http://thepacegallery.com/ The Pace Gallery en Wed, 16 May 2012 21:51:16 GMT Wed, 16 May 2012 21:51:16 GMT catalog@thepacegallery.com http://thepacegallery.com?q_title=Now Searching%3ACurrent Exhibition&q_searches=1&q_q_1=__uid:"Exhibition_keywords 1375"&r_referrer=Exhibition&r_type=detail&r_details=x_x_x_x_0_x_x_x_x_x_&r_page=x_x_x_x_x_x_x_x_x_x_&r_search=0~q_title=Now Searching%3ACurrent Exhibition&q_searches=1&q_q_1=__uid:"Exhibition_keywords 1375"|0|0|0|0|0|0|0|0|0| exhibition_1375 http://thepacegallery.com?q_title=Now Searching%3ACurrent Exhibition&q_searches=1&q_q_1=__uid:"Exhibition_keywords 1363"&r_referrer=Exhibition&r_type=detail&r_details=x_x_x_x_0_x_x_x_x_x_&r_page=x_x_x_x_x_x_x_x_x_x_&r_search=0~q_title=Now Searching%3ACurrent Exhibition&q_searches=1&q_q_1=__uid:"Exhibition_keywords 1363"|0|0|0|0|0|0|0|0|0|
When the dreamer dies, what happens to the dream? is presented in conjunction with Marianne Boesky Gallery. ]]> exhibition_1363 http://thepacegallery.com?q_title=Now Searching%3ACurrent Exhibition&q_searches=1&q_q_1=__uid:"Exhibition_keywords 1369"&r_referrer=Exhibition&r_type=detail&r_details=x_x_x_x_0_x_x_x_x_x_&r_page=x_x_x_x_x_x_x_x_x_x_&r_search=0~q_title=Now Searching%3ACurrent Exhibition&q_searches=1&q_q_1=__uid:"Exhibition_keywords 1369"|0|0|0|0|0|0|0|0|0| exhibition_1369 http://thepacegallery.com?q_title=Now Searching%3ACurrent Exhibition&q_searches=1&q_q_1=__uid:"Exhibition_keywords 1374"&r_referrer=Exhibition&r_type=detail&r_details=x_x_x_x_0_x_x_x_x_x_&r_page=x_x_x_x_x_x_x_x_x_x_&r_search=0~q_title=Now Searching%3ACurrent Exhibition&q_searches=1&q_q_1=__uid:"Exhibition_keywords 1374"|0|0|0|0|0|0|0|0|0| exhibition_1374 http://thepacegallery.com?q_title=Now Searching%3ARecent News&q_searches=1&q_q_1=__uid:"NewsItem_keywords 348"&r_referrer=NewsItem&r_type=detail&r_details=x_x_x_x_0_x_x_x_x_x_&r_page=x_x_x_x_x_x_x_x_x_x_&r_search=0~q_title=Now Searching%3ARecent News&q_searches=1&q_q_1=__uid:"NewsItem_keywords 348"|0|0|0|0|0|0|0|0|0|
Rather than a singular moment, Graham’s color photographs present us with frustrating non-moments—defying our expectations for drama or narrative. Arranged as diptychs and triptychs, each seemingly distinct moment is paired with the events before or after. In the blink of the eye, figures in one frame shift in the next or are replaced by mirror figures. Gestures are transposed or replicated from one image to the next, creating fractured tableaus of coincidence and human drama. A woman with orange hair passes by only to be followed by a woman drinking orange soda; a man with an eye patch walks by and is replaced with a man squinting in the sun. In one triptych, a young man coolly smokes a cigarette outside Rockefeller Center as taxis, tourists, and fellow New Yorkers swirl around him. While we do witness more traditionally dramatic scenes, such as a woman tripping, the pairings reveal everything that surrounds the “perfect” moment. People familiar with Graham’s critically acclaimed series, a shimmer of possibility, will recognize his continued and creative use of photographic pairing and sequences—a technique he described in that work as “filmic haikus.” Ranging in tone from humorous to melancholic, the best pairings and sequences highlight the fleeting dramas, surprising juxtapositions, and subtle repetitions that make the city streets such endlessly engaging places.

All the images are shot in New York City and display genuine affection for the chaotic heterogeneity of the city. Class, race, and religion collide in empathetic but often pointed ways in the images. In one image, an African-American businessman is paired with his homeless counterpart—captured moments apart on the same intersection. While such pairings feel a little too easy, Graham has never hesitated to show the inequities of the world—be it racial and social inequality in American society in his series American Night, or the plight of the unemployed in Thatcher-era England in his series Beyond Caring. The Present does not shy away from showing the politely ignored social inequities of the urban landscape, but, at its heart, highlights photography’s ability to capture moments of quiet, unexpected beauty.

Graham makes excellent use of light and focus in these images. Dramatic canyons of light and shadow isolate and spotlight his subjects. Narrow focus, both captured in camera and at times enhanced in post-production, directs our attention to the drama of each image. Figures emerge from and sink into the velvety dark shadows and delicate blur of the camera. This technical sleight of hand dramatizes the different moments and people, but also replicates the way our attention subtly shifts, latching onto and freezing particular moments as the world and time unfurls around us. Presented either as single or double gatefolds, the placement of the images also shifts throughout the book, forcing the viewer to slowly move through the book, uncover, and contemplate each image and its pair.

A companion volume to his last two books, American Night (Steidl/MACK, 2003) and a shimmer of possibility (Steidl/MACK, 2007), The Present is beautifully designed and laid out with a handsome bronze-gold cloth cover and fuchsia text. Like the other books in this unofficial trilogy, the book addresses aspects of contemporary American society, while, at the same time questioning photography as a medium and visual language. Although not as revelatory as his award-winning series and book, a shimmer of possibility, Graham pushes the techniques and ideas of that work and tackles the storied tradition of street photography. As the book’s title suggests, Graham confronts and fractures “the present” moment to reveal the strange surprises that the world and city street have to offer.
]]> NewsItem_348 http://thepacegallery.com?q_title=Now Searching%3ARecent News&q_searches=1&q_q_1=__uid:"NewsItem_keywords 347"&r_referrer=NewsItem&r_type=detail&r_details=x_x_x_x_0_x_x_x_x_x_&r_page=x_x_x_x_x_x_x_x_x_x_&r_search=0~q_title=Now Searching%3ARecent News&q_searches=1&q_q_1=__uid:"NewsItem_keywords 347"|0|0|0|0|0|0|0|0|0| Pace Gallery
534 W. 25th St., (212) 929-7000
Through April 28

Among the first-generation Abstract Expressionists, Adolph Gottlieb (1903-1974) was, along with Robert Motherwell, the most elegant. His mature paintings—done after the "Pictograph" pictures of the 1940s—are less aggressively radical than Jackson Pollock's, less deliberately "tough" than Franz Kline's, and less theoretically driven than Hans Hofmann's, with his "push-pull" big idea. They attempt to be simply beautiful, doing so via adroitly chosen color, carefully calibrated shapes, sophisticated paint application and an airily delicate balance using vast areas of "empty" space. The question with a Gottlieb exhibition—such as this superbly installed show, with a lot of nice breathing room—is whether his work will look better or weaker in the context of 40 to 50 years of subsequent artists' derivative, and then dismissive, abstract painting.

When it comes to the 12 paintings here, in nearly every case the Gottliebs look better. The works' monumental prettiness seems to have a philosophical depth to it, and more than a hint of metaphysical truth. In "Spray" (1959), this can be seen in the way in which a slightly flat-sided black oval with a gray penumbra hovers, on a rich brown ground, over a wild yellow burst. The artist does get a little didactic in a couple of 1970s paintings sporting some small colored rectangles, placed like mere notations of ingredients, in the lower right-hand corners. But all in all, this is a profoundly therapeutic, cool breeze of a painting exhibition.
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On the WSU campus, his inventive application of fluorescent orange to the museum’s façade and the branches of trees across campus encourages university students, staff, and visitors to see familiar spaces anew.

On October 12, 2011, the last of the panels in the Ulrich’s iconic Joan Miró mural, Personnages Oiseaux (Bird People), was removed for conservation. Gone went the expanse of sparkling, brilliantly colored glass and marble tiles--leaving behind the bare metal grid of its support structure. For many visitors, this empty armature has been a dismal reminder of the mural’s absence. For artist Tony Feher, however, it is a stunning formal composition and aesthetically compelling presence.

In Carl Sagan, Carl Sagan (Destination 1)--one of a pair of site-determined artworks for the Ulrich--he painted the faceplates of the absent mural’s framework fluorescent orange. Recalling the repeated geometries of 1960s minimalist artists such as Donald Judd and Sol LeWitt, this vibrant punctuation highlights the rhythmic, overall pattern of rectangles across the building’s surface.

Feher selected the paint color deliberately. In keeping with his signature vocabulary of common objects and materials, he chose the ubiquitous hue of traffic cones, construction zone signage, and road crew vests. As it does in those practical applications, this "safety orange" stands out dramatically from its surroundings and marks the building façade as a space of action and change.

A fascination with the science of the natural world underpins all of Feher’s work. He acknowledges that keen interest by titling the artwork with the name of a famous astronomer who popularized science in the hit 1980s television series Cosmos.

Feher’s second installation likewise takes the famed scientist’s name and makes use of the fluorescent orange paint. However, in lieu of a fabricated, geometric structure, the organic, irregular lines of tree branches provide the artwork’s underlying system. Carl Sagan, Carl Sagan (Destination 2) comprises rows of painted, water-filled plastic drinking bottles hung at even intervals along the branches of central campus trees.

Marked with the orange bottles, these carefully selected branches create a compelling linear network. Viewed singularly, each individual row of bottles offers a seemingly random, unexpected pop of color; viewed collectively, they guide one’s eye to visually connect the stretch of one tree’s branch to the subtle arc of another's.

As the painted faceplates on the museum’s façade change in vibrancy throughout the day, so too do the painted bottles--waxing and waning in their luminosity depending upon the direction from which sunlight hits them. Additionally, this installation will change significantly through the seasons. Barren when Feher installed the bottles, the trees will leaf out over the course of the spring, altering the quality of the light that illuminates them and adding a brilliant, contrasting green.

Feher has an impressive record of exhibitions from New York to Istanbul. He has had solo exhibitions at the Indianapolis Museum of Art, Indiana; Chinati Foundation, Marfa, Texas; and Center for Curatorial Studies, Bard College, New York. A major retrospective of his work organized by the Blaffer Art Museum, University of Houston, opens this May at the Des Moines Art Center in Iowa, and travels later to Texas.

Tony Feher: Extraordinary Ordinary has been organized by the Ulrich Museum of Art and is generously supported by Joan Beren and Bud and Toni Gates. ]]> NewsItem_349 http://thepacegallery.com?q_title=Now Searching%3ARecent News&q_searches=1&q_q_1=__uid:"NewsItem_keywords 346"&r_referrer=NewsItem&r_type=detail&r_details=x_x_x_x_0_x_x_x_x_x_&r_page=x_x_x_x_x_x_x_x_x_x_&r_search=0~q_title=Now Searching%3ARecent News&q_searches=1&q_q_1=__uid:"NewsItem_keywords 346"|0|0|0|0|0|0|0|0|0|
On Wednesday, March 21 at 7pm, WNYC’s Leonard Lopate convened two panels of gallery owners and artists to discuss the ecosystem of the New York art world in 2012. The award-winning arts and culture host will continue his tradition of interviewing tastemakers, creators and innovative thinkers outside his regular studio and in the station’s downtown, street-level live venue, The Jerome L. Greene Performance Space.

The first panel included Sean Kelly, a top gallery owner, Carter Foster, a curator for the Whitney Museum of American Art, and artists, Pat Steir, and Fred Wilson. We explored a wide range of topics that included: the current state of the art market in light of the economic downturn and the impact of the exponential growth of art fairs.

The second panel consisted of four artists at various stages of their careers: Peter Campus, Joan Snyder, Ryan McGinness and Jean Shin. They compared notes on surviving as an artist in expensive New York. And discussed things like having to take a non-art job to pay the bills, studio space hassles and the politics of sustaining a career in NY.

Please follow the link to The Greene Space's website where you can watch a video of the panel disccusion.]]> NewsItem_346 http://thepacegallery.com?q_title=Now Searching%3ARecent News&q_searches=1&q_q_1=__uid:"NewsItem_keywords 345"&r_referrer=NewsItem&r_type=detail&r_details=x_x_x_x_0_x_x_x_x_x_&r_page=x_x_x_x_x_x_x_x_x_x_&r_search=0~q_title=Now Searching%3ARecent News&q_searches=1&q_q_1=__uid:"NewsItem_keywords 345"|0|0|0|0|0|0|0|0|0|
Fred Wilson, a widely recognised artist and a fifty-something native New Yorker, specializes in creating site-specific installations, which encourage viewers to reconsider social and historical narratives, hence raising critical questions about the politics of erasure and exclusion.

This exhibition further explores Wilson’s relationship with Venice and the rich tradition of glass making in the city. Wilson explains, “It stands to reason that the work I created in Venice looks and feels different to the work I created in the United States or elsewhere. Venice, widely known as a visual feast unlike any other city in the world, drew me into a completely different type of exploration that I had undertaken before.”
A real pleasure we found, the whole gallery is utilized, from the floor up to the ceiling – which is also not surprising as The Pace Gallery is a familiar place to Wilson, who has been represented by the establishment since 2004.

The art pieces themselves are mesmerizing, the play on dark and light forms, black and white as colour, and natural and artificial light sources capture and symbolise Wilsons aesthetic. Even the finest detail is not spared in Wilson’s intricate glasswork, his pieces all compliment one another and the space they are found in. This collection ranges from chandeliers, mounted glass forms and framed works. Pictures really do tell a thousand words when attempting to describe the exhibition, so if you are in NYC – make sure you drop in and have a look!

Open from March 17 – April 14, 2012
510 West 25th Street, New York]]> NewsItem_345 http://thepacegallery.com?q_title=Now Searching%3ARecent News&q_searches=1&q_q_1=__uid:"NewsItem_keywords 338"&r_referrer=NewsItem&r_type=detail&r_details=x_x_x_x_0_x_x_x_x_x_&r_page=x_x_x_x_x_x_x_x_x_x_&r_search=0~q_title=Now Searching%3ARecent News&q_searches=1&q_q_1=__uid:"NewsItem_keywords 338"|0|0|0|0|0|0|0|0|0| 545 West 22nd Street, Chelsea
Through April 21

The latest series by the British photographer Paul Graham reinvents street photography for an age of perpetual distraction. On view in Chelsea and collected in a new monograph, “The Present” completes a trilogy that includes the bleached-out landscapes of “American Night” and the stuttering vignettes of “a shimmer of possibility,” and brings the fractured, impaired vision of these earlier, countrywide bodies of work to bear on New York City sidewalks.

“The Present” was shot entirely in high-traffic areas of Manhattan (Penn Station, Times Square and 125th Street, among others). Its 16 diptychs and 2 triptychs have a simple premise: They show two or three views of the same intersection, taken seconds apart and from more or less the same angle.

A lot happens within that short time, though seemingly little of consequence. People go out of focus or disappear entirely and are replaced by new pedestrians doing pretty much the same thing. Cabs speed by, cellphone conversations end, attentions are diverted.

In one sequence a woman trips between shots; we see her striding forward and then sprawled out on the pavement. The location, Fulton Street, seems significant, as do the flattened perspective and the row of darkened windows in the background. It’s as if Mr. Graham has disrupted the friezelike rhythm of Paul Strand’s classic image “Wall Street.” Other parts of the series bring to mind Robert Frank and Garry Winogrand, although in place of a singular, searing image Mr. Graham gives us a succession of not-quite-decisive moments.

He also threads “The Present” with a motif of sightlessness. We see figures tapping canes, a man wearing an eye patch, and even a T-shirt with a winking smiley face (worn by a girl wiping away tears). And the series as a whole suggests that New Yorkers have many blind spots in our daily movements through the city, though we may not even know it. ]]> NewsItem_338 http://thepacegallery.com?q_title=Now Searching%3ARecent News&q_searches=1&q_q_1=__uid:"NewsItem_keywords 344"&r_referrer=NewsItem&r_type=detail&r_details=x_x_x_x_0_x_x_x_x_x_&r_page=x_x_x_x_x_x_x_x_x_x_&r_search=0~q_title=Now Searching%3ARecent News&q_searches=1&q_q_1=__uid:"NewsItem_keywords 344"|0|0|0|0|0|0|0|0|0|
"Balance" premieres Friday, May 4, 2012 at 9:00 p.m. ET on PBS (check local listings).

For more information on Robert Mangold, please visit:
art21.org/artists/robert-mangold ]]> NewsItem_344