Candy-colored plastics and glass lure us to discover shells, nails, bones, and even weapons embedded in this complex assemblage. Prosthetic eyes stare back at us, and two small wooden figurines flank a central “empty chair.”
Whether you’re seeing his colorful works out on the street, or in the gallery, Kenny Scharf has one of the most instantly recognizable styles in the contemporary art world. Deitch Projects downtown is currently hosting Inner and Outer Space, an ambitious exhibit of Scharf’s newest works which features several distinct collections that provide evidence of Scharf’s enthusiasm for expanding his oeuvre, while staying true to the playful characteristics of his work that his fans love the most. Continue reading Kenny Scharf, Inner and Outer Space at Deitch Projects
Mitchell-Innes & Nash is currently hosting the first major painting retrospective of Tom Wesselmann in New York since the artist’s death in 2004. Organized in partnership with the Tom Wesselmann Estate, the exhibition examines Wesselmann’s role as the great innovator of the American Pop generation and includes a dozen significant works spanning the artist’s career from 1961-2004. Gallery owner Lucy Mitchell-Innes explains that with this exhibition, they hope to show how Wesselmann has filtered the canonical subjects of art — still life, the nude and the landscape — through a unique and personal lens using the media and technical innovation of the sixties, seventies and eighties, offering new possibilities for painting.
Tom Wesselmann is one of the leading figures of Pop Art who used collage, assemblage and shaped canvases to usher in a new vocabulary of painting. He is best known for his career-spanning series, Great American Nude, which featured female figures in intensely saturated interiors.
The works in the exhibition highlight a number of techniques that Wesselmann pioneered, and which are largely unseen among his Pop contemporaries. In an interior still life from 1964, Wesselmann incorporates a functional fan and a clock into the canvas, (see image below) pushing the boundaries of collage and assemblage in a sly nod to the notion of the ‘represented’ object.
Collages from the 1960s feature cut-outs from advertising billboards. Also included in the show are Wesselmann’s steel-cut works (a technique he helped develop), molded plastic paintings (a technique borrowed from commercial signage and used here in the context of fine art for the first time), and his iconic shaped canvases.
Being a fantastic introduction to Tom Wesselmann (should you not already be familiar with his work) this is a very cool and worthwhile exhibit to add to your next art crawl during the month of May.
The Tom Wesselmann Retrospective will be on view through May 28, 2016 at Mitchell-Innes & Nash, Located at 534 West 26th Street, in the Chelsea Gallery District.
We were first introduced to the suspended sculptures and assemblage art of Hassan Sharif in the exhibit Here and Elsewhere at the New Museum back in 2014. Right now, Alexander Gray Associates is hosting a exhibit of Sharif’s recent work, featuring sculptures and woven assemblages. Recognized as a pioneer of conceptual art and experimental practice in the United Arab Emirates over the past four decades, Sharif has transgressed traditional frameworks for art making by extending his practice to performance, installation, drawing, painting, and assemblage that integrates ordinary objects as the primary medium. The tapestry-like works in this exhibition are conceptually linked by their relationship with the human body and social structures. Continue reading New Works By Hassan Sharif at Alexander Gray Associates
Edward Kienholz, The Friendly Grey Computer — Star Gauge Model #54 Consists of Aluminum painted rocking chair, metal case, instrument boxes with dials, plastic case containing yellow and blue lights, panel with numbers, bell, “rocker switch”, pack of index cards, directions for operation, light switch, telephone receiver, motor, and doll’s legs (All Photos By Gail)
“I really began to understand any society by going through its junk stores and flea markets,” remarked artist Edward Kienholz. “I can see the results of ideas in what is thrown away by a culture.” Here, Kienholz incorporates such discarded materials into a hybrid construction — a machine with human physical traits (such as dial “eyes” and toy doll legs) and emotions. Claiming to interpret language but in fact programmed to emit information randomly, The Friendly Grey Computer (1965) speaks to the faith that we place in technology, despite its obvious limitations. Kienholz intended for viewers to interact with the work and included a set of detailed instructions for operation, as follows:.
Place master switch in the off position. Plug computer into power supply. Print your problem on yellow index card provided in rack. Word your question is such a way that it can be answered by a simple yes or no. IMPORTANT: Next, program computer heads (C-20 and G-30) by setting dials in appropriate positions. You are now ready to start machine.
Throw the master switch to on setting. Red bulb on main housing and white tube on C-20 will light indicating computer is working. Remove Phone from rack and speak your problem into the mouthpiece exactly as you have written it on your index card. Replace phone in rack and ding dinger once. Under NO circumstances should you turn computer off until answer has been returned. Flashing yellow bulb indicates positive answer. Flashing blue bulb indicates negative answer. Green jewel button doesn’t light, so it will not indicate anything.
Computers sometimes get fatigued and have nervous breakdowns, hence the chair for it to rest in. If you know your computer well, you can tell when it’s tired and sort of blue and in a funky mood. If such a condition seems imminent, turn rocker switch on for ten or twenty minutes. Your computer will love it and will work all the harder for you. Remember that if you treat your computer well, it will treat you well. When answer light has stopped flashing, turn master switch to off position. Machine will now recycle for the next question. Repeat procedure from the beginning.
While the work is now in too fragile a condition to permit visitor interaction, the computer is presented here in the on position with its bulbs illuminated, and will be rocked daily.
Ed Kienholz (October 23, 1927 – June 10, 1994) is acknowledged as a pioneer of is now known as installation art and assemblage art. The Friendly Grey Computer was photographed in the Museum of Modern Art in NYC.