Honor Fraser is pleased to announce that the Wexner Center for the Arts will feature a Gustavo Godoy sculptural installation in November 2010.
From the FLAG Art Foundation website:
guns, knives, brass knuckles, is an installation and exhibition of sculpture by New York based artist Robert Lazzarini. All of Robert Lazzarini’s sculptures of the past decade begin with what the artist calls a ‘normative object’. The works in the exhibition start with .38 Smith & Wesson Model 10 revolver, a set of common kitchen knives (chefs, paring, pruning, cleaver, etc.) and a unembellished pair of brass knuckles. These objects are then subjected to mathematical distortions and fabricated out of the materials that are original to the objects themselves: blued carbon steel and walnut for guns, stainless steel, wood and plastic for knives; and yellow brass for brass knuckles. The combination of these distortions with the lack of any conventionally artistic ‘material translation’ (e.g. a car out of cardboard; flesh out of marble) renders these objects familiar yet strange and difficult, quite literally, to grasp. In canting the gallery’s walls, Lazzarini extends the dislocation exercised on his objects to the space of their display. This altered environment not only further subjects one’s perceptions to a kind of visual slippage, but also connects Lazzarini to a lineage of artists, from Richard Serra to Alberto Giacometti, distinctly concerned with processes of perception and visual abstraction.
The exhibition opens July 8, 2010, 6-8pm
The FLAG Art Foundation 545 West 25th Street, 9th floor New York, NY 10001
Rosson seeks to explore how “bad boys”—or lets say renegade illegal activity of either gender I suppose—have shaped the cultural history of New York, and also how the idea of “the bad boy” influences both the recent and current art scene as it gets made into art history. How has the spirit of illegality and rebellious youth shaped our experience of the city today? Gangs, graffiti, gays, drugs and illicit sex are part of the city’s spirit, the vitality of the streets, but also form a big part of the art world today. How has the New Yorker’s love for this spirit shaped recent art history and influenced the young practitioners of its tradition?
- excerpt from Bowery Flash by Kathy Grayson
http://store.oh-wow.com/item.html/182339
Gardar Eide Einarsson has attracted major international attention and developed into one of today\'s most notable young artists from the Nordic countries.
In the exhibition, \"Power Has a Fragrance,\" Einarsson takes existing visual material as a starting point, to create works that relates to both the abstract language of Minimalism and the narrative structures of Pop Art. Reflective of his international career, he expands his complex network of references beyond western culture and the present.
Gardar Eide Einarsson: Power Has a Fragrance 6 May-15 August 2010 Astrup Fearnley Museum of Modern Art Dronningens gt 4, 0107 Oslo, Norway www.afmuseet.no
The most recent issue of Interview Magazine features a six-page spread on KAWS and includes an interview with actor Tobey Maguire. Please see below for an excerpt and for the complete article, visit www.interviewmagazine.com/art/kaws/
The Williamsburg studio of the artist known as KAWS is neatly lined with racks of acrylic-paint bottles in primary colors and guarded by a cluster of standing toy collectibles—life-size 3-D comic book characters of his own design—like a platoon of robot children. By the window, there is a small-scale model of the Aldrich Contemporary Art Museum, in Connecticut. KAWS, an unassuming, soft-spoken 35-year-old New Jersey native named Brian Donnelly, is plotting his first solo museum show at the Aldrich next month. It will serve as the unofficial grand induction to the institutionalized art world for the graffiti artist, painter, illustrator, sculptor, toymaker, and product designer. Yet KAWS has a long history outside of the white cube. His street-born cartoonish graphics—specifically spermatozoa-shaped figures with x-ed out eyes—have achieved a subcultural iconography. He has applied this KAWS signature to his street art, a clothing line, heroically outsize toys and sculptures, and countless cobranding ventures with labels like A Bathing Ape and Marc Jacobs...
Ed Schad reviews the recent Robert Lazzarini show at the gallery on his blog I call it ORANGES. Please see below for an excerpt and for the full review visit, www.icallitoranges.blogspot.com
I’ve been trying to write about Robert Lazzarini for weeks now and it has been difficult. His sculptures of guns, knives, and brass knuckles (the least strong of the bunch) are a disruptive perceptual experience. They are fuzzy in the gallery space, suspended before the eye as something not quite seen, not quite graspable. So busy spinning in a familiar world suddenly made strange, my sentences and words found no traction. Words do exactly the opposite of what Lazzarini’s sculptures do -- they anchor things, they take experience and settle it down. Lazzarini’s sculptures are unsettling...
LAB\'s inaugural exhibition, VideoRoam, continues with a screening of Matthew Weinstein\'s Chariot of the Gods. Like Matthew Weinstein’s first two animation projects, Chariots of the Gods consists of a single monologue by a female character (in this case it is actress Natasha Richardson). The protagonist is an articulated metal fish hanging from a golden chain inside an empty restaurant. She discourses on aliens, the impossibility of progress, climate and other weighty topics. She bubbles along in her monologue, moving from one room of the restaurant to another, delivering bombshells with a smile. The radical change in this piece is the fully articulated virtual set. It is a reconstruction of Ernie’s Restaurant from Hitchcock’s Vertigo.
Norwegian artist Gardar Eide Einarsson’s third solo exhibition with Team, Another Modern Moment Completed, will run from the 22nd of April through the 22nd of May 2010. Reproduction as theft, and authorship as failed claim are the central conceits in this exhibition. His concurrent fascinations with criminality and appropriation come together in an installation that appears to mark the jettisoning of his overt approach to political subject matter in favor of a formalist’s engagement with the legacy of modernism. Using the history of abstraction and pop as a readymade, Einarsson here distills a poetics of disruption, shifting between drippy hard edge abstraction, graphic renderings from mainstream sources, and the occasional deployment of the ben-day dot. He has previously been the subject of solo shows in Oslo, Berlin, Köln, Paris and Copenhagen. He has participated in numerous group exhibitions throughout the U.S. and Europe. He has been the subject of solo shows at the Modern Art Museum, Fort Worth, TX; the Kunstverein in Frankfurt, Germany; and the Centre d’Art Contemporain in Geneva. A large exhibition will run at the Astrup Fearnley Museum of Modern Art, Oslo, Norway, from May 6th through August 29th, 2010. A catalogue will accompany this survey show which will then travel throughout the Nordic countries.
