Exhibition: A Living Man Declared Dead and Other Chapters, Taryn Simon (USA)
Location: Museum of Modern Art, MoMA (11 West 53rd Street, New York)
Dates: 2 May - 3 September 2012
so excited for this.
(via photolia)
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Meulensteen presents
Young Curators, New Ideas IV
Organized by Mr. and Mrs. Amani Olu
June 7 – August 24, 2012
Opening Reception: Thursday, June 7, 2012
Meulensteen is pleased to present Young Curators, New Ideas IV, a group exhibition of twelve curators organized by Mr. and Mrs. Amani Olu opening the evening of Thursday, June 7, 2012 from 6PM – 9PM with music by Derrick Adams and DJ Imposter at the gallery located at 511 West 22nd Street. The exhibition continues through August 24, 2012 and will include a series of programs and special events.
Curators: Rachel Cook, Jenny Jaskey, Robin Juan, Larry Ossei-Mensah, Tiernan Morgan, Stephanie Roach, Legacy Russell, Ariella Wolens, Jordana Zeldin, Calder Zwicky, Susi Kenna & Tali Wertheimer and Court Square
Artists: Sterling Allen, Ben Alper, Pan Aterson, Amy Beecher, A.K. Burns, Darren Coffield, Jillian Conrad, Adam Curtis, Teresa Henriquez, Peter Hobbs, Brookhart Jonquil, Jen Kennedy, Jerry Kearns, Ryan Lauderdale, Liz Linden, C.J. Matherne, Hugo McCloud, Matt Nichols, Miranda Pissarides, Josh Reames, Prem Sahib, Judith Shimer, Kasper Sonne, Adam Parker Smith, Jeni Spota, Jeffrey Vallance, Julia Weist and Erik Blinderman & Lisa Rave
(via krisgravesprojects)
Artists and graphic designers present printed matter – such as books, posters or magazines – in the digital environment of web-portfolios. There are a few examples of printed matter which pretend they’re physical throughout the web, without ever getting produced or even being published in the “real world”. Thereby the digital presentation of those fictive products is guided by their analogue realizability. Actually there are no limitations to the enactment of fictive printed-products in the net. The exhibition “Print Fiction” wants to encourage artists and graphic designers to ask how utopias of printed matter can look like.
this seems relevant
(via paintedetc)
New York!
This show is going to be a motherfucker:
IMAGE OBJECT
featuring Kate Steciw, Artie Vierkant, Travess Smalley, and Andrea Longacre-White
@ FOXY PRODUCTION, 6/1 - 7/13
“Image Object is a group exhibition that considers the relationship between images and objects in the age of digital media. With prints, sculptures and collages by ANDREA LONGACRE-WHITE, TRAVESS SMALLEY, KATE STECIW, and ARTIE VIERKANT, the exhibition probes the ways in which artists negotiate both gallery space and online space. With visual content transposed and modified across digital platforms, notions of what an artwork can be are in flux, not unlike the way personal identities are shape-shifting across social networks. The works in Image Object reflect these developments.”
(via christopherschreck)
Elliman has been collecting man-made objects – cutouts, offcuts, outtakes and takeaway cutlery – and building a kit of parts out of which he has created a usable font where no character is used more than once. For any designer/communicator, it’s a fascinating and liberating way to approach typography and Elliman’s growing collection has been of some interest to artists and designers alike since it’s start at the end of the 1980’s.
It’s exciting that typography and language is getting so much attention and Elliman’sFound Font is just one facet to a full spectrum of contextual and critically contemporary work that is being produced to continue the wilful misuse of words so that we might discover new ones to describe them better.
Printed Matter present an extensive exhibit of artist books by Canadian pioneering conceptual artist, Garry Neill Kennedy, opening on Thursday, April 12th 2012, at their storefront in New York… The show, curated by Adam O’Reilly, will present over 100 of Kennedy’s artist’s books as well as accompanying posters, silkscreen prints, photos, and ephemera. The exhibition will run from April 12th to May 30th at the Printed Matter storefront. You are invited to join for a launch on Thursday, April 12th, from 6 to 8pm. “Kennedy’s double life as an art administrator had a significant influence on his artwork, with his sharp wit and humor, the books in this exhibit range from institutional critiques, political and social investigations, to appropriated New Yorker cartoons.”
— Printed Matter
Printed Matter:
195 Tenth Avenue
New York, NY 10011
April 12th to May 30th, 2012
more cool things: launch tonight
The Wild & The Innocent
A Photography Show Curated by Jordan SullivanPhotographers//
Bree Apperley, Brendan Baker, Alexander Binder, Siobhan Bohnacker, Coley Brown, Patrick Buckley, Ana Cabaleiro, Samantha Casolari, Cody Chandler, Daniel Evans, Todd Fisher, Hannah Godley, Alexis Gross, Todd Jordan, Kohey Kanno, Mikael Kennedy, Collin LaFleche, Nicole Lesser, Jeff Luker, Jennilee Marigomen, Brian Merriam, Aaron McElroy, Skye Parrott, Emma Phillips, Henry Roy, Bryan Schutmaat, Brea Souders, Jordan Sullivan, Agnes Thor, Logan White
definitely want to check out this show before it’s over
(via clicgallery)
The Shaping of New Visions: Photography, Film, Photobook
April 18, 2012–April 29, 2013
The Edward Steichen Photography Galleries, third floor
This exhibition, covering the period from 1910 to today, offers a critical reassessment of photography’s role in the avant-garde and neo-avant-garde movements—with a special emphasis on the medium’s relation to Dada, Bauhaus, Surrealism, Constructivism, New Objectivity, Conceptual, and Post-Conceptual art—and in the development of contemporary artistic practices.
The shaping of what came to be known as “New Vision” photography bore the obvious influence of “lens-based” and “time-based” works. El Lissitzky best summarized its ethos: “The new world will not need little pictures,” he wrote in The Conquest of Art (1922). “If it needs a mirror, it has the photograph and the cinema.”
Bringing together over 250 works from MoMA’s collection, the exhibition features major projects by Man Ray, László Moholy-Nagy, Aleksandr Rodchenko, Germaine Krull, Gerhard Rühm, Helen Levitt, Daido Moriyama, Robert Heinecken, Ed Ruscha, Martha Rosler, Bernd and Hilla Becher, Philip-Lorca DiCorcia, and Walid Raad, among others. Photographic history is presented as a multivalent history of distinct “new visions,” rooted in unconventional and innovative exercises that range from photograms and photomontages to experimental films and photobooks.
Organized by Roxana Marcoci, Curator, Department of Photography.
(via MoMA | The Shaping of New Visions: Photography, Film, Photobook)
(via photolia)
’ so excited to be a part of this!I’ll be showing some new work here with an awesome group of artists. It’s going to be a great show. Come out!
(via erichelgas)
By assuming a curatorial role as an aspect of his artistic practice, Tillmans dislodges any clear-cut boundary between curator and artist. For instance, curators primarily select which of an artist’s works will be included in a museum exhibition. Whenever Tillmans’s work is shown, he determines the exhibition focus and scope and decides what to include and how. Of course to varying degree curators work with artists on an exhibition’s content just as Tillmans’s decision-making process includes discussion with curators. Yet he retains a great deal of control in this domain by having made curatorial activity fundamental to his practice. Tillmans creates exhibitory contexts with his photographs. Actively engaging in these situations interrupts the imposture of objectivity and disrupts the codes by which many art institutions disseminate art to publics. Tillmans’s belief in his own complex, flexible subjectivity—and the extension of its validity to one and all—inspire his methods, which subtly decenter institutional installation authority and redistribute display.
Identity is irresolute. Self-construction, deconstruction, and reconstruction are vital dimensions of Tillmans’s artistic formation. His practice reflects continually shifting subjectivity, necessitating that design always be new. The artist’s conviction that identity is flexile and unclassifiable, and his concomitant repertoire of display stratagems, make it possible to sustain an active relationship to his history—through his images—and to presentational formations that mediate meaning. As David Deitcher has aptly observed:
Tillmans’s installations, with their elaborate recombination of old and new photographs, demonstrate his belief in the capacity of such networks of images and of meanings to suggest the multivalent complexity of a life… . In these situations Tillmans has found, not just a new and challenging way to work with photographs in the spaces of galleries and museums, but to underscore the depth of his engagement with contingency. By “contingency” I mean the way in which meaning, but also subjectivity, sexuality, gender and identity, are all the unstable and temporary results of dynamic processes at the heart of which is difference.
[…]
Each photograph Wolfgang Tillmans takes and prints is part of a collective, which provides a framework for difference and dialogue. An ever-growing community of images is the dynamic repertoire from which various pictorial and symbolic alliances and juxtapositions form, disassemble, and reform in his installations and publications over time. This is not to say that the individual element is unimportant, but that the artist’s conceptual and visual processes expand to making accessible the solidarities that exist concretely as well as ephemerally between photographs. Tillmans’s belief in collectivity is reflected in a multiplicity of images as form, which engages viewers’ subjectivities through multiple points of entry and their navigation of relational dynamics between images. Such configurations encourage active audience engagement and require viewers to identify and project themselves into the visual and ideational world that Tillmans carefully orchestrates. Viewers’ focus is not overdetermined; understanding is not scripted. “The viewer should be encouraged to feel close to their own experiences of situations similar to those that I’ve presented to them in my work. They should enter my work through their own eyes, and their own lives—not through trying to piece together mine.”
DAN COLEN, BLOWIN’ IN THE WIND
OPENING RECEPTION THURSDAY MARCH 1ST, 2012. 6-8PM
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Basketball, Mop, Budweiser can, Shard, Cup, Foam, Tire, Netting, Tube, Wood, Umbrella, Plant stand, Towel, Sneaker, Frisbee, Poland Spring bottle, Pallet, Sock, Plastic ring, Broom, Sheet, Boot, Curve, Block, Car mat, Bike seat, Basketball, Hose, Metal Wire, Plastic mesh bag, Wood panel, Mask, Robe
(via jennilee)
Modern Day Halo #3, 2011, © Brea Souders
Exhibition on view:
January 20–March 3, 2012The Camera Club of New York
The Arts Building
336 West 37th Street, Suite 206
New York, NY
(212) 260-9927The Camera Club of New York presents Celestial, an exhibition arranged by guest curator Mark Alice Durant. Five photographic artists extend their views of our universe and the supernatural. The endless splendor of earth and space is researched and resolved through different sentiments and media: black and white photography, collage, charcoal drawings on negatives, film and performance.
The artists embrace imagination to represent the simplest and the most dramatic of celestial events. Intermediary substances are used, sprinkled across photographic paper, mimicking stars and constellations. Photograms and pinhole cameras are also utilized, representative of the capable nature of the photographic process, even through the most rudimentary of means.
Mark Alice Durant is an artist, writer, and curator. Durant’s photography has appeared inAperture issue 199 and has contributed writing for issues 203, 196, and 195.
Exhibition on view:
January 20–March 3, 2012The Camera Club of New York
The Arts Building
336 West 37th Street, Suite 206
New York, NY(212) 260-9927
Tags: Brea Souders, Camera Club of New York, CCNY, Celestial, Mark Alice Durant
definitely gonna check this out.
