Alex Bradley Cohen participates in SWIM 1, a group exhibition at New Image Art on view from July 11 – August 1, 2015.
Cohen exhibits alongside Alicia McCarthy, Jenny Sharaf, Barry McGee, Teen Witch, Chris Johanson, and Mario Ayala, among many others.
New Image Art is located at 7920 Santa Monica Blvd. in Los Angeles, California.
Carrie Secrist Gallery will be closed Friday, July 3 and Saturday, July 4, 2015 in observance of Independence Day.
Please visit our current exhibition with work by Alex Bradley Cohen and Kelly Lloyd on view through July 25, 2015. Regular gallery hours are Tuesday to Friday 10:30-6 and Saturday 11-5.
Carson Fisk-Vittori exhibits alongside Derek Frech and Alex Ito in Data-Scent on view at Johannes Vogt in New York through July 16, 2015.
Fisk-Vittori, Frech and Ito’s work explore the discrete quality of information embedded in contemporary visual culture. Locations, emotive energy and power are belied by the comforts displayed in everyday life.
Michael Robinson screens The Dark, Krystle (2014) at Haus der Kulturen der Welt, Berlin, Germany on 26 June 2015. Robinson’s work is shown alongside Neil Beloufa.
On Friday, June 19 at 9:30 PM, Michael Robinson screens film in Seance Speciale at La Videoshop, Paris.
Following a presentation by Jodie Mack, Robinson screens six films, including The Dark, Krystle (2013) and Light is Waiting (2007).
La Videoshop is located at 40 Rue Quincampoix, 75004, Paris, France.
Click here for more information about the screening
TRIB LIVE Review by Kurt Shaw: Mattress Factory installation artists, use living matter, trash to get to the point
Kelly Lloyd was named by New City as a Chicago Breakout Artist for 2015. Lloyd presents her first project at Carrie Secrist Gallery from June 5 – July 25, 2015.
Anne Lindberg installs site-specific thread installation at the Mattress Factory, Pittsburgh as part of Factory Installed on view from May 15, 2015 to March 27, 2016.
Lindberg participates in Factory Installed alongside Jacob Douenias + Ethan Frier, John Morris, and Julie Schenkelberg.
Mattress Factory
500 Sampsonia Way
Pittsburgh, PA
www.mattress.org
Carson Fisk-Vittori exhibits in You will find me if you want me in the garden, a group show curated by Domenico de Chirico on view at Galerie Valentin, Paris through 16 May 2015.
Epicureanism is a philosophy based on the teachings of Epicurus. The school of Epicurus, founded in 306 B.C. is also called “The Garden” in reference to the philosopher’s home and garden near Athens where he held his teachings.
Epicurus’ philosophy, inspired by Democritus’ atomism, is centered on the understanding that philosophy’s main goal lies in achieving a state of tranquillity.
Hence the thoughts of Epicurus are based on three principles: First, the value of our senses and feelings as criteria of truth and happiness (pleasure); secondly the principle of atomism according to which objects are formed and modified by atoms constantly uniting and separating, whereas feelings are formed by layers of atoms that radiate from those objects and thereby affect the atoms of the soul; thirdly, his semi-atheism which accepts the existence of gods but denies them any form of interference on the making and governance of the world.
In short, Epicurus believes that the highest good is pleasure (ἡδονή) and, at the same time, that the criterion of truth is sensitive knowledge, or rather that only the senses are true and infallible and should therefore be cared for constantly.
Surely, the garden, seen as an eco system, is an ideal place for everyone to move freely and to express their opinions. Besides, it can favor debates with a historical perspective – an undisputed and valid tool for the knowledge and understanding of religious, artistic, poetic and literary expressions – deeply satisfying, despite their peripatetic appearance.
Fisk-Vittori exhibits alongside Alessandro Agudio, Stefania Batoeva, Sol Calero. Simon Dybbroe Møller , Ditte Gantriis, Pakui Hardware (in collaboration with Jeannine Han), Daniel Keller, Spencer Longo, Matthew Smith, Anna Virnich, and Andrew Norman Wilson.
Liliana Porter exhibits Dialogue with Blue Mug in Dandilands, a standing sign found in the high forest of Troodos mountains where there is a circular trail walk through a rocky path overlooking wild trees with a view beyond the forest and over the island. Dialogue with Blue Mug observes the possibility of connections between dissimilar objects located in odd situations. Subjects, that is, which don’t seem to mind their differences as communication among both characters is effortless and fluid.
The project is on view in Cyprus through 5 June 2015.
For more details please visit www.picknickworks.org
Derek Chan presents Mending the World Through a Dream, a narrative installation of painting and video at the Center for Contemporary Arts, Santa Fe, NM. Referencing mythological explanations of natural phenomenon, Chan focuses on the relationships of dreams, celestial cycles, and the movement of tectonic plates in his paintings.
The exhibition is on view in the Cinematheque gallery from April 30 – July 5, 2015.
Center for Contemporary Arts
1050 Old Pecos Trail
Santa Fe, New Mexico 87505
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.
By Alan Pocaro for Newcity Chicago
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.