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Language Undefined Location Website: http://www.bulgergallery.comLocation Email: info@bulgergallery.comDisplay: Don't displayUse alternative description in place of "Hours" (Edit text below): Address: Javascript is required to view this map.Neighborhood: Wynwood Arts DistrictLocation Phone: +1 416 504 0575Has Cafe: Has Store: Has Film: Is Free Listing: Opening Hours Alternative Text: Tuesday to Saturday 11AM - 6PMAs well as by appointment or by Chancelocation fax: Guide Landing page: Region on the Guide Landing page: None Read full article here

Slideshow: Highlights from September 2014's Upcoming Gallery Shows
Language English Featured: 0Order: 0Author(s): Regina MogilevskayaShort Title : Your September 2014 Gallery Guide Read full article here

Radical Teamwork: A.L. Steiner's Intensely Collaborative Practice
Radical Teamwork: A.L. Steiner's Intensely Collaborative PracticeA.L. Steiner is having a good year. At the Whitney Biennial, she unveiled a new photo installation and related multichannel video exploring the overlays and connections among personal histories, family histories, and the social history of radicalism. Perhaps the most intellectually and formally multi­faceted work she’s made to date, it was singled out by critic Jillian Steinhauer as being “one of the few pieces in the biennial that pulls you in with a seductive complexity.” A month after the works’ debut in March, the Los Angeles-based artist was back in New York to participate in a panel on art and porn at the Museum of Modern Art, which has acquired Community Action Center, 2010, an explicit sociosexual film that Steiner made with A.K. Burns. Two days later she was at Harvard as part of a presentation by artists engaged with feminism. With typical wit, she read some of the letters then on view in a show she co­curated with Nicole Eisenman at the Contemporary Art Museum of St. Louis, offering them to students who could guess the authors. And amid it all, she has been planning another of the wall collages she builds from her ever­expanding photo archive, this one to be featured in the “Made in L.A.” exhibition opening this month at the hammer Museum. Yet as we sat in her Boyle Heights home talking about these latest breakthroughs, Steiner was clearly feeling conflicted
 about claiming the spotlight. “I’m still grappling with the request to be presented alone as a solo artist because these identities perpetuate themselves as branding within institutions, which then reifies the marketplace,” she says. “The other names on the labels with my installations are also makers of the works.” Her concerns are not merely academic, because collaboration pulses at the very heart of Steiner’s wide­ranging practice, which encompasses photography, video, performance, curation, and publishing. In addition to work with long­running collectives such as Chicks on Speed and Ridykeulous (formed in 2005 with Eisenman), she has teamed up with other artists—including A.K. Burns, Zackary Drucker, and Narcissister—for short­-term, often performance­-based projects. Steiner is resolute that even the photographs most clearly identified with her solo career are never her work alone. “To me, portrait photography is 100 percent collaborative,” she says. “The person pictured in the image that I present under my name has as much to do with making that image as I do, and it’s insane for photographers not to think that.” This attitude may have been able to take root in part because Steiner never had the “hierarchies of artistic genius,” as she calls them, drilled into her at art school. Although her mother ran a gallery and gave her an early education in art history, she chose to major in communications as an undergraduate at George Washington University. After graduating, Steiner received what she considers a form of master’s education via an early 1990s immersion in activism with such groups as Queer Nation, the Women’s Action Coalition, and the Lesbian Avengers. Throughout these years, although she still didn’t consider herself an artist, she was taking photographs and building darkrooms in her apartments as she moved from Washington to San Francisco to New York. This combination of experience led Steiner to her first real job, as photo editor at Out magazine, then a radical experiment in treating gay and lesbian culture as just another part of the mainstream. “It was an incredible opportunity for a kid of 25 to be in charge of creating that imagery for these normative structures that were at the same time queered,” she recalls. “And along the way, it taught me everything I needed to understand propaganda.” after four years at Out, Steiner decided to shift to freelance work to make time for her artistic practice. Through the rest of the ’90s she continued to hone her understanding of how mass media uses imagery at publications put out by Condé Nast and others, including Fairchild, GQ, and O: The Oprah Magazine. But the activist in Steiner chafed at both the corporate structure and
the underlying purposes of publishing. “I was fading out of that because I felt like I could not legitimize making these disposable products,” she says. “I got fired from Condé Nast when I wrote
to Si Newhouse asking him to improve his use of resources in his offices and in his printing.” She found a way to convert those personal and professional frustrations into art when Onestar Press asked her if she would create a publication for them. She agreed to the project on the terms that the edition be limited and that it be printed only on demand, so that no unwanted copies would be generated. Stop (Onestar Press), one of Steiner’s only photographic projects not built around portraiture, takes a critical look at the environmental impact of publishing. An opening section with lyrical pictures of trees gives way to documentary photos of the papermaking process taken at a mill in Alberta, Canada; they are followed by imagery of printed pages that fade to show the blank paper of the book in hand. It is a pointed indictment not only of the publishing industry but also of the press that reached out to her. Call it biting the hand that feeds her, or institutional critique.
having produced this coda to her publishing career, Steiner began teaching at the School of visual arts in New York in 2000. She was eventually invited to UCLA, and in 2011 joined the faculty at USC, which led her to move to the West Coast. She now serves as director of the Master of Fine arts program at USC. A founder of Working artists and the greater economy (W.A.G.E.), an activist group dedicated to seeking remedies to the gross inequalities of the art economy, Steiner laments that “the sale of art is not a reliable way to make a living, even for people who have garnered a ton of cultural capital.” But she is quick to point out that teaching is not just a job. “Pedagogical relationships are a huge part of my work,” Steiner says. “I feel as passionate about the students I work with as I do about my work. Taking an authoritarian role is antithetical to me, so teaching is as much a collaboration as other work I participate in.”
Although her role at USC is itself now a full­time occupation, the switch to teaching initially gave Steiner more time to focus on her art practice, and she achieved a number of milestones in the years that followed. Early in the decade, Steiner’s understanding of her own photography came into focus for her as a holistic practice, whose meaning rests in the context of the full body of work rather than the individual image. She first tried to express this in 2004 by presenting her overflowing flatfiles in “1 Million Photos 1 Euro Each” at Starship in Berlin. The images she had created until then had not yet reached a million, but the title indicated its potential, while, in a sly nod to the distorting market imperatives, visitors could pick up any one for a euro. In successive years she re­staged the show at art Cologne and John Connelly Presents in New York. The amended title “1 Million Photos 1 euro each (minimum order)” indicated that an institution could purchase only the full archive, including all images she would make and continue to add in the future. “I had nibbles from some institutions,” she says, “but then they bought something easier, less cumbersome.” For a final presentation at Yale in 2008, she allowed that visitors could choose any image and have it for free, but they had to tell
why they chose that image. “It was an incredible project,” says Steiner. “It was one time where I was allowed to understand 
a lot about the people looking at my work. That’s invaluable.” By the middle of the decade, Steiner had joined the art collective and band Chicks on Speed, which moved performance to a more central place in her practice. Steiner recognizes
that for many art institutions, the term performance carries
a restrictive set of expectations. “One of my favorite reactions to a performance followed a Chicks on Speed show as part
of an exhibition at the Schirn Kunsthalle in Frankfurt. The show was called ‘the Making of Art,’ so we made some art
for our performance,” Steiner says, laughing. “At one point we were naked and we wanted to paint some people. We didn’t know if they were more scared of us because of our bodies or because of the paint. But afterward, the curator said, ‘that
 was not fun.’ But in performance, one point is that the experience is different for everyone in that space.” For Steiner, performance is to be understood as both signifying and expressing the “realness in the relationship between people.” Connie Butler, the hammer curator who selected Steiner for “Made in L.A.,” sees this capturing of authentic interaction as key to Steiner’s larger project. “A social practice is a central part of her work,” Butler notes. “The work is not unrelated to Larry Clark and Nan Goldin in that the act of photographing is very close­up, intimate, and from within a community.” Because of Steiner’s deliberate shifting among partnerships and mediums, it had been easy to see her as an unsettled theoretician, dissecting one concept before moving on to something else. But her recent photocollage installations have created a perhaps unexpected unity among all these notions—the sense of personal history and social activism
 as not only intertwined but equivalent; the belief that each image really exists only as part of a larger ongoing archive; the idea that in performance and the documentation of performance, we are able to glimpse real intimacy. A still from A.L. Steiner's multichannel video installation, "More Real Than Reality Itself" (2014) When we spoke in April, Steiner was still in the preliminary stages of planning the framework for her installation at the Hammer. Harking back to her encounter with the firm that printed her indictment of publishing, she would offer only that she was thinking she needed to explore activism in relation to occidental Petroleum, the multinational corporation whose headquarters house the museum, and whose former CEO was the art institution’s namesake philanthropist. “There is a long story there,” she notes. “it is not a neutral space for me.” A version of this article appears in the June issue of Modern Painters magazine.  Published: August 13, 2014 Read full article here

AR: Group Show at Gavin Brown
Artists: Jennifer Bornstein, Judith Bernstein, Frances Stark Venue: Gavin Brown, New York Date: March 1 – April 19, 2014 Click here to view slideshow Originally Posted: April 22nd, 2014 Note: This entry is part of August Review, our annual look back at this season’s key exhibitions. For more information, see the announcement here. Contemporary Art Daily is produced by Contemporary Art […]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

Family Therapy: Philippe Garrel's "Jealousy"
Family Therapy: Philippe Garrel's "Jealousy"There is a moment in a 1998 episode of the French documentary series “Cinéastes de notre temps” that I always think of whenever I’m thinking about the filmmaker Philippe Garrel. The interviewer, from behind the camera, asks his first question: “What is cinema?” Garrel, spottingly making eye contact, dryly responds: “Why do you ask me?” The interviewer presses once more: “What is cinema?” “Why do you ask me?” Garrel responds, refusing to meet eye contact. The interviewer, pressed, asks again: “What is cinema?” The silence is uncomfortable. “It’s a way of making a living,” Garrel finally answers, “if you believe you are different when you are young.” The interviewer decides on a different approach. “Is cinema the art of survival?” Garrel is quicker this time. “Yes, because the camera can also protect you.” He unnervingly looks almost directly at the camera, and in turn the viewer. “Behind a camera you are safe.” It’s a small moment that would typically go unnoticed, but one that has always rattled around my brain and I find is useful in thinking and writing about Garrel’s films, which are amazingly consistent but very hard to describe. Over the course of 30 films — his latest, “Jealousy,” opens at the Film Society of Lincoln Center on August 15 — Garrel has constructed an aesthetic of fleeting moments, personal and unvarnished yet shaped and protected by the structures of narrative cinema. Dave Kehr, writing in the New York Times in 2009, aptly described Garrel’s films as “attempts to seize a sloppy, unmediated reality,” with performances that contain “a raw, unmodulated quality, as if everyone were simply pouring out their thoughts and feelings.” The result is a hovering tone of melancholy, sometimes awkward and stumbling but always moving in the smallest, most unnoticeable ways. “Jealousy” opens with its most dramatic moment right at the beginning. Louis (played by the director’s son, Louis Garrel), a struggling theater actor, leaves his wife and young daughter. There isn’t an explosion of emotion, crying or pleading. He simply says he can’t be there anymore and he isn’t. He moves in to a small apartment with Claudia (Anna Mouglalis), a talented actress who has been having difficulty getting the roles she desires. The film charts the oscillation and eventual disillusionment of their relationship and the despair that follows. Garrel is open about the film’s biographical roots. The main character is based on his father, the actor Maurice Garrel, who left their family when Philippe was very young. The main actor is his son, and his daughter has a small but crucial role, playing the sister in the film of her actual brother. Their names have not been changed. In addition, Caroline Deruas, Garrel’s wife, co-wrote the script. It’s a family affair, a group therapy session that attempts to reconcile their own deeply felt and uncomfortable truths. By expunging the fine line between art and life, they cement the bonds between them. The results aren’t solipsistic. “Jealousy,” like so much of Garrel’s work, is handled so tenderly that its intimacy doesn’t feel like intrusion. You’re not watching but feeling what is on screen, each scene unfolding not like a grand opera — all dramatic peaks and valleys — but a piano balled, simple and elegant with depths of emotion welling up below the surface. Published: August 13, 2014 Read full article here

New York
Language Undefined Location Website: http://www.amsterdamwhitneygallery.comLocation Email: amsterdamwhitney@aol.comEmail: amsterdamwhitney@aol.comBrief info:   Dynamically liaising with a distinguished client base of elite private collectors, decision-making art consultants, corporate art consultants, curators, architects, interior designers and decorators, as well as prestigious business, government, diplomatic and social VIPs, AMSTERDAM WHITNEY Gallery pre-eminently affords the acquisitor the extraordinary opportunity to acquire the most carefully curated, Contemporary Masters in the global art market.   Known as "The Most Beautiful Gallery in Chelsea,” AMSTERDAM WHITNEY Gallery is strategically located in the "Heart of Chelsea" the unrivaled, influential global epicenter of the art world. Home to over 200 leading galleries and the Chelsea Museum of Art, Chelsea is the ultimate undisputed international art destination for the informed acquisitor, decision based consultant and accomplished artist. The cachet of Chelsea attracts prominent art visitors worldwide.   In quest of the "creme de la creme" of global contemporary artists, AMSTERDAM WHITNEY Gallery's criteria is to highlight and showcase in a curated museum-caliber ambiance, Contemporary Masters and interpret significant art movements, reflecting diverse trends and mediums including Painting, Sculpture, Photography, Collage, Drawing & Watercolor. Featuring contemporary Representational Figurative art to Abstract work, modern Surrealism to today's Neo Post Impressionism, Portraits to Abstract Expressionism, AMSTERDAM WHITNEY Gallery is the acknowledged definitive global art resource for the informed collector, cognoscenti and professional art consultant. Its museum-curated, influential monthly exhibitions afford the private collector and demanding art professional a stimulating museum forum environment to view outstanding art and acquire the most exciting, innovative talent of the present day art world.  Display: Don't displayUse alternative description in place of "Hours" (Edit text below): Address: Javascript is required to view this map.Neighborhood: ChelseaMonday - Close: 12:00amTuesday - Open: 12:00amTuesday - Close: 12:00amWednesday - Open: 12:00amWednesday - Close: 12:00amThursday - Open: 12:00amThursday - Close: 12:00amFriday - Open: 12:00amFriday - Close: 12:00amLocation Phone: t +1 212 255 9050Saturday - Open: 12:00amSaturday - Close: 12:00amSunday - Open: 12:00amSunday - Close: 12:00amMonday - Open: 12:00amHas Cafe: Has Store: Has Film: Is Free Listing: Opening Hours Alternative Text: Tuesday-Saturday 11:00 - 5:30 pm, Closed on Sunday & MondayArtists: Marc Chagalllocation fax: f +1 212 255 9020Guide Landing page: Region on the Guide Landing page: None Read full article here

Artists Own Brooklyn Bridge Flags, Brant Nabs De Maria Home, and More
Artists Own Brooklyn Bridge Flags, Brant Nabs De Maria Home, and More— Artists Own Brooklyn Bridge Flags: Berlin-based artists Mischa Leinkauf and Matthias Wermke have taken credit for the two bleached American flags that were mysteriously raised above the Brooklyn Bridge earlier this summer. While the stunt seemed politically motivated at the time, the artists had no such intentions. They claim that the white flags were meant to honor the anniversary of the death of the bridge’s German engineer, John Roebling, who died on July 22, 1869. Turns out the NYPD’s hunch that the event was “somebody’s art project” turned out to be true. [NYT] — Brant Nabs De Maria Home: Billionaire art collector Peter Brant has purchased the late Walter De Maria’s home and studio in the East Village for $27 million. Some are speculating that the Brant Foundation may transform the four-story building and adjacent lot into a Manhattan outpost. The foundation has declined to comment. [The Real Deal, Gallerist] — National Portrait Gallery Installs Robin Williams Tribute: Following the death of Robin Williams on Monday, the National Portrait Gallery in DC has installed a 1979 photograph of the comedian by Michael Dressler for Time magazine. [Art Daily] — Robots Roam the Tate: Starting tonight, art lovers can log onto Tate’s website and use four robots to take late night tours of the museum’s art. [The Guardian] — Meet Save the Corcoran: The latest article in the Washington Post’s extensive coverage of the hoopla surrounding the Corcoran merger is a profile of the people behind Save the Corcoran, the group that hopes to keep the institution intact. [WP] — Trash Problems for George Lucas: Turns out the Lucas Museum site that the city of Chicago is leasing to George Lucas for $1 per year used to be a garbage dump. [Chicagoist] — The British Council has named Ciaran Devane as its new CEO. [Art Daily] — Michael Anderson will be the Oklahoma City Museum of Art’s new film curator. [News OK] — Curator and art historian Richard D. Marshall has died. [Artforum] ALSO ON ARTINFO Sarah Elson’s London Launch Pad Remembering Robin Williams Manifesta’s Subtle Manifesto Oscar de la Renta Retrospective Opens at the Bush Center Studio Tracks: Adam Helms’s Playlist Check our blog IN THE AIR for breaking news throughout the day.   Published: August 13, 2014 Read full article here

Manfred Pernice at Regen Projects
Artist: Manfred Pernice Venue: Regen Projects, Los Angeles Exhibition Title: Bbreiland Date: July 11 – August 16, 2014 Click here to view slideshow Full gallery of images, press release and link available after the jump. Images: Images courtesy of Manfred Pernice and Regen Projects, Los Angeles. Photos by Anton Kern and Brian Forrest. Press Release: Regen Projects is pleased to announce […]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

Studio Tracks: Adam Helms's Playlist
Studio Tracks: Adam Helms's PlaylistFor his solo exhibition opening September 7 at Boesky East on the Lower East Side, Adam Helms says he’s making work inspired by found imagery and film stills that “explores psychology, identity, male positions of power, powerlessness, and perhaps self-portraiture.” Here, the artist — known for stark, conceptual drawings and silkscreens that pull from shadowy histories, pop culture, newspaper archives, even sports iconography — shares his not-for-the-faint-of-heart playlist.  “Post Collapse,” Demdike Stare “This is one of three self-released cassettes this Manchester duo has put out that is really something akin to their own version of a mixtape. Seventy minutes of a mix of noise, electronic jams, post-punk, and even a sampling of Dave Brubeck’s ‘Take Five.’ Listening reminds me of when I used to make mixtapes back in the days of yore: high school and early college. Maybe I was a little ADD back then, and liked to let the jams have some arcs, ramping up and down. Could be that I still am that way, but now I can let these guys take the reins, letting the hauntological mania grip my work in the studio.”  “Abaxial Masks With Sockets Closed to Hide the Face When the Destoryer Comes Alive,” Rainforest Spiritual Enslavement “This sounds like the soundtrack to ‘The Heart of Darkness,’ or what Charon would listen to as he leisurely navigates the trip down the River Styx. There is something deadly yet primordial and sublime within the electronic sounds. As I look around the walls of my studio and see the images from ‘Apocalypse Now’ and ‘Dawn of the Dead,’ this track makes sense.” “Not the Son of Desert Storm But the Child of Chechnya,” Vatican Shadow “Pounding and relentless, this builds in intensity and then abruptly ends, like a sonic bomb eviscerating its target. It’s the final track on a four-song EP remixed by Juan Mendez (who records as Silent Servant), so this track is even more snarling than Dominick Fernow can be in his other Vatican Shadow recordings. His subjects on all his releases are American military adventurism and the ethos of terrorism and war in the Middle East.” “I Know Myself,” Amen Dunes “It’s not always heaviness for me. At times, the air needs to clear and some levity is in order. If Syd Barrett and the 13th Floor Elevators had a musical child, that lad would be a l’enfant terrible named Amen Dunes.” Soundtrack to “Big Trouble in Little China,” John Carpenter and Alan Howarth  “Carpenter’s films have always helped to focus the prism through which I understand the world. And Carpenter made the music himself for the majority of them. This version also has Howarth’s unreleased score for a film call “Backstabbed” and a previously unreleased outtake track from “Escape from New York”! What else can I say? A day without hearing this is like a day without sunshine.”   Published: August 13, 2014 Read full article here

Testing for Top list article on Travel
Language English Short title: Testing for Top list article on Travel -SHORTTop List Carousel Image (970x400 recommended): Sub-Channels: SpendingTop List Article Images: Tags: AuctionsRUNWAYTeaser: It is inseparable from the geography and ecology of Earth,and is therefore something of a misnomer,since, while definitions and representations of the "world economy" vary widely, Author(s): A. M. Homes Read full article here

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