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New Yorker Review: Herbert Matter at Gitterman Gallery

Posted By Administration, Tuesday, March 11, 2014
Herbert Matter's work is at once graphic and rhythmic.  It is fluid and elusive.  His photo collages draw on the world within the media.  This exhibition with Gitterman gallery focuses on Matter's abstractions from the late 1930's to the early 1950's.  Matter played with light drawing, solarization, photograms, direct impressions, and melding of positive and negative materials to create his works.  Indeed, he proved that the world within was not only magical, but limitless.  In this group of works we find elegant abstractions, graphic montage, and surrealist and expressionist tendencies.


Herbert Matter was born in Engelberg, Switzerland in 1907. He studied painting before moving to Paris to study with Fernand Léger, who became a lifelong friend. Matter worked in Paris as a graphic designer at the journal Arts et Métiers Graphiques as well as with the famed poster designer A.M. Cassandre. In 1932 he returned to Switzerland and in 1935 Matter travelled to the United States to photograph a dance troupe and decided to stay in New York City. From 1936-38 he worked as a freelance photographer at Harper’s Bazaar under esteemed art director Alexey Brodovitch.  His work continued to appear in popular publications, including the covers of Bazaar,Vogue, Life, Fortune, and Arts & Architecture.  In 1941 Matter married Mercedes Carles, daughter of the American abstract painter Arthur B. Carles and a great artist in her own right, who went on to found the famed New York Studio School. The couple was very active in the New York art scene and was friends with John Cage, Philip Guston, Willem de Kooning, Franz Kline and Barnett Newman.  

For more information on the artist's work and life, please visit Gitterman Gallery.

New Yorker Review.

Tags:  Gitterman Gallery  Herbert Matter 

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Gallery Talk: Sophy Rickett & Martin Caiger-Smith at Camilla Grimaldi Gallery

Posted By Administration, Monday, March 10, 2014
Thursday, March 20, 2014
7:00 - 8:00pm
rsvp requested.

Sophy Rickett in conversation with Martin Caiger-Smith at Camilla Grimaldi Gallery is being held in conjunction with the artist's exhibition, Objects in the Field, on view through March 21, 2014.

Rickett's examines the legacy of some now obsolete astrophysical research conducted in the 1980s, and constructs or re-imagines a set of different narrative voices that are at times contradictory, or at odds with each other.  Rickett is interested in the process of de-accessioning and the advancement of obsolescence. She uses the project to explore ideas around how meaning and interpretation can be fluid and contestable. The project tests the border between collaboration and appropriation, and explores ways of blurring the boundaries between them.

Martin Caiger-Smith is head of the MA program Curating the Art Museum at the Courtland institute and is former had of exhibitions and acting director or the Hayward Gallery. 



Tags:  Camilla Grimaldi  Martin Caiger-Smith  Sophy Rickett 

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Artist's Reception & Gallery Talk: Andrea Meislin Gallery

Posted By Administration, Saturday, March 8, 2014

Sharon Ya'ari

 
Leap Toward Yourself

Exhibition Dates: March 8 – April 26, 2014

Reception & Gallery Talk: 
Saturday, March 8th 
12:00 - 2:00 pm

Artist and Gallery Talk between Sharon Ya'ari and ICP curator Christopher Phillips

This exhibition marks Sharon Ya’ari’s first solo show at the gallery, and is being held in conjunction with the artist's one-person show at the Tel Aviv Museum Leap Toward Yourself.  Ya'ari's work is rooted in both the mundane and the profound.  While sites selected are common there exists a certain perfection to the images- a subtle subconscious structure that speaks to underlying frames of place, history, and politics.  What enriches these spaces is a slow-watching that occurs as Ya'ari returns to sites over time.  Through the evolution of images and juxtapositions we notice slight shifts to space that exist among similarities.  Changes that cannot be controlled or predicted poke through anchor-points of stability and all our visual senses become heightened.  In dual mages of Haplada Street, an empty lot on a street corner, taken in 2011 and 2013 we recognize the place by the number on the lamplight and see an obvious change immediately- the absence of a large tree in the later image is striking, abrupt, even a bit alarming.  We sense an emptiness in the second frame, but we identify a stability in the later shot as well- the street lamps and power lines, the wall across the street remain fixed and we feel as if they have endured something profound somehow.  We see the grass has overgrown the vacant lot, but we also spot a car in both images and wonder if it is the same vehicle and even drift to thinking about its owner.  Meislin Gallery’s choice to include two bedroom images
David Ben-Gurion's Bed, Kibbutz Sde Boker, 2012 and
Paula Ben-Gurion's Bed, Kibbutz Sde Boker,
 2012 was poignant and again reveals Ya’ari’s fascination with place.  In these works our eye floats from frame to frame revealing shifts in the mirror-like commonalities between the images.  We begin to wonder if the tenant or the location has changed. Each room has two windows, blue walls, rose-colored coverlets, and wood bedside tables.  We watch Ya’ari’s images and as we do we are forced to consider how to represent what is already representational, how to manage the gap between the ideal and the real and how to reconcile the subtlety of the photographic gesture with the over-bearing political context. 



The museum exhibition is curated by Urs Stahel and is accompanied by a comprehensive publication published by Steidl and the Tel Aviv Museum.

 
For more information on this exhibition, please visit Andrea Meislin Gallery



Image information: 

Sharon Ya'ari, ANZAC Monument, 2010
75 x 59 inches, Edition of 5

Courtesy of Andrea Meislin Gallery

 

Tags:  Andrea Meislin Gallery 

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Artist's Opening Reception: Myoung Ho Lee at 798 Photo Gallery

Posted By Blog User, Wednesday, March 5, 2014

Act Project

 

Exhibition Dates:  March 8 – March 21, 2014

 

Artist’s Opening Reception: 

March 8

3:00 pm

 

Myoung Ho Lee elevates the natural world.  In a series of images trees are framed by a sheet, which sets them apart from the surrounding landscape by white ground.  In doing this Ho Lee makes visible the aura of the tree, not just physically but symbolically.  Ho Lee reminds us that energy has been made symbolic before; religious works have in the past framed auras around subjects.  Different subjects have different aura shapes:  the Holy Trinity was shown by a triangle aura, Mother Mary and the Saints are depicted with a round aura, and the survivors of persecution had square auras.  The survivors are associated with the earthy plane, and thus represent too the sanctity of nature.  Ho Lee’s works remind us to see and appreciate the simple beauty of nature, but also see these trees as symbols for the natural world itself.  There is something both temporal and enduring to the work.  

 

Myoung Ho Lee is the recipient of awards including the first Young Photographer’s Award from the Photo Artist’s Society of Korea in 2005, Korea’s Photography Critics Award in 2006 and a grant from the Culture and Art Fund from the Arts Council of Korea in 2007. Mr. Lee was born in Daejon, South Korea in 1975 and currently lives and works in Seoul, South Korea.

 

More information at 798 Photo Gallery
Image courtesy of 798 Photo Gallery

Tags:  798 Photo Gallery  Myoung Ho Lee 

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Huffington Post & Photograph Magazine Reviews: Fred W. McDarrah at Steven Kasher Gallery

Posted By Administration, Wednesday, March 5, 2014
Updated: Wednesday, March 5, 2014

Save the Village

 

Through March 8, 2014

 

Fred W. McDarrah's legend lives through his works.  The now iconic frames stand to prove that McDarrah was at the front line of cultural revolutions and movements that have become history.  As the first photo editor and only staff photographer of the Village Voice, McDarrah went everywhere armed with his camera.  He photographed the artists, writers, musicians, and actors who frequented the bars, theaters, art galleries, and cafes in Greenwich Village.  He documented political rallies, gay rights, feminism, and the anti-war movement.  McDarrah's street and studio portraits of downtown luminaries, local politicians and bohemian celebrities that later became definitive.  His simple, direct style makes the moments feel both candid and awaited, and this lends an air of freshness to the works that endures.  It's amazing now to look at these frames and think that McDarrah was often the only photographer interested in these subjects at the time they were made.  McDarrah's sense of the moment still astonishes.  He was a man attuned to his day and age, and his images are now not just record but legacy of socio-cultural movements in the American historical landscape.  

 

This exhibition with Steven Kasher Gallery will include a hand-selected 130 works from the nearly 250,000 images that compose McDarah's oeuvre.  

 

For more information on the exhibition, please visit Steven Kasher Gallery

 

New York Times Preview
Huffington Post Review
Photograph Magazine Review

 

Image Information:  Demolition of Artist's Studio, Greenwich Avenue, May 19, 1960, copyright Estate of Fred W. McDarrah, courtesy Steven Kasher Gallery, New York

 

 

 

Tags:  Fred McDarrah  Fred W. McDarrah  Steven Kasher Gallery 

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