Artipedia - Arts News

SculptureCenter 44-19 Purves Street, Long Island City 718 361 1750 www.sculpture-center.org

Exhibition Opening Sunday, September 10, 4-6pm
Please join us on Sunday, September 10 to celebrate the opening of SculptureCenter’s fall exhibitions on view September 10 - November 18, 2006.
Nancy Rubins MoMA and Airplane Parts 1995 that visited Fondation Cartier pour l’art contemporain 2002/2003 then visited Forte Belvedere in 2003 and is now at SculptureCenter Rubins uses airplane parts in a configuration specifically adapted to SculptureCenter’s main space, reconfiguring parts of a work dating from 1995 and furthering her ongoing study of form and her practice of reutilizing materials. Commissioned through SculptureCenter’s Artist-in-Residence program.
Denial is a River Stemming from the methods and tactics of the seven selected In Practice artists, this exhibition places their concerns into a larger field of artistic practice. Works by Vito Acconci, Acconci Studio, Rita Ackermann, Azra Akšamija, Geraldine Belmont, Douglas Boatwright, Christoph Büchel, Melissa Dubbin & Aaron S. Davidson, Jean-Luc Godard with Anne-Marie Miéville & Jean-Pierre Gorin, Nicolás Guagnini, Valerie Hegarty, Institute for Applied Autonomy, Nate Lowman, Matthew Lusk, Edgar Orlaineta, Wonjoo Park, R.H. Quaytman, Allyson Spellacy, and Karen Yasinsky.
Texts and essays by Hakim Bey, John Hawkes, John Hejduk, Gareth James, Dr. Seuss, and Paul Virilio.
Directions 7 to 45th Road / Courthouse Square, E or V to 23rd / Ely, or G to Courthouse Square (note: the V train does not run on weekends). From all trains, walk north on Jackson Avenue one block past 44th Drive and turn right onto Purves Street.
SculptureCenter is five minutes from Midtown by subway.

Upcoming events
September 12, 7pm - Nancy Rubins Presents Nancy Rubins discusses her current exhibition at SculptureCenter, as well as the trajectory of her work from the ’70s until today.
September 24, 7pm - Gareth James Presents James presents A Day in Appalachia, conceived in relation to SculptureCenter’s screening of Ici et Alleurs (1970). Accompanied by a thematically aligned musical performance featuring Zach Layton, Alex Waterman, and Christine Bard.
Saturday, October 7, 6-9pm - House of Diehl Presents Instant CoutureTM originator Mary Jo Diehl and creative partner Roman Milisic present The Quantity Theory of Celebrity. This environmentally-generated art and design event, incorporating the voice of Vito Acconci, aims to capture a time, a place, a people, in style. In tandem with works presented, the social experience itself is “caught” within the fabric, later to be recontextualized as clothing in the fashion world at large.
Sunday, November 5, 12pm - Eyal Weizman Presents Eyal Weizman is the founding director of the Centre for Research Architecture at Goldsmiths, London, and was previously Professor of Architecture at the Academy of Fine Arts in Vienna. He is the recipient of several architecture prizes and awards. Eyal has also worked with a variety of NGOs and Human Rights groups in Israel/Palestine. His books include The Politics of Verticality and A Civilian Occupation, Territories 1,2 and 3. Eyal Weizman presents some of his latest research in spatial politics and tactics. Brunch served from 11am.
Tuesday, November 14, 7pm - Institute for Applied Autonomy and Trevor Paglen Present The interactive installation Terminal Air provides a public interface to the shadowy world of clandestine military operations. Audiences track a fleet of CIA-operated aircraft known to be involved in “extraordinary rendition,” the practice of illegally transporting terrorism suspects to secret overseas military bases for torture and interrogation. Terminal Air is supported by a 2006-07 commission from Rhizome.org.
Saturdays and Sundays, September 10 - November 19 Douglas Boatwright: All My Loving For his contribution to Denial is a River, Douglas Boatwright will memorize and record live video love telegrams in our lower-level gallery, based on your incoming requests. Visit http://www.sculpture-center.org/allmyloving.html to place your request today! No performance September 16.
Please visit www.sculpture-center.org for complete information on the exhibitions and events.
This message has been sent to subscribers to the SculptureCenter mailing list. If you do not wish to receive further mailings, please reply to this message with the word “unsubscribe” in the subject line.

EVEREST HALL Axis Mundi Opening September 7 ­ October 7, 2006
BELLWETHER is pleased to announce EVEREST HALL¹s second solo show at the gallery entitled Axis Mundi. On view are eleven oil paintings depicting carefully arranged objects from Hall¹s life. The show¹s title, Axis Mundi, refers to the world¹s center, which (depending on one¹s representation or belief system) is a spiritual entity connecting heaven and earth. By referencing this universal center Hall also directly alludes to the plumb line: an undeviating vertical string and bob device driven by gravity which artists employ in the studio to keep still life or arrangements in perspective over time. The plumb line ultimately ensures correct verticality, which is a meaningful concept to Hall in both his life and work. Moving on from his blatant worship of the abject and what Holland Cotter called, ³determinedly bottomshelf content², Hall turns his adroit technical skill to explore several motifs in his new work. For example, the artist has chosen the skin shedding rattlesnake as a symbol of self-renewal. Used as a conduit between heaven and earth, the pure and the profane, Hall uses the snake to question the intent and integrity of reinvention. Skulls depicted in crystal, onyx and amber, also reappear throughout the work as objects that date back to the beginning of man. Juxtaposed next to fabrics of serpentine damasks and geometric repeats, the skulls are at once symbols of history, anthropology, wealth, and status, but also, for Hall, things of great beauty. By repeating such motifs, Hall induces the viewer into a meditative state. In rendering with meticulous precision elements like a hexagonal pattern, wood grain and luminous skulls the artist attempts to channel a universal energy and express its form through contemporary still life painting. Everest Hall received his MFA in painting from Yale University. His work was recently exhibited in Los Angeles at Acuna Hanson. His last solo at Bellwether, I am Looking for Someone Lonely Like Me, received critical attention from the press including The New York Times and Flash Art. Hall¹s work has been featured in Domino Magazine and Details. Born in 1974, the artist lives and works in New York City. For more information please visit the gallery website at www.bellwethergallery.com or contact the gallery by phone 212 929 5959

125 W. 4TH ST. LOS ANGELES, CA 90013 213.621.4055
http://www.bank-art.com
TUES - SAT 11-5 PM

—————————————————————————- —————————- UPCOMING EXHIBITIONS
CHRIS NATROP installation November 4 ­ December 16, 2006
BARI ZIPERSTEIN sculpture January 6 ­ February 10, 2006
—————————————————————————- —————————-
:: The gallery is located through the main lobby of the Banco Popular Building :: Saturday¹s and opening receptions, entrance is through rear of building

For Immediate Release David Noonan September 8 ­ October 7, 2006 David Kordansky Gallery is pleased to present the first Los Angeles solo exhibition by the London based, Australian born artist David Noonan. The opening reception will be held on Friday, September 8th from 6 to 9pm, and the exhibition will be on view through October 7th. Historical imaginations, invented memories, bohemianism and late 20th century British theatre inspire David Noonan¹s installation of large-scale screen prints, collages and bronze sculptures. Within his large-scale montages, Noonan fabricates stills of ersatz performances involving gurus, masked figures, harlequins, and exotic fauna. These participants are presented in a cosmological and psychological realm. Noonan hints at a mythology without provenance and suggests an inexplicable scene beyond the material world. The work¹s layered, cinematic imagery becomes like a physical interpretation of filmic space and at times alludes to the surrealist and complex constructions of Latin American filmmaker Alejandro Jodorowsky in films such as Holy Mountain and Fando y Lis. In his collages, Noonan intensifies ambiguous black and white imagery collected from disparate sources, mainly books and magazines, by reassembling them according to a personal logic. Johanna Fahey describes one of Noonan¹s previous installations as a ³custom-made flashback, tailored with an appreciation for aesthetics [used] to create a historical flavor.²* In Noonan¹s new series, visions of a quasi ­ spiritual, separatist community, a pagan cult of sorts, are prompted by photographs of children and adults dancing, hugging, and practicing abstract artwork. Within these peculiar scenes preachers, doting fathers, and mother figures nurture youth through seemingly ritualistic acts. The work perhaps serves as a simulated narrative of David Noonan¹s childhood, but the imagination is a disobedient historian and the fiction within the work is profoundly dominant. David Noonan will be participating in The Rings of Saturn opening at the Tate Modern in October, and is preparing for a residency at Me-di-um, St. Barths, French West Indies. He has had solo exhibitions at Monash University Museum of Art, Melbourne, Australia, HOTEL, London, England, Foxy Production, New York, NY, Roslyn Oxley9, Sydney, Australia and the Australian Centre for Contemporary Art, Melbourne, Australia. He has participated in group exhibitions worldwide, including Japan, The Czech Republic, New Zealand, Spain, and Scotland. For more information or for directions to the gallery please contact us at (323) 222-1482, send a fax to (323) 227-7933 or email info@davidkordanskygallery.com *From: ³David Noonan: Before and Now,² Thames and Hudson, London, England, 2005

Press Release
Donald Baechler
September 14 - October 28, 2006. Opening Reception: Thursday, September 14, 6:00 - 8:00 p.m.
Cheim & Read is pleased to announce an exhibition of new paintings and sculpture by Donald Baechler.
New York painter Donald Baechler has steadily sustained a successful career as one of the more respected artists of his generation. Born in Connecticut in 1956, Baechler studied art in both New York and Germany, and is internationally well known for distinctive large-scale paintings and collages that investigate the formal, conceptual and cultural construction of artistic representation. Thickly outlined and simple in theme, the elements of his paintings (flowers, globes, crowds, trees and ice cream cones, to name a few) are often referred to as nostalgic, though Baechler himself denies narrative intent. Instead, he seeks to find anonymity in his imagery, to produce a universal language of symbols derived from cultural ephemera. Baechler has also expanded this practice to sculpture, creating bronze forms that represent familiar motifs from his paintings and exhibit the same characteristic density of mark.
Baechler’s work celebrates the history of its development-erasures and rethought contours are recorded in multi-layered pentimento-and this attention to process unites a new group of paintings and one sculpture, before its casting in bronze, in Baechler’s most recent show at Cheim & Read. A 2006 series of collages, exhibited for the first time, dominate the show. Baechler describes the collages as a progressive step in his working process: a middle zone, between smaller-scale drawings and large paintings, where he can work through ideas, edit imagery and build up backdrops for subsequent foreground images. The collaged elements, retrieved from a vast and actively accumulated archive of found ephemera (yellow pages, children’s coloring books, catalogues, magazines, etc.), or manufactured in Baechler’s studio (by copying, drawing and interpreting), are selected, pasted and sometimes covered over, creating what Baechler refers to as a “fractured surface” which is both physically and visually intriguing.
Baechler eventually paints a foreground image on to his collages, often after they have been around the studio for some time and carefully considered. Though disconnected from the collage process of the background, the painted lines of the foreground record the physical surface underneath; in this way, he references formalist aspects of painting through the material structure of his work. This focus on the construction of painting is echoed by the construction of his imagery-child-like in their simplicity and collectively identifiable, the objects he paints are distilled to sketchy essence, portrayed with a sort of everyman’s rendition of the subject at hand. While referencing the untrained artist, along with children’s art, art of the insane, and the drunk doodling at the bar, Baechler points out the construction of images in society and questions the structure of artistic representation. In Baechler’s collage-painting, Maze, 2006, the collaged background is comprised of a telephone book’s yellow pages scattered with brightly colored flowers, smiles and babies, both human and animal, in a sort of peaceful cacophony. Painted in blue on white, the foreground image-a maze contained within the profile of a man’s face, like a game in a children’s book-references not only labyrinthine paths of thought, but also reads as the physical structure of an actual brain. The image itself works formally and conceptually, echoing Baechler’s working process as a whole.
For additional information please contact us by calling 212/242-7727, faxing 212/242-7737, or emailing gallery@cheimread.com.