See you in September

Rosemary Laing: “Eddie” (2010, C Type photograph, 43×101 inches/109.2×256.5 cm). Image courtesy of Galerie Lelong, New York (© Rosemary Laing)

Buhmann anticipates Tribeca, Chelsea fall gallery highlights

In Laing’s new series, an upside-down, single-family home disturbs an otherwise harmonious pastoral landscape. The tension initiated by the aggressive manifestation of a manmade structure in the face of calm natural beauty serves as metaphor: the threat of suburbanization to the idyllic vistas of the Australian landscape. Throughout the past decade, on drives along the south coast of Australia, the artist has witnessed small country towns and farmlands become significantly altered through the socio-economic and environmental pressures of suburban development. Though “leak” focuses specifically on the Cooma-Monaro District in New South Wales, an area that has been the subject of many Australian landscape paintings, Laing’s message easily relates to a broader world context.

Reception: Thurs., Sept. 6, 6-8pm. Book signing: Sat., Sept. 8, 3pm. On view from Sept. 6-Oct. 20, at Galerie Lelong (528 W. 26th St., btw. 10th & 11th Aves.). Fall hours: Tues.-Sat., 10am-6pm. Call 212-315-0470 or visit

© Kwang Young Chun, Courtesy of the artist & Hasted Kraeutler Gallery, NYC
Kwang Young Chun: “Aggregation 03-BJ001” (2003).

Born in 1944 in Hongchun, Korea, Kwang Young Chun has exhibited internationally since 1966. He has gained international fame for his unique process of composing structures that consist of thousands of small triangles, each individually hand molded in paper. Young Chun gathers mulberry paper from old books of important Korean texts and dyes the papers into various shades with the help of teas and flowers. The small, minimalist pieces of mulberry paper are then attached one by one to a two-dimensional surface, or built into free-standing sculptures that seem to tell of both distress and poetry.

Reception: Thurs., Sept. 6, 6-8pm. On view from Sept. 6-Oct. 20, at Hasted Kraeutler (537 W. 24th St., btw. 10th & 11th Aves). Fall hours: Tues.-Sat., 11am-6pm. Call 212-627-0006 or visit

Organized by Natalie Musteata, this exhibition presents eight international contemporary artists whose works address issues of inequality, conflict and instability in recent history. Inspired by the recent wave of uprisings in Syria, Yemen, Algeria, Iraq, Jordan and Morocco, as well as the Occupy Wall Street movement, this exhibition will illustrate how political unrest can quickly gain momentum, extending into streets, offices, schools and involving multiple cultural centers across the world. The selected works by Mounir Fatmi, Claire Fontaine, Shilpa Gupta, Iman Issa, Tala Madani, Ahmet Ögüt, Tomáš Rafa and Alexandre Singh will serve as a reminder that the intersection between creative practice and political activism is not only longstanding but also of the moment.

Reception: Wed., Sept. 12, 6-8pm. On view Sept. 12-Oct. 27, at apexart (291 Church St., btw. White & Walker Sts.). Hours: Tues.-Sat., 11am-6pm. Call 212-431-5270 or visit

Tomáš Rafa: “New Nationalism in the Heart of Europe” (single channel video, 2009-12). See “Unrest,” Image courtesy of the artist and apexart

His paintings can be described as a pictorial discussion of the art of the past, of the here and now, and also of what is to come. His forms are organic, reflecting his belief in nature and living. In the past, he has stated: “Nature is what I’m ultimately giving people, something they already are. My work is a reminder to people, to live.” The sentiment evokes Jackson Pollock’s famous statement: “I am nature.” Cass’s process is rooted in drawing, the paint being applied later to flesh out the compositions. The results are vibrant, vividly brushed conglomerates of forms made from snippets of references to landscapes, human settlements and atmospheric weather patterns.

Sept. 14-Oct. 20, at Kansas Gallery (59 Franklin St., btw. Lafayette & Broadway). Fall hours: Tues.-Sat., 11am-6pm. Call 646-559-1423 or visit

Spread the word:

2 Responses to See you in September

  1. 明末、清朝の初期の際、篆刻の名家は多くて、彼#file_links\3text\Projects\yzci.txt,1,N] らあるもっぱら師の1人、あるも全部で兼ねて師の2人、そして師法の基礎の上で、また 顔になってから。しかしその風格また前で諸家の突き出ることを述べて、だからその顔の近い者を、帰って1種類になります。朱簡《印》の中所のハマウツボの時印刷し。中国の印章の芸術の日本に対する交流、この時期最も頻繁で複雑です。1つは清朝の付き合いを被って継続があります;二つは羅振 #file_links\3text\Projects\yzci.txt,1,N] 玉などのいくつか清朝の遺民は日本に逃げて、たくさんの貴重な文化財と印章の実物などに携帯していきます;3は多くの日本の印章の愛好者と収集者です 在華商社などを利用して関係して、大量に買い付けてチベットの民間での文化財に散って、印章を含みます;4は抗日戦争の時期にで、中国は苦難に満ちた生活があって、生命 の時、市で印章などの文化財を捨てて、或いは日本軍に占領されて、任其が安くてかきあげることを買うか取ります;5は人のお互いに付き合う訪問を印刷するのです。これたくさん 原因と付き合いの形#file_links\3text\Projects\yzci.txt,1,N] 式、客観的には日本の篆刻の芸術ある程度発展を使用して、同じく言えて後の発展になって、比較的に厚い物質の基礎を打ち立てました。高山は寿山郷の山系の主峰で、石量を産するのは、質を多い良くて、色は多彩です。田畑があるいは寿山の谷川でなければならないで中で産して、色の黄色の者は語っています “田黄”、黒色者は“黒田”を語って、白色者は“白田”を語って、外白い内に黄語っている“銀色の金”、赤色者は“紅田”を語っています。産して寿渓で支えます 谷川の畔の水のある洞窟(穴)の中の名を流して“穴の周りの石”を言って、石が長くて水がしみる中のにため、だから石晶瑩は透明で、また“水晶が凍る”を語っています。色が異なるため、あり#file_links\3text\Projects\yzci.txt,1,N] ます “黄色の水晶が凍る”、“赤い水晶”、“白い水晶”、“魚の脳が凍る”、“ウシの角が凍る”など、あるもの凍る中にネットの糸のダイコンの糸の紋様がまだあります。寿山で産します 主峰の山麓の鉱石が量るのは多くて、品種の量繁、品質の違いは大きくて、色は色とりどりで美しくて、カムリ者は高山が凍ると語っていることがあります。質の悪い者は多く黄色で、 透明ではありませんて、質は太くて硬くて、ひび割れはあります。朱の色は印を押して、ひとつが太いから精密な進歩の過程に着くもある。唐宋は普通は蜂蜜を使って辰砂を加減するので、使用時の手は朱をつけて、くっつい蜂蜜の印があります 面、それから紙の絹織物で押します。元の人は水印をよく使って、すぐ水で朱を加減します。明の初期#file_links\3text\Projects\yzci.txt,1,N] 、役に立つ油が朱を加減することを始めて、すぐまばらなすりつぶしたものの形になって、だから称します “印肉”。甘い調子の朱を使って、紙の絹の上で気絶しやすくてしみ始めて、容易に拭き落とすことと。水を使って朱を加減して、溶けないでしみ始めますが、しかしいいえを落ちるかぼんやりさせやすいです 点検。だからの後で油で変調して、しかし初期油の粉の脱水を使って、同じく気絶してしみて散らばりやすくて、それから次第に改善して比較的完璧な効果に達します。私達 明朝の何冊のもと拓本の印譜は会いました。

Leave a Reply

Your email address will not be published.

five − = 2