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DTSTART;VALUE=DATE:20200420
DTEND;VALUE=DATE:20200601
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SUMMARY:Online Exhibition | GENERAL IDEA: P is for Poodle
DESCRIPTION:Due to the COVID-19 health crisis\, our planned exhibition General Idea: P is for Poodle has been postponed indefinitely. However\, in a serendipitous move\, Lucy Mitchell-Innes arranged for the works in this exhibition to be fully installed and photographed at the Chelsea gallery during the summer of 2019. Because of this\, we are happy to share with you these resulting installation views from that seemingly distant summer endeavor. \nDue to the strange and difficult circumstances of our present\, this show can only exist in pictures\, caught in the space between what was and what could have been. However\, much like their 1984 Miss General Idea Pavillion\, an elaborate structure whose supposed existence is hinted at through fragments and staged “documentary footage” of its destruction\, this exhibition bridges myth and reality. Indeed\, this show\, despite the present photographic evidence\, is one that unfortunately and surreally may never happen. \nImage:\nGENERAL IDEA\nInstallation view of Mondo Cane Kama Sutra at Mitchell-Innes & Nash\, New York\, 2020 \n\nMitchell-Innes & Nash is pleased to present General Idea: P is for Poodle\, an exhibition of works by General Idea (1969-1994) focusing on one of the central motifs in the artist group’s oeuvre: the poodle. Spanning two venues\, this exhibition brings together three major installations dating from the early- to mid-1980s. Previously exhibited at the Musée d’art moderne de la Ville de Paris as part of General Idea’s retrospective in 2012\, two of these three works will be on view in the United States for the first time\, along with a selection of paintings\, drawings and sculptural wall works. A fully illustrated catalogue will accompany this exhibition. \nFounded in Toronto in 1969 by AA Bronson\, Felix Partz and Jorge Zontal\, General Idea were among the first artists to implement media critique and queer theory in their work. For twenty-five years\, they created a pioneering and singular practice that addressed the intersection of art and commerce\, the role of the artist and the museum\, body politics and\, later\, the AIDS crisis. Using strategies of appropriation\, audience participation\, humor and irony\, they staged performances and created paintings\, posters\, photographs\, installations\, videos\, magazines and other multiples that together form a kind of meta-spectacle as much as a formal artistic oeuvre. As Bronson has noted\, General Idea “emerged in the aftermath of the Paris riots\, from the detritus of hippie communes\, underground newspapers\, radical education\, Happenings\, love-ins\, Marshall McLuhan and the International Situationists….[It] was at once complicit in and critical of the mechanisms and strategies that join art and commerce\, a sort of mole in the art world.” \nKnown for “its wit\, pampered presence and ornamental physique\,” the poodle arrived into the visual lexicon of General Idea in the early 1980s and quickly became a vehicle by which the group addressed issues ranging from sexual stereotypes to the commodification of contemporary art. However\, beyond its use as an agent of subtle yet substantive political and social critique\, the poodle also served as a kind of heraldic device—an emblem for the mythology of General Idea and its processes of mythmaking. Through its various incarnations of the poodle\, General Idea strived for a metanarrative that skirted the boundaries between artifact and artifice; history and fantasy; truth and fiction. \nThe large-scale installation P is for Poodle (The Milky Way from the 1984 Miss General Idea Pavillion) (1982-1983) will be presented at 293 Tenth Avenue at 27th Street. Featuring three poodle mannequins within a dramatically lit stable of bedded hay\, it recalls the familiar mise-en-scene of the nativity—the archetypal family unit. Each of the poodles is surrounded by a golden curlicue\, suggesting both divine intervention and urination\, while a backlit aluminum panel in the background depicts the Canis Major constellation\, which appears within the Milky Way. Gilded milking stools\, brass buckets and a soundtrack of chanting\, drums and audience applause add to the mystery and mysticism. \nAlso on view at 293 Tenth Avenue\, Firewall (1985) further draws attention to the mechanics of display. Presented as a recovered wall fragment from the so-called ruins of the 1984 Miss General Idea Pavillion—an elaborate but unrealized structure that was\, according to a myth promulgated by the artist group\, destroyed in a fire\, it measures more than eighteen feet long and includes over 200 poodle-embellished plaster bricks painted in yellow and orange hues suggestive of the volcanic fires of Pompeii. Among the plaster tiles\, a painting displays three poodles bouncing over an inferno\, their curlicues now seemingly pulling them towards the flames\, evoking pre-Christian pagan rituals. Embedded baby faces and skulls on its frame are repeated alongside the top and bottom of the wall\, referencing Renaissance putto and vanitas—love and death. \nThe erotic subtext of the poodle is most explicitly explored in Mondo Cane Kama Sutra (1984)\, a cycle of ten large paintings on view at 534 West 26th Street. Each depicts three distinctly colored\, stylized poodles against a black background\, combined and recombined in various sexually suggestive positions. While their round bodies\, fluorescent colors and systematic permutations were formal references to the stylized abstractions of Frank Stella’s Protractor series from the late 1960s\, the paintings unabashedly offered a rare\, early engagement with gay discourse. The poodles\, ultimately\, were tongue-in-cheek metaphors for General Idea’s own ménage-a-trois\, and as such a potential challenge to the cultural ideal of a nuclear family.
URL:https://artinamericaguide.com/event/online-exhibition-general-idea-p-is-for-poodle/
LOCATION:Mitchell-Innes & Nash\, 534 W 26th St.\, New York\, NY\, United States
CATEGORIES:Exhibition,Virtual Events + Viewing Rooms
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DTEND;TZID=America/Halifax:20200328T180000
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SUMMARY:Gerasimos Floratos | Bismuth
DESCRIPTION:GERASIMOS FLORATOS\nBISMUTH\nFEBRUARY 20 – MARCH 28\, 2020 \nMitchell-Innes & Nash is pleased to announce a solo exhibition of new paintings by New York-based artist Gerasimos Floratos. This will be the artist’s first show with the gallery as well as the first in the city since his solo debut at White Columns in 2016. On view will be a suite of new large-scale paintings that continue the artist’s exploration of built-up environments and its physical and psychological structures. \nOver the years\, Floratos has developed a bold\, assertive and highly idiosyncratic style of painting that takes as its primary subject the metropolitan backdrop of his hometown and\, more specifically\, the neighborhood of Times Square\, where he grew up and which he has described as the “center of the center.” The works in this exhibition evince the artist’s ongoing efforts to map the psychogeography of such centers—a term which Floratos borrows from Guy Debord\, one of the founders of the Situationist International\, who defined it as “the study of the precise laws and specific effects of the geographical environment\, consciously organized or not\, on the emotions and behavior of individuals.” \nThrough a seamless combination of cartoon-like imagery and dense layers of thick\, textural marks\, Floratos’s paintings reflect the inner psyche of the city and its denizens—an exercise in exteriorization that\, in its visual translation\, bridges the terrestrial with the ethereal; figuration with abstraction; and the grotesque with the everyday. Painted quickly and arranged on self-made stretchers\, the artist’s canvases present a pulsating and turbulent narrative of street dwellers\, performers\, commuters\, drivers and tourists that\, at times\, includes himself. \nThe strong autobiographical component that informs Floratos’s practice is often complemented by a corporeal dimension\, with anatomical features such as guts and intestines blending with sneakers\, hats and headphones to create hallucinogenic portraits of anonymous figures. This conflation of internal and external body parts\, or mind and body\, echoes the wider dichotomy between the artist’s highly localized perspective and the globalized world that it reflects. Guided by an autodidact model of creative independence that draws associations to Art Brut\, Floratos seeks to capture the elusiveness and immediacy of what it means to be a New Yorker. \n\nImage:\nGERASIMOS FLORATOS\nCurbside shoreline\n2019-20\nOil and acrylic on canvas\n52 1/4 by 88 in.  132.7 by 223.5 cm.
URL:https://artinamericaguide.com/event/gerasimos-floratos-bismuth/
LOCATION:Mitchell-Innes & Nash\, 534 W 26th St.\, New York\, NY\, United States
CATEGORIES:Exhibition
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SUMMARY:Julije Knifer | Meander
DESCRIPTION:Mitchell-Innes & Nash is pleased to announce its second solo exhibition of works by Croatian artist Julije Knifer (1924 – 2004). Featuring paintings\, works on paper and a large-scale mural\, this exhibition delves into the conceptual and process-based painting principles of Knifer’s meander—an abstract geometric form that the artist developed in 1959 and which became\, through innumerable subtle permutations and various media\, the primary\, if not sole\, visual motif in the artist’s practice. \nBorn in 1924 in Osijek in what is now the Republic of Croatia\, Julije Knifer studied at the Academy of Fine Arts in Zagreb from 1951 to 1957—a milieu which could be described as a hotbed of aesthetic experimentation. However\, the highly intellectualized movements that grew out of this environment\, specifically Neo-Constructivism\, did not sit comfortably with Knifer and\, in 1959\, he co-founded the Gorgona Group; that same year\, as noted previously\, he made his first meander work. \nThe Gorgona Group (1959 – 1966) was a loose consortium of artists working in various media that subscribed to an “anti-art” agenda. Disillusioned with\, or perhaps skeptical of\, the lofty ambitions of bourgeois modernism\, the Gorgona Group made work that reflected a nihilist counter perspective. Indeed\, the intentional and relentless repetition of the meander recalls the concept of eternal recurrence\, an idea that was central to the writings of Friedrich Nietzsche and which underscored Knifer’s proto-conceptual questioning of art’s transcendental power. \nThe severe simplicity of Knifer’s work is\, above all\, a kind of aesthetic distillation that divorces form from not only its descriptive obligations but also from its long-held role as a vehicle for symbolic and philosophical meaning. In this\, Knifer’s work paradoxically invites and rejects interpretation. The meander becomes a language we cannot understand but which\, like music\, we are capable of intimately feeling. \n“I wanted to go towards the minimum\, towards simplification. After reading Stravinsky’s phrase that music is nothing but rhythm\, I thought\, why not apply this idea to a flat surface?”\n—Julije Knifer\, 1991 \nThis exhibition is organized in conjunction with galerie frank elbaz\, Paris. \n\nImage caption:\nJULIJE KNIFER\nComposition 15 \n1959\nOil on canvas\n21 3/4 by 25 1/2 in.  55.3 by 64.7 cm
URL:https://artinamericaguide.com/event/julije-knifer-meander/
LOCATION:Mitchell-Innes & Nash\, 534 W 26th St.\, New York\, NY\, United States
CATEGORIES:Exhibition
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