http://colletteblanchard.com/ Contemporary Art Gallery located on the Lower East Side of New York. en Copyright 2010, Collette Blanchard Gallery Wed, 10 Mar 2010 16:31:03 -0500 <div class="exhibition-subtitle">Above the Railing, Above the World</div> <div class="exhibition-dates">March 5 - April 18, 2010</div> <br/> <a href="/exhibition/view/1747"><img border="0" src="http://colletteblanchard.com/static/dyn-images/25/25203.jpeg" alt="" height="403" width="500" /></a> <p>Dean Monogenis, <em>Leviathan</em>, 2007</p> <p> Acrylic on wood panel, 39 x 48 inches </p> <br /> <div class="exhibition-description"><p>Dean Monogenis<br /> Above the Railing, Above the World<br /> 5 March - 18 April, 2010</p> <p>Opening Reception Friday, March 5, 6-9</p> <p> Collette Blanchard Gallery is pleased to present its first gallery exhibition with Dean Monogenis , entitled "Above the Railing, Above the World", on view from March 5th - April 18th. </p> <p> Monogenis continues his presentation of inventive landscapes that explore the natural progressions of entropy. The subjects of his works depict architecture in different phases of construction including buildings, tents, antennas, electrical posts, windmills and scaffoldings. The focus however is not on the placement of each structure within the landscape but rather on the notion of each monument as a means to articulate transition and purpose. Monogenis re-positions real structures from his encounters in his ever-changing neighborhood in eastern Williamsburg to communities and places he visits around the world. The process of conceptually removing a building from its natural environment and rendering it in an imaginative space with lush landscape and dramatic skies challenges the visual, historical and resourceful components of traditional city planning.</p> <p> Done in acrylic on wood panels with a high gloss finish, the paintings reveal a distinction between the bold flat areas used to create the architecture with the tightly rendered areas of rock formations and highly textured depictions of greenery. A building can serve two purposes--it can be built as a functioning space or it can be non-space simply existing as a structure with physical matter supporting its construction. Aside from his experience of living among the architecture that is represented in the work, Monogenis&#39;s interest in architectural forms is inherent from his many childhood experiences touring ancient ruins while visiting family in Greece. His works often includes depictions of older monuments shown in comparison with contemporary architecture. </p> <p> </p> <p> Mr. Monogenis received a <span class="caps">BFA </span>from the School of the Art Institute of Chicago in 1996. Monogenis is included in the group exhibition Skeptical Landscape at the Herter Art Gallery, University of Massachusetts in Amherst. His work has been exhibited in group shows at Robert Miller Gallery, Annina Nosei Gallery and Priska C. Juschka Fine Art and iis currently on view at Walter maciel Gallery. He was recently featured in New American Paintings. A series of ten images was reproduced in the September 2009 edition of the Georgia Review. A 66 page catalogue with a an essay by curator Elizabeth Grady will accompany the exhibition.</p> <p> </p> <p> For more information, please contact the gallery at 646.249.7720 or gallery@colletteblanchard.com.</p></div> http://colletteblanchard.com/exhibition/view/1747 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">January 23 - March 3, 2010</div> <br/> <a href="/exhibition/view/1689"><img border="0" src="http://colletteblanchard.com/static/dyn-images/30/30891.jpeg" alt="The Root of it All, 2010 " height="750" width="500" /></a> <p><p>The Root of it All, 2010</p></p> <br /> <div class="exhibition-description"></div> http://colletteblanchard.com/exhibition/view/1689 <div class="exhibition-subtitle">Kingdom Come</div> <div class="exhibition-dates">November 18, 2009 - January 20, 2010</div> <div class="exhibition-opening">Opens Wednesday, November 18, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/1688"><img border="0" src="http://colletteblanchard.com/static/dyn-images/29/29798.jpeg" alt="Equivalence 2009" height="293" width="500" /></a> <p><p>Equivalence</p> <p>2009</p></p> <br /> <div class="exhibition-description"></div> http://colletteblanchard.com/exhibition/view/1688 <div class="exhibition-subtitle">Opening Reception Saturday, September 12 th 6-8</div> <div class="exhibition-dates">September 10 - October 26, 2009</div> <br/> <a href="/exhibition/view/1696"><img border="0" src="http://colletteblanchard.com/static/dyn-images/27/27525.jpeg" alt="She Does and Doesn't Remember III, 2009 " height="331" width="500" /></a> <p><p>She Does and Doesn&#39;t Remember <span class="caps">III,</span> 2009</p></p> <br /> <div class="exhibition-description"></div> http://colletteblanchard.com/exhibition/view/1696 <div class="exhibition-subtitle">Difficulties with Interplanetary Travel</div> <div class="exhibition-dates">June 24 - August 15, 2009</div> <br/> <a href="/exhibition/view/1638"><img border="0" src="http://colletteblanchard.com/static/dyn-images/25/25276.jpeg" alt="Rochambeau, 2009 " height="500" width="500" /></a> <p><p>Rochambeau, 2009</p></p> <br /> <div class="exhibition-description"><p>Collette Blanchard Gallery is pleased to present Sean Higgins&#39; Difficulties with Interplanetary Travel, which will be on view from June 24th through August 15th, 2009. In his series of eleven unique images, Higgins reworks original photographs and appropriated images from public archives, such as from <span class="caps">NASA, </span>into a new reality. The series includes Higgins&#39; reconstructed landscapes, such as I&#39;m a Mountain, Man (2009) and Ancient Traveller (2009), as well as skyscapes of amorphous, cloud-like figures, such as in Lando Calrissian (2009) and Tokyo all Night (Mario Brothers) (2009).</p> <p> Through his pieces, Higgins prods at the human instinct to associate images with the familiar. Namely, there is a tendency for viewers to look for a "real" object/place that exists or has existed when confronted with an amorphous shape in nature, like a cloud or unidentifiable landmass. Through Difficulties with Interplanetary Travel, Higgins challenges the viewers to see beyond the recognizable and absolute. He adds uncertainty to the images by closely cropping scenes, thereby removing the images&#39; contexts, or employing interesting angles that impede the viewers from seeing the full panoramic surroundings. He recreates the world as we know it into a new fictional world where time and space remain ambiguous. "Real" landscapes, outer space, technology, dreams and memories combine to create a new environment beyond the standard confines of time and space. Are these images from the past, conjured from memory, or from the future? The viewers can never be sure if they are witnessing places/shapes that are familiar to them, intergalactic formations from planets beyond view or awareness, and/or something imagined/created by the artist or within the viewers&#39; imagination. For Higgins, his work is "About a place-but not necessarily a place you can go to." </p> <p> "...For the figures that appear in the sky make no sense...they are purely chance effects. It is man who, being naturally inclined to imitation, confers a meaning upon them as well as a relative permanence, by associating them with the idea of the creatures that they evoke" <br /> -- Hubert Damisch<br /> "Sign and Symbol" in A Theory of /Cloud/: Toward a History of Painting p. 36</p> <p> Sean Higgins received his <span class="caps">MFA </span>from the University of Pennsylvania (1998) and his <span class="caps">BFA </span>from Moravian College, PA (1996). He has exhibited in Los Angeles, Philadelphia, Seattle and New York. The 2007 Island of Relative Stability exhibition marked his first solo exhibition in Los Angeles. In 2008, Higgins exhibited at a solo show, Apocrypha, in Seattle where he began the new series of work on exhibit at the Collette Blanchard Gallery. He currently lives and works in Los Angeles.</p></div> http://colletteblanchard.com/exhibition/view/1638 <div class="exhibition-subtitle">Bois</div> <div class="exhibition-dates">May 7 - June 16, 2009</div> <br/> <br /> <div class="exhibition-description"><p>Collette Blanchard Gallery is pleased to present Sarah Baley&#39;s "Bois", which will be on view from May 7th through June 17th, 2009. </p> <p>Through a series of photographs, Baley explores sexuality and gender definitions while specifically highlighting a community called "Bois". Cinematic images of "Bois" dressed in fashions ranging from blue-collar to school boy aesthetic are juxtaposed with photographs of a changing industrial urban landscape in stages of decay and redevelopment. <br /> <br /> Through lighting and subject placement, Baley makes the viewers aware that they are observing a behind-the-scenes glimpse into the "Bois" community. The artist places the "Bois" in the foreground of the frame, either gazing directly at the artist/viewers, as in "Jasper" and "Little Prince", or in an intimate pose (e.g. embracing, kissing, in thought) or setting (e.g. bedroom), as in "Left Wing", "Bed Peace" and "Kiss". Baley also makes the "Bois" the main focus through the use of lighting; backgrounds blend into darkened masses while the "Bois" are well-lit at the foreground. Through these techniques, Baley brings sub-culture from the periphery to center stage.<br /> <br /> For the artist, the urban landscape, reflected in the rapid development in Red Hook, Brooklyn, functions as a metaphor, or mirror, for a fluid, transforming definition of sexuality and gender at the heart of the "Bois" community. Many of the "Bois" are non-conformists that reject gender as a binary system of male or female. Through Baley&#39;s photographs, the artist portrays sexuality and gender as more fluid than a two-part system. According to the artist, "Sexuality is prismatic. It is the full spectrum of color...one of the few ways we can still express freedom." </p> <p>Sarah Baley lives and works in Red Hook, Brooklyn. Baley received her <span class="caps">B.F.A </span>in photography at the Art Center College of Design in California. Recently, the Brooklyn Museum acquired Baley&#39;s "Dug" (2005) for their permanent collection. In August 2009, the work will be on display in the museum&#39;s American Identities Galleries.</p> <p>For more information please contact Jocelyn London at 917.639.3912 or jocelyn@colletteblanchard.com.</p></div> http://colletteblanchard.com/exhibition/view/1637 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">March 18 - April 27, 2009</div> <br/> <a href="/exhibition/view/1636"><img border="0" src="http://colletteblanchard.com/static/dyn-images/24/24033.jpeg" alt="Rock Band, 2008-09, DVD Animation, Loop 1 minute/8 Seconds Edition 2/5" height="389" width="500" /></a> <p><p>Rock Band,<br /> 2008-09,<br /> <span class="caps">DVD</span> Animation,<br /> Loop 1 minute/8 Seconds<br /> Edition 2/5</p></p> <br /> <div class="exhibition-description"><p>Collette Blanchard Gallery is pleased to present H&eacute;roe, Oscar Cueto&#39;s first exhibition with the gallery. Featuring a light table with drawings, video, and sculpture, H&eacute;roe will be on view from March 18th through April 28th. </p> <p>The works Cueto has created for this upcoming exhibition incorporate restructured world maps. The drawings focus on the universal connection of the contemporary art world and the interactions of nations that have resulted in poignant conflict. Inspired by the actions of global citizens, the artist renders realigned continents in commenting upon relationships between persons inhabiting these land masses. In some drawings, recognizable territories intersect in overlapping patterns to disguise their original form with a simple red stain marking the penetration of one territory into another. Other drawings simply show a world view with some or all of the leading countries removed as if they never existed. In one drawing, the eastern point of Europe pierces the center of the United States; in another, Europe is rotated and annexed by western Canada. At once, these renderings reference the geography of Pangea and look forward to the realignment of today&#39;s land masses as they may exist in the distant future. Navigating between these extremes, the artist&#39;s positioning of the continents reflects his thoughts of monetary and political power, which supersede mere shifts in geographical landscape. Europe, Asia, and the Americas vacillate between recognizable continents and fetish objects, abstracted figures, and/or crows as their orientation and placement vary. </p> <p>Within the installation, hand sewn flags are strategically placed with black coverings on each side to conceal the instant recognition of the country it represents. The only indications of each flag are sporadically placed holes on the surface and the edge of the pole where colors and patterns are carefully discerned. Cueto furthers his rendering of continental forms with two silent videos. The video animations are made from hand drawn frame to frame images on a digital notepad putting to motion the line of the corresponding drawings. In one video, Cueto portrays a series of moving maps. Dramatically reducing the scale of the continents, the artist, in a second video, contextualizes land masses as musical paraphernalia, as a rock band uses cut out maps as its instruments. A series of unframed gouache drawings entitled Brujeria/Witchcraft will accompany the other works in the show. Through his work, Cueto, without overbearing specificity, whimsically engages prescient and often painful happenings, which have continually defined human experience. </p> <p>Oscar Cueto was born in Mexico City, where he currently lives and works. Cueto received the Youth Creators Grant (CONACULTA) in 2007 and his work was recently acquired by the Jumex Collection. He previously showed at the Festival la Mar de la M&uacute;sica in Cartagena, Spain and he has been included in solo and group exhibitions throughout Mexico. Cueto has been the subject of numerous solo exhibitions internationally, has shown regularly in Mexico City for the past five years, and has also shown with the Walter Maciel Gallery in Los Angeles. In conjunction with the Collette Blanchard exhibit, Cueto will be having a similar show on the West Coast at the Walter Maciel Gallery in Los Angeles.</p></div> http://colletteblanchard.com/exhibition/view/1636 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">January 23 - March 8, 2009</div> <div class="exhibition-opening">Opens Friday, January 23, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/1602"><img border="0" src="http://colletteblanchard.com/static/dyn-images/21/21803.jpeg" alt="Lauren Kelley, Get Bones from 88 Jones, film still" height="333" width="500" /></a> <p><p>Lauren Kelley, Get Bones from 88 Jones, film still</p></p> <br /> <div class="exhibition-description"><p>Collette Blanchard Gallery is pleased to present "The Brand New Heavies", curated by Mickalene Thomas. The exhibition will be on view from January 23 - March 8, 2009 and will include three dynamic contemporary artists innovatively working in fundamental mediums. Lauren Kelley, Deana Lawson, and Jessica Ann Peavy present recent work conveying salient sentiments through means that are at once, sensual, opulent, and psychological. </p> <p> The works of all three artists offer staged scenes, referencing theater and performance, while incorporating embellished caricatures through collaboration with and/or commentary on their varied subjects. Lauren Kelley&#39;s videos present meticulous, comprehensive, fictitious narratives in overwhelming detail. In "Get Bones from 88 Jones", Barbie dolls, an array of plastic sweets, sculpted elements and malleable, inconstant clay form an accelerated narrative satiated with the metaphorical implementation of materials and imagery. Kelley&#39;s whimsy informs the happenings in the love life of a librarian with detail similar in degree to the sculpture crafted by Liza Lou. The environments in Kelley&#39;s work also resonate with the staged frames in the work of photographer, Deana Lawson. In "Anna" the everyday patterned couch blending with the drapes in the background is disrupted by the sequins adorning and condition of the thin, staid figure. The minimalist palette and compositions of Lawson&#39;s work bring to mind paintings by Barkley Hendricks and the videos of Jessica Ann Peavy. Peavy&#39;s "A Conversation Piece" also references intimate relationships as "Get Bones from 88 Jones", though in this case the sensual narratives are articulated through tales of food-making and consumption as two videos play simultaneously and transverse from each other. Similar to some work of Chantal Akerman, Peavy&#39;s piece incorporates pauses and static frames, giving the viewer an opportunity to contemplate the different ways in which women communicate which each other. One character speaks candidly about food likes and dislikes, while the other vivaciously recalls an anecdote of food preparation, nourishment, intimacy and rejection.</p> <p> Lauren Kelley received her <span class="caps">MFA </span>from the School of the Art Institute of Chicago and is currently participating in the Core Residency Program in Houston. Deana Lawson, who has been included in several exhibitions over the past year, was recently interviewed by Tova Carlin for Time Out New York, and received a <span class="caps">MFA </span>from the Rhode Island School of Design. Jessica Ann Peavy graduated with an <span class="caps">MFA </span>from the School of Visual Arts. Recent recipient of <span class="caps">NYSCA,</span> Peavy&#39;s work is currently on view at the Contemporary Arts Museum Houston and will be included in an upcoming show at the Bronx River Arts Center.</p> <p> This exhibition is Mickalene Thomas&#39;s curatorial debut. She graduated with an <span class="caps">MFA </span>from Yale University and currently shows with Lehmann Maupin Gallery in New York, Rhona Hoffman Gallery in Chicago, and Susanne Vielmetter Projects in Los Angeles. Her work has been featured in various catalogues and reviewed in Art in America, The New York Times, The New Yorker, New York Post, NY Arts, Modern Painters, Essence, Whitewall, Frieze, and Artforum.</p></div> http://colletteblanchard.com/exhibition/view/1602 <div class="exhibition-subtitle">cinemascapes: close quarter panoramics. open ended narratives.</div> <div class="exhibition-dates">November 13, 2008 - January 19, 2009</div> <div class="exhibition-opening">Opens Thursday, November 13, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/1541"><img border="0" src="http://colletteblanchard.com/static/dyn-images/20/20596.jpeg" alt="a decisive moment, 2007" height="226" width="500" /></a> <p><p>a decisive moment, 2007</p></p> <br /> <div class="exhibition-description"><p>Collette Blanchard Gallery is pleased to announce cinemascapes, an upcoming solo exhibition of Aaron Hobson&#39;s recent panoramic photographs. The ten photographs span the past three years of the artist&#39;s work and will be on view from November 13 through December 31, 2008.</p> <p>Hobson&#39;s work is created by combining several sequential, vertical images, thereby offering more visual information and an obscured rendition of any moment depicted by a single image. These preserved moments straddle between the contexts of fictitious, universal and isolated autobiographical experiences. At times inspired by scenery near the artist&#39;s residence in the Adirondack mountains, the work contains narratives steeped in the everyday-from the machismo American cowboy to the disheveled Wall Street staffer. In a fashion comparable to that of feminist portraiture, Cindy Sherman comes to mind, the figure in the image is always the artist whose signified identity morphs through changes in attire and ever-changing elusory surroundings. </p> <p>The nuanced details in the photographs are not forced, whether the interior of a &#39;64 Mercury or a seemingly unconscious figure, and lack excessive or immediately shocking details. Rather, the restive energy that pervades the artist&#39;s work unexpectedly draws and subsequently arrests the viewer as the narrative unfolds exposing sensual, disturbing, and onerous undertones. The incredibly intricate and open-ended narratives are at once left to the interpretation of the viewer and restrained by details conveying the intentions of the artist; in the end, leaving the onlooker to ponder happenings within the frame incessantly.</p> <p>The exhibition will be accompanied by a 40 page hardbound catalogue. For more information or images, please contact the gallery at gallery@colletteblanchard.com.</p></div> http://colletteblanchard.com/exhibition/view/1541 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">October 16 - November 11, 2008</div> <div class="exhibition-opening">Opens Thursday, October 16, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/1540"><img border="0" src="http://colletteblanchard.com/static/dyn-images/19/19628.jpeg" alt="" height="500" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>The latest addition to the Lower East Side&#39;s emerging gallery scene is the Collette Blanchard Gallery on 26 Clinton Street. The Collette Blanchard Gallery is opening its doors on October 16th with it&#39;s inaugural exhibition Belle du Jour, the collaborative effort of Blanchard and independent curator, Chrissy Crawford.</p> <p>Belle du Jour brings together some of the art world&#39;s most relevant and contemporary female artists, each imparting on a unique approach to the female figure. Presenting painting, sculpture, works on paper, photography and video; there is a diversity of mediums as well as perspectives. Belle de Jour includes works by Asgar/Gabriel, Sarah Baley, Jane Benson, Libby Black, iona rozeal brown, Zoe Charlton, <span class="caps">E.V.</span> Day, Langdon Graves, Julie Heffernan, Tracey Langfitt, Maria Porges, Mickalene Thomas, Cynthia Rowley, Laurie Simmons, Shinique Smith and Cindy Wright.</p> <p>The group exploration transports the viewer across a wide continuum. The mummified Barbie Dolls of <span class="caps">E.V.</span> Day, which reference both embalmed Egyptian queens and captive Islamic women barely visible in their burkas, compliment the lush, self-portraits of historical set paintings of Julie Heffernan. The sexual identity photographs of Sarah Baley share a forum with the graphite drawings of Maria Porges. In their totality, all the exhibiting artists stake their claim to redefining the vocabulary of the female figure imagery.</p> <p>Curator Chrissy Crawford opened her own art advisory while in London working directly with private clients. Her business moved to New York in 2006 with a focus on independent curating. After fifteen years in the art world, Blanchard has opened her own establishment to focus on her specific vision. She will be exhibiting and representing artists reflecting that cutting-edge point of view. Located in the burgeoning gallery district on the Lower East Side, the space will be within the sphere of the recently relocated New Museum.</p></div> http://colletteblanchard.com/exhibition/view/1540 <p><a href="http://www.artnet.com/magazineus/features/finch/derric-adams2-22-10.asp">link</a></p> http://www.artnet.com/magazineus/features/finch/derric-adams2-22-10.asp