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DTSTART;VALUE=DATE:20230908
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SUMMARY:Michael Rakowitz: The Monument\, The Monster\, and The Maquette
DESCRIPTION:Jane Lombard Gallery is pleased to present a solo exhibition by gallery artist Michael Rakowitz\, entitled The Monument\, The Monster and The Maquette. Continuing his exploration of monuments\, the artist will mount a new installation of this ongoing series for the first time in New York. The exhibition will be on view from September 8 – October 21\, 2023\, with an opening reception held on September 8 from 6-8 PM. \n  \nRakowitz’s research-based studio practice is evidenced throughout this body of work\, itself titled after a line of etymological inquiry. Scrawled across a mantelpiece at the base of the hybrid sculpture American Golem\, the artist notes that “‘Monument’ is derived from the latin verb monere\, meaning to remind\, advise\, warn. Also derived from monere: demonstrate\, remonstrate\, monster.” Rakowitz turns to the monument as a way to offer a renewed\, transparent conceptual framework within which the dynamics underlying conventional history can be exposed as matters of power and rhetoric rather than of mindless observance. His amalgamation of the disparate elements that comprise American Golem can be considered a form of contemporary spolia – the ancient practice in which the architectural spoils of war and conquest were reappropriated into new\, monumental structures\, prominently displayed in the public forum. Rakowitz’s extensive research transforms these individual fragments both literally and conceptually as he physically annotates the sourced sculptures with critical context surrounding their origins and historical trajectories. In doing so\, the artist subverts the millenia-old connotation of spolia as political symbols of both triumph and warning. He adapts the technique to reveal the uncomfortable truths that connect these seemingly distinct fragments beneath their heroic patina.   \n  \nWith several explicit ties to New York City\, American Golem engages local and regional audiences with a meticulously researched web of unsettling complexities. For example\, the granite slab comprising part of the stone pedestal at the base of the central figure reads\, “North Jay granite from Maine\, extracted from the occupied land of the Abenaki people. Used in Grant’s Tomb in NYC.” The artist’s inscription highlights the underrecognized historical mistreatment of the American Indigenous people in relation to Ulysses Grant\, who served as president during the initial Abenaki occupation. Rakowitz juxtaposes the countless unnamed deaths and forced assimilation of the Indigenous people under ongoing American settler colonialism with the memorialization of Grant\, one of the many executioners in American history.  \n  \nAlso featured in the exhibition is the inflatable sculpture Behemoth\, which suggests a majestic equestrian figure shrouded beneath a black tarp\, “breathing” through a cycle of inflation and deflation in a dramatic installation that embodies the constant discourse around monuments in America. A selection of drawings on layered architectural vellum will accompany the sculptural works in the gallery\, depicting various instances of “the monument that was” as a shadow of its resultant form.  \n\nThe Monument\, the Monster and the Maquette was researched and built with the assistance of Annie Raccuglia\, Nick Raffel\, Derek Sutfin/Gravity Exhibitions\, and Landmark Creations.
URL:https://artinamericaguide.com/event/michael-rakowitz-the-monument-the-monster-and-the-maquette/
LOCATION:Jane Lombard Gallery\, 58 White Street\, New York\, NY\, 10013\, United States
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DTSTART;VALUE=DATE:20230907
DTEND;VALUE=DATE:20230911
DTSTAMP:20260619T004030
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SUMMARY:Allan Wexler at Independent 20th Century
DESCRIPTION:Jane Lombard Gallery is pleased to present a solo booth with Allan Wexler for  the 2023 edition of Independent 20th Century Art Fair.  A trained architect\, Wexler has been producing functional absurdities for over fifty years that bridge and interrogate distinctions between human activity and the built environment. Featuring diverse works spanning media from drawing to sculpture\, the presentation will center on themes of connectivity\, constructedness\, and ritual. In tandem with the booth presentation\, Coffee Seeks its Own Level\, a work that epitomizes the main tenets of Wexler’s practice\, will be activated in Booth B8 on September 7 from 4PM – 6PM. \nFascinated by the seemingly infinite ritualistic details of the Japanese tea ceremony\, Wexler created Coffee Seeks Its Own Level as a way to investigate the social implications of performative ritual. Working with group dynamics\, Wexler often utilizes a set group of four as a recurring motif in his work. As Wexler explains\, “It is about four people at the table drinking coffee simultaneously. Because the coffee cups are connected by tubing\, when one gets raised\, the unleveling causes the coffee to overflow the other three cups. It is about playing with coordination among the guests. The remnants of such performances remain as stains of the white tablecloth” (1). \nWith wit and ingenuity\, the selected works investigate the ways in which the day-to-day objects of our environment mediate social activity. They often stage delicate\, unexpected interactive sites as catalysts for interpersonal connectivity. Some works highlight the isolating capacity of certain tasks while others create a sense of fragility that forces participants to navigate the environment together. 4 Collars Sewn Into A Tablecloth\, 1991\, conflates the solitary\, routine act of dressing oneself with the spontaneity and company of communal dining. The nature of the work implies a contradictory isolating sense of community: dinner guests are connected at the seams yet physically restricted\, sewn into place. The drawing 4 Handled Broom\, 1991\, on the other hand\, visually transforms the mindless solitude of sweeping into an intentional symbiotic act as one envisions the collective coordination required to effectively operate such a tool. \nWexler’s fabricated scenes are strange and unconventional\, urging viewers to consider similarly unconventional means of collaborative problem-solving. At the same time\, viewers are encouraged to seek and acknowledge the constructedness and absurdity of those entrenched daily activities that are arbitrarily deemed ‘normal.’ Described as a “radical deconstructor of habitation\,” Wexler aims to do just that – to look more deeply into what surrounds us and to reconsider and question the actions we tend to perform without a second thought (2). Understanding Wexler’s practice is an exercise in recontextualization\, “my work is about finding poetry in something that seems purely functional. I take an object\, destroy its function\, and play with it until I discover a new function” (3).  Wexler exposes the conceptual world that informs our lived experiences\, questions the conditions of its construction and turns it on its head. \nAbout Allan Wexler\nAllan Wexler (b. 1949) has worked in the fields of architecture\, design\, and fine art for fifty years. In the late 1960s he was an early member of the group of architects and artists who questioned the perceived divide between art and the design disciplines. They called themselves non-architects or paper architects. Wexler earned his Bachelor of Fine Arts (1971) and his Bachelor of Architecture (1972) from RISD and his Master of Architecture from Pratt Institute (1976). \nWexler is a recipient of a Guggenheim Fellowship (2016)\, is a Fellow of the American Academy in Rome\, and a winner of both a Chrysler Award for Design Innovation and the Henry J. Leir Prize from the Jewish Museum. He has executed public art commissions at several locations\, including Hudson River Park (2006)\, Atlantic Terminal\, Long Island Railroad (2009)\, and Pratt Institute (2008\, 2012). He has exhibited nationally and internationally including La Arsenale\, Biennale Architettura\, Venice\, Italy; The Contemporary Jewish Museum\, San Francisco\, CA; Museum of Contemporary Art Chicago\, Chicago\, IL; Walker Art Center\, Minneapolis\, MN; Mattress Factory\, Pittsburgh\, PA; Parrish Art Museum\, Southampton\, NY; San Francisco Museum of Art\, San Francisco\, CA; Karl Ernst Osthaus Museum\, Hagen\, GE; De Cordova Museum and Sculpture Park\, Lincoln\, MA; The Jewish Museum\, New York\, NY; among many others. Wexler currently teaches at Parsons School of Design in New York City. \nIn 2017 Lars Müller published Absurd Thinking: Between Art and Design\, a book on Wexler’s work and creative process. The book features projects developed across the artist’s career that mediate the gap between fine and applied art using the mediums of architecture\, sculpture\, photography\, painting\, and drawing. \nAbout Jane Lombard Gallery\nJane Lombard Gallery has an established reputation for bringing to the forefront artists who work within a global perspective/aesthetic relevant to the social and political climate of today. The gallery seeks to promote both emerging and mid-career artists in a variety of media – painting\, sculpture\, installation\, and film – in the US\, Europe\, and Asia. Founded in 1995 in Soho as Lombard Freid projects\, the gallery later moved to Chelsea\, first to 26th Street\, and later to 19th Street in 2010. The gallery is now located in Tribeca at 58 White St. \n(1) Allan Wexler\, interviewed by Vladimir Belogolovsky\, ‘Artist Allan Wexler uses hand tools to pull ideas out of his head\,’ STIRWorld\, February 7\, 2022\, n.p. Retrieved from https://www.stirworld.com/think-columns-artist-allan-wexler-uses-hand-tools-to-pull-ideas-out-of-his-head\n(2) Michele Calzavara\, ‘Meditations on Habitation\,’ in Absurd Thinking: Between Art and Design\, 287.\n(3) Wexler\, interviewed by Vladimir Belogolovsky\, ‘Artist Allan Wexler uses hand tools\,’ n.p. \nImage: Allan Wexler\, Coffee Seeks Its Own Level\, 1990. Coffee cups\, saucers\, vinyl tubing\, fabric\, dimensions variable.
URL:https://artinamericaguide.com/event/allan-wexler-at-independent-20th-century/
LOCATION:Battery Maritime Building\, 10 South Street\, New York\, NY\, 10005\, United States
CATEGORIES:Art Fair
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SUMMARY:Howard Smith | Marks in Time
DESCRIPTION:Jane Lombard Gallery is pleased to present Marks in Time\, an exhibition of new paintings  by Howard Smith. Since the 1960s\, Smith has dedicated his practice to exploring how brushstrokes and marks accrue to make color\, space\, shape and light. An abstract painter\, he was a member of the Radical Painting group meeting in New York in the 1980s. \nIn Smith’s paintings the brushstroke is just as important as the paint applied to the surface. The mark\, then\, is always working with the plane to elicit light. Here\, even with the use of only one color\, the applied color is always interacting with the ground to “make” a new color. The artist primarily paints in his studio by natural light\, which will vary depending on the time of day and time of year. Time becomes a visible theme within the work. The relationship between what is going on in the painting and external light is critical in how the viewer experiences the work. The surfaces of his works are constructed by individual dots\, strokes and lines – an additive process that requires time not only in application but within periods of non-action as well for layers to dry. \nThis need for both action and non-action in his process often means that Smith will work on multiple pieces at one time. He embraces relationality within his bodies of work – one series often informs another series or set of singular works to forge a kind of kinship or lineage. The artist refers to bodies of work as such – families\, beginnings and universes – and their presentation is arranged so that the works have a voice as both individuals and parts of a whole. His ongoing series of “Beginnings\,” for instance\, applies his painting methodology to very small formats. Each work within a “beginning” may only be a few inches across\, but composed of complex layers in color and stroke\, like a cell under a microscope. Smith’s series of “Universes\,” the predecessor to “Beginnings\,” explores the same idea in a slightly larger form with more complex\, detailed compositions – a generational devolution\, distilling process to its essence. \nThe exhibition’s title\, Marks in Time\, highlights this notion of temporal lineage in Smith’s process. The end results of his paintings are never predetermined\, in fact\, frequently he decides to leave them in a state of suspension\, or balanced tension. For him\, making is a slow\, careful process. The artist places great importance on giving the work a pulse; creating living\, breathing macrocosms\, universes with different languages and ways of being. \nAbout the Artist\nHoward Smith (b. 1943\, Chicago\, IL) lives and works in New York City and Pine Bush NY. Smith earned his B.A. from Colorado College in 1965 and went on to graduate school at Stanford University in 1965 & 1966. Smith has also resided in Maine\, Massachusetts\, Chicago\, and Paris. He has taught at the University of Colorado\, Pratt Institute\, School of Visual Arts\, New York University and CUNY College of Staten Island\, where he continues to teach. His work has been exhibited at Williams College Art Museum\, Williamstown\, MA; The Colorado Springs Fine Arts Center\, Colorado Springs\, CO; Kunstmuseum Villa Zanders\, Bergisch Gladbach\, Germany; Kunstmuseum Appenzell\, Appenzell\, Switzerland; Academy of the Fine Arts\, Philadelphia\, PA; Kimmel Galleries\, NYU\, New York\, NY; The Milton Resnick and Pat Passlof Foundation\, New York\, NY; MAMCO\, Geneva\, Switzerland and Magazzini Di Palazzo Gatti\, Viterbo\, Italy.
URL:https://artinamericaguide.com/event/howard-smith-marks-in-time/
LOCATION:Jane Lombard Gallery\, 58 White Street\, New York\, NY\, 10013\, United States
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20211112
DTEND;VALUE=DATE:20211219
DTSTAMP:20260619T004030
CREATED:20210914T142920Z
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SUMMARY:Drawn Together: A Group Exhibition of Works on Paper
DESCRIPTION:Image:\nHoward Smith\nChinese Warrior Series B #10\, 1999-2002\nWatercolor on paper mounted on matte board\n13 x 13 inches \n  \nDrawn Together \nA group exhibition of works on paper \nNovember 12 – December 18\, 2021 \nOpening Reception: November 12\, 2021\, 5 – 7 PM \nJane Lombard Gallery is pleased to present Drawn Together\, a group exhibition of works on paper.  Featuring artworks by Jane Bustin\, Squeak Carnwath\, Sarah Dwyer\, Richard Ibghy & Marilou Lemmens\, Teppei Kaneuji\, T.J. Dedeaux-Norris\, Lucy & Jorge Orta\, Enrico Isamu Oyama\, Dan Perjovschi\, Lucas Reiner\, Stefan Saffer\, Elizabeth Schwaiger\, Howard Smith and Courtney Tramposh\, this exhibition highlights the relationship between artist\, medium and surface\, and the marks made in the process. \nEvery artist has a unique relationship with surface\, especially when it comes to the most humble and universal of mark-making chassis: paper. In our daily lives\, one’s experience with paper is often temporary – taking the form of convenient throwaways like napkins\, newspapers\, cups and containers. As a medium for art\, paper’s versatility can position itself as an archival surface\, or a more intimate\, liminal space – a vehicle through which to experience transition and absence. Paper\, in all its forms\, is a place for ideation; a site for transmission: of voices\, concepts\, stories\, histories\, futures\, daydreams\, nightmares\, and evolving narratives. \nThe artists in Drawn Together use the medium in vastly different ways. Lucas Reiner’s series New York Sidewalk Drawings observe and interpret the stained surface of the sidewalks\, resulting from the build-up of spills dispersed by pedestrians\, bicyclists\, and the effects of time. T.J. Dedeaux-Norris’s handmade papers act as a site for grief work – reclaimed surfaces made from a mixture of her late Mother’s insurance\, hospital papers\, estate paperwork and bits of the artist’s hair. Jane Bustin and Howard Smith use the surface as an extension of their abstract painting practice through delicate experiments in application\, material and color. Elizabeth Schwaiger’s playful paintings document warm spaces of abundance\, creation and proliferation. Stefan Saffer creates intricate abstract compositions from single sheets of painted\, cut and folded paper which can be unfolded to reveal a single form or element\, carving out space for the viewer that resists repetition.  \nDespite their differences in approach\, each artist has in common the use of paper as a mechanism for intimate experience. Whether in the form of words\, lines\, shapes\, splatters or sprays\, marks exist as echoes of collision points\, traces of response\, artifacts of substance\, form\, volume and surface. They embody the applied energy of their maker through gestural changes of rhythm\, and help communicate emotion through visual sequence in an intimate way.  \nAbout Jane Lombard Gallery \nJane Lombard Gallery has a rich 25-year history. Seeking to promote emerging and mid-career artists across disciplines\, the gallery maintains an established reputation for bringing to the forefront artists working within a global perspective relevant to the social and political climate of today. Founded in 1995 in Soho as Lombard Freid Projects\, the gallery later moved to Chelsea\, first to 26th Street\, then to 19th Street in 2010\, reemerging as Jane Lombard Gallery in 2015. The gallery is now located at 58 White Street in Tribeca. \nCOVID 19 Procedures \nThe gallery is open to the public. Currently\, there is a maximum capacity of 25 guests at one time. Masks are required for entry and sanitizer will be provided through no-touch sanitizer station(s). Guests will be required to provide proof of vaccination in accordance with New York City’s new Key to NYC vaccine policy. Exhibition material is available at the front desk. In addition\, the gallery has installed a special air duct system that isolates the different areas of the gallery creating zones of supply and return air to prevent air mixing between spaces. There are also UV-C lights inside every supply duct to prevent the build-up of mold\, viruses & bacteria. \n  \n 
URL:https://artinamericaguide.com/event/drawn-together-a-group-exhibition-of-works-on-paper/
LOCATION:Jane Lombard Gallery\, 58 White Street\, New York\, NY\, 10013\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Halifax:20210910T170000
DTEND;TZID=America/Halifax:20210910T190000
DTSTAMP:20260619T004030
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SUMMARY:Cappuccino in Exile
DESCRIPTION:SAWANGWONGSE YAWNGHWE\nCAPPUCCINO IN EXILE\nSeptember 10 – October 23\, 2021 \nJane Lombard Gallery is pleased to present Cappuccino in Exile\, a new body of work by Sawangwongse Yawnghwe made in response to the Myanmar military coup that began in February of 2021. Using painting both as a mechanism for indexing the present and accessing the past\, Yawnghwe explores current events in parallel with his family’s exilement following the Burmese military coup of 1962. The exhibition will be on view at Jane Lombard Gallery from September 10th – October 23rd\, 2021\, with an opening reception on September 10th from 5 – 7 PM. \nMyanmar (formerly known as Burma) is in turmoil. On the morning of February 1st\, 2021\, a day before the inauguration of a new administration\, a coup began as democratically elected members of the country’s ruling party were forcefully removed from office by the Tatmadaw\, Myanmar’s military. Proclaiming a year-long state of emergency\, the Tatmadaw declared the results of the November 2020 general election invalid\, granting government control to Commander-in-Chief of Defense Services\, Min Aung Hlaing\, until the outcome could be rectified. \nThis sparked a country-wide series of protests\, known now as the “Spring Revolution.” Protesters\, mainly employing peaceful and nonviolent forms of activism\, have engaged in labor strikes\, military boycotts\, civil disobedience\, and a series of public campaigns. The leaders of the coup have fought back with tactics including internet/media blackouts\, mass detentions\, and criminal sentencings\, the deployment of pro-military protesters\, and instigation as a means to violence. As of early July\, nearly 900 lives have been lost at the hands of security forces\, with over 5\,200 in detention. \nYawnghwe is no stranger to political unrest. Born in the Shan State of Burma in 1971\, he comes from the Yawnghwe royal family of Shan; one forced into exile after the Burmese military coup in 1962 by General Ne Win. His painting practice engages contemporary Burmese politics with reference to his family history and the cyclical nature of corruption. Depictions of demonstrators and political figures both from present-day and times past (such as Aung San\, Louisa Benson\, and Bill Young) are paired with hard-edge geometric designs referencing traditional Burmese textile patterns\, which have recently been employed by protesters harnessing the power of old Myanmar lore. It’s been said that women’s bodies and the garments that cover them sap men of their power. Activists have played with this idea and hung women’s undergarments and longyis (long skirts) on clotheslines across streets to deter soldiers from entering protest zones. Many\, unwilling to hurt their chances on the frontlines\, refused to pass underneath them. By including these textile patterns he is not only indexing the protest events of the present\, but referencing the nature of oppression\, and the role fear plays in power struggles; a cultural tableau\, bearing witness to the continuing military suppression of the democracy movement. \nThrough this body of work\, Yawnghwe emphasizes his position as a Burmese artist and activist living in Europe\, one who has the ability to make visible the ongoing struggle of Burma’s people to a broader network through his painting practice. The exhibition’s title\, Cappuccino in Exile\, not only contextualizes this personal awareness but presents viewers with a political critique on European nations that fund the Burmese Military. A cappuccino consists of rich espresso\, topped with a smooth layer of foamed milk and a dash of chocolate garnish; sippable\, luxurious\, rich and relaxing. It’s always easy to sip a cappuccino from safety. \nSawangwongse Yawnghwe (b. 1971\, Burma) has exhibited internationally\, including: Dhaka Art Summit (Bangladesh\, 2020)\, the 9th Asia Pacific Triennial of Contemporary Art (Australia\, 2018)\, the 12th Gwangju Biennale Exhibition (Korea\, 2018)\, Dhaka Art Summit (Bangladesh\, 2018)\, Qalandiya International — Jerusalem Show VIII (Jerusalem\, 2016)\, Steirischer Herbst (Austria\, 2016)\, and Dak’Art 2016/The 12th Biennale of Contemporary African Art (Senegal\, 2016). He has also exhibited in numerous museums\, including: National Museum of Modern and Contemporary Art – Seoul (Korea\, 2020)\, Museum of Modern Art in Warsaw (Poland\, 2018)\, Van Abbemuseum (Netherlands\, 2018)\, MAIIAM Contemporary Art Museum (Thailand\, 2018)\, Irish Museum of Modern Art (Ireland\, 2016)\, and Stedelijk Museum Bureau Amsterdam (Netherlands\, 2015). His works are housed in the collections of MAIIAM Contemporary Art Museum in Thailand and Singapore Art Museum. He lives and works in the Netherlands.
URL:https://artinamericaguide.com/event/cappuccino-in-exile/
LOCATION:Jane Lombard Gallery\, 58 White Street\, New York\, NY\, 10013\, United States
CATEGORIES:Event,Exhibition
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DTSTART;VALUE=DATE:20200227
DTEND;VALUE=DATE:20200701
DTSTAMP:20260619T004030
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SUMMARY:Viewing Room: Jane Bustin: The Color of Words
DESCRIPTION:Jane Lombard Gallery is pleased to present The Colour of Words\, our first solo exhibition with Jane Bustin\, following a successful two-person show in 2017. The London-based artist is recognized for her intimate and minimalist constructions. Bustin’s earthen neutral works are made by applying natural pigment to porcelain\, fabric\, or wood. She cultivates a poetic dialogue between the disparate materials. The exhibition includes paintings\, film\, and porcelain objects. \nJane Bustin was the recipient of a residency award at the Mark Rothko Centre\, in Latvia\, during the summer of 2019. In the former 1833 Fortress just outside of the city of Daugavpils\, Bustin describes a richness of “histories\, secrets\, and buried memories within its walls” where she made her studio. Situated in a brooding outbuilding that once housed a dining hall for Napoleonic soldiers\, a prisoner of war camp\, a post-war aviation engineering school and underground raves in the 1980s. The strangeness and beauty of Bustin’s surroundings compelled an intensive study of her quarters. She suggests the space itself entranced her and directed her practice in those weeks and beyond. \n\nImage:\nJane Bustin\nFrom a mezzanine window\, 2020\nWood\, acrylic\, polyurethane\, silk\, beetroot dye\, 51 x 47 cm.
URL:https://artinamericaguide.com/event/viewing-room-jane-bustin-the-color-of-words/
CATEGORIES:Exhibition,Virtual Events + Viewing Rooms
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