Flyer artwork by Dan Estabrook
Anagnorisis Fine Arts and Shadow’s Space are pleased to announce an exhibition featuring works that explore the visceral and intellectual foundations behind the well-known French term, “La Petit Mort” or “The Little Death”. Dramatically referring to orgasmic fainting spells or spiritual release, the term evokes the darker, and perhaps more realistic aspects of lust and love. One could possibly say that, through its association with death, it could also hint at the adverse emotions associated with intimacy.
Exploring various interpretations of The Little Deaths are artworks created by a wide range of outstanding artists, from some who are just beginning to show their work to those whose names are recognized internationally. The collection is eclectic, yet the artists, many of whom have created new works exclusively for the exhibit, were carefully chosen for the sensual elements inherent in their artistic styles.
You can view a growing online preview of the exhibit by clicking here. We are adding new work as the artists send us images.
Show Highlights:
Seasoned artists such as Roger Ballen, Christopher Conte, Christian Rex van Minnen and Carrie Ann Baade will punctuate the show with their highly developed signature styles. Ballen’s uncomfortable and real compositions, Baade’s wonderfully allegorical oil paintings, Conte’s bio-mechanical sculpture and van Minnen’s lush and visceral oil paintings have captured the attention of many collectors around the world. The sensual works of the relatively unknown artists, Alex Passapera and Caitlin Hackett, explore themes of animal instinct in human nature. Both artists are very new to exhibiting their work, yet show strong potential for success. Passapera’s detailed ink or pigmented figures are often humans depicted with or mutating into animal forms in sweeping lines and grotesque forms. Hackett’s grotesque animals drawn with ball-point pen and other mediums are exquisitely detailed and delicate, reminiscent of age-old Japanese prints.
Participating artists: Christian Rex van Minnen, Anastasia Alexandrin, Carrie Ann Baade, Roger Ballen, Eduardo Benedetto, Molly Bosley, Dana Bunker, Christopher Conte, Clayton Cubitt, Jonathan Davies, Cam de Leon, Dan Estabrook, Danielle Ezzo, Lori Field, Heather Gargon, Chambliss Giobbi, Celicia Granata, Caitlin Hackett, Scott Holloway, Tina Imel, John Kolbek, Craig LaRotonda, Samantha Levin, Julie Anne Mann, Nia Mora, Dan Ouellette, Alex Passapera, Jeanette Rodrigez, Erin Colleen Williams
“The Little Deaths” runs from December 4th, 2009 through January 29th, 2010, at Shadow’s Space located at 1248 N Front St (@ Thompson St., Girard stop on the Market Frankford Line) Philadelphia, PA. The opening reception, on Friday December 4th from 6 to 9 pm, is free and open to the public.
For more information, contact Anagnorisis at 646.712.2820 or art@artanagnorisis.com – or Shadow’s Space through email (contact@shadowsspace.com) or by telephone at 215.425.1275.
ROGER BALLEN
Boarding House
Silver gelatin print, 31.5 x 31.5″, Ed. of 10
Anagnorisis is very excited to announce that a new exhibition of the work of one of our favorite artists will be taking place at Gagosian Gallery this month. Roger Ballen’s enigmatic photography is starkly eerie. The elements within his photographs are very familiar and simply arranged, yet his compositions are like to a waking dream. Please join us for the opening reception tomorrow night at Gagosian’s Madison Avenue location (details below). Mr. Ballen will be present (visiting from South Africa, no less) and will be signing his new book.
We would also like to humbly point out (with blushing cheeks) that he will have work in our upcoming show, The Little Deaths, taking place at Shadow’s Space in Philadelphia this coming December.
Gagosian Gallery
980 Madison Avenue
Thursday, November 5th, 6-8pm
Boarding House will be on view at the Gagosian Gallery from Nov 5 – Dec 23, 2009.
Filed under: Anagnorisis Picks, Art Shows | Tags: Beth Cavener Stichter, Brian Cotnoir, Claire Oliver, Lori Field, Morbid Anatomy, Observatory, Phantasmaphile, Proteus Gowanus
There are two events going on this week that I highly recommend attending:
Beth Cavener Stichter titled, On Tender Hooks at Claire Oliver
A Rush of Blood to the Head (detail)
Stoneware based mixed media sculpture
71 in. h x 56 in. w x 18 in. d
Claire Oliver is one of my favorite galleries in New York City. Their next opening, taking place this Thursday, October 22nd, is a solo show of sculptures by Beth Cavener Stichter titled, On Tender Hooks. Her creamy-colored animals look like they’ve been frosted with sugary goodness, yet also uncomfortably anthropomorphized with human sexual organs and actions. I’m hoping that after seeing Ms. Cavener’s works I will find some of Lori Field’s delicate works downstairs in Oliver’s large project space. On Tender Hooks will be on view from Oct 22nd, 2009 to Dec 5th, 2009.
Another fantastic lecture from the folks at Observatory. This one was put together by Phantasmaphile. Their invite reads:
Phantasmaphile presents a visual talk at Observatory by Brian Cotnoir which will examine actual alchemical theory and practice and its use of image and symbol in creation and the creative process. We will discuss the alchemical concept of the Imaginary and explore its application in the arts through concrete examples from the earliest alchemical imagery through to the surrealists. There will also be a screening of an excerpt of a film in progress that plays with some of the ideas touched upon in the talk.
Time: 8pm
Admission $5
DIRECTIONS TO OBSERVATORY: ***PLEASE USE NEVINS ST./PROTEUS GOWANUS ENTRANCE***
Observatory is located at 543 Union Street at Nevins St., in the Gowanus neighborhood of Brooklyn. The entrance is currently through Proteus Gowanus gallery, in the alley off Nevins St (see below for full details).
R or M train to Union Street in Brooklyn:
Walk two long blocks on Union (towards the Gowanus Canal) to Nevins Street. 543 Union Street is the large red brick building on right. Go right on Nevins and left down alley through large black gates. Proteus Gowanus is the second door on the left.
F or G train to Carroll Street:
Walk one block to Union. Turn right, walk two long blocks on Union towards the Gowanus Canal, cross the bridge, take left on Nevins, go down the alley to Proteus Gowanus, the second door on the left.
For more information, see observatoryroom.org. Be sure to take a look at the other events they have planned!
Edit: I just want to add quickly that Observatory’s lectures are most often linked to the arts in some way or other. This particular lecture, albeit only briefly, linked alchemy’s symbolism to Surrealism of the 20th century. If we’d had more time, Mr. Cotnoir would have delved further.
Anagnorisis is proud to present, “Remember, Sebastian”, a solo showing of dioramas and collages by Molly Bosley. Please join us for the opening reception at the White Rabbit Lounge on Friday November 6th from 7-10pm.
The White Rabbit is located at 145 East Houston Street (btw. Eldridge St. and Forsyth) in New York City.
Artist Statement:
For as long as I can remember, I have been frequented by wildly vivid dreams. “Remember, Sebastian” is my series of work in which I finally address my subconscious by materializing it in form. I use pattern and repetitive imagery in my work to represent the recurring nature of dreams. Many of my dreams concern my fears and difficulties presented in forms whose intimacy contradicts their more ominous character. My sleeping life is such an integral part of myself that I am compelled to create art from the experiences I have in my dreamland.
While rooted in the familiar and comprised of tangible visions, dreams are more about feelings and notions–unspoken and unseen things. To create physical art which mirrors the discord between the substantial components of dreams and their abstract counterparts, I have found a medium which can create a visible landscape while remaining ambiguous in meaning. I manipulate blank, white paper into pieces that are detailed and intricate, yet simple and stark. In creating elaborate scenes with blank paper, I present an object which is tangible and familiar, yet the scene is only a silhouette of the actual affair. This leaves an entire world of hope and uncertainty. Just as in a dream, the possibilities of how things will unfold are limitless and this presents the potential for any amount of joyousness or treachery. My work is a tug of war between the immediately familiar and the infinitely imaginable.
Scherenschnitte, which means “scissor cuts” in German, is the art of papercutting design. Discovering this 500 year old tradition has opened up a universe of exploring the techniques and continuously learning to perfect the craft. This work emerged from ideas that have been steeping for years. I have, just now, in recent months discovered how to materialize them into artwork. I have seen them evolve and transform from the conventional use of paper to this elaborate new form of dissecting and altering. In my work, like the fairytales and story books of my childhood, an ominous presence lurks in the distance. Utilizing silhouette images of the commonplace and the eerie, I record glimpses into the narrative of a life lived in dreams. The intentions of these scenes are not necessarily revealed until one fully examines the hidden imagery. The landscape of my merged images is at once delicate and haunting.
The Art of the Automobile was a one-night art exhibit that took place on September 24th, 2009. Curated by Samantha Levin of Anagnorisis Fine Arts upon the request of illustrator and artist extraordinaire, Fred Harper, it was a very successful event with over 100 guests in attendance. Surrounded by some of the most amazing cars ever made was a wonderful collection of artwork inspired by the enigmatic love for the automobile.
Fred Harper’s One Way #101, Gouache on Bristol board, 11 x 17″
Artists involved:
Fred Harper, Molly Crabapple, Christopher Conte, Steve Ellis, Bernardo Corman, Robert Craig, Craig LaRotonda, Chris Savido and Jason D’Aquino
The Classic Car Club is a world famous private club that gives its members the keys to a fleet of the most amazing cars ever built, from Ferraris and Aston Martins to American muscle and modern racers. Membership is as rare as it is privileged. Anagnorisis had a wonderful experience putting up this exhibit in the club’s amazing venue.
Work is still available for purchase. Information on the artists as well as a gallery of images can be found on the exhibit’s main website, fineartauto.com. Please direct any questions about the artwork to Samantha Levin by phone (646.712.2820) or email (art@artanagnorisis.com).
A huge thank you to all of you who attended! Images from the reception can be viewed here. Photos by Steve Prue.
The Street of Crocodiles (1986) was my first Quay Brothers film experience, and I mean experience in the most literal sense. The lights dim, and you slide back in your chair. The screen illuminates with that black glow that spawns a flittering of anxiety in the base of your stomach, even before any images appear. I remember the wooden esophagus with it’s clustered, rusted screws scurrying along the floor, the towering boxes with layers of filth, and that moment on the street where everything comes together.
Image courtesy of Joanna Ebenstein of Morbid Anatomy
Filed under: Art Critiques, Art Shows | Tags: Camera Club of NY, Chris McCaw, Dan Estabrook, Eric William Carroll, Marco Breuer, Michael Flomen, Michelle Kloehn, photography
Over the decades, CCNY nurtured the craft of many photographers through providing enriching classes, lectures, exhibitions, and residencies. Although countless aesthetic preferences have developed the organization, First Impression reflects upon the medium’s own heritage which features contemporary artists that catalyze a current sensibility through the means of archaic methods.
This week there will be a big blast of art gallery openings in New York city. It’s going to be a bit overwhelming and we apologize for hitting you with this post so late! No one wants to end the summer hiatus with anything underwhelming, especially with the recession, so everyone’s putting up their favorite artists.
Anagnorisis would like to recommend some shows for you to go to, although this list, by no means, is comprehensive.
Thursday, September 10th:
Thomas Allan’s Epilogue at Foley Gallery
Joseph Stashkevetch’s Hudson Sketches at Von Lintel Gallery
Saturday, September 12th:
Scott Brook’s Domestic Terror at Last Rites Gallery
Evan Hecox’s Last Thousand Years at Joshua Liner Gallery
Wednesday, September 16th:
Eric White’s LP and Daniel Davidson’s Double Stuff at Sloan Fine Arts
Thursday, September 17th:
Gottfried Helnwein’s first solo show in New York at Friedman Benda Gallery (DON’T MISS THIS!!!)
George Boorujy’s Migratory Drift at P.P.O.W. gallery
Friday, September 18th:
Kasia Houlihan’s video, “An Hour and a Day” is a meditation piece. Steeping in serenity, her planes will lull you. Kasia’s work will be on view on Friday September 4th during the opening reception of Philip Hardy’s “Predictive Text” exhibit.
Kasia Houlihan
An hour and a day, 2009
The basic building block of An hour and a day is simple, mundane even: a shot of an airplane in flight, crossing from one side of the screen to the other. Some are fast. Others are slow. Some appear as small as fireflies off in the distance, while others soar just overhead. It is in the pointed arrangement of these singular clips where several complexities arise, as the shots of plane after plane making its way across the sky have been sequenced into a meticulous montage according to the exact time of day at which each was filmed.
The hour-long video spans early morning to late night hours and everything in between, as shifts in light reveal the passing of time not only over the course of a day, but also throughout the year. However, what presumes to be a straightforward dawn-to-dusk equation eventually breaks down as afternoon turns into a dark February night, which shifts into a glowing August evening and then back into darkness once again.
In much the same way that one keeps a daily journal, I continue to collect this footage, shot from my kitchen window since January 2008.
Filed under: Art Critiques
Rik Garrett’s photographs are thin slivers of time taken from waking dreams: sublime and seductive, blurred and yet completely refined, so serene and profound. Crisp visuals slip away from realism with a smooth, inebriated grace. His work not only relishes the beauty of the female form in which it courts, but washes over it with a sense of languid reverie allowing our subject to openly draw us through a beautiful infatuation.
