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WUM NEWS WYNWOOD: American Artist M.F.A. Skylor Swann at UM Gallery Wynwood

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Skylor Swann,Skyline, 2014, clay, glaze and slate stone, Image Courtesy of UM Gallery Wynwood
The University of Miami Gallery at the Wynwood Building will be having a Collector's Preview on Thursday, May 7th, 2015 from 6 to 9PM to inaugurate a M.F.A. exhibition by American artist Skylor Swann (B.S. Ceramics & Sculpture, Southern Utah University '03, B.F.A. Montana State University-Bozeman '11).

Entitled "Anomalies"(On view through May 24th) the exhibition showcases the artist's most recent works produced from his studio "Mangey Clay Art" where he sells his pieces through the Old Spanish Hospital Museum Gallery in Saint Augustine, Florida. 

"My clay vessels encapsulate my background in functional pottery while transcending functionality through sculptural means. The lustrous surfaces effectively dissolve the form's boundaries by reflecting the surrounding space giving the illusion of oneness with everything around," the artists writes on his statement.

In other works, Swann uses nontraditional materials which are subjected to ceramic processes resulting in what he likes to call anomalies, "that which is out of the ordinary or unexpected and together they are presented as a mind-scape environment based on the gardening concept of earthly paradise," he says.

Swann is currently completing his Master of Fine Arts from the University of Miami in Coral Gables.
University of Miami Art Gallery, Wynwood Building, 2750 NW 3rd Avenue, Suite #4, Miami, Fl 33127.

WUM NEWS WYNWOOD: New Zealand-based Artist Henrietta Harris To Exhibit First Solo Debut in Miami at Robert Fontaine Gallery

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Henrietta Harris,Makes Sense, 2015, Watercolor on paper, Images Courtesy of Robert Fontaine Gallery

 Landmarks & Features Series, 2015, Ballpoint pen on paper
On Saturday, May 9th, 2015 from 5 to 8PM, the Robert Fontaine Gallery in Wynwood will be inaugurating a Miami solo debut (On view through May 17th) entitled "The Hum" by Auckland, New Zealand-based artist Henrietta Harris(B.F.A. Auckland University of Technology, New Zealand '06).

For the last nine years, Harris has charted a career in illustration with her work appearing in shows throughout New Zealand, Australia, London, and New York. 

Her drawings, ranging in subject from hands, faces and brains are depicted on canvases, t-shirts, and fine print publications. 

Her paintings often involve portraiture with a departure into the surreal with faces sometimes obscured and misplaced by the clean sweep of a brush stroke. 

Gallery director Robert Fontaine says that Harris's work has a fluidity all its own blending the human perspective with a melting state of being, as if in a transitional flux.

“With the use of watercolor to achieve the finest of detail Henrietta’s touch is magnificently unique,” said Robert Fontaine.

Referring to a low frequency hum not audible by all people, the title of the show explores this phenomena and its ability to make the afflicted feel loopy. 

Harris’s paintings can be just as subtly disorienting with her somber subjects’ faces sometimes dislocated, distorted–seemingly by the sweep of a brushstroke–or simply erased altogether.

Her use of watercolor to produce near photoreal portraits against nebulous backgrounds furthers the surreal nature of her compositions. 

“I'm not sure watercolors were designed to paint in the scale I've been using them for this particular body of work," says Henrietta Harris, "But it's been a good learning curve; they're soothing to paint with and there's something nice about repeating the layers over and over until I'm happy.”

With her portraits’ deliberate glitches and voided backgrounds, her paintings are wet and alive calling for deeper examination of her subjects. 

It’s as if they've been momentarily transported to a borderless landscape where they seem both large and small with disregard for time and space. 

Robert Fontaine Gallery is located at 2349 NW 2nd Ave, Miami, FL 33127.

WUM NEWS SAN FRANCISCO: 101/EXHIBIT Showcases a Solo by Gallery Artist Micah Ganske at Art Market SF '15

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Micah Ganske,Ocular EVA Pod, 2015, PLA polymer, spray paint, and archival MSA varnish, Images Courtesy of 101/EXHIBIT
Micah Ganske's The Future is Always Tomorrow(January 7-March 7th, 2015) Installation view at 101/EXHIBIT
The L.A.-based 101/EXHIBIT is a returning gallery for Art Market San Francisco 2015[Booth 109] presenting a solo by Gallery artist  Micah Ganske whose latest work was recently featured in his two-month solo exhibition entitled "The Future is Always Tomorrow."

Ganske presented paintings and sculptures from his most recent series in which the artist explored possible future forms of human society and habitation. 

The exhibition also included Ganske’s latest video Centralia Habitat, which tours a future space colony conceived by the artist.

The Smithsonian: Why Museums Should Be a Safe Space To Discuss Why #BlackLivesMatter

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Via The Smithsonian MagazineBy Menachem Wecker

The deputy director of the Smithsonian's National Museum of African American History and Culture had a problem. 

At the April 25 symposium “History, Rebellion, and Reconciliation,” her panel was a no show. 

A law professor and two writers were late and had yet to appear.

So to fill the gap, Kinshasha Holman Conwill called upon “Brother Ellis" and with some heavy coaxing, she convinced Rex Ellis, the museum's director of curatorial affairs, to sing a duet—a rendition of Bernice Johnson Reagon's“Ella’s Song.” 

“We, who believe in freedom, cannot rest until it comes,” they sang. 

“Until the killing of a black man, a black woman’s son, is as important as the killing of a white man, a white woman’s son.”

That move, in many ways, defined the spirit of the day-long symposium. 

The event featured speakers that ranged from the award-winning director Ava DuVernay (Selma) to the Pittsburgh-based emcee and community activist Jasiri X, and pastor Osagyefo Sekou to Black Alliance for Just Immigration executive director Opal Tometi.

Topics titled “Making Revolution Irresistible” and “Ferguson: What Does This Moment Mean for America?” proved even timelier than organizers could possibly have imagined. 

Earlier that week, 25-year-old Freddie Gray of Baltimore had died in police custody, and the city was experiencing a good deal more rebellion than reconciliation. 

Just hours after the symposium ended, a message on the scoreboard at Baltimore’s Camden Yards noted a plea from the city’s mayor and police department that fans remain in the ballpark until further notice “due to an ongoing public safety issue.” 

By Monday, after Gray's funeral, violence erupted in the city with looting, fires and injuries. 

By Tuesday, the governor of Maryland had called in the National Guard.

Back at the conference, Lonnie Bunch, the museum's founding director told about 115 attendees that the developments in Baltimore were the latest in a series that has sparked a national conversation.

“Ferguson. Cleveland. Staten Island. North Charleston. Baltimore. All these places have been seared into our consciousness. Yet this violence, this loss of innocence, and loss of life is not just an issue in the African American community,” he said. 

“It casts a shadow on native communities, on Latino communities. It casts a shadow on almost every corner of the American experience.”

It was somewhat of a refrain at the symposium that museums can provide “safe,” or even “sacred” spaces, within which visitors could wrestle with difficult and complex topics. 

Just two days before the event, someone had asked Bunch why his museum—just 18 months before opening its new building on the Mall—would engage in such a controversial issue.

“Well he didn’t really say it that way. He said, ‘Are you crazy?’” Bunch said. 

“I guess the answer is, yeah. I am. In some ways, isn’t that our job? Our job is to be an educational institution that uses history and culture not only to look back, not only to help us understand today, but to point us towards what we can become.”

By providing that Janus-like context of looking simultaneously forward and backward, the Smithsonian is well positioned to host conversations on topics like race and fairness, said the Institution's acting secretary Al Horvath

“It’s been said that the Smithsonian is in the forever business, and that’s true. It’s a privilege to be the guardians of many of America’s greatest treasures,” he said. 

“The Smithsonian is definitely also in the now business. We are using our convening power to address issues of the day.”

In his previous role as vice president of Colonial Williamsburg’s Historic Area, Ellis, who sang the duet, observed something about the aura of a church on the grounds which made visitors “less fidgety, less anxious, and less playful.” 

Something about the sacred space suggested to people that they were in a different sort of place and that they had to “upgrade” their behavior, he said. 

“I think that happens in the museum setting.”

People used to call museums “cathedrals,” said Bunch, who previously directed the Chicago Historical Society and held curatorial positions at the California African American Museum and the Smithsonian’s National Museum of American History, in an interview. 

Religion is treated differently in Chicago—which is “comfortable with the political, cultural and business communities coming together to discuss issues”—than it is in Washington, D.C., or Los Angeles, he said. 

Bunch hopes to bring more of that Chicago model to the Mall, and he noted the museum's program at 19th Street Baptist Church

“That allows us to really amplify the possibilities of what we can do here in D.C.,” he said.

There’s evidence it may already be changing at least some minds. 

Two-thirds of the way into the program, the symposium’s Twitter hashtag had already attracted more than 20 million Tweets—the largest number the museum has ever received. 

Among those messages were a couple from a user who self-identifies as a Northern Virginia activist and rap artist. 

 “Great symposium, lots to unpack… surprised how radical it all was in a public space,” he Tweeted. 

“I’m used to many of the topics covered in today’s … symposium in private, was weird and refreshing to hear such radical stuff in public.”

But however “safe” museum spaces are, they aren’t without their challenges. 

Some people perceive museums—including the Smithsonian—as spaces likelier to engage in conservative, than grassroots, conversations, says Ellis, who hopes to show visitors that the museum can address both history and contemporary grassroots issues.

Click here to see History, Rebellion and Reconciliation on ustream.tv

WUM NEWS LONDON: U.K. Artist Jack Lavender's A Hardcore Stomping Flashback Opens Tonight at The Approach

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Jack Lavender's A Hardcore Stomping Flashback (April 30th-May 31st, 2015) at The Approach, London, Image Courtesy of the Gallery
Tonight, Thursday April 30th, 2015, from 6 to 10PM, the London-based gallery The Approach will inaugurate an exhibition entitled "A Hardcore Stomping Flashback" by Gallery artist Jack Lavender  (BTEC Foundation Art & Design, UCCA Canterbury, 06, B.A. (Hons) Fine Art, UCA Canterbury '09, M.A. Sculpture, Royal College of Art, London '12).

This is Lavender's second solo show at the Gallery, the first one, entitled "Dreams Chunky" was presented in 2013. 

For this exhibition, Lavender, 31, has developed a series of free standing sculptures made of self-supportive folded and bent painted steel sheets.

He also includes new double-glazed units and wall-based grids made from rebar and found and collected objects that form part of Lavender’s ongoing practice. 

These will be shown alongside framed collages of found imagery and personal photographs. 

The floor of the gallery has been covered with tens of thousands of overlapping sheets printed with an image of mud tracks taken by the artist, seen as a way to display ideas of preservation, transience, repetition, and the passing of time. 

The repeated image forms the impression of a terrain to be negotiated. However, the illusion is disrupted when the papers shift and slip as visitors make their way through the gallery. 
 
Lavender is constantly inventing new sculptural frameworks for his assemblages of images and objects: from rebar grids to double-glazed window units to the most recent steel structures. 

These constructions are holding grounds for Lavender’s interest in concepts and layers of time: memory and nostalgic visions of the past and the future in popular culture. 

This underlying interest is reflected in the images and objects the artist incorporates into his work, such as stickers, posters, cheap simulacra, snack and drink packaging, drawings and found and collected detritus.

Evoking multi-layered narratives, Lavender shows how in our consciousness, imaginations of past eras exist simultaneously with our personal histories, the present, our plans for the near future as well as ever-evolving imaginations of the more distant time to come. 

WUM NEWS LATVIA: German Artist Ulla von Brandenburg's Sink Down Mountain, Raise Up Valley at kim? Contemporary Art Centre, Riga

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Ulla von Brandenburg's Sink Down Mountain, Raise Up Valley at kim? Contemporary Art Centre, Riga, Latvia, Image Courtesy of Art : Concept
Inaugurated last night, Thursday, April 29th, 2015 from 7 to 9PM, the kim? Contemporary Art Centrein Riga, Latvia presented a solo exhibition entitled "Sink Down Mountain, Raise Up Valley"(On view through June 7th) by the Paris-based Art : Concept artist Ulla von Brandenburg.

Curated by Zane Onckule, and at the centre of von Brandenburg's show is an idea about a commune of Saint-Simonians – a French political and social movement of the first half of the 19th century, inspired by the ideas of a utopian socialist, the founder of sociology and a prescient “madman” – Claude Henri de Rouvroy (or Saint-Simon, 1760–1825). 

Last month in Riga, the cooperation of actors of New Riga Theatre (Maija Apine, Jevgēnis Isajevs, Andris Keišs, Varis Piņķis, Edgards Samītis), Bank of Latvia choir and conductors, Swedish composer Joachim Saxenborn, filming and sound recording crew resulted in the creation of a film-performance, a central piece of the exhibition in the two floors of the Centre, populated by various objects, textiles and wooden installations. 

This is the artist’s second performance-staging which follows Saint-Simonian ideology of a future society based on the spirit of science and industry, where each individual would find fulfilment through the exercise of his or her productive powers in a hierarchical society overseen by technocrats. 

The exhibition in Riga will conjure up memories and embody this pioneering platform of “live socialism” whose supporters and followers include such notable thinkers and social theorists as Auguste Comte, Heinrich Heine, Thomas Carlyle, Karl Marx, John Stuart Mill, among others.


Ulla von Brandenburg’s work is characterised by the diversity in the media she uses, which in turn translates into a thematic concentration. 

Certain motifs appear in different contexts, performances refer back to ideas in wall paintings, drawings prove themselves to be preliminary studies for films, and the props in films become objects in their own right.

Her idea of carnival as a legitimate transgression of social order meets with the notion of mask as a desire for new identity and the confusion of reality and appearance in theatrical stagings.

Born in 1974 in Karlsruhe, Ulla von Brandenburg lives and works in Paris. 

Her work is part of permanent collections such as the Musée National d’Art Moderne, Centre Pompidou, Paris; Fisher Landau Center For Art, Long Island, NY; Tate Modern, London; The Israel Museum, Jerusalem; Galleria d’Arte Moderna e Contemporanea,Torino; FRAC Piemonte, Torino; Kadist Art Foundation, Paris; Fondation Louis Vuitton pour la Creation, Paris; FRAC Ile-de-France, Paris; FRAC Aquitaine, Bordeaux; Frac Pays de la Loire, Carquefou.

WUM NEWS NEW YORK: New Work by Skarstedt Artist David Salle Opens Tonight at Chelsea

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David Salle's New Paintingsat Skarstedt Chelsea, Images Courtesy of the Gallery
Installation view
Tonight, Thursday April 30th, 2015 from 6 to 8PM, the NYC-based gallery Skarstedt will inaugurate an exhibition of new work by Gallery artist David Salle at its 21st Street Chelsea location.

The exhibition features all new work from Salle's two recent series: the Late Product Paintings and the Silver Paintings

The Gallery will also publish a fully illustrated catalogue to accompany the show (On view through June 27) featuring a conversation between David Salle and writer Bill Powers. 

Salle’s new paintings are characterized by both immediacy and complexity; their vibrant color and highly energized, dynamic compositions display a marked evolution from his most recent exhibition, Ghost Paintings, shown at Skarstedt's Upper East Side gallery in 2013. 

Salle’s Late Product Paintings can be seen as both revisiting and providing an extension to his 1993 series, Early Product Paintings, in which flatly painted backgrounds of collaged product advertisements were the stage upon which present-tense painting operations were carried out.

Salle’s Late Product Paintings bring this premise to a much fuller, performative, and masterful resolution.  

Exploring the intangible relationships between subjects, Salle’s images float in a fragmented world of poetic simultaneity. 

Drawing images from a variety of sources, Salle combines them into paintings as one would create a collage. 

Though often surprising, his connections are never forced; they have a non-programmatic, improvised quality, and they arrive at a place of buoyant equilibrium.

“I want the differences to show, but to somehow be resolved anyway. It's symphonic. Sometimes I like to think of myself as a kind of orchestrator,” David Salle said to Bill Powers.

The overarching theme of the Late Product Paintings is the nature of presentation itself—the way things, images, and gestures capture and hold our attention, and the kinds of unseen and unspoken decisions and conventions that govern how we create a relationship with an image.

On the other hand, Salle’s Silver Paintings offer yet another study in contrasts—between painting and photography.
 

The imagery in these paintings is based on a series of photographs the artist made in 1992 of the performer Massimo Audiello posing in front of unfinished paintings from his Early Product Paintings series.

“It's the challenge of holding both things in your head at the same time. I'm trying to make them indivisible,” Salle said.

Born in 1952 in Norman, Oklahoma, David Salle grew up in Wichita, Kansas. 

In 1970, he began his studies at the newly founded California Institute of the Arts in Valencia, where he worked with John Baldessari

After earning a B.F.A. in 1973 and an M.F.A. in 1975, both from CalArts, Salle moved to New York and today lives and works from Brooklyn.

WUM NEWS NEW YORK: Iranian Artist Monir Shahroudy Farmanfarmaian at the Guggenheim

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Monir Shahroudy FarmanfarmaianInfinite Possibility. Mirror Works and Drawings 1974–2014 at The Guggenheim New York, Images and souncloud clip courtesy of the Guggenheim


On view through June 3rd, 2015 at the Guggenheim Museum is the first U.S. museum exhibition entitled "Infinite Possibility. Mirror Works and Drawings 1974–2014"by Iranian artist Monir Shahroudy Farmanfarmaian.

Considered in relation to the Guggenheim’s historical commitment to abstraction, this presentation examines the artist’s rich body of work in its own right and as part of a transnational perspective on artistic production and its reception.

Infinity Possibility includes plaster and mirror reliefs, large-scale mirror sculptures the artist refers to as “geometric families,” and works on paper, revealing the central role drawing has played in Monir’s practice and focusing on a sculptural and graphic oeuvre developed over more than 40 years (many examples of which have not been displayed publicly since the 1970s). 

This body of work is characterized by a merging of visual and spatial experience, coupled with the aesthetic traditions of Islamic architecture and decoration. 

Her use of geometry as form allows for, in the artist’s words, an “infinite possibility.

Born in Qazvin, Iran in 1924–and after formative years in New York from 1945 to 1957– during which Monir met key figures such as artists Milton Avery, Willem de Kooning, Joan Mitchell, Louise Nevelson, Barnett Newman, and, later, Andy Warhol, among others, she returned to Iran.

There, she further developed her artistic sensibility through encounters with traditional craftsmanship, indigenous art forms such as Turkoman jewelry and clothing, coffee house paintings (a popular form of Iranian narrative paintings), and the technique of reverse-glass painting, resulting in a period of artistic discovery that culminated in commissions in Iran and exhibitions in Europe and the United States.

The Islamic Revolution in 1979 marked the beginning of Monir’s 26-year exile in New York, during which she focused on drawing, collage, commissions, and carpet and textile design.

In 2004, when she finally returned to Iran, she reestablished her studio there and resumed working with some of the same craftsmen she had collaborated with in the 1970s.

This Guggenheim exhibitionis organized by the Serralves Museum of Contemporary Art, Porto, Portugal.

WUM NEWS NEW YORK: U.S. Solo Debut by London-based Artist McCrow at the Hoerle-Guggenheim

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Carl McCrow,Way Out, Black on white paint, lacquered– Decommissioned AK47 of Russian origin. Way Out is a core piece in the AK47 Barcoded series created for the development of a number of works. The use of the barcode has become integral to McCrow’s work and is a reference to the mass production of AK47s; a mind boggling 75 million. Images Courtesy of the Gallery

Tonight, Thursday, April 30th, 2015 from 6 to 9PM, the Chelsea-based gallery Hoerle-Guggenheim will inaugurate a solo exhibition entitled "History Interrupted, The Art of Disarmament" (On view through May 28th) by the London-based artist Carl McCrow.

The series of works presented in this solo exhibition–and also a U.S. debut– reflect a personal paradox for McCrow, an artist that is both fascinated and repulsed by guns, especially AK-47s which are transformed with underlying powerful statements.

Six years ago, a close friend of the artist lost both legs and arm in an explosion fighting with the Bristish Army in Afghanistan. 

Such horrific incident made a profound mark in McCrow's conceptual work and he was resolute and unswerving to use his art as a demonstration for the severity and scope of arms proliferation around the globe.

                                   Bondage to the War Machine, 6,556 spent military rounds


In 1961, President Dwight Eisenhowerfamously warned the world about the "military–industrial complex" in his farewell address. That complex now spends an incomprehensible 1.8 trillion dollars a year on weapons; this is 2.5% of the worlds GDP or more simply, $249 for every person on earth. In recognition to the $249 every person on earth spends on weaponry; 249 assault rifles were destroyed; the last evidence of their existence are the serial numbers fixed to the rear.

                                          Digital Warfare, 2,863 spent military rounds

The weapons industry is investing millions dollars in the games industry every year
                                               Arsenal of Democracy, 8000 spent military rounds


Captain America Comics number 1 issue was in March 1941 and his first act was to go and wallop Hitler. A noble debut to be sure, but this is a time when America is neutral in the war in Europe.Nine months later, in December 1941, America declared itself the ‘arsenal of democracy’ and joined WWII against Germany.

In July 2013, McCrow launched One Less Gun , a charity that aims to destroy 1,000,000 guns in conflict areas across the planet. 

At Hoerle-Guggenheim, McCrow will present twenty AK-47s and smalls arms procured directly from areas of conflict, decommissioned and re purposed as conceptual three-dimensional works.

The most recognizable gun in the world has become a metaphorical stand in for power, domination, and the superiority of science and machines. 

By harnessing the mainstream fetishization of these weapons, McCrow, translates their gravitas to art through the application of paint, gold leaf, barbed wire and other materials.

Working together with groups including Mines Advisory Group (MAG), Project AK47, War Child, and the International Anti-Poaching Foundation, McCrow's One Less Gun funds the identification and destruction of arms piles.

Viewers inspired by McCrow’s works can contribute to this global effort for disarmament and receive a unique piece of their own, a round of ammunition engraved with the serial number of a gun destroyed for a donation of just $10, the cost of eliminating a single gun. 

At the Gallery, visitors will recognize McCrow’s work which has been featured in the new Martin Scorsese-produced British film, Tomorrowwhich is working with One Less Gun to make the film ‘gun neutral, ’a concept conceived by McCrow where violent and war oriented films and video games might positively impact actual violence by destroying one actual gun for each one depicted on screen.

Hoerle-Guggenheim, 527 West 23rd Street, New York, NY 10011.

Tonight: A Historic Celebration, The Empire State Building Will Light Up with 12 Iconic Pieces During the Whitney Opening

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The Empire State Building and the new Whitney (white building in foreground to the right of the Empire State Building). Photo by Timothy Schenck © 22015, Images Courtesy of the Whitney Museum of American Art for WUM
For the Whitney's Archives, A Dedication Ceremony Program Signed by First Lady of The United States, Michelle Obama, Image Courtesy of the Whitney blog on Tumblr

WUM NEWS NEW YORK–There's so much excitement in the Big Apple today, Friday May 1st, 2015 when the anticipated official opening of the new Whitney Museum of American Art will have a once in a lifetime historic celebration that includes a one-of-a-kind, one-night-only Empire State Building light show to mark  two historic occasions: the inauguration of the new Whitney’s Renzo Piano–designed building in Manhattan’s Meatpacking District, and the eighty-fourth anniversary of the Empire State Building.

Focusing on twelve iconic works from the Whitney’s collection, lighting designer Marc Brickman will interpret pieces by artists Georgia O’Keeffe, Edward Hopper, Andy Warhol, Peter Halley, and Barbara Kruger, among others, utilizing the Empire State Building’s LED tower lights to create a dynamic show. 

Beginning at 8PM, each of the twelve artworks will be showcased for thirty minutes, with the light show ending at 2 AM on Saturday, May 2

Most of the works that inspired the light show will be on view at the Whitney as part of the new building’s inaugural exhibition, America Is Hard to See (May 1–September 27, 2015).

The New York Times editorial board has called the Whitney"an eccentric and essential place" in an article published today entitled "American Beauty, Wherever It's From."

Photo by Timothy Schenck

On Saturday, The Whitney will have an all-ages block party. 

No tickets are required to attend the all-day event, which features activities and performances designed by artists and community organizations. 

A site-specific installation by Mary Heilmann  entitled "Sunset" inaugurates the fifth-floor outdoor gallery with sculptural chairs and pink wall elements that play off the geometries of the building. 

The video Swan Song (1982), shown here for the first time, documents the destruction of the previous West Side Highway and includes footage of the Hudson River as well as the neighborhood surrounding the Whitney’s new home.

Installation view of Mary Heilmann: Sunset  Photograph by Marco Anelli © 2015
In addition, 17 artists will be featured on Film Screenings throughout the day starting at 11AM and ending at 9:40PM presenting a varied set of reflections: "Museum Highlights by Andrea Fraser""Beat Life, Street Life by Helen Levitt, Robert Frank, David Bienstock, Lucas Samaras""I Feel Your Pain by Liz Magic Laser ""Radical Takes by Howardena Pindell, Cynthia Maughan, Suzanne Lacy""The Art of Vision by Luis Recoder, Julie Murray, Sandra Gibson, Stan Brakhage, Brian Frye & Matt Saunders" and "Dream States by Maya Deren & Hans Richter."

The Whitney's inaugural show "America Is Hard To See"will be an unprecedented selection of works from the Museum’s renowned permanent collection presenting fresh perspectives on the Whitney’s holdings and reflecting upon art in the United States with more than 600 works by some 400 artists, spanning the period from about 1900 to the present. 

The exhibition—its title is taken from a poem by Robert Frost and also used by the filmmaker Emile de Antonio for one of his political documentaries—is the most ambitious display to date of the Whitney’s collection.

Inaugural artists are: Berenice Abbott, Michele Abeles,Vito Acconci, Ansel Adams, Robert Adams, Carl Andre, Kenneth Anger, Eleanor Antin, Diane Arbus, Cory Arcangel, David Armstrong, Richard Artschwager, Ruth Asawa, Asco, Charles Atlas, Lutz Bacher, Peggy Bacon, Jo Baer, Alex Bag, Malcolm Bailey, Lamar Baker, John Baldessari, Alvin Baltrop, Lewis Baltz, Matthew Barney, Richmond Barthé, Jean-Michel Basquiat, Romare Bearden, Cecil Beaton, Robert Beavers, Robert Bechtle, Ericka Beckman, Larry Bell, George Bellows, Lynda Benglis, Thomas Hart Benton, Wallace Berman, Bernadette Corporation, Judith Bernstein, Huma Bhabha, David Bienstock, Henry Billings, Ilse Bing, Dara Birnbaum, Nayland Blake, Oscar Bluemner, Peter Blume, Lee Bontecou, Jonathan Borofsky, Louise Bourgeois, Margaret Bourke-White, Carol Bove, Mark Bradford, Stan Brakhage, Robert Breer, Patrick Henry Bruce, Bernarda Bryson Shahn, Charles Burchfield, Jacob Burck, Chris Burden, Scott Burton, Mary Ellen Bute, Paul Cadmus, John Cage, Alexander Calder, Cameron, Luis Camnitzer, Peter Campus, James Castle, Elizabeth Catlett, Maurizio Cattelan, Vija Celmins, John Chamberlain, Paul Chan, Sarah Charlesworth, Ayoka Chenzira, Chryssa, Larry Clark, Chuck Close, Sue Coe, Anne Collier, Bruce Conner, Joseph Cornell, Eldzier Cortor, Miguel Covarrubias, John Covert, Ralston Crawford, E.E. Cummings, Imogen Cunningham, John Currin, John Steuart Curry, Allan D’Arcangelo, James Daugherty, Emma Lu Davis, Stuart Davis, Willem de Kooning, Walter De Maria, Roy DeCarava, Jay DeFeo, Charles Demuth, Maya Deren, Mark di Suvero, Jim Dine, Arthur Dove, Thomas Downing, Elsie Driggs, Guy Pène Du Bois, Carroll Dunham, Sam Durant, Jimmie Durham, Mabel Dwight, William Eggleston, Nicole Eisenman,Wharton Esherick, Walker Evans, Kevin Jerome Everson,Loretta Fahrenholz, Andreas Feininger, Lyonel Feininger, Duncan Ferguson, Rafael Ferrer, Paul Fiene, Morgan Fisher, John B. Flannagan, Hollis Frampton, Robert Frank, Andrea Fraser, LaToya Ruby Frazier, Hermine Freed, Jared French,Lee Friedlander, Brian Frye, Charles Gaines, Anna Gaskell, GCC, Gerald K. Geerlings, Hugo Gellert, Sandra Gibson, Luis Gispert, William Glackens, Milton Glaser, Robert Gober, Nan Goldin, Wayne Gonzales, Felix Gonzalez-Torres, Boris Gorelick, Arshile Gorky, Dan Graham, William Gropper, Nancy Grossman, George Grosz, Louis Guglielmi, Philip Guston, Walter Gutman, Wade Guyton, Hans Haacke, Peter Halley, David Hammons,  Keith Haring, Rachel Harrison, Marsden Hartley, David Hartt, David Haxton, Sharon Hayes, Al Held, Robert Henri, Carmen Herrera, Eva Hesse, Lewis Hine, Nancy Holt, Jenny Holzer, Edward Hopper, Roni Horn, Earl Horter, Alex Hubbard, Peter Hujar, Richard Hunt, Victoria Hutson Huntley, Robert Indiana, Abraham Jacobs, Ulysses Jenkins, Neil Jenney, Candy Jernigan, Jess, Jasper Johns, Rashid Johnson, Ray Johnson, William H. Johnson, Joan Jonas, Joe Jones, Philip Mallory Jones, Michael Joo, Donald Judd, Alex Katz, On Kawara, Mike Kelley, Ellsworth Kelly, Sister Corita Kent, Karen Kilimnik, William Klein, Franz Kline, Josh Kline, Jeff Koons, Lee Krasner, Barbara Kruger, Yasuo Kuniyoshi, Yayoi Kusama, Suzanne Lacy, David Lamelas, Dorothea Lange, Liz Magic Laser, Robert Laurent, Louise Lawler, Jacob Lawrence, An-My Lê, William Leavitt, Zoe Leonard, Alfred Leslie, Howard Lester, Sherrie Levine, Herschel Levit, Helen Levitt, Norman Lewis, Sol LeWitt, Roy Lichtenstein, Glenn Ligon, Kalup Linzy, Alvin Loving, Lee Lozano, Louis Lozowick, George Luks, Helen Lundeberg, Len Lye, Danny Lyon, Stanton Macdonald-Wright, Tala Madani, Man Ray, Sylvia Plimack Mangold, Robert Mapplethorpe, Christian Marclay, Brice Marden, Marisol, Kyra Markham, Reginald Marsh, Agnes Martin, Fletcher Martin, Gordon Matta-Clark, Cynthia Maughan, Keith Mayerson, Paul McCarthy, John McCracken, Adam McEwen, John McLaughlin, Josephine Meckseper, Jonas Mekas, Ana Mendieta, Sam Middleton, Aleksandra Mir, Joan Mitchell, Toyo Miyatake, Lisette Model, Donald Moffett, Abelardo Morell, Robert Morris, Mark Morrisroe, Gerald Murphy, Elizabeth Murray, Julie Murray, Reuben Nakian, Bruce Nauman, Alice Neel, Louise Nevelson, Barnett Newman, Isamu Noguchi, David Novros, Jim Nutt, Chiura Obata, Georgia O’Keeffe, Claes Oldenburg, Catherine Opie, Jose Clemente Orozco, Raphael Montañez Ortiz, Alfonso Ossorio, Tony Oursler, Bill Owens, Akosua Adoma Owusu, Nam June Paik, Gordon Parks, Agnes Pelton, I. Rice Pereira, Raymond Pettibon, Elizabeth Peyton, Paul Pfeiffer, Howardena Pindell, Adrian Piper, Horace Pippin, Lari Pittman, Jackson Pollock, Liliana Porter, Richard Pousette-Dart, Richard Prince, Nancy Elizabeth Prophet, Noah Purifoy, R. H. Quaytman, Walid Raad, Yvonne Rainer, Christina Ramberg, Robert Rauschenberg, Charles Ray, Luis Recoder, Jeffrey Reed, Robert Reed, Earl Reiback, Ad Reinhardt, Hans Richter, Faith Ringgold, Dorothea Rockburne, James Rosenquist, Martha Rosler, Theodore Roszak, Susan Rothenberg, Mark Rothko, Edward Ruscha, Morgan Russell, Betye Saar, David Salle, Lucas Samaras, Jacolby Satterwhite, Peter Saul, Matt Saunders, Morton Schamberg, Carolee Schneemann, Dana Schutz, Dread Scott, George Segal, Richard Serra, Ben Shahn, Joel Shapiro, Paul Sharits, Charles Sheeler, Cindy Sherman, Roger Shimomura, Everett Shinn, Amy Sillman, Laurie Simmons, Taryn Simon, Lorna Simpson, John Sloan, David Smith, Jack Smith, Kiki Smith, Tony Smith, Robert Smithson, Keith Sonnier, Edward Steichen, Ralph Steiner, Frank Stella, Joseph Stella, Harry Sternberg, Hedda Sterne, Florine Stettheimer, May Stevens, Alfred Stieglitz, John Storrs, Michelle Stuart, Sturtevant, Wayne Thiebaud, Alma Thomas, Rirkrit Tiravanija, George Tooker, Bill Traylor, Ryan Trecartin, Anne Truitt, Wu Tsang, Richard Tuttle, Cy Twombly, Stan VanDerBeek, Kara Walker, Kelley Walker, Carl Walters, Andy Warhol, Max Weber, Weegee, William Wegman, Lawrence Weiner, Tom Wesselmann, H.C. Westermann, Charles White, Gertrude Vanderbilt Whitney, Jack Whitten, Hannah Wilke, Christopher Williams, Sue Williams, Fred Wilson, Garry Winogrand, William Winter, Karl Wirsum, David Wojnarowicz, Jordan Wolfson, Martin Wong, Grant Wood, Francesca Woodman, Hale Aspacio Woodruff, Christopher Wool, Andrew Wyeth and William Zorach.

WUM NEWS TAMPA: Kristian Schuller, Billy & Hells, Taka Kobayashi at the Florida Museum of Photographic Arts

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Kristian Schuller, Detail of Strand II, 2010, Image Courtesy of the Florida Museum of Photographic Arts
Tonight, Friday May 1st, 2015 from 6 to 8PM, the Museum of Photographic Arts in Tampa, Florida is inaugurating with an opening reception an exhibition entitled "High Fashion" (On View through June 22nd) by Kristian Schuller,Billy & Hells and by Japanese artist Taka Kobayashi.

Also tonight, an artist talk is scheduled at the Museum with American photographer Jim Reynolds who has produced vibrant images of the New York City landscape in his first solo Museum show entitled CityScapes.  

Incorporating characteristics of the Photorealism art movement of the ‘60s and ‘70s, the series offers views of New York City that capture the energy, excitement and scale of everyday life in the city.

WUM NEWS NEW YORK: Maine-based Artist Rollin Leonard's NEW PORTRAITURE Opens Tonight at TRANSFER

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Rollin Leonard"NEW PORTRAITURE" Solo Exhibition at TRANSFER New York City, Image Courtesy of the Gallery
With an Opening Reception scheduled tonight, Saturday, May 2nd, 2015 from 7 to 10PM, American-born artist Rollin Leonard will present his solo exhibition entitled "NEW PORTRAITURE" at TRANSFER (On view through May 23rd) featuring a collection of photographic, semi-sculptural objects, installation, wall-based compositions and looped moving images.

For his second exhibition at the Gallery, Leonard, 30, developed a new series of work to span three exhibition spaces. 

NEW PORTRAITURE represents an ongoing collaboration between TRANSFER and the Paris-based XPO GallerywhereLeonard will be having his first solo on May 28th.

His moving image series entitled "Water, Lens: Wave"– produced for this exhibition – previously debuted last year at the Moving Image Art Fair Istanbul'14.

To date,  Leonard’s work has been a systematic exploration of the human body’s digital afterlife. 

His photographed subjects are submitted to all kinds of algorithmic tortures, their limbs disjoined from one another or repeated indefinitely to create compositions that are abstract yet still recognizably humanoid.

For this show, Leonard abandons the harsh angularity for which he is known in favor of more organic forms; he essentially moves from a mechanics of solids to a mechanics of fluids. 

Each individual piece is an exercise in liquid imagery and is produced through an elaborate photographic process.

"The method for extruding the surfaces back into round objects varies," Leonard says, "light is refracted and distorted in water, polygon matrices of the photographic surfaces are crumpled into heads, and an enormous plastic figure is skewed by the viewer’s perspective."

Leonard says that his practical effects attempt to emulate the computer-generated magic.

WUM NEWS FORT LAUDERDALE: The First Museum Exhibit To Focus on the Danish Avant-Garde The Hell-Horse at NSU Art Museum

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This is the first museum exhibition to focus on the Danish group Helhesten established in 1941 by leading modernists of the period who courageously created expressive art as an act of resistance during German occupation of Denmark. Works from the NSU's Art Museum extensive Meyer and Golda Marks Cobra collection are featured. Images Courtesy of NSU Art Museum

Jorn Asger, Untitled, c. 1941, Oil on wood (barrel) NSU Art Museum Fort Lauderdale; the Golda and Meyer Marks Cobra Collection, M-227.

On Sunday, May 17th, 2015 the NSU Art Museum in Fort Lauderdale will inaugurate an exhibition entitled"War Horses: The Danish Avant-Garde During World War II," the first museum exhibition (On view through October 4th, 2015) to focus on the Danish avant-garde group, Helhesten (The Hell-Horse)

The group was established in Copenhagen in 1942 by leading modernists of the period who courageously created expressive abstract art and exhibited and published a journal together throughout the German occupation of Denmark from 1940 – 1945.

The exhibition, which examines the significance of Helhesten by exploring how and why European modern art was made during the rise of Fascism, includes 120 paintings, works on paper and sculptures by artists such as Ejler Bille (1910-2004), Henry Herrup (1907-1983), Asger Jorn (1914-1973), Carl-Henning Pedersen (1913-2007) and others.

The artists who founded Helhesten were active in Paris and Germany before the war and were devoted to perpetuating aspects of Surrealism, Dada and German Expressionism. 

Their reinterpretation of these movements and interest in Nordic mythology, ethnographic objects and folk and children’s art combined to manifest a unique style during the war that included the use of brightly colored, spontaneously applied pigment to depict fantastical subjects. 

Many of the Helhesten artists became part of the radical post-war Cobra art movement (named after artists from Copenhagen, Brussels and Amsterdam).

Although the Helhesten artists worked with gestural abstraction at the same moment as the New York School artists who would later be labeled Abstract Expressionists, the Danes did not know of the Americans’ work until after the war. 

Unlike their American counterparts, the Danish artists rejected complete abstraction in favor of semi-figuration and whimsy in their compositions and held to a belief in the inherent value of art for everyday life. 

This “new realism” – as they defined it – purposefully challenged the brutality of the Nazi regime and its condemnation of so-called degenerate modern art by celebrating humanistic and universal commonalities, tongue-in-cheek humor and collectivist creativity.

The exhibition includes more than 90 works from NSU Art Museum Fort Lauderdale’s outstanding collection of Helhesten art, which is the largest in the United States, and was donated to the museum by Meyer B. and Golda N. Marks in 1988. 

The exhibition also reconstructs the most important exhibition staged in Denmark during World War II, 13 Artists in a Tent, which opened on May 17, 1941.

WUM NEWS NEW YORK: "From Düsseldorf" a Solo Show by German Photographer Candida Höfer at Sean Kelly NY

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Candida Höfer,Neuer Stahlhof Düsseldorf I 2012, C print, 70 7/8 x 96 1/2 inches (180 x 245 cm) © Candida Höfer/VG Bild-Kunst, Bonn, Image Courtesy of Sean Kelly, NY

With an opening reception scheduled this coming Thursday, May 7th, 2015 from 6 to 8PM, Sean Kelly Gallery in Manhattan will inaugurate the first exhibition at the Gallery by German photographer Candida Höfer.

Entitled "Candida Höfer: From Düsseldorf" (On view through June 20th) this will be Höfer’s first exhibition in New York since 2013.

Also presented for the first time in the U.S.,  Höfer’s photographs were all taken in Düsseldorf, Germany — the city where she first studied photography under Bernd and Hilla Becher and which, to this day, remains an important influence on her work. 

Alongside the meticulously composed, large-scale, color images of interiors for which Höfer is known, the exhibition presents photographs from the artist’s remarkable new body of work. 

Höfer’s latest compositions focus primarily on architectural detail and structure, color and form, utilizing extreme angles and close-ups to interrogate abstract forms. 

These fascinating new images juxtaposed against the Baroque churches, Rococo halls, and Modern opera houses, quintessentially representative of Höfer’s oeuvre, create an exciting visual dialogue that explores the past, present, and future of both the city and the artist.

In the mid 70s, Höfer and her peers at the exalted Kunstakademie, known as The Düsseldorf School of Photography, created one of the most remarkable artistic movements in Germany since the Bauhaus

In the years following, Höfer has continued to photograph Düsseldorf with a fresh eye, revealing an entirely new, and unexpected, minimalist direction in her work. 

WUM NEWS NEW YORK: "NADA Presents" at NADA New York '15

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Selection from Sports Closet, a performance by Alina Tenser [Saturday May 15th], Images Courtesy of NADA NY

Daniel Heidkamp, Contemporary Fashion with Cheryl Donegan and NADA x PAOM [Thursday May 14th]
Next week from Thursday, May 14th  to Sunday May 17th, 2015 NADA New York will be presenting a series of interdisciplinary programming events, performances and conversations at the newly designed NADA stage at Pier 36 in Manhattan.

Entitled "NADA Presents" begins Thursday May 14th at 6PM with "Tachyon Path," a musical piece for six vibraphones composed by Jay Israelson, performed outside on the pier; then at 7PM and curated by Sam Gordon  presenting a show entitled "Contemporary Fashion" with Cheryl Donegan and NADA x PAOM collaborations by Sarah Braman, Bjorn Copeland, Daniel Heidkamp, and Amy Yao

Renown fashion illustrator Richard Haines will draw the models live as they function as both subject and vehicles for the drawings.

On Friday, May 15th at 1PM, "Reverie," a performance by Noritoshi Hirakawa, followed by a conversation of Independent Curators International (ICI) with Will Bradley, Artistic Director, Kunsthall Oslo. At 5PM a "BHQFU Transparent Critique" from the NY-based learning experiment BHQFU where faculty, staff and students of will sit down for an open-view interdisciplinary critique class session 0f BHQFU’s 2015 spring semester. At 6PM, 247365 presents a performance by Brian Belott. 

On Saturday May 16th at Noon, a "Cloud Based Institutional Critique" with Mike Pepi, art critic (e-flux, New Criterion, Frieze); Zachary Kaplan, Assistant Director, Rhizome; Orit Gat, art critic (WdW, Frieze, Art Review). At 1PM, "Selection from Sports Closet," a performance by Alina Tenser presented in collaboration with Regina Rex.
 

"Tachyon Path," a musical piece for six vibraphones composed by Jay Israelson [Thursday, May 14th]

At 2PM,  "Professionalism and its Discontents," a panel discussion organized by the Shandaken Project, Mary Walling Blackburn, artist; Ethan Philbrick, Performance Studies Ph.D. candidate, NYU; Laurel Ptak, Curator, Director, Triangle Arts Association; Lise Soskolne, artist, core organizer of W.A.G.E.; Jack Waters, artist, former director of ABC No Rio.

A conversation [Artspace/Phaidon] is scheduled at 4PM moderated by Andrew Goldstein, Chief Digital Content Officerand entitled "Whither the Art Gallery? (What are Galleries Good for These Days?)" with Sarah Douglas, Editor-in-chief, ARTnews; Jack Hanley, Jack Hanley Gallery; Carlos A. Rivera, Founder, Art Rank; and Carole Server, collector.

At 5PM, Alina Tenser presents her second performance "Selection from Sports Closet"andat 6PM, "Light Stain," readings from Isaac Pool, presented by What Pipeline.

Lastly, on Sunday, May 17th at 1PM, Aeromoto and Wendy’s Subway Present A+WS, a presentation of responses and interventions to the onsite library.

At 3PM, "On Connectivity" with  Sara O’Keeffe, Assistant Curator, New Museum, hosts a discussion with Niv Acosta, Antoine Catala, and special guests on the New Museum’s 2015 Triennial: Surround Audience.

WUM NEWS NEW YORK: "Ascención" First NY Solo Performance of Cuban-born Artist Carlos Martiel at MAAS

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Carlos Martiel, Image Courtesy of Mandragoras Art Space
On Saturday, May 16th, 2015 at 2PM, Cuban-born artist Carlos Martiel will have his first solo performance in New York at MAAS | Mandragoras Art Space in Long Island City.

Entitled “Ascención” Martiel questions the perception of heroism as dependent on the use of power in matters of political conflict and world peace. 

He bases his critique on the military system, where heroism is grounded on rank and rivalry, and that vindicates authoritarianism and the sacrifice of life for the common good.

Where is the line that divides a hero from a murderer?

In his piece, the artist creates a compelling situation where the audience is able to experience the consequences of patriotism and hierarchy. 

The problem of violence and power is a constant on Martiel’s work. On this occasion, it questions those at the forefront of the arms race, promoting themselves as peacemakers, but ultimately enforcing a world of dominance.

WUM NEWS SHANGHAI: "Punctuation – The First Time," Shen Fan's Solo Exhibition at ShanghART Gallery

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From May 10th to June 14th, 2015, the Shanghai-based ShanghART Gallery will inaugurate Shen Fan’s solo exhibition entitled "Punctuation – The First Time" featuring his latest [2014-2015] mixed-material paintings and installations.

Shen Fan is one of the artists in China doing abstract painting in the early days. His work mainly features non-subjective duplicate elements and monochrome. 

Affected by western painting style, his work tended to involve certain trends and tension.  

In late 1990s, the tensions in his paintings gradually disappeared, but a painting language, which harmonises with early decorative art, and the nature of painting that possesses Chinese aesthetics started to be unveiled. 

Stone rubbing technique during Shen’s creation process helps to restrain the strong emotional fluctuation by orders and steadiness, which generates moderate introspect and exposure in his work.    

After removing the characters, it resembles the Morse code, illustrating a sense of continuation andextension of abstraction. 

And the rhythm caused by the remaining punctuations is constrained by serene statements, protesting the authority of characters. Shen Fan manages to challenge audience’s way of appreciation by a new language.
 
Covering the original characters and abandoning all the potentials of understanding and misunderstanding, he chooses to bring a broader subject.    

WUM NEWS DENVER: Norwegian-born Artist Martin Whatson "About Face" at Black Book Gallery

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Martin Whatson,Love Cops, 2014, Spray paint and acrylic on canvas, Edition of 2–SOLD, Images Courtesy of Black Book
Chameleon, Spray paint and mixed media on canvas
This coming Saturday, May 9th, 2015 from 6 to 10PM, the Denver-based gallery Black Book will inaugurate an exhibition entitled "About Face" (On view through May 30th) by Norwegian-born and based artist Martin Whatson.

Whatson will be in attendance for this U.S. Opening Reception. His last solo show entitled "Hide & Seekwas presented and curated by the innovative "RexRomae," an urban contemporary art gallery project whose pop-up exhibitions are showcased in vacant spaces across London replicating the ephemerality of urban street art. 

While studying art and graphic design at the Westerdals School of Communication in Oslo, Whatson discovered stencil along with the underground urban art scene. 

Inspired by the Miami-born artist José Parlá and the American-born Cy Twombly, Whatson, 30,  has been developing his own line of work for the last decade beautifully merging stencil, graffiti and decay to convey a message.

By turning what is regularly seen as ugly or just out of style, Whatson creates a mix of urban scenes heavily using grey tones on his background image and then adding a multi-color splash of strokes and marks on certain areas of the painting in a striking fashion.

WUM NEWS HONG KONG: "About My Hometown" Chinese Photographer Zhang Xiao's Third Solo at Blindspot Gallery

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Zhang Xiao, Eldest Sister in Her Barber Shop, 2012, Instant film on paper, 17 x 26 cm, Image Courtesy of Blindspot Gallery

With a guided tour led by the artist scheduled at 4:30PM on Saturday, May 16th, 2015, the  Blindspot Gallery– a space for contemporary photography located at the Po Chai Building in Hong Kong– will inaugurate a solo exhibition entitled "About My Hometown" by award-winning Gallery artist Zhang Xiao featuring six of his latest photographs and mixed media series.

(On view through June 27th), this is the artist's third solo at the Gallery.  Born in Yantai City on mainland China, Zhang, 33, is shifting focus from the portrayal of life in contemporary China presented his previous series such as Coastline (2009-2013) and They (2006-2008) in which the artist has revealed his unique understanding of a sense of surrealism that precisely captures the absurdity in a country that has dramatically changed due to rampant economic shifts.

As the title implies, in About My Hometown, Zhang moves away from these past general reflections to ones that are more personal to him. By showcasing the intimate side of his family, his homecoming to Yantai and portraying his experiences, Zhang demonstrates his use of a wider range of mediums such as collage, sound and installation.

From the shifting form of culture and entertainment, the aesthetics of the people about beauty and modernism to the absurdity of national policy, Zhang’s new works are personal recollections that mirror an ever-changing country and the lives of its people, which resonate and connect with a wider global audience.

WUM NEWS NEW YORK: Topography of a Daydream by Ukranian Israeli Artist KLONE at Garis & Hahn

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KLONE,Dreamscape (Dedication), 2015, Ink on paper, Images Courtesy of Garis & Hanh
All That’s Mine I Carry,  Ink on Paper
Located at the Bowery neighborhood in Manhattan Garis & Hahn, the gallery-cum-Kunsthalle– owned by Mary Garis & Sophie Hahn– that mounts exhibitions focused on conceptual narratives will inaugurate on Thursday, May 14th, 2015 at 6PM, a two-story solo show entitled "Topography of a Daydream" by Ukranian-born, Tel Aviv-based artist KLONE.

On view through June 20th, this exhibition is the artist's first solo in New York and will feature a series of new sculptures, drawings, animations, along with a site-specific mural.

Using his pen name KLONE which he adopted in 2004, the artist was one of the first graffiti artists to emerge in the Tel Aviv scene where he resides since 1994. 

As many artists that leave their country of origin, KLONE's initial practice of tagging and graffiti were personal challenges to themes of diaspora. 

As a medium, it enabled him to capture the immediacy of his memories, while also allowing him a greater sense of experimentation and informality reflecting the inherent fallibility of recollection. 

For his New York debut, KLONE continues with his recurring theme of diaspora and identity politics. 

Last year KLONE presented four solo shows, three of them in Europe in cities like Berlin, Copenhagen and Heidelberg, and at Kartel Gallery in Haifa, Israel.

As the title of his show implies, the artist is exploring his childhood memories of his native Ukraine with detail representing an arranging elements in his conceived dreams featuring mythical creatures on barren landscapes.

Each element of the exhibition is an iconography of local history and folklore represented across both Western and Eastern cultures.

The fox, the crow, and the black cat are recollections of daydreams that become the essential figures repeated throughout KLONE’s work. 

The fox, or kitsune, is often seen as employing a mystical and cunning ability to trick others, while alternate stories portray them as faithful guardians, friends, and lovers. 

On the other hand, the crow, believed by some to be an omen of death, is also a mark of rebirth and rejuvenation—a small, black bird that historically cleaned up after battles and symbolized the renaissance after great tragedy. 

As a child uprooted from the U.S.S.R., the artist disassociates himself from identifying as either Israeli or Ukrainian—yet, he admits to being somewhat tied to both. 

KLONE’s ambivalence towards self-identity allows him to create and integrate fantasy worlds for himself and audiences in which to live—and more importantly, to belong.

His work is part of permanent collections including the Israel Museum and the Munich City Museum, among others.
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