JIM ISERMANN VINYL SMASH UP 1999 – 2007 June 28 – August 4, 2007
Opening Thursday June 28, 6 – 9 PM

CH PROJECTS 18 WOOSTER STREET NEW YORK, NY 10013 212 343 730

DEITCH

AWESOME Show….
Well done Mr. Sanford

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Arndt-Partner

June 30 – July 28th, 2007
Opening Reception Saturday, June 30th 6 – 8pm

Ed Bereal, Wallace Berman, Nathaniel Bustion, Alonzo Davis, Dale Brockman Davis, Charles Dickson,
Mel Edwards, David Hammons, George Herms, Daniel LaRue Johnson, Edward Kienholz, Masud Kordofan,
Ron Miyrashiro, Senga Nengudi, John Outterbridge, Noah Purifoy, Joe Ray, John Riddle, Roho, Betye Saar,
Kenzi Shiokava, Timothy Washington, and La Monte Westmoreland

Roberts Tilton is pleased to present LA Object and David Hammons Body Prints. The exhibition features assemblages by Los Angeles artists of the 1960s and 70s, and early work of the American sculptor David Hammons.

This exhibition will showcase a broad overview of the LA assemblage movement of the 1960s and 70s, including the most important West Coast artists often seen as the core of this genre. LA Object and David Hammons Body Prints will seek to re-examine works by artists often left out of mainstream gallery and museum historical exhibitions. In particular, it will explore the important role of African American artists within this period.

LA assemblage grew out of the historical context of Dada and Surrealism at a moment when the poetry and underground films of the Beat generation, of which Wallace Berman was a member, were an influential force in California. Walter Hopps had brought important exhibitions of Kurt Schwitters (1962), Marcel Duchamp (1963 – his first comprehensive show in the U.S.), and Joseph Cornell (1966) to the Pasadena Art Museum, where he was director. And MOMA’s Dada, Surrealism, and Their Heritage traveled to the Los Angeles County Museum of Art in 1968. However, the LA art scene of the 60s and 70s was far more removed from the New York art scene, and from what was happening in the rest of the country, than it is now and than it has been since the 1980s when it began to play a more prominent national role. Within the scope of LA art of this period, those who were concerned with assemblage were a distinct group. Partially due to the dispersed nature of the city, culturally as well as geographically, there were separate networks of artists even among those making assemblages. African American, Asian and Chicano artists were often isolated from the gallery and institutional art scene and may be looked at both as part of distinct artistic communities, and in conjunction with the larger movement. This was also the era of civil rights, the 1965 Watts riots, and general social and cultural upheaval. These events, along with the influential presence of Simon Rodia’s Watts Towers, built from 1921 to 1954 out of scrap metal and found objects, had an important impact on the work of African American artists.

As part of this movement, Roberts Tilton will present a selection of early body prints by David Hammons. Often considered a New York artist, Hammons created his first major body of work, including these unique body prints, from the late 60s to mid-70s while living in Los Angeles. Although his work was often exhibited in Los Angeles, because of the separations among the various art communities, Hammons was seen mostly in the context of African American LA artists, and only after his move to New York did he become internationally known for his assembled sculptures and installations. In his body prints, Hammons created nuanced, ironic and often political commentaries. As in his sculpture and installations, Hammons was always concerned with making work relevant to the African American experience. This mature body of work has rarely been presented within the art historical context from which it arose. We are pleased to exhibit these works alongside those of his contemporaries working within the assemblage movement in Los Angeles.

ARTIST PANEL DISCUSSION
Saturday, July 14th, 4pm
Panelists include Dale Brockman Davis, Cecil Fergerson, John Outterbridge, and others.
Moderated by Paul Von Blum, Professor of African American Studies, UCLA

NEWMAN POPIASHVILI

Bayard
Do You See What I See?
(these fags are for sale but you can’t buy this queer.)

* * * * * * *
Please join us, tonight, June 22 6-8pm to celebrate Bayard’s Project Hallway Do You See What I See? (these fags are for sale but you can’t buy this queer). This project is presented in commemoration and celebration of the 38th anniversary of the death of Judy Garland and the birth of Gay Pride. Free commemorative caps for the first 144 mourners attending the reception and commemorative pins for all.

Bayard
Installation view of Do You See What I See? 2007
Mixed media
31 x 31 inches each panel

Bayard
Detail of Do You See What I See?, 2007
Mixed media, 31 x 31 inches each panel

David Clarkson
Landscape Sculpture

The Eagle Never Hunts The Fly
Jon Boles
Elizabeth Deull
Lionel Maunz

June 28 – July 28, 2007
Opening reception: Thursday, June 28, 6-9 pm
Cynthia Broan Gallery
546 W 29th St
New York NY 10001
Hours: 10-6

::: Cynthia Broan Gallery is pleased to announce Landscape Sculpture, a solo exhibition by David Clarkson of objects and drawings depicting Mars, and The Eagle Never Hunts The Fly, a group show with Jon Boles, Elizabeth Deull and Lionel Maunz. Both exhibitions formally address various fantastical spaces and offer a pictoral investigation of unique cosmological landscapes.
::: In Landscape Sculpture, David Clarkson exhibits objects and drawings that combine new NASA images of Mars with 19th century “picturesque” landscape elements, blending visions of a science fiction future and the Old West. The works’ subject, the inhabitation of a hostile alien environment, encourages us to consider how we use art and illusion, as much as science and technology, to control the forces of nature. Also on exhibit is Clarkson’s video, Colony, in which surrogate (insect) astronauts explore the terrain of a NASA Mars photograph accompanied by an electronic score he composed from sci-fi sound effects. Its “opening credits” provide an extensive chronology of Mars in the collective imagination of the cinema.
::: David Clarkson is interested in the way that “Mars must be experienced only as an image or technological vision, whether it’s mine or NASA’s.” Simultaneously presenting a believable natural image along side its material artifice, his work appears to convey the detailed (often subterranean) surface of a distant world, even as it also reveals a more personal one. His art exists, as Marshall McLuhan said of all technology, “to extend our senses.”
::: The Eagle Never Hunts the Fly features three artists investigating fantastical surrealist worlds of their own
construction and exploring the diverse terrain and psychological states of these unique inner-worlds. Jon Boles’
conglomerated medley bares evidence of the southern schizo existence. The predominately figurative works are based on daydreams and nightmares of the imagination. This work examines a mixture of themes including parenting, incest, abortion, and hip-hop. Elizabeth Deull depicts a mystical storybook landscape where children of a new agey spiritual movement are the prophets, communicating with god, nature and the beyond. These paintings depict characters burdened by their incredible lightness of being, translated through a candy coated psychedelic palette and watery brushwork. Her work draws from images of astronomy, astrology, fairy tale, and psychic new age mythology. Lionel Maunz’s paintings unravel an intricate universe of his own constructed mythology, revolving around the failure of organization, the escape of order and an evolving organization of principles represented by a group of historical characters, such as Peshu Alga, “the first rebel against the Most High God, who lured Archangel Lucifer” and many others. These elusive and detailed worlds are depicted through lushly rendered anamorphic landscapes and fields of biological shapes.
::: David Clarkson graduated from the Ontario College of Art in 1980, and in 1985, he was a Canadian representative at the 18th Sao Paulo Biennial. Since 1992 he has lived in New York, where he has shown at P.S. 1, White Columns, Ronald Feldman Gallery and Derek Eller Gallery. His video was shot at the U Cross Foundation in Wyoming during a
residency there and features music by the legendary 1970s Canadian punk band, The Diodes.

Cynthia Broan

Mit galleri er lukket, men udstillinger fortsætter i mine to udhængsskabe. I
fremtiden vil jeg invitere kunstnere til at udstille kunstnere i skabet.
Den første udstilling Vægavisen af Laura Eriksen hænger allerede, så gå
forbi og se på, den hænger indtil d. 28 Juli.
Derefter kommer Lisa Klapstock (can) d. 1 august. og næste udstiller i
september bliver Sergei Sviatchenko.
Desuden vil jeg lige gøre opmærksom på VÆRKSTEDSUDSTILLING Kunstnerene fra
Værksted for Fotografi udstiller på Kigkurren 8D 3Sal

Fernisering d. 21.6 17-20
Åbent: 22.6 kl 12-18 og 23.6 kl 12-15

Look here…

Dont miss this one – 26-29.6 in Berlin Inc – Baktruppen (N): “FUNNYSORRYJESUS”

FUNNYSTORIESJESUS

“>Kartenreservierung

“From now on I will tell you what is to come before it happens, so that when it happens, you will see that I was right.”
Funnysorryjesus ist eine fragmentarische Tour durch die Bibel, sie zeigt Geschichten voller Geheimnisse und Wunder, wie zum Beispiel die Entstehung des Menschen, die Aussetzung und Errettung Moses, den brennenden Busch, das letzte Abendmahl und als spektakuläres Finale, die Himmelfahrt Christi.
Während das Publikum in einem Ladengeschäft sitzt und das Geschehen durch das Fenster beobachtet, findet die Performance auf der Strasse statt. Die Passanten, die vorbei laufen und das gewöhnliche Tagesgeschehen stellen die Kulisse dieses modernen Mysterienspiels dar.
Spielort Außenspielstätte. Ort wird bekannt gegeben.
Eine Produktion von Baktruppen. Gefördert aus Mitteln des Norwegian Arts Council und des Hauptstadtkulturfonds. MIt freundlicher Unterstützung durch die Königlich Norwegische Botschaft.
Karten 13 Euro ermäßigt 8 Euro

For a preview see here