opens tonight, Wed, June 18, 6-8p:
“Leaps into the Void: Shamanism, Meditation, Transcendence, Oblivion”
Gwyn Joy, Sky Kim, Michael Maxwell,
Joe Nanashe, Phoebe Rathmell
Garis & Hahn Gallery, 263 Bowery, NYC
a group exhibition united by the philosophical underpinnings and practical objectives of each artist’s own practice in addressing concepts related to meditation and altered mental states, physical and mental transcendence and Eastern and Western belief systems related to cycles of life.
closes soon (June 15):
“Lebbeus Woods, Architect”
The Drawing Center, 35 Wooster St., NYC
The exhibition brings together works from the past forty years by architect Lebbeus Woods, centering on transformation as a recurring theme and providing a framework for understanding the experimental nature of his work. Acknowledging the parallels between society’s physical and psychological constructions, Woods has depicted a career-long narrative of how these constructions transform our being. Working mostly, but not exclusively, with pencil on paper, Woods has created an oeuvre of complex worlds—at times abstract and at times explicit—that present shifts, cycles, repetitions within the built environment. His timeless architecture is not in a particular style or in response to a singular moment in the field; rather, it offers an opportunity to consider how built forms impact the individual and the collective, and reflect contemporary political, social and ideological conditions, and how one person contributes to the development and mutation of the built world.
recommended, recently opened:
André-Pierre Arnal, Pierre Buraglio, Louis Cane,
Mark Devade, Daniel Dezeuze, Noël Dolla, Jean-Michel Meurice,
Bernard Pagés, Jean-Pierre Pincemin, Patrick Saytour, Claude Viallat.
Canada Gallery, 333 Broome St., NYC
the first comprehensive exhibition in the United States of this under-recognized French art movement. Supports/Surfaces was a loose confederation of about 15 artists mostly from the south of France (Nimes, St. Etienne, Nice, Etc.) who made work marked by an interest in materiality, expansive ideas of what a painting could be and often a lyrical use of bright color. There is no manifesto, but the writings and ideas of Freud, Marx, Clement Greenberg, Michael Fried and Chairman Mao were tossed together along with a deep interest in Matisse, another artist associated with the south of France. Everyday items used as art materials were as radical then as they are commonplace now. Witness the dishrags of Dola, the painted sunshade umbrellas of Viallat, the lathe constructions of Dezeuze or Saytour’s bolt of raw fabric in the seminal piece “Deployed”. Supports/Surfaces artists may or may not have been the ﬁrst to pick up such materials, but what they did with them formally is the key to what sets the group apart from say Arte Povera in Italy or the more famous French group BMPT. In their hands there was a coupling of base material, the format of painting and the poetics of unprogrammatic form and color that simultaneously questioned and reaffirmed painting. Presented with Galerie Bernard Ceysson. thru July 20
read Sharon Butler’s comprehensive review & essay at Two Coats
Pierre Buraglio, Montage, 1981, Mixed media on canvas
Mark Devade, Untitled, 1967, Ink on canvas
opens Fri, May 23, 6-8p:
Jack Hanley Gallery, 327 Broome St., NYC
Belgium-based painter Alain Biltereyst’s small works on plywood are concerned with everyday, contemporary life. The artist is inspired by geometric forms that he sees on a daily basis, such as logos on currency, advertising on the sides of trucks, and fences against a landscape. He strives to interpret this ‘Geo Land’ into works that are “as simple and poetic as possible.” Formal repetition and color choices reflect the artist’s background in graphic design and fascination with commercial and other urban signs, where the lines between culture and subculture are blurred. Beneath the hard edge geometry of each composition, lies a painterly gesture, implying a depth in the otherwise flat composition. - thru June 22