thru Aug 24:

Young Curators, New Ideas IV
 organized by Mr. and Mrs. Amani Olu

Meulensteen Gallery, 511 W22nd St., NYC

a group exhibition of twelve curators covering 7,000 square feet of space over two floors with twelve exhibitions showcasing works from 29 artists. While each curatorial approach takes a unique position, there is a pointed interest in experimenting with the group exhibition format, re-imagining established mediums, objects, materials and concepts, as well as investigating contemporary issues and how they are resolved (if at all) in an art context.

Let’s lighten up the mood in here and see some art, shall we?

I took this photo from the sidewalk outside, so I have no idea wtf this is other than that it’s both creepy and awesome and is currently on display at the Meulensteen Gallery in Chelsea.

More tomorrow, or in a couple days.

So bummed to have to miss this opening. Tim is one of my favorite people– not to mention a killer photographer. See the announcement from Meulensteen Gallery below and more of his work here.

Meulensteen is pleased to announce the opening of Tim Hyde’s The Island: Prologue on February 23rd in the Project Space. The installation presents photographs, drawings and text as an overture to a body of work that the artist is developing for his forthcoming major exhibition at Meulensteen in 2013.
The series begins with a story about a small island in the Pacific Ocean. The island was the site of a shipwreck in the 1950s that set off a series of geopolitical disputes. These conflicts, combined with the cultural shifts of the early twentieth century, resulted in human evacuation and subsequent replacement by large colonies of sea mammals. The animals have since moved into a house abandoned by the island’s former human inhabitants and established their own strict social order within the ruins. Sea lions, who have articulated limbs, maneuver up and down stairs and have therefore commandeered the upper floors. Seals are left to fight over the crowded first floor.  Giant sea birds fly in to occupy the attic. The only human presence on the island for more than two decades has been that of a solitary government ranger, whom Hyde photographed on the last day of his assignment there.
As site where apparent failures have become a generative force to yield unexpected successes, Hyde uses the island as a case study in which to activate relationships between time, architecture, and the expanded field of photography.
Tim Hyde’s work has most recently been included in exhibitions at the Philadelphia Museum of Art (solo), Philadelphia, PA; Ar/ge Kunst Galerie Museum, Bolzano, Italy; Instituzione del Comune di Scandici, Florence, Italy; the Neuberger Museum of Art, Purchase, NY; and The Sculpture Center, Long Island City, NY. Forthcoming exhibitions include The Invention of Island Time (solo), Galeria Doce in Santiago, Chile; and Placemakers, the Bemis Center for Contemporary Art, Omaha, Nebraska. A graduate of Colombia University, Hyde is also an alumnus of the Skowhegan School of Painting and Sculpture, Skowhegan, ME.  
The artist currently lives and works in New York.


Feelin’ Artsy?

Take a read:

Richard De Vore : ULTIMATE

The Black Works

Meulensteen Gallery

511 West 22nd Street

New York, NY 10011 

+1 212 633 6999

The Meulensteen Gallery held an opening reception for Richard De Vore’s “Ultimate, The Black Works”on October 13, and concluded on November 9th.  The Black Works, true to its name, consists of black vessels that were made from 1999 to 2005, before the artist’s death.  These black vessels are prime examples that reflect De Vore’s style and focus for which he is famous.  The vessels stand on their own on smooth, lightly colored wooden columns, strong and independent in their stark form and strapping color.  “Black” indeed is the only word that can describe the works’ pigment, however this single word description does not quite do them justice.  The works display incredible depth with their various shades of black and gray, dark tones of cerulean blue and indigo, and faint hues of burnt sienna and gold.  The vessels are matte but not quite; they seem to be aglow with the lights of the room.  They present a rich sheen that gives them a hard–but soft–  shape and form.  The tinted colors appear and disappear as the eye travels along the seductive surfaces of the vessels, and one may admire how the vessels seem to mimic surfaces of stone: a section of metavolcanic rock, a portion of granite, perhaps a part of slate.  This is not to say that the vessels were randomly assigned segments of texture; De Vore’s pieces are carefully calculated to perfection.  #1096 for example shows an interior with a bubbly texture, but an exterior so smooth that beckons the hands to touch it.  #954 exhibits a crackled middle interior, enveloped by rippled pleats of clay while its exterior is smooth but speckled with a faint spray of various shades of gray and black.  The juxtaposition of rough and smooth balances the pieces, giving them surprising complexity and content beyond their simple forms.  All pieces in the show are certainly vessels, but each piece still announces uniqueness in its layers, folds, and surfaces.  Though stone-like, the elegant folds of the clay evoke images of graceful petals and fluid, rolling waves.  They are beautiful because they are the form of the vessel: a familiar and common image that is open to interpretation and metaphoric treatment.  One may say that De Vore’s work is arousing, sensual, fleshly, and voluptuous.  The vessels become alluring and arresting through human interpretation, and in this way the simplicity of form proves to be the most potent tool to stir memories of nature and of course, the human body. 

-Jenny S. Son