#NYC: Bruce Conner Opening @ Paula Cooper Gallery #BruceConner #PaulaCooperGallery #60s #experimental #avantgarde #film #counterculture
NEW YORK — The Paula Cooper Gallery is pleased to announce a one-person exhibition of works by renowned artist and avant-garde film pioneer Bruce Conner (1933-2008), which will be on view at 521 W 21st Street beginning May 7.
BRUCE CONNER | Opening May 7, 2013 | 521 W 21st Street
This exhibition presents a selection of felt-tip pen and inkblot drawings dating from 1962 to 2000. The works underscore Conner’s ongoing interest in abstraction and the development of an intricate visual vocabulary: undulating densities of line, kinetic geometry, plays of light and dark. A prolific artist whose interests ranged from punk rock to non-Western mysticism, Conner maintained a crucial relationship to abstraction not only his drawings but also throughout his career.
Central to the exhibition will be EASTER MORNING, considered to be Conner’s most abstract film. EASTER MORNING is a montage of dreamlike images generated from footage shot by the artist on a spring morning in San Francisco in 1966. Like the assemblages for which he first gained critical attention and the rhythmic patterning of his drawings, Conner’s films have been described as collages that explode linear narrative and produce a sense of “optical overload.” EASTER MORNING breaks with the artist’s signature deconstructive editing process. He achieved the hypnotic rhythms in camera using frame rates, camera movements, and multiple exposures; Conner called it a “perfect movie.” The film was completed in 2008 shortly before the artist’s death. It is considered his last major work.
In conjunction with the Jay DeFeo retrospective at The Whitney Museum of American Art, Conner’s 1967 short film, THE WHITE ROSE will be screened from April 25 to May 12, 2013. In 2000, the Walker Art Center in Minneapolis organized an exhibition of Conner’s work titled “2000 BC: The Bruce Conner Story, Part II.” This show traveled to the Modern Art Museum of Fort Worth, the M.H. de Young Memorial Museum in San Francisco, and the Los Angeles Museum of Contemporary Art. His works have been included in major exhibitions, such as the historic 1961 “The Art of Assemblage” at The Museum of Modern Art. His works are also in the collections of many major museums, including The Guggenheim Museum; The Metropolitan Museum of Art; The Whitney Museum of American Art; The Museum of Modern Art; The San Francisco Museum of Modern Art; Los Angeles County Museum of Art; The Walker Art Center, Minneapolis; The Art Institute of Chicago; The National Gallery of Art, Washington DC; Hirshhorn Museum and Sculpture Garden, Washington DC; and The Centre Pompidou, Paris.
This exhibition has been organized with the support of The Conner Family Trust, San Francisco and Michael Kohn Gallery, Los Angeles.
 Boswell, Peter. “Bruce Conner: Theater of Light and Shadow,” 2000 BC: The Bruce Conner Story Part II, Walker Art Center, Minneapolis, 2000, p. 27.
NYC: Tonight KAYA III - #BoskoBlagojevic #Eindhoven #47canal #concept #happening #vitoacconci #performance #fluxus #contemporaryart
July 2 - August 4, 2013
Here’s a simple game that two people can play.
Meet your friend someplace outside in a big city. Then choose a path.
The path should be circular, which means you can follow it and end up where you started. The path should take you about 10 or 15 minutes of walking to make a full circle. An example path might be a few city blocks, or an enclosed park area. Like Union Square.
Now that you’ve decided on a path, begin walking in one direction down the path while your friend walks in the other direction. It’s important to feel young when you walk.
Let your mind drift. Look at the people around you—hopefully you’ve chosen a path and a time of day that’s crowded, busy. Hopefully there are many interesting faces and buildings around you.
Don’t forget about your friend. Since you’ve agreed on the same path, you’ll meet them soon. When you do meet your friend, somewhere halfway down the path, pause for a moment with them. Stop walking and kiss your friend.
After the kiss, don’t say anything. Continue walking in the direction you were heading before you stopped. Continue down the path. Your friend should do the same, but in their own direction.
You can keep playing this game, making many circles around the same path.
The game ends when you stop meeting your friend.
47 Canal Street, 2nd Floor New York, NY 10002
summer hours tuesday - saturday / 12-6p
FOR IMMEDIATE RELEASE
MIRA DANCY: Bodytonic
June 28 - August 3, 2013
OPENING RECEPTION 28 June, 6-8 PM
KANSAS is pleased to announce a solo exhibition of Mira Dancy. Opening June 28, the exhibition will run through August 3, 2013.It’s a messy narrative loaded with cameos.
A fluid she, a statue broken up
won’t be interrupted
or be still, still
I set out to see her. A mythical she.
The seer, the teller, the siren, the body temple
of when I saw her
I thought the thigh of the dancer
is a kind of heart
pumping pulse —
she laughs at you
and you feel yourself
straining to calculate
whether the word or the wind
And which is it you want
at your back?
Which whisper unlocks your sex
with the kind of color that flares from one star
to the next
so many million years late?
Mira Dancy (b. 1979, UK) lives and works in Brooklyn, NY. She received an MFA from Columbia University, 2009 and a BA from Bard College in Annandale, NY, 2001. Her solo exhibitions include Night Gallery, Los Angeles, CA and Monya Rowe, New York, NY. Her work has also been seen in such venues as Bull & Ram, SouthFirst, Exit Art, and Max Protetch Gallery among others. Dancy has been a Guest Lecturer at Bard College and Brooklyn College and currently teaches Painting at Columbia University.
The gallery is located at 59 Franklin Street, three blocks South of Canal between Broadway and Lafayette. The closest subways are A/C/E,6,J/Z,N/Q/R and W at Canal and the 1 train at Franklin. For additional information, please contact Steven Stewart at KANSAS by calling +1 (646) 559-1423 or emailing email@example.com
K A N S A S
59 Franklin Street
New York, NY 10013
Thursday, June 27, 2013, 7:00 p.m.
Theater 3 (The Celeste Bartos Theater), mezzanine, The Lewis B. and Dorothy Cullman Education and Research Building
Presented by The Friends of Education of The Museum of Modern Art, Conversations: Among Friends explores works of art as reflections of their political and social contexts. The evening features a conversation between artists Sam Gilliam and Rashid Johnson, moderated by Laura Hoptman, a curator in MoMA’s Department of Painting and Sculpture. The program will explore Gilliam and Johnson’s work—and how it is shaped by, responds to, and reflects the artistic, historical, political, and social context of its making. Following the program, guests are invited to continue the conversation and meet the participants at an intimate reception catered by Fantasy Fare in the Cullman Mezzanine.
Rashid Johnson was born in 1977 in Chicago, IL, and studied at Columbia College Chicago and the School of the Art Institute of Chicago. In 2001, Johnson’s work was included in Freestyle, an exhibition at the Studio Museum in Harlem curated by Thelma Golden. The show featured 28 up-and-coming artists whose work Golden considered to be “post-black,” a term defined by Golden as “characterized by artists who were adamant about not being labeled as ‘black’ artists, though their work was steeped, in fact deeply interested, in redefining complex notions of blackness.” Johnson, who was 24 years old at the time and the youngest artist in the exhibition, presented photographs from his Seeing in the Dark series of portraits of homeless African American men in Chicago. The work drew critical attention, and since then, his practice has become central to the “post-black” movement. Johnson’s mixed-media work incorporates a wide range of everyday materials and objects, including wax, wood, steel, brass, shea butter, ceramic tile, books, records, VHS tapes, live plants, and CB radios. With shamanistic inspiration from both African American history and art history, many of Johnson’s more recent works employ these materials in a way that suggests an indefinite form of mysticism and a role as devotional objects. Johnson’s work has been exhibited at the Museum of Contemporary Art in Chicago, the Art Institute of Chicago, the Walker Art Center, and in ILLUMInations, the 54th International Art Exhibition of the Venice Biennale, among others. In 2009, he had a solo show at SculptureCenter in New York. In 2012 Johnson enjoyed his first major solo museum exhibition at the Museum of Contemporary Art in Chicago, had first solo show in the U.K. at the South London Gallery, and won the David C. Driskell Prize. His current solo exhibitions include New Growth at the Ballroom Marfa, TX; and his upcoming shows include Rashid Johnson: Message to Our Folks at the High Museum of Art, Atlanta, GA, and the Kemper Art Museum, St. Louis, MO. Johnson currently lives and works in New York, NY.
Laura Hoptman is a curator of contemporary art in the Department of Painting and Sculpture at The Museum of Modern Art, where she is currently organizing a career retrospective of the German sculptor Isa Genzken, and an exhibition on contemporary painting. Since joining the Museum she has organized Ecstatic Alphabets/Heaps of Language, a group exhibition of contemporary art dealing with language; Artist’s Choice: Trisha Donnelly; and, with Peter Eleey, a mid-career survey of the work of the Los Angeles painter Henry Taylor at MoMA/PS 1. Previously, Hoptman was senior curator at the New Museum where she organizedUnmonumental: The Object in the 21st Century, The Generational: Younger Than Jesus, and monographic exhibitions on Tomma Abts, Elizabeth Peyton, Brion Gysin, and George Condo. In 2004/2005 she was the director of the 54th Carnegie International, and, as a drawings curator at MoMA from 1996 to 2002, she curated the first U.S. museum exhibitions of Rirkrit Tiravanija, Maurizio Cattelan, John Currin, and Luc Tuymans among others. In 1997, she was the co-curator of Love Forever: Yayoi Kusama, a show that reintroduced Kusama to international audiences, and in 2002, organized Drawing Now: Eight Propositions, a landmark exhibition of contemporary figurative drawing.
Doors open at 6:30 p.m.
Program begins at 7:00 p.m.
Followed by a reception at 8:15 p.m.
Tickets ($35) can be purchased online, through the Friends of Education office, and at the lobby information desk and the film desk.
Conversations: Among Friends is made possible by TD Bank.
Screening: Urs Fischer
Thursday, June 27, 7pm
MOCA Grand Avenue
Directed by Swiss filmmaker Iwan Schumacher, this fascinating documentary tracks Urs Fischer’s creative process, studio milieu, and preparations for the artists first US solo museum
exhibition in 2009.
98 min, English, Swiss-German, and Italian
INFO 213/621-1745 or firstname.lastname@example.org
FREE; no reservations required
limited seating; available first-come, first-serve
ERIC FISCHL: READING AND BOOK SIGNING
Wednesday, June 26 at 7pm
Artist Eric Fischl will be interviewed by Phyllis Tuchman, a New-York-based art critic and journalist who has contributed essays, profiles, interviews, previews and reviews to such leading publications as Artforum, Artes, Art in America, Art News,Art + Auction, The Lancet, Newsday, The New York Observer, Town & Country,Smithsonian, and to the websites Artnet and Obit-Mag. She is former president of the International Association of Art Critics US and has taught at the School of Visual Arts, Hunter College, and Williams College. Tuchman served as the guest curator for Guild Hall’s exhibition Eric Fischl: Beach Life in 2012.
Following the talk, Fischl will sign copies of his new memoir Bad Boy: My Life On and Off the Canvas, a penetrating, often searing, exploration of his coming of age as an artist and his search for a fresh narrative style in the highly charged and competitive New York art world in the 1970s and 1980s.
158 Main Street
East Hampton, NY 11937
Phone: (631) 324-0806
Fax: (631) 324-2722
Box Office: (631) 324-4050
(BRU)S #THESTILLHOUSEGROUP : #ISAACBREST #NICKDARMSTAEDTER #LOUISEISNER #JACKGREER #BRENDANLYNCH #DYLANLYNCH #ALEXPERWEILER #ZACHARYSUSSKIND @ Galerie Rodolphe Janssen #GalerieRodolpheJanssen
(BRU)S THE STILL HOUSE GROUP :
ZACHARY SUSSKIND 21.06 > 24.08.13
The Still House Group is an emerging arts organization, artist-run and based in New York.
Still House supports a unit of young artists, providing them with an environment to conceptualize, produce and exhibit their work. The strong emphasis on collaboration encourages members of the group to assist, critique and formally represent one another, ultimately creating a collective drive that balances the advancement of individual careers with the growth of Still House the entity.
Founded in 2007 by Isaac Brest and Alex Perweiler as an online viewing platform, Still House has produced numerous exhibitions in New York, Los Angeles and Miami. During 2010, the group conducted an eight month residency in an abandoned Department of Transportation office in TriBeCa, and has since built a permanent, multi-faceted arts institution currently based in Red Hook, Brooklyn.
This location serves as a hub for new work, a satellite environment to the art center of Manhattan where young artists engage in a space of their own. The upcoming exhibition at Rodolphe Janssen will be the first exhibition outside the United States that will exhibit the group in its entirety.
Galerie Rodolphe Janssen
Rue de Livourne 35 Livornostraat — 1050 Brussels — Belgium
t +32 2 538 08 18 — f +32 2 538 56 60
MEDIUM (22” x 26.7”), PAPER, UNFRAMED MEDIUM (22” x 26.7”), PAPER, FRAMED WHITE MEDIUM (22” x 26.7”), PAPER, FRAMED BLACK SELECT Quantity 1 2 3 4 5 6 7 8 9 10
10 Business Days
Green Echo is a print edition based on the artist’s ongoing “dream machine” drawing project, consisting of hundreds of computer-generated drawings created in homage to the exchange between artist and poet Brion Gysin (1916–1986) and writer William S. Burroughs (1914–1997). The dream machine, was a device created by Ian Somerville in the late 1950s that uses oscillating light frequencies to stimulate the optical nerves while the viewer’s eyes are closed. Evoking the hallucinatory effects intended by Gysin’s machine, Elrod processes his original drawing into blurred images to create visual fields that resist coherence. Elrod began painting abstractions of video game imagery in the early 1990s before using computers, starting in 1997, to facilitate paintings through a technique he calls “frictionless drawing.” Elrod aligns his work with the long history of painting
TODAY @GUGGENHEIM Conversations with Contemporary Artists: #JamesTurrell with #MichaelGovan #GUGGENHEIM
Venue: Solomon R. Guggenheim Museum
LECTURES & SYMPOSIAConversations with Contemporary Artists: James Turrell with Michael Govan Friday, June 21, 2013 @ 2 pm
On the occasion of Turrell’s new site-specific installation at the Guggenheim, the artist joins Michael Govan, Director of the Los Angeles County Museum of Art and co-curator of James Turrell: A Retrospective, in conversation about the different aspects of the artist’s singular oeuvre on view in three concurrent exhibitions in Houston, Los Angeles, and New York.
SOLD OUT. Doors will open 45 minutes prior to the event and stand-by numbers are available on a first-come, first-served basis. Each person is given one number (good for one ticket), and may hold a number for one other person. After ticket-holders have been seated, numbers will be called in order and stand-by tickets will be sold as space allows. Students and interns with valid ID may purchase standby tickets at $5 discounted ticket price.
$12, $8 members, $5 for students and interns with valid ID.
Watch the live stream at 2 pm EDT on June 21.