nyc art scene

a carefully curated calendar & cumulative catalog of new york city's most interesting art exhibitions and events. hand picked by Arthur Seen & Team

Opens tonight, Sept 4, 6-8p:“Jennifer Reeves (1963-2014) Memorial Exhibition” BravinLee programs, 526 W26th St., NYC (#211)“We share the grief of Jennifer’s many friends, family and admirers. Jennifer’s paintings, photographs and prose will live on. For those of us who knew her she will be remembered for her loveable genius, her startling candor and her unguarded kindness. All who had the privilege of knowing her images and words will miss sensing that she is around and about to tell us something we will be much richer, inwardly, for hearing.”Artists, in particular, battle inertia in a specific way because the very act of making art is an act of defiance against despair. I think most art is about this battle - how to win it, what it looks like when you don’t, and what it looks like if you do.—Jennifer Reeves Oct. 4 2010A memorial service celebrating Jennifer’s life will be held at 11:00 A.M. September 6 at St. Mark’s Church 131 East 10th St. NYC.pictured: Socrates and Hemlock, 2014, acrylic and collage on panel, 24 x 18 inches

Opens tonight, Sept 4, 6-8p:

Jennifer Reeves (1963-2014) Memorial Exhibition
 
BravinLee programs, 526 W26th St., NYC (#211)

“We share the grief of Jennifer’s many friends, family and admirers. Jennifer’s paintings, photographs and prose will live on. For those of us who knew her she will be remembered for her loveable genius, her startling candor and her unguarded kindness. All who had the privilege of knowing her images and words will miss sensing that she is around and about to tell us something we will be much richer, inwardly, for hearing.”

Artists, in particular, battle inertia in a specific way because the very act of making art is an act of defiance against despair. I think most art is about this battle - how to win it, what it looks like when you don’t, and what it looks like if you do.
—Jennifer Reeves Oct. 4 2010

A memorial service celebrating Jennifer’s life will be held at 11:00 A.M. September 6 at St. Mark’s Church 131 East 10th St. NYC.

pictured: Socrates and Hemlock, 2014, acrylic and collage on panel, 24 x 18 inches

Opens Friday, Sept 5, 7-10p:

PIEROGI XX: Twentieth Anniversary Exhibition

Pierogi Gallery,  177 N 9th St., Brooklyn, NYC

an eclectic group of work by over one hundred ninety artists, installed salon style. Pierogi Gallery, which opened in Williamsburg, Brooklyn on North 9th Street September 1994, where it remains today.

“We would like to thank everyone who made Pierogi what it is today by presenting works by many of the artists who have participated in exhibitions over the last twenty years.”

pictured:

James Hyde, “Fence,” 2014, Acrylic on archival inkjet print on wood

Dawn Clements, “Table (Civitella Rainieri),” 2013, Gouache and ink on paper

Opens Tomorrow, Sept 4, 6-8p:“Denuded Lens” Roxy PaineMarianne Boesky Gallery,  509 W24th St., NYCFrom the Painting Machines, to the Replicants, to the Dendroids, Paine’s practice illuminates the aesthetic and conceptual paradoxes that lie at the heart of the contemporary condition, addressing the particular tension that arises when chaos and control, fact and artifice, the organic and the industrial, meet. At the center of this exhibition is Checkpoint, the most recent iteration of his latest series, the large-scale Dioramas. A room-sized vision of a generic airport security stop, Checkpoint presents a locale whose practical banality rests uneasily alongside the looming suggestion of larger social anxieties.  - thru Oct 18

Opens Tomorrow, Sept 4, 6-8p:

Denuded Lens
 Roxy Paine

Marianne Boesky Gallery,  509 W24th St., NYC

From the Painting Machines, to the Replicants, to the Dendroids, Paine’s practice illuminates the aesthetic and conceptual paradoxes that lie at the heart of the contemporary condition, addressing the particular tension that arises when chaos and control, fact and artifice, the organic and the industrial, meet. At the center of this exhibition is Checkpoint, the most recent iteration of his latest series, the large-scale Dioramas. A room-sized vision of a generic airport security stop, Checkpoint presents a locale whose practical banality rests uneasily alongside the looming suggestion of larger social anxieties.  - thru Oct 18

Opens Thurs, Sept 4, 6-8p:“Float” Farhad MoshiriGalerie Perrotin,  909 Madison Ave, NYC Farhad Moshiri’s first solo exhibition in New York. This new body of work articulates Moshiri’s multifaceted approach to art and the ideas that inform it. If on the one hand, the concept of floating is an indicator of Moshiri’s proclivity for exploring different art genres and media, on the other hand it communicates his desire to escape reality as we know it to seek shelter in a fantasy world, where the absence of conventional rules and the possibility of repositioning existing elements in a new light can result in the creation of a parallel dimension where freedom is the only master. - thru Oct 4pictured: Drift, 2014, Beads and acrylic on canvas on board

Opens Thurs, Sept 4, 6-8p:

Float
 Farhad Moshiri

Galerie Perrotin,  909 Madison Ave, NYC

Farhad Moshiri’s first solo exhibition in New York. This new body of work articulates Moshiri’s multifaceted approach to art and the ideas that inform it. If on the one hand, the concept of floating is an indicator of Moshiri’s proclivity for exploring different art genres and media, on the other hand it communicates his desire to escape reality as we know it to seek shelter in a fantasy world, where the absence of conventional rules and the possibility of repositioning existing elements in a new light can result in the creation of a parallel dimension where freedom is the only master. - thru Oct 4

pictured: Drift, 2014, Beads and acrylic on canvas on board

Fall 2014 Editor’s PickOpens Sept 7:“Satan Ceramics” Mary Frey, Pat McCarthy, JJ PEET and Tom SachsSalon 94 Freemans,  Freeman Alley, NYC (off Rivington, b/t Bowery & Chrystie St)The four New York-based artists, friends and collaborators included in Satan Ceramics, shape clay with a sense of irreverence, rites and ritual.  Process, politics, labor, the handmade, tradition, humor, gossip, danger, historical nods and punk sensibilities are ultimately tied to the underlying collaborative strategies of integrity of the material and sincerity of the object. As Frey puts it, “Our weekly ritual takes place within the clubhouse where we eat together, share knowledge, discuss, make pots, talk shit and dream.” The artists use ceramics with other materials that are often non-traditional media. - thru Oct 25pictured: Tom Sachs, Cyclops, 2014Porcelain, stereo components, bamboo, and Sharpie markers

Fall 2014 Editor’s Pick
Opens Sept 7:

Satan Ceramics
 Mary Frey, Pat McCarthy, JJ PEET and Tom Sachs

Salon 94 Freemans,  Freeman Alley, NYC
(off Rivington, b/t Bowery & Chrystie St)

The four New York-based artists, friends and collaborators included in Satan Ceramics, shape clay with a sense of irreverence, rites and ritual.  Process, politics, labor, the handmade, tradition, humor, gossip, danger, historical nods and punk sensibilities are ultimately tied to the underlying collaborative strategies of integrity of the material and sincerity of the object. As Frey puts it, “Our weekly ritual takes place within the clubhouse where we eat together, share knowledge, discuss, make pots, talk shit and dream.” The artists use ceramics with other materials that are often non-traditional media. - thru Oct 25

pictured: Tom Sachs, Cyclops, 2014
Porcelain, stereo components, bamboo, and Sharpie markers

Opens Sept 10:“A New Surrealism, Works from the 1930’s” Joseph CornellVan Doren Waxter Gallery, 23 East 73rd St., NYCThe exhibition features small-scale collages of the 1930’s, Joseph Cornell’s first forays into the found object assemblages for which he became known. Other exhibition highlights include box compositions, whimsical pocket-sized pill box creations from Cornell’s initial experimentation with objects and containers that lead to the shadow box. These works give an intimate look into the imaginative vision of this uniquely self-taught American surrealist. Cornell’s idiosyncratic method developed as he visited art galleries and second-hand book sellers in Manhattan’s mercantile district, where he acquired a collection of materials and ephemera. His early collections of memorabilia and curiosities were integral to his creative process. The cultivated and curated collections, which Cornell would use to compose his assemblages, drew from his eclectic interests that ranged from literature, music and dance, maps and science, to a fascination with Hollywood and Vaudeville and to the spiritual theories of Christian Science, which the artist first embraced in the 1920’s. Cornell is widely characterized as reclusive, as he seldom ventured far from the Utopia Parkway, Queens, New York home he shared with his mother and disabled brother. - thru Oct 31

Opens Sept 10:

A New Surrealism, Works from the 1930’s
 Joseph Cornell

Van Doren Waxter Gallery, 23 East 73rd St., NYC

The exhibition features small-scale collages of the 1930’s, Joseph Cornell’s first forays into the found object assemblages for which he became known. Other exhibition highlights include box compositions, whimsical pocket-sized pill box creations from Cornell’s initial experimentation with objects and containers that lead to the shadow box. These works give an intimate look into the imaginative vision of this uniquely self-taught American surrealist. Cornell’s idiosyncratic method developed as he visited art galleries and second-hand book sellers in Manhattan’s mercantile district, where he acquired a collection of materials and ephemera. His early collections of memorabilia and curiosities were integral to his creative process. The cultivated and curated collections, which Cornell would use to compose his assemblages, drew from his eclectic interests that ranged from literature, music and dance, maps and science, to a fascination with Hollywood and Vaudeville and to the spiritual theories of Christian Science, which the artist first embraced in the 1920’s. Cornell is widely characterized as reclusive, as he seldom ventured far from the Utopia Parkway, Queens, New York home he shared with his mother and disabled brother. - thru Oct 31

nycARTscene Interview: Tara de la Garza

Arthur Seen recently interviewed artist Tara de la Garza. Her exhibition, Embracing Failure, opens Thursday, August 28th at The Lodge Gallery and runs through August 31st.

1/ Your new show is called Embracing Failure, do you think of yourself as a failure?

I think every artist has an inner critic and it depends on what day as to where you see yourself on the success spectrum. Creating art has been the hardest thing I have ever done. I think most people have this image of an artist in a field with a watercolor palette, happily humming away, creating. In reality, to create something meaningful, that will hopefully forward the dialogue of art, is a struggle. By embracing failure I am open to seeing where an artwork evolves before I discount it. I am revisiting, (uncrumpling!) trashed work and editing, much like a writer or a musician would do. Creating art is a beautiful thing because if allows you time to wander, but that time can also be filled with self doubt. Especially making marks on paper, you can’t hide. You rush in and then backtrack to make it up. It’s the human bloody condition on paper!

2/ The works on paper you are referring to are the LES series which incorporate multiple mediums and themes, can you tell us about them?

Originally I created these for a large scale mural project in the Lower East Side that wasn’t completed (the first failure) but I didn’t want to abandon them, I thought I could rework them and see what happened. I grabbed a big brush and some white paint and liberated them. Each piece is a journey, they are hard to take in all at once, you go down avenues and I think the change in medium helps facilitate that.

I have included lots of vignettes of New York in this work, they are full of stories of the Lower East Side where I lived and had a studio and fell in love. They also include my influences and fellow artists works, for example ABC NO Rio 2 depicts, in part, a street art piece by painter Tom Sanford, who I thought so generous to toil for many days on a transitory work, I wanted to recognize that… I was also tempted to steal one!

3/ How does being Australian inform your work?

What, because I mentioned stealing! One thing I realized about Australians is that it is ingrained in our culture to break rules, we encourage the larrakin, a term that is synonymous with being mischievous. This manifests in my work in numerous ways, one example is in the use of materials such as watercolor. Purists of the medium frown on the use of white paint. So I ‘cheat’ and paint over mistakes, then I regret it and try and make it up. That’s my process, intrigue and deception!. And paper is great, you can’t lie, you see every mark and that is the joy of making and owning art, seeing the hand and shaky heart of the artist.

Also part of the rule breaking is a dialogue I have been having for awhile now with Sol LeWitt. I was in a show at MOCA Massachusetts curated by Regina Basha with a piece called Messing with Sol where I distorted some of his work. I admire artists who have a clear framework, but I also want to tear frameworks down. I came back to his guidelines for this series to help gain some cohesion in the work, or in some ways legitimize it, back to that inner critic!

4/ If not humor, per se, there seems to be a lot of tongue in cheek in your work. Massaging a dead chicken for example…

The funny thing about that piece is that it was picked up by comedy central’s Tosh.0, they made fun of it without somehow realizing that is what I was doing, but hey, it made me ‘internet famous’! I like the idea that subtle change and humor can be more affective than grand gestures. That piece was talking about the practice of selling live chickens in Harlem in a place next door to the space that Chashama made available for the show. Working in a public space is great as you can really have a dialogue with a neighborhood, I confused a lot of people by displaying a chicken being massaged in the window right next door. It was playing with opposites, the antithesis of the life of those chickens, but also ridiculous because it was already dead. It wasn’t a political statement about the plight of the live chickens. None of my work is overtly political, it feels inauthentic to me if I attempt it. I think growing up poor informs you in a different way, I don’t have the guilt of privilege that can lead some artists down a righteous path. I am happy to observe my life and talk about it (even make fun of it) without needing a purpose, that seems very Seinfeld somehow…  

I think what is really impactful is changing the way people view things. Technology has done that. It doesn’t dwell on the sociopolitical spectrum. I want to be more like a technologist a or an engineer, not an activist. All I have to contribute are my own thoughts and ideas which aren’t anything controversial or even interesting but there is a curiosity in the mundane, the slightly off kilter, the in-between that fascinates.

5/ Your Projection Paintings use a technique I have never seen before, can you tell us about it?

It’s strange that this technique wasn’t being used in Lumiere’s day, it is actually quite low tech. A movie is projected onto a canvas and the paused movie scene is painted on the canvas. When exhibiting the movie plays and matches up with the canvas, it causes a strange relationship with space, it activates the painting, in a way that a static painting cannot. For the implosion movie this was particularly dramatic when the movie meets the falling building.

6/ Most of the works have some kind of reference materials, images that you cut and paste together to form a narrative. How important is that process and the technology you use?

My first profession was as a graphic designer and the tools available through photoshop are powerful to sketch ideas that would have been difficult to visualize in any other way. Even photographing the work and viewing it from that critical viewpoint is helpful to gain perspective. Working with a facsimile can also be liberating in a way. You can move far away from the original and yet keep coming back to it when you get lost, it acts as a security. Just starting with a blank canvas is terrifying.

Tara de la Garza: taradelagarza.com

The Lodge Gallery: thelodgegallery.com 131 Chrystie St., NYC

Fall 2014 Editor’s Pick
Opens Thurs, Sept 4, 1pm-6pm:

Oh Me, Oh My
 Nick Cave
 
Jack Shainman Gallery, 513 W20th St., NYC
Jack Shainman Gallery, 524 W24th St., NYC

Two shows of new work by Nick Cave, at both Jack Shainman Gallery locations, dedicated to gallery co-founder Claude Simard.

Cave will be also be discussing his new book, “Epitome,” with Creative Time chief curator Nato Thompson on September 10th at The New York Public Library

Fall 2014 Editor’s Pick
Opens Thurs, Sept 11, 6-8p:

Drawings
 Do Ho Suh
 
Lehmann Maupin, 40 W26th St., NYC
Lehmann Maupin, 201 Chrystie St., NYC

an exhibition of new works by renowned Korean artist Do Ho Suh. On display at both 540 West 26th Street and 201 Chrystie Street, the exhibition will highlight the significant role and varied forms drawing plays in Suh’s oeuvre. This two-part show will feature the range of his works on paper, including drawings using pencil, pen, ink, and watercolor, his unique “thread” drawings, as well as his large-scale rubbings. Primarily known for his room-scale installations made of transparent fabric that recreate spaces in which he has lived, the artist has consistently utilized drawing throughout his career to explore and develop relationships between common themes of his practice including notions of home, physical space, displacement, identity, and memory. A focus of this exhibition, and Suh’s most elaborate use of drawing to date, is his Rubbing/Loving Project. Here Suh painstakingly covered the flat walls and three-dimensional fixtures of the interior and exterior of architectural spaces that hold great personal, cultural, or historic significance to him with vellum and rubbed each surface with colored pencil or graphite.

Last Days, closing Aug 17:

Self-Taught Genius
 
American Folk Art Museum, 2 Lincoln Square, NYC (at 66th St)

At the turn of the twentieth century, the field of American folk art was being defined by collectors, professional artists, critics, dealers, and curators whose search for an authentic American art seemed to be finally answered in works that presented a multivalent picture of national identity, faith, progress, ingenuity, community, and individuality. As the field matured under the umbrella of “folk art,” it was also expanded to include a wider variety of expressions and artists working in the present. For the  last twenty years, the term “self-taught” has more regularly come to address artistic inspiration emerging from unsuspected paths and unconventional places, giving voice to individuals situated outside the social consensus. This exhibition proposes a reframing of the conversation to consider the continuum of American folk art through the concept of “self-taught genius” as an elastic and enduring notion whose meaning has evolved over time.

pictured: Archangel Gabriel Inn Sign & Phrenological Head (Asa Ames)