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DTSTART;TZID=America/Halifax:20190620T180000
DTEND;TZID=America/Halifax:20190620T200000
DTSTAMP:20260726T092529
CREATED:20190618T201151Z
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SUMMARY:cart\, horse\, cart: Opening Reception
DESCRIPTION:Lehmann Maupin is pleased to present cart\, horse\, cart\, a group exhibition that spans both of the gallery’s Chelsea locations\, co-organized by Curator Michael Goodson and Lehmann Maupin Curatorial Director Anna Stothart. The exhibition brings together the work of 15 artists\, three of whom—McArthur Binion\, Angel Otero\, and Lari Pittman—are part of the Lehmann Maupin program. The works presented emerge from more traditional formal\, material\, and spatial concerns\, while also explicitly engaging with social\, political\, and psychological areas of influence to expand the established narrative traditionally used to answer the question\, “Where does abstraction come from?” \nThere will be an opening reception with the artists on Thursday\, June 20\, at 536 West 22nd Street and 501 West 24th Street from 6 to 8 pm.
URL:https://artinamericaguide.com/event/cart-horse-cart-opening-reception/
LOCATION:Lehmann Maupin\, 24th St\, 501 W 24th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Event
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ORGANIZER;CN="Lehmann Maupin":MAILTO:newyork@lehmannmaupin.com
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DTSTART;TZID=America/Halifax:20190426T180000
DTEND;TZID=America/Halifax:20190426T200000
DTSTAMP:20260726T092529
CREATED:20190424T204525Z
LAST-MODIFIED:20190424T204525Z
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SUMMARY:Public Talk for Heidi Bucher: The Site of Memory
DESCRIPTION:Lehmann Maupin is pleased to announce Heidi Bucher: The Site of Memory. Organized with the artist’s estate\, the exhibition marks Bucher’s first solo presentation since her landmark survey last year at Parasol unit foundation for contemporary art\, London\, and her first with the gallery. This exhibition features work from the mid-1970s through the 1980s and will include some of her most significant sculptures\, including Borg (1976)\, a sculpture modeled on the entire cellar of Bucher’s studio\, and the first work to use her signature latex casting method\, as well as works that will be exhibited for the first time in the United States\, such as Untitled (Door to the Herrenzimmer) (1978) and Elfenbornhaut (1982). The gallery will host an opening reception on Thursday\, April 25\, from 6 to 8 PM\, followed by a public talk on Friday\, April 26\, from 6 to 8 PM with Ziba Ardalan\, Founder and Director\, Parasol unit; Simon Castets\, Director\, Swiss Institute; and Ruth Erickson\, Mannion Family Curator\, ICA Boston\, moderated by Lehmann Maupin Curatorial Director\, Anna Stothart at 501 West 24th Street.
URL:https://artinamericaguide.com/event/public-talk-for-heidi-bucher-the-site-of-memory/
LOCATION:Lehmann Maupin\, 24th St\, 501 W 24th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Event
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190425T180000
DTEND;TZID=America/Halifax:20190425T200000
DTSTAMP:20260726T092529
CREATED:20190424T204355Z
LAST-MODIFIED:20190424T204355Z
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SUMMARY:Opening Reception for Heidi Bucher: The Site of Memory
DESCRIPTION:Lehmann Maupin is pleased to announce Heidi Bucher: The Site of Memory. Organized with the artist’s estate\, the exhibition marks Bucher’s first solo presentation since her landmark survey last year at Parasol unit foundation for contemporary art\, London\, and her first with the gallery. This exhibition features work from the mid-1970s through the 1980s and will include some of her most significant sculptures\, including Borg (1976)\, a sculpture modeled on the entire cellar of Bucher’s studio\, and the first work to use her signature latex casting method\, as well as works that will be exhibited for the first time in the United States\, such as Untitled (Door to the Herrenzimmer) (1978) and Elfenbornhaut (1982). The gallery will host an opening reception on Thursday\, April 25\, from 6 to 8 PM\, followed by a public talk on Friday\, April 26\, from 6 to 8 PM with Ziba Ardalan\, Founder and Director\, Parasol unit; Simon Castets\, Director\, Swiss Institute; and Ruth Erickson\, Mannion Family Curator\, ICA Boston\, moderated by Lehmann Maupin Curatorial Director\, Anna Stothart at 501 West 24th Street.
URL:https://artinamericaguide.com/event/opening-reception-for-heidi-bucher-the-site-of-memory/
LOCATION:Lehmann Maupin\, 24th St\, 501 W 24th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Event
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2019/04/6e02d1d6c83cc7c3ebed1e68016744b7.jpeg
ORGANIZER;CN="Lehmann Maupin":MAILTO:newyork@lehmannmaupin.com
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20190425
DTEND;VALUE=DATE:20190616
DTSTAMP:20260726T092529
CREATED:20190424T204104Z
LAST-MODIFIED:20190424T204104Z
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SUMMARY:Heidi Bucher: The Site of Memory
DESCRIPTION:Lehmann Maupin is pleased to announce Heidi Bucher: The Site of Memory. Organized with the artist’s estate\, the exhibition marks Bucher’s first solo presentation since her landmark survey last year at Parasol unit foundation for contemporary art\, London\, and her first with the gallery. This exhibition features work from the mid-1970s through the 1980s and will include some of her most significant sculptures\, including Borg (1976)\, a sculpture modeled on the entire cellar of Bucher’s studio\, and the first work to use her signature latex casting method\, as well as works that will be exhibited for the first time in the United States\, such as Untitled (Door to the Herrenzimmer) (1978) and Elfenbornhaut (1982). The gallery will host an opening reception on Thursday\, April 25\, from 6 to 8 PM\, followed by a public talk on Friday\, April 26\, from 6 to 8 PM with Ziba Ardalan\, Founder and Director\, Parasol unit; Simon Castets\, Director\, Swiss Institute; and Ruth Erickson\, Mannion Family Curator\, ICA Boston\, moderated by Lehmann Maupin Curatorial Director\, Anna Stothart at 501 West 24th Street. \nHeidi Bucher (b. 1926 Winterthur\, Switzerland; d. 1993\, Brunnen\, Switzerland) is best known for her innovative use of latex to cast large-scale architectural features\, including entire buildings. Bucher referred to these castings as “skinnings” or “moultings\,” imbuing these captured spaces with animal or biological attributes. Her investigation of the physical boundaries between the body and its surroundings aligns her with other feminist artists who were committed to exposing the complex relationship between women and the gendered\, domestic environments to which they were often relegated. The works featured in this exhibition\, produced during the 1970s and 1980s\, were particularly significant as they marked both Bucher’s return to Zurich after living in the U.S. and Canada\, and the enfranchisement of Swiss women\, who did not gain the right to vote until 1971. It was amid this personal and political transformation that Bucher developed her signature process. Coming from this era\, alongside hallmarks of postminimalism such as the devoted site-specificity of artists like Richard Serra\, the self-casting of artists like Alina Szapocznikow\, and pioneering experimentation with new materials like plastics\, latex\, and fiberglass by Eva Hesse\, Bucher’s work can be understood as a unique amalgamation of this art historic period. \nOver the course of her career\, Bucher forged a practice anchored in familial\, cultural\, and architectural histories entwined with contemporary concerns around the boundaries between public and private space\, feminine attributes\, and the body. It was during the 1970s that Bucher began to embalm clothing and domestic objects in a mixture of latex and mother-of-pearl\, preserving the objects as artifacts of their time and creating a surface that appeared skin-like in both color and texture. She primarily used women’s clothing\, such as nightdresses\, and undergarments\, which both signified her interest in metamorphosis and served as a critical response to the rigid gender restrictions she experienced growing up. By the end of the decade\, Bucher had begun casting architectural structures—walls\, windows\, floors\, or entire rooms—by spreading her latex mixture over large surfaces\, allowing it to dry and harden\, and then peeling it off; producing a skin that held elements of paint\, rust\, and dirt\, as well as detailed architectural markings. These memory fragments represented both personal signification and a conceptual liberation from the patriarchal past. As Bucher poetically summarized: \nRooms are shells are skins.\nRooms are skins are surroundings.\nPeeling off the skins are detachment from the past\, from conventions and other compulsions. \nDuring the years that followed\, Bucher produced several major bodies of work based on personal domestic spaces and significant historical buildings in Switzerland and Lanzarote\, Canary Islands\, where she spent much of her later life. This exhibition will feature works from these locations\, including some of her most significant clothing and domestic object works\, such as The Hatching of the Parquet Dragonfly (1985) and Bett (Bed) (1975)\, in addition to a number of major architectural works “skinned” from her studio in Zurich\, her ancestral home in Winterthur\, the abandoned Bellevue mental health institution in Zurich\, and her home and studio in Lanzarote. This exhibition exemplifies her expansive exploration of the materials of latex and mother-of-pearl as well as her interest in creating a visual embodiment of space and time. For Bucher\, this method of working was not simply about recording the past\, but illuminating a kind of multiverse that would combine past\, present\, and future inhabitants of the spaces she was drawn to. \nAbout the artist\nHeidi Bucher (b. 1926 Winterthur\, Switzerland; d. 1993\, Brunnen\, Switzerland) attended the School of Applied Arts in Zurich from 1942 to 1946\, specializing in fashion design. Solo exhibitions of her work have been organized at the Parasol unit\, London (2018); the Swiss Institute of Contemporary Art\, New York (2014); Centre Culturel Suisse\, Paris (2013); Migros Museum für Gegenwartskunst\, Zurich (2004); Kunstmuseum Thurgau\, CH (1993); Los Angeles County Museum of Art (1972); Musée d’Art Contemporain\, Montréal\, Canada (1971); and Museum of Contemporary Crafts\, New York (1971) among others. Recent group exhibitions featuring her work include An Intricate Weave\, Nottingham Contemporary\, UK (2018); The Everywhere Studio\, Institute of Contemporary Art\, Miami (2017); Women House\, la Monnaie de Paris\, and National Museum of Women in the Arts\, Washington D.C. (2017); Viva Arte Viva\, 57th Venice Biennale\, Italy (2017); No Place Like Home\, Israel Museum\, Jerusalem (2017); Room\, Warwick Arts Centre\, Warwick\, UK (2017); and Artists and Architecture\, Variable Dimensions\, Pavillon de l’Arsenal\, Paris (2015). Bucher’s work is featured in numerous international public and private collections\, including the Hammer Museum\, Los Angeles; Centre Georges Pompidou\, Paris; KADIST\, Paris and San Francisco; Metropolitan Museum of Art\, New York; Migros Museum für Gegenwartskunst\, Zurich\, Switzerland; Musée Jenisch Vevey\, Switzerland; Museum of Modern Art\, New York; Kunstmuseum Winterthur\, Winterthur\, Switzerland; and Solomon R. Guggenheim Museum\, New York.
URL:https://artinamericaguide.com/event/heidi-bucher-the-site-of-memory/
LOCATION:Lehmann Maupin\, 24th St\, 501 W 24th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20190425
DTEND;VALUE=DATE:20190526
DTSTAMP:20260726T092529
CREATED:20190424T203603Z
LAST-MODIFIED:20190424T203648Z
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SUMMARY:In Focus: Helen Pashgian
DESCRIPTION:Lehmann Maupin is pleased to announce In Focus: Helen Pashgian. The special installation will focus on the Los Angeles-based Light and Space artist’s Untitled (2009) column works. Installed in the gallery’s black box space for optimal viewing in person—as these works were intended to be experienced—the columns create an immersive environment that represents the most recent evolution of Pashgian’s practice. \nIn Focus presentations are a recent addition to the Lehmann Maupin program that allow the gallery to highlight a crucial aspect of an artist’s practice. These installations offer public access to recent\, or timely and significant works by the gallery’s artists and provide greater flexibility for Lehmann Maupin to contextualize its growing international program. Installed in the gallery at 501 West 24th Street\, these presentations run concurrently with the gallery’s existing exhibition program. \nLehmann Maupin will show additional cast epoxy spheres and a mounted wall work by Pashgian at Frieze New York (Booth C23)\, May 2-5\, 2019. The artist’s Untitled (dates vary) spheres represent an origin point in the artist’s practice\, as they are among the earliest forms the artist experimented with. These works appear to simultaneously trap and emanate light\, offering an ocular illusion that defies common perception. Several of the works exhibited in the In Focus presentation and at Frieze New York were included in the landmark exhibition Space Shifters\, organized by Ralph Rugoff at the Hayward Gallery in London (2018-19). Together\, the three bodies of work on view provide a comprehensive overview of this pioneering female figure of West Coast minimalism\, whose influence is gaining increasing international understanding. \nAbout the artist\nHelen Pashgian (b. 1934\, Pasadena\, CA; lives and works in Pasadena\, CA) received her BA from Pomona College\, Claremont\, CA\, in 1956 and MA from Boston University\, Boston\, in 1958\, and also attended Columbia University\, New York\, 1956-57. Solo exhibitions of her work have been organized at Los Angeles County Museum of Art\, Los Angeles (2014); Pomona College Museum of Art\, Claremont\, CA (2010); and Palm Springs Art Museum\, Palm Springs\, CA (2007). Select group exhibitions featuring her work include Pacific Standard Time: Crosscurrents in L.A. Painting and Sculpture\, 1950-1970\, J. Paul Getty Museum\, Los Angeles (2011)\, traveled to Museum of Contemporary Art San Diego (2011) and Martin Gropius Bau\, Berlin\, Germany (2012); Translucence: Southern California Art From the 1960s and 1970s\, Norton Simon Museum\, Pasadena\, CA (2006); The Senses: Selections from the Permanent Collection\,  Pomona College Museum of Art\, Claremont\, CA (2006); and Inaugural Exhibition\, Pasadena Museum of California Art\, Pasadena\, CA (2002). Her work can be found in numerous public and private collections internationally\, including Palm Springs Art Museum\, Palm Springs\, CA; Portland Art Museum\, Portland\, OR; Santa Barbara Museum of Art\, Santa Barbara\, CA; Los Angeles County Museum of Art\, Los Angeles; and Museum of Contemporary Art San Diego.
URL:https://artinamericaguide.com/event/in-focus-helen-pashgian/
LOCATION:Lehmann Maupin\, 24th St\, 501 W 24th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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