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David Kordansky Gallery  @davidkordanskygallery

'Plus ça change, plus c’est la même chose,' a solo exhibition by #JohnArmleder, opens THIS FRIDAY, September 21, at #Museion, Bolzano, Italy. It will remain on view through January 6, 2019.
'Hailed as the most influential Swiss artist of his generation in a career spanning more than 50 years, Armleder has developed an oeuvre that goes beyond the codes of art criticism and the establishment, blurring the dividing lines between art and architecture, art and design, art and everyday objects. In his paintings, sculptures, environmental installations, performances, video art, editorial and curatorial projects, he reinvents the notions of artwork and exhibition, bringing together elements like random chance and design, high-brow culture and entertainment, unsettling irony and conceptual analysis. For Museion the artist will create a special project, on show on the fourth floor.' — Museion
Image: 'Plus ça change, plus c'est la même chose,' 2018

David Kordansky Gallery is pleased to announce its participation in the 2018 edition of Printed Matter's NY Art Book Fair. Opening preview takes place THIS THURSDAY, September 20 from 6:00pm to 9:00pm. Purchase preview tickets at NYArtBookFair.com. We're at booth H03.
Fair hours:
Friday, September 21, 1:00pm - 7:00pm
Saturday, September 22, 11:00am - 9:00pm
Sunday, September 23, 11:00am - 7:00pm
22-25 Jackson Ave.
Long Island City, NY 11101
We will feature a wide range of publications and artist books, as well as a selection of gallery posters, including signed posters by #JonasWood. Books include new exhibition catalogues from #SamGilliam, #JenniferGuidi, and #RubyNeri.
@PrintedMatterInc #NewYorkArtBookFair #NYABF @MoMAPS1 @jonasbrwood @jenguidi @rubyroseneri

#TorbjørnRødland is included in 'The Marvellous Cacophany,' 57th October Salon, Belgrade, Serbia, curated by Danielle and Gunnar B. Kvaran, on view TODAY, September 15 through October 28, 2018.
'At the beginning of the 21st century, despite the fact that the Western notion of contemporary art has become a universal model of reference, no single common denominator has emerged. The art world has many centres, multi-layered activities, a plurality of ideas about what art is and what it can be, and an impressive number of heterogeneous works. This 'Marvellous Cacophony' reflects the richness of the world. It is a positive condition, creating energies that can include dissonance and even conflicting ideas and expressions.' — Danielle and Gunnar B. Kvaran
'Vacuum Cleaner,' 2002, chromogenic print, 30 x 23 5/8 inches (76 x 60 cm), Edition of 5 with 1 AP
@rodland.jpg #TheMarvellousCacophony #Oktobarskisalon @oktobarski_salon #gunnarkvaran #daniellekvaran @daniellekvaran

#SamGilliam is featured in 'Soul of a Nation: Art in the Age of Black Power,' which continues its international tour and opens TODAY @BrooklynMuseum. Gilliam will be in conversation with Ashley James, curator of the Brooklyn Museum presentation, THIS SATURDAY, September 15 at 3:20pm.
''Soul of a Nation: Art in the Age of Black Power' shines light on a broad spectrum of Black artistic practice from 1963 to 1983, one of the most politically, socially, and aesthetically revolutionary periods in American history. Black artists across the country worked in communities, in collectives, and individually to create a range of art responsive to the moment—including figurative and abstract painting, prints, and photography; assemblage and sculpture; and performance.' — Brooklyn Museum
'Carousel Change,' 1970 (DETAIL), acrylic on cotton canvas, installation dimensions variable, approximate installation dimensions: 118 1/8 x 920 1/8 x 10 inches (300 x 2337.1 x 25.4 cm) #SoulOfANationBkm #SoulOfANation #BrooklynMuseum @ohashuhlee

#MichaelWilliams featured in The #NewYorkTimes in conversation with #CarrollDunham. The article, written by Kat Herriman, is viewable online now. Williams's solo exhibition, 'Fructis,' is currently on view at David Kordansky Gallery through October 20, 2018.
'The content of my paintings is dictated by the content of my own psyche, so I wonder if I would still have the impulse to decorate and to make things if I felt settled. I like having things around that disturb or disrupt my normal state of my mind. Things that trigger me to think in a different way make a space active. In the end, I’m trying to make objects like this. I’m creating the things I want to see.' — Michael Williams
@nytimes @tmagazine #TMagazine #KatHerriman

David Kordansky Gallery is pleased to announce its participation in Frieze London 2018 with a solo presentation of new paintings and sculptures by Calvin Marcus. The paintings feature devilish ceramic heads painted a deep blue and set in relief against matching blue starry backgrounds. The sculptures, meanwhile, resemble models of battleships or tankers enclosed inside rough-hewn modernist cubes. Another type of sculpture takes shape as a working lamp, its base formed from a pile of ceramic fish.
Each of the bodies of work on view represents a new take on themes, concerns, and iconographies that appear consistently in Marcus’s exhibitions. These include portraiture, surreal humor, architecture, seriality, juxtapositions of scale, and hands-on material specificity––the artist often brings a sculptor’s command and sense of three-dimensional invention to his paintings, for instance. Concerned with the relationship between individual artworks and the broader contexts in which they appear, Marcus often works in series, establishing variations within a strictly delimited formal terrain. He cannot be pinned down as either a conceptual artist or a studio painter; like Californian forebears Jack Goldstein and Ed Ruscha, he employs practices associated with both of these modes, generating images and objects that are highly idiosyncratic even as they exercise broad cultural reach.
Frieze London | Booth E1
October 4-7, 2018
Preview on Wednesday, October 3 for invited guests
Regent's Park
London NW1 4NR
'blue devil,' 2018 (DETAIL), Cel-vinyl, ceramic, and Flashe on aluminum panel in artist's frame, 36 1/2 x 24 1/2 x 5 inches (92.7 x 62.2 x 12.7 cm)
@CalvinMarcus #CalvinMarcus @FriezeArtFair #FriezeArtFair #FriezeLondon

John Armleder's career-spanning retrospective @MuseoMadre closes TOMORROW, September 10.
'Armleder is one of the great masters of contemporary art, yet his artistic research seems to be constantly oriented to overcome the disciplinary and intellectual boundary that separates, or claims to separate, art from life. His work appears as an ode to the freedom of making art and thinking art, operating a radical and multifaceted reinvention of the work and the format of the exhibition...In his works, Armleder unites, in a pervasive, provocative, intellectual and formal synthesis, different elements such as case and project (graphic and design), high culture and entertainment, alienating irony and conceptual analysis, functional objects of common use and aesthetic research.' — Museo Madre
#JohnArmleder #MuseoMadre

Shahryar Nashat will appear in conversation with curator and art historian James Voorhies THIS MONDAY, September 10 at The Lab, San Francisco at 6:30pm.
'In his sculptures, photographs, and films, the work of Swiss artist Shahryar Nashat often addresses the representation of the body and the conventions of mediation and presentation. Nashat finds great pleasure in details, and his works—with their near-obsessive methods of framing and cropping—draw the viewer into a world of clandestine forms, artful gestures, and posturing.' — The Lab
The Lab
2948 16th St
San Francisco, CA 94103
'Hard Up for Support,' 2016, HD video, silent loop on digital LED monitor, marble, overall monitor mounted on stand: 76 1/2 x 39 1/2 x 41 inches, 9:04 minutes, unique variant 1 from an edition of 3 plus 1 AP, 'Still Human,' 2017-2018, Rubell Family Collection, Miami, Installation view
#ShahryarNashat @JamesVoorhies #JamesVoorhies @TheLabSF #TheLabSF

'Fructis,' an exhibition of new paintings by #MichaelWilliams, opens at David Kordansky Gallery TONIGHT. Opening reception from 6:00pm to 8:00pm.

#AndreaBüttner is featured in the 33rd @bienalsaopaulo, 'Affective Affinities,' which opens THIS FRIDAY, September 7, and remains on view through December 9, 2018.
'For the 33rd edition of the Bienal de São Paulo, I am proposing that the centralized, discursive, and top-down Bienal – that today is the standard protocol for international biennials – can evolve into a more diversified experience, in which the hierarchy between art and curatorial practice can be re-thought. For this edition, I invited seven artists to comprise the curatorial team, each with the invitation to curate a standalone exhibition within the pavilion, in which their own work would be included, alongside artists of their choice. With this model, I hope to show how artists construct their own lineages and systems to understand their own practice in relation to others, while also allowing the themes and relationships to emerge organically from the process of exhibition-making, rather than starting with a set of predetermined issues.' — General curator Gabriel Pérez-Barreiro
For more information and a complete list of artists and projects, please visit 33.Bienal.org.br.
'Untitled,' 2017, woodcut, diptych; left: 79 7/8 x 54 3/4 inches (202.9 x 139.1 cm), right: 85 3/4 x 50 1/2 inches (217.8 x 128.3 cm), Edition of 5, with 1 AP
#BienalSaoPaulo #SaoPauloBiennial #AffectiveAffinities #GabrielPerezBarreiro @alejandrocesarco #AlejandroCesarco @antonioballestermoreno #AntonioBallesterMoreno

David Kordansky Gallery's first exhibition of paintings by Michael Williams opens THIS FRIDAY, September 7 and remains on view through October 20. An opening reception will take place from 6:00pm to 8:00pm.
Michael Williams negotiates the long history of painting by consistently questioning—and often undoing—its major components. Challenging himself with an ever-evolving set of formal problems, he produces images that reflect modern complexity and contradiction. Included in this exhibition are a number of paintings composed on computer using Photoshop and a digital drawing pad before being inkjet-printed onto canvas. In the execution of his images Williams twists together a balance of offhanded gesture and careful compositional rigor, making decisions that keep his paintings willfully misoriented.
'Descendant Egg,' 2018, inkjet on canvas, 107 x 77 x 1 1/8 inches (271.8 x 195.6 x 2.9 cm)

'The Topographies of Color,' the third and final iteration of 'Sam Gilliam In Dialogue' at the Williams College Museum of Art, closes THIS MONDAY, September 3.
''Sam Gilliam In Dialogue' marks the debut of WCMA’s recent acquisition of 'Situation VI-Pisces 4' (1972), a signature drape work of gigantic scale. With no specific instructions for installation, the work can be suspended in multiple ways, generating innovative, site-specific dialogues with the people and works of art surrounding it. In the spirit of Gilliam’s experimental practice, this exhibition will completely re-install the gallery space three times to reflect different interpretations.' — Williams College Museum of Art
Images: 'Sam Gilliam In Dialogue,' Williams College Museum of Art, Installation views (l-r): 'The Topographies of Color,' June 7 - September 3, 2018; 'Form,' April 26 - June 3, 2018; and 'Race + Representation,' February 15 - April 22, 2018; 'Situation VI-Pisces 4,' 1972, acrylic on polypropylene, dimensions variable, museum purchase, Otis Family Acquisition Trust and Kathryn Hurd Fund
#SamGilliam @wcmaart @WilliamsCollege #WilliamsCollege

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