Artcity21 - Blog

 Jack Shainman Gallery is pleased to announce Enrique Martínez Celaya’s second solo exhibition at the gallery. With this new body of work, the artist inquires notions of ambition, loss, redemption, and the nature of painting.

Many of the paintings offer scenes of disrupted journeys or the aftermath of significant episodes: stairs abandoned in fields, snow globes as souvenirs from elsewhere, tattoos that historicize the body, a glass house lost in a cluster of firs, apples frozen and rotting in the tree, and the underlying structure of columns left unfinished. These moments of abandonment and failure also contain the seed of possibility and renewal whose hopefulness echoes the artist's informed but non-cynical approach to art in general and to painting in particular. In The Folktale (2017), marble stairs are isolated in a grassy clearing; they don’t appear to lead anywhere and a fire burns in the distance, but colorful wildflowers sprout, birds flutter, and sunlight ripples suggesting hope and rebirth.

Kent Monkman, St. Sebastian, 2017, acrylic on canvas, 48 x 38 inches

PETERS PROJECTS & GP CONTEMPORARY PRESENTS

KENT MONKMAN

New Work – VOLTA Art Fair Curated Exhibition
March 1 – 5 ny.voltashow.com
Pier 90, New York, NY

New Work – GP Contemporary
March 1 – 27 www.gpcontemporary.com
Gerald Peters Gallery, 24 East 78th Street, New York, NY

GALERIE SUPPER is pleased to announce its participation at this year's art KARLSRUHE, one of the biggest art fairs within the German-speaking countries. Within the context of international exhibitors with a focus on modern and contemporary art, we will be presenting selected positions and recent works from the program of the gallery.

The works of Katharina Meister (*1981, Karlsruhe, Installation) leans towards installation because of its multi-faceted materiality. Fragile cut outs, which are based on the dissolution rather than on the accumulation of material, keep raising questions about our relationship to our surroundings and to nature. The deep wooden frames - formerly used as a display in natural history collections -  underline the tangibility of the subject.

Sophie Hirsch

Dynamic Opposition

Larrie is proud to present Dynamic Opposition, a solo exhibition of new work by artist Sophie Hirsch opening on Sunday, February 5, 2017. The exhibition will be held in both the front and back rooms. This will be the first exhibition held in the space.

Dynamic Opposition presents 10 new works that materially explore the delicate nuances of balance and form mirrored between Hirsch’s materials and the poised and flexible human body. 

Inspired in part by an investigation into the integration of human form and the clarity of mental awareness inherent in Pilates, this body of work spans from intimate shadow boxes that reveal the softly sensual and abstract undulations of shells found in Africa, to her more familiar sculptural constructions of fabric, silicone, plaster, and metal. In a departure from her typical darker color palette, soft blushes of color weave throughout this body of work.  

Ai Weiwei - Chuti, 2015 - Bamboo and silk

We are excited to announce the opening of the Stockholm gallery with Tyre, an exhibition by the renowned Chinese artist and activist Ai Weiwei. The viewer will encounter works that oscillate between the rich iconography of Chinese history, contemporary expressions, and artistic predecessors and collaborators. The exhibition, curated by the artist, does also mirror injustice as well as hope in contemporary society.

Conceptual Art, Minimalism and Zen Buddhism. Andy Warhol and the non-elitist expressions of pop art and the revolutionary aesthetics of Dadaism: in Ai Weiwei's art these elements converge at a core of political and social topics. From a prominent position in the late 1970s Chinese avant-garde Ai Weiwei moved to New York in 1981 where he spent more than a decade in a crowd among names such as Allen Ginsberg and Wang Keping. During his New York years, a growing familiarity with Marcel Duchamp's oeuvre made a deep impact on Ai Weiwei whom adopted an attitude of constantly challenging genres and questioning imposed limitations on art and mankind. In the conceptual work Dropping a Han Dynasty Urn (1995), an act of destruction is documented through a series of three analogue photographs, and was created shortly after his return to China. The urn crashing into pieces on impact with the ground can be interpreted as a representation of a Chinese society during times of dramatic change. As much as it speaks of societal transformations, the recorded action is a symbol of hope. Included in the exhibition is a rendering of Dropping a Han Dynasty Urn using LEGO blocks to recreate the image of this iconic work.