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19.11.16

ADAM STRAUS | NOHRA HAIME GALLERY


Nohra Haime Gallery presents Adam Straus

Adam Straus, Glitch at the Edge of Antarctica, 2016. Oil on canvas in lead with oil and brass leaf. 41 x 61 x 2
inches (104.1 x 154.9 x 5.1 cm).

Adam Straus
A Retrospective

in collaboration with Adelson Galleries
November 23, 2016–January 14, 2017
Nohra Haime Gallery
730 5th Ave
New York, NY 10019
The work of Adam Straus, spanning a three and a half decade career, will be on view at Nohra Haime Gallery and Adelson Galleries from November 23, 2016 through January 14, 2017. The two exhibitions at 730 Fifth Avenue will showcase paintings, works on paper, sculpture, and photography. Straus is known for his majestic and luminous depictions of the sublime, which are often saturated with a deep concern about social and environmental issues. His penetrating dark humor can transport the viewer to post-apocalyptic worlds and often offers a wry observation on how humans have altered the natural landscape. The exhibitions coincide with the publication of a new monograph (Gli Ori, Italy, November 2016). An opening reception will be held on Tuesday, November 22, from 6 to 8pm.
With more than 40 works, the exhibition at Nohra Haime Gallery will survey Straus’s oeuvre from 1979 to 2016. While the focus will be on paintings and works on paper, Straus’s little-known photography and sculpture from the early 1980s will provide context for his later transition to painting. A number of the works are from private collections and will be on public view for the first time. At Adelson Galleries, the exhibition will focus on 16 paintings from 2011 to 2016, many of which, in a witty and irreverent manner, refer to how technology alters our view of nature.
As Amei Wallach writes in the essay for the book, “Think of the sheer pigheaded guts it took for as serious and ambitious an artist as Adam Straus to become a landscape painter in the 1980s. A century had passed since Cézanne torqued his trees into astringent meditations on the nature of painting; decades since the Abstract Expressionists swallowed the genre whole. The tradition into which Straus dared to tread… was sorely in need of reanimation. His disruptions in the years since have unsettled received assumptions as much through dark humor and bravura painting as through offering a reassessment of what it means to paint the beauty of nature in ugly times. It is important to him that his paintings are accessible… But that is only the first, skin-deep level, and it is animated by compound subterranean layers of passionate conviction, cosmic yearning, and comedy.”
Among the highlights at Nohra Haime Gallery will be McStop, 1993, in which a tiny depiction of the golden arches of McDonald’s dots an otherwise pristine evening setting. The painting was inspired by a view on a cross-country road trip in the American Midwest.
A 2000 painting framed in lead, A Line Drawn in the Sand, depicts a vast desert stretching out to a blue sky with a line scratched in the middle. As Straus writes in the book, “It was inspired by the bellicose comments by so many of the politicians in the ’90s about the Middle East… They would say ‘We really have to draw a line in the sand,’ as if that really was a strategy.” Painted the same year, Toxic Run-Off: The Calm Before the Storm was inspired by the 19th century American Luminist and Hudson River School painters such as John Kensett and William Trost Richards. Framed in lead with the paint dripping out of the picture, the peaceful seascape is both alluring and disturbing.
Summit: Melting, 2001, joins two wood panels together horizontally. The top panel is covered in canvas, the bottom in sheet lead. Straus notes in the book, “The image of the snow-covered mountain is painted on the top panel with the white paint of the snow allowed to drip over the bottom lead-covered panel…the drip is used to suggest something outside the aesthetic of the drip—in this case the melting of snow. I had read an article, at the time, about how the melting caused by climate change was decreasing the height of Mount Everest. There had also been numerous reports of the glaciers in the Andes melting at a much faster rate than usual.”
The Instagram-inspired Shared Air, 2014, painted on rough jute, combines elements of seascape, air, and water with the symbols, words, and designs familiar to social media users. As Straus explains in the book, “I was interested in the garbage-can delete symbol, the back arrow, and the words “share” and “save” in terms of looking at our environment. The air and water that China and the United States pollute is shared all over the planet.”
In mid-2016, Straus began working on a series of paintings entitled “Glitch,” which will be on view at Adelson Galleries. Using an app that “glitches” up a photograph of one of his paintings, Straus would repaint a scene with abstract imagery based on the patterns created by the Glitch app. His subject matter, cold and remote regions of the world including icebergs in Antarctica, is inaccessible to most people, and therefore there are few eyewitness to the devastation caused by climate change.
Book
A new monograph on the work of Adam Straus will be published by Gli Ori, Italy, in November 2016. The book will include text by Adam Straus, edited with an essay by Amei Wallach, the award-winning filmmaker, art critic, journalist, and curator. Straus writes about childhood experiences, fascinating moments with collectors and how a move to the North Fork of Long Island from Brooklyn in 2003 inspired many of his works.
Press contact:
Nicole Straus Public Relations, T 631 369 2188, T 917 744 1040, nicole@nicolestrauspr.com
Margery Newman, T 212 475 0252, margerynewman@aol.com

VOLTA | APPLICATIONS ON LINE

VOLTA: applications online for NY's 10th and Basel's 13th edition
Courtesy of VOLTA NY and VOLTA13.

Applications online

VOLTA NY
Pier 90
New York

VOLTA13
Markthalle
Basel
VOLTA NY, the premiere invitational solo project fair for contemporary art, celebrates its decade edition in New York at Pier 90 this March. VOLTA, Basel’s art fair for new international positions, returns to Markthalle for its 13th edition in June. Applications are now open for both fairs, and for the first time VOLTA NY will accept proposals from serious inquiring galleries. 
VOLTA NY
Wednesday, March 1–Sunday, March 5, 2017
VOLTA NY marks ten years of solo focus at its decade edition, March 1 through 5, 2017, exemplifying its commitment to emerging voices with a global reach as a viable and exciting alternative, now lately an irresistible programming element for even the largest art fairs.
In honor of the tenth anniversary, and for VOLTA NY 2017 only, the invitational fair will open its application for the one edition to submissions from galleries beginning November 18. Describing the process, VOLTA Artistic Director Amanda Coulson said, “While the consistency of our invited list throughout these past nine years is commendable, we do sometimes ‘get in our grooves’ and miss something exciting and superlative happening elsewhere. No matter my team’s travels across the globe, no matter the other fairs we scout at or the vast networks of former exhibitors we trove from—no one is entirely omniscient, and thus I have instituted this drive to seek out exciting proposals in addition to what we’ve come to expect and love from our invited contingent.”

Spaces are necessarily limited at the 2017 New York fair. Coulson added, “This decade edition is as much an opportunity to look forward and identify exciting contacts for the future, as much as it is a time to look back at what we have achieved and discovered thus far.” Applications are due by December 9, 2016.
VOLTA13
Monday, June 12–Saturday, June 17, 2017
VOLTA returns to Markthalle for its 13th Basel edition from June 12 through 17, 2017. In addition to coinciding with Art Basel as usual, this coming year marks a certain “alignment of the stars”: the concurrent exhibitions for documenta 14 (Athens, opening April 8 and Kassel, opening June 10); the 57th Venice Biennale (Venice, opening May 9); and the fifth Skulptur Projekte Münster (Münster, opening June 9). 
Positioned as a platform for renowned international galleries beyond young art stalwart Liste and art market heavyweight Art Basel, and under curatorial direction of Amanda Coulson, VOLTA has for years exhibited consistently eclectic and dynamic presentations with a focus on solo projects and two or three artists in dialogue. All applications are due by January 27, 2017.

Submit your application

For further questions, please contact us at info@voltashow.com.

VOLTA: applications online for NY's 10th and Basel's 13th edition

18.11.16

FOLLOW THE WHITE CUBE | HONOLD FINE ART


Honold Fine Art is pleased to present Follow the White Cube, the second pop up show of the gallery in Ubud, Bali from 26 November to 15 December 2016. The exhibition brings together painting, collage, sculpture, and installation work of eight artists: Jumaldi Alfi, Ashley Bickerton, Marco Cassani, Fendry Ekel, Bepi Ghiotti, Yusra Martunus, Filippo Sciascia and Narcisse Tordoir.

According to its modus operandiHonold Fine Art choses a new context where to locate the gallery: an artist’s studio. During the period of the exhibition the artworks are displayed inside the studio of one of the gallery’s Bali based artists.


OPENING: November 26, 2016 at 5 pm
Studio Filippo Sciascia
Jalan Nyuh Kuning 9, Ubud, Gianyar
Bali
+62 821-4533-7545
+62 341-971114

visit by appointment only!

info@honoldfineart.com
www.honoldfineart.com

15.11.16

NOME | NAVINE KHAN-DOSSOS


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Navine G. Khan-Dossos, Expanding and Remaining, 2016. Goauche on panel, 25 x 35 x 1.5 cm. Courtesy NOME.

Navine G. Khan-Dossos
Command: Print

November 19, 2016– February 10, 2017

Opening: November 18, 6pm

NOME
Dolziger Straße 31
10247 Berlin
Hours: Tuesday–Saturday 3–7pm

info@nomeproject.com

www.nomeproject.com
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NOME is pleased to open Navine G. Khan-Dossos's first solo show Command: Print on November 18.

Navine G. Khan-Dossos's practice of contemporary aniconism—the absence of figuration in art—bridges her rich training in Islamic art and the geometric abstractions of digital aesthetics.

In Command: Print  Khan-Dossos presents two series of work, the "Printer Paintings" (2013) and "Remaining and Expanding" (2016), both of which foreground gridded colour studies, printing and digital technologies through a subtractive approach to painting.

The "Printer Paintings" are composed from the principal tones of colour printing—CMYK and grey. Superimposed rectangular elements represent printer cartridges, with one of the four ink colours taken in turn as the main hue of each panel. Coloured units are contrasted with dazzling white in an almost moiré, chequered design.

"Remaining and Expanding" comes out of the artist's ongoing research into Islamic State propaganda, and in particular its online magazine Dabiq. 36 panel paintings are constructed from the design and layouts of page-spreads from one issue; transformed—in the absence of their controversial contents—into pure form and colour so the viewer can consider the structures rather than content of propaganda. The palette is made up of CMYK and RGB, moving from the printed image to the screen image. The installation of the series in the gallery imagines the issue before publication, as a set of mock-ups in some unknown editorial office or bunker.

In these works, the matteness of gouache paint translates the qualities of screen resolution into an analogue surface. "The paint is never trying to compete with the perfect reproduction qualities of a pixelated screen," the artist comments, "rather it is there to draw you into the work, to see the edges, the failures, the human hand making the mark."

Navine G. Khan-Dossos (b. 1982, London) is a visual artist based in Athens. Her interests include Orientalism in the digital realm, geometry as information and decoration, and image calibration. She has exhibited and worked with institutions including Serpentine Galleries (London), the Museum of Islamic Art (Doha), Witte de With (Rotterdam), the Van Eyck Academie (Maastricht), the Delfina Foundation (London), Leighton House Museum (London), the Benaki Museum (Athens), and the A.M. Qattan Foundation (Ramallah).

NOME
Founded in 2015, NOME operates between art, politics, and technology. By exploring the nodes of entanglements between these fields, NOME aims to raise critical awareness of the crucial issues facing our age.

For further information and sales inquiries, please contact Luca Barbeni or Manuela Benetton at info@nomeproject.com.
For press and media inquiries, please contact Tabea Hamperl at press@nomeproject.com.

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