Contemporary International Juried Drawing Exhibition
The Drawing Room HU
The term drawing room is derived from the sixteenth-century idea of a “withdrawing chamber” Originally drawing rooms were places in the house to withdraw to, an area to entertain visitors, to play games, to gossip, to plan, to conspire. This exhibition aims to investigate the capacity of drawing; from the intimate, intricate mark to the volatile, restless moving image. We encourage multi-media submissions. Drawing, printmaking, photography, video or installations are acceptable mediums as long as drawing is the basis or inspiration for the work.
Online Submission Only: Submit maximum 8 digital images via email. Please give corresponding size/date/title/medium. No maximum size of original art. Video/performative work can be submitted as links, maximum 3 submissions, any length.
Please include a brief artist’s statement, current bio in your email submission.
Non-refundable entry fee of 30 USD for first 5 images. Additional images +5 USD. Paypal accepted: drhu45@gmail.com
Exit Art 475 Tenth Avenue, corner 36th Street, 212-966-7745
Hell’s Kitchen
March 13 – May 1, 2010 Opening: Saturday, March 13, 7 – 10 PM Web Site
Global/National – The Order of Chaos is an exhibition that “addresses the anxieties of economics, environmental tragedies, and societies of control that define the chaos of globalization. It explores these social issues in an aesthetic way to demystify the notion of art only as an ornamental production. This vision includes images from abstraction to figuration, from direct messages to esoteric thoughts,” explains Co-Founder/Artistic Director Papo Colo. The exhibition investigates how local artists from a variety of backgrounds are placed in relation to the rest of the world. Seen through a global lens, this exhibition explores the multiple cultures that populate our general culture and how the local and national are inextricably linked to the global.
This exhibition examines the tensions of uncontrollable forces that are dislocating our society to redefine a new civilization. The artworks reflect how the national contains global concerns, searching inside our culture to project our global position. This exhibition tells the story of those concerns and new ways in which we can order the chaos.
Conceived by Papo Colo. Curated by Jeanette Ingberman and Papo Colo.
Artists:
John Ahearn, Tina Barney, Jimmie Durham, Nicky Enright, Rico Gatson, Kate Gilmore, Guerra de la Paz, Charles Juhasz-Alvarado, Saeri Kiritani, Tseng Kwong Chi, Robin Lasser, Rebecca Loyche, Miguel Luciano, Jonathan Matas, Mary Mattingly, Eve Mosher, Chris Sollars, Jade Townsend, Jason Villegas, Bernard Williams, Martin Wong, O Zhang, François Ziliff
Events:
A Conversation with Hua Hsu and Greg Tate
Wed, March 31, 7pm – 9pm
Exit Underground
Writer and professor of English Hua Hsu and cultural critic and musician Greg Tate will talk about their views on art, commerce, race and globalization. Using the work in Global / National — The Order of Chaos as jumping off points, the speakers will engage in a free-wheeling discussion about the state of American culture at a time when the “local” is being threatened by globalization. $5 suggested donation. Cash bar.
In today’s roundup you’ll read about three kids in Switzerland, political defiance, Latin American photography, a map upstate, Opera House sails, the nature of light, and airborne balls:
The Family, The Landis the first museum exhibition in Switzerland devoted to the work of Season 1 artist Sally Mann. The controversial photographs of her three children, published in the 1992 book Immediate Family, will be on view along with recent works, some of which picture her children in adulthood. The artist, according to the museum, “questions memory and the ephemerality of life,” or as Mann has stated, “what remains.” The Family, The Land is on view at Musee de L’Elysee through June 6.
On March 11, a conversation between Julie Mehretu (Season 5) and Pat Steir (moderated by Susan Harris) will take place at the RISD Museum. Both artists will discuss the central role of drawing in their work, with a focus on issues specific to women artists of their respective generations. The event (free and open to the public) is presented in conjunction with the exhibition Pat Steir: Drawing Out of Line, on view February 16 through July 3.
Art21 artists Barbara Kruger (Season 1), Laurie Simmons (Season 4), Cindy Sherman, and Jeff Koons (both Season 5) are included inYour History is Not Our History — a group exhibition organized by artists David Salle and Richard Phillips for Haunch of Venison. The show features works produced in the 1980s by artists working in New York City. Phillips says, “We reject the sterilized view that is offered…and hope to offer a more accurate portrayal of the energy and experimentation that was permeating the city during that time.” According to Haunch of Venison, “Salle and Phillips believe that the best work of the 1980s shares a belief in the necessity to take forms, ideas, and content to their extremes.” The exhibition continues through May 1.
Throwing Three Balls in the Air to Get a Straight Line at Malmö Konsthall in Sweden brings together work by artists John Baldessari (Season 5), Simon Denny, Mario Garcia Torres, Thomas Kratz, Falke Pisano, and Ryan Siegan-Smith. The title is borrowed from a 1973 work by Baldessari in which the artist repeatedly documents his attempt to toss — with geometrical precision — three balls in the air. This piece has guided the entire exhibition, which explores an artist’s own self-awareness in the conceptual and pictorial dimensions of their work. Throwing Three Balls is on view through April 11.
Works by Gabriel Orozco (Season 2) and Alfredo Jaar (Season 4) are on view at the Museum of Latin American Art in the exhibition Changing the Focus: Latin American Photography (1990-2005). Comprising over 75 works created by 35 artists from the four regions of Latin America (Mexico, Central and South America, and the Caribbean), Changing the Focus explores personally-charged response to local and global issues grounded in the contemporary Latin American experience. The exhibition, which continues through through May 2, is the first survey of Latin American photography and photo-based art generated between 1990 and 2005 to be presented in the Los Angeles area. Read the LA Timesreview.
Living Under The Same Roof, an experimental exhibition at the Bard College Center for Curatorial Studies (CCS), is organized by Curator-in-Residence, Ana Paula Cohen. Over the course of the exhibition, the CCS museum will in effect become a laboratory activated by the audience. Visitors are presented with a map of the entire Marieluise Hessel Collection — some 2,000 objects — developed in collaboration with Paris-based Brazilian artists Angela Detanico and Rafael Lain. The public is invited to select works from storage to be seen in a viewing room in the museum space. The works will then be displayed in a rotating system according to weekly requests. A series of related artist talks have been organized in collaboration with Bard College undergraduate studio arts professor and Art21 artist Judy Pfaff (Season 4). Speakers include Pfaff, Nicole Eisenman, Robert Longo, Matt Mullican, Martha Rosler, and Stephen Shore. View the complete schedule here.
Works by Bruce Nauman (Season 1), Kara Walker (Season 2), and Paul McCarthy (Season 5) are included in the group exhibition Abstract Resistance, on view at the Walker Art Center in Minneapolis through May 23. The show focuses on artists working from the 1950s to the present who have revolted against the aesthetic orthodoxies of their times. Starting with Michel Foucault’s assertion that “where there is power, there is resistance,” curator Yasmil Raymond argues that art made since World War II has been shaped by traumatic historical events in complex ways. Such art, she says, is “resistant to interpretation; it withholds information, it tends to evade identification, and certainly it protests interrogation.” Abstract Resistance proposes a new framework for art that is “aesthetically inventive, ethically engaged, and politically defiant.” In conjunction with the exhibition, the Walker will publish a collection of essays that will be available online in April.
A new publication dedicated to the work of Season 3 artist Hiroshi Sugimoto has been released. Nature of Light focuses on Sugimoto’s recent investigations into the science and presentation of photography. Published to coincide with his upcoming exhibition at the Izu Photo Museum in Japan, it also offers detailed documentation of the artist’s architectural and landscape redesign of that space. For more information, visit the RAM Publication website.
Laurie Anderson (Season 1) and her husband Lou Reed (of Velvet Underground) will co-curate this year’s Vivid Sydney in Australia. Previously called Luminous, the live performance festival is partly inspired by the illumination of the Sydney Opera House sails. This year’s festival (only the second in its history) includes large scale light installations and projections; music performances and collaborations; creative ideas, discussion and debate. Reed said: “We see Vivid as being a critical, high-value anchor event in Sydney’s calendar for years to come. Something that has been built and is owned by Sydney, [it] can’t be bid away and will drive those visitors and those dollars and that image of Sydney around the world for many years.” Vivid runs from May 27 to June 21.
John Yau has written about the work of Robert Ryman (Season 4) for the Brooklyn Rail. Ryman’s exhibition Large-small, thick-thin, light reflecting, light absorbing is on view at Pace Wildenstein through March 27.
Camel Art Space 722 Metropolitan Avenue, camelartspace@gmail.com
Williamsburg / Greenpoint / Bushwick
March 12 – April 25, 2010 Opening: Friday, March 12, 7 – 9 PM Web Site
Sometimes you have to play a long time to be able to play like yourself – Miles Davis
A race is a work of art that people can look at and be affected by in as many ways as they’re capable of understanding – Steve Prefontaine
OTZ and Camel Art Space are pleased to announce Lonely Fire, a group exhibition of new work including visual artists Chris Burnside, Tania Cross, Nathan Gelgud, Sam Martineau, Ben Needham, Alisa Ochoa, Adam Taye, and James Woodward.
Borrowing its name from the Miles Davis track from Bitches Brew the exhibition will explore the concepts of the deification of the modern athlete, spirituality, local tradition, and the road to victory.
Historically, sports were organized to ready men for battle and were held in honor of local religious traditions. Some of the first Western games were foot races enacted within religious sanctuaries, which precipitated the Olympic Games and the modern sports industrial complex. The ascendancy of the individual through organized physical group and individual competition began within this framework and has never left our collective conscience.
Sports are still the greatest theater of live performance where local customs and factional interests are played out. Sports bring solidarity to diverse populations, unified behind a shared goal of winning and team identity. It’s in this context that the spectacle of human beings pitted against one another is at its greatest and yet most basic height.
Betty Cuningham Gallery is pleased to announce an exhibition of new work by William Bailey, including recent still-life and figure paintings as well as a selection of works on paper. This will be the artist’s third exhibition at the gallery.
Bailey is known particularly for his still-life paintings. Although unlike other still-life painters, Bailey composes his paintings on the canvas from his imagination, adjusting the light source and relative scale of each object as he paints.
Also included in this exhibition are six figure paintings (four on canvas, two on paper). Like the objects in the still-lifes, the figures are painted from Bailey’s imagination and have a strange, dreamlike presence. Unlike the major works in this exhibition, Bailey’s drawings of the figure begin from direct observation.
William Bailey’s work can be seen in a host of public and private collections, most notably the Hirshhorn Museum and Sculpture Garden, Washington, DC; Museum of Fine Arts, Boston, MA; Museum of Modern Art, New York, NY; the Phillips Collection, Washington, DC; National Museum of American Art, Smithsonian Institution, Washington, DC; and the Whitney Museum of American Art, New York, NY. Bailey is the subject of two monographs, one by Mark Strand and the other by John Hollander and Guiliano Briganti.
William Bailey was born in Council Bluffs, Iowa. After serving in the United States Army during the Korean War, he studied under Josef Albers at Yale where he received both his B.F.A. and M.F.A degrees. He has been exhibiting in New York since the late 1960’s. He lives and works in New Haven, Connecticut and Umbria, Italy.
An essay by Alexi Worth will accompany the exhibition.
From February 19th to May 16th 2010, La Maison Rouge in Paris, France presents Vinyl, an exhibition of records and covers compiled by the British collector, publisher and curator Guy Schraenen. For more than 30 years, Guy Schraenen’s fascination with artists’ multiples (objects, catalogues, books, magazines) has led him to amass a unique and highly specialised collection on the theme of sound. Vinyl shows LPs from an acoustic and visual angle to illustrate how artists from the 1920s and throughout the twentieth century have experimented with language and sound. The exhibition presents close to 800 albums alongside tapes, CDs, specialist magazines, reference books, catalogues and artworks.
In this video by Christophe Ecoffet, Guy Schraenen talks about his interest in the relationship between visual art and sound, and the concept of the exhibition.
Photograph God: Kabbalah through a Creative Lens
Scot Kaplan and Sarah Weinstock, curators of the Wayne and Geraldine Kuhn Fine Arts Gallery at the Marion Campus of The Ohio State University, invited me to show my interactive artblog Photograph God in the Searching for God exhibition in 2010. In the 20th century, when my paintings and prints were in exhibitions, I had to arrange to transport them there by truck, train, or plane. Since it was too expensive to transport and insure my large acrylic painting from Tel Aviv to Prague for my 2004 Cyberangels: Aesthetic Peace Plan for the Middle East exhibition, I e-mailed the Prague museum curator a photograph of it that was then digitally printed out on canvas in Prague at the same size as the original. For the Ohio State exhibition, I did not need to ship the artwork from Israel to Ohio nor even e-mail it. Since my Photograph God artblog had been living and growing in cyberspace for four years and can be accessed by anyone from anywhere, the exhibition curator only had to google “photograph god” to find it the first of a list of over six million sites. One click of the mouse and it was there for the taking.
I don’t know about you but I can’t get enough. I promise not too play with my food too much (maybe) but I can guarantee I will be asking for seconds. It’s one of the busiest weeks in the Art World and a lot of it is happening in New York City. Although I have been on the verge of art overload, with my eyes literally buzzing the other night from over-stimulation, I won’t be shouting mayday because I have the optimism that I will experience something intriguing the very next moment just by default. My favorite so far is the muli-layered curatorial contrast between the more traditional yet uber-commercial Armory Show and the INDEPENDENT.
Meanwhile, I bet you all are still hungry as well – so here you go!
EDUCATION | Teaching with Contemporary Art. How do you hold an art exhibition in your hand? Read Part One of this interview with Tod Lippy, founder and editor ofESOPUS magazine, by Joe Fusaro, for some insight into how Lippy has materialized his curatorial vision in a plethora of pages released on two very anticipated dates per year. In Part Two, Lippy talks about the periodical as useful a resource for educators.
What are you thinking, I mean eating? Don’t know? Try charting it out. You might get some some unexpected answers. In Gastro-Vision: Stomache, Nicole Caruth gives us the scoop on artist Christina Mazzalupo’s very colorful food diaries. It’s true that what you eat can’t only be measured as a numeric caloric intake.
How does the Internet see you? Here’s a new way to ask this androgynous digital connector, in the form of an initial question posed by Aaron Zinman of MIT. Meanwhile, be sure to read on here as there are many other connections made.
Have you every chosen not to be, well, the most polite that you could be? What was the outcome? Here’s a glimpse into Paul McCarthy’s studio, a workshop that often dares to be irreverent. In this video, Paul McCarthy | Lifecasting, the artist is surrounded by various figurative sculptures, including an oversized bust of President George W. Bush. McCarthy discusses the process of casting from life and the resulting perfections and imperfections. Be sure to also watch Jessica Stockholder | Form. Stockholder discusses the strength of form and the difficulty in articulating the meaning behind abstract shapes from her home in New Haven, Connecticut.
Inside the Artist’s Studio | Christa Holka. Vanity, queerness, friends, and family. Sometimes the seemingly superficial is actually quite intimate. Holka talks about her photography, past travels, lifestyles, and hopes for the future.
Welcome Kevin McGarry, our new guest blogger! Kevin is a writer and curator based in Brooklyn, NY. His journalism has recently appeared on Rhizome, T Magazine Blog, and the online editions of Art in America, Artforum and Interview. Read about his first impressions of Skin Fruit, the exhibition curated by Jeff Koons at the New Museum.
Flash Points: Must Art Be Ethical? What would happen if you took a stray animal off the street and put it in a gallery as a work of art? According to David Yanez, perhaps no other exhibition has caused as much controversy over the ethical use of live animals in art as Exposición No.1., a show by Guillermo Vargas, a Costa Rican artist also known as “Habacuc.” IT took place on August 16, 2007 at Galería Códice in Managua, Nicaragua. YOU ARE WHAT YOU READ.
The Oscars, aka prom night for Hollywood, are just around the corner! Who does the Academy love more: the noble savage, the noble soldier, or the noble soldier-turned-savage? Are you on the edge of your seat or what? If you answered “or what” to that question, you might prefer to spend this Sunday at the Santa Monica Museum of Art, whose current exhibitions offer an excellent antidote to “movie magic.”
Building relationships can be hard for some and quite natural for others. What about that space in-between? How does photographer Alec Soth work at his relationships with his subjects? Read The Process Behind the Portrait, an interview with Soth by Rachel Craft.
