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DTSTART;VALUE=DATE:20260305
DTEND;VALUE=DATE:20260522
DTSTAMP:20260606T045621
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SUMMARY:Unseen Layers
DESCRIPTION:“The most beautiful emotion we can experience is the mysterious. \nIt is the fundamental emotion that stands at the cradle of all true art and science.” \nAlbert Einstein \nfrom a 1931 essay\, included later in Ideas and Opinions and quoted by Eleanor Heartney in Unseen Layers catalogue. \n  \nRonald Feldman Gallery presents a series of new science-inspired paintings by Edwin Schlossberg\, marking his fifteenth solo exhibition with the gallery.  Compelled by his study of visual realms newly observed by scientists using innovative techniques and cutting-edge technology\, the works expound upon a broad range of subjects: biological and cosmic processes\, cellular emergence\, organic composition\, neural phenomenon\, and many others – all united by their alive-ness.  The artist approaches life’s activities from an expansive perspective\, where art\, science and humanity fundamentally interconnect\, and opportunities for crosspollination and renewal continually exist. \n  \nNotably\, Schlossberg considers each work a type of portrait\, with titles such as Portrait of Cells Dividing\, Portrait of Mouse Brain\, and Portrait of the Sun Shining.  At once corporeal and spiritual\, the paintings are made of luminous\, metallic colors with daubed or web-like compositions; the multiple paint layers applied to highly-reflective backgrounds portray structural\, life-supporting (or potentially life-threatening) entities. \nSchlossberg’s Making Visible will be played in the gallery’s street window.  The visionary\, 26:38 minute\, black and white video was commissioned by the Dilexi Foundation for public television in 1969.  The experimental work\, narrated by the artist and Buckminster Fuller\, is an essayistic exploration of the vast potential for electronic communication\, and embodies the promise of technology facilitating human interaction and understanding. \nThe exhibition is accompanied by a catalogue featuring contributors invited by Edwin Schlossberg and Lara Pan. The publication includes texts and reflections by John Alexander\, Céline Fribourg\, Steven Heller\, Eleanor Heartney\, Brett Littman\, Debbie Millman\, George Musser\, Lara Pan\, Rose Schlossberg\, Sasha Stiles\, Sacha Wade\, and Kevin Wade\, edited by Lara Pan. \n  \nEdwin Schlossberg has been represented by Ronald Feldman Gallery since 1978.  For over five decades\, he has worked across conventional and unconventional media to create visual and poetic worlds that bridge language\, image and perception.  His work has been exhibited widely in the United States and internationally and is included in major public and private collections\, including the Art Institute of Chicago\, the Solomon R. Guggenheim Museum\, the Metropolitan Museum of Art\, and the Museum of Modern Art.  In 2004\, he received the National Arts Club Medal of Honor\, and in 2011 he was appointed by President Barack Obama to the U.S. Commission of Fine Arts. \n  \nGallery hours are Tuesday through Thursday and Saturday\, 1-5pm (closed Saturday March 7th and April 4th) \nFor press and image inquiries\, contact Cat Zhou at (212) 226-3232 or catherine@feldmangallery.com \nReception: Thursday\, March 5\, 6-8pm\nPanel Discussion: Saturday March 28\, 5pm with Edwin Schlossberg\, Eleanor Heartney\, and George Musser\, moderated by Lara Pan
URL:https://artinamericaguide.com/event/unseen-layers/
LOCATION:Ronald Feldman Gallery\, 31 Mercer Street\, New York\, NY\, 10013\, United States
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20250902
DTEND;VALUE=DATE:20260130
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SUMMARY:Performance\, Activist\, and Existential Photographs
DESCRIPTION:Ronald Feldman Gallery is pleased to present a group exhibition: \nPerformance\, Activist\, and Existential Photographs  \nA selection of photographs and photo-based works by: \nVincenzo Agnetti\, Elaine Angelopoulos\, Eleanor Antin\, Arakawa\, Conrad Atkinson\, Brandon Ballengée\, Joseph Beuys\, Chris Burden\, Cassils\, Chuck Close\, Keith Cottingham\, Terry Fox\, Tom Friedman\, Rico Gatson\, Helen & Newton Harrison\, Komar & Melamid\, Lev Nisnevich\, Robert Rauschenberg\, Man Ray\, Gerhard Richter\, Cindy Sherman\, Dmitry Shubin\, Tavares Strachan\, Diemut Strebe\, Hiroshi Sugimoto\, Eve Sussman\, Mierle Laderman Ukeles\, Andy Warhol\, Hannah Wilke \nThis selection is inspired by Marcel Duchamp’s belief that the concept behind the artwork is more important than its visual or material form.  This radical shift away from materiality created a foundation for artists to challenge traditional artistic forms and practices and opened the door to bold new directions.  All of the artists included use their work to probe into an array of subject matters\, and often redefine art in the process.  If approached with an open mind\, the photographs invite and inspire viewers to question their own assumptions about what art is.  This exhibition presents a cross-section of Ronald Feldman Gallery’s significant history and commitment to idea-driven work.
URL:https://artinamericaguide.com/event/performance-activist-and-existential-photographs/
LOCATION:Ronald Feldman Gallery\, 31 Mercer Street\, New York\, NY\, 10013\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Ronald Feldman Gallery":MAILTO:info@feldmangallery.com
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20250304
DTEND;VALUE=DATE:20250711
DTSTAMP:20260606T045621
CREATED:20250225T153434Z
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SUMMARY:You what?
DESCRIPTION:“Applebroog pursues issues that transcend gender – issues of innocence and vulnerability\, of self-knowledge and mortality.  She does not want us to forget the reality of mass murders and political terrorism or to accept nuclear weapons as a fact of life.  Applebroog does not offer solutions.  Rather\, she makes us see what’s there – the poignancy\, the devastation\, and the potential for goodness.  This is political art of the highest order.” \nRuth Bass\, excerpt from Ordinary People\, ARTnews  (May\, 1988) \nIn a post-truth era\, with surging racism\, chauvinism\, sexism\, transphobia\, and other alarming trends\, Ronald Feldman Gallery announces an exhibition of work by Ida Applebroog (1929-2023).  Finding inspiration from an expansive psychological perspective\, this acclaimed artist is known for her razor-sharp explorations of contemporary life. Her art transforms current events into human events by employing carefully selected examples of individual lives as representations of collective society – in short\, an inside-out versus clinical (outside-looking-in) approach.  By presenting emotionally-charged “mid-situations” – narratives with undefined beginnings and ends\, and\, later on\, loaded juxtapositions – Applebroog masterfully empowers viewers to use their hearts and minds to “finish” the work by determining the meaning for themselves.  Singular and affecting\, Applebroog’s art offers a space for visceral experiences as a path for engaging with a spectrum of issues\, and a doorway into the diverseness of the human psyche. \nYou what? focuses on work created by the artist in the 1980s and early 1990s – a fascinating period of development and maturation into greater scale and complexity.  During this time\, Applebroog had eight solo exhibitions at the Ronald Feldman Gallery\, who represented her work between 1981 and 2005\, featuring it in a total of twelve solo exhibitions. \nIn Shake (1980)\, Applebroog depicts a decisive moment: the meeting of two well-dressed couples who are framed by curtains\, as if seen through a window or on a stage.  Classic for its voyeurism and “instant coffee” style of drawing (intentionally minimal and generic)\, the work is augmented by a shadow panel which echoes the subjects’ formality and constraint.  Another vellum work\, Not This Time (1982)\, composed like a comic strip with multiple frames in a long row\, is not an action sequence: the image of a woman seated beside her suitcase is carefully repeated seven times.  The text “I’d better not” and “Not this time” suggests tentativeness and doubt\, while the repetition clearly describes the event as a recurring pattern.  Does this silent struggle represent the very real limits of oppression and abuse that one can endure? \nSeveral large paintings are included in the exhibition.  Rainbow Caverns (1987) is among the first the artist imagined as a combination of several paintings united into a single work.  Here\, a solo\, duo and trio of figures are repeated three times\, respectively\, each on their own predella-like panel.  They join a giant female body builder\, posing in profile\, in surrounding a domestic scene of a matronly woman knitting in an armchair. Surrealistically\, the floor around this central image morphs into a corn field occupied by a flock of birds.  Camp Compazine (1988)\, with its large side panels extending out from the wall\, is Applebroog’s first example of a 3-D composition.  Immediately grabbing the viewer’s attention\, is a homunculus trapped in the mouth of a giant\, calling to mind Francisco Goya’s Saturn Devouring His Son.  A pair of executives\, who look to be mirror images of each other\, a young man seated on a stool but facing away\, and a protester carrying a sign reading “GOD” complete the periphery\, and in the center is a gang of turkeys.  Landscape is incorporated almost as a parody; the fields are not nostalgic places where people coexist within the harmony of nature\, but rather emotional terrain. \nIn the artist’s first catalogue\, her friend and dealer Ronald Feldman writes:  “Applebroog’s ability to get us to project [ourselves] into her work is exceptional.  She sets the stage; we are the players.  Drawn in to figure out what’s going on\, we soon realize that what’s going on is us.  We are more directly participants and less observers than in the roles provided for us by Vermeer or Rembrandt.  Our excitement is provided through direct self-discovery rather than through an unraveling of the secrets of the personages in the paintings.  As we enter Applebroog’s work our breath becomes more present and frightening.  We realize we are hiding secrets not only from each other but\, more importantly\, from ourselves.” \nIda Applebroog’s work has been the subject of many monographs and museum exhibitions\, and is included in the most prestigious public collections in the U.S. and abroad.  She was acknowledged as a genius when she received a MacArthur Foundation Fellowship in 1998.  In addition\, she received an Honorary Doctorate from The New School University/Parsons School of Design in 1997\, a Lifetime Achievement Award from the College Art Association in 1995\, among many other distinctions of excellence. \nGallery viewing hours are Tuesday through Thursday\, 1pm – 5pm\, or by appointment.\nFor more information\, contact Cat Zhou at (212) 226-3232 or catherine@feldmangallery.com
URL:https://artinamericaguide.com/event/you-what/
LOCATION:Ronald Feldman Gallery\, 31 Mercer Street\, New York\, NY\, 10013\, United States
CATEGORIES:Exhibition
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