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Artist's Opening Reception: Mei Xian Qiu at Kopeikin Gallery

Posted By Blog User, Monday, February 24, 2014



Exhibition Dates:  

March 1 - April 19, 2014


Artist's Opening Reception:  

Saturday, March 1

6:00 - 8:00



In this exhibition Qilin with work by Mei Xian Qiu at Paul Kopeikin Gallery we experience a sense of hybridization.  The sense of multiplicity relates both to the artist’s personal history and to her subject matter. Mei Xian Qiu is a Los Angeles based artist; she was born in the town of Pekalongan, on the island of Java, Indonesia, to a third generation Chinese minority family. At birth, she was given various names in preparation for societal collapse and variant potential futures, a Chinese name, an American name and an Indonesian name given by her parents, as well as a Catholic name by the local priest.  The exhibition title, Qilin refers to A mythical Chinese creature which is itself a combination of the four most sacred beasts in Chinese mythology. It is a creature of innate hybridism and duality, representing simultaneously and truth. Qilins signal the passage of the wise, and is the compass to the West.  Images are brilliant, painterly in their color and composition.  At times it is content that lends potency to the frames, but in other works there is a sense of danger, taboo, desire, indulgence, or control.


Tags:  Kopeikin Gallery  Mei Xian Qiu 

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Artist's Opening Reception: Sarah Anne Johnson at Stephen Bulger Gallery

Posted By Administration, Monday, February 24, 2014



Exhibition Dates:  March 1 - March 29, 2014


Artist's Opening Reception:

Saturday, March 1 

2:00 - 5:00 pm


Sarah Anne Johnson began this work out of a desire to broach a new more challenging subject.  What started out as a letting-in of the artist to private intimate moments evolved into a project that makes the internal nature of sexual intimacy external.  Even the basics of human engagement are more than meets the eye; sensations, emotions, and feelings bubble under the surface of our skin and in Wonderlust Johnson makes these sentiments visible.  We experience images that depict ecstasy and emotional connection, desire for romance, boredom, self doubt and personal disappointment.  Initial studies began through the photographing friends in their homes during the day, including nudes.  Some couples trusted Johnson to let her in further and share their private interactions, including sexual activity.  With consent, she documented their exchanges and then worked back into the prints at times scratching, painting, collaging, and retouching them.  Each image is both obscured and heightened through the modifications post-production.  The images evolve into more true reflections on human emotional desire, need, longing and fulfillment. 


for more information on the exhibition, please visit Stephen Bulger Gallery


Image Information:

Sarah Anne Johnson

Puzzle Pieces, 2013

Courtesy of Stephen Bulger Gallery


Tags:  Sarah Anne Johnson  Stephen Bulger Gallery 

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Review: Black & Beautiful at Keith de Lellis Gallery

Posted By Administration, Monday, February 24, 2014

Through March 1, 2014


Wall Street Journal Review:


A Group Exhibition Celebrating African-American Portraiture 


"Few of the pictures in the exhibition of black portraits at de Lellis are well known, although many of the photographers and many of the subjects are. Recently there was a James Karales retrospective at the Howard Greenberg Gallery, but I do not recall ever seeing "Martin Luther King, Jr." (1962), a portrait he took in very dim light of the civil-rights leader talking to an unseen audience. Carl Van Vechten, the subject of a recent biography, is represented by portraits of dancer Geoffrey Holder, actor Paul Robeson, author Langston Hughes and, my favorite, an informal shot of trumpeter Dizzy Gillespie. The Life magazine photojournalist Alfred Eisenstaedt has a picture of a woman wearing a toque blanche, "Domestic Help at Redcliff Plantation" (1937). 

The portrait Robin Carson took in 1944 of Billie Holiday with a gardenia in her hair is better known than the one at de Lellis, circa 1936, but what a stunning woman she was, elegant with a simple pearl necklace, and intense even when not singing. Grace Jones was photographed by Anthony Barboza in 1972 in a close-up carefully lit to show the texture of her dark skin and have it meld seamlessly with the dark background. There are other "name" photographers, including Chester Higgins Jr., Wayne Miller and Doris Ulmann, and celebrity subjects such as Josephine Baker, Nat King Cole, Fats Domino and Ethel Waters, but work by less well-known artists adds considerably to this group show, too."  




More information on the exhibition at Leith de Lellis Gallery.


New York Photo Review 


Image Information:

Robin Carson - Billie Holiday - c. 1936

Courtesy of Keith de Lellis Gallery

Tags:  Black & Beautiful  Keith De Lellis Gallery 

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Artist's Opening Reception & Gallery Talk: Robert & Shana ParkeHarrison at Catherine Edelman Gallery

Posted By Administration, Friday, February 21, 2014

Gautier's Dream 


Exhibition Dates: March 7 - April 26, 2014


Artist's Opening Reception:

Friday, March 7

5:00 - 7:00 pm


Gallery Talk:

Saturday, March 8



Titled after Theophile Gautier, a French artist, writer, and critic ParkeHarrison's new work Gautier's Dream depicts the artists' Everyman as a performer.  Drama and theatrics have always been a part of the work of Robert & Shana ParkeHarrison, but in this new series we see the Everyman take to the stage.  As a performer the Everyman now plays and practices his characters.  The work celebrates ParkeHarrisons' love for theater, cinema, and dance.  

Play and performance have as much potency and purpose now as in earlier series where our Everyman worked in the landscape to heal the scarrings of Man.  While what happens on the stage is not reality it often mirrors truth, so though the Everyman is liberated from saving a dying world he only engages in it more symbolically.


Pieces of the natural world- animals, insects and flowers are found in the frames, so the scene is still often centralized around nature.  InThe Lover we see the lead covered with flowers and in Weather Spy, again his visage is masked and he tries with birds and test tubes to predict an impending storm.  Make-believe and performance allows a folding in of additional layers, including beauty, jeux, research and study.  Thief of Paris is an entire laboratory where samples are scattered and tubed, and inWaters of March we see an explorer preparing for a trip, a birdcage included in his pack.  Other works are more directly tied to the drama of the theater, Gautier's Dream and Pelican for example; both seem to catch the pinnacle of the performance.  We begin to find that the stage can give more weight to the frames than the landscape.  Tension heightens because we fall in love with frames that we know have compressed narratives.  We forget ourselves and disconnect from our reality and float into the imagined, and we see the Everyman doing just that for us as the world still turns around him.  We wonder if the only hope we have left for the World is the imagined.


 For more information on the Exhibition, please visit Catherine Edelman Gallery


Image Information:

Robert & Shana ParkeHarrison

Thief of Paris, 2013

© Robert & Shana ParkeHarrison

Tags:  Catherine Edelman Gallery  Robert & Shana ParkeHarrison 

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Artist's Opening Reception: Wijnanda Deroo at Robert Mann Gallery

Posted By Administration, Wednesday, February 19, 2014



Artist's Reception:

Thursday, February 20

6:00 - 8:00 pm


Exhibition on view through March 29, 2014


The work of Dutch artist Wijnanda Deroo clean and balanced.  It is crisp and elegant; simple and layered; empty and charged.  She seeks overlooked spaces, forgotten spaces, and this series, Rijksmuseum, documents nearly 10 years of work on the renovations of Holland's most renowned museum.  Formal balance is a tool we find Deroo using often and always to our satisfaction.  This reinforces a subliminal sense of stability, history, and monumentality.  The quality of light is soft and round and the palate painterly; together this reinforces connectivity and wholeness.  Works feel critical and important.  They are both saving an instant and watching as it and layers of time passes.  Artifacts and art works; construction spaces and builder's markings; storage rooms and galleries are among Deroo's subjects.  Time collapses in an instant and we consider the craftsmen and curators, artists and historians who's hands have made and touched these works.  We think also of the workers and patrons that have and will pass these halls.  We linger in this still preservation and look onto Deroo's scenes wanting to hold the moments that flood through our fingers like sand. 


For more information, please visit Robert Mann Gallery.


Image information:

Rijksmuseum #3, October 2011

Rijksmuseum #8, January 2013

Courtesy of Robert Mann Gallery

Tags:  Robert Mann Gallery  Wijnanda Deroo 

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