ARTFORUM reviews Tommy Hartung in September 2018 issue

Tommy Hartung

C24 Gallery

By Ania Szremski

Science fiction flourishes in the “great whirlpool periods of history,” according to Darko Suvin, a pioneering theorist of that critically disdained genre. The Czech intellectual Karel Čapek wrote during one of those traumatic times—just after the unspeakable devastation of World War I, just before the ascension of the Third Reich, and during the rise of communism (a philosophy he virulently opposed). Čapek’s 1920 play R.U.R.: Rossum’s Universal Robotsis a drama about a cheap workforce of manufactured humanoids who murder their human creators. It’s now best remembered for introducing the word robot, derived from the pan-Slavic word for “labor.”

Tommy Hartung is also working during a great whirlpool period of history, so it makes sense that he would turn to this early sci-fi classic as the loose inspiration for his exhibition at C24 Gallery, eponymously titled “R.U.R.” Almost a century after it was written, Čapek’s piece eerily reflects our tortured present through the anxieties that inform it: the fear of automation, the soul-crushing domination of work over life, technological progress run amok. While these concerns were also undercurrents in Hartung’s three-part, mixed-reality installation (comprising elements that slide between the virtual and the physical), he primarily, and weirdly, focuses on the least remarkable aspect of the play: its sexist depiction of women, as represented by a ditzy robot and an Eve-like character, the latter of whom accidently ensures the destruction of the human race.

Hartung rolls Čapek’s cruel treatment of women into a condemnation of the abuses that gave rise to the #MeToo movement. The exhibition began with R.U.R. Act One: The Viewer, 2017, an eight-minute animation that features, in a voice-over, Olympic gymnast Aly Raisman reading a statement denouncing her abuser, Dr. Larry Nassar. Two handmade doll heads were mounted on poles in front of the screen. Cameras installed in their hollowed eye sockets captured the viewer, incorporating that person into the animation—an obvious comment on the complicity of the passive spectator. The focal point of the show, R.U.R. Act Three: Silent Siege, 2018, also surveilled. A dummy partially shielded by branches stands in front of a collage-like projection, its creepily emptied eyes also fitted with cameras, absorbing and projecting the viewer’s image into the video (which the artist can manipulate remotely). The piece continues the Nassar storyline, which unfolds with an actual recording of an angry phone call from an unidentified woman accusing Nassar’s wife of knowing about the abuse. The artist then placed it alongside images and texts pertaining to real-life pedophiles and assailants with whom he’d had direct unwanted contact. These were mixed in with textual allusions to Čapek’s play.

There was nothing particularly transformative about this on-the-nose performance of “the male ally.” I would probably dismiss the project altogether if it were by the hand of a less dexterous artist. Yet, despite Hartung’s intentions, there were certain formal elements that cast an undeniable spell: disturbing little handmade puppets and their jerky movements; rhythmic patterns of hallucinatory color; sudden peaceful footage of sky and ocean; humorous, robot-like GIFs frenetically layered on top of jittering, discordant images. A quietly entrancing moment happened in the show’s second act, made up of three touch-screen monitors that the viewer could manipulate. Each displays a 360-degree video collage, partially shot in the garden of the artist’s former Connecticut home. In the first (They’re Less Than Grass, 2018), a hawk stares cautiously, curiously, into the camera, then emits a plaintive screech. The other two (Humans are too expensive but their behavior is priceless and Imitating Nature Without Pity, both 2018) are layered with animations of snails, ants, and hatching butterflies. As you swirled the images around, they split and fractured into whorling abstractions.

These shifting perspectives were the keenest part of the exhibition. The artworks watch the viewer watching them; they resist being completely seen; they come apart at the seams. This is another connection between Hartung and Čapek—two artists working in harrowing times, witnessing things falling apart, holding the broken pieces up to see.


Read in full here or in the September 2018 issue of ARTFORUM. 


Katja Loher's glass video sculptures highlighted in recap of the Seattle Art Fair

A nerd’s tour of the Seattle Art Fair: Fighting robots, animated neurons, and flying art debris

By Frank Catalano

You might be forgiven if you thought the fourth annual Seattle Art Fair would have a lot of expensive, big-name art. Yes, there is sculpture by Pablo Picasso, lithographs by Joan Miró, silkscreens by Jacob Lawrence and even an original Norman Rockwell.

But you’d be mistaken to assume that any event founded by Microsoft co-founder Paul Allen would not have glimpses of geeky goodness throughout.

The 2018 Seattle Art Fair, which opened Thursday and runs through Sunday at CenturyLink Field Event Center, tucks all kinds of technological and science-fictional nods into the artworks from more than 100 galleries in ten countries. And you don’t have to be a collector of contemporary or modern art to appreciate them, either.

Consider this your quick visual tour of Seattle Art Fair, from a nerd’s perspective.


Yes, that’s a neuron on the wall. Swiss artist Katja Loher, who lives in Brooklyn, represented a blue neuron in white acrylic with an embedded video screen and hand-blown glass sculpture for How does the rumor of the sky smell when the blue of water sings?.

The more than seven minutes of multi-channel looping video that runs inside the art is even more colorful in a companion work, Who will paint the white canvas of the bleached corals?.

Read the full article here.

BRIAN TOLLE "Eureka" named as "not to be missed" NYC Outdoor Art Installation

By Jennifer Congdon

1. Brian Tolle’s ‘Eureka’ in Federal Hall

Brian Tolle's Eureka is a towering 40-foot sculpture inside Federal Hall. This piece pays homage to New York’s Dutch colonial history by featuring a tall brick facade of a canal house in the style that was common in 17th century New York. However, there is a twist: instead of featuring a flat replica of a typical facade, Tolle choose to create one that appears to be rippling and distorted. When asked about this artistic decision, Tolle states that the piece is a nod to New York’s “fluid, but troubled, transformation from a Dutch seat of power to British colony, to an American platform for diversity and democracy.”

Federal Hall serves as a fitting location for this installation in that in the 1700s, the Federal Hall site was used as a city hall, a site where numerous historic events like court cases and political meetings took place. Tolle’s piece is reminiscent of this monumental, turbulent history.

Read the full article here.


Brian Tolle sites Truman Capote's "In Cold Blood," as influence for work

From Dirty-Joke Theory to True Crime Classics, Here Are 17 Books That Have Inspired Some of Today’s Leading Artists

Artnet News

From a philosophy of dirty jokes to a true-crime classic, artists share the surprising titles that have influenced them.

It’s officially the dog days of summer, and a perfect time to catch up on our reading lists. To get inspired for the fall, we asked a group of leading international artists about the books, old and new, that have influenced them most. From a book about dirty jokes to artist biographies to true crime—here are 16 books that have made a lasting impression on some of today’s top artists.


Brian Tolle

In Cold Blood by Truman Capote (1966)

“As a young boy in the 1970s I first saw Truman Capote on the Dick Cavett Show and was mesmerized. The next day I started to read every book I could find of his. What resonated with me was how he embodied the journalist, novelist, biographer, and autobiographer, blurring the lines between these writing conventions. Informed by Capote I begin each project with intensive research, which results in a cross-wiring of fact and fiction.”

Read the full article here

"From the Cradle to the Boat" on ARTNEWS

‘From the Cradle to the Boat’ at C24 Gallery, New York

BY The Editors of ARTnews

Pictures at an Exhibition presents images of one notable show every weekday.

Today’s show: “From the Cradle to the Boat” is on view at C24 Gallery in New York through Friday, August 24. The group exhibition, curated by Tommy Hartung, includes work by Tamy Ben-Tor, Miki Carmi, Justin Cloud, Clark Filo, Michael Guardiola, O.K. Fox, Reagan Holiday, Monilola Ilupeju, Bahareh Khoshooee, Jeremy Olson, Lynsey Peisinger, and Tommy White. The show also hosts performances by Linda Fletcher, Lynsey Peisinger, Reagan Holiday, and Tamy Ben-Tor.

View the full article here

Tommy Hartung's "Lesser Key of Solomon" featured in series screening "cutting edge short films"

By Julia Morgenstern

The Peekskill Film Festival and the Hudson Valley Center for Contemporary Art (HVCCA) are teaming up to present BLACKOUT a screening of cutting edge short films, on July 26 from 7 to 9 p.m. This work blurring the distinction between art, film, and theatre questions the conventions of film screenings in art galleries. While film is prevalent in the art world, this event takes a new spin on that connection. BLACKOUT will take place on the big screen in a dark theater, instead of in a traditional white box gallery space on smaller screens shared with other art. This exciting twist should shake up the way audiences take in the series of short films, which seems to fit with the goal of this screening.

“These videos were made for both the small personal screen and the large cinematic screen,” says Sarada Rauch, artist behind the “short” music video Topple, which plays with ideas of scale. “There are three main points of interest to me when seeing my music videos on a large screen with seated viewers: perspective, object and narrative.…The screen itself can be considered an object that has the ability to shift perspective."

 The title of the series, BLACKOUT, comes from the theatrical convention of turning off all of the lights between scenes to allow for a transition. “In this moment of media blackouts, political corruption, and widespread violation of human rights; revealing hidden narratives through the arts continues to be of the utmost importance,” says Michael Barraco, curator of BLACKOUT and Director of Education for the HVCCA.

Read full article here.

Exhibition Review of Tommy Hartung's R.U.R. on Eazel

Tommy Hartung and R.U.R.

By Patrick Rolandelli  

July 9, 2018

Last June Eazel attended the private closing reception for R.U.R., Tommy Hartung’s inaugural exhibition at C24 Gallery in Chelsea. Several times that month we had passed by the ominous display in the gallery’s window featuring colorful masks reminiscent of the 1980s horror movie genre. The display had piqued our curiosity and we were surprised when we learned the exhibition was addressing power relations in society and related issues of male dominance.

Upon stepping into the gallery we turned to look closer at the vinyl masks, set at eye-level atop two black tripods—one painted bright yellow with dayglo orange hair, the other with pastel purple skin and blueberry hair—they stood before a screen showing a series of new media figurations amid the likeness of our faces as captured by cameras inconspicuously observing us through the eyelets of the masks. In the background we could hear Olympic Gold medalist Aly Raisman reading her court statement to recently convicted former USA Gymnastics National Team doctor, Larry Nassar—the pitch of her voice downshifted slightly. The experience had this DIY surrealist aesthetic to it—to borrow language from the exhibition’s press release.

After checking in with the front desk we wandered around the gallery taking in the broad range of the exhibition’s featured artworks—from traditional sculptures, to painted theatrical props, to interactive digital screen art featured on a row of monitors down the center of the gallery.

As Hartung would later explain, the themes of Karel Čapek’s 1921 play, R.U.R., served both as the inspiration, as well as the conceptual basis for his exhibition in three acts—The ViewerTouch, and Silent Siege—with the front, center, and back sections of the gallery dedicated to exploring these themes, respectively.

We were in the back of the gallery where Silent Siege consisted of video feeds embedded around a large viewing area as part of a performative work about data collection and the nature of consent when we noticed one of the gallery assistants beginning to gather the group and direct us toward Hartung near the entrance of the gallery where he was to begin his talk.

During his presentation we learned the imagery of the exhibition was meant to counter the modern era’s romanticized concept of technology—that it was alluding to a dystopian future disillusioned with modernism. And true to Čapek’s play, Hartung unpacked how through his use of multiple mediums—from stop-motion animation, to digital photography, to traditional sculptures—he was seeking to question the degree to which the spirit of modernism has truly served the greater good.

There wasn’t enough time to sit down with Hartung after his talk, so we arranged for a follow-up conversation with the gallery director and catch up with him a week later.

Read the full article here.

The Irish Hunger Memorial, designed by C24's Brian Tolle, re-opens after renovation

Irish Hunger Memorial Renovations Completed

By Mary Gallagher

The Irish Hunger Memorial was re-opened in late July 2017 after a year-long, $5.3 million renovation. The structure had suffered extensive water infiltration, particularly from 2012’s Hurricane Sandy, which it had not been equipped to handle in its original state. The restoration cost $4.5 million more than the initial placement of the structure, which was unveiled to the public in 2002 in an evocative launch by former Irish president Mary McAleese.

The memorial is a reconstruction of a cottage painstakingly transplanted from Ireland set amidst a structure reminiscent of a passage tomb and covered with Irish flora. The cottage, dating back to the 1820s, originally belonged to the Slack family of Attymass, County Mayo, one of the first areas to be struck by the tragic potato blight of the mid-1800s. The edifice stands in Battery Park City and the landscape it rests on was designed by artist Brian Tolle, a relative of the Slacks.

Read the full article here.

Untapped Cities discusses the influences of "Eureka" by Brian Tolle

40-foot Sculpture Inside Federal Hall Nods to NYC’s Dutch Colonial History

By Nicole Saraniero

Towering over the grand lobby inside Federal Hall is a 40-foot reminder of New York City’s Dutch colonial history. The  massive sculpture, Eureka by Brian Tolle, is of the brick facade of a canal house reminiscent of those that would have been found in 17th century New York.

The surface of Tolle’s piece appears warped and distorted, giving the brick the appearance of rippling water. The artist described the illusion as “a facade of a facade,” intending the piece not to be a replica of a building itself, but the building’s reflection in water. Tolle noted that the visual fluidity of the piece represents New York’s “fluid, but troubled, transformation from a Dutch seat of power to British colony, to an American platform for diversity and democracy.”

The name of Tolle’s sculpture is inspired by the exclamation made by Greek polymath Archimedes when he discovered buoyant force, the upward force exerted on objects submerged in fluids. Eureka was originally created for an exhibition in Belgium, but it’s re-presentation at Federal Hall is meant to evoke reflection upon the site’s transformative architectural and political history. Federal Hall has been the site of many landmark political events, such as the trial of John Peter Zenger which laid the foundation for the freedom of press; the signing of the Northwest Ordinance which prohibited slavery in new territories; and the drafting of the U.S Bill of Rights, all instances that required leveraging of different ideas and political forces.

Eureka will be on display inside Federal Hall until September 8th, 2018 and is being exhibited in conjunction with another integral part of New York City’s Dutch past. 

Read the full article here.

Nilbar Güreş "Overhead" featured on

Nilbar Güreş: The search for hidden leeway

The showcase of the artist in Lentos shows a poetic and radical visual world.

"Ayşe loves Fatma", is written in Turkish in large, pink letters on a wall. Before that, in back view two not very young women are visible, one is wearing a headscarf. The two hug each other.

It is one of those productions typical of Nilbar Güreş. The artist, who has already won two of the most important domestic art prizes with the Otto Mauer Prize (2014) and the BC21 Art Award (2015), is shaking all sorts of taboos, but she does it in a quiet, poetic way.

Many of Güreş 'photographic stagings, which are only visible as a facet of a multi-faceted work in the exhibition in Linzer Lentos (until Sept. 10) , can at first glance pass through as simple everyday scenes: A beekeeper takes care of her bees, of one Holzhütte hangs colorful laundry - and behind kiss two.

The artist, who was born in Istanbul , studied in Vienna and now lives in both cities, had once peeled herself out of a mess of headscarves for a video performance (2006). But she has not begun to rip off the cloth in a superficial gesture of liberation: her works speak much more of an interest in the boundary between the visible and the hidden drawn by objects such as (head) cloths, and respect for that Life "behind".

Dignity and resistance

The characters appearing in Güreş ' paintings all radiate dignity and strength - this is true of the old woman hiding behind the box in a red-washed room with a huge water pistol, as well as the transsexual prostitutes standing in front of the chest Skyline of São Paulo posing with a cactus between the legs. The interest in the agency of persons invisible or treated as invisible by dominant forces in society appears as a connecting element.

The series of works transcend both geographical boundaries and those between genres of art: the patterned fabrics, which already play an important role in Güreş 'photographs, develop their own lives in collages and spatial installations - belt buckles become the mouths of a two-headed snake symbolizing "queer desire" The sewing and embroidery tools become weapons.

"Self-defloration" is perhaps the most radical of a series of embroidery images that express their explicit motifs in simple simplicity. For the installation "Hairy Fire" - a kind of fire in a corner of a room, with balls of wool instead of coal - the wall was slightly singed, you can still smell the intervention: the person who keeps the hearth fire at home, also has the power to light the hut.

Read the full article here

Brian Tolle's "Eureka" named a 'not to miss' artwork in New York this week

Artnet News

Editors’ Picks: 7 Things Not to Miss in New York’s Art World This Week

Here's what you need to see in the art world this week.

By Sarah Cascone


7. “Brian Tolle’s Eureka” at Federal Hall

Artist Brian Tolle’s show is inspired by the narrow “canal houses” that were popular in the 18th century in New York, which feature the gabled Dutch facade. The 40-foot sculptural facade is on view to the public throughout the summer. (The exhibition was organized in conjunction with the artist’s gallery, New York’s C24 Gallery.)

Location: Federal Hall, main entrance 26 Wall Street
Price: Free
Time: Monday–Friday, 9 a.m.–5 p.m.

—Caroline Goldstein

Read the full article here.


By Sam Roberts

If you think the Flushing Remonstrance is a homeowner’s complaint to a plumber, think again. The frayed petition from 1657 is one of the foundational documents of American freedom — and for the first time in three decades it is on display in Manhattan, through Monday at Federal Hall on Wall Street.

The Dutch were known for tolerance — or indifference — to most immigrants to New Amsterdam who didn’t jeopardize the Dutch West India Company’s commercial agenda. Still, the Dutch Reformed Church remained paramount, and Peter Stuyvesant, the Calvinist director-general of the colony, was committed to enforcing its supremacy.

His order penalizing anyone who harbored Quakers provoked 31 residents of Flushing on Long Island — none of them Quakers themselves — to sign a remonstrance, a collective appeal to redress their grievance.

While it wasn’t successful at first, a further appeal directly to the company’s directors in Amsterdam upheld the Dutch principle of “liberty of conscience, not just for Christians, but for everyone.” The legacy of the remonstrance reinforced the right to petition the government, established the rule of law and provided the foundation for freedom of worship, which the Founders enshrined in the Bill of Rights at Federal Hall more than a century later.

The Remonstrance is displayed there in an anteroom off the rotunda, which is dominated by a timely and towering backdrop that evokes its provenance: a 40-foot-high facade of a 17th-century gabled Dutch canal house. The one-ton hand-painted sculpture is by Brian Tolle, who designed the Irish Hunger Memorial in Battery Park City and other works. It will be on display through Sept. 8.

Mr. Tolle named the facade “Eureka” for the exclamation of discovery often attributed to Archimedes. The exhibition is a collaboration of the New York State Archives, the Archives Partnership Trust, the National Park Service and the National Parks of New York Harbor Conservancy.

Read the full article here

Brian Tolle: EUREKA on view at Federal Hall

Brian Tolle, presents his site-relevant 40-foot tall sculpture, EUREKA, at Federal Hall, alongside rare presentations of the Flushing Remonstrance, the 1657 petition for religious freedom, and Washington’s Inauguration Bible

The National Parks of New York Harbor Conservancy, in partnership with the National Park Service, is pleased to announce the presentation of Brian Tolle’s EUREKA, on view June 27 - September 8, 2018, in Federal Hall, the iconic memorial to democracy on Wall Street. EUREKA is part of a new art initiative, curated by Bonnie Levinson, inviting contemporary artists to investigate themes that resonate with the history and legacy of Federal Hall, melding the past and present, to serve as a catalyst toward the reinvigoration of civic life and a platform for free expression.

For this presentation of EUREKA, Tolle has chosen to exhibit his work alongside a rare viewing of The Flushing Remonstrance, the 1657 New Netherland petition for “liberty of conscience” that served as the precursor to religious freedom, as cemented in the First Amendment written at Federal Hall over a century later. Not seen in Manhattan in over 30 years, the Remonstrance will share a room with the Bible from President Washington’s 1789 inauguration at Federal Hall.

Tolle’s 40-foot tall sculpture, reflecting a rippling and distorted facade of a 17th century Dutch canal house, pays homage to the legacy of 40 years of Dutch rule in New York. Originally created for Jan Hoet’s city-wide exhibition, Over the Edges, 2000, in Ghent, Belgium, its re-presentation in Federal Hall blurs the site’s architectural and political history with the contemporary in the conceptual artwork.

Brian Tolle describes the work: "EUREKA is a sculptural play with illusion—a facade of a facade. Its Dutch inspired form points to New York’s early history and its fluid, but troubled, transformation from a Dutch seat of power to British colony, to an American platform for diversity and democracy. The sculpture is an apparition, a mirage of a building that has been displaced and no longer exists. Like the Dutch buildings of lower Manhattan and the canal that was once Broad Street-—erased with only the street names lingering as a reminder of their existence—EUREKA serves as a marker of Federal Hall’s complex history. Its thin veil floats upwards, into the neoclassical dome of Federal Hall, evoking the strife between form and object, as well as the tension between political volley and social action.”

The artwork’s title is inspired by the brilliant Greek polymath Archimedes exploration of displacement. After finding the upward pressure on a submerged object created buoyant force, Archimedes ran through the streets of Syracuse, Sicily, shouting, “EUREKA! EUREKA!” or “I found it!” I found it!” Tolle envisioned EUREKA as a metaphor for Archimedes’ principle of leverage. With the right tools, Archimedes believed all was possible. “Give me a lever long enough and a fulcrum on which to stand," he said, "and I shall move the world.”

The nation’s Founders leveraged principles as powerful as Archimedes’ when they codified the historic events that occurred at Federal Hall, including: the acquittal in 1735 of the newspaper publisher John Peter Zenger for libel, after he exposed government corruption, which established the foundation for freedom of the press; the 1765 Stamp Act Congress, which protested taxation of then British colonies without representation, and sowed the seeds for the union to come; and the passing of the first amendments to the Constitution, which cemented in perpetuity individual rights.

“The National Park Service is honored to host Tolle’s magnificent edifice EUREKA and the Flushing Remonstrance, a transformational document to establishing the governing principles of the United States,” said Shirley McKinney, Superintendent for Federal Hall National Memorial. “As the site where George Washington took the oath of office as our first President and the site of the first Congress, Supreme Court, and Executive Branch offices, Federal Hall is the appropriate venue to bring the two together to spark conversations about history through a contemporary lens.”

“As we embark on a new day for Federal Hall, this installation highlights this historic site's potential as an ever-evolving arena for public discourse through the arts," said Marie Salerno, President of the Harbor Conservancy. "Federal Hall must be steeped, but not stuck in the past. This will be a place where artists with diverse perspectives will be invited to interpret the ideas, ideals and flaws of our democracy forged here.

Highlight: Flushing Remonstrance

It is particularly relevant that Tolle’s EUREKA is paired with the rarely displayed Flushing Remonstrance. On view in Manhattan for the first time in three decades, the Remonstrance, a petition to the Dutch West India Company, for “liberty of conscience” was signed in 1657 by 31 residents of the town of Flushing — which became part of Queens, New York. Director-General of the New Netherland Peter Stuyvesant’s ban on all religious practice in the colony outside of the Dutch Reformed Church, led to the persecution of Quakers, among others. The Remonstrance petition for an exception to this ban, is considered by historians to be a forerunner to the first amendment’s freedom of religion clause and is sometimes referred to as the Magna Carta of the New World. Read the text of the beautifully crafted document in The Flushing Remonstrance Revisited, an online exhibit from the New York State Archives Partnership Trust.

EUREKA at Federal Hall is organized by the Harbor Conservancy with the artist, Brian Tolle; National Park Service; Curator for Visual Arts Bonnie Levinson; Performance Designer Angrette McCloskey; and C24 Gallery. The Flushing Remonstrance presentation is made possible by the New York State Archives and the Archives Partnership Trust. Major sponsorship for the installation was provided by American Express.

About the Artist: 

Brian Tolle sculptures and installations emphasize a formal and iconographic dialog with history and context. Using a variety of media, his work draws from the scale and experience of its surroundings, provoking a rereading by cross-wiring reality and fiction. Drawing ideas from a broad-based conceptual analysis, Tolle blurs the border between the contemporary and the historical. His approach involves in-depth research, which is then distilled and directed creating an intuitive personal response. Tolle is acclaimed for his major permanent public artworks including the “Irish Hunger Memorial” in Battery Park City, New York; “Miss Brooklyn” and “Miss Manhattan” at the entrance of the Manhattan Bridge, Flatbush, Brooklyn; and his recent appointment as the lead artist of the East Midtown Waterfront Project, an esplanade between East 53rd and East 59th Streets along New York City’s East River. Tolle's works have been exhibited in the Whitney Biennial; the Tate Modern; the S.M.A.K.; the Institute of Contemporary Art, Philadelphia; the Queens Museum of Art, New York; and the Invitational Exhibition at the American Academy of Arts. The artist is currently represented by C24 Gallery. 

About the Curator:

Bonnie Levinson, Curatorial and Cultural Consultant for the Visual Arts at Federal Hall and the National Parks of New York Harbor Conservancy, curated Brian Tolle’s EUREKA, 2018, and Mel Ziegler’s A Living Thing: Flag Exchange, 2017. Levinson’s career spans over three decades working in the arts with cultural institutions. She served as Deputy Director for External Affairs at the San Francisco Museum of Modern Art, Vice President for Development for the New York Public Library, Associate Director of The Hudson River Museum and Assistant Curator of Education at the Delaware Art Museum. She works with cultural institutions creating public arts programming, and consults in development and marketing, and strategic planning. Currently she works with the Making Waves Academy in Richmond CA developing an arts education and artist residency program.

About Federal Hall National Memorial:

Federal Hall is the birthplace of American government. It is where George Washington took the oath of office as the first President and where the first U.S. Congress invented a system of governance that still guides the country today, including enactment of the Bill of Rights. The current building, a former U.S. Customs House and later U.S. Sub-Treasury, is one of America’s finest examples of Greek Revival public architecture and memorializes the first President and our nation’s founding.

About the National Parks of New York Harbor Conservancy:

Founded in 2005, the Harbor Conservancy is the primary nonprofit partner of the National Park Service’s sites on New York Harbor, including Federal Hall National Memorial. The Harbor Conservancy works to restore and activate treasured monuments, conserve historic collections, and connect communities to opportunities for exploration and recreation in treasured natural habitats and landscapes.

Visitor Information: EUREKA on view: June 27, 2018 - September 8, 2018

Hours: Monday-Saturday, 9am-5pm

Federal Hall:

Main entrance: 26 Wall Street, New York, NY.

Wheelchair accessible entrance: 15 Pine Street, New York, NY

NILBAR GÜREŞ: "Overhead" at LENTOS Kunstmuseum Linz

NILBAR GÜREŞ: "Overhead," at LENTOS Kunstmuseum Linz


What is fascinating about Nilbar Güreş’s art is the unique poetic and humorous inventiveness that always also has a critical and political underside. In her photographs, collages, objects and videos, Güreş explores clichés of the social visibility of women in different cultural fields, whether in Turkey, her country of origin, or in Brazil. She sketches out and stages humorously challenging counter-images and -figures, in which she subverts conventional role attributions. At the same time, she subtly brings into play the defensive attitude of western society toward the dress codes of cultures influenced by religion. Her pictures and objects evince a high degree of sensuous materiality, are strangely puzzling, often charged with eroticism, and lead into a multifaceted, contradictory reality that prompts reflection. The retrospective is comprised of works dating to the period between 2006 and today and includes four productions created especially for this exhibition.

Nilbar Güreş was born in 1977 in Istanbul, studied at the Department of Fine Arts at the Marmara University in Istanbul and at the Academy of Fine Arts in Vienna. She lives in Vienna and Istanbul.

Curator: Silvia Eiblmayr

Read more about the exhibition here

İrfan Önürmen among thirty-three Turkish artists in Instanbul Modern 'In Pursuit of the Present' exhibition

"'In Pursuit of the Present' at Istanbul Modern's temporary space"

Istanbul Modern, which will continue its activities in Beyoğlu until the new museum building in Karaköy is completed, opened their temporary space with a new collection titled "In Pursuit of the Present." Istanbul Modern can be visited during Eid al-Fitr except the first day of the Eid.

In the exhibition, Istanbul Modern focuses on human conditions in today's world. The exhibition features works that explore the relationship between humans and cities, nature, and between their own selves and their physical environment in historical, social and personal contexts.

Identity, body, gender politics, construction and destruction periods, nature and human relations are examined through the works at the exhibition, created by various intersecting and interrelating thematic strands.

Thirty three artists from different regions:

In the exhibition, 42 works of 33 artists comprising of paintings, statues, installations, videos and patterns take place. They focus on the dynamics of human relationship with the physical environment. The self-searching of people who struggle with the destructive dimensions of different changes and their relationship with their subconscious are an important axis of the exhibition.

Read the full article here.

Tommy Hartung and Amanda Long's collaborative community piece "Rainbow Mural" featured in Times Ledger

Art in the Parks program kicks off throughout the borough

By Julia Moro

With warm weather approaching, it is the perfect time to visit local parks. Further adding to the fun is the city Parks Department’s public art program, Art in the Parks, which announced new outdoor exhibitions at Forest Park, Lewis H. Latimer House and MacDonald Park. 

Amanda Long and Tommy Hartung’s work, “Rainbow Mural,” is on display at the Greenhouse Playground off the Woodhaven Boulevard entrance to Forest Park. This piece runs along about 800 feet of retaining wall located across the playground and skate park near the historic carousel.

“The public interacting with my work has always been a central focus. Often the work is less about my intent and more about the public feeling,” Long said.

It was important to the two artists to make a collaborative piece with the community to show that art can be a social gathering. The making of this mural was, in part, the artists’ work; but it was also painted by local volunteers and children who enjoy the park.

The work the two artists and the community have done shows a painted, pixelated rainbow pattern. A portion of the mural is in colorful chalkboard paint so children in the park can continue to add to it.

Read the entire article here.

Tommy Hartung and Amanda Long's "Rainbow Mural" transforms Forest Park in Queens

Art in The Parks Program to Install Works in Forest and MacDonald Parks

By Tara Law

Colorful contemporary works of art are transforming Queens Parks into open air galleries for a limited time.

NYC Parks is currently in the process of installing three pieces of art in Queens Parks. Two works of art have already been put in place at Lewis H. Latimer House and in Forest Park, and a third will be put in place in MacDonald Park this month.

The installations are being made through the Art in the Parks initiative, a 50-year-old contemporary art program. NYC Parks has collaborated with 1,300 artists to install more than 2,000 works of art in public spaces.

Artists Amanda Long and Tommy Hartung’s work “Rainbow Mural” is on display at Greenhouse Playground in Forest Park until May 20, 2019.

The mural, which Parks calls a “pixelated rainbow pattern,” is painted onto 800 feet of retaining wall by the playground and skate park on Woodhaven Boulevard by the carousel. Part of the mural was made with chalkboard paint, where children can doodle with chalk.

The artwork is located off the Woodhaven Boulevard entrance to Forest Park.

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C24 Gallery announced among Seattle Art Fair Exhibitors

Seattle Art Fair Announces Its Exhibitors for the 2018 Fair

By Christopher Frizzelle

The 2018 Seattle Art Fair will boast a diverse roster of local, national, and international galleries representing 34 cities from 10 countries, including 23 international galleries, according to details made available to the press less than 24 hours ago. 

Galleries include "returning international stalwarts such as David Zwirner, Gagosian, Galerie Lelong & Co., and Adams and Ollman, and Seattle’s Greg Kucera Gallery, Foster/White Gallery and James Harris Gallery. The fair continues to expand its reach, drawing new exhibitors from around the globe, including Tokyo's Gallery Yufuku and Talion Gallery, Berlin'sKuckei+Kuckei, Los Angeles' Samuel Freeman Gallery, and New York’s C24 Gallery and Hirschl & Adler Modern."

The full list of participating exhibitors is below.

This year's programming—installations, talks, performances, and presentations—will be announced in June, and will "explore identity, modes of play, and technology."

Abmeyer + Wood, Seattle
Absolut Art, Stockholm / New York
ACA Galleries, New York
Adams and Ollman, Portland
Alexandre Gallery, New York
Allan Stone Projects, New York
Back Gallery Project, Vancouver
Berry Campbell, New York
C24 Gallery, New York

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