“I think you do kind of slip into a trance when you look at a painting.” - Joe Bradley
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Ingrid Cincala-Gilbert of Cincala Art is an art consultancy based in New York. The blog page represents a selection of noteworthy shows that may be of interest to collectors and artists.
“I think you do kind of slip into a trance when you look at a painting.” - Joe Bradley
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“The appropriated image is my subject matter, and it’s often deliberately distasteful. I find this in explorations of material on the computer.” - Michael Williams.
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Eleven new paintings feature scenes from the studio of Wade Guyton comprise the exhibition: Patagonia @petzelgallery through June 16, 2018. A retrospective for the artist is being planned at the museum Ludwig, Cologne for the fall of 2019.
“To some extent I’ve always taken architecture into account.” - Wade Guyton.
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Silver toned photo grams capture time by way of alignment and rhythmic progression through space, with a nod to Etienne-Jules Marey in Liz Deschenes' latest exhibition at Miguel Abreau Gallery.
“Photography has always been a pluralistic discipline, but it hasn’t been historicized in this way...It’s often thought to be this or that, i.e. analog or digital, color or black-and-white [but] I don’t find those binaries to be as compelling as the medium is.” - Liz Deschenes
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Mariko Mori furthers her exploration of theoretical physics in her latest exhibition Invisible Dimension, which highlights seven new sculptures from the artist, six of which are presented as couplets. The result is work that demonstrates extreme technical precision and implies movement and notions of the infinite. The placement of (and interaction of) these pristine organic forms within the gallery architecture invites further contemplation of, and perhaps questioning of, what is simple and what is complex.
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Avery Singer's latest exhibition "Days of the Weak (Computer Pain)" at the Harlem gallery of Gavin Brown's Enterprise in New York presents a series of seven works based on the days of the week. The exhibition was inspired by a prior show at Palais de Tokyo in Paris (in which the artist was asked to participate) that explored the artificiality of the construct of a "week." In this exhibition, Avery walks the line between the figurative and the abstract, and continues her exploration of the tension and interplay between the unique and the replicable, and between the human hand and the machine.
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This summer, the highly anticipated new site for Post War and Contemporary Italian Art opened in the Hudson Valley. Magazzino for Italian Art is a private warehouse space located in the idyllic town of Cold Springs, NY. An impressive institution, the modernist structure offers over 18,000 square feet of exhibition space, founded by the collectors Nancy Olnick and Giorgio Spanu, a pair who have been deeply involved in collecting Italian art for more than three decades. The focus of the collection celebrates pieces from the 1960’s through to today and highlights the close relationship the couple has fostered with a number of Arte Povera artists, or their respective estates, as well as a number of artists that have since followed.
To mirror the mission of Magazzino, the Inaugural exhibition Margherita Stein: Rebel With a Cause closely investigates the relationship the gallerist, Margherita Stein, forged with many of the Arte Povera artists she championed from her outpost Christian Stein, the Turin based gallery she founded in 1966. With more than 70 works exhibited, including from masters such as Alighiero Boetti, Pier Paolo Calzolari, Luciano Fabro, Mario Merz, Marisa Merz, Giulio Paolini, Iannis Kounellis, Michelangelo Pistoletto among others, the inaugural show commemorates these artists.
With great fervor looking ahead to future exhibitions, Magazzino for Italian Art will exhibit works from the celebrated OlnickSpanu Collection, most of which has never been exhibited in the United States.
Margherita Stein: Rebel With a Cause opened on June 28, 2017.
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Animal Farm, a group exhibition curated by well-known visual artist and musician Sadie Laska, opened in the spring at the Brant Foundation Art Study Center. On highlight are works from the Collection of the Brant Foundation and a number of loaned pieces selected from museums, galleries and private collections worldwide. The Pop legends Kenny Scharf and Jean-Michel Basquiat set the stage for over fifty works by other artists similarly influenced by popular culture and the media. These include Nina Chanel Abney, Katherine Bernhardt, Lizzi Bougatsos, Joe Bradley, Sarah Braman, William N. Copley, Thornton Dial, Wally Hedrick, Joyce Pensato, Carol Rama, Peter Saul, Josh Smith, Spencer Sweeney, Henry Taylor and Sue Williams. Animal Farm is on view through October 1, 2017
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Hauser & Wirth presents Jack Whitten the first exhibition in New York devoted to the re-known abstract artist who has been working for well over fifty years. Surveying primarily newer works from 2015 forward, the exhibition unveils three main bodies of work. Beginning with the Quantum Wall and Portal series, Whitten expertly employs a tessellated technique that results in grand mosaic like paintings; these physical works are steeped in materiality yet also offer qualities of translucency and visual depth. Further in hangs a work from his ongoing Black Monolith project (aimed at honoring esteemed African Americans and here illustrated by an homage to Muhammad Ali), and finally ten lenticular graphite and wax on evolon works form the Third Entity, providing an overt lightness within the space.
Vertically positioned amidst these works stands Quantum Man (The Sixth Portal). This isolated sculpture from 2016 shares many of the traits found in the flat works and compels the viewer to experience yet another dimension of Whitten’s multi faceted practice.
Jack Whitten is on view through April 8, 2017.
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Nahmad Contemporary exhibits the work of Jan Frank through February 25th in New York’s Upper East Side. In Paintings, the artist revels in an impressive breadth of work that spans well over two decades. Curated by Glenn O’Brien, the exhibition highlights include the artist’s series of works on plywood, circa 1990, where wood veneer is used as a backdrop to capture embellishment recalling modernist markings of many of art history’s masters. Appearing at first as akin to only abstract expressionism, the artist’s later works, such as the Nude Series (2011 to present) as well as Frank’s most recent silkscreen paintings (from 2015 on) reveal a process firmly situated in a postmodern philosophy where appropriation reigns.
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Located in her new space in Harlem, Elizabeth Dee Gallery showcases the work of Carl Ostendarp, the artist’s fifth solo show at the gallery’s uptown headquarters. The exhibition, divided into two parts, flows effortlessly between the main spaces. Upon entry, the open vestibule introduces the first group of paintings featuring bold text as image and referencing such words as “ACKI,” “ECH!,” and “AHH,” sounds that for some surely evoke the current climate of discontent. Progressing to the rear part of the gallery we find Ostendarp’s gray paintings. Here reside six horizontal large-scale works - their gravitas coming not from their size but rather from the loosely delineated edge where the opaque and thinly applied paints (the semi-transparent portions of these paintings are applied with a mop) meet on each canvas. Although each work is unique, together the paintings form a strong thematic narrative, drawing in the eye to the seeping paint that puddles at the bottom of each canvas. The show will remain on view through February 25th.
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Artist Wendy Mark and design firm AGENCY collaborate in ,,,ON Cloud 9, a whimsical video work currently being shown at the Pas De Calais boutique in the Soho district of New York. Here art, design and fashion meet.
Mark, an artist known for her color saturated monotypes, delivers an enticing work that offers thoughtful pauses and moments of discovery. AGENCY reinterprets the artist’s work by means of looping digital animation records, a custom scripted image sampling process, which progressively scans Mark’s paintings, translating values in the image into a series of geometric fields. Starting with a 3×3 grid, each iterative scan increases in density, producing precisely stippled pointillist grids which progressively approach the resolution and depth of the original artwork. As the scans approach full resolution, the original artwork is briefly exposed, before dissolving again into the 3×3 grid. The technical vision of the digital processing paradoxically gives a new life to the subjects it scans – trees and clouds seem to shake, float, and vibrate, newly animated by their supposedly objective observer.
This collaboration underscores Mark’s interest in working with other artists (past projects include work with poets such as Mark Strand, Charles Simic, Paul Muldoon and writers Adam Gopnik, Louis Menand and Javier Marias). Her latest project Untitled (Triptych), published by Stinehour in an edition of 150, will be available in the spring of 2017. The book will include a poem by the recent MacArthur fellowship recipient, Ben Lerner, with monotypes by Wendy Mark.
Fred Sandback: Vertical Constructions recreates the artist’s significant 1987 solo exhibition at the Westfälischer Kunstverein, Münster. This presentation brings together six works from that original exhibition but also includes a number of other important works from the artist's magical, minimal oeuvre.
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In This Brutal World, Luhring Augustine shows a series of new abstract paintings from the artist Jeff Elrod in its Chelsea and Bushwick galleries. Elrod's work blurs the lines between traditional painting and computerized processes, and more broadly looks to examine tensions and similarities governing the analog and the digital.
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Gavin Brown's Enterprise inaugurates the gallery’s new space on West 127th Street in Harlem with Ed Atkins – the artist's first exhibition with the gallery. Following his recent residency at The Kitchen, where he unveiled “Performance Capture,” this exhibition spans three levels of the GBE Harlem gallery, each floor showing a digital work by the artist that includes sound, video and writing. The first two floors feature older work (respectively: Ribbons, 2014 and Hisser, 2015) and the third floor culminates in Atkins' newest work Safe Conduct, 2016. Safe Conduct is shown in a triptych of video walls, and grapples with the uncertainty that belies the subject of security. Music by Ravel Bolero complements and acts as a foil. Ed Atkins has been called “one of the great artists of our time” by the Swiss curator Hans Ulrich Obrist.
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David Zwirner Gallery presents the first exhibition by Sigmar Polke since it was announced that the gallery now represents the artist’s estate. Curated by Vincente Todoli, the exhibition Eine Winterreise focuses on an expansive set of work and the theme of travel, with dates focusing on the 1960s through the 1980s.
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Greene Naftali's exhibition by Korean artist Chung Sang-Hwa shows recent work from this established avant-garde artist. Sang-Hwa, who was a major contributor to Tansaekhwa, the Korean movement also known as "monochrome painting," explores materiality and a consistency of process that pairs pattern and geometry with chance and nature.
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Luc Tuymans' solo exhibition of new paintings at David Zwirner Le Mépris takes its title from the Godard film Le Mépris (Contempt). The work captures at times hazy interpretations of pre existing imagery, and walks the line between nostalgia, memory and abstraction, at times personal but playing upon themes that have universal appeal and connection.
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In his sixth exhibition at David Zwirner Gallery, Michael Riedel continues a project that he has pursued for the past 15 years: a system in which he recycles existing images to exploit the seemingly endless visual possibilities. For this exhibition, Riedel selected text from a website selling art supplies, transposing the meaning of the text to create large posters of layered text throughout the gallery. In addition, images of skeletons covered in art supply stickers are mounted on aluminum, interrupting the posters. Taken as a whole, Riedel’s engulfing installation demonstrates the myriad possibilities of the world he encounters each day, experienced both digitally and physically.
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In his latest exhibition, “Letters to the Reader,” Walid Raad continues an eight-year project titled Scratching on things I could disavow. In a series of 11 painted and laser cut wooden panels, Raad constructs ghostly interiors, relying on the absence of an image. Each panel represents the gallery of a museum in Lebanon, complete with reconstructed parquet flooring and mouldings, where Raad observed that each painting did not project a shadow. Here, Raad reconstructs where those shadows might have been, while intimating aesthetic connections to the ongoing political turmoil in the Arab world.
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