Thursday, January 31, 2013

Mark Bradford on Art21

Watch Paradox on PBS. See more from ART:21.

Josephine Halvorson on Art21

Keltie Ferris on Art21

Catch as Catch Can @ Locks

Jutta Koether, I Know There's Nothing Else To Do
Jutta Koether
I Know There's Nothing Else To Do, 1994

Catch as Catch Can

Feb 13 - Mar 30, 2013

Locks Gallery is pleased to present Catch as Catch Can, a group exhibition curated by Fionn Meade. The exhibition will be on view February 13 through March 30, 2013. There will be a reception for the artists on Wednesday, February 13, 2013 from 5:30–7:30 pm.

Artists in the exhibition include: Will Benedict, Kerstin Brätsch, Tom Burr, Michaela Eichwald, Nicole Eisenman, Jutta Koether, Nick Mauss, Francis Picabia, Shahryar Nashat, Lucy Skaer, Kianja Strobert, and Viola Yesiltac.

Catch As Catch Can inhabits a gap between parody and seriousness, consorting and mingling with sculpture, film, graphic design, and poetry, but always with a wry yet beholden eye towards painting and its terms and limits. Taken from the nickname for wrestling match entertainments of the early 20th century, Catch As Catch Can embraces a "no-holds-barred" attitude of reinventing genre, medium, and persona via available means.

Inspired by the presence of Francis Picabia's painting of the same name—Catch As Catch Can, 1913—the exhibition engages a prying apart and emptying out of stylistic investments, critical prompts, and polemical stances in order that these tactics be revitalized with a restless comic gravitas. Painting as a genre and idea of mobility and mimesis—moving readily between graphic optical forms, versioning of the artistic self, and gestural pose—is explored in contemporary artistic practices that embrace a spirit of rupture, allowance, and divided attentions.

Made just after the succès de scandale of the Armory Show, which opened in New York, February 17th, 1913, Picabia's Catch As Catch Can is an emblem of divided desire, existing between the lyrical embrace of Orphism's colorful abstraction and the diagrammatic noise of the mecanomorphs, disassembled figuration, and embedded commentary that were to ensue. Conflating the artist's memory of a dancer's risqué routine aboard a transatlantic voyage with a no-holds-barred wrestling match Picabia viewed with his friend Apollinaire and first wife, Gabrielle, Catch As Catch Can insists and interprets simultaneously, offering up a critique of its own seductive advances. Mixing up the French words étoile (star) and danse (dance) in the lower right hand corner, the painting deflates yet asserts its own rhythmic abstraction, and brings together the filmic collapse of two indelible memories.

From the Keatonesque pratfalls of Sharyar Nashat's film Modern Body Comedy, 2006, to Lucy Skaer's filmic portrayal of an encounter with the elderly Surrealist painter Leonora Carrington, Leonora (The Joker), 2006, the language of cinema as the least faithful art form recurs here in the exhibition in the cinematic ability to frame and repeat heightened moments, inverting dramatic tension and revealing illusion and viewer expectations. As with the two rows of movie seats facing each other in Tom Burr's An Orange Echo, 2012, the mirror of cinema inverts, fragments, and upends our memory through impossible repetitions, forever altering the imprint of the constructed, painted encounter along the way.

A similarly uneasy, dismantled approach to portraiture and interiority is animated in the work of Jutta Koether, Nick Mauss, and Will Benedict, as they hold equally to the effects of advanced abstraction and décor while taking apart art historical context and social behavior. While the line and language of satire embedded in the work of Viola Yesiltac and Nicole Eisenman puts forth an unresolved dialog between caricature and lyricism, Kerstin Brätsch’s optical distortion and rotating display tactics resonate with Kianja Strobert’s staccato substitutions and Michaela Eichwald’s writhing and recalcitrant compositions to further rouse the spirit of distribution, mutation, and mischief carried forth within the exhibition.

Souvenirs @ Locks

Marcus Harvey, Berg
Marcus Harvey
Berg, 2012


Jan 25 - Feb 28, 2013

Locks Gallery is pleased to present Souvenirs, a group exhibition on view January 25 through February 28, 2013. There will be a reception on Friday, February 1st from 5:30 to 7:30 pm.

Artists in the exhibition include Hilary Berseth, Markus Draper, Leonardo Drew, Marcus Harvey, Orit Hofshi, Pat Steir, Robert Zakanitch, and Zhang Xiaoxia.

Jules de Balincourt

Wednesday, January 30, 2013

Jerry Saltz on Matisse for NYMag

Saltz: The Met’s Matisse Exhibit Is Intoxicating, Possibly Dangerous

Midway through the Metropolitan Museum of Art’s “Matisse: In Search of True Painting,” I ran into the painter Alex Katz. He looked at me, agog, and said, “I thought I was going to faint when I saw these paintings.” He gestured at two Matisse still lifes from 1946. Already in a stunned state of my own, I followed his lead and gulped at the revolutionary pictorial power and radical color radiating off these two powerhouses, one dominated by a celestial red and an arrangement on a table. In the foreground were either a dog and cat chasing each other or a pair of animal-skin rugs.
Then I looked at the painting next to it. I saw the same still life depicted on the same table with the same vase, goblet, and fruit. But this version was totally different. Where the dog and cat were, there’s an ultraflat still life within the still life. It’s so categorically compressed that it looks less than two-­dimensional — maybe one-half-­dimensional. I thought I, like Katz, might pass out.
What makes this show so ravishing is, improbably, that it’s arranged like an art-history-class slideshow time line. Paintings from the same period hang in pairs and trios, according to subject matter and theme. The revelations produced by this back-and-forth viewing make these 49 paintings blossom anew — this after a lifetime of being overwhelmed by the swarming multiplicity of Matisse’s paintings. At the Met I saw new optical fatness, freshness, experimentation; hidden levels of Matisse’s ever-unfolding opulence. “In Search of True Painting” lifts up an always-present veil of reticence and perplexity in Matisse’s art. His decisions come into focus, and their effects are shocking.
The show starts with several jolts. In two still lifes from 1899, we can watch the late-­blooming 30-year-old assimilate Impressionism in one painting. In the second 1899 still life, he moves beyond it, grasping Cézanne’s flattened planes and shards of space. Through these two works Matisse travels a painterly lifetime. In a pair of 1904 landscapes, he turns himself into a great Post-Impressionist, a couple of decades after the fact. Then come two sailor portraits from 1906. One has Pointillist dots and daubs. Disorganized, patchy, impatient, this is an artist saying good-bye forever to following other people’s isms. The other sailor, done the same month, is so visually riveting I surmise it could hang next to Velázquez’s epic portrait of Leo X and survive. The sailor undulates in space. He’s a rag doll, a cutout puppet, something from folk ceramics, an almond-eyed alien. His arcing left leg crosses in front of the right, then somehow bends behind it again. The torque of the body is almost Egyptian: in profile and dead-on at the same time. Matisse was on fire.
By this point it seemed like the back of my head was, too. Having seen only a handful of pairings, I’d slipped into a chasm: I saw myself seeing Matisse, getting glimpses of how intentional each decision was, feeling very close to his pictorial intelligence, almost merging with it. Giddy, I floated toward a wall of four paintings of Notre Dame as seen from Matisse’s Seine-side studio. The pictures start out journalistic, then become sketchy, then depict passing time, and go all the way to the timeless abstract majesty of MoMA’s great masterpiece from this series, the blue almost-monochrome one with black lines and churchlike proportions. I’ve seen this picture hundreds of times. Never like this.
I looked around. A tiny detail in another masterpiece, Le Luxe II, filled my vision. Matisse renders a bather’s right arm so that it is behind and in front of her hip simultaneously. That shouldn’t be possible in paint, but there it is. In the same gallery are two 1914 studio interiors with goldfish: As I sized up their solidity and density, I was pulled in by the angle of the windowsill, relishing the receding space. Before I recovered, the gigantic-seeming painting next to it preempted my vision. It’s the same scene from a different angle. The goldfish are directly in front of the window. Everything flattens and breaks into striated geometric spaces. The entire left-hand part of the picture is dominated by those hot tangerine goldfish. A detail lurches into sight: The right side of the bowl turns into a world unto itself. Matisse has taken some tool and scratched and scribbled into the paint. The gestures turn the goldfish bowl solid, transparent, and incandescent all at once. I think I am seeing what is there and what is not, the quiver of the lack of a real visual edge between a glass of clear water and real space.
By this time, there was only one thing left to do. I left the show and returned on other days. If I hadn’t, I don’t think I’d have gotten out of there on my own. Matisse is a beast.
Matisse: In Search of True Painting, Metropolitan Museum of Art, Through March 17.
*This article originally appeared in the February 4, 2013 issue of New York Magazine.

Tuesday, January 29, 2013


Please Join Stuart Elster, Peter Krashes, and Rebecca Saylor Sack for an artist 
talk on Saturday, February 2nd at 3 p.m.  There will be a reception to follow from 4 - 6 p.m.

January 8th – February 2nd, 2013
Crane Arts Building
Gallery 102

Artist Talk: February 2nd, 3 p.m.
Artist Reception: February 2nd, 4 – 6 p.m.

Crane Arts and Gallery 102 are very pleased to present an exhibition of paintings by Stuart Elster and Peter Krashes, curated by Rebecca Saylor Sack.

Stuart Elster’s oil paintings on canvas explore abstraction through iconographic manifestations of power. Images in Elster’s work are gleaned from the public domain; appropriating currency (Abraham Lincoln’s cabin embossed on the back of a penny), fashion (the label from a Marc Jacob bag) and war (stock images of warships from WWI and WWII). Constructed through bold strokes of a palette knife, Elster’s richly painted works simultaneously build and subvert the image, questioning the nature of representation and its source. 

Stuart Elster’s work has been exhibited nationally and internationally, including solo exhibitions in  New York, Paris and Amherst.  Reviews of Elster’s work have been printed in the New York Times, Artcritical, and Kunstforum.  Stuart Elster lives and works in New York.

Peter Krashes’ works are an examination and critique of power from personal experience.  Krashes’ paintings are an extension of his work as a community organizer and leader in Brooklyn. The images in Krashes’ paintings are derived from photographs he takes from his public life. The paintings question where power resides; in the building that houses local or federal government, the camera that mediates our view of governance, or the home-made protest signs and children’s painted faces from political rallies.

Peter Krashes’ solo exhibitions include Theodore: Art, Derek Eller Gallery, and Momenta Art.  Krashes is a recipient of the Joan Mitchell Foundations Painters and Sculptors Grant.  Reviews of his work have been published in the New York Times, Time Out New York, and The New Yorker.  Peter Krashes lives and works in New York.

Gallery 102 is located on the ground floor of the Crane Arts Building.  There will be an artist talk at 3 p.m. on February 2nd, followed by a reception from 4 – 6 p.m.   The gallery is open from 12 – 5 p.m. Wednesday through Saturday. 

Gallery 102 · Crane Arts Building · 1400 N American Street · Philadelphia, PA  19122

Who is Jayson Musson?

Jayson Musson, whose A True Fiend's Weight show we went to at the Fleisher/Ollman Gallery on Thursday, is a well known artist with strong connections to Philadelphia: he received his BFA in photography from UArts in 2002, and his MFA in painting from UPenn in 2011. He is perhaps best know for his alternate ego Hennessy Youngman, who is featured in a series of popular YouTube videos called ART THOUGHTZ. Through the humorous and exaggerated, these videos often make insightful and on-target commentary and criticism of the art world. Here are a couple of his videos that you might enjoy:

You can find all of the Hennessy Youngman videos at this link:

Jayson Musson also exists as a artist outside of this persona, as we saw at his show on Thursday. Although he currently lives and works in Brooklyn, he is still very relavant to the Philadelphia art scene. Here is the artist's website:

Monday, January 28, 2013

MoMa: Inventing Abstraction

on Modernism II

From MoMA


About this term


Term applied to the invention and the effective pursuit of artistic strategies that seek not just close but essential connections to the powerful forces of socialModernity. The responses of modernists to modernity range from triumphal celebration to agonized condemnation and differ in mode from direct picturing of the impacts of modernization to extreme renovations of purely artistic assumptions and practice. Such strategies—pursued by artists working individually or, often, in groups, as well as by critics, historians and theorists—occur in all of the arts, although in distinctive forms and across varying historical trajectories. They have been strongest in painting, design and the Modern Movement in architecture, highly significant in literature and in music, but quite muted in the crafts. They have echoes in aspects of commercial and popular culture. Despite being intermittent in their occurrence and unsystematic in nature, these strategies have been most effective in Europe and its colonies from the mid-19th century and in the USA from the early 20th, moving from the margins to the centre of visual cultures, from reactive radicality to institutionalized normality.
Some early usages of the term ‘modernism’ occur in the context of the recurrent battle between the new and the old. In 1737 Jonathan Swift complained to Alexander Pope about ‘the corruption of English by those Scribblers, who send us over their trash in Prose and Verse, with abominable curtailings and quaint modernisms’ (Published Works, 1757, ix: 218b). Yet such disputes were usually local ones, occurring within broader frameworks of cultural continuity, except at periods of epochal change. During the 19th century in Europe, however, modernizing forces became hegemonic, and by the mid-20th century modernity had become the norm in many parts of the world, its effects being felt everywhere.
Within this fast-changing context, certain moments in the history of the visual arts stand out as definitively modernist. The play of modernizing forces in Paris in the 1850s and 1860s was manifest in Courbet’s critical realism, Manet’s induction of the aesthetics of popular spectacle into high art, and the poetics and art criticism of charles Baudelaire. ‘By modernité’, Baudelaire wrote in 1863, ‘I mean the ephemeral, the fugitive, the contingent, the half of art whose other half is the eternal and the immutable’. These artists and writers recognized that to make significant, potentially timeless art, it was necessary to begin from the transitory, ever-changing present. This reversed the historical teachings of the academies. Towards the end of the 19th century the term ‘modernist’ was adopted to identify Art Nouveau tendencies in many European countries. A related usage appeared in the claims of Secession artists in Germany and elsewhere.
In the years after 1900 Paris was the centre of an explosion of artistic innovations, by Fauvist and Cubist artists, which inspired radical experimentation by Futurists in Italy, Suprematists and Constructivists in Russia, Dadaists in Germany and many others. Subsequent tendencies, such as Surrealism, explored the social and psychological impacts of modernization even more deeply. In general, these artists passed from drastic transformations of tradition to fundamental interrogations of art itself. Such extreme reflexivity, emphasizing negative criticism of the conventional and pursued by these artists usually working in groups, constitutes the avant-garde within modernism.
At the same time developments in modern art were fashioned into influential historical narratives in such exhibitions as Manet and the Post-Impressionists(London, 1910), opened by the critic roger Fry, and new markets for modernist art were created by the Armory show (New York, 1913) and others. Those involved in these developments usually identified each movement or grouping by its name and referred to ‘the new art’ or, increasingly after 1920, ‘modern art’ as the generic term for what was emerging as a broad tendency. Meanwhile, product designers made the term ‘modernist’ fashionable for their Art Deco elegances, but defenders of tradition during the first half of the 20th century saw ‘modernistic’ art as indicative of political excess, diseased social values and the insanity of those who made it.
As a name for the mainstream tendency in 20th-century abstract art ‘modernism’ came into widespread usage only in the 1960s. It was applied to the Abstract Expressionists and to contemporary hard-edge painting, colour field painting and abstract sculpture, most influentially by the American critic clement Greenberg. Its lineage was traced back to Manet as the initiator of a sequence of formal innovations, particularly those that lessened illusionism in painting and mimeticism in sculpture. Reflecting the economic and cultural ascendency of the USA and the enormous power of the New York art market, this viewpoint became orthodox internationally. It was, however, subject to subversion by Pop and Minimalist artists and to devastating criticism by conceptual, political and feminist artists and commentators. By the early 1970s it was displaced as a paradigm for most artists, although it persists in many museums, galleries and educational systems.
What were the practices of modernist artists? A typical strategy was to provoke the shock of the new, to reveal the present as replete with blindingly self-evident value and, at the same instant, to consign the recent past to anachronism. Another was to imagine the future as within reach, and still another was to reclaim the distant and even ancient past as a generalized precedent, a repository of essential values that transcended the style-bound historicisms of the 19th century. Typical modes were these: picturing the environments, artefacts, styles and attitudes of everyday life in the modern world; inventing forms, compositional formats and systems of visual signage that parallel those of the forces of modernization; insisting on art’s autonomy—its obligation to secure a space for unbridled creativity, for pure possibility; promoting abstraction as an inevitable historical unfolding; highlighting the separateness of the arts or mixing them in startling ways; constantly disturbing fixed relationships between artists and works of art and between works and viewers. The basic impulse of modernism within modernity is the drive to create previously unimagined objects and new ways of seeing them.
In the late 20th century, however, the limitations of modernism, its wasteful exclusions, became increasingly evident. Aspects of the cultures of non-European peoples were often incorporated into modernist experimentality as estranging devices and signals of ‘primitive’ otherness. This occurred throughout the vanguard movements in Europe around 1900, but from a post-colonial perspective it can be seen as a legacy of imperialism. While the agenda for world art seemed to be set by mainstream Ecole de Paris art movements, and then, after World War II, by developments in American art, artistic practice in the cultural and economic colonies is not necessarily a matter of dependent provincialism. Local artists adopt, adapt and often transform elements that circulate throughout a system of exchange, which is itself becoming increasingly international. Regional, local, even national, modernisms have occurred all over the world since the 1920s, each with their own distinctive concerns and values. Feminist art historians draw attention to the exclusion of significant work by women artists from the canon of modernist masterpieces, to the social restrictions that prevented these artists from entering many of the spaces so vital to modern life, and to the persistence in early modernism of women seen as aesthetic objects. Similarly, modernist art constantly pirated popular and commercial visual cultures, while still insisting on an essential critical distance from the everyday life of modernity. No longer a source of strength, this contradictory pattern of incorporation and exclusion has contributed to modernism’s decline.
While modernism no longer inspires artists, its heroic history and its accumulation of masterworks have became standard fare within educated taste as it consumes the visual arts with ever-increasing enthusiasm. Modern Masters, fine designers, great geniuses, modest decorators: a diverse and conflict-free aesthetic has spread outwards from the centres of artistic innovation to become an international modernist culture among the upper and middle classes in most countries with a European heritage.
Post-modern artists and theorists (see Post-modernism) tend to reject modernism as a historical narrative binding on current practice, while at the same time rehearsing some of its strategies and quoting instances of early modernist art as allusions within their circulating of imagery from, potentially, anywhere and any time. Post-modernism is, however, obsessed with modernity; and the issue of whether human societies have moved into a post-modern phase remains open. Another modernist moment in art cannot, therefore, be ruled out.

From Grove Art Online

on Abstract Art

from the Tate Glossary

Abstract art 

The word abstract strictly speaking means to separate or withdraw something from something else. In that sense applies to art in which the artist has started with some visible object and abstracted elements from it to arrive at a more or less simplified or schematisedform. Term also applied to art using forms that have no source at all in external reality. These forms are often, but not necessarily, geometric. Some artists of this tendency have preferred terms such as Concrete art or non-objective art, but in practice the word abstract is used across the board and the distinction between the two is anyway not always obvious. A cluster of theoretical ideas lies behind abstract art. The idea of art for art's sake ¿ that art should be purely about the creation of beautiful effects. The idea that art can or should be like music ¿ that just as music is patterns of sound, art's effects should be created by pure patterns of form, colour and line. The idea, derived from the ancient Greek philosopher Plato, that the highest form of beauty lies not in the forms of the real world but in geometry. The idea that abstract art, to the extent that it does not represent the material world, can be seen to represent the spiritual. In general abstract art is seen as carrying a moral dimension, in that it can be seen to stand for virtues such as order, purity, simplicity and spirituality. Pioneers of abstract painting were KandinskyMalevich and Mondrian from about 1910-20. A pioneer of abstract sculpture was the Russian Constructivist Naum Gabo. Since then abstract art has formed a central stream of modern art.
Naum Gabo, Model for 'Column', 1920-21
Naum Gabo
Model for 'Column'
Wassily Kandinsky, Cossacks, 1910-11
Wassily Kandinsky
Kasimir Malevich, Dynamic Suprematism, 1915 or 1916
Kasimir Malevich
Dynamic Suprematism
1915 or 1916

on modernism

From the Tate Glossary


In the field of art the broad movement in Western art, architecture and design which self-consciously rejected the past as a model for the art of the present. Hence the term modernist or modern art. Modernism gathered pace from about 1850. Modernism proposes new forms of art on the grounds that these are more appropriate to the present time. It is thus characterised by constant innovation. But modern art has often been driven too by various social and political agendas. These were often utopian, and modernism was in general associated with ideal visions of human life and society and a belief in progress. The terms modernism and modern art are generally used to describe the succession of art movements that critics and historians have identified since the Realism of Courbet, culminating in abstract art and its developments up to the 1960s. By that time modernism had become a dominant idea of art, and a particularly narrow theory of modernist paintinghad been formulated by the highly influential American critic Clement Greenberg. A reaction then took place which was quickly identified as Postmodernism.
Georges Braque, Glass on a Table, 1909-10
Georges Braque
Glass on a Table

Sunday, January 27, 2013

Wandering Planar @ Fjord


"Space and space again is the infinite deity which surrounds us and which we are ourselves contained. Height, weight and depth which I must transfer into one plane to form the abstract surface of the picture, and thus protect myself from the infinity of space." -MAX BECKMANN

FJORD is pleased to announce our eighth group show, Wandering Planar, curated by A.J. Rombach and featuring artists: 
Abrahm Guthrie-Potter
Vera Iliatova
Jeremy Miranda
Matthew William Robinson
Lisa Sanditz
Mary Witterschein

The works in this show have been selected to investigate the use of landscape as subject in contemporary painting. 

Please join us Friday, February 1st, for our opening reception. 6pm- 10pm with a live electronic performance from musician Matt Beck at 9pm. 

Thursday, January 24, 2013

Reading Group 1




Wednesday, January 23, 2013

Tomorrow @ UArts

Panel Discussion: The Legacy of Lenore Tawney

CBS Auditorium
Lenore Tawney
Held in conjunction with the "Lenore Tawney: Wholly Unlooked For" exhibit in the Rosenwald-Wolf Gallery featuring paper-focused work by late artist Lenore Tawney (1907–2007), a leading figure in the contemporary fiber arts movement. The Maryland Institute College of Art, Tawney's alma mater, is hosting a complementary exhibition under the same title featuring her line-based objects.
  •   Jack Lenor Larsen: dean of Modern Textile Design, founder of LongHouse, Honorary Doctorate, University of the Arts
  •   Kathleen Nugent Mangan: director of the Lenore G. Tawney Foundation
  •   Dr. Suzanne Hudson: assistant professor, University of Southern California
  •   Warren Seelig: artist, UArts distinguished visiting professor
  •   Sid Sachs: director of exhibitions, University of the Arts
Photo: Lenore Tawney with "Vespers," South Street, New York, 1961. Photo: Ferdinand Boesch.
Hamilton Hall
401 South Broad Street, 1st floor
PhiladelphiaPA 19102
United States

UPenn Visiting Artists

Barnaby Furnas, Jan. 31, 2013
Spencer Finch, Feb 5. 2013 (Visual Studies Lecture)
Jules de Balincourt, Feb 7, 2013
Elad Lassry, TBA, 2013
Wael Shawky, Feb 21, 2013
Theaster Gates, Feb 28, 2013 (Meyerson Hall)
Mary Reid Kelley and Patrick Kelley, Mar. 21, 2013
For additional information about this year's artists visit:

Jules de Balincourt @ ICA


THURSDAY / 7 / FEBRUARY / 2013 / 6:30PM


Hear from artists about their ideas, obstacles, and work.

Jules de Balincourt is a French painter living and working in New York. His work explores social, historical, and geographic connections through the use of maps, figuration and a unique painting palette. Balincourt has been internationally recognized, participating in numerous exhibitions including the Saatchi exhibition USA Today at the Royal Academy of Art in 2007. He received his BFA in Ceramics from California College of the Arts in 1998, and an MFA from Hunter College in 2005.

PAFA Visiting Artists/ Spring 2013

  • Donald Lipski

    January 31:
    Lecture Thursday at 11:45 in the Hamilton Auditorium
  • Njideka Akunyili

    February 7:
    Lecture Thursday at 11:45 in the Hamilton Auditorium followed by individual studio critiques
  • Oliver Herring

    February 14:
    Lecture Thursday at 11:45 in the Hamilton Auditorium followed by individual studio critiques
  • Jacob Feige

    February 21:
    Lecture Thursday at 11:45 in the Hamilton Auditorium followed by critiques
  • Melanie Vote

    February 28:
    Lecture Thursday at 11:45 in the Hamilton Auditorium followed by individual studio critiques
  • Nami Yamamoto

    March 14:
    Lecture Thursday at 11:45 in the Hamilton Auditorium followed by individual studio critiques
  • Jerome Witkin

    March 21:
    Lecture Thursday at 11:45 in Hamilton Auditorium followed by group individual studio critiques
  • Aurora Robson

    March 28:
    Lecture Thursday at 11:45 in the Hamilton Auditorium followed by individual studio critiques
  • Sue Coe

    April 4:
    Lecture Thursday at 11:45 in the Hamilton Auditorium followed by individual studio critiques
  • Chitra Ganesh

    April 11:
    Lecture Thursday at 11:45 in the Hamilton Auditorium followed by individual studio critiques
  • Daniel Arsham

    April 18:
    Lecture Thursday at 11:45 in the Hamilton Auditorium followed by individual studio critiques
  • Heiko Blankenstein

    April 25:
    Lecture Thursday at 11:45 in the Hamilton Auditorium followed by individual studio critiques

Tuesday, January 22, 2013

Jayson Musson--Fleisher Ollman

Jayson Musson

A True Fiend's Weight Closing Reception / Moving party

Join us on Thursday, January 24, 2013 from 6-8pm for the closing of Jayson Musson's A True Fiend's Weight. This reception will also serve as the farewell to our space at 1616 Walnut Street.

Fleisher/Ollman began as the Little Gallery on south Manning Street in 1952, moved to 16th street, and then 17th street where, in 1971, it became the Janet Fleisher Gallery and, 26 years later, Fleisher/Ollman Gallery. Ten years ago the gallery moved around the corner once more to our current location, and this spring we will take up residence on the 5th floor of 1216 Arch street, next door to the Fabric Workshop and Museum.

Saturday, January 19, 2013

Glitter and Folds @ ICA


February 6 through March 31, 2013

What do we know to be true? That the earth rotates, time moves forward, gravity pulls, and mirrors reflect light. A swinging pendulum traces seismic patterning on a gallery floor, concentric circles that reveal the invisible forces of their making. A single-channel video pulsates kaleidoscopic rhythms against a wall, the multiple reflections of conjoined mirrors echoed by a synthetic soundtrack of needles dropping. But as we move closer, reality seems to shift, and the certainties of perception and experience start to fold. A series of photographs embed the by-products of revelry—glitter, shattered mirrors, glass, and pearls—in soiled wastelands of an uncertain ground, asking us to reconsider seemingly inalienable laws of physics and faith. Elsewhere, the artist's body becomes a litmus test for the violence of social breakdown, a glittering reflection caught in a site of urban neglect.
Glitter and Folds, on view February 6 through March 31, 2013 in ICA's Project Space, presents photography, video, and site-specific installation by four contemporary artists, in whose works glitter appears to reveal a folding of invisible phenomena into material reality. As much as these actions divine the physical forces that structure the tangible fabric of everyday experience, they also reveal breaks in an urban and social landscape increasingly marked by precariousness, fear, and a gamble for redemption in the face of collapse.

Crystal Z. Campbell, Field Kallop , Jayson Keeling and Carter Mull.

Crystal Z. Campbell (b.1980, Prince Georges County, lives in Amsterdam) received an MFA from the University of California, San Diego and an MA in Africana Studies from the University at Albany-State University of New York. Campbell's work has been exhibited at Project Row Houses in Houston, TX, de Appel in Amsterdam, Netherlands and is currently on view in the group exhibition, Fore, at the Studio Museum of Harlem, NY. She is a 2003 graduate of the Skowhegan School of Painting & Sculpture and a 2010–11 Van Lier Fellow in Studio Art at the Whitney Independent Study Program. Campbell is currently a second-year artist in residence at the Rijksakademie van beeldende Kunsten in Amsterdam. For Glitter and Folds, Campbell will present a new video work based on archival research into New York City's 1977 black-out and the sonic "birth" of hip-hop.

Field Kallop (b.1982, New York, lives in New York) received an MFA in Painting from The Rhode Island School of Design in 2009 and a BA in Art History from Princeton University in 2004. An Awards Program Nominee at the Academy of Arts and Letters in New York, her work has recently been exhibited at Allegra LaViola Gallery, Simon Dickinson Gallery and Mixed Greens in New York, Tompkins Projects in Brooklyn, Gelman Gallery in Providence, and Boston University. Combining a fascination with chemistry, physics, and astronomy with prosaic—often toxic—materials like bleach and diamond dust, and drawing inspiration from 20th-century abstract artists like Emma Kunz and Agnes Martin, Kallop's work occupies an uneasy site between the cosmic and mundane. Glitter and Folds is the artist's first museum exhibition.

Through the use of photography, video, and other related media, Jayson Keeling (b.1966, Brooklyn, lives in Brooklyn) creates artworks that provoke and dismantle pop iconography and the accepted politics of sex, gender, race, and religion. His work has been included in exhibitions at the Studio Museum of Harlem, The Andy Warhol Museum, El Museo del Barrio, Exit Art, Gavin Brown's Enterprise at Passerby, and The Bronx Museum. Keeling has been awarded residencies from the Art Omi International Residency Program in 2012, The Lower Manhattan Cultural Council in 2009 and 2007, as well as the Apex Art Outbound Residency to Addis Ababa, Ethiopia in 2009. His work has been reviewed by The New York Times, Art Forum, Art in America, Art Papers, The New Yorker, Time Out, Beautiful/Decay, Jalouse, The Brooklyn Rail, Flash Art, The Wall Street Journal, and The Huffington Post among others.

Carter Mull (b.1977, Atlanta, lives in Los Angeles) is an artist living in Los Angeles. He received a BFA in Painting from Rhode Island School of Design in 2000 and an MFA from CalArts in 2006. Mull's work has been exhibited widely, most recently at The Museum of Modern Art, New York, The Walker Art Center, Minneapolis, The Museum of Fine Arts, Houston, Presentation House, Vancouver, Domaine Departement de Chamarande, Paris, Vilma Gold, London, Gagosian Gallery, New York and in the Venice Beach Biennial, Venice, California. His project intertwines multiple mediums to question the temporality of medias that construct our conception of the world. In turn, the practice recomposes an understanding of our shared, social imagination.

His works are in the permanent collections of the Museum of Modern Art, the Whitney Museum of American Art, the UCLA Hammer Museum, the Orange County Museum of Art, The Getty Research Institute, the Museum of Fine Arts, Houston, the Walker Art Center and the Museum of Contemporary Art, Los Angeles. His practice has been discussed in publications and periodicals, including Artforum, Art on Paper, Art In America, Art News, Flash Art, Nero, The Los Angeles Times, The New York Times and The New Yorker. Additionally, Mull collaborates under the moniker P & Co., a media production company established in 2009.

This exhibition is organized by ICA 2011-2013 Whitney-Lauder Curatorial Fellow Jennifer Burris, and is accompanied by an illustrated publication.