Tag Archives: Callicoon Fine Arts

ALTERED AFTER

ALTERED AFTER—a group show at Participant Inc featuring work by Darrel Ellis, fierce pussy, General Idea, Jerry the Marble Faun, Leslie Kaliades, Kang Seung Lee, Ronald Lockett, Jonathan Molina Garcia, Cookie Mueller, Raúl de Nieves, Jason Simon, Manuel Solano, Gail Thacker, Julie Tolentino, and XFR Collective—incorporates “archives, archaeology, salvaged objects, material migrations, inherited knowledge, and bequests in response to HIV/AIDS.”*

The exhibition is curated by Conrad Ventur for Visual AIDS.

“I’ve learned that we have to find our own saviors. For me, I like to create a fantasy, and one of the ways I’ve found beauty is by stacking beads on top of each other. I usually work in circles and let time shape the work…

“I guess I choose shoes as a vehicle to adorn myself, to give off different identities… The shoes are very organic. I actually see them grow. It pushes me to want to learn more about weight and design, to push them into new forms. But I also want them to design themselves in a way.” — Raúl de Nieves

In conjunction with ALTERED AFTER, Anthology Film Archives and Visual AIDS present RECORD TIME, a free evening of films and videos on August 8, curated by Carmel Curtis and Leeroy Kun Young Kang.

The program includes SOMETHING FIERCE (1989)—Greg Bordowitz and Jean Carlomusto’s video for Gay Men’s Health CrisisColin Campbell’s SKIN (1990), Nguyen Tan Hoang’s K.I.P. (2002), Hayat Hyatt’s VILLANELLE (2015), Tran T. Kim-Trang’s KORE (1994), Barbara Hammer’s VITAL SIGNS (1991), and Jim Hubbard’s THE DANCE (1992).

ALTERED AFTER*

Through August 18.

Participant, Inc

253 East Houston Street, #1, New York City.

RECORD TIME film program

Thursday, August 8, at 7:30 pm.

Anthology Film Archives

32 Second Avenue (at 2nd Street), New York City.

Altered After, Participant, Inc, 2019, from top: Manuel Solano, Untitled, from the series, An Interior, A Sensation, An Instant, 2019, acrylic on canvas, courtesy and © the artist and Peres Projects, Berlin; Darrel Ellis, Untitled (from Thomas Ellis photo of child’s birthday party), circa 1990, gelatin silver print, courtesy and © the Estate of Darrel Ellis and OSMOS; Altered After installation views (3), including shoes by Raúl de Nieves; fierce pussy, Flag, 1992/2019, five photocopies on paper, courtesy and © the artist; Greg Bordowitz and Jean Carlomusto for Gay Men’s Health Crisis, Something Fierce (1989, 3:30 minutes, video), still, courtesy and © the artists and ONE National Gay & Lesbian Archives at the USC Libraries; Colin Campbell, Skin (1990, 18 min, 16mm), still, courtesy and © the artist and V Tape; Altered After installation view, including a painting by Darrel Ellis and a section of Kang Seung Lee, Untitled  (Garden) , 2018, 24K Nishijin gold thread on Sambe, ceramic (California clay, soils from Derek Jarman’s Garden, Nam San, Tapgol Park), pebbles from Dungeness and Tapgol Park, metal parts and dried plants from Derek Jarman’s Garden, courtesy and © the artist and ONE AND J. Gallery, Seoul; Kang Seung Lee, Untitled (Garden) detail; Jason Simon, Untitled (Video Against AIDS), 2013. three facsimile cassette wraps and original printed materials designed by Hannah H. Alderfer, courtesy and © the artist and Callicoon Fine Arts, New York; detail of Altered After exhibition catalog cover, designed by Jean Foos, image by Leslie Kaliades, still from Altered After, 1997, video, black and white, sound, 4:45 minutes; Altered After installation views (2); Tran T. Kim-Trang, Kore (1994, 17 min, video), still, courtesy and © the artist and Video Data Bank. Images courtesy Participant, Inc.

WEEKLY WRAP UP | SEPT. 15-19, 2014

 

from Overdrive: L.A. Constructs the Future, 1940-1990

from Overdrive: L.A. Constructs the Future, 1940-1990

This week on the blog Alexandra Ruiz of Madame Paris joined the team. Check out all of our postings!

Erica Baum : The Paper Nautilus at Bureau

Harald Lander and William Forsythe at Opera Garnier

Machine Project at Gamble House

Cory Arcangel: tl;dr at Team (bungalow) in Venice, CA

Jonathan Binet & Martin Laborde

Sadie Benning ‘Patterns’ at Callicoon Fine Arts

The studio of Jean Arp and Sophie Taueber-Arp at Clamart 

Sophie Tauber-Arp exhibition Today is Tomorrow at the Aargauer Kunsthaus, in Switzerland

I Never Read at the Tokyo Art Book Fair

Alexander May at Balice Hertling

 

 

 

SADIE BENNING : PATTERNS

screen_shot_2014-09-08_at_5_39_31_pm.842x0Sadie Benning

Callicoon Fine Arts

Sept. 14 – Oct. 26

Callicoon Fine Arts is very pleased to present an exhibition by Sadie Benning. Patterns is comprised of a new series of wall-based artworks, including some of the artist’s largest to date, as well as works that, for the first time, incorporate fabric and found photographs. Benning uses repetition and patterning in these works to evoke systems of social order and control, while also questioning the entrenched and compulsive behaviors that these systems— capitalism, war and gender binaries— create.

Julie’s Rug, like all the works, is made from cut pieces of wood that have been coated with aqua-resin, sanded, painted and then reassembled. Comprised of a series of irregular rectangular forms arranged in rows and columns, the buffed and sprayed components in white, black, deep red and ocher rhythmically alternate across the large surface implying a continuation beyond the boundaries of the piece.

In the work Mask, a found black and white photograph is mounted onto the sculpted components. In this small work, the photograph is caught in a white beam emanating from a dark superhero-like mask —conveying a moment of perception and contact. What is seen is a domestic boundary wall made from highly contrasting patterned bricks.

In Gun Blanket, violence is implied by lever-like guns that fire out rows of rectangles all embedded in a black ground. They take aim at two neighboring paintings, Cig 1 and Cig 2, which are graphic depictions of cigarette boxes with fabric inserts for logos, pictorial spaces that signify both compulsion and comfort.

In the largest work, Rain Signal, the blue diagonal dashes depict rain falling while rows of white rectangles signify the ominous invisibility of military communication systems.

Each work proposes a way out of prescriptive orders even while they formally articulate those orders. Benning develops a visual language that strongly argues for the referential and connotative direction of experimental forms. It is a language that is shaped by the interactive and combustible relationships between drawing, sculpture and painting.

Sadie Benning was born in Madison, Wisconsin in 1973 and currently lives in Brooklyn, NY. Benning received an M.F.A. from Bard College and is co-chair of the film and video department, and a former member and cofounder of the music group Le Tigre. Benning’s work had been exhibited internationally since 1990 and is in many permanent collections, including those of the Museum of Modern Art, The Fogg Art Musuem, and the Walker Art Center. Benning’s work was included the Carnegie International, Carnegie Museum of Art, in NYC 1993:Experimental Jet SetTrash and No Star, New Museum and in Tell It To My Heart: Collected by Julie Ault, Kunstmuseum Basel and Artists Space, NY, and has been included in: Annual Report: 7th Gwangju Biennale (2008); Whitney Biennial (2000 and 1993); American Century, Whitney Museum (2000); and the Venice Biennale (1993). Solo exhibitions include Participant, INC., Wexner Center for the Arts, Orchard Gallery, Dia: Chelsea and The Power Plant.

Sadie Benning, Julie's Rug, 2014 medite, aqua resin, casein, and acrylic 60 5/8 x 70 3/8 inches Courtesy of the artist and Callicoon Fine Arts, NY

Sadie Benning, Julie’s Rug, 2014
medite, aqua resin, casein, and acrylic
60 5/8 x 70 3/8 inches
Courtesy of the artist and Callicoon Fine Arts, NY