Exhibition dates May 23 – June 06, by appointment only.

Throughout the years, in videos, installations, and the fallas from his native Valencia, Ferran has been working at intersection of modernist concepts and traditional craftsmanship.
For example, at the Popiashvili Newman gallery in NYC, Ferran produced two site-specific installations dedicated to his parents: To The Height of My Father (2009) and Granada (2012). These works playfully responded to the constraints of a gallery space located below ground level: In the former, he lowered the height of the ceiling to uncomfortable dimensions while, in the latter, he transformed the standard concrete floor into an ornate wooden patina with burnt Moorish decorations. Through these tactics, he situated the body of the viewer within a network of art historical discourses while also insisting on the material dimensions of bodily experience.

This approach is also evident in video works that document the artist walking through various urban and natural environments while wearing a mirrored cube on his head. In dialogue with minimalist concerns regarding phenomenological experience, Ferran moves the conversation forward by inviting viewers to consider modernism as a lived experience in spaces beyond the parameters of ‘the white cube.’ In this context, his transposition of fallas into an ‘art context’ enacts a significant reversal as Ferran brings this communal tradition, to which he is personally connected through his father’s expertise, to a new public. With the construction of each falla, Ferran has to deftly adapt to a new physical situation, he has an incredible wealth of craft, sculptural, and building skills. He is also adept at working with various practitioners, as this tradition deeply rooted in collaboration.

via glexisnovoa.com

smoke signals: portals y paisajes
curated by William Cordova
under the bridge
12425 ne 13th ave
305 987 4437
May20, 2012 – July 08, 2012

“in one case, the out of field designates that which exists elsewhere, to one side or  around; in the other case,

the out of field testifies to a more disturbing presence, one which cannot even be said to exist, but rather to

insist or subsist, a more radical elsewhere, outside homogeneous space and time”

lynne golob gelfman: scapes

The Patricia and Phillip Frost Art Museum

Florida International University, Miami

Opening:  May 16, 2012 / 6-9 pm

May 16, 2012 – September 2, 2012

Lynne Golob Gelfman makes abstract paintings that are rooted in the visible world.  She identifies and isolates textures, forms or patterns, either natural or manmade, then repeats them to create compositions that seem as if they could flow forever in all directions. In recent years, inspired by morning walks along the Miami shore, she has been making works that evoke the reflection of light on water. But as a result of their repetitive markings, her works become as much about the process of their own making as about any outside source.

The works in the exhibition scapes refer to landscape but do not represent it. Instead, they suggest a sense of place.

In the most recent series, the dune paintings, the surface image changes with the slightest shift either in the viewer’s position or in the angle of light. These paintings, which are never the same nor fixed in time, offer an experience of perception- what happens when the viewer traverses the image.

The dune series was inspired by hiking through the undulating dunes of Lençóis Maranhenses, Brazil and seeing sand always moving in the play of wind and sun.

In scapes, Gelfman’s images lead beyond the referential and into an awareness of the elemental.

image: dune 25, 2011. metallic and acrylic paint. 48 x 48 inches.  one painting seen from four angles of light

www.lynnegolobgelfman.com

Thanks, MDCC .

Fun, fun album. 5 mics ?

@ Farside Gallery, Miami, Florida.

… 1975 Ink Drawings and a photo series titled Pomona Houses from 1970.

The Ink Drawings were painted using a practice developed during the making of the Pencil Drawings, 1972, always beginning in the upper left corner and finishing in the lower right. The support and medium change while the technique remains the same. Here the ink mixture is more or less diluted, with darker and lighter results. The technique is based on the idea that repetition will produce changing results; the titles of the drawings are the date of completion – a record of the day’s work.

…

Pomona Houses was shot in California in 1970 and published in 1972 in a book by Mother Lode Editions to accompany an exhibition of projected color slides of houses at the Ivan Karp Gallery in SoHo. The current show includes all forty-five photographs from the book framed and displayed at eye level in their original order.

Marcia Hafif lives between New York City and Laguna Beach, California. This fall her work was part of Pacific Standard Time’s Best Kept Secret, UCI and the Development of Contemporary Art in Southern California, 1964-1971 at the Laguna Art Museum, CA. Hafif’s Italian Paintings, 1961-1969, are on display at MAMCO in Geneva accompanied by a catalogue raisonne of Hafif’s sixties paintings.

For further information and images please contact the gallery at contact@npgallery.com.

Exhibition dates: February 23 – April 14, 2012

Watch Clinton Chapter 1 on PBS. See more from American Experience.

Clinton premieres February 20th and 21st on PBS.