Lehman College Art Gallery Free Concert Series Thursday, April 18 1:00 pm

Free Concert Series VISITORS MUST PRESENT FREE TICKET AND PHOTO ID AT THE GATE FOR ADMISSION Join us for an afternoon of music surrounded by art!  Thursday, April 18 1:00 pm Concerts in the Heights Presents Letters to Home “Letters to Home” We are having a closer look at the American Indian Boarding School experience. Original songs by Karl Kramer, as well as new arrangements of period pieces, are juxtaposed with readings and quotes from scholars and alumni. Our goal is to learn something about a complicated and painful part of our history while creating beautiful art and celebrating American heritage. Soprano: Cristina Maria Castro (pictured) Narrator: Mizan Kirby Violins: Monica Bauchwitz, Lily Holgate, Keiko Tokunaga, Sunghae Anna Lim Cello: Ari Evan CLICK HERE FOR FREE TICKETS We are located in the Fine Arts Building. Our Address is : 250 Bedford Park Blvd West Bronx, NY 10468 For more information please contact: lehmancollegeartgallery@gmail.com or 718.960.8731 Annual Gallery programs are supported in part by: NYC Department of Cultural Affairs, New York State Council on the Arts Jarvis and Constance Doctorow Family Foundation.

Lehman College Art Gallery | 250 Bedford Park Blvd. West, Bronx, NY 10468 #lehmancollegeart#fineartmagazine#fineartfun

Grayson Chandler exhiits at at the Matney Gallery in Williamsburg, Virginia! Planting Traces April 20th - June 20th

Congratulations to Grayson Chandler  for his upcoming solo at the Matney Gallery in Williamsburg, Virginia! Planting Traces April 20th - June 20th Tide Pool II, 2024, Watercolor and Gouache on Paper, 13.5 x 10 inches, $1,200 Planting Traces, the title of Grayson Chandler’s 2024 Spring solo, alludes to the manner of abstraction that permeates his artwork. Embedded in his process is the idea of allowing subliminal matters the space and time to grow into something more observable, so that something more illuminating may take root. This preoccupation with observation stems from a belief that meaning emerges out of mindful cooperation with one’s surroundings, and that as one becomes more mindful of their environment, a sense of destination is nurtured.  Fountainhead, 2024, Watercolor on Paper, 30 x 22 inches, $3,100 Planting Traces suggests a connotation of passage and growth, imbibing the artwork with an undercurrent of cause and effect. Yet, despite these cyclical overtones, Chandler’s work remains uninhabited by chronological order. Instead, his work echoes outside of history, arousing a place that seems suspended in its own time. What ultimately germinates between Chandler’s artwork and those it attracts, is a place where viewers are given room to grow mindful regarding the nature of their own perception.   Deborah Colton Gallery | 2445 North Boulevard, Houston, TX 77098

#deborhacoltongallery#firnartmagazine#fineartfun

Lehman Colledge Art Gallery: Latin Artists

A Celebration of Latin American Printmaking in the Bronx Artist Talks VISITORS MUST PRESENT FREE TICKET AND PHOTO ID AT THE GATE FOR ADMISSION Presented by The Lehman College Art Department and the Lehman College Art Gallery Featuring: Moses Ros and John Mejias MOSES ROS: Moses Ros is a Dominican-American sculptor, painter, and printmaker who lives and works in the Bronx. Ros has created public art commissions for the New York Department of Cultural Affairs, Bronx Council for the Arts, New York City Housing Authority, and Metropolitan Transit Authority. Ros is a member of the artist collective Dominican York Proyecto Grafica (DYPG) and ArteLatAm. Recently, the Metropolitan Museum of Art has purchased a portfolio of prints from the DYPG. JOHN MEJIAS: John Mejias’ book The Puerto Rican War provides a visual and historical account of the 1950 episode in intricate woodcuts. The book is being published by Union Square and Co. in May 2024. Mejias is a printmaker, comic book artist and high school art teacher in the Bronx. He is an alumni of Lehman’s Art Dept as both an MFA in 2013 and an MA in Art Education in 2022. His book is in the collection of the Metropolitan Museum of Art Library and his woodcut zines are in the MoMA’s permanent collection. Refreshments will be served! Tuesday, April 16 6:00 PM CLICK HERE FOR FREE TICKETS We are located in the Fine Arts Building 250 Bedford Park Blvd West Bronx, NY 10468 For more information please contact: lehmancollegeartgallery@gmail.com or 718.960.8731 This program is made possible with support from the Edith and Herbert Lehman Foundation, Jarvis and Constance Doctorow Family Foundation, Milton and Sally Avery Arts Foundation, Pierre and Tana Matisse Foundation, the NYC Department of Cultural Affairs, the New York State Council on the Arts, New York City Council Member, Jeffrey Dinowitz and The Art Department of Lehman College Art Gallery

Lehman College Art Gallery | 250 Bedford Park Blvd. West, Bronx, NY 10468 #lehamncolledgeartgallery#fineartmagazine#finearfun

Last Chance today! AM New York Featured Exhibition | Closing This Saturday at Storage

52 Walker St, 4th Floor, Tribeca   CLOSING THIS SATURDAY Last day on view: April 13th from 12-7pm   ARISTOTLE FORRESTER, KATHRYN GOSHORN, LOUISA OWEN, MARCUS LESLIE SINGLETON, SEBASTIAN BURGER, ELIZABETH FLOOD, & WEN LIU rotate into selections from MICHIKO ITATANI's 5-month solo presentation.   Storage is pleased to share that our current exhibition, Press Release (Cycle VIII), is featured in AM New York. Read more in AM NEW YORK   Please join us at the gallery in Tribeca before the exhibition closes this week. Presenting artists Aristotle Forrester, Kathryn Goshorn, Louisa Owen, Marcus Leslie Singleton, Wen Liu, Sebastian Burger, Elizabeth Flood, and Michiko Itatani, this exhibition is held in extension of the gallery’s ongoing, rotational exhibition survey, Press Release (2022-present), featuring international and overlooked artists.

Click here for CHECKLIST   Aristotle Forrester explores personal narratives of loss, mythologies, and of the Black experience to ground his work within the expanding field of contemporary abstract painting. Extending lines of inquiry that originate in the modalities of mid-century artists including Willem de Kooning and Joan Mitchell, Forrester develops upon the idea of a figurative landscape with gestural, loaded brushstrokes to release an expressive quality upon his thick, luscious canvases.   Kathryn Goshorn builds images in depiction of the human condition, the purpose of life and how behavior can affect its quality. Goshorn contemplates a duty to understand the space we take up and our influence as we move through the world and interact, leaving those echoes of action, or cause and effect, where the effect is irreparable and one is left to speculate about the cause.    Louisa Owen’s works posit paper as a membrane material, able to soak and absorb the atmosphere into itself. Reminiscent of the bodily forms and orifices found in Lee Bontecou’s wall sculptures or recent paper works by Lynda Benglis, Owens develops abstracted, organic structures simultaneously suggestive of a cave or a spinal column. Emphasizing durability and the architecture of such a frame in place to support the facilities of the body, Owen’s sculptures provide chambers and inlets for holding expressions of spirituality, meditation, loss, and stasis.   Marcus Leslie Singleton is a Seattle born artist celebrated for his distinctive figurative paintings that deftly intertwine personal observations with broader societal themes. Singleton’s process demands a delicate balance of interpretation and recollection. Through natural, carefree, and playful brush strokes, his work offers meditations on broader issues of race, representation and the historical significance of everyday moments. Using spontaneity, scale, and expressive placement of color, Singleton’s paintings offer a jovial yet serious perspective that is both poignant and bold.   Wen Liu’s sculptures address loss and abandonment through the modification and assembly of found materials. She uses reclaimed domestic objects to build up her sense of belonging and security. Sculptural reinvestment and temporal shift of traces from past to present imply narratives of absence and presence as well as alienation and comfort. Liu ‘s work balances between the contiuums of temporality and permanence, seeking to address the disparities between public recollection and private memory.   Sebastian Burger’s practice walks a fine line between representative and abstract painting. The starting point for his work consists of stylized imagery, often composed in a manner akin to collage, alternating precisely executed illusionism with two-dimensional representation. His work bears the influence of the legacy of surrealism and magic realism, as well as the metaphysical painting of Giorgio de Chirico, who has become a center of interest for a strong current of the emerging generation of young artists.   Michiko Itatani (b. 1948) is a Chicago-based painter. Itatani studied literature and philosophy in her youth before relocating to the US in the 1970's, where she studied visual art at the School of Art Institute of Chicago. She has received the National Endowment for the Arts Fellowship, the Marie Sharp Walsh New York Studio Grant and the John Simon Guggenheim Fellowship among others. She was selected by the Women’s Caucus for a Lifetime Achievement Award 2020.   Storage is an artist-run gallery founded by Onyedika Chuke on the ideals of community, discovery, and connoisseurship. Located in Tribeca and with a viewing room on the Bowery, Storage acts as an archive of makers that work in a range of materials and come from a wide demographic background. Half of the roster is dedicated to reinvigorating the careers of artists of historical prominence, while the other half focuses on nurturing rising artists. RECENT GALLERY PRESS Michiko Itatani at Storage, Artforum March 2024   Read more in ARTFORUM

Storage, 52 Walker St, 4th Floor, New York, New York, United States, 10013, Tuesday-Saturday, 12-7 pm #fineartmagazine#storagenewyork#fineartfun

Cooper Cole INSTALLATION: JENNIE JIEUN LEE | STRAWBERRY NOSE | UNTIL MAY 4, 2024

Jennie Jieun Lee Strawberry Nose March 22 - May 4, 2024     To view full installation documentation and artworks click here.     For sales and press inquiries please contact the gallery: info@coopercolegallery.com +1.416.531.8000         COOPER COLE is pleased to present, Strawberry Nose, a solo exhibition by Jennie Jieun Lee. This exhibition mark’s the artists third solo exhibit at the gallery and will run from March 22 – May 4, 2024 in the gallery’s west exhibition space.    The actions around the creation of the works in this exhibition is centered around the concept of the ready-made, a term first coined over 100 years ago by the artist Marcel Duchamp. His most notable work, a facsimile of a urinal aptly titled Fountain, was made from porcelain using a slip-cast mold and marked a defining conceptual moment in the cannon of art history. Flash forward 117 years and we find ourselves in the present, a time where environmental concerns around global warming are at the forefront of conversation, and artists with sustainable practices prove to be the voice of the time. To this effect, it was serendipitous when Jennie came across a large collection of ceramic molds from Holland and Alberta, two now defunct companies active in the 1970-80’s that are best known for creating a series of decorative homewares such as animals, tchotchkes, knick knacks, bookends, tableware, etc. There is an undeniable sense of nostalgia in the imagery and no doubt you would have seen examples on your grannies shelf, or collecting dust in a thrift shop over the years. Building upon pre-existing forms designed for mass enjoyment, Jennie created this body of work to initiate dialogue surrounding domesticity, representation, history, and consumption, highlighting the evolving nature of each over time. Some of Jennie’s found molds have never been poured, while others are well worn from multiple pours over the years. Each pour has been further manipulated by the artist by way of shape or glaze as they enter into a new dialogue. As a sign of the times in which they were created, many of the molds are titled with culturally insensitive names. One mold in particular, Polynesian Woman Bust has been repatriated by the artist in critique of the tropes defined by the western lens of Orientalism. While exploring ideas of representation is a fundamental concept in Jennie’s practice, she actively leaned away from using molds with antiquated racial stereotypes to instead focused on the more domestic designs. Figures of thimbles, vases, felines (an homage to Penelope Umbrico’s ceramic cats series), literature, and fruits are all in the mix. One mold in particular is a heap of strawberries, which led to the title of the exhibition, Strawberry Nose, a childhood nickname she and her sister had given to her mother in reference to the size of the pores on her face. This childhood critique of beauty is mirrored in the exhibition design. Sculptures are organized in a classical sense, unique groupings, each presented on plinths reminiscent of still life tableaus. They are set against a voluminous fabric backdrop, a draping photographic curtain titled Bruises which captures the intimate brushstrokes from one of Jennie’s expertly glazed stoneware vessels. This installation evokes battered sensibilities of the Renaissance, an impression that is advanced by the wall-based works in the show, a collection of bricolage objects that defy traditional definitions of a painting. Airbrushed and graffitied panels are layered with ceramic objects adhered to the surface (over-fired dishes recycled after use by the artist and her students for snacking during class at the School of the Museum of Fine Arts at Tufts University). These pieces offer a disparate portrayal of nostalgic domesticity and critique towards the formalism of art history. As a disruptor, Jennie Jieun Lee's work continually pushes viewers to reconsider the traditional distinctions between sculpture and painting. Her pieces prompt us to question not only how artistic boundaries are evolving but also how societal and cultural influences shape our perceptions of world.    Jennie Jieun Lee (b. 1973 Seoul, South Korea) is a ceramist who has spent more than ten years defying the conventional limitations of her chosen media. The experimental approach to her practice sees her capitalize on the natural fragility of her medium, and apply a unique abstract gestural method to glazing. Her works range in scale from domestic size vessels to wall based compositions, to large scale structural installations. Conceptually her work is driven by ideas which speak towards representation, art and societal histories, and form. By challenging the historical perception of ceramics as symbols of controlled domesticity, Lee crafts busts, vessels, and paintings that blur the line between intention and chance, beauty and distortion. Lee earned her MFA from California State University Long Beach and a studio diploma from the School of the Museum of Fine Arts, Boston. She is the recipient of several grants including Tisch Faculty Fellowship (2022), Art Matters Foundation Grant (2019), The John Simon Guggenheim Memorial Foundation Fellowship (2017), and the Pollock Krasner Foundation Grant (2016). She has collaborated with fashion designer Alexander McQueen; and her work can be found in the permanent collection of the Pennsylvania Academy of Fine Art. Recent exhibitions include Cooper Cole, Toronto; Alexander Gray Associates, Germantown; AF Projects, Los Angeles; Halsey McKay Gallery, East Hampton; Shulamit Nazarian, Los Angeles; Martos Gallery, New York; The Pit, Glendale; and Marlborough Chelsea Viewing Room, New York. Lee currently teaches ceramics at School of the Museum of Fine Arts at Tufts University and lives and works in Sullivan County, New York, USA. Special thanks to Graham Collins, Dominic Neitz, Wallpaper Projects, SMFA CLAY, and Daniel Grudder for their assistance with this exhibition.     Jennie Jieun Lee Strawberry Nose March 22 - May 4, 2024     For sales and press inquiries please contact the gallery: info@coopercolegallery.com +1.416.531.8000

CURRENT EXHIBITIONS   The Way We Live Marvin Luvualu Antonio Van Maltese Jenine Marsh Kate Newby Paul P. Fin Simonetti   April 9 - May 10, 2024 Conceptual Fine Arts Via Gioacchino Rossini, 3 20121 – Milan, Italy   To learn more about the exhibition please visit our website.   Hangama Amiri Circle of Friends March 22 - May 4, 2024   To learn more and view full documentation please visit our website.

COOPER COLE 1134 + 1136 Dupont St., Toronto, Ontario M6H 2A2, Canada   Thursday - Saturday: 12 - 6pm Book an appointment   info@coopercolegallery.com +1.416.531.8000 Instagram   coopercolegallery.com #coopercolegallery#fineartmagazine#fineartfun