Featuring more than 20 works, including several that are among the artist’s largest and most recent, Amanda Valdez: Piecework explores artist’s engagement with abstraction and “women’s work” with fiber. She conjures surprising compositions through thoughtful use of different materials and techniques.
Presented by Daata & TSS
February 29 – March 15, 2020
JEF is a cosmology, inspired by world building techniques in sci-fi literature, fully automated luxury space communism fantasies and human/computer interaction. The project takes on many forms from animation and simulation to video games and stand-alone video objects from Infinite Objects. This project brings together for the first time various elements that have featured with Daata at Phillips New York, Joyous Dystopia at The Bass Museum Miami and New World Symphony and on Infinite Objects. Jeremy is represented by Denny Dimin Gallery. This project launches the release of JEF on the Steam gaming platform.
Denny Dimin Gallery is pleased to announce the Los Angeles County Museum of Art (LACMA)’s recent acquisition of two works by Michael Mandiberg. LACMA acquired both works following the artist’s exhibition, Workflow, at the museum.
With a wave of high-profile art galleries relocating to its chic and spacious lofts, Manhattan’s Tribeca neighborhood is quickly regaining its status as New York City’s art gallery hub. Hand in hand with this urban renewal are female dealers representing a slew of women artists and artists of color.
On Jan. 23, the daily Fordham landscape went through a rather eye-catching and colorful change. Positioned across from the escalators that lead to the indoor plaza, Ildiko Butler Gallery now proudly hosts “Fanfare,” a group exhibition curated by Amie Cunat, which will go on through March 13. “Fanfare” focuses on patterns and their relation to art as a means of content manifestation and self-expression.
Sold-out gallery exhibitions make news, which can lead art collectors and enthusiasts to believe the phenomenon is a frequent occurrence. We hear about Loie Hollowell selling out at Pace, Carol Bove at David Zwirner, Brice Marden at Gagosian, Ebecho Muslimova at Magenta Plains, and Avery Singer at Kraupa-Tuskany Zeidler.
What happens, in such circumstances, when more collectors want the work? What if demand for an artist’s work exceeds supply? Often, rumors circulate about massive waiting lists drawn up by galleries, organized according to mysterious priorities, and kept hidden from public view.
But according to many dealers, that’s hardly standard industry practice. Below, seven gallerists share their experiences with waiting lists and the delicate art of handling collector demand while protecting their artists’ interests.
The eyes may be the windows to the soul, but torsos are even more telling in this mid-career New York artist’s new group of intimate, numinous paintings. In this show, titled “Altar-ed Bodies,” Haynes explores the possibilities of feminist figuration in cropped compositions whose subjects are frankly depicted, in frontal poses, with their scars, stretch marks, and sagging flesh.
Rendered in a rainbow of vibrant colors, Clarity Haynes’s portrayals of queer, heavy, and disabled bodies reimagines the white box as a communal space that allows for the possibility of healing.
Nicky Nodjoumi’s dreamy serial paintings; Albert Oehlen’s “mirror paintings”; Clarity Haynes portraits of breasts; Kim Tschang-Yeul’s abstract brand of Pop Art.
As a lesbian woman, artist Clarity Haynes is aware that her “contributions to culture are likely to be erased as I am doubly marginalized”. However, her paintings of torsos and altars, which play a cathartic role both on her, the people who model for her, and the audience, will go down in history. With the aim to promote peace, empower the marginalized and fight the patriarchy, her beautifully honest, raw and truthful artworks serve ulterior purposes of healing, self-acceptance and love. Currently exhibiting at New York City’s Denny Dimin gallery, we sit down with the artist to talk about gender identity, sexuality, censorship, beauty and the healing properties of art.
The art world returns from winter break.
Each week, we search New York City for the most exciting and thought-provoking shows, screenings, and events. See them below.
The philosopher Ludwig Wittgenstein wrote, “If a lion could speak, we would not be able to understand him.” Dana Sherwood puts this observation to work in her fantastical art, which gives a voice to the world’s non-human inhabitants. In a time when man has an overarching influence on the environment, Sherwood’s work reminds us that we forget the intricacies of other living creatures. A new exhibition of Sherwood’s work is inspired by the multimedia artist’s time in Mongolia. —J.V.
A roving exhibition, now on view in Manhattan, looks back on capitalism and its “artifacts” from an imaginary future after the system has disappeared.
Make a day of it with our roundup of Tribeca highlights.
What’s old is new again in Tribeca, the neighborhood that fell off New York City’s cultural map when galleries moved en masse to Chelsea. Today, the area is booming again as dealers rapidly relocate their galleries to the triangle below Canal Street.
Please give us some background about yourself and your development as a photographer: How did you come to be interested in exploring the relationship between photography and violence and the viewer in your work?
While it’s true that things aren’t always what they seem, it’s also true that things can be hidden in plain sight. A show of new works by Erin O’Keefe embraces both maxims. Just as Photorealist painters flipped the script on their medium, a number of photo-based artists of late have been tinkering with processes and materials to painterly effect. Consider the process-based abstractions by Matthew Brandt and Alison Rossiter, or even the video reenactments of Old Master works by Eve Sussman and Bill Viola.
From the pocket of a white denim jacket in the back of Denny Dimin Gallery, Dana Sherwood pulls out a rock. Not just any rock, though: she’d picked this one up while visiting the Gobi Desert. Shortly after, she took it to a Mongolian shaman, who blessed it and handed it back to her as a sort of talisman.
For her stunning new series of paintings, New York artist Dana Sherwood centres on her experience of living and working amongst nomadic tribes in Mongolia.
by Erin O’Keefe
Selected by
Rebecca Leona van Enter, Artist and Gallery Liaison, Unseen
“Carefully aligning colourful 3D blocks, Erin O’Keefe’s abstract compositions play with space and spatial perception. The resulting photographs trick the eye, and are often mistaken for paintings.”
As David Little sees it, there’s a fair amount of gray in that definition, since there’s debate about when modern art, the dominant theme of the 20th century, segued into contemporary art — sometimes broadly defined as “the art of today.”But the director and chief curator of Amherst College’s Mead Art Museum also notes that many contemporary artists are willing to work in multiple mediums — painting, printmaking, photography, video — and can comfortably integrate those fields, while also finding inspiration from multiple sources, from the media to found objects to plastic and plexiglass.
JTF (just the facts): A total of 9 large scale color photographs, framed in grey and unmatted, and hung against white walls in the divided gallery space. All of the works are archival pigment prints, made in 2019. Physical sizes range from 25×20 to 50×40 inches, and all of the prints are available in editions of +2AP.
Erin O’Keefe at Denny Dimin Gallery
As a student of Western art history, I have been asked to study the work of Pablo Picasso a little too frequently for my taste. I thought I could confidently say that I had puzzled over his collages—you know, the famous still lifes that incorporate wine bottles and cut up pieces of le journal—enough to be thoroughly fed up with seminar table conversations on representation and reality in pictorial space.
