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.”
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.
Artnet reviews Izhar Patkin 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.
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.
Michal Rovner featured on KCRW’s Art Talk!
Host: Edward Goldman
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.
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.
Kathy Butterly featured in CFile Online!
Exhibition | Kathy Butterly: Little Sexual Beasts 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.
Artforum - Beverly Semmes talks about her work!
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.
Izhar Patkin at Mass MoCA - The Boston Globe
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.