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DTSTART;TZID=America/Halifax:20210910T100000
DTEND;TZID=America/Halifax:20211023T180000
DTSTAMP:20260421T095141
CREATED:20210927T181858Z
LAST-MODIFIED:20210927T181858Z
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SUMMARY:Robert Rauschenberg | Channel Surfing
DESCRIPTION:Robert Rauschenberg: Channel Surfing focuses on the renowned American artist’s response to the rise of global media culture from the early 1980s to the mid-2000s\, spotlighting his return to painting after a decade-long hiatus from the medium. \n\nImage:\nInstallation view\, Robert Rauschenberg: Channel Surfing\, Pace Gallery\, New York © 2021 Robert Rauschenberg Foundation / Artists Rights Society (ARS)\, New York
URL:https://artinamericaguide.com/event/robert-rauschenberg-channel-surfing/
LOCATION:Pace Gallery 25th Street\, 540 West 25th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20210910
DTEND;VALUE=DATE:20211024
DTSTAMP:20260421T095141
CREATED:20210831T164926Z
LAST-MODIFIED:20210831T164926Z
UID:86255-1631232000-1635033599@artinamericaguide.com
SUMMARY:Convergent Evolutions: The Conscious of Body Work
DESCRIPTION:Convergent Evolutions\, an exhibition curated by Online Sales Director Christiana Ine-Kimba Boyle\, explores how intergenerational artists have used various instruments within their practices to grant or deny viewers the agency of viewership while also surveying the body’s response to the visual plane. \n\nImage: Lucas Samaras\, Sittings 8 x 10\, 2/21/80\, 1980\, color Polaroid photograph\, 10″ x 8″ (25.4 cm x 20.3 cm) © Lucas Samaras
URL:https://artinamericaguide.com/event/convergent-evolutions-the-conscious-of-body-work/
LOCATION:Pace Gallery 25th Street\, 540 West 25th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20210226
DTEND;VALUE=DATE:20210328
DTSTAMP:20260421T095141
CREATED:20210301T190721Z
LAST-MODIFIED:20210301T191131Z
UID:80233-1614297600-1616889599@artinamericaguide.com
SUMMARY:David Goldblatt\, "Strange Instrument"
DESCRIPTION:David Goldblatt was renowned for creating powerful images that revealed the complex and far-reaching dynamics of apartheid\, as well as the post-apartheid conditions that continue to impact his native country to this day.\nCurated by South African artist and activist Zanele Muholi in collaboration with Yancey Richardson Gallery\, David Goldblatt: Strange Instrument presents 45 vintage prints by the late South African photographer. The exhibition groups the works into idiosyncratic categories that reflect Muholi’s deeply personal engagement with the work of Goldblatt\, who was a teacher\, a mentor\, and a friend. Muholi’s own work explores similarly complex issues of gender\, labor\, and race that continue to permeate contemporary South African society.\n\nImage:\nInstallation view\, David Goldblatt\, Strange Instrument\nCourtesy of Pace Gallery
URL:https://artinamericaguide.com/event/david-goldblatt-strange-instrument/
LOCATION:Pace Gallery 25th Street\, 540 West 25th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20210114
DTEND;VALUE=DATE:20210228
DTSTAMP:20260421T095141
CREATED:20201202T201852Z
LAST-MODIFIED:20201203T194801Z
UID:79172-1610582400-1614470399@artinamericaguide.com
SUMMARY:Tara Donovan: Intermediaries
DESCRIPTION:Tara Donovan\nIntermediaries\nJanuary 15 – February 27\, 2021\n\nImage:\nTara Donovan\nSphere\, 2020\nPETG tubes\n6′ × 6′ × 6′\n(182.9 cm × 182.9 cm × 182.9 cm)\n© Tara Donovan\nCourtesy of Pace Gallery
URL:https://artinamericaguide.com/event/tara-donovan-intermediaries/
LOCATION:Pace Gallery 25th Street\, 540 West 25th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20210107
DTEND;VALUE=DATE:20210214
DTSTAMP:20260421T095141
CREATED:20201207T202231Z
LAST-MODIFIED:20201207T202338Z
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SUMMARY:Irving Penn\, "Photographism."
DESCRIPTION:Opening January 7\, 2021: Irving Penn\, “Photographism”\n\nImage caption: Irving Penn\, Eye In Keyhole\, New York\, 1953\, dye transfer print mounted to board\, 19-5/8″ × 13-1/4″ (49.8 cm × 33.7 cm)\, image\, 20-1/2″ × 14″ (52.1 cm × 35.6 cm)\, paper\, 22-5/8″ × 16-1/4″ (57.5 cm × 41.3 cm)\, mount © Condé Nast. Courtesy of Pace Gallery.
URL:https://artinamericaguide.com/event/irving-penn-photographism/
LOCATION:Pace Gallery 25th Street\, 540 West 25th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200421
DTEND;VALUE=DATE:20200506
DTSTAMP:20260421T095141
CREATED:20200408T164417Z
LAST-MODIFIED:20200408T164417Z
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SUMMARY:Viewing Room | All Creatures Great and Small
DESCRIPTION:All Creatures Great and Small celebrates the act of creation as well as the inherent worth of all life forms\, no matter how humble\, diminutive\, or common.  \nImage:\nKiki Smith\, All Creatures Great and Small\, 1997\, sculpture\, 11-1/2″ x 8′ 2″ x 2-1/2″ (29.2 x 248.9 x 6.4 cm) © Kiki Smith\, courtesy of Pace Gallery \n\nPace’s online viewing rooms offer rich contextual lenses through which to engage with our artists’ work and exhibitions. To inquire about any of the works featured in this exhibition\, please email inquiries@pacegallery.com. \nWe invite you to explore our other Viewing Rooms including Saul Steinberg: Imagined Interiors\, James Turrell\, Julian Schnabel: The Patch of Blue the Prisoner Calls the Sky\, Paul Graham: The Seasons\, Arlene Schechet: Skirts\, and Noland: Flares.
URL:https://artinamericaguide.com/event/viewing-room-all-creatures-great-and-small/
LOCATION:Pace Gallery 25th Street\, 540 West 25th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition,Virtual Events + Viewing Rooms
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20200414
DTEND;VALUE=DATE:20200429
DTSTAMP:20260421T095141
CREATED:20200408T163656Z
LAST-MODIFIED:20200408T164633Z
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SUMMARY:Viewing Room | Diamonds on the Soles of Her Shoes
DESCRIPTION:Diamonds on the Soles of Her Shoes brings together works by some of the most iconic photographers of our time\, revealing these fundamental truths in the camera’s lens. \nImage:\nIrving Penn\, Optician’s Shop Window (B)\, New York\, 1939\, gelatin silver print\, 14″ x 11″ © The Irving Penn Foundation  \n\nPace’s online viewing rooms offer rich contextual lenses through which to engage with our artists’ work and exhibitions. To inquire about any of the works featured in this exhibition\, please email inquiries@pacegallery.com. \nWe invite you to explore our other Viewing Rooms including Saul Steinberg: Imagined Interiors\, James Turrell\, Julian Schnabel: The Patch of Blue the Prisoner Calls the Sky\, Paul Graham: The Seasons\, Arlene Schechet: Skirts\, and Noland: Flares.
URL:https://artinamericaguide.com/event/viewing-room-diamonds-on-the-soles-of-her-shoes/
LOCATION:Pace Gallery 25th Street\, 540 West 25th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition,Virtual Events + Viewing Rooms
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200407
DTEND;VALUE=DATE:20200422
DTSTAMP:20260421T095141
CREATED:20200407T212152Z
LAST-MODIFIED:20200408T163819Z
UID:66988-1586217600-1587513599@artinamericaguide.com
SUMMARY:Viewing Room | Material Matters
DESCRIPTION:Material Matters examines the complex role of materiality in the work of eleven leading artists today. Spanning 60 years of artmaking\, the exhibition explores how material choices guide artistic expression and provide the tools to disrupt expectation\, shape meaning\, and embody symbolic content. ​ \nImage\nLynda Benglis\, Quahatika\, 2013\, glazed ceramic\, 23″ × 13″ × 10″ (58.4 cm × 33 cm × 25.4 cm) © Lynda Benglis \n\nThe unexpected outcomes that emerge from combining disparate materials can result in semiotic experimentation as well as aesthetic and formal play. Robert Rauschenberg—who invented the term “combine” to refer to objects that combine aspects of sculpture and painting in a single work—is perhaps one of the most influential artists to engage in such material play. To make Quorum (Unions) (1975)\, Rauschenberg collaborated with workers from a local paper mill while he was living in India\, to create a “rag-mud” structure of paper pulp\, ground tamarind seeds\, copper sulfate\, and other materials that suggest the symbolic embodiment of the context in which the work was made. ​ \nCeramic sculptures by Lynda Benglis\, Arlene Shechet\, Richard Tuttle\, and Lee Ufan point to a relationship between materiality\, alchemy\, and intuition\, qualities inherent in the malleable\, slippery nature of base materials like clay. In other instances\, such as in the works of Yin Xiuzhen and Song Dong\, material choices offer a symbolic language that engages social and economic contexts\, revealing the power structures and histories that shape the contemporary material world.​ \nFound objects can also function as conceptual material and fodder for transformative processes that subvert expectation. In Claes Oldenburg and Coosje van Bruggen’s work\, everyday objects have been expanded to a colossal scale\, while other works remain small and playfully frozen in a moment\, like the melting ice cream and spilling cherries in Paradise Pies (2009). Tara Donovan’s inventive use of manufactured materials such as Slinkys\, paper plates\, pins\, and straws engage in a formal dialogue with light and space\, while creating imaginative forms that transform the identity of the material itself. ​ \nThe most recent works in this exhibition investigate the physical composition of objects and their relationship to contemporary production\, technology\, and the environment. DRIFT’s material studies of common objects such as iPhones and bicycles offer a profound understanding of our alienation from the extracted raw materials that are needed to make the objects we use every day. ​ \n\nPace’s online viewing rooms offer rich contextual lenses through which to engage with our artists’ work and exhibitions. To inquire about any of the works featured in this exhibition\, please email inquiries@pacegallery.com. \nWe invite you to explore our other Viewing Rooms including Saul Steinberg: Imagined Interiors\, James Turrell\, Julian Schnabel: The Patch of Blue the Prisoner Calls the Sky\, Paul Graham: The Seasons\, Arlene Schechet: Skirts\, and Noland: Flares.
URL:https://artinamericaguide.com/event/viewing-room-material-matters/
LOCATION:Pace Gallery 25th Street\, 540 West 25th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition,Virtual Events + Viewing Rooms
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200331
DTEND;VALUE=DATE:20200415
DTSTAMP:20260421T095141
CREATED:20200406T152911Z
LAST-MODIFIED:20200406T163837Z
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SUMMARY:Viewing Room | A Swiftly Tilting Planet
DESCRIPTION:A Swiftly Tilting Planet brings together a collection of works by seminal artists that express the potential energy of a teeming stillness and the promise of a new world.  \nImage:\nAlex Katz\, 11:30 AM\, 2008\, oil on linen\, 8′ x 6′ (243.8 cm x 182.9 cm) © Alex Katz \n\nThe works in the exhibition capture slowness\, inwardness\, and reflection as techniques of insuppressible vitality\, anointing every ending as a new beginning and celebrating art’s enduring power—and its salutary presence—in our topsy-turvy lives. \nA Swiftly Tilting Planet features works by Lynda Benglis\, Harry Callahan\, William Eggleston\, Eric Fischl\, Peter Hujar\, Alex Katz\, Sol LeWitt\, Maya Lin\, Brice Marden\, Elizabeth Murray\, Lucas Samaras\, Arlene Shechet\, Kiki Smith\, and Richard Tuttle. \n\nPace’s online viewing rooms offer rich contextual lenses through which to engage with our artists’ work and exhibitions. To inquire about any of the works featured in this exhibition\, please email inquiries@pacegallery.com. \nWe invite you to explore our other Viewing Rooms including Saul Steinberg: Imagined Interiors\, James Turrell\, Julian Schnabel: The Patch of Blue the Prisoner Calls the Sky\, Paul Graham: The Seasons\, Arlene Schechet: Skirts\, and Noland: Flares.
URL:https://artinamericaguide.com/event/viewing-room-a-swiftly-tilting-planet/
LOCATION:Pace Gallery 25th Street\, 540 West 25th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition,Virtual Events + Viewing Rooms
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200323
DTEND;VALUE=DATE:20200407
DTSTAMP:20260421T095141
CREATED:20200401T144327Z
LAST-MODIFIED:20200406T154506Z
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SUMMARY:Viewing Room | Saul Steinberg: Imagined Interiors
DESCRIPTION:Saul Steinberg (1914-1999) redefined the possibilities of drawing\, casting it as a philosophical investigation\, “a way of reasoning on paper.” \nCentered on domestic scenes\, these works by Steinberg critique as much as they transform the quotidian. \nHis ingenious experiments with drawing and other media\, including photography\, collage\, and sculpture\, earned him critical acclaim as a modernist artist in the post-war period\, while his numerous drawings and covers for The New Yorker made him dear to a broad American public—the people whose daily lives and customs became the subject of his art. ​ \nImage:\nSaul Steinberg\, Untitled (Victorian Interior)\, 1949-1954\, ink over pencil on paper\, 14-1/4″ × 23″ (36.2 cm × 58.4 cm) © 2020 Saul Steinberg Foundation / Artists Rights Society (ARS)\, New York \n\nIn the 1970s\, Steinberg began reflecting on his early life in Romania and Italy\, creating overtly autobiographical drawings—a rarity in his oeuvre. But rather than indulging in nostalgia\, this image of the artist playing the violin as a boy finds humor in his humble beginnings. Keeping tempo by tapping his foot\, young Steinberg seems to awaken the tiger adorning the rug—a visual play underlining the fact that both beast and child exist on the same two-dimensional plane\, even though the latter is read as somehow “less flat” than the former. This drollery momentarily distracts from the modesty of the family abode\, sparsely decorated with rustic furniture and folksy patterns. “I was embarrassed to be part of a primitive civilization\,” Steinberg expressed of his Romanian background. Nevertheless\, the centrality of music and presence of an attentive listener in this scene suggest that an appreciation for the arts did exist in his childhood home. \nClick image below hear Charles Louise Ambroise Thomas’s “Gavotte\,” from “Mignon\,” the composition pictured in Steinberg’s drawing. \n\n\nPace’s online viewing rooms offer rich contextual lenses through which to engage with our artists’ work and exhibitions. To inquire about any of the works featured in this exhibition\, please email inquiries@pacegallery.com \nWe invite you to explore our other Viewing Rooms including A Swiftly Tilting Planet\, James Turrell\, Julian Schnabel: The Patch of Blue the Prisoner Calls the Sky\, Paul Graham: The Seasons\, Arlene Schechet: Skirts\, and Noland: Flares.
URL:https://artinamericaguide.com/event/viewing-room-saul-steinberg/
LOCATION:Pace Gallery 25th Street\, 540 West 25th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition,Virtual Events + Viewing Rooms
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200316
DTEND;VALUE=DATE:20200524
DTSTAMP:20260421T095141
CREATED:20200406T154430Z
LAST-MODIFIED:20200406T154703Z
UID:66949-1584316800-1590278399@artinamericaguide.com
SUMMARY:Viewing Room | James Turrell
DESCRIPTION:Over the course of more than six decades\, James Turrell has pioneered an art of light\, space\, and time. \n“I want light itself to be the revelation.” – James Turrell \nImage:\nInstallation view\, James Turrell\, February 11 – May 23\, 2020\, Pace Gallery\, London © James Turrell. Photo: Damian Griffith \n\nJames Turrell’s recent Constellation works\, the focal point of this exhibition\, are the culmination of Turrell’s lifelong pursuit. Generating what the artist has called “spaces within space\,” these luminous portals are instruments for altering our perception; gazing into them results in the slow dissolution of the boundaries of the surrounding room\, enveloping the viewer in the radiance of pure color. Fusing the temporal\, sensuous\, and illusory qualities of his projection works and architectural installations\, the Constellations synthesize several aspects of Turrell’s practice. Unlike his early projection pieces\, however\, they are not about generating an illusion; instead\, they greet the viewer with the actual materiality of light\, what Turrell calls “the physical manifestation of light\, which we have trained our eyes too readily to look through rather than to look at.” \nPresented in site-specific chambers\, the works feature elliptical and circular shapes with a frosted glass surface animated by an array of technically advanced LED lights\, which are mounted to a wall and generated by computer programming. \n\nPace’s online viewing rooms offer rich contextual lenses through which to engage with our artists’ work and exhibitions. To inquire about any of the works featured in this exhibition\, please email inquiries@pacegallery.com. \nWe invite you to explore our other Viewing Rooms including Saul Steinberg: Imagined Interiors\, A Swiftly Tilting Planet\, Julian Schnabel: The Patch of Blue the Prisoner Calls the Sky\, Paul Graham: The Seasons\, Arlene Schechet: Skirts\, and Noland: Flares.
URL:https://artinamericaguide.com/event/viewing-room-james-turrell/
LOCATION:Pace Gallery 25th Street\, 540 West 25th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition,Virtual Events + Viewing Rooms
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200312
DTEND;VALUE=DATE:20200426
DTSTAMP:20260421T095141
CREATED:20200406T161638Z
LAST-MODIFIED:20200406T161953Z
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SUMMARY:Viewing Room | Noland: Flares
DESCRIPTION:Kenneth Noland’s Flares\, employing colorful and translucent plexiglass strips wedged between irregularly shaped panels\, are the outcome of the artist’s rigorous and daring lifelong exploration of painting’s many possibilities. \nImage:\nKenneth Noland\, Flares: Away\, 1991\, acrylic on canvas on panel\, 85-1/8″ × 32″ × 1-1/4″ (216.2 cm × 81.3 cm × 3.2 cm) © The Kenneth Noland Foundation / Artists Rights Society (ARS)\, New York \n\nIn the late 1950s\, Noland broke with Abstract Expressionism’s gestural aesthetic. Staining unprimed canvas with acrylic\, he produced paintings with stark geometric shapes and bold color contrasts\, becoming one of the pioneers of Color Field painting and the Washington Color School. Groundbreaking series\, such as his Circle or Chevron works\, were systematic yet intuitive investigations of painting’s visual elements\, especially color and shape. Eminent critics and artists soon lauded Noland’s work\, with Donald Judd affirming in 1965\, “by now Kenneth Noland’s salience isn’t debatable; he’s one of the best painters.” \nNoland’s command over his medium only grew in the following decades. So did his ingenuity. “I believe in working and not . . . repeating that way of working as an image or as a style\,” he stated\, stressing\, “It’s the learning\, it’s the seeing something new evolve . . . out of various trial and error methods\, fooling with stuff and taking chances on it not working.” Noland had adopted this hands-on\, empirical approach from his close friend David Smith who in Noland’s eyes was relentlessly “involved in the nature of work.” The Flares are the outcome of this rigorous and daring lifelong exploration of painting’s many possibilities. \nOne of the Flares’ chief innovations resides in their colorful and translucent plexiglass strips. Wedged between the irregularly shaped panels of each work\, these glossy bands activate a complex interplay among color\, materials and form. To Noland\, the Flares were “constructed pictures” with “separate component parts.” This assembling makes them related to both collage and sculpture\, generating new possibilities. Realizing that color was inherent to plexiglass\, Noland stated\, “I can now make up\, find different kinds of materials to use that I can assimilate as color—pieces of color.” He\, in fact\, further enhanced the objecthood of the Flares by painting their sides in colors that do not match their frontal surfaces. These edges\, in turn\, require that the works be viewed as three-dimensional objects. \nNoland was attracted to the transparency of plexiglass\, which\, according to him\, amplified the emotional resonance and material presence of color. “The slight difference of transparency in colors can be the difference of a thousand pounds of actual material\,” he observed\, “a matte color and a shiny\, transparent color are emotionally different…there’s an expressive difference you can get [with transparency] that gives you more expressive range.” In Grace Black (1991/1995)\, for example\, austere black panels are set ablaze by the glowing red of the work’s plexiglass strips. The work therefore oscillates between sobriety and vivacity—a capacious affective scale. Though Noland subsequently reworked some of his Flares in his Vermont studio\, they were created while he resided in Santa Barbara\, where nature\, specifically the changing light and colors of the landscape\, continuously inspired him\, according to William Agee. In a horizontal work such as Rise and Fall (1991)\, predominantly warm hues\, punctured by a vanishing sliver of blue plexiglass\, evoke the atmospheric effects of the sky at sunset. With its title suggesting the arc of the sun\, Rise and Fall thus delivers the full chromatic poignancy of the Pacific coast at dusk. \nNoland’s interest in the triangulation between color\, materials\, and form can be traced back to his education at Black Mountain College\, located in his hometown of Asheville\, North Carolina. There his teacher Josef Albers experimented with glass and other nontraditional materials to examine what he called matière\, that is\, “how a substance looks” under different conditions. Noland’s collaboration with architect I.M. Pei was another important precedent. For the Weisner Building at MIT\, they created in 1985 a mural integrating art and architecture. In this work as with the Flares\, the recesses between flat planes are filled with color. Consequently\, a dynamic\, optical relationship links surface and edge. “The idea of using the interstices kind of jelled around that idea [of the MIT mural]\,” Noland recollected\, “And I saw the possibility also of . . . hav[ing] the effect be that . . . the eye would be moved along by differences in color into various kinds of playful effects.” In this manner\, the Flare series engages viewers in a prolonged game of looking—a journey into the artist’s radical reconfiguration of painting. \n\nPace’s online viewing rooms offer rich contextual lenses through which to engage with our artists’ work and exhibitions. To inquire about any of the works featured in this exhibition\, please email inquiries@pacegallery.com. \nWe invite you to explore our other Viewing Rooms including Saul Steinberg: Imagined Interiors\, James Turrell\, Julian Schnabel: The Patch of Blue the Prisoner Calls the Sky\, Paul Graham: The Seasons\, Arlene Schechet: Skirts\, and A Swiftly Tilting Planet.
URL:https://artinamericaguide.com/event/viewing-room-noland-flares/
LOCATION:Pace Gallery 25th Street\, 540 West 25th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition,Virtual Events + Viewing Rooms
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200312
DTEND;VALUE=DATE:20200426
DTSTAMP:20260421T095141
CREATED:20200406T160508Z
LAST-MODIFIED:20200406T160918Z
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SUMMARY:Viewing Room | Arlene Shechet: Skirts
DESCRIPTION:Rich in idiosyncrasies\, Arlene Shechet’s latest works combine disparate mediums\, from ceramics to wood and metalwork\, with playfully ambiguous titles that prompt endless associations. \nImage:\nInstallation view\, Arlene Shechet: Skirts\, February 28 – April 25\, 2020\, Pace Gallery\, New York © Arlene Shechet \n\nUtilizing a title that is both a noun and a verb\, Skirts is a testament to the artist’s fluid and unformulaic process. Though her works appear effortless and forgiving of imperfections\, they are the belabored products of an intuitive and technically fastidious approach\, involving casting\, painting\, firing\, carving\, stacking\, undoing and redoing with no predetermined endpoint. Her expansive approach to sculpture and materials is reminiscent of artists Shechet admires\, such as Sophie Taeuber-Arp and Sonia Delaunay\, whose work transcends the divisions of painting and sculpture and encompassed innovative multimedia practices\, distinguishing their work from that of their male peers. Shechet’s title\, Skirts\, also reclaims misogynist slang. As if to counter this term’s reduction of women to passive things\, Shechet’s unruly\, polymorphous sculptures suggest that objects themselves are active and subversive. \nThe potential of structure is a central concern that Shechet’s latest production explores with virtuosity. Magic Matters\, for example\, reveals itself as a counterintuitive pas de deux: from one side\, two rectangular steel sheets seem to compress a sliced log into a starkly geometric and gravity-defying planar arrangement; from the other\, this tension is suddenly released as the same wooden and metal pieces appear to unravel to the ground. Similarly\, Shechet’s larger-scale assemblages are seemingly precarious stacks of massive logs juxtaposed with bronze or ceramic parts. In spite of their bulkiness\, these works suggest motion\, whether the swaying of skirts\, teetering of towers\, or slow growth of organisms. Shechet’s incorporation of wood in forms still identifiable as tree trunks suggests a kind of taming on the artist’s part\, with each carefully crafted piece incorporated without detracting from its wild rawness. The result is a type of sculpture that confounds the man-made with the organic\, a reminder that humankind is neither apart from nature nor unrivaled in its creativity. \nShechet’s sculptures appear to be suspended between the living and inanimate. An encounter with a piece such as Grammar suggests an immediate and bodily kinship. A bloated and lumpy vessel\, it seems to churn with the vitality of a stomach or lungs. Punctured by tubular openings\, or what Shechet calls “breathing holes\,” the sculpture offers its orifices as portals through which to see internal\, structural mysteries. \nTo Shechet\, who has long mastered the technical difficulties of creating glazed ceramics\, color is not extraneous to structural problems. “In firing the glaze into the clay\, the color becomes part of the structure\,” she observes. Even in works devoid of ceramics and hence glaze\, Shechet retains this understanding. \nShechet’s dismantling of the conventions of sculpture is also apparent in her treatment of the base; the work’s “skirt” is integral to her work’s logic. She achieves this integration through a variety of means: a pedestal-like form might appear at the top of the work\, as in Ripple and Ruffle\, or a base of metal or wood might determine the contours of the ceramic forms that hug and exceed the edges of its “base.” Casting ceramic parts from these supports to create a seamless interlocking\, Shechet’s sculptures absorb their idiosyncratic pedestals\, expanding and even encompassing the room\, since Shechet choreographs the placement of her works—“a family of actors” in her own words—to form a totality that enlists architecture\, light\, and ambulant bodies in its play. \nYet Shechet’s reversal of hierarchies is not confined to the skirt of her works. It is not merely formal. Through her work in clay\, paper\, and porcelain\, Shechet has continuously demonstrated the critical force\, as well as aesthetic richness\, of mediums and traditions historically marginalized as craft\, to wit\, gendered as the purview of women. Such masculinist policing of boundaries can no longer hold in the universe that Shechet’s art conjures so powerfully—a place of flux and transformation\, where the unmooring of oppositions\, identities\, and hierarchies can be conceived and felt. \n\n\n\nPace’s online viewing rooms offer rich contextual lenses through which to engage with our artists’ work and exhibitions. To inquire about any of the works featured in this exhibition\, please email inquiries@pacegallery.com. \nWe invite you to explore our other Viewing Rooms including Saul Steinberg: Imagined Interiors\, James Turrell\, Julian Schnabel: The Patch of Blue the Prisoner Calls the Sky\, Paul Graham: The Seasons\, A Swiftly Tilting Planet and Noland: Flares.
URL:https://artinamericaguide.com/event/viewing-room-arlene-shechet-skirts/
LOCATION:Pace Gallery 25th Street\, 540 West 25th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition,Virtual Events + Viewing Rooms
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200312
DTEND;VALUE=DATE:20200419
DTSTAMP:20260421T095141
CREATED:20200406T155649Z
LAST-MODIFIED:20200406T155855Z
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SUMMARY:Viewing Room | Julian Schnabel: The Patch of Blue the Prisoner Calls the Sky
DESCRIPTION:Painted in Mexico and Montauk\, Julian Schnabel’s latest large-scale works embrace the irregular shapes of their supports-fabric tarps sourced from an ambulatory market in Mexico.  \nImage:\nJulian Schnabel\, The Patch of Blue the Prisoner Calls the Sky I\, 2019\, oil on found fabric\, 108″ × 90″ (274.3 cm × 228.6 cm) © Julian Schnabel \n\nThese works catalogue the possibilities of how and what to paint\, revealing a new way of looking at the world that blurs the line between representation and configuration. As artist and writer James Nares explains\, “These paintings represent the evidence of their own autonomy. They are metaphoric in an open way\, not to interpretation as image but as underlying principles and facets of nature.” \nWeather-beaten fabrics provide a temporal point of departure. “Julian is drawn to surfaces and objects that show their own history—scuffed-up cardboard\, the discarded sails of sailing ships\, Kabuki theater backdrops…he thinks of them as ‘opportunities’—calls them ‘veils of time.’” \nPainted with marks Nares refers to as “a kind of mapping of the mind\,” the works evoke volcanoes\, rock formations\, ocean waves\, deserts\, outer space\, all rendered in emotive indigo blues\, blood reds\, pale pinks and olive greens– eternity. Once a utilitarian object\, the fabric ground contains traces of its past life and the perfection of the coincidental opening a window into both our world and one imagined in dense paint. “The paintings are full of dynamic surprises….Small fire\, a prism\, and a window-like opening in a place with no wall\, blue sky beyond…” \n\nPace’s online viewing rooms offer rich contextual lenses through which to engage with our artists’ work and exhibitions. To inquire about any of the works featured in this exhibition\, please email inquiries@pacegallery.com. \nWe invite you to explore our other Viewing Rooms including Saul Steinberg: Imagined Interiors\, James Turrell\, A Swiftly Tilting Planet\, Paul Graham: The Seasons\, Arlene Schechet: Skirts\, and Noland: Flares.
URL:https://artinamericaguide.com/event/viewing-room-julian-schnabel/
LOCATION:Pace Gallery 25th Street\, 540 West 25th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition,Virtual Events + Viewing Rooms
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20190426
DTEND;VALUE=DATE:20190623
DTSTAMP:20260421T095141
CREATED:20190402T154653Z
LAST-MODIFIED:20190402T154653Z
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SUMMARY:Tony Smith: Source\, Tau\, Throwback
DESCRIPTION:Pace Gallery is pleased to present the first solo exhibition by renowned artist Tony Smith (1912 – 1980) since his estate joined the gallery in 2017. The exhibition showcases three of Smith’s monumental sculptures\, Source\, Tau\, and Throwback. The three works encapsulate Smith’s practice as a sculptor with his focus on basic form while exploring geometric abstraction. To accompany the exhibition\, Pace will publish a full-color catalogue with a new essay by Christopher Ketcham. \nImage: Tony Smith\, Source\, 1967. Cast bronze\, black patina\, 11-1/2″ x 34″ x 30-1/2″ (29.2 cm x 86.4 cm x 77.5 cm).
URL:https://artinamericaguide.com/event/tony-smith-source-tau-throwback/
LOCATION:Pace Gallery 25th Street\, 540 West 25th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20190301
DTEND;VALUE=DATE:20190414
DTSTAMP:20260421T095141
CREATED:20190402T161337Z
LAST-MODIFIED:20190402T161337Z
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SUMMARY:Adolph Gottlieb: Classic Paintings
DESCRIPTION:Pace Gallery is honored to present an exhibition of paintings by Adolph Gottlieb (1903 – 1974)\, a leader of the New York School and seminal force in abstraction. Drawing together works from the Adolph and Esther Gottlieb Foundation alongside a number of paintings on loan from major institutions—including the Albright-Knox Art Gallery\, the Blanton Museum of Art\, the Jewish Museum\, the Princeton University Art Museum\, the Museum of Modern Art\, the Walker Art Center\, and the Whitney Museum of American Art\, among others—Adolph Gottlieb: Classic Paintings features over 20 large-scale paintings created by Gottlieb from the mid-1950s until his death in 1974.To accompany the exhibition\, Pace will publish a full-color catalogue with a new essay by Dr. Kent Minturn. \nImage: Installation view\, “Adolph Gottlieb: Classic Paintings\,” March 1 – April 13\, 2019\, Pace Gallery\, New York © Adolph and Esther Gottlieb Foundation / Artists Rights Society (ARS)\, New York.
URL:https://artinamericaguide.com/event/adolph-gottlieb-classic-paintings/
LOCATION:Pace Gallery 25th Street\, 540 West 25th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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END:VEVENT
END:VCALENDAR