Liu Wei, "Green Land 绿地"
Born in the 1970s, and starting his art career in earnest in the late 1990s, Liu Wei is an artist belonging to a generation of Chinese who experienced rapid and dramatic urbanization accompanied by political and economic upheaval. As if responding to this context, Liu Wei creates photographs, videos, and highly abstract yet compellingly urban, colorful, and speed-filled paintings, as well as grandly scaled sculptures and installations employing materials such as books, house elements like doors and windows, and practical, commercially available materials such as leather. Liu Wei is also concerned with urban issues and has keen architectural sensibilities. While dealing with chaotic mixtures of many disparate elements at massive sizes, he creates spaces that are imbued with tranquility as well as tension and fully enfold the viewer within them.
Unbound: Tim Rollins and K.O.S.
Portland Museum of Art, Portland, ME
Unbound: Tim Rollins and K.O.S. presents an extensive survey of the group’s work in a variety of media, both on loan and from the Portland Museum of Art collection, including Adventures of Huckleberry Finn—Asleep on the Raft (After Mark Twain), The Great Gatsby (after F.S. Fitzgerald), The River Meander II (after Edward "Duke" Ellington). The exhibition also unveils a work recently acquired by the musueum, A Midsummer Night's Dream (detail above). Through December 31.
Jennifer Steinkamp: Botanic 3
McNay Art Museum, San Antonio, TX
From August 30, 2016-January 8, 2017, the McNay Art Museum will present selected works from Jennifer Steinkamp's Botanic series. Created in 2015, Steinkamp’s newest work features flowering plants animated inside a cubic framework that utilizes the outer edge of the video as a container, mimicking the boundaries of a garden. Flowers are blown by an unseen force, as plants collide both with each other and the edges of the frame, breaking apart into seeds, twigs, leaves, and petals. The animations loop forward and back—transitioning between breaking apart and coming back together— eliminating any notion of narrative, as is characteristic in Steinkamp’s work.
Tony Oursler: M*r>0r
Magasin III, Stockholm, Sweden
From September 16-December 11, 2016, Magasin III will present an exhibition of new works by Oursler shown alongside pieces from Oursler’s early career and works from the museum's permanent collection. Many of the works in the collection were acquired in 2002 when the museum presented the exhibition Station that included a large group of works, which the artists created especially for that occasion. The exhibition will also include a new production of Oursler’s acclaimed outdoor work The Influence Machine, presented in collaboration with Stockholm University.
Tony Oursler: Imponderable
From June 16, 2016-January 8, 2017 the Museum of Modern Art, New York, will screen Tony Oursler’s film Imponderable—an alternative depiction of modernism that reveals the intersection of technological advancements and occult phenomena over the last two centuries. Presented in a “5-D” cinematic environment utilizing a contemporary form of Pepper’s ghost—a 19th-century phantasmagoric device—and a range of sensory effects, Imponderable is an immersive feature-length film inspired by Oursler’s own archive of ephemera relating to stage magic, spirit photography, pseudoscience, telekinesis, and other manifestations of the paranormal. Imponderable will be shown in conjunction with selections from Oursler’s archive relating to the film.
Mickalene Thomas: Do I Look Like a Lady?
MOCA presents Mickalene Thomas: Do I Look Like a Lady?, an exhibition of new and recent work by New York–based artist Mickalene Thomas. For this exhibition, Thomas has created a group of silkscreened portraits to be featured alongside an installation inspired by 1970s domestic interiors, and a two-channel video that weaves together a chorus of black female performers, past and present, including standup comedians Jackie “Moms” Mabley and Wanda Sykes, and pop-culture icons Eartha Kitt and Whitney Houston. An incisive, moving, and at times riotous portrait of the multiplicities of womanhood, Do I Look Like a Lady? builds upon Thomas’s ongoing reconsideration of black female identity, presentation, and representation through a queer lens. October 16, 2016-February 6, 2017.
In Februrary 2015, The Whitworth reopened its doors to the public after a major expansion project by architects MUMA. Before building works began a 3D scan was made of the space that is now occupied by the new extension. The scan included the line of London Plane trees that flank the South side of the building. One of these trees had unfortunately died, and was earmarked to be felled. On Gallaccio's first visit to the site the tree had already gone, leaving a noticeable gap in the avenue. Fascinated by the absence of the tree, she studied the architects digital scans with the hope of making a work in response to its loss:
“Usually I would take an existing object and transform it; not making a copy but a new unique object determined by the form and material properties of the original. I am interested here in using the data to produce a sculpture that is a ghost of the real tree, without being a replica.”
Juergen Teller: Enjoy Your Life!
In this exhibition, works like Siegerflieger and My Man Crush, Pep Guardiola transform the Foyer into a public viewing area, where images of victories and defeats bear witness to Teller’s feel for capturing decisive moments. Other groups of works are more autobiographical and occasionally anecdotal: quiet landscapes from Nürnberg, carefully staged yet unsparingly candid images of himself in The Clinic and subjective documentations of his engagement with his youth and his origins such as Irene im Wald. The latest series, Mit dem Teller nach Bonn and Plates/Teller, seem to bring together and concentrate all his earlier themes and compositions. The protagonists’ games with a plate – the German word for plate is Teller, and so the plate acts as a synonym and stand-in for the photographer – are captured in compositions that are as tender as they are exuberant, direct and honest, full of humour and strangely touching. Many of his complex narratives only unfold upon a closer look. Through September 23, 2016.
Nari Ward: Smart Tree
Inspired by a building adjacent to the High Line that had been transformed into an indoor parking lot, Nari Ward reconfigures a memory from his childhood for his High Line Commission, Smart Tree. Returning to his father’s home in Jamaica after fifteen years away, Ward remembers finding one of two abandoned cars in the front yard sprouting a lime tree. He reimagines this fantastical story for the High Line in the form of a Smart car refinished with strips of tire treads and propped up on cinder blocks. In place of a lime tree, Smart Tree will feature an apple tree growing out of its roof, adapted out of necessity for its North American context. With the car’s cinderblock base representing stasis, and its coating of tire treads suggesting perpetual movement, Ward’s Smart Tree holds up a mirror to the flux surrounding the High Line itself and reminds viewers of the High Line’s history as a major transportation artery in Manhattan.
Human Interest: Portraits from the Whitney's Collection
Whitney Museum of American Art
Lehmann Maupin is pleased to share that Ashley Bickerton's Triple Self-Portrait: All That I Can Be (1996) is included in Human Interest: Portraits from the Whitney’s Collection. The exhibition offers new perspectives on one of art’s oldest genres. Drawn entirely from the Museum’s holdings, the more than two hundred works in the exhibition show changing approaches to portraiture from the early 1900s until today. Bringing iconic works together with lesser-known examples and recent acquisitions in a range of mediums, the exhibition unfolds in eleven thematic sections on the sixth and seventh floors. Some of these groupings concentrate on focused periods of time, while others span the twentieth and twenty-first centuries to forge links between the past and the present. This sense of connection is one of portraiture’s most important aims, whether memorializing famous individuals long gone or calling to mind loved ones near at hand.
Titled Efêmero, OSGEMEOS' latest mural occupies the two outer walls of Pirelli HangarBicocca’s Cubospace, covering a total area of over one thousand square meters. Efêmero is the first large-scale mural in Italy by Brazilian artists OSGEMEOS, and will remain on view through April 2017.
But a Storm Is Blowing from Paradise: Contemporary Art of the Middle East and North Africa
Solomon R. Guggenheim Museum, New York
Lehmann Maupin is pleased to share that Kader Attia's Untitled (Gharadïa), 2009 is included in the Guggenheim's current exhibition, But a Storm Is Blowing from Paradise: Contemporary Art of the Middle East and North Africa.
But a Storm Is Blowing from Paradise, the third exhibition of the Guggenheim UBS MAP Global Art Initiative illuminates contemporary artistic practices in the Middle East and North Africa and the region’s diaspora. Presenting a selection of newly acquired works for the Guggenheim’s permanent collection, this exhibition will feature installations, photographs, sculptures, videos, and works on paper from a broad selection of artists. The exhibition is curated by Sara Raza, Guggenheim UBS MAP Curator, Middle East and North Africa. Through October 5, 2016.
Catherine Opie: O
In her many photographic projects, Catherine Opie has explored the tension between private desire and the public face. With the O Portfolio, shown at LACMA in its entirety for the first time in a Los Angeles museum, she offers an anatomy of sexual practices that are often obscured from public view. The photographs depict sadomasochistic scenarios derived from her participation in San Francisco’s bondage community.
The project began as a response to Robert Mapplethorpe’s X Portfolio (1978), which featured scenes of gay male sadomasochism. In contrast to Mapplethorpe’s confrontational photographs, Opie presents the subject almost as if it were a faintly recollected dream, or incomplete sense memory. Despite its sexually explicit origins, the portfolio is not necessarily about sex; rather, in Opie words, “It’s about intimacy."
Named 2015 United States Artist Fellow
Lehmann Maupin congratulates Mickalene Thomas on winning a 2015 United States Artists fellowship award!