(noun) nonchalant absurdity with a dash of embarrassment.

(verb) to be shark bitten.

(adverb) in a manner that is nonchalantly absurd and embarrassing.

06 May 2011

Richard Dupont at Carolina Nitsch Project Room

Carolina Nitsch Project Room
MAY 5 – JUN 25, 2011

Amazing! Go Visit!

PROJECT ROOM: 534 West 22nd Street New York NY 10011

John Chamberlain's "New Sculpture" at Gagosian Gallery, NYC

[FROM GAGOSIAN GALLERY PRESS RELEASE]I think of my art materials not as junk but as garbage. Manure, actually; it goes from being the waste material of one being to the life-source of another.
--John Chamberlain

Gagosian Gallery is pleased to announce worldwide representation of John Chamberlain with an exhibition of new sculptures by the artist, to be presented concurrently at the 24th Street gallery in New York and the Britannia Street gallery in London.

Chamberlain is best known for his distinctive metal sculptures constructed from discarded automobile-body parts and other modern industrial detritus, which he began making in the late 1950s. His singular method of putting these elements together led to his inclusion in the paradigmatic exhibition “The Art of Assemblage,” at the Museum of Modern Art in 1961, where his work was shown alongside modern masters such as Marcel Duchamp and Pablo Picasso.

Chamberlain’s sculptures boldly contrast the everyday, industrial origin of materials with a cumulative formal beauty, often underscored by the given paint finish of the constituents. The process of construction has its roots in industrial fabrication, given that mechanical car crushers impart preliminary form to the raw material, which Chamberlain then further manipulates. Visibly emphasizing the original seams as well as the physical trace of his sculptural manipulations, he emphatically constructs assemblages that unite seemingly disparate mechanical elements. Crumpling, crushing, bending, twisting, and welding the metals to form individual objects, which may be further painted and sprayed, he combines them into aggregations, often on a monumental scale. The new works are made of metal taken from mid-century American cars, and the implied violence of the compacted forms proposes a dystopic end to the post-war American dream of fast cars, open roads, and endless skies.

Chamberlain’s emphasis on discovered or spontaneous correlations between materials rather than a prescribed idea of composition have often prompted descriptions of his work as three-dimensional Abstract Expressionist paintings. The energetic lines created by the stacks of metal in CLOUDEDLEOPAROEXPRESSO (2010) or the vertical streams of line searching upwards in TAMBOURINEFRAPPE (2010) bring to mind the gestural approach of Jackson Pollock and Willem de Kooning, while the contrasting widths and muscular forms of various combined metal elements in TASTYLINGUS (2010) recalls the strong painterly stroke of Franz Kline. Chamberlain openly credits de Kooning, Kline, and David Smith as early influences on his own development. His sculptures are widely recognized as representing a major transition in the history of modern—and particularly public—sculpture, when industrial materials became an acceptable—and, progressively, a preferred—medium.

John Chamberlain was born in Rochester, Indiana. He attended the Art Institute of Chicago (1951-1952) and Black Mountain College (1955-1956) and moved to New York in 1956. His work is represented in many major public collections including Chinati Foundation, Marfa, Texas; Menil Collection, Houston; Solomon R. Guggenheim Museum, New York; Whitney Museum of American Art, New York; Museum Ludwig, Cologne; and Tate Modern, London. He had his first retrospective at the Solomon R. Guggenheim Museum, New York, in 1971, followed by more than one hundred one-person exhibitions, including Dia Art Foundation (1983); Museum of Contemporary Art, Los Angeles (1986); Staatlich Kunsthalle Baden-Baden (1991); Stedelijk Museum, Amsterdam (1996); Chinati Foundation, Marfa, Texas (2005-2006); and Menil Collection, Houston (2009). His work has been included in numerous international survey exhibitions, including Bienal de São Paulo (1961, 1994), Biennale di Venezia (1964), Whitney Biennial (1973, 1987), and Documenta 7 (1982).

Chamberlain lives and works in Shelter Island, New York.

05 May 2011

Ai Weiwei Public Sculpture Opens in Central Park, but Where is Ai Weiwei?

"Circle of Animals/Zodiac Heads," a public sculpture installation by contemporary Chinese artist Ai Weiwei, was formally opened on May 4, 2011 at the entrance to Central Park in Manhattan. (Stan Honda/AFP/Getty Images)

04 May 2011

Josh Hadar's "The Evolution of Steel": OPENING: Friday, May 6th: 6 to 10 PM

Ingenious design: A beautiful combination of science and art.
Come see for yourself.
More information:

Keith Haring at Gladstone Gallery

Keith Haring
530 West 21st Street
May 4 through July 1, 2011

Gladstone Gallery is pleased to announce our first exhibition of works by Keith Haring. In 1982, Barbara Gladstone commissioned Haring to make a series of lithographs that were the first prints ever made by the artist, therefore it is with great pleasure that we present this exhibition. Long recognized as a leading figure in the energetic and innovative downtown culture of New York in the 1980s, this brilliantly inventive and prolific artist consistently forged new creative territories throughout his life and work that profoundly reflected his deep insight into the cultural zeitgeist of his day.

While Haring's animated contours and a pop-graffiti aesthetic are most closely associated with his signature iconography such as the radiant baby and barking dog, many of the underlying themes of his work were founded upon culturally subversive attitudes towards sexuality, gender, religion, and politics. Born in Reading, Pennsylvania, Haring arrived in New York in 1978 at the age of 19 when he enrolled in the School of Visual Arts. During this period, Haring began to establish a visual language that was centered upon dynamic mark-making techniques, compositional structures and, most importantly, the immediate primacy of the line, which would serve as the foundation of his artistic inspiration throughout his career. Influenced by an eclectic range of references including the work of Pierre Alechinsky, graffitied subway cars, comic book strips, and William Burroughs, the origins and development of Haring's work remained consistently rooted in his commitment to the irreducible principals of drawing.

Presenting never before seen works on paper, this exhibition focuses on the evolutionary period of Haring's early drawings, which traces the development of his formal language and elaborative visual vocabulary. Created in conjunction with a series of Bill T. Jones performances held in 1982 at The Kitchen, these three monumental works on view demonstrate the striking fluidity of Haring's bold graphics and his innate mastery of the optical possibilities of form and space. Executed in real time during Jones' dance performances—functioning as active set pieces with the sound of Haring’s brushstrokes serving as the only audio accompaniment —these works entrench the viewer in a field of interlocking geometries and spatial patterning, coalescing into an intimately constructed all-over effect. This exhibition will also present a selection of Haring's early sketchbook drawings, which capture the period when he was avidly exploring his artistic impulses and initiating the working processes through which the basic components of his practice and aesthetic sensibility would take shape. Haring's meticulously angular pen and ink compositions and loose, gestural graphite lines exemplify the opposing forces at play that would later become the enduring tenets of his work. Fusing the multiple strains of his early drawings, Haring generated a uniquely singular graphic vision that he pursued with unwavering conviction, dedication and spirit.

In 1990 Keith Haring died at the age of 31 of AIDS-related illnesses in New York. Since his death, his work has been the subject of several international retrospectives. His work is in major private and public collections, including, The Museum of Modern Art; The Whitney Museum of American Art; Los Angeles County Museum of Art; The Art Institute of Chicago; the Bass Museum, Miami; Centre Georges Pompidou, Paris; Ludwig Museum, Cologne; and Stedelijk Museum, Amsterdam. “Keith Haring: 1978-1982,” is currently on view at the Contemporary Art Center in Cincinnati through September 5, 2011 and was co-organized by Kunsthalle Wien.

For further information please contact Sascha Crasnow
212 206 9300 or scrasnow@gladstonegallery.com
New York Gallery Hours: Tuesday – Saturday, 10am-6pm
Brussels Gallery Hours: Tuesday – Friday, 10am-6pm, Saturday, 12pm-6pm

02 May 2011

There's Something Magical About This Pond

A much needed small getaway with a lovely group of people.

Set my mind right.

Now everything makes sense.

Walked through the woods and heard coyotes and bears.

Most fantastic of all, I saw a sky full of stars.