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Apr 17, 2015 06:30 pm

Aug 02, 2015

Houston

Contemporary Arts Museum - CAMH

Marilyn Minter

Marilyn Minter, 'Not in These Shoes', 2013. Enamel on metal, 108 x 162 inches. Courtesy of the artist and Regen Projects, Los Angeles

Houston

Contemporary Arts Museum - CAMH

Marilyn Minter

Pretty/Dirty

Opening	Apr 17, 2015 at 06:30 pm
Start date	Apr 18, 2015
End date	Aug 02, 2015

For over three decades Marilyn Minter has produced lush paintings, photographs, and videos that vividly manifest our culture’s complex and contradictory emotions around the feminine body and beauty. Her unique works—from the oversized paintings of makeup-laden lips and eyes to soiled designer shoes—bring into sharp, critical focus the power of desire. As an artist Minter has always made seductive visual statements that demand our attention while never shirking her equally crucial roles as provocateur, critic, and humorist. Minter’s work is not merely a mirror of our culture, and this exhibition provides, for the first time, a critical evaluation of her practice as an astute interpretation of our deepest impulses, compulsions, and fantasies. 25 paintings made between 1976 and 2013, three video works, and several photographs that show Minter’s work in depth. Co-produced with Museum of Contemporary Art Denver

Marilyn Minter -
Curator Elissa Auther - Bill Arning -

Apr 16, 2015 06:30 pm

May 02, 2015

Melbourne

Metro Gallery

Anthony White

Anthony White, Tanglewood II, 2014, Oil on linen, 96 x 96cm, Copyright The Artist, Paris

Melbourne

Metro Gallery

Anthony White

Pentimento

Opening	Apr 16, 2015 at 06:30 pm
Start date	Apr 16, 2015
End date	May 02, 2015

This series is titled after the Italian term Pentimento. This phrase, which is used to describe layerings, additions or changes to a work of art, allows multitudinous readings, different layers as one descends through White’s palimpsest of forms and colours. However pentimento can also be translated as repentance, which suggests atonement or remorse. In 2009, White immigrated to France after being awarded a studio at La Cite Internationale Des Arts. Is Pentimento, then, a form of atonement for having left his native country, a gift from afar to compensate for his departure from Australia? Rather than Australian indigenous art, White is more accustomed to comparisons with the abstractionists of the New York School of the 1950s, Kurt Schwitters or Robert Rauchenberg’s Combines. The artist himself suggests the French affichistes artist Jacques Villegle who created magical collages via torn metro and street posters, creating poetical compositions that embraced elements of the alphabet, photography and design. It is not difficult to see Villegle’s influence on White. Although distinctly painterly, one can see the suggestions of torn edges, of strange depths as though other narratives reside beneath the immediate surface. Like the hidden Egyptian hieroglyphs obscured by palimpsests of ‘new’ information, White creates a world of textures, his own secret histories which allow hours of contemplation, translation and interpretation. Words by Ashley Crawford, Melbourne 2015

Anthony White -

Apr 16, 2015 06:00 pm

Sep 06, 2015

Berlin

Hamburger Bahnhof

Michael Beutler

From Museum to Work of Art: Volkswagen Supports an Art Project by Michael Beutler in Berlin - Michael Beutler. Moby Dick, 2015, Ansicht Ausstellungsaufbau Hamburger Bahnhof – Museum für Gegenwart – Berlin, © Staatliche Museen zu Berlin, Nation ...

Berlin

Hamburger Bahnhof

Michael Beutler

Moby Dick

Opening	Apr 16, 2015 at 06:00 pm
Start date	Apr 17, 2015
End date	Sep 06, 2015

With this piece, Beutler continues his acclaimed work in which he assembles mundane materials in individual processes to create spatial installations relating directly to each particular site. The cross-genre works are intended to be understood as reactions to architectural and social structures, as well as to specific situations at respective sites within the exhibition. Central elements in Michael Beutler's works are also underscored by his analysis of industrial production processes and the economies associated with them, as well as the thematic development of a conscious and autonomous attitude to the materials and methods he uses. The artist incorporates industrially manufactured or processed materials, such as paper, metal, wood or plastic, shaping them into large-scale building elements with specially developed tools and apparatuses, as well as through the involvement of third parties. Resembling an experimental setup, a condition of provisional uncertainty is created in the process-like development of his installations, which Beutler seizes as a necessary, productive component of his work. In this exhibition at Hamburger Bahnhof, Beutler goes beyond simply elevating the historical hall into the show's protagonist; instead he transforms it into a place of continuous production, into a 'museum workshop'. Support for this exhibition project is part of a multiyear partnership between Volkswagen and the Nationalgalerie - Staatliche Museen zu Berlin

Michael Beutler -
Curator Melanie Roumiguière - Greta Hoheisel -

Apr 06, 2015 11:00 am

Jul 12, 2015

Chicago

Museum of Contemporary Photograph ...

Dandy Lion: (Re ...

Rose Callahan, Barima Owusu-Nyantekyi at the King's Head Club, London, 2013

Chicago

Museum of Contemporary Photography - MoCP

Dandy Lion: (Re) Articulating Black Masculine Identity

Opening	Apr 06, 2015 at 11:00 am
Start date	Apr 06, 2015
End date	Jul 12, 2015

The exhibition seeks to distinguish the contemporary expressions of the Black Dandy phenomenon in popular culture. The first comprehensive exhibition of its kind, this project highlights young men in city landscapes who defy stereotypical and monolithic understandings of Black masculinity by remixing Victorian-era fashion with traditional African sartorial sensibilities. Dandy Lion: (Re) Articulating Black Masculine Identity features images of both emerging and world- renowned photographers and filmmakers from various regions of the African Diaspora, including the U.S., South Africa, the Congo and Western Europe. Juxtaposed against an urban backdrop, the “hip hop” generation’s Black Dandy is noticeably different from the historical minstrel or Harlem Renaissance queer prototype. The 21st century Black Dandy’s sartorial choices are an expression of the African aesthetic rather than an imitation of European high-brow society. Using their self- fashioned bodies as sites of resistance, contemporary Black dandies are complicating modern narratives of what it means to be Black, masculine and fashionable today.

Hanif Abur-Rahim - Jody Ake - Kia Chenelle - Laylah Amatullah Barrayn - Bouba Dola - Delphine Adama Fawundu - Rose Callahan - Russell K. Frederick - Cassi Amanda Gibson - Allison Janae Hamilton - Akintola Hanif - Harness Hamese - Caroline Kaminju - Charl Landvreugd - Jati Lindsay - Devin Mays - Baudouin Mouanda - Terence Nance - Arteh Odjidja - Numa Perrier - Alexis Peskine - Radcliffe Roye - Sara Shamsavari - Nyugen Smith - Daniele Tamagni - Richard Terborg - Rog Walker -
Curator Shantrelle P. Lewis -

Apr 03, 2015 09:30 am

May 17, 2015

St Albans

University of Hertfordshire Galle ...

Steffi Klenz

St Albans

University of Hertfordshire Galleries

Steffi Klenz

Plotting Spaces

Opening	Apr 03, 2015 at 09:30 am
Start date	Apr 03, 2015
End date	May 17, 2015

Photographer Steffi Klenz is preoccupied with the built environment, exploring the notion of place and space in her work. Although her work presents environments and buildings it is not architectural photography. Klenz' work has been described as 'post photographic' because she considers whether meaning is influenced by what lies outside the picture frame. She also considers whether repetition underpins or obscures meaning and the context, and if the location in which an image is stored or experienced changes what it communicates. In Plotting Spaces. Steffi Klenz works with the theatrical fly-tower and the focal plane shutter of the camera as places and devices, which produce an uncertain distinction between fact and fiction. Plotting Spaces strips back the space of the theatre and the workings of the camera to their architectural and theatrical essence. the images reveal the tension between narrative tendency (describing what we see) and abstract possibility (creating illusion and make believe). Plotting Spaces brings into sharp relief spaces that are curtained (or screened) off, a space in which a charged absence emphasises presence. Klenz’s images aim to encourage the debate about how photographs are produced, how they communicate and how they might be rethought.

Steffi Klenz -

Mar 19, 2015 06:00 pm

Apr 25, 2015

New York

Rick Wester Fine Art - RWFA

Donna Wan

Golden Gate Bridge, CA (#1), 2013, Archival pigment print. 20 x 25 inches, edition of 10, 2 APs / 32 x 40 inches, edition of 5, 2 APs

New York

Rick Wester Fine Art - RWFA

Donna Wan

Death Wooed Us

Opening	Mar 19, 2015 at 06:00 pm
Start date	Mar 19, 2015
End date	Apr 25, 2015

In her most recent body of work, the Taiwanese-born, Stanford educated and San Francisco based photographer, Donna J. Wan has dedicated herself to exploring an often shuttered and taboo subject - the taking of one’s own life. Abstractly, the images call to mind the “spirit” photographs of the 19th century, not in the artifice of their technique, but in the spirit of their quest to recall the lost – and the losses suffered. "Death wooed us" has already been recognized as a powerful and controversial statement. Formally exquisite, the emotional resonance of the work slowly reveals itself. The sublime views are positively reaffirming life.

Donna Wan -

Mar 19, 2015 06:00 pm

Apr 18, 2015

New York

Mitchell-Innes & Nash - Chelsea

Joseph Beuys mu ...

Joseph Beuys, Sled, 1969. Wooden sled, felt, fabric straps, flashlight, fat, oil paint, string, 13 3/4 x 35 7/16 x 133/4 in – 34,93 x 90 x 34.93 cm. Courtesy of Mitchell-‐Innes & Nash, NY

New York

Mitchell-Innes & Nash - Chelsea

Joseph Beuys multiples

The Reinhard Schlegel Collection

Opening	Mar 19, 2015 at 06:00 pm
Start date	Mar 13, 2015
End date	Apr 18, 2015

Large‐scale exhibition of Joseph Beuys multiples from the collection of Reinhard Schlegel. Consisting of over 500 works spanning from the early 1960s to his death in 1986 this exhibition is the most significant collection of Beuys multiples to be shown in New York to date. The multiples carry a special significance in Beuys’s oeuvre; he once said: “If you have all my multiples, then you have me completely.” Connected to his ambition to affect social change through art, the multiples allowed Beuys an avenue to disseminate his ideas at greater range. Each multiple in the collection encapsulates a specific moment, performance or idea in Beuys’s practice, and are laden with symbolic meaning. Capri Battery, for instance, is one of the last multiples Beuys created and connects a natural object (the lemon) with a pinnacle of human innovation (the light bulb), signifying ecological balance between man and nature. The Exhibition will be accompanied by an illustrated publication with an essay by Eugen Blume.

Joseph Beuys -

Mar 16, 2015 10:00 am

Jun 16, 2015

New York

Metropolitan Museum of Art

Piotr Uklański

Piotr Uklański (born Poland, 1968), Untitled (Skull), 2000, Platinum print, Collection of the artist.

New York

Metropolitan Museum of Art

Piotr Uklański

Fatal Attraction

Opening	Mar 16, 2015 at 10:00 am
Start date	Mar 17, 2015
End date	Jun 16, 2015

It is the first survey of this provocative Polish-born, New York-based artist's photography. Known for working in a wide variety of media including installation, fiber art, resin paintings, and collage, Uklański (born 1968) invests overlooked and exhausted styles with new meanings—and similarly explores clichéd or obsolete photographic languages. Nearly half of the works on display in the Metropolitan Museum's exhibition will be from The Joy of Photography (1997-2007), the artist's seminal yet under-known series. Also on view will be the related installation, Fatal Attraction: Piotr Uklański Selects from the Met Collection, a lively "artist’s choice" of works from 11 different curatorial departments at the Met and 60 works from the Department of Photographs.

Piotr Uklański -
Curator Douglas Eklund -

Mar 13, 2015 07:00 pm

Jul 05, 2015

Köln

Museum Ludwig

Alibis: Sigmar Polke

Sigmar Polke, Freundinnen, 1965/1966, emulsion paint on canvas, 150 × 190 cm, Froehlich Collection, Stuttgart, © 2015 The Estate of Sigmar Polke / VG Bild-Kunst Bonn, 2015, Photo © Froehlich Collection Archive

Köln

Museum Ludwig

Alibis: Sigmar Polke

Retrospektive

Opening	Mar 13, 2015 at 07:00 pm
Start date	Mar 14, 2015
End date	Jul 05, 2015

Sigmar Polke (German, 1941–2010) was one of the most voraciously experimental artists of the twentieth century. This retrospective is the first to encompass the unusually broad range of mediums he worked with during his five-decade career, including painting, photography, film, sculpture, drawing, printmaking, television, performance, and stained glass, as well as his constant, highly innovative blurring of the boundaries between these mediums. Masquerading as many different artists—making cunning figurative paintings at one moment and abstract photographs the next—he always eluded easy categorization. Beneath Polke’s irreverent wit, promiscuous intelligence, and chance operations lay a deep skepticism of all authority—artistic, familial, religious, and governmental. Polke scrutinized the malleability of vision. Highly attuned to the differences between appearance and reality, he was wary of the notion that there might be one universal truth. "Alibis: Sigmar Polke" was shown in the MoMA, New York 19/4-3/8, 2014, in the Tate Modern, London 1/10, 2014-8/2, 2015. The exhibition is made possible by a partnership with Volkswagen.

Sigmar Polke -

Mar 06, 2015 07:00 pm

May 10, 2015

Innsbruck

Galerie im Taxispalais - Galerie ...

Thomas Feuerstein

Innsbruck

Galerie im Taxispalais - Galerie des Landes Tirol

Thomas Feuerstein

PSYCHOPROSA

Opening	Mar 06, 2015 at 07:00 pm
Start date	Mar 07, 2015
End date	May 10, 2015

In seiner Ausstellung PSYCHOPROSA setzt der österreichische Künstler Thomas Feuerstein (*1968 in Innsbruck, lebt in Wien) biochemische Prozesse als künstlerisches Ausdrucksmittel ein und schafft eine Installation im Grenzbereich zwischen Kunst und naturwissenschaftlicher Versuchsanordnung. Er verwandelt die Räume der Galerie im Taxispalais in ein zusammenhängendes Ensemble aus Gewächshaus, Laborküche, Kühlraum und Fabrik. Schläuche verlaufen mäandernd durch die Ausstellung und verbinden Apparaturen und Objekte. Aus Algen und Pilzen wird mittels eines chemischen Prozesses ein synthetisches Halluzinogen gewonnen und zugleich ein zähfließender Schleim produziert. Dicke Fäden und Schlieren formen sich zu einer transparenten, liquiden Skulptur. Die psychotrope Wirkung der halluzinogenen Substanz, die feste Gegenstände in der Wahrnehmung zerfließen lässt, wird als realer Prozess gespiegelt, das Innen der Psyche und das Außen des polymeren Schleims beginnen sich zu überlagern. Thomas Feuerstein arbeitet in unterschiedlichen Medien wie Skulptur und Installation, Grafik, Malerei, Fotografie und Netzkunst und stellt dabei vielschichtige Bezüge zu Biologie, Wissenschaftstheorie, Ökonomie und europäischer Kulturgeschichte her. Indem er das Faktische mit dem Fiktiven verschränkt, dekonstruiert er den Wahrheitsanspruch wissenschaftlicher Erklärungsmodelle und lässt neue Bedeutungszusammenhänge entstehen.

Thomas Feuerstein -
Curator Beate Ermacora -

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