Gavin Turk explains his fascination with the egg as a symbol: “When I was a child, I had a magic egg that would appear in my dreams and chase away anything bad.”
Read more at wallpaper.com.
Adam Mrlik talks to Steve DiBenedetto about his new show at Half Gallery
"The feeling you get while walking up the steps of Bill Powers’ Half Gallery is reminiscent of walking into a classic Upper East side townhouse with great bones. Perched above his wife Cynthia Rowley’s flagship digs, artist Steve DiBenedetto was present for his over the top multi-channel collage opening.
Coining the term “konstructshuns,” the multi-media work is both very intense and diverse — not only material, but subject matter alike — merging the line between playful and dark, with biomorphic shapes and cosmic symbolism. I was lucky enough to catch DiBenedetto mid-drink for a couple quick questions. The show runs January 23rd thru February 25th. Steve’s paintings are also held permanently at The Museum of Modern Art, The Whitney Museum of American Art, and The Denver Art Museum.”
Read the full BlackBook interview here
David Hartt releases new publication at LA Art Book Fair
January 17, 2014
LOS ANGELES—On Saturday, February 1st, artist David Hartt will release his new publication, Belvedere, at the LA Art Book Fair. The book includes photographs by the artist, as well as a conversation with Berlin-based architect and writer Markus Miessen.
David Hartt will discuss Belvedere at the LA Art Book Fair on Saturday, February 1st, at 1:00pm. Belvedere‘s subject is the Mackinac Center for Public Policy; a conservative free market think tank and the originators of the Overton Window. Hartt will be joined by publishers Martine Syms (Dominica) and Jeff Khonsary (New Documents) in a conversation about the implicit value proposition of the frame. Presented by New Documents.
More about the LA Art Book Fair here: http://laartbookfair.net/
More about Markus Miessen can be found on his website here: http://www.studiomiessen.com/category/the-studio/
Image: David Hartt, Cubicles at the Mackinac Center for the Public Policy, Midland, Michigan, 2008, Archival Pigment Print mounted to Dibond and framed, 48 x 60 inches. Edition of 6, 1 AP.
Through February 25
Steve DiBenedetto calls the elaborate multi-channel collages he creates konstructshuns in the same way that Ray Johnson coined the term moticos or Robert Rauschenberg dubbed his assemblages combines. The subject matter here is diverse (collapsed geometry, octopi, helicopters, alchemy and architecture) assembled into what the artist thinks of as information conglomerations. The frames are not used for presentation purposes, rather they serve as surface support for environmental breakdowns: containment structures to be breached and made vulnerable. The work reflects DiBenedetto’s long standing interest in material insubordination and an exploration of the linkage between biomorphic shapes and cosmic symbolism. This past November, he participated in a two-person exhibition with Terry Winters at The National Exemplar Gallery and is slated for a solo show at The Aldrich Contemporary Art Museum come 2015. Steve DiBenedetto’s paintings are in the permanent collections of The Whitney Museum of American Art, The Museum of Modern Art and The Denver Art Museum.
43 East 78th Street, NEW YORK | INFO@HALFGALLERY.COM
Tuesday thru Friday, 12pm - 5pm; Saturday, 12pm - 4pm
DYLAN BAILEY : Emptiness
Through March 7, 2014
"I yawn, I fidget, I smoke too much. Up till this I always had too little time. Now there is nothing but time. Almost pure time, empty successiveness.”
- C.S. Lewis, A Grief Observed
No eye, ear, nose, tongue, body, mind;
No color, sound, smell, taste, touch, thing
No realm of sight, no realm of consciousness
No ignorance, no end to ignorance
No old age and death, no cessation of old age and death
Gate gate paragate parasamgate bodhi svaha: gone, gone, gone beyond, gone completely beyond.
-Heart Sūtra (Prajñāpāramitā Hṛdaya)
55 GANSEVOORT is pleased to announce the opening of Dylan Bailey: Emptiness, on view from January 21st through March 7th at the gallery’s storefront location.
Dylan Bailey: Emptiness presents the artist’s newest body of sculptural work.
The several hundred pound sculpture is 12 feet tall and hangs suspended from the ceiling by an electric rotator, spinning continuously at a half turn per minute.
The piece itself is dense; a cluster made up of empty bottles and appropriated wine racks.
The wine racks are abstractions of a grape vine, with the prominent characteristics of a logarithmic spiral.
They are steel, chromed, powder coated and faux finished, in hues of wrought iron, copper and bronze.
These modular pieces are then strung together, balanced and looped onto the next, continuously. Nothing is welded or tied off.
The conjoined racks are filled with empty wine bottles, accented by the odd mineral water and liquor bottle.
Dylan Bailey’s paintings, sculpture and installations are direct reflections of material and process. He employs objects – brass numbers that adorn the outside of a house, the caps of spray paint bottles and, now, domestic wine racks. Bailey’s various mediums are consistently overlapping as he develops new functions for his materials and their detritus.
The exhibitions at 55 Gansevoort are entirely visible, at all hours, by peering through the windowed doors.
Dylan Bailey (born 1985, Londonberry, Vermont) earned a BA from the Rhode Island School of Design. His work has been the subject of solo exhibitions at David Nolan Gallery and The National Exemplar in New York.
Steve Di Benedetto writes about Mary Halvorson in BOMB Magazine:
“I had never heard of Mary Halvorson when, listening to the radio one day in my studio, her guitar-playing first announced itself to me. I was immediately struck by a sound that was raw and inventive in a way that bypassed all expectations of how “jazz” guitar should be played. There was a component of friction involved, almost as if the “song” were at odds with being played. Not sure if this was someone from an exploratory rock type background, or an accomplished jazz guitarist utterly determined to avoid playing in an accepted idiom, I was totally engaged. This was the sort of jagged, unsettled, fearless, hybrid sound I look forward to hearing in any music.”
Read the full interview here:
photo courtesy purple.fr