Piero Manzoni Retrospective at Gagosian Gallery

‘Merda d’Artista’ by Piero Manzoni

Andres Serrano declared himself the champion of fecal art in 2008. However, his play on human excrement is not very groundbreaking when you consider the 90 cans of ‘Merda di’Artista’ by Piero Manzoni. Manzoni ‘produced’ the contents of the cans in 1961. Manzoni priced the cans based on the weight of gold. The artist died a few years later-- a few months short of 30 years of age. Since that time the individual cans have sold for as much as $80,000. The Gagosian Gallery is currently holding the first major United States retrospective of Manzoni’s work. While Manzoni is best known for his canned feces the retrospective shows that there was more to Manzoni than 90 cans crap.

The exhibit at Gagosian ranks Manzoni as one of the first major artist critics of the art world-- art world criticism via means of creation. His radical brand of conceptualism took jabs at the art dealers and collectors who supported him. At heart Piero Manzoni was a critic of the commercialization of the art world-- one could say that he loathed it. The irony being that art collectors still pay larges sums of money for his visual criticism today.

Links of Interest:
Manzoni: A Retrospective [Gagosian]
Piero Manzoni: A Retrospective [Time Out NY]
To Bump Off Art as He Knew It [NY Times]
Italian Conceptualist Piero Manzoni: More Than the Guy Who Canned HisCaca [Village Voice]

Take care, Stay true,

Brian Sherwin
Senior Editor
Myartspace.com
www.myartspace.com
New York Art Exchange
www.nyaxe.com
Myartspace Blog on Twitter
www.twitter.com/myartspace_blog
myartspace.com on Twitter
www.twitter.com/myartspace
nyaxe.com on Twitter
www.twitter.com/nyaxe

Meat After Meat Joy, curated by Heide Hatry Group exhibition

Group Exhibition runs October 16 - November 15, 2008

The flesh is weak but the spirit is strong. Using meat, as a material is most certainly an interesting concept with predisposed associations and references. Once passed a slightly sickening sweet scent at the opening there are interesting levels to investigate. The material is life and death symbolically of course but it is also a signifier something was and is no longer itself. Though it is almost impossible to get around the “spectacle” of the material, Heide Hatry plays down that aspect in order to dig deeper into the collection of works.

(c)Betty Hirst, American Flag 2008, Meat and lard on panel, 33 x 60 inches, courtesy of the gallery

Betty Hirst’s works are visceral chunks formed into sculptures. In Hirst’s “American Flag” piece she creates horizontal lines of meat and lard sprouting maggots deteriorating before your eyes within its frame. Possibly, we have come to this collectively, a carcass of ideals left to fester. In her work “Dried Baby” the meat infant is a basic figure with minor details alluding to gender. Faceless lying on a light pink satin material under a single hanging gallery light, small stains have begun to settle into the fabric. The disturbing warmth of the yellow light washes over the work as in a strange hatchery... (C) Betty Hirst,Baby II 2008, Meat, 14 x 8.5 x 3 inches, courtesy of the gallery

In Zahng Huan’s video “My New York 2002 – Performance Whitney Biennial” Huan’s meat suit is as bulked up as any contemporary super hero. He is now publicly fully exposed, vulnerable without the most basic protection of his own skin. (c) Zahng Huan - My New York 2002, Performance, Whitney Biennial, courtesy of the gallery

Carolee Schneemann’s Meat Joy (1964) performance in which both men and women roll around biting raw chicken unleash unabashed desire bound to the body but not exclusive to it. They roll and slide, playfully confident in their “being” without concerns of social or sexual pre-conditions and judgment.

Curious by nature, I oddly found myself wanting to touch the work to experience its texture first hand. Would it really feel different because of its placement in a gallery and presence as art object than preparing it for dinner? This is where the brain kicks in to add its two cents to the experience.

Heide Hatry wearing a black jumper with thin slices peeking through cut outs invited me to touch it. Naturally, I did hoping to find an unexpected reaction. Still supple with a slightly dried thin layer, the meat against her body gave way as if I were touching something deeper. She had given me something which felt very personal, a moment to see beneath the layers of skin through the cut outs of the jumper. What she had given was a rare experience.

DANEYAL MAHMOOD GALLERY
511 WEST 25 ST, 3FL
NEW YORK CITY 10001
phone: 212 675 2966
Tues.-Sat. 11am to 6pm
www.daneyalmahmood.com

Take care,

Dianne Bowen
Guest Blogger
www.diannebowen.com
www.myartspace.com/dianne.bowen
www.wwwoopenmouth.blogspot.com

Artropolis™ delivers a knockout

www.artropolischicago.com

Chicago's citywide celebration of arts, antiques and culture, Artropolis™ started off with a sexy preview. I describe the preview as sexy because I believe the preview-- as a whole-- was HOT compared to last year. There was a certain energy in the air during the preview... it rejuvenated me after my long drive. In other words, though tired from the drive I was not about to throw in the towel. The preview showed me-- once again-- that the Chicago art scene is not about to throw in the towel either!

Last year there was some concern about Chicago's place in the art market. I can remember members of the press and art bloggers doubting Chicago's place in the artworld. I think this year proved-- without a doubt-- that Chicago is still kicking. I'd go as far as to say that the exhibits in the Merchandise Mart came to the fight swinging uppercuts! There was some powerful work on display. Art Chicago and NEXT can be credited with the hardest hits. In my opinion, Art Chicago could go blow for blow against any art fairs I've observed as of late.

For those who don't know, Artropolis™ attracts thousands of visitors to Chicago. For the visitors’ convenience and enjoyment, The Artist Project will run concurrently with Art Chicago, The Merchandise Mart International Antiques Fair, NEXT, and The Intuit Show of Folk and Outsider Art – all within The Merchandise Mart. Educational programs, guided tours, music, theatre and dance performances are planned at a variety of venues throughout the city: from major museums to small galleries, from world-class concert halls to cutting-edge clubs, from lakefront parks to exclusive private parties.

In my rush I found time to stop by The Artist Project briefly. I was very pleased to discover that Jane Fulton Alt, Connie Noyes, and Ted Stanuga-- all members of the www.myartspace.com community-- were included on the roster of artists involved with the exhibit. The Artist Project is Artropolis’ key event dedicated to the independent artist. This year The Artist Project featured over 300 established and emerging artists who are currently unaffiliated within the gallery community. The exhibit offers collectors a rare opportunity to discover and obtain interesting and affordable art. It is always great to observe artists representing themselves in this manner.

Jane Fulton Alt www.myartspace.com/janefultonalt
Connie Noyes www.myartspace.com/connienoyes
Ted Stanuga www.myartspace.com/tedstanuga

(Nohra Haime Gallery-- SOPHIA VARI: PLENITUDE DE L'AIR, , bronze, black patina & blue oil, ed. 1/3, 50 3/8 x 17 x 15 3/4 in. 128 x 43 x 40 cm. JIM DINE: BLAZE FURY, 2007, acrylic on canvas, 40 x 40 in. 101.6 x 101.6 cm.)

While at Art Chicago I stopped by booth 12-647-- the Nohra Haime Gallery. I have interviewed several of the artists represented by Nohra Haime (Carol K. Brown, Margeaux Walter, Valerie Hird and Hugo Tillman) and I've long admired the quality of art that is displayed at the gallery. The booth at Art Chicago was a joy to view. You can find the interviews I mentioned at www.myartspace.com/interviews. Also, Valerie and Margeaux are members of the www.myartspace.com community-- www.myartspace.com/valeriehird, www.myartspace.com/margeauxwalter.

Cedar River 3 Michigan-- Casey Rae

Wildwood Press returned to Art Chicago this year. Wildwood Press featured 15 new giclee print images by Casey Rae. Those who attended Art Chicago last year may remember that Casey Rae's haunting photographs of the Great Lakes in winter captivated viewers. I was told that the artist Valerie Hammond would be on hand to discuss her work, but in my rush I missed her. I was really impressed by what Wildwood Press had to offer.

Guirlande-- Valerie Hammond

Garland-- Valerie Hammond

At NEXT I was very interested with RONMANDOS booth. RONMANDOS presented work by four very gifted Dutch artists: Silvia B., Katinka Lampe , Levi van Veluw and Meinbert Gozewijn. These four artists create work that I can only describe as deceptively wonderful.

Here is the run down on the four:

Angel-- Silvia B.

"The meticulously and patiently crafted sculptures of Silvia B. are in the first instance highly attractive, luring the viewer to come and take a closer look. It is then that their disquieting aesthetic becomes apparent as it is realized that their beauty is of no ordinary kind. These figures are hybrid beings: between man and beast, doll and robot, confusing gender and age."

Untitled (605810)-- Katinka Lampe

"Katinka Lampe strives to create images that agitate and unsettle the viewer. She first photographs child models in specific poses and attire. It is at this point that she starts to paint and any concrete link with reality is lost: these figures appearing in unlikely but also disturbing ways, wearing such socially loaded attire as headscarves, capes, balaclavas or with suggestive make-up. Katinka Lampe ’s portraits are visual statements; a collection of pictorial fragments systematically combined to confront the viewer and disrupt his or her normal modes of perception."

Carpet-- Levi van Veluw

"Levi van Veluw´s photo series are all self-portraits, drawn and photographed by himself: a one-man-process. His works constitute elemental transfers – modifying the face as object – combining it with other stylistic components to create a third visual object with a large visual impact. The work you see therefore is not a portrait, but an information-rich image of colour, form, texture, and content. The image contains the history of a short creative process, with the artist shifting between the entities of subject and object. Assigning familiar elements such as a ballpoint-line a new context results in a confusing conflict between the objects normal associations and the novel values given to it in this new context. "

"In his project 'Trophyheads', Meinbert Gozewijn uses photos of CEOs, randomly downloaded from the internet via search-terms such as 'CEO', 'chairman' and 'president'. These drawings are portraits of the photo itself, the portrait of an image rather than the portrait of a per son. The title 'Trophyhead' refers to the tradition in some older cultures to safe keep the head of an enemy or ancestor as a holy or magical object. The title also refers to the word 'headhunter'; someone who identifies and approaches suitable candidates to fill often high profile, business positions."

(I'll have more to report soon. I will be adding more to this post throughout the day. I need to track down some images as well)

Take care, Stay true,

Brian Sherwin
www.myartspace.com
www.myartspace.com/interviews

Art Space News: Yuliya Lanina at Scope Miami

Yuliya Lanina has been very busy since last I spoke with her. I remember viewing her work at DiVA in New York. Haunting child-like laughter beckoned viewers to enter the darkened room where her work was displayed during that event. Currently, her work can be found at Scope- Miami with ADA gallery (Richmond, VA). Her video "Journey" will be shown with Patrick Heide Gallery (London) at Aqua art fair in Miami. Yuliya's display at Scope can be found at Booth 48.

Yuliya had the following to say about her works:

"I explore cultural identity and sexuality through images of perverse yet innocent dolls. Taking cute and cuddly ready-mades and turning them into fetishistic objects, I construct my work on the intensity of coexistence of opposite extremes and remains open to a multiplicity of interpretations. Having worked with dance troupes, large sets and installations in the past left me with the desire to create self-contained experiences and stories, having full control over the creative process and the result. I also found it easier to talk about loaded topics such as sexual violence, neglect, addictions and cultural identity through surrogate dolls instead of live actors. I explore those themes through images of perverse yet innocent dolls that act and perform in an adult-like manner.

By incorporating ready-mades I comment on the objective existence of those issues in our culture. By taking cute and cuddly dolls and turning them into fetishistic objects I strive to create mixed feelings in the viewer, mixing appeal and amusement with fear and repulsion. I also hope to engage the viewer in a new way by adding another level of interaction with the work: a minute long acts of my pieces. Humor plays an important role in my work. I enjoy having people laugh at my pieces, for only when one laughs at their own absurdity is there a chance for change. Laughter is also a way of trying to stay away from being didactic or moralistic. My stages capture visions where the actors can be animated by the viewer’s participation. "Lullaby", a stage presented at Scope Art Fair by ADA Gallery (Richmond, VA), is a commentary on the loss of childhood innocence, which results in delusion and heightened awareness"

You can find Yuliya Lanina on www.myartspace.com. Her login name is yuliyalanina. The Myartspace community wishes Yuliya the best of luck with the art fairs.

Links of Interest:

www.yuliyalanina.com

www.scope-art.com

www.aquaartmiami.com

www.adagallery.com

www.patrickheide.com

Myartspace Interview with Yuliya Lanina:

www.myartspace.com/blog/2007/03/art-space-talk-yuliya-lanina.html

Take care, Stay true,

Brian Sherwin

Art Space News: Naomi Kasumi's MEM: Memory Memorial

Photo by Punchlist Design

Two parts of Naomi Kasumi's MEM: memory memorial installation series are on display at the Simmons Visual Arts Center at Brenau University. The exhibit deals with the artist's experience with having an abortion. "I know I am not alone in dealing with this experience", proclaimed the Seattle based Kasumi-- recalling the procedure and psychological aftermath.

Kasumi has stated that the creation of art is like a cathartic ritual experience. The Japanese-born installation artist stated that her process of grieving and healing began nine years ago after she, as a young college student, chose to abort a pregnancy-- "Coming from Japan, I have a different cultural background and perspective. Abortions are considered taboo and such events must be kept secret. Through my art, I found that I could share my concealed emotions and personal experiences in public. Sharing the truth of my experience with others..." Kasumi explained.

One part of the exhibit features 108 slip casts of Kasumi's hands, open and extended. Another part features 5,000 egg shells from which Kasumi removed the white and yolk-- a process that spanned the course of 18 months. The artist stated that visitors sometimes place a gift or message in the hands. In a sense, the audience builds upon the space that Kasumi has provided-- making the installation a very interactive experience that enforces positive dialogue.

Controversial themes, like abortion, are often viewed in a negative manner by onlookers and the media when it comes to artistic expression. However, Kasumi has had positive reactions in regards to her work. One would think that an installation like this would stir political debate, but the MEM: memory memorial installation has yet to polarize anyone. Viewers have focused on Kasumi's experience rather than politics when viewing the installation.

In my opinion, works like this are important because they allow people to see a different side of issues that are often the source of political bickering. MEM: memory memorial provides viewers-- no matter what their political agenda --with an experience that allows them to discuss a tough issue on common-ground. In a sense, Kasumi has made an aspect of her private life public in order to help others who might be dealing with the same struggle and to foster peaceful conversations about the issue of abortion.

What do you think about this exhibit and the intentions of the artist?

(The exhibit runs through October 7th at Brenau University's Simmons Visual Arts Center in Gainesville, Georgia. www.brenau.edu)

Take care, Stay true,

Brian Sherwin

Art Space News: The Artist Project

This exhibit was very appealing. The Artist Project featured original works of art by over 50 cutting-edge artists. Held in the Mart's lobby- it was the first exhibit I entered before making my way to the Bridge Art Fair preview. I returned to the exhibit later for the Preview Night. Each artist was jury selected for the event. Thus, the level of artistic skill and creative ambition was high.

The environment was very amicable. Each booth represented an artist and most of the artists were on hand to discuss their work- while others traveled the floor in order to discuss work with the other artists and patrons. I was pleased to find out that most of them had heard of myartspace.com and several mentioned that they had accounts! It was awesome to come face-to-face with the scope of influence that myartspace.com has obtained.

I was really impressed with the caliber of work on display. All of the artists are worth mentioning, but I will focus on a few for now. You can find out more about The Artist Project by visiting the official site: www.theartistproject.net

('Sunrise' by Jane Fulton Alt)

The photography of Jane Fulton Alt (sample above) was a joy to observe. I sense a certain spirituality about her work that is very calming to view. She is a Chicago born (1951) fine art photographer and has been very active in the Chicago scene for years. Her work is in several public collection- including the Center for Photography at Woodstock, NY.

Themes of grief and loss are common in her work and serve as a reflection of humanity. Her series 'Mourning Light' shows her "attempt to counter the darkness that had enveloped me. These photographs speak to the light in the face of that darkness, and are an effort to memorialize all who have died thru out time at the hand of evil. " You can observe more of Jane Fulton Alt's work by visiting her website: www.janefultonalt.com

(A sample of an on-going project by Jeremy Tubbs)

Jeremy Tubbs booth was a crowd favorite- not so much for the work he had on display, but for the vision behind it. This artist has focused on taking a picture of himself once per day since September of 2006. His goal is to document the procession of aging upon his face by photographing himself daily.

As a greater amount of photos are cataloged, his plan is to produce a video at 15 frames per second making each year pass in a period of approximately 24 seconds. So, by the time he is 75 years old the video will be a little more than 20 minutes long.

Observers were fascinated by the life-long project that Jeremy has set for himself. I think some of the allure of his project has to do with the fact that so many of us try to deny the aging process- Jeremy embraces it. You can view the 'Random Pic-A-Day Timeline' (sample above) on his website: www.jeremytubbs.com

('North Pond' by Hiroshi Ariyama)

The photography of Hiroshi Ariyama was a hit as well (sample above). He sold a screenprint while I was discussing his work with him! Mr. Ariyama's current series of work is called 'Our City, Our Neighborhood'. The series is comprised primarily of simple urbanscapes that enhance some aspect of reality through a very graphic manipulation of light, color and texture.

Each image begins as an original photograph which he modifies or simplifies until finding the "right moment". The image is then separated into tonal ranges for which he selects colors that he feels celebrate the moment. Hiroshi's intent is to capture an emotional point in time within each scene that can range from a nostalgic reflection, to a simple current observation to a happy glance into a moment's fleeting possibilities. www.ariyamastudio.com

(Hair Piece 13 by Monica Rezman)

The work of Monica Rezman was also a show-stopper. Monica Rezman is a painter, textile designer, and most recently a photographer who currently splits her time between Chicago and India. Rezman has always been fascinated by ways women use personal adornment as A kind of language. Splitting time between the east and west has served to broaden her vocabulary.

Her current body of work comes from two sources: As a child, she watched her mother alter and augment her own hair with falls and wigs. Her three year old daughter is experimenting with female adornment the same way.

Using a very traditional form of oil painting techniques and charcoal she explores the subtleties, richness and mystery that the hair creations hold for her. She is struck at how much feeling and emotion is revealed in a simple strand of hair. Eroticism, hope, sadness, and disappointment exist simultaneously in these works.

When I observed her work I thought that I was looking at actual hair hanging on the wall (sample above). I was shocked to find out that the hair was a charcoal drawing! You can find out more about Monica and her work by visiting her website: www.monicarezman.com

I have so many other artists to cover. I will be posting more about my trip to Chicago this week. More to come...

Take care, Stay true,

Brian Sherwin

Art Space News: Bridge Art Fair- Chicago 2007

(Michel Dubois, Juliet, 2007, C-print numbered on 3, 47.2 x 51.1 in- Galerie Paule Friedland& Alexandre Rivault)

Anyone who counted Chicago out as one of the mega-centers of the art world was sadly mistaken this weekend. The Bridge Art Fair, Art Chicago, The Artist Project and several other venues hammered skeptics with a visual blitzkrieg that has not been seen in Chicago for some time. I was in attendance on the 26th and 27th- representing myartspace.com- and observed the visual onslaught with my own eyes!

I ventured to Chicago in order to attend the preview party for the Bridge Art Fair. However, my eyes strayed toward several events that were happening during my trip. Artropolis, as a whole, impressed me greatly. I will be posting several entries about my visit to Chicago in the coming days.

(Daniel Edwards, Monument to Pro-Life: The Birth of Sean Preston, 2006, Resin Cast, Life Size- Capla KestingFine Art)

After quickly viewing The Artist Project I made my way to the Bridge Art Fair preview. I was one of the first members of the media to arrive at the preview (I actually forgot to pick up my press kit until later- sorry guys, I cheated). I was greeted by Daniel Edwards 'Monument to Pro-Life: The Birth of Sean Preston' (image above) as I turned a corner to enter the exhibit.

This sculpture caused a great deal of controversy when Edwards revealed it to the public. However, it did not seem to have the same impact during the Bridge preview.

The majority of the people who stopped to observe the sculpture only seemed to be interested in taking "Hey, I'm standing next to naked Spears" type photos. I believe the message of the piece has been lost to the media and controversy surrounding it- which is unfortunate for Mr. Edwards. Onlookers viewed other works more seriously even though the piece appeared to be the figurehead of the Bridge Art Fair.

There was a great deal of work to observe in the 65 booths- a maze of art and anticipation. I don't think anyone will disagree that Chicago was the heart of the art world that night- the thumping was loud! Distorted voices and scratching vibes completed the atmosphere as the DJ gave life to an already lively event.

The gallery representatives were friendly and eager to discuss their collections- a constant flow of energy! Thump, thump... Thump, thump. I was impressed by practically all of the exhibited work. However, two booths stuck out: Contessa Gallery and Marx-Saunders Gallery, LTD.

(Roy Lichtenstein, Reverie, 1965, Screenprint in colors, 30 x 24 in)

Booth 60 was my favorite- hands down! What can I say- I have a love for art history. The booth was occupied by the Contessa Gallery. This gallery presented works by Roy Lichtenstein (image above), Horst P. Horst (image below), Pablo Picasso and many other modern masters.

(Horst P. Horst, Mainbocher Corset, 1939, Silver gelatin photograph, 9.5 x 7.5 in)

I was amazed to observe the first work of art by Pablo Picasso to feature the Minotaur. Steven Hartman, owner and founder of The Contessa Gallery in Cleveland, allowed me to take a picture of the piece as we discussed the influence it had on Picasso's later works.

Mr. Hartman has excellent communication skills and a strong knowledge of art history. My chat with him was one of the many highlights of my trip. I could have stayed at the Contessa booth all night, but I had other venues to observe. (www.contessagallery.com)

(Hank Adams, sHAMy, 2006, Glass and copper, 27 1⁄2 x 22 x 15 in)

Booth 50 was occupied by Marx-Saunders Gallery, LTD. This gallery only featured the work of two artists. However, they both made a huge impact with onlookers. Three glass and copper sculptures by Hank Adams (image above) peered back at observers- while Jen Blazina's School Desk Installation (image below) invited observers back to class.

(Jen Blazina, School Desk Installation: Recollection, 2006, Cast glass, photo transfer, and metal)

Blazina's installation was very impressive in that it conveyed a dark... almost foreboding mood. It really captured an old classroom feel- a time when everyone was just a face and the classroom seemed more like some surreal hell than a place of learning. I was later informed that Blazina's installation was a show-stopper during the weekend hours of the exhibit.

The installation was a very interactive experience even though it was very somber in its approach. Observers were allowed to step into the 'classroom'. Faces from an old year book were hauntingly projected upon a chalk board and upon the desks. There was no sign of life and no real reflection of the lives who once 'inhabited' the classroom. It actually reminded me of stepping into something from Silent Hill.

An interesting aspect of this gallery is the fact that it has a focus on artist who use glass as a medium. The gallery was founded by Bonnie Marx in 1990- Ken Saunders joined the gallery in 1995. The focus of the gallery’s efforts is to broaden the exposure of contemporary artist who use glass to create exceptional works of art. I was really impressed. (www.marxsaunders.com)

Both of these galleries made an impact on me. However, I will be posting more soon...

Take care, Stay true,

Brian Sherwin

Art In The News: Painting By Modigliani Exhibited For The First Time.

The Palazzo Incontro (Rome, Italy) is currently exhibiting a collection of paintings that have been stolen and returned to Italy. Stolen Art: The Return will be on exhibit through December 19, 2006.

The exhibition features over 100 stolen art works recovered by authorities in Italy. One of the highlights of the exhibit is Amedeo Modigliani's 'Girl with the Red Stockings'. The painting, which had been stolen from a private collection in Rome, has never been exhibited before.

The 'big steal' for viewers of art is the fact that the exhibition is free!

Information about the life of Amedeo Modigliani: http://en.wikipedia.org/wiki/Amedeo_Modigliani