Sakiyama Takayuki and Fukumoto Fuku / Joan B Mirviss, New York June 10 - August 22, 2014
Sakiyama Takayuki: Tidal Forms
Sakiyama Takayuki (b. 1958) continues to expound on his series: Chōtō - Listening to the Waves. Focusing now on the power of the ocean, the artist created these highly sculptural ceramic works to evoke the sublime nature of the waves and currents.
Sakiyama continues to mine the rugged coastline and beaches of his home on the Izu Peninsula for inspiration. The surfaces of his strikingly unique centrifugal forms give the appearance of having been made from sand. A special glaze that he developed highlights the intricate designs, which the artist achieves by carving the clay. Moving and receding across the surface, the texture also echoes raked Zen Gardens. These substantial double-walled vessels maintain true to their functional origins while conveying a highly sculptural quality.
Jason Jacques Gallery is pleased to announce its second contemporary exhibition with contemporary ceramic master Michael Geertsen. Following a ceramic installation at the Victoria and Albert Museum in London and a show at Puls Ceramics in his native Denmark, Michael Geertsen has come back to show in New York. Geertsen is known for sleek ceramic works with alien-like sculptural bodies, and stacked sculptures of utilitarian objects like plates and cups. His whimsical and animated forms are executed with machine-like precision, thanks to his background in industrial ceramics. Michael claims American streamline design and Italian Futurism as his primary influences.
Alexandra Lerman: Immediate Release / Tina Kim Gallery, New York May 1 - June 28, 2014
Tina Kim Gallery is pleased to present Alexandra Lerman’s first solo exhibition, Immediate Release.
A coincidence of the calendar becomes a critical frame. The first of May commemorates May Day, an ancient folk festival meant to awaken the wintering body through conviviality, dance, and song, also, International Workers’ Day, the 20th century’s concession to the solidarity of laboring bodies in almost every country of the world. The 1st of May saw the opening of Immediate Release, the new exhibition of multi-media artist Alexandra Lerman.
Anna Maria Maiolino. Between Senses / Hauser & Wirth, New York May 7 – June 21, 2014
Anna Maria Maiolino is one of the most significant artists working in Brazil today. In a career spanning five decades and a diversity of disciplines and mediums, ranging from drawing, sculpture, and artist books to video and performance, she expresses through her art a bottomless concern with creative and destructive processes and, above all, the never-ending search for identity. Maiolino’s multidisciplinary practice has consistently explored the viscerality of embodied experience – often obliquely through fragmentation and abstraction – and engaged the human body’s processes as analogs for both the making of art and the making of modernity. As an immigrant coming of age in politically unstable Brazil, Maiolino has perfected a dialogue between opposite yet complementary categories in a practice that dissolves dichotomies of inner and outer, self and other. Hers is an art in search of a new language for the liminal realm of daily human existence.
The Painting Center is pleased to announce the opening of The Liberated Line, an exhibition of recent work by Joe Caroff. He was attracted to the creative freedom possible in book jacket design, and worked with many publishers. His first jacket design was for Norman Mailer’s The Naked and The Dead. His first film poster was for West Side Story. In 1963, Joseph Caroff designed the iconic 007 logo for United Artists and launched a long and distinguished graphic design career. When he observed the widening grasp of the computer and its inevitable descent into homogeneity in graphic design, Caroff sold his commercial art studio and began to paint. In his current work, the spontaneity and control that describe his world, coupled with the urge to manipulate form away from surface eventually matured in works where the flow of linear gesture continues on in independent space. In this thrust to “escape the canvas” he has consistently sought three-dimensional expression that challenges the canvas without abandoning its critical relationship. In his Terni series of 1986, three abstract shapes were produced with overlapping wooden sheets extending beyond the canvas. In the Iconic Metaphor series of 1990, he created works on 30 x 30 inch hollow core wood panels using leather, heavy paper and wood to construct illusionistic figures.
For the past 30 years he has devoted himself to painting with insight and originality in response to, and frequently in reaction to the fashion of various endeavors currently popular. His interest in perception - both his own and that of the audience to the juxtaposition of flatness and three- dimensionality, has been a major focus; most recently in the works currently exhibited at The Painting Center. These reflect his previous investigations yet are pushing his thoughts forward, sparking ideas that he seeks to pursue.
Caroff’s color is either subdued or theatrical depending upon its support of his linear choreography. It is either in complete contrast to the ground, or echoes one or other of the colors behind it. In these paintings, the lyrical quality of the line expresses the joy of liberation, declaring itself free of the gravity of the canvas. In pulling the line away from the surface, and turning it into a three-dimensional entity, another critical linear element follows: shadows that link the line back to its source on the surface and provide a bridge between the two. These are not airbrushed shadows as can be seen in some James Harvard paintings. These shadows are real and are integral to the final composition.
Caroff has never been complacent. He is always inventing. In August, he turned 90.