November 15, 2013
November 8, 2013
November 6, 2013
October 11, 2013
SINCE THE MIDDLE OF THE LAST CENTURY, the magazines produced by the Chicago-based Johnson Publishing Company-most famously Ebony and jet-have visualized models of black aspiration and bourgeois achievement. At the same time, they have directed their readers' sights toward texts and photographs of transformative import, from Larry Neal's writings on black aesthetics to images of the brutalized body of Emmett Till. These periodicals, along with the company's cosmetics and hair-care lines, provided sources of employment as well as safe havens for black cultural producers forced to navigate a segregated world in an even more segregated city. For decades, visiting dignitaries who would have been turned away from white establishments regardless of their fame knew that they could find a welcome place of respite at the corporation's headquarters. With his wife, Eunice Johnson, ]PC founder John H . Johnson audaciously imagined and financially supported a modern black world that would become a tendentious model of commercialized uplift, a bulwark against racialized oppression, and an inspiring
Gesamtkunstwerk. As such, ]PC stands as a peculiar mirror to another Chicago-based corporate enterprise: namely, the practice of Theaster Gates. An ensemblic concatenation that includes performance, painting, sculpture, and video, as well as a series of urban-renewal projects, Gates's work has at times specifically evoked or cited the images and infra structure of]PC. But, more broadly and significantly, Gates's art is animated by the same tensions between social imperatives and economic exigencies that have shaped JPC's shifting fortunes. To consider his practice alongside the company's history is, then, to illuminate the contra dictions that mark the lives of black institutions, and to underscore the ongoing necessity of such formations in our own neolibera l moment, in which white supremacy's hold still seems secure even as its
means of reproduction take on ever subtler guises. Certainly, Gates is not the only artist for whom ]PC and its magazines have functioned as generative sites. Ellen Gallagher, for example, has been exhibiting modified pages from the company's publications for over a decade, while in a 2010 painting by Hank Willis Thomas, the titles Ebony and Life are neatly conjoined , underlining the shared visual logic of the two magazines' branding as well as the distance between their coverage and constituencies. In Stray Light, 2 011, a fi lm by David Hartt that is part of his larger multimedia project of the same title, the sumptuous William Raiser and Arthur Elrod- designed interiors of the JPC's 1972 John Moutoussamy skyscraper on Michigan Avenue become the ethereal stuff of latemodernist fantasia . And in a 2012 collage by Lorna Simpson, a female figure taken from the pages of Ebony is crowned with a cutout ha lo of ink that reads as both stylized coiffure and Rorschach test, its mixed gray color calling attention to and confounding the black/white binary that continues to structure racialization in America. Each of these works insists on the iconicity of its sources- the magazine logos, the company's building, or advertisements that helped fund JPC's operations- and their lasting affective punch. Read more here: http://kavigupta.com/pressitem/345
November 13, 2013
November 13, 2013
October 3, 2013
Nov 9, 2013–Mar 9, 2014
The Way of the Shovel: Art as Archaeology traces the interest in history, archaeology, and archival research that defines some of the most highly regarded art of the last decade. Consisting almost entirely of work produced after the year 2000, The Way of the Shovel re-imagines the art world as an alternative “History Channel” that is as concerned with remembering histories as it is with challenging their truthfulness.
The exhibition is arranged according to several conceptual underpinnings. In the first strand, archaeology is considered metaphorically, with an emphasis on art that takes the form of historical, often archival, research. Most of this work is photographic in nature, much of it moving-image based, and explores art’s documentary powers. Key figures in this category include Phil Collins, Moyra Davey, Tacita Dean, Stan Douglas, Joachim Koester, Deimantas Narkevicius, Anri Sala, Hito Steyerl, and Ana Torfs, among others. In the second strand, archaeology is considered more literally, in works that question the relationship between matter (stuff, things) and historical truth. This section features the sculptural work of artists such as Cyprien Gaillard, Daniel Knorr, Michael Rakowitz, and Simon Starling, as well as artworks that address the political dimension of archaeology by Mariana Castillo Deball and Jean-Luc Moulène. Two “exhibitions-within-the-exhibition” take a closer look at the towering figure of Robert Smithson, art’s quintessential searcher, and at psychoanalysis as an archaeology of the mind. In these subsections, we encounter the work of Jason Lazarus, Tony Tasset, Shellburne Thurber, and others.
Although broad in both geographic and generational scope, The Way of the Shovel also focuses on the history of its own location, Chicago. It is accompanied by a full-color catalogue featuring contributions from key critics and historians as well as from several of the participating artists.
This exhibition is organized by Dieter Roelstraete, Manilow Senior Curator at the Museum of Contemporary Art Chicago.
More info can be found here: http://www.mcachicago.org/exhibitions/next/all/324
October 2, 2013
Waterhome: We Is Somebody Else
More information about the exhibition can be found on Brand New Gallery's website here.
September 25, 2013
ARTWALK NY takes place on October 29, 2013. ARTWALK brings together artists and art lovers to help our most vulnerable neighbors as we celebrate the accomplishments of our most talented artists.
ARTWALK is organized by Coalition for the Homeless, the nation's oldest advocacy and direct service organization helping homeless men, women, and children. We are dedicated to the principle that affordable housing, sufficient food, and the chance to work for a living wage are fundamental rights in a civilized society. Since our inception in 1981, the Coalition has worked through litigation, public education, and direct services to ensure that these goals are realized.
September 24, 2013
September 3, 2013
Akin to artists such as Blinky Palermo and Daniel Buren, there is a commitment to painting that acknowledges its environment as it heightens it, its execution obliterating its autonomy. Here, as in Gurkovska’s other installations in Chicago and Berlin, abstraction transcends the picture plane and space itself is rematerialized. The exhibition space is a territorialized ground, historically and perhaps hermetically sealed as a support: objects have bloomed and dematerialized but the primacy of paint remains.
July 30, 2013
April 5, 2013
More Information: http://artdaily.org/index.asp?int_sec=2&int_new=61699&b=Roxy#.UV9B-1vF2kQ[/url]
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More information available at Art Daily.
January 17, 2013
June 4, 2013
François Pinault Collection
Punta della Dogana
Campo della Salute 2, Venice
Kavi Gupta CHICAGO | BERLIN is pleased to announce the inclusion of Theaster Gates in the exhibition Prima Materi at the Punta della Dogana in Venice. Prima Materia opens May 30, 2013. François Pinault has appointed Caroline Bourgeois and Michael Govan as the curators.
Almost 80 works from the last five decades by approximately thirty artists from the Pinault Collection will be displayed at Punta della Dogana. A dialogue between important historical movements, such as Mono-Ha and Arte Povera, will be generated and coupled with in-depth monographic presentations of works by artists such as Llyn Foulkes, Mark Grotjahn, and Marlene Dumas. A selection of challenging installations specifically conceived for Punta della Dogana by artists such as Diana Thater and Ryan Trecartin & Lizzie Fitch, as well as new pieces by Theaster Gates, Loris Gréaud, and Philippe Parreno.
The title of the exhibition, Prima Materia, means "everything and nothing, everywhere and nowhere, takes many forms". Michael Govan and Caroline Bourgeois, inspired by medieval texts on alchemy, have said, "nowadays we live in an age of global pluralism. Four basic elements of painting, sculpture, installation, and performance are all alchemized by the prima materia of media, not only the substance of film or video or the Internet, but the means of its dissemination and discussion globally."
In the catalogue of the exhibition, edited by Electa, contributions and unpublished artists interviews by Caroline Bourgeois, Germano Celant, Erich Franz, Madeleine Gins, Michael Govan, Jarrett Gregory, Fabrice Hergott, Philippe Alain Michaud, Hans-Ulrich Obrist, Adrian Searle, Franklin Sirmans, Ali Subotnick, and Jochen Volz, among others, will be included.
August 20, 2013
September 19, 2013
Gates of Horn and Ivory
September 12 – November 2, 2013
540 West 26th Street
Lehmann Maupin is pleased to announce an exhibition of new work by Angel Otero on view at 540 West 26th Street from 12 September – 2 November 2013. Otero’s second solo show at the gallery features a new group of sculptures made from steel and porcelain, two materials the artist began experimenting with in 2012. A selection of new abstract paintings will also be exhibited in tandem with the sculptures. The artist will be present for an opening reception on Thursday, 12 September from 6 to 8 PM.
September 19, 2013
September 28, 2013
September 27, 2013
On October 16, 1968, 24-year-old Tommie Smith edged out Australian Peter Norman and American John Carlos in the 200-meter race at the Mexico City Olympics, breaking the world record at the time and winning the gold medal. As the American national anthem played during the medal ceremony, Smith bowed his head and raised his black-gloved right fist in the air, while the bronze medalist, Carlos did the same with his left fist. The silent gesture against racial discrimination caused a stir at the time, inciting boos from the crowd as Smith and Carlos left the podium, along with a complaint from the International Olympic Committee. That image of the two men with their fists in the air became a symbol for human rights that meant many things: equality, freedom and progress.
Almost four and a half decades later, Smith's raised fist is back in the spotlight as the subject of Los Angeles-based artist Glenn Kaino’s conceptual work “Bridge,” which debuted last weekend at the art fair Expo Chicago, held at the city's Navy Pier. Kaino unveiled the piece as a work in progress. It included 32 gold-painted fiberglass casts of Smith's arm suspended from cables attached to the Navy Pier's vaulted ceiling. The casts formed the beginnings of a bridge that started at waist level and rose to approximately 25 feet in the air. On Sept. 21, Smith, Kaino and Los Angeles County Museum of Art contemporary curator Franklin Sirmans participated in a talk on Smith's historic gesture and Kaino’s tribute, mere feet from the display.
October 30, 2013
Works by: Anne Collier, Marcel Duchamp, Ryan Gander, Theaster Gates, Gilbert & George, Richard Hamilton, Gary Hill, Martin Kippenberger, Leigh Ledare, Aubrey Mayer, Henrik Olesen, Philippe Parreno, Josephine Pryde, Simon Starling, Rirkrit Tiravanija, Keith Tyson, Danh Vo, Andy Warhol, Ai Weiwei, Heimo Zobernig.
Curation by Thea Westreich Art Advisory Services
Revealed is the fourth in a series of exhibitions at Norman and Norah Stones' Stonescape, their property in California's Napa Valley. In keeping with each of the previous installations, artworks presented hail from their personal collection.