50 years have passed since an up-and-coming Pop provocateur named Andy Warhol sparked a minor scandal at the 1964 New York World’s Fair. As part of a prominent set of public commissions for the Philip Johnson-designed New York State Pavilion’s exterior, Warhol chose to enlarge mug shots from a NYPD booklet featuring the 13 most wanted criminals of 1962. Forming a chessboard of front and profile views, 13 Most Wanted Men was installed by April 15, 1964, and painted over by Fair officials’ direction with silver paint a few days later. When the Fair opened to the public, all that was visible was a large silver square. Later in the summer of 1964, Warhol produced another set of the Most Wanted Men paintings with the screens he had used to make the mural and nine of these are assembled in New York for the first time since their creation, forming the core of the 175 or so objects in the exhibition.
The exhibition takes Warhol’s 13 Most Wanted Men as its single subject, addressing its creation and destruction and placing it in its artistic and social context by combining art, documentation, and archival material. Parallel to the striking, somber Men canvases, materials in the exhibition are organized in strict chronological order so the viewer can appreciate the interrelations of underground and establishment; art, protest, and gay life; painting, sculpture, and film in a key year for Warhol; fine art and mainstream culture; and the lives and careers of the major players. A sampling of paintings and sculpture from that year; artists’ and photojournalists’ documentation of the Fair and of the Factory; and never-before-displayed materials from The Andy Warhol Museum archives unwind the mystery behind who ordered the painting-over of the Men and people and places that shaped the work and the incident. For example, Warhol’s open-ended Screen Test sub-series titled Thirteen Most Beautiful Boys (in its first-ever near-complete presentation) and a selection of Warhol’s Box Sculptures (including Brillo) which premiered April 21, the day before the Fair, are interwoven with photographs and documents from artists’ protests against the increased police presence in the run-up to the Fair from Jonas Mekas’ and Peter Moore’s archives and handwritten drafts of Warhol’s “break-up note” to the Eleanor Ward Gallery before his move to Leo Castelli Gallery (to whom he consigned the rejected replacement to the mugshot mural: 25 portraits of Robert Moses himself–which were themselves lost in the years that followed).
This exhibition is developed collaboratively by the Queens Museum and The Andy Warhol Museum, Pittsburgh.
13 Most Wanted Men: Andy Warhol and the 1964 World’s Fair is supported by The Henry Luce Foundation, National Endowment for the Arts and Delta Air Lines. Additional support comes from the New York City Department of Cultural Affairs and New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.
Artists: Fiona Banner, Mohamed Bourouissa, Victor Man, Margaux Williamson
4 July - 16 August 2014, Private View 3 July 2014
Frith Street Gallery is delighted to announce its 2014 summer exhibition, Mirror.
Mirror presents the work of four artists, each of whom work within the realm of portraiture and use the device of storytelling as a means of exploring personal identity and collective memory. In the mid 20th century psychoanalyst Jacques Lacan hypothesised that the formation of identity arose primarily in recognition of the reflection as oneself. Exploring the importance of identity, self-reflection and memory, Mirror presents us with a grouping of works of alternative and reinterpreted realities, circumstances or truths. The works in the exhibition combine forms of documentary and fiction, even hinting toward memorialization, to reveal alternatives to our commonly understood lines of history.
Presenting the audience with differing ideas of what it means to create a portrait, Mirror exposes the plurality of the term. Mohamed Bourouissa’s series Les Voleurs (The Thieves), 2014 consists of individual photographs of shop lifters in Brooklyn which, when shown together, form a portrait of a whole community at a low economic ebb. Contrastly, Victor Man’s painting Pagan Space (2010) of a deconstructed pagan idol presents a more abstract take on portraiture as an interpretive form. Fiona Banner’s installation Life Drawing Drawings, a series of drawn dummy life drawing manuals creates an absence of form, while her video installation Mirror presents a striptease in the guise of a verbal portrait. Painter Margaux Williamson challenges our belief in the literal portrait – she offers a new series of works including a self-portrait which references the work of 15th Century miniaturist Jean Fouquet whose own works reveal his interest in painting the painter's eye. Each artist individually pushes the boundaries of how contemporary portraiture can serve as a reflection of ourselves.
Fiona Banner b. 1966, Merseyside, England. Banner studied at Kingston Polytechnic, Surrey (1986–9), and at Goldsmiths' College of Art in London (1992–3). She is best known for her ‘wordscapes’ or 'still films', blow-by blow accounts written in her own words of feature films or sequences of events. Recent exhibitions include The Vanity Press, a solo exhibition at Summerhall, Edinburgh and the forthcoming Wp Wp Wp at Yorkshire Sculpture Park, 2014.
Mohamed Bourouissa b. 1978, Blida, Algeria. Bourouissa studied at Ecole Nationale Supérieure des Arts Décoratifs, Paris, France and at DEA, La Sorbonne, Paris, France. He was shortlisted for the Prix Pictet in 2012 and recent exhibitions include Périphéries at Ecole des Beaux-Arts de Calais, France, 2011.
Victor Man b. 1974. Romania. Man represented Romania at the Venice Biennale in 2007 and participated in the Busan Biennale in 2008. His solo shows include “If Mind Were All There Was,” Hayward Gallery Project Space, London, 2009, The Third Cover,” Galerie Neu, Berlin, 2013, “Szindbád,” Gladstone Gallery, Brussels, Belgium, 2013. He is the 2014 Deutsche Bank Artist of the Year.
Margaux Williamson b. 1976, Pittsburgh, USA. Williamson's practice, while grounded in painting, also penetrates the realms of filmmaking, writing and criticism. In 2008 she made the feature film Teenager Hamlet, and later founded the cultural review site Back to the World with the critics Carl Wilson and Chris Randle. Recently, she was the Artist in Residence at the Art Gallery of Ontario. An exhibition catalogue of her new painting series I Could See Everything, published by Coach House Press, was launched in the Spring of 2014.
Mirror is curated by Frith Street Gallery Associate Director Ann Marie Peña - for further information please contact email@example.com.
VW (VeneKlasen/Werner) is pleased to present an exhibition of new works by Huma Bhabha. This is the artist’s first solo exhibition in Berlin and features sculptures and collage drawings created in 2013 while Bhabha was artist-in-residence at The American Academy in Berlin. The influence of German art on the artist has never been more keenly felt; German Expressionism, the sculptures of Georg Baselitz and the photo drawings of Arnulf Rainer and Anselm Kiefer are among the art historical referents Bhabha explores in this new body of work.
Bhabha’s approach to form is raw and visceral, suggesting violence and lending the work powerful emotional and political overtones. The artist draws freely upon the history of figurative sculpture, evoking Greek and Egyptian statuary, fertility icons, Rauschenberg’s combines or the playfully sinister sculptural portraits of Marisol; indeed, the synthesis of science fiction, modernism and “pop” with the distant past underlies much of Bhabha’s work as evidenced in her uncanny choice of materials. Styrofoam, wood, metal, terra cotta and found objects are among the numerous ingredients Bhabha employs in her totems and fragmented figures. Archaeology is an important touchstone for the artist, referencing the raw landscapes of her native Karachi to Robert Smithson’s “Monuments of Passaic” and the post-industrial cities of upstate New York, where she now resides.
Huma Bhabha was born in Pakistan in 1962 and currently lives and works in New York. Her work was included in the Paris Triennale in 2012 and the Whitney Biennial in 2010. She has participated in numerous solo and group exhibitions throughout North America and Europe and was the subject of solo exhibitions at New York's MoMA/PS1 in 2012 and the Aspen Art Museum in 2011. Bhabha is the recipient of the 2008 Emerging Artist Award of the Aldrich Museum of Contemporary Art and was the 2013 Guna S. Mundheim Fellow at the American Academy in Berlin.
Huma Bhabha opens with a reception for the artist on Friday 2 May and remains on view through 26 July 2014. Gallery hours are Tuesday through Saturday, 11AM to 6PM. For more information please call the gallery at +49 30 8161 60418, write to firstname.lastname@example.org or visit vwberlin.com.
WHITE SPACE BEIJING is pleased to announce the opening of the third solo exhibition of Jian Ce on June 14, titled Projection, where her latest paintings will be presented.
The exhibition theme addresses a basic idea in traditional optics. Projection refers to Leon Battista Alberti’s optical theory of the Renaissance, which describes the relationship between the natural world, the human eye and the picture plane, at the same time providing artists with a handbook and instructions on how to create a perspectival image. The paradox between perspective and our actual visual experience is the main problem Jian Ce discusses in her works.
By setting a vanishing point and a fixed standpoint for the viewer, as well as distorting objects within its system, the perspectival image transforms the natural human experience in order to achieve a more ‘truthful and accurate’ description of reality. The problem of this aim is something Jian Ce tries to reflect critically in her artworks. Drawing on pictorial techniques that were in use before the photographic era, such as compositional principles and grid structures – which are now applied in virtual computer images – Jian Ce creates an internal system within a picture. As images, the abstracted landscapes overcome their dependency on photography and disrupt our viewing habits shaped by photographs. In her figurative works, Jian Ce reduces all personal emotion in order to build up an abstract composition with the basic elements of painting, finding a form by systematically deducing it from the picture plane, thus evoking an ‘inherent expression’.
Jian Ce was born 1984 in Shandong, China, and moved to Germany in 1988. She graduated from the Berlin University of the Arts in the master class of Georg Baselitz, Daniel Richter and Robert Lucander in 2008. She graduated from the Humboldt-Universität and Freie Unversität Berlin with a Magister Artium degree in Art History in 2009. From 2006-2007 she studied at Goldsmiths College, London. Presently, she is a PhD candidate in Art and Visual History at the Humboldt-Universität, working and living in Berlin and Beijing.
Dust as Light is the third solo exhibition of Shi Zhiying, showcasing her oil paintings over the past one year.
Shi continues to strengthen her trajectory in practice, in a void of the real world dislocating agony and confusion. By applying brush strokes as a sensory tool, the artist approaches the most illusory outlines of all matters – light. The aura of the light appears as the outline of the parent body ever since the origin of the time. Everything is going back to the form of dust no matter what kind of symbolic significance it has ever been given.
Dust as Light includes three paintings from “White Stone Buddha” series, and Shi’s latest works “Pantheon”, “The Pyramid”, and “The Temple of Heaven”. Depicting Buddha is the artist’s daily practice. As time accumulates, the transformation through repetitive practice generates a profound power that balances with the loose and purified airy atmosphere created by the strokes, to enrich the weightless light, and to defend hollowness. There is equality in principle between the man-made statues as abstract pivots for spiritual minds and architectures of power as performing stage for classes and systems. No immortal lasts forever, neither does art. Shi Zhiying takes the body of light as a measure of power, explores and exposes the most fundamental unit of the existing substances, as well as the dialectical relationship between visualized objects and meaningful illusions.
Shi Zhiying was born in Shanghai, China in 1979. She graduated from oil painting department of Shanghai University Fine Arts College in 2005 and currently lives and works in Shanghai. Her recent major exhibitions include My Generation: Young Chinese Artists in Tampa Museum of Art and Museum of Fine Arts, St. Petersburg, USA.
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