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Macchi studied piano as a teenager, during the years of Argentina’s military dictatorship

(1976-83). The five lines of this sculpture, formed by rope held taught by springs, could be read, as its title suggests, as a musical staff. But the staff is un-notated, suggesting an enforced silence or the inability to put something into language. It pins the soft form of a pillow-a site of intimacy-against the wall. Macchi’s work, like that of some of the other artists in this gallery, exposes the uncomfortable tensions between systems of order and the ways that bodies exceed them.

What would a machine dream of after seeing the collection of The Museum of Modern Art? For Unsupervised, artist Refik Anadol

(b. 1985) uses artificial intelligence to interpret and transform more than two hundred years of art at MoM. Known for his groundbreaking media works and public installations, Anadol has created a singular meditation on technology, creativity, and modern art.

Unsupervised features a digital artwork that unfolds in real time, continuously generating new and otherworldly forms that envelop viewers in a large-scale installation. The artist trained a sophisticated machine learning model to interpret the publicly available data of MoM’s collection. As the machine learning model “walks” through its conception of this vast range of works, it reimagines the history of modern art and dreams about what might have been-and what might be to come. In turn, Anadol incorporates site-specific input from the surrounding environment of the Museum’s Gund Lobby-changes in light, movement, acoustics, and the weather–to affect the continuously shifting imagery and sound. The history of modern art is transformed by the liveness of public space in the present.

Anadol’s installation reshapes the relationship between the physical and the virtual, the real and the unreal. Often, Al is used to classify, process, and generate realistic representations of the world. Unsupervised, by contrast, is visionary: it explores fantasy. hallucination, and irrationality, creating an alternate understanding of artmaking itself. The installation is based on works that are encoded on the blockchain, a distributed digital ledger, which stands as a public record of Anadol’s art. By revivifying and remodeling archives of collective memory, Anadol hopes to pose new futures.

Color effects:

Opening Thursday, January 5, 2023, 6:00pm – 8:00pm

Galerie Lelong & Co., New York is pleased to present Color Effects, a group exhibition featuring works by Candida Alvarez, Jose Dávila, Liz Deschenes, Terence Gower, Carmen Herrera, Alfredo Jaar, Rosemary Laing, Ana Mendieta, Hélio Oiticica, Yoko Ono, Pamela Rosenkranz, Kate Shepherd, Tariku Shiferaw, Michelle Stuart, Mildred Thompson, Charisse Pearlina Weston, and Amanda Williams. Taking as an entry

Amanda Williams Currency

point the color theories espoused by Bauhaus artists, designers, and

Exchange/Safe Passage, 2016.

thinkers, the exhibition touches upon the relativity of color’s perception,

claims of its transcendence and universality, its ability to elicit emotion, and draw attention to pressing social and political issues. Drawing upon the historical legacies of Color Field painting, Abstract Expressionism, Minimalism, and Conceptualism, this exhibition presents an international roster of artists from different generations working across many media, all using color in highly personal ways.

For many of the artists in the exhibition, color and geometric form work hand in hand to produce stunning visual effects. Preferring to use primary colors in her late works, Carmen Herrera creates a visual frisson with 5 Squares, 4 Rectangles (2017) by juxtaposing blue and red. An early progenitor of what came to be known as hard-edged abstraction, Herrera’s use of color complements her rigorous geometric forms. A red Relevo Espacial (Spatial Relief) (1959/1994) demonstrates how Hélio Oiticica liberated color into the participatory realm. His hanging wood constructions echo the sentiments of his earlier work, where flat planes of vibrant color shift according to the viewer’s position in order to encourage an active looking process. Oiticica became fundamental to the formation of the groundbreaking Neo-Concrete Movement (1959-61), which sought to impart the extreme rationalism of Concretism with emotion, sensuality, and subjectivity. Kate Shepherd balances color to induce a heightened emotional and visceral reaction as well as a reading of space while the glossy surface of the enamel reflects the painting’s surroundings. Jose Dávila’s Homage to the Square (2019) is a playful take on the iconic series by Joseph Albers. With this work, Dávila expands the two-dimensional square into a three-dimensional phenomenon, with the turquoise green edges of the mobile shifting in and out of focus in space.

An all-over, gestural use of color is represented in works by Ana Mendieta, Mildred Thompson, and Candida Alvarez. In the film Butterfly (1975), Ana Mendieta incorporated a 16-channel video processor to add a high-contrast, polarized graphic-effect to images of herself with what appear to be feathered wings. This film demonstrates the artist’s technical innovations and singular approach to film. In her painting Radiation Explorations (1994), Mildred Thompson considered the theory that magnetic waves were yellow when seen on an ultraviolet scale and radiation waves blue, using color theory to juxtapose contrasting and complementary colors to represent the invisible phenomena. Candida Alvarez’s large, two-sided painting Walking in Blue, from the Air Paintings (2017-2019) (2018) is part of a series made in the wake of the devastation of Hurricane Maria in Puerto Rico. Using colors drawn from her everyday

surroundings and memory, Alvarez produces a swirling visual experience. A selection of Alvarez’s Air Paintings is currently on view in no existe un mundo poshuracán: Puerto Rican Art in the Wake of Hurricane Maria at the Whitney Museum of American Art until April 23, 2023

Color can transcend the personal to enter the realm of the cultural and the allegorical. In her photograph Drapery and wattle (2017), Rosemary Laing adds a stream of brightly colored used clothes to the forest floor in her native Australia; the clothing is representative of the incursion of European settlers on the land, displacing the nature that was there before. On The Low (Burna Boy) (2022), is a continuation of a series of paintings by Tarik Shiferaw entitled One of These Black Boys, where each work is titled after music from genres originating in Black communities and features an expressively painted sky-blue background marked by bands of varying shades of black, representative of the spectrum of Blackness. Shiferaw’s work calls upon the many meanings evoked by the colors black and blue. In Pamela Rosenkranz’s Alien Blue Window (Loim, Via San Tomaso 53)(2017), the blue light emitting from the vaulted window shaped lightbox evokes the primordial ocean, the skies prevalent in medieval painting, as well as the digital hue of computer screens. The decline of analog photography is the subject of Alfredo Jaar’s Bye Bye Photography (1988), a work that consists of a melancholic, single, red lightbulb. According to Jaar, “I created this work the day I purchased my first digital camera in 1988.

It was a way to mourn the era of analog photography, the hours I had spent in a dark room printing my own photographs.” For her series Color(ed) Theory, Amanda Williams repainted and photographed eight vacated and condemned houses in the Englewood neighborhood of Chicago, drawing attention to the issue of underinvestment in African American communities around the city. The artist painted the buildings in a palette of colors found in products and services marketed primarily toward a Black audience.

Works in the exhibition also point to the absence of color. Terence Gower’s El Muro Rojo (Barragán)

(2005) features a black and white photograph on a red wall. The photograph is Gower’s version of one of Armando Salas Portugal’s iconic 1953 photographs of the home of Luis Barragán, now known as Casa Barragán. These early photographs were instrumental in establishing the Mexican-born architect’s international reputation though they are devoid of the vibrant color that made Barragán so well known.

The cadmium red of the wall behind the photograph is the same color as the darker wall depicted in the roof wall photograph, allowing the viewer to complete the color with their imagination. White, Yoko Ono’s preferred “color,” allows the participant to be the main aesthetic value in the work touch me (edition) (2008), while Charisse Pearlina Weston uses smoky black glass in her sculpture entitled plained dreams (2021) to obscure. Underscoring the use of clear, transparent glass in carceral architecture for surveillance, Weston presents a fragile, precarious work of enfoldment and refusal.

Weston’s first solo museum exhibition, of [a] tomorrow: lighter than air, stronger than whiskey, cheaper than dust, is on view at the Queens Museum through March 5, 2023.

The materiality of color itself is central to works by Liz Deschenes and Michelle Stuart. Deschenes’s sculpture Untitled (LeWitt) #2 (2016) pays homage to Sol LeWitt, specifically a series of Polaroids the artist took of streets of the Lower East Side of Manhattan in 1979. Over the years, the Polaroids faded, leaving magenta the dominant remaining color. In Deschenes’s sculpture, a framed sheet of acrylic printed with magenta ink cured by ultraviolet light, the process of making the work contrasts with the subject of the work: the destructive nature of light. Michelle Stuart’s Quirigua (1980) is titled after the site of an ancient Mayan city in Guatemala known for its sandstone ruins. A pink pigment is rendered from the dirt and stone gathered from the site by Stuart, who embeds fragments of the stone into the paper by pounding and rubbing; the color of the work is inextricable from the site from which it is

collected.

Join in the conversation with Galerie Lelong & Co. (@GalerieLelongNY), Facebook (Galerie Lelong &

Co., New York), Instagram (@galerielelong) and via the hashtag #ColorEffects

I started these flowers in February 2021, after finishing my scroll of a year in Normandie. I was just sitting at the table in our house and I caught sight of some flowers in a vase on the table. Being February the sun was low casting a deep shadow on the table. I decided to draw it, the background was dark so I made a rich brown for it. After printing it I put it on the far wall facing the table. There it stayed for a few days. It looked very beautiful to me. Other people commented on it, it seemed to jump off the wall.

A few days later I started another from the same position with the same ceramic vase, this took longer to do. I then realised if I put the flowers in a glass vase the sun would catch the water and painting glass would be a more interesting thing to do. So then I was off. The flowers were not from the garden, there aren’t many in February, they came from a florist in Dozule. JP ordered them telling the florist to use color as a guide. I had done quite a few, after all it was very cold outside and I could work indoors more comfortably. When I had done about 12, Ithen thought they might be good to put in the German newspaper that had been asking me about doing something for them for a few years. I had ignored their requests because I had no idea what to do for them, but now I had something. I made 20 of them, all different.

Then they told us they needed 24, but I had already started working outside with the spring starting its joyful journey. So for the newspaper Die Welt we published the 20 flowers and then four of the spring.

I still had a few on our wall in the house, then we visited Marin, the paint and canvas dealer in Paris where I was ordering some canvases. Philippe Marin was showing us around the workshops, when he suddenly pulled out some carved wooden frames, he gave us one each telling us they were very unfashionable. They looked startling because the frames were very hand done in an old way and my pictures were also hand done in a new way, the iPad. Eventually we bought all the frames he had and put the flowers in them.

This is how they were exhibited at the Matisse Museum in Nice.

Unfortunately they were all he had, so for this exhibition it had to be plain frames.

We did make a picture of all the carved frames on the wall with me twice looking at them. This is photographic but is in no way an ordinary photograph. I had been doing what I called photographic drawings giving a much more 3D effect. This is because you have to look at these through time (unlike an ordinary photograph which you see all at once) I think the flowers also have this quality. Ironically the only things not photographed in this picture are the flowers themselves.

Today there are many new printing mediums that have some qualities which seem to fit the iPad perfectly. Ink jet printing leaves some real pigment on the surface. Other printing cannot do this. It leaves only a thin film of colour. All books are printed this way, they have to be because of speed. Ink jet printing takes time to do, so at the moment no books can be printed this way.

The objects on the floor are all photographed in 3D, one walks round the object and then the computer makes an image that can be turned any way you want, this is why I called them photographic drawings.

You can place them anywhere in the picture, so I think it’s a new kind of photography that avoids perspective. I am continuing with this research

The other pictures in this show are multiple iPad pictures. Two using three pads, one using six, two using eight and finally one using twelve.

This offers more possibilities than one does for reasons that are obvious but to do them took time.

The one of the river I started with 4 and then walked along it. I know it’s an unusual picture because there are not that many made this way.

I think it’s what we need today. New looking fresh pictures of a very beautiful world.

-David Hockney

Normandy, France, July 2022

GREENE NAFTALI

FOR IMMEDIATE RELEASE

Bernadette Corporation

February 8 – March 11, 2023

84 Floor

The cosmos’ contents fell out from something once smaller than a coin.

(At first there was only energy, then came matter; a single force broke apart into four distinct ones; etc. as the whole thing expanded

outwards. =

There’s conservation in this set-all of this stuff is continuously interchanging and interpenetrated.

A particle exists at different locations at once, in a blur form. Only when you go to measure it does one location step up as being

Progressively, science’s breakthroughs discover that all this stuff packs up again.

Stuff, forces thought to have no relation are discovered to be the parts of one or the same thing

Progressively equations are simplified, reduced.

There are coins in the show. A cosmos of them. Round things. That recently have taken a sharp tumble in value. Arrayed thus, what

futures can be seen in them?

Glyph penny plinths are procession owning the past… multi-panel wall works are eternal present escaping flash.

There are fields of eraseboard, that in their whiteness contain all possible markings. Some one will appear there, impermanently.

Past, present, future are all here at once.

A massive amount of energy exists in a tiny bit of matter.

Packing it back up reverts to the energy form.

Bernadette Corporation lives and works in New York. Solo exhibitions include Stedelijk Museum, Amsterdam (2016); Artists Space, New York (2012); Institute of Contemporary Arts, London (2012); Greene Naftali, New York (2009); Kunsthalle Zürich Parallel, Zurich

(2008); and Hamburger Kunstverein, Hamburg (2006). Their work has been featured in significant group exhibitions at Stedelijk Museum, Amsterdam (2022); Center for Contemporary Art, Tel Aviv-Yafo (2022); Julia Stoschek Collection, Berlin (2021); Whitney Museum of American Art, New York (2015); Centre Pompidou-Metz, France (2014); Institute of Contemporary Art, Philadelphia (2013);

Museum für Moderne Kunst, Frankfurt (2010); and The Museum of Modern Art, New York (2010), among others.

Beradette Corporation’s work is in the collections of Colección Jumex, Mexico City; Kunsthal Extra City, Antwerp; Hessel Museum of Art, Annandale-on-Hudson, New York; Stedelijk Museum, Amsterdam; and the Whitney Museum of American Art, New York, among others

https://qrco.de/bdhdf8

“The objects circulate in long, drawn-out orbits over short distances. I set up a large amount of situations that don’t amount to anything. So I leave these like the opposite of traps, trying to create something else inside the exact same space, so the sequence of prepared, inverted traps can become unset”

Gedi Sibony

I Was Like Wait stages a series of encounters, expansive and confounding. The works on view draw on items salvaged and saved, worked and reworked, over the past twenty years of Sibony’s practice. Paintings some layered atop found canvases, some on new ones depict bright vessels that orbit a void, and reconfigured objects constellate across the charged expanse of a room that holds them. Wires that function to tether fragments to architecture are also a means to draw in space; a spectral column mirrors a studio support, loosed from the task of enforcement. Such doublings recur within works and between them, extending the reach and resonance of a given object.

Gedi Sibony lives and works in Brooklyn, New York. Recent solo exhibitions include Mister Fahrenheit, New York (2022), and Greene Naftali, New York (2020, 2018); solo institutional presentations include The Douglas Hyde Gallery, Trinity College, Dublin (2014); Culturgest, Lisbon (2011); Contemporary Art Museum, St. Louis (2009); and In the Still Epiphany, a curatorial project at The Pulitzer Foundation for the Arts, St. Louis (2012).

His work is in the collections of the Astrup Feamley Museet, Oslo; Carnegie Museum of Art, Pittsburgh; Dallas Museum of Art; Hessel Museum of Art, Annandale-on-Hudson, New York; Museum of Contemporary Art Chicago; Museum of Contemporary Art, Los Angeles; The Museum of Modern Art, New York; Pulitzer Foundation for the Arts, St. Louis; San Francisco Museum of Modern Art; Solomon R. Guggenheim Museum, New York; Saint Louis Art Museum; Walker Art Center, Minneapolis; and the Whitney Museum of American Art, New York, among others.

Didn’t get photos of the first show

HESSE FLATOW

Katie Butler: Pomp and Circumstance

January 6 – February 18, 2023

Opening Reception: January 6, 6-8pm

For general inquiries: info@hesseflatow.com

HESSE FLATOW is pleased to announce the opening of Pomp and Circumstance, an exhibition of paintings by the Akron-based artist Katie Butler, marking her first solo presentation with the gallery.

Katie Butler’s politically charged paintings of opulent campaign dinners harp on the problematic nature of legislating on behalf of the average citizen from a detached framework of privilege. The dining table, as the nexus in which “bread and butter” issues are discussed, sets the stage for ostentatious displays of lobster, caviar, and oysters on the half shell against the backdrop of run-of-the-mill checkered tablecloths. Her use of foreshortened and bird’s-eye view perspectives combined achieves a dimensional flattening of pictorial space, disinviting viewers from inhabiting these seemingly seductive tableaus, which are meant to feel fraught, contrived, and otherworldly. Amidst the pageantry of executive seals and fine china, the company card paying the check provides an unsettling dose of reality – a reminder that corporate meal write-offs are designed by and intended to benefit only those who are seated at the table.

In as much as Butler’s paintings portray capitalistic ideals of growth and prosperity as hallmarks of the American dream, its symbolism through comucopias of food is not without undertones of perishability. Rooted in traditions of Dutch still life painting in which memento mori objects allegorized mortality and impermanence, Butler’s paintings similarly caution against blanket assumptions of perpetuity. Whether through extreme perspectival shifts that threaten to topple wine glasses over or the lone fly as a harbinger of something amiss, the illusory façade of grandeur and stability is momentarily suspended. While Butler conveys a journalistic sense of factuality as she sources her imagery from White House archives, their simulacrum in a painterly space, coupled with suited figures who register as archetypes more than actors, collectively function as props for a metaphorical political theater.

In light of the upcoming anniversary of the January 6th Insurrection, which coincides with the opening reception of Pomp and Circumstance, Butler’s paintings take on a new significance. Like the sobering attacks on the Capitol Building, which saw the endangerment of democracy, the US Constitution, and a working justice system, Butler’s works similarly signal the fragility of seemingly axiomatic pillars of society that one often takes for granted.

Katie Butler is a painter based in Akron, Ohio. Her allegorical still life paintings provide critical commentary on the financial disparities in American society. Recent exhibitions include the Kras| Art Center, St. Joseph, MI; Tchotchke Gallery, New York, NY; Steven Zevitas Gallery, Boston, MA;

Hashimoto Contemporary, Los Angeles, CA; Abattoir Gallery, Cleveland, OH. Butler received her

BFA from the University of Akron in 2017 and her MFA from Kent State University in 2021.

Image: Katie Butler, Pomp and Circumstance, 2022, oil and acrylic on canvas, 40 × 60 in (101.6 × 152.4 cm)