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SUMMARY:Callum Innes - Tondos
DESCRIPTION:Sean Kelly is pleased to announce Callum Innes’s exhibition Tondos\, his eighth solo exhibition with the gallery\, which introduces a remarkable new development in his oeuvre. The exhibition presents Innes’s iconic Exposed Paintings\, Split Paintings and Shellac Paintings in an entirely new format. Made on plywood panels\, these circular and oval paintings mark a dramatic departure from the artist’s rectangular format and invite a range of new interpretations\, both psychologically and formally. The tondos\, presented in the main gallery\, will be accompanied by a group of new works on paper in the front gallery. The opening reception will take place on Thursday\, November 3\, from 6-8 pm. The artist will be present. \nWhile his working methodology remains consistent—the repeated addition and removal of pigment in the Exposed Paintings and Split Paintings and the interaction of two different materials in the Shellac Paintings— these new paintings have necessitated a number of important evolutions in the way that Innes makes the work. Using a smaller\, rounded brush the physicality of these paintings is completely different\, allowing for more fluidity and enabling him to have more direct contact with the work. In particular\, the oval Split Paintings emphasize the materiality of the work as the natural grain of the wood comes through on the exposed side of the painting\, adding yet more layering and depth. Each of the works has a beveled edge\, which returns from the surface at about a forty-five-degree angle. This plane gives the illusion that the exposed portions of the paintings are larger\, changing our perceptions of light and space and emphasizing their circular shape\, making for a very physical\, object like presence. \nAs is the case with all of his paintings\, in these new works Innes explores the boundaries between control and chaos. He has observed\, “Chance is involved\, but… it’s organized chance\, because I’m controlling it the whole way\,” remarking elsewhere that “the paintings are all about mark making; about human contact; about the physicality of standing in front of a painting.” This sensibility is also present in Innes’s works on paper\, in the front gallery. Comprised of ethereal squares of complexly layered color painted with the dexterity and sensitivity for which the artist is known\, the work’s visually charged edges reveal glimpses of the individual colors in their pure form\, giving the viewer an understanding of how these layers of color interact to create the finished work. \nInnes is as one of the most significant abstract painters of his generation\, achieving widespread recognition in major solo and group shows worldwide. Innes was awarded the Jerwood Prize for Painting in 2002\, and the Nat West Prize in 1998. In 1995 he was short listed for the Turner Prize. His work is included in significant public collections worldwide including: the Tate Gallery\, London; the Kunstmuseum\, Bern\, Switzerland; the National Galleries of Scotland\, Edinburgh; the Solomon R. Guggenheim Museum\, New York; the Centre George Pompidou\, Paris; The Irish Museum of Modern Art; the Museum of Modern Art\, Fort Worth; The San Francisco Museum of Modern Art; The National Gallery of Australia\, Canberra; the Albright-Knox Art Gallery\, Buffalo; and the Art Gallery of Ontario\, Toronto\, Canada\, amongst many others. In 2016\, Innes was the subject of a major retrospective survey exhibition and accompanying monograph\, I’ll Close My Eyes\, at the De Pont Museum in Tilburg\, Netherlands. \nFor additional information about Callum Innes\, please visit skny.com \nFor media inquiries\, please contact Adair Lentini at Adair@skny.com \nFor all other inquiries\, please contact Cecile Panzieri at Cecile@skny.com
URL:https://artinamericaguide.com/event/callum-innes-tondos/
LOCATION:Sean Kelly\, 475 Tenth Avenue\, New York\, NY\, 10018\, United States
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20221104
DTEND;VALUE=DATE:20221218
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SUMMARY:Callum Innes - Tondos
DESCRIPTION:Sean Kelly is pleased to announce Callum Innes’s exhibition Tondos\, his eighth solo exhibition with the gallery\, which introduces a remarkable new development in his oeuvre. The exhibition presents Innes’s iconic Exposed Paintings\, Split Paintings and Shellac Paintings in an entirely new format. Made on plywood panels\, these circular and oval paintings mark a dramatic departure from the artist’s rectangular format and invite a range of new interpretations\, both psychologically and formally. The tondos\, presented in the main gallery\, will be accompanied by a group of new works on paper in the front gallery. The opening reception will take place on Thursday\, November 3\, from 6-8 pm. The artist will be present. \nWhile his working methodology remains consistent—the repeated addition and removal of pigment in the Exposed Paintings and Split Paintings and the interaction of two different materials in the Shellac Paintings— these new paintings have necessitated a number of important evolutions in the way that Innes makes the work. Using a smaller\, rounded brush the physicality of these paintings is completely different\, allowing for more fluidity and enabling him to have more direct contact with the work. In particular\, the oval Split Paintings emphasize the materiality of the work as the natural grain of the wood comes through on the exposed side of the painting\, adding yet more layering and depth. Each of the works has a beveled edge\, which returns from the surface at about a forty-five-degree angle. This plane gives the illusion that the exposed portions of the paintings are larger\, changing our perceptions of light and space and emphasizing their circular shape\, making for a very physical\, object like presence. \nAs is the case with all of his paintings\, in these new works Innes explores the boundaries between control and chaos. He has observed\, “Chance is involved\, but… it’s organized chance\, because I’m controlling it the whole way\,” remarking elsewhere that “the paintings are all about mark making; about human contact; about the physicality of standing in front of a painting.” This sensibility is also present in Innes’s works on paper\, in the front gallery. Comprised of ethereal squares of complexly layered color painted with the dexterity and sensitivity for which the artist is known\, the work’s visually charged edges reveal glimpses of the individual colors in their pure form\, giving the viewer an understanding of how these layers of color interact to create the finished work. \nInnes is as one of the most significant abstract painters of his generation\, achieving widespread recognition in major solo and group shows worldwide. Innes was awarded the Jerwood Prize for Painting in 2002\, and the Nat West Prize in 1998. In 1995 he was short listed for the Turner Prize. His work is included in significant public collections worldwide including: the Tate Gallery\, London; the Kunstmuseum\, Bern\, Switzerland; the National Galleries of Scotland\, Edinburgh; the Solomon R. Guggenheim Museum\, New York; the Centre George Pompidou\, Paris; The Irish Museum of Modern Art; the Museum of Modern Art\, Fort Worth; The San Francisco Museum of Modern Art; The National Gallery of Australia\, Canberra; the Albright-Knox Art Gallery\, Buffalo; and the Art Gallery of Ontario\, Toronto\, Canada\, amongst many others. In 2016\, Innes was the subject of a major retrospective survey exhibition and accompanying monograph\, I’ll Close My Eyes\, at the De Pont Museum in Tilburg\, Netherlands. \nFor additional information about Callum Innes\, please visit skny.com \nFor media inquiries\, please contact Adair Lentini at Adair@skny.com \nFor all other inquiries\, please contact Cecile Panzieri at Cecile@skny.com
URL:https://artinamericaguide.com/event/callum-innes-tondos-3/
LOCATION:Sean Kelly\, 475 Tenth Avenue\, New York\, NY\, 10018\, United States
ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
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DTSTART;VALUE=DATE:20221104
DTEND;VALUE=DATE:20221218
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SUMMARY:Callum Innes - Tondos
DESCRIPTION:Sean Kelly is pleased to announce Callum Innes’s exhibition Tondos\, his eighth solo exhibition with the gallery\, which introduces a remarkable new development in his oeuvre. The exhibition presents Innes’s iconic Exposed Paintings\, Split Paintings and Shellac Paintings in an entirely new format. Made on plywood panels\, these circular and oval paintings mark a dramatic departure from the artist’s rectangular format and invite a range of new interpretations\, both psychologically and formally. The tondos\, presented in the main gallery\, will be accompanied by a group of new works on paper in the front gallery. The opening reception will take place on Thursday\, November 3\, from 6-8 pm. The artist will be present. \nWhile his working methodology remains consistent—the repeated addition and removal of pigment in the Exposed Paintings and Split Paintings and the interaction of two different materials in the Shellac Paintings— these new paintings have necessitated a number of important evolutions in the way that Innes makes the work. Using a smaller\, rounded brush the physicality of these paintings is completely different\, allowing for more fluidity and enabling him to have more direct contact with the work. In particular\, the oval Split Paintings emphasize the materiality of the work as the natural grain of the wood comes through on the exposed side of the painting\, adding yet more layering and depth. Each of the works has a beveled edge\, which returns from the surface at about a forty-five-degree angle. This plane gives the illusion that the exposed portions of the paintings are larger\, changing our perceptions of light and space and emphasizing their circular shape\, making for a very physical\, object like presence. \nAs is the case with all of his paintings\, in these new works Innes explores the boundaries between control and chaos. He has observed\, “Chance is involved\, but… it’s organized chance\, because I’m controlling it the whole way\,” remarking elsewhere that “the paintings are all about mark making; about human contact; about the physicality of standing in front of a painting.” This sensibility is also present in Innes’s works on paper\, in the front gallery. Comprised of ethereal squares of complexly layered color painted with the dexterity and sensitivity for which the artist is known\, the work’s visually charged edges reveal glimpses of the individual colors in their pure form\, giving the viewer an understanding of how these layers of color interact to create the finished work. \nInnes is as one of the most significant abstract painters of his generation\, achieving widespread recognition in major solo and group shows worldwide. Innes was awarded the Jerwood Prize for Painting in 2002\, and the Nat West Prize in 1998. In 1995 he was short listed for the Turner Prize. His work is included in significant public collections worldwide including: the Tate Gallery\, London; the Kunstmuseum\, Bern\, Switzerland; the National Galleries of Scotland\, Edinburgh; the Solomon R. Guggenheim Museum\, New York; the Centre George Pompidou\, Paris; The Irish Museum of Modern Art; the Museum of Modern Art\, Fort Worth; The San Francisco Museum of Modern Art; The National Gallery of Australia\, Canberra; the Albright-Knox Art Gallery\, Buffalo; and the Art Gallery of Ontario\, Toronto\, Canada\, amongst many others. In 2016\, Innes was the subject of a major retrospective survey exhibition and accompanying monograph\, I’ll Close My Eyes\, at the De Pont Museum in Tilburg\, Netherlands. \nFor additional information about Callum Innes\, please visit skny.com \nFor media inquiries\, please contact Adair Lentini at Adair@skny.com \nFor all other inquiries\, please contact Cecile Panzieri at Cecile@skny.com
URL:https://artinamericaguide.com/event/callum-innes-tondos-2/
LOCATION:Sean Kelly\, 475 Tenth Avenue\, New York\, NY\, 10018\, United States
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20220908
DTEND;VALUE=DATE:20221023
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SUMMARY:Landon Metz - A Different Kind of Paradise
DESCRIPTION:Sean Kelly is pleased to announce Landon Metz’s second solo exhibition at the gallery. This new body of work reflects Metz’s ongoing enquiry into the relationship between form and its absence. Paintings are the primary vehicle through which Metz invites a heightened awareness of presence\, one mirrored in both the execution of his work and the viewing experience itself. His visual language is a mediation on the relativity of experience\, emphasizing the connection between polarities: subject to object\, figure to ground\, and materiality to immateriality. The opening reception will take place on Wednesday\, September 7\, from 6-8 pm. The artist will be present. \nMetz’s works both inhabit space and address the construction of space. His process\, how the dye he uses responds to the conditions of its pour\, the surface tension of the canvas\, and the pigment’s absorption into the fibers of the canvas to produce an image\, are as intimately considered as the installation of the works in the space itself. A Different Kind of Paradise is as much a ritual space as it is a contemplative one. Visitors are greeted by a two-panel work flanking the entrance to the main gallery. Taking inspiration from a nijiriguchi\, the small\, square portal through which guests enter a traditional Japanese tea ceremony room\, Metz has created an environment\, without physically altering the gallery’s architecture. His installation centers on the relationship between the viewer and their surroundings\, embodiment and opticality. \n  \nThe largest work on display\, is comprised of eight panels and a multi-colored palette. Metz has discussed this work’s format in relation to Monet’s Water Lilies\, referencing their historical legacy and panoramic presentation which engulfs the viewer in the work. This painting immerses the viewer within pictorial space\, whereas the more intimate entry diptych incorporates the empty volume of the gallery’s passage into its composition. Within the matrix of the show\, the smallest panels\, of which there are three\, are counterpoised by their scale and material density. \nWith these spatial and optical compositional strategies\, Metz extends ideas that have long driven his practice. A Different Kind of Paradise offers viewers an intimate experience\, providing moments of meditative respite and contemplation from the otherwise frenetic landscape of daily life. \nLandon Metz was born in Phoenix\, Arizona\, and currently lives and works in New York. His work has appeared in solo exhibitions in Norway\, Italy\, Denmark\, and Canada. In 2014\, he was the artist in residence at the ADN Collection in Bolzano\, Italy\, and in 2018\, Metz was the subject of a solo exhibition at Museo Pietro Canonica in Rome. Metz was recently featured in group exhibitions at The Nassau County Museum of Art\, Roslyn\, New York\, and the Villa Medici in Rome\, Italy. \nFor additional information on Landon Metz\, please visit skny.com \nFor press\, please contact Adair Lentini at Adair@skny.com \nFor all other inquiries\, please contact Thomas Kelly at Thomas@skny.com
URL:https://artinamericaguide.com/event/landon-metz-a-different-kind-of-paradise/
LOCATION:Sean Kelly\, 475 Tenth Avenue\, New York\, NY\, 10018\, United States
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20220908
DTEND;VALUE=DATE:20221023
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SUMMARY:Anthony Akinbola - Natural Beauty
DESCRIPTION:Sean Kelly is delighted to announce Natural Beauty\, a solo-exhibition of new work by Nigerian- American\, Brooklyn-based artist Anthony Akinbola. This presentation\, occupying the front and lower galleries\, includes the artist’s signature Camouflage paintings\, single and multi-panel works that utilize the ubiquitous du-rag as their primary material. Universally available and possessed of significant cultural context\, the du-rag represents for Akinbola a readymade object that engages the conceptual strategies of Marcel Duchamp and other significant artistic predecessors. The opening reception will take place on Wednesday\, September 7\, from 6-8 pm. The artist will be present. \nBorn in Columbia\, Missouri\, Anthony Akinbola\, is a first-generation American raised by Nigerian parents in the United States and Nigeria. His layered\, richly colored compositions celebrate and signify the distinct cultures that shape his identity. In the front gallery\, an array of Camouflage paintings explore the du-rag as both a material for art-making and as commentary on larger issues of identity\, respectability\, and commodification of African American culture. The subtle variations in color throughout the works were often subject to supply chain availability. Individual canvasses range from subtle variations on a single\, subtle tone\, to richly contrasting fields of color\, evoking artists as varied as Morris Louis and Ad Reinhardt. \nIn the lower gallery\, Akinbola will install a single\, multi-panel work positioned in dialogue with a taxidermized goat\, an action that both pays homage to Robert Rauschenberg’s revolutionary Combine\, Monogram\, 1955-59—which featured a stuffed Angora goat\, engulfed in a rubber tire\, standing on a painting—and functions for the artist as a conceptual self-portrait. In Nigeria\, goats hold a significant place in the culture and are commonly used for their hides\, meat and in religious festivals for ritual sacrifice. There is a ubiquitous fetish associated with goats and their totemic significance. Throughout his work Akinbola unpacks the rituals and histories connecting Africa and America\, addressing the power of fetishization around cultural objects. \nAnthony Akinbola was selected for the Anderson Ranch Art Center Residency in 2017 and created a monumental wall collage for The Queens Museum in 2018. In 2019\, Akinbola was awarded the Van Lier Fellowship and named the eighth Museum of Arts and Design Artist Fellow\, which resulted in a solo exhibition at the museum. Akinbola will be featured in forthcoming group exhibitions at the Kalamazoo Institute of Arts in September 2022 and the Baltimore Museum of Art in March 2023. His work has been featured in exhibitions at The Queens Museum\, NY; the Bronx River Art Center\, NY; The Zuckerman Museum of Art\, GA; and The Verbeke Foundation\, Belgium\, amongst others. Following his exhibition at the Museum of Art and Design\, NY in 2020\, Akinbola mounted a significant solo exhibition in early 2021 at the Kohler Arts Center\, WI. Akinbola received a BA in communications and media from SUNY Purchase College. His work is included in the Pizzuti Collection\, Columbus\, OH\, the Beth Rudin DeWoody Collection\, and The Everson Museum of Art\, Syracuse\, NY amongst others. \nFor additional information please visit skny.com \nFor media inquiries\, please email Adair Lentini at Adair@skny.comFor all other inquiries\, please email Lauren Kelly at Lauren@skny.com
URL:https://artinamericaguide.com/event/anthony-akinbola-natural-beauty/
LOCATION:Sean Kelly\, 475 Tenth Avenue\, New York\, NY\, 10018\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Halifax:20220426T080000
DTEND;TZID=America/Halifax:20220426T183000
DTSTAMP:20260501T160140
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SUMMARY:David Claerbout : Dark Optics
DESCRIPTION:To mark the opening of the exhibition\, Claerbout will be in conversation with David E. Little\, Executive Director of the International Center of Photography\, on Tuesday\, April 26 at 6:30pm.
URL:https://artinamericaguide.com/event/david-claerbout-dark-optics/
LOCATION:Sean Kelly\, 475 Tenth Avenue\, New York\, NY\, 10018\, United States
CATEGORIES:Event
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DTSTART;VALUE=DATE:20201105
DTEND;VALUE=DATE:20201220
DTSTAMP:20260501T160140
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SUMMARY:Shahzia Sikander: Weeping Willows\, Liquid Tongues
DESCRIPTION:SHAHZIA SIKANDER\n\n\n\n\n\n\n\nWeeping Willows\, Liquid Tongues \nNOVEMBER 5 – DECEMBER 19\, 2020 \nSean Kelly is delighted to announce Shahzia Sikander’s inaugural exhibition with the gallery and her first exhibition in New York City in nine years. Weeping Willows\, Liquid Tongues is an expansive\, in-depth look into Sikander’s recent work\, featuring the artist’s dynamic large-and-intimately-scaled drawings\, a captivating new single channel video-animation\, luminous\, intricate mosaics and her first ever free-standing sculpture. \nShahzia Sikander takes classical Indo-Persian miniature painting as the point of departure for her work. From premodern beginnings to contemporary influences\, it is precisely this historical continuum and its continuous capacity for reinvention that has sparked Sikander’s visually rich engagement in multiple media. The works in the exhibition explore tensions between power and powerlessness to present transformative ideas. Sikander’s interest in sociology\, psychoanalysis\, and the examination of how culture and society shape the imagination is all fodder for her work. The ways in which violence\, systemic racism\, class and cultural fears are deeply entrenched in media and political representations\, be it the fear of the unknown\, the migrant\, the immigrant\, the Muslim\, the LGBTQ community\, the ‘other’ and the various fault lines of race\, class and gender also intersect within her work. In this tangled web\, the extractive nature of capitalism appears to promise liberty and happiness\, but too often bestows debt and despair. These ideas are all explored in her new series of paintings The Shroud\, 2020 and Oil and Poppies\, 2020\, which emerged whilst the artist was researching symbols of extraction. \nSikander’s first major sculptural work\, Promiscuous Intimacies\, borrows its title from Gayatri Gopinath’s forthcoming essay on Sikander’s practice. This bronze sculpture\, with its sinuous entanglement of a Greco-Roman Venus and an Indian Devata\, explores in Gopinath’s words\, “the promiscuous intimacies of multiple times\, spaces\, art historical traditions\, bodies\, desires\, and subjectivities.” In their suggestive embrace\, the intertwined female bodies bear the symbolic weight of communal identities from multiple geographic terrains. They evoke non-heteronormative desires that are often cast as foreign and inauthentic\, and instead challenge the viewer to imagine a different present and future. The backward glance of the lower figure “demands that we understand ‘tradition\,’ ‘culture\,’ and ‘identity’ as impure\, heterogenous\, unstable\, and always in process\,” disrupting “taken-for-granted national\, temporal\, and art historical boundaries.” \nPresenting a comprehensive overview of Sikander’s films\, the exhibition will feature three animations: Parallax\, 2013\, Disruption as Rapture\, 2016\, and her most recent film\, Reckoning\, 2020. The new film\, made from multiple drawings\, reveals the cyclical theme of struggle through kinetic forms. In it\, Sikander considers the relationships between migrant-citizen\, conflict-erosion\, memory-myth\, warfare-fatality\, father-son\, and human – nature. The musical score accompanying Reckoning is written by the inimitable composer Du Yun\, awarded the Pulitzer in Music in 2017\, and features the Pakistani singer Zeb Bangash. Du Yun and Sikander’s decade-long collaborations (including Parallax and Disruption as Rapture) span Shanghai\, New York\, Sharjah\, Istanbul\, Hong Kong and Pakistan and speak to their ‘creative intimacy\,’ female agency and shared passion for finding common ground through multiple languages. \nWhile questioning the very concept of national culture\, Sikander provides deep aesthetic reflections on the history of colonialism\, capitalism and the formation of racialized identities in the present. Our ecological condition is a mirror of social conditions: erosion of climate\, borders\, rising waters\, rising heat\, and displacement of bodies amongst others. All resources are gathered in the rubric of monetization: language\, labor\, human intelligence and human attention. Sikander reimagines the United States’ foundational claims of freedom and liberty\, that were never applicable to all\, by presenting overlapping diasporas and using art to imagine the possibilities of a more just and livable future. Sikander’s work is not about hybridity. It is not fusing cultures or aesthetics. The multiple juxtapositions reflecting gender\, race\, class\, and language differences are arranged and rearranged to imagine visual forms that challenge fixed narratives and break binary thinking in all its forms. Sikander’s work is the antithesis of the fictions of purity and authentic national culture. \nSikander lives and works in New York City. Her innovative artistic practice led to her meteoric rise internationally in the mid-nineties with survey exhibitions at the Renaissance Society at the University of Chicago\, 1998\, the Kemper Museum of Contemporary Art 1998\, the Hirshhorn Museum and Sculpture Garden 1999\, and the Whitney Museum of American Art 2000. Sikander has had major solo exhibitions throughout the world\, including most recently at the Asian Art Museum\, San Francisco\, 2017; the Aga Khan Museum\, Toronto\, 2017; MAXXI | Museo nazionale delle arti del XXI secolo\, Rome 2016; the Asia Society Hong Kong Center\, Hong Kong\, 2016; the Guggenheim Museum\, Bilbao 2015; the Smithsonian American Art Museum\, Washington D.C. 2012; the Museum of Contemporary Art\, Tokyo\, 2010; the Irish Museum of Modern Art\, Dublin\, 2007; the Museum of Contemporary Art\, Sydney\, 2007; the Pérez Art Museum Miami\, 2005; and at the San Diego Museum of Art\, California\, 2004 amongst others. Sikander has been invited to participate in significant international biennials such as the Lahore Biennale 01\, Pakistan; the Karachi Biennale 17\, Pakistan; the 6th Moscow Biennale of Contemporary Art\, Manege\, Russia; the 8th and 13th Istanbul Biennial\, Turkey;  the 5th Auckland Triennial\, New Zealand; the Sharjah Biennale 11\, Sharjah Art Foundation\, UAE; the 54th and 51st International Art Exhibition of La Biennale di Venezia\, Italy; and The Whitney Biennial\, New York amongst others. In addition\, she has been included in notable group exhibitions at institutions such as the National Museum of Modern and Contemporary Art\, Seoul; Martin-Gropius-Bau\, Berlin; the Museum of Modern Art\, New York. Amongst the numerous awards\, grants\, and fellowships Sikander has received are the KB17 Karachi Biennale Shahneela and Farhan Faruqui Popular Choice Art Prize\, 2017; the Religion and the Arts Award\, 2016; the Asia Society Award for Significant Contribution to Contemporary Art\, 2015; the National Medal of Arts Award presented by U.S. Secretary of State\, Hillary Rodham Clinton\, 2012; the John D. and Catherine T MacArthur Foundation Achievement ‘Genius’ award\, 2006; and Tamgha-e-Imtiaz\, the National Pride of Honor Award presented by the Pakistani Government. \nShahzia Sikander will be the subject of a traveling retrospective titled Shahzia Sikander: Extraordinary Realities. The exhibition will open at The Morgan Library\, New York in June 2021 followed by the RISD Museum\, Rhode Island in November 2021\, and MFA Houston\, Texas in Spring 2022. On the occasion of these exhibitions\, there will be a major new monograph printed. Extraordinary Realities\, is an exhaustive examination of Sikander’s work from 1987 to 2003\, charting her early development as an artist in Lahore and the United States\, and foregrounding her critical role in bringing miniature painting into dialogue with contemporary art. Edited by Jan Howard and Sadia Abbas\, with contributions by Gayatri Gopinath\, Faisal Devji\, Kishwar Rizvi\, Sadia Abbas\, Jan Howard\, Vasif Kortun\, Dennis Congdon\, Bashir Ahmed\, Rick Lowe and Julie Mehretu. \nFor additional information on Shahzia Sikander please visit skny.com \nFor press\, please contact Adair Lentini at the gallery\, 212.239.1181 or via email at Adair@skny.com \nFor all other inquiries\, please contact Janine Cirincione at the gallery\, 212239.1181 or via email at Janine@skny.com
URL:https://artinamericaguide.com/event/shahzia-sikander-weeping-willows-liquid-tongues/
LOCATION:Sean Kelly\, 475 Tenth Avenue\, New York\, NY\, 10018\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20200910
DTEND;VALUE=DATE:20201025
DTSTAMP:20260501T160140
CREATED:20200910T010120Z
LAST-MODIFIED:20200910T010120Z
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SUMMARY:Joseph Kosuth: 'Existential Time"
DESCRIPTION:JOSEPH KOSUTH \n‘Existential Time’ \nSEPTEMBER 10 – OCTOBER 24\, 2020 \nSean Kelly is delighted to present ‘Existential Time’\, Joseph Kosuth’s eighth solo exhibition with the gallery. This presentation\, which approaches the problem of time and existence employing a selection of literary references\, brings together a series of new works throughout the main gallery. \nJoseph Kosuth\, one of the pioneers of Conceptual art and installation art\, has initiated language-based works and appropriation strategies since the 1960s. His work has consistently explored the production and role of language and meaning within art. His reflection on time stems from both a personal and philosophical concern with finding meaning within the various contexts and narratives life provides. It is thus also an investigation into the process of making meaning in artistic practice. Kosuth anchors and provides the tempo for the viewer/reader’s fluid experience of the exhibition through the use of the analogue clock. Time is thus referenced both literally and figuratively. \nKosuth removes the necessity of an objective shared truth while experiencing the work and highlights the freedom\, choice\, and responsibility inherent in everyday experience as well as in an artistic practice in general. The exhibition as a whole is a reflection on the gap that holds together beginnings and ends. Kosuth’s ‘Existential Time’ endeavors to punctuate the lack\, limits\, and surplus of meaning surrounding the narrative experience of time and life\, while exploring the powerful and finite territory of the present. Kosuth states\, “As artists we all begin to construct with what is given. We appropriate fragments of meaning from the detritus of culture and construct other meanings\, which are our own.” \nJoseph Kosuth lives and works in New York and London. Kosuth’s internationally recognized work has been the subject of solo exhibitions at institutions including the Multimedia Art Museum\, Moscow\, Russia; the Kunstmuseums Thurgau\, Warth\, Switzerland; Haus Konstruktiv\, Zurich\, Switzerland; the Australian Centre for Contemporary Art\, Melbourne\, Australia; and the Louvre Museum\, Paris\, France amongst others. He has also been invited to participate in numerous installations\, museum exhibitions\, and public commissions including Documenta V\, VI\, VII and IX (1972\, 1978\, 1982\, 1992) and the Biennale di Venezia in 1976\, 1993\, 1999 and 2007. Most recently\, in 2019 Kosuth installed a permanent public installation at the Miami Beach Convention Center\, Miami\, Florida and Bill Graham Civic Auditorium\, San Francisco\, California. His work is featured in major private and public collections including the Museum of Modern Art\, NYC; the Tate Gallery\, London; the Solomon R. Guggenheim Museum\, NYC; the Whitney Museum of American Art\, NYC; the Van Abbemuseum\, Eindhoven; the Stedelijk Museum\, Amsterdam; the Louvre Museum\, Paris\, France; the National Gallery of Victoria\, Melbourne; the Museum of Contemporary Art\, Sydney; the Centre Pompidou\, Paris; and the Galleria Nazionale d’Arte Moderna\, Rome amongst many others worldwide. \nFor additional information on Joseph Kosuth please visit skny.com \nFor press\, please contact Adair Lentini at the gallery\, 212.239.1181 or via email at Adair@skny.com \nFor all other inquiries\, please contact Cecile Panzieri at the gallery\, 212.239.1181 or via email at Cecile@skny.com
URL:https://artinamericaguide.com/event/joseph-kosuth-existential-time/
LOCATION:Sean Kelly\, 475 Tenth Avenue\, New York\, NY\, 10018\, United States
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20200529
DTEND;VALUE=DATE:20200902
DTSTAMP:20260501T160140
CREATED:20200610T160000Z
LAST-MODIFIED:20200610T160000Z
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SUMMARY:The Exhibition - Collect Wisely
DESCRIPTION:The Exhibition – Collect Wisely\, is a virtual presentation. Like the Collect Wisely podcasts\, the exhibition exists outside the aegis of the gallery and the artists it represents. Instead\, it is centered around artworks from the collections of our podcast participants\, among them Marieluise Hessel Artzt\, J. Tomilson Hill\, Rodney Miller\, Howard Rachofsky\, Gary Yeh\, and Tiffany Zabludowicz. The online exhibition includes images of work selected by each collector accompanied by comments explaining their choices. 
URL:https://artinamericaguide.com/event/the-exhibition-collect-wisely/
LOCATION:Sean Kelly\, 475 Tenth Avenue\, New York\, NY\, 10018\, United States
CATEGORIES:Exhibition,Virtual Events + Viewing Rooms
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END:VCALENDAR