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.

Studio10 is pleased to present The Devil Tricked Me, an exhibition of work by Matt Freedman. The exhibition is organized around the recent publication of Relatively Indolent but Relentless, a graphic journal Freedman wrote last Autumn.
In July 2012 Freedman learned that he had Adenoid Cystic Carcinoma, a rare and slow growing cancer. Treatment entailed thirty-five days of radiation and weekly doses of chemotherapy over seven weeks. Just before treatment, a friend gave Matt a blank notebook and suggested he should fill it up. Matt did complete the therapy and the notebook as well. He said, “It seemed like it would in the end give me the last laugh over my cancer treatment.” This exhibition serves to extend Freedman’s experience of his treatment, the subject of the journal, into the six months that have now passed between the end of treatment and this exhibition’s opening.
All thirteen works take as their subject bad luck. This idea is embodied in Freedman’s iconic constructions that portray folk admonitions. These signs seek to control bad luck by taking such precautions such as avoiding walking under ladders or opening umbrellas indoors. Another significant component of the show is the notion of disability. Freedman continues to feel side effects from his treatment as well as from the drugs he takes to quell those effects. Though functioning effectively, the fact that he should not drive because the narcotics would render him technically “under the influence” is for Freedman an objective marker of what he feels and knows to be true: He is not himself or at his best.
The idea of disability is communicated by hand written signs of explanation, which function as the conceptual framework for the exhibition. Freedman’s sign details the reasons for the restrictions he placed upon himself for the creation of the work: each work consists of totally “de-skilled” labor. He collected objects either from the street; broken umbrellas and cigarette stubs, or from his house and studio; A couch, a collection of pennies. He also allowed himself to use components from previous work repurposed for the show.
Matt Freedman is a sculptor, performer, writer and curator. He has exhibited with Valentine Gallery, Pierogi Gallery, vertexlist, Flipside, Fivemyles, The SculptureCenter and Long Island University. Venues of performances include PS 1 MOMA, The Brooklyn Museum, The Kitchen, Brooklyn Fireproof, Brooklyn Academy of Music at Fivemyles, Galapagos Performance Space. He teaches at the University of Pennsylvania and has taught at The University of Iowa, Parsons the New School for Design, The Pratt Institute, The Rhode Island School of Design. NEA Sculpture (1987, NYFA, Fiction (2000). Freedman has written for Art News, Review and Cabinet, among others. For more information and images, please contact Annelie McGavin at (718) 852-4396.

Susan Inglett Gallery is pleased to present new works by Marcia Kure in her second solo exhibition with the Gallery from 9 May to 15 June 2013. A reception for the artist will be held Thursday evening, 9 May from 6 to 8 PM.
 
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We feel content and safe within the confines of the world we understand. “Tease” intends to poke holes, cut into, and fragment the perceptual matrix that is our world; daring the viewer to imagine existential possibilities beyond the familiar and the ordinary. “Tease” is a populated space, a universe of hybrid bodies and masked and secret things existing at the very edges of our daily lives.
 
The realities described by drawings, collages and sculptures in “Tease” are only imaginable through access to terrifying and exhilarating knowledge-knowledge we gain by prying open the locked closet, gazing into the dark sky, chanting a ritual song, or opening closed windows of the mind.
 
With familiar objects such as children's toys, kitchen utensils, bed sheets, rugs, and other common household items, “Tease” probes our fear of the unknown and the hidden, and tickles the pleasure of revelation. It asks the question: to what extent does the acquisition of more knowledge contribute to the (un-)making of the human? What is the existential value of curiosity, that primal urge to peer into the unknown? What desires are fulfilled or lost in encounters with partially obscured images and objects on the verge of disappearance/recovery?
 
“Tease” is a place of possibility, a space of becoming; it is an unsettling, off-kilter space, not unlike the world outside. It is at the moment of our greatest discomfort when we are compelled to ask the most important questions about our lives, and our world.
 
“Tease” is that place.
 
- Marcia Kure
 
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Born in Nigeria, Marcia Kure has appeared in museum and gallery exhibitions in Nigeria, Germany, the United States, Spain, the Netherlands, United Arab Emirates, Japan, Canada, Austria, and Switzerland. Most recently her work was featured at the Palais de Tokyo in the Paris Triennial 2012; “The Art and Legacy of Fela Anikulapo Kuti” at The New Museum, NYC; The 7th Sharjah Biennale; and the 2nd Seville International Biennial curated by Okwui Enwezor. Reviews have appeared in the New York Times, The New Yorker, the New York Observer, Time Out, Frieze, Nka: Journal of Contemporary African Art, African Arts and Flash Art among others. The work will be exhibited next in a three person exhibition at the Kemper Museum of Contemporary Art, Kansas City in the Fall.
 
The exhibition will be on view at the gallery located 522 West 24 Street Tuesday to Saturday 10 AM to 6 PM. For additional information please contact Susan Inglett Gallery at 212/647-9111, or info@inglettgallery.com

 
Team (gallery, inc.) is pleased to present an exhibition of new paintings by Köln-based artist Andreas Schulze. The exhibition will run from 17 May through 23 June 2013. Team (gallery, inc.) is located at 83 Grand Street, cross streets Wooster and Greene. Concurrently, our 47 Wooster Street space will house a group exhibition organized by Todd von Ammon.
 
Andreas Schulze’s practice has most frequently resulted in immersive installations that simulate domestic settings, such as that mounted at Team’s Wooster Street space in April of 2012. Schulze appropriates familiar modern design typologies and manipulates their aesthetics into bulbous cartoonish forms, creating environments that are simultaneously familiar, uncannily bizarre and somewhat ominous. For this exhibition, Schulze has created a new cycle of paintings, all representations of windows, which play with art historical attitudes towards the authority of perception. They will be presented here within a standardized white-cube setting, thereby undercutting their illusionistic tendencies.
 
Particularly in the Baroque era, painters tested their mastery by creating trompe l’oeil tableaux, literally fooling their viewers into believing that the painting in front of them was a real, tangible mise en scene. A genre of window paintings developed from this tradition, where the frame of the painting became analogous to the frame of a window; the actual painting was supposed to represent a vista and create the same sensation as looking out of an actual window. Schulze carries forth with this tradition, reducing it to its formal essentials: frame, rendered in his typical bulbous style, and view, completely sfumato and flattened. His windows complexify the tradition of the landscape in painting history by introducing a more contemporary notion – the void. Drained of scenery, these muted vistas subvert our expectations and create, in Schulze’s own words, “a feeling of yearning by means of perspective.”
 
Five of the paintings feature handles on the frame of the window, as if to invite the viewer to open them. The two large-scale paintings in this cycle deviate from the rest and give way to views of ambiguous spaces. Through one set of windows the viewer sees an interior courtyard, while through the other, one sees simplistically rendered vines climbing the façade of the building from which the viewer is “looking.” The imagery in these paintings is opaque enough that, while they establish a plausible setting (perhaps a country villa), they resist the creation of a narrative. In this sense, these paintings reveal a kinship with the landscapes of de Chirico and Magritte; they are barren and seem to point to an underlying melancholic psychology, as well as a metaphysical sense of dislocation between past and present. Alarmingly sharp contrasts between light and shadow create an aura of poignant yet foreboding mystery in an otherwise blank scene. To gaze into a Schulze Window is to gaze into the joyously inscrutable.
 
Schulze destabilizes our intimacy with familiar, mundane subjects to question not only our relationships with these objects but the very nature of seeing. Emerging in the fertile Köln scene of the 1980s, during a renaissance of painting, Schulze became associated with a group of young painters of the Mülheimer Freiheit, the name of a shared studio in which they exhibited their work. This group included the painters Hans Peter Adamski, Peter Bömmels, George Condo, Walter Dahn, Jiri Georg Dokoupil, Gerard Kever and Gerhard Naschberger. Though working closely and frequently collaborating with these peers, Schulze has developed an anomalous and haunting painting practice whose influence is more and more widely regarded.
 
Schulze was born in Hannover in 1955 and has been exhibiting his work since 1981, his longstanding relationship with gallerist Monika Sprüth beginning in 1983. Schulze’s work has been exhibited at museums internationally including the Museum of Modern Art in New York, the Tate Museum in London, the Kölnischer Kunstverein, the Solomon R. Guggenheim Museum, Kunstaele in Berlin and at the Kunstverein and the Sammlung Falckenberg, both in Hamburg.
 
Gallery hours are Tuesday through Saturday, 10am to 6pm, Sunday noon to 6pm. For further information and/or photographs please call 212 279 9219.

 
Team (gallery, inc.) is pleased to present a group exhibition entitled Old Black organized by Todd von Ammon. The exhibition will run from 06 June through 26 July 2013. Team (gallery, inc.) is located at 47 Wooster Street, cross streets Broome and Grand. Concurrently, our 83 Grand Street space will house a solo exhibition by Andreas Schulze entitled Windows.
 
“They set forth in a crimson dawn where sky and earth closed in a razorous plane. Out there dark little archipelagos of cloud and the vast world of sand and scrub shearing upward into the shoreless void where those blue islands trembled and the earth grew uncertain, gravely canted and veering out through tinctures of rose and the dark beyond the dawn to the uttermost rebate of space.” (1)
 
Named after Neil Young‘s most used guitar — a worn out, heavily modified 1953 Gibson Les Paul Goldtop — Old Black is an ensemble of works by artists whose shared tactic is the abuse, distortion and misuse of standardized methods of making. The collaborative strategy of the show is to evoke a mood that ricochets between an abject melancholy and a jagged tension as commonly reflected in filmic visions of dystopia. Old Black could be viewed as a display of artwork culled out of a used-up and burned-out occidental landscape — a future we’ve already seen and bonded with through the pessimistic but curious lenses of film and literature.
 
Old Black will include sculptural objects and spatial interventions by Harold Ancart, Edith Dekyndt and Banks Violette; photographs by Jack Pierson and Mariah Robertson; and paintings by Robert Janitz and Donald Moffett.
 
Gallery hours for this exhibition are as follows:
 
Wednesday through Saturday, 10am to 6pm and Sunday, noon to 6pm, during the month of June.
 
Monday through Friday, 10am to 6pm during the month of July. (Please note: Additionally, the gallery will be closed on 04 and 05 July.)
 
For further information and/or photographs please call 212 279 9219.
 
(1) McCarthy, Cormac. Blood Meridian: Or the Evening Redness in the West (New York: Vintage, 1992), p. 46.

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