Intelligentsia opened a coffee annex on Abbot Kinney so that Sean Bonner wouldn't have to trek eastward for his daily coffee fix. Check out how many peeps turned up to welcome them to the westside! All this for coffee, hah!
Eirik Johnson Sawdust Mountain Talk and Book Signing
Join photographer Eirik Johnson as he discusses work from Sawdust Mountain (Aperture, June 2009), his highly anticipated second monograph. A culmination of four years of photographing throughout Oregon, Washington, and Northern California, Sawdust Mountain focuses on the tenuous relationship between industries reliant upon natural resources and the communities they support. Johnson, a Seattle native, describes his photographs as “a melancholy love letter of sorts, my own personal ramblings.” Through this poetic approach, Sawdust Mountain records a region affected by historic economic complexities and, by extension, one aspect of our fraught relationship with the environment in the twenty-first century.
Tuesday, May 26, 6:30 pm
Aperture Gallery 547 West 27th Street, 4th floor between 10th & 11th Avenues New York, New York (212) 505-5555
"Mr. Tran did not anticipate the popularity of his take on sriracha. He believed the sauce to be good. He took pride in the augers and other apparatuses he designed for the plant. He liked to tell people that all he did was grind peppers, add garlic and bottle it."
Michael Snow 2 Radio Solos by Michael Snow Five A's, Two C's, One D, One E, Two H's, Three I's, One K, Three L's, One M, Three N's, Two O's, One S, One T, One W (with Alan Licht and Aki Onda)
Double CD Launch and Signing Saturday, May 23, 2009, 5:00 – 7:00 PM
Printed Matter is pleased to announce a double launch for Michael Snow's 2 Radio Solos, a CD reissue of the artist's sound art classic, originally issued on cassette in 1989, and Five A's, Two C's, One D, One E, Two H's, Three I's, One K, Three L's, One M, Three N's, Two O's, One S, One T, One W, a release compiling two electronic music concerts by the artist with Alan Licht and Aki Onda. The launch will take place on Saturday, May 23, from 5:00 – 7:00 PM and Michael Snow will be on hand for a signing. Printed Matter is located at 195 Tenth Avenue (between 21st and 22nd Street) in New York City.
Honor Fraser is pleased to present a series of discussions that will be hosted at the gallery throughout this summer and fall.
The first talk, titled “Is Conviction in Painting Possible?” will start at 4 pm on Saturday May 23rd and is a panel discussion on the current status of contemporary painting. The talk will aim to examine the intrinsic challenge in theorizing about contemporary painting, based not only on studio practice but also through writing. The starting point of the conversation is a question framed by Ed Schad, asking what is it that inspires and compels a contemporary artist to take up the brush and paint. The question is formed from a passage written by Jens Hoffmann in an essay about Unwin's work. Hoffmann writes: “Though not without similarities to others of her generation and immediately preceding, she epitomizes the freedom of emerging at a time when influence – whether painterly, filmic, literary, or personal – is a flat spectrum to be employed with ease and where process or the physical act of painting is nonchalantly explored.” Schad is curious to have the panelists explore the idea that if one's approach to media and the act of painting is nonchalant, where does conviction come from?
The panel will be moderated by Ed Schad and will include Andrew Berardini, Jens Hoffmann, Phoebe Unwin and Liat Yossifor. This discussion marks the first in a series of talks at the gallery that will bring together artists, curators, writers and critics in an environment where an organic dialogue can stem from a central topic or designated theme.
May 21 - July 24, 2009 Opening reception, May 21, 6-8 PM
In VIOLET HOPKINS’ second solo exhibition at Foxy Production, AFRAID HE MIGHT BE MISTAKEN FOR A CENTAUR, the artist appropriates images from the 1977 Voyager space mission's Golden Record, its catalogue of photographs, diagrams and sounds designed to communicate life on Earth to any aliens who may be encountered en-route. Hopkins reproduces a number of these images in ink on paper, and then anchors the exhibition with two large paintings: one of the record’s instructional cover, and the other of an eye reflecting a solar eclipse.