TrépanierBaer is pleased to open the inaugural exhibition of James Carl on
Thursday, March 1st, 2012. We look forward to seeing to you at the gallery!
Please see attachment for details.
TrépanierBaer Gallery
105, 999 - 8 ST SW
Calgary, Alberta, Canada
T2R 1J6
+ (403) 244-2066
info@tbg1.com Posted via email from Art PR Wire - contemporary art news
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| It of course goes without saying that The Artists of The Biennial Project have only the coolest friends wherever they go. Be it globetrotting in Venice, Beijing, Sao Paulo or Lincoln Nebraska, we always hang with The Upper Crust of the planet’s creative folk. Just last month we had the occasion to spend the evening opening hopping in The Big Apple with our homies Tilda Swinton, Sandro Kopp and Terrance Koh - all of course just HUGE fans of The Biennial Project’s groundbreaking assault on all things biennial. Think we’re just listening to those pesky voices in our heads again? Well, HAH - it really happened - take a gander at the below photo of US with THEM at Sandro’s Ultra Cool Opening at the Lehmann Maupin gallery on the Lower East Side. (Eric took the picture of course, dahling!) You should know better than to doubt US. 
And when we’re holed up doing creative work in the quaint seaside village of Boston - as we are now - we naturally also hang with the coolest creative folks around. If while sipping champagne at some elegant joint you happen to overhear an erudite yet sensuous voice extolling the many virtues of The Biennial Project, often as not, that voice is none other than The Ridiculously Cool and Hip Artist Known to her Fans as Martha Mccollough. Seriously, she does some of the most amazing work around, while managing to just DEFINE the word hipster.   
And if you again insist on doubting us (may we remind you - always a mistake!), here’s the opinion of the critics (you know, the critics besides US) - “Clearly the corporate world hasn’t dulled her senses. I can only hope to become someone like Martha someday. Someone who is still in touch with her unabashed creativity, but with a savviness/sauciness/wit that is beyond compare. She manages to be honest and raw without delving into the realm of the abrasive. Her work is inviting and there is something whimsy about her pieces even when it’s a bear incinerating a house with its laser beam eyes.” FluxBoston (Read the whole review at FLUXBOSTON ARTIST SHOW CASE )   
Check more of Martha’s Cool Art at Martha’s Cool Website   or at her cool blog - Martha’s Cool Blog  Here’s Martha smoking opium at a decadent party with other famous artists! And here’s Martha telling everyone that even she is JEALOUS of The Biennial Project!  | | Martha |
So what, you may ask, is Cool Artist Martha Mccollough working on right this very minute? Well, that’s an easy one! She’s getting her application together for the upcoming 2012 Windsor Whitney Biennial (a survey of American and International art). She knows the submission deadline is February 19th - and cool artists like her don’t let opportunities like this slip away! Neither should you!!! ENTER THE WINDSOR WHITNEY BIENNIAL! 
Martha Mccollough - artist extraordinaire, trend-setter, yogi master, Biennial Project fan - here’s to you!!! BIENNIAL PROJECT BLOG BIENNIAL PROJECT WEBSITE |
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Gallery Happenings - February Miami
Wynwood Lofts - Suite 208
250 NW 23rd St., Miami, FL 33127 Second Saturday Gallery Walk
February 11th 7-10 pm
Featuring gallery artists: Ross Bonfanti, Craig Cully, Peter Gourfain, Brooke Holloway, Frank Hyder, Alejandro Mendoza, Florence Putterman, Alex Queral, Marcelo Suaznabar and Vivian Wolovitz.
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Philadelphia
629 N. 2nd St., Philadelphia, PA 19123 “Hands On”
February 3 - 25
Featuring works by the council members of the Society of American Graphic Artists (SAGA): William Behnken, Joseph Essig, Amir Hariri, Michael Hew Wing, Marion Lerner-Levine, Barbara Minton, Masaaki Noda, Tomomi Ono, Merle Perlmutter, Florence Putterman, Ellen Nathan Singer, Shelley Thorstensen and Steven Walker.
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FOR IMMEDIATE RELEASE “Hangman Art Gallery Announces “With a Little Help From My Friends”
February 10, 2012 (TORONTO): Hangman Art Gallery is proud to announce “With a Little Help From My Friends”. This is an Artists’ Network volunteer’s art show, in appreciation of the many that have helped with RAW, Little Art Show, plus programs and other committees. Hangman Art Gallery
756 Queen Street East (east of Broadview Avenue)
Toronto, ON
M4M 1H4
Exhibition Run: February 14 - March 4, 2012
Opening Reception: February 16, 7 - 9 PM, Thursday
Gallery Hours: Tuesday - Sunday, 12 - 5 PM
416-465-0302 / Facebook: Hang Man Gallery / Twitter:@hangmangallery
The Hangman Art Gallery is located in the middle of a exciting neighbourhood of creative and visual arts professionals. It is the home of the Artists’ Network. It supports a thriving fine arts community by providing exhibition spaces to connect art lovers and collectors with members and non-members artists alike. It is a venue where artists from all stages of their career can meet and showcase their personal perceptions of the realities of contemporary life.
artistsnetwork.ca/hangman King Wong
hangmangallery@gmail.com -30-
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| | | Piet van den Boog Bruised and Battered February 23 - March 24, 2012 Opening Thursday February 23, from 6-8 pm Mike Weiss Gallery is pleased to present Bruised and Battered by Dutch artist Piet van den Boog. For his third solo show at the gallery, van den Boog pushes the limits of portraiture by directly confronting emotion head-on by way of large-scale paintings of faces. Oil and acrylic paint make up the flesh tones and fine facial details while abstract strokes in rust tones, cerulean blues and greens are chemically etched into the cold lead surfaces becoming a powerful metaphor for the internal scars we all possess.  | | Piet van den Boog / Love like you’ll never be hurt / 2011 / Acrylic, oil, rust, azurite and malachite on lead mounted on wood / 75” x 59” |
The imposing portraits depicted in the paintings, some as tall as 6 feet, are truncated from the body, consequently becoming nostalgic monumental ruins of a lost time. Akin to the brutal candor seen in the portraits of Jenny Saville and Lucian Freud, they surpass their own representation and acquire a bold, autonomous presence because of their distorted nature. They are not meant to remind the viewers of a specific person, but rather, they become an emblematic entity in and of themselves. The works’ transcendence as universal symbols of emotionally charged memories is further reinforced in van den Boog’s choice of titles, many culled from song lyrics and poems. In the painting, If there’s one thing you can say about mankind, there’s nothing kind about man, a line from a Tom Waits song, a male figure appears to hover above the viewer, who unexpectedly find themselves thrust into an undermined position, as if knocked down in a battle. The title does not identify the individual portrayed but a perspective on humanity. The face looks back at the viewer with the haunting insistence of an unshakeable memory and the etching pain of heartache.  | Piet van den Boog / If there is one thing you can say about mankind, there’s nothing kind about man / 2012 / Acrylic, oil, rust, azurite and malachite on oxidized lead mounted on wood
75” x 110” |
A modern day Alchemist, van den Boog experiments with base metals like lead, copper and steel as a visual allegory of personal transmutation, and a quest for an emotional panacea - that cure-all for the human soul. It is van den Boog’s technical process which ultimately imbues the portraits with relatable human qualities. His masterful application of paint is calculated and controlled, while areas of exposed metal are worn and weathered by acids and other oxidizing chemicals in a process left mostly to chance. This element of technical surrender alludes to the unforeseen consequences of intimacy and the perpetual co-existence of pain and pleasure. Remember, remember, this is now, and now and now, quoted from the journal of tortured poet Sylvia Plath, is one of two self-portraits in the show. Piet’s guarded gaze presents a balanced juxtaposition of emotional fragility and inner strength and resilience, both of which delineate the parameters of human emotion. Van den Boog reminds the viewer of the uncontrollability of life’s forces, with all of their sheer prowess and unpredictability, and the undeniable beauty of the present moment.  | | Piet van den Boog / Remember, remember, this is now, and now, and now / 2011 / Acrylic, oil and rust on lead mounted on wood / 75” x 59” |
Piet van den Boog (b.1951) currently lives and works in Amsterdam. His work is in many important international museums and collections, most notably: the Drents Museum, Assen Netherlands; Scheringa voor Realisme Collection Netherlands, the Eileen S. Kaminsky Family Foundation, New Jersey, the Art Collection of Dutch Ministry of Education, Culture and Science, Den Haag, Netherlands; ING Art Collection, Amsterdam, Netherlands and the Miniature Museum, Gemeente Museum Den Haag, The Netherlands. For additional information please contact Anna Ortt, Director at anna@mikeweissgallery.com A fully illustrated catalogue is available. Mike Weiss Gallery 520 West 24th Street, New York, NY 10011 Tel: 212-691-6899 Gallery Hours: Tues-Sat 10am to 6pm www.mikeweissgallery.com http://mikeweissgallery.tumblr.com  |
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| | | 
542 West 24th Street · New York, NY 10011 |
 | | Cheerleaders, 2011, Oil on panel,
43 x 29 in / 109.2 x 73.7 cm |
CHRIS COSNOWSKI American Metal March 1 - 31, 2012 Artist’s Reception Thursday, March 1, 2012 6-8pm Lyons Wier Gallery 542 West 24th St., New York, NY 10011 Gallery Hours: Tues - Sat, 11-6pm Nearest subway: C,E @ 23rd St & 8th Ave. |
| Trophies have played a critical role throughout history. Recipients take pleasure in their award, not because the trophy has monetary value, but because it symbolizes success. Those that win them cherish the satisfaction and legacy associated with them. They revel within the symbolism of the prize itself — victory. Trophies are, and will continue to remain, a visible goal to which any competitor is geared, and harbor the unspoken sacrifices that victory so often demands. In American Metal, artist Chris Cosnowski utilizes and exploits the intrinsic value and symbolism of these treasured keepsakes. His paintings envision a nostalgic no-holds-barred America. The works allude to the idealism of American values, yet somehow the narratives speak volumes about shifting ideals via the represented objects. What appears to be solid and significant is trumped by the discovery that the metal is an illusion. These beloved objects are not made of gold but merely spray plated plastic with no real weight - an apt metaphor for a country in economic turmoil due to its gratuitous and gluttonous pursuit of all that glitters. Cosnowski’s figurines exemplify different aspects of American society: the rodeo trophies illustrate our romanticized past and the wild west in all its rugged testosterone-soaked glory; the cheerleaders embody an obsession with sports, beauty and social standing; the motocross continues the sports metaphor and also typifies America’s love for speed, daredevils and gasoline; the bodybuilder pokes fun at the prevailing image of the country as mighty and heroic and evaluates its preoccupation with and perception of physical beauty; and the policeman, whereby the artist states, “I used this imagery to represent the need for excessive security just to live ‘freely’ today.” Cosnowski goes on to say, “America is ostensibly a meritocracy, and I think we can all agree that hard work, talent, creativity and integrity should be rewarded. American exceptionalism, however, seems to have been largely replaced with greed and a craving for celebrity. American metal (mettle) used to mean something solid.”  | | Muybridge Rodeo (Species Switcharoo), 2011, Oil on panel, 36 x 48 in / 91.4 x 121.92 cm |
Chris Cosnowski received his MFA in Painting from Northwestern University and his BFA from Columbus College of Art and Design in Columbus, OH. His work has been exhibited in New York, Chicago, San Francisco and London and has appeared in publications such as New American Paintings (Midwest Edition), American Art Collector and Chicago Magazine. Cosnowski currently lives and works in Chicago and has been represented by Lyons Wier Gallery since 2001. # # # Click here to preview images from the exhibition For further information, please contact: Lyons Wier Gallery 542 West 24th Street, New York, NY 10011 Tel: + 1 212 242 6220 Email: gallery@lyonswiergallery.com www.lyonswiergallery.com |
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Galerie Bernd A. Lausberg, Duesseldorf & Lausberg Contemporary, Toronto
are pleased to announce their participation in
the inaugural fair - ART WYNWOOD
February 17th- 20th, 2012
The five-day fair will take place during Miami’s busiest holiday
weekend and will open with a highly anticipated VIP Private Preview on
Thursday Feb 16, 2012. Art Wynwood will be held in the spacious 90, 000
square-foot Art Miami Pavilion, which attracted more than 55,000 attendees
during the 2011 edition of Art Miami.
This year enjoy the exciting works displayed of:
Lluís Barba (ES), Dieter Balzer (D), Rafael Barrios (VE), David Burdeny (CAN), Michael Burges (D)
Freddy Chandra (ID), Carlos Cruz-Diez (VE), Hans Kotter (D), Michael Laube (D), Herbert Mehler (D)
Zammy Migdal (IL), Harding Meyer (D), Jürgen Paas (D), Andreas Reimann (D), Robert Schaberl (AT)
Harald Schmitz-Schmelzer (D), Regine Schumann (D), Klaus Staudt (D), Wolfram Ullrich (D), Achim Zeman (D)
The Art Wynwood Pavilion is located in the Wynwood Arts
District of Midtown Miami. General public show dates:
Friday February 17 11 am- 7 pm
Saturday February 18 11 am- 7 pm
Sunday February 19 11 am- 7 pm
Monday February 20 11 am- 6 pm
For complete show information, directions and schedule of
events, please visit http://www.art-wynwood.com/.
Harding Meyer
Untitled, 2011
Oil on Canvas
47.2” x 59.1” (120 x 150 cm )
Lluís Barba
Dalí six years, Dalí, 2011.
Diasec
250 x 160 cm
+++ current exhibition in Duesseldorf: Jürgen Paas: WUNDERBAR 02.10- 04. 13+++
+++ current exhibition in Toronto: WINTER GROUP EXHIBITION Rafael Barrios, David Burdeny, Freddy Chandra, Franco DeFrancesca, James Robert Durant, Marie Lannoo, Michael Laube, Zammy Migdal, Udo Nöger, Jürgen Paas, Rui Pimenta, Rita Rohlfing, Dirk Salz, Klaus Staudt, Gaby Terhuven & Achim Zeman
01.12- 03.20+++
+++ current exhibitions in FLORIDA +++
+++Centre for Visual Communication, Miami: LLUIS BARBA: TRAVELERS IN TIME EXTENDED until end of February 2012+++
+++ Armoury Art Centre, Palm Beach: HERBERT MEHLER CURVED 12.16- 04.06 +++
+++ ART WYNWOOD, Miami (http://www.art-wynwood.com/) 02. 16- 02. 20 +++
Follow regular updates on NEWS section of our website
LIKE Lausberg Contemporary on Facebook: www.facebook.com/lausberg.contemporary
Galerie Bernd A. Lausberg Lausberg Contemporary Lausberg Contemporary
Hohenzollernstr. 30 326 Dundas Street West
40211 Duesseldorf Toronto, ON M5T 1G5 Miami, FL
T + F: +49 211/ 836 84 91 T: +1 416/ 516 4440 Toll Free: +1 866 516 4440
Toll Free: +1 866 516 4440
www.galerie-lausberg.com toronto@galerie-lausberg.com miami@galerie-lausberg.com
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| | 4 Elements: A Collaboration
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| 4 Elements tracks the process of creating a large-scale collaborative painting that spans the walls at PS Project Space, 548 W 28th St. 3rd fl. NYC 10001, from February 2nd - March 11th 2012. Artists Nic Bevilacqua, Justin Brunelle, Fletcher Crossman, and Paul Seftel combine their four distinct styles into a fluid exploration of new possibilities. There is a preview reception on February 16th, 2012 from 6 to 8:30 pm, Closing exhibition March 8th, 2012 from 6-8:30 pm.
PRESS RELEASE Four artists in Chelsea are experimenting with a whole new approach to creating a painting. All four will be collaborating on a single piece, and it’s a huge one – thirty five feet long and traversing the entire walls of PS Project Space. The project is entitled 4 Elements and will be created over the course of four weeks. Each of the four artists in the group has a distinct visual language and contrasting approach to painting. They all share inner elements of artistic tradition - the realist, the abstract, free-drawing, and conceptual symbolism – and are excited to discover what happens when such varied approaches combine. “It helps that we all respect each other’s work,” says Fletcher Crossman. “We all share a passion for exploring new directions. It comes to life when we leave our egos at the door and attempt to create as a single organism. What a fascinating dynamic.” For the initial stage the artists have lined the walls with 8 ft high canvases and are deliberately avoiding planning what kind of image to create. The actual process of applying paint will be left to develop organically, with the artists learning how to work as part of mutually beneficial team. “Painting is usually a solo activity,” says Nic Bevilacqua, “and you’re in total control of the outcome. 4 Elements is about releasing that control and seeing if what comes out is better than the sum of its parts. It happens when rock bands play together, so it’ll be interesting how that happens here.” “This project is engaging for me in both artistic and social terms,” adds Justin Brunelle. “While collaboration may be a dance of many rhythms under a shared umbrella, ultimately, fusion is the goal.” “I’m excited by how organically this project is coming together.” says Paul Seftel. “Justin, Nic and Fletch all have great vision and energy, it’s not simply a mural we are creating, but a projection of minds across the walls of space. It’s limitless.” The 4 Elements project runs at PSPS 548 W 28th St. 3rd fl. NYC 10001 from February 2nd - March 11th 2012. The preview reception is on February 16th, 2012 from 6-8:30 pm, Closing exhibition March 8th, 2012 from 6-8:30 pm. More details about the special events and happenings can be found at www.psprojectspace.com. |
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Patrick Mahon
Water and TowerThe Katzman Kamen Gallery is pleased to present an exhibition by Patrick Mahon, titled Water and Tower. The exhibit runs from February 14 to March 4, 2011. An official opening will be held on Saturday, February 18 from 2:00 p.m. to 5:00p.m. with Patrick Mahon present.
Patrick Mahon’s new wall-based and floor-dependent printed sculptures extend the artist’s longstanding commitment to intersecting art and design, decoration and expression, and the singular with the multiple. Invoking water as both a natural and socially inscribed material, and towers as paradigms of human enterprise, the artist has set about creating works where structure and flow, solids and liquids, interplay to produce provocative new forms. Mahon’s materially intense objects, printed on wood in deep hues and with subtle references to the grid, are mounted on plexiglas such that they appear to float off the wall. Other pieces run across the floor in surprising and poetic configurations.Mahon’s interest in describing “a liquid with a line” is longstanding, and the presence of fluid passages and architecture-inspired approaches is not new to the artist. Here it is renewed with fresh and often urgent conviction. In preparation for this work, Mahon recently travelled in India, where he photographed water towers, often in areas where the 2004 tsunami had devastated the countryside. He was also a participant last year in a residency in Boussan, France, where he installed Chateau d’eau (Water Tower), a purpose-built, patterned sculpture.
Patrick Mahon’s work is embedded with historical narratives and modern “texts” but is, fundamentally, a contemporary expression that invokes the tensions, contradictions and visual intrigues of the present moment.
Barbara BalfourThe slightly sad color of early winter P.M.The Katzman Kamen Gallery is pleased to present an exhibition by Barbara Balfour, titled The slightly sad color of early winter P.M. The exhibit runs from February 14 to March 4, 2011. An official opening will be held on Saturday, February 18 from 2:00 p.m. to 5:00p.m. with Barbara Balfour present.
Barbara Balfour’s new body of work, The slightly sad color of early winter P.M., grew out of her experience with David Foster Wallace’s Infinite Jest. A few pages into the thousand-page novel, she was so overwhelmed by Wallace’s vocabulary that she began to make note of certain words. A pattern evolved: she collected words and phrases that intrigued her, and then made notes on her collection. In addition to idiosyncratic spelling and phrases, she discovered outright fabrication of certain words and terms.
A list of the vocabulary drawn from Infinite Jest could engender various specific word lists, relating to tennis or pharmaceutical drugs, for example. One such spinoff list, of the colours mentioned by Wallace, led to From DFW – qualified colours. In addition to a preponderance of instances of the word black, usually regarding depressive moods, Balfour noted idiosyncratic references to colours, qualified by adjectives or short descriptions. Examples such as “anachronistic white,” “mature-eggplant-skin purple,” and “the slightly sad color of early winter P.M.” give a sense of David Foster Wallace’s nuanced colour references, which encompass the succinct, elliptical and even cryptic.
Looking over her collection of colour references from Infinite Jest, Balfour imagined what each colour would look like and began mixing printing inks. She then made “draw-downs” (a printmaking term used to describe the process for testing the tone and luminosity of a mixed ink on paper prior to printing) of each colour, exemplifying the imagery in David Foster Wallace’s language. Creating a playful dance between the written word and the imagined colour, each group of seven “draw-downs” are delicately displayed, encased like specimens, records of Balfour’s journey through Infinite Jest.
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You are invited to a Cocktail Reception and Artist Talk introducing the sculptural works of Vancouver based artist, Brent Comber.
Thursday evening, Februrary 9th, 5:30-8pm.
Please join us for an evening of stories, discussion, and an open invition to touch the art work!
When Brent Comber was given wood from one of Canada’s oldest known trees located in near the Capilano River in North Vancouver BC, he did not realize that working with this ancient material would have such a profound effect on him. The powerful history of the tree, including the many different communities that had inhabited the area over the centuries, inspired him to look backward in time. Working with this significant material triggered a desire to create art that would engage the viewer’s curiosity while also revealing the entire story of the tree. Thus the inspiration for Comber’s art stems from his connection to the basic material used in his work. This connection has everything to do with personal history, a sense of place in the region and the community in which the artist was born. Comber sees wood as a language rather than as a functional building material. His ability to take material and transform it so that we can see it from a different perspective speaks to his desire to alter perceptions and awaken new ways of thinking. Wood is his canvas that allows him to reveal the symbolic journey that connects people to each other, as well as to themselves. It is his interpretation of the natural world that drives Brent to create art works that reflect the stories that surround him. Comber’s art is created for indoor and outdoor applications. A natual story teller, the artist will discuss the inspiration and application choices behind his Alder Disk, Solid Spheres, Shattered Spheres and his Sentinal Series. It is this notion of changing perceptions that drives Comber’s art, his desire to convey the physicality that occurs when working with wood and to reveal how his process hopes to unfold the unique energy that exists within this universal material. For more information and images on Brent Comber, please click here: http://www.kostuikgallery.com/?section=Artists&a=20&artist=Brent++Comber&page=Artworks
info@kostuikgallery.com
http://www.kostuikgallery.com
Capilano Sphere, 2010
Douglas Fir, Clear Hard Wax oil finish
(source: 1100 year old tree)
30 inches diameter
Suitable for outdoor applications
approx. 180lbs
$12,000.00 Port Orford Sphere, 2011
Port Orford Cedar
(source: species located only in Oregon)
35 inches diameter
Does not have a finish as it is especially fragrant
approx. 180lbs
$14,000.00 Sentinel, 2009
Western Maple whitewashed
82 x 30 x 21 inches
$18,000.00 Shattered Sphere, 2011
Western Red Cedar
44 inches diameter
Indoor and outdoor application
Approx. 250 lbs
$12,000.00
China Grove
Western Red Cedar, white porcelain paint, acrylic panels, wires
48 inches height, dimensions variable
Current location: Salt Spring Island, BC
January 26, 2012: Brent Comber recenlty acquired a large spruce from Squamish. The tree was felled approximately 8 years ago. Comber states about the process of finding materials, “Initially, I made all of my pieces from wood that I salvaged from demolition sites around Vancouver. My material now comes from several environmentally friendly sources. But while my wood choices are in keeping with the percepts of sustainability, this is incidental rather than intentional. I simply want to use wood that best suits my purposes: unprocessed wood with cracks, bark sinews, knots, and swirling and uneven grain patterns. This type of wood is not available from most commercial wood outlets, which generally stock clear, straight-grained wood. Instead, I visit mills, lumber yards and other sources to find cast-off wood in which the lumber industry has little or no interest. For me, this is authentic wood, wood with powerful character, and capable of telling the strongest and most vivid stories.”
1070 Homer Street
Vancouver BC V6B 2W9
Canada
Tel. 604.737.3969
info@kostuikgallery.com
http://www.kostuikgallery.com
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