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5 Must-See Gallery Shows: "Displayed," "Purple States," and More
18/07/2014
“Displayed,” at Anton Kern Gallery through August 22 This exhibition spotlights work that incorporates “the languages of architecture, the museum, interior design, retail, and advertising.” It’s a productive conceit in the hands of curator Matthew Higgs, who includes photography that nods to commercial tableaux (Roe Etheridge’s absurdist image of fish with Chanel rings; Annette Kelm and Marina Pinsky’s brightly colored still life compositions) as well as sculpture and painting that relate to display: one of David Korty’s “shelf” paintings; a Nancy Shaver piece, “Bric a Brac,” that’s simply an orderly arrangement of vintage- and thrift-shop objects; and a Diane Simpson sculpture, “Window 2, Window dressing:Bib-dots,” an assemblage of gatorboard, Masonite, and other hardware-store materials that’s designed to sell nothing other than itself.      “Purple States,” at Andrew Edlin through August 16 A joyously crowded exhibition aiming to mingle contemporary artists with so-called “outsiders,” this show also includes pieces that aren’t strictly art at all — like a 19th-century Japanese futon cover hung next to (and partially under) a dyed-textile painting by Cheryl Donegan. Other highlights: One of Brian “Hey I'm In Every Group Show This Summer” Belott’s sock-and-glass works; a huge Chuck Webster painting; two of Gina Beavers’s sculptural canvases, paired next to mid-’50s photographs of female dolls by Morton Barlett; and a beautiful little Forrest Bess mountain landscape from 1968. Installation view of "Purple States" at Andrew Edlin “Chatbots, tongues, denial, & various other abstractions,” at Bortolami through August 22 The chatbots mentioned are three conversational drones programmed by Ian Cheng to talk amongst themselves, endlessly, for a multimedia piece in the back of the gallery. As for the tongues, those are included in Carissa Rodriguez’s large-scale lingual photographs — uncomfortable close-ups of the organ in question, covered in marker annotations pointing out imperfections and problem areas in each fleshy surface. Also included: A multi-channel video work by Melanie Gilligan, with accompanying lenticular prints, and four terrific sculptures by Anicka Yi, who takes common materials — glycerin soap, fish oil vitamins, dog food — and imbues them with a kind of slapstick Beuysian, shamanic quality. The quartet of works, brilliantly illuminated within individual light boxes and bearing titles like “The Easy Way To Quit New York” and “The Question Is Why Would You Recognize My Face Tomorrow,” are worth the trip alone. Anicka Yi's The Question Is Would You Recognize My Face Tomorrow (2013) Franklin Evans, “paintingassupermodel,” at Ameringer | McEnery | Yohi through August 1 Understated and subtle are two adjectives that will never be applied to Evans’s work. For his debut at this gallery, he cannibalizes the entire space — including the floors — creating a massively dense, referential installation that’s terrifically entertaining to get lost within. Paint-spattered tape, computer print-outs, enlarged-and-stretched digital photos, and architectural schematics cover the walls; Plexi vitrines hold photographs and tiny sculptural odds-and-ends. Installation view of "paintingassupermodel" at Ameringer | McEnery | Yohi  “That’s The Neighbor, Always Dressing These Boulders In The Yard,” at Suzanne Geiss Company through August 2 Curated by painter Torey Thornton — who has his own high-profile solo opening at L.A.’s OHWOW in September — this group exhibition includes omnipresent 2014 summer-show stars Ted Gahl and Brian Belott. The latter contributes a number of scrappy, colorful collage works; Gahl has a small painting of flowers and a larger canvas that incorporates an enlarged image of a house painter that the artist has scavenged from his own childhood drawings. Eric Mack’s “Partition” — a wall of messily painted pegboards — divides the gallery space in two, while his sculpture with moving blankets and other media, “Finding Comfort in Easy Distinction,” slumps against the far wall like a dejected drunk.     Installation view of "That’s The Neighbor, Always Dressing These Boulders In The Yard" To see highlights from these five must-see shows, click here. 5 Must-See Gallery Shows: "Displayed," "Purple States," and MoreSelect Photo Gallery: Slideshow: 5 Must-See Gallery Shows: "Displayed," "Purple States," and MorePublished: July 18, 2014 Read full article here

Gerold Miller at Mehdi Chouakri
18/07/2014
Artist: Gerold Miller Venue: Mehdi Chouakri, Berlin Exhibition Title: Monoform Date: May 2 – June 21, 2014 Click here to view slideshow Full gallery of images, press release and link available after the jump. Images: Images courtesy of Mehdi Chouakri, Berlin Press Release: For the tenth edition of Gallery Weekend Berlin, Mehdi Chouakri opens on May 2, 2014 […]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

Watches & Wonders 2014: Sneak Peek
18/07/2014
Language English Featured: 0Order: 0Tags: Watches & WondersAuthor(s): Sonia Kolesnikov-JessopShort Title : Watches & Wonders 2014: Sneak Peek Read full article here

Thomas Ruff: Lichten at S.M.A.K., Ghent
18/07/2014
The exhibition Thomas Ruff: Lichten at S.M.A.K. (Stedelijk Museum voor Actuele Kunst) in Ghent, Belgium, presents two new series by ... Read full article here

BLOUIN Lifestyle Pick: Nordstrom Welcomes Poketo
17/07/2014
Language English Featured: 0Order: 0Author(s): Michelle TayShort Title : BLOUIN Lifestyle Pick: Nordstrom Welcomes Poketo Read full article here

Dara Friedman at MOCAD
17/07/2014
Artist: Dara Friedman Venue: MOCAD, Detroit Exhibition Title: Projecting Date: May 16 – July 27, 2014 Click here to view slideshow Full gallery of videos, images, press release and link available after the jump. Videos: Dara Friedman, Play, 2013. Super 8 and High Definition Video transfered to Bluray, Color and Black & White, Sound, TRT: 30 minutes.   […]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

“The St. Petersburg Paradox” at the Swiss Institute
17/07/2014
Artists: Giovanni Anselmo, Jean Arp, Ericka Beckman, Barbara Bloom, Alex Mackin Dolan, Marcel Duchamp, Cayetano Ferrer, Douglas Gordon, John Miller, Kaspar Müller, Sarah Ortmeyer, Tabor Robak, Amalia Ulman Venue: Swiss Institute, New York Exhibition Title: The St. Petersburg Paradox Date: May 28 – August 17, 2014 Click here to view slideshow Full gallery of videos, images, press release and […]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

Ann Veronica Janssens at Micheline Szwajcer
17/07/2014
Artist: Ann Veronica Janssens Venue: Micheline Szwajcer, Brussels Date: June 12 – July 26, 2014 Click here to view slideshow Full gallery of images, press release and link available after the jump. Images: Images courtesy of Micheline Szwajcer, Brussels  Press Release: “Simple shapes in plaster are mounted to the walls. They are made following the traditional technique of […]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

Corporations Gift DIA $26.8M, US Aids Syrian Museums, and More
17/07/2014
Corporations Gift DIA $26.8M, US Aids Syrian Museums, and More— Detroit Corporations Gift DIA $26.8M: Some of the city’s largest corporations have come to the aid of the Detroit Institute of Arts and pledged $26.8 million toward the $100 million “grand bargain” commitment to save the collection. The gift comes from Roger S. Penske and the Penske Corporation, Quicken Loans and the Rock Ventures Family of Companies, DTE Energy, Blue Cross Blue Shield of Michigan, Meijer, Comerica Bank, the JPMorgan Chase Foundation, Consumers Energy, and Delta Air Lines Foundation. The newest pledge, combined with $26 million promised by Detroit’s big three automakers and $1 million and $13 million respectively from the Andrew W. Mellon Foundation and J. Paul Getty Trust, puts the DIA at nearly 75 percent of its fundraising goal. [NYT, WSJ] — US Museums Aid Syrian Heritage Sites: Penn Museum’s Penn Cultural Heritage Center in Philadelphia is working with the Smithsonian Institute and the Syrian interim government’s Heritage Task Force to provide assistance to curators, heritage experts, and civilians still working at museums and sites of significance inside the war torn country. In June, a three-day training program offered information about securing museum collections during emergencies, provided packing supplies, and initiated dialogue surrounding emergency response specific to the Syrian crisis. Held in an undisclosed location outside of Syria and attended by around 20 people, the session served as a first step for a new project to document conditions in the area, report damage, and assess need for aid. [Art Daily] — Imperial War Museum London Launches WWI Galleries: Imperial War Museum London will open its new, permanent First World War Galleries on July 19, coinciding with the centenary of World War I. The museum’s collections are considered the most comprehensive in the world with more than 1,300 objects such as weapons, uniforms, photographs, films, art, and ephemera. The galleries are part of a larger museum expansion that includes revisions to the Atrium, new exhibitions, public spaces, shops, and cafes. [Art Daily] — Christie’s Breaks 2014 First Half Records: Christie’s record-breaking post-war and contemporary art auctions have pushed their sales totals past £2.69 billion for the first half of 2014. [Reuters UK] — Call to Evaluate Russian Art Market Authentication: Following queries over the authenticity of Kazimir Malevich paintings on the Russian art market, Marina Molchanova, the curator and owner of Moscow’s Elysium Art Gallery, has called for an international council of experts to be formed in order to review how Russian avant garde artworks are authenticated. [Independent] — Berkeley Art Museum Construction at Half Way Mark: Construction on the new Berkeley Art Museum and Pacific Film Archive, designed by Diller Scofidio + Renfro, will reach its halfway mark (it is scheduled to open in 2016) with a ceremony and block party Thursday. [SFGate] — The Centre for International Light Art Unna, the world’s only light art museum, has announced its first annual International Light Art Award with a cash prize of $13,500 to the first place winner. [The Creator’s Project] — Quartz gives a breakdown of the technological complexities and science behind Jeff Koons’s most recognizable works. [Quartz] — Art historian and Harvard professor emeritus Seymour Slive, one of the foremost authorities on 17th-century Dutch painting, has died at 93. [Harvard Gazette] ALSO ON ARTINFO Studio Tracks: Jennifer Sullivan’s Playlist 30 Years Ago, Talking Heads Stopped Making Sense Rhizome Announces New $10,000 Prix Net Art Prize Roth Bar & Grill Launches at Hauser & Wirth Somerset Check our blog IN THE AIR for breaking news throughout the day. Published: July 17, 2014 Read full article here

Wendy White Channels Soccer Fever, Almodóvar, and Madrid
17/07/2014
What do churros, Salvador Dali logo design, Pedro Almodóvar, and 1980s Spanish soccer stars have in common? They’re all elements in “Madrid Me Mata,” the boisterous exhibition by Wendy White that opened this week at Arts+Leisure in East Harlem. In the modest storefront venue, new tondo paintings in customized frames are layered on top of and alongside wall stickers printed with stills from films like “Women On the Verge of a Nervous Breakdown.” One wall is covered in printed-vinyl images: a photograph of a restaurant window that White herself took in Madrid; covers of an influential cultural magazine published in the city during the mid-’80s; fliers for a now-defunct music club, Rock Ola; an appropriated image of a 1979 work by Ouka Leele, a sort of self-portrait with a mane of lemons. The installation, White hopes, is “something associative — not a didactive narrative.” (Her concern is borderline humorous, given how colorfully packed with dissonant references the show is.) “I’ve never done anything this personal,” White said. “This isn’t my typical style, but it feels really exciting.” White, who was born in Connecticut and is based in New York, developed a connection to Madrid through a series of solo exhibitions in the city at Galeria Moriarty, a space launched in 1981 by Borja and Lola Moriarty. The duo had seen and bought one of White’s paintings at the ARCO fair a few years back, and included it in a group show before offering the artist her first Madrid solo in 2009. What White slowly realized was that Borja and Lola had deep roots in the city’s Movida Madrileña scene, an explosion of local cultural production following Franco’s death in 1975 — best known internationally via filmmaker Almodóvar. (The husband and wife didn’t broadcast their unique involvement in that mileiu, and it took some digging for White to uncover it: “I didn’t find a website that said, ‘These people are fucking amazing and here’s all the stuff they did.’”) “Madrid Me Mata” is White’s love letter to both a city and her two gallerists, who were forced by the economic downturn to shutter their 33-year-old venture early in 2014. Jammed together with the visual references to the pivotal arts-and-culture movement are images and iconography relating to the Madrid Real and FC Barcelona soccer clubs. While White did realize that her show would be opening just after the tail-end of the mania-inducing World Cup, she’s quick to note that futbol has previously played an important role in her life and work. Some of the tondo paintings are augmented with stickers of soccer balls; one of the printed-vinyl images is a shot of Madrid Real’s so-called “Vulture Squad,” led by Emilio Butragueño. Other tondos incorporate cut-Plexiglas logos — for El Deseo, Almodovar’s production company, as well as for the beloved Chupa Chups lollipop. (That logo, White explained, was designed in 1969 by Salvador Dali.) One painting is emblazoned with the expression “Salir de Copas” — roughly translated as “going out for drinks.” It’s one of the things that White appreciates about Madrid: “It’s not just going out for drinks — it’s a necessary part of a culture that feeds on that social space,” she said. “It’s a residual of La Movida. Productive partying: we could do that here, more.” Wendy White, pictured here, at Arts + Leisure before the installation opening (Photo by: Scott Indrisek)   Wendy White Channels Soccer Fever, Almodóvar, and MadridSelect Photo Gallery: Slideshow: Wendy White's "Madrid Me Mata" at Arts & LeisurePublished: July 17, 2014 Read full article here

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