Monthly Archives: June 2016

The gallery is pleased to announce that Albright-Knox Museum has acquired “East Coast” (2014), by Kim Rugg, for their permanent collection. 

Founded officially in December 1862, The Buffalo Fine Arts Academy—the governing body of the Albright-Knox Art Gallery—is among the country’s oldest public arts institutions in the United States. Since its inception as The Buffalo Fine Arts Academy, the museum has been dedicated to acquiring, exhibiting, and preserving modern and contemporary art, with a particular emphasis on the collection, presentation, and interpretation of the artistic expressions of our times. The Albright-Knox Art Gallery’s 150-year tradition of collecting, conserving, and exhibiting the art of its time has given rise to one of the world’s most extraordinary art collections. Thomas Hoving, art historian and former director of the Metropolitan Museum of Art, New York, said that “the Albright-Knox Art Gallery should be on everyone’s list to see, for it’s an overwhelming art experience. Small, intimate, and seductive, the museum has one of the most thumping modern and contemporary collections in the world.”

Rugg received her MFA in Sculpture from the Royal College of Art (London). Her work can be seen in the permanent collections of the National Gallery of Art (D.C.) and the Frederick R. Weisman Foundation (CA), the Museum of Contemporary Art, San Diego (CA), Honolulu Museum of Art, the Norton Museum (FL), and the Museum of Fine Arts Houston (TX) among others. She has been included in exhibitions at the San Jose Institute of Contemporary Art (CA), Elizabeth Foundation for the Arts (NY), Galerie Schmidt Maczollek (Cologne), and Nettie Horn Gallery (Manchester), P.P.O.W. Gallery (NYC), and was the recipient of the Thames and Hudson Prize from the Royal College of Art Society in 2004. She lives and works in London (UK).

Allison Schulnik is part of “The Woman Destroyed,” at PPOW, alongside Elizabeth Glaessner, Lauren Kelley, David Mramor, Jessica Stoller, Robin F. Williams. The exhibition runs through July 29th.

For more information, click here.

David Maisel is part of the exhibition, Capitalist Melancholia, at Halle 14 in Leipzig, Germany.

The exhibition is on view  April 30- August 7, 2016.

For more information and images, click here.

Chris Duncan is part of the exhibition, I Look For Clues In Your Dreams, curated by Heather Marx at Berkeley Art Center.

Click here to learn about the exhibition.

Shaun Gladwell is featured in a new article on The Australian, “For Simon Mordant, art ownership is relatively virtual.” The article details experiencing Gladwell’s work “Reversed Readymade,” in virtual reality.

Click here to read the article.

Spanish new media artist, Daniel Canogar has a special project titled Cannula on display at  the University of Salamanca. 

Electronic animation of Cannula refers directly to the pictorial tradition of abstract expressionism. In this case, the palette of the artwork projected onto the facade of the historic building of the University of Salamanca (Patio de Escuelas) is not painting, but videos posted on Youtube. A keyboard placed in front of the building will allow the public to enter a search in this audiovisual portal of Internet. Then a video of the introduced subject is downloaded. Projected onto the façade, it will eventually merge with the amalgam of videos from previous searches.

The gallery is proud to announce the The Baltimore Museum of Art’s acquisition of “Flayed Figure, Male, 3277 1/2 square inches” (1998), a major work by Jason Salavon.

 The Baltimore Museum of Art is home to an internationally renowned collection of 19th-century, modern, and contemporary art. Founded in 1914 with a single painting, the BMA today has 95,000 works of art—including the largest holding of works by Henri Matisse in the world.

Using software processes of his own design, Jason Salavon generates and reconfigures masses of communal material to present new perspectives on the familiar. Though formally varied, his projects frequently manipulate the roles of individual elements derived from diverse visual populations. This often unearths unexpected patterns in the relationship between the part and the whole, the individual and the group. Reflecting a natural attraction to popular culture and the day-to-day, his work regularly incorporates the use of common references and source material. Often, the final compositions are exhibited as art objects – such as photographic prints and video installations – while others exist in a real-time software context.

Yoram Wolberger has peen picked in Phoenix New Times’ article, “10 Best Artworks We Saw in Metro Phoenix During May 2016,” for his exhibition at Bentley Gallery.

Click here to read the article.

The gallery is thrilled to announce that a major work by Christopher Russell, “Explosion #10” (2014), has been acquired by the Sheldon Museum of Art.

Sheldon Museum of Art’s landmark Philip Johnson–designed building houses the collections of the Sheldon Art Association, founded in 1888, and the University of Nebraska. Together, the collections comprise more than 12,000 artworks in diverse media. The museum’s comprehensive collection of American art includes prominent holdings of 19th-century landscape and still life, American Impressionism, early Modernism, geometric abstraction, Abstract Expressionism, pop, minimalism and contemporary art.

Dealing less with the supernatural than the psychosomatic, Christopher Russell rouses ghosts. Within his scratched photographs, fractured glass panes, and hazy metallic paints, there are haunting recollections – the kind of outlier memories that plague our psyche well after childhood. Through a purposefully repressive fog, we habitually revisit the monsters of our innermost mentality, and find ourselves the protagonist of a lifelong plight – a cinematic tale evocatively illustrated by Russell’s eerie ships and spectral trees. Like a folkloric odyssey into a cognitive web, his mixed-media works and installations traipse through places of fragility and wistfulness; evidence of the divine and unsettling encounters inherent to our complex mortality.