The Art Show 2022 Solo Exhibitions

The Art Show 2022 Solo Exhibitions

Park Avenue Armory, New York

November 3 - 6, 2022

THE ART SHOW

Photo Courtesy the ADAA / The Art Show

On the occasion of its 60th anniversary, the Art Dealers Association of America (ADAA) announced the 34th annual edition of The Art Show, one of the longest-running art fairs in the USA. This year, The Art Show features a record number of booths from 78 ADAA member galleries. Of these, an impressive 55 booths features solo presentations that explore the work of just one artist, allowing visitors thoughtful, curated experiences akin to those found in galleries––also a record for the fair.

The 55 booths offering solo presentations––promoting an atmosphere of closelooking and one-on-one conversations with dealers and artists––feature a wide range of artists, and showcase key art historical figures of the 19th century alongside emerging voices in contemporary art from diverse, international locales including Brazil, Côte d'Ivoire, and Beijing. They include:

• Drawings and sculptures by Ricardo Brey, presented by Alexander Gray Associates.

• An exhibition from Anthony Meier Fine Arts of paintings on vintage museum sheets created over the past decade by Sarah Cain.

• A dozen new large-format paintings by Zio Ziegler, presented by Almine Rech, from the artist’s Essential Figures series, which features improvised linework and layers of amorphous forms.

• Anton Kern Gallery’s booth of work by Marcus Jahmal, whose interiors, landscapes, and portraiture are united by the artist’s deep brushwork and unique sense of color.

• Felt works by Robert Morris (1931-2018), presented by Castelli Gallery, where the artist first exhibited this same body of work in 1968.

• A selection by Cheim & Read of rare Lynda Benglis Lagniappe sculptures from 1976-1979, which represent a direct, eccentric, and erotic response to Minimalism.

• A presentation by David Kordansky Gallery of new paintings by Raul Guerrero, who has made work informed by his experiences as an American of Mexican ancestry in Southern California.

• Significant watercolors on paper by Alice Neel (1900-1984), presented by David Zwirner.

• Garth Greenan Gallery’s presentation of works from 1969-1971 by Gladys Nilsson, a member of the Hairy Who, which features her silver ink on black paper drawings and a rare early large-scale painting.

• A show of sculptures by the American master ceramicist Toshiko Takaezu (1922-2011), presented by James Cohan.

• An exhibition presented by James Fuentes of work by Trinidadian-America painter, photographer, dancer, choreographer, actor, composer, and costume designer Geoffrey Holder, curated by Hilton Als.

• New work by South African artist Nicholas Hlobo, who uses tactile materials such as ribbon, leather, wood, and rubber that he melds and weaves together into hybrid objects, presented by Lehmann Maupin.

• A monumental painting from Liu Xiaodong’s Shaanbei project, Reforming Loafers 1 (2018), presented in Lisson Gallery’s booth, alongside works on paper and sketchbooks.

• New and historically important works by William Kentridge in a booth presentation by Marian Goodman Gallery, featuring works on paper, sculpture, and prints.

• An exhibition by Mitchell-Innes & Nash of Antônio Henrique Amaral (1935-2015), a key figure in Brazilian and Latin American art who came of age under military dictatorship in Brazil in 1964.

• A presentation of new mixed-media paintings by Erik Lindman in Peter Blum Gallery’s booth that will feature the artist’s process-driven practice through which he creates multilayered and tactile non-representational work with repurposed found materials.

• New paintings by Ross Bleckner, presented by Petzel, including those that feature flowers as a recurring motif as well as others more closely aligned with pure abstraction.

• A focused presentation by Sperone Westwater of recent photographic works, several of which were created specifically for The Art Show, by artist Joana Choumali from Côte d'Ivoire.

• A new body of work by Sprüth Magers’s gallery artist Louise Lawler.

• A presentation of historical works by artist Julio Le Parc by Nara Roesler, which focuses on the artist’s iconic Alchimie series and is punctuated by a kinetic sculpture.

The remaining booths at The Art Show are no less rigorous in their curation, and feature an outsized number of presentations that focus on female artists. Highlights from those multi-artist booths include:

• An intergenerational cohort of women artists from GAVLAK’s program, spanning more than 75 years, which continues the gallery’s commitment to expanding the contemporary art discourse to be more inclusive of the contributions of female artists.

• A survey of work by eight women photographers who focused their gaze on the streets around them, presented by Howard Greenberg Gallery.

• George Rickey’s (1907-2002) kinetic sculptures and Robert Motherwell’s (1915-1991) celebrated Drunk with Turpentine series, which, presented together by Kasmin, muse on movement and gesture.

• A cross-generational presentation with Washington, D.C.-based artist and former gallerist Alonzo Davis and Vancouver-based artist Christine Howard Sandoval, presented by parrasch heijnen.

• A booth on the theme of "Realism: Then and Now," organized by Jill Newhouse Gallery following a series of exhibitions showing the influence of 19th century art on contemporary art.

• A selection of works by artists from Matthew Marks Gallery, including Leidy Churchman, Jasper Johns, Ellsworth Kelly (1923-2015), Simone Leigh, and Charles Ray, among others.

• A presentation by Paula Cooper Gallery focusing on staple works from the 1960s and 1970s by gallery artists such as Carl Andre, Mark di Suvero, and Claes Oldenburg, as well as other major figures from the period.

• Five contemporary female American artists working within abstraction, presented by Rhona Hoffman Gallery, which will feature: Torkwase Dyson, Julia Fish, Judy Ledgerwood, Martha Tuttle, and Amanda Williams.

THE ART SHOW

The Park Avenue Armory

Park Avenue and 67th Street, New York

theartshow.org

ADAA

205 Lexington Avenue, New York, NY 10016

artdealers.org

Wu Jian’an: 500 Brushstrokes @ Chambers Fine Art, ArtFarm, New York

Wu Jian’an: 500 Brushstrokes

Chambers Fine Art, New York

Through August 31, 2022

“These 500 Brushstrokes were completed in 2021. They spent over a year in transit at sea before landing in New York. Today, when I see them again in 2022, I have a sense of familiarity and strangeness. There is some sweetness hidden underneath, and feelings of hope and optimism. I feel that the time I created them was not long ago at a time when a force of gathering and wishing to generate something consequential was moving between the strokes, eager and calling out.”  – Wu Jian’an, Beijing, May 2022

This summer the main gallery of ArtFarm is devoted to ten recent examples of Wu Jian’an’s ongoing series 500 Brushstrokes on which work commenced in 2016. The abstract formal language characteristic of these works came as a considerable surprise to Wu’s admirers as until then there had been a strong element of figuration in all his major series of paper cuts from 2003 onwards with the series known as Daydreams.

Born in Beijing in 1980, Wu Jian’an graduated from the Central Academy of Fine Art (CAFA) Beijing in 2005 and currently lives and works there. While studying at the Academy under Lu Shengzhong whose early studies of Chinese folk-art led to a life-long involvement with the traditional craft of paper cut, Wu conceived of ways in which this technique might be used in ways that would have been unimaginable to its original practitioners.  A small group of earlier works by Wu hanging in the corridor leading from the gallery shows how his technique evolved from the silhouetting of complicated paper cut-outs against monochromatic sheets of paper to the use of multiple layers of paper of different colors resulting in low-relief effects.

There does not seem to have been a transition period between the wild paper cuts for which he was best known at the time and the equally wild but abstract compositions characteristic of 500 Brushstrokes. Wu Jian’an gave a simple explanation early on in the development of the series. “Visitors of all kinds are invited to the studio to play a brushstroke “game”. They can freely pick the size and type of the brush, as well as choose the density of ink and colors in order to write a single brushstroke on a sheet of Xuan paper in whatever style they choose, without creating a recognizable image or character… In traditional Chinese painting, brushstroke are highly regulated. As in a hierarchical society, only a limited number of accepted brushstrokes can be used. 500 Brushstrokes offers equal opportunity to all manner of brushstrokes, orthodox or not, all can go into an artwork. This creates a variety of previously unimaginable relations. Combinations consisting of “bad” strokes often compose incredible images.”

Consequently Wu’s combinations of individual brushstrokes are as far as could possibly be both from traditional Chinese calligraphy which evidences the continuous movements of the calligrapher’s hand and from Western artists such as Jackson Pollock, Mark Tobey or Brice Marden who have responded to Asian calligraphy in highly individual ways.

The skill with which the individual strokes have been collaged to the surface on which they coexist also adds another dimension to the viewing experience. In a description of 500 Brushstrokes #10, 2016, that has recently entered the collection of the Metropolitan Museum of Art, New York, reference is made to the way in which the individual strokes are “collaged into the larger whole using traditional Chinese conservation techniques which allow for nearly seamless layering of paper on paper.” On multiple levels, then, these festive works are not what they seem – not calligraphic, not expressive of a meaning, not painted directly on a flat surface but rather organized by a masterly hand in a manner that fools the eye and delights the mind.

CHAMBERS FINE ART - ARTFARM

Salt Point, NY

www.chambersfineart.com

Lise Sarfati Exhibition in Italy

LISE SARFATI Immaculate Mother & Daughter The New Life From 7th September to 19th October 2008 Tuesday, Friday, Saturday and Sunday 10.30 am – 7.30 pm Wednesday and Thursday 10.30 am – 9.00 pm Monday 3.30 pm – 7.30 pm Galleria Carla Sozzani corso Como 10 – 20154 Milano, Italia www.galleriacarlasozzani.org

For her first solo exhibition in Italy the French photographer Lise Sarfati has worked on a special selection of photographs from The New Life serie (2003) and reveals her two most recent series, never shown before: Immaculate and Mother & Daughter (2005-2007). The show is built in three parts corresponding to the three series to appreciate the full extent and significance of her work. The New Life has already been exhibited in museums and galleries all over the world (Yossi Milo Gallery in New York, Rose Gallery in Los Angeles, museum Foam in Amsterdam, Nicolaj Center of Contemporary Art in Copenhagen, Arles in France, Photographer’s gallery in London and Domus Artium Centro del Arte in Salamanca in Spain… )

The New Life (2003) - In the serie of color photographs taken through United States -from Austin to Asheville, Portland to Berkeley, Oakland, Los Angeles, New Orleans, Louisiana and small towns in Georgia- each portrait dramatizes the complexity of adolescent identity showing an intensity that adults will never be able to experience again. Lise Sarfati explores the dividing lines between good and bad, happiness and sadness, innocence and perversity, reality and fantasy. With a minimal choregraphy, she activates connections with her subjects in their everyday spaces and situations – bedrooms, backyards, kitchens, grocery stores. The title The New Life refers to Dante Aligheri and Beatrice Portinari, who were children when they met in 1274 in Firenze "She died and La Vita Nuova is a poem of love for Beatrice, with whom he was in love all his life" - A book has been published La Vie Nouvelle The New Life -Twin Palms publisher, 2005.

Immaculate (2006-2007) - The serie Immaculate took place in California, inside Catholic educational establishments for girls. The different high schools have been carefully chosen by the artist. She looked for places surrounded by the ‘Garden of Eden’ and she found it in Monterey, Sierra Madre, Alhambra and San Diego. The student girls photographed have decided of their attitude and expression. They are still in the garden of the school, just before returning home. The idea of “the fence” is central in this serie, referring to the enclosed garden of Middle Age. Lise Sarfati breaks the idyllic vision, when she captured the adolescent girls giving way to herself on the lawn of their school. Book published by Schirmer Mosel in Spring 2009, text by Thomas Weski.

Mother & Daughter (2005-2007) - In the serie Mother & Daughter, Los Angeles, Berkeley and Oakland in California are the main places chosen by the artist. The central subject is the role game that takes a real importance between parents and children, and even more between a mother and her daughter. The characters become interchangeable and their relation reinforce the mirror effect. The imaginative realm of the mother is embodied in the daughter and the girl's ideal is played out by her mother. Throughout the serie, Mother & Daughter were photographed separately, to underline the personality split. The disturbing play of competition between the two brings exhibitionism to its apotheosis. It refers to the use of masks – makeup, wigs – underscoring the loss of bearings. The outcome is a kind of tension between the mask-reflections and the exhibitionism of the two women.

Grew up in France, she lives in Paris. She obtained a master’s degree in Russian studies from the Sorbonne. She was the official photographer of the Academy des Beaux-Arts in Paris. Sarfati moved to Russia and photographed there for ten years. She received grants from both the Fiacre and Villa Medicis. She received the Prix Niepce in Paris and the Infinity award of International Center of Photography in New York for her work. For over five years now, she has been working in the United States. Lise Sarfati is represented by Yossi Milo Gallery in New York, Rose Gallery in Los Angeles and Magnum Gallery in Paris.

SELECTED SOLO EXHIBITIONS 2008 Russian Series Yossi Milo Gallery, New York, USA . American Trilogy Galleria Carla Sozzani, Milan, Italy. The New Life, Centre National de l’Audiovisuel, Dudelange, Luxembourg The New Life, Center of Comtaporary Art « Vinzavod » for the Seventh International Month of Photography “Photobiennale’’ Moscow, Russia, 2007 The New Life, FOAM Amsterdam, The New Life, Aberdeen Art Gallery, Aberdeen, Scotland, 2006 The New Life, UC Riverside California Museum of Photography, USA, La Vie Nouvelle, Rencontres Internationales d’Arles, France, The New Life, Rose Gallery, Santa Monica, CA, USA, Retrospective Nicolaj Center of Contemprary Art, Kopenhagen, Dannemark 2005 The New Life Yossi Milo Gallery, New York, USA, La Vie Nouvelle, Museo de San Telmo ,San Sebastien, Spain, American series, The Photographer’s gallery London, UK, 2004 Retrospective, Russian series, The New Life, Domus Artium Centro del Arte Salamanca, Spain 2002 Russian Series, Maison Européenne de la Photographie, Paris, France, Post Factum, Rencontres Internationales de la Photographie, Arles, France 1997 Musée Nicephore Niepce, Prix Niepce, Chalon-sur-Saone, France, 1996 Prix Niepce, Centre National de la Photographie, Paris, France

SELECTED GROUP EXHIBITION 2007 Easy Rider, Yancey Richardson Gallery, New York, USA. June Bride, Yossi Milo Gallery, New York, USA. Women of Many Faces, Isabelle Huppert. Fotomuseum Der Haag, The Netherlands. Museo Nazionale del Cinema, Turin, Italy. Euro Visions, Musée Royaux des Beaux-Arts, Bruxelles, Belgique, 2006 Women of Many Faces, Isabelle Huppert. PS1 Contemporary Art Center, Museum of Modern Art, Long Island City, Gallery C/O Berlin, Germany. Botanic Garden, Madrid, Spain. Metropolitan Museum of Photography,Tokyo, Japan. Couvent des Cordeliers, Paris, France. Euro Visions, Milan, Italie, Ludwig Museum, Budapest, Hunagry, Zamec, Warsaw, Poland. 2005 Euro Visions, Centre Georges Pompidou, Paris, France.

COLLECTIONS SFMOMA San Francisco of Modern Art, CA, USA Bibliothèque Nationale de France, Paris, France LACMA Los Angeles County Museum of Art, CA, USA Collection Michael Wilson, London, UK Brooklyn Museum, NY, USA Philadelphia Museum of Art, USA Maison Européenne de la Photographie, Paris, France Bouwfonds Kunststichting, Netherlands Fond National d’Art Contemporain, Paris, France Domus Artium, Salamanca, Spain Fondation ABN AMRO pour la Photographie, Paris, France Musée Nicephore Niepce, Chalon-sur-Saone, France Fondation Enrique ORDÓÑEZ, Spain Lhoist, Belgium

SELECTED BIBLIOGRAPHY 2008 Monography with Schirmer Mosel 2005 The New Life La Vie Nouvelle, Lise Sarfati Twin Palms Publisher 2004 Lise Sarfati, Fundacion Salamanca Cuidad de Cultura 2000 Acta Est, Lise Sarfati Phaidon