Congratulations to Kay Rosen on the opening of her Stirring Wirds exhibition at Alexander Gray Associates, New York.
“In the past, I have gone where the language has led me, but in these times, out of priorities, anger, and urgency, I have made artworks whose texts pertain in some way only to the current political situation,” Kay Rosen has said… In the end, Rosen has created an exhibition about the resilience of individual communities and the country as a whole. (ARTNEWS)
Charlotte Burns of Art Agency Partners recently sat down with Tavares Strachan to discuss his broad ranging practice and new funding models in the art world. Congratulations to Charlotte and AAP on this podcast series. Our favorites to date include episodes with Jerry Salz, Tom Sachs, and Glenn Lowry.
For those braving the nor'easter storm to visit The Armory Show, don't miss our 2014 sculpture collaboration with Ahmed Alsoudani. The work stands alongside two of the artist's paintings in the booth of Marlborough Gallery. The juxtaposition illustrates Alsoudani's seamless transition from painting to sculpture.
In Cultured Magazine's 2018 installment of 30 under 35, artist Petra Cortright offers insights into her practice
“I try to avoid gimmicks,” she says of her exhibition strategy. “I believe work should be able to stand on its own. I’ve never made the kind of work where you need to read an essay to understand it.” When asked what she does want to conjure in her work, her instinctual response deals with integrity and beauty. “I am a sincere person who wants to make sincere work,” she says. “We are in a weird time, where everyone thinks everything has to make some kind of a commentary, and not to say that work isn’t important, but I am okay with making something that is just an escape.” (source: Cultured Magazine)
Congratulations to Petra Cortright on the opening of CAM WORLS at UTA Artist Space. The exhibition is the first large-scale survey of the artist's video work, presenting 50 videos made from 2007-2017.
The aesthetic of Cortright’s DIY one-woman videos—in which she plays variations of the director, star, and video editor—feels intimately homemade, more akin to a patchwork quilt than an appropriative collage of raw pixels. The work is created using myriad technologies, from open-source screensaver software, green screens, virtual strippers and photoshop, to sublime CGI landscapes. It’s cut down to two-minute experiences, self-referentially ideal for internet consumption by an audience riddled with attention deficit disorders. Her distinctive digital bricolage investigates investigates an ongoing conversation about vanity, personhood, and beauty through the lens of the internet. (source: UTA Artist Space)
What better way to kick off 2018 than to brush up on Auguste Rodin and the history of editioned sculpture? Thanks to Jean Jacques Neuer and artnet for this excellent piece. Read the full text at artnet.com.
Rodin—who created his works alone but produced them in partnership with others and was an early adopter of the multiple—took a forward-thinking approach to the “original” that would go on to inform many great artists in the 20th century.
Beyer Projects congratulates John Baldessari on the opening of Learning to Read With John Baldessari at Museo Jumex. This major survey exhibition features more than 50 works, including two of our collaborations with the artist: Camel (Albino) Contemplating Needle (Large), 2013, and Fake Carrot, 2013.
Beyer Projects congratulates Thomas J. Price on his Hales Project Room NY exhibition, Material Visions. The show includes Plain to See, our 2016 collaboration with Price.
The exhibition centers on a bronze statue, Plain to See (2015). The subject, like nearly all of the characters Price depicts, is a black male figure. He wears a plain hooded sweatshirt and sweatpants and holds what appears to be a mobile phone in one hand. His expression and stance are neutral, except for one hand stuffed into a pocket of his sweatshirt. The work poses a challenge to the viewer: how will you choose to see me? The aesthetic and social value traditionally conferred upon the subjects depicted in classical bronze sculptures is recontextualized within a very different contemporary discourse of class, race and gender signifiers. In its arresting monumentality, this anonymous portrait asserts the value of the depicted subject, powerfully subverting traditional social and aesthetic hierarchies. (Hales press release)
Beyer Projects is pleased to announce our first collaboration with Polish-born artist, Agnieszka Kurant. Quasi Object is a kinetic sculpture utilizing internal robotics to delightful effect. The work will debut on September 22 in the Bonner Kunstverein exhibition, The Policeman´s Beard is Half Constructed: Art in the Age of Artificial Intelligence.
Frieze Sculpture 2017 opens today in The Regent's Park, London, and features the work of Thomas J. Price and Tony Cragg.
Frieze Sculpture will open from 5 July to 8 October, presenting a free outdoor exhibition for London and its international visitors throughout the summer months. Selected by Clare Lilley (Director of Programme, Yorkshire Sculpture Park) and featuring leading international galleries, Frieze’s first-ever summer display in The Regent’s Park will bring together 25 new and significant works by leading 20th-century and contemporary artists from around the world... (frieze.com)