Apr 9

Kathy Butterly featured in CFile Online!

Exhibition | Kathy Butterly: Little Sexual Beasts at Tibor de Nagy

Kathy Butterly at Tibor de Nagy

John Yau, in beginning his review of the deliciously sexy show by Kathy Butterly at Tibor de Nagy (New York February 27 – April 12, 2014), gives a partial list of ceramics exhibitions at major New York galleries over the past 12 months:

“Ken Price: Sculpture at the Metropolitan Museum of Art (June 18–September 22, 2013), which I reviewed for Hyperallergic Weekend; Joanne Greenbaum: Sculpture at Kerry Schuss (May 2–June 2, 2013); Betty Woodman: Windows, Carpets and Other Paintings at Salon 94 Freemans (May 7–June 15); Alice Mackler: Sculpture, Painting, Drawing at Kerry Schuss (June 9–July 26, 2013); Arlene Schechet: Slip at Sikkema Jenkins (October 10–November 16, 2013); Mary Frank, Elemental Expressionism: Sculpture 1969–1985 & Recent Work at DC Moore (November 14–December 21, 2013), for which I wrote the catalogue essay; Lynda Benglis at Cheim and Read (January 16–February 15, 2014).

“Current exhibitions include: Jiha Moon: Foreign Love Too at Ryan Lee (February 1–March 15); Norbert Prangenberg: The Last Works at Garth Greenan (February 27–April 5, 2014), for which I also wrote the catalogue essay; and Kathy Butterly: Enter at Tibor de Nagy (February 27–April 19, 2014).”

To this he could have added Edmund de Waal at Gagosian, Robert Arneson at David Zwirner, Gareth Mason at Jason Jacques, Takuro Kuwata at Salon 4 and a few dozen more. Indeed, the 2013-14 art season has been a bumper one for kiln fruit.

It is instructive that Yau offers this list within Butterly’s review because this artist, a student of Robert Arneson, was a trailblazer crossing over into the fine arts with her porcelain vessels soon after graduation and being hailed as one of the City’s most important emerging artists by New York Times critic Roberta Smith.

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Feb 6

Artforum - Beverly Semmes talks about her work!

Beverly Semmes

02.05.14

Beverly Semmes, Pink Pot, 2008, paint on magazine page, 7 1/2 x 10 6/8”.

Beverly Semmes is a New York–based artist who has exhibited internationally since the late 1980s. Her latest shows span the US: Los Angeles’s Shoshana Wayne Gallery is presenting two of Semmes’s large-scale dress works, produced in 1992 and 1994, from January 11 to March 1, 2014. In New York, Semmes will show selections from her ongoing
Feminist Responsibility Project, as well as ceramics, at Susan Inglett Gallery from February 6 to March 15, 2014.

IN THE EARLY 2000S, I inherited a stack of 1990s-era porn magazines. It’s a long story in itself, but basically I was helping a friend in upstate New York who wanted to get rid of them but was too embarrassed to take them to the town’s recycling center. I took them home. Not long after, I was working in my studio and I thought: I need these. As I was cracking them open, I had the idea to get some paint out. The first pieces were essentially cover-ups—fluorescent censorships. This is how the Feminist Responsibility Project began. I wanted the FRP works to have a protective aspect: protective to the viewer, protective to the subject. The covering up is nurturing—in a grandmotherish way—and it’s complicated. The redactor is spending a lot of time with the imagery, censoring to keep you from getting/having to see the original material. The images break out of the control: There are rules, but these codes keep getting broken and content slips forward.

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Jan 21

Izhar Patkin at Mass MoCA - The Boston Globe

image

Theater & art

At Mass MoCA, a return from the shadows for Izhar Patkin

By Jeremy D. Goodwin |  GLOBE CORRESPONDENT     JANUARY 18, 2014

“I’m still alive, alive to learn from your eyes

that I am become your veil and I am all you see”

— Agha Shahid Ali, “The Veiled Suite”

NORTH ADAMS — Sitting over a cup of rice-and-lemon soup in the cafe at the Massachusetts Museum of Contemporary Art, Izhar Patkin is describing the car accident he’d had a few weeks prior. Headed back to North Adams to finish installing his massive new survey show at the museum after a Thanksgiving respite, the Israeli-born painter and sculptor flipped over his car on the icy Taconic State Parkway, totaling it.

“I thought I was going to die, and I had two thoughts,” he recounts. “I was glad I was alone. Death is personal. It’s nobody else’s business — like going to the bathroom. Then I had the petty thought: They’re going to have to finish writing those wall panels without me.”

For Patkin, musings on eternity mix easily with talk of his show’s details. And his thoughtful, even brooding exterior can lighten quickly for a sarcastic aside or a quick burst of self-consciousness. It fits that his recent work displays an ever-present awareness of death, tinged with darkly cheeky gestures. Patkin appears to have taken his experience in stride, and he has a dramatic new tale to tell.

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Nov 29
PULSE Miami 2013Shoshana Wayne Gallery is pleased to invite you to visit Booth A-100 at PULSE Miami, Thursday, December 5th through Sunday, December 8th. A select group of works by Zadok Ben-David, Kathy Butterly, Jeffrey Gibson, Rachel Lachowicz, Dinh Q. Lê, Izhar Patkin, Elaine Reichek, Michal Rovner, Beverly Semmes, Kiki Smith, and Shirley Tse will be on view.
For more information, please contact Alana Parpal at alana@shoshanawayne.com.


PULSE Miami 2013

Shoshana Wayne Gallery is pleased to invite you to visit Booth A-100 at PULSE Miami, Thursday, December 5th through Sunday, December 8th. A select group of works by
Zadok Ben-David, Kathy Butterly, Jeffrey Gibson, Rachel Lachowicz, Dinh Q. Lê, Izhar Patkin, Elaine Reichek, Michal Rovner, Beverly Semmes, Kiki Smith, and Shirley Tse will be on view.

For more information, please contact Alana Parpal at alana@shoshanawayne.com.

Nov 15

Rachel Lachowicz featured in the LA Times!

Review: Rachel Lachowicz gives gender roles an intriguing makeover

Rachel Lachowicz’s “Particle Dispersion: Hex Triplet Pink,” 2013, Plexiglas case with eyeshadow. (Gene Ogami / Shoshana Wayne Gallery)

By Sharon Mizota
4:30 PM PST, November 14, 2013

In her latest exhibition at Shoshana Wayne Gallery, Rachel Lachowicz continues her exploration of gender roles in an unusual medium: makeup.

That choice is an unavoidable statement about gender, like Janine Antoni painting the floor with her hair dipped in Clairol, or the fact that knitting and embroidery — now ubiquitous in museums and galleries — still carry connotations of “women’s work.”

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Oct 11

Dinh Q. Lê and the 2013 Carnegie International in the New York Times!

Art Review
The Carnegie International Keeps Its Survey Small

PITTSBURGH — The 2013 Carnegie International is a welcome shock to the system of one of the art world’s more entrenched rituals. This lean, seemingly modest, thought-out exhibition takes the big global survey of contemporary art off steroids.

With only 35 artists and collectives from 19 countries, the latest Carnegie says no to the visual overload and indigestible sprawl frequent to these exhibitions. It also avoids the looming, big-budget showstoppers — aptly called festivalism by the critic Peter Schjeldahl — for which they are known. Actually, the Carnegie all but leaves festivalism at the door: “Tip,” the immense, shambling, cheerfully derivative barrier of wood, fabric, cement and spray paint by the British sculptor Phyllida Barlow, just outside the museum’s main entrance, is probably the show’s biggest single art object. Inside, almost nothing on view dwarfs the body, addles the brain or short-circuits the senses. It’s just art. Did I mention that half of the artists are women?

The 2013 Carnegie has been organized by Daniel Baumann, the director of the Adolf Wölfli Foundation at the Kunstmuseum in Bern, Switzerland, and Dan Byers and Tina Kukielski, two Carnegie curators. It may contribute to its deviation from convention that the curators have little experience with big surveys and don’t belong to the international curatorial cartel that circles the planet.

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Sep 6

Elaine Reichek featured in the New York Times!


Art Review
The Jewishness Is in the Details

Twenty years ago, the Jewish Museum commissioned Elaine Reichek, the artist known for embroidered and knitted social commentary, to create an installation about being Jewish. What she produced and exhibited in 1994 was “A Postcolonial Kinderhood,” an exceptionally savvy and elegant instance of identity politics in art.

Now, with “A Postcolonial Kinderhood Revisited,” the museum is reprising that exhibition with some minor additions. A pair of bulletin boards display reviews, letters and other materials documenting the original show, and a beguiling short film made from flickering home movies of Ms. Reichek’s in-laws on their honeymoon in 1934 is shown through a porthole in one wall, along with the sound of a piano playing “Somewhere Over the Rainbow.”

But the basic production, which the museum owns, is the same. It resembles a Colonial-era room in a historic-house museum. Framed needlework samplers hang on walls painted grayish green, and a four-poster bed stands in the center on a braided rug. There are also framed groups of snapshots of a well-to-do family, dating from the mid-20th century. You understand that what is actually being evoked is the lifestyle of a modern family whose ancestors might have arrived in the New World on the Mayflower. The antique furniture (in reality, reproductions purchased for the exhibition) has presumably been handed down from one generation to the next ever since. There’s a child-size rocking chair stamped with the Yale University coat of arms, signifying, no doubt, a legacy of Ivy League graduates.

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Aug 21

Tony Orrico featured in the Dallas Observer for MAC PAC!

Artist Tony Orrico will bring his movement-based art to the McKinney Avenue Contemporary, first through a 30-hour performance spanning four days beginning September 11 and the next through an intensive two-day performance art workshop called Being to Begin on Saturday, September 28 and Sunday, September 29.

Orrico’s best known for his Penwald Drawings: charcoal artifacts created through performative motion. They’re composed bilaterally, with both hands and both feet acting at once. Like a printing press he moves through or across the surface of a plane, ticking graphite sticks or swishing them around in the palms of his hands — a movement that creates a sound like a stationary rowing machine. He pivots slowly with his wing span doing the work of a massive spirograph, layering lines through repetition.

His project at the MAC, Wane, falls into his new series CARBON. In it Tony abandons symmetry as a starting point and instead rips apart drywall, uses the pressure of his body to set motion to pencils, sews the debris of his deconstructions into new sculptures and finally, gets naked. It’s a life cycle creation where one action’s energy bleeds into the next; art is visible in both the shape of doing and the output of what’s been done.

A project of this scale is a big deal for the MAC. In fact, it represents the first sponsored exhibition coordinated by its young adult member’s program The MAC PAC, which has raised the needed funds for Orrico’s performance. To help bring the weekend workshop to life, a Kickstarter was made. (It’s running now, so go ahead and toss some coin in.)

If you’d like to do a weekend study with Tony Orrico registration opens today. Pop into the MAC and register; the two-day workshop costs $20 for students and $80 for adults and runs from 11 a.m. to 5 p.m. each day.


Aug 15

Be sure to view Shirley Tse at the Armory Center for the Arts!

The Armory Show and Tell: Shirley Tse presents Quantum Shirley


Quantum Shirley

Quantum Shirley is a framework the artist uses to produce a series of works in diverse media. Quantum Shirley weaves together personal history, New Physics, trade movement and history of colonial products (rubber and vanilla), and the geographical displacement of Chinese nationals in the last century (Chinese Diaspora).

“To escape wars and to seek employment opportunity, my mother’s family was displaced in different parts of the South Pacific and became labor force for plantations. My mother’s immediate family landed in Malaysia and found work in rubber plantations, and her cousin Simone’s family moved further to Tahiti to work in vanilla plantations. My mother and Simone met again in 1968 in Hong Kong when Simone was doing merchandising for her toy import business. My mother moved back to China only to escape it later during Cultural Revolution, when she fled to Hong Kong. Witnessing the financial hardship my mother had to bear, Simone offered to adopt my mother’s four children and me, an infant at that time. Everything was arranged for me to be sent on an airplane in the custody of the airline, but my mother withdrew the arrangement in the last minute and I stayed with her. I often wonder what my life would have been had I grown up in Papeete fostered by Simone. All Simone’s four children were educated in universities in Paris, and some are quite artistically inclined. Perhaps I would have been an artist anyway. Better yet, I believe, in a parallel world, I speak French, have lived in Tahiti, studied at École Nationale Supérieure des Beaux-Arts, and became an artist. I just simply cannot observe that existence.

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Jul 31

Mounir Fatmi interviewed by V&A for the Jameel Prize!

Morocco-born Mounir Fatmi lives and works between Paris and Tangier. He creates videos, installations, drawings, paintings and sculptures that directly address the current events of the world. Here he explains what drives him to create these complex and foreboding works, which he intends to appeal directly to the viewer’s doubts, fears and desires.


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