James Cohan Gallery has announced two shows taking place in the New York area featuring the work of acclaimed British-born Nigerian artist Yinka Shonibare MBE. Shonibare's artistic practice explores the construction of cultural identities by examining issues of class, race, and colonialism. He is known for his use of brightly colored wax-resist textiles, often seen clothing headless mannequins in tableaux-style installations, as in How To Blow up Two Heads at Once (Ladies), 2008.

These fabrics were initially associated with the Indonesian archipelago, and were later manufactured in the Netherlands and exported to Africa, where they became a symbol of national pride. Shonibare draws upon this complicated history to show the socioeconomic dominance of Europe established through trade and colonialism. The distinctly Victorian style of dress seen on the mannequins refers to the period of British history when Africa was colonized. The fabric is both a tool for investigating contemporary African identity and a metaphor for the interwoven, and often inequitable, historic nature of a global culture.

The Brooklyn Museum is currently exhibiting the most comprehensive survey of Shonibare's work to date, featuring over twenty sculptures, paintings, large-scale installations and films. The exhibition was launched at the Museum of Contemporary Art in Sydney, Australia, and will later travel to the National Museum of African Art, Smithsonian Institution, in Washington, D.C. It will remain on view at the Brooklyn Museum until September 20th. The exhibition is accompanied by a catalogue which includes an interview conducted by Anthony Downey, Ph.D., Program Director of the M.A. in Contemporary Art at the Sotheby's Institute of Art in London.

In addition to this survey exhibition, a site specific installation by Yinka Shonibare MBE is on view at The Newark Museum until January 3, 2010. Party Time: Re-imagine America was commissioned by the museum to celebrate their centennial anniversary. The installation is set in the dining room of the historic Ballantine House, a wing of The Newark Museum since 1937, which was originally built for the prominent Newark brewing family in 1885. The installation recreates a formal dinner party as it could have happened at the time of Jeannette and John Holme Ballantine, for whom the house was built. As stated in the press release, Party Time: Re-imagine America "considers at its core the discrepancy of wealth generated by turn-of-the-century enterprise, where excess and self-indulgence are achieved through the subservience of others."

Shonibare was born in London in 1962. When he was three, his family moved to Nigeria, but maintained a residence in South London to spend summers. Shonibare attended Goldsmiths College from 1989-1991 (after Byam Shaw School of Art). The artist was short listed for the prestigious Turner Prize in 2004 and designated a Member of the British Empire by Prince Charles.

Shonibare has recently exhibited at James Cohan Gallery in New York as well as the Santa Barbara Museum of Art in California. In addition to the two exhibitions taking place now, the artist also has an upcoming show at the Museum of Fine Arts in Boston in 2010.

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David Spriggs' atmospheric installations, such as Axis of Power, above, inhabit both the two-dimensional and the three-dimensional realm, challenging the viewer's concept of space. The piece, which was commissioned and produced by this year's Sharjah Biennial, is "like a scientific specimen, the power of nature appears to have been captured, isolated, and objectified within the confines of the room's architectural space," as captioned at the installation in Sharjah. Initially, the spiraling forms recall the eye of a hurricane or other meteorological phenomena. As the viewer walks around Axis of Power, the intriguing and methodical manner in which it was constructed is revealed.

Axis of Power consists of several sheets of transparent plastic film that have been marked with white acrylic. These sheets are then installed in precise spatial increments with aluminum tee bars and springs, creating multiple image planes. The logic dictating the placement and hanging of the sheets contrasts with the organic and ethereal nature of the work. The resulting combination is at once chaotic and controlled.

Spriggs is influenced by Futurism and Cubism, as well as digital art and cinema. He received his B.F.A. from the Emily Carr Institute of Art and Design in Vancouver and his M.F.A. from Concordia University in Montreal, where he currently lives and works.

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Christian Maychack has returned to Jeff Bailey Gallery in New York City this month to present a new group of sculptures in an exhibition titled Host. The Brooklyn-based artist has created seven unassuming new works, all of which rely on the organic structure of tree limbs and branches as a central form to expand upon. In a departure from previous works, which typically feature manipulated anthropomorphic forms that depend on man-made architectural structures for their existence, these new works build upon existing organic structures, adding an obvious man-made quality that is dependent on an organic form. However, upon further inspection, the work contains the same level of craftsmanship and obsessive construction as the artist's previous materially oriented works. Host mines the natural and cultural connections that are often overlooked by man, making a point to highlight that these two elements are intimately connected. These works become a meditation on form, both natural and artificial, providing a new language to understand the constant control, manipulation and systemization of man in connection to nature.

Maychack is a graduate of San Francisco State University, and recently completed the Skowhegan School of Painting and Sculpture artist residency. He has completed recently solo exhibition with Gregory Lind Gallery in San Francisco, and Sirius Art Center in Cobh, Ireland.

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Shinique Smith, Courtesy of the artist and Yvon Lambert Paris, New York

Yvon Lambert in New York is currently showing recent work by American multimedia artist Shinique Smith alongside a show of Michael Brown's melted record albums cast into common domestic objects, such as chairs, mops, and buckets. Smith's exhibition, Ten Times Myself, includes painting, assemblage, and sculpture. Smith is interested in discarded objects and the complicated social and cultural contexts of what we keep, give away, and throw away. The artist's anthropomorphic bundles of vibrantly hued textiles are on display as well as the more dynamic two-dimensional works.

Shinique Smith, Courtesy of the artist and Yvon Lambert Paris, New York

Her two-dimensional collages fuse the bombastic energy of Abstract Expressionism with the more subtle scripts of Japanese calligraphy. And the World Don't Stop, 2009, combines ink, acrylic, enamel, fabric, and cultural ephemera on canvas stretched over two wood panels. The work bursts with an energy that is tempered by the artist's careful and controlled placement of text and imagery. These elements combine and produce a forceful but delicate movement across the composition.

Smith received her M.F.A. in 2003 from the Maryland Institute College of Art and has previously shown her work at The National Portrait Gallery in Washington, D.C., Deutsche Guggenheim in Berlin, and at the New Museum and P.S.1 Contemporary Arts Center in New York. This is her first solo show at Yvon Lambert New York.

Ten Times Myself and Michael Brown's An Object is Just Material will remain at the gallery until July 31, 2009.

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The Gagosian Gallery in Beverly Hills, recently held an exhibition showcasing photographs and sculpture by filmmaker John Waters. Entitled, Rear Projection, the name is derived from the term as used to describe a special film effect in which a background is projected onto a screen behind actors in the studio. This now dated method began in the 1930s, showing characters driving in cars and scenes when motion, without variability, was necessary. For this show, Waters photographed and edited scenes from existing films. He manipulates his photos in a way that exploits general perceptions of Hollywood. For example, Children Who Smoke, presents us with child stars, like Shirley Temple, with a cigarette in their mouths. The bizarre humor and satire we expect from Waters is present in the subject matter and perspective of these works.

John Waters was born, raised, and inspired by the city of Baltimore, where his films are still shot on location. He has become a cult figure in the film community. Waters has always insisted on addressing taboo subjects like sexuality, drugs, and religion, in what some may call a callous manner. His most popular films include Pink Flamingos (1972), Hairspray (1988), and more recently Pecker (1998).

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On view at David Patton Gallery in Los Angeles until May 30, is Jeff Jamieson's latest exhibition, Sculpture. This marks the second solo show at the gallery for the San Luis Obispo based artist. Both Jamieson's history and the history of sculpture are visually present in the works, reminding the viewer of the importance of the past.

Opposing forces are at work, the artist juxtaposes the unique attitude of West Coast art with that of the East Coast. Jamieson currently lives and works in California, but was once an assistant to Donald Judd and a maker of Judd furniture. Together, these experiences have shaped his approach and method. The presentation of these clean-lined sculptures resting on the floor recalls that of Judd's later, renowned minimalist work. Jamieson's choice of material includes wood and metals like the minimalists, but departs in his choice of color, employing intense blues and yellows. Minimalism sought to present forms as a whole, or unit, while these pieces suggest the human form, and emphasize its parts. The artist's process intentionally reveals a hand-made quality, without drawing attention to the fact. The pieces are situated in a manner that urges the viewer to investigate the surrounding space, and ultimately themselves.

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All this week, DailyServing.com will feature the artists of 1000 DAYS: Selections from the DailyServing Archives, opening this Saturday May 23rd at Scion Installation Gallery in Los Angeles. 1000 DAYS marks the first curated exhibition for DailyServing, and celebrates a milestone as we quickly approach 1000 daily features. If you are in L.A this weekend, come out and celebrate with us!!

Artist, Michael Rea, creates large-scale, highly imaginative, technological objects out of obsessively constructed wood. However, the very material used renders the objects useless, opening a dialogue about a world of possibilities that simply can never be. The artist often utilizes fictitious objects related to pop-culture movies and television shows, allowing the work to recreate the essence of the object while forcing its reality to remain only a dream. The large, insensible objects construct an absurd story that couldn’t exist in real life, similar to the movies from which they are sourced, offering a sense of humor and wit that allows the work to be accessible and imaginative.

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Currently on view at Greg Kucera Gallery in Seattle is a solo exhibition of new and past work by Victoria Haven, entitled HIGHER... HIGHER. For Haven's first solo show at the renown Seattle space, the artist expanded her practice of creating works on paper and sculptural pieces to explore additional media, including photography and wall painting. This exhibition incorporates works in all of these disparate mediums, but with a cohesive aesthetic of geometric shape, delicate lines and text. With this work, it's as much about what the artist created as it is about what she didn't touch. The negative space that lingers inside the pointed angles of Haven's paintings and amid the matrix of shapes illustrated in works of ink on fragile varieties of paper, consorts with the work to create a full, yet ethereal image of her investigation of shape and space. Shadows on the wall below the lifted steel sculptures become as important to the pieces as their polished nickel or powder coated finishes. HIGHER... HIGHER is on view through May 16th.

Victoria Haven lives and works in Seattle. She received her BFA from the University of Washington and her MFA from Goldsmiths College/University of London. She was the 2004 recipient of 'The Stranger' Genius Award as well as the Betty Bowen Award from the Seattle Art Museum. She also received a Pollock-Krasner Fellowship in 1996 and in 2000. Her work has been exhibited at the Frye Art Museum, Seattle; PDX Contemporary Art, Portland; the Austin Museum of Art, Texas; the Drawing Center, New York; and RMIT Gallery, Melbourne, Australia, among many others.

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Amongst the labyrinth of booths at this year's Art Chicago is Partisan, a special exhibition of works that explore social and political ideas. Selected from Art Chicago and NEXT galleries by guest curator Mary Jane Jacob, independent curator and director of exhibitions at The School of the Art Institute of Chicago, Partisan works represent a multitude of political ideas and positions from around the world.

According to Jacob, "It is no wonder in this day and age that artists are reengaging one of the most critical subjects in art: the political and social climate, war and survival. Such human dramas that shape destiny have always existed in the history of art, but they are not usually found, no less highlighted, in the environment of an art fair. So this year's "Partisan" show is evidence of inescapable concerns on everyone's minds and which have a place in every sector of the art world."

While Partisan offers global insights, the exhibition is anchored by the inclusion of politically-oriented works by American artists such Philip Evergood, who is known for practicing a brand of Social Realism in the 1930s and 1940s, as well as prolific artists Leon Golub and Nancy Spero, of whom works will be on view from the 1970s and 1980s.

Much of Partisan's energy, however, comes from newer generations of artists whose project-oriented works not only demonstrate critique and resistance, but they also imagine new possibilities.

Highlights include the video installation, The Penal Colony, by Vietnamese artist Dinh Q Le, which depicts the inside of the walls of a Vietnam prison historically known for abuse of activists and was inspired by the inhumane treatment of prisoners at Guantanamo Bay detention camp in Cuba; There are things we know ...a large scale installation by New York-based artist John Delk features 26 security surveillance globes. Finally, Maximo Gonzalez imagines new uses for obsolete vehicles in large drawings from the series Project for reutilization of vehicles obsolete after the extinction of petrol, whereby abandoned motorcycles become gardens and cars are oversized planters.

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Opening this Friday, May 1st at 643 Project Space in Ventura, CA is a solo show of work by Washington based artist Charles Timm-Ballard. The exhibition, entitled Terra Form, displays work that contains many of the aesthetic elements found in contemporary landscape painting, yet it is created out of ceramic material. The thick slabs of clay are a testament to the sculptural and tactile qualities of ceramics, while the painterly images pay homage to the tradition of abstract landscape painting through light, shadow and a certain diaphanous representation of nature. The juxtaposition is created in a typically postmodern manner, not allowing the work to be fully one thing or the other-- rather it finds itself straddling the lines concerning media and disrupting the hierarchical categorization of genres. Terra Form runs through May 29, 2009.

Charles Timm-Ballard earned his MFA at the University of Nebraska-Lincoln and his BFA from the University of Wisconsin-Milwaukee. He is currently the chair of the art department at Whitman College. He has held residency at the European Ceramic Workscentre in the Netherlands. His work is in the permanent collection of the Daum Museum of Contemporary Art and has been exhibited in solo shows at the Pomona College Museum of Art in Claremont, CA; The Clay Studio in Philadelphia, Pennsylvania; the Wisconsin Academy of Arts and Sciences Gallery in Madison, Wisconsin; Thomas Barry Fine Arts in Minneapolis, Minnesota and in a group exhibition at the Art Museum of the Americas in Washington, DC, among others. He is represented by Sherry Leedy Contemporary Art in Kansas City, MO.

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Continuing through the rest of the month at Holzmarktstrasse 3 in Berlin-Mitte is an installation of new works by Berlin artist Edward Clive entitled In The Future We Will Exercise For Fun. The ambitious suite of works contains several large sculptural display units; complete with shelfs, photographs, and small sculptures, they describe an uncanny, and occasionally monstrous relationship of the body to space.

What makes the works so at home in the the large unfinished office space is the base quality of their materials. The works' plastic sheeting, unfinished drywall, and rudimentary armatures, are well-paired with the space's unpainted walls, exposed ventilation system, and raw concrete floor. While the works employs such ubiquitous materials, each work rewards the curious viewer as photographs, notes, and easily overlooked, well-made formal nuances abound.

Found squatting behind walls or loitering in the far reaches of the space are a number of small sculptures. One entitled Lump Goddess (2008) is a squat and abstracted mutant figure composed of select found objects. Faceless, it sports four round cylinder legs and a single metallic claw, made from fake nails in their plastic case. Another similar work, Goth Or Hip-Hop (2009), conflates the aesthetics of science fiction with those of mid-century modernist sculpture. With fake nails, mustaches, teeth, and scars in a number of works, the aesthetic of costume cosmetics is central to the sculptures, making biological what would otherwise be inanimate. Along with a saran-wrap labyrinth containing a number of internet-found images relating to the body, Clive's work is both detritus from a grade-school science fair sometime in the far future and an acute description of how form constructs the body and space.

Edward Clive (b. 1982) is an artist living and working in Berlin. He received his B.A. in Sculpture from the University of Brighton. His work has been previously exhibited at Keith Talent Gallery in London, BabelKunst in Trondheim, Norway, and ETC Gallery in Prague.

Posted by Marc LeBlanc at 12:00 AM | Permalink | Discussion (0) | E-mail This

British artist Matthew Stone's current solo exhibition, Interconnected Echoes, is the inaugural show in Galerie Paul Freches' series on the British art scene. Stone, a graduate of Camberwell College of the Arts, has become known for his involvement in the !WOWOW! collective, a group of young British creatives who have been staging events and parties in unoccupied South London buildings.

Stone's own work is perhaps simultaneously a re-phrasal of art historical tropes and an exploration of myspace-style youth cultural. He installs his photographs sculpturally, a move that echoes the interactive nature of his many of his projects, and he often uses friends as his models.

Stone regularly updates his blog, Optimism as Cultural Rebellion, and has recently been interviewed by a number of arts and culture publications, including Vice Magazine and Flasher. Interconnected Echoes will be on view at Galerie Paul Freches through May 30th.

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On view at Rhona Hoffman Gallery is Light, Time, Chemistry, an exhibition of work by Spencer Finch. In this exhibition, Finch references both phenomenology and the psychology of perception, capturing and re-contextualizing fleeting and ephemeral elements from our surroundings. Among the many works exhibited is Periscope, a photographic device composed of mirrors and ventilation ducts that extends from inside the gallery to the outside and allows visitors to view the changing sky. The periscope was used to expose a cyanotype directly on the wall of the gallery, creating a hazy blue image from a two-day exposure of the Chicago sky.

Also on display is Finch's installation Shadow, Sculpture of Centaur, Tuileries (after Atget), a component of a larger body of work entitled Shadows (After Atget). In this work, Finch captures the ephemeral phenomenon of shadows, focusing specifically on re-creating light from locations of Eugene Atget's photographs of Paris. Employing a fluorescent tube lamp covered with colored filters of Isaac Newton's spectrum, the light functions as a reverse prism, emitting the very polychrome grey light of the Parisian shadows photographed by Atget almost one hundred years ago.

Spencer Finch was born in New Haven, Connecticut, and lives and works in Brooklyn, NY. He studied at Rhode Island School of Design, Hamilton College in New York and Doshisha University in Kyoto. Finch had a major solo exhibition What Time Is It On The Sun? at MASS MoCA, Massachusetts in 2007, which was accompanied by a monograph with essays by Susan Cross and Daniel Birnbaum. The artist will be a participant in the upcoming 53rd Venice Biennale this June.

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PPOW Gallery in New York City opened a new exhibition this weekend titled Intuitive Visualization of the Unseen, featuring new works by artist Bill Smith. The sculptures presented explore natural systems of order and how they can be translated three dimensionally. The works are meticulously created out of various industrial materials. The artist has stated," All terrestrial behavioral events and physical components, however bland, sweet or ghastly, conform to the same rules of mechanical beauty." In this way, the works are constructed in accordance to the unbiased, mechanical rules of science rather than by formal aesthetics.

Smith is a graduate of the University of Illinois and has exhibited with several galleries and institutions including the Chicago Cultural Center and the Alfedena Gallery in Chicago, and White Flag Projects in St. Louis.

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Featuring works from Chicago's Museum of Contemporary Art collection created mostly in the 1980s and '90s by artists including Chris Burden, Alfredo Jaar, Louise Lawler, Inigo Manglano-Ovalle, and Adrian Piper, this exhibition reveals the continuing resonance and complexity of topics such as freedom of expression, militarism, the dynamics of race, human and economic consequences of globalization, and other defining elements of society today.

Included in the USA Today exhibition is Adrian Piper's video installation, Cornered, a work that draws the viewer in with Piper's calmly-delivered monologue on her own racial identity and leaves the viewer with the potent question, "what are you going to do with this information?" Several drawings from Jim Shaw's Aestheticized Disaster series display images of conflict and mass destruction. Taken from photographs in newspapers or magazines, the careful reconstitutions of these images in graphite neutralize the violence or chaos of people's lives. Howardena Pindell's collage Rambo Real Estate: Homelessness poignantly comments on social and economic challenges that are as significant today as in 1987, when the work was made.

The exhibition also includes work by Dennis Adams, Chris Burden, Andreas Gursky, Robert Heinecken, Alfredo Jaar, Gabriel Kuri, Dan Peterman, Michel Rovner, and Greg Stimac, among others. Several groupings of artists' books and archival materials from the MCA's extensive collection complete the presentation including works by Joseph Beuys, Jenny Holzer, Yoko Ono, and Martha Rosler.

USA Today is co-curated by Elizabeth Smith, James W. Alsdorf Chief Curator and Deputy Director for Programs at MCA, and Tricia Van Eck, Curatorial Coordinator and Curator of Artists' Books.

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Currently on view at Simon Preston Gallery in New York is a solo show of three new works by Brooklyn based artist Michelle Lopez. The exhibition, entitled The Violent Bear It Away, directly references Flannery O'Connor's eponymously titled 1960 novel, which deals achingly and complexly with theological themes. O'Connor's title, in turn, references the Bible verse Matthew 11:12 (Douay-Rheims). The theme of baptism imbues Lopez's new work on view, specifically the piece Woadsonner (edit), which is essentially a "reborn" work, executed by Lopez in 2000, which was commissioned by the Public Art Fund. The original piece (Woadsonner), a leather-covered car, has been crushed almost beyond recognition and now leans against the gallery wall, almost as if it is about to slide to the floor in exhaustion. One might wonder how this reconfigured sculpture , which seems to have really only been given a hard beating and new positioning, reflects the themes implied by The Violent Bear It Away, but as it is explained, Lopez is reacting to her artistic past through her reworking of something that she once created. She has rid the piece of its pop art playfulness and stripped it of the beauty it once held. In effect she has returned the piece, and her artistic practice, to a state of rawness and vulnerability that might parallel that of a spiritual rebirth.

Michelle Lopez received her MFA from The School of Visual Arts, New York and her BA from Columbia University. Lopez has had solo exhibitions at LA>< ART in Los Angeles, Deitch Projects in New York and Gallery Paule Anglim in San Francisco, among others. She currently teaches at the Graduate Program of Painting and Sculpture at The School of Visual Arts. Her work has been reviewed in Art in America, Time Out New York, The New Yorker and The New York Times.

Posted by Allison Gibson at 12:00 AM | Permalink | Discussion (0) | E-mail This

Regeneration Gap is the title of a new installation by Canadian-born artist Jarod Charzewski on view at the Pari Nadimi Gallery in Toronto. The exhibition features three major works, each representing a cross section of a hypothetical landscape, complete with revealed geological layers, created entirely out of used clothes. The artist obtains the used clothes from local Goodwill stores, which are given on loan from the store and returned at the closing of the exhibition. Also on view are several large-format photographs from a previous installation titled Scarp, which was presented this fall at the Halsey Institute of Contemporary Art in Charleston, South Carolina.

The artist's work illustrates the reality of consumer culture's effect on the landscape by actually reconstructing a cross section of the landscape made entirely of used clothes. Perhaps the most interesting component of this process is that the work is created using recycled materials which are taken from and reintroduce into the market place, without actually creating any new consumption.

Charzewski is a graduate of the University of Minnesota and has completed recently solo exhibitions Vortices at Trinity Square Video in Toronto and Vanishing Point at Ace Art in Winnipeg, Canada. The artist currently teaches sculpture at the College of Charleston, School of the Arts.

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Jonathan Owen's current solo exhibition at the Doggerfisher Gallery features new works by the artist. Throughout the show, Owen alters everyday images through acute attention to detail. Owen's largest piece, Untitled, was painstakingly constructed by Owen of foam board, wood, and paint. Its pattern, inspired by the chip found on European credit cards, epitomizes the artist's preoccupation with motif pulled from everyday existence. This work as well as the Untitiled lamp reference the mass-production of image and the theme of money defines their appearance.

Owen alters the ubiquitous, utilitarian wine rack and coat stand through meticulous addition and deconstruction. He has placed hand-carved wooden chain links within the wine rack to render it useless. The carefully overturned coat stand hooks are completely removed from their suppor--connected only through a wooden chain.

The exhibition also includes removed book pages that are partially erased by Owen using a blade and a piece of rubber. All of these pages once held an image of a civic monument. Some monuments are erased completely, while a ghost-like outline remains upon other pages. Through the deductive act of erasure Owen forces the viewer to question collective memory.

In 2000, Jonathan Owen graduated from the Edinburgh College of Art with an MFA and received the John Watson Prize from the Scottish National Gallery of Modern Art. The artist currently lives and works in Edinburgh. Look for Owen's work at the Talbot Rice Gallery's Round Room in 2010.

Posted by Kelly Nosari at 12:00 AM | Permalink | Discussion (0) | E-mail This

The art world is guilty of hierarchical thinking and elitism, and probably always will be. This, I think most of us would agree, is a shame. So it becomes that much sweeter when an institution renown in the contemporary art world unapologetically presents an exhibition of contemporary ceramicists--artists whose medium has historically lived in the gray area between "fine art" and "craft", despite its having been the choice medium in the practice of several important artists across many movements. Although the postmodern era has proven to have quite significantly blurred that line between the "high and low" arts, it is a sad fact that it still considered "groundbreaking" to show ceramics. That said, the Santa Barbara Contemporary Arts Forum (CAF) is currently showing An Expanded Field of Possibilities, an exhibit featuring the work of eleven mostly west coast avant-garde artists using ceramics, including several household names like Amy Bessone, whose work is pictured above, and Eduardo Sarabia, who blew minds with Babylon Bar at the 2008 Whitney Biennial.

An Expanded Field of Possibilities is on view at CAF through May 24, 2009. All eleven artists included in the exhibition are: Amy Bessone, Nicole Cherubini, Mari Eastman, Jessica Jackson Hutchins, Klara Kristalova, Franco Mondini-Ruiz, Kristen Morgin (who is simultaneously showing at CCA Wattis Institute for Contemporary Arts), William J. O'Brien, Eduardo Sarabia, Anna Sew Hoy and Stephanie Wagner.

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San Francisco's Baer Ridgeway Exhibitions is currently presenting Tell Everyone That You're Smiling, new works by Seattle-based artist Tyler Cufley. This marks the artist's second solo exhibition with Baer Ridgeway, following his exhibition last year titled Ready Set Go! Tell Everyone That You're Smiling features a mix of the artist's new works including sculpture, painting, photography. While the work seems to be firmly rooted in formalism, with a closer look the viewer is able to decipher political ideas as well. The press release states, "Cufley addresses the role of revolution and radicalism for both aesthetics and politics by creating works that perform color field painting or geometric abstraction and are juxtaposed with meaningful subjects from America's political history. An important conflation between modernist aesthetics and radical politics is now a central trope for Cufley's practice."

The artist was born in San Francisco and received his M.F.A from the School of the Art Institute of Chicago in 2003. Since graduation, Cufley has exhibited with Howard House in Seattle, Three Walls Gallery in Chicago and Acuna Hansen Gallery in Los Angeles, among several others.

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Now on view at the Museum of Contemporary Photography in Chicago is PhotoDimensional. The Exhibition features Works by John Coplans, Katalin Deer, Leslie Hewitt, Bettina Hoffmann, Pello Irazu, David Ireland, Melinda McDaniel, Heather Mekkelson, Laurent Millet, Vik Muniz, Susana Reisman, Lorna Simpson, and Florian Slotowa.

The exhibition features works by contemporary artists who investigate the relationship between sculpture and photography, between two and three dimensions, and explore perceptual issues intrinsic to those relationships. Their works resist the notion that the world simply gets folded into the two-dimensional surface of the photograph. As a result, their works are almost always layered, with subjects translated in ways that invite one to imagine passing from the experience of one dimension to another, and sometimes back again. Thus, perceiving their works provokes feelings of unsettledness, a wavering between seeing and knowing in our minds, a tension that becomes an engaging condition of their artwork.

Highlights amongst the myriad of works on view are, Melinda McDaniel (American, b. 1978) and Susana Reisman's (Venezuelan/Italian, b. 1977) offerings. Both make sculptures out of photographic materials. Reisman prints photographs onto long strips of canvas and molds the strips into forms that allude to the photograph's original subject matter. McDaniel places strips of photographic paper outside for days at a time to achieve varying degrees of exposure and imprints of weather, revealing the subtle color gradations inherent in the paper's chemistry. She then exhibits the uniformly shaped strips in the gallery in a deliberate, regimented manner that recalls minimalist sculpture and creates a tension with the random, abstract patterns of the weather marks on the paper.

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Currently on view in its last week at the Louise Blouin Institute in London is a solo exhibition of work by internationally acclaimed contemporary Chinese artist Wang Guangyi. Guangyi is generally considered to have been the leader of the New Art Movement generation following the Cultural Revolution. The exhibition, entitled Cold War Aesthetics, marks the first solo show of Guangyi's work in the UK, and is part of the Institute's ongoing "Culture Beyond Borders" series.

As Guangyi departs from the historically kitschy and pop imagery of his celebrated Great Criticism series, he now confront the issues of the time more boldly. The ambitious installation in Cold War Aesthetics, which includes around 50 life-size sculptures depicting "Cold War preparedness", accompanied by watercolor sketches of the sculptures and a large twelve-panel mural, visually revisits the haunting imagery of China's Cold War past while telling a cautionary tale to present-day audiences of the horrors of war, and confronting the contemporary global position of treading in this familiarly dangerous territory once again.

Wang Guangyi, born in 1956/7, currently lives and works in Beijing. He studied oil painting at the prestigious Zhejiang Academy of Fine Arts in Hangzhou. His work has been exhibited at important institutions around the world.

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Justin Cooper is predominantly known for his off-the-wall performances that psychologically challenge both the players' and viewers' endurance, as in his first solo show at Monique Meloche gallery in 2006 or more recently during Art Basel Miami in-and-around the pool at the National Hotel in South Beach. However, a long-standing interest in sculpture and drawing has pervaded Cooper's performances often resulting in dimensional objects that balance between the natural and the manmade. For his 2008 solo show THREAD in Gallery 400 at the University of Illinois Chicago, Cooper used 1 mile of garden hose to create a site-specific installation that functioned as both a drawing in space as well as a set for opening and closing performances. In Paranormaldise, now on view at Monique Meloche gallery in Chicago, Cooper presents a series of sculptures manipulating mostly ready-made materials from familiar places like Home Depot or the Party Store. As the artist states, his new sculptures spring Athena-esque from a cubicle-constructed notion that investigates the delicate line between vacation and hallucination.

Also on view in the project space is Cooper's 2007 video Studio Visit, about the difficulties sometimes involved with art-making, accompanied by a suite of related drawings.

Justin Cooper graduated in 2005 from the School of the Art Institute of Chicago with an MFA in sculpture, performance, and video. He received his BFA from the University of Colorado in 2003 and studied at the Sorbonne, Paris in 2002. Cooper has performed and exhibited in cities worldwide including Hong Kong, Berlin, Rio de Janeiro, Brooklyn, Philadelphia, London, Los Angeles, Mexico and Sweden. His work was recently reviewed by Susan Snodgrass in the September 2008 issue of Art in America. He had a summer residency at the Skowhegan School of Painting and Sculpture in Maine 2007 and this summer he will be a Resident Artist at the Djerassi Program in Woodside, CA. Cooper currently teaches at The School of the Art Institute of Chicago.

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Claire Barclay Openwide, courtesy of The Fruitmarket Gallery, Photo: Ruth Clark

The Fruitmarket Gallery's current solo exhibition, Openwide, appropriately features Scottish artist Claire Barclay in retrospective for the first time. Barclay, who represented Scotland in the 2003 Venice Biennale, typically works in large-scale sculptural installations inspired by site. Openwide presents surviving sculptural elements from past installations in new arrangements on plinths and display spaces of Barclay's design. Innovative placement imbues the objects with a singular importance not found in their original context and highlights the presence of recurrent motifs and themes in Barclay's work. The artist's sculptural objects of leather, metal, wood and cloth, among others, share an intriguing juxtaposition of the organic and industrial, of ambiguity and tactility, and of stasis and flux. Such themes are equally evident in Barclay's screen prints of simple, fluid shapes in either a monochromatic or a dichromatic palette (A LIfe Livelier, a series of 10 screen prints was commissioned by the Fruitmarket Gallery).

Openwide also features two large-scale sculptural installations commissioned by The Fruitmarket Gallery. The meticulously spontaneous environments created by Barclay's Caught in Corners and Subject to Habit encourage exploration of the varied sculptural pieces. The consistently machined and industrial character of Subject to Habit is the largest departure.

Claire Barclay was born in Paisley, Scotland in 1968. She received her BA in Fine Art from the Department of Environmental Art at the Glasgow School of Art in 1990 and her MFA also from the Glasgow School of Art in 1993. She has exhibited internationally since the 1990s, with solo shows at Doggerfisher in Edinburgh in 2002 and 2005, the Stephen Friedman Gallery in London in 2005, the Tate Britain in 2004, and more recently at the Camden Arts Center in London in 2008. The artist lives and works in Glasgow.

Openwide is on view through 12 April 2009.

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Elisabeth Higgins O'Connor's anthropomorphic creatures congregate and come to life in her solo exhibit at the David Salow Gallery in downtown Los Angeles. The seven-foot tall beasts known as No Names are on display through February 28th. Overall, O'Connor's larger than life characters have temperaments like mischievous house pets, each with a unique and memorable personality.

The artist builds her sculptures by attaching well-worn scraps from upholstery, clothing, and bedding to lumber armatures. The conglomerate of domestic fabrics lends her otherwise menacing creatures an air of comfortable familiarity. Standing beneath them, we're stimulated by an array of textures that seems barely contained by the twine, yarn, and quilting pins that hold them together.

O'Connor manipulates textiles to give her sculptures the same painterly quality existing in her earlier two-dimensional work. Paint drips translate into segments of unraveling yarn or dangling fringes. When she traces vacant eye cavities and grimacing mouths with layers of fabric it's as if she is drawing, using seams instead of charcoal. Unlike the her drawings, the sculptures feature decorative pattern. Color is contained in large and small patches like chromatic shapes in a French Nabi painting.

O'Connor stuffs her pieces with materials that would normally end up in a land-fill: worn-out carpet padding, cut-up mattress pads, and used upholstery. Some materials were collected from thrift stores while the members of the artist's community donated others. The mishmash assembly is more coordinated than first meets the eye. Simply look at the fashion statement made by a tarp and a moving blanket on No-Name (moving blanket head), a particularly impish member of the No Names who sports a hooded cape ensemble that matches her audacious stance.

Elisabeth Higgins O'Connor's work is represented in public and private collections across California and parts of the Midwest. During her studies at the University of California, Davis, where she received her MFA in 2005, O'Connor received five different fellowships and grants. She was also the recipient of the notable Joan Mitchell Foundation Master of Fine Arts Fellowhip. She has twice been invited to work as an artist-in-residence at the Kohler Company's Arts/Industry Program in Kohler, Wisconsin. Currently, O'Connor fills an academic appointment at Sierra College in Rocklin, CA.

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Chicago's Tony Wight Gallery is currently presenting an exhibition of new sculptural works by Scott Fife.
For the exhibition Fife presents four new additions to his ongoing series of larger-than-life cardboard heads. Rather than molding polished marble forms--like the classical busts of the Roman Republic that his works reference--Fife's constructions are roughly hewn from raw, gray, archival cardboard with screws, glue, and pencil markings all highly visible.

Among the works on view are two busts of the artist Ed Kienholz. These works are a slight departure for Fife in that Kienholz was not only a well-known artist but also a mentor and friend. Fife's depictions of Kienholz, one younger and one older, disclose his familiarity with his mentor's emotional stance and mannerisms. This knowledge results in two very direct and intimate descriptions of the man he knew. In contrast to the specificity present in the Kienholz pieces, a bust representing Cassius Clay (the future Muhammad Ali) is noticeably more stylized. In perhaps the most curious bust in the exhibition, a young Abraham Lincoln is pictured without facial hair.

Scott Fife (American, b. 1949) has shown widely both nationally and internationally. Recent solo exhibitions includeBig Trouble: The Idaho Project at the Boise Art Museum, (Boise, Idaho) which traveled to the Salt Lake Art Center, (Salt Lake City, Utah) and Northwest Museum of Arts and Culture (Spokane, Washington). Group exhibitions include Beauty is Embarrassing at Western Project (Los Angeles); Frida Kahlo: Images of an Icon at the Tacoma Art Museum (Tacoma, Washington); Swallow Harder: Selections from the Ben and Aileen Krohn Collection at the Frye Museum of Art (Seattle). In 2009, Fife will mount a solo exhibition at the Missoula Museum of Art in Montana.

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Stephanie Brooks' new solo exhibition Tough and Sweet, is now on view at Rhona Hoffman Gallery in Chicago. With this work, Brooks examines mythologies of love, loss, and mental illness; signs of affection; and the poetics of sentimentality and materiality.

The formal aesthetics of poetry and how figurative language describes affection and emotion is an ongoing investigation for Brooks, whose practice includes an archive and classification of metaphors. For the lightbox sculpture Metaphors for Love, Brooks painstakingly combed through her extensive collection of poetry anthologies extracting metaphors for love from canonical love poems. These fragmented metaphors are combined with a universal symbol of affection: the valentine box of chocolates. Affect and affection are further explored with a pink neon sign Triple X, XO. Here, Brooks conflates two sign systems: the rated XXX symbols plastered outside strip clubs and emblazoned on pornography with the sweeter, yet all too banal XO ("hugs and kisses"), aligning the slight variation of these graphic symbols and their wildly disparate meanings.

Also included in this exhibition are Plath/Woolf and Star Scape for Sylvia, two works which were inspired by Brooks' reading of The Unabridged Journals of Sylvia Plath. Deeply affected by Plath's experimental writing, Brooks conducted research at the Mortimer Rare Book Room, Smith College, Northampton, MA which holds the majority of Sylvia Plath's original documents including personal letters and journals.

Stephanie Brooks currently lives and works in Chicago, IL. She received her M.F.A. from the University of Illinois at Chicago and currently teaches sculpture at the School of the Art Institute of Chicago. Recent solo exhibitions include Distance Intimacy at the Illinois State University Art Museum, Normal, IL, and I'm sentimental, Gahlberg Gallery, College of Dupage, Glen Ellyn, IL. Selected group exhibitions include City of Chicago, Department of Cultural Affairs public commission in Grant Park, Public Address curated by Ellen Rothenberg, Phaize, Peter Blum Gallery, New York, Schalter, Berlin, Germany, and Whitewalls, Hyde Park Art Center, Chicago. Brooks' work is included in collections such as the Museum of Contemporary Art, Chicago, the MacArthur Foundation, Chicago, and the Microsoft Corporation in Seattle.

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Herve Graumann constructs dizzying, modern day vanitas still lives from kitsch, throwaway souvenirs of our plastic culture. The works both valorize and disdain the role of the object in modern day culture. Like schools of fish joining together to create the impression of a much larger- and more powerful- entity, the multiplicity of Graumann's constructions aggrandize and impress. They are at once thrones to commodity culture and disdainful commentary on the never ending supply of useless consumer goods.

Graumann notes, "think my 'inspiration' started when I took the 'computer' as a model. It was in the 80's, and it was quite a new subject to observe and to think about at that time: the nature of it, of what was on or under the screen and how to manage it. The act of 'saving' an image, to be able to modify or duplicate datas... The size of images mentioned in 'weight' and not only in the traditional dimensions, the color depth of an image, the compression, the format... Inspiration is linked to the environment, in dialectic with the world you live in, and this world started to change radically with the use of computers. Our everyday life has been modified since and we can clearly see today how it changed our reality and the way we deal with. It was the revolution we had in front of our eyes."

Wholly relevant in today's seeming rising tensions between the analog and digital, Graumann's works reference and flit between technological language's from binary patterns and information systems, reinserting a kind of aesthetic beauty and harmony within these seemingly anti-humanistic vessels.

Herve Graumann is currently represented by Galerie Guy Bartschi in Geneva and Nettie Horn Gallery in London.

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Ryan Brennan's work typically presents multi-faceted collage sculptures that layer evocative materials--whether home videos from his youth, personal memorabilia from his parent's basement, items culled from thrift stores, and iconic or diaristic personal symbols, such as boom box radios, string, video game parts, or baroque ornamentation. Brennan reassembles these mementos in an organic and free-spirited fashion, recontextualizing their unique histories to create beautiful realms of imagination and possibility. Appearing as memories beautifully quilted together through a sensitive and poetic intuition, Brennan's works "offer a gateway... into the idealistic, creative mindset of the child that exists inside of each of us."

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Levi van Veluw is a young multidisciplinary artist living and working in the Netherlands. He has won a number of accolades and been featured in a slew of magazines within the last two years for his ostentatious refashionings of his face, entitled Landscapes. In each of his series, he painstakingly obscures his likeness, in increasingly elaborate disguises. Earlier works include ridiculous wiring closed of ears and popsicle sticks applied to now Quasimodo like eyes to simply and humorously change the face.

Upon first viewing Levi van Veluw's works, I couldn't help but compare his disguised self-portraiture to the resurgence in the interest in the mask and film-inspired disguise in contemporary photography, ranging from Gillian Wearing's diaristic and macabre facial effigies of sorts, to Hanna Liden's gothic black metal inclinations, or even Cindy Sherman's self-portraiture. Van Veluw's works seem to function within this conversation; his experiments in obscuring and fundamentally altering his own visage seem like the logical, humorous, conclusion to prior explorations within examining, and shifting, self-image.

In a recent conversation with the artist, surprisingly, van Veluw dismisses the heavy conceptual framework of the mask, citing it as merely functioning for "religious" purposes or as "decoration/tradition." In a way, his refusal to acknowledge his relationship to other similar artists is interesting; they become instead private, more ego-driven explorations of himself, like a young child painting his face for the first time and marveling at his own transformation. His works become comedic, self-absorbed endeavors, with the endless presenting and representing of his own face becoming the sole focus of his practice. In this sense, van Veluw's practice is an apt metaphor for the creative process itself; laying bare an artist's inherent vain and narcissistic impulses to both recreate and abstract their own identities.

Perhaps this is fundamentally what introduces humor into the works - we voyeuristically watch van Veluw make a fool of his face in new and surprising ways, time and time again.

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In his first solo exhibition in the U.S, Danish artist Peter Callesen presents Folded Thoughts featuring new paper-cutout sculptures and vitrines. The works, which are on view at Peter Rubenstein Gallery in New York, transform a simple two-dimensional white sheet of paper into a fantastical three-dimensional object. The objects on view reference fairy tales and children games, including images of castles, ruins, religious figures, skeletons, trees and cloud formations. In the past, Callesen has utilized snow, ice, ink and watercolor as his primary materials.

Callesen studied at Det Jyske Kunstakademi in Arhus, Denmark and is a graduate of Goldsmiths College in London. In 2009, the artist wall have a solo exhibition at the Museum of Religious Art in Lemvig, Denmark. The artist current loves and works in Copenhagen.

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Currently on view at Zach Feuer Gallery in Manhattan is an exhibition featuring recent work by the Swedish-born, Berlin-based artist Nathalie Djurberg. Using a variety of media including stop motion animation, installation, sculpture and drawing, the artist constructs dark narratives that investigate human behavior through nightmares and fears. Without much restraint, these narratives open a dialogue addressing violence, dominance, gluttony, racism and sex. In her new exhibition with Zach Feuer, Djurberg presents the video I found myself alone, featuring a young ballerina climbing through a large table set for tea. The impeccably constructed set contains an array of desserts that the dancer destroys, eventually ending in her demise. Contents of the video are presented throughout the gallery as both sculptural objects and installation.

Djurberg received her master's degree from Malmo Art Academy in Sweden. She currently has a solo exhibition on view at the Hammer Museum in Los Angeles. The artist has completed solo exhibitions with the Prada Foundation in Milan, Kunsthalle Winterthur in Switzerland and Kunsthalle Wien in Austria. In addition, her work has been featured in exhibitions at the Tate Modern in London and the Solomon R. Guggenheim Museum, New York.

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Artist Drew Daly activates and draws attention to common domestic objects by meticulously altering the item's surface quality and form. Daly is interested in fragmenting the familiar ready-made object to stimulate memory, recognition and consideration of the mundane. The artist also uses trace materials from the altered ready-made objects, collecting and reconstructing the residue of erosion, and tracing an object's relation to the space around it. These trace materials act as a means of documenting the object in different states. Daly received his M.F.A. from the University of Washington in Seattle (2004) and completed his undergraduate art degree from Alfred University in New York. Since his graduation, Daly has had solo exhibitions with the Greg Kucera Gallery in Seattle and the Texas State University in San Macros, Texas. In 2001, Daly was a resident artist with the Archie Bray Foundation in Helena, Montana, and has been featured in an article in the Seattle weekly The Stranger.

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Hopped up on a large dose of genetically modified corn products, artist Jon Brumit has created a bomb shelter-meets laboratory in the project room at Steven Wolf Gallery in San Francisco. Appropriately titled, Monsanto's Workshop after the biotech company Monsanto, which specializes in chemically hybridizing seeds for agricultural use, Brumit pokes fun at serious issues through his mixed media installations. Plastic grocery bags are recombined into a parade-float-balloon-like corncob-esque sculptures that, with the help of a fan, appear to be breathing and moving as if they are alive. The trash to treasure modus operandi which Brumit employs speaks of environmental disasters and human complicity. Brumit's interest in sound art is seen in all his work, and in Monsanto's Workshop he has displayed a radio transmitter that has been altered with corn residue and appears to be dysfunctional, broadcasting fuzzy post-apocalyptic noises. The whole project room looks as if a natural disaster has occurred and the occupant was taken from the scene or had to flee in a mad dash. A workshop table is covered with plastic corn cobs, nine-volt batteries, hot glue guns, light bulbs, and old coffee cups resembling a mad scientist's desk covered with dollar store inventory.

Brumit is an artist who does not fit inside any box, constantly changing his works, installations, and projects. They remain on the border of humor, social activity, community, and faux pas. Brumit has exhibited widely throughout the United States and Europe, with radio programs being broadcast all over the world. He has shown at Chelsea Art Museum, deYoung Museum, Yerba Buena Center for the Arts, and presented Neighborhood Public Radio (NPR) at the 2008 Whitney Biennial. Brumit received his MFA from Cranbrook Academy of Art in Bloomfield Hills, Michigan and currently lives and works in Chicago.

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Loren Schwerd's Mourning Portraits provide humanized descriptions of the blight that persists in the years after Hurricane Katrina. Working from her photographs taken in efforts to digest these remnants of life, she rebuilds crumbling artifacts as scrupulous and loving memorials to her community. Out of human hair extensions, discarded near St. Claude Beauty Supply in New Orleans, she depicts her encounter with absent victims. Inspired by the tradition of 18th and 19th century memento mori hair jewelry, she participates in a sentimental activity to honor the deceased. These expressive and elegant constructions allow the viewer an extended gaze into this dark topic, beyond its sheer mass that obscures individual identities.

Continue reading "Loren Schwerd:Mourning Portraits" »

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Rachel Whiteread, who lives and works in London, has created a new politically charged piece titled Place (Village) on view now at the Museum of Fine Arts in Boston. In an interview, she explained "she has been making the same work since college, which involves working with objects and histories and time." In this exhibit, she deviates from using her stock materials such as polyurethane, resins, plaster and rubber, but still creates the perception of something that is no longer vital but was once connected with human life.

Rachel Whiteread was born in London in 1963. She studied painting at Brighton Polytechnic (1982-85) and sculpture at the Slade School of Art, University College, London (1985-87). Whiteread's first solo exhibition was held at the Carlyle Gallery, London, in 1988, the year after she graduated. The first monumental sculpture that brought her recognition was Ghost (1990), a plaster cast of the interior space of an ordinary room, shown at the Chisenhale Gallery, London. She was the first woman to win the Turner Prize and is widely known for her public monuments, including Water Tower (1998) in New York and Holocaust Memorial (1995/2000) in Vienna.

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Last weekend in Miami, DailyServing.com had the opportunity to speak with artist Rashid Johnson about his work on display with the Nicole Klagsbrun Gallery in the Nada Art Fair. Johnson has received much critical acclaim for his poetically potent works, which directly confront ideas of race, identity and culturally coded artifacts through sculpture, photography and installation. Johnson was recently included in the Rubell Family Collection exhibition 30 Americans, for which one of his photographs was used for the cover of the exhibition catalog. The artist gained notoriety early in his career through his participation in the exhibition Freestyle, curated by Thelma Golden at the Studio Museum in Harlem. This year, the artist traveled his new exhibition Sharpening My Oyster Knife to Magdeburger Kunstmuseum in Magdeburg, Germany, 404 arte contemporanea in Naples Italy and Moniquemeloche Gallery in Chicago.

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On view now at the Museum of Contemporary Art (MCA) in Chicago, until February 22, 2009, is Joseph Grigely's exhibition St. Cecilia. St. Cecilia presents work from the nearly fifteen-year career of this internationally recognized artist, who is currently living and working in Chicago, and represents the various media with which he works, including video, sound, sculpture, and works on paper, to explore the poignancy and humor of miscommunication. Amongst the eleven works on view are two created in collaboration with Amy Vogel: Something Say (1999) and You (2001).

Throughout the exhibition Grigely (American, b. 1956) explores the nuances between seeing and hearing highlighted by a major new video installation, St. Cecilia, which anchors this exhibition. Named after the patron saint of music, the installation features two single channel video projections with footage of the Baltimore Choral Arts Society singing three traditional Christmas carols with new lyrics written by Grigely to convey what he calls "lip misreading" -- identical lip formations that produce dissimilar sounds. The artist's overarching intent is to make works that create a situation where hearing people experience linguistic misunderstandings from a similar point of view as a deaf person, through points of familiarity such as television shows, Christmas carols, and post-it notes.

St. Cecilia was co-organized by the Contemporary Museum, Baltimore, and The Frances Young Tang Teaching Museum and Art Gallery at Skidmore College, Saratoga Springs. Joseph Grigely's new video installation, St. Cecilia, is co-produced by the Contemporary Museum and the Orange County Museum of Art. The MCA presentation is organized by Julie Rodrigues Widholm, Pamela Alper Associate Curator.

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South African-born artist Robin Rhode works in a variety of media, including performance, photography, sculpture and video that centers on his personal experiences as a young man growing up in Johannesburg suburbs. The artist uses and alters everyday objects that reference South African products or that embodies a personal or social connection to the artist. The artist's newest body of work continues his interest in exploring narratives where he uses only the most basic of materials to complete his ideas. Recently, the artist has expanded to 16mm film and sculpture and has created a collaborative performance in Rheims, France, with professional dancer Jean-Baptiste Andre and violinist and cellist Didier Pertit. This year, the artist presented Empty Pockets at the Perry Rubenstein Gallery in New York City , an exhibition that debuted in Johannesburg in March and at the Ullens Center for Contemporary Art in Beijing in April.

Rhode has exhibited internationally, including notable shows with Mori Art Museum in Tokyo, Museo Tamayo Arte Contemporaneo in Mexico City and Witte de With Center for Contemporary Art in Rotterdam.

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The new James Cohan Gallery in Shanghai is currently exhibiting work by Dutch sculptor Folkert de Jong. The artist's large scale narrative installations often reference themes of war, big business, and global greed, as well as the history of art. This particular body of work takes Darwin's "survival of the fittest" theory and applies it to competition between the nations.

The new work, entitled Thousand Years Business as Usual, includes three sculptural tableaux composed of industrial Styrofoam and Polyurethane insulation foam. The main installation, Early Years, consists of 7 anthropomorphized monkeys arranged in a loose circle, alluding to Matisse's The Dance of 1901. They are precariously positioned atop oil barrels, with one foot suspended in the air. Covered with a sloppy application of black pigment, these simian characters appear to be plucked from a horror movie. This circular format not only quotes a Modern master, but also references the cycle of life and evolutionary (and artistic) progression. In addition to their role in evolutionary theory, monkeys are also the most versatile sign in the Chinese zodiac. In Business As Usual-The Tower, 3 monkeys are stacked one on top of the other on an oil barrel, miming the cautionary statement "See no evil, hear no evil, say no evil."

De Jong's choice of materials holds symbolic significance, for the insulation itself is a petroleum product. Styrofoam has no sculptural precedent and was originally used by Americans in World War II to create blue lift rafts that were barely visible on the water. After the war, Styrofoam was absorbed into our daily lives after several companies developed the "Styrofoam Plan" in the 50s, an effort to replace other materials. War leads to innovation and progress and slowly this technology is incorporated into mass culture. While both Styrofoam and Polyurethane are mixed with the same chemical components, Styrofoam has a rigid closed cell structure, while the Polyurethane foam allows the artist to develop more organic forms due to its fluidity.

Folkert de Jong studied at the Academy of Visual Arts and the Rijksacademy for Visual Arts, both in Amsterdam, where the artist currently lives and works. He has had several solo shows, one at James Cohan in New York last year as well as Peres Projects in Berlin. de Jong won the Prix de Rome in 2003 for sculpture and has been influenced by artists such as George Grosz and Otto Dix. DailyServing has featured the artist twice, in 2006 and 2007.

Thousand Years Business as Usual will remain at James Cohan in Shanghai until January 17, 2009.

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Currently on exhibition at the deYoung Museum in San Francisco is Maya Lin's latest work, Systematic Landscapes. The exhibition features Lin's most recent body of work including sculptures, drawings, and installations. In Systematic Landscapes, Lin carefully articulates topographical model-like sculptures of landscapes from ocean floors to mountain tops. Her poetic use of natural materials and scale pays a solemn homage to geography and the natural world. Lin is best known for the design of the Vietnam Veterans Memorial in Washington, D.C., where she won the public design competition of 1981 at age 21. The black-granite, v-shaped monument of Lin's conception creates a wound in the earth to symbolize the gravity of the lost soldiers to the Vietnam War.

Since the erection of the monument, Lin has been a well-received figure in public and site specific art projects. During the 2000 Confluence Project, Lin created seven site-specific installations along the Columbia River Basin, the river which separates Washington and Oregon. The seven specific sites were chosen for their historic importance, each being a place of convergence, where Native Americans of the region met the Lewis and Clark Expedition of 1804-06. In addition, Lin sat on the jury of the World Trade Center Memorial project competition and remains an active alumna on projects at her Alma Mater, Yale University.

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In the decade since her breakout success in 1996, Liza Lou has won a $500,000 genius grant from the MacArthur Foundation, kept a studio in Durban, South Africa, and continuously mesmerized the world's critics and collectors. She works with millions of tiny glass beads, taking the traditionally craft-oriented medium and elevating it to astonishing artistic heights.

Continue reading "Liza Lou" »

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On October 8th, LACMA opened Contemporary Projects 11: Hard Targets--Sports and Masculinity, a survey exploring the intersection of masculinity and sports in contemporary culture and artistic practices.

Curated by Christopher Bedford (himself a player of rugby and American football), the show poses athleticism not in diametric opposition to artistic expression, but rather as a kind of male-dominated theatrical spectacle of gender performance. In Bedford's accompanying exhibition article, he noted, "This new interest among practicing artists in the imagery of and materials associated with men's sports can be traced to the increasingly polymorphous depictions of star athletes in the media. More and more often, popular magazines such as Sports Illustrated and ESPN the Magazine publish portraits that lavish as much attention on the bodies and apparel of male athletes as has traditionally been accorded female models and celebrities endorsing cosmetics, clothing, and perfumes."

This hypersexualization, or offering up of the male body and identity for consumer culture, is on the one hand liberating, yet also a cause for concern. While women have long been objectified as a means to fuel commercial desire, now it appears men are subjected to the same unflinching, and unattainable vision. Yet the implications of imposing such unattainable ideals upon masculinity are apparently a new subject for consideration, the implications of which still as of yet unknown.

Continue reading "Hard Targets: Masculinity and Sports @ LACMA" »

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Blair Thurman's first solo exhibition opened last week at Galerie Frank Elbaz on rue St.-Claude in Paris's Marais neighborhood. The show, entitled Krumms Along the Mohawk is named after an ice-cream flavor at Thurman's local gas station in New York. The exhibition is in concept a mini-survey of Thurman's work over the past decade and a half - although most of the pieces are new, completed in 2008.

Press releases can be daunting and artist statements can often be even more conceptual than artist's work. However, Thurman's statement in the press release trumps any words that could be said by the gallery about the show, and worth noting, simply asserts that, "It's been said of some of my favorite painters that they are always repeating the same painting. Sam Grosse told me painters always do the same show throughout their career - which I took as a compliment. Maybe it is something about painting. The point of Krumms Along the Mohawk is to show the trail of my work has changed and hasn't changed over 15 years." The works exhibited, acrylic paintings on unconventionally shaped canvases, often in three-dimensional form, are more architecturally aesthetic than what we tend to expect of paintings. Bringing neon sculptures into the mix continues the sense of dimension and tangibility not often seen in a show of predominantly paintings.

Blair Thurman lives and works in New York. She received her MFA at the University of Massachusetts at Amherst. She has exhibited at Triple V in Dijon, France, Hard Hat in Geneva, Switzerland and Galerie Hubert Bachler in Zurich, Switzerland, among others.

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Kruisdijk and Kuilboer are two artists from the Netherlands who began their artistic collaboration in 2007. In their independent practices, Kruisdijk works with systems of visual language and Kuilboer's interest lies in concepts on the perception of time. Kuilboer often uses images and objects from her childhood and redefines their meaning, such as the blanket, which holds contradictory connotations of oppression and comfort. Together, they try to investigate what it means to be an artist today, which often includes traveling with a lot of stuff to exhibit. Seen above is a life-size donkey named Atlas who carries their books, work, and materials needed for that particular exhibition. Other previous work includes Graduation from the Blackhole, the artists' "graduation" from their post art academy depression, commenting on the artistic isolation felt when one is not living in a large metropolis.

Kruisdijk and Kuilboer have an upcoming exhibition at De Creatieve Fabriek in Hengelo, Netherlands opening on October 17th and they are currently represented by Actionfields Temporary Art Gallery in Belgium.

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Among the works featured in the exhibition are Noelle Mason's window installation of Mag-lites spelling the word SILENCE in Braille, and an illuminated stained glass that projects a surveillance image of 9/11/2001 hijackers passing through security at the Portland airport. Another work by Mason consists of 10 stitcheries that depict x-rays and infrared images of undocumented immigrants crossing the US/Mexico border illegally. Mason collected the images from the US Border Patrol and Minutemen websites, and then sent the images to Brazil where they we embroidered by Bilu Alcantara in exchange for the amount it would cost her to illegally immigrate to the United States. John Delk contributes a candy-coated American flag, and a drain installed in the gallery floor spewing George Bush's past five State of the Union speeches, which he has edited to consist solely of fear-inducing buzzwords and phrases. For his part, Conor McGrady offers up four new vignettes that are de-contextualized portraits depicting roles played by those at various levels within the political power machine.

John Delk is a Brooklyn-based artist whose work has been exhibited nationally in New York, Chicago, San Francisco, and Washington. He received an MFA in 2001 from the School of the Art Institute.

Noelle Mason graduated the School of the Art Institute's MFA program in 2005. Her work has been exhibited internationally and she is a member of the faculty in the University of Houston's sculpture department.

Conor McGrady has recently exhibited his work in the one-person exhibitions, New Arcadia at M.Y. Art Prospects, New York and Green and Pleasant Land, Saltworks Gallery, Atlanta. In 2002 he was selected to participate in the Whitney Biennial at the Whitney Museum of American Art.

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The leading work in the show is a slick, black fiberglass figure, standing over two meters in height in a stoic and monumental form. The work furthers the artist's interest in appropriating loaded cultural imagery and altering the often iconic forms to reveal new and challenging views that push against traditional values and cultural norms.

Abbas currently lives and works in Islamabad and Boston and works as an Associate Professor at the National College of Arts in Rawalpindi. She has received degrees from Universitat der Kunste, Berlin and National College of Arts, Lahore. Recent exhibitions include New Works at Gallery NCA and a self-titled exhibition at Gallerie Dorothia Konwiarz, Berlin.

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Australian artist Greer Honeywill's sculptural work investigates humanity, domesticity, and the changing nature of the home. Her materials range from kitchen graters, skewers, and mop twine to timber framings and personal ephemera. The artist forces the viewer to re-evaluate these objects and investigate the political and social issues and hierarchies which unfold in every home.

Honeywill grew up in suburban Adelaide in the 1950s and her work references this personal past, with allusions to her mother who faced domestic challenges, such as an alcoholic husband. The role of the household woman and the setting of the kitchen are frequently given attention and analysis in Honeywill's work. Embroidered House, seen above, was inspired by the walk of the ghost crab, an animal scientists refer to as "nature's housewives." By drilling thousands of tiny holes in the walls and roof of the house, Honeywill pays tribute to the small tasks that become daily rituals. Their illumination creates a poetic pattern both on the structure and the surrounding walls.

The artist recently showed work at Craft Victoria in Melourne and received her PhD in Fine Art from Monash University in 2003. The artist is currently represented by Flinders Lane Gallery in Melbourne, Australia.

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Zheng Guogu's sculptural work often pairs confounding idioms, layering ephemeral qualities with imposing materials, in order to poetically arrange forms that operate on both a tactile and symbolic level. In his sculpture, Waterfall, Gougu pours white melted wax over a rigid metal armature, embedding calligraphic scripts into this serene fountain. Gougu both reinforces and freezes the progression of time, in an allegorical fashion not unlike the symbolism of burning candles, skulls, or rotting fruit prevalent in Dutch Renaissance still lives.

Evocative of natural forms on multiple levels, from snow-capped trees, mountainous landscapes, to icicle-like forms, Gougu creates an enigmatic presence, both familiar and foreign. The piece's somber, haunting aura is reinforced by the fact that white is traditionally a symbol of mourning in China. Lyrically composed, the piece acts as an abstract Memento Mori of sorts - reminding the viewer of his or her own mortality and the impermanence of life.

Zheng Gougu was born in Yangjiang, Guangdong province, China and lives and works in Yangjiang, Guangdong province. He has shown at the Venice Biennale, and was one of the few Chinese artists to participate in Documenta 12 in Kassel, Germany. Last year, he was exhibited in The Real Thing: contemporary art from China (2007) at the Tate Modern in Liverpool. He has also shown at the Mori Museum in Tokyo and Guangdong Museum in Guangzhou, China.

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Jesse Bercowetz has a huge mobile on display at The Happy Lion in Chinatown. His solo exhibition, which is the New York artist's first on the West Coast runs until October 11th, flaunts several works, but the luminary piece-- and the real reason for going-- is the behemoth, nearly room-sized installation entitled The Pale Memory of Man. The roomy gallery space, usually noted for its high ceilings and the natural light that bounces off the white walls, is shown no mercy by The Pale Memory of Man. The over sized mixed media mobile looks like something that Tim Burton would create for one of his sets, and the ramshackle construction rivals that of a child's fort. However, once the casual onlooker absorbs the grandiose scale of the piece, a more engrossed observation will reveal the many intriguing idiosyncrasies of this mysterious black contraption of scavenged wood, polystyrene, plaster, glass, electric fans, foam core, paint, and capriciously hanging photos and notes. For one thing, the shape of this particular mobile is less hanging-above-a-baby's-bed and more springing violently from the framework of an oil derrick. Aside from the obvious, and timely, conversation about oil and energy consumption, the interesting juxtaposition for me is the implied permanence that the oil derrick represents in general, as compared with the seemingly intentional shoddiness of the construction of the piece.

Jesse Bercowetz is a graduate of the School of The Art Institute of Chicago. He was awarded a Jerome Fellowship and is a recipient of the New York Foundation for the Arts Grant. Selected exhibitions include: The Brooklyn Museum, NY, The Drawing Center, NY, White Columns, NY, PS1 / MoMA, NY, Galerie Michael Janssen, Berlin and Derek Eller Gallery, NY. This month he will present a new large-scale sculpture in the exhibition Next Wave At The Brooklyn Academy of Music, curated by Dan Cameron. There will be an installation of his collaborative work at Mass MoCA in 2009. Bercowetz lives and works in Brooklyn, New York.

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Opening this evening in Williamsburg, Brooklyn at Dam Stuhltrager Gallery will be a two person exhibition featuring the work of Chris Coffin and Jonathan Brilliant. Coffin's show New Work Off Dry Land, features a 300 ft line of bouys that have been actively used by lobster fisherman in Newport, Rhode Island. The artist strapped the line to his body and carried out a performance in which he swam in the ocean with the line trailing behind him. Coffin received his MFA from Pratt Institute and has been featured in The New York Times and Addict Magazine. The artist currently lives and works in Brooklyn, NY.

Jonathan Brilliant, whose work is pictured above, has created his latest installation featuring thousands of coffee house stir sticks that are woven together and held by tension only. The Goldsworthy of The Coffee Shop Project presents organic and formalist sculptures which cleverly create a dialogue between a natural and consumer-based landscape. The artist also illustrates the possibilities inherent in a simple object once multiplied and arranged by the thousands. Brilliant received his MFA from San Jose State University. He has recently exhibited at Redux Contemporary Art Center in Charleston, SC and the Elliot Center Gallery at the University of North Carolina. Brilliant currently lives and works in Charleston, SC.

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These narrative metaphors are intended to act as a visual puzzle and are often quite indiscernible as a result. The artists uses the familiar aesthetic of cartoons in his work and transforms them into sculpture, alluring the viewer in and offering several layers of meaning as you begin to engage the work.

The artist was born in Louisville, Kentucky, and is an MFA graduate from the Yale University School of Art. Last year, Ronay exhibited "Oh My God What Are We Gonna Do" with Vacio 9 in Madrid, Spain, and "Going Down, Down, Down" at Parasol Unit in London. The artist is currently represented with the Andrea Rosen Gallery in New York City and has been involved in several notable group exhibitions, including "Make It Now: New Sculpture in New York" at the Sculpture Center in Long Island City and "Uncertain States of America: American Art in the 3rd Millennium" at the Astrup Fearnly Museum of Modern Art in Oslo, Norway.

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Born in 1980 on Williams Air Force Base in Arizona, Whitney Lynn received her M.F.A. in New Genres from the San Francisco Art Institute in California, where she currently lives. Having recently described herself as a "bit of a political blog junkie," Lynn pays attention to how visual elements shape our cultural perceptions of objects by examining military culture and its interventions in our civilian landscape.

In order to do this, Lynn selects something familiar or neutral, such as a pillow fort, and exploits its hidden conceptuality by artistically investigating it. This naturally leads her to work in a variety of different media. Children often play military games, whether chasing each other around the neighborhood (or Air Force Base), playing with water guns, or building forts in living rooms, and this concept is of interest to Lynn. By using pillows, mattresses, and sheets to create a sculptural installation of a fort, the similarities between civilian and military culture become less distinct. In another project, the artist took the familiar story of an army general walking up to the opposing side's fort with a butterfly net and paper. Claiming to be sketching butterflies, the general really writes down the floor plan of the fort. For the exhibition Decoy at LoBot Gallery in Oakland earlier this year, Lynn presented large paper butterflies with secret floor plans laser cut into their centers, an artwork with penetrating precision, both in concept and aesthetic. Whether she is using pillows or paper, Lynn imparts her accuracy and sensitivity in perception to the viewer. Lynn has previously exhibited at Swell Gallery in San Francisco and Spur Projects in Portola Valley.

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Jonathan Bouknight is captivated by the duality of one's psychological and physical presence and how this duality defines one's personal reality. His evocative photographs, drawings, and sculptures depict this aspect of the human condition. Referencing mythology, history, pop culture, and science, Bouknight explores his own sexuality and attempts to understand how the corporeal and cerebral influence one another, and how these entities are shaped by the presence of others.

In his compositions, Bouknight photographs barriers or membranes which neither completely conceal nor reveal the subjects within. He labels his series "Integuments" and "Encasements", thereby defining the unseen psychological division between the self and others. The above photograph, entitled Nipple, conceals this bodily part below a sea of diaphanous fabric whose frayed ends are stitched together with a thin black thread. The fabric clings to flesh in some areas, creating a visual tease for the spectator.

Bouknight studied at the Lamar Dodd School of Art in Cortona, Italy in 2000 with the University of Georgia and received his B.A. in Studio Art from Furman University in 2002. He has previously exhibited at Whitespace and Eyedrum in Atlanta, where he currently lives and works.

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Michael T. Rea crafts large scale wooden sculptures of various objects used in space, war, under the water, or to make music. Constantly incorporating ideas from motion pictures, television, time travel, and music, Rea likes to add a sense of humor to his craft as well. The artist told fecalface.com in a recent interview that his current interests included MIA, Soft Pretzels, Lost, thongs, Folkert de Jong, and Fergie, among several others.

The items he chooses to represent, which include scuba tanks, space suits, fish tanks, guns, and tools, are often seen in other media such as glass or metal. Instead of the expected media, Rea uses the inexpensive materials of pine, mahogany-luan, rope, burlap, and pink foam to create his objects and characters. This paradoxical presence, as seen in the above instruments that will never be played, adds a puzzling yet intriguing quality to each sculpture. The artist states, "My work offers a sense of what could be and what could never be simultaneously."

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Ceramic artist, Vipoo Srivilasa's latest exhibition, Roop-Rote-Ruang is currently on display at Gallery 4A: Asia-Australia Arts Centre. Translating as Taste-Touch-Tell, the exhibition coincides with several dinner parties the artist will host within private Sydney residencies throughout the exhibition's duration. Srivilasa created ceramic dinner sets especially for this project, which the guests will eat from. He will prepare a four course meal and get the audience to engage in a range of activities that reflect his Thai heritage. The exhibition is also interactive in nature, focusing on issues regarding environmental damage. Tickets to the artist's dinner parties are able to be bought for $150 a head.

Srivilasa was born in Thailand, before migrating to Australia as an adult, where he currently lives and works. He has studied at various institutions including Rangsit University, Bangkok, Monash University, Melbourne and the University of Tasmania, Hobart. His work has appeared within numerous group exhibitions on an international scale, including at SOFA, Chicago, Gallery Twenty Five, New Delhi and Brisbane City Gallery, Queensland. He has also had several solo exhibitions within Australia and Thailand. He received first prize at the Golden Teapot Awards in 2003, and an honourable mention at the 4th World Ceramic Biennale, Korea.

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This Saturday, May 31st, The Happy Lion in Los Angeles will have an opening reception for their next exhibition, Los Angeles-based artist Rachelle Rojany's Body of Work. Rojany has shown her work in several group exhibitions across the U.S. and in Europe. She graduated from the University of California, Berkeley and has studied at the Art Institute of Chicago, the Academy of Fine Arts in Bologna and the University of Bologna. In 2009, she will create a site-specific installation for the Delaware State Park.

In Body of Work, the artist displays sculptures modeled from body parts to create an immersive installation that combines materials such as bronze, brass, wood, and sound. A faint soundtrack of owls and the music of Leonard Cohen accompanies the exhibition. Rojany enhances her unique formal language with metaphorical and layered meanings. In Mileft, Rojany playfully addresses the idioms "walking a mile in someone else's shoes" and "two left feet" in a sculpture composed of two leather boots, both for left feet, thus making the impossible possible. There is a mirror in one corner, making the viewer aware of their own corporeal presence in the piece. While a sense of humor is pervasive throughout the exhibition, a feeling of dispersion is perceived due to the bodily fragments and the nature of the installation.

Body of Work will be on display at The Happy Lion until July 5, 2008.

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Currently on view at the Nathan Larramendy Gallery is the solo exhibition Pedestal featuring new paintings and sculpture by artist Amir H. Fallah. Continuing the use of imagery such as terrariums, botanicals and Persian miniature painting, Fallah's work explores his experience of adolescent development when his interests were being formed and new paths were constantly discovered. Fallah has become known for his large scale fort structures, which are built intuitively on site and can reach over 16 ft in both height and width. Fallah has exhibited these structures at the L.A.Louver Gallery in Los Angeles, RHYS Gallery in Boston, Art Dubai 2008, Dubai U.A.E., and has work scheduled to be exhibited at Redux Contemporary Art Center in Charleston, SC this fall.

Amir, who is a previous DailyServing interviewee, is also the founder and creative director of Beautiful/Decay Magazine, an international quarterly publication that is a synthesis of art, design, fashion, music and contemporary culture. Exhibiting simultaneously with Pedestal will be the photographic works of Fallah in the group exhibition After the Revolution: Contemporary Photography from Tehran and California on view at the San Francisco Arts Commission at City Hall until June 27th.

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A recent collection of works by Indian artistic duo Jitan Thukral and Sumir Tagra are currently on display at Gallery Barry Keldoulis, Waterloo. Known for their prolific use of color, their works often reference advertising and consumerism as a response to contemporary culture. Entitled Somnium Genero 02, their current exhibition is a combination of paintings and sculptural works, all of which include vibrant imagery and surrealist influence. Symbols of man-made technology including planes, television screens and radio transmitters are interwoven with images of flowers, evoking a sense of natural beauty. Such hybrid imagery is affixed to canvases and some circular sculptural works, causing them to appear almost as enlarged, ornate Christmas decorations.

Thukral and Tagra were both born in New Delhi, where they still currently live and work. Both artists attended Delhi College of Art, while Thukral furthered his studies at Chandigarh College of Art, Tagra chose to do so at The National Institute of Design, Ahmadabad. They have collaboratively exhibited at institutions including Bose Pacia, United States, The Museum of Contemporary Art, Shanghai and Teatro Armani, Milan. In 2006 they were honored on the list of 101 Emerging designers of the world, as featured in Wallpaper Magazine.

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Cathy Akers' current show at Honor Fraser Gallery in Los Angeles takes on a big issue: the history of the human race. Akers' dioramas depict Adam and Eve like figures in surroundings that resemble Eden. Yet the world depicted in Akers' exhibition, titled Hertopia: An Illustrated History of the New World, is more delinquent than it is idyllic.

This is Akers first solo exhibition since graduating from the MFA program at California Institute of the Arts in 2006. Prior to now, she's exhibited in group shows, like (Tender) Assembly at the Show Cave and a Juried Exhibition at the Torrance Art Museum. Interested in the large-scale dilemmas of evolution and human nature, Akers wants to push the envelope where ideas of utopia and "natural" human interactions are concerned. In 2007, she made a sculptural cake called "Natural Selection." Gallery visitors ate away at the cake, naturally selecting parts of the edible world Akers had created. In Hertopia, Akers' utopias are childishly hellish. She at once captures the jubilance associated with lush, green terrain and uninhibited nakedness and the brutality of human beings. The lack of inhibition in her sculptures leads to a disconcerting world in which characters pursue their desires both to their own benefit and detriment. Hertopia will be on exhibit through May 17th.

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In a 2006 installation, Schmelzer took on the expectations of the United Nations, who at a 2005 summit declared that individual states were responsible for protecting their people from crimes against humanity, ethnic cleansing, and the like. If a state is unable to do so, the international community should step in. In Responsibility to Protect or To Whom It May Concern, Schmelzer asserts that collective action is only taken when whites are involved, when Christians are involved, when petroleum is involved, or when natural gas is involved. The installation consists of a white oil drum with Jesus figures encircling the rim of the drum, which contains petroleum and a pump to create gas bubbles. A literal but quite successful way to "make a point". Schmelzer's seductive sculptures immediately capture our attention, a task that is becoming increasingly difficult in the 21st century. He does this by moving past the aesthetic neutrality of previous conceptual art and reinforcing his appealing objects with sound conceptual statements.

Jozsa Gallery in Brussels is currently featuring Schmelzer's work in their exhibition Let's Call it A Year until May 10th. The artist has previously shown at the Riviera Gallery in New York, White Trash Contemporary in Hamburg, and Galerie Jaspers in Munich.

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Landon's skills in manipulating and repurposing pre-existing everyday imagery can be seen in one of his past public projects. In 2006, he altered the text on an American Apparel bench advertisement (well known for their provocative nature) in front of the Los Angeles County Museum of Art to read "ReAppear in lacmA." The project remained undisturbed for weeks as cleanup crews removed various stickers and graffiti tags around the bench. American Apparel later removed all bench advertisements in the area, thus ending the subversive public project.

Earlier this year, Landon exhibited with Adrian Paules at Jail Gallery in the show Educated Dreamer. Both artists received their M.F.A.s from Yale University in 2003 and currently share a studio building in Los Angeles. Landon has also been featured online by Beautiful/Decay Magazine.

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In Oliveira's three dimensional works, there exists a playful dynamic between the flat characteristics of photography and the round aspects inherent to sculpture. Their angular rendering recalls computer graphics from the 1980s or an over-sized origami project. Her collages depict outdoor scenes and are perforated with various sizes of cuts. In her photographic print, she placed holes in the sky, allowing real sunlight to shine through.

Oliveira has exhibited at Niagara Gallery and A.W.O.L. Gallery in Toronto and has been reviewed by NOW Magazine and ECHO Weekly. The Girl and The Bear will remain at Peak Gallery until April 26, 2008.

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Sew Hoy participated in the Hammer Museum's 2007 exhibition Eden's Edge, a show that featured fifteen Los Angeles artists, including Ken Price, Lari Pittman, and Jason Rhoades. Her work for Eden's Edge had notable affinities with Ken Price's work; her ceramics took organic forms and she questioned art's decorative potential. In Pow!, Sew Hoy asks different questions. She explores medical practices and the social nature of the body by re-envisioning a casts on a massive scale.

Sew Hoy received her BFA from the School of Visual Art in New York and she is currently completing her MFA in Bard College's low residency program. She has had solo exhibitions at Karyn Lovegrove Gallery, Peres Projects, and Massimo Audiello Gallery. Pow! runs through April 26, 2008.

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Peter Iannarelli received his BFA from Pratt Institute in Brooklyn, NY. He has attended the DIA Center as a visiting artist and has a grant recipient of the Vermont Studio Center. The artist has a forth coming exhibition at Van Brunt Gallery in Beacon, NY and recently exhibited at the Dorsky Museum in New Paltz, NY and the Albany Center Gallery in Albany, NY.

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Guy Rombouts at Pocket Room, February 17-April 5th.

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Through the medium of ceramics artist Kim Simonsson questions the role of the child and nature in the modern world. Often referencing Manga cartoon imagery, children and sometimes animals are presented in Simonsson's work to challenge tradition, cultural habits and beliefs for both the East and West. These traditions are also challenged through the artist's choice of material. Simonsson uses ceramics to draw a parallel with decorative China figurines and traditional ceramic craft of the West, updating both by saturating them in elements of pop-culture. Simonsson graduated from the University of Arts and Design, Helsinki, Finland (2000). Recent solo exhibitions in Finland include Galleria Huoltamo, Tempere, and Arabia Gallery Helsinki. The artist is also represented by Nancy Margolis Gallery, NYC, and has received project funding from the Stina Krook Foundation and the Svenska Kulturefonden.

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The Spriggs received an MFA in Sculpture at Concordia University in Montreal and his BFA from Emily Carr Institute of Art and Design. His exhibition, 'Archaeology of Space' is currently on view at The Southern Alberta Art Gallery in Lethbridge, Alberta and will be exhibited again this May at Rodman Hall Arts Centre Brock University, St. Catharines, Ontario.The artist has exhibited with Leo Kamen Gallery in Toronto and the Third Avenue Gallery in Vancouver.

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Greatly inspired by Germaine Greer's infamous publication The Female Eunuch, Melbourne artist Emily Floyd has created a 100 piece sculptural installation devoted to the book. Now showing at Anna Schwartz Gallery, Melbourne, the wooden fragments include pieces which have been shaped to resemble the female form, referencing not only the book's feminist contents but its notorious cover image designed by surrealist painter, John Holmes. Entitled The Temple of the Female Eunuch,the exhibition includes carvings containing text exerts from the book, often in vibrant, psychedelic colors,reflecting the period in which the book was written.

Emily Floyd earned a Bachelor of Fine Arts, majoring in sculpture from the Royal Melbourne Institute of Technology. She has been granted several awards and artist residencies, including the 2000 Cinemedia Digital Arts Fund and The University of Melbourne Asia link Residency, which sent her to work in New Delhi.She has had various solo exhibitions within Australia at institutions including The John Curtain Gallery, Perth, The Institute of Modern Art,Brisbane and Studio 12 at Gertrude Contemporary Art Spaces, Melbourne.

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Both artists were born and educated in England, with James earning a Masters of Art and Design Education from the University of Warwick, Coventry and Eleanor completing a Masters in Fine Arts at the University of Central England, Birmingham. They were recently commissioned by the Queensland Government to create a series of sculptural works for Brisbane Cycle Centre. Both artists also have fruitful solo careers, with Eleanor set to participate in a group show at Gitte Weise Gallery, Berlin later this year while James has had his work displayed at various institutions including Leicester City Gallery, UK, West Space, Melbourne and Gold Coast City Art Gallery, Queensland.

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Richard Deacon's new exhibition at LA Louvre in Los Angeles opened on December 1st. Dead Leg, Deacon's monumental new sculpture, will span LA Louvre's first floor gallery. In collaboration with his associate Matthew Perry, Deacon made his massive new sculpture out of twisted oak and stainless steel. Dead Leg is 8 ft high, 28 ft long and 9 ft wide and, following its premiere in LA, it will travel to the Portland Museum of Art. Richard Deacon has enjoyed prominent success over the past three decades. He graduated from the Chelsea College of Art in 1978 and has since worker in sculpture, painting and drawing, dance, and literature, compiling what has become a staggeringly multifaceted portfolio. Deacon won the Turner Prize in 1987 and was also named Chevalier des Arts et des Lettres by France's Ministry of Culture in 1997. Deacon lives and works in London but also teaches at the Ecole Nationale Superieure des Beaux-Arts in Paris. He has shown in countless galleries and museums, including the Tate, the Museum of Modern Art in New York, and the Museum of Contemporary Art in Chicago.

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"Surface Works" is a new series of paintings and wall sculptures by the artist Eliza Geddes opening this weekend. Found Gallery in Los Angeles will present Geddes' new works in her first exhibition in L. A. which will continue through the New Year. Geddes is interested in the formal qualities of painting, investigating surface, texture, balance, speed and shape as she creates both two and three dimensional work. The artist uses the manipulation of formal qualities to entice the viewer with the repetition of marks such as circles and X forms. Geddes three-dimensional works continue her formal concerns while also challenging the boundaries of painting and sculpture. A graduate of New York University and Trinity College in Hartford, Connecticut, Geddes has exhibited with 33 Bond Gallery in NYC, 440 Gallery in Brooklyn and Mulry Fine Art in West Palm Beach, Flordia.

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"Record of a Mortal Universe" also explores gravitational collapse, or the phenomenon of a massive body collapsing under its own weight. The sculpture sets up an engaging dichotomy in that the foundation's materials, cardboard and melting resin, seem tenuous and unable to support such a gigantic mass. Yet the reference to Greek architecture and ruins suggest that this is somehow a solid structure that has been around for an untold number of years.

Diana Al-Hadid is a Brooklyn-based, Syrian-born artist who graduated from the Virginia Commonwealth University in 2005. She participated in the Skowhegan residency this past summer, and her work will be at the Perry Rubenstein Gallery until the 24th of November.

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De Jong was born in the Netherlands in 1972. He co-founded Space For Artists in Amsterdam, and in 2003, was a finalist for the Prix de Rome for sculpture. The artist has recently completed the exhibitions "Der Falsche Prophet", Peres Projects, Berlin, "Gott Mit Uns", Lever House, New York and "Medusa's First Move: The Council", Chisenhale Gallery, London.

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Acclaimed British sculptor, installation artist and musician Richard Wilson was born in 1953 and currently lives and works in London. The artist is one of England's best-known sculptors and has gained much notoriety for his ambitious architectural interventions and reconstructions which are often noted as architectural magic. In the video shown above, Wilson literally cut into the building, connecting the piece to a track allowing it to rotate in place. The artist often explores the relations of space to architecture and related structures, giving new form through reconfiguration and assembly thus changing the viewer's perception of the form. Wilson is scheduled to present a new exhibition in Galleria Fumagalli in Italy opening this Saturday, October 13 at 6pm. The artist studied at the London College of Printing, Hornsey College of Art and received his MFA from the Reading University in Berkshire, UK. Wilson has been nominated for the Tuner Prize twice and most notably completed the DAAD residency in Berlin in 1992. He has completed signature works for the Saatchi Gallery and the Matt's Gallery early in his career and has since been collected by museums worldwide such as Weltkunst Collection at IMMA, Dublin and the Centre of Contemporary Art, Warsaw among many others.

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Using materials such as beet juice, crushed blackberries, fabric dye, bleach, and oil paint on unprimed canvas, Patrick Hill creates ephemeral-seeming paintings and sculptures in his first New York solo show, "Forming" at Bortolami-Dayan in Chelsea. Hill sets up a range of juxtapositions in his works--the organic and synthetic, traditional and non-traditional, decaying and enduring, to create an oddly harmonious and symbiotic environment in which these materials intersect and rely on each other. As Hill explains, his work is about "personal as well as universal human concerns of life and death, fate and chance, tension and balance…and out of degeneration and rebirth come the materialization of form." Hill especially plays with the notions of permanence and impermanence in this exhibition. An unpredictable and whimsical mobile brings together components such as glass, concrete, steel and fabric, taking cues in structure and materiality from artists like Alexander Calder, Lee Bontecou, and Richard Serra. The use of unprimed canvas calls to mind the work of Helen Frankenthaller and Robert Morris, and Hill's process of layering fabric and allowing substances to soak into the canvas allows for the ability to see both the evidence of residue and the active process of decay.

Patrick Hill was born in Michigan and currently lives and works in Los Angeles. He has had solo exhibitions with David Kordansky in LA, the Reliance in London and Shane Campbell Gallery in Chicago. Group exhibitions include: Ishtar, Midway Contemporary Art, Minneapolis and the upcoming show "Imagine Los Angeles," Spruth Magers Munich Projekte, Munich, Germany.

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Opening this Thursday at the RHYS Gallery in Boston will be an exhibition of several new works by Los Angeles-based artist Amir H. Fallah. On view in the gallery will be one of Fallah's signature fort/terrarium installations which will contain live cacti and music by Minor Threat. Fallah, who is also the founder and creative director of Beautiful/Decay Magazine, has exhibited internationally with the Third Line Gallery in Dubai and participated in the recent Rogue Wave exhibition at the L.A. Louver Gallery. DailyServing recently spoke with Fallah about his upcoming exhibition, new directions in his work and his pick of L.A. artists, read the full interview below.

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On view now at the Redux Contemporary Art Center in Charleston, S.C., is "Tentacle House," new works by Korean artist Si Jae Byun. Byun was the 2007 artist in residence with Redux, completing the program only five days ago. The work of Byun often revolves around the artist's childhood experiences, focusing on inner conflict from social experiences, which are communicated to the viewer through the interactivity of her pieces. Using characterized images of human organs and videos that incorporate the artist's own body, Byun creates vibrant youthful works using multiple materials to achieve her diverse ideas. Byun currently lives and works in New York City. She received a BFA and MFA from the Kookmin University in Seoul, Korea, and has just completed her second MFA from the School of the Visual Arts in New York City. The artist has exhibited internationally, including "Da-Da-Da-Da-Da" with the Shin Art Museum and installations with the Seoul Art Center and the Seoul Museum of Art in Korea. Additional group exhibitions include "kinaesthetics" at Visual Arts Gallery in New York City and "Dual Scenery" at Artcom Center in New Jersey. To read an interview with the artist, please click below.

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