On View: Hurvin Anderson @ AGO Art Gallery of Ontario

Todd Korol / Toronto Star

Todd Korol / Toronto Star

AGO Art Gallery of Ontario – May 19, 2016 – August 21, 2016

Durham Press would like to congratulate Hurvin Anderson on his first Canadian solo exhibition currently on view at the Art Gallery of Ontario. The exhibition titled, Hurvin Anderson: Backdrop, includes a comprehensive collection of recent paintings alongside previously unseen sculpture, photography, and large-scale drawings.

This traveling show, just recently on view in St Louis, fills the entire fourth floor of AGO’s Contemporary Tower. The exhibition offers viewers a glimpse into the bright and lively world of Jamaica– where Anderson’s parents are originally from. Each painting is a reflection of his thoughts of cultural identity and intimate familiarity of the Caribbean culture through his experiences in the Jamaican Afro-Caribbean community as well as his artist residence in Trinidad.

AGO Hours
Monday – Closed
Tuesday – 10:30 am – 5 pm
Wednesday 10:30 am – 9 pm
Thursday 10:30 am – 5 pm
Friday 10:30 am – 9 pm
Saturday, Sunday – 10:30 am – 5:30 pm

Current Press
E-Flux
S Syle Magazine
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The Globe and Mail

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Noteworthy: Hurvin Anderson “Reporting Back” Video

Watch Hurvin Anderson as he discusses his early inspirations in a detailed interview with Ikon Gallery. Hurvin’s leisurely walk and conversation allows a closer look into his personal connection with Handsworth Park, located in Birmingham. The video was created with Ikon Gallery in conjunction with his show Reporting Back in 2013.

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Mickalene Thomas @ Santa Monica Museum of Art

Please join us in congratulating Mickalene Thomas on her current exhibition Mickalene Thomas: Origin of the Universe at the Santa Monica Musuem of Art. The exhibition opens on Friday, April 13th and runs through August 19th. This is Mickalene’s first major solo museum exhibition. The show features a new suite of landscape paintings and portraits. The exhibition will travel to the Brooklyn Museum in the fall of 2012.

Landscape with Tree, 2012, Rhinestones, acrylic, oil, and enamel on wood panel, 100 x 90 inches, Courtesy of the Artist, Lehmann Maupin Gallery, New York, and Susanne Vielmetter Los Angeles Projects

Interior: Blue Couch with Green Owl, 2012, Rhinestones, acrylic, oil, and enamel on wood panel, 108 x 84 inches, Collection of Michael Hoeh, New York, NY

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Beatriz Milhazes at Galerie Max Hetzler

Beatriz Milhazes will be exhibiting new work at Galerie Max Hetzler in Berlin. The solo exhibition runs from September 10th through November 5th and is comprised of recent collages and four large scale paintings and a mobile. The four large scale paintings and mobile were featured at the Fondation Beyeler earlier this year. This exhibition will travel to the Calouste Gulbenkian Museum in Lisbon in 2012. A catalogue accompanies the show.

Beatriz has been working with Durham Press since the spring of 1996, during that time over 25 challenging and complicated prints have been created. Please contact Durham Press for images and information about available prints. Fishbowl (as seen below) was created by Beatriz and printed by Durham Press as a benefit print for the Beyeler Foundation, the print is available  for purchase from the Beyeler’s website. Durham Press would like to congratulate Beatriz on her current exhibition with Galerie Max Hetzler. Please stay tuned to our blog for upcoming exhibitions and news about Beatriz Milhazes and her future projects.

Jamaica, 2007, woodblock and screenprint, 70 x 70 inches, edition 30

Bibi, 2003, multi-colored screenprint, 22 1/2 x 22 1/2 inches, edition of 43

Serpentina, 2003, multi-colored screenprint, 52 x 52 inches, edition of 40

O Pato, 1996-98, multi-colored screenprint, 40 x 60 inches, edition 20

Fishbowl, 2011, multi-color screenprint, 36 x 36 cm, edition of 50

James Nares in Los Angeles

Michael Kohn Gallery in L.A. will feature an exhibition of new paintings and a video by James Nares from July 9-August 21, 2010. The opening reception is on July 9th from 6-8pm.

Thump | 2009, 10 Color Screenprint, 58″ x 40″, Ed. 44

Michael Kohn Gallery 8071 Beverly Blvd. Los Angeles, CA 90048

Check out the Durham Press website for available prints by Nares.

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Lisa Stefanelli at Heskin Contemporary

Lisa Stefanelli is showing recent work at Heskin Contemporary, 443 West 37th Street in NYC, through June 26th, 2010. The series, Sassyfras Paintings, are meticulously constructed gestural paintings. The series possesses the dynamism of Stefanelli’s previous work, but is interesting in its progression towards densification and use of non-primary colors.

Trifecta series, 2003, 3 screenprints, made at Durham Press

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Stephen Westfall at the American Academy in Rome

Durham Press’s friend Stephen Westfall has won the Jules Guerin/John Armstrong Chaloner Rome Prize Fellow in Visual Arts at the American Academy in Rome. His exhibition, Pavimentazione sul Muro opens March 12th, running until April 23rd.

Below are images from Codex, a series of prints that Stephen produced at Durham Press in 2004.

Canaan from the Codex series, 2004

Nine of Wands from the Codex series, 2004

Prospect from the Codex series, 2004

Rally from the Codex series, 2004

Transfigured Night from the Codex series, 2004

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James Nares back @ Durham Press

JN_THUMP

James Nares, long-time Durham Press friend and collaborator , returned to the studio recently to complete work on his new screenprint, THUMP. This new edition is the 13th print James has created at Durham Press, and he and JP (the master printer here) continue to push the dynamic dimensionality of his painted brushstrokes into amazing, rich, vibrant screenprinted editions. When asked recently about his experience of working at Durham Press and with JP on this process, James said:

Working at Durham Press is really a pleasure. JP’s knowledge of, and experience with the silkscreening process is second to none, and working with him is a collaboration, as with another artist. He has come up with an ingenious method to create screen prints of my brush strokes which have all the body and tones of an actual, painted brush stroke, but without the use of half-tone…

For those maybe unfamiliar with the screenprinting process, creating a halftone is the process of turning all the tone in an image into various sized and spaced dots in order to create the tonal variation. This allows all of the tone to be printed at once and is what you are looking at when you see a black and white photo printed in the newspaper, for example. What gives James’ prints the fluidity, the subtle shift in tone and the overall richness of color is that is is not printed as a halftone, but is rather broken down into 10-15 layers of varied tone and color and then rebuilt, through printing each layer one on top of the other. It is a complicated process, but creates a seamlessness in the color and tonal shifts that would not be possible otherwise.

To see THUMP as well as some of the other work James has produced with Durham Press, please visit our booth at the IFPDA Print Fair in New York City. The fair is held at the Park Avenue Armory and runs from November 5th – November 8th, 2009.

DSC_0078

Also, James film Rome in ’78 is currently being shown at MOMA as part of the film exhibition, Looking at Music: Side 2. The next screening will be on Saturday, November 28th at 7:30 p.m. The film, according to the MOMA website, is “a narrative about the Roman emperor Caligula set in a shabby Manhattan apartment, proposes an analogy between ancient Rome and modern America as cultural empires. The image below is a still from the film.

Rome 78 Eric David & Lydia

Beatriz Milhazes events this Fall

Fall 2008 is shaping up to be a busy one for Durham Press friend and artist, Beatriz Milhazes, as she has several noteworthy events taking place in both the United States and abroad in the upcoming months. On September 6th, her retrospective exhibition at the Pinacoteca do Estado in Sao Paulo, Brazil opens. The show will feature work spanning Beatriz’s career including a number of prints she has made in collaboration with Durham Press.

On October 10th, her third solo exhibition at James Cohan Gallery opens. The show runs from October 10th, 2008 to November 15th, 2008 and will feature a selection of her new paintings and collages. The James Cohan website provides the following press release for the exhibition:

James Cohan Gallery is pleased to present an exhibition of new works by artist Beatriz Milhazes, opening October 10th and running through November 15th 2008. As one of the most celebrated Brazilian artists working today, Milhazes’ exuberantly colored, rhythmically constructed abstract paintings, collages, prints and architectural installations are well-known worldwide. Milhazes merges all of the formal concerns inherent in abstract painting with a dizzying hybrid of influences that bounce off of each other to produce works in which, as the artist describes, “culture eats culture.” In her attempt to make the viewer’s eye “spin around,” Milhazes deftly uses images as a distribution system for color.

In this third solo gallery exhibition, Milhazes will present a selection of collages and paintings. In the past, the paintings have been the inspiration for the artist’s other endeavors, such as her collages made from chocolate candy wrappers, shopping bags and colored paper and her installations on building façades. In this latest body of work however, the reverse is true; the paintings, whose surfaces are built up from an elaborate process of transferring motifs painted on plastic sheet, are increasingly influenced by the immediacy of working with small bits of paper and the bold strokes of large-scale architecture. This shift, as well as a deepening involvement in nature — the artist’s Rio de Janeiro studio borders her beloved Botanic Gardens — has influenced Milhazes’ new work, making it even more rigorously structured with broader fields of color and new elements derived from abstractions of natural and architectural forms.

Not afraid to gather inspiration from sources such as Brazilian folk arts and decoration, Milhazes embraces these “low” art influences and balances them with the high-minded modernism that was brought to Latin America by an earlier generation of artists such Helio Oticica and Tarsila do Amaral. Mix in the rhythms and grooves of Tropicalismo, the spectacle of color that is Carnival and the over-the-top ornamentation of the Colonial Baroque and the paintings exemplify “anything goes”—an apt phrase coined by the Neo-Concrete artist Waldemar Coreiro in the 1960’s. As Paolo Herkenhoff explains in his catalogue essay for Milhazes’ exhibition Mares do Sul, rather than trying to create a destabilizing effect, “Milhazes aspires to encountering harmony in the absurd, her painting not being the collapse of order but that moment that follows vertigo.”

Beatriz Milhazes is participating in several important exhibitions and events in the upcoming year. Milhazes is the subject of a major survey exhibition at the Pincoteca do Estado in São Paolo, Brazil opening on September 6th 2008. Another solo exhibition is planned at the Fondation Cartier in Paris opening March 2009. Both of these solo exhibitions will include site-specific installations on the windows of the museums. Milhazes will be participating in a number of group exhibitions this fall including When Lives Become Form at the Museum of Contemporary Art, Tokyo, curated by Yuko Hasegawa, opening October 21st; the Prospect 1 New Orleans, the largest biennial of international art to be organized in the US, opening October 31st for which she has been commissioned to make a chandelier-like room installation. Concurrent with the Frieze Art Fair in October 2008 will be the launch of Milhazes’ new artist book published by Ridinghouse, London, UK. In addition, The Rug Company, London UK will be launching a new limited edition artist tapestry project in October 2008 for which Milhazes has created a work and New York fabric manufacturer, Maharam is producing a line of artist’s fabrics that will include a design by Milhazes also to come out this fall.

Milhazes has exhibited widely in museums around the world and has represented her country at the 50th Venice Biennale, 2003. She has participated in many international biennial exhibitions including; Shanghai Biennale, 2006; XXVI Bienal de São Paolo, 2006 and 1998; the 11th Biennale of Sydney, 1998 and the Carnegie International, 1995. Milhazes was born in 1960 in Rio de Janiero, Brazil where lives and works today.

For further information, please contact Jane Cohan in New York at [email protected] or telephone 212-714-9500.

As mentioned in the press release, Beatriz will also be participating in Prospect 1. New Orleans, the largest biennial of international contemporary art ever organized in the United States. Prospect 1 was curated by Dan Cameron and runs from November 1st, 2008 through January 18, 2009.

This Fall will also see the release of Beatriz’s new artist’s book published by Ridinghouse, London, UK, as well as a new limited edition artist tapestry produced by The Rug Company, London UK and a line of artists’ fabrics produced by Maharam that includes one of Beatriz’s designs. For more information about any of these projects, please visit the embedded links.

Polly Apfelbaum @ Center for Contemporary Arts, Santa Fe

polly-cca-e-vite.jpg

Next month, Polly Apfelbaum is going to be part of a group exhibition at the Center for Contemporary Arts Santa Fe in Santa Fe, New Mexico. The exhibition, titled Hair of the Dog, features Polly’s work alongside that of AES+F, Ann Gaziano, Rebecca Holland, Jason Manly, Philip Sanderson and Brandon Soder. The exhibition runs from April 5th through May 25th, 2008, with an opening reception on April 5th from 5 to 7 pm. For more information, please visit the Center for Contemporary Arts Santa Fe website here.

According to the Center for Contemporary Arts website:

The exhibition Hair of the Dog investigates the vocabulary, limitations, and mythology of the medium of painting through modern art history and into the 21st century. The artists and their works do not lend themselves to conclusions; rather, the aim is to provoke critical considerations of how painting functions as art in our culture. None of the artists in the exhibition will apply pigment to canvas in the traditional manner; some will not use paint at all. Portraiture, landscape, and narrative are some of the structures within the language of painting to be engaged. Featuring the work of AES+F, Polly Apfelbaum, Ann Gaziano, Rebecca Holland, Jason Manly, Philip Sanderson, & Brandon Soder; mediums include needlepoint, video, installation, photography, and cast sugar.