Carolee Schneemann
 
Flange 6rpm
 
May 11 – June 22, 2013
 
Reception: Saturday, May 11, 6-8pm
 
P·P·O·W is pleased to present Carolee Schneemann’s fourth exhibition at the gallery entitled Flange 6rpm. Originally a painter, Carolee Schneemann is a pioneer of extended media, from her explorations of ‘geometry of motion’ in Lateral Splay, 1963, the provocative group performance Meat Joy, 1964, her self-shot erotic film Fuses, 1965, and the meditation of solitary movements in Up To and Including Her Limits, 1973-76.
 
Upon entering the gallery the viewer is immersed in the projected foundry fires of Schneemann’s latest multi-sensory installation, Flange 6rpm. Seven motorized sculptural units; containing hand-sculpted components are uniquely, cast in aluminum from a lost wax process. The aluminum sculptures are not polished, but maintain a rough textured sill marked from the fire of the foundry. The sculptural units are each mounted on a motorized base which moves them at six revolutions per minute – slowly, side to side, as well as forward and back – in a continuous motion so that the sculptural elements are almost touching, creating a sense of tension and unpredictability.
 
Schneemann notes ‘The fundamental life of any material I use is concentrated in that material’s gesture — gesticulation, gestation, source of compression (measure of tension and expansion), resistance, developing force of visual action. Manifest in space, any particular gesture acts on the eye as a unit of time.' This statement reigns true to the materials of the four Dust Paintings, 1983-86, that occupy the walls of the second gallery. Degraded materials, ashes, soot, layers of dust, spilled paint, circuit boards, posit a visual correlative to the endless bombardments of Lebanese and Palestinian villages.
 
Saw Over Want, 1980-82 and Vulva’s Morphia, 1995, are composed from photographic grids separated by strips of text that accentuate and destabilize their associated images. The text in Saw Over Want, is taken from Schneemann’s childhood alphabet exercises. The words “saw”, “want”, and “over” have been repeatedly practiced. Strips of text underline images of ordinary objects and self-shot erotic body details. This contrast produces an aesthetic seepage. Vulva’s Morphia consists of thirty-six images which address normative taboos within an undulating grid of Paleolithic vulvas inscribed on rocks as well as sacred, obscene, scientific, and self-photographed vulvic images. Each sectional grid is underlined with a taboo reflection. For instance, “Vulva reads biology and understands she is an amalgam of proteins and oxytocin hormones which govern all her desires....”
 
A feature length film on Schneemann’s work and history entitled Breaking the Frame by Marielle Nitoslawska has recently been completed and shown at the Telluride Film Festival, BFI/London Film Festival, FNC Montreal, Glasgow, Cleveland and this month at the WRO Biennial, Wroclaw, Poland and Videoex, Zurich. Schneemann’s work has been exhibited worldwide, at institutions including the Los Angeles Museum of Contemporary Art; the Whitney Museum of American Art, New York; the Centre Georges Pompidou, Paris; The Reina Sophia Museum, Madrid and The Museum of Modern Art, New York. Her published books include Cezanne; She Was A Great Painter (1976); Early and Recent Work (1983); More Than Meat Joy: Complete Performance Works and Selected Writings (1979); Correspondence Course (2010) by Kristine Stiles and Imaging Her Erotics–Essays, Interviews, Projects (2002). Color brochure to accompany the exhibition with essay by Melissa Ragona.

Stux Gallery is delighted to announce Not a Rose, a solo exhibition of photographs by neo- conceptual artist Heide Hatry. Seamlessly juxtaposing flowers assembled from grotesque, immaculately manicured flesh debris and picturesque, nonchalant nature, Hatryʼs works bring aesthetics and ethics into an explosive head-on collision that is both conceptually corrosive and visually arresting.
Hatryʼs serene scenes of flowers are actually photographs of trompe lʼoeil arrangements of the offal, sex organs and other residues of deceased animals. Their simple compositions almost recall scientific illustrations, whose directed focus on the flowersʼ anatomy heightens their fragrant aroma and delicate beauty. Her commitment to recreating the physical beauty of flowers renders the viewerʼs realization of the photographs' true materiality particularly jarring. The instantaneity of photography confronts the ephemeral blossoms with the persistent momentum of death and decay, and invites viewers to interrogate our cultural conception of flowers and their function as, essentially, “sex organs for plants”. Elegant yet deeply disturbing, these works call into question the foundations of aesthetic perception (and perception in general) and the ethics of our use and abuse of living animal-plant nature.
This exhibition at Stux coincides with the new CHARTA publication: Heide Hatry, Not a Rose, which addresses the nature of our relationship to flowers with unprecedented scope. Her images and the writing of 101 prominent intellectuals, writers, and artists together channel Richard Wagnerʼs pursuit of the “Gesamtkunstwerk”, an interdisciplinary “total artwork” that offers a dynamic, holistic expression of its subject that is not constrained by the division between contemporary artistic genres. Contributing writers include Jonathan Ames, Jonathan Safran Foer, Jessica Hagedorn, Donna Haraway, Siri Hustvedt, Lucy Lippard, Robert Kelly, Kate Millett, Rick Moody, Steven Pinker, Avital Ronell, Stanley Rosen, Peter Singer, Klaus Theweleit, Franz Wright, and Luisa Valenzuela.
 
-Lucy Li
 
For further information please contact the gallery at andrea@stuxgallery.com.

Jeff Bailey Gallery is pleased to present Mark Shetabi, The Grand Tour. In new paintings and sculpture, Shetabi explores ideas about travel, transition and escape.
 
Several sculptures of Campers serve as points of departure on this tour of relics. Their exteriors are neutral in color and the windows emit a soft, glowing light. Resting on cylinders, with no attachment to a car or a truck, they could be new or old, ready for use or abandoned. Their simplicity recalls early examples of modernist architecture or sculpture.
 
Another sculpture, Arcade, is a pared down version of a video game, circa 1980. Its outer form is like a shell, a repository for a technology that was once dazzling, now obsolete. Even so, the screen still gives off a faint light.
 
Girl on a Bicycle is a painting of a girl pedaling down a sun-dappled road - a moment of leisure drawn out in the slow time of painting. It is difficult to date the image, as the girl’s clothing might be from the 1950s, ‘80s, or even today. Caspian Sea Hyatt depicts the once chic lobby of a 1970s hotel. Like other hotels before and after it, its style has become passé.
 
Other paintings and sculptures recall forms that constitute the visual white noise of the adolescent memories of the artist: a double-kick drum set on a glowing stage is modeled after a kit played by Keith Moon; or the heroic opening sequence of Stanley Kubrick’s 2001: A Space Odyssey.
 
Within this framework of the familiar and archetypal, Shetabi seeks to depict objects and images in a way that invites further consideration. Addressing these subjects through the static forms of painting and sculpture, Shetabi provides a place for resistance against the eventual disappearance of things.
 
This is Shetabi's fourth solo exhibition with the gallery. His work has been exhibited in numerous solo and group exhibitions throughout the United States. He is a 2002 recipient of a Pew Fellowship in the Arts. Exhibition reviews have appeared in Art in America, The Philadelphia Enquirer, artnet.com and other publications. Shetabi lives and works in Philadelphia, where he is Assistant Professor of Painting and Drawing at Tyler School of Art.
 
For further information or images, please contact the gallery at 212.989.0156 or info@baileygallery.com.

New York, NY. Porter Contemporary is pleased to announce Never Ending Story, a solo exhibition highlighting the new works of Jennifer Murray opening with an artist’s reception on May 23 from 6:30 to 8:30 PM, an artist talk and music listening party on May 30 and continuing through June 22, 2013.
 
Charcoal, ink, acrylic, photography and animal skulls are simply the beginning of the story to Jennifer Murray’s second solo exhibition at Porter Contemporary. Murray imagines a totemic tribute to the power of mythology rooted in nature through a digital and technical lens. Murray will explore the ways in which we experience the power of the natural world using the color white in its varied patterns as the basis for inter-connectivity. In Ornament (Falcon) the white is the micro—the construction of space around living creatures that characterizes an era of surveillance and crowding. Tempest Drawing illustrates the macro of planetary movement, of weather patterns, of the increasingly interconnected ecosystem and world. Murray continues to explore this idea throughout Never Ending Story through various mediums and juxtapositions of work.
 
“The ‘story’ in these works is my contribution to the timeless practice of harnessing the primordial power of animals and nature to express the mythology of human imaginative existence. That this mythology must constantly be reimagined and retold for each new time is what makes it never ending,” says Jennifer Murray.
 
Listing Information
 
What: Never Ending Story – Solo exhibition of new works by Jennifer Murray
 
Exhibition Dates: May 23 – June 22, 2013
 
Opening Reception with the Artists: May 23, 6:30 – 8:30 PM
 
Press Preview: May 23, 4:30 – 6:30 PM
 
Artist Talk & Music Listening Party: May 30, 6:30 – 8:30 PM (RSVP required)
 
Where: Porter / Contemporary, 548 W. 28th Street, 3rd Floor, NYC
 
Gallery Hours: Tues & Wed by appointment; Thurs 11 - 8 PM; Fri & Sat 11 - 6 PM
 
General Inquiries: info@portercontemporary.com
Press Inquires: media@portercontemporary.com
 
About Jennifer Murray
 
Jennifer Murray is originally from Livermore, California. She utilizes both her study of visual art at Carnegie Mellon University, and, more recently, her study of sociology, history, and gender politics at NYU, to construct a body of work that chronicles her personal observations of social unrest, power structures, and the fallibility of culture. In addition to multiple locations in New York City, Jennifer has shown her work in Los Angeles, Seattle, Philadelphia, Pittsburgh, Chicago, Miami, and Mermaid Beach, Australia. She has participated in International art fairs in both New York City and Miami, most recently the Aqua Art Fair during Art Basel Miami Beach. She lives and works in Bushwick, Brooklyn.
 
About Porter Contemporary
 
Launched in 2006, Porter Contemporary is dedicated to showcasing emerging and established artists from around the world whose work embodies both skill and risk taking. The mission of Porter Contemporary continues to be based on founder Jessica L. Porter‘s vision of opening contemporary art collecting to a broader audience. Over the past seven years, the gallery has earned a dedicated following of new and established collectors who value art that pushes boundaries.
 
In addition to presenting many distinctive exhibitions throughout the year, Porter Contemporary also provides art consultation services, collection management and artwork installation. Porter Contemporary is located in New York’s Chelsea district at 548 West 28th Street, just steps away from the beautiful High Line Park — like the gallery, a place to experience art and life from a new perspective.

June is an exciting month at Angora Gallery this year, with three memorable exhibitions to get the summer off to a great start. The Manifestation of Milieu shows artists taking the familiar and adding a sense of the unusual to it, with each work of art becoming a window into a world similar to ours, but where anything seems possible. In Pulse of Abstraction, a feeling of energy, movement and fulfilling life infuses the works, reaching out to touch the audience and encourage us to respond with courage and conviction. In Kaneko Johkoh's solo exhibition, thoughtful consideration merges with an attractively impulsive method to create Sumi ink paintings of power and potency. The exhibitions open on June 4, 2013 and continue until June 25, 2013, with an opening reception on the evening of Thursday, June 6, 2013. Entrance is free and art lovers are invited to attend and refresh themselves with inspiring, evocative art.
Exhibition Dates: June 4, 2013 – June 25, 2013
Reception: Thursday, June 6, 2013, 6-8 pm
Gallery Location: 530 West 25th St, New York City
Gallery Hours: Tues – Sat, 11a.m. - 6 p.m.
Event URL: www.agora-gallery.com/receptionexhibitions/6_6_2013.aspx
 
Featured Artists:
The Manifestation of Milieu
CHAREST | Jim Cobb | Carolina Ferrara | Gwen Freeman | Steven R. Hill | Gary E. Koeppel | David Rolandeau | Eduardo D. Rubin | Ivan A. Tomicic | Iryna Torskaya
 
Witness, a State of Being: Kaneko Johkoh / a Solo Exhibition
Kaneko Johkoh
 
Pulse of Abstraction
Zivi Aviraz | Ermina Avramidou | Marisa Bernotti | Sharon Brill | PAGLIUCA | Rivka Fuchs | LeeAnn Gorman | Jessica JCK | Tamera Lee | Satoshi Mima | Gerd Rautert | Donna Shaffer | Yana Yami
 
About Agora Gallery
Agora Gallery is a fine art gallery, established in 1984 and located in the heart of New York City’s Chelsea art galleries district. It is famous for showcasing a spectacular array of talented artists from around the world and around the corner, while providing quality and original art to collectors. Exhibitions are usually group exhibits, presenting the work of a number of artists, but sometimes solo exhibitions focus on the work of one particular artist. The gallery publishes ARTisSpectrum Magazine, a bi-annual magazine that is distributed to museums, galleries, art institutions and art schools around the world. It provides artists, collectors, museums, galleries, art organizations and enthusiasts with access to the work of international talented artists as well as feature articles, reviews and interviews. Agora Gallery is the proud sponsor of ARTmine, one of the most comprehensive resources available worldwide to view and purchase fine art. The gallery also runs Agora Art Blog, a blog designed to provide helpful information and advice for artists while providing a forum for artists to help one another by sharing their experiences and thoughts.

Daisy Craddock's seductively minimalist diptychs play on many senses. Seen from a distance they appear to be abstract color studies. Upon closer inspection they reveal the variation of tone and texture of individual fruits and vegetables. The left side of each pair presents the skin that first attracts our attention while the right side evokes the more subtle shades of the flesh that delights our palate. The physicality of the medium—oil pastel and oil stick layered, scraped, spread and burnished—all evidence the artist’s hand. They are sui generis incidents in much the same way that an actual rather than an idealized “Persimmon” or “Berkshire Plum” varies in patterning, surface sheen, and of course, taste.
 
Daisy Craddock a native of Memphis, Tennessee has lived and worked in SoHo for many years. She summers in the Berkshires and frequently travels to other places with equally delicious fruits and vegetables. She received her BA from Rhodes College and her MFA in painting from the University of Georgia. This is her fourth Solo Exhibition at Fischbach Gallery.

Evan’s paintings primarily focus on the purely natural California landscapes surrounding him. To Evans, the places he paints are precious. They are close to his home, while not part of his everyday life; places driven past or walked by unnoticed in the usual course of events, blending in with the neutral gray of the common place-trees invisibly growing, clouds drifting by, the river flowing on and on without calling attention to itself. For Evans, each of these places holds vibrant secrets of intimacy and grandeur which, when revealed, revives him with life sustaining energy and a peaceful awareness of being embraced and protected by the whole world.
 
“Equilibrium is a state of balance between opposing forces, influences or effects. My work in creating landscape paintings involves the art of balancing compositional elements of water to sky, sky to earth, shadow to light, and original to reflection. As a painter I seek to strike a balance between the tactility of paint on the surface of the canvas and the illusion of depth and distance. As a member of a complex technological society I struggle to balance work and play, the conflicting economic forces of art and business, and the range of emotions in personal relationships. The contemplation of pure nature and the activity of artistic expression help me to find and keep my balance.” Christopher Evans 2013
 
Born in 1954 in Bremerton, WA, Christopher Evans trained in painting, sculpture, and graphic arts at the University of California, Los Angeles. This is his third Solo Exhibition at the Fischbach Gallery.

FOR IMMEDIATE RELEASE:
Tracy Williams, Ltd. is pleased to present Richard Dupont’s third solo exhibition with the
gallery, Shadow Work. The exhibition will consist of a variety of new works in bas-relief:
sculptural enlargements of small handmade burlap paintings, altered vacuum-formed rubber
and vinyl topographical maps, and poured and peeled silicone rubber reliefs. Shadow Work
invites a variety of readings, from references to Jungian psychology, mapping and surveillance,
and the Austrian philosopher and social critic Ivan Illich’s 1981 book, Shadow Work.
For Sacco (1) and Sacco (2), Dupont used a high-resolution scanner to laser scan a small
series of elemental canvases in burlap and gesso, enlarged the originals roughly 500%, and
cast the results in white resin and marble dust. The ensuing monochromatic reliefs open up
dynamic new spaces of inquiry for Dupont: They engage abstract painting as a dialogue with
external methods and meanings, sample aspects of collage and the readymade, and extend
elements of performance into the art object. Collapsing hierarchies of media, these works are
part digital enlargement, part sculpture, and part painting. As the titles suggest, the works may
allude to Alberto Burri’s Sacco paintings, which he began making on discarded sugar sacks
while interned in an American prisoner of war camp after the Second World War.
The exhibition also includes new work based on U.S. Geological Survey (USGS) topographic
relief maps and large-scale West German relief maps. With origins in territorial boundaries, the
USGS—along with several other international bodies—has now surveyed and mapped via
aerial scanning every inch of the earth’s surface. Dupont inverts and embosses the backside of
these found rubber maps with cryptic titles appropriated from Walt Whitman poems, which he
translates into binary code. In doing so, he creates objects that are at once Orwellian and
transcendental.
Issues of mapping are further explored in Shadow Aspect (light) and Shadow Aspect (dark).
Dupont brushed rubber over a positive form based on a scan of his head, and then peeled the
rubber away as if a “skin.” Visceral and process oriented, these “skins” were collected and
assembled on wood panels, and then additional silicone was brushed and poured over them.
More unconscious and spontaneous than deliberate, the forms within these compositions may
have derived originally from a digital replica of the body, but ultimately devolve into the
scatological and formless.
Defined largely by dialectical juxtapositions, these works present simultaneous contradictory
conditions: light and dark, revealing and concealing, seen and unseen, natural and industrial,
the thing itself and its representation, the two dimensional and the three dimensional, and the
handmade and the machine made. They also extend Dupont’s exploration of the techniques of
digital and computer-assisted fabrication, as well as the broader social uses and implications
of these processes. As the critic Hunter Braithwaite writes, “In 2004, [Dupont] traveled to
Wright-Patterson Air Force Base in Dayton, Ohio, in order to truly map his body. This endeavor,
which at first seems like a Whitmanesque pilgrimage of self-discovery, is mediated through the
contemporary American military-industrial complex…the resulting data used to construct a
‘surrogate body’ is normally sold to arms contractors making blast helmets and flack jackets.
It’s also sold to big-box retailers such as the Gap looking to design clothing to fit target
demographics….the same research is equally applied to the clothing and the destruction of the
body.”1
Dupont’s work of the past few years has been characterized by strong visceral and material
content and a process-oriented approach. As he recently wrote, “I have always been much
more interested in physical, material residue than information, but technology is a great tool as
long as you disrespect it…using things, whether ideologies, machines or materials, in ways
that they were not meant to be used, can be a good way to work.”2
This fall, Richard Dupont’s work will be included in Out of Hand (Materializing the Postdigital) at
New York’s Museum of Arts and Design. His solo museum exhibitions include The Middlebury
College Museum of Art (2011) and the Hudson Valley Center for Contemporary Art (2008). His
work is included in the permanent collections of The Whitney Museum of American Art, The
Museum of Fine Arts, Boston, The Brooklyn Museum, The San Francisco Museum of Modern
Art, The Hammer Museum, The Cleveland Museum of Art, The New York Public Library Print
Collection, and The Museum of Modern Art (MoMA) among many others.
In addition to Shadow Work at Tracy Williams, Ltd., Richard Dupont will present a
simultaneous solo show at Carolina Nitsch Project Room, Going Around by Passing
Through, opening also on May 2 from 6-8 pm. The exhibitions will run concurrently and
will both consist of entirely new works in various media.
For more information, please call 212.229.2757 or email jacqueline@tracywilliamsltd.com.
1 Hunter Braithwaite, “Surveiling The Relics” World Sculpture News, January 2012
2 Richard Dupont, “Biopic” Modern Painters, April 2013

Kent Fine Art is pleased to open a special project, Hypnotherapy, in tandem with The New Yorker‘s Passport to the Arts event on May 4, from 10:00 am to 6:00 pm. Hypnotherapy, which continues through June 29, presents a multigenerational group of artists working in several media who share an intense and introspective working process:
 
Hypnosis is a way to connect with the subconscious rather than the conscious mind. The mind accepts what the subconscious creates, however bizarre. Among these artists there is a common thread of a relentless, even myopic, focus on work so personal that its intrinsic value is much greater for the artist than for the audience. Their bond lies in their obsessiveness, idiosyncrasy, and disregard for the mainstream.
*
 
JOHN BRILL (b. 1951, Newark, New Jersey) is a school-bus driver and self-taught photographer, whose work has been recently seen in exhibitions at the Austrian Cultural Council in New York and the Museum of Contemporary Photography in Chicago. He has been the co-chair of the Photography Judging Committee of the American Killifish Association since 1982 and is a former instructor with the International Center of Photography.
 
LLYN FOULKES (b. 1934, Yakima, Washington) came up in the Los Angeles art scene of the early 60s and has been both a maverick and a force to be reckoned with ever since. His recent exhibition credits include the 2011 Venice Biennial and Documenta 13. Foulkes’s current retrospective at the Hammer Museum in Los Angeles, curated by Ali Subotnick, is a tribute to his craft, his dark humor, and his relentless vision of America on the edge. The retrospective travels to the New Museum in New York, where it opens on June 12.
 
PABLO HELGUERA (b. 1971, Mexico City) is a visual and performance artist whose projects have included a school that traveled from Anchorage to Tierra del Fuego, complete with portable schoolhouse; the recording of dying languages on wax cylinders; a memory theater; and the founding of the Instituto de la Telenovela. His work has been seen most recently at CIFO in Miami, the 2012 Havana Biennial, and the Centro de Arte Reina Soffia in Madrid. Helguera‘s first solo show with Kent Fine Art will open in September 2013.
 
DAVID LYNCH (b. 1946, Eagle Scout) was studying at the Pennsylvania Academy of Fine Arts, painting “figures just sort of coming out of the darkness,” when he made his first film, in 1966: “The only reason I did a film the first time was to see a painting move . . . and feel a mood.” In the 70s Lynch began to work seriously in film and made his name with Eraserhead in 1977. Although he went on to make many more acclaimed films, he has continued to paint and exhibit. In 2007 the Fondation Cartier in Paris mounted a forty-year survey of his art, film, and music.
 
JILL SPECTOR (b. 1976, York, Pennsylvania) has called her sculptures both “performers” and “performances” . . . and has even referred to a sculpture as “she.” Working in improbable combinations of materials, she builds movement from the inside out, in open structures that offer audience and backstage views. Spector’s work was included in the recent exhibitions Drawing, Stretching, and Fainting in Coils, curated by Diana Thater for the Bayerische Staatsoper in Munich, and Made in L.A. at the Hammer Museum in Los Angeles.
 
Special Appearance by ALEISTER CROWLEY.