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.

Launch F18 is delighted to present 1XX, a group exhibition curated by Sam Trioli. The exhibition opens Saturday, June 1st from 6:00 - 8:00 PM and will remain on view until Saturday, July 27, 2013.
 
In the May 2011 issue of Frieze magazine, Ronald Jones wrote an article titled Whatever Works, a discussion on design methods and the integration of systems thinking in the 1950s. In the article Ronald quotes Jack Burnham from a 1968 issue of Art Forum, in which he writes: “In the past our technologically conceived artifacts structured living patterns. We are now in transition from an object-oriented to a systems-oriented culture. Here change emanates, not from things, but from the way things are done.”
 
1XX discusses this very concept within the parameters of the artist book and the forum in which this medium has been used on the contemporary art stage. Collectively, the work within the exhibition addresses the diversity of design and social structure that has reshaped the cultural standard of the medium, allowing for it to become more than only a product of simply purpose. As a result, many believe that the medium will slowly vanish as technology advances and the idea that printed matter could become obsolete to functional form. However, is this very idea merely a shift in design, as Burnham discusses, rather than being a truly undesirable product?
 
Within 1XX this thought is explored as it traces through a range of styles, printings, functions and techniques. Each of the works examines the function and identity of the art publication by delving further into its text, at a page, its binding and the cover. The books are experienced, not just through sight, but with the rare pleasure of tactile stimulation that is often missing from fine art exhibitions. At their roots, these works are relatives to a medium that traces back to the 27th and 26thcentury BC, which through its history has been continuously redefined and re-designed.
 
Participating artists and works by or on them include: Joshua Abelow, Ross Bleckner, Joy Drury Cox, f.ART magazine, Dianna Frid, Gypse Eyes, Johanna Heldebro, Sean Lamoureux, McDermott & McGough, Isca Greenfield-Sanders, Adam Stennett and Peter Young. A selection of books will be traveling to the Sharon Art Center in September for the exhibition con(TEXT) which is being curated by Tim Donovan.
 
Sam Trioli is a artist, curator and musician based in New York City.

James Weingrod: Hush Open Window Project
April 11 - July 27, 2013
 
Lori Bookstein Fine Art is please to announce a new installation by James Weingrod. This will serve as the inaugural exhibition of The Open Window Project and the artist‘s first solo-exhibition with Lori Bookstein Fine Art and his first solo-exhibition in New York.
 
The Open Window Project was conceived as a project space by which to showcase the work of emerging artists and those artists who may not necessarily fit into the gallery’s program. While the gallery has always maintained the tradition of representing a focused group of core artists, it is excited about the ways in which working with other artists through the Open Window Project will enhance the dialogue surrounding the gallery's primary agenda. The Open Window Project will occupy the street front window on Tenth Avenue between 18th and 19th Streets.
 
James Weingrod: Hush will feature a singular, kinetic installation that actively engages street viewers. Comprised of a twirling birdcage and a series of two-way mirrors, the installation becomes an other-worldly environment where images are repeated ad infinitum within the eerie enclosure. Fascinated by the complex scientific and mathematical principles by which we have come to understand the expanses of the universe and infinity, Weingrod attempts to visually depict the ways we have come to understand the universe through theory instead of observation. Admitting the inevitable failure of such lofty ideals, he has developed an artistic practice more akin to experimentation, whereby, through trial-and-error, he hopes to develop a larger dialogue around the ways we have come to understand the incomprehensible.
 
James Weingrod received his BA in visual arts from Brown University (2004) where he was the recipient of the Roberta Jocelyn Award for Excellence in Art. He received his MFA from Hunter College (2009). Weingrod has been exhibited in several group shows in New York, including “Big Drawing” in 2008 at Lori Bookstein Fine Art, and in his hometown of Providence, RI. Weingrod was an artist in residence at The Wassaic Project in 2010 and 2011. Upcoming exhibitions include his first Philadelphia Solo Exhibition, which is scheduled for September 2013. Weingrod lives and works in Brooklyn, NY.
 
James Weingrod will be on view from April 11 - July 27, 2013. An opening reception will be held on Thursday, April 11th from 6:00 - 9:00 pm. Gallery hours are Tuesday through Saturday, 10:30 am to 6:00 pm. Summer hours begin Monday July 8th and will be Monday - Friday, 10:30 - 6:00. For additional information and/or visual materials, please contact the gallery at (212) 750-0949 or by email at info@loribooksteinfineart.com.¬

SIMON DENNY
All you need is data: the DLD 2012 Conference REDUX rerun
 
June 20 – July 27, 2013
 
Petzel Gallery is pleased to announce an exhibition by Simon Denny entitled, All you need is data: the DLD 2012 Conference REDUX rerun, from June 20 to July 27, 2013. This is the artist’s second exhibition with the gallery. A catalogue published by Koenig, including an interview with Hans Ulrich Obrist, texts by Karen Archey, digital law expert Michael Littger and an introduction by co-curators Bart van der Heide and Saim Demircan, will accompany the show.
 
All you need is data: the DLD 2012 Conference REDUX rerun focuses on the 2012 edition of Munich’s annual Digital Life Design (DLD) conference dld-conference.com/. The conference is a high caliber platform for the exchange of ideas between digital media, the sciences and culture, which had the theme “All You Need Is … DATA?” in 2012. Denny’s exhibition was first presented at the Kunstverein Munich at the beginning of the year, alongside the 2013 DLD conference.
 
For his exhibition, Denny has created a display structure for 89 canvases that represent a visual summary of events that took place at DLD12, harvesting insights from the many speakers such as Jack Dorsey (Twitter), Jimmy Wales (Wikipedia), Sheryl Sandberg (Facebook), Chris “Moot” Poole (4chan) and David Karp (tumblr), among others. The viewer is lead through the exhibition following a railing system that displays individual canvas “screens” that feature photos, pull-quotes and reconfigured stage and graphic designs from the conference. This content is flattened and depicted using iOS “skeuomorphic” style with app-like components. Only print media is used to illustrate the entire high-tech conference chronologically from beginning to end, forming what critic Kevin McGarry has described as “a structuralist memento mori”.
Simon Denny explores the materialization and commodification of “future visions and experiences,” and the lifespan of information in the context of fast paced, tech-driven commerce. The exhibition is a revealing format for how predetermined futures are promoted from the perspective of the digital economy. As such, the ‘REDUX’ in the title suggests a revisit of these future forecasts and is also indicative of the ‘Director’s Cut’ or a re-edit as a means of artistic appropriation.
Simon Denny was born in New Zealand in 1982 and received his degree at the Städelschule, Staatliche Hochschule für Bildende Künste in Frankfurt. He has had numerous solo exhibitions, with shows at the Aspen Art Museum and Kunstverein Munich in the past year. He will be included in this year’s Venice Biennial as well as have an exhibition at MuMOK, Vienna this summer as a winner of the Art Basel Statements Baloise Preis in 2012. He is also a nominee for this year’s German Nationalgalerie Preis at the Hamburger Bahnhof in Berlin. Simon Denny lives and works in Berlin.
Petzel Gallery is located at 456 West 18th Street New York, NY 10011. Gallery hours are Tuesday through Saturday from 10:00 AM – 6:00 PM. Gallery hours will switch to our summer schedule, Monday through Friday from 10:00 AM – 6:00 PM starting July 8th through the end of the exhibition. For press inquiries, please contact Andrew Black at andrew@petzel.com, or call (212) 680-9467.
For general inquiries, please email andrea@petzel.com.

Skoto Gallery is pleased to present a group exhibition of photographic works by ten Nigerian artists who are among a new generation of African photographers that explore unique visions, strong emotional and aesthetic perspectives to tell their own stories and challenge assumptions about the African continent. Each of the artists is widely traveled and well exposed to Western art modernism both by training and contact. Each represents a resonant voice, one that achieves it's own distinction and clarity amidst changing realities. Their creative voices are simultaneously instrumental, reconstructive if not interrogative and in some cases seek to retrieve both individual and collective memory. For many of the artists, this would be their first show in New York.
 
The reception is on Thursday, May 30th, 6-8pm
 
GO-SLOW: Diaries of Personal and Collective Stagnation in Lagos
New Directions in Contemporary Photography
 
Aderemi Adegbite
Ade Adekola
Akintunde Akinleye
Uche James Iroha
Chriss Nwobu
Adeniyi Odeleye
Abraham Oghobase
Charles Okereke
Uche Okpa-Iroha
Adeola Olagunju
 
Exhibition dates: May 30th - July 31st, 2013
 
In spite of the dynamic, lively, and often intensely volatile elements of life in Nigeria’s largest city, all who live there share in a daily narrative of delay. Lagosians experience go-slow in the form of impenetrable traffic jams, on the part of political leaders who make promises quickly followed by excuses, and when even a simple task becomes a major undertaking.
 
While the phenomenon of go-slow is a common cultural reference, its effects and impacts are as individual as the people who experience them, resulting in reactions that range from frustration, exhaustion, and anxiety to resignation, acceptance, and innovation in the face of a seemingly immutable reality.
 
Most showing for the first time in New York, ten Nigerian photographers explore the particular phenomenon of the Lagos go-slow through the context of personal or collective experiences demonstrating a keen awareness of the role that photography plays in strengthening the crucial links between culture, politics, and social agency.
 
Curator: Amber Croyle
 
10 LIVELY FRAMES - ONE SUBJECT: GO-SLOW-GO-SLOW
 
“Go-slow: Diaries of Personal and Collective Stagnation in Lagos”, as this photography exhibition is titled and focused, is a reality as well as a metaphor for the drudgery that characterizes diverse aspects of structural mobility in cosmopolitan Lagos. Fela Anikulakpo-Kuti, the veteran Afro-beat musician, satirist and social critic in 1978 put out a record track titled “Go-Slow”. The track explored the metaphoric gradations of “Go-Slow” as a reality in the day to day life of the Lagosian. The refrain of the track “go-slow, go-slow” aptly conjured the truth of the phenomenon while assuming landmark status of a resonating rhyme in the collective consciousness of Nigerians.
 
The diverse social and historical contexts that frame this seeming eternal characterization of Lagos have often provided photographers the contexts to invest their creative time and thoughts. The result is a corpus that keys into the testament projected by the city of Lagos as it allows for the exploration of the nuances of “go-slow” beyond a spatial identity.
 
The lively frames that the concept “go-slow” yields are thus presented in this exhibition from the experiences or encounters of cosmopolitan Lagos by the artists. Thus, from Aderemi Adegbite, Ade Adekola, Akintunde Akinleye, Uche James Iroha, Chriss Nwobu to Adeniyi Adeleye, Abraham Oghobase, Charles Okereke, Uche Okpa Iroha and Adeola Olagunju comes a bouquet of visual interpretations of the Lagos “go-slow” experience in representational and conceptual frames.
 
The exhibition plan designed to introduce to the New York audience “new directions in contemporary photography” by a crop of modern generation photographers from Nigeria is apt considering how identities are constructed. However, this objective presupposes a hierarchy that hosts these artists. Hence, I engage a brief narrative which situates the genre in Nigeria. Early uses of photography in the West Coast of Africa, from Gambia to Nigeria were documentary commissions from the English colonial authorities (Erin Harney, 2010). These include the works of J. P. Decker, a Gambian, and N. Walwin Holm, a Ghanaian who had a branch of his photography studio in Lagos. Apart from the portraitures associated with his studio, he also worked for the British as a documentary photographer. A Nigerian of note of Ijo nativity from Bonny, Jonathan Adagogo Green (1873 – 1905) was similarly engaged by the British colonial administration in Nigeria. His many choreographed portraits and group images are counted among over three hundred photographs from his atelier between 1897 and 1905. One of his very famous works that entrenches the memory of the British punitive expedition against Benin City is the apparently dehumanized Ovoramwen N’gbaisi, the Oba of Benin in the expedition year 1897.
 
It is interesting to note that Adagogo Green’s seal for his photographs bore his name with an added inscription; “Artist Photographer”. In spite of this claim, considering also the strong foregrounding of photography in the practice of the visual arts, it is only recently that its status as high art was acclaimed. This recognition has inspired new initiatives to track the multilayered history of the genre in Nigeria. Equally, exhibitions of photography now compete with those of other arts. However, an austere history of photography in Nigeria accommodates the following personalities; George S. A. Da Costa, J. D. ‘Okhai Ojeikere, Dotun Okubanjo, Sunmi Smart-Cole and Don Berber. Don Berber is, within this history, a mentor to many new generation photographers who have featured in this exhibition with their visual interpretation of go-slow in Lagos.
 
In reality, the history of photography in Nigeria is in tandem with the global history of photography. This is that photography, as an expressive mode that documents phenomena as fleeting time permits, is governed by epistemes, which are palimpsest, and allow a loose ordering of identities. The image-turn, which is on the ascent in the contemporary, bears witness to deep creative exploits with the lens and the digital interface. Invariably the production and consumption of images in the artistic-scape in Nigeria has remained strong probably because of the power of the image to determine our demands upon reality. These realities shape the metaphors of focus here their enduring vehicular and often pedestrian gridlocks. This is Lagos.
 
Frank Ugiomoh, 2013
Art Historian
University of Port Harcourt
Port Harcourt, Nigeria

OPTIC NERVE: The Prints and Multiples of Sean Mellyn (1993-2013)
JUNE 20 - AUGUST 1, 2013
 
CURATED BY MICHAEL STEINBERG
 
UNDERLINE Gallery is pleased to announce a major retrospective of the prints and multiples of Sean Mellyn. From a 1993 drypoint, Boy In The Bubble, to two new digital prints created to celebrate the exhibition – Tour Group and The House What Eye Built – the artist’s innovative utilization of a broad range of printmaking techniques will be on view. Commenting on the various modes of editioning, Mellyn writes:
 
“There seems to be a pecking order with perfection in print-making - Silkscreen being the most accident-prone and the now almost perfect digital techniques are flawless representations. I've been working on how to make accidents before the image is scanned, or to try and do something that will corrupt the file.”
 
Mellyn has worked with such distinguished master printers as Jean-Yves Noblet, Jennifer Melby, Andre Ribuoli. Additionally, he was invited to create several editions at New Mexico’s Tamarind Institute, where he worked in collaboration with master lithographer Bill Lagattuta. One of the works he produced there, Boy With Mask, is included in a traveling exhibition and book celebrating Tamarind’s fiftieth anniversary. Among the significant print collections that have acquired prints by Sean Mellyn are New York’s Museum of Modern Art, The Whitney Museum of American Art, The New York Public Library and The Brooklyn Museum of Art.
 
While the current show encapsulates many of Mellyn’s major themes, his on-going concern with issues of vision – seeing and being seen; surveillance and paranoia; and art historical issues such as the cataracts in Monet’s eyes – emerges very clearly.
 
Mellyn notes: “I really started using eyes after 9/11 as it was clear that we would soon become a people watched. I always thought it’s so ironic that reality tv shows would be such a big deal; that it’s less Warholian 15 minutes of fame, and more scrutiny in government - judgement- busted kind of way.”
 
In addition to the print editions on view, the show will feature the highly-collected three dimensional multiples Mellyn has created. These include t-shirts, handkerchiefs, Paper Monet plates and a number of small sculptural objects. Some of these works were originally done as to benefit such institutions as The New Musuem.
 
Optic Nerve: The Prints and Multiples of Sean Mellyn (1993-2013) has been curated by Michael Steinberg, who, as a publisher, gallerist and collector has had a long involvement with Sean Mellyn’s work.
 
UNDERLINE Gallery is a visual arts gallery that underscores important, innovative works by some of today’s most talented artists. The Gallery’s unique perspective–often marked by color, dimension, humor, and spirit–reflects an intimate and non-exclusive environment that facilitates art appreciation. A variety of price points and a range of small and large-scale works bring together a community of artists, curators, art lovers, and collectors.

“I was born to a father who wore an airline uniform. For most of my childhood, he lived and worked in another country. Each summer I would be flown from Beirut to Dhahran as an unaccompanied minor, but he always made sure he booked me on a flight where he knew at least one, if not all, of the Flight Attendants, or rather stewardesses as they were then known.
 
I always flew First Class, looking like Lily Tomlin’s Edith Ann, a tiny kid in a huge chair. I was totally coddled, fed, and entertained by the stewardesses who took personal care of me until I was delivered either to my dad or to my aunt, when returning to Lebanon. Flight Attendants epitomized international glamour and adventure to me. Growing up, I often dreamed of becoming one, until I took my first class in photography as a junior in high school in the Virginia suburbs of Washington, DC.
 
Like most Lebanese parents, mine would have greatly preferred my becoming a doctor, a lawyer, or an architect. Although I did have an interest in medicine, I had been passionate about photography ever since I developed my first print—an abstract array of shopping carts—in a tray of Dektol. As my eighteenth birthday approached, I also realized that my airline benefits would soon come to an end. I wouldn’t be able to jaunt around the world at will, for free—something I had been used to all my life.
 
My only solution was to follow my childhood dream and become a Flight Attendant. A few months before turning twenty, I started sending applications to Pan Am and TWA, two of the major international airlines at the time. I was hired by¬ Trans World Airlines on my twentieth birthday, and on February 26, 1978, I reported to Breech Training Academy, the most renowned and modern flight attendant school in the industry.”
-Lucien Samaha, April 2013
 
Lombard Freid Gallery is pleased to present New York-based photographer Lucien Samaha’s The Flight Attendant Years: 1978-1986, the artist’s first exhibition with the gallery. Samaha has been a photographer since high school and has obsessively documented his personal and professional life for over 40 years, producing a rich, highly autobiographical body of work. This show will debut vintage color and black-and-white photographs from his time as a Flight Attendant for Trans World Airlines, giving a behind-the-scenes look at a bygone era. These striking, intimate images will be exhibited with a variety of archival objects, including Samaha’s golden flight wings, personal correspondence, and TWA memos.
 
Samaha’s photographs from the late 1970s and early ‘80s record a particular intimacy between Flight Attendants, pilots, and passengers that was rarely revealed at the time—and is certainly not seen in today’s climate of heightened airline security. The Flight Attendant Years covers all aspects of daily life: training sessions, uniform fittings, in-flight fraternization, and layover breaks. Samaha’s eye for detail and composition, matched with his direct access to his subject matter, allows for his documentary photography to exist within an extremely personal and aesthetic milieu. His images—Polaroid snapshots, elegant candid portraits, and group photographs—emphasize the spirit of adventure and conviviality integral to his surroundings.
 
Samaha has continued to be in touch with many of his former colleagues, and the gallery will serve as a portrait studio for current and former flight attendants who are being invited (through postings at airlines and hotels) to visit the gallery on Saturdays, June 8, 15, and 22, from 12:00 to 5:00 PM. The portraits will be on view in the gallery and posted to lombardfreid.com and luciensamaha.net.
 
Lucien Samaha (b. 1958, Beirut) is a New York-based photographer whose work has been shown internationally, including in exhibitions at the Museum für Moderne Kunst, Frankfurt and at the Cooley Gallery, Reed College, Portland. He was a finalist for the 2004 Nam June Paik Award. After his time at TWA, Samaha worked for Eastman Kodak Company and then as a DJ on the 107th floor of the World Trade Center, continuing to document his hours at work and his personal life.

Featuring a selection of major Seymour Lipton sculptures in context with
Charles Alston • Norman Bluhm • Beauford Delaney • Willem de Kooning
Jay DeFeo • Michael Goldberg • Adolph Gottlieb • Hans Hofmann
Lee Krasner • Norman Lewis • Conrad Marca-Relli • Boris Margo
Alfonso Ossorio • Richard Pousette-Dart • Milton Resnick • Charles Seliger
Alma Thomas • Mark Tobey • Jack Tworkov and Hale Woodruff

MINUS SPACE is delighted to present the exhibition Julio Grinblatt: Cielito Lindo. This is the Argentine-born, Brooklyn-based artist’s first solo exhibition in New York and it will feature a suite of unique, large-scale C-print photographs depicting the clear blue sky.
 
An ongoing project, Grinblatt’s Cielito Lindo series stresses how aesthetic notions are generated in relation to the photographic apparatus, in particular the photographic printing process. To create this body of essentially monochromatic photographs, Grinblatt articulated the following four-step premise:
 
1. I took a photograph of a clear sky.
2. I sent the negative to a professional color lab.
3. I asked the printer to print a beautiful sky.
4. Repeat from 2.
 
Julio Grinblatt (b. 1960 in Buenos Aires, Argentina; lives Brooklyn, NY) has exhibited his work in solo and group exhibitions nationally and internationally for the past two decades, including in Argentina, Brazil, Chile, Colombia, Mexico, Spain, Belgium, Finland, Belgium, Italy, and the United States.
 
In 2001, Grinblatt mounted the solo exhibition Uses of Photography at the Museo de Arte Moderno de Buenos Aires (MAMBA) in Buenos Aires, Argentina. He has participated in group exhibitions at museums, such as MoMA PS1, El Museo del Barrio (both New York); Institute of Contemporary Art (Philadelphia, PA); Samuel P. Harn Museum of Art (Gainsville, FL); Museo Nacional Centro de Arte Reina Sofía (Madrid, Spain); Museum of Fine Arts (Brussels, Belgium); Amos Anderson Art Museum (Helsinki, Finland); and Museo de Arte Zapopan (Guadalajara, Mexico), among others.
 
Grinblatt’s work is represented in collections worldwide, including the Museum of Fine Arts Houston (Houston, TX); Portland Art Museum (Portland, OR); Samuel P. Harn Museum of Art (Gainesville, FL); Light Work Permanent Collection (Syracuse, NY); Museo Nacional de Bellas Artes, Museo de Arte Moderno de Buenos Aires (both Buenos Aires, Argentina), and Museum of Modern Art (Rio de Janeiro, Brazil).
 
In 2012, Grinblatt co-curated the survey exhibition Notations: The John Cage Effect Today at Hunter College Times Square Gallery together with Joachim Pissarro, Bibi Calderaro, and Michelle Yun. The exhibition was discussed in-depth by writer Thomas Crow in Artforum’s Best of 2012 issue. Grinblatt is Adjunct Assistant Professor at Hunter College in New York, and he holds an MFA from Hunter College and BS from the Hebrew University of Jerusalem, Israel.
 
ABOUT MINUS SPACE

Now celebrating its 10th year, MINUS SPACE specializes in reductive abstract art on the international level. The gallery presents museum-quality solo and group exhibitions by pioneering emerging, established, and deceased artists at its Brooklyn gallery, as well as at other collaborating venues on the national and international levels.

Simon Preston Gallery is delighted to present On The Passage of a Few, an exhibition of works by Alexandre da Cunha, Terence Gower, Luis Molina-Pantin and Lisa Tan. The exhibition opens on 19 June and runs until 4th August, 2013.
Borrowing its title from Guy Debord‘s 1959 film, On the Passage of a Few Persons Through a Rather Brief Unity of Time, the exhibition explores the relationship between citizen and environment, while it simultaneously critiques and pays homage to decaying modernist ideologies. Each artist dismantles the structure of modernist systems by exploiting and transforming the materiality of cultural and architectural tropes in order to make way for new narratives.
Terence Gower’s installation The Red Wall (El Muro rojo) dominates the gallery space. An enormous red wall frames a black and white restaged photo of Armando Salas Portugal’s famous 1953 image of Casa Barragán. By reducing Luis Barragán‘s exuberant colours to grey tones, the work highlights Barragan’s aesthetical concerns with emotional experience and architecture. Known for playful appropriation of everyday objects such as plungers, mops, fans or bottles, Alexandre da Cunha uses critical wit to topple hierarchical modernist language. With Full Catastrophe (drum XIV), the simple gesture of liberating a rusted industrial cement mixer from its original function raises complex questions of trade and labor. Luis Molina-Pantin is an obsessive chronicler. Whether using photography, books, everyday objects or postcards, Luis creates inventories of our over-looked cultural landscapes. Non-fiction reviews, is an installation consisting of sixteen fictional vintage books, each cover depicting an airplane disaster. Objectifying the book through the lens of the archive, the series becomes a strategy of representing failed ideologies - the imagery of flight, a classic modern aspiration displayed as a dystopian failure. Lisa Tan incorporates personal and collective histories in order to explore her long-standing preoccupation with the indefinable. In this instance, Alter Nordfriedhof casually documents a cemetery in Munich on a spring day. Overgrown vines and flowers obscure the tombstones into abstract shapes. Through the use of repetition and the apparatus of archival structures, an elegant ontological study transforms into a poetic meditation on mortality.
 
Biographical Information:
Terence Gower (b. 1965, Canada) lives between New York, France and Mexico. He has exhibited widely including; Hirshhorn Museum and Sculpture Garden, Washington DC; PS1 Contemporary Art Center, New York; ICA Boston; UCLA Hammer Museum, LA; Queens Museum, New York; Labor, Mexico City; Galeria HR, Mexico City; The Power Plant, Toronto; The National Gallery of Canada, Ottawa; Artspeak Gallery, Vancouver; Galerie M+R Fricke, Berlin; Aun Gallery, Tehran, Iran.
 
Alexandre da Cunha (b. 1969, Brazil) lives and works in London, UK. He has exhibited extensively and had recent solo exhibitions at CRG Gallery, New York; Centro Cultural Sao Paolo, Brazil; Camden Arts Centre, London; Thomas Dane Gallery, London; Galeria Luisa Strina, Sao Paulo; Sommer & Kohl, Berlin; CCA Wattis Institute for Contemporary Arts, San Francisco; Witte de With, Rotterdam. He has also been included in Sao Paulo Biennial, 2012; the San Juan Triennial, San Juan, 2009, Prague Biennale 2, Prague, 2005; the 50th Venice Biennale, 2003 and the Liverpool Biennial, 2002 among others.
 
Luis Molina-Pantin (b.1969, Switzerland). Lives and works in Caracas, Venezuela. Recent solo presentations include; Faria-Fabregas Galeria, Caracas; Lisa Sette Gallery, Arizona; Valenzuela Klenner Galería, Bogotá; Arte Contemporáneo, Caracas; Fondazione Villa Bardini, Florence. His work has also been showcased at the 7th Gwangju Biennial, Korea; The Cisneros Foundation, Miami; The 4th MERCOSUR Biennial, Porto Alegre, Brazil; 25th Sao Paulo Biennial, Brazil. He is currently included in ICP Triennial, New York and a solo exhibition will open at Henrique Faria, New York on 20 June 2013.
 
Lisa Tan (1973, New York). Lives and works in New York and Stockholm. She has been included in solo and group exhibitions at institutions and galleries such as Artists Space, New York; Centro Galego de Arte Contemporáneo CGAC, Santiago de Compostela; Arthouse at the Jones Center, Texas; Galerie Nordenhake, Stockholm; Kadist Art Foundation, Paris; Galería Parra & Romero, Madrid; D’Amelio Terras, New York; LA><ART, Los Angeles; and FRAC Bourgogne (Dijon). She is co-curating an exhibition with Lisa Oppenheim for Art in General that will open this September.
 
For further information, please contact the gallery via email at office@simonprestongallery.com or call on +1 212 365 4495.

In collaboration with Independent Curators International (ICI), Socrates Sculpture Park presents do it (outside), an exhibition conceived of and curated by Hans Ulrich Obrist. With historical antecedents in Dada and Fluxus, do it (outside) is a selection of artists' instructions interpreted by other artists, performers, community groups, and the public. The instructions and resulting works will be presented outdoors utilizing a site-specific design by Christoff : Finio Architecture, the NY-based architecture and design studio of Taryn Christoff and Martin Finio. In the last 20 years, versions of do it have been presented in over 50 venues worldwide, giving new meaning to the concept of the “Exhibition in Progress.”
 
do it (outside) at Socrates Sculpture Park will be the first presentation of the exhibition in New York City and the first to be presented completely outdoors in a public art venue. The opening of the exhibition on May 12 coincides with the launch of the publication, do it: the compendium (co-published by Independent Curators International and D.A.P.) from which the instructions presented have been selected.
 
do it (outside) sparks a critical conversation about the exchange and transformation of ideas by engaging a diverse group of people to create extraordinary works by internationally accomplished artists. At Socrates, over sixty published artist instructions will be brought into existence by artists, performers, community groups, and the public resulting in installations that range from the explicitly sculptural, to the performative, to the poetic or absurd. Socrates Sculpture Park will produce a digital publication to accompany do it (outside) to document the process and participants.
 
This 20th-anniversary show premieres a significant number of new instructions along with those from the first do it experiments. Artists’ instructions presented at Socrates Sculpture Park will include:
John Baldessari, Jerome Bel, Paul-Armand Gette, Joan Jonas, Ilya Kabakov, Alison Knowles, Suzanne Lacy, Lucy Lippard, David Lynch, Betrand Lavier, Paul McCarthy, Yoko Ono, Clifford Owens, Michelangelo Pistoletto, Kazuyo Sejima, Gabriel Sierra, Andreas Slominski, Ai Weiwei, and Franz West among many others.
 
Media Inquiries:
Katie Denny
kd@socratessculpturepark.org
718-956-1819 ext. 12

Brooklyn-based sculptor Heather Rowe investigates the transitional space between architecture, sculpture, and installation through perspectival framing, formal inversion, and material deconstruction. Rowe‘s latest work, Beyond the Hedges (Slivered Gazebo), is a site-specific installation of mirrors, corridors, and spatial slices presented at Socrates Sculpture Park; it is her first outdoor public artwork.
 
Beyond the Hedges (Slivered Gazebo) inverts the routine relationships we have with our surroundings by restructuring the familiar and reimagining architectural experiences. While many experience architecture in a state of distraction, Beyond the Hedges invites us to focus beyond our current space. Rowe interprets the traditional gazebo or trellis—structures typically placed within a park to frame picturesque views—as a sliced and cropped dimensional space that, sandwiched between pieces of plywood, becomes the framed view. Inspired by Peter Joel Harrison’s illustrated book Gazebos and Trellises, the plywood shapes suspend fragile moments of the garden pavilion, frozen in precarious states of decay or undoing. Complicating the internal network of latticework are mirrored insertions, offering an active relationship to the natural surrounds and Park visitors.
 
Heather Rowe is an artist based in Brooklyn, New York who received her MFA from Columbia University. She has exhibited in numerous museums and galleries including MoMA PS1, Long Island City, New York; Indianapolis Museum of Art, Indianapolis, Indiana; University of Michigan Museum of Art, Ann Arbor, Michigan; Galerie Zink, Berlin, Germany; D’Amelio Terras, New York; Michael Benevento Gallery, Los Angeles; Ballroom Marfa, Texas; Andrea Rosen Gallery, New York; White Columns, New York; and Artists Space, New York; and in 2008, her work was featured in the Whitney Biennial.
 
Media Inquiries:
Katie Denny
kd@socratessculpturepark.org
718-956-1819 ext. 12

Socrates Sculpture Park and The Architectural League of New York are pleased to announce the selection of Toshihiro Oki architect for tree wood as the winner of this year’s “Folly” competition – an extraordinary opportunity for emerging architects and designers to experiment and build large-scale projects for outdoor exhibition.
 
Socrates Sculpture Park and the League launched “Folly” in 2012 as a residency and exhibition program to explore the intersections between architecture and sculpture. “Folly” has grown from a pilot initiative to a highly anticipated competition – submissions increased by 40% from last year - for emerging architects and designers to conceive, design, build, and exhibit original works in the public realm.
 
tree wood will be a rigid yet airy geometrical wooden structure placed within a grove of trees – a lush and dense area at Socrates Sculpture Park. Visitors will peer into the structure through the floor beams where a formal, ornate chandelier will be suspended. The installation creates a dialogue between built structures and systems with the irregular and organic.
 
Toshihiro Oki architect – consisting of team members Toshihiro Oki, Jen Wood and Jared Diganci - was selected from over 150 submissions by a jury of architects and artists who reviewed over 150 submissions, including Michael Arad, Architect, Partner, Handel Architects; Orly Genger, Visual Artist; John Hatfield, Executive Director, Socrates Sculpture Park; Granger Moorhead, Architect, Principal, Moorhead & Moorhead; and Billie Tsien, Architect, Principal, Tod Williams Billie Tsien Architects.
 
“Folly” is an interpretation of the architectural folly. Especially popular among the Romantics of the 18th and 19th centuries, architectural follies are small-scale structures, which often have no discernible purpose, that are placed within a garden or landscape as a means to draw the eye to specific points or to frame a view. The folly is a perfect subject for architects to investigate materiality, spatial interaction, and concepts about our urban and natural environment.
 
Visit the Architectural League for more information on the winning project and detailing the competition process, including prominent architectural themes woven throughout proposals: Read more at www.archleague.org.
 
The winner of the 2012 “Folly” competition was Curtain, a project conceived by architects Jerome W. Haferd and K Brandt Knapp. Curtain, which closed on March 31st, combined minimal structural framing with a mutable plastic chain that bisected the landscape from multiple angles, creating a voluminous whimsical interior space.
 
SUPPORT
 
Socrates Sculpture Park’s Exhibition Program is supported by Bloomberg Philanthropies, Mark di Suvero, Lambent Foundation Fund of Tides Foundation, and Spacetime C.C. This program is also supported, in part, by public funds from the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature, and by public funds from the City of New York Department of Cultural Affairs in partnership with the City Council.
 
Special thanks to the City of New York, Mayor Michael R. Bloomberg, Queens Borough President Helen M. Marshall, City Council Speaker Christine C. Quinn, Assemblywoman Catherine Nolan, City Councilmembers Jimmy. Van Bramer and Peter F. Vallone Jr., and the Department of Parks & Recreation, Commissioner Veronica White.
 
Media Inquiries:
 
Katie Denny
kd@socratessculpturepark.org
718-956-1819 ext. 12

New York, NY - Beginning on March 15, 2013, The Jewish Museum will present As it were ... So to speak: A Museum Collection in Dialogue with Barbara Bloom. Artist Barbara Bloom has devoted her career to questioning the ways we perceive and value objects. With a light touch and subtle wit, she divines the meanings encoded in the things with which we surround ourselves. The Jewish Museum invited Bloom to create an installation drawn from its 25,000 works of ceremonial, decorative, and fine art. Her presentation sets a selection of over 270 pieces in unconventional contexts, and offers visitors new ways to view the Museum and its holdings. As it were ... So to speak: A Museum Collection in Dialogue with Barbara Bloom will be on view through August 4, 2013.
 
Exhibition detail: Barbara Bloom. Painting: Artist unknown, Rebecca Seixas Hart, c. 1840, oil on canvas, The Jewish Museum, New York, Gift of Florence Hart.
The exhibition Bloom is creating materializes the idea of people in dialogue across time and space, inspired in part by her reflections on Talmudic discourse, which takes place over centuries. Integrating the former Warburg mansion‘s historic rooms into her concept, the artist envisions the space as both museum and home filled with imagined historical guests from diverse times - Nefertiti, Duke Ellington, Jimi Hendrix, Marcel Proust, Marilyn Monroe, Albert Einstein and others - engaged in discourse and argument. The subjects are wide-ranging and reflect ideas that have long interested the artist: inferring a whole from surviving remnants, navigating the intricacies of bestowing gifts, representing the unspeakable.
 
Furniture-like display cases contain collection objects that the artist finds intriguing or appealing. For example, Torah pointers with their delicate hands and extended forefingers stand in for strings inside a piano; a cigar box owned by Sigmund Freud is displayed in a psychoanalyst’s consultation space; and a Dreyfus Affair game board sits on a table with ancient Roman dice. Each tableau is accompanied by written passages suggesting conversations between people. These evocative juxtapositions of found texts, Bloom‘s writings, artworks and cases, create unexpected associations and spark dialogue.
 
While the artist offers clues on how to read these tableaux, it is up to the individual to draw their own connections among the different elements. In Bloom’s vision, the objects at the core of the installation often transcend their traditional functions and stimulate new ideas.
 
As she searched for a metaphorical structure within which to understand the collection, and sought to envision it in the Museum‘s historic rooms, Bloom became fascinated with the Talmud (a collection of Jewish law and lore) and its unique design. On each page, an original text is framed by centuries of rabbinical debates and commentaries that reach across time and space, as if the writers were conversing in the same room. In choosing works from the collection, the artist passed over familiar masterpieces and instead discovered value and beauty in those that she found peculiar in shape, historically resonant, or marked with traces of past lives. She was inspired by the architecture of the galleries, which still resemble the rooms in which Felix and Frieda Warburg once led a lively family and social life.
 
Barbara Bloom writes, “What if we were to consider objects not for their symbolic or metaphoric qualities, but as intermediaries, or carriers of meaning. Perhaps they could be considered as ambassadors.” She adds, “These rooms are filled with objects. And we are offered an opportunity not only to concentrate on the singular, but to observe the relationships between these many entities, and the meanings implicit in their positioning and combination. The objects are placeholders for thoughts, and when they are situated in proximity to one another, meanings can reverberate and ricochet off of each other.”
 
The exhibition opens with recorded voices engaged in debate and argument. Six pairs of portraits - masked so only the sitters’ eyes are visible - are placed at the entrance to each gallery, standing in for the guests in this imagined home. They remind us of the dialogues taking place within.
 
Highlights include the shell of a piano with Torah pointers in place of strings that explores the friendship of two great composers: George Gershwin and Arnold Schoenberg. Schoenberg enjoyed playing tennis weekly at Gershwin‘s Beverly Hills home. As composer Albert Sendrey observed: “Two contrasting giants of modern music...united in one common thought: to make a little ball scale the top of a net, as though nothing else mattered.”
 
Another tableau suggests the different stages of romantic relationships. Beginning with the sensuality of courtship, singer/songwriter Leonard Cohen and early twentieth-century psychoanalyst Lou Andreas-Salomé are envisioned singing Solomon’s Song of Songs. Love is seen to run its course through legal consummation and dissolution as represented in Jewish marriage and divorce contracts.
 
Jeu de l‘affaire Dreyfus et de la vérité (The Game of the Dreyfus Affair and Truth), 1898, Imprimerie Charaire, Sceaux, photomechanical print on paper. The Jewish Museum, New York, Gift of Count Elie de Comminges.
A section devoted to ideas of a library includes miniature books, some with microscopic writing, nestled inside hollow books. These evoke the layering of text within text that is an important part of Talmudic discourse. An intricate cycle of gift-giving and its Freudian implications are explored through Sigmund Freud’s silver cigar box, a Roman ring from his antiquities collection, and his daughter Anna‘s ivory letter opener, all donated to The Jewish Museum by an anonymous analyst. Four players - Nefertiti, Émile Zola, Amy Winehouse, and Jesus of Nazareth - are imagined seated at a table filled with games from different eras. Many temporalities are superimposed on each other, collapsed into a single game.
 
In the former dining room of the Warburg mansion visitors will see a table set with twelve glasses from the collection, dating from ancient to modern. Above them hangs a chandelier whose design includes copies of the glasses, upside down, mirroring and illuminating the conversation below. This work was commissioned by The Jewish Museum especially for the exhibition. Further reverberations among works in the gallery begin with the painting Friday Evening, by Isidor Kaufmann, in which a lone woman is seated beside a table prepared for the inauguration of the Sabbath. The chandelier in the painting inspired the commissioned work. Above the fireplace, across from Friday Evening, hangs a reproduction of the mirror from the painting, reflecting what is in Kaufmann’s scene rather than what is in the gallery. There are many opportunities for takes and double takes.
 
Chris Mann, a writer and performer, worked with Sepand Ansari to create a new website, www.010011.net, in correspondence with the exhibition. It will be launched on February 20, 2013. Initially loaded with a library of 1,000 texts representing a wide range of disciplines, the site enables users to search for an idea and make rich and ever deeper associations among the works that contain it. In contrast to Google, which provides a prepared answer if you ask the right question, 010011.net is a celebration of the question you are trying to learn how to ask. Additional texts will be added over time. In addition, Museum visitors will be able to access the site on a touchscreen in the exhibition.
 
As it were ... So to speak: A Museum Collection in Dialogue with Barbara Bloom has been coordinated by Susan L. Braunstein, Henry J. Leir Curator at The Jewish Museum.
 
Barbara Bloom was born in Los Angeles in 1951 and lives in New York. She studied with John Baldessari at the California Institute of the Arts and is often associated with the postmodern “Pictures Generation” that includes Cindy Sherman, Louise Lawler, Richard Prince and Barbara Kruger. The Reign of Narcissism (1989), perhaps Bloom‘s most celebrated piece, recreates a Neoclassical period room in an imaginary museum dedicated to the artist’s self-image. She is also widely known for her 1994 permanent installation of Thonet bentwood chairs at the Österreichisches Museum für Angewandte Kunst (MAK) in Vienna. In 2008, an extensive survey of her work, The Collections of Barbara Bloom, was shown at the International Center for Photography, New York and at Martin-Gropius Bau in Berlin. The artist's recent installation, Present (2010), addresses the intimacy of gift-giving and explores how other aspects of a gift - its wrapping, its anticipation, its transfer from giver to recipient - can become just as important as the object itself.
 
Exhibition Related Programs
The Jewish Museum and the New School for Public Engagement are presenting a series of six exhibition-related performative programs beginning March 6 with “Dialogue between texts” featuring Daniel Boyarin, Professor of Talmudic Culture at the University of California at Berkeley, and Chris Mann. Each evening concentrates on a different aspect of “dialogue,” pairing speakers demonstrating theory and practice. A public program series schedule is available at TheJewishMuseum.org/publicprograms.
 
Support
This exhibition is made possible with endowment support from The Skirball Fund for American Jewish Life Exhibitions. Additional support is provided by the Alfred J. Grunebaum Memorial Fund, the Leir Charitable Foundations, and the Leon Levy Foundation.

New York, NY - The designers Stefan Sagmeister and Jessica Walsh are known for their experimental typography and striking visual imagery. Six Things: Sagmeister & Walsh, on view at The Jewish Museum from March 15 through August 4, 2013, marks the first exhibition of their newly minted design firm Sagmeister & Walsh. For the last ten years, Sagmeister has researched the nature of happiness, asking, “Is it possible to train my mind in the same way I can train my body?” In five short films and a sculpture, the studio investigates six things, culled from Sagmeister‘s diary, that he believes have increased his personal happiness such as: “Now Is Better” and “If I Don’t Ask I Won‘t Get.” In addition, intrigued by a recent nationwide survey in which Jews reported the highest levels of well-being of all religious groups, Sagmeister & Walsh are placing a text in the gallery that connects this scientific data to his personal exploration of happiness.
 
Before this partnership, Stefan Sagmeister was already taking an unusual approach to design. He has created signature album covers for Lou Reed, Talking Heads, the Rolling Stones, and OK Go, and others, and executed indelible ad campaigns for major companies such as HBO and Levi’s. In an iconic 1999 poster for the American Institute of Graphic Arts (AIGA), he incised type into the skin of his naked torso like a tattoo. At the contemporary art gallery Deitch Projects in 2008 he stacked 10,000 bananas against a wall. Unripe green bananas among the yellow ones spelled out the rallying sentence, “Self-confidence produces fine results.” The legibility of the text fluctuated as the fruit turned from green to yellow to black over the course of the exhibition.
 
To stimulate his own creativity Sagmeister has gone on regular sabbaticals since 2000, traveling and investigating ideas. Over the last decade he has delved into the nature of happiness. Inspired by the psychologist Jonathan Haidt, whose research connects spiritual wisdom with modern science, Sagmeister developed an intensive regimen of meditation, cognitive therapy, and mood-altering drugs as an experiment in self-discovery. From this emerged a forthcoming documentary entitled The Happy Film and from that The Happy Show, a traveling exhibition and its accompanying publications, organized by the Institute of Contemporary Art, Philadelphia.
 
Six Things is a continuation of this project on happiness, in which Jessica Walsh has been an integral partner. In five compelling short videos and a sound-activated sculpture, Sagmeister & Walsh examines six things culled from Sagmeister‘s diary that he believes have increased his personal happiness:
 
If I Don’t Ask I Won‘t Get
Keeping a Diary Supports Personal Development
Be More Flexible
It’s Pretty Much Impossible to Please Everyone
Now Is Better
Feel Others Feel
 
Sugar cubes, bubbles, and water balloons are just some of the materials used to spell out the phrases. The ambiguous connections between the six epigrams and the objects of which they are composed are left for visitors to decipher, a provocative game based in the pleasure of looking.
 
A text in the Six Things exhibition gallery connects this scientific data to the personal exploration of happiness. It notes: “According to a recent nationwide survey, Jewish Americans report higher levels of happiness than all other major faith groups in the country. This finding is based on more than 676,000 interviews conducted in 2010-11 for the Gallup-Healthways Well-Being Index. Within each faith surveyed, very religious members are happier than their nonreligious counterparts. For example, observant Jews are generally happier than secular Jews. But a higher proportion of practicing members does not predict greater well-being for the faith. Interestingly, though Jews are among the least religious faith groups in America, with only 16.9% identifying themselves as very religious and 53.5% as secular, they still appear to be the happiest. The Well-Being Index does not definitively say that religious observance leads to greater happiness. It does note that belief in a higher power, prayer, acts of charity, and neighborly love can promote a sense of belonging; alleviate stress and depression; and lead to a positive outlook on life.”
 
Six Things: Sagmeister & Walsh has been organized by Rebecca Shaykin, Leon Levy Curatorial Assistant at The Jewish Museum.
 
Stefan Sagmeister and Jessica Walsh are the principals of Sagmeister & Walsh, a New York-based design firm. They have been engaged to create a new graphic identity for The Jewish Museum. Stefan Sagmeister, born in Bregenz, Austria, in 1962, established the design firm Sagmeister Inc. in New York in 1993. He is the recipient of many awards, including two Grammy awards for his packaging designs, the Lucky Strike Designer Award, and an award from the Cooper-Hewitt National Design Museum. Born in 1986 in New York, Jessica Walsh, a multidisciplinary designer, has worked at Pentagram Design and Print magazine and counts The New York Times, AIGA, EDP, Computer Arts, and I.D. magazine among her clients. She was named Computer Art‘s Top Rising Star in Design in 2009 and an Art Director’s Club Young Gun in 2010, as well as Print's New Visual Artist for 2011.
 
Exhibition Related Program
On Thursday, May 2 at 6:30pm, Stefan Sagmeister will talk about his recent projects including the exhibition, Six Things: Sagmeister & Walsh.

Theodore:Art is pleased to present Notorious, a group exhibition attempting to defamiliarise the iconic, deflate the mythological, and disrupt the idolatry of celebrity.
 
Artists: Brian Dupont / Richard Hamilton / Marie Harnett / Damien Hirst / Scooter LaForge / Corinna Spencer / John Squire / Neil Winokur

Lucas Samaras Pastels June 7 – August 9, 2013
 
NEW YORK, NY – Craig F. Starr Gallery is pleased to announce Lucas Samaras Pastels, on view from June 7 to August 9, 2013. The exhibition showcases eighteen drawings from 1974 and 1981, as well as three of Samaras’s densely embellished boxes. A fully illustrated catalogue accompanies the show with an essay by Daniel S. Palmer, doctoral candidate in Art History at The Graduate Center, CUNY.
 
In 1974, Samaras produced more than 100 pastels. Working in concentrated bursts, he made fantastically patterned drawings that bridge the gaps between landscape, still life, and self-portraiture. These works evoke the inner landscape of the artist’s mind.
 
As sites of personal exploration and self-reflection, these striking pastels exploit the medium’s intrinsic qualities in dreamlike scenes, many of which contain ghostly figures embedded in their patterning. The active process of discovering this hidden imagery elicits personal inquiry in the viewer as it reveals the artist’s own unconscious desires. Deciphering these mysterious forms parallels the psychological process we enact when we retrieve an image from memory.
 
With his intricate boxes, Samaras explores similar issues of identity and memory, concealing caches of photographs and mementos within threatening, patterned exteriors. As part of his continual investigation of the self, Samaras’s boxes and pastels broaden the boundaries of self-portraiture.
 
Craig F. Starr Gallery is located at 5 East 73rd Street between Fifth and Madison Avenues. Gallery hours are Monday through Saturday, 11:00 am to 5:00 pm in June, Monday through Friday in July & August. For general information please view the gallery’s website at www.starr-art.com.

For Immediate Release
 
Season Review Group Show
June 13 - July 31, 2013
 
Edward Thorp Gallery is pleased to announce Season Review a group exhibit comprising of works from gallery artists and a selection of works from artists who participated in the gallery’s 2012 - 2013 season. This overview will reflect a diversity of approaches in a wide variety of mediums from ink on paper to mixed media multi-panel works, large scale paintings on canvas to steel and tin sculpture.
Artists to be included:
 
Andrea Belag
Matthew Blackwell
Cora Cohen Neil Farber
Sarah Gamble
Clare Grill
June Leaf
Rachel Malin
Henri Michaux
Judith Simonian
Andrew Spence
Gary Stephan

Eleven Rivington is pleased to present a solo exhibition of recent work by French artist Anne-Lise Coste, on view from June 20 – through August 9, 2013 at our 195 Chrystie Street location. The artist has shown extensively in Europe for almost 15 years and this is her first with Eleven Rivington.
 
The exhibition will feature new paintings executed primarily in spray-painted acrylic. In the main gallery, an immersive series of 12 black and white canvases based on details of Picasso’s Guernica breaks down the highly complex and visually dense painting into singular appropriated and abstracted scenes. In the smaller second space of the gallery is a display of a new series of text-based works and abstract paintings. All share a unique balance of severity and airiness, in addition to sharp wit. Impulsiveness is characteristic for her work—often painting over previous attempts with gesso until satisfied. Treating letters as units of words allow her to bypass the strict rules of language and convention. With her decisive use of a spray gun to articulate with pigment, she fuses the vitality of expressionism (direct and intuitive mark-making) with the aloofness of Pop (mechanized paint application). Coste frequently raises existential questions - the social and political content of Picasso's regarded masterpiece is undeniable - articulating them by cropping details, re-articulating or subverting specifics, or executing gestures or texts in the form of direct statements / re-statements that expose every single pore. The tangled whole of her practice is a many-voiced inner monologue, a maze whose paths seem to know only two ways out: either an implosion of meaning via repetition, or an explosion through pure overload.
 
Anne-Lise Coste was born 1973 in Marseille, France and currently lives and works in New York. She studied in Marseille at the Ecole des Beaux-Arts, and in Zurich at the Hochschule fuer Gestaltung und Kunst. Recent and upcoming shows include Kunst-und Ausstellungshalle, Bonn, Germany; Fundacio Caixa Madrid, Spain; Esslinger Kunstverein, Esslingen, Germany; Museo de Bellas Artes de Santander, Santander, Spain. This exhibition is presented in association with Nogueras Blanchard, Barcelona.
 
Eleven Rivington’s two locations are at 11 Rivington St and at 195 Chrystie St, NY, NY 1002, USA. Summer Hours are Tues – Fri 11 AM – 5:30 PM. The gallery is closed July 4 and 5 for Independence Day Holiday. Please contact gallery@elevenrivington.com or 212-982-1930 for more info.

Eleven Rivington is pleased to present the first solo exhibition in New York by American artist Israel Lund, on view from June 20 through August 9, 2013 at the gallery’s 11 Rivington Street location.
 
Israel Lund’s paintings are a record of the static within a system of reproduction. There is a point at which they commenced, but they began with an image of nothing, as Lund initially burned an open rectangle approximately 8.5 x 11 inches into a silkscreen, unevenly forcing black ink through the blank image onto a canvas. By affecting a copy of nothing, Lund imports no other information to the painting’s surface but that which is already inherent to the process of reproduction itself (e.g. the black ink, its semi-mechanical application, the data assumed to be copied), thereby allowing the system to generate the image. As he distorts, enlarges, degrades, and re-inserts these copies further, Lund extrapolates a recursive and deconstructive method of reproduction that continually re-doubles upon itself, imparting a physical and conceptual liquidity to each individual painting, alleviating the burden of originality from any work and the artist himself.
 
The works on view at Eleven Rivington have long since distanced themselves from this beginning, having appeared in an artist book, then haphazardly rearticulated through three-color process paintings (cyan, yellow, and magenta), scanned and digitally distributed on his and others tumblr pages, and presently re-photographed through a PDF generating application on his phone, the images from which provide the basis for this exhibition. The paintings are altered as much by their actual, physical production, as by their dissemination, each step in this process degrading the copies further, purposefully leaving us with no original by which we can ground the work. The paintings only change slightly from iteration to iteration, but they flood the system with copies of themselves, polluting the essential qualities of the work with its innumerable duplications and the mutations that accord such a process.
 
Four of the paintings are hung on the front windows of the gallery, which may best represent the simultaneity of their production, consumption, and dissemination. Facing the paintings from the front, the stretchers and braces cast a shadow through the canvas, the central rectangle not only reflecting, but also emitting light that shines through its surface. With greater contrast between the shades, and a certain bald luminescence to the highlights, the paintings appear to frame dull jpegs of themselves. They are then both image and the thing itself, and, given their relatively inevitable online distribution, the physical paintings occupy an experiential stage with their reproductions, anticipating the future life of the painting through the past life of its various copies, and its present appearance. Lund’s work temporarily flattens these transient moments into one space and context, aware, however, of the slippery identity of paintings.
 
Israel Lund was born in 1980 in New York. He was educated at Mason Gross School of the Arts at Rutgers Univeristy, NJ (MFA) as well as Pacific Northwest College of Art, OR (BFA). He currently lives and works in Brooklyn, New York. Recent and forthcoming solo exhibitions include Rob e rt s&T ilt on, Roberts & Tilton, Culver City, CA, and Elaine Levy Project, Brussels, Belgium.