Yoan Capote uses sculpture, painting, installation, photography, and video to create analogies between the visual poetry of inanimate objects and the intangible world of the mind. He merges incongruous items, such as human organs and mundane objects, to plumb ideas of humanity. His work deals with the intimate and the personal, while investigating constructions that are based in power and difference. In a 2010 ARTINFO interview with Scott Indrisek, Capote said “Over-representation is not an issue for me; it’s actually a characteristic of pop culture that I’m intrigued by. In my case, I consider my use of iconic images a sort of Neuro-Pop, because my approach to the images is conceptual first and foremost. The common thread in all my work is that it is weighted in the condition of the human psyche.”
In Art in America 2006, Eleanor Heartney wrote of Capote’s work, “He creates paradoxical images with political and psychological overtones. In sculptures and beautifully crafted academic drawings, he rearranges the human body and reinvents the purposes of everyday things… Capote’s work is both thought provoking and humorous. He brings to mind the absurdist impossibilities of Rene Magritte, overlaid with a sense of nostalgia for physical experience in an increasingly digital world.”
Capote was born in Havana, Cuba in 1977, where he lives and works. The unique experience of being Cuban, influences his work, which often deals with themes of migration or government that reference Cuban identity yet is universally accessible. He studied at the Provincial School of Art in Pinar del Rio, Cuba (1988–1991), the National School of Art in Havana (1991–1995), and the Higher Institute of Art in Havana (1996–2001).
Capote has exhibited extensively, including in Portugal, Spain, Switzerland, France, England, Panama, Cuba and the United States. Capote represented Cuba at the (2011) Venice Biennale along with three other artists in Cuba Mon Amour. He installed his thirty-foot tall monumental sculpture Stress in both the (2012) 11th Havana Biennial and in Portugal Arte 10 EDP in Lisbon in (2010). A group of outdoor sculptures was exhibited recently at LongHouse Reserve in Easthampton, New York.
Capote’s work is included in many public collections including 21c Museum Hotel, Louisville, Kentucky, the Kadist Art Foundation, Paris and San Francisco, the Pizzuti Collection, Columbus, Ohio and Daros Latin America, Zurich, Switzerland. He has been the recipient of numerous awards including International Fellowship Grant from the Guggenheim Foundation (2006), a UNESCO Prize (2000), a Pollock-Krasner Foundation Grant (2006), a Vermont Studio Center Fellowship (2002) and a residency at the Brownstone Foundation in Paris (2003).
Jack Shainman Gallery has represented Capote since 2010. Solo exhibitions at the gallery include Mental States (2010), and the upcoming Collective Unconscious opening May 28 – July 10, 2015.
Tina Barney was born in New York City in 1945. She currently lives and works in New York City and Westerly, Rhode Island.
The artist’s photography career began in the mid 1970s while living in Sun Valley, Idaho. Barney began photographing in color with a large format view camera just before returning to New York in 1983. Her iconic tableauxs portraying the daily life of the social elite are in the permanent collections of numerous institutions including the the Museum of Modern Art, the Whitney Museum of American Art, Los Angeles County Museum of Art, and the Museum of Fine Arts, Boston, among many others. Barney’s works were included in the 1987 Whitney Biennial, and recent solo exhibitions include The Europeans at the Frist Center in Nashville, TN and The Europeans at the Barbican Art Gallery, London, UK, which traveled to the Museum of Art, Salzburg, Austria.
artist Chao Lu/rosenfeld porcini.com
29 April – 5 July 2015
South Galleries and 9 x 9 x 9, Bermondsey
White Cube is pleased to present an exhibition of new work by Theaster Gates. Gates’ practice is wide-ranging and polysemous, attempting to bridge the gap between art and life and catalyse social and economic change through direct artistic agency. For this exhibition, entitled ‘Freedom of Assembly’, Gates explores the theme of assembly in its widest sense, enmeshing ideas of an autonomous art object with notions of individual freedom and the empowerment of place. In particular, Gates refers to the First Amendment of the United States Constitution, which protects freedom of speech, the right to peaceably assemble, and the free exercise of religion.
‘Freedom of Assembly’ includes several new series of sculptures, a large-scale presentation of tar paintings and a body of work that foregrounds, for the first time, Gates’ long-term involvement with clay production. Notions of assembly become evident in works that draw on personal memory, politics, and the history and resonance of material objects within our culture.
These themes are syncopated in works that transform materials culled from disused buildings in the artist’s own neighbourhood in the South Side of Chicago. A series of wooden vitrines combine various elements obtained from a closed-down hardware store – a cornerstone of the community that ceased trading in the face of conglomerate competition – alongside lamps, pots, glass and sculptural objects. These colourful visual assemblages attempt to transmute the presence of a place and site now disbanded, while exuding a sense of loss and reduction. In Ground Rules (2015), Gates invokes the narrative of art through his interrogation of painting, and, in particular, the history of modernist abstraction. These works transform strips of a wooden gym-floor into delicate, minimal compositions. Like his earlier ‘Civil Rights Tapestries’ which repurposed old fire hose into pastel-hued fabric works, these sculptures reignite the significance and poetry of found materials through a process of reassembly and re-composition.
Personal and political themes are explored in a new series of large-scale tar paintings, where rubber and tar is applied to wood panels creating monochrome, textural compositions. In these works, Gates makes his decisions based on the procedure of roofing, not painting, a process the artist describes as: ‘borrowing good roofing strategies, through formal engagement with it, to arrive at painting or at least to get to the essence of roofing’. With their thick impasto and shiny reflective surface, the tar creates a surface that visibly reflects the movement of the hand across the canvas, linking these works to Japanese calligraphy as well as to a history of gestural abstraction. In other works, sections of flat roofing are displayed like shaped two-dimensional canvases, covered with delicate wooden feather-like tiles. Conceived as an index of roofs – rather than as individual paintings – these works suggest a collective presence and relate strongly to Gates’, whose father tarred roofs for a trade.
Gates furthers these ideas in a collection of clay works that include a group of small figures, stacks of ceramic bricks, and pots that combine clay with tar and other materials from the roofing canon. In these poetic sculptures, Gates’ history with clay is married to his history with labour to create an inspired new body of work.
Alongside his presentation at White Cube Bermondsey, Theaster Gates will exhibit a new body of work in the Arsenale at the 56th Venice Biennale from 9 May – 22 November 2015.
The Hidden Legacy of Nazi Film
Wednesday, May 13 – Tuesday, May 19
WRITTEN AND DIRECTED BY FELIX MOELLER
From filmmaker/film historian Felix Moeller (director of HARLAN – IN THE SHADOW OF THE JEW SÜSS) comes this thoughtful, provocative analysis of the 40 Nazi-produced movies still banned from broadcast or public screening in Germany (except in a scholarly context) because they are considered too inflammatory or offensive. The Third Reich’s anti-Semitic films are well-known (among them THE ETERNAL JEW, THE ROTHSCHILDS, JEW SÜSS), but less famed are their anti-British and anti-Polish dramas, featuring heroic young Germans, mercilessly bullied by greedy, deranged foreigners. Nearly 70 years after the demise of the Nazis, do Joseph Goebbels’s notorious propaganda movies still pose a threat to civil society? See this galvanizing documentary and judge for yourself. .
All Tickets Free of Charge.
Presented with generous support from the Ostrovsky Family Foundation
and the Joan S. Constantiner Fund for Jewish and Holocaust Films.
GERMANY • 2014 • 94 MINS. • IN GERMAN WITH ENGLISH SUBTITLES • ZEITGEIST FILMS
“FASCINATING. MUST-SEE VIEWING for cinephiles of all persuasions.”
– Ronnie Scheib, Variety
“COMPELLING. FASCINATING viewing for both film and history buffs.”
– Frank Scheck, The Hollywood Reporter
He is a modern visual poet . Revealing our obvious lost of a certain romanticism just through his use of a basically unromantic medium(that being photography) and his fluid embrace and use of thoroughly early- modernist points of departure…his frame is often reminiscent of the early Constructivist…Rodchenko in particular and seems equally informed by post seventies photo-journalism as it is by Post-modern Contemporaries like Nan Golden for example ..and yet the feeling I get from Mr .Tilman’s work is one of looking at a Monet or a Manet …he views the everyday in a very Romantic ,eloquent and yet banal way .What’s more a Tilman show is always a delight because the artist uses the gallery space like Brodovitch would have used a page in Vogue …The space becomes integral to the Narrative ..lets hope he does the same at The Met–oi
In 1941, Jacob Lawrence, then just 23 years old, completed a series of 60 small tempera paintings with text captions about the Great Migration, the multi-decade mass movement of African Americans from the rural South to the urban North that started around 1915. Within months of its making, the series entered the collections of The Museum of Modern Art and the Phillips Memorial Gallery (today The Phillips Collection), with each institution acquiring half of the panels. Lawrence’s work is now an icon in both collections, a landmark in the history of modern art, and a key example of the way that history painting was radically reimagined in the modern era. One-Way Ticket: Jacob Lawrence’s Migration Series and Other Visions of the Great Movement North reunites all 60 panels for the first time at MoMA in 20 years.
Along with Lawrence’s series, the exhibition includes other accounts of the Migration from the era, including novels and poems by writers such as Langston Hughes, Claude McKay, and Richard Wright; music by Josh White, Duke Ellington, and Billie Holiday; photographs by Dorothea Lange, Ben Shahn, Gordon Parks, and Robert McNeill; sociological tracts by Carter Woodson, Charles Johnson, Emmett Scott, and Walter White; and paintings by Charles Alston, Romare Bearden, and Charles White. The range of works in the exhibition sheds light on the ways in which Lawrence drew upon and transformed contemporary models for representing the Afro- American experience.
The exhibition is accompanied by a book, Jacob Lawrence: The Migration Series, copublished with The Phillips Collection, Washington D.C. With the opening of the exhibition, MoMA has created a rich multimedia website that explores each of Lawrence’s Migration panels, accompanied by a range of visual, auditory, literary, and documentary materials. The exhibition is also accompanied by a film series in MoMA’s theaters in June. Download a brochure of related programming. (Adobe Acrobat Reader required)
Adamson Gallery is proud to present an exhibit of photography by Gordon Parks, one of the twentieth century’s foremost documentarians of American life. This exhibition features a selection of images from Segregation Story, Parks’s powerful 1956 photographic series, which documented an extended African American family in segregated Alabama. Originally commissioned for a September 1956 issue of Life Magazine, this series is an intimate portrayal of one family’s perseverance through racial and economic subjugation in the Jim Crow South.
This exhibition will be on view from Aprill 11th through June 27th, 2015.
In anthropology, an acephalous society (from the Greek ἀκέφαλος “headless”) is a society which lacks political leaders or hierarchies. Such groups are also known as egalitarian or non-stratified societies. Typically these societies are small-scale, organized into bands or tribes that make decisions through consensus decision making rather than appointing permanent chiefs or kings. Most foraging or hunter-gatherer societies are acephalous.
In scientific literature covering native African societies and the effect of European colonialism on them the term is often used to describe groups of people living in a settlement with “no government in the sense of a group able to exercise effecitve control over both the people and their territory”. In this respect the term is also often used as synonymous to “stateless Society”. Such societies are described as consensus-democratic in opposition to the majority-democratic systems of the West.
The Igbo Nation in West Africa is alleged to be an acephalous or egalitarian society.
Trenton Doyle Hancock: Skin and Bones, 20 Years of Drawing chronicles the foundation and evolution of Hancock’s prolific career. The exhibition is the first in-depth examination of the artist’s extensive body of drawings, collages and works on paper. For over two decades, Hancock has immersed himself in drawing, testing the elasticity of the medium with a keen sense of humor. Hancock was born in 1974 in Oklahoma City, Oklahoma. He lives and works in Houston, Texas. In 2007, Hancock was the recipient of The Studio Museum in Harlem’s Joyce Alexander Wein Artist Prize. Organized by the Contemporary Arts Museum Houston (CAMH), Trenton Doyle Hancock: Skin and Bones, 20 Years of Drawing is curated by Valerie Cassel Oliver, Senior Curator. The Studio Museum’s presentation is organized by Lauren Haynes, Associate Curator, Permanent Collection.
Trenton Doyle Hancock: Skin and Bones, 20 Years of Drawing is supported by a generous grant from the National Endowment for the Arts and other supporters of CAMH.
more of the master https://youtu.be/wCA5NmbwpD8
Miami:Feb26th -May 31st Victoria Gitmans “Design Eye ” exhibition of obsessive little oil’s that look like commercial jewelry ads or Ingres drawings…raises a few questions about our modern romance with things at The Perez
New York:Picasso’s curtain for Le Ballet Russe ‘s ‘The Ballet found its new home at the New York Historical Society from May 22nd on
Pablo Picasso painted the stage curtain for the two-act ballet The Three-Cornered Hat (“El sombrero de tres picos” or “Le tricorne”). The ballet and curtain were commissioned by the impresario Sergei Diaghilev for his avant-garde, Paris-based Ballets Russes, the most influential ballet company of the twentieth-century. The ballet was choreographed by Léonide Massine with music by the Spanish composer Manuel de Falla. It premiered on July 22, 1919, at the Alhambra Theatre in London with sets, costume designs, and the monumental stage curtain created by Picasso. Picasso biographer John Richardson once called “Le Tricorne” the artist’s “supreme theatrical achievement.” The production, which was conceived by Diaghilev and Massine during a trip to Spain, was enhanced by its many Spanish collaborators, including Picasso who also designed the costumes and set for the ballet.
Measuring roughly 20 feet square, the curtain depicts a scene with a bullring and celebratory spectators. Picasso painted it as an illusionistic window in a larger curtain that functioned as a backdrop setting the scene for the ballet. At some point before 1956 Diaghilev cut it from its larger context. For more than half a century the curtain, believed to be the largest Picasso painting in the world, has hung in the hallway of the Four Seasons Restaurant, in the landmarked Seagram Building, designed by Ludwig Mies van der Rohe, on Park Avenue and Fifty-second Street in New York City. Vivendi, the company that once owned the Seagram Building, gave the Picasso curtain to the New York Landmarks Conservancy in 2005 as a “Gift to the City.”
The show will position Picasso’s curtain in a dialogue with other N-YHS objects, including paintings from the European tradition that provide background to the artist‘s work as well as to the traditions against which the revolutionary artist rebelled. Other thematic threads pivot around dance subjects and explore roughly contemporary American paintings, sculpture, posters, and watercolors. Among the works included will be examples by William Adolphe Bouguereau, Will H. Bradley, Philippe de Champaigne, Jean-Léon Gérôme, Childe Hassam, Malvina Hoffman, Ricardo de Madrazo y Garreta, Elie Nadelman, Edward Penfield, Maurice Prendergast, John Sloan, and Adriaen van Utrecht.
While fashion week goes on.. I wish to call attention to the art of style .Something that does not expire every season and often times is missing from the “tents” or runway if you prefer, but is an eternal part of every living beings DNA…I feel however that this is an endangered part of our character due to the prevalence of mechanical(scientific and mathematical thought “over” intuitive as opposed to alongside it ..where both naturally belong) in our current cultural milieu.
what you see here is the imaginative work of Salama McGrier who is a fashion stylist and designer …you cannot get these outfits in a store per se, but you may be able to shop some of the designers awesome accessories at her Leathershmeather @ etsy page check out Salama’s distinct combination of skill and intuition.
Creations more akin to the way we really dress…something less uniform and more emotional collage …A Spirit Collage .I see this as more than the future of Fashion .Fashion as we know it is destroying itself with unsustainable ideals and poverty conscious dreams of “Luxury”.
Only The imagination will save the 21st century as we become more Cartesian in manners our hunger for the “Chaos” of the imagination in attempt at Balance seems only logical ..we see examples of this in the collections of Sean-Oliver ‘s Hood By Air as well as at Agi et Sam’s in the UK and at Maki Oh .. I also see it in this shoot by Jean -Philippe Boucicaut of looks constructed by Salama Mcgrier’s unique hand and eye(all of these outfits were literally assembled on the spot for the shoot )
Imagination is the future of Style ….
Well its not particularly new but it is safe, its gaurenteed sales because frankly the masses are not paying attention to the actual quality and craftsmanship of clothing …they are quite frankly buying out of habit .
We the post boom era boomers and millenials do not buy in a discriminating manner we buy as an impulse.. a muscle we have overdeveloped…the name excites us and we click like…swipe and it belongs to us …life is one continuious intravenus stream of clothing that ranges from Dystopian Gym /Yoga doldrums for our “hectic”days to Novella nights tube dresses and overpriced fancy t’s for out pouring champagne down our throats ….so if Kanye West s new collection looks as exciting as the gap with a bit of Diesel’s anti-luxury “luxury” thrown in why not!?? ….its genius of West to give the people what they are used to with his name attached to it …its “genius ” of his backers to want Mr West’s pop culture’s Cassius Clay as the frontman for selling people more of what they really do not need .
Drawing the Blinds
January 15 – February 21, 2015
513 West 20th Street
New York, NY
Jack Shainman Gallery is pleased to present Titus Kaphar’s first solo exhibition at the gallery. The exhibition will be presented in two parts. A survey of new paintings, Drawing the Blinds, will be installed at the 513 West 20th Street location while an extension of The Jerome Project entitled Asphalt and Chalk will include drawings and paintings at the gallery’s 524 West 24th Street space.
Through the manipulation of seemingly classical and canonical imagery, Kaphar introduces us to an alternate history that runs concurrent to the dominant narrative. Truths emerge to reveal the fiction and revisionism inherent in history painting and the visual representation of a moment or memory. Kaphar cuts, slashes, erases, layers and peels back the surface of his paintings. Each method is specific to the subject and meant to ignite and recharge the image, often that of the underrepresented body.
In 1968/2014 and Another Fight For Remembrance: Study, Kaphar uses white washing as an erasure, obscuring or removing the subject entirely. As he describes, “Characters are sometimes entirely removed by the white paint, but often I feel the urge to re-expose a portion of that individual. This can occur through scraping the white paint back with pallet knives, towels, and turpentine. This back and forth allows me to view the whitewash figures in a mysterious space of presence and absence.”
Kaphar received an MFA from the Yale School of Art and is the distinguished recipient of the Gwendolyn Knight and Jacob Lawrence Fellowship. He has been awarded a 2015 Creative Capital Grant for the Visual Arts. His work has been included in solo and group exhibitions at Savannah College of Art and Design, Savannah, GA; the Studio Museum in Harlem, New York, NY and the Seattle Art Museum, Seattle, WA. His work is included in the collections of the New Britain Museum of American Art, New Britain, CT; the Seattle Art Museum, Seattle, WA; and the Studio Museum in Harlem, New York, NY.
Kaphar’s ambitious installation, The Vesper Project, is on tour through 2016 to venues including the Lois and Richard Rosenthal Center for Contemporary Arts, Cincinnati, OH; the Katzen Arts Center at American University, Washington, DC; the Pennsylvania Academy of Fine Arts, Philadelphia, PA and the New Britain Museum of American Art, New Britain, CT, where it is currently on view.
see more @Ayana v Jackson.com
I lost an arm on my last trip home: Derrick Adams, Emma Amos, Bethany Collins, Sara Rahbar
January 15 – February 21, 2015
Opening reception: Thursday, January 15, 2015, 6 – 8PM
515 West 26th Street
New York, NY
Ryan Lee is pleased to announce I lost an arm on my last trip home, a group exhibition of work by Derrick Adams, Emma Amos, Bethany Collins, and Sara Rahbar that examines the ambagious nature of language, memory, bloodline, and tradition. Each artist, through painting, sculpture, and work on paper, applies individual systems to confront past, present, and future histories. The exhibition borrows its title from the opening line of Kindred, a novel by celebrated science-fiction author Octavia Butler. Spoken by the protagonist, it suggests the twisting qualities of history, time, and space that can be both repairing and damaging.
Informing abstract ideas of the human condition as it reflects notions surrounding history and landscape, Derrick Adams (b. 1970, Baltimore, US) and Sara Rahbar (b. 1976, Tehran, IR) have disparate approaches to similar themes of otherness, post-colonial aesthetics, and labor. Adams uses his signature architectural and “planning” language to confront social convention in large, narrative mixed-media collages on view from the Deconstruction Worker series (2011-present). His work moves unexpectedly, although fluidly, weaving together elements of politics, social codes, futurism, and architecture. Rahbar works primarily with bronze, found objects, textiles and war materials to examine modes of labor, tension, and aggression that exist across time, structured space, and country. Her Flag series (2003-2013), tapestry-like in how they hang vertically off the wall, combine military fabrics and emblems, Middle Eastern textiles, embroidery, and found US flags. They debut alongside work from her most recent series, 206 Bones (2013-present), which are assembled from found worker tools and weaponry and have a heftier physicality. Both artists travel a distinct landscape, with oscillating dualities of native and unfamiliar, tension and calm, threat and provocation, to explicate contemporary behavior.
Conceptually, Emma Amos (b. 1938, Atlanta,US) and Bethany Collins (b. 1984, Montgomery, US) activate devices to resist and alter established visual codes and systems of meaning. Collins engages outdated text or encountered language, particularly racialized, to confront narratives and history, usually by employing a set of rules to weaken, erase, or quiet it. Requiring a specific physicality – working until her fingers throb, using spit to facilitate the erasures, or leaving charcoaled fingerprints on delicate pages of The Southern Review, 1988 (2014) – the work explores the unnerving possibility of multiple meanings and dual perceptions. While Collins is interested in unpacking language by examining its evolutions and limitations, Amos looks to engage and dislodge notions of social and political constructs in her provocative and deeply referential compositions. The oil paintings from the 1960s, including Godzilla (1966) on view, present unlikely subjects in a traditional manner. The series of monoprints from the early 1990s take on the American flag, incorporating found, bequeathed, and staged photographs to investigate narrative, history, and myths surrounding her memories of the South. Amos confronts ideas of otherness and privilege within an art historical canon as commentary on a larger investigation into America’s history. Both artists create works wrought with cultural, historical, individual, and collective memory.
Together the artists in I lost an arm on my last trip home have exhibited widely in important solo and group shows, including at Art in General, MOMA, PS1, Museum of Modern Art, Performa Biennial, The Studio Museum in Harlem, New York; Bass Museum of Art, Miami; Centre Pompidou, Museé National d’Art Moderne, Paris; Changwon Sculpture Biennale, Gyeongnam; Contemporary Art Museum, St. Louis; Fowler Museum at UCLA, Los Angeles; Goethe-Institute, New Delhi; High Museum of Art, Atlanta; National Centre of Contemporary Art, Moscow; Queensland Art Gallery, Brisbane; and Sharjah Biennial, UAE.
oh the choices we make in life and what is left to chance no???
a modern day princess story ..Bianca seems a perfect reference point for where women stand today some 30 yrs later …still struggling to get equal pay still balancing being attractive with being respected…finding the balance by appropriating and redefining the power symbols was very 70’s borrowed from the 20’s 30’s and 40’s
Think of him as the disclosure of the 70’s…I know I know that cover …fucking love it ! electro has its roots in 70’s (post 60’s moog and synthesizer music married to black and gay disco sensibilities )
yoga wear -lulloman /gap/ The 70’s brought an obsessive devotion to the work-out and its back full on …even the English are getting into it .
even gen nexter minaj has her own fitness line
there is a Valentino “girl”.She is not quite a Woman ..at least not the modern day woman ..you know the average woman who is busy always and juggling demands always and going from her first to “second shift “.No the Valentino “girl” is perpetually thin according to the cut of the houses designs….she is a bit cool or some would say even cold and she apparantly goes from sun to red carpet with the air of someone who is convinced she is born of an aristocratic bloodline directly from Salacia , Athena or Persephone’s tribe…everything is about economy and control right down to the joy she is a walking portrait of bliss.