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.

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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.

Source: https://untappedcities.com/2018/07/13/38-n...

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.

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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

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 kurier.at

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

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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.

BRIAN TOLLE "Eureka" Featured in THE NEW YORK TIMES

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

www.federalhall.org

NILBAR GÜREŞ: "Overhead" at LENTOS Kunstmuseum Linz

NILBAR GÜREŞ: "Overhead," at LENTOS Kunstmuseum Linz

Impressions

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.

Read the full article here.

 

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

Read the full article here.

Tommy Hartung in Conversation

Tommy Hartung in Conversation

May 31st, 6:30 - 8pm

560 West 24th Street, NYC 10011

Join artist Tommy Hartung in conversation with curator Tim Goossens, for an intimate talk in conjunction with R.U.R., a solo exhibition of new work by Tommy Hartung on view now at C24 Gallery.

R.U.R. is a reinterpretation of Karel Čapek’s 1921 science fiction play of the same name (most notably remembered as the first text to use the term “robot”), re-written through Hartung’s surrealist DIY aesthetic and stream of consciousness storytelling. Presented in three acts, the exhibition features photographs, sculptures, and interactive videos that investigate the rapid progression of technology, and the systems of power that both result from and are fueled by the uncertainties that come along with the dehumanization of everyday life, work, and activities as human interactions become more and more steeped in technology, or “robotized”.  Dealing with themes of power constructs, manipulation, and male dominance, the exhibition is particularly timely given the recent sentencing of Larry Nassar - a key subject of Hartung’s work depicted throughout R.U.R.

Tim Goossens serves as faculty member MA at Sotheby’s Institute of Art and as one of the youngest senior faculty members at The School of the New York Times. Congruently and for over a decade, he has continued to expand his curatorial practice and social activism with a variety of public art festivals, triennials, art commissions and numerous independent projects worldwide, all of which inspires his research as a contributing editor for Oxford University Press.  He began his career at MoMA shortly after double graduate school and moved as assistant-curator to MoMA PS1, where he worked closely with the founding director, renowned artists and emerging talent alike. At these institutions and beyond, he has worked with artists such as Kenneth Anger, Bjork, Joan Jonas, Sam Moyer, Stephen Posen, Yoko Ono, Patti Smith, and the estate of David Wojnarowicz. He has curated numerous international projects including Listen Up!, India’s first public sound art exhibition, Till I Get It Right (Labor, Mexico City, 2015), Dark Paradise (Clocktower, NYC and Nara Roesler, Brazil, 2013) and Larger than Love (as part of Berlin Biennial, 2012). In recent years he was one of the curators for Aurora, the large-scale public art festival in Dallas, Texas, and for This is the sound of ™, at the Triennial in Belgium.

The free talk takes place May 31 from 6:30 - 8pm at C24 Gallery.

Please RSVP by sending an email to info@c24gallery.com

The Gaurdian highlights Tommy Hartung

Frieze New York: how this year's art fair got political

The annual New York City-based incarnation of the much-anticipated art fair is heading to the streets with a powerful set of protest-themed pieces

By Nadja Sayej

Wedged between South Bronx and Harlem, Randall’s Island in New York City has an unlikely past – part of it was previously called “Negro Point”.

It first got its name, officially, in 1984 after being referred to as such since the late 1800s and was renamed in 2001 when it was brought to the attention of the city’s parks commissioner, Henry J Stern.

Thanks to Stern, it is now called Scylla Point, in reference to the mythological sea monsters Scylla and Charybdis (nearby is Charybdis Playground in Astoria Park).

But that’s not enough, which is why the annual Frieze art fair – which opens today on Randall’s Island – invited New York artist Adam Pendleton to hang a flag at Scylla Point that reads “Black Lives Matter”.

“I called up Adam and said, ‘I can’t be who I am and not acknowledge this history,’” said Adrienne Edwards, a curator at this year’s fair. “I asked him to consider placing the flag at ‘Negro Point’ as a gesture to see how the flag holds that space.”

It’s an attempt to bring politically charged projects to the same old booth-and-blue-chip annual event, as Edwards is curating Frieze New York’s first annual Live section, which is devoted to the poetics of protest.

Edwards, who works as the performance curator at the Whitney Museum of American Art, included Pendelton’s project and others for a project she has titled Assembly.

“I believe art is not made in the world but of the world,” said Edwards.

It’s an antidote to the usual booth-driven, fluorescent-lit art fair, where roughly 195 galleries from 30 countries are inside five white tents.

“There’s a rich history here of artists speaking to the social and political issues of their time,” she said. “In my lifetime, I have never seen anything like what’s happening right now politically; the broader world has changed and the consciousness has been raised.”

Also on view are large-scale American flags by New York artist Hank Willis Thomas, who has hand-embroidered over 15,000 stars, representing the number of people who lost their lives to gun violence in the country from 2016 to 2017.

“Since February, 2,000 people have been shot and killed in America,” said Thomas. “Often, we have memorials and monuments to people who are fallen heroes, but we don’t know who the victims of gun violence were.”

He cites the wars both outside and inside the country. “The fact we had more people killed last year than American soldiers in both wars in Iraq and Afghanistan – which are wars that have been going on for 20 years – is pretty astounding,” he said. “The country will memorialize fallen soldiers, but what about all these other people who died at home for unexplained reasons? This piece is a memorial for fallen stars.”

Also on view is Los Angeles artist Lara Schnitger’s piece Suffragette City, which has the same title as the David Bowie song. This performance art protest for women’s rights will have the artist leading a march with makeshift placards. Rather than words scrawled over the placards, they’re emblazoned with images of women and there will even be a cameo of a handcrafted “goddess” posted up on a wooden plank.

This year, the winner of the annual Frieze artist award went to Canadian artist Kapwani Kiwanga, who has created a public artwork called Shady, a wall-like sculpture made from farmer’s fabric to protect crops, though it looks like a Mexican border wall prototype.

“This particular shade cloth at once evokes this idea of a barrier, as well as a porosity that invites people to think about possible transgression,” Kiwanga told the Art Newspaper.

Together, the political projects raise the importance of bringing the rather insular world of the art fair on to the streets. Which also raises the question of does the art world need to start thinking of art fairs beyond the booth? Perhaps.

As New York magazine art critic Jerry Saltz pointed out, art galleries pay between $15,000 to $125,000 for a booth at Frieze art fair – just for the weekend. But in a time when protest art and public projects garner more intrigue, are art fairs even necessary any more?

Starting at the same time, yet separate to the art fair is a set of virtual reality and video works by New York artist Tommy Hartung, whose RUR project, inspired by the science fiction play by Czech writer Karel Čapek, also look at Facebook’s forthcoming dating service through a creepy lens.

 

 

 

“Facebook began as a misogynist ranking system for frat boys on campus to sexually harass and stalk woman online,” said Hartung. “The internet, in general, has enabled male predators on an unprecedented scale, creating a virtual locker room and normalizing stalker behavior.”

Questions around global warming and nuclear disaster are also abound, like in a flower installation by Japanese artist Atsunobu Katagiri that looks at an endangered flower called the Monochoria korsakowii, which returned after Fukushima stirred up the soil during the tsunami.

Over at the Anat Ebgi gallery booth from Los Angeles, the Arab-American artist Jordan Nassar shows a series of embroidered works honoring the strength of Palestinian women – who the artist met in Israel – while carrying on the details of their handcraft tradition with a sympathetic touch to understand his family’s own past.

New York artist Matthew Brannon also looks back to the past – specifically, the Vietnam war to help understand the present. For his Concerning Vietnamproject at the Casey Kaplan Gallery booth, the artist interviewed war veterans, visited midwestern artillery museums and sifted through piles of declassified documents to better understand the subject, which is a seemingly endless labyrinth captured in a series of graphic, vintage-hued wall works.

While Edwards only curated the Live section and the Frieze Artist Award, her vision seems to cast a timely resonance over the entire show, in general.

“I hope that together, these projects will serve as a platform to help us imagine what is possible today through the poetics of protest,” said Edwardsof the Liveprogram.

“By breaking down boundaries between galleries and the street, the artist and their audience and making new propositions that open up conversations about the role of art in today’s society.”

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