Filed under: Los Angeles | Tags: Alexandra Grant, Allison Miller, Britton Tolliver, Farmers and Merchants Bank, Jason Ramos, Julian Hoeber, LAND, Mark Hagen, Mattias Faldbakken, Monique Van Genderen, Olga Koumoundouros, Olga Koumoundouros, Painting in Place, Sara Cain
Site-specificity in art, as a term, claims some heritage from the specific site of Los Angeles itself. Robert Irwin was one of the main proponents of the idea in his own writing, and one the earliest mentions of it apparently comes from a 1975 Art News article by Peter Frank. The term is modern in the general sense, post-minimal (and therefore postmodern) in the terminology of contemporary art. However the idea is as old as art itself – page one of art history often describes the site-specific cave painting of early humanity. Art, it would seem, began with the intersection of painting and site-specificity, and everything else follows. An exhibition of contemporary painting by an organization that is “committed to curating site- and situation-specific contemporary art projects, in Los Angeles and beyond,” has sought to bring these two not-so-estranged notions together again, and the results offer much to ponder. Painting In Place is a group exhibition curated by LAND (Los Angeles Nomadic Division), an organization directed by curator Shamim M. Momim, and takes place inside the historic Farmers and Merchants Bank in downtown LA. – Jason Ramos, Los Angeles Contributor
Installation view, A LAND Exhibition: Painting in Place, 2013. Farmers and Merchants Bank, Downtown Los Angeles. Photo courtesy of Robert Wedemeyer.
Filed under: Gallerist at Home | Tags: Courtney Strimpler, Ellen C. Caldwell, Gallerist at Home, Heather Darcy Bhandari, Mixed Greens, Monica Herman, Steven Sergiovanni
If you are not familiar with Mixed Greens in the art world, it is much like it sounds – a mixed collection of vibrant and forward-thinking curators and directors who have come together, established a lasting artistic reputation with more radical roots, and who now forge ahead with a traditional New York gallery space.
MIXED GREENS GROUP PORTRAIT: In the back (L-R): Monica Herman and Courtney Strimple. In the front (L-R), Heather Darcy Bhandari and Steven Sergiovanni.
Setting out to document this Gallerist at Home spread with four distinct gallerists, homes, and art collections was tricky, but it is wonderful to see where their tastes and collecting practices overlap, shedding light on their collaborative processes. Focusing on exhibitions coordinator Courtney Strimple and directors Steve Sergiovanni, Heather Darcy Bhandari, and Monica Herman, I asked them to explore their two favorite interior spaces and works of art and to share the stories behind them. Enjoy this look into the more private collections and art inside the homes of the faces behind Mixed Greens. – Ellen C. Caldwell, Los Angeles Contributor
Filed under: Competitions, Pacific Coast | Tags: 109, Janet Bishop, NAP, Pacific Coast, San Francisco Museum of Modern Art
Pacific Coast artists (residing in Alaska, California, Hawaii, Oregon, and Washington), now is your chance to apply to New American Paintings. The Deadline is June 30, Midnight, EST. We are happy to have Janet Bishop, Curator of Painting and Sculpture, San Francisco Museum of Modern Art, as our 2013 juror. Apply now!
For more information on Ms. Bishop, click “read more” below.
Filed under: New York, Review | Tags: Gedi Sibony, Greene Naftali, Nadiah Fellah
On view at Greene Naftali are twenty new works by the New York artist Gedi Sibony. The show begins with a small room of found, framed works, each reversed in its frame and hung on the wall, so as to only display its posterior side to viewers. Poetic yet elusive titles like Into a Ring of Doubles and Doric Ions conjure the possible imagery present but now hidden. Instead, viewers are confronted with the aged and discolored backing of each work, irregularly held in place with patches of tape. By purposefully obfuscating from our view the presence of what is now known but implied, Sibony creates a sly commentary on knowledge and assumptions, pointing to a strong conceptual element in his own practice, and priming visitors for works in a similar vein in the gallery’s main space. – Nadiah Fellah, NYC Contributor
Beyond the small room of framed works, the remainder of the gallery is entirely lit by the northeastern facing windows of Greene Naftali’s eighth floor space. This changes and dramatizes the experience of the sculptures depending on the time of day or weather. Indeed, the term ‘dramatize’ is an apt one—many of the free-standing sculptures in the show evoke similarities to stage props or backdrops, their found materials and crude constructions reminding one of alternative or guerrilla theater productions.
Gedi Sibony | Eight More Petals, 2013, Wood, foam core, cardboard, paper, tape, 97 x 44 x 18 inches. Image courtesy Greene Naftali.
Upon entering the main gallery, one encounters by a large, semi-circular structure, placed between two large columns. Titled The Porcelains, the structure appears as a stage might, centrally positioned, and providing a flat plane on which to stand. However, its pristinely white appearance, and title that equally references distance and fragility, betrays its lack of use, causing us to contemplate its latent possibilities.
Gedi Sibony | Ceaseless Episodes of Blossom, 2013, Carpet, primer, 98 x 73 ½ inches. Image courtesy Greene Naftali.
One of the several works that employs the backsides of large rugs—a method that falls in line with Sibony’s reversed prints also on view—is Ceaseless Episodes of Blossom. The large triptych is positioned behind the semi-circular ‘stage,’ as if a backdrop, and features a grid of four reoccurring emblems, each signifying one of the four seasons. The juxtaposition of a rigorous grid format combined with the randomness of the emblems’ repetition aligns the work with those like Alighiero Boetti and the Arte Povera movement in general, a connection that is also referred to in Sibony’s use of raw and found materials.
Another function of the large, obtrusive structure in the center of the gallery is that it forces visitors to move along the periphery of the space, whether or not they are aware of it. Thus it fits with Sibony’s declaration that he likes to “complicate space” with his sculptures, compelling viewers to inadvertently move in patterns or configurations that they might not otherwise within a gallery.
Gedi Sibony | Grants Every Gift, 2013, Carpet, toy Ferris wheel, 90 ¼ x 71 ¾ x 7 inches. Image courtesy Greene Naftali.
Similarly compelling such movement is a large carpet fragment titled Grants Every Gift, hung with its underside exposed, and lying unevenly against the wall. When one instinctively peeks around the side of the work to look for an obstruction, one sees a small toy Ferris wheel wedged between the rug’s surface and the wall, suspended at roughly eye level. This hidden and unexpected object is evidence of the wry humor present in much of the artist’s practice, and slyly gestures at his ability to “toy” with our assumptions and expectations.
Gedi Sibony was born in 1973, and is originally from New York, where he currently lives and works. He holds a BA from Brown and an MFA from Columbia University. Since 2000, his work has been exhibited widely in the US and Europe. His sculptures were included in the 2006 Whitney Biennial, and the 6th Berlin Biennale in 2008.
Gedi Sibony is on view at Greene Naftali Gallery in New York through June 15th.
Nadiah Fellah is a graduate student of Art History at The Graduate Center, CUNY in New York.
Filed under: Chicago, Review | Tags: Courtney Blades, Stephanie Cristello, Zach Meisner
Appearances can be deceiving in Zach Meisner’s work, and what may seem like a potentially recognizable form at first is often an illusion. His recent exhibition, currently on view at Courtney Blades, is no exception. In New Work, a collection of small paintings, symbols stand in for silhouettes of busts; asymmetry masks itself as something more harmonious, and meaningless forms take lovely lapses into the aesthetics of utilitarian design objects. Though made out of low-grade construction materials – Plexiglas, plywood, MDF, and acrylic – Meisner’s paintings are sleek, clean, and crisp. Through combinations of bold geometric elements and slow passages of sensory play, Meisner’s paintings border on the cusp of object and surface. – Stephanie Cristello, Chicago Contributor
Filed under: Sneak Peeks | Tags: 106, Adam Mysock, Alex McKenzie, Ally White, Amy Boone-Mcreesh, Anita Arliss, Anthony Record, Ben Seamons, Blade Wynne, Brian Guidry, Carolyn Case, Chris Musina, Christine Gray, competition, D’Metrius John Rice, Erika Osborne, Erin McIntosh, Gonzalo Fuenmayor, Henry Detweiler, J.T. Kirkland, Jason Galbut, Jason R. Butcher, Jay Hendrick, Jim Richard, Joelle Dietrick, Jordan Kasey, Joshua Chambers, Kelley Johnson, Luis Cruz Azaceta, Marilyn Murphy, Monica Zeringue, NAP, Nicole Charbonnet, Paul Collins, Paul Rodecker, Paul Yanko, Ryan Browning, Ryan Lauterio, sneak peak, South, Southern, Stephanie Patton, Tracy Stuckey, Trevor Young, Troy Dugas, winners, Zack Underwood
The New American Paintings, Southern Issue, #106, is expected to hit newsstands across the US sometime in the next few weeks. Miranda Lash, Curator of Modern and Contemporary Art, New Orleans Museum of Art, juried the competition. Publisher Steven Zevitas notes in his Editor’s Note, “Miranda has made quite a splasjh in New Orleans since her arrival in 2008, having already organized fifteen exhibitions at NOMA. Her selections for this issue are broad, and include a few New Orleans favorites such as Jim Richard and Luis Cruz Azaceta. In her essay, Lash offers keen insights into the conceptual and aesthetic trens she detects in contemporary art from the south.” So pick up a copy and see her selections!
After the jump see a full list of the artists selected for the NAP #103 and few sneak peek photos!
Filed under: Review, Santa Fe | Tags: Asa Nisa Masa, Claude Smith, Eight Modern, Fay Ku
Fay Ku’s solo exhibition Asa Nisa Masa at Eight Modern in Santa Fe features delicately executed graphite, ink and watercolor works inspired by her memories, experiences and relationships as a result of her upbringing in white suburbia as the child of Chinese immigrants. Through her use of subtly articulated line and negative space, Ku references East Asian artistic traditions, while her focus on figurative representation through a predominantly female-centric subject matter, suggests a more contemporary Western perspective. Her often-surreal visual narratives borrow from myth and folklore to explore the intersection of personal, social and cultural tension. – Claude Smith, Albuquerque/Santa Fe Contributor