A nine-month studio residency program that focuses on creative practice development for emerging artists working across all disciplines, LMCC’s Workspace program offers space for experimentation and dialogue with peers and arts professionals, as well as career-advancement opportunities. Workspace encourages creative risk-taking, collaboration, learning and skill-sharing at a critical early stage of an artist’s career and serves between 15 and 20 individuals or collaborative groups annually.
Slated for release at the 2018 New York Art Book Fair, Jasper Johns Vs Brian Ramnarine is a facsimile publication comprised of partially-redacted evidence used by the United States Attorney’s Office to convict Ramnarine of multiple felonies in 2014. Included among the contents - all of which were obtained through a FOIA request - are fabricated correspondence between Ramnarine and Johns, fake letters of authenticity, and images of the artist’s work which Ramnarine forged and attempted to sell.
Curated by Graham Hamilton
Opening Reception: Sunday, September 23, 6pm – 8pm
576 3rd Avenue, Floor 2
Brooklyn NY 11215
Lucas Samaras replicas
Images of Phyllida Barlow's work
Emergency Contacts is an exhibition based on a collection of written correspondence between two psychoanalysts: Jamieson Webster & Marcus Coelen.
Felix Bernstein &
Annie Blazejack &
Melissa Dubbin &
Aaron S. Davidson
Friday, September 14 at 7pm
Artist Roundtable at 5pm
WE LOVE YOU
Camille Hoffman | Link
"During the past four years and over the course of my many moves around New York and New Haven, I’ve found myself scouring local dollar stores in search of affordable fragments of home. The nostalgia of printed plastics that permeated the landscape my intercultural childhood and continue to pervade the needs of my daily living. My identification with and dependency on these materials are inextricably linked to my memories of growing up in a working class home, while at a larger environmental scale, threaten the very water and land upon which my life depends. Living in midst of this cultural and environmental contradiction, my collage practice has become a ceremony of reconfiguration and critical reflection on the themes of diaspora, domesticity and disposability. In this regard, I think about volumes as both an accumulation of disparate and layered narratives, both personal and collective, and the way in which these narratives materially amount to mass."
Asif Mian | Link
"Volume is integral to sculpture and installation: it is based in the amount of space a substance or object occupies. However, in many ways I wanted to create the opposite—an ethereal volume—one that is transient and slippery. The live camera creates this virtual volume as an unseen and ghostly substance."
"In light of her debut solo show, the artist discusses returning to painting and drawing since losing her vision; learning to understand the world through touch, and rendering figurative imagery from dreams and memories."
"You may have heard the saying, 'beauty is in the eyes of the beholder.' But in some cases - it may be in the hands of the holder. One example is the New York Metropolitan Museum of Art, which offers free, special tours for the blind or the partially sighted. They include both guided touch tours and verbal imaging tours. Elena Wolf spoke with one of the museum's guides, Emilie Gossiaux, an artist, who also happens to be blind. Anna Rice narrates her report."
We're excited to see what comes next.
Sterling Crispin's N.A.N.O. , B.I.O. , I.N.F.O. , C.O.G.N.O. included in Refuge.
21c Kansas City
219 W 9th St
Kansas City, MO 64105
July 2018 – May 2019
"Contemplating how we will pursue a better life in the mid-21st century, Sterling Crispin combines references to ancient symbols and new technology in his survivalist sculptures, N.A.N.O. , B.I.O. , I.N.F.O. , C.O.G.N.O. The works are named after Nanotechnology, Biotechnology, Information Technology, and Cognitive Science, four industries which the artist says “promise to revolutionize the world as society approaches the technological singularity, a predicted event near the year 2045 in which the rate of technological growth becomes infinite. Each sculpture is meant to be a poetic and evocative embodiment of these four industries as deities or totemic spirits, but also a market embodiment as each sculpture contains a certificate for 100 shares of stock in a real company doing transformative research in these industries. There’s also a use-value vs. market-value conversation in the work with the water filter that can provide clean drinking water for a family of four for two years.” These works were inspired by the artist’s observations of the dichotomies between expanding technological progress and the environmental extremes of frequent fires, draughts, and earthquakes in California. Under these conditions, many people would become environmental refugees; in such a scenario, Crispin’s totems may offer both relief and belief in the possibility of survival."
Museum of Modern Art Dubrovnik
June 20, 2018 – September 1, 2018
Paul Gondry and Shelby Jackson
Bryan McGovern Wilson
Robert Frangeš Mihanović
Presented by the New Art Dealers Alliance (NADA), Close Quarters, featuring eight NADA Member galleries, is NADA’s first non-art fair exhibition hosted on Governors Island. Open July 1–29, contemporary artwork will be displayed across two floors of a historic turn-of-the-century Colonial Revival house on Governors Island, and will be on view every weekend in July, Friday through Sunday, 11am–5pm.
There will be a special opening preview held on Thursday, June 28th from 1–5pm.
July 1–29, 2018
Colonel Row, 403
Organized by New Art Dealers Alliance
Featured artists and galleries include:
Michael Mahalchick (CANADA)
Asif Mian (False Flag)
Rainer Ganahl (Kai Matsumiya)
Fabienne Lasserre (Safe Gallery)
Jerry the Marble Faun (SITUATIONS)
Hayley Martell and Devin Morris (Signal)
Johanna Unzueta (Proyectos Ultravioleta)
Jeff Williams (Jack Hanley Gallery)
Open Fridays, Saturdays, and Sundays, 11am–5pm
Previously occupied by the Coast Guard, House 403 has a storied history on Governors Island, serving as the site of many of President Ronald Reagan’s meetings with world leaders, including Soviet President Mikhail Gorbachev. The house is located within the Governors Island Historic District, designated by the New York City Landmarks and Preservation Commission.
The Evergreen Review offers new writing and art from the cutting edges of culture, identity, and politics. Inspired in part by Henry David Thoreau's blistering essay, "In Defense of John Brown," which is exactly as inflammatory as the title suggests, the current issue includes a span of work, both fiction and non-, that rejects accommodation and passive resistance to right-wing tyranny with impassioned, uncompromising political stances that land on the intersection of individual freedom and collective action.
More from the Evergreen Review can be found here.
Asif Mian will be featured in 'Close Quarters' on Governor's Island this July, NADA's first off-site exhibition.
Further reading here.
Featured Artists and Galleries:
Michael Mahalchick || CANADA
Asif Mian || False Flag
Rainer Ganahl || Kai Matsumiya
Fabienne Lasserre || Safe Gallery
Jerry the Marble Faun || SITUATIONS
Hayley Martell and Devin Morris || Signal
Johanna Unzueta || Proyectos Ultravioleta
Jeff Williams || Jack Hanley Gallery
Emilie Gossiaux has been awarded the drawing residency at Dumfries House.
Artists’ residencies at Dumfries House are open to artists for whom drawing is part of their practice. The residencies are delivered by the Royal Drawing School, Glasgow School of Art and Dumfries House.
“Asif Mian’s rack of plastic couture, titled “Nothing & Specter” (2018), also made a strong impact. It operates in tandem with two video pieces featuring footage shot on thermal cameras. One is a live feed of “Nothing & Specter,” which periodically inflates and deflates; the other is a recorded performance titled “Breath Ascent Reveal” (2018). Together, these three works form a triptych that seems to comment on the invisibility of minority suffering within a consumer society. The image of Eric Garner saying “I can’t breath” immediately comes to mind when viewing the installation, an ominous contrast to how much the live thermal video of “Nothing & Specter” resembles the silhouette of a Ku Klux Klan member’s costume.”