com. To subscribe to the list, go to: http://www.andrewginzel.com/selected-shows.html


 
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January 11, 2013

Under pressure: Q&A with Sheri Schwartz




JOE BUN KEO: Portraiture of the self can express vanity, portraiture of others can express admiration, and some portraiture can memorialize and immortalize. What are you aiming for in your portraiture?

SHERI SCHWARTZ: At times, I seek out particular people to paint because of a social issue, or they look like someone I’ve seen before in a painting. Regardless, I am always concerned with formal painting. I go after shape, line, light, and the space around the figure. The aesthetics may convey an emotion.  I paint slowly, and my portraits are subtle and get stronger when one studies them. I would like my portraits to remain representational, yet be very different from those before me. That is extremely difficult because I am competing with so many great painters, including those of the Renaissance. I feel that if my style strengthens and I stay honest with my process, then my portraits will be different.  After all, everyone is unique and has a voice. If you are technically able then your message will be clear. To get one’s message across in a portrait would be great because portraiture is probably the most recognizable art form. It reaches many people, including those who may know little about art.

Sheri Schwartz, Portrait of a Young Man in a Chaperon, 2012, oil on canvas, 30 x 22 inches. 

JBK: Flemish artists were some of the first to paint portraits of people other than their donors, patrons, or religious and state commissions. They broke out and started painting individuals from the middle class. This strayed away from the Classical static coin profiles and religious imagery that was common prior. The three-quarter view was invented. This new perspective of portraiture made the sitter more identifiable. It was a shift from a focus on religion to that of the individual. Not only was it an individual of a lower class, but he/she was also the sole subject matter of the portrait. This change reflected Panofsky's insight that this new style of portraiture "seeks to bring out whatever the sitter has in common with the rest of the humanity." With this said, how would you describe your opinion on the socioeconomic statuses in your choice of sitters?

SS: My sitters, I would say, are middle class like myself.  It’s not intentional choices to include or exclude sitters from any socioeconomic group. They are students, classmates, and artists from my community.  Sometimes my portraits create a dialogue with art history. I may choose a person who resembles a person in a painting from my artistic family: Rogier van der Weyden, Hans Memling, Edouard Manet, Alberto Giacommetti, and Alice Neel.  Sometimes my portrait subject is influenced by a social issue.  For example, I was thinking about Trayvon Martin, so I asked a classmate to pose for Portrait of a Young Man in a Chaperon.  My portraits are natural, yet stylized. They are stripped down, almost minimal.  My choice of editing is just as important as painting what is important.  I don’t like to paint unnecessary objects.
Sheri Schwartz, Karin, 2012, oil on canvas, 24 x 18 inches.

JBK: Your work, like Flemish masters, has your sitters up against solid backgrounds that push the subject to the foreground, as if the sitter inhabited the same common space as the viewer. This spatial relationship turns a 2D work into a somewhat of an interactive three-dimensional experience that hovers around optical illusion and the experimentation of entering the private spaces of others. This can create uneasiness, an awkward situation and some tension. How do you handle this effect and what outcomes are you searching for?

SS: Most likely, I am thinking about the artist’s gaze; what the viewer would see if they were behind my easel, across from the sitter.  I’m keenly aware of the figure ground relationship in paintings.  I adjust spatial depth and change focus on parts of the painting which may create tension.  Some marks are conscious decisions, and others are subconscious.   There’s pressure and tension painting people from life.  If this uneasiness contributes to giving a reality to the painting, then that is what I am after.
Sheri Schwartz, Modern Maria, 2012, oil on canvas, 22 x 16 inches.

JBK: You seek to portray the real presence of your sitters. You've worked from photographs in the past and have found it unlike that of painting from life. Painting from life has allowed you to project your interpretation as you paint in real time. As much as you are seeking to establish your sitters' expressions, I feel as though your final painting is a culmination of a dialogue between the artist and the muse. Your mannerisms, your conversations and instructions to the sitter will initiate a reaction from your sitter. In the end, the painting is an archive of that foreign, but yet intimate moment shared between you two. What's your take on making public this moment through your finished work?

SS: I start with an idea when I’m painting, though I may change direction.  Sometimes it goes full circle.  For example, I hardly knew the model in Transparent Portrait.  Her body language in the composition, with her hands crossed, may say that I didn’t know her. After a month of her sitting for me, I really got to know her, and the intimacy of our connection prevails in her facial expression. Her transparency and my openness really come across in the finished painting. We not only exchanged personal conversations, but she would encourage me while painting, giving me confidence while sitting for me. Art doesn’t come easy, and my sitters see me struggle. I can’t predict exactly the outcome of any of my paintings; otherwise, I would be an illustrator. I learn the most in my painting while painting under pressure in a vulnerable state.  All sorts of influences come out in my paintings. My portraits are really a collaboration; an exchange between artist and model.
Sheri Schwartz, Inside Out, 2012, oil on canvas, 20 x 19 inches.

JBK: What's next for Sheri Schwartz? Tell us about upcoming exhibitions and other creative endeavors! 

SS: My MFA Thesis show opens April 4 at Western Connecticut State University in Danbury, CT. The show then travels to Blue Mountain Gallery in NY, opening June 20. I have a solo show slated for October at the Gilbert Gallery, Miss Porter’s School, Farmington, CT.
Sheri Schwartz, Profile Study, 2012, oil on maple board, 20 x 16 inches.

Image at top: Sheri Schwartz, Transparent Portrait, 2012, oil on linen, 20 x 28 inches.
Images courtesy of the artist.
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January 5, 2013

Claiming Modernism

"Radical Terrain," the Rubin Museum's third exhibition exploring Modernism in India, focuses on landscape, presenting work by the generation of artists who worked after India gained independence in  1950. Alongside work by the older artists, curator Beth Citron has included work by an international cohort of younger artists, including Meagan Boody, Hasan Elahi, Isca Greenfield-Sanders, Marc Handelman, Byron Kim, Lisi Raskin, Seher Shah, and Janaina Tschäpe.

Syed Haider Raza (b. 1922), Untitled, 1956, oil and mixed media on canvas. Shelley and Donald Rubin Private Collection.

Narayan Shridhar Bendre (1910-1992), Untitled, gouache. Collection of Virginia and Ravi Akhoury.

Sudhir Patwardhan (b. 1949), The Fall; 1998, oil on canvas. Collection of Virginia and Ravi Akhoury.

Last week in the NYTimes Holland Cotter wrote a review of the exhibition questioning the West's proprietary claim to Modernism:
The West tends to be proprietorial about Modernism, treating it as a Euro-American invention copied, in inferior versions, by the rest of the world. But more and more this view has come to look parochial and wrong. In recent years historians have been studying the reality of multiple (sometimes referred to as alternative) modernisms that developed in Africa, Asia and South America parallel with, or sometimes in advance of, what was happening in Europe...
Viewers coming to these works for the first time, knowing little about their history or context, may well see traces of European Modernism in them before anything else. It takes some looking and exposure to information to get beyond that and see what is really happening in these paintings. They aren’t about copying; they’re about artists making choices, trying out options, pursuing some, rejecting others, taking what they know and adding to it, editing it, blurring lines between South Asian and Western, shaping something distinctive from the sources used...
It’s great that the Rubin, a small institution with limited resources but imaginative thinking, has brought us exhibitions like this one and its two predecessors. Even together, though, these shows can only hint at the full history of global modernism, or modernisms, that everyone now knows is the true story of modern art. It’s a story that has yet to make its way into our big museums, but surely that day must come. 
Put in this context, MoMA's excellent abstraction exhibition "Inventing Abstraction, 1910-25," seems a little parochial, doesn't it?

"Radical Terrain," organized by Beth Citron. Rubin Museum of Art, New York, NY. Through April 29, 2013.

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Indian studies: Kathryn Myers

Since taking a 1999 sabbatic leave in India, Kathryn Myers's small-scale observational paintings have been richly informed by Indian life and culture. At Bose Archives last month, she recalled how she fell in love with the art and people of this huge, colorful dempcracy. Myers has enthusiastically curated numerous exhibitions of contemporary Indian art, and in 2011 she began working on a series of video interviews with the artists, now available on her new website, Regarding India. The following is an excerpt from the Bose interview.

Kathryn Myers, Correspondence, oil on wood, 7 1/2 x 16 inches.

"Growing up in Chicago and attending college (St. Xavier) and graduate school in the Midwest, (UW-Madison) I had no particular exposure to Indian art and had not traveled at all outside of the Midwest. My main focus was on the contemporary gallery scene in Chicago which was the closest one to me at the time, and then New York when I moved to the east coast to teach at the University of Connecticut in 1984. As I traveled to Europe on different artist residencies in the 90’s I came to know more about contemporary European art.

Kathryn Myers, Pilgrim, oil on wood, 2007

"I went to India for the first time in 1999 on a sabbatical leave from my university and I stayed at two artist residencies, The Kanoria Centre in Ahmedabad and Sanskriti Kendra in New Delhi, each for a month and traveled for a month between. I did not know much about India at all, maybe a minimal amount about miniature painting, I had never seen any Indian art in person that I remember, so I was very naïve and uninformed and thus probably also very open to wherever the experience might take me. Everything from activity on the streets, the regional diversity of Indian geography, food, popular culture, religion, architecture and national and local politics was a revelation. I veered between moments of ecstasy and despair and many feelings in-between, nothing had ever in my life produced such strong and constantly shifting emotions. I came to love the old city of Ahmedabad in particular and have visited many times since to visit close friends. From Delhi I traveled all over Rajasthan and also to Khajuraho and Varanasi. (Varanasi remains my favorite city in India). I loved seeing art in all of the museums. Aside from Folk art I was drawn to miniature painting and work that I will describe as “diagrammatic or ritual” from Jain traditions as well as tantric cosmology diagrams etc.

 Kathryn Myers, Sabarmati Divide, oil on wood 7 x10 iches.

"However, it was my visit to the Crafts museum in Delhi that had at that time, the greatest impact. I always say that it was the first day of the rest of my visits to India. I felt powerfully drawn to work I saw there and when I came back I threw myself into research, relying on friends with more knowledge of India than I did who guided my research and eventually encouraged me to apply for a Fulbright. I was starting from scratch because I wanted to know everything at once, about religion and philosophy and art. (I now have a very substantial library of books on all of these subjects that started then.)

"I also had in 2002 an amazing opportunity to curate what turned out to be a very large exhibition of Indian art, titled "Masala, Diversity and Democracy in South Asian Art" at our university museum, the Benton Museum of Art, I worked on that for several years and it opened in 2004. It was as someone described a “crash course in Indian art” and was reviewed by Holland Cotter in the NY Times and in Art India magazine. It introduced me to many artists in the Diaspora, including two artists who co-curated two sections of the show, photography, Annu Matthew and art of the Diaspora, Siona Benjamin. Bose Pacia loaned most of the contemporary work and it was through Bose Pacia that I really came to know and appreciate contemporary Indian art.

"To continue the sense of synergy at that time, UConn also started a new India studies program for which I served on the board. It was then that I created my new course Indian Art and Popular Culture. This course allowed me to organize what I had been learning on my own in a form and structure that would allow me to share my love of Indian art with my students.

"My interest in contemporary art came later. When I first came to India, aside from hearing about and then meeting with Peter Nagy, from Nature Morte Gallery in Delhi, there was not much that was accessible to me about contemporary art and I was much more interested in miniature painting and folk art, types of art that many artists who travel to India are initially drawn to. My interest in contemporary art started during my Fulbright in 2002 when I was meeting art professors and students and it was through these personal connections that I developed an interest in researching Indian contemporary art...." Read more.

Kathryn Myers's work is currently on view in exhibitions at Aurodhan Art Gallery, Pondicherry, and Galeria De Belas Arts in Goa, India.


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Grounded in India
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