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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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DTSTART;TZID=America/Halifax:20220107T170000
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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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SUMMARY:Cappuccino in Exile
DESCRIPTION:SAWANGWONGSE YAWNGHWE\nCAPPUCCINO IN EXILE\nSeptember 10 – October 23\, 2021 \nJane Lombard Gallery is pleased to present Cappuccino in Exile\, a new body of work by Sawangwongse Yawnghwe made in response to the Myanmar military coup that began in February of 2021. Using painting both as a mechanism for indexing the present and accessing the past\, Yawnghwe explores current events in parallel with his family’s exilement following the Burmese military coup of 1962. The exhibition will be on view at Jane Lombard Gallery from September 10th – October 23rd\, 2021\, with an opening reception on September 10th from 5 – 7 PM. \nMyanmar (formerly known as Burma) is in turmoil. On the morning of February 1st\, 2021\, a day before the inauguration of a new administration\, a coup began as democratically elected members of the country’s ruling party were forcefully removed from office by the Tatmadaw\, Myanmar’s military. Proclaiming a year-long state of emergency\, the Tatmadaw declared the results of the November 2020 general election invalid\, granting government control to Commander-in-Chief of Defense Services\, Min Aung Hlaing\, until the outcome could be rectified. \nThis sparked a country-wide series of protests\, known now as the “Spring Revolution.” Protesters\, mainly employing peaceful and nonviolent forms of activism\, have engaged in labor strikes\, military boycotts\, civil disobedience\, and a series of public campaigns. The leaders of the coup have fought back with tactics including internet/media blackouts\, mass detentions\, and criminal sentencings\, the deployment of pro-military protesters\, and instigation as a means to violence. As of early July\, nearly 900 lives have been lost at the hands of security forces\, with over 5\,200 in detention. \nYawnghwe is no stranger to political unrest. Born in the Shan State of Burma in 1971\, he comes from the Yawnghwe royal family of Shan; one forced into exile after the Burmese military coup in 1962 by General Ne Win. His painting practice engages contemporary Burmese politics with reference to his family history and the cyclical nature of corruption. Depictions of demonstrators and political figures both from present-day and times past (such as Aung San\, Louisa Benson\, and Bill Young) are paired with hard-edge geometric designs referencing traditional Burmese textile patterns\, which have recently been employed by protesters harnessing the power of old Myanmar lore. It’s been said that women’s bodies and the garments that cover them sap men of their power. Activists have played with this idea and hung women’s undergarments and longyis (long skirts) on clotheslines across streets to deter soldiers from entering protest zones. Many\, unwilling to hurt their chances on the frontlines\, refused to pass underneath them. By including these textile patterns he is not only indexing the protest events of the present\, but referencing the nature of oppression\, and the role fear plays in power struggles; a cultural tableau\, bearing witness to the continuing military suppression of the democracy movement. \nThrough this body of work\, Yawnghwe emphasizes his position as a Burmese artist and activist living in Europe\, one who has the ability to make visible the ongoing struggle of Burma’s people to a broader network through his painting practice. The exhibition’s title\, Cappuccino in Exile\, not only contextualizes this personal awareness but presents viewers with a political critique on European nations that fund the Burmese Military. A cappuccino consists of rich espresso\, topped with a smooth layer of foamed milk and a dash of chocolate garnish; sippable\, luxurious\, rich and relaxing. It’s always easy to sip a cappuccino from safety. \nSawangwongse Yawnghwe (b. 1971\, Burma) has exhibited internationally\, including: Dhaka Art Summit (Bangladesh\, 2020)\, the 9th Asia Pacific Triennial of Contemporary Art (Australia\, 2018)\, the 12th Gwangju Biennale Exhibition (Korea\, 2018)\, Dhaka Art Summit (Bangladesh\, 2018)\, Qalandiya International — Jerusalem Show VIII (Jerusalem\, 2016)\, Steirischer Herbst (Austria\, 2016)\, and Dak’Art 2016/The 12th Biennale of Contemporary African Art (Senegal\, 2016). He has also exhibited in numerous museums\, including: National Museum of Modern and Contemporary Art – Seoul (Korea\, 2020)\, Museum of Modern Art in Warsaw (Poland\, 2018)\, Van Abbemuseum (Netherlands\, 2018)\, MAIIAM Contemporary Art Museum (Thailand\, 2018)\, Irish Museum of Modern Art (Ireland\, 2016)\, and Stedelijk Museum Bureau Amsterdam (Netherlands\, 2015). His works are housed in the collections of MAIIAM Contemporary Art Museum in Thailand and Singapore Art Museum. He lives and works in the Netherlands.
URL:https://artinamericaguide.com/event/cappuccino-in-exile/
LOCATION:Jane Lombard Gallery\, 58 White Street\, New York\, NY\, 10013\, United States
CATEGORIES:Event,Exhibition
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DTSTART;TZID=America/Halifax:20210630T100000
DTEND;TZID=America/Halifax:20210806T180000
DTSTAMP:20260505T043119
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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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DTEND;TZID=America/Halifax:20210507T180000
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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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