Liliana Porter: Seleccion de obra temprana y una reflexion desde el presente, curated by Adriana Gallo, is on view at Museo Nacional de Artes Visuales in Montevideo, Uruguay from 16 April to 21 June 2015.
Carrie Secrist Gallery is pleased to announce a two-person exhibition featuring gallery artist Anne Lindberg. Unmade: Anne Lindberg & Saskia Olde Wolbers will be on view at Contemporary Arts Center Cincinnati through 22 March 2015.
Lindberg presents new graphite drawings alongside a site-specific installation titled cadence, 2014. The artist stated, “I am thrilled to have opportunity to create a new site-specific work in Zaha Hadid’s architecture.”
Contemporary Arts Center is located at 44 E. 6th Street in Cincinnati, Ohio.
It’s hard to believe that just over seventy years ago Henri Matisse was something of a has-been. Considered by many to be little more than a thoughtful, polite decorator of bourgeoisie interiors, his radical stature long eclipsed by that other giant of twentieth century art. While in 2015 one might plausibly forget that Picasso ever existed, so little is his impact seen and felt in contemporary painting, the influence of Matisse is now inescapable. From massively attended retrospectives of his late work, to artists (like John McAllister) who have made whole careers out of unabashedly aping his look, Matisse might well be regarded as the single most prominent influence of our time.
Enter LA-based artist Ryan Fenchel whose new exhibition titled “Fases and Vaces I’ve Been” at Carrie Secrist treads comfortably, but not always predictably, within the circumscribed limits of the French master’s shadow.
Rich with saturated colors, flat shapes and harmonious compositions, one never gets the sensation that the bold arrangements in “Fases” were much struggled over. Aside from some errant pentimenti on the awkward “Edo, Khem” and what might be a covered-over image in “Profe Loop,” most of these works seem to have come about with relative ease.
It’s the pieces that “shouldn’t work” like the visually top-heavy “Hand Snakes, Tray” whose brilliant orange square hovers menacingly atop a navy blue field, or the vessels’ strange gyrations in “Edo, Khem,” that try to stake out unfamiliar visual territory and inspire the most sustained interest.
Owing to the preponderance of soft pastel, there’s an almost universally matte, near velvet, quality to these nineteen works that is seductive and intimate. Unlike paint which is so frequently mediated by brush, the directness of pastel’s touch allows the viewer rare access to the artist’s hand.
“Fases and Vaces I’ve Been” is a thoroughly likable exhibition that demands very little from the viewer in return for its good-natured visual gratification. I was left wondering, however, at what point the legacy of Matisse, whose influence is so productive to so many artists, will seem more like a burden, from whose weight we struggle to escape.
The gallery is pleased to share details for Darkroom 2015, a benefit for the Museum of Contemporary Photography, Chicago. Gallery artist Carson Fisk-Vittori has generously donated an edition of Squiggle and tube (2013) to the auction event taking place February 26, 2015. For more information and bidding on Carson’s work, please visit MoCP on Paddle 8.
Michael Robinson screens The Dark, Krystle (2013) for the 2015 Glasgow Film Festival. The international competition program takes place on March 12-13, 2015 with tickets available here.
On view through July 30, 2017, Anne Lindberg exhibits a site-specific installation, pivot blue green (2014) in Landscape, abstracted curated by Al Miner for the Museum of Fine Arts Boston.
This new installation in the Linde Family Wing for Contemporary Art’s Eunice and Julian Cohen Galleria offers a contemporary spin on landscape art. Ten works present contemporary art as the latest chapter in the story of landscape art through the ages. Works include new acquisitions to the museum as well as new commission by Lindberg and Jason Middlebrook. Their soaring creations evoke nature’s sublime potential through color and pattern, using the dramatic architecture of the Linde Family Wing to guide their work.
Lindberg’s pivot blue green evokes nature by using only thread and staples. Suspended from the vaulted ceiling of the Linde Family Wing’s second floor, Lindberg’s work soars gracefully above visiting guests. This is the first time Lindberg has created a work installed at this height (16 1/2 feet), allowing visitors to look up through a field of color.
Paul Anthony Smith’s debut solo exhibition at Carrie Secrist Gallery, Mangos and Crab, was named by art ltd. magazine as a Top 10 Exhibition of 2014 in Chicago.
Andrew Holmquist exhibits recent work in Ground Floor, a biennial exhibition of new art from Chicago, on view at Hyde Park Art Center through 29 March 2015.
Ground Floor brings together work by Chicago’s most promising emerging talent. Based on nominations by respected members of the arts community, Hyde Park Art Center selects work by recent graduates from each of Chicago’s nationally-ranked Master of Fine Arts programs.
Hyde Park Art Center is located at 5020 S. Cornell Avenue in Chicago, IL.
Michael Robinson presents a solo video installation at City Gallery Wellington in New Zealand. His film The Dark, Krystle (2013) will be on view from December 1, 2014 through March 1, 2015.
Museo de Arte Zapopan presents a solo exhibition by Liliana Porter, El Hombre Con El Hacha Y Otras Situaciones Breves, on view from 28 November 2014 through 1 March 2015.
Carson Fisk-Vittori participates in Hard Weather, on view at Et al. San Francisco through December 5, 2014. She exhibits alongside Anna Sagström.
Break of a wave, bad earth quakes,
Weather building up.
While surfing a wave I decided to de-install.
As soon as I’d come back, I’d re-install.
On my way home,
a wet morning, sound proof,
and the fragrance of a touch.
This wet morning, sound proof,
sedimentations of you.
Soft clouds navigating through damn layers of perfume.
Break of a wave causing a subtle insurrection,
a rippling aftermath.
Is rear view mirror syndrome limiting your potential?
I rotate 360 degrees in one day and my memory is gone,
now replaced by some casual encounters, some less.
Early hours dissolved by patterns of resonance,
like a coin falling from a balcony of the 25th floor.
While I was detoxing symbolic success was evaporating in front of me.
I turned desire into simple needs,
like staying hard.
– text for ‘Desperate Vitality’ by Matilda Tjäder