Paintings, sculpture, video, film and works on paper by 35 contemporary artists chosen from over 100 nominees submitted by the members of the Academy. The recipients of the Academy's Art and Purchase Awards will be selected from this exhibition.
IMAGE: Kyle Staver, Sailors and Sirens, 2017, Oil on Canvas, 64 x 54 in. / 162.5 x 137 cm.
Paul Laffoley (1935-2015) was a dreamer. That is what he was called by his mentor, the visionary architect Frederick Kiesler (1890-1965), who he met while in his mid-twenties and under whom he apprenticed for about a year in New York. Laffoley was never able to determine if Kiesler's remark was a compliment or an insult, but it is perhaps no coincidence that his career as an artist began with a dream. In July of 1961, after having been subjected to multiple sessions of electric-shock therapy for a condition of catatonia (a state of lethargy caused by a mental disorder), he dreamt that he attended an art exhibition containing sculptures that were so precise in their expression that he was overwhelmed. "All the forms I've been thinking about or could think about for years and years to come," he later recalled, "are expressed in this work." He would spend the next fifty years creating works of art that attempted to approach the clarity of vision expressed in those sculptures, paintings that are so complex, transdisciplinary, theoretical and all-encompassing in their message that they are best described-like the architecture of Frederick Kiesler-as visionary.
IMAGE: Paul Laffoley, The Visionary Point, 1970, Oil, Acrylic and hand applied, vinyl letters on canvas, 73 ½ x 73 ½ in. / 185.4 x 185.4 cm
The Shelley & Donald Rubin Foundation is pleased to present "The Schoolhouse and the Bus: Mobility, Pedagogy and Engagement," an exhibition pairing, for the first time, work by two leading artists of the social practice movement, Pablo Helguera and Suzanne Lacy. On view at The 8th Floor from February 9 through May 12, 2018, "The Schoolhouse and the Bus" highlights a touchstone work by each of the artists executed in the Americas but never shown in their entirety in the United States - Helguera's "School of Pan-American Unrest" (2006) and Lacy's "Skin of Memory" (1999), a collaboration with Pilar Riaño-Alcalá. Comprised of installation, collage, sculpture, ephemera, photography, video, as well as archival documentation, this exhibition serves to highlight overlapping themes in their works, which include immigration, pedagogy, violence, memory, and community organizing.
Antoni Muntadas, an iconic figure in international art, is building a trans-disciplinary discourse centered on criticism of the media; he places the extensive function of art in interaction with social sciences, the mass media and the new information technologies to reveal the linguistic mechanisms of power. In the seventies he created the term media landscape to give a name to this new landscape, which has been, since then, the main goal of his investigation.
Strategies of Displacement is an exhibition that reviews Muntadas' work through specific projects and incorporates his recent shift towards landscape. The author marks a route that steers towards an unstable territory, one that raises questions, in a selection of projects that converge around three ideas: losing (yourself), disappearing, going (away).
IMAGE: MUNTADAS, La Siesta/The Nap/Dutje, 1995, DVD video playback with draped armchair and sound, Eight minutes of video and sound on continuous loop, 120 x 168 x 240 inches, No. 4 from an Edition of 6
On view in the exhibition, Black Belmondo is a reworking of the last shot of Jean-Luc Godard's Breathless, where Jean Seberg traces the outline of her lips with her thumb. Seberg's gesture was appropriated from Jean-Paul Belmondo who has just died from gunshot wounds in front of her on the streets of Paris. Belmondo himself had appropriated the gesture from Humprey Bogart in one of Godard's playful references to Hollywood cinema. Adams extends the evolution of this borrowed gesture, by transforming it into a make-up application of traditional Black Face, suggesting a link to Seberg's real life identification with the Black Panthers.
IMAGE: Dennis Adams, Black Belmondo, 2008, Single Channel Video [152 Seconds, Loop], No. 1 from an edition of 3
The exhibition unites more than two hundred and fifty works by twenty-one seminal and recently discovered self-taught artists including rare manuscripts, series of drawings, illustrated notebooks with coded texts, expanding cartography and journals providing an art historical and pluridisciplinary perspective on the mechanisms behind visual storytelling. Works and original journals by Paul Laffoley will be on view with contributed notes by Elyse Benenson. Curated by Valerie Rousseau, the exhibition has been co-produced with the LaM, Lille Metropole Musee d'art modern, d'art contemporain et d'art brut, Villeneuve d'Ascq, France.
Paul Laffoley is also the subject of a recent monograph published by the University of Chicago Press entitled The Essential Paul Laffoley.
IMAGE: Paul Laffoley, Alchemy: The Telenomic Process of the Universe, 1973, Oil, acrylic, ink, and hand applied lettering on canvas, 73 1/2 x 73 1/2 in. / 185.4 x 185.4 cm.
Varujan Boghosian (American b 1926) holds a deep fascination with objects that evoke the past. As much a collector as an artist, he scours antique shops and flea markets for materials to use in his imaginative sculptures and collages. By cleverly combining and recontextualizing our castoffs-books, cards, toys, figurines, tools, glass, twine-he exploits their expressive power in sly, often poetic ways.
IMAGE: Varujan Boghosian, The Magician, 1980, Wood, Iron, Leather, Found Objects, 35 x 29 x 13 ½ in. / 89. X 73.7 x 34.3 cm, Exhibitions: Cordier & Ekstrom, New York, 1980
Comprising over 150 pastels from its collection, this exhibition is an exhaustive overview of the main artistic currents of the second half of the 19th-century, from Impressionism to Symbolism.
IMAGE: Irving Petlin, STORMS: Yellow Sail (après Redon), Pastel on Handmade paper, 19 ¾ x 28 in.
Tracing connections from early to recently acquired objects, this presentation is the first in a series to explore the origins and thematic through lines in the Rose Art Museum’s collection. Beginning with the Surrealist-inspired paintings and collages of Joseph Cornell, André Masson, and Max Weber, the gathered works of this iteration focus on the body to evoke the contradictions aroused by and rooted in this typically familiar subject.