all that matters



On view at Ronchini Gallery, London, All That Matters Is What’s Left Behind, brings together a distinct group of young international artists with their individually identifiable abstract works. Artists include: Alex Clarke, Phoebe Collings-James, Ziggy Grudzinskas, Prem Sahib, Rebecca Ward and Jens Wolf.
 
All That Matters Is What’s Left Behind explores the act of the artist ‘leaving their mark’ as a work of art. From hand-drawn scrawls, to bodily imprints and lyrical abstractions, the elements of human imperfection find expression within the individuals’ works of art.
 
The works reflect on the artistic process alongside the completed art form; the manipulation of materials in order to extract meaning is evident within the work. Created in a gestural style solely by each artist’s own hand and eye, imperfections add to the physicality of the work, creating a visual experience which actively engages the viewer in the artistic process, continually reminding us of the artists’ bodily presence.
 
Alex Clarke makes various groups of paintings that, together, explore the very notion and aspiration of a person making a painting. Clarke’s recent paintings utilising paper question ‘gesture’, presenting the space of a figurative practice that comes before the abstract painting. Phoebe Collings-James works in a variety of mediums including painting, sculpture and video. Placing an un-stretched canvas on the floor, she paints using her whole body to create work, which explores violence, sexuality and desire; a new work created using an ivory black pigment contains the artist’s footprints. Ziggy Grudzinskas’ painting practice is a dedicated investigation of materials and the perception of image. His work builds upon his background in graffiti art to create abstract large scaled works on canvas, created by various emotive processes. The artistic gesture is used as a document of a specific time and an act free from mind.
 
Prem Sahib works primarily in sculpture, but also through installation, performance, photography and sound. His practice is informed by a language of display, its elements embodying discrete formalism placed in choreographed relationships with one another. With an economy of material and form he aims to produce an emotional reaction from minimalist language; in a new black ‘dead neon’ work, Sahib presents a gestural abstract sculpture. Rebecca Ward’s subtly evocative paintings set into motion a perceptual play of colour, texture and light investigating the relationship between the painted surface and its base. Ward produces paintings and large-scale installations, preferring an eclectic range of non-traditional materials including: bleach, spray paint, tape and dye. Influenced by Minimalism, Abstract Art and Arte Povera her varied practice surrounds the iconography of feminine gesture, contemporary Americana culture and craft. Jens Wolf explores colour, shape and flatness through his geometric abstract paintings on plywood. Working with painting on board, Wolf is inspired by the major abstract Modern movements on the 20th century, but his work transcends this rich tradition by leaving traces of imperfection and uniqueness behind. Colour, geometry and symmetry are explored throughout his work.



 
About the Artists
 
Alex Clarke (b. 1988, Nottingham, UK) graduated from Central St. Martins in 2010 and the Royal Academy Schools in 2014. Past exhibitions include: Hope, Gowlett Peaks, London, (2014); Showtime, Johannes Vogt, New York (2014); and Best Good Friend, Royal Academy Schools Show, Royal Academy of Arts, London (2014).
 
Phoebe Collings-James (b.1987, London, UK) graduated from Goldsmiths in 2009. She has presented her work internationally. Recent solo exhibitions include: Blood on the leaves, Blood on the Roots, Preteen Gallery Mexico City; Lament for the Walking Dead, Cob Gallery, London; The Flesh Is All You Have, If You Mortify That There Is No Hope For You, Ritter Zamet, London. Collings-James was the first female artist in residence at the Still House Group where she presented Pleasure Pieces in 2012 and in 2014 she completed the Nuove Ceramics residency. Group exhibitions include a The Demons I Summoned Won’t Let Me Go with Art & Language and Sam Anderson, Cookie Butcher, Antwerp; It’s Been 10 Years Since 2010, Arcadia Missa, London. Phoebe has been invited to speak on art and gender by Tate Britain, WOW festival at South Bank Centre, The Cass School of Art & Architecture and the ELF.
 
Ziggy Grudzinskas (b. 1982, Sydney, Australia) is a current third year student at the Royal Academy Schools.  He received his BA in painting from Camberwell College of Arts in 2010. Recent exhibitions include: What do YOU Represent?, The Nursery, London (2014); Wu-Tang Is For The Children, Londonewcastle Project Space, London (2014); Summer Exhibition, Royal Academy of Arts, London (2014); DUBL TRUBL, Urban Spree, Berlin (2014).
 
Prem Sahib (b.1982, London, UK) graduated from the Slade School of Fine Art in 2006 and the Royal Academy Schools in 2013. Recent solo exhibitions include Tongues, Jhaveri Contemporary, Mumbai; Night Flies, Southard Reid, London; Back Chat, Lorcan O’Neill Gallery, Rome. Group exhibitions include Shape of Thought, The Breeder, Monaco; Abstract Cabinet, David Roberts Art Foundation, London; Days In Lieu, David Zwirner, London, 2013. Forthcoming exhibitions include presentation of work and performance within Forget Amnesia, The Fiorucci Art Trust, Stromboli; Burning Down The House, Gwangju Biennale, South Korea as well as solo shows at The Breeder, Athens; Lorcan O’Neill, Rome; and Southard Reid, London in 2015.
 
Rebecca Ward (b. 1984, Waco, Texas, USA) lives and works in New York. She received her BA in Fine Arts from University of Texas in 2006, and an MFA in Fine Arts from School of Visual Arts, New York in 2012. She has exhibited extensively in the United States, Europe, and South America. Museum solos include The Museum of Contemporary Art, Raleigh. Notable solo exhibitions include: Ronchini Gallery, London, UK (2013), East Hampton Shed, East Hampton, NY (2013), and a two person show with Carla Accardi, Bibo’s Place, Todi, Italy (2013). Her work is included in museum and public collections. Ward participated in group exhibitions including Maurizio Cattelan’s The Virgins at Family Business, New York (2012), curated by Marilyn Minter, Post-Op at Mixed Greens Gallery, New York (2012), Recent exhibitions include: The Shaped Canvas, Revisited at Luxembourg & Dayan, New York (2014), Material Images at Vogt Gallery, New York, (2014). Forthcoming exhibitions include a solo show in 2015 at Ronchini Gallery.
 
Jens Wolf (b. 1967, Heilbronn, Germany) lives and works in Berlin. Wolf graduated in 2001 from the Academy of Fine Arts in Karlsruhe under Helmut Dorner and Luc Tuymans. Past solo and group exhibitions include: FRAC Languedoc – Roussillon, Montpellier (2004), Le Grand Café Centre d’art Contemporain, Saint-Nazaire (2005), Wilhelm-Hack-Museum, Ludwigshafen (2006), Musée d’art contemporain, Grenoble (2007), MARTa Herford Museum, Herford (2008), MUMOK Museum Moderner Kunst, Vienna (2010), Marres Maastricht, Timmerfabriek, Maastricht (2011), Kunstbunker, Nuremberg (2012), Galerie am Markt, Kunstverein Schwäbisch Hall (2013), FRAC Poitou-Charantes, Angoulême (2013), Saarlandmuseum, Saarbrücken (2013/2014), Galerie MaxWeberSixFriedrich, Munich (2013). His work is included in numerous permanent collections including: Daimler Contemporary, Berlin; Marta Herford Museum, Herford; Sammlung zeitgenössischer Kunst der Bundesrepublik Deutschland, Bonn; Kunsthalle – CCA  Andratx, Spain; Saarlandmuseum, Saarbrücken, Germany; The  Zabludowicz Art Trust, London; and multiple FRAC Collections in France.
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PRESS
MODERN PAINTERS
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GROUP EXHIBITION: THE SHAPED CANVAS, REVISITED
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OPENING RECEPTION MAY 11TH, 6-8PM

MAY 13 – JULY 3, 2014
LUXEMBOURG & DAYAN
64 EAST 77th STREET
NEW YORK CITY

EXPLORING AN ART PARADIGM AND ITS LEGACY,
LUXEMBOURG & DAYAN PRESENTS
THE SHAPED CANVAS, REVISITED WITH WORKS FROM 1959 - 2014

New York, NY…In the early 1960s, the shaped canvas emerged as a new form of abstract painting that reflected the optimistic spirit of a postwar space-race era when such forms as parallelograms, diamonds, rhomboids, trapezoids, and triangles suggested speed and streamlined stylization. The shaped canvas is frequently described as a hybrid of painting and sculpture, and its appearance on the scene was an outgrowth of central issues of abstract painting; it expressed artists’ desire to delve into real space by rejecting behind-the-frame illusionism. The defining moment for the paradigm occurred in 1964 with The Shaped Canvas, an exhibition at the Solomon R. Guggenheim Museum, curated by influential critic Lawrence Alloway with works by Paul Feeley, Sven Lukin, Richard Smith, Frank Stella, and Neil Williams. Alloway’s show defined a key feature of abstraction and revealed the participating artists’ desire to overthrow existing aesthetic hierarchies. Half a century later, the shaped canvas remains robust in art, encompassing an array of approaches and provoking questions about the continued relevance of painting.

Coinciding with the 50th anniversary of the Guggenheim Museum’s historic show, Luxembourg & Dayan will present The Shaped Canvas, Revisited, a cross-generational exhibition examining the enduring radicality of the painted shaped canvas and introducing such parallel movements as Pop Art and Arte Povera into discussion of the paradigm’s place in the history of modern art. The exhibition will include more than two-dozen works that connect the postwar history of the shaped canvas to present day practice. Paintings on view range from the two-dimensional shaped format to approaches that burst away from flatness altogether. All of the works in The Shaped Canvas, Revisited take a non-rectangular approach to painting that celebrates perceptual tensions between internal structure and bounding shape; between pictorial and three-dimensional concerns; and between the literal and the illusory. Among artists represented by works in the exhibition are Lynda Benglis, Lucio Fontana, Ron Gorchov, Mary Heilmann, Charles Hinman, Wyatt Kahn, Ellsworth Kelly, Roy Lichtenstein, Nate Lowman, Olivier Mosset, Elizabeth Murray, Kenneth Noland, Steven Parrino, Pino Pascali, Richard Prince, Harvey Quaytman, James Rosenquist, Paolo Scheggi, Frank Stella, Richard Tuttle, and Tom Wesselmann, among others.

The Shaped Canvas, Revisited also will debut new works created by Justin Adian, John Armleder, Jeremy Deprez, and Rebecca Ward inspired by the premise of the exhibition.

On view through July 3rd, The Shaped Canvas, Revisited will be accompanied by an illustrated catalogue featuring an extensive interview with artist Frank Stella by art historian and critic Suzanne Hudson. Like Luxembourg & Dayan’s previous exhibitions Grisaille and Unpainted Paintings, The Shaped Canvas, Revisited will attempt to re-trace a compelling and provocative impulse across generations, nationalities, and artistic movements. Each artist included has been passionately committed to exploring painting in principle and has renewed the form’s potential through experimentation.

About the Exhibition
Beyond Lawrence Alloway’s landmark Guggenheim exhibition, a number of key American shows in the 1960s and 70s – notable among them are Shape and Structure at Tibor de Nagy Gallery (1965), curated by Frank Stella, Henry Geldzhaler, and Barbara Rose; Painting: Out from the Wall at the Des Moines Art Center (1967); and Shaped Paintings at The Visual Arts Museum (1979) -- revealed the prevalence of artistic experimentation and helped situate the shape of painting as a prime arena for formal innovations.

At Luxembourg & Dayan, The Shaped Canvas, Revisited will re-engage with these past exhibitions through key works by artists who participated in them. The show will present such familiar icons as Frank Stella’s glowing copper L-shaped “Creede II” (1961), Elizabeth Murray’s “Twist of Fate” (1979), and Kenneth Noland’s “Midnight” (1979), alongside eccentric shaped works by such figures as Paolo Scheggi and Pino Pascali, who are perhaps less familiar to a New York audience. Pascali’s “Coda di Delfino” (1966) swoops upward from the wall, an ebullient fishtail of black paint and glue on canvas and wood, while the overlapping layers of painted canvas in Scheggi’s “Intersuperficie Curva Blu” (1965) create the impression of cuts that connect his shape-shifting formally with that that of Lucio Fontana. Through such works, the exhibition traces the development of the shaped canvas through parallel threads of modern art, from Minimalism to Pop Art and Arte Povera.

With a group of recent works, Luxembourg & Dayan explores the enduring legacy and conceptual impact of these discrete movements as expressed in the shaped canvas approach. For example, shaped paintings of the last decade – one of these is Olivier Mosset’s “Copper Star” (2008) – call back across the years to Charles Hinman’s “Oceanus” (1981). In James Rosenquist’s “Head on Another Shape: Study for Big Bo” (1966), viewers can locate the antecedents of Nate Lowman’s bullet hole canvas “White Escalade” (2005-2008). Lynda Benglis’ suggestive knots pose as distant ancestors of Justin Adian’s elastic canvases. The Shaped Canvas, Revisited will offer a fresh new lens through which to consider the trajectory of the shaped canvas into the 21st century, and a chance to contemplate this paradigm’s place in contemporary practice, through new, never before exhibited works by several younger artists like Adian, who are re-imagining the possibilities of the shaped canvas today.

Luxembourg & Dayan is located at 64 East 77th Street between Madison Avenue and Park Avenue. The gallery is open to the public Tuesday through Saturday, 10AM – 5PM.

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GROUP EXHIBITION: MATERIAL IMAGES
CURATED BY NATE HITCHCOCK
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OPENING MARCH 6TH
MARCH 6 - APRIL 5, 2014
VOGT GALLERY
NEW YORK CITY

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MY PAINTINGS WILL BE WITH RONCHINI GALLERY AT
ART13 LONDON
FEBRUARY 27 - MARCH 2, 2014
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REVIEW: NEW AMERICAN PAINTINGS

In a delightfully revealing exhibition, shucked & silked at Barbara Davis Gallery, the multifaceted Rebecca Ward presents new work that not only references on her ambitious installation practices with electrical tape, but also indicates interesting new territory her studio practice is headed. Ward’s newest offering highlights her material fluency through her synthesis of painting, installation and sculpture. - Claude Smith, Albuquerque/Santa Fe Contributor

Embracing and drawing upon practices that have long been associated with women and domesticity, Ward simultaneously references the male dominated vernaculars of minimalism and geometric abstraction, while using her own material concerns to offer a more delicate meditation of process and form. Many of the works have been painstakingly deconstructed one thread at a time, an intriguing effect that leaves a composition seemingly in a state of entropy; others, are parts to the whole, assembled or stitched together to create the full composition. She unabashedly derives many these works through the reclamation silk, cotton batting and leather (materials traditionally associated with craft and hobbyist practices) while highlighting the labor-intense process necessary in creating each work.

Ward’s use of material also seeks to remove the objects from their traditional relationships or associations as merely paintings, and instead, proposes new, alternative possibilities as they become more sculptural, three-dimensional objects. One of her most successful examples of this hybrid painting/sculpture is X. Entering the gallery, the viewer finds the piece resting on the ground and leaning up against the wall. Stretched in a painted but transparent silk, the surface allows for the otherwise hidden stretcher bars to seen from the front, the resulting structural X produces a complementary shadow on the wall behind.

In other more subtly intriguing works, The Reverend II, Ranch House I and Ranch House II, we see Ward’s de-constructivist approach play out with illusory effect. The Reverend II features bold yellow lines that cut through the lower portion of curtain-like façade of the canvas, simultaneously activating its surface and revealing the wall occupying the space directly behind the painting. In the painterly diptych, Ranch House I and Ranch House II, Ward has applied bleach to effectively create the appearance of folds in the otherwise flat, planar surface of the canvas–a spatial effect that is once again heightened by her proclivity for unraveling her compositions.

In an interview with Fred Paginton for ARTslant in July, Ward stated her attraction towards found and reusable objects was a way to not only eliminate waste, but to continually recycle things in her work, a decision that speaks to the potential of such actions to becomepolitically charged. Having cited an inspiration in the Arte Povera movement that was popular in Italy during the 60s and 70s, a movement that advocated for the rejection of consumerist culture, Ward’s work embraces the use of unconventional material and style and suggests a blurring of the boundary that separates art and life. shucked & silked offers a fresh perspective and suggests an exciting direction from a promising young artist.

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Claude Smith is an arts administrator and educator living and working in Albuquerque, NM.

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PRESS
NEW AMERICAN PAINTINGS: NOVEMBER PICKS
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REBECCA WARD
SHUCKED & SILKED

OCTOBER 25 - NOVEMBER 30, 2013

ARTIST RECEPTION:
FRIDAY, OCTOBER 25TH, 6:30 - 8:30PM

Barbara Davis Gallery is pleased to announce shucked & silked, a solo-exhibition by New York artist Rebecca Ward, opening Friday, October 25, 2013, with an artist reception from 6:30 - 8:30PM. This exhibition consists of new paintings and a large-scale site-specific installation.

While Rebecca Ward's love affair with minimalism is clear, she concurrently deconstructs the detached, fabricated aesthetics of this era by delicately stitching and unraveling canvas. She uses this language of abstraction to decisively break apart painted material and piece it back together. The paintings appropriate, rearrange, and affirm canonized iconography through feminine gesture while referencing contemporary culture and craft.

The paintings are aware of their object-hood and hold a clear relationship to sculpture and its environment. Her use of a wide variety of materials establishes these works not just as planar surfaces, but as three-dimensional objects. The objects are experienced in gestalt, creating textural and environmental landscapes. As Stephen Maine stated in a recent catalogue essay: Even at this early stage of her career, Ward is clearly in command of what Meyer Schapiro describes as "the imaginative aspects of the devices for transposing the space of experience on to the space of the canvas, and the immense, historically developed, capacity to hold the world in mind."

Ward weaves the colors and lines of our internet and information-saturated era with analog processes such as hand-sewing and dying canvas. By rendering digital information into handmade objects, she produces a binary but complementary system that reflects the staggering transition our world has recently undergone.

shucked & silked opens Friday, October 25, 2013, with an opening artist reception from 6:30 - 8:30PM. Artist will be in attendance. This exhibition is on view October 25, 2013 through November 30, 2013. For more information, please contact Barbara Davis Gallery at 713.520.9200 or info@barbaradavisgallery.com.

About the artist:
Rebecca Ward currently lives and works in New York City. She received her BA in Fine Arts from University of Texas in 2006, and an MFA in Fine Arts from School of Visual Arts, New York in 2012. She has exhibited extensively in the United States, Europe, and South America. Museum solos include The Museum of Contemporary Art, Raleigh. Notable solo exhibitions include Ronchini Gallery, London, UK (2013), East Hampton Shed, East Hampton, NY (2013), and a two person show with Carla Accardi, Bibo's Place, Todi, Italy (2013). Her work is included in museum and public collections. Ward participated in group exhibitions including Maurizio Cattelan's The Virgins at Family Business, New York (2012), curated by Marilyn Minter, Post-Op at Mixed Greens Gallery, New York (2012), among others.

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GROUP EXHIBITION: EXPERIMENT. STUDIO
OPENING SEPTEMBER 27TH, 7PM
EXHIBITION RUNS THROUGH NOVEMBER 3RD, 2013
APERTO GALLERY, ST. PETERSBURG, RUSSIA
190000 PIROGOVA LANE, 3RD FLOOR

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BENEFIT AUCTION: SEPTEMBER 5 - SEPTEMBER 20, 2013
MUSEUM OF CONTEMPORARY ART DETROIT
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SOLO EXHIBITON: CROCODILE TEARS
OPENING AUGUST 31ST, 2013
THROUGH SEPTEMBER 31, 2013
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EAST HAMPTON SHED
30 BLUE JAY WAY
EAST HAMPTON, NEW YORK
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DIRECTORS: NATE HITCHCOCK AND HADLEY VOGEL
THE SHED BEHIND THE VOGEL BINDERY

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GROUP EXHIBITON: THIRTHEEN TWENTY THREE
JUNE 14TH, 2013, 7PM
964 DEAN STREET, BROOKLYN, NY
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TWO PERSON EXHIBITION: REBECCA WARD + CARLA ACCARDI
18 MAY, 2013, 12:00 NOON
BIBO'S PLACE, TODI, PIAZZA GARIBALDI, 7

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RESIDENCY:
ATELIER ALIGHIERO BOETTI
TODI, ITALY
MAY 2013.
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recent press
ART TRIBUNE
ART WEDNESDAY
THE ART NEWSPAPER
ARTINFO
GARAGE MAGAZINE (interview)
THE UPCOMING
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SOLO EXHIBITION: COW TIPPING
OPENING THURSDAY APRIL 11TH, 6-8PM
12 APRIL - 18 MAY 2013
RONCHINI GALLERY + ARTNESIA, 22 DERING STREET, LONDON

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MY PAINTINGS WILL BE WITH RONCHINI GALLERY AT ART13 LONDON
MARCH 1-3, 2013
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MY PAINTINGS WILL BE WITH RONCHINI GALLERY AT ARTE FIERA, BOLOGNA, IT.
JANUARY 25-28TH
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GROUP EXHIBITION OPENING JANUARY 4TH: 239 DAYS
CURATED BY STEPHEN MAINE
ALLEGRA LAVIOLA GALLERY, 179 EAST BROADWAY, NY
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MY PAINTINGS WILL BE AT MIAMI PROJECT WITH
VISUAL ARTS GALLERY
DECEMBER 4-9, 2012

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GROUP EXHIBITION OPENING SEPTEMBER 5TH: TIME AFTER TIME
EXHIBITION RUNS SEPTEMBER 5TH - OCTOBER 4TH
RONCHINI GALLERY, 22 DERING ST, LONDON
CURATED BY ARTNESIA
 
Ronchini Gallery is pleased to present TIME, after TIME: Parallels Between Young American Artists and Italian Masters, a project by ARTNESIA.

The exhibition will explore similarities between generations of artists by featuring contemporary American artists Sam Falls, Andrew Brischler, David Mramor, Davina Semo and Rebecca Ward alongside Italian artists from the 1950s, 60s and 70s, including: Michelangelo Pistoletto, Alighiero Boetti, Alberto Burri, Dadamaino, Piero Dorazio, Mario Schifano and Paolo Scheggi.

Many young American artists working today have been influenced by Italian artistic research of the mid-20th century. Through the use of simple and artisan materials in their compositions, they directly or indirectly reference Arte Povera, a movement that emerged in Italy in the 1960s. It came out of the decline of abstract painting in the late 1950s and the rise of older avant-garde approaches to making art. The period of liberation in Italy after World War II allowed artists a renewed freedom artistically. Artists such as Piero Dorazio formed Forma 1, a group in Rome dedicated to pushing forward abstract art, paving the way for future progressive movements.

Artist, curator and contributor to the exhibition catalogue Marilyn Minter explains; ‘This new kind of abstraction is part of a collective unconscious, that these artists all somehow belong to this same school of thought. This generation -painters in their mid to late 20s- are all looking back to the past, to people like Lucio Fontana, Piero Manzoni, Mary Heilmann, Blinky Palermo and Cy Twombly, it’s like they are all absorbing traditions of abstract expressionism, minimalism, arte povera, and pop culture and simultaneously challenging them and writing sort of love letters to them.’

Curators Carlo Berardi and Jason Lee of ARTNESIA developed the concept of the exhibition from something Alighiero Boetti wrote on The Hour Glass, a collage work from 1979: ‘ vice versa, a word between a circle and an hourglass.’ Boetti was expressing the relationship between the passing of time and the geometrical form of a circle. By going the other way around, one tends to return to something that has already partially occurred and gets the chance to develop it. The young American artists in the exhibition have recently gained wider recognition in the US – Andrew Brischler, David Mramor and Rebecca Ward recently exhibited in The Virgins, the first show at Maurizio Cattelan and Massimiliano Gioni’s new gallery Family Business in New York- however this will be the first time the UK public can view their work.
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GROUP EXHIBITION: ON PAPER
GALERIA YUSTO/GINER
SEPTEMBER 21 - NOVEMBER 9, 2012
MARBELLA, SPAIN
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Artists: Rachel Beach, Peter Demos, Andrew Falkowski, Emilio Gomariz, Jay Shinn, Suzanne Song, Rebecca Ward, and Ken Weathersby

Mixed Greens is thrilled to present Post-Op, a group exhibition exploring the influence of Op Art within contemporary visual art practice. The recognizable movement of the mid-60s was dismissed by many critics of the time, but the movement—grown out of geometric abstraction, trompe l’oeil, and the uncertainty and perceptual change of the mid-20th Century—has proven to be of current importance. Post-Op brings together eight artists working in a variety of media, all of whom contemplate perception, form, function, and rationality to create works tied to the lineage of the Op movement. Through color, line, lighting, and even animation, these artists explore visual illusion in exciting ways.
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RECENT PRESS: DOMUS, THE VIRGINS AT FAMILY BUSINESS, FEBRUARY 2012
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SVA MFA FINE ARTS OPEN STUDIOS
THURS. APR 26TH, 5-9PM
FRI. APR 27, NOON-8PM
SAT. APR 28, NOON-6PM

133 WEST 21ST ST, NY, NY
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PRESS RELEASE

FAMILY BUSINESS is a new exhibition space initiated by Maurizio Cattelan and Massimiliano Gioni.

Located in Chelsea at 520 West 21st Street, FAMILY BUSINESS is a guest house – a place where friends and enemies are invited to present the works of artists they support and projects they believe in.

FAMILY BUSINESS is the big brother of the Wrong Gallery, a minuscule space that Maurizio Cattelan, Massimiliano Gioni and Ali Subotnick ran in New York from 2002 to 2005. Just like the Wrong Gallery, FAMILY BUSINESS is a non-profit space open to experimentation and irreverent exhibition formats, right in the heart of Chelsea.

The first exhibition to inaugurate this untouched space is aptly titled “The Virgins Show”: all the featured artists have never shown before (Presumably they are in fact still virgins.) Early reports are identifying the show’s content as what might happen if Mary Heilmann had a threesome with Martin Kippenberger and Blinky Palermo. It is curated by longtime virgin Marilyn Minter, who is also the author of this press release, the first she has ever written. In addition to the pieces situated in the space there will be a constantly running video monitor featuring the very first works of artists who have agreed to abandon their sultry lives of debauchery and become Born Again Virgins. (If only for the duration of the show.)

The opening will feature a guest appearance by the band The Virgins, whose name is a bit suspicious as it is widely believed they are actually a group of sexually depraved maniacs.

Also, no word back from Richard Branson, but we’ve got our fingers crossed.

Virgins:
Andrew Brischler
Eric Mistretta
David Mramor
Rebecca Ward
and more

Born Again Virgins:
Patty Chang
Kate Gilmore
Laurel Nakadate
Wangechi Mutu
Mika Rottenberg
Aïda Ruilova

FAMILY BUSINESS is a free time-share: a space made available to people who have something interesting to say; a way to get to know new families and friends. FAMILY BUSINESS is powered by the Center for Curatorial Studies – Bard College. A guest + a host = a ghost.
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MFA THESIS EXHIBITION: JUST THE TIP
ORGANIZED BY MIKE EGAN
SVA VISUAL ARTS GALLERY
NEW YORK, NY


2/24/12 - 3/10/12
RECEPTION: THURSDAY MARCH 1ST, 2012 6-8PM
601 WEST 26TH STREET, 15TH FLOOR
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GROUP EXHIBITION: WATTIS INSTITUTE
THE WAY BEYOND ART
CALIFORNIA COLLEGE OF THE ARTS
SAN FRANCISCO, CA
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stella mccartney, soho
INSTALLATION: STELLA MCCARTNEY
SOHO FLAGSHIP, NEW YORK, NY
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GROUP EXHIBITION: ELBOW ROOM
NOVEMBER 30 - DECEMBER 21, 2011
SVA WESTSIDE GALLERY
133 WEST 21 STREET, NEW YORK, NY
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