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Roxy Paine - Apparatus Named Best Show in a Commerical Gallery

April 8, 2014

Kavi Gupta CHICAGO | BERLIN is pleased to announce Roxy Paine’s Apparatus at Kavi Gupta | ELIZABETH ST has been selected by The International Association of Art Critics as the Best Show in a Commercial Gallery Space Nationally.
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Tony Tasset - Contemporary Arts Center, Cincinnati

March 28, 2014

Michael Sailstorfer & Michael Stillion
Opening Celebration of Michael Sailstorfer: Every Piece is a New Problem and Shall I Tell You the Secret of the Whole World? curated by Michael Stillion and featuring Samuel T. Adams, Sarah Blyth-Stephens, Mark Fox, Zachary Herrmann, Kim Krause, Chris Land, Mollie Oblinger, Todd Pavlisko, Tony Tasset and Rondle West.
Cocktail Reception: 6 pm

Artist Talk with Michael Sailstorfer: 7 pm

CAC Members Only
Opening Party: 8-11pm
Cash bar and performance by Mandy Schmitzel and the Dancin' Mandies.

CAC Members- Free, Non-Members $10.*
*Receive and redeem CAC Currency at the event for free admission!

March 29th, 2014 6:00 PM through 11:00 PM
44 E. 6th Street
Cincinnati, 45202
United States

Jessica Stockholder now represented by Kavi Gupta CHICAGO | BERLIN

March 25, 2014

Kavi Gupta CHICAGO | BERLIN is pleased to announce its representation of Jessica Stockholder (b. 1959). With an approach to art making that has consistently interrogated the intersection of the pictorial and the physical, Stockholder’s work has played a crucial role in widening the dialogue between sculpture and painting. Her multi-media apparatuses incorporate the spaces in which they are conceived – works have scaled and transformed everyday objects, covered floors, grown up walls, and even expanded out into the urban landscape.

Stockholder’s arrangements defy categorization and are underpinned by a logic that probes its viewers to consider the very ‘sculptural-ness’ and ‘visual-ness’ of the encounter. As a highly acclaimed thinker, her formal decisions balance attention to the nature of perception and our experiences of chaos and control, inspiring questions in relation to our frames of understanding. Through probing the very tangibility of what’s conceived and experienced, Stockholder’s work deals with our fundamental interaction with art, form, space and location.

Stockholder is currently the The Raymond W. & Martha Hilpert Gruner Distinguished Service Professor and Chair of the Department of Visual Arts at The University of Chicago. This position was assumed in 2011, after 12 years as Director of the Sculpture Department at the Yale School of Art. Stockholder was at the forefront of the Yale MFA which nurtured some of the most progressive US-based artists of the last decade.

Recent works include Cross Hatch - a visual reconfiguration of Fourth and State Streets in San Francisco for SFMOMA’s Project Los Altos. Stockholder blanketed the street and road markers with painted geometric patterns, which fracture and split the landscape.

Jessica Stockholder lives and works in Chicago, IL. She has exhibited widely in North America and Europe, at such venues as the Dia Center for the Arts, the Centre Pompidou in Paris, the Open Air Museum in Belgium, the Power Plant in Toronto, Canada, the Whitney Museum of American Art; P.S. 1, New York; SITE Santa Fe; the Venice Biennale; Kunstmuseum St. Gallen; 1301PE Gallery in Los Angeles and Mitchell-Innes & Nash Gallery in New York. Her work is represented in various collections including the Art Institute of Chicago, the Albright-Knox Art Gallery, the Corcoran Gallery of Art, the Whitney Museum of American Art, LACMA, the Vancouver Art Gallery, and the Stedelijk Museum in Amsterdam. She has received numerous grants including the Lucelia Artist Award from the Smithsonian American Art Museum, a Guggenheim Fellowship, and Anonymous Was A Woman in 2012. She received her B.F.A. from the University of Victoria in Canada in 1982, her M.F.A. from Yale University in 1985, an honorary Doctor of Fine Arts degree from the Emily Carr College of Art in 2010, and an honorary Doctor of Fine Arts degree from Columbia College in 2013.

Jessica Stockholder's first exhibition with the gallery is forthcoming.

For further information on Jessica Stockholder please contact the gallery., 312.432.0708.

Mickalene Thomas now represented by Kavi Gupta CHICAGO | BERLIN

March 19, 2014

Mickalene Thomas is now represented by Kavi Gupta CHICAGO | BERLIN

Kavi Gupta CHICAGO | BERLIN is proud to announce its representation of New York based artist Mickalene Thomas (b. 1971). Drawing from a long study of art history and the classical genres of portraiture, landscape and still life, Thomas' political and pop-culturally infused imagery explores constructed notions of identity and the self. Her multi-referential work presents a complex viewpoint on what it means to be a contemporary woman. Best known for her elaborate rhinestone-encrusted paintings, Thomas’s works explore space, pattern and identity through representations of figures and décor and question popular notions of beauty and embodiment from a fragmented perspective.

In Mickalene Thomas: Origin of the Universe at the Brooklyn Museum of Art in 2012-13, the film Happy Birthday to a Beautiful Woman, premiered. This short documentary, a poignant portrait of Sandra Bush, Thomas's mother, has since been screened internationally and aired on HBO in 2013. Bush was both mother and artistic muse to Thomas, modeling for and appearing in some of her most well known paintings. This sophisticated film continues her thoughtful investigations into the transience of female representation. These explorations are echoed in Thomas’s recent collaged compositions of evocative interiors aimed at challenging conventional notions of domesticity and personal space.

Mickalene Thomas (b. 1971) lives and works in Brooklyn, NY. Thomas has exhibited extensively both nationally and internationally including her upcoming exhibitions Face à Face, 2014, George Eastman House, Rochester, NY and Femme au divan II, 2014, l'Ecole des Beaux Art, Monaco. Recent select solo exhibitions include faux real, 2013, Norton Museum of Art, West Palm Beach, FL; Origin of the Universe, 2012 - 13, Santa Monica Museum of Art, Santa Monica, CA and Brooklyn Museum of Art, Brooklyn, NY; Mickalene Thomas, 2012, Fontene Demoulas Gallery, Institute of Contemporary Art, Boston, MA; How to Organize a Room Around a Striking Piece of Art, 2013, Lehmann Maupin, New York, NY; Mickalene Thomas: Mama- Bush: One of a Kind Two, 2011, Hara Museum of Contemporary Art, Tokyo, Japan; Put a Little Sugar in my Bowl, 2011, Susanne Vielmetter, Los Angeles, CA. Thomas earned her MFA from Yale University in 2002, and a BFA from Pratt Institute in 2000. In 2002-03 she participated in the Artist-in-Residence program at the Studio Museum in Harlem, and in 2011 she was a resident at the Versailles Foundation Munn Artists Program in Giverny, France.

Mickalene Thomas' first exhibition with the gallery is forthcoming.

For further information on Mickalene Thomas please contact the gallery., 312.432.0708.

Tony Tasset - New York Magazine Critics' Pick

March 25, 2014

Artist Tony Tasset's 2014 Whitney Biennial piece, The Artists Monument, has been selected as a Critics' pick by New York Magazine.
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José Lerma - Saatchi Gallery

March 20, 2014

Artist José Lerma has been selected to participate in a group show at the Saatchi Gallery in London. The show, entitled Pangaea: New Art from Africa and Latin America, will run from April 02 to August 31, 2014.
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Tony Tasset - Whitney Biennial 2014

November 15, 2013

Kavi Gupta CHICAGO | BERLIN is pleased to announce that artist Tony Tasset has been selected for the 2014 Whitney Biennial, hosted by the Whitney Museum of American Art. The 2014 edition of the Whitney Biennial will be curated by Michelle Grabner, Anthony Elms, and Stuart Comer, each of the three curating a single floor of the Biennial. Tasset will be creating a large-scale outdoor sculpture in Hudson River Park.

José Lerma - The Seen & New York Times Style Magazine

March 12, 2014

Artist José Lerma's two new shows, Robusto Parasite at the Roberto Paradise gallery in San Juan, Puerto Rico, and Gloriosa Superba at Kavi Gupta in Chicago, IL, are the subject of national press acclaim.
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James Krone - Night Gallery, LA

February 15, 2014

Kavi Gupta CHICAGO | BERLIN is pleased to announce that James Krone will be featured in a solo exhibition at the Night Gallery in Los Angeles, California. The self-titled show will open on March 08, 2014 and will run until April 05, 2014. For more information, please consult The Night gallery official site.
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McArthur Binion, Theaster Gates - Studio Museum in Harlem

February 26, 2014

Artists McArthur Binion and Theaster Gates have been selected to participate in a group show at the Studio Museum in Harlem. The show, entitled When the Stars Begin to Fall: Imagination and the American South has been organized by Assistant Curator Thomas J. Lax, and will run from March 27 through June 29, 2014.
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Theaster Gates - Artist's Talk at SCAD Museum

February 14, 2014

Tuesday 18 February 2014, 5pm

In this lecture, titled ‘An Analog but Very Important Conversation’, Theaster Gates discusses recent work, historical moments and invented strategies related to several of his upcoming projects. The aim of the talk is to begin a public dialogue that addresses material culture, social issues and histories of spaces.

The lecture is presented as part of the 2014 deFINE ART program, 18-21 February

‘Theaster Gates: An Analog but Very Important Conversation’

SCAD Museum of Art
601 Turner Blvd
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McArthur Binion - Contemporary Art Museum Houston

February 1, 2014

McArthur Binion's work will be on display in Black in the Abstract, Part 2: Hard Edges/Soft Curves at the Contemporary Art Museum, Houston.
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Glenn Kaino - Studio Museum in Harlem

January 23, 2014

Artist Glenn Kaino's work will be on display at the Studio Museum in Harlem, New York as a solo exhibition entitled 19.83. The exhibition, organized by Assistant Curator Naima J. Keith, will be opening on March 27, 2014 and will run until June 29, 2014.
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Theaster Gates - The New Yorker

January 14, 2014

Theaster Gates has been featured in the January 20, 2014 issue of The New Yorker. The eight-page feature, written by John Colapinto, is entitled "The Real-Estate Artist: High-concept renewal on the South Side." In the feature, Colapinto examines the politics, narrative, and craft of Gates' multifaceted practice, while exploring both Gates' personal history and his plans for the future.
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Scott Reeder - ArtForum International

January 14, 2014

Scott Reeder's 2013 exhibition with Lisa Cooley, NY, has been reviewed by Caroline Busta in the January 2014 issue of Artforum International magazine.
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Glenn Kaino - Art Matters Foundation

January 28, 2014

Artist Glenn Kaino has been selected as one of the 2013 Grantees by the Art Matters Foundation. Since 2007, the Art Matters Foundation has been awarding grants to artists whose work pushes aesthetic and social boundaries. Kaino was one of the 2013 selection thanks to his 19.83 project.
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Scott Reeder - 356 Mission Los Angeles

January 28, 2014

Artist Scott Reeder's work will be on display at 356 Mission in Los Angeles as part of a self-titled solo exhibition. The exhibition will debut a new film by Reeder entitled Moon Dust, and the gallery space will feature original paintings and sculptures featured in the film. The show will be opening January 26, 2014 and will run until March 16, 2014.
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Theaster Gates - New York Times Magazine

December 20, 2013

Chicago's Opportunity Artist
Ben Austen

Six blocks from where I grew up, on Chicago’s South Side, the artist Theaster Gates showed me a neo-Classical ruin, a Prohibition-era bank shuttered for 33 years that I only ever registered vaguely as a part of the area’s enduring blight. “That’s my bank,” he announced with a flourish, pointing proudly to its glazed terra cotta and its ornamental eaves. Maybe it requires an artist to picture the possibilities in such a wreck, or a real estate developer to envision its promise. Gates, 40, is both at the same time, an enormous dreamer canny enough to make his outlandish ideas for the neighborhood a reality. When the bank was days from demolition, Gates spoke with Mayor Rahm Emanuel, whose brother, Ari, owns several Gates pieces; the city agreed to sell the abandoned building to Gates for $1, with the stipulation that he come up with the $3.7 million necessary for its renovation. A portion of that money, Gates devised, would be made from the bank’s original marble, which he cut into individual “bond certificates” engraved with an image of the building, his signature and the words “In ART We Trust.” He created 100 tablet-size bonds, selling them for $5,000 apiece; larger slabs, as weighty as tombstones, went for $50,000. Because they’re works of art, Gates told me, the marble will actually increase in value, functioning like real bonds. “So, yeah, it’s a bank! The bank should continue to make currency. I want it to have a banking function.”


Roxy Paine - ArtReview

December 12, 2013

If you were asked to create a diorama that represents the social, political and economice conditions of twenty-first century America, what would you put it in? A white kid looking at an iPad hwile his Filipina nannny makes his bed? A group of methheads in the cereal isle of Walkmart? There is so much to cover, as so few ways to do so without being either superficial or offensive. In Apparatus, Roxy Paine does the task justice. Through two full-scale wooden dioramas of a control room (a composite of different kinds: air-traffic control, power plant, recording studio) and the interior of a fast-food restaurant, Paine evokes so much of what drives American society today- control, complacency, greed, excess, ignorance. He does so by replicating the sterile facades of the messy ( and some would say evil) web of systes that enable our comfortable lives. In presenting them here devoid of the human presence that would acivate them, and meticuously hand-carved out of birch and maple, Paine asks us to contemplate their true nature. But rather than being imbued with a sense of wabi-sabi, a Japanese concept having to do with finding enlightenment in tht eimperfect, which the press release claims is central to Paine’s practice,I ended up feeling powerless in the face of the powerful apparatus that Americans service, to the detriment of their own health and happiness.

With the breathtaking Control Room(all works 2013), what will come to mind first - at least for a science fiction nerd- is the bridge from Battlestar Gallactica’s eponymous spaceship. Enclosed behind a window of glass, the installation is composed of hundreds of wooden pieces, painted in mute tones of taupe and grey and resembling gas gauges, television screens, levers, telephones, switches. Behind every system that we have come to rely on (a steady water supply, waste management, the servers that store our email), along with those that we passsively accept because we think they keep us safe (drone technology, NSA spying programmes) stands such an anonyous space- an apparatus appears as inoperable as the merely symbolic shells Paine reproduces.

The fastfood counter of Carcass consists of wood so carefully carved that, for example, eveb the straw dispensers look like precious objects. The systems ebodied are dufferent than the ones in Control Rooom. Here we confront the subsided farmers and coporations that engineer our food, and who are connected to the advertising firms that rely on poverty and poor education to sell their products, and to the healthcare system that makes money off the damage done to our bodies. In essence, it’s a system that fucks us. But fast food easily stands in as well for fast fashion, ever-upgraded smartphones, McMansions- all ultimately intended-to-be-obsolete products that embody America’s voracious appetite for instsant gratification.

There’s a brilliance to how much can be addressed by two wooden dioramas. But there’s also something missing. What Paine fails to address is the system that the artworks enter by their very presence in an art gallery. The monied one that drives the top of the food chain, and which benefits the most from a smoothly running and little-questioned apparatus. Brienne Walsh
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Scott Reeder - New York Times

December 14, 2013

The folksy simplicity of the title of Scott Reeder’s fourth solo exhibition in a New York gallery befits his easygoing approach to art as well as a temperament that doesn’t mind playing dumb while waiting for you to catch up with him. The all-purpose fluidity of painting, joined with a preference for wordplay and gentle parody, may be the central theme of his work.

In the past, Mr. Reeder has favored clunky, seemingly naïve figurative images that veer between cartooning and Picasso. Lately however, he seems to have moved into a late modernist-Conceptual phase, using pasta to make big, allover (Pollock-like) abstractions and smaller (Ruscha-like) word paintings.

The abstractions are achieved by scattering uncooked (and in one case cooked) spaghetti over a canvas and adding a thin layer of yellow-green, light blue, turquoise blue, charcoal or black spray paint. Usually he rescatters the pasta and sprays again, for a blurred effect that adds more depth and a weird sense of movement (call it performative or Futurist, as you will).

In the word paintings the palette brightens to include pinks and oranges. Here uncooked spaghetti of different widths spells odd phrases of two four-letter words: “Post-Good,” “Idea Jail” and “Word Jazz.” The letters change in font, dimensionality and perspective from painting to painting. Shadows are occasionally evoked and, in “Dark Math,” Old German script is even broached. Which is to say that these works become more complicated as you think through each one. A series of sculptures are a little too jokey, but two paintings mimicking blackboards show off Mr. Reeder’s satirical gifts. This show is surreptitiously very good.
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