Jaune Quick to-See-Smith in Metropolitan Museum exhibition "Plains Indians, Artists of Earth and Sky"
Jaune Quick-to- See Smith is in a group show at The Metropolitan Museum of Art: The Plains Indians: Artists of Earth and Sky. The exhibition will unite Plains Indian masterworks found in European and North American collections, from pre-contact to contemporary, ranging from a two-thousand-year-old human-effigy stone pipe to contemporary paintings, photographs, and a video-installation piece.
Published on March 6, 2015
Rhonda Wall in Spring Break Art Fair, NY NY, March 3 - 9, 2015
The Campaign, 2013, mixed media on canvas, 48 x 36 inches
Rhonda Wall has created a collage door for the "Pig Pen" exhibition, where each of the 27 selected artists are given an actual pig pen to create an exhibition in. Known for her unusual and conceptually unique collage work this piece takes on a new form for the artist's use of the medium.
At Mayfair in Allentown, PA.
Published on May 26, 2014
Jaune Quick-to-See Smith at Yellowstone Art Museum
On view through August 24, 2014. YAM, 401 North 27th Street Billings, MT 59101
Three works by Quick-to-See Smith have been donated to the Yellowstone Art Museum by collectors John and Carol Green, of Billings. They are on display through Aug. 24. Two monoliths Melon Mask I and Buffalo Amulet I are part of the Face to Face, Wall to Wall exhibit in the second-floor gallery and her triptych multimedia work, Tongass Trade Canoe, is on display in the downstairs gallery.
The triptych takes up an entire wall at the YAM, measuring 60 by 150 inches. Green, red and black paint form the outline of a canoe and news clippings bring attention to the debate over logging. A herd of caribou is painted across the top and a quote applied to the right side of the panels brings fire to the logging debate, describing the effects of clear-cut logging.
Jaune Quick-To-See Smith at Princeton University's Bernstein Gallery
April 13 August 4, 2014 Opening: Sunday, April 13, 4:30-6pm
In these paintings and prints, critically acclaimed Native American Artist, Jaune Quick-to-See Smith, expresses her concerns for our environment, corporate greed, consumerism run amok, and the rising gap between rich and poor. Through humor and cleverly constructed compositions, her signature visual language uses a combination of historic and literary references, including American-Indian mythology, as well as contemporary current events, to make her provocative socio-political statements.
NANCY COHEN in IN-SITE: THE CREATIVE PROCESS IN PLAIN VIEW
Thursday May 22 - July 24, 2014
This exhibition explores the artist's process which in Nancy Cohen's case involves intricate processes in multiple mediums including glass, rubber, cement, hand made paper, plastics, wire and reconfigured found objects. Paul Robeson Galleries, Rutgers University, Newark, New Jersey.
Published on May 20, 2014
Artist Martha Posner's painting Red Bird is featured on the cover of Divine Nothingess by Gerald Stern, winner of the National Book Award
Susanne Slavic is the Andrew W. Mellon Professor of Art at Carnegie Mellon where she was Head of the School of Art between 2000 and 2006. Slavicks R&R( &R) series begin with found photographs that circulate on the web. These photographs include decimated buildings and gaping earth as documents of the recent war torn regions, including Lebanon, Iraq and Afghanistan. Slavick paints intricate details into each scene, insertions which combine realism with lyrical, poetic imagery. These restorative additions are culturally specific, based on historical research: Islamic angels instead of mechanics tend to a charred car in Stretch; white tracery of a mashrabiya (a traditional Arabic window treatment) hovers ghost-like in a bullet-pocked entryway. In Hemorrhage, a rusted vehicle is deluged by oily water with fish braving the flow of our over-consumption. By taking traditional imagery from the same country whose photograph she appropriates from the web, Slavick poses questions about the magnitude of loss and recovery. While R&R is known as the military term for rest and relaxation, the works here open up its meaning to include remorse, restoration, revelation and regrets. More information
Published on March 1, 2014
Mary Beth Edelson in "Ten Tough Women Artists Who Stand Up to the Bad Boys"
This ARTnews article, written by Robin Cembalest, examines ten noteworthy female artists in the wake of a fall art season characterized by a fascination with male artists: "Mary Beth Edelson has been on the job since the 60s. Her current show at Accola Griefen features drawings, documents, scriptbooks, and more from 25 collaborative performance rituals and community-based workshops she staged starting in 1969. Along the way she came up with some ideas to reclaim the land from Earthworks."
Jaune Quick-to-See Smith & Susanne Slavick in "The Map is Not A Territory"
The Jerusalem Fund Gallery 2425 Virginia Ave, NW Washington, DC
Curated by Jennifer Heath and Dagmar Painter, The Map Is Not A Territory opens September 6, 2013 through October 18. The exhibition features 39 artists from around the world who have created artworks that examine the shared historical and contemporary paths of three cultures: Palestinian, Native American and Irish. The exhibition will examine themes such as occupation, conflict, resistance, land, food, home, identity, diaspora and more. After its run at the Jerusalem Fund Gallery Al-Quds, the exhibition will travel for 5 years, exhibiting in galleries in the United States and abroad. A full list of the venues will be available soon.
Published on August 20, 2013
The Land Before and After Time reviewed in NY Arts Magazine by A. Bascove
Summer group shows are often a pleasant and decorative affair, like the non-demanding beach books of summer reading, but not this one. Dynamic and diverse, this exhibition is a bracing tonic of impassioned personalities and their abundant imaginations. It will be a pleasurable detour from your summer reading.
Ann McCoy had reviewed Susan Bee's exhibition, Criss Cross: New Paintings, in The Jewish Forward:
In many ways, Criss Cross: New Paintings, Susan Bees current exhibit at Accola Griefen Gallery, has its origins in her 2006 exhibit, Seeing Double: Paintings by Susan Bee and Miriam Laufer. Seeing Double was a mother-daughter dialog between Bee and Laufer, who died in 1980. Criss Cross also begins with Laufer, through a painting titled Ahava, Berlin.
In the painting Bee stands in front of the Berlin Jewish Kinderheim (orphanage) where her mother lived from 1927 through 1934, before heading to Palestine. Both of Bees parents were from Berlin, and landed in Palestine as teenagers. The scarred walls of the old Kinderheim seem to reflect the scars inflicted by such a childhood, and the importance of this mother-daughter relationship as a source of Bees creative vision.
Alexander Shulan has reviewed Susan Bee's exhibition, "Criss Cross: New Paintings"in The Brooklyn Rail:
In the opening shot of Robert Aldrichs 1955 B-noir classic Kiss Me Deadly, a barefoot woman runs frantically down a dark road in the middle of the night. Shes nearly struck by a beige convertible. The driver, a stranger, pulls over, ushers her in, and the two drive off in silence. The camera focuses in on the windshield, the pairs faces lit only by passing headlights. Anxiety grips the frame, creeping up out of the shadows and saturating the entire picture.
Images like this pervade Susan Bees new exhibition Criss Cross: New Paintings at Accola Griefen. The show, whose title is drawn from a 1949 film noir fraught with psycho-sexual melodrama, features thirty paintings. The majority are drawn from noir stills, all of which are rendered in a full-color pastiche of different styles, with Abstract-Expressionist gestures throughout.
These thirty midsize canvases, inspired by the format of film stills, might best be described as workmanlike, but Bees skills as a colorist and her stylistic abandon make the show worth seeking out. Flat figures are outlined in black, as if in the pages of coloring books, offset by bright backgrounds that loosely reference modernist painting (Pollock-like dribbles, Mondrian-esque geometries). In one picture, two long-haired young women cower in a backseat as bright daubs of abstraction fill the rear window. Its horror vacui by way of film noir. Through June 29.
Published on July 1, 2013
Susan Bee in Artslant
June 25, 2013 Putting Paint to the Test
Using scenes from classic cinema as inspiration, Susan Bees new body of work puts her medium to the test: with her painterly brushstrokes and jabs competing with the pictorial film stills as the subjects of her paintings. In her solo exhibition, Criss Cross, the artist has taken on the impassioned glances and forlorn stares of the silver screen, but removed them from the vintage glamour of chiaroscuro. With purposeful movement and motion evident in her painting, Bee has given each classic scene vibrancy with over the top color, translating each movie embrace into an abstraction of color and form. - Lori Zimmer
Longing Inside the Frame: Susan Bee at Accola Griefen by Miriam Atkin
Bypassing a post-modernist disbelief in the signs capacity for truth, Susan Bees current show, titled Criss Cross at Accola Griefen, announces a sincere love for the image. Bees apparent faith in the capacity of the painted figure to truly say something flies in the face of stylish irony and dispassionate conceptualism. I see her practice as heroic: perhaps the devout image-maker in our climate of stagnant disillusionment is a post-millennial wanderer in sea and fog.
Mary Grigoriadis was one of Pattern Paintings earliest proponents, at least in New York, and arguably one of its best. Her paintings, elaborate in detail but simple in construction, conflated the decorative manners of many cultures, from Islamic to European Baroque to Native American, into a cohesive and distinctive style. Grigoriadis made that style yet more her own with a richly painterly approach and a luminous but restrained color selection. Heraldic but witty, Grigoriadis paintings at least those from the 1970s and 80s always brim with suggestion, and manage to seem at once highly animated and anchored fast, lightly conceived and massively built. Even as she allowed herself a greater fluidity and even asymmetry in her work of the 80s, Grigoriadis maintained this delicious variety of reference and sensation. She has apparently continued to evolve in this vein, but this small but rich review of her first two decades argued that Grigoriadis is one of the most underrated American painters of the post-Pop era. Peter Frank
Her game was bright, vivid paintings inspired by film noir stills. She loaded her canvases with swirling Ab-Ex tropes. Casual viewers could take them for cheerful. Theyd be wrong. A girl gingerly approaching a man whos holding a paring knife, a doll slapping a rake in the kisser, two gimlet-eyed dames waiting in a car for troubleall the color in the world couldnt stifle the want or the fear in these paintings. That was the point. Look at them, sure, she said, but then drink them in. -Sharon Butler
Keun Young Park at the William Benton Museum of Art
We are pleased to announce that Keun Young Park's work, "Blue Portrait", will be included in the exhibition, 20/21: Modern and Contemporary Art from the Benton's Collection in the William Benton Museum of Art. The exhibition is on view from June 4-August 4.
MATERIAL WORLD 7 June - 27 July 2013 6 Anthony Brunelli Gallery 186 State St Binghamton, NY 13901
Contemporary Korean artists explore innovative approaches in wood, string, stone, paper, paint, and steel. Works by: Heejung Cho, Sungchul Hong, Sang Yong Lee, Keun Young Park, Kyung-Hee Shin and Min Young Suk
Published on May 29, 2013
Sandra Ramos at the 55th Venice Biennale
Opening Friday May 31, 2013 at 6pm La Perversión de lo clásico: Anarquía de los relatos curated by Jorge Fernandez and Giacomo Zaza
Museo Archeologico Nazionale di Venezia, Palazzo Reale Piazza San Marco 17
Published on May 25, 2013
Mitch Miller receives Pollock Krasner
Accola Griefen Gallery is pleased to congratulate Mitch Miller on receiving the 2013 Pollack-Krasner Foundation Grant.
Published on May 28, 2013
Florencio Gelabert at the Museum of Latin American Art
Disrupted Nature May 25, 2013 January 2014
This exhibition, conformed by works of art from MOLAAs Collection, explores issues related to nature including the way artists depict its wild beauty and changing state and comment on the effects of human intervention on it. Disrupted Nature will include several recent acquisitions to our collection including works of art by artists such as Alberto Baraya (Colombia, b. 1968) and Florencio Gelabert (Cuba, b. 1961).
Florencio Gelabert (Cuba, b. 1961) Imagine...The Possible Island / Plywood, soil, plastic wheels, clay stone, and artificial plants and flowers
Published on April 30, 2013
Nancy Cohen at The Garrison Art Center
NANCY COHEN: BEYOND THE SURFACE, SCULPTURE AND EMBEDDED DRAWINGS
In the early 1970s the Pattern and Decoration movement was among the early, and welcome, warning signs that American painting could be other than abstract and minimal. And the paintings of Mary Grigoriadis were among the first signs of Pattern and Decoration. As this splendid little show of works from 1972 to 1988 indicates, they still pack a delicious visual punch. Ms. Grigoriadis who helped found A.I.R., the first female artists cooperative gallery in the United States, in SoHo in 1972 has always stressed the materials and methods of painting as much as Frank Stella, Robert Ryman or Brice Marden, but she may be closest in spirit to Alfred Jensen, that mystical lover of numbers and paints tactility.
In the early 1970s Ms. Grigoriadis applied symmetrical designs to raw linen, parts of which she left bare. Her colors ran to bright shades of orange, yellow and turquoise; her designs were implicitly multicultural, mongrel and assertive. Full of fanlike semicircles, zigzag borders, spirals and foliate or brickwork patterns, they conjured an array of Assyrian, Persian, Byzantine and American Indian sources, as well as Art Deco architecture. Her thick shapes had a mouthwatering, slightly comic physicality, as if made with a single, sometimes giant, brush stroke.
In the 1980s Ms. Grigoriadis abandoned strict symmetry; added deep reds, blues and greens to her palette; and began to cover her canvases entirely with paint. In these almost claustrophobically rich works, shapes actively impinge on one another, and space bends and swells, like roiling landscapes or blown-up details of a paisley scarf. As usual, the mind sorts through possible meanings while the eye struggles even more to take it all in.
- Roberta Smith
Published on April 26, 2013
Sandra Ramos at Fort Smith Art Museum
Bridging the Past, Present and Future: Recent Works by Sandra Ramos curated by Diane Camber March 29th - July 2, 2013
FORT SMITH REGIONAL ART MUSEUM 1601 Rogers Avenue, Fort Smith, AR 72902 www.fsram.org
Kira Nam Greenes first solo exhibition at Accola Griefen gallery consists of mixed media paintings, drawings, and collages that combine the seemingly disparate elements of food and patterning to create hyper-real domestic spaces. Working with a wide range of materials, including watercolor, gouache, colored pencil, linocut, modeling clay, stencil, rhinestones, and ink, Greenes artworks are as much influenced by 17th century Dutch Vanitas painting as by the Pattern and Decoration movement of the 1970s. Greenes mastery of rendering techniques and utilization of slippery shifts in perspective come together to create scenes that are at once familiar and unsettling, beautiful and grotesque. In the paintings Happiness is Just a Bowl of Cherries, Royal Jello, and Kimchi Joy, the food items named in the titles of each piece are rendered in exquisite, exacting detail, each referencing the corporeality of the body. The foreground patterning recedes and advances around the food-objects, and in the case of Cherries, is reflected in the bowl the cherries are sitting in, adding an exquisite weight to the rendering of the ceramic. In Royal Jello, the gelatin mold has become an organ, pulsating as the foreground patterning refracts through its gelatinous blob. The kimchi in Kimchi is depicted so fleshily, that it is almost repulsive it looks like it might be made of skin. Greenes largest piece in the exhibition, Peanut Butter, Saba & Ketchup, mixes a huge range of patterning an Ikea tablecloth, Chinese silk brocade, Japanese Noh prints, and Persian and Italian tiles, to name a few with a hodgepodge of food from different cultures. While the ketchup, cans of tuna, and Skippy peanut butter are clearly from the present day, Green also includes a pair of hanging pheasants, a bowl of fish heads, and peeled lemons overt references to vanitas paintings, in particular Still Life with Lemons by Pieter Claesz. The combination of Western and Eastern sources in terms of both foodstuffs and patterning, combined with a refusal of straight perspective, makes for a sophisticated meditation on the nature of consumption. The references to vanitas paintings combined with the corporeal quality of the renderings clearly point to questions about our own mortality.
Published on May 7, 2013
Mary Grigoriadis in New York Magazine
Mary Grigoriadis at Accola Griefen Gallery Pattern-on-pattern, texture-on-texture paintings. Captivating shamanistic diagrams, symbolic icons, and images that exist between demon-being and beautiful mystical drawings. Strange shapes, patterns, and symmetries make faces appear, waves, landscapes, and other things to delight the imagination. Jerry Saltz 547 West 27th Street, No. 634; through May 18.
Published on April 16, 2013
Interview with Susan Bee on Artslant
Susan Bee is interviewed by Bradley Rubenstein on ArtSlant
ALL IS MOVING: Performance by Maria Hupfield on Thurs. March 28th
Thursday, March 28th at 6:30pm at Accola Griefen Gallery 547 W 27th St 6th Floor, NY NY Refreshments will be served
In All is Moving, Maria Hupfield will respond to the paintings of Jaune Quick-to-See Smith using common items that speak to our times such as candy, a silver glove, emergency survival blankets and her signature wooden tokens. The piece also addresses the role that living process plays in performance art.
Maria Hupfield (born 1975) is from the Georgian Bay region of Ontario, Canada and currently based in Brooklyn New York. She is of Anishnaabe (Ojibway) heritage, and a member of Wasauksing First Nation. Hupfield holds an MFA in sculpture from York University, Toronto. Her practice is cross-disciplinary and grounded in a combination of both Indigenous and Western art practices. She recently participated in A Conversation on Performance Art: Women Redrawing/Performance, organized by The Feminist Art Project at SOHO20 Chelsea NY; (2013) Wave Hill's Winter Workspace Program, Glyndor Galley, Bronx NY; and (2012) Artist Leadership Program, National Museum of the American Indian Smithsonian Institute, Washington DC. She has performed at Grace Gallery, Brooklyn NY, and (2012) 7a*11d International Performance Festival, Toronto ON. Her work is in the traveling exhibitions Beat Nation and Changing Hands III.
Published on March 16, 2013
Susan Bee, Breathing Room
Written piece and painting by Susan Bee in the March 2013 Brooklyn Rail
A sculptor by training, Korean-born Keun Young Park masterfully arranges shredded paper into textured self-portraits. After photographing herself in various poses, Park digitally manipulates and resizes the images, prints them, then tears them up by hand into thousands of pieces. From there she reconfigures each sliver of the wreckage into uncannily intricate portraits made of scale-like paper shreds. Opened yesterday, Park's most recent exhibition "In Between" at Accola Griefen Gallery in NYC shows off the superb talent and dreamy aesthetic that makes Park so remarkable.
Park departs slightly from earlier work in the medium, opting for washed out blues and greens over bright hues. The pieces are as much about the negative space as anything, leaving out elements, body parts and surroundings for a surrealistic and fanciful vibe. Additionally, the blank backgrounds and vanished elements create suspense and anticipation in the still works.
Park is also showing one translucent soap sculpture of a disembodied face. Interestingly, many of the works in paper have a sculptural quality, thanks in part to subtle layering of the paper shreds. This conflation of disciplines fits Park's "In Between" theme, as do the pervasive examples of metamorphosis and disintegration.
Published on January 18, 2013
Rhonda Wall at The Noyes Museum of Art
733 Lily Lake Road, Oceanville, NJ
The Art of Conflict January 18 April 21, 2013 The Art of Conflict confronts the themes of identity in war, conflict and displacement. The exhibition offers an opportunity for artists voices to speak about how conflict has changed lives in places around the world. In visual language artists will tell the story of struggle, survival and hope. Featured artists include: Rajie Cook, David Keefe, Veru Narula, Rhonda Wall and works from Combat Paper NJ.
Image: Rhonda Wall, Ask the Mothers What they Have to Say (detail), 2001-2003, mixed media and digital print on canvas
Published on January 18, 2013
ACCOLA GRIEFEN GALLERY exhibiting at SCOPE MIAMI 2012
December 4 - 9, 2012 SCOPE Pavilion 110 N.E. 36 St. at Midtown Blvd. Miami, Florida 33138 ARTISTS: JUDY PFAFF, MITCH MILLER, KIRA GREENE & KEUN YOUNG PARK
Published on November 17, 2012
Susanne Slavick at Art Miami 2012
SUSANNE SLAVICK exhibiting with Nicholas Cohn Art Projects in the exhibition "Social Structures" at CONTEXT Art Miami December 4 - 9, 2012
CONTEXT Art Miami Pavilion Midtown Miami - Wynwood 3201 NE 1st Avenue Miami, FL 33137
Published on November 17, 2012
Artforum covers work of Sandra Ramos in 11th Havana Biennial
"The imagery of divided communities, tools of emigration, maritime distance, and the fatal prospects of covert travel was pervasive throughout the biennial. The separate solo exhibitions of Sandra Ramos and Abel Barroso, both held at the Museo Nacional de Bellas Artes, featured visas, maps, and bridges: Ramoss interactive 90 millas (90 Miles), 2012, entreated its audience to walk along a raised platform constructed of light boxes housing large-format photographs of the sea and sky, each taken from an airplane traveling across the ninety miles separating Florida and Cuba; Barrosos pinball machines, fashioned from cedarwood, suggested that the process of obtaining a visa is like the rattling mechanisms of an arcade game. "
Rob van Erve in "Blessed Are the Artists," curated by Yulia Tikhonova
Rob van Erve will be exhibiting in Blessed are the Artists, Spirituality and Religion in Contemporary Art curated by Yulia Tikhonova October 11 - November 10, 2012 Opening: Thurs, October 11 from 5pm to 7pm
Caldwell College The Visceglia Gallery & Jennings Library 120 Bloomfield Avenue Cladwell, New Jersey, 07006 Open daily 9am - 5pm
Published on September 27, 2012
Mitch Miller & Augmented Mountain Present Outer Spaces at DUMBO Arts Festival 2012
To hear more about the program visit the Digital Summit at Galapagos Art Space on Saturday, September 29th at 5pm 16 Main Street, Brooklyn, New York 11201
Published on September 25, 2012
Caroline Burton at The Ewin Gallery of Art and Architecture
"The fifteen artists in "Pencil Pushed" were chosen because mark-making is their primary vehicle of expression. Challenging the traditional role of drawing, these artists have refined their unique processes while expanding the parameters of this discipline. This show presents an opportunity for the viewers to come up with their own associations and in so doing become part of the drawing process itself."
Excerpt from the Curator 's essay from exhibition catalogue.
Published on September 22, 2012
Rob van Erve on ArtCritical
"Born in The Netherlands and now resident in Brooklyn, Van Erve will show a monumental golden staircase, made from luxury materials, that visitors are invited to climb in his show at Accola Griefen, as well as sculpture that in one case bisects the gallery wall, and collages on paper. The Latin in the shows title, Operae Pretium Est, translates loosely, It is Worthwhile, and refers both to the painstaking hand work required to realize the artists vision, and the relationship he perceives between the staircase in the gallery and stage settings for operas." - PIRI HALASZ
Chloe Wyma's review of "Visual Feast: A Pattern and Decoration Exhibition" on ARTINFO.COM
"Leave your prejudices at the door and bask in "Visual Feast"'s wacky, apologist (her)story of the short-lived and too-often-dismissed Pattern and Decoration movement, which shows canonical P&D works like Miriam Shapiro's fan painting and Robert Kushner's performance stills alongside Judy Pfaff's signature clusterfuck installations and Susan Happersett's mathy fractal drawings, proving that P&D in its messy, explosive, political, and playful permutations is anything but twee." -Chloe Wyma (Source Link)
New York Magazine selects "Visual Feast" as a Critic's Top Pic
New York Magazine's July 2nd and July 9th weekly issues have selected Visual Feast: A Pattern and Decoration Exhibition as a Critic's Top Pic. "Works by many of the originators and early participants of the Pattern and Decoration Movement of the seventies and eighties, including Mary Grigoriadis, Joyce Kozloff, Robert Kushner, Robert Zakanitch, and Barbara Zucker."
Nancy Cohen: Precarious Exchange Hunterdon Art Museum June 10 - September 9, 2012
7 Lower Center Street Clinton, NJ 08809 908-735-8415
Published on May 30, 2012
Nancy Cohen at Dieu Donne
NANCY COHEN Dieu Donne
On view in the gallery: Donald Baechler, Mel Bochner, Nancy Cohen, Arturo Herrera, Paul Henry Ramirez, Arlene Shechet, Kate Shepherd, Jessica Stockholder
Published on May 30, 2012
Janet Culbertson at Hunterdon Art Museum & Hecksccher Museum
The Hunterdon Art Museum will be exhibiting Janet Culbertson's work in Works on Paper: Celebrating the Hunterdon Art Museums Collection, opening on June 10.
Culbertson's The Wasteland wil be exhibited in the Long Island Biennale at the Heckscher Museum in Huntington, NY.
Published on June 6, 2012
Keun Young Park featured on Fast Company Design
Keun Young Park shreds photos into minuscule pieces, then reassembles them into floating images. Keun Young Park's finely textured collages approach the veracity of photographs. As they should, since thats exactly what they were before the artist saturated them in color and ripped them into thousands of pieces, only to painstakingly reconstitute them into quiet images of faces, draped arms, and cupped hands. According to the artists gallery, Accola Griefen, Park shows the body in transformation, suspended in between disintegration and reassembly, caught between chaos and order. The thin, veinlike gaps between the bits of paper create the effect of digital pixilation, while their irregular shapes attest to their handmade quality. I believe that everything is constantly changing, either being generated or destroyed, writes the South Koreanborn, New Jerseybased artist. Presence is just a state of being, and the reality of an object has ambiguity in this shifting. And through the process of tearing up photos and imperfectly pasting them together, she represents our own struggle to grasp the tremulous, fleeting nature of existence.
2003-2009: Mira Schor and Susan Bee, the Thelma and Louise of the Feminist Painting and Crit set, pose the biggest threat to male domination of the medium and criticism of painting in that they are critics as well as painters, and editors to boot, whose joint imprimatur has been pulsing out the feminist-left political art journal M/E/A/N/I/N/G since the mid-1980s. But Joan Snyder, Kathe Burkhart, and Joy Garnett are packing the heat just as heavy, what with their early-to-mid decade paintings aimed squarely against the Bush-Cheney-Haliburton War and Torture in Iraq, the petrol added to their feminist molotovs thrown into the art wars that try but never succeed to blow painting out of memory if not existence. It's not that irony doesn't figure into such work. In the pictorial painting seen here, irony of medium, source of imagery and intent figure in significantly. But all of these women are well aware that irony doesn't produce lasting political solutions, which are the larger priority.
In this beautiful, highly focused show, Victoria Burge opened up a world of inquiry through two quite different bodies of work: drawings and experimental prints. Her preoccupations and obsessions have been consistent over the years, and yet throughout, her work has shown variety and invention. Operating almost always on a small scale, Burge raises considerations of the universe and infinite spacethe micro inevitably speaks to the macro. She forces the viewer into her mental world and processes. Her drawings, in ink, acrylic, and pencil, build on cosmologies and maps, with memories affixed to them through layering and references to specific places, often cities. Consumed by process, by art itself and how it mirrors the mind, Burge makes literal connections atop natural and artificial ones, through antique star maps, street maps, topographical maps and lunar charts. One thinks of Paul Klee, of heavenly harmonies, as Burges diagrams suggest celestial and temporal rhythms. She connects places where she has been with suggestions of horoscopes and cosmic affinities. The titles are at once descriptive and pure poetry, as in Moon Blindness (2011), a beautiful riff on an antique chart showing phases of the moon, and Coding the Space between Spaces (2011), adding connective lines to an old population chart. As for the intriguing prints, they developed from Burges investigation of the effects of light as it is reflected on water. The artist photographed the reflections at different times of day and on various rivers and then created vector drawings based on the pictures, which she laser cut into Plexiglas. With their white bubbles that seem to shift depending on the viewing angle, the prints were most interesting as studies in process, whereas the drawings stretched in both their effect and meaning far beyond their lines and links. Barbara A. MacAdam, ARTnews, June 2012
The conference will consider feminist art as a zone of multi-disciplinary art production associated with a radical critique of gendered power relations in society. The women artists participating will speak about their current work, their history within feminism, and the relevance of feminist identification and communities to their creative endeavors. They will discuss what it means to be a feminist artist today within an extended range of diverse political engagement. Speakers include Susan Bee, A. K. Burns, Audrey Chan, Maureen Connor, Andrea Geyer, Caitlin Rueter & Suzanne Stroebe, Ulrike Müller, and Mira Schor. The conference concludes the first MFA Advanced Practice course in Feminist Art taught by Mira Schor.
This event is FREE: no tickets or reservations required; seating is first-come first-served
The Brooklyn Museum 200 Eastern Parkway Brooklyn NY 11238 Saturday March 31, 2012, 2pm
As a celebration of women in the arts, and National Women's History month, A.I.R. Gallery, the Institute for Women and Art at Rutgers University, and The Feminist Art Project are co-sponsoring a two-panel series exploring New York's international feminist diaspora community: Transnationalism and Women Artists in Diaspora.
Both Kat Griefen as the commentator and Kira Greene as a contributing panelist will be part of the second and final panel of the series, which will take place on March 31st at 2pm in the Cantor Auditorium of The Brooklyn Museum.
Published on March 27, 2012
Sculptures by Martha Posner Included in 'Dancing with the Unconscious'
Other works by Dr Knafo's include: In Her Own Image and Unconscious Fantasies and the Rational World.
Published on March 21, 2012
Susan Bee Interviewed in E-ratio 15
Accola Griefen Gallery artist Susan Bee has recently been interviewed by Gregory Vincent St. Thomasino on E-ration 15.
Published on February 14, 2012
Accola Griefen Gallery Announces Representation of Mary Grigoriadis
ACCOLA GRIEFEN GALLERY is pleased to announce the representation of the artist, Mary Grigoriadis , a key figure in the Pattern and Decoration Movement of the 1970s and a founder of A.I.R. Gallery, the first feminist art gallery in the United States. Grigoriadiss paintings caught the attention of the art world in 1973 when she was included in the Whitney Biennial. In 1977, her work was shown with that of Joyce Kozloff, Mimi Schapiro and Robert Kushner in the early Pattern Painting survey curated by John Perrault at P.S. #1 in Long Island City. Grigoriadis has continued to exhibit steadily since then in the United States and abroad.
Mitch Miller and collaborators launch Pyrite at 2011 Miami art fairs
Mitch Miller and Augmented Mountain are pleased to introduce, Pyrite, a fully immersive and reactive Augmented Reality (AR) environment that lets you transform your world into unique, photographic sculptures. Pyrite is created by Mitch Miller, Meredith Drum and Phoenix Toews (Augmented Mountain). The program/artwork is a unique toolkit, Palimpsest, for the iPhone and iPad, enabling the creation of narratives contextualized by geographic location, games that interact with the physical environment, and artistic performances and installations that are virtually attached to real-world physical space.
Pyrite uses art fair geographies as a platform to demonstrate the fun, informative, and mercantile capabilities AR. The program allows users to learn about special projects and events happening during the fairs, while playing a first-person shooter, choose-your-own-adventure game.
Nancy Cohen's collaborative piece with Erin Greenwood and JeanMarie Hartman will be exhibited in: Ground Water: Out of Sight/Site Out of Mind November 4 - December 17, 2011 OPENING: NOVEMBER 4 FROM 5:30PM - 8PM
The Sculpture Center 1834 E. 123rd Street Cleveland, Ohio 44106 Ground Water: Out of Sight/Site Out of Mind examines the interconnectivity of water within the landscape through art objects, interactive displays and projection, and video. The collaborative Synapse (group for art and science), at The University of Akron, encompasses artists and scientists exploring strategies for observing these invisible connections and for looking at water on a variety of scales.
A revived interest in drawing has brought the discipline to the forefront of contemporary arts. The 43 Uses of Drawing explores the practice of drawing beyond the paper surface, via the work of 43 practitioners working in a number of different areas. The aim of the exhibition is to ignite the debate and discussion by mapping the different practices and uses of drawing across disciplines and beyond the boundaries of fine art. It will include drawings from graffiti artists, childrens illustrators, political cartoonists, architects, animators, landscape architects, set designers, tattoo artists, digital renderers and performance artists, along with fine artists The 43 Uses of Drawing demonstrates both the breadth of drawing today and its continued relevance to contemporary artistic practice and the wider creative industry.
Published on September 13, 2011
Review of Nancy Cohen's work in American Craft Magzine
Martha Posner in 2011 Summer Sculpture Exhibition by Garrison Art Center
May 27 - October 10, 2011
Martha Posner is exhibiting in CURRENT 2011 Summer Sculpture Exhibition by Garrison Art Center Boscobel House and Gardens Garrison NY www.boscobel.org/
Published on June 11, 2011
Kira Greene at The Bronx Museum
June 26, 2011 - September 5, 2011
The Bronx Museum of the Arts Bronx Calling: THE FIRST AIM BIENNIAL 1040 GRAND CONCOURSE AT 165TH STREET BRONX, NEW YORK 10456
Organized by guest-curators Wayne Northcross and Jose Ruiz, Bronx Calling will feature the work of seventy-two emerging artists, including Kira Greene, from the Bronx Museum's Artist in the Marketplace program. The exhibition will be presented at the Bronx Museum in collaboration with Wave Hill and will be accompanied by a fully illustrated catalogue.
Published on June 7, 2011
Ray Oglesby in MIA Open Studios - June 5, 2011
Ray Oglesby will be participating in the MIA Open Studios in Brooklyn Studio 203 - 2nd Floor Sunday June 5th at Hagerty Hall, 128 Montrose Ave from 1:30pm to 6pm (located on the corner of Manhattan Ave and Montrose Ave in Brooklyn, NY) Reception with live music and refreshments as well as a BBQ on our roof at 6:00pm.
For the last year Montrose Initiative for the Arts (MIA), a program of The Trinity Project, has provided over 30 artists with low-cost studios. The artists in studio-residence include recent graduates from college, graduate school, as well as established working professionals working in the visual arts. Most of the artists have exhibited nationally and internationally to great acclaim. Our aim has been to provide an opportunity for these highly talented artists to flourish, as well as develop and produce new works.
Published on May 31, 2011
Victoria Burge's work has just been purchased by the Philadelphia Museum of Art.
Published on June 7, 2011
Martha Posner at The Garrison Art Center
May 27 - June 19, 2011 Opening Reception - May 27 from 6pm to 8pm
MARTHA POSNER The Spirit and the Flesh Sculpture and Works on Paper in the Gillette Gallery
23 Depot Square on Garrison's Landing Garrison, NY 10524 Garisonartcenter.org Open Tuesday - Sunday 10am - 5pm
Published on May 19, 2011
Company: For Collectors by Collectors Highlights work of Keun Young Park at AAF
Martha Posner featured in Urban Environments Festival
May 7 - October 2011
Sponsored by Lafayette and the city of Easton with major support from the National Endowment for the Arts, the six-month festival features multimedia outdoor sculptures by local and national artists.
Martha Posner's piece, "An Untamed Place," takes the form a bed in the woods made from soil and grass and named for Pan, the god of untamed places. The sculpture evokes the magic of childhood and a belief in fairytales.
The art installations will be on display until October and are scattered throughout the city and Lafayettes new arts campus on North Third Street. Visitors can view the works by taking a self-guided driving tour or hopping on a trolley operated by the Chansonnette Fringe Fest, which is collaborating with the AUEF on a series of performances and youth workshops scheduled for every Saturday through Aug. 20 on 12th Street between Northampton and Spring Garden streets.
Published on May 16, 2011
Victoria Burge in "Recent Acquisitions: Prints and Photographs" at The New York Public Library
Recent Acquisitions: Prints and Photographs will be on view April 22, 2011 through June 30, 2011 in the Print and Stokes Galleries at The New York Public Librarys Stephen A. Schwarzman Building, located at Fifth Avenue at 42nd Street in Manhattan. Admission is free. For exhibition hours or additional information, call 212-ASK-NYPL or visit www.nypl.org.
In conjunction with its centennial, The New York Public Library is exhibiting print and photographic works acquired within the last decade in Recent Acquisitions: Prints and Photographs. On display in the Print and Stokes Galleries of the Stephen A. Schwarzman building at Fifth Avenue at 42nd Street, the works included demonstrate that the Librarys Miriam and Ira D. Wallach Division of Arts, Prints and Photographs which boasts holdings of nearly one million objects -- is not a static collection but continues to grow through purchases and gifts. Similarly, all of the artists in the show are also still alive and working. Recent Acquisitions: Prints and Photographs is on exhibit through June 30, 2011.
Nancy Cohen in "Green, the Color and the Cause," at The Textile Museum
April 16 - September 11, 2011
2320 S Street, NW, Washington, DC 20008-4088
A mixed-media artist who makes sculpture, installation and works on paper, Nancy Cohen's Estuary is a large, paper-based site-specific installationone of two installations specially created for Green: the Color and the Cause.
Many cultures traditionally associate the color green with nature and its attributes, including life, fertility and rebirth. In recent years, green has become the symbolic color of environmentalism. This exhibition will celebrate green both as a color and as a cause, exploring the techniques people have devised to create green textiles, the meanings this color has held in cultures across time and place, and the ways that contemporary textile artists and designers are responding to concerns about the environment.
Kira Greene in "Poetical Fire: Three Centuries of Still Lifes," at The Sheldon Art Museum
January 21, 2011 - May 7, 2011
The Sheldon Museum of Art is located at 12 & R Streets in Lincoln, NE 68588-0300
Poetical Fire: Three Centuries of Still Lifes features approximately 60 examples of the genre from the mid-19th century to the present, including ceramics, paintings, photography, prints, and sculpture. The exhibition contains examples by major 19th-century practitioners John F. Francis and Severin Roesen, early modernist versions by Charles Demuth and Marsden Hartley, and contemporary interpretations by Kira Greene, Vera Mercer and Tom Wesselmann.
Poetical Fire takes its name from noted American art critic James Jackson Jarves, who used the phrase to describe the artistic transition from direct transcriptions of nature to capturing a subjects essence, its poetical fire. The exhibition follows Jarvess line of inquiry, charting the subjects popularity during the mid-19th century for its realist potential; to its abstraction by early 20th century artists; to the large format and nontraditional media employed by many contemporary artists. Rather than just a chronological survey, however, Poetical Fire explores the genre thematically, reviewing its cultural context and meanings during various periods. While subject to changes in style, still life has retained its popularity as a subject over the centuries, and artists have accepted Jarvess challenge to capture the subjects spirit rather than solely its tangible forms.
Poetical Fire is accompanied by a catalogue featuring essays by both local and national scholars that explore the still-life genres multifaceted ideas and themes.
Published on April 4, 2011
Rob van Erve in American Academy of Arts and Letters Exhibition
The American Academy of Arts and Letters 633 West 155 Street New York NY 10032