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Jim Shaw at Metro Pictures
Artist: Jim Shaw Venue: Metro Pictures, New York. Exhibition Title: I Only Wanted You to Love Me Date: September 12 – October 25, 2014 Click here to view slideshow Full gallery of images, press release and link available after the jump. Images: Images courtesy of the artist and Metro Pictures, New York Press Release: Jim Shaw presents new […]Contemporary Art Daily is produced by Contemporary Art Group, a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today. Read full article here

Slideshow: The Work of David Altmejd
Language English Featured: 0Order: 0Author(s): Regina MogilevskayaSub-Channels: GalleriesReferenced Artists: David AltmejdShort Title : The Work of David Altmejd Read full article here

Q&A: Chuck Close Talks Haiti Benefit Sale and Arts Education
Q&A: Chuck Close Talks Haiti Benefit Sale and Arts EducationChuck Close made his name in large-scale portraiture, from photo-real paintings to faces composed of his signature grid-based color patterns — and, in later years, photography, printmaking, and even tapestry. Active for almost 50 years, he still produces and exhibits prodigiously, with a his first major solo exhibition in Australia at the Museum of Contemporary Art opening on November 20 and an exhibition of his photographs, including a series taken for Vanity Fair, on view in Southampton in April 2015. Most recently, however, Close has taken an active role in Artists for Peace and Justice, a non-profit founded by film director Paul Haggis that provides aid to Haiti in the form of education, healthcare, and the arts. The organization’s latest event, “Fierce Creativity,” is a four-day benefit art sale that will be up at Pace Gallery’s 57th Street location from October 22 through 25. Together with co-curator and photographer Jessica Craig-Martin, Close helped select the 45 contributing artists, each of whom set the price for his or her own piece on the condition that 100 percent of the profits would go to Artists for Peace and Justice. ARTINFO caught up with Close the week before the sale to discuss his involvement with the organization, his interest in foreign aid, and the importance of arts education. How did you become involved with “Fierce Creativity,” and what drew you to the project? For the past couple of years, I contributed works, but I didn’t really know much about it — I contribute to a lot of things. Then, I got to know Paul [Haggis], and when they started telling me what they were doing, I said, “Oh, well I’d really like to do more than just give a piece.” I told them that I wouldn’t do an auction, because auctions are bad for artists; if a thing doesn’t sell well, it’s embarrassing. Nobody should ever have to watch their work up for auction. I said a long time ago that an artist going to an auction is like taking a cow on a guided tour of a slaughterhouse. You know this thing is going on but you don’t want to see it. So I said, “OK, yes, we’ll do it as a sale, and if at the end of the week it’s not sold, the thing is returned to the artist, and nobody is publically humiliated.” So that’s really the condition that I set for my involvement. Had you worked with your co-curator, Jessica Craig-Martin, beforehand? Jessica has been involved — she did it the year before. She knows a lot of the younger artists and the European artists, and I know a bunch of old farts, so that’s my contribution. She had all the young, hip people. Are there young artists whose work you do follow at the moment? Yeah, I look at a lot of younger artists’ work; there are people that Jessica picked whose work I like a lot. The thing is that the person who goes to the artist and convinces them to give tends to be someone of their own generation — someone they know personally. It’s much better that I talk to people who are my friends and my generation and she deals with hers. She was able to get Damien Hirst. How did you choose the work that you donated for this sale — the tapestry self-portrait? I wanted to give something that was unique. I haven’t made a drawing in 20 years, and I don’t have any paintings available, so I could do a tapestry and only make one unique piece instead of an edition of three. You know, a lot of people don’t want something unless it’s unique. If somebody plunks down big bucks, a major chunk of cash, they don’t want to go to someone else’s house and find the same piece hanging there. I normally don’t care — I’ll keep the prices lower and have more of them. But in this case, I really wanted to come up with something that could justify a higher sales price. And how did you choose the other artworks? I called in some friends and, you know, stood on ’em a little bit and made it hard for them to say no. But a surprising number of people had no trouble saying no, and some of their dealers said no, which I thought was interesting. But I would say 80 percent of the people I’ve asked have given. [Artists are] very generous, but you hit the wall after a while. I probably give 12 or 15 pieces away a year to charities, and it can really add up. I give away what amounts to like 20 percent of my income, sometimes more. As a kid, I was raised in the church, and we tithed 10 percent of our income, and my mother had nothing. I look back and I say, “Oh my God, I’m tithing 20 percent,” you know? But this is for something I believe in, and I didn’t believe in the church, so it makes it easier. Artists for Peace and Justice is touted as presenting a “different model” for an arts charity — how so? We have impact on the lives of young people going to school, who otherwise might finish grade school but would not go on to what we would call middle school or high school. Not only are we helping these kids, we find local Haitian architects and local Haitian contractor-builders, and they hire all Haitian teachers and administrators, so we’re helping on many different levels. And we have organizations that cover our administrative costs, so nothing comes out of the money that we raise — one hundred percent of it goes to the kids. The thing is that most of the charities in Haiti are pretty corrupt, and the money gets skimmed off by someone else or the political figures take their cut. Ours is the only organization that really guarantees that all our money goes where it’s supposed to go. They’re providing the always-free public high school and the always-free university, including building the buildings and paying for the staff. In a country which has very little fortune to look forward to in terms of things that we would take for granted — opportunities to advance oneself — these kids may want to do all the right things, and there’s no way for them to do it. What you want, ideally, I think, in a society, is for those people who are serious and work hard and have ambitions to have an opportunity to do what they want to do. Did your own experience with education have any influence on your decision to fund an education charity? Well, you know, I’m very old, and when I went to school in the ’40s and ’50s, I lived in a very poor mill town in the state of Washington, and we had art and music every day as a guaranteed right, from kindergarten through high school. And had I not had that, I would have dropped out of school, because I wasn’t good at anything else. So I look at what was available to me as a poor, working class kid and how it saved my life, and I want to offer the same opportunity to young Haitians that was available to me. It’s a problem right now in the United States that the first thing to go is art and music. Every child should have something to do that makes them feel special. And if you’re not good at reading, writing, arithmetic, you’d better have something else. I’m working with the president; we’re putting art back into public schools, seeing if you can take a failing school, a lowest-performing school in an at-risk community, and turn it around through art and music. In fact, it’s called Turnaround Arts — and it was my experience working with them that cemented my desire to do it in Haiti and other places around the world. Published: October 22, 2014 Read full article here

Protecting Hong Kong Protest Art, Basel's College Class, and More
Protecting Hong Kong Protest Art, Basel's College Class, and More— Protecting Hong Kong Protest Art: As democracy protests in Hong Kong stretch into their fourth week, more and more street art is being generated in the main camp (which NPR dubs the “Woodstock on the South China Sea”). Local museums, however, have refused to be proactive in helping preserve the works — which range from posters to sculpture — leading supporters to fear that the police may destroy them while clearing out protest sites. “This is the largest social movement Hong Kong has seen and now the most urgent [matter] is to rescue these objects for future research,” said artist Wen Yau. [South China Morning Post, NPR] — Art Basel’s College Class: In conjunction with London’s Central St. Martins School, Art Basel will launch Hong Kong’s first course in art collecting at the HKU SPACE Centre for Degree Programmes next March. “As the art world becomes larger and people become more serious about collecting, it is important to discuss the ground rules — and the responsibilities that come alongside,” said Art Basel director Marc Spiegler. Titled “Collecting Contemporary Art,” the eight-day intensive will culminate, fittingly, in a tour of Art Basel Hong Kong. [TAN] — Kevin Rudd Heads the Asia Society Policy Institute: Kevin Rudd, Australia’s former prime minister, has been appointed to lead the Asia Society’s latest initiative: the Asia Society Policy Institute, described as “a new kind of think tank on the rise of Asia,” based in New York and Washington. Rudd explained that he was attracted to the post because the institute promises to be “not just a think tank but a think-do tank — the do part is how we add value.” [NYT] — Guggenheim Helsinki Designs Submitted: In anticipation of the forthcoming Guggenheim Helsinki, the Manhattan museum has made the first round of designs for its new location available to view online; the shortlist will be announced on December 2, and the winner will be chosen in June 2015. [Press release] — Jim Chanos Disses the Art World: Hedge fund manager Jim Chanos called the art world “socially acceptable conspicuous consumption,” adding, “I think it’s a market that studies have shown correlates more with income inequality than general economic growth.” [Art Market Monitor] — “#Sandy” Photographs Published: iPhone photographs of Hurricane Sandy helped raise $19,000 when shown at Foley Gallery in 2012, and now, those photos are poised to become a book, titled “#Sandy,” on the two-year anniversary of the storm. [Art Daily] — “I want this experience like anybody else. I am part of the problem.” – Marina Abramovic on participating in the sensory deprivation of her upcoming show at Sean Kelly Gallery [ARTnews] — According to census data, most people who make a living from their art are white. [Washington Post] — Buffalo’s Albright-Knox Museum announced its first expansion in 50 years. [TAN] ALSO ON ARTINFO 6 Must-See Gallery Shows in Brussels Joan Jonas’s “Light Time Tales” at HangarBicocca Auctions in Brief: London Instagram Takes the Stage at Cincinnati’s FotoFocus Biennial Check our blog IN THE AIR for breaking news throughout the day. Published: October 22, 2014 Read full article here

Yuji Agematsu at Artspeak
Artist: Yuji Agematsu Venue: Artspeak, Vancouver Exhibition Title: CARETAKERS Date: September 13 – October 25, 2014 Click here to view slideshow Full gallery of images, press release and link available after the jump. Images: Images courtesy of Artspeak, Vancouver Press Release: CARETAKERS 1 Waste in the city is like an ocean, a perpetual tide of narratives and references […]Contemporary Art Daily is produced by Contemporary Art Group, a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today. Read full article here

6 Must-See Gallery Shows in Brussels
You really don’t need to sleep: post-Frieze and pre-FIAC, why not ride the high-speed Eurostar to Brussels and take in these exhibitions? Mark Leckey at WIELS, through January 1, 2015, Av. Van Volxemlaan 354A noisy, confounding, chockablock extravaganza, “Lending Enchantment to Vulgar Materials” incorporates sculpture, video, appropriation, enormous Felix the Cat inflatables, droning sound-systems, and much more. There are videos of faux-conferences the artist has given, like “In The Long Tail,” a brilliant, oblique satire of Wired magazine honcho Chris Anderson’s “long tail theory” that also sends up the entire TED Talk aesthetic in general. Leckey scrambles historical eras (and the division between authentic and fake), and satirizes himself and the art world without ever seeming to be anything but enamored with the creative potentials of both.  Ayan Farah at Almine Rech Gallery, through November 12 (Abdijstraat 20 rue de l’Abbaye)These abstract paintings made using mud, clay, and the effects of rainwater conjure different imagery, from bleached or tie-dye-style stains to curliques of smoke. Sometimes the sewn-together compositions are as graceful and subtle as Agnes Martin, but Farah also isn’t afraid to let the field of raw, muted color be interrupted by what appear to be tire tracks. In an adjoining gallery, Piero Golia provides a nice and artificial counterbalance to Farah’s incorporation of the natural world, showing a series of enormous painted-foam works that resemble sci-fi space rocks. Lesley Vance at Xavier Hufkins, through November 15 (6 rue St-Georges)The American artist is a master of graceful swoops and streaks, pushing and pulling paint to create abstract still life scenarios. A series of new oil-on-canvas works from 2014 are complemented by a handful of watercolor-and-gouache studies. Filip Gilissen at Meessen De Clercq, through October 25 (2a Rue de l’Abbaye)You enter a portal covered with cheap, gold-colored filament, then find yourself disoriented in a darkened chamber full of the stuff. Muddle your way deeper through the party-store strands and emerge in a strange, circular room, where an enormous golden rack of T-shirts awaits, each one bearing the words “Just Keep Living.” This young artist manages to stage a minor spectacle with very modest materials (but do try not to get lost). Elsewhere in the gallery are solo presentations of sculptural work that recontextualize ordinary things: Coins; smartphone SIM cards (Tania Perez Cordova); Katinka Bock (a trio of lemons resting on a metal beam). Elaine Cameron-Weir and Aleksander Hardashnakov at Galerie Rodolphe Hanssen, through October 25 (Rue de Livourne 35 Livornostraat)Canadian-born, Brooklyn-based Cameron-Weir showcases bronze sculptures of Fruit Salad plants (bearing the wonderful technical name of Monstera Deliciosas), the bright metal stalks rising from uneven, rough-hewn hunks of marble. Hardashnakov’s small group of mixed-media paintings are also oddly stunning: Quick, sketchy compositions (sexualized horse-people; a young boy with a fox; a duck nearly subsumed by a black background) are paired with larger works whose framing devices are totally out of whack, like “Dead Elephant in the back of a truck,” 2014, a small graphite drawing of the titular subject tacked to an enormous bare wood panel.    Dominic Samsworth at Mon Chéri, through November 8 (67 Rue de La Regence)Barebones abstraction crashes up against a world of idle leisure, with shaped canvases depicting the geometry of pools (made using pool paint) arrayed around a massive sculpture: Recreational furniture shrink-wrapped in a white plastic skin, resembling a bleached, beached whale left to die. ALSO WORTH SEEING: Louise Lawler’s “No Drones,” and “Whether(Weather),” a collaborative show between Catharina van Eetvelde and Stéphane Sautour, both at Galerie Greta Meert through November 8. 6 Must-See Gallery Shows in Brussels Select Photo Gallery: Slideshow: 6 Must-See Gallery Shows in BrusselsPublished: October 22, 2014 Read full article here

Gerhard Richter at Marian Goodman Gallery London
Marian Goodman inaugurated her London gallery with an exhibition of new and recent works by Gerhard Richter. The show features ... Read full article here

Instagram Takes the Stage at Cincinnati’s FotoFocus Biennial
When considering the state of modern photography, it’s difficult to ignore (as much as one might want to) one of its most prevalent quotidian forms: Instagram, the ever-updating photo gallery lodged in just about everyone’s pocket. So, in organizing his program for Cincinnati’s 2014 FotoFocus Biennial, artistic director Kevin Moore decided to embrace the trend head-on with “Fotogram@Arthub,” an Instagram-based exhibition dictated by the hashtag #FotoFocus2014. Though bolstered by 20 dedicated “Fotogrammers” — prominent biennial guests and members of the local arts community who were tasked with uploading at least two tagged pictures per day — the show also allowed for visitor participation. During the biennial’s opening weekend, a rotating stream of the 100 most recent #FotoFocus2014 images were broadcast on various LCD flat-screens at locations throughout the city, including the 21c Museum Hotel and bars Japp’s Since 1879 and Neon’s Unplugged. As its name suggests, the exhibition’s primary venue was the Arthub, a temporary structure that biennial organizers had commissioned earlier in the 2014 planning process from Cincinnati-based architect José Garcia, and which proved to be a fitting place to host a show of this theme. “It had to look temporary but feel very present,” Garcia said of the white tent-like cube that sits in Cincinnati’s Washington Park, through November 1. “In a few weeks, everything goes away — which is pretty much the idea of Instagram.” Moore concurred, noting that Instagram represents “a sort of ephemeral platform — a new space in the world for viewing photography, instead of the gallery wall or the museum wall.” And still, that’s where today’s artists seem intent to bring it — from local Cincinnati gallery Photosmith, whose FotoFocus satellite show consists of prints made using the Hipstamatic app, to Richard Prince’s Instagram-based “New Portraits,” which are causing a stir at Gagosian (Jerry Saltz dubbed them “genius trolling”). “Fotogram” could easily be accused of having done the same — taking the app’s traditional handheld stream and putting it in the context of an exhibition — yet the real-time “last 100” nature of its featured photos acted as a constant incentive for participants to keep posting, proving it as much a social experiment as a visual exhibition. “This is how social media works, and we’ll see what happens,” Moore said. So what did happen, exactly? Well, approximately 1,200 photos, for a start. From basic pictures of photographs at FotoFocus exhibitions to a handful of Vivian Maier–esque selfies in reflective surfaces, the feed underscored not only the use of Instagram photos as proof of one’s presence at an event, but also the participants’ desire to express their personal take. (Moore seemed a bit surprised that the feed was occasionally hijacked by galleries or companies for blatant self-promotion — but of course, it’s also worth noting that the tag itself denotes at least some level of new-media branding for the biennial.) On Saturday evening of the biennial’s opening weekend, after the experiment had some time to unfold, three of Moore’s “Fotogrammers” — Nion McEvoy, CEO of San Francisco’s Chronicle Books; Haviland Argo, a Louisville-based architect; and Ivan Shaw, photography director at Vogue — participated in a panel to discuss their Instagram experiences. Naturally they touched on the hot-button issues of selfies and oversharing (“Were we all narcissistic to begin with and it’s just easier to express now?” Shaw wondered, rhetorically), and also tended to agree on the app’s myriad limitations. Shaw was quick to note that it leads to a “squaring of the world,” imposed by its even-sided cropping constraints, and the stringent Facebook-based content rules — far more severe than other photo-sharing sites such as Flickr and Tumblr. (Any hint of nudity, for example, incurs a suspension.) When it came to the matter of young Instagram celebrities and/or Prince’s Gagosian series, however, opinions became more tangled and a few lingering questions emerged: Does Instagram encourage appropriation, or is it all just clever manipulation of images? Is it dominated more by skillful photography or simply by a reflection of popular trends? And what will be the long-term effect on the world of professional photography when an entire generation grows up with cameras and Hipstamatic filters at their fingertips? Of course, while the panel took place, the #FotoFocus2014 stream scrolled past on the wall behind the speakers, and by the end of the hour, there were several cheekily snapped shots of the discussion in the mix. At one point, an image of Shaw recognizing his own image behind his head was then projected behind him — a reminder of the app’s instantaneous documentary powers, as well as its users’ seemingly endless zeal. Indeed, though “Fotogram@Arthub” proper closed after the opening weekend, the #FotoFocus2014 hashtag powers on, accruing images daily — as does its ever-addictive platform. Instagram Takes the Stage at Cincinnati’s FotoFocus BiennialSelect Photo Gallery: Slideshow: Fotogrammers Take Over FotoFocus 2014Published: October 21, 2014 Read full article here

Slideshow: 6 Must-See Gallery Shows in Brussels
Language English Featured: 0Order: 0Author(s): Regina MogilevskayaSub-Channels: GalleriesShort Title : 6 Must-See Gallery Shows in Brussels Read full article here

Slideshow: Must-See Gallery Shows in Brussels
Language English Featured: 0Order: 0Author(s): Regina MogilevskayaSub-Channels: GalleriesShort Title : Must-See Gallery Shows in Brussels Read full article here

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