Asya Geisberg Gallery presents "Plastic Garden" Group Exhibition in New York

“Plastic Garden” is an exhibition curated by Katrina Slavik featuring the works of seven painters: Madeleine Bialke, Jennifer Coates, Sharona Eliassaf, Adrienne Elise Tarver, Joani Tremblay, Emma Webster, and Brian Willmont. These artists depict landscape and flora through a synthetic lens, creating lush, technicolor dystopias. In combination, their works seek a spiritual connection to nature not through awe-inspiring vistas, but with toxic colors, moody surrealism, and industrial surfaces.

“Plastic Garden” is on view through August 16 at Asya Geisberg Gallery 537B West 23rd Street, New York, NY. photographs courtesy of the gallery and Etienne Frossard

New Museum Presents "Sarah Lucas: Au Naturel" The First American Survey Of The Artist's Oeuvre

Over the past thirty years, Lucas has created a distinctive and provocative body of work that subverts traditional notions of gender, sexuality, and identity. Since the late 1980s, she has transformed found objects and everyday materials such as cigarettes, vegetables, and stockings into disorienting, confrontational tableaux that boldly challenge social norms. The human body and anthropomorphic forms recur throughout Lucas’s works, often appearing erotic, humorous, fragmented, or reconfigured into fantastical anatomies of desire.

Initially associated with a group known as the Young British Artists (YBAs), who began exhibiting together in London in the late 1980s, Lucas is now one of the UK’s most influential artists. This presentation, which takes place across the three main floors of the New Museum, brings together more than 150 works in photography, sculpture, and installation to reveal the breadth and ingenuity of her practice. The exhibition addresses the ways in which Lucas’s works engage with crucial debates about gender and power, along with the legacy of Surrealism—from her clever transformations of everyday objects to her exploration of sexual ambiguity and the tension between the familiar and the absurd.

“Sarah Lucas: Au Naturel” features some of Lucas’s most important projects, including early sculptures from the 1990s that substitute domestic furniture for body parts and enlarged spreads from tabloid newspapers from the same period, which reflect objectified representations of the female body. Alongside the photographic self-portraits that Lucas has produced throughout her career, the exhibition features biomorphic sculptures including her stuffed-stocking Bunnies (1997–ongoing) and NUDS (2009–ongoing), the Penetralia series (2008–ongoing), and selections from her installations at the Freud Museum in London (2000) and the British Pavilion at the Venice Biennale (2015). These works, which complicate inscribed codes of sexual and social normativity, have never before been shown together in the US. Lucas has also created new sculptural works for the exhibition, including This Jaguar’s Going to Heaven (2018), a severed 2003 Jaguar X-Type—the car’s back half burned and its front half collaged with cigarettes—and VOX POP DORIS (2018), a pair of eleven-foot-tall thigh-high platform boots cast in concrete.

Au Naturel is on view through January 20, 2019 at the New Museum 235 Bowery New York, 10002. photographs by Adam Lehrer

Jansson Stegner Paintings @ Nino Mier Gallery in Los Angeles

Nino Mier Gallery is currently presenting Jansson Stegner's first solo exhibition in Los Angeles. This new series of oil paintings that ascribe male and female figures with exaggeratedly rendered physiques explores the inversion of gender roles within myriad aspects of authority, dominance, submission and beauty. Jansson Stegner Paintings will on view until March 3 at Nino Mier Gallery 7313 Santa Monica Blvd Los Angeles, CA 90046. photographs by Summer Bowie

Man Ray and Lee Miller: Partners in Surrealism

A beautiful portrait of Lee Miller by Man Ray. Man Ray |Lee Miller: Partners in Surrealism consists of approximately 115 photographs, paintings, drawings and manuscripts that explore the creative interaction between Man Ray and Lee Miller, two giants of European Surrealism. This is the first exhibition to focus exclusively on the pair’s artistic relationship. On view at the Legion of Honor in San Francisco until October 14, 2012. 

Man Ray and Lee Miller, Partners in Surrealism

From 1929 to 1932, Man Ray and Lee Miller -- two giants of the European Surrealism movement -- lived together in Paris, first as teacher and student, and later as lovers. Their mercurial relationship resulted in some of the most powerful work of each artist's career, and helped shape the course of modern art. Combining rare vintage photographs, paintings, sculpture and drawings, a new exhibition at the Peabody Essex Museum in Salem, Massachusetts, tells the story of the artists' brief but intense association and reveals the nature of their creative partnership. On view from June 11 to December 4, 2011.

Surrealism: The Poetry of Dreams


Victor Brauner, Romania/France 1903–66, Loup-table (Wolf-table) 1939, 1947, Wood and taxidermied fox

This June marks the beginning of a unique, expansive exhibit of surrealist artwork in Queensland, Australia. The Gallery of Modern art in Queensland, a land far from the birth of surrealism, is borrowing "the core" of one of the finest and largest collections held at the The Musée national d’art moderne in at the Centre Pompidou in Paris. Its a rare occasion in that the collection rarely leaves Paris.  The exhibition presents more than 180 artworks by 56 artists, including paintings, sculptures, ‘surrealist objects’, films, photographs, drawings and collages. Surrealism: The Poetry of Dreams is on view June 11 to October 2 at the The Gallery of Modern Art in Queensland -

In the Light of Mexico

Pancho Villa and Emiliano Zapata were stealing back Mexico for the people.  Freedom was being won with blood.  Mexico was in the throes of a revolution. The great first quarter of the twentieth century Mexico was fertile ground for not only revolutionaries, but also artists. Mexico was indeed succeeding to a modern world.  Mexico, always the symbol and champion of the underdog, the poor, the hungry has always held on strong to its icons.  They were roughhewn in their prismatic, threadbare ponchos, sombreros, and dark mestizo skin that glowed amber under a romantic, warm desert sun in a landscape of infinite flowers, cobble stone, and chirping monkeys. And like inventing memories from photographs, our images of Mexico have been always invented by this imagery.  It's the murals of Diego Rivera, the gardens and portraits of Frida Kahlo and the poems of Octavio Paz that paint of landscape of a bygone Mexico - poorly preserved by kitsch, refrigerator magnates, and theme restaurants. We always wonder what happened to the good old days when they're seemingly gone forever.  Certainly one of the most influential icons of Mexico's good old days is the photographer Manuel Álvarez Bravo.

Manuel Álvarez Bravo, whose work is being exhibited alongside the poetry of another symbol of Mexico's heritage Octavio Paz, at the Mexican Embassy in India, captured the spirit of a Mexico experiencing the pangs of a revolution and the dialectic of an artistic movement mirroring back its angst. Screaming in a fulmination of dust, Bravo's photographs are as  journalistic as they are erotic.  Bravo was born in 1902 to a  family of artists and writers, and met several other prominent artists who encouraged his work when he was young, including Diego Rivera.  Bravo, who was inspired by the burgeoning surrealist movement in France, starting taking pictures at 18 whilst working a government job.  Bravo would become a profoundly influential figure in contemporary Mexican and Latin American photography, but he would not become largely known in the rest of the world.   Bravo died in 2002 at the age of 100, but his photographs are a significant part of Mexico’s history.

An exhibition, entitled In the Light of Mexico, curated by Conrado Tostado Gutierrez, the cultural attaché of the Embassy of Mexico in Delhi, comprises a substantial body of images that evokes the era of the Mexican Revolution of early 1907 to 1911, the newly independent Mexico and its people. Bravo’s daughter Aurelia Alvarez Bravo and his widow Collette Urbajtel have painstakingly developed the original negatives from the photographer’s work to make this exhibition possible. Bravo's photographs are coupled with the poems of poet and former Mexican Ambassador to India, Octavio Paz.

On view until June 30th in New Delhi, India. More info.

Text by Oliver Maxwell Kupper for Pas Un Autre

Miró in London

A Star Caresses the Breast of a Negress (Painting Poem) 1938

Joan Miró's works come to London's Tate Modern in the first major retrospective here for nearly 50 years. Renowned as one of the greatest Surrealist painters, filling his paintings with luxuriant colour, Miró worked in a rich variety of styles. This is a rare opportunity to enjoy more than 150 paintings, drawings, sculptures and prints from moments across the six decades of his extraordinary career. 14 April – 11 September 2011


Required Reading: Lautréamont's Maldoror

"The deadly uses of this book will lap up his soul as water does sugar." In 1917 French writer Philippe Soupault discovered a copy of Comte de Lautréamont's manuscript Les Chants de Maldor in the mathematics section of a small Parisian bookshop, near the military hospital to which he had been admitted.. Lautréamont, which was the pseudonym of Isidore Lucien Ducasse, born in Uruguay 1846 and died in Paris in 1870, was immediately canonized as a surrealist god - in the pantheon of Baudelaire, Rimbaud, and Mallarme.  "Chants de Maldoror unveils a world, half vision, half nightmare, of angels and gravediggers, hermaphrodites, and homosexuals, madmen and strange children."  Right now at the Galerie Anais in the Bergamont art space in Santa Monica, California a small exhibit of inspired drawings by the the similarly morbid artist Hans Bellmer - The Songs of Maldoror and Erotic Series is on view until March 31st.