Aug 22

KCRW on Rachel Lachowicz at LACMA!

Variations at LACMA

First Clue: Sculpture and video are both featured in this exhibition exploring abstract painting. Why? Because the curators are presenting “Conversations in and around Abstract Painting,” on view through March 22. As in any conversation, varying views come into play and, one may agree or disagree. It is an agreeable way to pass the time in any case, especially since most of the works on view belong to LACMA. Like most museums, LACMA does not have the gallery space to keep everything on view so this is an opportunity to see new aspects of their expanding collection of contemporary art.

at140821a

Read More


Aug 14
Join us for an artist talk Saturday, August 23, 2014 at 11:30 AM! Please RSVP to Alana Parpal : alana@shoshanawayne.com

Join us for an artist talk Saturday, August 23, 2014 at 11:30 AM!

Please RSVP to Alana Parpal : alana@shoshanawayne.com


Jul 22

Thank you to everyone who joined us for the opening of “In-Situ”!


Jul 8

Art in America interviews Izhar Patkin!

Interviews Jul. 07, 2014

Rendering the Veil: Izhar Patkin at MASS MoCA

by Phoebe Hoban

Izhar Patkin, Et in Arcadia Ego, 2012. Photo Gregory Cherin.

It took 10 years to develop the unique printer used to create the exquisitely rendered veils at the core of Israeli-born artist Izhar Patkin’s survey “The Wandering Veil,” on view at MASS MoCA (through Sept. 1), in North Adams, Mass. Covering 30 years of the artist’s work, the show includes several key pieces from the early 1980s, when Patkin, who moved to New York in 1977, showed with Holly Solomon Gallery. But at its heart is a collaboration between Patkin and the Muslim poet Agha Shahid Ali, who died in 2001 at age 52.

The central veil metaphor, Patkin explained in a conversation with A.i.A., came about because “we were both interested in veils, which we each had previously used in our work, and we decided that the Jew and the Muslim should meet on a veil. We saw the veil as a physical place of meeting, even though it was ethereal. It was a veil that was meant to reveal, not to hide, and then we took it from there.”

Read More


Jun 28

Artnet news on Michal Rovner!

We Love Collecting … Digital Art

Astrid T. Hill, Friday, June 27, 2014

Michal Rovner Most (2011) (ed. 2/3) video/film, framed plasma screen and video.
Photo: Courtesy Ivorypress Gallery

In a recent New York Times article, writer Scott Reyburn asks: “Is digital art the next big thing in the contemporary art world?” 

That depends, in part, by what is meant by “digital” art. Of course many artists, Wade Guyton and Christopher Wool among them, have already made a trend of work that is, at some stage, digitally produced. Galleries everywhere are full of paintings, prints, and photos generated digitally and then printed. The distinction here is art that is not only digitally produced but also digitally displayed, very often on-screen. And while the market for such “on-screen” work is still small, the gap between digital production and digital display seems increasingly smaller.

Read More


Jun 10

Artnet reviews Izhar Patkin at MASS MoCA!

Izhar Patkin’s Poetic Enchantments at Mass MoCA

Ranbir Sidhu, Tuesday, June 10, 2014

Izhar Patkin, Time Clipping the Wings of Love (2005–11)
Photo: Courtesy the artist.

In Time Clipping the Wings of Love (2009/11), Israeli-American artist Izhar Patkin takes a Sèvres porcelain, originally an erotic setting for a clock, and transforms it through physical deformation and the random application of glaze. It’s a piece that almost disappears in this vast exhibition, “Izhar Patkin: The Wandering Veil,” a midcareer retrospective on view at Mass MoCA through September 1. On closer inspection, figures emerge, arms, legs, torsos, breasts, women falling somehow. Splotches of dark brown drip along the melted women’s bodies, along with sharp lines of gold.

Read More


May 31

Michal Rovner in the LA Times!

Review Michal Rovner charts ghostly migrations

Michal Rovner, “Current Cross,” 2014. Video projection. Audio composed by Heiner Goebbels. (Gene Ogami)

By SHARON MIZOTA

In Michal Rovner’s latest exhibition at Shoshana Wayne, the darkened main gallery becomes a cavernous, hushed space — like a chapel or perhaps a tomb — dominated by the elegant, wall-size video projection “Current Cross.”

It features two large, white rectangles composed of pulsing feathery marks that slowly merge into one and then divide again. Along their bottom edges, a steady stream of tiny black figures makes a ragged procession around the two chalky shapes.

Examined more closely, the shapes are also composed of thousands of little white ambulatory figures. Already elegiac, the rectangles are in fact teeming with ghosts.

Read More


May 20

Michal Rovner featured on KCRW’s Art Talk!

A Weekend of Music, Movies and Plenty of Art


A Weekend of Music, Movies and Plenty of Art

If you’ve ever stood in front the famous 2,000-year-old Rosetta Stone at the British Museum and fantasized what it would be like to not only read its inscriptions in three different languages, but also to hear these languages spoken and even to see it in the process of being written, then, my friends, I have an adventure for you that will turn all these fantasies into reality.

at140513a.jpg
Michal Rovner, “Current Cross,” 2014
Video Projection
Nofim exhibition at Shoshana Wayne Gallery

Internationally recognized Israeli-born artist Michal Rovner is having her third solo show at Shoshana Wayne Gallery. Working in such diverse media as photography, painting, sculpture, sound and installation, Rovner is particularly celebrated for her video work.

 

Read More


May 9
OPENING TOMORROW:
MICHAL ROVNERNofimMay 10-July 12, 2014Reception May 10, 2014 5pm-7pm
Shoshana Wayne Gallery is pleased to present Nofim, a new exhibition by Michal Rovner.  This is the artist’s third solo exhibition with the gallery.  Working in video, sculpture, drawing, photography, painting, sound, and installation, Rovner begins with reality and creates situations that illuminate themes of change and the human condition.  
With imagery taken from Israel, the landscapes and figures are at once familiar and foreign, calming and disconcerting, personal and political.  The figures sway and move yet they do not escape the scene.  The scenes are ambiguous enough as to refuse definitive identification yet they are familiar enough as to evoke deep visceral connections.  
[[MORE]]
The power of Rovner’s work rests in her ability to evoke visceral responses to her art.  Her landscapes are stripped down, fragmented, and homogenized in such a way that they could be almost any mountainside, desert, or ocean.  The human figures are abstracted so as to blur distinctions not only between male and female but also between nationalities –humanity in its most essential form.   The cypress trees that are central in this particular body of Rovner’s work, have varied and rich cultural significance worldwide.  In the Mediterranean region, it is one of the most ancient trees with scholars noting its presence in biblical writings.  In Greek and Roman culture, the cypress symbolizes mourning and hope.  For Rovner’s purposes, it is not the cypresses inscribed meanings that are significant, but it is the fact that they exist in the landscape.  They are tangible and real marks that either cut or mend a particular scene and the ways they move in Rovner’s work insist upon fluctuation and instability.  
In the main gallery, there are two projections.  On the East wall Current is projected onto a painted surface.  On the West wall Broshei Layla is projected onto eleven slabs of black limestone.  While each slab is individually cut, the imagery projected onto them connects each piece while at the same time underscoring their separateness.  In this way Rovner subtly shifts the viewer’s attention from implications of archaeology to geopolitical divisions/fragmentations.   
In the smaller gallery, there are five of Rovner’s screen works each composed of LCD screens, video, and Japanese paper.  These works present barren and ambiguous landscapes, cypress trees and occasionally human figures.  
Michal Rovner was born in Tel Aviv, Israel.  She lives and works in New York and Israel.  Her work has been exhibited extensively worldwide in over 50 solo exhibitions, including exhibitions at prestigious venues such as the Israeli Pavilion at the Venice Biennale, Living Landscape (2005) at Yad Vashem, Jerusalem, the Jeu de Paume, the Louvre, and a mid-career retrospective at the Whitney Museum of Art in New York.In June 2013, Rovner’s Traces of Life: The World of the Children opened at the Auschwitz-Birkenau State Museum. 
Among many awards and honors, in 2008 Rovner received an Honorary Doctorate from the Hebrew University of Jerusalem, and in 2010, she was honored with the Chevalier (Knight) Medallion of the Ordre des Arts et des Lettres in France. 
For more information, contact Alana Parpal at alana@shoshanawayne.com

OPENING TOMORROW:

MICHAL ROVNER
Nofim
May 10-July 12, 2014

Reception May 10, 2014 5pm-7pm

Shoshana Wayne Gallery is pleased to present Nofim, a new exhibition by Michal Rovner.  This is the artist’s third solo exhibition with the gallery.  Working in video, sculpture, drawing, photography, painting, sound, and installation, Rovner begins with reality and creates situations that illuminate themes of change and the human condition. 

With imagery taken from Israel, the landscapes and figures are at once familiar and foreign, calming and disconcerting, personal and political.  The figures sway and move yet they do not escape the scene.  The scenes are ambiguous enough as to refuse definitive identification yet they are familiar enough as to evoke deep visceral connections. 

Read More


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.

Read More


Page 1 of 16