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DTSTART;VALUE=DATE:20190511
DTEND;VALUE=DATE:20190616
DTSTAMP:20260430T004745
CREATED:20190529T205155Z
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SUMMARY:David Novros
DESCRIPTION:An exhibition of work by David Novros will open at Paula Cooper Gallery on May 11th\, 2019\, highlighting the breadth of his artistic production. In addition to several large-scale multipartite canvases—for which the artist is most well-known—the show will explore Novros’s expansive and prolific approach to painting across a range of material and scale. Included will be painted works of copper\, iron\, and ceramic as well as watercolors. The show will open with a reception from 6 to 8 pm on Saturday\, May 11th and remain on view through June 15th at 524 West 26th Street. \nNovros creates work that pushes beyond its internal pictorial space to generate a dynamic\, kinesthetic experience. Inspired by Italian frescoes\, Byzantine mosaics\, Paleolithic cave paintings\, and other in situ artworks\, his surfaces are not intended to hold the eye but rather to promote movement with a painted place. The artist explains: “I am trying to identify the poetic reality of the paintings. I don’t have any particular system. Sometimes I paint one area of a painting for years—trying to find the ‘right’ light. I keep working until the painting gives me permission to move on.”1 \nIn Boathouse\, 2016\, a work first commissioned as a painted place\, Novros employs an iterative motif of borders and right angles—both within the painted composition of each canvas as well as in their collective arrangement on the wall. Enhanced by the use of subtle tonal shifts or\, alternately\, bold complementary colors\, the work is at once placid and buoyant. Though the artist’s technique first appears simple\, on close examination its rich variation of brushwork and hue builds an elusive yet almost tangible layered depth. For his recent work K (2017)\, Novros pushes this further by once again using iridescent Murano paint and oil to achieve a luminous and radiant surface. \nBeyond the canvas works\, a selection of watercolors\, painted Coppers\, and ceramic objects explore a wide vocabulary of materials and forms. Created in the 1980s in New Mexico\, Novros’s copper works are made by exploding a line charge to generate projections in the metal. The works recall Novros’s interest in Byzantine and Paleo-Christian art and reflect his fascination with the process of their creation. Novros’s porcelain and plaster Solar Model envisions an architectural shelter to house a mural cycle. Evocative of an atrium-style Roman house\, the object relates to two new monumental canvas works\, also on view\, which are based on imagined views of the model’s painted interior. Made in 1975\, Portable Cave recalls the artist’s acclaimed portable murals\, which he began in 1965 as a way to expand his interest in painting-in-place. The work’s earthy tones and recessed space absorbs ambient light. \nDavid Novros was born in 1941 in Los Angeles\, CA\, and received a Bachelor of Fine Arts from the University of Southern California in 1963. His work was first exhibited in a two-person show with Mark di Suvero in 1965 at the Park Place Gallery in New York. Novros had his first one-person shows at Park Place Gallery and Dwan Gallery the following year. His work has been exhibited in prominent venues\, including the Solomon R. Guggenheim Museum\, New York; the Museum of Modern Art\, New York; the Museum of Contemporary Art\, Chicago; the Whitney Museum of American Art\, New York; the Los Angeles Museum of Contemporary Art\, Los Angeles; the Dallas Museum of Fine Art\, Dallas; and the Museum of Fine Arts\, Houston. Novros was the subject of a one-person show\, Contemporary Conversations: David Novros and The Menil Collection\, in 2006. The show was part of a series of exhibitions that continues to celebrate living artists whose works are in the Menil’s permanent collection. The Museum Wiesbaden (Germany)\, presented a one-person exhibit of Novros’ work in 2013 and permanently installed his monumental piece\, Salidas (2012-2016) in 2017. The artist currently lives and works in New York City. \n\n\nPhong Bui\, “In Conversation: David Novros with Phong Bui\,” The Brooklyn Rail\, June 7\, 2008.
URL:https://artinamericaguide.com/event/david-novros/
LOCATION:Paula Cooper Gallery\, 524\, 524 W 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20190413
DTEND;VALUE=DATE:20190505
DTSTAMP:20260430T004745
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SUMMARY:Leonard Contino
DESCRIPTION:An exhibition of paintings by Leonard Contino opens on April 13th\, 2019 in the gallery’s vitrine space at 529 West 21st Street. A self-taught artist\, Contino (1943–2017) worked extensively in painting as well as sculpture\, wall relief and collage for over fifty years\, creating complex works of geometric abstraction. In their delicate transparencies\, subtle hues\, and changing perspective\, the four paintings presented here demonstrate the artist’s perseverance and dedication to artmaking\, after suffering an injury in 1962 that left him a quadriplegic. The exhibition will be on view through May 4th\, 2019. \nOrganized into distinct bodies of work\, Contino’s practice explores shifting spatial dynamics through a keen manipulation of color and form. Following a diving accident at the age of 19 that resulted in quadriplegia\, Contino met artist and fellow patient Mark di Suvero while receiving treatment at the Rusk Institute in New York. Through the encouragement of di Suvero\, Contino began to make drawings and eventually to paint: “He brought me brushes\, paint and canvases. [He] took me around and explained to me about art … He taught me without teaching. He made me want to do it.” \nFor the paintings on view\, created between 1984 and 1994\, Contino described his process as one of improvisation\, erasure\, and phenomenological acuity. Using a palette of softened colors\, Contino painted multifaceted and whimsical shapes against an atmospheric backdrop of subtly changing hue. Merging architectural linearity and impulsive biomorphism\, the variable forms resist structural clarity as their illusionistic modeling opposes a consistent or logical ordering of space. Contino’s artist’s statement explains: “Within this flexible geometry\, the spatial ambiguities occur over time creating a continually shifting pictorial plane.” The delicate composition of synthesized shapes and constructional elements recede and protract\, producing a radiant and lively optical tension. \nWith the support of artist friends that included Mark di Suvero\, James Clark\, and Frosty Myers\, Leonard Contino (b. 1943\, New York City) remained dedicated to artmaking for over fifty years. In the 1960s and early 1970s\, Contino’s work was exhibited at such New York venues as the Green Gallery\, Park Place Gallery\, Paula Cooper Gallery\, and P.S. 1 Contemporary Art Center. In 1978\, Janie C. Lee Gallery in Houston presented a one-person show of his work. More recently\, the artist’s paintings were presented at the CUE Art Foundation in an exhibition curated by Mark di Suvero in 2013\, and at Mitchell Algus Gallery in 2015. Contino’s works are in a number of museums and private collections including the Hirshhorn Museum and Sculpture Garden in Washington D.C.\, the Dallas Museum of Art in Texas\, and the Foundation of Contemporary Art\, Geneva. Contino passed away in 2017 in Queens\, New York.
URL:https://artinamericaguide.com/event/leonard-contino/
LOCATION:Paula Cooper Gallery\, 529\, 529 W 21st Street\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20190413
DTEND;VALUE=DATE:20190525
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SUMMARY:Walid Raad
DESCRIPTION:A one-person exhibition of work by Walid Raad will open at Paula Cooper Gallery on April 13th\, 2019. The presentation will include a number of recent photographic\, video and print works from the artist’s ongoing project titled Sweet Talk—a set of self-assigned documentary commissions that study the city of Beirut. The exhibition will be on view through May 24th\, 2019 at 521 West 21st Street. There will be an opening reception on Saturday\, April 13th from 6 to 8pm. \nCapturing a composite truth that stretches beyond historical fact\, the works on view explore Beirut’s constant physical transformation during the protracted wars. In the early 1990s\, Beirut’s ravaged downtown embarked on vast reconstruction\, launching the largest urban redevelopment project of the city’s history with the establishment of the Beirut Central District. Examining the persistent effects of the war\, as well as the use of photography and video as an index for archiving a violent past that lingers\, the works in this exhibition cast a quizzical\, mediated eye onto images of the city from this time. \nIn a large-scale video work consisting of kaleidoscopically mirrored loops\, dilapidated buildings silently crumble into clouds of debris. As the playback reverses\, the buildings reemerge from their ruins\, only to crumble again. The footage is derived from video documentation of hundreds of buildings being demolished to make way for the new\, glittering postwar city center. As the video plays forward and backward in a seamless and infinite loop\, the dust billows dissolve into abstract blooms\, confronting the viewer with the horror and beauty that history exerts onto living spaces. The iterative rise and fall\, doubling and rebroadcasting\, evokes the contingent nature of power relations\, urban communities\, and the body politic. \nIn a series of black and white photographs\, ostensibly derived from a book found in a flea market\, Raad explores the texture of the Mediterranean city through the eyes of an acolyte he identifies as the “unsung Lebanese photographer Ahmed Helou.” The photographs have—seemingly—been annotated by an anonymous third party with personal recollections ascribed to each of the depicted locations. Re-photographing the found book\, Raad collapses authorship to mine the space in which parallel pasts exist simultaneously. In another series\, Raad presents his own photographs of shuttered commercial facades taken in 1984: “I was thrilled to be hired by a cousin active in the local militia\, to photograph various storefronts” he writes in the wall text. The images act as preserved referents of a city that is haunted both materially and psychologically. \nFor over twenty-five years\, Walid Raad (b. 1967\, Lebanon) has created work that explores the ways that events of physical and psychological violence affect bodies\, minds\, culture\, and historical narrative. His work has been the subject of numerous one-person exhibitions\, including a forthcoming presentation at the Stedelijk Museum Amsterdam titled “Let’s be honest\, the weather helped\,” opening May 18\, 2019. Other notable presentations have been held at the Hamburger Bahnhof\, Berlin (2006)\, the Reina Sofia Museum\, Madrid (2009)\, the Whitechapel Art Gallery\, London (2010)\, Museo Tamayo\, Mexico City (2011)\, Carré d’Art\, Nîmes and MADRE Napoli (both 2014). In 2015\, Raad was the subject of a mid-career retrospective at the Museum of Modern Art\, New York\, that traveled to the Institute of Contemporary Art\, Boston\, and Museo Jumex\, Mexico City. His work has been shown in such international exhibitions as Documenta 11 and 13 (2002 and 2012)\, the Istanbul Biennial (2015)\, the first Vienna Biennale (2015)\, the Whitney Biennial (2000 and 2002)\, and the 2003 and 2015 Venice Biennale\, among others. Raad is the recipient of numerous awards and prizes including the 2007 Alpert Award from CalArts\, the 2011 Hasselblad Award\, and the 2016 Infinity Award in Art from the International Center of Photography. The artist currently lives in New York City where he teaches at (the still charging tuition) Cooper Union’s School of Art.
URL:https://artinamericaguide.com/event/walid-raad/
LOCATION:Paula Cooper Gallery\, 521\, 521 W 21st Street\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20190404
DTEND;VALUE=DATE:20190505
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SUMMARY:Céleste Boursier-Mougenot\, Liz Glynn\, Robert Grosvenor\, Justin Matherly\, Paul Pfeiffer
DESCRIPTION:Opening on April 4th\, 2019 is a group exhibition of major sculpture by Céleste Boursier-Mougenot\, Liz Glynn\, Robert Grosvenor\, Justin Matherly\, and Paul Pfeiffer\, each inhabiting a discrete part of the gallery. Encompassing a range of material and scale\, the works obscure the boundaries of familiar objects\, traditional narratives\, and normative modes. Using techniques of remaking\, rebroadcasting\, and repurposing\, the artists expose the underside of things presumed known. The exhibition will be on view through May 4th\, 2019 at 524 West 26th Street. There will be an opening reception on Thursday\, April 4th from 6 to 8pm. \nExtracting musical potential from the soundtrack of quotidian life\, Céleste Boursier-Mougenot’s index\, v.4 (2005/2009) consists of an unaccompanied Pleyel grand piano\, mysteriously playing without a pianist. Wired to a complex\, live feed\, the piano strikes notes based on a predetermined metric for translating data into pitch\, repetition\, and chord. Concretizing as music\, the piece renders enigmatic and affective the mundane functions of the everyday. Boursier-Mougenot states: “It is not a question of putting a sound object on display\, but rather to show the unfolding of a whole system.” \nLiz Glynn studies the ways in which cultural objects of the past embody or challenge values\, power dynamics\, and social systems. Originally conceived for her major exhibition at SculptureCenter\, Afterimage: Cuzco (Golden Maize)reexamines the Spanish conquest and cultural destruction of the Incan Empire—specifically the 1532 ransom of Incan emperor Atahualpa by Francisco Pizarro. Glynn’s golden corn stalks and maize act as literal and poetic surrogates for the massive sums of precious metals that Pizarro demanded as payment. Through their humble materials and imperfect artisanship\, Glynn’s reproductions question their own authenticity and ultimately the narratives that they denote.1 \nFor his recent sculpture Untitled (2018)\, Robert Grosvenorpresents a vehicular object standing upright in the center of a self-contained space. Illuminated from the rear\, the rectangular receptacle is left open on one end\, revealing a brilliant golden interior. Quietly and strangely punctuating the container\, the central structure asserts a matter-of-fact presence\, its cardinal red body reflecting the suffusive amber light. Resisting interpretation as both a discrete and holistic entity\, the work mines the tension between the familiar and the disaffiliated\, eluding semantic specificity. \nJustin Matherly’s works explore the recrudescence of his 2017 monumental presentation\, titled Nietzsche’s Rock—modeled after a pyramidal boulder in Switzerland\, where Friedrich Nietzsche first formulated his thought of Eternal Recurrence in 1881. For his new works\, Matherly recasts the fragmented molds from his public sculpture\, creating discrete pieces with richly varied surfaces—alternately luminous and alabastrine\, or fissured and stained with nuanced hues. Both spectral and material\, the enigmatic forms evoke Nietzsche’s explanation of Eternal Recurrence as “the heaviest weight\,” whispered by demons as they “steal into your loneliest of loneliness”—but conversely also as the path to supreme affirmation. \nFor Paul Pfeiffer’s new work from his Desiderata series\, the artist rebroadcasts televised excerpts from the American game show\, The Price is Right\, on two miniature screens. Through subtle\, digital manipulations\, Pfeiffer maroons its contestations within the stage set\, keying into their emotional vulnerability. Re-contextualized as a Seussical landscape of brash color and kaleidoscopic proportion\, the absurdity of the stage heightens the isolation of its participants and mirrors the unattainable folly of their consumer desires. Empty shelves and prefabricated props bear evidence of aging and wear\, underscoring a sense of manufactured and systematic false promise. \n\n\nMary Ceruti\, “Liz Glynn: RANSOM ROOM\,” exh. cat.\, SculptureCenter\, Long Island City\, NY (2014)
URL:https://artinamericaguide.com/event/celeste-boursier-mougenot-liz-glynn-robert-grosvenor-justin-matherly-paul-pfeiffer/
LOCATION:Paula Cooper Gallery\, 524\, 524 W 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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