altman siegel

Repost from @societyforcontemporaryart NEXT Thursday at 6PM CST: LYNN HERSHMAN LEESON in conversation with Robyn Farrell, Associate Curator, Modern and Contemporary Art, Art Institute of Chicago. SCA Virtual Lectures are free and open to the public: link to register in bio. Over the last three decades, artist and filmmaker Lynn Hershman Leeson has been internationally acclaimed for her art and films. One of the most influential media artists, Hershman Leeson is widely reco...gnized for her innovative work investigating issues that are now recognized as key to the workings of society: the relationship between humans and technology, identity, surveillance, and the use of media as a tool of empowerment against censorship and political repression. Over the last forty years, she had made pioneering contributions to the fields of photography, video, film, performance, installation and interactive as well as net-based media art. #lynnhershmanleeson @lynn.l.leeson #societyforcontemporaryart #artinstituteofchicago #altmansiegel

Join Trevor Paglen for an online discussion hosted by @williamsartmuseum tomorrow, November 6, at 6pm EST. To learn more and to register for this free program follow the link in our bio. Trevor Paglen: Machine Visions The advent of computer vision and various forms of machine learning and artificial intelligence have led us to a strange turning point in the history of images: the preponderance of images in the world are now made by machines for other machines, with humans rar...ely in the loop. This is a dramatic development not only in the history of images and visual culture, but in history itself. In the past, an image for all intents and purposes required a human viewer in order to exist. Now that has changed and much of the making and interpreting of images going on in the world happens without human eyesinvisibly. In this presentation, Paglen asks: What are machines seeing when they look at the world? What are the various formal assumptions of computer vision systems? How does the quantification of vision lead to all sorts of political operations masquerading as scientific endeavors? What, therefore, are the politics of a machine-readable world? This event is a part of the Plonsker Family Lecture Series in Contemporary Art. Photo: Christine Ann Jones #trevorpaglen @trevorpaglen #williamsartmuseum #altmansiegel

Altman Siegel is pleased to present work by Simon Denny forArtissima XYZ, an original cross-media platform that transforms the curated sections of @ArtissimaFair, International Fair of Contemporary Art, into an immersive digital experience. Visit the link in bio to view our presentation. The fair is online through December 9, 2020. In Power Vest 6, Denny has repurposed one of former British Prime Minister Margaret Thatcher’s scarves as a sculptural material to create a kno...ck-off, bespoke Patagonia, Inc. Nano Puff power vest. This socio-politically loaded form, designed for individual insulation, has become the de facto uniform of tech and finance culture. This association has caused Patagonia, Inc (with its investment in narratives around sustainable production and a version of ethically-focused capitalism) to pull away from endorsing the power vest by recently refusing direct collaboration with finance and venture capital firms. Company-logo edition versions of their nano-puff, once common and popular, are now no longer possible for firms that Patagonia deems as contrasting in public image to their core messaging. Denny’s sculpture of the Patagonia Nano-Puff is constructed from secondhand down filling, extracted and upcycled from used sleeping bags and garments sourced around San Francisco a city where the quilted jacket’s symbolism contrasts with the spread of other types of insulated personal items such as sleeping bags, now associated with those who cannot find more permanent forms of shelter. Image: Simon Denny, Power Vest 6, 2020, Scarf formerly owned by Margaret Thatcher, Patagonia M’s Down Sweater Vest parts, Down sourced from second hand San Francisco garments, Ripstop Nylon, Salesforce and Quip embroidered logos, wood, glass, photo paper, cardboard, 52 3/4 x 60 1/4 x 9 1/8 in, Photo: Nick Ash #simondenny @sden023 #artissima #artissima2020 #artissimaxyz #altmansiegel

Electoral Aesthetics: Lucy Ives on Matt Keegan's 1996 for Art in America The anthology deploys ephemera very effectively, handily shocking the reader with the stupidity of mainstream ideology of the mid-1990s. A 1996 Kenneth Cole ad, touting the brand’s next-level wingtips, proclaims: ‘The year is 2020. Computers can cook, all sex is safe and it’s illegal to bear arms and bare feet. The future is what you make it.’ Such itemsalong with an image of Ivanka Trump as teen mod...el or a fear-mongering depiction of the pledge of allegiance in Spanish and German from the xenophobic nonprofit ‘U.S. English,’ still operational todayprovide some of the strongest tastes of the moment and foreshadow its lingering social and political effects. Read the article in its entirety via link in bio. 1996 is co-published by @inventorypress and New York Consolidated. Pre-Order via inventorypress.com. #mattkeegan@matt_keeg#1996#inventorypress#altmansiegel #vote

Flashback to May 14, 2004. My 15 minutes of fame in AM New York talking about Albert Oehlen and ‘bad painting’ #amNewYork #AlbertOehlen #CourtneyLove ... #RudyGuiliani #AltmanSiegel #badpainting See more

Will Rogan’s Eraser, will be featured tomorrow evening at A/V: Artist Videos at the Drive-In, a one-night screening of contemporary video works at the Capitol Drive-in presented by the@exploratorium,@kadistkadist,@icasanjose, and@san_jose_museum_of_art. Sunday, November 1, 6pm PST West-Wind Capitol Drive-In, 3630 Hillcap Ave, San José, CA 95136. $10 per vehicle; advance registration required. Link in bio for more information.... Artists includeLewis Alquist, Meriem Bennani & Orian Barki, Paul Clipson, Larry Cuba, Chris Doyle, Karissa Hahn, Max Hattler, Taro Izumi, Andre Leduc & Jean-Jacques Leduc, Jodie Mack, Takeshi Murata, Abigail Reyes, Will Rogan, Jacolby Satterwhite, and Tabaimo. Image: Will Rogan, Eraser, 2014, Video still #willrogan @_sunset_club_ #altmansiegel

Fashion is commonly used as an aesthetic indicator of the times. Like the construction of history, fashion is an active document of a collection of drives and perspectives continuously subject to reevaluation through new lenses of perspective.Torey Thornton’selegant yet self-aware arrangement addresses clothing as sculpture for the body. Activated by the movement of our bodies, clothing is essential in performing our identities. The impenetrable and fraught high-taste high-...class economic stakes of the fashion industry mirror our present art market conditions. Both go back and forth between cause and effect designations as they pertain to economic, ecological, and social trauma. Within both constructs a constant reevaluation is at play, never truly at rest in a present, and new meaning is commonly accrued over time or via changing circumstances. In Thornton’s"Who's teaching to hang dry? (All rights and 1 left, intro to seven deadly sins)," seven luxury brand designer hangers hang in a row on a wallAlexander McQueen, Rick Owens, etc. Grabbing onto each hanger is a bright neon orange thermal overshoe bicycling booty from a Swedish company called POC, with the POC graphic featured prominently on each booty. As technological and social constructions advance, who within those industries and ideologies will thrive through new framings and who will suffer, be revealed, or go extinct? Which pressures, restrictions, drives, and presumptions will determine the viability of those who dictate the aestheticization of the collective present? I Yield My Time. Fuck You! is now on view at the gallery. The exhibition features work by Nick Cave, Troy Chew, Wade Guyton, Samuel Levi Jones, Lynn Hershman Leeson, K.R.M. Mooney, and Torey Thornton.Visit altmansiegel.com/contact or email [email protected] to book a visit. Torey Thornton Who's teaching to hang dry? (All rights and 1 left, intro to seven deadly sins), 2020 Designer garment hangers, Swedish cycling thermal and rain booties of neoprene Polyurethane and Kevlar 14 x 172 x 4 in 35.6 x 436.9 x 10.2 cm #toreythornton@_t____________________1 #altmansiegel

I Yield My Time. Fuck You! is now open at the gallery. The exhibition features work by Nick Cave, Troy Chew, Wade Guyton, Samuel Levi Jones, Lynn Hershman Leeson, K.R.M. Mooney, and Torey Thornton. Uplifting and reifying otherwise distressed bodies,Nick Caveencourages a profound and compassionate analysis of violence and its effects as the path towards an ultimate metamorphosis. The figure remains central in Cave’s exhibited series of work, juxtaposing body parts in bronz...e monochrome, including casts of his own hands emerging from the gallery walls. One pair of hands cradles several miniature carved wooden heads, while another grips a delicate tole flower bouquet affirming the potential for new growth. The African heads import not only the ancient history of African carving and trade in stolen artifacts but also, more horrifically, the trade in stolen people, yet their individuality suggests something more nuanced about identity and collective psyche within an exploited race. Nick Cave Untitled, 2018 Mixed media including a bronze open hand with carved heads 4 x 5 1/2 x 12 1/4 in 10.2 x 14 x 31.1 cm Courtesy of the artist and Jack Shainman Gallery. The exhibition is on view through December 19, 2020. Visit altmansiegel.com/contact or email [email protected] to book a visit. #nickcave@nickcaveart#altmansiegel

This is the final weekend to check out Laeh Glenn’s exhibition, The Doldrums, at the gallery. Schedule an appointment via our website (altmansiegel.com/contact) or email [email protected]. View documentation from the show on our online viewing room - link in bio. Laeh Glenn Wack, 2020 Oil on canvas, painted frame... 21 1/4 x 17 1/4 in Photo: Robert Divers Herrick@robertdiversherrick . #laehglenn#thedoldrums#altmansiegel

Congratulations to Zarouhie Abdalian on receiving a 2020 Painters & Sculptors Grant from the Joan Mitchell Foundation! This annual grant recognizes the artistic achievements of 25 painters and sculptors who were first nominated by peers and arts professionals and then selected through a jurying process. In addition to the financial award, grantees also gain access to a network of arts professionals and become eligible to apply for residencies at the Joan Mitchell Center in New Orleans. #zarouhieabdalian #joanmitchellfoundation@joanmitchellfdn #altmansiegel

I Yield My Time. Fuck You! Featuring: Nick Cave, Troy Chew, Wade Guyton, Samuel Levi Jones, Lynn Hershman Leeson, K.R.M. Mooney, Torey Thornton October 29 December 19, 2020 The yielding of time signals a consciousness of how little space and agency we are granted and the importance of leaving some for those who too often go unheard. Three weeks into nationwide protests against police brutality brought on by the murder of George Floyd, the Los Angeles Police Commission hos...ted a virtual community meeting via Zoom. After six hours of citizens decrying the police department’s violence and most recent misconduct towards demonstrators, Jeremy Frisch wasted none of his 30-second time limit. This exhibition takes its title from Frisch’s eloquent tirade turned viral rally cry. It is not just Frisch’s perspective or his delivery that warrants consideration since we can imagine that there must be infinite unrecorded accounts of frustrated citizens in board rooms drilling civic authority figures, perhaps even with similar heights of style and punctuation. The reason any of us have heard of this specific moment is due to a sort of perfect contextual storm that surrounded and amplified Mr. Frisch’s exclamation through a unique social moment crossing paths with new technological possibilities for historicization and iconography. For every instance that gets captured and made iconic through mediation and memetic transfer there are infinite accounts that never enter the discourse and are denied their proper platform in society and in history. Every police video we see for instance, must stand in for a thousand other similar events not caught on tape. Technology has become essential to our aesthetic construction of histories and to our projections of the future, both for those in power and for the otherwise voiceless. Image: Wade Guyton, Untitled, 2020, Epson UltraChrome HDX inkjet on linen, 84 x 69 in. Wade Guyton Courtesy of the artist and Friedrich Petzel Gallery, New York. Photo: Ron Amstutz. #nickcave @nickcaveart #troychew @troylamarrchew #wadeguyton #samuellevijones #lynnhershmanleeson @lynn.l.leeson #krmmooney @lilxl #toreythornton @_t____________________1

Installation views from Emily Wardill’s showNight for Day on view at @viennasecession through November 8. In her exhibition, Wardill debuts her most recent film project, Night for Day (2020), an installation of film and sculptures that weave into one another, and the film I gave my love a cherry that had no stone (2016). ForNight for Day(2020), Wardill constructs a feigned mother-son relationship. Her source material is a series of extensive interviews with Isabel ...do Carmo, a revolutionary resistance fighter against the fascist regime in Portugal that fell in 1974, and two young men, Alexander Bridi and Djelal Osman, astrophysicists who run a startup in Lisbon that develops software enabling computers to recognize moving images. These different strands allow Wardill to, as she puts it, think about what would happen if a communist revolutionary gave birth to a techno utopian, if gender as performativity was thought through the lens of women making the political decision to live clandestinely in Portugal for a large part of the twentieth century and if the ‘Last Woman’ were the fembot fromThe Tales of Hoffman. For her installation at the Secession, Wardill weaves a sprawling web out of the video and the props she used in it: two suspended chairs, a witches ball that swings back and forth like a pendulum, cloths faded by sunlight, and a slide projector casting images of the moon into the room through the glass door. Roughly and perfunctorily painted walls underscore the impression of a sketch that is pretending to be a finished piece just as night was pretending to be day. Images: 1,4: Emily Wardill, I gave my love a cherry that had no stone, 2016, installation view Secession; 2,3: Emily Wardill, Night for Day, 2020, installation view Secession. Photo: Iris Ranzinger #emilywardill #viennasecession #altmansiegel

As part of their installation at the gallery,@apogee_graphics_lapresents a series of new graphic posters.Parable of the Sower draws reference from the 1993 science fiction novel of the same name by Octavia E. Butler. Echoing the format of kitchen variety posters, the print reveals a chronology of objects encountered or utilized by the protagonist of the dystopian classic. 100% of the proceeds from "Parable of the Sower" directly benefit@theblackschool, an experimental a...rt school teaching radical Black history. To learn more, visithttps://theblack.school/. To inquire, please [email protected]. Apogee Graphics Parable of the Sower, 2020 Archival pigment print 36 x 24 in 91.4 x 61 cm Edition of 5 plus 2 artist's proofs #apogeegraphics#lauraowens@lwn432sp11#ashaschechter@thevanitygallery#theblackschool#altmansiegel

Simon Denny's solo exhibition, "Mine," is currently on view at @kunstsammlungnrw Dusseldorf. The presentation includes a group of new works developed for the @monamuseum in Hobart, Australia which is being shown in Europe for the first time. The focus is on extractive industry models, which mine both minerals from the earth and data, extrapolated from the labor we do on consumer apps and tools on the internet. The Australian mining industry provides a lens: as one of the mos...t important sectors of the continent’s economy, it is, at the same time, also the cause of serious ecological and social problems. Denny takes this as a starting point to reveal the connections between the mining of raw materials, data acquisition and processing, and climate changetopics that have acquired explosive topicality worldwide. His sculptures, wall works, and large-scale installations unpack the consequences of the development of the data economy and reveal extraction as one of the dominant principles in the way humans interact with their environment. As another connection between the extractive practices of mining and the increasing expansion of (and extraction from) the quantification of our activities online, Denny has also worked with artist Jan Berger @ Mythical Institution to reproduce the entire K21 exhibition in the gaming platform Minecraft. In this virtual translation of the exhibition experience, the minecraft version is constructed as if the exhibition spaces exist below the Zollverein Coal Mine Industrial Complexthe largest coal mine in the world during its active period. The exhibition runs through January 17, 2021. Installation views: Simon Denny, "Mine," K21, Kunstsammlung Nordrhein-Westfalen, photo: Achim Kukulies #simondenny @sden023 #k21 #k21düsseldorf #mine #monamuseum #altmansiegel