—- Tsarina Katarina, fetch the tuning fork for Clover’s twittering machine. From where I transcend as this manger’s manager, a proper script morphs twins as badgered duplicate, batty cinemaddicts, prickling neckbraces. Speaking insectually, freckly Shawnique may borrow your legs and you her arms, drawing upon truncated centipede haunting walls that encircle the garden that belongs to the vicar of vicariousness.
 
—- Ya, ya. Truly trivial, but trivially true, too.
 
—- Please step forward. C’mere! C’mon. Feel right at home.
 
—- Thanks, but my trusty rifle’s a trifle rusty. Thump desire. Sunshine, so tickled when Hapsburg snow melted. Shy eyes lie. Ree and Tomas bow their heads, now braver than any war world apart. Kiss bonded, mind and heart weaving silken shrapnel.
 
—- Attendez! Close your yap! Show some respect! Through corridors fire ants wriggle and sashay through the U.S. of A., a story line that hammers vital organs into teasing shrugs after the annunciatory blue angel smoke releases. Far behind the braided ropes please linger.
 
- Charles H. Lynch

Rosanne Olson
Rapture ( series )
May 8 – June 16, 2013
 
The Robin Rice Gallery is pleased to present Roseanne Olson’s third photography exhibition, Rapture. The opening reception will be held Wednesday, May 8th, from 5:30 PM to 8:30 PM.
 
“The magic of the pool—the un-weighted body, the solitude, the distortion, that has always fascinated me.” In the invitational image, Bournee, a woman is suspended in soft hues of blue water but appears to be floating upwards, ascending into the clouds. Arabesque, her model in the pool is turned gracefully upside down, arms outstretched, in a gossamer dress fanning against the backdrop of faint clouds in the sky. Her color images come off dreamy, surreal and mysterious. In most of the images there are reflections on the water and refractions of light, like watercolors bleeding together, with undefined shapes leaving us with more with the feeling of a painting.
 
Olson describes Rapture as, “a biography of my dreams,” intrigued by the world that lies just beyond our consciousness—where time shifts, gravity loosens and we slip into dreaming. She conveys the dreams she’s had since childhood—women donning 100 year-old vintage dresses suspend languidly as though they are defying space and time, floating through the sky. In reality, Olson is photographing them from above in swimming pools in Seattle, Oregon, where her female models appear to be tumbling and turning, falling and slipping out of dresses. The effect is ethereal. Her models could be construed as angels.
 
Despite each image’s balanced composition, Olson claims the process of capturing floating objects on film is haphazard and spontaneous. She shoots instinctively on the fly, reacting as clothing and body position continually change. Yet when it comes to her models she strives to create a meditative situation, “the subjects need to be relaxed so the water is calm, which is hard to do when gravity is pulling down.”
 
Rosanne Olson works in both fine art and commercial photography. She obtained her master's degree in journalism from the University of Oregon. Over the past 25 years, her photographs have won many awards and were included in numerous photography annuals including, Graphis and the cover of Communication Arts. Her work has also been featured in View Camera Magazine, Lens Work and Photo District News. In 2008 Rosanne authored a book titled, “This is Who I Am—Our Beauty in All Shapes and Sizes,” a book about women and body image. She teaches lighting, portraiture and creativity at various photographic schools, colleges, and conferences. Roseanne is represented by Robin Rice Gallery in New York and galleries in Aspen and Boston. This is her third solo show at the Robin Rice Gallery.
 
To view all the images from the exhibition go to www.robinricegallery.com

The Hole is proud to present the second solo exhibition by Holton Rower at the gallery where we will present a selection of new pour paintings and debut a new body of work, “focus paintings."

The Hole is proud to present a sister exhibition to our current survey of figurative painting, XSTRACTION, that surveys new approaches to abstraction. Expanding upon the themes introduced in the two exhibitions at Deitch Projects “Substraction” curated by Nicola Vassell and “Constraction” curated by Kathy Grayson, this show will present all the various strategies young and established artists are using to make abstract painting exciting and urgent. The exhibition will be accompanied by an “encyclopedic” book of the same title available June 1.

“…I’m beginning a new book to have a companion, someone with whom I can talk, eat, sleep, at whose side I can dream and have nightmares, the only friend whose company I can bear at the moment.” —Hervé Guibert
 
To The Friends Who Saved My Life,
…an exhibition prompted by the introduction of Francesca Woodman’s work to Heinz Peter-Knes and Danh Vō. They in turn suggested a parallel to Hervé Guibert, unknown to us at the time. About a year later, we learned that Nightboat Books, the companion enterprise to Callicoon Fine Arts, was newly engaged with Guibert translations, a publication plan that in turn prompted the gallery to introduce Guibert’s photographs to an American audience. Shared images and writings closed a circle that we hadn’t known of before, including our own works, those of Rona Yefman, an Israeli photographer living in New York, Heinz, Danh, and a single Francesca Woodman, as our starting point.
 
Guibert’s best known book, To the Friend Who Did Not Save My Life, is a memoir of crisis and roller-coaster years of rushing between doctors and lovers. With extraordinary recall and dispassion, that is, with a photographic voice, even towards his own diagnosis and decline, Guibert maps the early years of the AIDS crisis. In those times when human friends became “friend[s] whose company I can bear at the moment,” perhaps it was photography that eased them through the door.
 
Among the many formal similarities between Woodman and Guibert, it should be noted that both spent time living and photographing in Rome, where Heinz and Danh were recently in residence, and that the images Woodman and Guibert made there are steeped in its light and shadows. Rona Yefman did not know of Guibert, but she was known to us through her extended photo essay on her brother, and through a pair of striking one-minute films. Moyra’s bottles, Jason’s Polaroids and Rona’s sibling study, all keep the images close to home. Danh and Guibert absorb the Villa Medici residence through its physical effects upon its residents, past and present: the erotics of place carry by association, the knowledge of who was there before. So too does Heinz’s discovery of his own face plastered on the red-lit bathroom wall of a bar, and in his portfolio of black and white prints. Seemingly following an order that appeared in the unedited rolls of 35mm film, flared end frames included, Heinz’s box of prints return us back to the place of the photographer sorting the moments of seeing.
—Jason and Moyra
 
To The Friends Who Saved My Life: Moyra Davey, Hervé Guibert, Heinz Peter-Knes, Jason
Simon, Danh Vō, Francesca Woodman, Rona Yefman
 
Exhibition dates: May 19 - June 21, 2013.
Opening reception: Sunday, May 19th, 6 to 8pm
 
CONTACT: Photi Giovanis, info@callicoonfinearts.com, 212 219 0326

Jacob Love - “STATES”
Exhibition dates: April 26 to June 21, 2013
Opening Reception: April 26, 6-8 PM
Artist talk: April 27, 2-3 PM
 
Leslie-Lohman Museum of Gay and Lesbian Art
Wooster St. Window Gallery
26 Wooster Street, New York NY 10013
 
“STATES,” by London based photographer Jacob Love, is a project of landscapes and portraits and a work in progress inspired by the utopian scenes in the Jehovah's Witness magazine, “The Watchtower.” Inverted landscapes depict the same continental landmass photographed in different physical states of being, suggesting that the only consistent truth is change. Figures in his portraits emerge from darkness re-enforcing the idea that to come out as “queer” is not a single act, but a continual process celebrating the notion of differentiation. “STATES” on view twenty-four hours a day in the street level Wooster St. Window Gallery located at 26 Wooster Street, New York City.

Sheryo and YOK created a body of work that portays the modern world using an ancient technique – painting on porcelain vases. They combined eastern & western elements to portray the values of ideology, devotion, relationships, dharma and karma, depicting a narrative from the rich tales of their journey in SEAsia. They re-interpret the traditional folklore and fables of old Chinese times by injecting their own personal stories with their iconic styles. They use a variety of media to bring these stories to life including the treasured fine art of porcelain vase making. Working in the very factories that have produced these exquisite vases for centuries they paint their warped characters and modern stories using the same age old techniques that produce a bold and unique body of work.

 
JONATHAN VANDYKE
The Painter of the Hole
 
Opening: Sunday, May 5, 5 - 8pm
Exhibition dates: May 5 - June 23, 2013
 
Scaramouche is pleased to present The Painter of the Hole, Jonathan VanDyke‘s second solo exhibition with the gallery. VanDyke’s new work evolves from his wall-mounted and free-standing sculptures, first exhibited at Scaramouche in 2009, that “perform” as they continuously drip paint directly onto the floor, and from his many recent live performances, in which actors and dancers move silently for hours while paint drips upon them and passes from body to body. The works offer signifiers we associate with painterly process - canvas, stained and marked with color, appears in objects and is represented in photographs - yet VanDyke has pushed and pulled painting in such a way that these signifiers are displaced. Undoing media-specific boundaries, VanDyke re-orients modernist conventions, conflating painting with fiber arts, fashion, dance, textile design, and photography. With multiple collaborators and processes involved, the work subverts notions of painting‘s singularity and challenges the idea of individual authorship.
 
The title of the exhibit is borrowed from a series made by George Grosz in the late 1940s. Grosz portrayed a figure who, searching for a new vocabulary of making, found himself endlessly painting an image of a hole. Into this void VanDyke proposes, “painting not as a form so much as a restless mood, a conduit, a matrix that includes the making, presenting, perceiving, desiring, acquiring and physical decaying of paintings...I want to perform The Painter and perform painting, this stubborn manner of coloring that doggedly mirrors, marks, and circles us.”
 
A series of large-scale, sewn canvas works in the exhibit evolved from a long-term collaboration with the dancers Bradley Teal Ellis and David Rafael Botana, who are also a couple. In a durational, live performance entitled Cordoned Area, the two improvise from VanDyke’s score, wrestling, dancing, and negotiating each other‘s bodies while liquid paint drips and seeps from their costumes: they start clean and conclude covered in sweat and color. In the midst of spectators, Ellis and Botana publicly navigate that space between a performed and an actual relationship. Following Cordoned Area, VanDyke invited the two back to the studio to work with him away from public view. There Ellis and Botana, with paint inserted in their clothing, interpret VanDyke’s directions, dancing and making contact atop raw canvas. The paint serves as an unconscious trace, a trail of their interaction. This studio process results in a group of massive, marked canvases. VanDyke uses the canvases as raw material, cutting them into pieces and intermixing them to form opulent geometric patterns, and then sewing them back together. The patterns themselves reference 19th-century Amish quilts, Sonia Delauney fabric designs, the pants of Picasso‘s harlequins, the brickwork of a modern Danish housing block - patterns found next to and near the body.
 
Each painting is displayed on a partition placed in the midst of the space. The backs of the paintings, with their web of seams, are revealed, while the walls of the gallery remain empty. Hanging behind each painting is a photograph. For the creation of this series, Ellis and Botana’s canvases (in their uncut stage) were used as backdrop and floor in elaborate studio sets. Models (friends and performers from other works) strike poses that exist somewhere between private ritual and fashion shoot. This image of the still body in front of the marked canvas recalls VanDyke‘s own 2011 solo performance The Long Glance, in which he stood and stared at a major Jackson Pollock work for 40 hours, making himself immobile in front of an “action” painting. The photographs also reference the work of artists who used the camera to explore private realms aside of their primary practice, such as the 1920’s self-portraits of Gertrud Arndt ­- an important fiber artist at the Bauhaus - and the charged tableau of George Platt Lynes, who made elaborately staged photos of performers, his lovers and friends. The heavily made-up models in VanDyke‘s series wear Mondrian necklaces and Jackson Pollock jeans amidst ab ex curtains and geometric partitions. We are reminded that, despite the value and language we add to it, despite the relentless preservation of its surfaces, painting exists, too, as swaths of fabric: like an outfit or piece of clothing, it moves out into the world, embedded with its own histories, posing and projecting meaning, always becoming something else.
 
Jonathan VanDyke is a visual artist based in New York City. Recent solo projects include The Long Glance at the Albright-Knox Art Gallery in Buffalo; With One Hand Between Us, a project for Performa11 in New York; and Obstructed View, a performance and installation commissioned by The Power Plant in Toronto for the exhibition Coming After. VanDyke received an MFA in Sculpture from Bard College in 2005, attended the Skowhegan School in 2008, and in 2007 attended the Atlantic Center for the Arts, where he was mentored by the artist Paul Pfeiffer. His work has been reviewed in ArtForum, Modern Painters, TimeOut New York, White Hot, Artslant, Art Papers, and The Philadelphia Inquirer. VanDyke’s work has been featured in exhibitions at Socrates Sculpture Park, and Islip Art Museum, both in New York; The Museum of Fine Arts, Tallahassee, Florida; Vox Populi, Philadelphia; Rutgers University, New Jersey; University of Wolverhampton, England; and Exile Gallery, Berlin, among others. He has received awards from the Mid-Atlantic Arts Foundation and the Joan Mitchell Foundation, and has served as a Visiting Artist Fellow at the University of Chicago and Illinois State University. Upcoming VanDyke's work can be seen in No Name at On Stellar Rays, New York, and do it (outside), the newest iteration of the instruction-based exhibition curated by Hans Ulrich Obrist at Socrates Sculpture Park, Long Island City.
 
Image: Jonathan VanDyke, Painting No9 (detail), Performance canvases, stained linen shirting, and waxed cotton in S. Delauney cloak pattern, 47 x 66 in.
 
Special thanks to fiber artist Brenda Colling for her work sewing the paintings.

 
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.

LMAKprojects is pleased to announce Claudia Joskowicz’s solo exhibit Intersections. The exhibit consists of a large video installation and photographs of her project Every Building on Avenida Alfonso Ugarte - After Ruscha. The work is an exploration of the urban landscape of the city of El Alto in her home country of Bolivia through a look at the intersections between everyday life and historical events that resonate in the collective memory of that city and, the country at large.
 
The photographic series and two-channel video installation Every Building on Avenida Alfonso Ugarte - After Ruscha takes as its inspiration Edward Ruscha’s photo book Every Building on the Sunset Strip (1966). A selection of photographs from the series ponders the juxtaposition of the continuum of time and a still reenactment of an affecting moment in Bolivian history.
 
The video is installed in the back section of the gallery with two projections on opposite walls, with a true to life ration. As the viewer stands in between the two projections, one is taken along a continuous tracking shot on the major thoroughfare in El Alto. The video takes inventory of a quotidian Bolivian scene reflecting a contemporary developing city. El Alto is one of the largest urban centers and one of the fastest growing cities in Bolivia as well as one of the sites where violent protests related to the Bolivian gas conflict in October 2003 took place. In a continuous take, the mundane is juxtaposed with ritual and social conflict inserting one single still scene of violence into the register of the typical scenery of daily Bolivian life thus capturing the variegated reality of El Alto, and, by extension, also that of all developing countries.