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SUMMARY:Echoes of Paradise
DESCRIPTION:Jane Lombard Gallery presents Echoes of Paradise\, a group exhibition curated by Alejandro Jassan. Echoes of Paradise explores the multifaceted significance of the Garden of Eden through the lenses of nature\, art history\, cultural assimilation\, gender identity\, and forbidden pleasures.
URL:https://artinamericaguide.com/event/echoes-of-paradise/
LOCATION:Jane Lombard Gallery\, 58 White Street\, New York\, NY\, 10013\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/New_York:20240503T180000
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SUMMARY:Eva Struble: Gravity of Small Things
DESCRIPTION:Jane Lombard Gallery is pleased to present Gravity of Small Things\, a solo exhibition of new works by California-based artist Eva Struble. Through painting and textile\, Struble explores the concept of embodiment in the landscape\, relating the physical act of making to her multi-sensory and visionary experience of place. Contemplating the symbiotic relationship between humans and nature\, the works collectively take into consideration our changing environment. \nStruble’s paintings distill her physical experience of nature – the sharp touch of Yucca on her local hikes\, the early morning smell of the Chaparral\, or the disorientation of floating above seagrass in the ocean. Orchestrating a suite of visual constructs\, the artist oscillates between chance and control while experimenting with pigments\, media\, layering\, and collaging. Her work suggests a reflective yet speculative vision teeming with biodiversity and notions of cohabitation between species without interference. \nThe eponymous painting Gravity of Small Things effortlessly blends hazy nostalgia with honest representation and creative world-building. Sharp and soft edges intermingle in shallow focus as the viewer moves through silhouetted trees and gradient purple obstructions flecked with blue and red confetti-like marks. The landscape is at once familiar and remote\, existing outside of conventional constructs of time and space. Recognizable elements break up the variegated ecosystem\, playing with our perception to reveal effects similar to sunlight illuminating the changing leaves or the sparkle of reflections dancing on the surface of the water. \nSnapshots of landscapes morph into organic forms as Struble reconciles her visual and corporeal memories of nature with her own body’s shapes\, twists\, and turns. In Malajon\,  layered washes of vibrant greens\, blues\, and pinks blend together to create a dynamic composition of varying depths\, engaging our collective visual memory to suggest the ethereal entrance to an untouched cave\, or perhaps a quiet adventure amidst jungle flora. As deliberate as it is exploratory\, the artist’s otherworldly painterly manipulation gradually gives way to lend a semblance of reality to the abstracted composition. Drawingupon the viewer’s own experiences to evoke imaginative reflection\, Struble’s works straddle the line between the human and natural worlds\, simultaneously pushing and pulling to suggest alternative ways of coexisting.
URL:https://artinamericaguide.com/event/eva-struble-gravity-of-small-things/
LOCATION:Jane Lombard Gallery\, 58 White Street\, New York\, NY\, 10013\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/New_York:20240308T180000
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SUMMARY:Massinissa Selmani: a fault in the mirage
DESCRIPTION:“Drawing is a way of reasoning on paper.”\n – Saul Steinberg \nJane Lombard Gallery is pleased to present a fault in the mirage\, a solo exhibition by gallery artist Massinissa Selmani. Through drawing\, collage\, animation\, and sculpture\, the presented works combine decontextualized documentary photography with drawn motifs that ambiguously allude to narratives of power and authority. This will be Selmani’s first solo exhibition with the gallery and in the United States. The exhibition will open on March 8th with a reception from 6 – 8 PM and run through April 27th. \nReferencing Susan Sontag’s 2004 essay Regarding the Pain of Others\, Selmani notes that drawings\, rather than providing yet another example of linear history\, are meant to evoke rather than show. A fault in the mirage highlights elements of humor\, tragedy\, and the absurd\, evoking individualized narratives to be filled by reminiscences of the imagination.  Recurring symbols such as walls\, barriers\, monuments\, flags\, and targets are preserved across media as non-specific contextual cues that serve to both provoke emotion and confound reason. Principally delineated by graphite\, Selmani’s grayscale figures and motifs are contrasted by bursts of colored pencil at key points in the composition. The artist sources many of his drawn figures from disparate newspaper photographs\, situating them within settings of impossible architecture to create novel\, imaginative contexts that mirror the abstractive capacity of his memory. In Uncertain Rules\, the artist builds an oneiric scene of absurd humor\, featuring a girl stacking large stones on top of an inflated red balloon that is placed on the raised end of a see-saw. The other end of the plank is weighed down by a monument-like bust\, set before a strange  configuration of wall\, window\, and ladder that fails to prevent or facilitate any intrusion.  Indications of setting or the passage of time are suggested simply by traces of the absent – shadows\, light\, and perspective – set against a meticulously rendered skyscape of billowing clouds. Selmani’s mise-en-scènes are snapshots in space and time\, suspended situations that call upon the visual and perceptual memory of the viewer to render them strangely familiar yet firmly unplaceable. \nSelmani’s sculptural and installation works activate the gallery space to render his fabricated world in the third dimension\, giving visitors an epistemological encounter with the absurd. Vague excerpts like “but then” or “into” carry the pretense of clarification while further entrenching the scene in confusion. The presented animations feature clips of nonsensical\, comical actions\, but the loop that remains in time turns it toward tragedy. The animation La place et le lieu depicts a bird attached via a string to the lower half of a monument; tasked with eternally beating its wings\, the bird is frozen in place as the force of its futile flapping holds the statue marginally suspended. Charged with non-specific political and nationalist critique\, Selmani notes that his work aims “to show the unfathomable\, to build a network of associations between ideas and forms\, and to think of art for what it does to us rather than what it tells us.”
URL:https://artinamericaguide.com/event/massinissa-selmani-a-fault-in-the-mirage/
LOCATION:Jane Lombard Gallery\, 58 White Street\, New York\, NY\, 10013\, United States
CATEGORIES:Exhibition
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SUMMARY:Sydney G. James: Girl Raised in Detroit
DESCRIPTION:Jane Lombard Gallery is pleased to present Girl Raised in Detroit\, a solo exhibition by Detroit-based artist Sydney G. James. Following her recent exhibition at the Museum of Contemporary Art Detroit\, Girl Raised in Detroit will feature new and existing large-scale sculptural paintings and installations. Inspired by her multifaceted career as a muralist\, clothing designer\, and cultural organizer\, the works continue James’ exploration into themes of community\, connectivity\, and identity. The exhibition opens with a reception on January 12 from  6 – 8 PM. \n   \nKnown for taking on the walls of buildings as her substrate of choice\, James pares down her portraits for Girl Raised in Detroit by a magnitude that delicately balances intimacy with monumentality. On canvas\, James delineates members of her immediate circle on a larger-than-life scale using striking\, vivid colors that evoke joy\, pain\, strength\, and resilience. Orchestrating an artist-muse relationship that speaks to her subjects’ lived experiences and personal histories\, James fosters an environment wherein both parties can engage in reciprocal emotional support. In her series Bereavement\, James depicts her subjects respectively shedding masks made from repurposed clothing items that carry personal traumas\, acknowledging the freighted history of sequestering racial struggles behind a façade. \n  \nThe artist seeks to establish spaces of freedom and security that mirror the creative sanctuaries of the city that raised her. In The Westside Johnsons\, James recreates her uncle Maurice’s 70s-era living room in the downstairs gallery. Decor\, furniture\, and avocado green walls provide a sense of familial security that invites visitors to a place and time that served as a sanctuary for James. The focus of the installation\, a large-scale family portrait inspired by a photograph taken on July 4\, 1978\, depicts a cheerful and welcoming Maurice surrounded by his eleven siblings. With a posture or gaze\, The Westside Johnsons communicates the strength offered by a unified and loving family structure\, their expressive faces brimming with humor and pride. The installation immerses viewers in the hospitality of James’ extended family as they are invited to sit and contemplate the bounds of and criteria for safety and freedom. 
URL:https://artinamericaguide.com/event/sydney-g-james-girl-raised-in-detroit/
LOCATION:Jane Lombard Gallery\, 58 White Street\, New York\, NY\, 10013\, United States
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20231027
DTEND;VALUE=DATE:20231217
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SUMMARY:Bradley Wood: Notes from a Lucid Dream
DESCRIPTION:“Fantastic as it may sound\, I was in full possession of my waking faculties while dreaming and soundly asleep: I\ncould think as clearly as ever\, freely remember details of my waking life\, and act deliberately upon conscious\nreflection. Yet none of this diminished the vividness of my dream. Paradox or no\, I was awake in my dream!” \n-Stephen LaBerge\, Lucid Dreaming (1986) \nJane Lombard Gallery is pleased to present Notes from a Lucid Dream\, a solo exhibition of new\npaintings by Canadian artist Bradley Wood. The featured works transport viewers into the lavish\ndomestic environment of Wood’s envisioned dreamscape\, where conspicuous consumption is limited\nby imagination alone. The exhibition will be on view from October 27 – December 16\, with an opening\nreception on Friday\, October 27 from 6 – 8 PM. \nNotes from a Lucid Dream displays an illusive vision of luxury that straddles desire\, material wealth\,\nand ennui. Wood affords the voyeuristic viewer a forbidden glimpse of what he envisions to be\nunfolding within the walls of society’s most palatial mansions\, implying a sense of longing curiosity on\nbehalf of artist and audience alike. Drawing from his own dreamlike states\, Wood frequently renders\nthe human body as composite\, destabilizing distinctions between inside and outside\, figure and\nground\, reality and fiction; eccentric characters materialize from the drapes\, march out of the walls\, or\nelse evanesce into amorphous entities of color and fabric. In Lounging with Gloria enigmatic figures\nare delineated by sensual tones and swaths of thick oil paint as they lounge languidly about their\nextravagant surroundings. Engaged in the pursuit of recreational pleasure\, the depicted figures seduce\nviewers with their unobtainable lifestyles and apparent ease of living. Elsewhere\, such as in Squeak\,\nfurniture and fixtures blend together in a swirl of generative delirium as surreal figures are actively\nspawned from the garish confusion\, merging bodies with their encompassing possessions. \nReferring to his paintings as “domestic fictions\,” Wood enlists the depicted figures as actors to\ncommunicate the seductive nature of wealth and the widespread desire to inhabit such spaces of\nluxury. Much like characters in a play\, the actors are tasked with generating an atmosphere of reality\nthat captures a fascination with wealth and excess but also an inexplicable associated anxiety. Indeed\,\nWood’s figures are underscored by an unsettling sense of unease reminiscent of Surrealism and late\nnineteenth-century Decadence\, providing a visual exploration of the mind’s vulnerability to its milieu;\nhow do lifestyles of unconstrained material wealth signify for the denizens of such luxurious domains?\nIn a similar manner\, Wood’s unrestrained application of oil paint\, itself luscious and rich\, maintains a\ndialogue between formal technique and content. The pleasurable experience of applying luscious oils\nto canvas is at once sensual and abject\, treading a fine line between buttery seduction and muddy\nchaos. \nWood’s canvases are ultimately an amalgamation of fragments of memories\, dreams\, and encounters\nthat are recombined and translated through his distinctive vision and technical skill. The paintings\nsustain a tension between the post-Modern and the opulence and paint application of 17th Century\nstill-life paintings\, late-18th Century Rococo artists\, French Baroque and early Modernist German\nExpressionists. Wood cites the technical handling of French painter ChaÏm Soutine as the inspiration\nbehind his interest in exploring the transformative properties of oil paint and its capacity to stimulate\na visceral response. His resulting dreamscapes occupy the delicate space between quiet luxury and\naspirational excess\, providing an exploratory inquiry into humanity’s complex and conflicting\nrelationship with material wealth.
URL:https://artinamericaguide.com/event/bradley-wood-notes-from-a-lucid-dream/
LOCATION:Jane Lombard Gallery\, 58 White Street\, New York\, NY\, 10013\, United States
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DTSTART;VALUE=DATE:20230908
DTEND;VALUE=DATE:20231022
DTSTAMP:20260427T083502
CREATED:20230816T174529Z
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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;TZID=America/New_York:20230623T180000
DTEND;TZID=America/New_York:20230729T180000
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SUMMARY:Island Time
DESCRIPTION:An exhibition of artists living and working in the Philippines Curated by James Clar \nJane Lombard Gallery is pleased to present Island Time\, a group exhibition curated by gallery artist James Clar. Featuring a wide range of practices\, Island Time explores the subjective notion of time and its social\, cultural\, and historical fluidity from the lens of emerging and mid-career artists living and working in the Philippines. Island Time will include work by Poklong Anading\, Miguel Aquilizan\, Leslie De Chavez\, Corinne De San Jose\, Kiko Escora\, Gregory Halili\, KoloWn\, Christina Lopez\, Gary-Ross Pastrana\, Luis Antonio Santos\, Shireen Seno\, and Derek Tumala. The exhibition will be on view June 23 – July 29\, 2023\, with an opening reception held on June 23 from 6-8 PM. \nTechno-Orientalism: Imagining Asia in Speculative Fiction\, History\, and Media offers a theoretical foundation for Island Time’s central premise. Described as a concept that “…symmetrically and yet contradictorily…defines a modern West by producing an oppositional and premodern East\,” techno-Orientalism refers to “a collusive\, futurized Asia” that “further affirm[s] the West’s centrality.” Othering\, in this framework\, has served to bolster the Western position of technological and cultural superiority\, while justifying the acts of dehumanization that underpin this carefully constructed hierarchy. \n\nFrom this lens\, however\, artists who have been subjected to the techno-Orientalist gaze have creatively subverted the dynamic to their own aims. The exhibition’s title reclaims the term from its derogatory origins\, often used to denote a disordered\, non-rigorous\, non-Western environment that runs on its own mechanisms and systems. In an act of defiant decoloniality\, such alternative temporalities are embraced by the selected artists as spaces to exist outside of Western hegemony. Within the psychological\, conceptual\, and communal realm of “island time\,” Clar has curated a meaningful exchange between diverse artists at the leading edge of contemporary art in the Philippines\, many of whom will be showing their work in New York for the first time. \nThe subjective and subversive aspects of time anchor the breadth of mediums and methods employed by the artists\, as does their shared context of making work in the Philippines. Despite this throughline\, the resounding commonality is\, in fact\, the lack thereof; multihyphenate\, category-defying work like that shown in Island Time emerges from a place of complex identity\, itself the result of hundreds of years of disparate histories\, distinct cultural indigeneity\, colonization from multiple countries\, and postcolonial nationhood. Further complicating the notion of identity\, many of the artists selected by Clar\, and Clar himself\, operate as “specular border intellectuals\,” or what Abdul JanMohamed describes as “one who is ‘familiar with two cultures\, [and] finds himself or herself unable or unwilling to be “at home” in these societies.’” The liminal space such artists inhabit is closely tied to their expansive understanding of time\, and the flexibility with which they can interpret and manipulate time as an artistic medium.  \nFor example\, Poklong Anading’s 60-minute video installation of the sunset and sunrise\, recorded from his studio window\, takes a literal approach to temporal ambiguity. Recordings of recordings of the magic hours of dusk and dawn\, played on a monitor in the same window of his studio\, create a layered\, recursive moving image work in which reality is altered\, and time is abstracted. Elsewhere in the exhibition\, Gregory Halili combines different dimensions of biological and geological time in his work\, using volcanic ash from the eruption of Mount Taal within his drawings of skulls on locally-sourced mother of pearl shells. \nIn Corinne De San Jose’s cyanotypes of slides from decomposing film reels\, time is both an active agent of decay and a passive testament to the gaps in the archival record. The fragmented “media memory” of the Philippines complicates the passage of time and its collective perception\, as looking to the future often assumes a stable version of the past. Also referencing the history of photography\, Gary-Ross Pastrana explores the anachronistic nature of Philippine identity and experience in “COIN\,” a deconstructed photograph made of filed-down silver from a USA Silver Peso Dollar that was distributed during the U.S. occupation of the Philippines; the work recalls the recent history of American colonization\, as well as the silver-gelatin photographic process.  \nOther artists respond to the lasting effects of colonization as felt in present-day plights like political corruption\, climate change\, poverty\, and the exploitative economy of foreign tourism. Reflecting upon the legacy of Christian missionaries in the Philippines\, Derek Tumala created his work at the Manila Observatory\, originally founded by Jesuit priests\, adding a layer of religious context to the exhibition\, while Miguel Aquilizan’s work introduces an environmental angle\, dealing with the spread of Mahogany trees\, an invasive species that creates agricultural dead zones in the forests.\n\nWith a seemingly innocuous title\, Island Time challenges public expectations for a summer group exhibition\, provoking viewers to confront the elements of history and identity that run counter to their preconceived notions of the islands and the people who call them home. \n\nImage: Poklong Anading\, dusk and dawn\, 2003. Single-channel video\, CRT\, 60 minutes. Edition of 7 + 1 AP.\n____\nAbout James Clar \nJames Clar (b. Wisconsin\, 1979) lives and works in Manila\, Philippines. Clar’s work is an analysis and observation on the effects of media and technology on our perception of culture\, nationality\, and identity. His interest is in new technology and production processes\, using them as a medium\, while analyzing and critiquing their modifying effects on human behavior. \nClar received his BA in film and 3D animation and his MA in Media Art\, the Interactive Telecommunications Program (ITP) from the Tisch School\, New York University. His work has been exhibited at The Beams\, London\, UK;  Ayala Museum\, Manila\, Philippines; Pushkin Museum\, Moscow\, Russia; Mana Contemporary\, Jersey City\, NJ; Pera Art Museum\, Istanbul\, Turkey; Can Framis Museum\, Barcelona; Seoul Museum of Art\, Seoul\, South Korea; Museum of Contemporary Art\, Jacksonville\, FL; Sharjah Art Museum\, Sharjah\, UAE; MoMA PS1\, New York\, NY; Parasol unit\, London\, UK; The New Museum\, New York\, NY; Somerset House\, London\, UK; Museum on the Seam\, Jerusalem and Shadai Gallery at Tokyo Polytechnic University\, Tokyo\, Japan. His work is included in the collections of the 21c Museum\, Louisville\, US\, and the Yves Klein Foundation\, Paris\, France. Clar has been an artist in residence at Eyebeam Atelier in New York\, NY; Fabrica\, Treviso\, Italy\, and the FedEx Institute of Technology/Lantana Projects\, Memphis\, TN. James Clar is represented by Jane Lombard Gallery and Silverlens.  \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.
URL:https://artinamericaguide.com/event/island-time/
LOCATION:Jane Lombard Gallery\, 58 White Street\, New York\, NY\, 10013\, United States
CATEGORIES:Exhibition
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DTEND;TZID=America/Halifax:20230610T180000
DTSTAMP:20260427T083502
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SUMMARY:Azita Moradkhani: The Real Beneath
DESCRIPTION:Jane Lombard Gallery is pleased to present Iranian-American artist Azita Moradkhani’s first solo exhibition in New York\, The Real Beneath. The artist’s work was previously shown at the gallery in last spring’s group exhibition say the dream was real and the wall imaginary\, curated by Joseph R. Wolin. Reflecting upon her own experiences as a woman in both Iran and in the U.S.\, Moradkhani’s practice is rooted in the personal\, and inescapably\, the political; her new body of work is contemporaneous with the Woman Life Freedom revolution and other movements for women’s rights internationally. The exhibition will feature finely-detailed drawings in colored pencil that intertwine the lacey filigree of delicate lingerie with charged imagery. A selection of hand-painted body casts\, of and by the artist\, and gauzy\, printed textiles\, will also be included. The Real Beneath will be on view April 28 – June 10\, 2023\, with an opening reception held on April 28 from 6-8 PM. \nMoradkhani’s work in drawing and sculpture focuses on the female body as a complex locus of pleasure and pain\, venerated yet vulnerable. A symbol subjected to societal norms\, scrutiny\, and violence in public and private\, the body is a subversive form in Moradkhani’s layered compositions; the sensuality of the drawings seduce the viewer’s gaze\, only to confront them with embodied \nimages of political uprisings\, historical and current events\, and human exploitation. This disruptive iconography – The Real Beneath – challenges the fraying constructs of nationhood and belief inherited by the artist\, unraveling across her new body of work. \nTwo worlds – birthplace and adopted home – live alongside one another in Moradkhani’s work. Both realms join intimately on the picture plane\, whether in 2-D on paper\, or on 3-D casts of her own body. In her sculptural work\, through the collaborative process of casting her body\, and in her printed textile work\, she emphasizes the marks of history and memory on the body and its coverings. The artist’s debut solo exhibition in New York invites viewers to engage with the cross-cultural and intergenerational struggle for women’s rights from Moradkhani’s point of view\, and to stand in solidarity with those who continue this pursuit in the U.S.\, in Iran\, and throughout the world. \nAbout Azita Moradkhani\nAzita Moradkhani was born in Tehran where she was exposed to Persian art and culture\, as well as Iranian politics\, and that double exposure increased her sensitivity to the dynamics of vulnerability and violence that she now explores in her art-making. She received her BFA from Tehran University of Art (2009)\, and both her MA in Art Education (2013) and her MFA in drawing\, painting and sculpture (2015) from Boston’s School of the Museum of Fine Arts and Tufts University. Currently\, she teaches at Parsons School of Design and Rhode Island School of Design. \nShe was a recipient of both the Young Masters Art Prize and the Young Masters Emerging Woman Art Prize in London in 2017. She received the Saint Botolph Club Foundation Emerging Artists Grant that same year as well as the NYFA City Artist Corps Grants in 2021. The Financial Times (London) reviewed her series of drawings “Victorious Secrets” and the Boston Globe (MA) published reviews of her collaborative performance piece “Irezumi\,” and her curated exhibition “Echo” over the past few years. \n\n\n\n\nHer work has been exhibited nationally and internationally many times\, including at the Royal Academy of Arts (London\, UK)\, Newport Art Museum (RI\, USA)\, and the Museum of Contemporary Art (Yinchuan\, China). She has also been a visiting artist/lecturer at universities such as Davidson College (NC)\, Lesley University (MA)\, and the Parsons School of Design (NY)\, as well as a panelist at Harvard University\, Southern New Hampshire University\, and MIT. She has been granted numerous residencies\, including Yaddo\, Virginia Center For the Creative Arts (VCCA)\, the Massachusetts Museum of Contemporary Art (MASS MoCA)\, Silver Art Projects\, Atlantic Center for the Arts (ACA)\, and LMCC. \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.
URL:https://artinamericaguide.com/event/azita-moradkhani-the-real-beneath/
LOCATION:Jane Lombard Gallery\, 58 White Street\, New York\, NY\, 10013\, United States
CATEGORIES:Exhibition
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SUMMARY:Punchline: Curated by Praise Shadows Art Gallery
DESCRIPTION:Jane Lombard Gallery is pleased to announce its summer group exhibition: Punchline\, a takeover of its Tribeca space by the Boston-based Praise Shadows Art Gallery. Presenting works of various media from ceramics to video games\, the show is inspired by artists who use humor to communicate issues that are often considered taboo or difficult subjects of conversation. Punchline is also inspired by our need for levity\, our desire to laugh out loud unexpectedly. The (art) world could use a little more laughter. The exhibition\, featuring work by Jon Burgerman\, Reniel Del Rosario\, Madeline Donahue\, Divya Gadangi\, the Guerrilla Girls\, Garrett Gould\, Oliver Jeffers\, Nina Katchadourian\, Kalup Linzy\, Duke Riley\, and Ben Sloat\, opens with a public reception on July 7th from 5–7 PM\, and will be on view through August 12th\, 2022. \nThe OGs of using humor to drive home a message are the Guerrilla Girls\, the anonymous group of feminist\, female artists devoted to fighting sexism and racism within the art world. Since 1985 they have used\, according to their bio\, “outrageous visuals and killer statistics to expose gender and ethnic bias and corruption in art\, film\, politics and pop culture.” The Guerrilla Girls will present nine iconic posters dating from 1989 to 2021. \nHumor as a powerful tactic for persuasion is evident in the work of Duke Riley. Most humans have a difficult time comprehending the scope of ocean pollution and our contribution to the problem. Rather than taking a sanctimonious tone\, Riley makes us laugh while simultaneously calling out our dependency on single use plastics. An installation of colorful fishing lures? Look closer. The lures are made from ocean trash\, including plastic tampon applicators\, toothbrushes\, and lighters.  \nFour of Nina Katchadourian’s photographs from the Disasters section of the acclaimed Seat Assignment series will be included\, all deliciously funny depictions of anxiety while flying. One example\, Pretzel Meteor (2012)\, is a witty work that triggers everyone’s aerophobia by using two items at every passenger’s disposal: an inflight magazine and a complimentary bag of pretzels.  \nPaintings include Oliver Jeffers’ Rescue the Future (2018) featuring a DeLorean crashing spectacularly into the ocean; and a group of paintings by Jon Burgerman depicting adorable characters that capture our communal sense of anxiety\, including a large work titled Lexapro (2022). \nMadeline Donahue’s presentation will include a table of ceramics\, along with a small suite of drawings and paintings\, all depicting her tender and heart-warming moments as a mother to young children\, always with a twist of surrealism and hilarity. \nSculpture is also represented in works by two artists. Garrett Gould’s wall hanging wood sculptures might be considered “realistic” if it were not for their absolute unrealism. Wreath (2022)\, is a perfectly finished\, accurate depiction of a New York City pretzel\, except that it has small wood whistles all over it. Ben Sloat’s resin and enamel figurine-like sculpture series is a parody of Koons’ porcelain Michael Jackson and Bubbles.  \nTwo video projects are also represented: a video projection of Art Jobs and Lullabies (Covered and Remixed) (2015) by Kalup Linzy\, and the playable video game Please Maintain Your Original Indian Beauty (2014) by Divya Gadangi. Linzy’s work is a visual mixtape\, covering tunes from Curtis Mayfield to Dionne Warwick\, all starring himself as versions of these fabulous icons. Gadangi’s video game is inspired by a barrage of texts from her mother attempting to stop the artist from dying her hair. Set in her Staten Island childhood home\, the player navigates this house only to confront text bubbles from her mom\, including the namesake “Please maintain your original Indian beauty.” \nReniel Del Rosario’s installation is a dedicated space customized for this exhibition. Featuring a pegboard system of small ceramic objects packaged in polybags and gallery co-branded hang tags\, the hilarious titles and satirical homages are tailored for New York City\, New York art life\, and even the other artists in the show.  \nOrganized by Yng-Ru Chen\, founder of Praise Shadows\, many of the artists presented have been exhibited at the Boston gallery\, or are represented by the gallery\, and some have worked with the gallery on public programs and talks.  \nAbout Praise Shadows LLC \nWe believe that the art ecosystem is filled with untapped potential\, and our work is rooted in partnering closely with artists to develop opportunities in emerging models of creativity and entrepreneurship — exhibitions\, commissions\, brand partnerships\, new technologies\, original concepts that no one has ever tried before. Praise Shadows Art Gallery is a commercial gallery space in the Boston area showing the work of emerging and mid-career artists. It opened in December 2020. Praise Shadows Art Partners advises artists and companies in the creative industries on strategic partnerships and marketing. Our work is local\, global\, and virtual. www.praiseshadows.com \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 Fried 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. \nFor press inquiries\, please contact: info@janelombardgallery.com
URL:https://artinamericaguide.com/event/punchline-curated-by-praise-shadows-art-gallery/
LOCATION:Jane Lombard Gallery\, 58 White Street\, New York\, NY\, 10013\, United States
CATEGORIES:Exhibition
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SUMMARY:Squeak Carnwath | Pattern Language
DESCRIPTION:Jane Lombard Gallery is pleased to present Pattern Language\, an exhibition of new paintings by Squeak Carnwath. The artist’s third solo exhibition with the gallery\, Pattern Language presents the viewer with intricate visual archives that entangle public observation and private introspection. The exhibition will be on view from April 29th to June 4th\, with an opening reception April 29th from 5 – 7 PM. \nPattern recognition is an essential part of the human experience. We pull from memory to make sense of the world around us. Recognizable patterns allow us to understand common rhythms between people\, places\, and cultures\, understanding the new through the familiar by assigning identity and meaning. \nAs an artist\, Carnwath paints her own thoughts and observations\, often connected to politics and personal narratives\, knowing others will create their own recognitions within her compositions. She likens her patterns and symbols to messages scrawled on the wall of a public bathroom\, a space that is intimate and yet open for everyone. Through painting of easily recognized symbols she allows the viewer to imbue her work with their own sense of familiarity. For instance\, a wire hanger might bring to mind abortion rights\, or Joan Crawford in Mommie Dearest. Eyes may prompt a sense of investigation\, understanding\, attendance\, comprehension or voyeurism. Outlines of hands and gestures tie the work to the body and the act of making\, while inviting the viewer to examine the visual narratives closely. \n“Thoughts are evidence of existence\,” Carnwath says\, “we all have them.” Anonymous messages have a tendency to touch people in unexpected ways\, and this connection generates universal understanding. Art is about generosity\, giving something of yourself\, making the work accessible so that participants can have an experience that is theirs alone. Pattern Language trusts viewers to draw their own meaning from what they see. \nAbout Squeak Carnwath\nSqueak Carnwath (b. 1947\, Abington\, PA) is a painter who lives and works in Oakland\, CA. An artist whose career has spanned five decades\, Carnwath has cultivated a distinctive blend of disparate 1970s art movements\, including New Image painting\, Conceptual Art and Process Art. Her paintings speak several languages at once. Areas of flat color are adrift with abstract and representational elements as well as writing — passing thoughts\, the news\, quips — often partly submerged in the shuffle of erasures and new additions. Despite a loose\, improvisational appearance\, there are secret moments of trompe l’oeil: pencil writing and charcoal scribbles are rendered in paint. Carnwath’s idea of process is all-inclusive: it combines the physical making of the painting with her thoughts\, the world at large and also life in the studio. The artist has received numerous awards including a Lee Krasner Lifetime Achievement Award\, the Society for the Encouragement of Contemporary Art (SECA) Award from San Francisco Museum of Modern Art\, two Individual Artist Fellowships from the National Endowment for the Arts\, a Guggenheim Fellowship and the Award for Individual Artists from the Flintridge Foundation. Her work is included in the collections of the San Francisco Museum of Modern Art; the Metropolitan Museum of Art\, New York; and the American Academy of Arts and Letters\, New York\, among others. Carnwath is Professor Emerita at the University of California\, Berkeley. She is a founding member and current president of the Artists’ Legacy Foundation. \nAbout Jane Lombard Gallery\nJane Lombard Gallery\, Jane 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 Fried 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. \nMedia Contact\nLainya Magaña | A&O PR\n347.395.4155\nlainya@aopublic.com
URL:https://artinamericaguide.com/event/squeak-carnwath-pattern-language/
LOCATION:Jane Lombard Gallery\, 58 White Street\, New York\, NY\, 10013\, United States
CATEGORIES:Exhibition
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SUMMARY:say the dream was real and the wall imaginary
DESCRIPTION:say the dream was real and the wall imaginary\nA group exhibition curated by Joseph R. Wolin\nFeaturing: Ambreen Butt\, Margarita Cabrera\, Becci Davis\,\nAnita Groener\, Spandita Malik\, Tom Molloy\, Azita Moradkhani\, Kanishka Raja\nMarch 11 – April 23\, 2022\nOpening: March 11\, 5 – 7 PM \nmake it happen\nfinish the thought\nsay the dream was real and the wall imaginary\nbecause we need you to build more road\nfor all of us to walk on\nbecause participation\nbecause witness\nbecause history\n\n—Richard Siken\, “Why\,” 2013 \nJane Lombard Gallery is pleased to present say the dream was real and the wall imaginary\, a group exhibition curated by Joseph R. Wolin\, that brings together eight artists who investigate walls\, borders\, and boundaries—both physical and ideological—and ways to think beyond them. The exhibition\, featuring work by Margarita Cabrera\, Anita Groener\, Tom Molloy\, Ambreen Butt\, Becci Davis\, Spandita Malik\, Azita Moradkhani\, and Kanishka Raja\, opens on March 11th from 5–7 PM\, and will be on view through April 23rd\, 2022. \nWalls—whether delimiting rooms\, dwellings\, cells\, properties\, territories\, nations or lines of jurisdiction—are designed to separate. Walls divide us; they confine us within and fence others out.  But\, as walls were created by us\, we can imagine a world where they don’t exist. As Richard Siken’s poem suggests\, we can dream past walls\, because we must. \nEach artist featured in say the dream was real and the wall imaginary is in some way confronted with the blunt facts of enforced division.  As such\, their work not only considers the presence of walls\, but how to transcend them\, dreaming of futures that lack borders. \nMargarita Cabrera (Mexico/U.S.) and Anita Groener (Netherlands/Ireland) create works that look at borders between countries\, focusing on the individuals who left their home countries in search of refuge and opportunity. Cabrera’s ongoing series\, Space in Between\, explores the politics of the national border between the United States and Mexico\, collaborating with recent immigrants to create soft sculptures representative of their own experiences with crossing borders. Groener’s sculpture and video works explore symbolic deconstructions and reconstructions of home\, through both personal narratives and those of communities facing displacement due to violence. \nTom Molloy’s (Ireland/France) Borderline plays with the signs and implications of demarcations and boundaries. Ambreen Butt’s (Pakistan/U.S.) series Say My Name\, abstract compositions made from the names of children and teenagers killed by U.S. drone strikes on either side of the border between Afghanistan and Pakistan\, constitute acts of remembering individual young lives snuffed out as “collateral damage” in the never-ending War on Terror. Becci Davis’s (U.S.) three-channel video Isaiah’s Inventory/Searching for Junior\, foregrounds a gesture of un-writing history as she transcribes the estate inventory of a nineteenth-century Southern slave owner\, her fifth great-grandfather\, whose property includes her fourth great-grandmother and her children\, and runs the footage backwards. \nSpandita Malik (India/U.S.) shoots portraits of Indian women restricted to their homes in small villages\, collaborating with the subjects through regional styles of stitching and embroidery\, which they deploy according to their own desires and ideas about self-presentation. Azita Moradkhani (Iran/U.S.) considers the distortions of patriarchal structures\, focused on her native Iran\, in delicate drawings that merge fancy lingerie with scenes of cultural archetypes and political protest. Painter Kanishka Raja (India/U.S.) merges airports\, shopping malls\, corporate lobbies\, tony domestic interiors\, computer hubs\, shantytowns\, refugee camps\, and flooded cities with frenetic abstraction\, predicting an unpeopled world\, half dystopia\, half fever dream\, that eerily parallels the actual condition in which we live today. \nCollectively\, the artists in say the dream was real and the wall imaginary not only ask viewers to examine the effects and meanings of walls as tools of division\, but also to imagine ways to dismantle them. Through their work we can dream new prospects for a future without borders. \nAbout Joseph R. Wolin \nJoseph R. Wolin is an independent curator and critic and the Consulting Curator and Editor at the Museum of Art and Design at Miami Dade College.  He is a contributor to Border Crossings\, Frieze\, Glasstire\, Time Out New York\, and other publications\, and was the co-curator of MOAD’s Living Together\, a yearlong series of exhibitions\, performance art\, concerts\, and other events held at venues across Miami during 2017–18.  He teaches in the MFA Photography programs at Parsons School of Design and Lesley University.
URL:https://artinamericaguide.com/event/say-the-dream-was-real-and-the-wall-imaginary/
LOCATION:Jane Lombard Gallery\, 58 White Street\, New York\, NY\, 10013\, United States
CATEGORIES:Exhibition
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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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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
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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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DTEND;TZID=America/Halifax:20210806T180000
DTSTAMP:20260427T083502
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LAST-MODIFIED:20210625T145639Z
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SUMMARY:Loose Ends
DESCRIPTION:Jane Lombard Gallery is pleased to present Loose Ends\, a group exhibition celebrating women working in textiles. The collection\, featuring artists Kirsten Hassenfeld\, Victoria Manganiello\, Laura Marsh\, Erin McQuarrie\, Carolina Ponte\, Aiko Tezuka and Ulla-Stina Wikander\, explores the universal applicability of fabric\, bridging cultural tradition with contemporary finesse\, and emphasizing the medium’s constant state of evolution. The exhibition will open on Wednesday\, June 30th\, from 1 PM – 6 PM\, and remain on view through August 6th\, 2021. \nTextiles tell stories. Rooted in historical processes\, they are imbued with ritual\, culture\, and tradition: interactive archives that can be touched\, held\, worn\, shared\, and passed down. There are unique narratives born within the counting of threads\, as there is within every stitch\, weave\, layer\, seam\, mend\, tear\, and year of age. The art of weaving traced back to neolithic times; embroidery the 3rd century; knitting the 5th century and decorative needlepoint the 16th century. Fabric forms and structures grew in complexity with the development of new tools. From ancient times to present day\, methods of textile production have evolved as we evolve\, influencing decoration\, clothing and functional design. Fabric\, as such\, has become intrinsically human.  \nThe featured works from each contributing artist celebrate our entangled relationship with fabric\, exploring its material processes as mechanisms for engaging with storytelling and temporal narratives. Erin McQuarrie presents the process of weaving as a form of live art\, and looms as activateable\, interactive sculptures. Her woven works then are artifactual\, residues or records of live action. Aiko Tezuka explores weaving and unravelling as a way to detangle and understand interwoven surfaces; making visible an object’s current state of being\, and opening a window to its greater history. Victoria Manganiello investigates our relationship with fabric as one of record\, tracking/tracing history and evidencing individual experience through cultural production. Kirsten Hassenfeld employs weaving as a form of repurposing and reclamation\, utilizing recycled materials and re-imagining technical processes to achieve organic structure. Carolina Ponte creates organic forms (tubules\, spouts and nodules) through repetition\, referencing cultural designs\, patterning and color to emphasize the temporality of cultural archives. Laura Marsh uses textiles to generate and amplify dialogues around socio-political and humanitarian issues\, championing accessibility\, inclusivity and material exchange. Ulla-Stina Wikander uses cross-stitching to transform forgotten household objects with new context\, re-dressing artifacts from bygone eras with a colorful\, contemporary twist. \nLoose Ends celebrates textiles as infinite: decorative and functional\, intentional and intuitive\, structured and amorphous\, masculine and feminine\, ageless and ancient\, present and vanishing. Within each loose thread lies the potential for a new connection.
URL:https://artinamericaguide.com/event/loose-ends/
LOCATION:Jane Lombard Gallery\, 58 White Street\, New York\, NY\, 10013\, United States
CATEGORIES:Exhibition
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SUMMARY:Lu Yang: "Doku: Digtal-Alaya"
DESCRIPTION:Jane Lombard Gallery is pleased to present Doku: Digital Alaya\, the first New York gallery exhibition of Lu Yang\, a rising star in the global art world. Lu Yang is at the forefront of the generation of artists from China\, born in the 1980s whose lives paralleled the growth of a global economy. In Lu Yang’s world\, cultures collide\, the digital realm prevails\, and religions must be reinterpreted. These artworks–packed with avatars\, while grounded in the latest scientific inquiries—are wildly engaging and often disturbing\, creating post-human life forms in a world dominated by Japanese anime and interactive video games. \nDoku: Digital Alaya combines ancient Buddhist ideas about reincarnation with the latest technology of motion capture and live animation.  Doku is Lu Yang’s latest nonbinary avatar named after the phrase\, “Dokusho Dokushi”\, meaning “We are born alone\, and we die alone.” Digital Alaya\, the title of this show\, is a reference to ālayavijñāna\, the term for a storehouse of consciousness that is the basis of all mental\, spiritual and physical development.  In the course of the exhibition\, Doku appears in six 3-D environments\, each representing one of the six realms of rebirth in a Buddhist concept of reincarnation. \nThe central question is whether our lives in the digital realm—made so acutely apparent during the pandemic—has undermined or replaced ancient religious ideologies.   Lu Yang bypasses meditation or more conventional means of improving karma and goes directly to the assistance of scientists and technicians to find new ways to keep the cycle of life going in cyberspace. \nTo create a life-like digital post-human\, Lu Yang collaborates with a team of scientists\, 3D animators and digital technicians using motion capture\, detailing the features of her face and facial expressions so that the avatar\, Doku\, looks remarkably like its creator. Body movements are also generated through motion capture of dancers and musicians\, providing Doku with a perfect androgynous body. The artist is reborn repeatedly as a nonbinary\, androgynous\, ever-present avatar\, capable of talents beyond physical limitations. Doku appears in six different settings that Lu Yang creates herself using 3D digital techniques. The resulting work is displayed on lightboxes\, videos\, and installations. The video\, Doku: Digital Reincarnation takes viewers behind-the-scenes to see a process straight out of sci-fiction\, as fascinating as the final works themselves. \n\nAbout Lu Yang \nBorn in 1986 in Shanghai where she is currently based\, Lu Yang prefers to play with pronouns and insists she “lives on the internet” to further confuse fixed notions of identity. She attended the China Academy of Fine Art in Hangzhou\, BFA and MFA\, under the tutelage of Zhang Peili\, the godfather of Chinese video art. A 2019 winner of the BMW Art Journey award\, she has shown internationally including the M Woods Museum in Beijing\, the Centre Pompidou in Paris\, the Australian Centre for Contemporary Art in Melbourne\, and many other venues. She is currently in the Asia Society Triennial in New York.
URL:https://artinamericaguide.com/event/lu-yang-doku-digtal-alaya/
LOCATION:Jane Lombard Gallery\, 58 White Street\, New York\, NY\, 10013\, United States
CATEGORIES:Exhibition
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