Madeline Hollander at The Shed, New York

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Madeline Hollander

52 Final Bows

HD video, color, silent, 13 min., 37 sec.

The Shed, New York, NY

Premieres September 14, 2021

Patrick Angus, Tom Burr, and Robert Bordo at OUT Collective

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Patrick Angus, Tom Burr, and Robert Bordo

OUT Collective

September 1 – October 1, 2021

Barbara Kasten at Photo London, London, U.K.

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Barbara Kasten

Polaroid: Enduring Passion 

Photo London, London, U.K

14 September, 2021
8:00 pm – 9:00 pm BST
Zoom Event

Ella Kruglyanskaya and Caitlin Keogh at BAMPFA, Berkeley, California

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Ella Kruglyanskaya and Caitlin Keogh

New Time: Art and Feminisms in the 21st Century

Berkeley Art Museum and Pacific Film Archive, Berkeley, California

August 28, 2021–January 30, 2022

Barbara Kasten at Dayton Art Institute, Dayton, Ohio

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Barbara Kasten

Photography through Time 

Dayton Art Institute, Dayton, Ohio

July 30 – October 24, 2021

Madeline Hollander at the Little House

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Madeline Hollander and Polly Apfelbaum

The Little House

Dries Van Noten, Los Angeles, California

07 August 2021 – 11 September 2021

Tom Burr at RISD Museum, Providence, Rhode Island

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Tom Burr

Any distance between us

Rhode Island School of Design Museum, Providence, Rhode Island

July 17, 2021 – March 13, 2022

Michel François at Halle Verrière and the Centrer International d’Art Verrier, Meisenthal, France

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Michel François

Halle Verrière and the Centrer International d’Art Verrier, Meisenthal, France

Opening July 3, 2021

Virginia Overton at The Ranch, Montauk, New York

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Virginia Overton

Untitled (chime), 2020

The Ranch, Montauk, New York

Opening July 1, 2021

Marina Rheingantz: FRAC Auvergne Catalogue

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Marina Rheingantz’s paintings and embroidery are nourished by the recollection of Brazilian landscapes, memories of the compactness of the earth, of light and its variations, of the atmospheric nebula of twilight, of the pointillist dissemination of birds in the sky, of the emergence in clusters of flowers and shrubs, of mounds emerged on the surface of the flooded plains… Painting landscapes, today, cannot be envisaged without the awareness of the incongruity and the inactuality of such subject. Painting landscapes cannot depart from the conviction that such a subject – historically exhausted – can still be tackled, especially if one keeps in mind a banality that it is always good to remember, namely that a painting is first of all the story of a look at something: the painting tells how the painter’s gaze landed on his subject before placing it on its support. What we see of Marina Rheingantz’s landscapes are not the landscapes themselves but a singular look at these expanses, the way she sees them with memory, in the leafing of plans and patterns, the aerial dives of expanses without horizon strewn with suspended patterns, agglomerates of light, dust, phosphenes, clouds of microscopic ephemera, spangled with particles of reality frozen in appearance and yet always moving. The gaze is brought to a halt, stopped in its surveying by the resistance of the paint, by the compactness of its surface, by the web of patterns and signs that dot the areas and are superimposed on them like openwork filters.

Texts by Douglas Fogle and Jean-Charles Vergne
French / English, format 30 x 24 cm, 216 pages

Publisher: FRAC Auvergne