Looks interesting, Hauser 7& Wirth present Rashid Johnson The Hikers Opening 12 November 2019-25 January 2020

Press Release Rashid Johnson The Hikers 12 November 2019 – 25 January 2020 Hauser & Wirth New York, 22nd Street Opening reception: Tuesday 12 November, 6 – 8 pm New York... Hauser & Wirth is pleased to present ‘The Hikers,’ an exhibition of recent works by American artist Rashid Johnson. The exhibition brings together ceramic tile mosaics, collaged paintings, and a large-scale sculpture that address Johnson’s recurring interest in currents of anxiety and escapism created by the political and social turmoil felt across the United States and around the globe. The exhibition borrows its title from Johnson’s latest film, a centerpiece of the exhibition, shot earlier this year on location in the mountains of Colorado. ‘The Hikers’ unfolds through five rooms on the gallery’s second floor, in a formal arrangement that echoes the fragmentation and accumulation of Johnson’s mosaics and collaged works on display. The viewer is first greeted by three monumental mosaics, each comprised of myriad materials familiar from the artist’s practice: multi-color ceramic and mirror tile, oil stick, black soap, wax, and branded red oak flooring. These works evolved out of Johnson’s Anxious Men and Anxious Audiences (2015 – 2018), earlier series in which frenzied, abstracted faces were rendered in black soap and wax on a grid of white tiles. Here, his images of Broken Men and their fellows explode in a storm of bold hues, errant drips of wax, splashes of paint, and splintered surfaces. In these new works, Johnson pushes the anxiety of his figures to a breaking point, both metaphorically and physically. Whether portrayed alone or in groups, as in ‘Broken Crowds’ (2019), on view in the exhibition’s second room, these broken figures speak to collective and individual identities caught in the midst of shifting social realities. As injustices and racial conflicts in the US have continued to flare, Johnson’s works have likewise become more charged and dystopian than their earlier Anxious counterparts. Weathering this turmoil, ‘Untitled Bronze Head’ (2019) is a large-scale bronze figure awaiting the viewer traversing ‘The Hikers.’ This imposing, black patinated bust, standing five feet tall and brimming with verdure, recalls both its smaller ceramic counterparts and Johnson’s gridded metal structures (among them the 2016 monumental installation ‘Antoine’s Organ,’ populated with potted vegetation). Johnson’s new sculpture takes on a shamanistic or fetishistic quality, proposing an organic framework, an ecosystem for which to care and in which to thrive. In an adjacent room, three recent works from Johnson’s series of Escape Collages extend across the walls in kaleidoscopic compositions of appropriated photographic imagery. African masks, palm trees, sunsets, seascapes, galaxies, forest res, and covers of Harold Cruse’s celebrated 1967 treatise ‘The Crisis of the Negro Intellectual’ all come together in dizzying juxtapositions rendered on a cinematic scale. The surfaces of these works are punctuated with interventions of ceramic tile, mirror, and wood; sweeping gestures of the artist’s hand are recorded in thick oil stick and enamel spray paint. ‘The Hikers’ culminates with Johnson’s 16 mm film of the same name. Seven minutes in length, the film features two black male hikers — one ascending a mountain, another descending — who encounter each other as their paths cross. Their balletic movements are at once lithe and halting, athletic and awkward, challenging stereotypical notions of the forever rhythmic elegance of the black body in space. Collaborating with a choreographer, Johnson sought to express the psychological and physical consequences of life in the naturally challenging and too often unjust modern world, asking himself: ‘What are the movements like when a black man is walking past a police of officer? Or when a black man is suffering from agoraphobia?’ [1] ‘The Hikers,’ debuted at the Aspen Art Museum, CO, accompanied by a dance performance, and was subsequently shown at Museo Tamayo, Mexico, earlier this year. Hauser & Wirth is pleased to host a series of related performances in conjunction with Rashid Johnson’s exhibition. See www.hauserwirth.com/ events for details of the performances. About the artist Born in Chicago in 1977, Johnson has continually explored the relationships between biographic and collective narratives through themes such as art history, literature, philosophy, materiality, and critical history. His multidisciplinary practice spans sculpture, painting, drawing, filmmaking, and installation, and incorporates a diverse range of materials and objects significant to African-American and other African diasporic communities. 1. Rashid Johnson quoted in Sebastian Smee, ‘A vital voice of his generation. Rashid Johnson is blowing open the idea of Africanness’, Washington Post, July 3, 2019, https://www.washingtonpost.com/graphics/2019/entertainment/in-the-studio-with-artist-rashid-johnson/ Press Contacts Andrea Schwan info@andreaschwan.com +1 917 371 5023 Rebecca Schiffman rebeccaschiffman@hauserwirth.com +1 212 476 9408 Hauser & Wirth 548 West 22nd Street New York NY 10011 Gallery Hours: Tuesday to Saturday, 10 am – 6 pm www.hauserwirth.com @hauserwirth Image  Rashid Johnson The Broken Five, 2019 Ceramic tile, mirror tile, spray enamel, bronze, oil stick, black soap, wax 246.4 x 398.1 x 7.6 cm / 97 x 156 3/4 x 3 in left: H.98 W.74 D.3 in right: H.98 W.86 D.3 in Photo: Martin Parsekian © Rashid Johnson Courtesy the artist and Hauser & Wirth #moasic#iineresting#fineartmagazine

Catch the innovative performance art at the Walker Center Minneapolis: read the press release for the April opening.

WALKER ART CENTER PRESENTS MAJOR GROUP EXHIBITION THE PARADOX OF STILLNESS: ART, OBJECT, AND PERFORMANCE Maria Hassabi, STAGING (2017), Merce Cunningham: Common Time, Walker Art Center, February 8–12, 2017. Photo: Gene Pittman, Walker Art Center. Presenting works from the early 20th century to today, The Paradox of Stillness: Art, Object, and Performance is a large-scale group exhibition which examines the notion of stillness as both a performative and visual gesture, featuring artists who have constructed static or near-static experiments that hover somewhere between action and representation as they are experienced in the gallery. Stillness and permanence are qualities typically seen as inherent to painting and sculpture—consider the frozen gestures of a historical tableau, the timelessness of a still life painting, or the unyielding solidity of a bronze or marble figure. The Paradox of Stillness, however, expands the artwork's quality of stillness to accommodate uncertain temporalities and physical states. The exhibition rethinks the history of performance, featuring artists whose works include performative elements but also embrace acts, objects, and gestures that refer more to the inert qualities of traditional painting or sculpture than to true staged action. Investigating the interplay between the fixed image and the live body, this major group exhibition showcases over 100 works by approximately 60 artists, including fifteen live performances throughout the duration of the show by Francesco Arena, Simone Forti, Felix Gonzalez-Torres, Anthea Hamilton, Maria Hassabi, Pierre Huyghe, Anne Imhof, Joan Jonas, Goshka Macuga, Senga Nengudi, Roman Ondák, Michelangelo Pistoletto, Tino Sehgal, Cally Spooner, and Franz Erhard Walther. Artists included in the exhibition: Marina Abramović, Giovanni Anselmo, Vanessa Beecroft, Larry Bell, Robert Breer, Trisha Brown, Pier Paolo Calzolari, Paul Chan, Merce Cunningham, Giorgio De Chirico, Fortunato Depero, VALIE EXPORT, Lara Favaretto, T. Lux Feininger, Urs Fischer, Simone Forti, Gilbert and George, Felix Gonzalez-Torres, Anthea Hamilton, David Hammons, Maria Hassabi, Pierre Huyghe, Anne Imhof, Joan Jonas, Eva Kot'átková, Paul Kos, David Lamelas, Fernand Léger, Goshka Macuga, Maruja Mallo, Piero Manzoni, Fabio Mauri, Lucia Moholy-Nagy, Robert Morris, Senga Nengudi, Alwin Nikolais, Paulina Olowska, Roman Ondák, Dennis Oppenheim, Philippe Parreno and Rirkrit Tiravanija, Pier Paolo Pasolini, Francis Picabia, Michelangelo Pistoletto, Charles Ray, Pietro Roccasalva, Anri Sala, Xanti Schawinsky, Oskar Schlemmer, Cindy Sherman, Roman Signer, Laurie Simmons, Avery Singer, Cally Spooner, Sophie Taeuber-Arp, Franco Vaccari, Jeff Wall, Franz Erhald Walther, Tom Wesselmann, Franz West, Jordan Wolfson, and Haegue Yang. The show opens Saturday, April 18, 2020 and is on view through Sunday, July 26, 2020. Curators: Vincenzo de Bellis, curator and associate director of programs, Visual Arts; with Jadine Collingwood, curatorial fellow, Visual Arts Senga Nengudi, Untitled (RSVP), 2013, performed by longtime collaborator and artist Maren Hassinger, Radical Presence: Black Performance in Contemporary Art, Walker Art Center, July 24, 2014 – January 4, 2015. Photo by Gene Pittman for Walker Art Center, Minneapolis. #walkercenter#preforamance#art#fineartmagazine

Denise Bibro Fine Art exhibits Aldofo Doring's photos and film October 3 - November 9, 2019.

GALLERY II: ADOLFO DORING PHOTOGRAPHY AND VIDEO     October 3 - November 9, 2019 Adolfo Doring (131-190) Garage, Los Angeles Sylvia Elizabeth, Brooklyn (POSTED 162 GRAMS), 2016 Unique silver gelatin print, 9 x 12.75 inches, framed Denise Bibro Fine Art is pleased to announce its first exhibition of photography and video work by the late multidisciplinary artist, Adolfo Doring. His diptych silver gelatin black and white images are from his POSTED 162 Grams series and the larger photos are from his American Burger series. Doring's solo exhibition runs October 3 - November 9, 2019. Doring's diptychs are based on images of females and environmental scenes that he posted on Instagram from August 2014 - September 2015. Each image of a female figure and the environment were assigned a layer of meta-data to differentiate the two types of images, then a second set of meta-data was assigned to indicate the number of likes for each image, which he would combine to make a diptych. When selecting which images would be placed on the right and the left, Doring left it completely up to chance; he flipped a coin. In his own words, "The random nature of the process has given me the unexpected pleasure of experiencing unexpected compositions." The American Burger series and the video shown about highways in Mexico City display the commercialism, fast pace and unpredictability in the city, although quite different they are still in tone with his humanistic and idiosyncratic style. The video shown sets a contrasting tone from the rich, vintage tones of the photograph, echoing the nuts and bolts of the infrastructure of motorways in his native city, Mexico City, full of the life, movement and pace of the city. His compositions are silver gelatin prints. His photographs reference the daguerreotypes of nineteenth-century photography. As New York writer, Miss Rosen states, "... when regular people who might not be able to afford a portrait could have likenesses preserved-much in the same way digital photography has democratized the image making. By translating digital photographs back to film, Doring illustrates that progress is not necessarily a linear affair, just as randomness is a valuable tool in the creative process." Rosen further notes ".... that somewhere where between chance and mystery lies imagination." Doring has been behind the camera since he was a teenager in Mexico City, where he shot his first documentary about the stark divide between rich and poor. Later he had an extensive and illustrious career making films, documentaries, music videos, taking photographs, and crafting art installations centered upon his videos. He studied law at Universidad Anahuac in Mexico City, Mexico, and Sociology and Film at Columbia University, New York. His video work in the music industry earned him an MTV Music Video Award. His narrative films and documentaries earned him critical praise (Metro premiered at the Tribeca Film Festival in 2009) and his video installations have travelled the world over. Since 2010 his works have been featured in many Whitebox Center shows as well as in other exhibitions curated by Silas Von Morisse Gallery, New York, NY; Raul Zamudio-in Shanghai, China; Monterrey, Mexico; San Jose, Costa Rica; and Saint Angelo, Italy. Adolfo's untimely death in 2016 leaves behind a rich legacy for future generations to cherish.

________________________________________________________ For more information please call (212)647-7030, email info@denisebibrofineart.com, or visit us at www.denisebibrofineart.com. You can also view the works on Artsy.net. #film#adlfodoring#

Catch this if your in LA Nov. 3 Sunday 2-5 PM runs through Dec 21,2019

Takako Yamaguchi: New Paintings November 3 - December 21, 2019 Opening Reception Sunday, November 3, 2-5 pm (Please note end of daylight savings time)

Installation View Photo Credit: Doug Henry   Veteran Los Angeles painter Takako Yamaguchi is showing seventeen new paintings at As Is. These modestly scaled (18" x 24") oil on linen paintings present an inventory of simple shapes and forms of the kind we associate with the history of modernist abstraction; an association heightened by their nearly monochromatic white-on-white palette. Cutting against expectations of the genre, however, this minimalist imagery is all hand-painted by the artist from source photos in a trompe l'oeil style. The resulting artworks oscillate uneasily between the poles of abstraction and representation, high culture and kitsch, slow (production) and fast (reception) without finally settling in one camp or the other. In this, Yamaguchi extends a strategy of calculated ambiguity that began in her earliest "Pattern and Decoration" paintings of the 1980s, an example of which is included in the MOCA, Los Angeles exhibition With Pleasure, coinciding with her show at As Is.   as-is.la is an art gallery and exhibition space focusing on modern and contemporary art with an emphasis on local Los Angeles history and regional culture.

Website Email Instagram Facebook 1133 Venice Blvd, Los Angeles, California 90015 (Enter on Constance Street)

In the Bronx? Lehman College Art Gallery looks like a dood family fit Sunday Oct 27th - 1-4 PM

Sunday Family Program Sunday Family Program Sunday, October 27  1 - 4 pm FREE  Family program geared towards children between the ages of 3-12 and their caregivers. Look, learn, and create together! Enjoy a family tour of Progressive Transition: The NY Latin American Triennial 2019 and make art in our drop-in studio workshop!  Explore the work of Adrián Viajero Román, Caja De Memoria Viva III: Sobrevivientes - Digna Quiles, 2018.  Create your own 3-D paper sculpture and add objects made from clay and recycled materials. Our programs our made possible with generous support from: Milton and Sally Avery Arts Foundation, Jarvis and Constance Doctorow Family Foundation, Fidelity Charitable, Medora and John Geary Family Fund, Edith and Herbert Lehman Foundation, The New Yankee Stadium Community Benefits Fund, New York City Department of Cultural Affairs in partnership with the City Council, Cultural After School Adventures (CASA) through public funds from the New York City Department of Cultural Affairs in partnership with the City Council and the Honorable Andy King. SU-CASA through public funds from the New York City Department of Cultural Affairs in partnership with the Honorable City Council members Mark Gjonaj, Andy King and Ritchie Torres. DCA Cultural Immigrant Initiative through public funds from the New York City Department of Cultural Affairs in partnership with the City Council and the Honorable Andrew Cohen. New York City Department of Education New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.  Visit our website  ‌  ‌ #lehmancolledge#fineartmagazine#fun

Levey Gorvy Gallery: Opening Nov. 6/ 6-9 PM, through February 15,2020

LÉVY GORVY TO PRESENT NEW PAINTINGS AND WATERCOLORS BY GÜNTHER UECKER Günther Uecker: Notations November 7, 2019—February 15, 2020 Lévy Gorvy 909 Madison Avenue New York Opening Reception: Wednesday, November 6 | 6-8PM New York - Beginning November 7, 2019, Lévy Gorvy will present Günther Uecker: Notations, the artist’s first solo exhibition with the gallery in New York. Notations brings together new large-scale nail paintings with a selection of watercolors from series made by Uecker (b. 1930, Wendorf, Germany) during his global travels over the past three decades. The exhibition is the first to juxtapose these disparate bodies of work, which together provide deeper insight into Uecker’s practice and the sociopolitical concerns that have informed his artistic efforts over the past 60 years. Notations will be on view through February 15, 2020. To create his signature nail paintings, Uecker stretches canvas over thick panels of wood; works a mixture of white paint and carpenter’s glue into a dense, visceral surface; then hammers nails into the panels, varying their placement, angle, and groupings intuitively to form undulating painted reliefs that cast shadows in constant motion. Unified by pictorial composition and material presence, the nails project out into the viewer’s space, suggesting forces of growth and movement, unity and disruption, order and entropy. A highlight of this new series is Weisser Schrei (White Scream), a painting Uecker describes as a self-portrait. Uecker’s watercolors reveal a wholly different but essential part of the artist’s practice. Autonomous from but parallel to his studio work, the watercolors are made spontaneously “on the road” by an inveterate traveler responding to his experiences in far-flung locales. In the tradition of the Romantics, Uecker records the intense sensations evoked by landscapes, plant life, architecture, and qualities of light and atmosphere. Abstracting these encounters into idiosyncratic forms and intense colors, Uecker’s watercolors capture the artist’s sense of wonder at the natural world. Through these watercolors, Notations will explore the impact that Uecker’s travels across Australia, Brazil, Egypt, Germany, Israel, Japan, the United States, Vietnam, and other places have had upon him as an artist. Personal in nature and intimate in scale, Uecker’s watercolors are at the same time intensely public by virtue of his active engagement with outside world. By contrast, the nail paintings are profoundly private, made in the solitude of his studio in a performative, nearly ritualistic process. The repetitive, sonorous, and tactile operations that Uecker uses to create his nail paintings comprise a meditative practice. The two contrasting bodies of work are nevertheless united by their reliance upon fluidity: both nail paintings and watercolors express motion, physical change, and spiritual transformation. By bringing these two bodies of work together, Notations aims to invite new insights into the imperatives of Uecker’s groundbreaking art. In conjunction with Notations, Lévy Gorvy will publish the first English language book dedicated to Uecker’s watercolors. This catalogue will feature writings by the artist, as well as a conversation between Uecker and Hans Ulrich Obrist. About the Artist Günther Uecker has exhibited extensively around the world since the 1960s, with solo exhibitions held at Kunsthalle Bern (1966); Staatliche Kunsthalle Baden-Baden (1968); Moderna Museet, Stockholm (1971); Kunstmuseum Düsseldorf (1975); Staatsgalerie Stuttgart (1976); Nationalgalerie, Berlin (1982); Instituto Aleman de Madrid (1988); Museum Moderner Kunst Stiftung Ludwig Wien, Vienna (1992); Museu de Arte Moderna, Rio de Janeiro (1996); Martin-Gropius-Bau, Berlin (2005); Ulmer Museum, Ulm (2010); Tehran Museum of Contemporary Arts (2012); and Museo Nacional de Bellas Artes, Havana (2014); and the Imam Ali Religious Arts Museum, Tehran (2016). The Central House of Artists, Moscow, staged a retrospective of Uecker’s work in 1988. This exhibition was followed in 1993 by a retrospective at Kunsthalle der Hypo-Kulturstiftung, Munich, and a large-scale presentation of his oeuvre was organized by Kunstsammlung Nordrhein-Westfalen, Dusseldorf, in 2015. Uecker has been the recipient of numerous accolades, including induction into the German Pour le Mérite order for Sciences and Arts in 2000; the Berliner Bär, B.Z. Kulturpreis, Berlin, in 2005; the Jan-Willem-Ring from Dusseldorf in 2010; and the Staatspreis des Landes Nordrhein-Westfalen in 2015. Public institutions that house Uecker’s work include the Art Institute of Chicago; Solomon R. Guggenheim Museum, New York; Museum of Contemporary Art, Los Angeles; Museum of Modern Art, New York; Walker Art Center, Minneapolis; Hamburger Bahnhof, Berlin; Peggy Guggenheim Collection, Venice; Museum Ludwig, Cologne; Centre Georges Pompidou, Paris; Staatsgalerie, Stuttgart; Stedelijk Museum, Amsterdam; and Tate Modern, London. Günther Uecker lives and works in Düsseldorf, Germany. About Lévy Gorvy Lévy Gorvy cultivates a program devoted to innovation and connoisseurship in the fields of modern, postwar, and contemporary art. Founded by Dominique Lévy and Brett Gorvy, Lévy Gorvy maintains gallery spaces at 909 Madison Avenue in New York, in Mayfair, London, and in Central, Hong Kong. The gallery fosters continued dedication to the living artists and artists’ estates that it represents and offers a robust program of exhibitions and multidisciplinary events. The gallery also produces ongoing art historical research and original scholarship, publishing exhibition catalogues, monographs, and other key publications. The Zürich office, Lévy Gorvy with Rumbler, offers bespoke private advisory services to collectors and institutions around the globe. 909 Madison Avenue, New York, NY 10021, +1 212 772 200422 Old Bond Street, London W1S 4PY, +44 (0) 203 696 5910 Ground Floor, 2 Ice House Street, Central, Hong Kong, +852 2613 9568 www.levygorvy.com | @levygorvy #levygorvy#fineartmagazine

The Detroit catch the Detroit Institute of Arts

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Detroit Jewish Book Fair Presents Mary Gabriel, author of Ninth Street Women  This National Book Award finalist discusses her exhilarating chronicle of five women whose lives and painting propelled a revolution in modern art: Lee Krasner, Elaine de Kooning, Grace Hartigan, Joan Mitchell, and Helen Frankenthaler. Learn more >

Friday Night Live! Jenny Scheinman and Allison Miller’s Parlour Game Two of the indie-jazz scene’s foremost instrumentalists unite on a collaboration that mingles panoramic Americana-infused arrangements with a Brooklyn jazz pocket. The result is as ambitious as only violinist Jenny Scheinman and drummer Allison Miller could envision. Learn more >

Book Lecture | Seeing the Sacred in Samsara Renowned Professor of Buddhist Studies at the University of Michigan, Donald S. Lopez, Jr. will discuss his new book. Lopez will offer historical, aesthetic, and religious insights, giving a sense of the nuanced narratives and themes illustrated in the paintings. Learn more >

Ballet Folklórico de Detroit Celebrate the Day of the Dead with special performances by Ballet Folklórico de Detroit, a Mexican folkloric dance group based in southwest Detroit that aims to preserve the culture of Mexico and promote positive growth within the community. Learn more >

Detroit Film Theatre | Los Reyes In Santiago, homeless dogs Futbol and Chola are not really homeless at all. Scrappy and irresistible, they live in Los Reyes, the city’s oldest skateboard park, kept company by dozens of teenage boys in constant motion. Learn more >

Every Thursday at 1 p.m., we welcome adults 55+ with special free programming including films, lectures, art-making, and tours followed by a complimentary coffee and cookie reception.

Enjoy free family fun every day at the DIA with art-making, performances, games, tours and activities for kids of all ages.

Join us in your hometown with DIA Away's mobile interactive studio, Behind the Seen lectures, and Inside|Out, high-quality art reproductions.

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