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SUMMARY:Anthony Pearson
DESCRIPTION:Marianne Boesky Gallery is pleased to present an exhibition of new work by Anthony Pearson\, the Los Angeles-based artist’s sixth solo presentation with the gallery. The exhibition\, featuring work from Pearson’s Embedments and Casements series\, embodies a new chapter in his career-spanning investigation of form and material. \nRenowned for his inventive processes and sensitive approach to materials\, Pearson (b. 1969; Los Angeles\, CA)  has built a body of work that exudes an intimate\, poetic certitude. Through ongoing experimentation with the formal and technical limits of his chosen materials\, he has developed a singular visual vocabulary rooted in abstraction that interrogates the balances of positive and negative\, light and dark\, control and chance. Working seamlessly across an ambitious range of media that includes photography\, drawing\, installation\, and sculpture\, Pearson elevates the intrinsic qualities of his materials\, yielding an understated and unexpectedly sensitive oeuvre. \nBegun in 2021\, the Casements are a continuation of Pearson’s investigation into the formal\, material\, and aesthetic potential of Hydrocal\, an industrial gypsum cement. To produce these works\, he pours pigmented Hydrocal directly into loosely constructed fabric molds\, allowing the liquid cement mixture to spread within the cloth as it hardens. Once cured\, Pearson peels the fabric away from the surface to reveal interlocking abstract forms and\, in some instances\, finishes them with Keim mineral paint\, which binds mechanically to Hydrocal\, staining the works in deep\, rich hues. The Casements record the process of their creation-the moments Hydrocal meets cloth. And while the cement\, by its nature\, is perpetually hardening\, the works nevertheless retain the softness of the textiles in which they are cured-the pattern of the fabric’s weave and the loose fibers of the cotton or linen remain visible in the cement surface. The Casements\, cement fragments articulated with an unexpected softness and sensuality\, revel in their inherent dualities: soft and hard\, chance and control\, movement and stillness. \nThe Embedments\, another recent iteration of the artist’s work in Hydrocal\, contain the cement forms within the confines of the frame. Pearson creates a cloth mold inside a frame and pours pigmented concrete in from the reverse. Once cured\, he removes the fabric to reveal compositions formed\, in part\, by chance. Contained within the frame\, the Embedments take on the appearance of abstract paintings\, the softness of their gentle\, organic forms countering the hard physicality of the material itself. Embedments and Casements build upon Pearson’s earlier bodies of work in Hydrocal\, a material he began working with as an intermediary in 2007. With the Casements\, in contrast to the earlier framed Hydrocal works\, Pearson removes the forms of his Embedments from the constraints of the frame\, the abstracted forms thrust off the wall and into space. \nBorn and raised in Los Angeles\, Pearson earned a BFA from California College of the Arts and an MFA from the University of California\, Los Angeles-and his distinctly West Coast practice sits comfortably within the legacy of California modernism. Throughout the course of his career\, Pearson has moved fluidly between mediums-from the abstract photography of his early practice to the sculptural work in which he is currently engaged. Yet\, for the artist\, these practices are inextricably linked: the concerns at the heart of his practice-his attention to materiality\, to form\, to the interplay of shadow and light\, of positive and negative space-remain the same across media. For Pearson\, curator Alex Klein writes\, the topography of Southern California “was a site of endless childhood discovery\, and its earth tones and Mediterranean atmosphere would come to shape an aesthetic sensibility attuned to the dynamic subtleties of the Southern California landscape.” \nThe exhibition will be on view March 2 – April 1 at Marianne Boesky Gallery. Keefe Butler\, in collaboration with the artist\, will design the lighting for the exhibition to highlight the subtle complexities at play in Pearson’s newest body of work.
URL:https://artinamericaguide.com/event/anthony-pearson-2/
LOCATION:Marianne Boesky Gallery\, 601 East Hyman Ave\, 2nd Floor\, Aspen\, CO\, 81611\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Halifax:20230121T180000
DTEND;TZID=America/Halifax:20230218T180000
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SUMMARY:Jennifer Bartlett: Works on Paper\, 1970–1973
DESCRIPTION:Marianne Boesky Gallery is pleased to present Jennifer Bartlett: Works on Paper\, 1970-1973. Featuring never-before-exhibited Bartlett drawings\, the exhibition offers a window into the artist’s early practice\, as she developed and rehearsed the forms and ideas that she returned to throughout her career. Jennifer Bartlett: Works on Paper is the first exhibition to exclusively feature the late artist’s drawings from this foundational period.
URL:https://artinamericaguide.com/event/jennifer-bartlett-works-on-paper-1970-1973/
LOCATION:Marianne Boesky Gallery\, 601 East Hyman Ave\, 2nd Floor\, Aspen\, CO\, 81611\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Denver:20210624T100000
DTEND;TZID=America/Denver:20210725T180000
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SUMMARY:Danielle Mckinney | Midnight Oil
DESCRIPTION: Marianne Boesky Gallery is pleased to present Midnight Oil\, an exhibition of new paintings by Danielle Mckinney shown on the second floor of the gallery’s Aspen location from June 24 – July 25\, 2021. The works on view capture profoundly contemplative scenes with engaging and expressive energy\, highlighting the artist’s intuitive observation of human life and feeling. Midnight Oil is the artist’s first exhibition with Marianne Boesky Gallery.  \nMckinney’s paintings present intimate portraits of a lone protagonist\, primarily female\, lost in moments of deep reflection and respite within lushly colored interior spaces. In these scenes\, the artist pays particular attention to the gaze of her subject. At times\, the figure captures the viewer’s eye\, but most often the subject focuses on a space only visible to them\, engrossed in their own solitude and rituals. The nuanced details of the paintings – a trail of smoke\, the glisten of a necklace – invite further observation to reveal hidden narratives\, exploring themes of spirituality and the self with cathartic effect.  \nIn her works\, Mckinney skillfully delves into the formal elements of painting and image-making\, apparent in the gestures and careful cropping of her subjects\, attention to light and space\, and the subtle symbolic references found in her distinct compositions. This imagery is made all the more arresting by the methods Mckinney employs from her experiences as a photographer in the darkroom\, building up her compositions from a background of black paint to intensify the depth and vibrance of the scenes. Her paintings evoke a sense of timelessness\, recalling art historical references and an imbedded canon of portraiture. Mckinney’s intuitive and minimal brushstrokes create vignettes that are self-reflective\, pulling from the artist’s own experiences\, and yet strikingly familiar in their human moments of rest and action.  \nDanielle Mckinney (b. 1981) creates narrative paintings that often focus on the solitary female protagonist. In these intimate portraits\, Mckinney captures the figure immersed in various leisurely pursuits and moments of deep reflection. Engaging with themes of spirituality and self\, her paintings uncover hidden narratives and conjure dreamlike spaces\, often within the interior domestic sphere. With a background in photography\, Mckinney paints with an acute awareness of the female gaze\, employing deeply colorful hues and nuanced details with cinematic effect. Mckinney received her BFA from Atlanta College of Arts and holds an MFA in Photography from Parsons School of design.  Her work has most recently been presented in exhibitions at Fortnight Institute\, New York; Half Gallery\, New York and FLAG Art Foundation\, New York. The artist lives and works in Jersey City\, NJ.
URL:https://artinamericaguide.com/event/danielle-mckinney-midnight-oil/
LOCATION:Marianne Boesky Gallery\, 601 East Hyman Ave\, 2nd Floor\, Aspen\, CO\, 81611\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Halifax:20210617T100000
DTEND;TZID=America/Halifax:20210806T180000
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SUMMARY:A Thought Sublime
DESCRIPTION:Marianne Boesky Gallery is pleased to present A Thought Sublime\, a group exhibition featuring works by Pier Paolo Calzolari\, Martyn Cross\, Molly Greene\, Jay Heikes\, Sheree Hovsepian\, Wanda Koop\, William J. O’Brien\, and Thiago Rocha Pitta. Shown together\, the works on view present a range of perspectives on one’s position in the cosmos\, offering meditations on recent paradigm shifts within our shared world. A Thought Sublime will be on view June 17 – August 6\, 2021 at the gallery’s 507 West 24th Street location in New York. \nThe title of the exhibition references a poem published in 1848 and sonnet of the same title\, “I Am”\, both written by English poet John Clare. The poems\, both melancholic in their descriptions of loneliness and alienation\, also reflect the complex experiences of existence through vivid imaginings of the author’s desired escape by way of nature and the heavens. A Thought Sublime is drawn from a line in the sonnet “I Am” that reads: \n  \n“I was a being created in the race \nOf men disdaining bounds of place and time: \nA spirit that could travel o’er the space \nOf earth and heaven — like a thought sublime” \n  \nThe works on view reflect on these sentiments\, offering deeply contemplative and wistful introspections. At times\, the artists rely on modes of alchemy and the transcendence of natural materials. Jay Heikes presents a painting from his Mother Sky series\, wherein the artist depicts cloudy skies in vibrant and extraordinary colors. Before screen printing clouds and applying paint onto the surface\, Heikes stains the canvas using a combination of vinegar\, salt\, and powdered pigment. As they react\, these substances generate unpredictable hues to form the artist’s tempestuous vistas. Similarly\, Pier Paolo Calzolari captures ephemeral states with his use of commonplace and organic materials\, such as salt\, lead\, fabric\, and feathers\, as a means to explore states of matter\, transience\, light and beauty. \nAmong the works on view are themes of connectedness between the body\, the mind\, the earth and the universe. Sheree Hovsepian\, acclaimed for her intimately constructed photographs and collages\, presents recent assemblage works. Here\, the artist layers photographs of organic lines and shapes\, including imagery of the body\, with ceramic fragments to navigate a heightened consciousness of one’s own subjectivity. Molly Greene likewise confronts the bodily\, the natural\, and the mechanical in her paintings. Greene creates surrealistic\, mirrored imagery of flora and fauna that blur the boundary between natural and unnatural\, questioning our systems of identification. \nOtherworldly and rich imagined environments are notable throughout the exhibition. Thiago Rocha Pitta\, known for his temporal and sensitive body of work that engages with the natural world\, presents a series of new watercolor works that portray subtle transformations in abstract scenes of the earth\, sea\, sky\, and beyond. Paintings on view by Martyn Cross similarly evoke timeless and folkloric scenes of nature\, displaying the undulating waters and meditative currents of unfamiliar lands. Wanda Koop\, who deftly explores the intersections between urbanization and the environment\, presents paintings of surrealist landscapes that alternate between the real and the imagined\, compelling closer examination of Koop’s familiar yet alien worlds. Central to the exhibition is a new ceramic work by William J. O’Brien\, whose work employs rich material experimentation. Titled earth\, water\, fire\, wind & space\, pt. 1\, the work is an adaptable installation that serves as an offering to Mother Nature. The installation examines the strengths of multiplicity\, of connection\, community\, and strength in numbers\, and the power of the space in-between\, offering the ability to dream again.
URL:https://artinamericaguide.com/event/a-thought-sublime/
LOCATION:Marianne Boesky Gallery\, 601 East Hyman Ave\, 2nd Floor\, Aspen\, CO\, 81611\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Denver:20210610T100000
DTEND;TZID=America/Denver:20210610T180000
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SUMMARY:Simphiwe Mbunyuza | ISIBAYA
DESCRIPTION:Marianne Boesky Gallery is pleased to present an exhibition of new ceramic works by South African\, Oklahoma-based artist Simphiwe Mbunyuza\, ISIBAYA. The exhibition will be on view on the first floor of the gallery’s Aspen location from June 10 – July 25\, 2021. The title of the show\, ISIBAYA\, denotes in Xhosa an enclosure for cattle and other domestic animals in the villages of native peoples in South Africa. In this exhibition\, Mbunyuza reflects on the importance of heritage and social bonds\, as this enclosed space within a village is used in rituals as a church to connect with the people’s ancestors. In addition to his exhibition at the gallery\, Mbunyuza will be a visiting artist at Anderson Ranch Arts Center from May 31 – June 12\, 2021. The program is an opportunity that affords artists the time and space to complete projects within their area of expertise and to explore new work. \nSimphiwe Mbunyuza’s sculpture explores relationships and interactions within African cultural symbolism and cultural day to day objects used by African groups\, particularly Xhosa people. These objects are the subject of functional and non-functional ceramic and sculptural pots. The drama carried by the pots entails and details the African culture of Bantu speaking people\, in relation to other African cultural groups. Mbunyuza grew up in South Africa\, Eastern Cape Province\, Butterworth in the village called Mambendeni\, an area surrounded by various villages of Xhosa speaking people. Today\, these villages are no longer exclusively occupied by Xhosa speaking people but by a number of different African cultural groups. \nMbunyuza’s masterful practice of richly textured ceramics brings together a diverse array of materials\, including stoneware\, leather\, fabric\, and steel. In the creation of his ceramics\, the artist pays particular attention to the surfaces of his sculptural works\, incorporating bold areas of color and graphic two- and three-dimensional patterns and designs on his distinctive forms. Working with clay as his primary medium\, Mbunyuza adapts practices and techniques that are of personal significance to the artist’s background\, such as the use of a coiling technique in his ceramics that was employed by the Xhosa people for centuries to make pots. In ISIBAYA\, Mbunyuza’s work portrays the values and importance of cultural elements from these groups\, drawing from both present and historical influences as a method of sharing the artist’s heritage through a unique\, contemporary lens. \nSimphiwe Mbunyuza (b. 1989) was born in Butterworth\, Eastern Cape\, South Africa\, and lives and works in Norman\, OK. Mbunyuza has been the subject of exhibitions in the United States and internationally\, including recent presentations with Dyman Gallery\, Stellenbosch\, South Africa; South Willard\, Los Angeles\, CA; and Gallery 1957\, London and Accra\, Ghana; and is the recipient of awards and residencies including the Red Clay Faction Award and Oscar Jacobson Award from The University of Oklahoma\, Fred Jones Museum\, Norman\, OK in 2019\, and a residency with A.I.R Vallauris\, France\, in 2017.
URL:https://artinamericaguide.com/event/simphiwe-mbunyuza-isibaya/
LOCATION:Marianne Boesky Gallery\, 601 East Hyman Ave\, 2nd Floor\, Aspen\, CO\, 81611\, United States
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20210504
DTEND;VALUE=DATE:20210606
DTSTAMP:20260422T103416
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SUMMARY:Suzanne McClelland | PLAYLIST
DESCRIPTION:Marianne Boesky Gallery is pleased to present PLAYLIST\, Suzanne McClelland’s first solo exhibition at the gallery\, on view May 4 – June 5\, 2021 at 507 West 24th Street in New York. For the past 30 years\, Suzanne McClelland’s paintings\, drawing\, collaborative unbound books\, multiples and prints have explored the visual\, linguistic and acoustic dimensions of language. \nIn her newest series of paintings\, PLAYLIST\, McClelland approaches language through music\, organizing lists and conjoining names of musicians to suggest language as a form of portraiture. Performers are paired based on aural affinities in their music\, dissolving the factors of genre or category. McClelland approaches text as abstraction bringing to light the porous nature of identity. Since names are inherently abstract\, and in this case proper names\, they are only imbued with meaning once attached to a person. McClelland’s interest lies in parsing the gap between a name and its physicality; searching for what a name represents. The canvases become a place for inscription\, akin to graffiti\, a map\, or initials carved into a tree. The materiality of McClelland’s paintings echoes this gesture as she employs polymers\, dry pigments\, archival glitter\, and graphite to excavate meaning within their surface. \nReflecting back on her early experience as a photographer and the chemistry in the dark room\, McClelland’s material dissection similarly allows the final image to come into view almost magically as her framed subject emerges. The visual qualities of the names themselves create formal relationships within the canvas\, asking the traditional structure of the grid to dissolve\, shifting to accommodate pure color and the form of the letters. On the backs of the canvases\, McClelland has collaged a collection of photographs of each performer\, providing another set of data to inform the abstraction while relegating any direct representation. \nThe very act of creating a playlist is a personal one\, and here\, McClelland posits playlists as a form of both personal and collective memoir. In offering a list of names\, the artist invites the viewer to bring their own memories and experiences to the work\, suggesting a shared history built through music. Through recalling her own memories of musical history\, abstracted on the canvas\, McClelland implies a greater reverence for aural history\, naming names\, noting who listened to whom\, and the performers’ recording history.
URL:https://artinamericaguide.com/event/suzanne-mcclelland-playlist/
LOCATION:Marianne Boesky Gallery\, 601 East Hyman Ave\, 2nd Floor\, Aspen\, CO\, 81611\, United States
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20210327
DTEND;VALUE=DATE:20210425
DTSTAMP:20260422T103416
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SUMMARY:Allison Janae Hamilton | A Romance of Paradise
DESCRIPTION:Marianne Boesky Gallery is pleased to present A Romance of Paradise\, Allison Janae Hamilton’s inaugural solo exhibition with the gallery. For A Romance of Paradise\, Hamilton will present new photographs\, videos\, and sculptural works that highlight the artist’s ongoing exploration of interwoven themes such as environmental justice\, folklore and mythologies\, and the traditions of communities living in vulnerable landscapes within the rural American South. The title of the exhibition takes the original denotation of the word paradise\, meaning “heaven\,” underscoring the myths of an Edenic southern landscape formed during the exploitative and violent southward expansion of the United States. A Romance of Paradise will be on view March 27 – April 24\, 2021 at the gallery’s 507 West 24th Street location in New York. Marking a major milestone at the gallery\, A Romance of Paradise will be the first carbon-conscious exhibition at Marianne Boesky Gallery. \n  \nA Romance of Paradise is centered around the undeniable verity that the development of the United States was an expansion squarely rooted in the creation of narratives. In contrast to the West\, which was viewed as an open range to be conquered and settled\, the South was surrounded by optimistic legends of a rich\, fertile landscape primed for cultivation. Some early explorers to southeast America maintained the view that the biblical Garden of Eden was literally located on the 35th parallel north\, the length of which runs from New Bern\, North Carolina\, to Memphis\, Tennessee. Within the works on view\, Hamilton looks at the formation of these mythologies and the way in which brutal colonization of land and people have molded contemporary beliefs and current realities\, such as the continued exploitation of land and resulting climate change crisis that often disproportionately impacts communities in the rural Black South. The artist deftly explores the often less visible yet resilient histories of the region\, driven by her own connections to Kentucky\, where she was born\, to Florida\, where she grew up\, to rural Tennessee\, the location of her maternal family’s homestead. Hamilton weaves in these personal narratives with pressing contemporary issues\, through her photography that combines the lush landscapes shot in rural Northern Florida with the complex lived experiences of its inhabitants\, and sculptural works that evoke a land that is simultaneously idyllic\, fragile\, and haunted by its own history. \n  \nA Romance of Paradise will include recognized elements to the artist’s work and new interpretations of recurring items and motifs. Hamilton’s familiar fencing masks\, adorned with gathered materials such as feathers and botanical designs\, will be presented in a lighter color palette\, contrasting the warriorlike appearance of the masks\, as well as mixed media works from the artist’s Yard Signs series. Additionally\, new sculptures from Hamilton’s Creatures series will be on view. The sculptures\, taking forms of an alligator\, white-tailed deer\, and a rattlesnake – all found in her home region of North Florida\, present visions of predator and prey in a delicate\, white finish reminiscent of porcelain. Taken as a whole\, the ethereal colors and textures create\, at first glance\, a heavenly\, immersive landscape. However\, upon closer examination\, the snarling creatures and warlike masks interspersed in the space speak to an underlying violent depth. \n  \n“The works in A Romance of Paradise comprise a narrative ecosystem that is both tangible and mythic.  The photographs\, videos\, and sculptures explore how historical myths used to justify violent expansion have contemporary implications affecting present-day landscapes and those living therein\, not only in the American South but throughout the world at large.” said Allison Janae Hamilton \n  \nMany of the artworks in A Romance of Paradise draw from early African American nature writing\, rituals of hoodoo and traditional healing modalities\, botanical drawings\, and contemporary lived experiences of communities navigating the distinct impacts of climate change within the South. By drawing together elements from these sources in her deeply personal\, interdisciplinary practice\, Hamilton interrogates how these histories and myths can give clues to present day experiences and the precarious implications of environmental exploitation on the future. In Hamilton’s photography\, for instance\, the artist imbeds friends\, family\, and herself as actors against the backdrop of Northern Florida\, bringing together elements of landscape and portrait photography. Adorning her subjects with objects gathered from the environment and combining them with both timeless and contemporary symbolic gestures\, Hamilton creates narrative portraits of the actors who are inextricably linked to and disruptors of an environment that collapses history\, present\, and future. \n  \nShown together\, the works in A Romance of Paradise explore how human intervention on the landscape over time has impacted the communities that inhabit it today\, presenting an image that is contemporary yet ancient\, captivating yet disturbing. Each element of the exhibition brings forth the rituals that work within and around these landscapes\, demonstrating the continuation and precariousness of the notion of the American Eden. \n  \nAligning with Hamilton’s interest in environmental justice\, A Romance of Paradise will be the first carbon-conscious exhibition at Marianne Boesky Gallery. The gallery has expanded and prioritized its commitment to sustainability since the formation of its Green Initiative Committee in 2019. In addition to ongoing environmentally friendly practices with Galleries Commit\, A Romance of Paradise will track carbon output throughout the planning and execution of the individual artworks and the exhibition as a whole and will account for carbon conservation in the cost of each work. At the end of the show\, the gallery will make a donation\, including for any unsold works\, to permanent\, old-growth forest conservation with Galleries Commit x Art to Acres. \n  \nTimed to the opening of the exhibition\, Allison Janae Hamilton will present her video work Wacissa (2019)\, for Times Square Arts’ ‘Midnight Moment’ from April 1 – 30\, 2021. Midnight Moment is the world’s largest\, longest-running digital art exhibition\, synchronized on electronic billboards throughout Times Square nightly from 11:57pm to midnight. In Wacissa\, the viewer is submerged in the undulating waters of rivers from Hamilton’s home region of North Florida. Recounting a deeply localized history\, the film shows a river system wherein limestone was excavated by slave labor to bring cotton from Georgia through the Florida Panhandle to ships waiting in the Gulf of Mexico\, exploring intertwined concepts of the coastal South\, labor\, and myths of paradise. \n  \nAllison Janae Hamilton (b. 1984) was born in Kentucky\, raised in Florida\, and her maternal family’s farm and homestead lies in the rural flatlands of western Tennessee. Hamilton’s relationship with these locations forms the cornerstone of her artwork. Hamilton has exhibited her work at the Museum of Modern Art\, New York\, NY; Storm King Art Center\, New Winsor\, NY; the Studio Museum in Harlem\, MoMA PS1\, Long Island City\, NY; the Smithsonian National Portrait Gallery\, Washington\, DC; the Jewish Museum\, New York\, NY; Fundación Botín\, Santander\, Spain; the Brighton Photo Biennial\, Brighton\, UK; and the Istanbul Design Biennial\, Istanbul\, Turkey. Solo exhibitions of her work include Pitch at the Massachusetts Museum of Contemporary Art (MASS MoCA)\, North Adams\, MA (2018); Passage at Atlanta Contemporary\, Atlanta\, GA (2018); and Wonder Room at Recess\, New York\, NY (2017). She is the recipient of the Creative Capital Award and the Rema Hort Mann Foundation Grant\, as well as wide range of residencies. Hamilton’s work is in numerous private and public collections including the Studio Museum in Harlem and The Menil Collection. Hamilton received her PhD in American Studies from New York University and her MFA in Visual Arts from Columbia University. \n  \nAbout Galleries Commit \nGalleries Commit is a worker-led collective committed to a climate-conscious\, resilient\, and equitable future for New York City galleries.
URL:https://artinamericaguide.com/event/allison-janae-hamilton-a-romance-of-paradise/
LOCATION:Marianne Boesky Gallery\, 601 East Hyman Ave\, 2nd Floor\, Aspen\, CO\, 81611\, United States
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20210213
DTEND;VALUE=DATE:20210314
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SUMMARY:Jay Heikes | Echo in Color
DESCRIPTION:Marianne Boesky Gallery is pleased to present Echo in Color\, Jay Heikes’ fifth solo exhibition with the gallery. With his upcoming show\, Heikes continues his exploration of alchemical processes and the fleeting sense of connection that can be found when turning to nature and the universe. The exhibition will feature a selection of new and recent paintings from the artist’s Mother Sky series and Minor Planets sculptures. Echo in Color will be on view February 13 – March 13\, 2021 at the gallery’s 507 West 24th Street in New York. On the occasion of this exhibition\, the artist’s first comprehensive monograph will be published in cooperation with Gregory Miller & Co. and distributed by Distributed Art Publishers and will feature text by Sarah Lehrer-Graiwer\, Jenelle Porter\, Philippe Vergne\, and an interview between Heikes and Hamza Walker. \n  \nHeikes is regarded for his varied practice\, wherein he combines and transforms an array of media and materials\, including recent works that center around a preoccupation with the philosophical tradition of alchemy. The title of the exhibition\, Echo in Color\, references the perceptual phenomena of synesthesia\, a blending of the senses in which the stimulation of one modality produces sensation in another. The assembled works in the exhibition evoke a similar awareness\, crossing the senses in ways that are not understood through everyday language. Heikes’ preoccupation with these concepts speaks to his deep considerations of the role that art serves in culture. During a time of economic\, social\, and environmental turbulence\, the artist creates a meditative response to this uncertainty. \n  \n“The sheer vastness of a wide-open space is imbued with feelings of emptiness – only in a cave or canyon can the gesture of a scream be returned\,” said Heikes. “Through the last four years of alienation and the recent time collectively spent in isolation\, I began to see the idea that in retreating to an imagined vastness\, such as through a painting of the sky\, the works become representations that keep us grounded and avoid the total void of the sublime.” \n  \nIn particular\, Heikes is interested in the juxtaposition of the painting and sculpture presented within Echo in Color. In his Mother Sky works\, the artist stains the canvas using a combination of vinegar\, salt\, and powdered pigment. As they react\, these substances generate unpredictable hues\, ranging from rust\, indigo\, copper\, and fluorescent greens. Screen printed and dabbed on the canvases are voluminous shapes of clouds and smoke\, composed from distortions of found and photographed images. The euphoria in the otherworldly and meditative vistas simultaneously cause an underlying unease through the eerie and acidic tones of the tempestuous\, burning skies that layer the canvas. The imagined atmospheres\, at first an escapist opportunity for the viewer\, reflect an inability to create complete control. \n  \nPresented alongside the paintings\, Heikes will feature Minor Planets sculptures. This series of sculptures has been crafted from a range of materials\, including concrete\, pyrite\, salt\, slag\, asphaltum\, quartz\, rope\, and dust collected from the artist’s studio in the forms of modeled orbs and disks – timeless and ancient in appearance. The latest iteration of the Minor Planets on view in Echo in Color has transitioned to center on the material of concrete\, giving the sculptures weight and autonomy in both their scale and composition. In this way\, the juxtaposition of turning to the sky as a means of transcendence alongside the grounding materiality of the sculptures offers refuge in turbulent times. Yet even the Minor Planets serve as a testimony to the unpredictability of the artist’s chosen mediums and form\, as the metals and complementary materials in the sculptures oxidize and mutate over time. In his 2019 text on this body of works\, “I Wavereth\,” Heikes notes\, “At times it feels like I am playing God with these landscapes\, imagining an atmosphere from above that has finally freed itself of all human trivialities. I was supposed to pick up the mantle of activism and help answer the people’s cries but instead I became more distant\, even hidden\, while creating these representational moods of the soul.” \n  \n\nYale graduate and Minneapolis-based artist Jay Heikes (b. 1975) is known for his heterogeneous practice\, which mixes and reinterprets a kaleidoscopic array of media—activating stories\, puns\, and irony in a cyclical meditation. His most recent body of work employs his preoccupation with the philosophical tradition of alchemy. Themes of evolution and regeneration\, stasis and corrosion take form in his artistic actions\, recharging Heikes’ previous narrative pursuits and reaffirming the notion that mutation and change are essential to the creative process. \n  \nFollowing his first solo presentation at Artists Space\, New York in 2003\, Heikes participated in a number of group exhibitions at venues such as the New Museum of Contemporary Art\, New York (2003) and the Renaissance Society at the University of Chicago (2002 and 2005). In 2006\, Heikes was included in the Whitney Biennial: Day for Night\,curated by Chrissie Iles and Philippe Vergne. Since then\, Heikes has been the subject of numerous domestic and international exhibitions\, including shows at The Institute of Contemporary Art\, Philadelphia (2007); the Aspen Art Museum (2012); Grimm Gallery\, Amsterdam (2015); Shane Campbell Gallery\, Chicago (2015); Federica Schiavo Gallery\, Rome (2019); and Joslyn Art Museum\, Omaha\, NE (2019).
URL:https://artinamericaguide.com/event/jay-heikes-echo-in-color/
LOCATION:Marianne Boesky Gallery\, 601 East Hyman Ave\, 2nd Floor\, Aspen\, CO\, 81611\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Halifax:20200116T180000
DTEND;TZID=America/Halifax:20200116T200000
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SUMMARY:Opening Reception for Xenia: Crossroads in Portrait Painting
DESCRIPTION:Join us to celebrate the opening of Xenia: Crossroads in Portrait Painting on Thursday\, January 16 from 6-8 PM at Marianne Boesky Gallery. This group show explores the resurgence of portraiture as an incisive platform through which to consider the nature and meaning of identity. As our globalized society becomes increasingly marked by emigration\, resettlement\, and technological interconnectedness\, so too have notions of the self become exponentially fractured and complex. Through the work of seventeen artists\, Xenia: Crossroads in Portrait Painting captures the ways in which artists are leveraging the power of the portrait to express these intricacies\, exposing the relationship between identity\, place\, and shifting social norms.
URL:https://artinamericaguide.com/event/opening-reception-for-xenia-crossroads-in-portrait-painting/
LOCATION:Marianne Boesky Gallery\, 601 East Hyman Ave\, 2nd Floor\, Aspen\, CO\, 81611\, United States
CATEGORIES:Event,Exhibition
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DTSTAMP:20260422T103416
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SUMMARY:Tricknology: ektor garcia and Allison Janae Hamilton curated by Sanford Biggers
DESCRIPTION:Marianne Boesky Gallery is pleased to announce that it will present an exhibition this summer curated by artist Sanford Biggers\, featuring the work of Allison Janae Hamilton and ektor garcia—both of whom have long-standing relationships with Biggers. Hamilton and garcia are recognized for their complex\, narrative-infused tactile sculptures and installation pieces\, and this exhibition will explore the ways in which both artists use materials to evoke history and define new mythologies—aspects of this approach are also present in Biggers’ own practice. Tricknology will be on view at Marianne Boesky Gallery’s location in Aspen\, Colorado\, from July 26 through September 9.
URL:https://artinamericaguide.com/event/tricknology-ektor-garcia-and-allison-janae-hamilton-curated-by-sanford-biggers/
LOCATION:Marianne Boesky Gallery\, 601 East Hyman Ave\, 2nd Floor\, Aspen\, CO\, 81611\, United States
CATEGORIES:Exhibition
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