ART BLOG ART BLOG

Exquisite corpse drawings by anonymous artists, 01/2012

2012-01-31T10:34:00.002-05:00

Letha Wilson

2012-01-30T18:52:00.002-05:00

Hu Grand Tetons, 2011

Extrusions of Jack and Carol outside Mesquite, Nevada, 2003

Sailor’s Delight, 2009

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CANNED HEAT: GOING UP THE COUNTRY

2012-01-30T18:11:00.001-05:00

"MEDITATIVE RAVE," 2011, TONY COX

2012-01-30T18:08:00.000-05:00

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Paul Heyer and Virginia Poundstone at Rachel Uffner

2012-01-30T17:56:00.001-05:00

Paul Heyer, "Chaplets," 2012

Virginia Poundstone, "Paula Pryke," 2012

Paul Heyer, "Wine," 2011

Virginia Poundstone, "Constance Spry," 2012

Paul Heyer, "Lamppost," 2012

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Ulrich Wulff

2012-01-30T17:34:00.002-05:00

Die Höhle der verlorenen Träume, 2011

Totes Tier, 2011

Mozart, 2011

Ulrich, 2011

Neue Folge, 2011

Bei Wulff, 2011

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"Get Your Revolver Out Joyce," 1988, David Robilliard

2012-01-30T15:43:00.001-05:00

"Lenticular 5," 2007, Mike Kelley

2012-01-30T15:39:00.000-05:00

"Self-portrait of You + Me (Marlene Dietrich)," 2006, Douglas Gordon

2012-01-30T15:34:00.001-05:00

Richard Brautigan: I Cannot Answer You Tonight in Small Portions

2012-01-30T13:42:00.000-05:00

I Cannot Answer You Tonight in Small Portions

I cannot answer you tonight in small portions.
Torn apart by stormy loves gate, I float
like a phantom facedown in a well where
the cold dark water reflects vague half-built
stars
and trades all our affection, touching, sleeping
together for tribunal distance standing like
a drowned train just beyond a pile of Eskimo
skeletons.

Abelow at devening projects + editions

2012-01-30T01:53:00.001-05:00

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Alexander Valentine at devening projects + editions (off-space)

2012-01-30T01:51:00.001-05:00

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Joseph Montgomery at Laurel Gitlen

2012-01-29T16:31:00.001-05:00

Large Shim: 13, 2011

Image One Hundred Twenty-Three, 2008–2011

Image One Hundred Nineteen, 2011

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"Confederate Money," 2011, John Ashbery

2012-01-29T16:20:00.000-05:00

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"Portrait of Man Ray," 1925, Francis Picabia

2012-01-29T16:17:00.000-05:00

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"Twirl," 2011, ANNE NEUKAMP

2012-01-29T15:13:00.000-05:00

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"Siren (Triton And Nereid)," 1895, Max Klinger

2012-01-29T14:51:00.003-05:00

Giorgio de Chirico: Gladiator paintings, circa 1927

2012-01-29T12:57:00.002-05:00

tonight!

2012-01-29T12:44:00.000-05:00

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Henry Moore

2012-01-29T12:35:00.002-05:00

Half Figure: Terracotta, 1928

Figure Drawing, 1932

Mother and Child, 1924

Mother and Child, 1928

Idea for Sculpture: Head, 1969/1977

Reclining Figure: Pea Pod, 1973

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"Bridget D's Brooch," 2012, Gina Beavers

2012-01-29T12:24:00.000-05:00

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Jordan Wolfson at Alex Zachary Peter Currie

2012-01-29T12:17:00.002-05:00

Animation, masks (video still), 2011

It's so nice
to wake up in the morning
all alone
and not have to tell somebody
you love them
when you don't love them
any more.

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Lindsay Raspi: fancy

2012-01-28T23:53:00.000-05:00

fancy

i’d like to see you at his age

 or him at yours

 in the year no one told me

 i was too pretty for anything 

but i still smile crooked like

 a stroke victim

 patient and they say i am 

extra fancy 

just like a packet of ketchup

"Changing My Tune," circa 1980's, Wallace & Donohue

2012-01-28T20:02:00.000-05:00

Jonas Lipps: Works on Paper at Thomas Solomon Gallery

2012-01-28T19:18:00.000-05:00

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"Chicken with Two Stars of David," 2005, Mike Cloud

2012-01-28T18:35:00.000-05:00

Post-Internet Painting and the Death of Affect

"Lonely People," 2007, Mamie Tinkler

2012-01-28T18:32:00.000-05:00

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RINGO STARR: IT DON'T COME EASY

2012-01-28T18:13:00.001-05:00

Peter Halley: Essence and Model

2012-01-28T17:18:00.000-05:00

Essence and Model
Published in Peter Halley, Collected Essays 1981-1987. Edition Bruno Bischofberger Gallery, Zurich, 1988.

One can refer to it as either post-modernism or as neo-modernism, but what is characteristic of this order is that the elements of modernism are hyper-realized. They are reduced to their pure formal state and are denuded of any last vestiges of life or meaning. They are re-deployed in a system of self -referentiality which is itself a hyper-realization of modernist self-referentiality - though it is now detached from the modernist dream of revolutionary renewal. In post-or neo-modernism, the syntactical elements do not change. The vocabulary of modernism is retained, but its elements, already made abstract, are finally and completely severed from any reference to the real.

In this hyper-modernism, the modern is never discarded. It is simply replaced by its formal double. Typical of this process is the transformation of the modern city. Paris, Boston, and New York are not changed. (It is characteristic of modernism to precipitate change - the widening of streets, the filling of marshes, the building of monuments.) Such cities simply become their formal double. They are enclosed by the surrounding post-industrial universe and transformed into theme parks of the modern where one goes to see vestiges of the public, such as subway trains and parks, and of the social, at cafes, for example, or at theatres. In the same way, art is replaced by its double, by objects and images duplicating the "art-effect."

The universe of the double is achieved by transforming every element into a model of itself. The modernist concept of essence with its referent in nature is further reduced to the state of the model, in which form alone, stripped of meaning, remains. In this way, the universe of the model is the final ruthless realization of the modernist impetus to idealism. In particular, the abstract becomes the real, and the entire environment becomes a model of the environment. All other realities, especially those of specificity and transcendence, are either excluded or they are encircled by the model and transformed into models of themselves. Thus, there is not only the reality of the model, but there is also no reality other than that of the model. Consequently, developers produce cities that are models of cities, architects produce buildings, that are models of buildings, and artists produce works of art that are models of the idea of art. Likewise, in this universe, by virtue of psychology and physiology, human beings can be only models of human beings, while public opinion polls, multiple choice tests, and telephone answering machines determine that communication can be only a model of communication.

The operative force behind the establishment of this realm of the double and the model is the ascendancy of the principle of circulation. The vestigial remains of physical motion are inscribed within the systems of circulation of automobiles, pedestrians, and goods. Modernist knowledge is transformed into information, which circulates on TV, in weekly magazines, and through the electronic circuits of the computer. Metaphysics becomes the endless circulation of signs through the chutes of an unrreal mental space.

Finally, hyper-modernism is defined by closure and circularity. Modernist nature is enclosed in the nature preserve and the game park. The modem city is ringed by superhighways and embedded within the circulatory network of the subdivision. And the earth itself, initiallly defined as a globe by modernism, is encircled, in the hyper-modern, by the orbits or artificial satellites with their arrays of electronic sensors.

In modernism, the signifier was detached from the signified - but this was done as a means of giving power and restoring life to the signifier. In hyper-modernism, the signifier is not only left open to the signified, it is left free to attach itself to an endless sequence of signifieds. But this hyper-modern situation describes a hermeticism more complete than even that of modernism. No meaning is final, and signifieds are arrayed, one after another, in endless, circular procession. The circle is the meta-sign for the hyper-modern.

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Joanne Greenbaum at Shane Campbell

2012-01-28T17:05:00.001-05:00

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NEW FORMALISMS 2 at 65GRAND

2012-01-28T17:01:00.001-05:00

Steven Husby

Todd Chilton

Melissa Oresky

Samantha Bittman

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André Butzer at Rhona Hoffman Gallery

2012-01-28T12:25:00.002-05:00

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David Shrigley at Hayward Gallery

2012-01-28T11:30:00.002-05:00

Brain Activity

Hayward Gallery

February 1 — May 13

Frankie Rice at Launch F18 opens Saturday, February 4th

2012-01-27T17:58:00.000-05:00

Open Reception: Saturday Feb. 4th 6-8pm
Frankie Rice: Solo
Launch F18
373 Broadway
NY, NY 10013
launchf18

Richard Brautigan: 30 Cents, Two Transfers, Love

2012-01-27T08:41:00.001-05:00

30 Cents, Two Transfers, Love

Thinking hard about you
I got on the bus
and paid 30 cents car fare
and asked the driver for two transfers
before discovering
that I was
alone.

JORDAN WOLFSON at ALEX ZACHARY

2012-01-27T07:55:00.003-05:00

NYT REVIEW

GALLERY

UBUWEB

"Lindsey (Watering)," 2010, Patrick Hill

2012-01-27T00:45:00.000-05:00

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SONGS FROM A ROOM opens Sunday, January 29 at DEVENING PROJECTS + EDITIONS

2012-01-26T23:38:00.001-05:00

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Christian Sampson

2012-01-26T12:19:00.001-05:00

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BADFINGER: NOTHING TO SHOW

2012-01-26T10:53:00.001-05:00

Hugh Scott-Douglas at Clifton Benevento

2012-01-26T09:55:00.000-05:00

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Louise Despont

2012-01-26T09:41:00.000-05:00

Jester with Crow, 2011

Jester Inversion, 2011

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Michael Krebber

2012-01-25T23:13:00.001-05:00

"Sweater (#1)", 2010

"Sweater (#2)", 2010

"Sweater (#3)", 2010

"Sweater (#4)", 2010

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"Meantime," 2000, Darren Almond

2012-01-25T23:08:00.000-05:00

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Nathalee Paolinelli

2012-01-25T22:17:00.000-05:00

the crying room

HARRY NILLSON: LAUGHIN' MAN

2012-01-25T21:29:00.002-05:00

LINK

SIMULTANEITY at BLACKSTON

2012-01-25T21:04:00.002-05:00

Ryan DaWalt

Meghan Petras

Jeffrey Scott Mathews

Meghan Petras (left) Jeffrey Scott Mathews (right)

Ryan DaWalt

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Ned Colclough at Nicelle Beauchene Gallery

2012-01-25T21:02:00.000-05:00

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Benjamin Degen at American Contemporary

2012-01-25T17:51:00.000-05:00

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Ridley Howard at Leo Koenig

2012-01-25T17:45:00.000-05:00

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John Altoon / Michael Williams at Franklin Parrasch Gallery

2012-01-25T11:39:00.001-05:00

Michael Williams, "The Nerd Husband," 2011

John Altoon, Untitled, date unknown

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Bjarne Melgaard at Guido W. Baudach

2012-01-25T10:20:00.003-05:00

Untitled, 2011

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Painting is a painting is a painting at Cul De Sac Gallery London

2012-01-25T10:08:00.002-05:00

Painting is a painting is a painting

Private view
25th Jan 2012
6 - 9pm

Exhibition
26th Jan - 26th Feb Thursday - Sunday 12 - 7pm, & by appointment.
Late opening Friday 27th Jan and Friday 24th Feb 11pm.

Artists:
Nicolas Deshayes
Oliver Osborne
Oliver Perkins
Roman Liška
Dan Rees
Hugh Scott-Douglas

A Cul De Sac Gallery London /OpenSource commission.
Curated by Rod Barton Gallery.

65-69 County Street London SE1 4AD
www.culdesacgallery.com
Free entry. RSVP info@culdesacgallery.com

HARRY NILSSON: SLEEP LATE, MY LADY FRIEND

2012-01-25T09:30:00.000-05:00

OH MIRROR IN THE SKY, WHAT IS LOVE? at REFERENCE

2012-01-24T21:49:00.001-05:00

OH MIRROR IN THE SKY, WHAT IS LOVE?
Friday, January 27th, 7-11pm
REFERENCE Art Gallery is pleased to announce a show featuring new work from Victor Vaughn (Baltimore, MD) and our very own Edward Marshall Shenk. Show opens this Friday at 7 and lasts until 11pm. Both artists will be in attendance.
Best,
REFERENCE Art Gallery

ANDY HOPE 1930

2012-01-24T18:48:00.001-05:00

UTOPIAN READING, 2011

UNKNOWN, 2011

Half and Another, 2011

STRANGE, 2011

HALFAMAN, 2011

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"Il Regalo" at Overduin and Kite

2012-01-24T18:26:00.001-05:00

"Il Regalo"

Ei Arakawa

Math Bass

Ben Carlson

Nikolas Gambaroff

Nathan Hylden

Dianna Molzan

Paul Sietsema

January 29th - March 10th, 2012

Opening Sunday, January 29, 6 to 8 pm

Overduin and Kite

6693 Sunset Boulevard

Los Angeles, CA 90028

(323) 464-3600

Copley at Kreps

2012-01-24T18:06:00.001-05:00

INTERIORS

GEORGE ORTMAN at ALGUS GREENSPON

2012-01-24T18:05:00.000-05:00

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UDOMSAK KRISANAMIS at GBE

2012-01-24T18:03:00.000-05:00

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Hoodwinked at Nyehaus

2012-01-24T18:00:00.000-05:00

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Sergej Jensen at Anton Kern Gallery

2012-01-24T17:56:00.001-05:00

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GUENTHER FOERG AT GREENE NAFTALI

2012-01-24T17:54:00.001-05:00

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Gina Beavers: SOLO SHOW AT NUDASHANK COMING UP NEXT MONTH...

2012-01-24T12:18:00.002-05:00

Demi Moore Body Paint, 2012

All the posessions of a man (True Grit), 2012

6 pack, 2011

Gaddafi Poster, 2011

LINK

AH HOLE AH HOLE: ONE YEAR ANNIVERSARY: "$HALOME RENEGADE$!"

2012-01-23T16:24:00.001-05:00

"$HALOME RENEGADE$!"

AH HOLE AH HOLE

Daniel Heidkamp at Champion (AUSTIN, TEXAS) opens Thursday Jan 26, 7-9 pm

2012-01-23T14:28:00.003-05:00

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"Questions (Connection)," 2011, Anne Collier

2012-01-23T01:28:00.000-05:00

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"Portrait of Larianov," 1913, Natalia Goncharova

2012-01-23T01:09:00.002-05:00

"The Imaginative Faculty," 1948, René Magritte

2012-01-22T23:30:00.000-05:00

"still.life. (johns fireplace)," 2008, UGO RONDINONE

2012-01-22T23:28:00.000-05:00

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Josh Smith

2012-01-22T23:19:00.001-05:00

Untitled (JSS10185), 2010

Untitled (JSS10187), 2010

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Untitled (The Teardrop Explodes), 2010, Jeffrey Scott Mathews

2012-01-22T23:11:00.000-05:00

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Stephen Willats

2012-01-22T19:50:00.001-05:00

VARIABLE SHEETS & OPTICAL SHIFT DRESS, 1965

- A work of art can itself constitute a societal state, a model of human relationships

- A work of art can consist of a process in time, a learning system through which the concepts of the social view forwarded in the work are accessed and internalised

- A work of art must acknowledge the relativism inherent in perception and the transience of experience, there being no right or wrong, it taking the form of an open-ended process

- A work of art has the possibility of operating as its own institution and as such is independent of art institutions

- A work of art can engage anyone meaningfully, being available to whoever wishes to enter its domain, only through embodying in its presentation the means by which people are able to acquire the necessary language and procedures to receive and internalise its meaning

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"Sun Totem," 1962, George Ortman

2012-01-22T17:00:00.000-05:00

SONGS FROM A ROOM opens JANUARY 29, 2012 at DEVENING PROJECTS + EDITIONS

2012-01-22T14:54:00.000-05:00

Joshua Abelow

Songs from a Room

Opening Reception

Sunday, January 29, 4 – 7 pm

January 29 –
March 3, 2012

Gallery Hours

Saturdays 12 – 6 pm
and by appointment

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Gerald Ferguson at CANADA

2012-01-22T12:47:00.001-05:00

9 Drain Covers, 2006

9 Ash Cans, 2006

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THE KINKS: STRANGERS

2012-01-22T12:43:00.000-05:00

Where are you going I don't mind
I've killed my world and I've killed my time
So where do I go what do I see
I see many people coming after me
So where are you going to I don't mind
If I live too long I'm afraid I'll die
So I will follow you wherever you go
If your offered hand is still open to me
Strangers on this road we are on
We are not two we are one
So you've been where I've just come
From the land that brings losers on
So we will share this road we walk
And mind our mouths and beware our talk
'Till peace we find tell you what I'll do
All the things I own I will share with you
If I feel tomorrow like I feel today
We'll take what we want and give the rest away
Strangers on this road we are on
We are not two we are one
Holy man and holy priest
This love of life makes me weak at my knees
And when we get there make your play
'Cos soon I feel you're gonna carry us away
In a promised lie you made us believe
For many men there is so much grief
And my mind is proud but it aches with rage
And if I live too long I'm afraid I'll die
Strangers on this road we are on
We are not two we are one
Strangers on this road we are on
We are not two we are one

"Here is a Sign," circa 1970, Forrest Bess

2012-01-22T12:36:00.000-05:00

A HOUSE IS NOT A HOME

2012-01-22T11:48:00.002-05:00

A HOUSE IS NOT A HOME
January 25th - March 15th

in collaboration with
CHAHAN MINASSIAN

with: Harold Ancart, Andre Cadere, Ralf Dereich, John Dickinson, Antoinette Faragallah, Barry Flanagan, Claire Fontaine, Peter Lane, Adam McEwen, Stefan Rinck, Maitland-Smith, Ed Wormley and others...

LINK

Interiors at Andrew Kreps Gallery

2012-01-21T22:38:00.004-05:00

Édouard Vuillard, Madame Hessel et Lulu à la Baule, 1931

Marc Camille Chaimowicz, World of Interiors (3 individual works), 2008

Édouard Vuillard, L'aveugle de Guerre, Portrait de Lucien Grandjean, 1915

William Copley, Small Sonata, 1965

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"Dancing Girls in Colourful Rays," 1932 - 1937, Ernst Ludwig Kirchner

2012-01-21T20:03:00.001-05:00

"Dancing Trees," 1960, Milton Avery

2012-01-21T19:55:00.000-05:00

THE RAINCOATS: DANCING IN MY HEAD

2012-01-21T18:04:00.000-05:00

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Nicholas Buffon: Applied Flesh at Callicoon Fine Arts

2012-01-21T16:02:00.000-05:00

Nicholas Buffon

Applied Flesh

opening reception:

Friday, January 27th, 6 - 8pm

exhibition dates: January 27 - February 26

LINK

Urs Fischer

2012-01-21T15:05:00.000-05:00

Untitled, 1993

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"Exterminating Angel," 1973, William N. Copley

2012-01-21T15:00:00.000-05:00

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"Christian with Mask and Pipe, 2010, David Korty

2012-01-21T14:56:00.000-05:00

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Brad Iverson, Judy Linn, Vera Lutter, Bill Rauhauser, Steve Shaw at Susanne Hilberry Gallery

2012-01-21T11:34:00.002-05:00

Brad Iverson, Judy Linn, Vera Lutter, Bill Rauhauser, Steve Shaw
Photographs
28 January - 10 March 2012
Opening reception Saturday 28 Jauary 6-8 pm

Susanne Hilberry Gallery
700 Livernois
Ferndale, MI 48220
248 541 4700

LINK