ARTIST TALK: TOM SACHS
FRIDAY - June 1 - 7PM
Join Tom Sachs for an informal discussion with SPACE PROGRAM: MARS co-curators Anne Pasternak and Kristy Edmunds about his artistic process, collaborations, and the inspiration behind his ongoing SPACE PROGRAM project.
Tickets: $10 / $8 Students, Seniors, Park Avenue Armory and Creative Time members
(Source: tomsachsmars.com)
12 Random profiles from 525+ Shows
http://artsinbushwick.org/bos2012/
By Katarina Hybenova
It is very easy to forget about the biggest art orgy in Bushwick and all the insanity is brings, when lying on a beach on Memorial Day. But BOS 2012 did not forget about you…. Dear Bushwickians, I hope you didn’t get sunburned, because it is ON….
Only days divide us from Bushwick Open Studios, which officially starts on Friday! Arts in Bushwick website shows 542 registered locations, which is more than ever. However, there is no need to panic! Whether you are actively participating or just visiting, we understand that you want to have the most of the weekend. Here is 5 ways how to navigate through the large number of the locations:
#1 Traditionally: Get a Map
Every BOS veteran knows that one of the most common ways of getting around during BOS, is to pick up a brochure/map that Arts in Bushwick have been producing for the event annually. Lucia Rollow (BOS 2012 co-lead) writes in her email this morning that the maps are ready to be picked up in stacks at the following locations:
Lucia’s House: 385 Troutman St #301, if the buzzer doesn’t work call 917-693-5719
Bushwick Print Lab: 1717 Troutman #204
Parallel Art Space: 1717 Troutman #220
Spread Art: 104 Meserole St
Outpost Artist Resources: 16-65 Norman St
While last year’s the map looked more like a glossy MoMA brochure, this year the map resembles a regular newspaper. We welcome this change because of the more ecological and economical paper, and also because it’s simply more Bushwick. The design is pretty and overall we like the pink color. Flipping through “a newspaper” should bring easier orientation in the large number of events, but unfortunately it doesn’t. As pretty as the design is, the map is not very user friendly. The neighborhood is divided into six zones, which is a good idea, but the paper doesn’t contain a summary of the zones nor table of contents. Very randomly, there is a map of the entire BOS (without the zone division) on page 53 between chapter Zone 3 and 4.
Among rather funny highlights belongs the fact that 56 Bogart building, arguably the most important Bushwick gallery building is called “No Name” in the paper, because the creators of the brochure didn’t know that the building is commonly referred to as 56 Bogart. The brochure contains a number of underused pages, which are either blank or randomly say “Boswijk” or display BOS logo. We strongly believe that these pages should have been used as table of contents or maps serving better general orientation.
#2 New: Smart Phone App
Arts in Bushwick have created a smart phone app, to help us navigate through festival Bushwick. This is a great idea, and we highly recommend downloading it and rely on the app rather than on the printed map. Just a little heads up, in case you own what we like to refer to as to vintage iPhone, the app won’t work. BOS app works only on iPhone 3GS and higher.
#3 Curated BOS Guides and Lists
A number of publications, including Bushwick Daily will be assembling their guides and lists of events not to be missed. This is a great way of not missing really good stuff and of relying on professional opinion of your favorite blogs and other Bushwick art geeks.
#4 Hashtag #BOS2012 on Twitter
You can instantly know and/or share what’s going on in Bushwick if you follow hashtag#BOS2012 on Twitter. Participating art spaces and studios are tweeting short blurbs and images. We created a widget to filter the tweets containing hashtag #BOS2012 and placed it in our right side bar. Is something totally worth it? Tweet it to your peers!
#5 Serendipity
It is nice to plan BOS really well, and to be on the schedule, but don’t over-plan things because you might miss on the serendipitous encounter and experiences that plain exploring brings… We promise that you will have great time in any case (maybe even the best time), if you just randomly visit houses, studio buildings are galleries by just following the BOS signs all around our pigeon town during the weekend.
PS: Big hooray to Arts in Bushwick, an all-volunteer organization who put BOS together this year! We are very well aware how much work it is, and appreciate your enthusiasm!
Article Via: http://bushwickdaily.com/5-ways-how-to-navigate-through-bos2012/
BLUM & POE
Opening reception: Friday, June 1, 6-8 pm
A Conversation with
Michael Wilkinson and Michael Ned Holte:
Saturday, June 2, 2 pm
Michael Wilkinson
“History is made by those that say ‘No’ and Punk’s utopian heresies remain its gift to the world.” (Jon Savage, England’s Dreaming: Sex Pistols and Punk Rock)
Blum & Poe is very pleased to present Michael Wilkinson’s No History, marking his solo debut at the gallery. Culling references from art history, punk rock, popular culture, and anarchism, Wilkinson creates subtly layered canvases and sculptures. For this exhibition, he has created a series of twelve red abstract paintings featuring images of the May 1968 Paris riots, which began with student protests and progressed to a general workers’ strike, bringing the entire nation to a standstill. The series is organized around a sequence of images taken from the introduction of Gordon Carr’s book The Angry Brigade and is embellished with pages depicting aspects of the conflict from aParis Match of the period. This red wall of canvases are interlocked in a continuum, effectively creating a classical frieze commemorating a battle.
A series of etched mirrors titled Dresden, part of which is also on view in the exhibition, focuses on the Allied bombing of the city at the end of World War II, a firestorm which controversially decimated a place known more as a cultural landmark than as an industrial center and killed tens of thousands of civilians. Punk impresario Malcolm McLaren and his then girlfriend Vivienne Westwood displayed images of the ruins of Dresden as wallpaper in their London shop Seditionaries. Wilkinson wanted to incorporate these same images into his works, but was unable to locate the originals. Instead, he substituted details from an image taken in 1944 of a bombed out Liverpool, extendingDresden as a metaphor for the ravages wrought upon his home city during his lifetime.
Wilkinson employs a sophisticated collage technique that reflects his multiple subject references and includes as many disparate materials: acrylic, beeswax, oil, string, digital prints, cellophane, audio-tape, Legos, and etched mirrors. His apparently simple layering of elements and monochromatic color palate coalesce the varied subjects and media to enhance his use of historical motifs. Part canvas, part mirror, and part blackboard, these structures evoke the set of influences that converged on popular culture during punk, holding up their heresies as a measure of the present.
Michael Wilkinson was born in Merseyside, UK in 1965 and currently lives and works in Glasgow, Scotland. He has had solo exhibitions at the Modern Institute, Glasgow; Daniel Hug, Los Angeles; Wrong Gallery, New York; and Yvon Lambert, Paris. Group exhibitions include Rubble Stir, Glue Factory, Glasgow; Wayfinders, 135 Castlebank Street, Glasgow; All That Is Solid Melts Into Air, FRAC des Pays de la Loire, Carquefou; and Wight Biennale, Wight Gallery, University of California, Los Angeles. His book Michael Wilkinson: 1979 was recently published by Blackdog Publishing.
Walead Beshty, Alexandra Bircken, Sarah Braman, Wolfgang Breuer, Tom Burr, Ernst Caramelle, Andy Coolquitt, Paul Cowan, N. Dash, Tony Feher, Michel François, Joe Fyfe, Kim Gordon, David Hammons, Richard Hawkins, Ann Cathrin November Høibo, Bill Jenkins, Sergej Jensen, Udomsak Krisanamis, Jason Loebs, Agnes Lux, David Moreno, Virginia Overton, Manfred Pernice, Judith Scott, Nancy Shaver, Gedi Sibony, Michael E. Smith, Josh Smith, Shinique Smith, Al Taylor, Bill Walton, Andy Warhol, Hannah Wilke, Philadelphia Wireman, B. Wurtz, Amy Yao
James Cohan Gallery is pleased to present Everyday Abstract – Abstract Everyday, an exhibition curated by Matthew Higgs, the Director of White Columns, New York. The exhibition will open onFriday, June 1, from 6 – 8 PM and will run through Friday, July 27, 2012.
In a statement about the exhibition Higgs has written:
Four years ago I was invited to Berlin to present a proposal for what would have been the 6th Berlin Biennale. (My proposal wasn’t accepted - the honors went to curator Kathrin Rhomberg, whose exhibition, “what is waiting out there”, eventually opened in June 2010.) The project I proposed had the working title Everyday Abstract – Abstract Everyday and sought, in its most fundamental sense, to consider the complex entanglements between non-representational art and everyday life.
This exhibition at James Cohan Gallery seeks to develop these earlier ideas around what I termed “vernacular” or “everyday” abstraction: that is artistic practices that actively privilege and operate in the grey area between an essentially non-representational image/object and the use of quotidian materials and processes.
Collectively the works in Everyday Abstract – Abstract Everyday seem most interested in the point at which the self-contained rationality of earlier modernist abstraction is ruptured. This sense of “rupture” – both physically and psychologically - is perhaps the prevailing aesthetic attitude that unites the otherwise highly idiosyncratic artists – and art works – brought together in Everyday Abstract – Abstract Everyday. In the work of all these artists traces of our material culture are transformed, or perhaps more accurately, re-purposed into something that is simultaneously familiar and strange.
http://www.jamescohan.com/exhibitions/2012-06-01_everyday-abstract-abstract-everyday/press-release/
Street photography is perhaps the defining genre of photographic art. Seminal works by Walker Evans, Harry Callahan, Robert Frank and Garry Winogrand display photography’s astonishing unique role in forming our perceptions of the modern world.
The Present is Paul Graham’s contribution to this legacy. The images in this book come unbidden from the streets of New York, but are not quite what we might expect, for each moment is brought to us with its double - two images taken from the same location, separated only by the briefest fraction of time. We find ourselves in sibling worlds, where a businessman with an eye patch becomes, an instant later, a man with an exaggerated wink; a woman eating a banana walks towards us, and a small focus shift reveals the blind man right behind her.
Although there are flashes of surprise - a woman walks confidently down the street one moment, only to tumble to the ground a second later - for the most part there is little of the drama street photography is addicted to. People arrive and depart this quiet stage, with the smallest shift of time and attention revealing the thread between them. A suited young businessman crosses the road, only to be replaced by his homeless alternate; a woman in a pink t-shirt is engulfed with tears, but seconds later there is a content shopper in her place.
The Present gives us an impression quite different to most street photography where life is frozen rigid. Here we glimpse the continuum: before/after, coming/going, either/or. A ‘present’ that is a fleeting and provisional alignment, with no singularity or definitiveness; a world of shifting awareness and alternate realities, where life twists and spirals in a fraction of a second to another moment, another world, another consciousness.
The Present is the third in Paul Graham’s trilogy of projects on America which began with American Night in 2003 and was followed in 2007 by a shimmer of possibility (winner of the Paris Photo Book Prize 2011 for the most significant photo book of the past 15 years). The Present takes Graham’s reputation as a master of the book form to new heights, employing multiple gatefolds to convey passages of time and the unfolding of urban life.
Dashwood Books Invite you to a
Book signing for
The Present
By Paul Graham
Published by MACK
price $70
Wednesday May 30th
6-8 pm
33 Bond Street
between Bowery and Lafayette
Tel 212.387.8520
(Source: dashwoodbooks.com)
Screening: Iwan Schumacher, “Urs Fischer,” at New Museum
Friday, Toilet Paper, the magazine by artist Maurizio Cattelan and photographer Pierpaolo Ferrari known for its cheeky, disturbing and ambiguous narratives and its high-production values, will unveil a billboard on the High Line to coincide with the launch of the magazine’s next issue.
While the High Line confirmed that there is a project by Toilet Paper being unveiled on Friday, it wouldn’t elaborate on what the project was. They’re being very secretive about the whole thing. Qu’est-ce qui se passe?
Perhaps this video, “Toilet Paper Magazine 14,” unveiled a couple of weeks ago, is a clue.
http://toiletpapermagazine.com/
-Piet Mondrian, A Note on Fashion, 1930
Fredericks & Freiser is proud to present a historical exhibition of John Wesley paintings from 1977 to 1990. Alice’s Floor: Repetition and Absence focuses on two aspects of Wesley’s paintings made during the 1980’s that are less narrative and more elemental than his earlier work.
Wesley’s large repetition paintings from this time consist mostly of simple forms such as dogs, sailboats, horses, mountains, and babies. The visual rhythm of their seriality creates a dynamic between positive and negative space and a perceptual shift from figuration to abstraction. However the overall tone of these works comes from the multiplication of the form itself and is nothing less than haunting.
Likewise, Wesley’s paintings of absence from this time period have a similar sense of disquiet. These visualizations of emptiness become internalized as emotional states. Here the two opposite modes of painting hold a similar power of psychological hieroglyphs.
