Showing posts with label New York City. Show all posts
Showing posts with label New York City. Show all posts
Thursday, May 23, 2013
Sunday, May 19, 2013
Issue No. 236: Are you going?
Coinciding with the launch, Ben Copperwheat is holding an exclusive product sale on Sunday May 19, 12–6pm, at Lady Fag’s Pop Souk event (www.popsouk.com, Standard Hotel, Meatpacking District, NYC).
In 2009 Ben established the radical menswear label Copperwheat with cousin and tailor Lee Copperwheat. Copperwheat quickly generated excitement with its unusual combination of Ben’s distinctive print designs – all of which were handprinted – and Lee’s sharp tailoring.
Copperwheat produced five collections. The last – SMASH IT UP! – was launched in September 2011 with a heady and vibrant presentation at SoHo’s Capellini showroom.
In 2001 Ben graduated from the Royal College of Art, London, with a Masters Degree in Printed Textiles. Ben’s fine art and printed textile background means he works with multiple media – drawing, photography, collage and silkscreen printing.
Ben moved to NYC in 2003 and since then has produced exciting print collections for a wide range of designers including: Calvin Klein, Tommy Hilfiger, Peter Som, Edun, Pret A Surf, Victorinox Swiss Army, Peter Som, Stephen Burrows and Daryl K.
For more information, look out for the forthcoming Ben Copperwheat website at www.bencopperwheat.com
Monday, September 3, 2012
Issue No. 219: John Neff
John Neff September 5 – October 28, 2012
Reception: Wednesday, September 5, 6 – 9pm New York
Golden Gallery is proud to present an exhibition of new photographs by John Neff.
This exhibition signals a shift in Neff’s work away from the development of multi-media conceptual projects and toward the production of discrete photographic artworks. For the past eighteen months, the artist has been photographing his immediate environment using cameras assembled from altered consumer grade scanners and early twentieth century large and medium format camera parts. These devices capture images using a slow-moving linear scanning array, rather than a full-field sensor, and are prone to unpredictable mechanical and optical irregularities. Additionally, they are built without range- or viewfinders, requiring that compositional adjustments be made between, rather than before, individual exposures. This means that, in order to achieve a compelling likeness of his sitters, Neff requires their extensive cooperation in the time-consuming framing and exposure process.
Stylistically, the scanner photographs recall the straight photography of American Modernism, an important strain of 20th century art whose rich potentials for contemporary photography lie largely dormant. Pointedly self-conscious in their relationship to the art history of their medium, the pictures are also -- and perhaps primarily -- traces of intimate social encounters. Their subjects are not neutral; they are foci of the artist’s attachments, sometimes of his love. While working on these pictures, Neff carried his tripod-mounted scanner camera and laptop (the scanners were powered by, and the images stored to, a standard laptop) with him, occasionally "stopping" social encounters to photograph notable gestures, postures or scenes. The pictures are documents, but perversely so; in them, the instantaneous capture of decisive moments is slowed to thirty or more seconds, creating images that lie somewhere between spontaneous and staged. The photographs are the work of relationships between the photographer's intentions, the scanner camera's eccentricities and the sitters' actions: images resulting from three agencies performing in -- occasionally dissonant -- concert. A digital document containing the entire series and an essay written by artist Doug Ischar will be available for download through the gallery’s website.
This is John Neff's second solo exhibition with Golden Gallery. The first, John Neff Prints Robert Blanchon, was presented in Chicago late spring 2011. That exhibition processed the life and work of artist Robert Blanchon through the partial recreation of a 1995 artwork, Untitled (aroma / 1981). Neff lives and works in Chicago. His work is held in the collections of the Los Angeles Museum of Contemporary Art and The Museum of Modern Art Library, New York. The artist wishes to thank Eileen Mueller and Walker Blackwell of Latitude’s Artist In Residence program for their essential contributions to the realization of this exhibition.
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The gallery is located at 120 Elizabeth Street, between Grand and Broome. Gallery hours are Thursday – Sunday: 11am – 6pm, or by appointment. For further details please email info@goldengallery.co
Golden Gallery's press release.
Reception: Wednesday, September 5, 6 – 9pm New York
Golden Gallery is proud to present an exhibition of new photographs by John Neff.
This exhibition signals a shift in Neff’s work away from the development of multi-media conceptual projects and toward the production of discrete photographic artworks. For the past eighteen months, the artist has been photographing his immediate environment using cameras assembled from altered consumer grade scanners and early twentieth century large and medium format camera parts. These devices capture images using a slow-moving linear scanning array, rather than a full-field sensor, and are prone to unpredictable mechanical and optical irregularities. Additionally, they are built without range- or viewfinders, requiring that compositional adjustments be made between, rather than before, individual exposures. This means that, in order to achieve a compelling likeness of his sitters, Neff requires their extensive cooperation in the time-consuming framing and exposure process.
Stylistically, the scanner photographs recall the straight photography of American Modernism, an important strain of 20th century art whose rich potentials for contemporary photography lie largely dormant. Pointedly self-conscious in their relationship to the art history of their medium, the pictures are also -- and perhaps primarily -- traces of intimate social encounters. Their subjects are not neutral; they are foci of the artist’s attachments, sometimes of his love. While working on these pictures, Neff carried his tripod-mounted scanner camera and laptop (the scanners were powered by, and the images stored to, a standard laptop) with him, occasionally "stopping" social encounters to photograph notable gestures, postures or scenes. The pictures are documents, but perversely so; in them, the instantaneous capture of decisive moments is slowed to thirty or more seconds, creating images that lie somewhere between spontaneous and staged. The photographs are the work of relationships between the photographer's intentions, the scanner camera's eccentricities and the sitters' actions: images resulting from three agencies performing in -- occasionally dissonant -- concert. A digital document containing the entire series and an essay written by artist Doug Ischar will be available for download through the gallery’s website.
This is John Neff's second solo exhibition with Golden Gallery. The first, John Neff Prints Robert Blanchon, was presented in Chicago late spring 2011. That exhibition processed the life and work of artist Robert Blanchon through the partial recreation of a 1995 artwork, Untitled (aroma / 1981). Neff lives and works in Chicago. His work is held in the collections of the Los Angeles Museum of Contemporary Art and The Museum of Modern Art Library, New York. The artist wishes to thank Eileen Mueller and Walker Blackwell of Latitude’s Artist In Residence program for their essential contributions to the realization of this exhibition.
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The gallery is located at 120 Elizabeth Street, between Grand and Broome. Gallery hours are Thursday – Sunday: 11am – 6pm, or by appointment. For further details please email info@goldengallery.co
Golden Gallery's press release.
Wednesday, June 13, 2012
Issue No. 197: 'Leaning into the Verse' at Munch Gallery
Leaning into the Verse : A Group Exhibition of Drawing.
New York, NY, June 5, 2012 – Munch Gallery is pleased to present ‘Leaning into the Verse’, a drawing exhibition by Gavin Wilson, Hong Seon Jang, Philip Simmons and Gio Black Peter. The artists work in a variety of styles and media, but share an interest for the way our own personal worlds are actively founded, combined and take place in an ever expanding universal image. It is a lyrical interpretation of the lifelong cyclic forces, wherein definitions can seem inconsequential and time warps a reality.
All four artists are New York based and will be present at the opening reception, Sunday June 17, 5-7pm.
MUNCH Gallery
245 Broome Street (between Orchard and Ludlow Streets) New York, NY 10002
212.228.1600 info@munchgallery.com
[Taken from press release.]
Friday, April 27, 2012
Issue No. 183: Pouring Paint in The Hole (NYC)
Pour Paintings
April 28th – May 26th, 2012
Opening April 28th, 7-9pm
The Hole is pleased to announce the first New York solo exhibition of pour paintings by Holton Rower. Filling all galleries at the Hole with nineteen enormous pours, Rower will present the variations in technique that produce wildly different effects. From the entrance to the gallery featuring small pours with “hats” as the artist calls them (wood protrusions on which the paint is poured and flows down); to the medium-sized works with hats, some of which flow onto the floor; to the rear gallery where large works both with and without hats feature “exclusions” (where the artist placed obstacles that the paint was forced to flow around then removed); to Gallery Three where he shows five tectonic pours: the variety and intensity of the exhibition is assured.
Rower makes these paintings by pouring fantastic quantities of doctored paint onto plywood: however, the simplicity of this description belies the shocking and unexpected results. The paint flows slowly and determinedly over the surfaces he creates, timed to dry and spread at just the right rate, in color combinations both highly premeditated and fancifully spontaneous. The sloes of paint often fracture, vacillate, clump up, and extrude. Fissures and zigzags abound, as do waterfalls, U-turns, and smears, but always the flow triumphs. The textures of paint, mixed on occasion with reflective elements, opalescent admixtures, and spicy sparkling polishes, vary widely and behave differently. Paint here is truly on parade.
The works have a relationship to color field painting and other formal explorations of abstract and minimal legacies—the most superficial relationship perhaps to Morris Louis’ “Pour Paintings”—but instead of seeking the autonomy of color, these works are physical, aggressive, literal and muscular. They, of course, are process-driven as the paint is given free reign to be itself, and like the heroic works of the last century do pursue the sublime; but there is nonetheless something else happening here. Rower deals not just with gravity but gravitas.
Rower’s pours come closer to the abstracting nature photos of Edward Weston than to the works of De Kooning or Pollock, painters who, even when most abstract, always left behind traces of the movement of their hands. Meanwhile, the breadth of suggestibility in Rower’s hands-off works spans such a huge range: from the geode-type pieces to the brain scannish works, from spaceships to vertebrae to Northern Lights, lace antimacassars, ghoulish masks, surfaces of distant planets, adipose tissue, underwater mollusks, dendrites, coral, sexual bodies, Christian relics, mitochondria and Golgi complexes: it’s hard for the poetic mind not to run amok.
Rower was born in the psychedelic 60s and grew up working in his father’s construction business, where he learned about heft and weight and managing teams of people to do massive undertakings. The grandson of Alexander Calder, Rower was surrounded by a culture of art making and the influence of amazing cultural figures. He has been developing and perfecting these pours in seclusion over the past five years. Recent shows at Pace last summer, John McWhinnie in New York and forthcoming projects at Shirazu in London are just the beginning of sharing these important works with a broader audience. A catalogue will accompany this exhibition.
Saturday, September 10, 2011
Issue No. 119: September in The Hole
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