Karen Kilimnik

Karen Kilimnik

303 Gallery, New York

Nov 2019 to 20 Dec 2019

303 Gallery presents the twelfth solo exhibition of the work of Karen Kilimnik. Throughout the gallery, more than 70 works of painting, photography, collage, sculpture and video, are displayed in the Petersburger style.

Karen Kilimnik
the theater of the gods, 2015 
Water soluble oil color and glitter on canvas
14 1/4 x 18 inches (36.2 x 45.7 cm) Signed and dated verso
© Karen Kilimnik, courtesy 303 Gallery, New York

Included in the exhibition is a new video of excerpts from the 19th century ballets, The Awakening of Flora by Marius Petipa, Reconstruction by Sergei Vikharev, music by Riccardo Drigo, with additional excerpts (Le Talisman, Pas D’Esclave and Animated Frescoes), as performed by the graduate students of The Pittsburgh Ballet Theatre School, on the occasion of Opening Day of the 57th Carnegie International, and the 200th anniversary of Petipa’s birth. The video, The World at War, (2018) brings together clips from color and black and white films primarily set during World War II, selected for their music and their depictions of camaraderie between troops and officers singing, seen amid battle as well as off the field.

Karen Kilimnik
the fairy ship, 2016 
Wood ship, gems, archival glue
12 1/2 x 14 x 3 inches (31.8 x 35.6 x 7.6 cm)
© Karen Kilimnik, courtesy 303 Gallery, New York

These works combine the worlds of history, architecture, art, fashion, film and television, music and ballet, animals and nature, science and literature.

Karen Kilimnik
Untitled, 2019 
Acrylic and gouache on unstretched canvas
59 1/2 x 64 inches (151.1 x 162.6 cm) Signed, dated verso
© Karen Kilimnik, courtesy 303 Gallery, New York

Recent major solo exhibitions dedicated to Karen Kilmnik’s work include Château De Malmaison, Rueil-Malmaison (2016); Le Consortium, Dijon – La Romanée Conti (2014); Brant Foundation Art Study Center, Greenwich (2012); Belvedere, Vienna (2010); Musée d’Art moderne de la Ville de Paris (2006); Serpentine Gallery, London, Institute of Contemporary Art, Philadelphia, Museum of Contemporary Art, Chicago, and Museum of Contemporary Art, Miami (2007); Fondazione Belvilacqua La Masa, Venice (2005); and Irish Museum of Modern Art, Dublin (2002). Major group exhibitions include the Carnegie Museum of Art, Pittsburgh (2018); Rubell Family Collection, Miami (2015); Whitney Museum of American Art, New York (2008), Van Abbemuseum, Eindhoven, and MoMA PS1, New York (both 2006); MoMA, New York (2005, 2001, 1999); Institute of Contemporary Art, London (1997, 1992); and Secession, Vienna (1994). In 2011, Kilimnik created a stage setting for the ballet Psyché by Alexei Ratmansky, at the Opéra national de Paris. Kilimnik lives and works in Philadelphia.

Karen Kilimnik
wind and lightning at the Tower of Pisa, Daron Puzzle Inc., 2019 
Foam board with plastic, glass and Swarovski crystals
12 x 5 3/4 x 5 3/4 inches (30.5 x 14.6 x 14.6 cm)
© Karen Kilimnik, courtesy 303 Gallery, New York

The Fletcher Family: A Lifetime in Surf

The Fletcher Family: A Lifetime in Surf

25JUL(JUL 25)0:0030AUG(AUG 30)0:00The Fletcher Family: A Lifetime in SurfGAGOSIAN NYC, 980 Madison Avenue NY 10075 New York , USA

The practice of the artist . . . is no different than that of the surfer, who inscribes his or her self in the ocean—a bigger canvas could not be engaged, defining their humanity in the most personal way, using themselves to draw their lifelines through the massive fleeting freedom of that power. The power and majesty of the sea—Herbie shared that with me and with my family as well as his own.
—Julian Schnabel

Herbie Fletcher, Wrecktangle #12, 2014. Foam, fiberglass, acrylic paint, and steel 90 x 264 x 24 in 228.6 x 670.6 x 61 cm © Herbie Fletcher. Courtesy Fletcher Family and Gagosian

Gagosian presents an exhibition celebrating the publication of Fletcher: A Lifetime in Surf by Rizzoli in 2019. The legendary Fletcher family has been an institution and guiding presence in surf and skate culture for decades, with an influence that extends to the worlds of fashion, music, streetwear, and art. Now, Fletcher: A Lifetime in Surf, written by Dibi Fletcher—wife of Herbie and matriarch of what Esquire has called “surfing’s first family”—simultaneously traces the evolution of the Fletcher family’s life and offers an oral history of surfing’s counterculture from the 1950s to today.

Throughout the volume, the family’s intimate storyline is augmented with anecdotes from luminaries including surfing legend Gerry Lopez, Mike Diamond of the Beastie Boys, artist Julian Schnabel, eleven-time world champion pro surfer Kelly Slater, and Steve Van Doren, of the Vans skate shoe company. Dibi’s recollections begin with her childhood memories of her father, big-wave surfing pioneer Walter Hoffman. She then goes on to narrate her union with Herbie, as well as the lives of their sons Christian and Nathan, both surfers, and their grandson, Greyson, a renowned skateboarder, all of whom have erased the boundaries between surfing and skateboarding.

To commemorate the publication of the book, Gagosian will install artworks from four different series by Herbie Fletcher at 976 Madison Avenue. Fletcher’s Wrecktangles are large sculptures made from once-perfect, custom surfboards that have been ridden and broken by the greatest contemporary tube riders at the Banzai Pipeline in Hawaii. For years now, elite surfers, known as “Wave Warriors,” have saved their boards to be made into Wrecktangles. The accumulated boards tell oblique stories about the culture of surfing. The board recurs in the Wall of Disaster series, which features masses of skateboards mounted to the wall in anarchic accumulations. Similar to their surfboard counterparts, they form a cacophony of logos and images.

In his Blood Water paintings, Fletcher uses mineral-rich earth from the Waimea River, Hawaii. After the winter rains on the North Shore of Oahu have subsided, he paddles up the river with large pieces of untreated canvas on the nose of his surfboard, staining them in the iron-oxide-rich red earth washed down from volcanoes. After they are completely saturated, he paddles back to the coral sand beach and lays the canvas out to dry, creating visions reminiscent of ancient petroglyphs. Similarly, in his Connecting to the Earth paintings, Fletcher affixes found objects from the Hawaiian shores such as netting, and burlap used to carry taro, to the canvas, paying homage to native Hawaiian traditions.

Alongside these works will be an installation of ephemera—including photographs, posters, sketches, maps, surf magazines, boards, and memorabilia—accumulated from the family’s life of surfing. Gagosian Shop will also feature magazines, T-shirts, limited-edition skate decks, surfboards, and other items linked to the Fletcher family, including a Gagosian/Fletcher designed T-shirt to commemorate the exhibition.

Gagosian will also screen the film Heavy Water, released in 2019, a documentary about Nathan Fletcher, at 7pm on Monday, July 29, at Guild Hall, East Hampton, with an introduction by Julian Schnabel.

Herbie Fletcher was born in 1948 in Pasadena, California, and lives in San Clemente, California. Exhibitions include Harder. Betterer. Fasterer. Strongerer, Brucennial, New York (2012); Wrecktangles, The Hole New York (2013); Path of a Wave Warrior: Selections from the Fletcher Collection, Museum of Art & History, Lancaster, CA (2014); and Barry McGee: SB Mid Summer Intensive, Museum of Contemporary Art Santa Barbara, CA (2018). Fletcher is globally recognized as a surfing legend and a pioneering inventor who helped shape the way surfing is practiced today. He has produced and starred in numerous surfing films, and in 1976 founded Astrodeck, a company that produces equipment for surfers.

Roy DeCarava Light Break at David Zwirner, NYC

Roy DeCarava Light Break at David Zwirner, NYC

Roy DeCarava: the sound i saw

September 5—October 26, 2019

David Zwirner, NYC

David Zwirner present concurrent exhibitions of photographs by Roy DeCarava at two of its New York gallery locations: 533 West 19th Street and 34 East 69th Street. Curated by art historian Sherry Turner DeCarava, this will be the gallery’s first presentation since announcing exclusive representation of the Estate of Roy DeCarava in 2018, and the first opportunity to view a major grouping of the artist’s work in New York since his 1996 retrospective at The Museum of Modern Art. 

Roy DeCarava, Curved branch, 1994 (detail)
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Over the course of six decades, DeCarava produced a singular collection of black-and-white photographs that combines formal acuity with an intimate and deeply human treatment of his subjects. His pioneering work privileged the aesthetic qualities of the medium, providing a counterpoint to the prevailing view of photography as mere chronicle or document and helping it to gain acceptance as an art form in its own right.

Having trained as a painter and draftsman, DeCarava began working with the camera in the mid-1940s, seeking an inclusive artistic statement for the culturally diverse uptown Manhattan neighborhood of his Harlem youth. Working without assistants and rejecting standard techniques of photographic manipulation, DeCarava honed his printing technique to produce rich tonal gradations, enabling him to explore a full spectrum of light and dark gray values more akin to a painterly mode of expression. Relying on ambient light and a point of view that neither monumentalizes nor sentimentalizes his subjects, he was able to produce a highly original oeuvre that carries significant visual and emotional meaning.

 On view at the gallery uptown will be a selection of photographs from the sound i saw, DeCarava’s unwavering exploration of the relationship between the visual and the aural. Created between the mid-1940s and 1960 and first assembled as an artist book, it has never before been exhibited in its original form. This work delivers musicians, those known and unknown, including Ornette Coleman, John Coltrane, Duke Ellington, Billie Holiday, and others in their milieu, into a sound and a sense rarely seen in visual arts. These figures are glimpsed both mid-set and off-stage in moments of repose, emphasizing their status not as musical icons, but as people deeply engaged in the everyday process of living.

Presented in Chelsea, Light Break features a dynamic survey and range of images that underscores DeCarava’s subtle mastery of tonal and spatial elements across a wide array of subject matter. Spanning the years 1948 to 2006, the photographs in the exhibition—including a number of images that have never been seen before—provide an introduction to the artist’s singular vision, particularly his ability to see with great sensitivity into people and to find a complexity of relationships that coincide with our lives. 

Wang Yan Cheng at Acquavella, NYC

Wang Yan Cheng at Acquavella, NYC

Wang Yan Cheng

SEPTEMBER 11 – OCTOBER 18, 2019

Acquavella Galleries, NYC

Acquavella Galleries presents the first exhibition of works by Wang Yan Cheng, from September 11 – October 18, 2019. This exhibition of new work, featuring 20 paintings from this year, is the artist’s first solo presentation in the United States.

Since his early training as a representational artist, Wang Yan Cheng has developed a deep understanding of painting in terms of structure, color and technique. In recent years he has frequently gone beyond the “abstract.” He hopes to merge Eastern and Western aesthetic development, to guide people away from traditional concepts, and to feel the artist’s love for creation. Wang Yan Cheng’s foundation is never a pure canvas in the metaphoric sense. He has reached beyond the canvas with various methods to make the works “immersed and cultivated.” Using his ideas, he is able to exercise artistic control over his medium; his paintings thus inhabit a wonderful place between inevitability and chance and achieve “imperfect perfection.”  

Wang Yan Cheng Untitled (Triptych), 2019 Oil on canvas in three panels 82 5/8 x 307 inches (210 x 780 cm)
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Born in 1960, after graduating from Shandong University of Arts, Wang Yan Cheng went to Central Academy of Fine Arts in Beijing to complete his academic art education in China. Later in 1989 he traveled to France and studied at Jean Monnet University (Saint-Étienne), where he was able to broaden and expand his creative vision of art. In the past 30 years, Wang Yan Cheng has traveled from the East to the West and has returned from the West to the East. Over time, he has found a profound affinity between Oriental philosophy and Western science and pushed his paintings to engage micro and macro themes. 

Wang Yan Cheng Untitled, 2019 Oil on canvas 45 5/8 x 35 inches (116 x 89 cm)
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In the 20th century, Chu Teh-Chun and Zao Wou-Ki introduced Eastern aesthetic concepts into Western abstract painting working in the form of lyrical abstraction. Following in the tradition of established lyrical abstractionists Zao Wou-Ki and Chu Teh-Chun, both of whom are recognized internationally, Wang Yan Cheng approaches painting with a different texture, language and visual energy than his two predecessors. In his paintings, Wang Yan Cheng elevates the image to the level of microcosmic vision, using energy, detailed texture and traditional culture to create his unique artistic language. Continuing in the traditional of lyrical abstraction, Wang Yan Cheng builds a majestic momentum from the shapes and colors, drawing on an atmospheric flow that comes from his soul. Each composition follows traditional Chinese cosmology to explore the mysterious driving force of the origin of the universe. The artist departs from the restraints of techniques and concepts, embracing instead the power of spirit and the experience of love. Thus, Wang Yan Cheng’s paintings form “a cosmic rhythm that embodies the spirit of the Oriental and Taoist philosophy, that open a universe, in bigger and bigger collisions.” (quote by art critic Jia Fangzhou). 

Wang Yan Cheng Untitled, 2019 Oil on canvas 102 x 82 5/8 inches (260 x 210 cm)
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Today, Wang Yan Cheng maintains studios in Paris and Beijing. Major solo museum exhibitions have been held at the Guangdong Museum of Art (2000) and Musée de Montparnasse, Paris (2010). In 2014, the National Museum of History in Taipei mounted an extensive retrospective of the artist. Wang Yan Cheng was also selected to participate in the Shanghai Museum of Art Biennial (2002), the French Pavilion at the Shanghai World Expo (2010), and the Chinese Pavilion at the Milan International Expo (2015).  Over the past 20 years, he has won the honor of Chevalier des Arts et Lettres, the Legion of Honour and the Commander Medal of French Arts and Literature. He is the first Chinese artist to have won three medals of honor from the French government.  

Constructing Her Universe: Loló Soldevilla at Sean Kelly Gallery, NYC

Constructing Her Universe: Loló Soldevilla at Sean Kelly Gallery, NYC

Constructing Her Universe: Loló Soldevilla 

SEPTEMBER 6 – OCTOBER 19, 2019

Sean Kelly, NYC

Sean Kelly presents Constructing Her Universe: Loló Soldevilla, the first comprehensive exhibition ever mounted in the United States devoted to the work of this pioneering Cuban artist. Dolores “Loló” Soldevilla (1901- 1971) was one of the only women to be prominently associated with the development of geometric abstraction in Cuba, and one of the key figures responsible for promoting its development from the 1950s onward. Featuring over 60 artworks, including painting, sculpture, works on paper and constructions, as well as rare historical documents, photographs and personal ephemera, this wide-ranging survey will examine the breadth of Loló’s entire career. Concurrent to the exhibition, a fully-illustrated monograph featuring essays by Rafael DiazCasas and Olga Viso will be published, the first book devoted solely to Loló’s life and work. There will be an opening reception on Thursday, September 5, 6-8pm.w

Loló Soldevilla Paisaje Estelar, 1959

Loló Soldevilla was a passionate, largely self-taught artist whose career blossomed in the 1950s. A self-styled impresario and autodidact, she was a formidable artistic talent and an astute cultural promoter. Following earlier professional turns as a musician, political activist and party politician in Cuba, Loló was appointed the country’s cultural attaché to Europe in 1949. Residing in Paris, she began studying in the ateliers of prominent European artists. Although she did not take up painting and sculpture until her late-forties, she quickly gained command of her métier and was soon exhibiting her work in Parisian galleries and Salons transitioning from figuration to abstraction. By 1950, Loló was producing abstract paintings and sculptures inspired by geometric forms. In the ensuing years, Soldevilla developed her groundbreaking Color Luz theory that opened pathways to her Reliefs Lumineux, unique constructions that incorporated light as a working element in abstract designs, which premiered in Paris at the 1955 Salon des Réalités Nouvelles. Her paintings, collages and panel constructions explored the dynamics of light, shadow and relief, suggesting movement and rhythm through the use of geometric pattern and color.   

After returning to Havana in 1956, Loló played an active role as an artist, curator, and gallery owner. A fierce advocate for social justice, women’s rights and the working class in the 1930-40s, she began championing abstraction through ambitious international projects, gaining attention for her voice within the island’s abstractionist landscape and serving as a vital link between Cuba, Europe and Latin America. She organized the important exhibition Pintura de hoy: Vanguardia de la Escuela de Paris (Painting Today: The Avant-Garde of the School of Paris) at the Palacio de Bellas Artes, Havana, which featured the work of forty-six leading Hard-Edge, Op and Kinetic artists, including Jean Arp, Sonia Delaunay and Jesús Rafael Soto, amongst others. This pivotal exhibition introduced Cuban audiences to international abstract art for the first time.

In October 1957, Soldevilla along with fellow artist Pedro de Oraá founded the Galería de Arte Color Luz, a venue instrumental in fostering the development of abstract art in Cuba and solidifying the presence of the concrete art movement on the island. The gallery served as the incubator for a group of artists who would name themselves “10 Pintores Concretos,” of which Loló was the sole female member, its most public face, and strongest force. As Castro’s revolution began to transform Cuban culture, abstraction, though never explicitly censored, was deemed “obsolete” and “out of touch with the new society.” Although Loló’s activities around the visual arts diminished, she stayed active establishing a new association, Grupo Espacio, and continued to paint and exhibit her work until her death in 1971. Sean Kelly states, “we are delighted to have organized Loló Soldevilla’s first retrospective survey in the U.S. and the first outside of Cuba. This exhibition and the major monograph we have published position her as one of the strongest Latin American artistic voices in the years after World War II, as well as one of the first women to bring postwar abstraction to Latin America, firmly establishing her as a key figure in the development of abstraction in Cuba, Latin America and, indeed, the world.”

Elemental Abstractions / Hyun Sook Jeong and Gregory Hayes at Blank Space in NYC

Elemental Abstractions / Hyun Sook Jeong and Gregory Hayes at Blank Space in NYC

Elemental Abstractions

Blank Space, NYC

Jul 24th – Sep 15th 2019

This exhibition presents two artists, Hyun Sook Jeong and Gregory Hayes, who create works that investigate the interaction between their chosen materials and the natural and physical world. While both artists have developed distinct and unique visual styles, their processes and subjects demonstrate a desire to play into things about the world which cannot be fully controlled and the beauty of the work stems in part from the medium itself. To do so, both artists refute the brushstrokes of traditional abstract painting and turn instead to carefully orchestrated and detailed processes that harness the capability of the mediums to create and speak for themselves.

Hyun Sook Jeong works with minute pieces of mother of pearl with which she builds intricate webs of iridescent material punctuated by small glimmers of crystal. By using organic materials, Jeong ensures that the work can never be viewed the same way twice as with every slight movement of the viewer the piece captures light in different way and is changed. The result is an incredibly deep and dynamic form of abstract art wherein the viewer is drawn in from a distance by the shimmer of the surface and deeper yet through the complexity and visual effect of the process. In addition to the intense draw of the materials themselves, the webs of mother of pearl undulate in thickness subtly forcing the illusion of three-dimensionality on the canvas. 

Conceptually, Jeong’s work harkens back to traditional Korean form of Najeon-Chilgi lacquerware from the Joseon Era. Through this art historical link, she contemporizes a traditional form thereby creating a meditative space within which to contemplate this human desire to decorate and accessorize the ordinary with brilliant natural materials. For Jeong the human desire to covet reflective and iridescent materials stems from a desire for light as a nurturing and necessary component of human civilization, both in myth and in practice. The re-contextualization of this form, coupled with the stunning visual effect of her work, places the viewer in the position between old and new, Eastern and Western aesthetics, and light and darkness.

Gregory Hayes has created a technique of brushless painting in which he loads a dropper with multiple colors of paint at a time and applies it to a flat canvas. As he does so, the convex drops of paint on the canvas swirl and coalesce creating rich and detailed tapestries of color that are formed by the relative unpredictability of the liquid paint itself. In some of his work, such as the series’ Color Array and Primary Array, Hayes begins the process by carefully constructing a ¼ inch grid across the canvas while, in Amalgamation, shown in Elemental Abstractions, he forgoes the grid and opts for a far more gestural form of painting, approaching the canvas with mainly his intuition to guide him. What results in Amalgamation are complex compositions of densely layered paint that pull the viewer into the work through a dynamic interplay between the chosen colors. 

Through a careful consideration of not only of the layering of paint in the dropper, but also of the drying time of the medium and absorption rate of the canvas, Hayes is able to partially control how the paint is layered and how two drops might interact. However, through this carefully devised method, much of beauty and character of the work is derived from how the paint acts on its own. In the end, it is the activity of each drop (the marbling, swirling, and bleeding of multiple colors) that comes together to form a larger color field over the entire canvas. Even with his more exact grid based works, Hayes says the parts where he sees the paint do something spontaneous and out of his control are where he sees the best results of his technique, “In my work I strive for exactness, but perhaps it is paradoxical that in striving for perfection – and never reaching it – it is there that you actually find it…It is the imperfect that becomes unique, the flaws that become interesting, the randomness that leads to new ideas.” In this sense, the Amalgamation series perfectly showcases two ends of his practice. On the one hand, from a distance, the viewer is confronted with an impressive and impactful color field that is orchestrated by the artist by his individual choices of palette and strokes. While, on the other, the work opens up when approached and viewed closely as it is here where the tactility, depth, and chance of the works shine brightest.

Gregory Hayes works and lives in Brooklyn. He has received his BFA in painting at Rocky Mountain College of Art and Design and his MFA at Brooklyn College in 2011. His work has been exhibited in many exhibitions in the United States and art fairs internationally including Boulder Museum of Contemporary Art in Colorado, SCOPE Basel, Museum of Contemporary Art Denver, and was included in both the Millay Colony and Fire Island Pines Arts Project residencies.

Jeong Hyun Sook is well renowned in the Korean art market and is gradually gaining reputable acclaim in the United States art scene. Her works have been exhibited in the Sungkok Art Museum, Lee Gallery, Gallery Sejong, and Insa Art Center, to name a few, and have been featured in various international art fairs in Cologne, Miami, New York, London, Geneva, Beijing and Shanghai. Her paintings are held in major Korean art collections such as the National Museum of Contemporary Art, Seoul Museum of Art, and the Sammlungen Collection.

All images > installation views, courtesy Blank Space NYC and the Artists

David Novros at Paula Cooper Gallery, NYC

David Novros at Paula Cooper Gallery, NYC

David Novros
MAY 11 – JUNE 15, 2019
Paula Cooper Gallery 
524 W 26TH STREET, NYC

An exhibition of work by David Novros will open at Paula Cooper Gallery on May 11th, 2019, highlighting the breadth of his artistic production. In addition to several large-scale multipartite canvases—for which the artist is most well-known — the show will explore Novros’s expansive and prolific approach to painting across a range of material and scale. Included will be painted works of copper, iron, and ceramic as well as watercolors. The show will open with a reception from 6 to 8 pm on Saturday, May 11th and remain on view through June 15th at 524 West 26th Street. Novros creates work that pushes beyond its internal pictorial space to generate a dynamic, kinesthetic experience. Inspired by Italian frescoes, Byzantine mosaics, Paleolithic cave paintings, and other in situ artworks, his surfaces are not intended to hold the eye but rather to promote movement with a painted place. The artist explains: “I am trying to identify the poetic reality of the paintings. I don’t have any particular system. Sometimes I paint one area of a painting for years—trying to find the ‘right’ light. I keep working until the painting gives me permission to move on.”1

In Boathouse, 2016, a work first commissioned as a painted place, Novros employs an iterative motif of borders and right angles—both within the painted composition of each canvas as well as in their collective arrangement on the wall. Enhanced by the use of subtle tonal shifts or, alternately, bold complementary colors, the work is at once placid and buoyant. Though the artist’s technique first appears simple, on close examination its rich variation of brushwork and hue builds an elusive yet almost tangible layered depth. For his recent work K (2017), Novros pushes this further by once again using iridescent Murano paint and oil to achieve a luminous and radiant surface. Beyond the canvas works, a selection of watercolors, painted Coppers, and ceramic objects explore a wide vocabulary of materials and forms. Created in the 1980s in New Mexico, Novros’s copper works are made by exploding a line charge to generate projections in the metal. The works recall Novros’s interest in Byzantine and Paleo-Christian art and reflect his fascination with the process of their creation. Novros’s porcelain and plaster Solar Model envisions an architectural shelter to house a mural cycle. Evocative of an atrium-style Roman house, the object relates to two new monumental canvas works, also on view, which are based on imagined views of the model’s painted interior. Made in 1975, Portable Cave recalls the artist’s acclaimed portable murals, which he began in 1965 as a way to expand his interest in painting-in-place. The work’s earthy tones and recessed space absorbs ambient light.

David Novros was born in 1941 in Los Angeles, CA, and received a Bachelor of Fine Arts from the University of Southern California in 1963. His work was first exhibited in a two-person show with Mark di Suvero in 1965 at the Park Place Gallery in New York. Novros had his first one-person shows at Park Place Gallery and Dwan Gallery the following year. His work has been exhibited in prominent venues, including the Solomon R. Guggenheim Museum, New York; the Museum of Modern Art, New York; the Museum of Contemporary Art, Chicago; the Whitney Museum of American Art, New York; the Los Angeles Museum of Contemporary Art, Los Angeles; the Dallas Museum of Fine Art, Dallas; and the Museum of Fine Arts, Houston. Novros was the subject of a one-person show, Contemporary Conversations: David Novros and The Menil Collection, in 2006. The show was part of a series of exhibitions that continues to celebrate living artists whose works are in the Menil’s permanent collection. The Museum Wiesbaden (Germany), presented a one-person exhibit of Novros’ work in 2013 and permanently installed his monumental piece, Salidas (2012-2016) in 2017. The artist currently lives and works in New York City.

  1. Phong Bui, “In Conversation: David Novros with Phong Bui,” The Brooklyn Rail, June 7, 2008.

All images courtesy © Paula Cooper Gallery

FRANK STELLA: POLISH VILLAGE SKETCHES, 1970-1974, Mignoni Gallery, NYC

FRANK STELLA: POLISH VILLAGE SKETCHES, 1970-1974, Mignoni Gallery, NYC

Mignoni Gallery, NYC
FRANK STELLA: POLISH VILLAGE SKETCHES, 1970-1974
May 22 – August 17, 2019

Mignoni presents Frank Stella: Polish Village Sketches, 1970 – 1974. This is the first exhibition ever to focus solely on the sketches from Stella’s Polish Village series, as well as the first time a large group of these masterful collages is shown together. Notable works from a handful of private collections and the Mead Museum at Amherst College have been generously loaned for the occasion. Frank Stella’s relationship with Polish villages was born from Maria and Kasimierz Pietchotka’s book Wooden Synagogues (1959), a gift from his friend Richard Meier in 1970. The book captivated Stella, leading him to produce some 50 sketches in just a few months. Hot on the heels of Stella’s landmark retrospective at New York’s Museum of Modern Art (1970), the Polish Village series marked a transition in his practice from flat picture planes to built objects and layered surfaces. Many of the Polish Village works were exhibited almost immediately upon completion, in 1971 between Lawrence Rubin Gallery, New York, and Kasmin Limited, London; in 1973 at Leo Castelli Gallery, New York; and in 1974 at Knoedler’s.

Stella’s Polish Village series is experimental in terms of both form and technique, superseding the format of flat collages and paintings with wall reliefs. The four-year process of developing this series pushed Stella to abandon conventional materials, instead working with various media of increasingly diverse textures. Stella’s goal was to “construct a painting” that transcended the limitations of two-dimensional space, which ultimately lead him to three-dimensional work. Stella also produced three – and occasionally four – variations of each work, with the earliest compositions constructed as two-dimensional collages and later versions containing deeper relief elements projecting into space. Stella’s Polish Village reliefs were most recently featured in the landmark exhibition Frank Stella and Synagogues of Historic Poland at the POLIN Museum of the History of Polish Jews, and while his paintings have been the focus of several shows in recent years, this presentation instead brings attention to Stella’s beautifully constructed sketch-collages that are formal blueprints for his seminal paintings. Each Sketch was constructed using canvas, felt, paint, and Masonite; the exact materials used in the construction of the paintings as well. These works embody Stella’s continual pushing of his own practice and of collective definitions of painting into a spatial realm.

VALENTIN CARRON Sing Loud And Walk Fast, 303 Gallery, NYC

VALENTIN CARRON Sing Loud And Walk Fast, 303 Gallery, NYC

VALENTIN CARRON
Sing Loud And Walk Fast
May 31 – July 12, 2019
303 Gallery, NYC

303 Gallery announces the fourth exhibition of new work by Valentin Carron. For all its promise of liberation from the gilded structures of exaltation surrounding the objet d’art, the readymade has become deflated by its own pressure. Found objects, assemblage and appropriation have been cunningly adopted and integrated into the mechanisms of taste, robbed of their subversive function and aestheticized into a polite paradigm. In a series of nine new collages upending these platitudes, Valentin Carron locates within his own psychology the entry points for the subconscious material of identity and freezes them, allowing for unexpected and arbitrary recombination that short-circuits accepted modes of explication.

Valentin Carron Installation view 55th International Art Exhibition La Biennale de Venezia, Swiss Pavilion June 1 – November 24, 2013

Carron’s scavenging instinct finds him adopting scenery from his daily travails and reframing it through parallel planes of focus to suit his own form of sensory-heightening interpretation. “The Big Modern Concert” uses a stock image of a multitude of hands reaching for the sky as its starting point, originally found on an announcement board outside a church near Carron’s home in Switzerland. Meant to symbolize a type of everlasting hope through association and devotion, the hands as propaganda are a signifier for the kind of generic, technocratic pluralism that has become shorthand for the concept of community. A vision of hope and aspiration tempered by inherent desolation, Carron’s laser cut MDF adaptation is glued directly onto a vermillion color field – a stand-in for itself, as if the function of an image could be simultaneously undermined and reified.  “One-Eyed In The Beaded Night” operates from a similar strategy, an example of decorative contact lenses from a window advertisement of a novelty shop. A combination of fantasy, personality and projection determines the utility of these lenses, a quick tint job on the windows to the soul.

Valentin Carron Signal crème mai 2018 Aluminum, glaze-paint 25 1:4 x 23 5:8 x 15 3:4 inches (64 x 60 x 40 cm) VC 262

Ontology dictates the difference between a person and a thing, if you insist. Carron’s version of self-portraiture is aware of this implicit fallacy, an attempt to inscribe authorship and subjecthood into autonomous units. In “Wall Tile and Chromo”, a circa-Y2K Carron is posing for Nan Goldin after a workshop she was giving at the Lausanne School of Art. She had shown him the photos and asked to publish them, which he declined. Carron finally finds a use for one, placing it at the center of a typical bistro wall tile, looking tinted by Goldin’s characteristic red light gels. Carron is in Tommy Hilfiger boxers with an American flag print, an iconography so pure it could only be made up – by whom is unimportant. “The American Cap” is again a portrait without author, but also without a face. The floating cap was purchased at K-Mart, the crown on a mass produced identity that at one point represented personal expression but was swallowed whole by a marketing monolith. That it has been regurgitated as a transgressive choice through Normcore aesthetics is a further bruise on its potential. “The Lido Tower” is continental bad taste compounding itself, a painted replica of the flashy red marble at the entrance of Trump Tower, overlaid with a paper imitation of an art deco mirror at the Bar Le Lido in the Alpine town of Sion. A floor to ceiling stack of apple crates poorly spray-painted black stands by imposingly, sleek American minimalism undermined by agricultural necessity and the hilarious pathos of emptiness. In “Nine Drops Of Blood”, the reckoning of all these identity politics and the specter of America’s cultural legacy is seen through the ritualistic scarification of teen angst, straight onto one of Carron’s signature clocks, the closest he comes to a personal brand.

Installation view Valentin Carron Pergola- Monsieur Palais de Tokyo, Paris February 19 – May 16, 2010 Photo- André Morin

Valentin Carron was born 1977 in Martigny, Switzerland, where he lives and works. Recent solo exhibitions include “Deux épaisseurs un coin”, Centre d’edition contemporaine, Genève (2016); Kunstverein Lübeck, Lübeck, Germany (2015); Kunsthalle Bern, Bern, Switzerland (2014); Palais de Tokyo, Paris, France (2010); Kunsthalle Zürich, Zurich, Switzerland (2007). Recent group exhibitions include “La velocità delle immagini”, Istituto Svizzero di Rome, Rome, Italy (2016); Wanderlust, High Line, New York, USA (2016); Valentin Carron (curatorial), Swiss Institute, New York, USA (2015); “Champs Elysées”, Palais de Tokyo, Paris, France (2013); “Alone together”, Rubell Family Collection, Miami, USA (2012). In 2013, Carron represented Switzerland at the 55th Biennial of Venice.

Anthony McCall / Split Second, Sean Kelly Gallery

Anthony McCall / Split Second, Sean Kelly Gallery

Sean Kelly Gallery, New York
From December 14, 2018 to January 26, 2019

Sean Kelly announces Split Second, Anthony McCall’s sixth solo exhibition with the gallery. Occupying the entire space, the exhibition features two new ‘solid-light’ installations, McCall’s seminal horizontal work Doubling Back, 2003, and a curated selection of black and white photographs, a number of which will be exhibited in the US for the first time.

Anthony McCall is widely recognized for his ‘solid-light’ installations, a series he began in 1973 with the ground-breaking Line Describing a Cone, in which a volumetric form composed of projected light slowly evolves in three-dimensional space. In Split Second, McCall further expands the development of this series, creating a dialogue between two new works, Split Second and Split Second (Mirror). Split Second consists of two separate points of light emanating from the top and bottom of the gallery’s back wall. The projections expand to reveal a flat blade and an elliptical cone, which combine to create a complex field of rotating, interpenetrating planes in space. Split Second (Mirror) is a single projection in which the “split” is created by interrupting the throw of light with a wall-sized mirror. The plane of light is reflected back onto itself, creating a shifting volumetric cone, which exists seamlessly both in real space and as a reflected object.

Doubling Back, 2003, first exhibited in the 2004 Whitney Biennale, is on view in the lower gallery. This work marked McCall’s return to making art following a more than twenty-year hiatus and was the genesis of a new series of films. The piece is distinguished by the direct way in which it uses the architecture of the gallery as a framing device. Consisting of two identical animated wave drawings, the forms intersect as they travel slowly through one another, one moving horizontally, the other vertically to produce curving chambers and pockets of light that unfold against one side of the gallery.

Each solid-light installation occupies a space where cinema, sculpture and drawing overlap. The visibility of these works is dependent upon mist produced by a haze machine, inducting the spectator into a three-dimensional field where forms gradually shift and turn over time. The selection of photographs in the front gallery includes images from McCall’s most recent series, Smoke Screen, 2018, which explores moments of intersection between smoke, projected light, and photography. These images relate to McCall’s photographs from the early 1970s, a selection of which will also be on view.

Anthony McCall lives and works in New York City. In the past year, his work has been recognized with solo exhibitions at The Hepworth Wakefield, United Kingdom, and Pioneer Works, Brooklyn, New York. McCall’s solo exhibitions include: Serpentine Gallery, London, United Kingdom; Hamburger Bahnhof, Berlin, Germany; Hangar Bicocca, Milan, Italy; Musée de Rochechouart, Rochechouart, France; the Eye Filmmuseum, Amsterdam, The Netherlands; LAC Lugano Arte e Cultura, Lugano, Switzerland; Les Abattoirs, Toulouse, France; the Nevada Museum of Art, Reno, Nevada; Moderna Museet, Stockholm, Sweden; and Tate Britain, London, United Kingdom. His work has been featured in group exhibitions at the Museum Moderner Kunst, Vienna, Austria; Kunsthaus Zurich, Zürich, Switzerland; Hamburger Bahnhof, Berlin, Germany, the Hirshhorn Museum, Washington, DC; the Museum of Modern Art, New York and the Whitney Museum of American Art, New York.

McCall’s work is represented in numerous collections including, amongst others, Tate, London, United Kingdom; the Museum of Modern Art, New York; the Museum für Moderne Kunst, Frankfurt, Germany; the Hall Art Foundation, New York; the Kramlich Collection, San Francisco, California; the Museu d’Art Contemporani de Barcelona, Spain; Art Gallery of New South Wales, Sydney, Australia; the Baltimore Museum of Art, Baltimore, Maryland; the Hirshhorn Museum and Sculpture Garden, Washington, DC; the Institut d’Art Contemporain, Villeurbanne/Rhône-Alpes, France; The Margulies Collection, Miami, Florida; the Moderna Museet, Stockholm, Sweden; the Musée National d’Art Moderne, Centre Georges Pompidou, Paris, France; the Museum für Moderne Kunst, Frankfurt, Germany; Sammlung Falckenberg Collection of Art, Hamburg, Germany; SFMoMA, San Francisco, California; Thyssen-Bornemisza Art Contemporary, Vienna, Austria; and the Whitney Museum of American Art, New York.

Images > Installation view of Anthony McCall: Split Second at Sean Kelly, New York / Photography: Jason Wyche, New York / Courtesy: Sean Kelly, New York


PUBLICATION LISTED IN THE ITALIAN PRESS REGISTER BY THE SASSARI COURT OF LAW WITH REGISTRATION NUMBER 447/2017.
EDITOR IN CHIEF: ALICE ZUCCA

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