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SUMMARY:Social Works | Curated by Antwaun Sargent
DESCRIPTION:Gagosian is pleased to present Social Works\, a group exhibition curated by Antwaun Sargent with participating artists David Adjaye\, Zalika Azim\, Allana Clarke\, Kenturah Davis\, Theaster Gates\, Linda Goode Bryant\, Lauren Halsey\, Titus Kaphar\, Rick Lowe\, Christie Neptune\, Alexandria Smith\, and Carrie Mae Weems. \nSocial Works considers the relationship between space—personal\, public\, institutional\, and psychic—and Black social practice. With a wide range of material and theoretical approaches\, the work on view is united by a conscious engagement with today’s cultural moment\, in which numerous social factors have converged to produce a heightened urgency for Black artists to utilize space as a community-building tool and a means of empowerment. \nKnown for his masterful use of light\, shadow\, and space\, as well as his integration of diverse forms\, David Adjaye approaches architecture as a way to promote inclusive accessibility and to reflect upon the human legacies embedded in the built past. Asaase (2021)\, his first large-scale autonomous sculpture\, is a maze of nested earthen walls that climb to a conical vertex\, referencing historic works of West African architecture such as the Tiébélé royal complex in Burkina Faso and the walled city of Agadez in Niger. \nTheaster Gates’s installation is dedicated to the legendary DJ Frankie Knuckles\, the “Godfather of House Music” whose pioneering sounds shaped the Black- and queer-led 1980s house music scene. A collaboration with the Rebuild Foundation—Gates’s Chicago-based nonprofit organization focused on art\, cultural development\, and neighborhood transformation—the work features a special display of over five thousand records from Knuckles’s personal archive\, many of which will be digitized as they play in the gallery. \n\nThroughout her fifty-year career which includes opening Just Above Midtown\, one of the first galleries in New York to focus on work by artists of color\, in 1974\, Linda Goode Bryant has created spaces that allow Blackness to resonate across personal\, official\, and public domains. Made in collaboration with architect Elizabeth Diller\, Goode Bryant’s Are we really that different? (2021)—an installation featuring an operational farm and a new video—brings together her work as a filmmaker and gallerist with Project EATS\, the urban farming organization she founded in 2009\, highlighting the symbiotic\, and often parasitic\, relationships between humans and nature that arise in the modern industrial world. \nLauren Halsey draws on Afrofuturism\, funk\, and her South Central Los Angeles roots to construct radical visions of urban life. Halsey’s “box” sculptures comprise acrylic blocks emblazoned with colorful fragments of commercial signage\, graffiti\, and other examples of the community-based hieroglyphics that give visual life to her neighborhood. They acknowledge South Central’s past as well as its imagined future\, but also conjure an improvisational fantasy space where imagination\, celebration\, and self-reinvention are collective phenomena. \nTitus Kaphar’s art deconstructs existing representations and styles\, seeking to dislodge history from its status as “the past” in order to understand its continued impact on the present. In 2015\, Kaphar cofounded NXTHVN\, a nonprofit arts hub in Dixwell\, New Haven\, Connecticut\, that provides fellowships\, residencies\, and professional development opportunities to artists\, curators\, and students. For Social Works\, Kaphar presents his painting A bitter trade (2020)\, which he whitewashed for a live NXTHVN event in 2020. \nAlongside Kaphar’s painting is a selection of diverse artworks by five artists\, all former NXTHVN Studio Fellows\, that offer fresh meditations on the Black body’s use of space. Overlaying literary and archival materials atop photographs\, Zalika Azim explores personal and collective narratives as an avenue for investigating their larger effects on memory\, lineage\, possibility\, and belonging. Allana Clarke’s sculptures and performances destabilize ideas of beauty\, care\, and labor\, seeking to replace them with an unbounded approach to physical and psychological existence. Weaving the written word—both materially and conceptually—into intricate drawings\, Kenturah Davis underlines the fundamental role that language plays in the shaping of personal and public identity. Christie Neptune’s photography and video works capture precise moments\, drawing attention to the charged interactions between society’s structures and those that they categorize and constrain. Populating shaped canvases with sleek forms that recall the medium of collage\, Alexandria Smith’s dreamlike allegorical paintings visualize the many unspoken roles\, contradictions\, and uncertainties impressed upon the Black female body. \nRick Lowe’s abstract paintings allude to a phenomenon that he terms “domino culture”: the social spark and unique joining of lives that comes about through the game. Lowe\, who founded the art-based community platform Project Row Houses in the Third Ward of Houston\, Texas\, brings his approach to social commitment to a new series of canvases that memorialize the 1921 Tulsa\, Oklahoma\, massacre—where white supremacists razed the city’s Greenwood District\, the prosperous neighborhood known as “Black Wall Street”—and commemorate the resilience of the survivors who rebuilt their hometown from the ground up. \nIn Carrie Mae Weems’s photographic series Roaming (2006) and Museums (2006–)\, the artist—clad in a flowing black dress and facing away from the camera—appears at numerous sites: Roman palazzos\, rustic paths\, and stately museum facades. Poetic and emotionally charged\, the images meditate on the “edifices of power” that racialize\, sexualize\, and confine the human body. Yet Weems’s presence holds a calm dominion over these expansive spaces; she inhabits and confronts each site with quiet dignity\, asserting her indelible freedom to roam. \n\nImage:\nInstallation view\, Social Works curated by Antwaun Sargent at Gagosian 555 West 24th Street\, New York\, June 24 – August 13\, 2021.\nPhoto: Rob McKeever. Courtesy Gagosian.
URL:https://artinamericaguide.com/event/social-works-curated-by-antwaun-sargent/
LOCATION:Gagosian 555 West 24th St\, 555 W. 24th St\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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SUMMARY:Georg Baselitz: Springtime
DESCRIPTION:  \nGagosian is pleased to present Springtime\, an exhibition of new paintings by Georg Baselitz. \nThroughout his long and distinguished career\, Baselitz has combined a direct and provocative approach to making art with an openness to art historical lineages\, counting among others Willem de Kooning and Philip Guston as his key influences. In 1969\, he began composing the inverted images for which he has become best known to slow the processes of making\, looking\, and apprehending. During the past fifty years\, he has augmented his visual language with a range of formal and historical allusions while consistently returning to the human figure. Often he reinterprets—cannibalizes—his own work. \nJust as the exuberant provocations of Dada—as seen in the work of Hannah Höch\, George Grosz\, and others—emerged out of the catastrophes of the First World War\, so does Baselitz’s title herald a spirited reawakening from the ravages and restrictions of the current pandemic. In this new series\, he has\, for the first time\, introduced the idea of collage by gluing pairs of nylon stockings onto canvases and painting over and around their diaphanous forms in white\, black\, or gold. In some paintings\, these stocking-figures remain distinct from their backgrounds\, while in others\, printed impressions replace the hosiery itself\, their stretched forms snaking from multihued “skirts” of expressive splatters\, like plants from undergrowth. Here\, the stockings retain their associations with the human body while also evoking both botanical and abstract forms. \n\nArt historian Eric Darragon\, in his essay on the exhibition\, cites numerous indicators of stockings’ extensive history in cinema as well as in art\, tracing their appearances in such classic films as Francois Truffaut’s La Peau douce (The Soft Skin) (1964) and Mike Nichols’s coming-of-age narrative\, The Graduate (1967); or Degas’s images of dancers and Egon Schiele’s confrontational nudes. As a kind of collegial memory\, Baselitz has titled several of the paintings in reference to women artists\, including Helen Frankenthaler\, Sarah Lucas\, and Kiki Smith. \nSpringtime attests to Baselitz’s seemingly infinite capacity for artistic renewal\, innovation\, and tongue-in-cheek irreverence while continuing to harness the resilience of his distinctive methods and motifs. The appearance of the stockings\, literally preserved in paintings such as Start ins Unbekannte (Off into the Unknown) (2020) and Freier Flug (Free Flight) (2020) serves to underscore the fleeting and enduring qualities that coexist there\, drawing together an unexpected network of connections among images from the twentieth and twenty-first centuries. \nAn illustrated catalogue with a text by Eric Darragon will accompany the exhibition. \nSpringtime overlaps with the exhibition Archinto at the Museo di Palazzo Grimani\, Venice\, and anticipates Baselitz’s retrospective at the Centre Pompidou\, Paris\, which will open on October 20. \n\nImage:\nGEORG BASELITZ\nSpringtime\, 2021\, installation view\n© Georg Baselitz\nPhoto: Rob McKeever\nCourtesy Gagosian
URL:https://artinamericaguide.com/event/georg-baselitz-springtime/
LOCATION:Gagosian 555 West 24th St\, 555 W. 24th St\, New York\, NY\, 10011\, United States
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SUMMARY:Theaster Gates: Black Vessel
DESCRIPTION:“I always find myself returning to the vessel. It is part of the intellectual life force of my practice and it precedes all other forms of making.”\n—Theaster Gates \nGagosian is pleased to present Black Vessel\, Theaster Gates’s first-ever solo exhibition in New York. \nGates’s oeuvre is among the most conceptually and materially rich in contemporary art\, anchored equally in the canons of art history\, the racial ideology of the Black diaspora\, and the artist’s own personal history. Through an art practice predicated on cultural reclamation and social empowerment\, Gates exchanges and recharges objects and ideas\, proposing the artwork as a communicating vessel or sacred reliquary of recollected histories\, critical vitality\, and shared experience. Traversing a broad range of formal approaches such as painting\, sculpture\, sound\, and performance\, as well as the processes of salvaging\, archiving\, and place making\, he delivers penetrating social commentary on labor\, material\, spiritual capital\, and commodity within a close examination of the urban condition. \nThe Brick Reliquaries (2020) are Gates’s latest sculptural experiments. By firing bricks with a strong manganese content to an excessive 2300°F\, the known properties of the materials are transformed into the mysteries of heat-based sculpture. In some instances\, the material loses its specificity when pushed to such limits; in others\, the carbide shelves inside the kiln fuse with the bricks and other sculptural elements that rest on them\, becoming host to material transformation. \n\nIn 2012 Gates began to formalize his knowledge of roofing techniques into a new territory of experimental painting\, working with tar to make the invisible roof legible. In a new suite of paintings completed this year\, Gates has intensified his approach\, crafting painted torch down into taut conjoined backdrops for the interplay of archaeological tarred fragments. Just as postwar artists set themselves apart from gestural abstraction by utilizing mass-produced industrial materials and techniques in place of paint and canvas\, Gates has imbued abstract painting with unprecedented form and meaning—first with the Civil Tapestries (2011–)\, which charged Minimalist language with the legacies of racial injustice; and now in ruggedly elegant works that employ the signifying materials and skilled labor of roofing to invoke a poignant meditation on urban spirit and its implicit obsolescence. \nGates promotes the vessel as a container of the concrete\, the symbolic\, and the spiritual—a metaphor for embodied existence or a means by which to gather communities together in time and space. For him\, the clay vessel is a universal object of ritual significance. In a diverse group of unique large-scale works in glazed and fired clay\, his evident formal virtuosity unites ancient traditions with modernist aesthetics\, and draws elective affinities between Eastern\, Western\, and African techne. \nSwitching scales from vessel as object to vessel as architecture\, Gates has dramatically transformed the vast west gallery into a resonant place for shared contemplation by lining the walls entirely with Roman bricks customized from reconstituted remainders\, blackened with manganese dioxide and dye. (A direct precursor to this gesture is the 2017 permanent commission Black Vessel for a Saint at the Walker Art Center in Minneapolis\, a minimalist cylindrical shrine built from black bricks that contains a life-size statue of St. Laurence\, the patron saint of librarians and archivists.) \nHoused in this awe-inspiring brick sanctuary are two large-scale archive works\, both rich repositories of historic Black printed matter. The towering New Egypt (2017) houses the complete bound volumes of Ebony\, the Johnson Publishing Company periodical (1945–2016) that promoted and celebrated the realities of Black American middle-class life. The red\, black\, green\, and dark gray covers reference the Black Power movement\, while the wooden shelving structure acknowledges various forms of Africanized architecture. The title of the work and its content reflect the teachings of Dr. Maulana Karenga\, a founder of Kwanzaa and a prominent figure in early Africana studies\, who posited that the Black American experience is adjacent to Nubian and Egyptian experiences of “African kingdoms.” Given that\, historically\, a key Western tactic to dominate other civilizations was to assassinate scholars and intellectuals and pillage or burn libraries\, both New Egypt and its exhibition companion Walking Prayer (2018–20) serve as precious intellectual reliquaries whereby Black knowledge is restored and reconstituted as monuments to the truth of the Black archive and the importance of Black identity in the pursuit of world knowledge. \nFor Walking Prayer\, Gates utilized a wide-ranging historical collection of published books on Black experience\, rebinding them in black and embossing the spines with language to constitute one long poem or performative score that moves among many modes of address—inchoate\, enunciative\, interrogatory. Arranged in an original cast-iron Carnegie open-access library shelving unit\, a modular design that helped revolutionize modern libraries\, Walking Prayer invites the viewer to engage in Gates’s poetic invocation where reading becomes a processional act and the gallery transforms into a latent warehouse of emotional and spiritual devices. A single Leslie speaker amplifies a single chord from a Hammond B3 organ—a pairing synonymous with Black church gospel and jazz—in a minimal sound loop\, building to a crescendo to further sacralize the space. \n\nImage:\nTHEASTER GATES\nBlack Vessel\, 2020\, installation view\nArtwork © Theaster Gates\nPhoto: Rob McKeever\nCourtesy Gagosian
URL:https://artinamericaguide.com/event/theaster-gates-black-vessel/
LOCATION:Gagosian 555 West 24th St\, 555 W. 24th St\, New York\, NY\, 10011\, United States
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