For 32 years, artists Antoni Muntadas and Marshall Reese have been compiling a history of presidential campaign spots following the evolution of political advertising from its beginnings in1952 to the present. Political Advertisement is a personal vision of how politics and politicians are presented through the medium of TV.
For the past nine general elections, the artists premiere the latest version of the tape in a public presentation, followed by a discussion about the impact of campaign advertising.
This year, author Michelle Goldberg will moderate a discussion on the role of advertising in the 2016 election. Michelle Goldberg is a columnist at Slate and the author of several books, including Kingdom Coming: The Rise of Christian Nationalism, and The Means of Reproduction: Sex, Power and the Future of the World. Her work has appeared in publications including The New Yorker, The New York Times, The Washington Post, Newsweek, The Guardian and many others. She lives in Brooklyn.
Occurring during the final weekend of this year’s campaign, this event will offer a timely and important outlet for discussion as many prepare to cast their ballots.
Free and open to the public, no RSVP required.
by William Echardt Kohler
by John Yau
John Yau of Hyperallergic writes an extensive and glowing review of Kyle Staver's new paintings at Kent Fine Art, on view through October 22nd.
by Casey Lesser
A new crop of fresh talent kicks off the summer months at galleries across New York, spanning solo debuts and smart group shows to complement your social media addiction or upturn perceptions of the female form.
"On Painting" at Kent Fine Art
This invitational group exhibition features a multi-generational posse of contemporary artists exploring the human figure, female equality, anxiety, mythologies, fear, absence, and landscape through painting.
The show is curated by gallery press and media coordinator Katrina Neumann and includes the work of Eve Ackroyd, Jon Campbell, Heidi Hahn, Janice Nowinski, Stefan Pehl, and Kyle Staver. According to the gallery release, "this is the first time that many of these painters have exhibited in Chelsea."
Location: 210 Eleventh Avenue, between West 24th and West 25th Streets, second floor
Time: 6:00 p.m.–8:00 p.m.
Interview by Richard Metzger with Douglas Walla
DENNIS ADAMS' IN THE RED OPENS AT KENT FINE ARTS
BY Eduardo Andres Alfonso
Dennis Adams' In the Red explores (and exploits) the intersectionality of commercial imagery and art
Dennis Adams’ In The Red, on view now at Kent Fine Arts, presents a set of 47 compositions that pair a line of text over an image, many of which are signs and advertisements photographed on the street. The strategy is not something unfamiliar to most in fashion; The sans serif font over very seductive images could have found themselves easily in the mix of the most recent Vetements show, which featured quotes like, “May the bridges I burn light the way,” attributed to Dylan McKay, the rebellious heartthrob from Beverly Hills 90210. Adams’ texts similarly shares this deadpan tone. One print reads “I barely part my lips for the cheap ones,” over an image of a discarded money pouch (very possibly a lost Comme de Garçon’s wallet). Another print nestled the words, “When I know I’m never coming back I always steal a little something,” into a photo of a peeling Diesel ad campaign from Spring/Summer 2015, left to disintegrate on a SoHo street corner. These instances (and many other moments in the show) present a thought on decay. They describe not only the after life of images, who far outlive their intended sales strategies, but also the afterlife of events that are run on cable news for a week and then relegated to the same fate as ad campaigns.
While fashion and its symbiotic relationship with images and writing seem to be projective, In The Red comes off mostly as sadistically commemorative. The visual language of the fashion world gets turned upside down to remind people of corporate greed, beloved icons turned sex-offenders, and former Secretary of Defense Donald Rumsfeld. This juxtaposition creates an allure to recollections of not-so-favorable events, or draws one into puzzling remarks about the Immaculate Conception and desire. Navigating the prints, which are hung salon style in Kent Fine Arts’ second floor space, creates links between probably unrelated but possibly related content. This might come across as a surrealist-associative game, but it’s not really that highbrow. In The Red, through its own condensed form, creates a small reenactment of what most of us, whether in the role of consumers or connoisseurs, are doing all the time: associating images (of which we see many) with absolutely unrelated thoughts about rebellion, sexual prowess, and love. It lays bare that process and presents room-sized version of the associative game we play between images and culture in the world. The game here oftentimes is baffling and feels like it’s going above your head, but is more frequently pointed and uncannily personal. The personal moments serve as a reminder that many of the phrases and icons we take stock in are not so much our own, but shared cultural visions waiting to be distilled into image, type, and color.
In The Red is on view now at Kent Fine Arts through May 27
Real Academia de España en Roma
3331 Arts Chiyoda
March 20 – April 17, 2016
The exhibition title "Asian Protocols" refers to various conventions related to certain official and private matters either in society generally or in people's personal lives. When used in different situations, the word "protocol" can have a variety of meanings, such as a diplomatic procedure, an agreement and/or a document stipulating such an agreement, a system of customs and rules operating in society, the rules and methods regulating a scientific or artistic field, or the procedural methods and rules governing computer-based telecommunications, etc. These protocols encompass a great variety of procedures, and according to Muntadas, they have the power to define and control society and to influence it in many kinds of ways.
This exhibition is an attempt to reveal visually some of the similarities and differences as well as the conflicts that exist between three countries that are located so near to and yet so far away from each other.namely Japan, China and Korea.by researching the protocols operating in each of these countries and by creating installation works as a means of assembling images collected in various places within these countries. The first exhibition of this series was held at the Total Museum of Contemporary Art in Seoul in 2014, and following the opening of the present exhibition in Tokyo in March 2016, a similar exhibition will be held in Beijing in the near future. These exhibitions are being developed through collaboration with various researchers in each country.
Each exhibition venue is regarded as a platform that can serve as a forum for discussion, including by members of the general public, students, teachers, and specialists in the social sciences. By making us conscious of the diverse protocols suggested by the artist, the exhibition can provide us with a renewed awareness of matters we normally tend to overlook or avoid discussing, with the result that we will once again recognize the past and present and begin talking about the future.
"Private and public protocols organize and define society and our lives. They generate a set of regulations that exercise a sustained influence over our private as well as over our public behavior. Rituals, conventions, rules . protocols cover a variety of procedures and, in one way or another, they attempt to use, define, control or exercise power." —Muntadas, 2006
March 20 – September 4, 2016
Humans have always dreamt of flying. We have always yearned to cast aside the limitations of our bodies and achieve the ultimate freedom. Since the renaissance, this dream has resulted in the most fantastic inventions and mad experiments – not merely as a means of getting from A to B, but equally as a means of examining ourselves and the world in which we live.
The major spring exhibition The Dream of Flying tells the sensational and sensory story of the drama of flight. This dream represents a longing for freedom and a yearning for not just thrills, but also fear and courage. By showcasing some of the most remarkable ying phenomena, the exhibition gives us an insight into the journey from earth to sky. Look forward to experiencing everything from magni cent ying machines, gigantic jumbo jets, bird- men, sexy stewardesses and spectacular crashes. Each of these elements has given form and life to the myth surrounding the modern human’s ceaseless drive to succeed.
The installation invites audiences to discover the mighty fairy-tale panoramas of Chicago janitor Henry Darger, the recycled kingdom of visionary Indian roads-engineer Nek Chand Saini, the towering visions of Chinese factory worker Guo Fengyi, and Sam Doyle, the African-American whose graphic visual histories inspired Jean-Michel Basquiat.
This monumental exhibition also includes some of the mid-20th century authors made famous by the artist Jean Dubuffet, such as Augustin Lesage, the miner and spiritualist, and the anonymous faces known as Les Barbus Müller. More recent discoveries include Romanian street collagist Ion Bîrlădeanu and Japanese wrestling fanatic Tomoyuki Shinki. There are artists from the Netherlands too, from the self-obsessed biographic illustrator Willem Van Genk, to emerging studio creators like Marianne Schipaanboord and Paulus de Groot. Throughout the space, these artworks are accompanied by short films and easy-to-read essays from internationally renowned artists, including Paul Laffoley, David Byrne, Ed Ruscha, Marlene Dumas, John Baldessari, Grayson Perry and many more.
Rose Art Museum at Brandeis University
Mildred S. Lee Gallery
Beginning December 3, 2015
Inspired by the just demands of Brandeis University students for immediate actions that will promote racial awareness and inclusion [#FordHall2015], the Rose Art Museum has committed its Lee Gallery to a series of teach-ins, workshops, and close looking sessions related to racial injustice and inequality.
Featured Work: Annette Lemieux, Left Right Left Right, 1995.