From the gallery:

‘Nudge the Judge’ is Jamian Juliano-Villani’s first solo exhibition in Europe. On view are eight new paintings that pluck influence from fetish culture, exhibitionism, curiosities of nature, and her ever-growing register of imagery pulled from popular culture. Juliano-Villani’s canvases pack such a volume of imagery and reference that they betray their pop-y superficiality almost immediately. A glance at one painting can reveal quotations as far reaching as Mondrian, Caulfield, and George Ault, to the legendary illustrators such as Ralph Bakshi and Mort Drucker. Made to act in new roles, Juliano-Villani’s characters are deployed by the artist as totems of class politics, misogyny, racism, consumerism and self-doubt.

‘Nudge the Judge’ assembles a cast who seem to catch us as voyeurs, while at the same time acknowledging and welcoming their viewers’ gazes. A blow-up doll plays the piano in ‘The Entertainer’. A topiary fondles himself in one work, a half-dolphin in garters and an apron looks becomingly back at us in another. For as much a Juliano-Villani exploits quotation and collage, these paintings hold a psychology that is entirely their own.

Jamian Juliano-Villani lives and works in Brooklyn. Her work has been exhibited widely over the past three years including exhibitions at JTT, New York; Gavin Brown’s Enterprise, New York; SculptureCenter, New York; Night Gallery, Los Angeles; and MOSTYN, Wales. Her first institutional show was held at the Museum of Contemporary Art, Detroit this January, curated by Jens Hoffmann. Juliano-Villani is preparing a solo exhibition at Studio Voltaire, London in 2016, which will be accompanied by a catalogue. Her work will be featured in the upcoming exhibitions ‘Unorthodox’ at the Jewish Museum, New York, and ‘Greater New York’ at MoMA PS1, New York. 

An artist’s monograph will be published by KARMA, New York this December.

more information on tanyaleighton.com

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Yayoi Kusama’s latest exhibition titled ”Give me love” will be held at the David Zwirner Gallery in New York during May 9 – June 13, 2015.

”David Zwirner is pleased to present Give Me Love, the gallery’s second exhibition with Yayoi Kusama in New York. On view in two spaces, 519 and 525 West 19th Street, will be new paintings from the celebrated My Eternal Soul series, new polka-dotted pumpkin sculptures, and the artist’s seminal installation The Obliteration Room from 2002.

Widely recognized around the world, with a recent survey of museum attendance ranking her as the most popular artist in 2014, Kusama has shaped her own narrative of postwar and contemporary art. Minimalism and Pop art, abstraction and conceptualism coincide in her practice, which spans painting, sculpture, performance, room-sized and outdoor installations, the written word, films, fashion, design, and architectural interventions. ”

more information available on davidzwirner.com

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Like a great skeptical underground project, Shrigley’s conceptual, idea-based art is a never-ending stream of curious propositions and eccentric moral dilemmas. With acerbic humor and strangely profound insights, the artist lays bare the ambiguities, comedy and pathos of everyday life. According to the artist, most aspects of life have the potential to be “ridiculous, absurd, awkward, funny and meaningless all at once.”

Shrigley has consistently experimented with different media and formats, although drawing has been the mainstay of his practice. This exhibition focuses on the economy and eloquence of his unique, funny drawings on paper, with their pared-down, crude graphic forms and puttering script. In all these works, the artist furthers his exploratory unraveling of the world around him with images and words that beckon the viewer to enjoy the liberating power of a good laugh.

Images & text courtesy of Antorn Kern Gallery

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MARCIN MACIEJOWSKI

Unsettled Matters

17 April to 17 May 2015

@ Wilkinson Gallery, London

”Maciejowski paints people in his life, scenes from the media, famous people, and artists, writers and other cultural figures. The paintings that reference other artists could be read as a form of institutional critique, as Maciejowski performs the act ofreimagining moments of history and culture that interest and influence him. The choice of title of the exhibition – Unsettled Matters – is a conscious reference to an article about contemporary art that refers to the past. Often art that does this accumulates these references in a kind of constellation of selfvalidation, creating a hollow surface that looks like art but would collapse if these references were removed. In opposition to this, Maciejowski’s approach to the representation of these people is the same as his approach to painting a person he loves. The images he selects to paint are the accumulation of a vocabulary of how he experiences the world – a strange concoction of the banal and the sublime, like feeling painfully sad in a theme park.

Kathy Noble”

Images & text courtesy of Wilkinson Gallery

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She has a strong connection to the UK, undertaking her ceramics conservation training at West Dean College in West Sussex. She also completed an internship in the ceramics conservation lab at the Victoria and Albert Museum. She then went on to work for Plowden and Smith in Wandsworth before returning to Australia where she is now a highly sought after conservator working for many top institutions including The National Gallery of Victoria, Heritage Victoria, the Museum of Victoria and members of the Ceramics and Glass Circle of Australia.

She has completed a Bachelor of Laws (LLB), La Trobe University, Melbourne 1997, a Graduate Diploma (Ceramics and Glass Conservation and Restoration), West Dean College, United Kingdom, 1990, and a Bachelor of Art (Fine Art Ceramics) at RMIT University in Melbourne, 1987.

She has exhibited internationally and extensively in Australia. Solo exhibitions include iPROTEST, Art Basel Hong Kong (2013), Political Porcelain, Museum of Australian Democracy, Old Parliament House, Canberra (2011/12), Life is a Riot, Albury Library Museum, Albury, NSW (2012) and Penny Byrne: Commentariat, a Deakin University touring show (2011/12).

Byrne’s work is currently featured in the exhibition Melbourne Now at the National Gallery of Victoria (2013/2014).

In 2010 Byrne was the subject of a documentary for the ABC TV program Artscape.

Her work is held in numerous public and private collections in both Australia and internationally.

Photo: artnau.com

Photo: artnau.com

Photo: artnau.com

Photo: artnau.com

Photo: artnau.com

Photo: artnau.com

Photo: artnau.com

Photo: artnau.com

Photo: artnau.com

Photo: artnau.com

Photo: artnau.com

Photo: artnau.com

Photo: artnau.com

Photo: artnau.com

Photo: artnau.com

Future exhibitions:
Fehily Contemporary
Penny Byrne, Felled (After the Dying Gaul)
9 October to 1 November
Opening Saturday 11 October, 3 to 5pm

3a Glasshouse Road
Collingwood, Victoria
Melbourne, Australia

via artlyst.com

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Vitturi – who lives locally – feels compelled to capture its distinctive nature before it is gentrified beyond recognition. Vitturi arranges found objects and photographs them against backdrops of discarded market materials, in dynamic compositions. These are combined with street scenes and portraits of local characters to create a unique portrait of a soon to be extinct way of life.

Photo: thephotographersgallery.org.uk

Photo: lorenzovitturi.com

The makeshift sculptures he creates mimic the organic and temporary nature of the market, and documenting this by photographing the objects is the way in which they endure before diminishing once more. In the photographs we see a cacophony of texture and color: Afro’s and braids, fruit, pork, fish and balloons, bright paint and tarps used for the stalls. Vitturi focuses on the abstract but universal language of shapes, colours and composition.

“Every day people are inventing ways to present themselves and their small shops to the passing public,” says Vitturi. “It’s an endlessly creative as well as commercially competitive place that can sometimes be a little overwhelming, but it is that edgy dynamic that I wanted to reflect in my images. I was trying to recreate the identity of the market through whatever I could find there that served my vision of the place and its energy. So the coloured chalk that is used to cover some of the faces in the images is sold in little baskets on a stall on Ridley Road. Later, I found out that the chalk is used as a painkiller in west Africa for women who are pregnant. Every picture has a hidden story.” – The Guardian

Photo: lorenzovitturi.com

Photo: lorenzovitturi.com

Photo: lorenzovitturi.com

Photo: lorenzovitturi.com

Photo: lorenzovitturi.com

Photo: lorenzovitturi.com

Currently, his work is being exposed at The Photographers Gallery until October 19th.
16–18 RAMILLIES STREET, LONDON W1F 7LW

-via lorenzovitturi.com

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On view from August 1 – November 3, 2014, the Triennale includes a selection of international artists, including Luhring Augustine artist Josh Smith. The primary venues will be Yokohama Museum of Art and Shinko Pier Exhibition Hall.

Yasumasa Morimura
Portrait (Futago), 1988
Color photograph

“Being an artist, I’ve never had the chance to serve as the artistic director of any international exhibitions. I’m taking the wheel for the first time and the ship has already left port without my having had a chance to learn how to steer.

But it seems to me that this kind of slightly reckless launch is exactly what’s needed for an international exhibition today.

Since 2000, international exhibitions have sprung up everywhere, both in Japan and abroad, and there is no longer anything special or different about them. The scale is merely large. And the festive air is merely an amusement. Many are reduced to a symbol of populism, globalism, and localism. Market principles have exerted a consciously strong influence on the art world, prompting questions not only from those concerned but also from viewers. And though these people may still be in the minority, they are bound to increase as time goes by.” - Yasumasa Morimura

Yasumasa Morimura
Self-Portrait (Actress)/ After Elizabeth Taylor 1, 1996
Ilfochrome/Acrylic sheet

Yasumasa Morimura An Inner Dialogue with Frida Kahlo (Festive Decorations), 2001 Color photograph

Born 1951 in Osaka, where he continues to live and work.
Completed undergraduate and graduate degrees at Kyoto City University of Arts.

He made his debut in 1985 with self-portrait works based on his personal interpretation of Vincent Van Gogh. He has since produced a number of self-portraits in diligently staged photography and video works, identifying with art-historical images, famous film actresses, and iconic figures from the 20th century.

In 1988, Morimura was invited to take part in the Aperto section of the 43rd Venice Biennale, and over the years, he has participated in countless important exhibitions.

Selected solo exhibitions in Japan include, “The Sickness unto Beauty: Self-portrait as Actress” (Yokohama Museum of Art, 1996), “Self-Portrait as Art History” (Museum of Contemporary Art, Tokyo, and two other venues, 1998), Morimura Self-Portraits: An Inner Dialogue with Frida Kahlo (Hara Museum of Contemporary Art, Tokyo, 2001), “Bi [bi:]-Class, Be Quiet” (Contemporary Art Museum, Kumamoto, and Yokohama Museum of Art, 2007), and “A Requiem: Art on Top of the Battlefield” (Tokyo Metropolitan Museum of Photography, and three other venues, 2010 and 2011). His most recent solo exhibitions overseas is “Requiem for the XX Century: Twilight of the Turbulent Gods” (La Galleria di Piazza San Marco, Venice, and two other venues, 2007 and 2008), but has previously held shows in major museums in the United States, France, Spain, Australia, Thailand, and India.

Yasumasa Morimura
An Inner Dialogue with Frida Kahlo (Standing Firm), 2001
Digital chromogenic print mounted on aluminum

His works are part of major national and public collections in Japan and also overseas, including Museo Nacional Centro de Arte Reina Sofia, Madrid, Museum of Contemporary Art, Chicago, Museum of Fine Art, Boston, and Queensland Art Gallery, Brisbane. He is a prolific writer, and author of many Japanese titled books. He has received a number of awards for his achievements, including Kyoto Prefecture Culture Prize, Merits Prize (2006), Minister of Education, Culture, Sports, Science and Technology’s Art Encouragement Prize of Fine Arts (2007), Photographic Society of Japan Awards, Lifetime Achievement Award (2011), and also one of the most prestigious awards in the field of art and science, Order of Purple Ribbon, Shiju Hosho (2011). He was also recently commended for a Person of Cultural Merit, Bunka Korosha, by Kyoto City (2013).

Yasumasa Morimura
Look, this is in fashion!, 2004
Los Nuevos Caprichos

Yasumasa Morimura
Self-Portrait (Actress)/After Brigitte Bardot 2, 1996
Ilfochrome/Acrylic Sheet

Yasumasa Morimura
Where are we from? Who are we? Where are we going?, 2004
C-Print

Yasumasa Morimura
A Requiem: Red Dream / Mao , 2007
C-print mounted on alpolic, color

Yasumasa Morimura
A Requiem: Where is the Dictator? 3, 2007

Yasumasa Morimura will also be exhibiting Las Meninas Renacen de Noche (Las Meninas Reborn in the Night) in Chelsea, at the Luhring Augustine Gallery, Dec 13, 2014 – Jan 31, 2015 .

Yasumasa Morimura
Las Meninas renacen de noche IV: Peering at the secret scene behind the artist, 2013

- via luhringaugustine.com, yokohamatriennale.jp

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Her early paintings, from the late 1980s and early ’90s, are spare gestural compositions that at times recall Mark Rothko’s work or, more closely, the Zenlike, brushy late abstractions of Hans Hartung. Attracted to shaped canvases and unconventional materials, Grosse experimented with unusual painting supports ranging from found objects to a lightweight resin material used for surfboards. In some sense her work is akin to postwar movements such as the French Supports/Surfaces, in its approach to abstract-painting-as-object, as well as Arte Povera, in its use of abject materials.

Grosse’s art blossomed and her career took off when, in 1998, she began adding passages of spray paint onto canvases and directly onto gallery walls. Growing increasingly bold and elaborate over the past decade, Grosse’s large-scale installations, which she has been invited to produce in many parts of the world, have brought her significant notice. Her first in the U.S., at the Hammer Museum in Los Angeles, in 2001, was widely praised in the art press, as were subsequent exhibitions at the Contemporary Arts Center, Cincinnati (2006), and the Renaissance Society in Chicago (2007).

Katharina Grosse, “I Think This Is a Pine Tree” (2013) at Berlin’s Hamburger Banhof Museum for Contemporary Art

“
just two of us’ is the latest installation by german artist katharina grosse for metrotech commons in downtown brooklyn, new york. the immersive sculpture transforms the existing park plaza into an engaging architectural landscape, characterized by towering, vibrantly-colored forms piercing the earth. eighteen fiberglass-coated shapes have been configured around trees, creating two large irregular formations within the existing environment. the neon-chroma serves as a manifestation of the cultural dynamism of the eclectic, multi-cultural neighborhood and reconfigures the urban space into an striking sculptural intervention. ’just two of us’ is presented by the public art fund whose focus is on art in the public sphere. the artwork, and it’s relationship to the space is iterated by nicholas baume, public art fund director & chief curator: ‘katharina grosse’s hybrid approach to painting and sculpture feels very natural in the context of a public space at the center of a thriving urban area where culture, technology, and innovation intersect.’

katharina grosse sculpts colorful terrain in brooklyn
katharina grosse, just two of us, 2013 

“I Think This Is a Pine Tree” is on display at the Hamburger Banhof Museum of Contemporary Art in Berlin through August 2014.

“Just two of us”, Metrotech Commons, Downtown Brooklyn, now through september 14th, 2014.

- via www.katharinagrosse.com

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Whitney Museum of American Art, 945 Madison Avenue, New York, NY; Architect: Marcel Breuer and Hamilton Smith (1963–1966). Photograph by Jerry L. Thompson

As the preeminent institution devoted to the art of the United States, the Whitney Museum of American Art presents the full range of twentieth-century and contemporary American art, with a special focus on works by living artists. The Whitney is dedicated to collecting, preserving, interpreting, and exhibiting American art, and its collection—arguably the finest holding of twentieth-century American art in the world—is the Museum’s key resource. The Museum’s signature exhibition, the Biennial, is the country’s leading survey of the most recent developments in American art.

EI ARAKAWA & CARISSA RODRIGUEZ IN NEW YORK, JANUARY 2014. ON ARAKAWA: SHIRT: SANDRO. ON RODRIGUEZ: TOP: MILLY. STYLIST: VANESSA CHOW.
One of the most highly anticipated projects of this year’s Whitney Biennial is the collaboration between Ei Arakawa, the New York-based performance artist with a growing cult following, and Carissa Rodriguez, most familiar as a director of the Lower East Side gallery Reena Spaulings Fine Art.

“Hawaiian Presence” , by EI ARAKAWA & CARISSA RODRIGUEZ

Innovation has been a hallmark of the Whitney since its beginnings. It was the first museum dedicated to the work of living American artists and the first New York museum to present a major exhibition of a video artist (Nam June Paik in 1982). Such figures as Jasper Johns, Cy Twombly, and Cindy Sherman were given their first museum retrospectives by the Whitney. The Museum has consistently purchased works within the year they were created, often well before the artists became broadly recognized. The Whitney was the first museum to take its exhibitions and programming beyond its walls by establishing corporate-funded branch facilities, and the first museum to undertake a program of collection-sharing (with the San Jose Museum of Art) in order to increase access to its renowned collection.
The 2014 Whitney Biennial will take a bold new form as three curators from outside the Museum—Stuart Comer (Chief Curator of Media and Performance Art at MoMA), Anthony Elms (Associate Curator at the Institute of Contemporary Art, Philadelphia), and Michelle Grabner (artist and Professor in the Painting and Drawing Department at the School of the Art Institute, Chicago)—each oversee one floor, representing a range of geographic vantages and curatorial methodologies.

For the Biennial, Beasley plans to conflate his two practices, creating sculptures from concrete and fabric, each with a microphone buried within, so as to capture what he calls the object’s “internal architecture.”

Donna De Salvo, Chief Curator and Deputy Director for Programs at the Whitney, noted: “The 2014 Biennial brings together the findings of three curators with very distinct points of view. There is little overlap in the artists they have selected and yet there is common ground. This can be seen in their choice of artists working in interdisciplinary ways, artists working collectively, and artists from a variety of generations. Together, the 103 participants offer one of the broadest and most diverse takes on art in the United States that the Whitney has offered in many years.”

ABOVE: EMILY SUNDBLAD IN NEW YORK, JANUARY 2014. TOP: MIU MIU. STYLING: VANESSA CHOW. COSMETICS : CHANEL, INCLUDING SUBLIMAGE LA CRÉME. HAIR PRODUCTS: ORIBE, INCLUDING SMOOTH STYLE SERUM. HAIR: ANDRE GUNN FOR ORIBE/THE WALL GROUP. MAKEUP: KRISTI MATAMOROS FOR CHANEL/KATE RYAN INC. SPECIAL THANKS: TENTON STUDIO
For the Whitney Biennial, co-curator Michelle Grabner asked painter, gallerist, and musician Emily Sundblad to contribute a video.

This Biennial will be the last to take place in the Whitney Museum of American Art’s building at 945 Madison Avenue at 75th Street before the Museum moves downtown to its new building in the spring of 2015. This is the 77th in the Museum’s ongoing series of Annuals and Biennials begun in 1932 by Gertrude Vanderbilt Whitney.

You can see the full list of the exhibited artists by following this link.

The Whitney Museum of American Art’s 2014 Biennal includes Zoe Leonard’s camera obscura view of the street outside the museum.
Suzanne DeChillo/The New York times

“Aviarium, a sculpture series by Terry Atkins.

Clothing by Lisa Anne Auerbach

Detail of a wall of paintings by Keith Mayerson

An installation by Public Collectors with personal objects from Malachi Ritscher

via http://whitney.org/ and interviewmagazine.com

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