Posts tagged with "Sean Kelly Gallery":

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A grandiose tour of Mexican architecture is coming to New York

Opulent interiors, delicate dances of light and shadow, and 600 years of Mexican history will soon go on display at Manhattan’s Sean Kelly Gallery. Candida Höfer—In Mexico will run from February 2 through March 16 and present large-format architectural photographs from German artist Candida Höfer. Höfer traveled to Mexico in 2015 as part of the Mexico-Germany Dual Year, a cultural and scientific exchange program between the two countries that showcased the partnership’s fruits in Mexico throughout 2016 and 2017. Höfer’s photographs, which took her across Mexico, are meticulously composed, ornate shots of grand halls, museums, palaces, and auditoriums, places of convergence that, in her series, are entirely empty. In a press release for the upcoming show, Höfer wrote that: “I realized that what people do in those places—and what the spaces do to them—is more obvious when nobody is present, just as an absent guest can often become the topic of conversation.” More than just large-scale photos of sweeping spaces, Candida Höfer—In Mexico will also put intimate aspects of each building on display as well. Light falling across a doorway, or hidden nooks, were captured by Höfer’s handheld camera and the fleeting instances stand in stark contrast to the much larger staged photographs. The photos are truly massive, each being at least 70 inches wide; by comparison, the more intimate photos will be presented as 16-and-9/16-inch-by-12-and-7/8-inch prints. While this is the first time Höfer’s Mexico series will be shown in New York, the show was previously on display in Mexico and the North Carolina Museum of Art.
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Anthony McCall brings his light works back to New York

English artist Anthony McCall is bringing his ghostly, “solid-light” installations back to New York City in December, with a new solo show at the Sean Kelly Gallery in East Midtown, his sixth in the space. From December 14 through January 26, 2019, visitors can catch two new works from McCall, and his 2003 piece Doubling Back, which was first shown at the 2004 Whitney Biennial. A number of McCall’s black-and-white photographs will also be on display. While McCall’s show at Brooklyn's Pioneer Works in February was able to take advantage of the space’s cavernous ceilings and present vertical light pieces, horizontal installations are the focus of the Sean Kelly show, Split Second. Despite the format change, McCall’s hallmark exploration of volumetric forms using a volume-less medium, light, will be fully on display. Split Second and Split Second (Mirror) will be making their world debut at their namesake show. In Split Second, a flat blade and elliptical cone will be projected on the gallery’s back wall and slowly combine and form intersecting planes that rotate around each other. In Split Second (Mirror), McCall will split a projected “cone” with a wall-sized mirror, “cutting” the shape with a plane of light reflected back at the source. Doubling Back was McCall’s first return to the form after a 20-year hiatus. Each of McCall’s solid-light installations are actually very slowly moving films—up to a half hour or longer—and Doubling Back is no exception. Two sinuous waves, one moving horizontally and the other vertically, overlap and form pockets of light and shadow, integrating the architecture of the gallery itself into the piece. A selection of photos from McCall’s solid-light installations from the 1970s and 2000s will also be on display, capturing still images, or slices of time, from past work. That sort of snapshot is a bit ironic considering McCall’s description of his work as intentionally slowed down, creating an ever-changing relationship between the viewer and the piece. For best results, patrons will have to experience McCall’s “sculptures” for themselves. Sean Kelly Gallery is located at 475 10th Avenue in Manhattan and is open from 11:00 AM to 6:00 PM, Tuesday through Saturday.
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New Landon Metz exhibit uses art to frame architecture

Asymmetrical Symmetry, an exhibition by Brooklyn-based artist Landon Metz, is now on view through October 20 at Manhattan’s Sean Kelly Gallery. His latest body of work unveils a series of site-responsive paintings that were created to directly complement the massive, Toshiko Mori-designed art space. Inside the 22,000-square-foot, white-box gallery, Metz has placed five distinct groups of paintings. Using the walls, floors, and even the ceiling as display spaces, Metz forces the viewer to contend with his unorthodox arrangement of the art. The architecture of the room, from its industrial concrete flooring to the white paint-covered mechanical systems overhead, is on full display as part of the artwork’s narrative, according to Metz. “Here you’ll see that nothing is covered up in this room,” he said. “The natural tone of the primed canvas as well as the object on the canvas itself merges with the other panels and with the environment to become one. I wanted to emphasize the subtleties of the space so people could create their own authorship over the art.” The pieces on display are rendered in four unique colors mixed by the artist using watered-down dye. Metz outlined the shape on every canvas and then poured the color into every figure, allowing the color to fill uniquely every time. Gravity forced the dye to create surface tension on the canvas and form different gradients within the shapes. Metz noted this material-focused painting method made him relinquish his own authorship over the art as well, especially since from a distance, the imperfections of the paintings aren’t as easily visible, but closer up the differences are more clear. The show also highlights his tendency to paint between canvases, allowing one whole form to be articulated across two panels. By hanging the panels in a series, he aimed to enhance the framework of the room. “It now becomes more of a choreographed dance when you enter the gallery and see the repetition combined with the negative space,” Metz said. “Even the columns become sculptural objects. The works aren’t just isolated to the walls, but the entire room becomes an object as well and contributes to the sound of the space.” Metz likened the architecture to a musical composition with the panels laid out as long and short notes with breaks in between where the white wall takes over. “I was working to create sounds that rise out of silence, kind of like the way architecture unfolds from something that was once nothing and becomes a form of measure we inhabit,” he said. “The rhythm in this gallery allows you to move freely throughout the space in a way that can be different from a traditional exhibition. There are preconditioned expectations as to how to act in a place like this, but I wanted people to have authority over it and choose where they want to go, even if they want to stand in the middle and take it all in.” Metz’s meditative approach to painting allows his practice to be both concentrated and methodical, but without total control over the end result. As a new addition to the Sean Kelly Gallery, he’ll have the opportunity to create new works that further tell the story of the space. Metz will lead a walk-through tour of the exhibition this Saturday at 11 a.m. with a live stream on the gallery’s Instagram Story.
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Mariko Mori scales up her metaphysical art with the latest fabrication technology

New York-based artist Mariko Mori’s nearly 30-year career has been defined by her futuristic, alien aesthetic. Her sculptures and spaces investigate our minds and the universe around us—seen and unseen. In this spirit, on display at her second exhibition with Sean Kelly in New York, Invisible Dimension, are seven space-age sculptures, produced using high-tech methods. The show's standouts are Cycloid V and Ekpyrotic String VI, installed on the ground floor. The monumental glass fiber-reinforced polymer and stainless steel sculptures fold into themselves, forming helixes of spaces-within-spaces that pull one in and engage the gallery’s architecture, playing with pillars, angles, and sight lines. The pair of sculptures, 17 feet wide at some points, are inspired by the latest innovations in astrophysics—pulling upon the theory of an “ekpyrotic universe," the notion of an endlessly cycling formation and re-formation of universes. These opalescent sculptures are produced using the most technically advanced methods currently available. In collaboration with UAP, a studio known for its work in public art fabrication as well as architecture, Cycloid V and Ekpyrotic String VI were crafted with a deft combination of hand-shaping, machining, and materials know-how. Also on the ground floor, the smaller acrylic Plasma Stones envelop visitors into the sculptures' own microcosmic environment. Appearing transparent at first, one realizes they are reflective as they pass in front of it. They appear both as physical sculptures—decidedly material—and as ethereal portals—entirely strange. Plasma Stone I and Plasma Stone II act as prisms, dispersing the full spectrum of visible light, and for Mori, they represent an inchoate, formative moment just after the universe’s creation. In the lower gallery are two smaller sculptures, Spirifer I and Spirifer II. Spirifer, a term of the artist’s own coining, refers to a deeply felt yet invisible inner spirit. As the exhibition’s title, Invisible Dimensions, might suggest, these sculptures make visible what remains unseen in nature within Mori’s own mythology. With the exception of the lone three-foot Orbicle I, all the sculptures are displayed in twos, invoking notions of pairing, entanglement, and collisions that lead to new realities—referring, for Mori, to everything from particle physics to human reproduction. The works in Invisible Dimension are part of Mori’s ongoing inquiry into the nature of the universe—an investigation that she has often posed in not only sculptural terms, but through architectural and ecological frameworks as well. Her Dream Temple (1999) was a translucent temple built at Fondazione Prada housing a multimedia installation. Similarly, her Wave UFO (2003) was a compact space housed within a large, iridescent, alien-like lozenge that visitors could enter to see computer graphics generated by their brainwaves. In 2010, Mori founded the Faou Foundation to build site-specific installations that respond to the ecology of every continent (except Antarctica). Syncretizing the scientific and the spiritual, Mori’s artistic and existential project is to build a universe in order to better see our own. Invisible Dimension, Mariko Mori Sean Kelly Gallery 475 10th Avenue, New York, NY On view until April 28
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James Casebere explores Luis Barragán’s haptic modernism through constructed photography

American artist James Casebere is showcasing Emotional Architecture, a collection of photographs named after and inspired by the sun-bleached and platonic forms of Mexican architect Luis Barragán’s most famous works, at Sean Kelly Gallery in New York City.

The exhibition consists of constructed photography, a technique Casebere developed in the 1970s that involves constructing desk-sized architectural mock-ups and photographing those models as facsimiles of full-scale interior spaces. Casebere lights his models to highlight the spatial and emotional qualities of blank, unfurnished interiors.

For the exhibition at Sean Kelly, Casebere has mined the work of Barragán and artist Mathias Goéritz, who together appropriated color, light, and space through their own brand of modernist architecture to generate works of nuanced emotional character that stood in contrast to the era’s rigid formalism. In turn, Casebere’s constructed photography dwells on the evocative nature of these spaces. In the past, the artist has rendered works that explore the social implications of architecture—like prison cells and suburban bedrooms—and ply banal, extant spaces to thought-provoking effect.

In Emotional Architecture, Casebere investigates, among other works, a yellow corridor from Barragán’s Casa Gilardi. The Juicy Fruit–colored passage, completed in 1976 as the architect’s final work, stands in stark contrast to images made from models of Casa Barragán, a home the architect designed in Mexico City in 1947. These images—highlighting views of an empty studio, skylit vestibule, and an austere library—focus on the interplay between the formal aspects of Barragán’s architecture, its vibrant color palette, and direct light. Another series of images highlighting Barragán’s Casa Gálvez from 1952 showcases a view of a pottery-populated, bubblegum-hued courtyard.

Emotional Architecture Sean Kelly Gallery, 475 10th Avenue, New York Through March 11, 2017

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On View> "Irreversible" Exhibition by Los Carpinteros Explores Soviet-Era Architecture

Irreversible Sean Kelly Gallery New York Through June 22 There is a renewed interest in the west of Soviet modern architecture from the Cold War and its strong and determined sculptural form. Much of the work was barely known in the west—at least in this country—and has come as a revelation to scholars and critics. A recent exhibition Soviet Modernism 1955-1991 at the Architekturzentrum in Vienna and a fascinating exhibit Cold War Cool Digital at Pratt Institute featured Soviet designed pre-fabricated and globally distributed Cold War Era housing systems. Both of these exhibits featured the ambitious and determined socialist realism that one would expect from work of this period, but now an exhibition, Irreversible, at the Sean Kelly Gallery by the Havana- and Madrid-based group Los Carpinteros features work that expresses what it felt like to be the receiver of these Soviet-inspired architectural and sculptural forms and their realist messages. The artists are showing large, brightly colored objects inspired by Russian and Yugoslavian sculptures that simultaneously revel in their dramatic form but also the feeling of unease they evoked for Cubans. In order to obfuscate the potentially fraught political connotations of the work. Los Carpenters made them of their own versions of LEGO children's blocks. The results are convincing and powerful in their own right and monuments of a new generation of Cuban artists. The show is on at Sean Kelly through June 22 and features other work by the young Carpinteros.