STUART DAVIS – IN FULL SWING

Posted on 2016-08-08

Stuart Davis (1892–1964) is one of the preeminent figures of American modernism. With a long career that stretched from the early twentieth century well into the postwar era, he brought a distinctively American accent to international modernism. Faced with the choice between realism and pure abstraction early in his career, Davis invented a vocabulary that harnessed the grammar of abstraction to the speed and simultaneity of modern America. By merging the bold, hard-edged style of advertising with the conventions of European avant-garde painting, he created an art endowed with the vitality and dynamic rhythms that he saw as uniquely modern and American. In the process, he achieved a rare synthesis: an art that is resolutely abstract, yet at the same time exudes the spirit of popular culture.

The exhibition is unusual in its focus on Davis’s mature career and on his working method of using preexisting motifs as springboards for new compositions. From 1939 on, Davis rarely painted a work that did not make reference, however hidden, to one or more of his earlier compositions. Such “appropriation” is a distinctive aspect of his mature art. This presentation will be the first major exhibition to consistently hang Davis’s later works side by side with the earlier ones that inspired them. With approximately one hundred works, from his paintings of consumer products in the early 1920s to the work left on his easel at his death in 1964, the exhibition will highlight Davis’s unique ability to transform the chaos of everyday life into a structured yet spontaneous order that communicates the wonder and joy that can be derived from the color and spatial relationships of everyday things.

Opposite – Owh! in San Pao, 1951

Exhibition runs through to September 25th, 2016

Whitney Museum of American Art
99 Gansevoort Street
New York
NY 10014

whitney.org

  

OLIVIA STEELE – FAUX REAL

Posted on 2016-08-08

“Faux Real” includes a collection of truisms, illusions, and illuminated metaphors: Steele employs the traditional commercial medium of neon glass to create a variety of opposing contrasts that serve as a guiding light in the process of self exploration combined with the beautiful side of suffering and the quest for enlightenment. The concepts and statements on show reflect a series of personal self-realizations of the artist as she unravels the threads and unlearns layers of conditioning from a standard American upbringing in this game we all play called life.

“It’s no doubt that the future of humanity is moving into the imagination. As the gap between the impossible and the possible lessens, and the veil on reality and spirituality lifts, certain truths become more evident and hard to deny. A crucial aspect to our evolution as a human race is replacing fear of the unknown with curiosity. “Know Thyself“, a black-lit adage from this collection, brings us to reflect upon our need to nurture our imaginations in the journey to identify one’s purpose or, through self reflection, as you come to discover what is Faux and what is Real.

Exhibition runs through to September 3rd, 2016

Circle Culture Gallery
Potsdamer Straße 68
10785 Berlin
Germany

www.circleculture-gallery.com

  

ANTHONY HERNANDEZ

Posted on 2016-08-08

The child of Mexican immigrants, Hernandez was born and raised in Los Angeles. Largely unaware of the formal traditions of the medium, he developed his own individual photographic style, one attuned to particularities of L.A., its desolate beauty and sprawling expanses of asphalt and concrete. Over the course of his career, Hernandez has deftly moved from black-and-white to color photography, from 35mm to large-format cameras, and from the human figure to the landscape to abstracted detail, producing an unusually varied body of work united by its arresting formal beauty and subtle engagement with contemporary social issues.

Highlights from the exhibition will include black-and-white photographs from the early 1970s that were taken on the streets of downtown Los Angeles, color pictures made on Rodeo Drive in the mid-1980s and selections from his critically acclaimed series Landscapes for the Homeless that was completed in 1991. For this series, Hernandez photographed what had been left behind at vacant homeless encampments, offering glimpses into the lives of the people who once found refuge there. Anthony Hernandez will also feature more abstract, large-scale color work taken recently in Los Angeles and on the road in locations ranging from Oakland and Baltimore to Rome.

Opposite – Rodeo #3, 1984

Exhibition runs through to January 1st, 2017

San Francisco Museum of Modern Art
151 Third Street
San Francisco
CA 94103

www.sfmoma.org

  

TARYN SIMON – PAPERWORK AND THE WILL OF CAPITAL

Posted on 2016-08-08

In her work, Simon combines photography, text, and graphic design, in conceptual projects addressing the production and circulation of knowledge, and the politics of representation. For this latest project, Simon explores the stagecraft of power, examining agreements, contracts, treaties, and decrees drafted to influence systems of governance and economics, from nuclear armement to oil deals and diamond trading.

As the starting points of Paperwork and the Will of Capital, Simon drew inspiration from George Sinclair’s 19th century horticultural study – a book containing dried grass specimens that inspired Darwin’s theory of evolution – and historical photographs of the signings of political accords between leaders of the 44 countries present at the 1944 United Nations Monetary and Financial Conference, in Bretton Woods, New Hampshire.
In uncovering these archival photographs, the artist observed that the attending diplomats were consistently flanked by floral arrangements, arranged to symbolize the importance of the signatories and the institutions they represented. Simon subsequently worked with a botanist to identify and recreate the flowerpieces from the signings. More than 4,000 specimens were shipped to the artist’s New York studio, sourced from the world’s largest flower auction in Aalsmeer, the Netherlands, which receives and distributes approximately 20 million flowers per day. The recreated centerpieces were photographed and cust om framed in mahogany to emulate the style of boardroom furniture. The corresponding floral specimens were subsequently dried, pressed, and sewn into sheets of archival herbarium paper, which Simon displays alongside the photographs. The photographic still lifes stand in contrast to the sculptural natures mortes: as time advances, so will these artifacts transform, revealing mutable versions of themselves.

Opposite – Gdańsk Agreement, signed at the Gdańsk ship yards, Gdańsk, Poland, on 31 August, 1980, 2015

Exhibition runs through to November 12th, 2017

Almine Rech Gallery
Abdijstraat 20 Rue de l’Abbaye
1050 Brussels

www.alminerech.com

  

PAWEŁ FABJAŃSKI – INPOINT

Posted on 2016-08-08

The exhibition “inPoint” opens a discussion on creative freedom in the commercial world, and attempts to deal with the artistic strategies and the phenomenon of commercialization. Is the artist forced to reject all aspects of commercial language in order to emphasize the creative independence? Or may he or she skillfully embed the threads drawn from popular culture, when producing original content? How to use the power of marketing in artistic projects in order to reflect the superficiality of the world around us, that is created by this particular impact? The exhibition “inPoint” is also an attempt to explore the viewers’ approach to the work of art, and examines if and how the public is susceptible to suggestion and manipulation of the language of advertising – as well as the language of art.

Exhibition runs through to October 23rd, 2017

Pauza Gallery
Ul. Stolarska 5/3
21 – 021 Kraków
Poland

pauza.pl

  

LIGHTS OUT

Posted on 2016-08-08

When Rebecca left home, she thought she left her childhood fears behind. Growing up, she was never really sure of what was and wasn’t real when the lights went out…and now her little brother, Martin, is experiencing the same unexplained and terrifying events that had once tested her sanity and threatened her safety. A frightening entity with a mysterious attachment to their mother, Sophie, has reemerged. But this time, as Rebecca gets closer to unlocking the truth, there is no denying that all their lives are in danger…once the lights go out.

In theatres August 19th, 2016

www.lightsoutmovie.com