If the novelty of the techniques is always deliberate, however, the return of an image’s archetypal structure may be instead mostly subconscious. The intertexuality, or interfigurality, between old and contemporary images, in the last thirty or forty years, points to the other sphere of globalism, beside the spatial one that the cybermedia and the multi-national economy are generating. It’s the temporal globality that the encyclopedic museums, the philosphy of consciousness, art books, jet travel, an ever-deepening knowledge of the past, the dissemination of information have constructed in the modern mind, and that renders all art diachronic in facture but synchronic in meaning. The strength of an artist’s intuition and formal devices is, of course, irreducible to the presence of an interfigurality; but a painting often receives a higher validation from the depth it acquires from its (re)invention of an archetype.

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Articles and Reviews:
THE NEW YORK TIMES | April 19, 2012

This innovative, cross-cultural installation was developed to create new ways of looking at art by making connections between cultures as well as objects. Located in the Museum’s first-floor Great Hall, it provides for the first time a dynamic and welcoming introduction to the Museum’s extensive collections, featuring pieces that represent peoples throughout time and around the world.

Connecting Cultures is organized around three main themes: “Connecting Places,” “Connecting People,” and “Connecting Things.” In viewing the juxtaposition of thematically linked works, visitors are invited to consider the importance of place, of self-representation in art, and of the role that objects play in supporting personal and cultural identity. Works on display include Gaston Lachaise’s monumental Standing Woman, Nick Cave’s Soundsuit, and kero cups used in Andean ritual.

Connecting Cultures: A World in Brooklyn was a joint effort of the Brooklyn Museum’s curators, organized by Kevin Stayton, Chief Curator. The installation was designed by Matthew Yokobosky, Chief Designer at the Brooklyn Museum.

Generous support for this long-term installation was provided by Lisa and Dick Cashin.

Culinary research intersects with tradition in this book which is as iconoclastic as Martin Picard’s world famous cuisine. Mixing genres and styles, just like this chef does in his kitchen, the book offers a touch of literature, a smattering of sexy images together with scientific information and cutting-edge gastronomical research. More than just another cookbook, this book wants to mark the passage of time. It describes an entire year in the restaurant, in sync with the rhythms of the seasons, from the silences to the fiery outbursts in an internationally recognized kitchen. It pays tribute to gastronomical and sugarmaking traditions, intent on conserving them and passing them on. Maple syrup is as unique and rare a product as truffles or caviar, and readers around the world will be introduced to the wide range of its qualities and uses.

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Charest-Weinberg is pleased to present “Eclipse,” an exhibition of work by Berlin-based artist Hannes Bend. The exhibition will open to the public on Friday, March 30th and will be on view through June 2nd, 2012. There will be an opening reception on March 30th from 6-9pm.

Hannes Bend was born in Neustadt, a small town on the Baltic Sea in northern Germany. An affinity for the dramatic natural landscape, one that similarly inspired the German Romantics, runs through his art. It should be mentioned that Caspar David Friedrich painted the area surrounding Bend’s childhood home. However, the younger artist’s sublime has been contaminated by the twentieth century–industrial modernization and globalized popular culture–forcing classical tropes to grapple for contemporary relevance. The sky and the ocean, long expanses of contemplation, have been recast as negative space encroached upon by society. While not hopeless, the situation is far from ideal.

For “Eclipse,” Bend stages a multimedia recreation of the contemporary sublime and its lower, fractured shadow. The gallery overflows with wreckage dredged from the Osborne Reef, a failed manmade reef off the coast of Fort Lauderdale. The reef began in 1972, when the Broward Artificial Reef Inc. Company (BARINC) began dumping car tires in hopes that they would foster marine life. With close to 2,000,000 tires today, the Osborne is now an ecological catastrophe. Two videos bracket this well-intentioned dystopia. Eclipse, 2012 shows blue sky interrupted by passing cars, industrial equipment, and the underbellies of passenger airplanes. Aquadome, 2012 juxtaposes different watery environments: the shoreline, the Osborne Reef, aquariums and swimming pools. As Aquadome flits from the submerged cemetery to the bourgeois appropriation of nature, recalling both Friedrich’s The Sea of Ice and Dan Graham’s Death By Chocolate, the viewer must accommodate both natural continuation and societal entropy. It is not just a phonetic link that attaches these water pieces to bathos-the lofty treatment of the commonplace. His work joins us as we search high and low for that which is worth saving.

Hannes Bend graduated from the Fine Arts College Berlin Weissensee in 2007. He has had solo exhibitions in Berlin and New York. “Eclipse” is his first solo exhibition with Charest-Weinberg.

This exhibition is supported by:
South Florida Diving Headquarters
PalmBeach HammerHeads Dive Club
Miami Cordage

Jacob Gossett (b. 1983, Youngstown, OH) lives and works in Brooklyn, NY. He attended Skowhegan School of Painting and Sculpture in 2009 and received his BFA from Pratt Institute in 2010.

Gossett is also half of the music duo known as Beacon. In 2011 they released an EP on the Brooklyn based label Moodgadget and have recently toured the U.S. and Canada.

HOUSTON, TX – February 7: Despite their significant age difference, artists Fernando Mastrangelo and Forrest Prince offer two complementary interpretations of religious iconography, social commentary and mythology. Both sculptors challenge mainstream ideas about subjects ranging from social and political ideology, education and the art-making process.

Philomena Gabriel Contemporary opens Prince and Mastrangelo’s solo exhibits, The Truth Will Set You Free and This Too Shall Pass, on February 17 from 6pm to 8 pm, followed by a morning reception on February 18, from 11am to 1pm. The show runs through March 18. Both Mastrangelo and Prince will attend the opening events.

Brooklyn-based Fernando Mastrangelo uses unconventional and controversial materials such as condensed gun powder, cocaine, pressed corn meal and human ashes as part of his established vernacular. The artist uses these substances to create cultural objects that propose direct relationship between the piece and how it should be understood.

Despite his apparent social message, Mastrangelo rejects the idea of sermonizing, preferring to find meaning in the ironic relationship between the materials and his subject. For the exhibit at PG Contemporary, Mastrangelo has created an impressive new work specifically for the space.

Houston-based artist Prince is a self-taught sculptor who explores everything from global politics to America’s fast-food culture in his work, always with references to such Christian iconography as the cross and the words “Praise God.” Prince has an upcoming retrospective at the Station Museum of Contemporary Art (Houston 2012).

Opening Reception: Friday, February 17 from 6pm – 8pm and
Saturday, February 18 from 11am – 1pm
On View: February 17 to March 18, 2012
Where: PG Contemporary, 3227 Milam St., Houston, TX 77006

Born in 1978, Brooklyn-based artist Fernando Mastrangelo has a Master of Fine Arts in sculpture from Virginia Commonwealth University in Richmond, VA (2004), and a Bachelor of Fine Arts in sculpture from the Cornish College for the Arts in Seattle, WA (2002). In 2001, he attended Pilchuck Glass School in Stanwood, WA.

Mastrangelo exhibits with Charest-Weinberg Gallery in Miami, FL, where he currently has a solo show Black Sculpture and was reviewed by Artforum.com Critics Pick, January 2012

He has participated in numerous group shows in New York, including Waiting for the Barbarians at RARE plus; Malicia at Rare Gallery; Le Desertde Retz at Massimo Audiello Gallery; Intransit at Moti Hasson Gallery; Felix at the Volta Show; Data Panic at Cuchifritos Artspace; Love is a smoke made with the fume of sighs… at Kumukum Gallery; and La Salvamara at Mendes/Mendes Gallery.

His work titled “Malicia” was acquired by the celebrated Cheney Collection in Houston, TX.

Born in Houston in 1935, sculptor Forrest Prince held his first solo exhibit in 1976 at the Contemporary Art Museum in Houston, by renowned curator James Harithas. That same year he participated in a group show at the Houston Museum of Modern Art.

Prince has participated in the HMMA Show at the University of Houston (1982); founded the Praise God Foundation and exhibited in a group show at the Midtown Art Center in Houston, TX (1983); participated in group shows at Diverseworks, Graham Gallery and the Hooks-Epstein Gallery (1987); had a solo show at Diverseworks curated by Caroline Huber (1991); participated in group shows at Lawndale Art and Performance Center in Houston, TX (1994-1995) and the Anti-War Show at The Station Museum of Contemporary Art (2005).

In 2005, Prince was in a group show at the Menil Collection, which acquired his work “The Greatest of All is Love.”

Zoya Tommy, Director of Philomena Gabriel Contemporary, is pleased to present these two exhibits. For more information please contact PG Contemporary at info@pgcontemporary.com, www.pgcontemporary.com or (713) 523-7424.

PG Contemporary is located at 3227 Milam St. Gallery hours are Thursday to Saturday 11am to 6pm or by appointment.

Articles and Reviews:
ARTNET | February 14, 2012
BLOUIN ARTINFO | February 8, 2012
COOL HUNTING | January 27, 2012
W MAGAZINE | February 6, 2012

Sheree Hovsepian’s work is a multi-faceted investigation of photographic processes. In our first solo show with the artist, Hovsepian’s black and white photograms, hypnotic video, and delicately balanced wall-based installations have a physicality that relates very naturally to the body, and more specifically to the artist’s hand. Touch, or the haptic sense, may be more commonly associated with painting or sculpture, but Hovsepian’s tactile manipulations are very present in her mostly abstract photographic works.

Sheree Hovsepian (American b. Isfahan Iran 1974, lives NY) received her BFA/BA from the University of Toledo in 1999, studied at The Glasgow School of Art, Scotland and received her MFA from SAIC in 2002. She was included in “Harlem Postcards” at the Studio Museum, and has had solo exhibitions at Charest-Weinberg Gallery Miami (2011), The West Street Gallery NY (2010), and the Spertus Museum Chicago (2009). She was a recipient of the Aljira Emerge 20 Residency in Newark NJ, a CAAP Grant, and travel and graduate grants from SAIC. Her work is in the permanent collections of the Studio Museum in Harlem, The Art Institute of Chicago, and the Spertus Museum Chicago. Hovsepian currently teaches at Pratt University and her work will be featured at The Amory Show 2012 in moniquemeloche’s booth 738.

Court Gallery:
Cerebral Spirits: Stalking the Self
Curated by Suzanne Anker

Artists: Suzanne Anker, Phil Buehler, Richard Dupont, Thomas Eller, Frank Gillette, Michael Rees, Katy Schimert, and Jeanne Silverthorne.

This exhibition explores the ways in which concepts in neuroscience research have been incorporated into visual art practice and contemporary culture. From mental illusions to hallucinations to representations of mood, these work address the intersections of body experience and mental affect through pictorial metaphor.

Cerebral Spirits is organized in conjunction with the Center for Computer Art and Animation. Panel discussion is co-sponsored by the Center for Computer Art and Animation.

Interview with Richard Dupont

In Marfa, Fischer has continued work on a multi-faceted piece that began as a kind of sculpture and was subsequently filmed — the subject being a mobile, colored glass house that over the course of being built, moved, suspended, and taken apart, embodies the formal, structural and emotive properties that inform his work.

Fischer was born in Minneapolis in 1968, and lives with his wife and two children in Brooklyn. He received his BFA from the Minneapolis College of Art and Design in 1993. Rob has had exhibitions of his work at the Hammer Museum, Los Angeles; Whitney Museum of American Art at Altria, New York; Cohan and Leslie, New York; Mary Goldman Gallery, Los Angeles; Contemporary Arts Forum, Santa Barbara; Franklin Art Works, Minneapolis; Max Wigram Gallery, London; and Art in General, New York. His work has also been featured in group exhibitions, including the 2004 Whitney Biennial; Greater New York, P.S.1, Long Island City, New York; Open House: Working in Brooklyn, Brooklyn Museum of Art; Corcoran Gallery of Art, Washington, D.C.; Sculpture Center, Long Island City; Art and Idea, Mexico City; and the Walker Art Center, Minneapolis.

For more information, please contact:
The Chinati Foundation
1 Cavalry Row
Marfa, TX 79843
t 432 729 4362
chinati.org