Cat Power drops the video for “Manhattan”, co-directed by Chan Marshall and Greg Hunt. The video appropriately collects footage of Marshall trekking around New York– crossing the bridge between Brooklyn and Manhattan, wandering in Chinatown, record shopping, and dancing in the subway.
TweetIn 2011, Johnny Jewel’s Symmetry project released Themes For an Imaginary Film. Now, the Imaginary Film closing track “Streets of Fire” has a music video directed by Alastair Uhlig. It features a series of scenes in New York City.
TweetThe West Gallery of the Institute of Contemporary Art (ICA) in Boston, MA plays host to a new mid-career survey of influential San Francisco–based artist Barry McGee. McGee’s “Drawing from the Street” exhibition includes a run of early, unseen works alongside videos, 3-D drawings, paintings, photography, and more.
Alongside a catalog that is available from the ICA Store, a few limited edition items have been produced to celebrate the opening of “Drawing from the Street.” These two limited edition water bottles, produced by Cinelli, feature Barry McGee artwork.
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In his new works, Prudencio Irazabal untiringly pursues his investigation which, through an etymological enquiry coupled with an analysis of the purely physical properties of painting, seeks to understand the painting process as something that is played out not only on the surface but also at the deeper layers of a painting. Such an emphatically material way of seeing has yielded over the years contrasting meanings, so that one could describe this way of seeing as being “perpendicular to the surface” of the canvas.
By using so-called “persistence techniques” – essentially similarly repetitive applications of transluscent colours on one and the same area of the canvas -the artist provokes a revelation of traces that only a long period of time spent on a work can create. Some of the works exhibited took up to five years to produce.
Without minimisng the importance of those aspects of painting which a camera can pick up on and reproduce on screen or on paper, these work procedures create perception zones that the viewer can make out only by standing directly in front of the painting.
Although the inner life of paintings has not received much attention outside museum restauration departments, for Irizabal it weighs heavily in the act of perception. To reveal it or be able to see it without the aid of tools, the artist uses a highly transparent acrylic material. For transparency not only creates depth and forces material to defer to light, but by not requiring study or analysis it functions autonomously before the naked and trusting eye.
Opposite – Untitled # 25S, 2007–12
Exhibition runs through to May 4th, 2013
Galería Helga de Alvear
Doctor Fourquet 12
28012 Madrid
Spain
Canan Tolon’s paintings at first appear as purely abstract, but with time the eye discovers familiar urban landscapes in the rhythmic painted streaks. She explores the visualization of space by creating an illusion of depth and engages the viewer in the game of seeking recognizable imagery and inventing a visual narrative. The black and white pieces in particular allude to the documentary quality of photography, suggesting reality where there is only imagination. Like a distant mirage, the viewer is drawn into the work, wanting to explore the multiple layers of information. With even closer inspection, the elusive vistas dissolve back into abstract patterns revealing the painting’s deception. This duality makes the imagery unstable, flickering between truth and illusion to create an ever-interesting visual feast.
Exhibition runs through to May 25th, 2013
Von Lintel Gallery
520 W. 23rd Street
Ground Floor
New York
NY
10011
Moritz began this extraordinary body of work shortly after the attacks of 9/11, when she spent three days in Novia Scotia after her flight to New York was diverted.
From this foreign, isolated location she watched the immediate aftermath of the attacks and began to contemplate the changing nature of borders, conflict and the technology of war.
With the exception of Gelbes Kleid I and II (both inspired by a Robert Capa photograph from the 1940s) all the paintings in the exhibition are based on press clippings collected over the last ten years. Using these documentary images as a starting point Moritz deconstructs them rendering them devoid of any historical context. Moritz does not seek to directly document war but instead to approach it obliquely by focusing on rare moments of calm and intimacy of every day during conflict.
“Her stated desire is to free the motifs from their immediate history and from the words that accompany them. Moritz’s war paintings are not about specific incidents, specific people, and specific wars; instead they reflect broader historical phenomena, such as our era’s new wars, and by extension, the Cold War.”
Moritz creates an atmosphere in which tension is omnipresent without the use of explicit violence and images of carnage.
Exhibition runs through to May 4th, 2013
Galerie Marian Goodman
79 Rue du Temple
75003 Paris
France
