Sunday, September 30, 2012
Stedelijk Museum, Amsterdam (PART THREE)
William Leavitt, "California Patio," 1972
Emil Nolde, "Blacksmith and Tailor," 1919
Georg Baselitz, "Finger Painting - Nude," 1972
Ken Price, "Green Egg," 1962
Philip Guston, "Painting, Smoking, Eating," 1973
Paulina Olowska, "Hunting," 2010
Martha Rosler, "Isn't it Nice or Baby Dolls, from the series Body Beautiful, or Beauty Knows No Pain," 1966-1972(2010)
Saturday, September 29, 2012
Stedelijk Museum, Amsterdam (PART TWO)
Pablo Picasso, "Seated Woman with Fish-Hat," 1942
Jackson Pollock, "The Water Bull (from: Accabonac Creek Series)," 1946
Pablo Picasso, "The Aubergine," 1946
Max Beckmann, "Double-Portrait of the Artist and His Wife Quappi," 1941
Kazimir Malevich, "The Woodcutter," 1912
Kazimir Malevich, "Aviator in Victory over the Sun," 1930
Kazimir Malevich, "Bubnovy valet 44. Dancing Couple," 1910-1911
Kazimir Malevich, "Floor Polishers," 1911
Kazimir Malevich, "Standing Male Figure," 1930-1931
Stedelijk Museum, Amsterdam (PART ONE)
Constant, "Scorched Earth," 1951
Constant, "Barricade," 1949
Karel Appel, "Two Owls," 1948
Karel Appel, "Man and Animals," 1949
Asger Jorn, "Guillaume Apollinaire," 1956
Jean Dubuffet, "Hilarious Figure (Portrait of Francis Ponge)," 1947
NY TIMES REVIEW: LINK
MUSEUM: LINK
Daniel Turner opens Friday, October 5th @ The Journal Gallery (new location)
Daniel Turner
October 5 - November 25, 2012
Opening Friday October 5 6 - 9 PM
Gallery Hours Tuesday - Sunday 12 - 6 PM
Formica is a heat-resistant, wipe-clean, plastic laminate of compressed paper or fabric cured with melamine resin, manufactured by the Formica Corporation. Invented in 1912, Formica was originally conceived as a substitute for the mineral mica, which was commonly used at the time for electrical insulation. Because the new product acted as a substitute "for mica," it was coined Formica, coincidentally
Iodine is a chemical agent with the symbol I and atomic number 53. The name comes from the Greek ἰοειδής ioeidēs, meaning violet or purple. Iodine and its compounds are primarily used for nutrition, in modern medicine as an X-ray contrast material and industrially, in the production of acetic acids. A relatively rare element, iodine is most highly concentrated in oceans and brine pools. It is the heaviest essential element utilized widely in biological functions. Iodine deficiency affects about two billion people and is the leading preventable cause of intellectual disabilities.
Oxide is a chemical compound that contains at least one oxygen atom and one other element in its chemical formula. Most of the Earth's crust consists of solid oxides, the result of elements being oxidized by the oxygen in air or in water. Hydrocarbon combustion affords the two principal carbon oxides: carbon monoxide and carbon dioxide. Even materials considered pure elements often develop an oxide coating.
Daniel Turner was born in 1983 in Portsmouth, Virginia and lives and works in New York City. Recent exhibitions include "Inside the White Cube" at White Cube Bermondsey, London, UK (2012); "Estate" at Marianne Boesky Gallery, New York (2012); "John McCracken + Daniel Turner" at Franklin Parrasch Gallery, New York (2012); "Directions: Points of Interest" at Massimo De Carlo, Milan, Italy (2012); "Bulletin Boards" at Venus over Manhattan, New York (2012); "The Perfect Man II" at White Columns, New York (2011); "Mariana" at The Journal Gallery, Brooklyn (2011); "Four Rooms" at Centre for Contemporary Art Ujazdowski Castle, Warsaw, Poland (2011); "Expanded Painting" at The Prague Biennale 5, Prague, Czech Republic (2011); "Modern Talking" at Muzeul de Arta Cluj-Napoca, Cluj, Romania (2011). Turner is the three-time recipient of the Virginia Museum of Fine Arts Fellowship award and is the co-founder of the gallery Jericho Ditch and the artist collective Jules Marquis. He was a visiting scholar at New York University (2009-2010) and has been selected for the Chinati Foundation's 2013 - 2014 residency program in Marfa, Texas.
The Journal Gallery West is The Journal Gallery's second Brooklyn location. Conceived by German architect Dominik Dippelhofer of SchemelWirtz and executed in coordination with Loadingdock5, the 3,500 square foot converted warehouse space will serve as the primary location for exhibitions by The Journal Gallery and will house the gallery's offices as well as the journal magazine's editorial offices. Located at 106 North 1st Street between Berry Street and Wythe Avenue, the new space will be open in coordination with The Journal Gallery's original Brooklyn location at 168 North 1st Street, which will continue to serve as a platform for smaller-scale exhibitions and projects for both the gallery and the magazine.
The Journal Gallery West 106 North 1st Street Brooklyn NY 11249
Daniel Turner
Oct 5 - Nov 25 2012
Telephone +1 718 218 7148
The Journal Gallery East 168 North 1st Street Brooklyn NY 11211
Juergen Teller "Irene im Wald"
Sep 12 - Nov 4 2012
Telephone +1 718 218 7148
Friday, September 28, 2012
JONAS MEKAS @ JAMES FUENTES opens Friday, October 5th
JONAS MEKAS
IMAGES OUT OF DARKNESS
Reminiscences of a Displaced Person
Postwar Germany 1945 - 1949
October 5 - October 28, 2012
Opening reception: Friday October 5, 6-8pm
IMAGES OUT OF DARKNESS
Reminiscences of a Displaced Person
Postwar Germany 1945 - 1949
October 5 - October 28, 2012
Opening reception: Friday October 5, 6-8pm
James Fuentes is pleased to announce a forthcoming exhibition of photographs by Jonas Mekas. This will be Mekas' third exhibition at the gallery.
"Images out of Darkness" recounts the years that Jonas Mekas and his brother Adolfas lived in Wiesbaden, Germany, in a displaced persons camp. In 1944, arrested by the Nazi's as they fled Lithuania, the brothers were placed in a forced labor camp where they worked in a machine factory. The brothers escaped and were detained near the Danish border where they hid on a farm for two months until the end of the war. After the war, they lived in displaced persons camps first in Wiesbaden and then in Kassel/Mattenberg. Between 1946-48 Mekas studied philosophy at the University of Mainz, the brothers immigrated to New York City in 1949 with assistance from the UN.
Two weeks after his arrival in New York Jonas borrowed money to buy his first Bolex camera and began to record brief moments of his life. Mekas is considered a pioneer of diaristic cinema, his commitment to life as subject continues to this day. "Images out of Darkness" marks Jonas Mekas' first visual essay.
Since 2000, Mekas has expanded his work into the area of film installations, exhibiting at the Musée d'Art moderne de la Ville de Paris, the Moderna Museet, Stockholm, MoMA PS1, NY, Documenta, Kassel, Museum Ludwig, Cologne, the São Paulo Biennial and the Venice Biennale. In 2007, the Jonas Mekas Center for the Visual Arts opened in Vilnius, Lithuania. Coming up Mekas will be presenting a solo exhibition at the Serpentine Gallery, London. Coinciding with the Serpentine Gallery exhibition, BFI Southbank, London, and Centre Pompidou, Paris, will each present a season of film and video work celebrating Mekas's contribution to cinema.
For more information please contact James Fuentes or Adrianne Rubenstein at info@jamesfuentes.com
James Fuentes
55 Delancey Street
New York NY 10002
Thursday, September 27, 2012
Excerpt from In Watermelon Sugar by Richard Brautigan
The Bell
After while I went down to iDEATH and worked on that bell. It was not coming at all and finally I was sitting there on a chair, staring at it.
My chisel was hanging limply in my hand, and then I put it down on the table and absentmindedly covered it up with a rag.
Fred came in and saw me sitting there staring at the bell. He left without saying anything. It hardly even looked like a bell.
Finally Margaret came and rescued me. She was wearing a blue dress and had a ribbon in her hair and carried a basket to put things in that she found at the Forgotten Works.
"How's it coming?" she said.
"It's finished," I said.
"It doesn't look finished," she said.
"It's finished," I said.
After while I went down to iDEATH and worked on that bell. It was not coming at all and finally I was sitting there on a chair, staring at it.
My chisel was hanging limply in my hand, and then I put it down on the table and absentmindedly covered it up with a rag.
Fred came in and saw me sitting there staring at the bell. He left without saying anything. It hardly even looked like a bell.
Finally Margaret came and rescued me. She was wearing a blue dress and had a ribbon in her hair and carried a basket to put things in that she found at the Forgotten Works.
"How's it coming?" she said.
"It's finished," I said.
"It doesn't look finished," she said.
"It's finished," I said.
Wednesday, September 26, 2012
Tuesday, September 25, 2012
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