ART TO SEE IN MAY

   

 THE NEW WHITNEY MUSEUM

 Designed by architect Renzo Piano, the new downtown structure for the Whitney Museum of American Art includes approximately 50,000 square feet of indoor galleries and 13,000 square feet of outdoor exhibition space and terraces facing the High Line. An expansive gallery for special exhibitions is approximately 18,000 square feet in area, making it the largest column-free museum gallery in New York City. 

According to Mr. Piano, "The design for the new museum emerges equally from a close study of the Whitney's needs and from a response to this remarkable site. We wanted to draw on its vitality and at the same time enhance its rich character. The first big gesture is the cantilevered entrance, which transforms the area outside the building into a large, sheltered public space. At this gathering place beneath the High Line, visitors will see through the building entrance and the large windows on the west side to the Hudson River beyond. Here, all at once, you have the water, the park, the powerful industrial structures and the exciting mix of people, brought together and focused by this new building and the experience of art."

 The building also includes an education center offering state-of-the-art classrooms; a multi-use black box theater for film, video, and performance with an adjacent outdoor gallery; a 170-seat theater with stunning views of the Hudson River; and a Works on Paper Study Center, Conservation Lab, and Library Reading Room. The classrooms, theater, and study center are all firsts for the Whitney. 

Don't miss America Is Hard to See, the Whitney's inaugural downtown exhibition.


  

JULIE MEHRETU 

 Julie Mehretu, born in 1970 in Ethiopia, is a New York-based painter. Her show at John Berggruen Gallery in San Francisco, Paintings and Works on Paper, demonstrates her commitment to abstract geographies which she materializes as layered artworks. Mehretu is inspired by a number of different sources including architectural imagery, maps, street art and comic books, which she translates into large-scale complexes of line, color and form. Her work teems with energy, and she frequently uses explosions as a motif. Through the abstract, the works communicate a personal narrative and interest in place, space and time. The show opened April 10th and will be on view through May 16, 2015.

   Julie Mehretu, Untitled, Ink and acrylic on canvas, 2001

 

 

ROSSON CROW

Rosson Crow, born in 1982 in Dallas, Texas, is a Los Angeles-based painter whose solo show, HYSTERIA: Spatial Conversations with Florine Stettheimer, is on view now through May 17, 2015 at Sargent's Daughters Gallery in New York. The show consists of Rosson's new technique of painting, where she layers Xerox transfers with paint on canvas. This exhibition pays homage to Crow's inspiration: New York painter Florine Stettheimer who was active from the 1910s to the 1940s. Though Stettheimer was well-known in her time, she is relatively unknown today as she refused to sell her work or show in galleries. Today, Stettheimer is known mostly to "feminist" artists who love and claim her influence. The rich imagery that Crow paints across her large canvases are haunting, contemporary interpretations of Stettheimer's bright jewel-toned feminine, domestic scenes. 

  

Rosson Crow, Ocular Maze Work, Acrylic and Xerox transfer, 2015

 
 
JAY MARK JOHNSON

 In his ongoing project Wave Lengths, Jay Mark Johnson explores the possibilities of timeline photography by using an unconventional camera system to produce seamless photographs of events as they occur over time. His work is inspired by the fluid gestures of Tai Chi and dance and the infinite cycling of beachfront waves. "The thing about photography is its truthiness." says critic Shana Nys Dambrot. "...But when it comes to the photographs of Jay Mark Johnson, that presumption is turned on its head. His pictures look nothing like the world as we know it, and they are not really meant to."

 Jay Mark Johnson, Storm At Sea #4, Los Angeles, 2010

 Within his images the rules for representing reality have shifted. Shadows are crisscrossed and the relative speed of an object determines its size. Moving objects appear isolated from their backgrounds and the backgrounds themselves have been decimated. In this manner, the results of Johnson's process become a metaphor for the process itself. The show is on view now at William Turner Gallery in Los Angeles through May 23, 2015.

 

 

MARY CORSE 

 Mary Corse's exhibit of paintings at Lehmann Maupin Gallery in New York features new work which involves her rare use of color. She is primarily known for her minimalist, monochromatic white or black paintings. Corse is interested in the viewer's perception of the work and often creates paintings using a unique technique that results in the work changing in appearance as they are physically and visually experienced. She achieves this by mixing acrylic paint with tiny reflective glass beads. The 12 new paintings in this exhibition are displayed according to color, and each of the four gallery rooms at Lehmann Maupin will feature either red, blue, yellow, or white and black paintings. Corse's exhibit is currently on view through June 13, 2015.

Mary Corse, Untitled (Red, Black, White), 2015

 

ROBERTO CUOGHI

 Italian artist Roberto Cuoghi, born in 1973, is a multimedia artist working in painting, sculpture, digital animation, drawing, and sound.  He is perhaps best known for his dramatic life choice, at age 24, where he physically altered his appearance to become a well-respected man in his sixties. That decision laid the groundwork for many of his works that explore issues surrounding transformation, time, memory, identity, and death. His new show at the Aspen Art Museum, da iḍā e piṅgalā a iḍā e iḍā o piṅgalā e piṅgalā, uses sculpture to explore the history of metamorphosis, the challenges of representation and the fluidity and hybridity in identity. The title of the show refers to Cuoghi's exploration of Assyrian language and rituals, which tells of his interest in how both personal narrative and the act of translation affects our understanding of history and reality. The exhibition is a collaboration between the Aspen Art Museum and Le Consortium in Dijon, France, and is open now through June 14, 2015.

 

Roberto Coughi, Pazuzu, Mixed media, 2012

 

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