closing Feb 15:
William Holman Gallery, 65 Ludlow St., NYC (corner of Grand St)
The exhibition is centered around a trio of monumental sculptures made of discarded commercial 4 x 4 wooden beams, along with a group of intimate wall sculptures and a series of beautifully rendered large drawings in pencil.
Andrew Edlin Gallery, 134 Tenth Ave., NYC (bt 18th & 19th St)
“This truth is that if it hadn’t been for Paul Edlin (1931 - 2008), this gallery never would have existed… Born in 1931 with a profound hearing loss, Paul Edlin never found a steady career path but had always been interested in art. Finally, in 1972 at the age of 41, he enrolled in art classes over a period of about ten years at the Art Students League and New School, where he was mentored by renowned American artists Will Barnet and Henry Pearson. In the early 1980s Edlin began incorporating postage stamps into his artworks and by the 90s was using them exclusively, choosing them from those of many nations for colors and visual texture. He sliced them into tiny pieces, which he used like mosaic tiles, gluing them on museum board until his compositions were finalized. His scenes of people and mythological figures, animals and objects suggest a mystical personal cosmology. His 16 x 20 inch collages could take as long as three months to complete, and he worked diligently every day, alone in his one-room New York apartment.” - Andrew Edlin
Recommended, opens Feb 14 (7-9p):
Justin Amrhein, Beth Campbell, Jonathan Herder
Mark Lombardi, William Powhida, Ward Shelley
Pierogi Gallery, 177 North 9th St., Brooklyn, NYC [Google Map]
Each of the artists in the exhibition incorporates a vernacular that depicts as well as translates information thereby developing a linear narrative. Mark Lombardi, perhaps the most well known, referred to his information based work as “narrative structures.” His concise body of work — dated from 1996 through 2000 – was developed around events that were international in scope and based on connections of power, politics, and the transfer of money. Ward Shelly employs a similar chart-like visual format but develops his own unique, almost cardiovascular connectivity. He creates historical as well as personal diagrammatic information systems, from his Fluxus Diagram, Addendum to Alfred Barr, People of the Book, to Frank Zappa. William Powhida is known, among other things, for exposing underlying facets of the art world that he’s so closely associated with. Recently he has expanded his work into the fields of sculpture and painting by creating unique variations on some of the dominant trends in contemporary art, albeit with an acute sense of irony. Beth Campbell has worked in multiple mediums for much of her career, from full-scale mirror-image room installations, and distorted inexplicable objects, to her flow chart drawings based on multiple, potential personal futures. Jonathan Herder’s intricate collages utilize the elegant detail of everyday postage stamps with a wit and pathos unique to him. Herder’s carefully composed images are infused with seemingly illogical associations that only become more endearing and plausible with more attention. Justin Amrhein develops information-based works utilizing a schematic format.
opens Feb 12:
New Museum, 235 Bowery, NYC
On view on the Fourth, Third, and Second Floor galleries of New Museum, this will be the first US museum exhibition devoted to the work of Paweł Althamer. Since the early 1990s, Althamer (b. 1967 Warsaw, Poland) has established a unique artistic practice and is admired for his expanded approach to sculptural representation and his experimental models of social collaboration. Althamer is predominantly known for figurative sculptures of himself, his family, and various other individuals within his community. The exhibition will include a new presentation of the artist’s work Draftsmen’s Congress, originally presented at the 7th Berlin Biennial (2012). Over the course of the exhibition, the blank white space of the New Museum’s Fourth Floor gallery will be transformed through the gradual accumulation of drawings and paintings by Museum visitors and more than seventy invited community organizations. Althamer will also activate the exhibition through a sculptural workshop in which the artist and his collaborators will produce new works during the course of the show. For the duration of the exhibition, visitors bringing new or gently used men’s coats to the New Museum will receive free entry. All the coats will be donated to the Bowery Mission.
“A Human Extension”
curated by Amy Berger
The Lodge Gallery, 131 Chrystie St., NYC (bt Delancey & Broome)
Artists Include: Isaac Arvold, Erik Benson, Julie Elizabeth Brady, Paul Brainard, Monica Cook, Melissa Cooke, Peter Drake, MaDora Frey, Jane LaFarge Hamill, Aaron Johnson, Christian Johnson, Michael Kagan, Karl LaRocca, Francesco Logenecker, Daniel Maidman, Lindsay Mound, Reuben Negron, Javier Piñon, Colette Robbins, Jean-Pierre Roy, Michael Schall, Kristen Schiele, Andrew Smenos, Melanie Vote, Frank Webster, Eric White, Barnaby Whitfield, Mike Womack
a celebration of the accessory, the exhibition features twenty-eight artists who, through drawings, paintings, collage and mixed-media, explore the role of fashion in contemporary visual culture. The show re-conceptualizes the fashion accessory, here with geological accessory designs by Jacqueline Popovic, as both sculptural and utilitarian. - thru Feb 16
opens tonight, Feb 9, 6-8p:
“Last Night I Had a Glimpse of the Good Life”
Austin Eddy, Anthony Miler, Alexandria Smith
Thierry Goldberg Gallery, 103 Norfolk St., NYC
Anthony Miler’s paintings in the front room of the gallery depict otherworldly figurations with a mix of blurred neon spray paint, aggressive black brush strokes, graphite, and acrylic. “When there is a face and an expression,” Miler explains, “it’s a quick and strong way to get a visceral dialogue. And it’s not tied to artifice or something that’s academic or disconnectedly conceptual. It’s very psychological and emotive, it looks back at you.” In a similar sense, Alexandria Smith also explores childhood and glimpses of narratives in her work. Assembling mismatched patterns, floating body parts, and dream like spaces, Smith begs the viewer to question the tension between what is play, violence, and preadolescent innocence. Austin Eddy presents another take on dreamy narratives in the back of the gallery. Dapper men smoking pipes and wearing top hats, houses on wheels, and figures crying rivers are some of Eddy’s melancholic scenes of longing and loneliness. - thru Mar 9