#lehmann maupin gallery

[jgthirlwell]

Alex Prager at Lehmann Maupin in Chelsea NYC.

[longlistshort]

It’s hard not to be delighted by Alex Prager’s latest exhibition, Part Two: Run at Lehmann Maupin gallery in NYC. Upon arriving on the lower level of the gallery you are met with a pinball machine, brightly colored photos, and the sculpture of a woman’s body with her head crushed under a giant silver ball. In the next room, the short film Run sucks you in to it’s strange world.

From the press release-

Directly responding to a period of cultural ambivalences and uncertainties, the exhibition urgently examines human perseverance and explores the opportunities for empathy, participation, and action present both within art and everyday life.

Across her practice, Prager crafts rich, often ambiguous narratives that examine the cultural mythologies and archetypes that shape collective existence. As she deploys and deconstructs artistic and narrative conventions, Prager explores how both our senses of self and our engagement with others are often mediated by familiar stories and tropes. Occupying a tenuous relationship to time and place, the artist’s carefully choreographed figures remain suspended between the past and the present, and Prager gestures to a collective will to exist that not only transcends our immediate circumstances but persists despite them.

The foundation for Prager’s latest body of work is the artist’s powerful new film, Run. Featuring musical compositions by Ellen Reid and Philip Glass and starring Katherine Waterston, the film deploys cinematic archetypes and absurdist humor as it examines human resilience in the face of catastrophe. An otherwise ordinary day in an uncannily generic setting erupts into chaos when a massive, mirrored sphere propels itself through a community. Here, forward motion is countered by retrospection. Figures collide into their own reflections in the sphere’s surface, and Prager suggests a curative, collective reckoning with those forces outside of our control.

The New York exhibition presents Run in dialogue with photographs and sculptures that further complicate and enrich the film’s fundamental concerns. Prager’s photographic work Sleep (2022) shows the intricately staged mass of people from Run, as they momentarily lay on the ground, after each colliding with the accelerating mirrored ball. Sleep humorously deconstructs the conventions of the film still, and Prager unveils the absurdist potential of suspending a single moment in time. Dramatizing the scene’s ambiguities, the work offers a narrative with a multitude of possible conclusions. Directly engaging the film’s central image, Prager’s sculpture Ball (2022) shows a hyper-realistic figure of a woman, whose head appears to be crushed by the mirrored sphere. As viewers approach the object, they are likewise confronted by their reflections, and they, too, become enfolded within Prager’s lively narratives. Here, as throughout the exhibition, Prager invites viewers into her visually and symbolically saturated works, suggesting that they, too, have critical parts to play.

Part Two: Run marks the culmination of a multipart exhibition, which also included distinct presentations at Lehmann Maupin Palm Beach in November 2022 and Lehmann Maupin London in January 2022.

Make sure to head to the top floor of the gallery as well, where the exhibition continues with more photographs.

This exhibition closes 3/4/23.

[goodgarbs]

Art| OSGEMEOS Twins Debut 'Cultivating Dreams' at NYC's Lehmann Maupin

Popular Brazilian twins known in the art world as OGEMEOS are presenting their sixth solo exhibition at the renowned NYC gallery Lehmann Maupin. Comprised of 13 all-new painting and immersive installations, The twins present ‘Cultivating Dreams‘, an exhibition that details a dreamworld that OGEMOES has cultivated. Known for their signature figurative patterns that often feature the popular…

[abwwia]

Kim Yun Shin learned to make art out of scarcity. Born in the northern region of Korea in 1935 amid the throes of Japanese occupation, the artist developed her creativity with the few materials at hand—fashioning drawings and objects with sticks, sorghum straws, and melted candles. Before fleeing with her mother to Seoul, Kim—now 88—lived with her five siblings in the rural town of Anbyon until she was 10. There, she was raised near the sea and immersed in pine tree forests and blooming camellias. “Nature itself was both my teacher and my friend,” Kim told Artsy in a recent interview from Seoul.

Kim Yun Shin, Song of My Soul 2018-13, 2018, Lehmann Maupin

[hyperallergic]

Billy Childish paintings at Lehmann Maupin gallery in Manhattan. What do you think?

[ulfgbohlin]

[artlimited]

OSGEMEOS | Cultivating Dreams https://www.artlimited.net/agenda/osgemeos-cultivating-dreams-exhibition-lehmann-maupin-gallery-new-york/en/7586124

[songrmit]

Do Ho Suh

Staircase–III, 2010

polyester and stainless stell

Copyright at Do Ho Suh, courtesy Lehmann Maupin Gallery, NY

[k00299693]

Last week our task was to make a doll-self. To begin with, I looked at the works of the artists that Michael recommended to us. It was a very useful experience because I found a lot of interesting things for myself, in particular things that I myself would like to use in my work. Most of all I liked the work of such creators as Mark Manders, Louise Bourgeois, Hans Bellmer, Thomas Houseago, Sarah Lucas, Magdalena Abakanowicz, Tony Oursler. Tony Oursler was the biggest impetus in choosing the main focus as it gave me the idea of working with projection and video. Here are some works that inspired me the most.

Mark Manders, de Rokin fontein. (I like the scale of this work a lot)

Louise Bourgeois, Cell XXVI (2003)

Hans Bellmer. Plate from La Poupée. 1936

Magdalena Abakanowicz, Backs, 1976–80

Courtesy of Tony Oursler Studio, Lehmann Maupin Gallery, and Lisson Gallery.

[trascapades]

🌊#ArtIsAWeapon #ExhibitClosing

Only a few more days left to see "Calida Rawles - A Certain Oblivion" at Lehmann Maupin Gallery. It closes December 16. GO...

📍501 W 24th Street, #NYC

@calidagarciarawles

@lehmannmaupin

■

https://www.lehmannmaupin.com/exhibitions/calida-rawles2/press-release

"Lehmann Maupin presents A Certain Oblivion, an exhibition of new paintings by Los Angeles-based artist Calida Rawles. This is her first major solo exhibition in New York, following an In Focus exhibition with the gallery in 2021. Featuring Rawles’ most monumentally scaled works to date, A Certain Oblivion celebrates hope as an expression of our shared humanity in the face of dark times. The power of Rawles’ proposition is embodied in her subjects: young women and girls who float and tread—alone and in community—in uncertain waters. They are the next generation, women whose graceful determination to transcend the riptides of contemporary American life belies the effort required to keep their heads above water. Rawles’ newest body of work reminds us that their triumph is our salvation."

Reposted from @calidagarciarawles Thank you, @cnnstyle and @suyinsays , for describing my practice and new body of work so beautifully.

“But I try to think of that as a moment where you can reflect and restart,” she continued. “Before there’s light, there’s darkness.”

This re-examination of darkness then forms the inspiration for Rawles’ latest body of work, “A Certain Oblivion.” Across a series of 10 large-scale paintings, Rawles captures the movement of young women and girls suspended in water, hovering just near the surface. Swirling pools of opaque blackness give the images a sense of uncertainty, but the subjects’ faces and bodies are positioned toward the light, conveying hope with a celestial presence amid the heaviness.

Full article:

#CalidaRawles #BlackGirlArtGeeks

[citylifeorg]

The International Center Of Photography (ICP) Presents Face to Face: Portraits of Artists by Tacita Dean, Brigitte Lacombe and Catherine Opie

The International Center Of Photography (ICP) Presents Face to Face: Portraits of Artists by Tacita Dean, Brigitte Lacombe and Catherine Opie

Images: Catherine Opie, Jerome Caja, 1993. © Catherine Opie, Courtesy Regen Projects, Los Angeles and Lehmann Maupin, New York, Hong Kong and Seoul and Thomas Dane Gallery, London and Naples; Tacita Dean, Portraits, 2016. © Tacita Dean, Courtesy the artist, Frith Street Gallery, London and Marian Goodman Gallery, New York / Paris; Brigitte Lacombe, Maya Angelou, New York, NY, 1987. © Brigitte…

[darcelle-medlyn-qut]

Week 9 | Work in Progress Presentations

PROCESS + REFLECTION

This week Laura and I couldn't make class due to sickness and to be completely honest; deficiency of time management on my part. We have been behind the weekly schedule and have not had any progression for our proposal since week 8. So I took this opportunity to return to the site to strengthen our conceptual basis for the work.

I wanted to return to the site on my own, I have a habit of avoidance of attendance when it comes to class because I generally like thinking and working on my own. I wanted to experience the site solo as I felt I might connect to country better.

I took more photos of the site and reflected on our idea to do a hanging installation. Site one doesn't have many trees but it does champion many great flat spots overlooking the view, it would be a shame not to utilise this. I think we need to work with our site rather than against it. Nothing beats that view and I can't get it out of my mind do create something that interacts with that. There is a decent amount of wind up the top of the hill. This suits a kinetic sculpture. I'm leaning towards a pinwheel mechanism over a hanging structure and will have to discuss this with Laura.

In my research I looked at the Victoria Park history document and lectures 7.1 through to 7.3. Throughout conversations of what Barrambin used to be and what the Council is trying to recover, I found the most recurring theme the lost waterways. I drew shapes based off early maps of waterways found in the Victoria Park Summary (Kerkhove, 2020) from the BB learning materials. Creating something wind activated that focuses on the sites relationship to waterway is the path my research is leading me down. I also found out that the Brisbane river used to clear and swimmable, vastly different to the chocolate milk colour it is today. This has an adjacent dialect to the evolving ecological landscape of Barrambin and the greater Brisbane area happening today. This concept has much more breadth and depth of research, I actually feel like I've learnt something.

DOCUMENTATION

RESEARCH

Goldworthy, A. (1986). Woven Branch Arch [ephemeral branch sculpture]. Langholm, Dumfriesshire, Scotland. https://www.pinterest.com.au/pin/354658539376150080/

ANDY GOLDSWORTHY

Andy Goldsworthy is English artist most known for his ephemeral site specific land art, where he takes materials from the site and leaves the work to be reclaimed by nature (Newcastle Art, n. d). Goldsworthy's practice is broad and driven by the properties of the site, integrating with it rather than imposing on it. Goldworthy's material choices reflect what Laura and I would like for our own proposal. Barrambin offers sticks, leaves, timber and bamboo however our challenge will be our lack of knowledge for the naturalistic materials.

Gallaccio, A. (1991-2003). Preserve Beauty [large scale flower and glass panel installation]. Lehmann Maupin Gallery, New York, USA. https://www.tate.org.uk/art/artworks/gallaccio-preserve-beauty-t11829

ANYA GALLACCIO

Anya Gallaccio much like Goldworthy creates site specific installations using organic matter, however focuses on the process of decay of these materials in the gallery context (Douglas, 2018). Her work Preserve Beauty (1991-2003) is a large scale installation that showcases red 'beauty' flowers, hung behind 4 large glass panels and were left to decompose in the gallery. This work references traditionally feminine flower arranging practices while commenting on the fleeting and commodified nature of beauty (Anderson, 2014). I admire the way Gallaccio uses simple organic materials with such symbolic intention. This inspires me to conceptualise a work that has careful symbolic correlations to material and/or site.

REFERENCES

R, Kerkhove. (2020). KVB222: Spatial Art: Object & Site. Victoria Park Summary. https://blackboard.qut.edu.au/bbcswebdav/pid-10116741-dt-content-rid-58666643_1/courses/KVB222_22se2/Victoria%20Park%20Area%20Summary.pdf

[longlistshort]

The paintings in the Hernan Bas exhibition TIME LIFE at Lehmann Maupin’s 24th Street location tell stories. What those stories are, in some ways, ends up being up to the viewer. There is something really fun about that- paintings that your imagination can expand upon.

From the press release–

This exhibition will include seven large-scale paintings and one decorative room screen that feature a series of strange and seemingly obscure or forgotten moments that have influenced American culture. This body of work illustrates Bas’ innate ability to highlight cult phenomena from the past that offer insight into the political and social concerns of today. Rather than focusing on a singular subject matter, as Bas has done previously, this series spans time periods and themes, providing a unique perspective on American subculture and a contemporary version of History Painting.

Bas is best known for his narrative paintings that weave together adolescent adventures and the paranormal with classical poetry, religious stories, mythology, and literature. His subjects are often young men, typically in the transitional moment between boyhood and manhood. While the young male figure remains prominent in this body of work, each individual painting becomes an in-depth investigation into a singular critical subject, addressing topics such as LGBTQIA+ activism and desire, politics, news, conspiracy theories, and the occult. The title of the exhibition, TIME LIFE, is inspired by the Time-Life Book series Mysteries of the Unknown. Published between 1987 and 1991, each book focused on a different paranormal topic, such as ghosts, UFOs, psychic powers, and dreams. For TIME LIFE, Bas has similarly produced a series of paintings, each focused on a singular topic, that navigate the boundaries between pop culture and history, fiction and reality, and the artist’s personal interests and curiosities.

For The Sip In (pictured above) however, there is more of a specific story that Bas is telling.

From the press release-

For the large-scale painting, The Sip In (2019), Bas drew inspiration from a photograph that was recently featured in The New York Times for the 50th anniversary of Stonewall. The image depicts the 1966 “sip in” at Julius’ bar, where three young men, dressed in suits, were refused service for being openly gay. The bar still exists today and is now known as the oldest gay bar in New York City. Bas was intrigued by this irony and hidden piece of New York history, as well as by the compositional similarity to Leonardo da Vinci’s The Last Supper (1495). Bas’ interpretation highlights this formal similarity by removing the body of the bartender, leaving only his apparition in the form of a white glove hovering over a glass, making the young men the primary subjects of the painting. This representation of 1960s gay activism through the formal likeness to an iconic religious painting depicting Christ just prior to his death emphasizes the violence the LGBTQIA+ community continues to endure, especially as their rights are increasingly at risk due to the current presidential administration’s discriminatory language and policies.

This exhibition closes January 4, 2020.

[artlimited]

Barry McGee | Talk to Nature https://www.artlimited.net/agenda/barry-mcgee-talk-to-nature-exhibition-lehmann-maupin-gallery-new-york/en/7586125

[newyorkarttours]

Arcmanoro Niles at Lehmann Maupin Gallery

Arcmanoro Niles’ first solo show at Lehmann Maupin Gallery opens with this oil, acrylic and glitter image of a contemplative man, raising his eyebrows at the viewer or maybe at life itself. Titled ‘Hey Tomorrow, Do You Have Some Room For Me: Failure Is A Part Of Being Alive,’ the show looks hopefully to the future while acknowledging the challenges and temptations of life now. With this image, Niles takes a scene from everyday life and turns it electric with red and pink tones and glitter accents; at the bottom and right, he adds sketchily drawn figures that represent the pleasuring seeking id, begging the question of how these interlopers will effect the tranquil domestic life pictured. (On view in Chelsea through Aug 27th.) Arcmanoro Niles, I Thought Freedom Would Set Me Free (And You Gave Me A Song), oil, acrylic and glitter on canvas, 70 x 50.5 x 2 inches, 2020.

[oculablog]

Erwin Wurm, Bar (Drinking Sculptures) (2019). Metal, wood, acrylic, styrofoam. 190 x 110 x 165 cm. 74 13/16 x 43 5/16 x 64 15/16 inches. Courtesy the artist and Lehmann Maupin, New York, Hong Kong, and Seoul.