Oct 8 2019-Oct 19 2019
This acrylic and graphite on canvas painting was done by Alma Thomas, who was an educator and artist in Washington, D.C. for most of her career. She was a member of the Washington Color School. This painting was unveiled as part of the White House Collection during Black History Month 2015 and is the first in this collection by an African-American woman. This painting was acquired for the White House Collection with support from George B. Hartzog, Jr., and the White House Acquisition Trust/White House Historical Association.


Until Wednesday October 23 2019
Magenta Plains presents Neptune’s Machine, Bill Saylor’s second exhibition at the gallery consisting of new paintings and large-scale sculpture. Saylor’s approach to topics of natural history, marine biology, and ecological crisis along with a freedom of materiality galvanize his distinct painting style.
The title is a nod to the mythology of a collective past, while acknowledging a very real phenomenon: oceans are the planet’s main regulatory system. Currents contribute and alter jet streams, drive weather patterns, stabilize temperatures and guide wildlife. Often those trajectories are as erratic and reckless as the deities’ mercurial temperament. The metaphor of Neptune’s Machine captures the raw energy and natural force of Saylor’s hand and allows for a broad representation of his explorations.
Built up with layers of splattered and poured paint, parts of Saylor’s canvases resemble chemical spills—motifs of environmental damage propelled by a frenetic and muscular application of paint smeared and scratched. Notational devices appear on canvases as abstracted weather maps. Their features, symbols, and contours delineate compositions that are scattered with both real and hybrid figures, evincing an ever-present drawing practice in which his work is rooted.


Every great dream begins with a dreamer. Always remember, you have within you the strength, the patience, and the passion to reach for the stars to change the world.
Find my new painting: saatchiart.com


Epic Abstraction: Pollock to Herrera begins in the 1940s and extends into the twenty-first century to explore large-scale abstract painting, sculpture, and assemblage through more than fifty works from The Met collection, a selection of loans, and promised gifts and new acquisitions. The installation is anchored by iconic works from The Met collection, including Jackson Pollock's classic "drip" painting Autumn Rhythm (1950), Louise Nevelson's monumental Mrs. N's Palace (1964–77), and Joan Mitchell's panoramic La Vie en Rose (1979). This ongoing and changing display is punctuated with special loans of major works by Helen Frankenthaler, Kazuo Shiraga, Joan Snyder, and Cy Twombly.
In the wake of unprecedented destruction and loss of life during World War II, many painters and sculptors working in the 1940s grew to believe that traditional easel painting and figurative sculpture no longer adequately conveyed the human condition. In this context, numerous artists, including Barnett Newman, Pollock, and others associated with the so-called New York School, were convinced that abstract styles—often on a large scale—most meaningfully evoked contemporary states of being. Many of the artists represented in Epic Abstraction worked in large formats not only to explore aesthetic elements of line, color, shape, and texture, but also to activate scale's metaphoric potential to evoke expansive—"epic"—ideas and subjects, including time, history, nature, the body, and existential concerns of the self.
Beginning June 24, 2019, Epic Abstraction will feature a selection of newly installed works, including major examples by Sam Gilliam, Lee Krasner, and Frank Stella, among others.Venue name:The Metropolitan Museum of Art

Address:1000 Fifth AveNew York10028
Cross street:at 82nd St
Transport:Subway: 4, 5, 6 to 86th St
Opening hours:Mon–Thu, Sun 10am–5:30pm; Fri, Sat 10am–9pm.

September 12th – October 19th, 2019
Greene Naftali is pleased to announce Paul Chan’s solo exhibition entitled The Bather’s Dilemma. This is his fourth solo exhibition at the gallery. The Bather’s Dilemma features a new series of works Chan calls “Bathers.” The Bathers belong to the genre of moving-image works pioneered by Chan that he calls “Breathers,” which debuted in his 2017 exhibition Rhi Anima at the gallery.
Artists have explored the theme of the “bather” throughout history. In the 19th and early 20th centuries, artists like Cézanne and Matisse took up this motif to express evolving notions about the body, changing ideas about pleasure, one’s relationship to nature, and how the longing for the new (in art) potentially renews a broader and more inclusive understanding of what it means to live with or against societal changes. Chan takes up this age-old trope to redescribe the constellation of themes and ideas the “bather” embodies for what is turning out to be a dismal 21st century.
Like the Breathers, the Bathers are constructed out of nylon fabric and powered by specially modified industrial fans. Each bather was designed by Chan to animate solely by how the fabric “body” reacts to and against the air pressure from the fans. Combining knowledge and experience from fields as disparate as fashion, physics (specifically fluid dynamics), and sculpture, Chan’s novel technique creates aerodynamic forces like lift and drag within the internal structure of the body to harness the fans’ air flow in order to govern a bather’s movements.
In Phenus 1 (2019), the image of a shameless bathing figure displaying themself while holding a towel from behind is animated by two countervailing movements. The insistent swaying forward and backward of the jet-black body’s lower section is counterpoised against the undulating and gyrating motion of the upper section. The rocking motion in the lower section is achieved by air flow pushing against the two connected, slightly unequal tube-like shapes, which creates the imbalance (the fluid dynamical term is “turbulent flow”) necessary to generate the specific movement. The fabric shell that make up the upper section also determines the air flow. But here, there are three openings where air escapes (one in each of the “elbows” and one on the “back”). These openings act like “thrusters,” in effect pushing the upper section in three distinct directions. The curvature where the upper and lower sections meet induces more turbulence, essentially forcing the air to press against the upper section in many different directions. The white “towel” (with a specific weight of eight grams) acts as a counterweight, both exaggerating the movement generated by the air rushing out of the three openings and easing the transition of the body as it gestures rhythmically from one axis of direction to the next.
Katabasis (2019) sways from side to side as four bathers in various states of undress are connected at the arms, enabling air to enter and exit from any and all the figures. The lateral air flow traveling between the figures push and pull them into a particular ensemble of movements. Katabasis cycles from synchronic and ecstatic dancing to conflicting individual gestures to a state of homeostasis where all four figures are tensely, momentarily, still. This effectively imbues the work with the sense that the four bathers are either working together to travel in one direction, fighting amongst themselves about which way to go, or are too conflicted to move in any direction at all. The logo on the muscle shirt worn by the third figure (from the left) obliquely references part of their dilemma. Designed as an homage to the iconic Gold’s Gym logo, the image is encircled by a Latin phrase made famous by philosopher Thomas Hobbes (1588-1679) in his work Leviathan – “Bellum omnium contra omnes,” which translates as “the war of all against all.” The word katabasis itself also expresses something like the uncertainty of where they (or we) ought to go. Katabasis is an ancient Greek term for either traveling towards a coast where water is, or a decent into Áïdēs, also known as the underworld.


Over the past sixty years, the epoch-defining Argentinian artist Marta Minujín (b. 1943, Buenos Aires, Argentina) has developed happenings, performances, installations, and video works that have greatly influenced generations of contemporary artists in Latin America and beyond. Minujín combines elements of experimental theater, film and television, advertising, and sculpture to create total environments that place viewers at the center of social situations and confront them with the seductiveness of media images and celebrity culture. Emerging in the 1960s as one of the strongest voices in Argentinian art, Minujín has often refused to make lasting objects, instead developing her work in opposition to institutional structures. Her simultaneously monumental and fragile works challenge conventions of art while testifying to her unyielding engagement with both radical artistic forms and the artifices of popular culture. Minujín’s capacity to inspire awe and surprise has solidified her reputation as a pioneer of Latin American conceptual art.
In 1965, at the Center of Visual Arts of the Instituto Torcuato di Tella in Buenos Aires, Minujín and Rubén Santantonín devised the now-legendary environment La Menesunda. The work led visitors on a circuitous journey through eleven distinct spaces, including a tunnel of luminous neon signs, a bedroom complete with a married couple, a hallway lined with illuminated TVs, and a salon with makeup artists and masseuses offering their services. This intricate, interactive labyrinth sought to provoke visitors and spur them into action, and to offer new modes of encounter with consumer culture, mass media, and urban life. In 2015, the Museo de Arte Moderno de Buenos Aires presented a reconstruction of La Menesunda, and in June 2019, the New Museum presents the second recreation of this installation, its first-ever presentation in the US. While La Menesunda was created as a direct response to street life in Buenos Aires—the title is slang for a confusing situation—the work, alongside that of Niki de Saint Phalle, Christo, Claes Oldenburg, and others, counts among the earliest large-scale environments made by artists, demonstrating how Minujín anticipated the contemporary obsession with participatory spaces, the lure of new pop-up museums, and the quest for an intensity of experience that defines social media today.
The exhibition is curated by Massimiliano Gioni, Edlis Neeson Artistic Director, and Helga Christoffersen, Associate Curator.
La Menesunda is co-produced by the New Museum and the Museo de Arte Moderno de Buenos Aires.
This exhibition may not be suitable for all audiences. Please click here for more information.
Marta Minujín was born in 1943 in Buenos Aires, Argentina, where she lives and works. She studied at the Escuela Superior de Bellas Artes Manuel Belgrano and the Escuela Nacional de Bellas Artes Prilidiano Pueyrredón Buenos Aires. In 1961, she received a scholarship to study in Paris, where she carried out her first performance, La destrucción (The Destruction), in 1963. Returning to Buenos Aires in 1964, she was awarded the Premio Nacional Instituto Torcuato Di Tella for the work ¡Revuélquese y viva! (Wallow around and live!, 1964), her first interactive installation. Minujín received a Guggenheim Fellowship in 1966. During the 1970s, she lived between the United States and Argentina, exhibiting her work in major institutions such as the Museum of Modern Art, New York (1973), and Centro de Arte y Comunicación, Buenos Aires (1975, 1976). A retrospective of Minujín’s work was presented at the Museo de Arte Latinoamericano de Buenos Aires in 2010, and her work has been included in documenta 14, Kassel (2017), and in exhibitions at Tate Modern, London (2015); Walker Art Center, Minneapolis (2015); Centre Pompidou, Paris (2001); and elsewhere.

Richard Taittinger Gallery
Until Sep 1 2019
Roy Lichtenstein meets Bollywood in these exuberantly over-the-top paintings by Qamar, a South-Asian–Canadian and the self-styled Desi Pop artist from Ontario. Qamar, an Internet native, got her start on Instagram, where she currently has 166,000 followers. In her first move from virtual to meat space, the artist presents paintings that offer a feminist point of view on the vicissitudes of social media.

Info
Venue name: Richard Taittinger Gallery
Address: 154 Ludlow St , New York
Cross street: Between Rvington and Stanton Sts
Transport: Subway: F to Delancey St; B, D to Grand St (Chrystie St); J, Z, M to Delancey–Essex Sts
Opening hours: Tue–Sun 10am–7pm

Austrian Cultural Forum, Midtown East
JUN 28 - SEP 8, 2019
Austrian Cultural Forum New York, 11 East 52nd Street, New York
This summer, the Austrian Cultural Forum New York is pleased to present a site-specific art installation by Erste Bank ExtraVALUE Art Award 2019 recipient Gabriele Edlbauer. On display from June 28 to September 8, How much is the fish? views brotherhood in the era of late capitalism through an anthropomorphic lens.
For her first solo show in New York, Gabriele Edlbauer took her inspiration from the eponymous Eurodance hit by Scooter and its opening line "The chase / is better than the catch." Four figures gather in the space the artist has created, four male "human" bodies with indeterminate "animal" heads resembling those of anteaters or moose. The sculptures appear anonymous, loath to give away who or what they stand for, yet they are united by a common theme: fishing. Surrounded by pools and buckets, the figures proudly display the trophies of a fishing trip, be it piranhas or bass. The viewer faces an idyllic bro scene, albeit one where brotherhood has little to do with the political virtue of fraternity but rather hints at men's dubious homosocial bonds in the age of pervasive and limitless capitalism.
It is hard to say whether these uncanny figures are engaged in a hobby or a hunt, whether they are adorable idiots dressed in bad carnival costumes or belong to the group of creepy clowns that haunt this era of political unrest. Edlbauer adds another layer of complexity to her installation with a cartoonish mural depicting a second bromantic fishing scene. Placed side-by-side in a boat are four anthropomorphic New York City icons: Charging Bull, Wolf of Wall Street, Mr. Met, and Sparky the Dragon. One may only speculate as what has prompted this incongruous lot to join company. The image seems to reek of machoism and money, while the characters' rich and sometimes questionable history invites comparison with the nondescript nature of the sculptures.
Cute, zany, and deeply troubling at the same time, all these figures seem much too familiar in our present day and age. In their tameness, they only appear more threatening. Gabriele Edlbauer's hybrids represent a study in political zoology and ask the audience to engage with complicated feelings in a complicated present.
This exhibition is realized in collaboration with studio das weisse haus and the sponsoring program of Erste Bank as part of the Erste Bank ExtraVALUE Art Award 2019.

Until Aug 16 2019
Muscle memory describes the ability to clone a gesture without conscious thought. Unconscious actions are learned through repetition: by performing the same task habitually, we lose awareness of the task itself. By storing a cache of automated movements in our body, we untether from the recollections lodged in our mind.
In a culture saturated in images, in a climate where we are expected to proliferate our physical selves endlessly (through our labor and images of the self), our consciousness experiences a scattering, or stuttering. By projecting the self in perpetuity, we become disassociated from our sense of ourselves.
When I make my work, I choose images of things closest to me:  my clothes, my wife’s clothes, her body, my body, our food, the plants in our apartment, my tools. These are intimate and introverted things that illuminate the most basic functions of living:  moving, dressing, eating, sheltering,  touching, interacting, offering, sharing and working. They are objects that allude to their proximity to the body (often framed like rectangular torsos in the most recent works) and the habitual repetitions we perform. Our possessions and our choices represent us, but they do not stay still. In their multiplicity, they form a portrait of a life, lived.
The works in the exhibition are made using inkjet transfer and acrylic paint on clothing or stretched, layered canvas. They incorporate gestures from photography, printmaking, sewing, painting and performance. The transfer technique allows me to literally “paint with images” as if a stroke or spill of paint magnetically attracted photographic imagery to the substrate.
While cooking dinner with my wife recently, she noted that all the works in the show depicted a garment: my plaid shirts, her dress, a yellow rain coat, a “rain pattern” camouflage jacket, a work apron, a shredded skeleton t-shirt I’ve been wearing for 20 years. I cannot hide from her influence. Her immersion in clothing as assistant curator at the Costume Institute has made me rethink received hierarchies about art and art history. It has redefined my thinking about the expressions of the self.
I’d been working intuitively all year, and over dinner with her, I had to articulate what I saw in the work: a heavy weight of mortality and gravity, gestures of offering, sharing, sheltering, preserving. Pictures of material accumulation and substance pouring down; works wet, humid and saturated; skins practically drowning in bounty and overgrowth. The vine tattooed on my wife’s leg climbs up toward the floral embroidery of her dress; a rain coat lapped by leaves of kale or exploded by late summer sunflowers; bulbous pears popping off the armature of a rib cage; potatoes coughing out of a skeleton’s chest; hands catching rain; fingers dangling a soaked pair of Vans.

Original acrylic painting of Queen Elizabeth II, on canvas and book pages.
Piece is signed on the front & also signed on the back.
Comes with signed certificate of authenticity.
Size: 50 x 70 cm 
Store: Saatchiart.com



инвестировать в искусство, 投资艺术الاستثمار في الفنجمع الفن

For architect Lina Bo Bardi, drawing was a primordial way of expressing herself, and in her archives in São Paulo, there are close to 6,000 of these works. This small exhibition brings togeter some 100 images of her drawings, and more of her building work and activity as a designer. In the words of the curator, 'In the face of the loss of skill in hand drawing in the arts in general and architectural practice in particular, Lina Bo Bardi's drawings continue to be an always refreshing discovery of the permanent importance and value of free and authentic thought and of skilled and learned hands.'

Venue: Fundació Joan Miró , Sants - Montjuïc
Until Sunday May 26 2019
Address: Parc de Montjuïc, s/n
Sants-Montjuïc Barcelona 08038
Opening hours: Apr-Oct: Mon (excluding holidays) closed; Tue, Wed 10am-6pm; Thu 10am-9pm; Fri 10am-6pm; Sat 10am-8pm; Sun & holidays 10am-3pm. Nov-Mar: Mon (excluding holidays) closed; Tue, Wed 10am-8pm; Thu 10am-9pm; Fri, Sat 10am-8pm; Sun & holidays 10am-3pm.





инвестировать в искусство, 投资艺术, الاستثمار في الفن, جمع الفن

Goldsmiths CCA presents the first significant exhibition in the UK in almost 40 years of work by the Chicago Imagists. Igniting the Chicago art scene in the 1960s, the artists associated with ‘Chicago Imagism’ worked across painting, sculpture, drawing, and printmaking, creating distinctive works that were irreverent and often visceral. Variously featuring vibrant colours, distorted figuration, shimmering repetitions, puns and wordplay, the Imagists channelled a collision of art history, folk art, the urban fabric of Chicago, as well as vernacular material cultures such as comic books, pinball machines and advertising.

How Chicago! focuses on fourteen artists associated with Imagism, and features painting, objects, drawings, prints and ephemera. The exhibition concentrates on works from the 1960s when they first met, through to the late 1970s, when many of them moved away, both stylistically and geographically. All of the artists studied at the School of the Art Institute of Chicago where teachers introduced them to non-Western and self-taught artists, and fostered delight in cast-off objects gleaning in the city’s thrift stores and street markets. How Chicago! highlights the affinities between a group of divergent artists who had a lasting impact on 20th century art.

How Chicago! is organised by Hayward Gallery Touring in collaboration with Goldsmiths Centre for Contemporary Art and De La Warr Pavilion. It is supported by the Terra Foundation for American Art as part of Art Design Chicago, an initiative exploring Chicago’s art and design legacy. Hayward Touring is supported by Arts Council England.

A fully illustrated catalogue titled Chicago Imagists 1960s – 1970s is available at a special exhibition price, including essays by the co-curators and art historian Lynne Warren, as well as individual texts on each artist.

Artists: Roger Brown, Sarah Canright, Jim Falconer, Ed Flood, Art Green, Philip Hanson, Gladys Nilsson, Jim Nutt, Ed Paschke, Christina Ramberg, Suellen Rocca, Barbara Rossi, Karl Wirsum, Ray Yoshida.

Additional support from Leslie Buchbinder at Pentimenti Productions.

Details
Until Sunday May 26 2019
Venue name: Goldsmiths CCA
Address: St James
New Cross London , SE14 6AD




инвестировать в искусство, 投资艺术, الاستثمار في الفن, جمع الفن

The shape of the circle has been used as a symbol since the beginning of time. Ancient cultures all over the world used the circle to represent the same thing. The circle can symbolize Mother Earth. It represents the spirit of feminine energy and a space that is sacred. For me it is a symbol of the harmony and balance in nature.
Date: 2010
Size: 70 x 100 cm | 27 x 39 inch
Signed on the back.
Available: www.saatchiart.com









инвестировать в искусство, 投资艺术, الاستثمار في الفن, جمع الفن
Abstract, abstract art, collect art, buy art, 

抽象,抽象艺术,收集艺术,买艺术,Абстрактное, абстрактное искусство, коллекционируй искусство, покупай искусство, греческое, греческое искусство
Astratto, arte astratta, colleziona arte, compra arte
Acrylic painting on canvas.
I made this abstract painting during my summer holidays on the small "Blue Zone" Aegean island of Ikaria. I used acrylics and gouache on canvas.
Date: July 2008
Size: 70 x 100 cm | 27 x 39 inch
Signed on the back.
Availabe at www.saatchiart.com/





инвестировать в искусство, 投资艺术, الاستثمار في الفن, جمع الفن

Abstract, abstract art, collect art, buy art, 

抽象,抽象艺术,收集艺术,买艺术,Абстрактное, абстрактное искусство, коллекционируй искусство, покупай искусство, греческое, греческое искусство
Astratto, arte astratta, colleziona arte, compra arte

Sokratis Romilios at Almine Rech Gallery
“Work from 1967 to Present”
Valentine incarnates a key moment in the development of the Los Angeles art scene in the 1960s and 1970s (in parallel, and somewhat in opposition to New York-based Minimalism). His work caught immediate attention through a fresh vernacular artistic vocabulary that encapsulated the essence of L.A. life. Valentine’s work stems from an unexpected alliance between his extraordinary technical and engineering virtuosity, and his rich and sensual perceptual experience. His sculptural and pictorial career has, for the past six decades, been spanning a colossal, yet, intimate project, and reflects Valentine’s abiding “love affair with the L.A. ocean and sky.”

Info
Venue name: Almine Rech Gallery
Address: 39 E 78th St New York 10075
Cross street: between Madison and Park Aves
Opening hours: Tue–Sat 10am–6pm

Sokratis Romilios

This will be the artist’s second solo show with Mitchell-Innes & Nash and will feature a series of new sculptural wall pieces. Assembled largely with wood and found LP record sleeves, the works on view in Cover Story explore an aesthetic strategy that Kersels calls “materially limited bricolage.”

Sharing in the visual and conceptual legacy of H.C. Westermann, Martin Kersels also draws influences from French new realists like Jacques Villeglé and Jean Tinguely, as well as from Dadaist collagists Kurt Schwitters and Hannah Hoch. Like his predecessors, Kersels’s work strives for an aura of immediacy, shunning the eternal timelessness that is often sought in more traditional modes of art like oil painting or bronze sculpture. With this exhibition, the artist seeks to engage with the “near finite”—that is to say, the immediate world around us in both temporal and spatial terms. Kersels makes a point to note that the size of the LPs correspond directly to the allowable runtime of the music recorded, highlighting the compression of time and space inherent in a vinyl recording.

In making this body of work, Kersels was also interested in “breaking the stillness” and several pieces in the exhibition feature an internal motor that powers a moving component. In The Love Hours (for Mike Kelley), for instance, the artist has incorporated a rotating dial, not unlike a tonearm on a record player or a clock hand, which reveals a cutout of an eye as it turns. Eyes play a significant role in the visual lexicon of Kersels’s recent work; they offer up moments of reflection and the artist has likened the imagery on LP sleeves to portraits or mirrors- ones that allow the viewer to “pour their own thoughts and emotions into it.”

Cover Story will be accompanied by a new performance piece by the artist in which, dressed in costume, Kersels will activate the site-specific stage at the center of the gallery space with a three-song aural collage. Performances will take place at the opening reception and again on Saturday, May 4 at 2:30 PM.

Tuesday May 7 2019 - Saturday May 18 2019
Venue name: Mitchell-Innes & Nash
Address: 534 W 26th St  New York
Cross street: between Tenth and Eleventh Aves
Opening hours: Tue–Sat 10am–6pmTransport: Subway: C, E to 23rd St
Website: https://www.miandn.com/