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.”

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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.

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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.

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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.

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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.

 

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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. 

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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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