Joe Bradley Biography
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Rr Chris Martin & Hansen
Nominations for ASCIT Prez, famous, renowned, Veep, and the most sought af ter, respected, esteemed, ho nored, influential, notable, cherished, reputable, presti gious, worthy, • I Swanson and Cathy Hafer. The kids were all thrilled that I was float was roped off, but thousands waving especially to them! We're ofpeople fIled by to see it. Ourjob some serious time in thera was to run around the float, wave py later in life. Then there were the at the masses, and to shake hands. bigger kids that will Especially to shake hands. "I must spend some time in have shook hands with every These kids were in Pasadena!" said John Krowas. and face and We also had to answer all sorts real beaver!" of annoying questions like "What's lot of time the float supposed to do?", "Why But once day was didn't you guys have a prank?" and was worth it. We had a lot of "Newton? Where's the city of New and some more will ton?" That's why I preferred to recogrrize the name \..-<UclCI,;Jl1. stand up on the float, wave to the won't associate it kids, and pose for The beavers. Crime Is there a in Pasadena? Read the first and about and to avoid these JlUHU" I.n cidents. 12/7 A student to CarnplJS from Jack in the Box 'C do was harrassed on Hill three persons a ~ When the student he was r.r. pus by one ofthe persons who had been in £ 12/7 Another student was on HoIhston with three persons, between 15 and 18 in the vehicle of the persons dent was a " A Sh0l1 time later a person, aploarently Caltech's entry, "For Every Action...A Reaction" is a popular float in the Pasadena Rose Parade. -
About Henry Street Settlement
TO BENEFIT Henry Street Settlement ORGANIZED BY Art Dealers Association of America March 1– 5, Gala Preview February 28 FOUNDED 1962 Park Avenue Armory at 67th Street, New York City MEDIA MATERIALS Lead sponsoring partner of The Art Show The ADAA Announces Program Highlights at the 2017 Edition of The Art Show ART DEALERS ASSOCIATION OF AMERICA 205 Lexington Avenue, Suite #901 New York, NY 10016 [email protected] www.artdealers.org tel: 212.488.5550 fax: 646.688.6809 Images (left to right): Scott Olson, Untitled (2016), courtesy James Cohan; Larry Bell with Untitled (Wedge) at GE Headquarters, Fairfield, CT in 1984, courtesy Anthony Meier Fine Arts; George Inness, A June Day (1881), courtesy Thomas Colville Fine Art. #TheArtShowNYC Program Features Keynote Event with Museum and Cultural Leaders from across the U.S., a Silent Bidding Sale of an Alexander Calder Sculpture to Benefit the ADAA Foundation, and the Annual Art Show Gala Preview to Benefit Henry Street Settlement ADAA Member Galleries Will Present Ambitious Solo Exhibitions, Group Shows, and New Works at The Art Show, March 1–5, 2017 To download hi-res images of highlights of The Art Show, visit http://bit.ly/2kSTTPW New York, January 25, 2017—The Art Dealers Association of America (ADAA) today announced additional program highlights of the 2017 edition of The Art Show. The nation’s most respected and longest-running art fair will take place on March 1-5, 2017, at the Park Avenue Armory in New York, with a Gala Preview on February 28 to benefit Henry Street Settlement. -
Nytimes.Com Huma Bhabha Takes an Ax to Her Exhibit at the Met Ted
Loos, Ted, “Huma Bhabha Takes an Ax to Her Exhibit at the Met,” NYTimes.com, March 10, 2018 Huma Bhabha Takes an Ax to Her Exhibit at the Met By Ted Loos | March 10, 2018 POUGHKEEPSIE, N.Y. — The sculptor Huma Bhabha, the next artist to be featured in the popu- lar roof-installation series at the Metropolitan Museum of Art, was working away in her studio here the other day. Unlike some of her famous forebears among Hudson River Valley artists, who were more likely to use a paintbrush, Ms. Bhabha was wielding an ax. It’s a big ax, the kind that could be used to stock a woodpile or scare teenagers in a horror movie. Most remarkably, Ms. Bhabha — whose show at the Met beginning next month is only the first in a spate of museum exhibitions in the offing — manages to use it in a way that is precise and surgical, yet still emphatic. The Pakistan-born 55-year-old was chop, chop, chopping on the bottom of a block of cork on the The Pakistani artist Huma Bhabha in her studio in Poughkeepsie, N.Y. Credit: Lauren Lancaster for The New York Times first floor of a former firehouse that she bought with her husband, Jason Fox, also an artist. (His studio is on the second floor, and they live on the third.) Cork is relatively unusual in the world of sculpture — and so are axes, for that matter — but it’s one of Ms. Bhabha’s go-to materials these days. “I like texture,” she said, with the ax resting on the floor behind her. -
Huma Bhabha-Press Release-Final
David Kordansky Gallery is pleased to present its first solo exhibition of work by Huma Bhabha. Featuring new sculptures and drawings, the show opens on January 25 and will remain on view through March 14, 2020. An opening reception will be held on Saturday, January 25 from 6:00 pm until 8:00 pm. Born in Karachi, Pakistan and based in Poughkeepsie, New York, Huma Bhabha has become increasingly recognized for the figurative and material vocabularies she has developed for over three decades. The humanoid subjects of her work bear the traces of numerous processes and traditions, embodying an otherworldly synthesis of the beauty, passion, and conflict that define our world. Bhabha evokes archaic and contemporary sources alike, so that cycles of time, of life and its inevitable decay, are concretized as physical forms. In any given sculpture or drawing, the grotesque biomorphic distortions that characterize recent science fiction and horror movies exist alongside painterly passages of great sensitivity and tenderness. Proceeding by way of intuition and trial and error, she imbues her figures in two and three dimensions alike with palpable emotional charge. The sculptures in this exhibition exemplify the range of Bhabha’s experimentation and have been constructed from cork, foam, metal, wood, and paint, among other materials, some of them found. In Ground (2019), the body of a standing figure, positioned against the wall like the kind of architectural relief one might find in an ancient temple, has been fashioned from carved cork; a shredded tire provides the circle that defines its face, lending it a haunting openness, and transforming an instance of evident physical entropy into a focal point for psychological empathy. -
Women's Double Scull – GOLD Anna Watkins, Katherine Grainger Women's
2010: Lake Karapiro, New Zealand Olympic classes: Women’s Double Scull – GOLD Anna Watkins, Katherine Grainger Women’s Quadruple Scull – GOLD Debbie Flood, Beth Rodford, Frances Houghton, Annabel Vernon Lightweight Men’s Four – GOLD Richard Chambers, Paul Mattick, Rob Williams, Chris Bartley Lightweight Men’s Double Scull – GOLD Zac Purchase, Mark Hunter Men’s Pair – SILVER Peter Reed, Andrew Triggs Hodge Men’s Eight – SILVER Tom Broadway, James Clarke, Cameron Nichol, James Foad, Mohammed Sbihi, Greg Searle, Tom Ransley, Daniel Ritchie, Phelan Hill (cox) Men’s Double Scull – SILVER Matthew Wells, Marcus Bateman Women’s Pair – SILVER Helen Glover, Heather Stanning Men’s Single Scull – BRONZE Alan Campbell Paralympic classes: Adaptive Arms and Shoulders Single Scull – GOLD Tom Aggar Legs Trunks and Arms Mixed Coxed Four – SILVER Kelsie Gibson, Ryan Chamberlain, James Roe, Katherine Jones, Rhiannon Jones (cox) 2009: Poznan, Poland Olympic classes: Men’s Four – GOLD Alex Partridge, Richard Egington, Alex Gregory, Matthew Langridge Men’s Pair – SILVER Peter Reed, Andrew Triggs Hodge Men’s Single Scull – SILVER Alan Campbell Women’s Single Scull – SILVER Katherine Grainger Women’s Double Scull – SILVER Anna Bebington, Annabel Vernon Lightweight Women’s Double Scull – BRONZE Hester Goodsell, Sophie Hosking Paralympic classes: Adaptive Arms and Shoulders Single Scull – GOLD Tom Aggar Legs Trunk and Arms Mixed Coxed Four – GOLD Vicki Hansford, James Roe, David Smith, Naomi Riches, Rhiannon Jones (cox) International classes: Women’s Lightweight -
In 'They Live,' Huma Bhabha Channels a Tragi-Comic View Of
SALO N 94 In 'They Live,' Huma Bhabha Channels A Tragi-Comic View Of The Grotesque March 22, 2019 Wandering among Huma Bhabha’s sculptures you might think, for a second, you’d been dropped among the monumental statues of Easter Island. But unlike the present-day Polynesian isle, it’s neither green nor tranquil. These gures seem to reect a post-apocalyptic world of urban decay, a world of aliens and monsters, comic books and high art, a land where maybe the natives have watched a few too many horror movies. Larger-than-life gures carved out of cork and Styrofoam are marked with acrylic paint. They are reminiscent of totems, Egyptian sarcophagi or perhaps Greek korai, made in an ancient time but defaced yesterday by those pesky neighborhood kids. Bronze figures look like they’ve been dropped from the hold of a spaceship. Large heads of clay, Huma Bhabha's "Four Nights of a Dreamer," wire and wood, sometimes charred, created in 2018. (Courtesy of the artist and David scream like mummied figures at Kordansky Gallery) Pompei. Leering zombie masks seem to have come straight out of the wardrobe department of a David Cronenberg. In fact, the gures in Bhabha’s “They Live,” a survey of 20 years’ worth of the artist’s work on view beginning Saturday at the Institute of Contemporary Art, seem to be an amalgamation of all things and all times, one big heap of humankind (or alienkind) in all its pathos and glory. If there is such a thing as the collective unconscious, reecting ancestral memory and human experiences of both horror and humor, this would be the embodiment of it. -
Chris Martin
CHRIS MARTIN born 1954, Washington, D.C. lives and works in Brooklyn, NY EDUCATION 1992 BFA, Certificate of Art Therapy, School of Visual Arts, New York, NY 1972-1975 Yale University, New Haven, CT SELECTED SOLO / TWO PERSON EXHIBITIONS (*indicates a publication) 2021 Talking All Morning, with Tamara Gonzales, The Pit, Los Angeles, CA Be Natural: Joe Light and Chris Martin, curated by Jay Gorney, Parts & Labor, Beacon, NY 2019 The Eighties, David Kordansky Gallery, Los Angeles, CA Sonia Gomes and Chris Martin, organized by VNH Gallery and Mendes Wood DM, Château de Fernelmont, Fernelmont, Belgium 1979-1994, Anton Kern Gallery, New York, NY WINDOW, Anton Kern Gallery, New York, NY 2018 Anton Kern Gallery, New York, NY 2017 Paris TAZ, VNH Gallery, Paris, France Sommer Gallery, Tel Aviv, Israel 2016 Chris Martin: works on paper, Galerie Rodolphe Janssen, Brussels, Belgium Chris Martin, Studio Rondinone, New York, NY Saturn Returns, David Kordansky Gallery, Los Angeles, CA 2015 *Douglas Hyde Gallery, Dublin, Ireland Rectangle, Brussels, Belgium *Galerie Rodolphe Janssen, Brussels, Belgium Three Black Paintings (1992-1996), Anton Kern Gallery, New York, NY 2014 Pirate Utopias, Half Gallery, New York, NY *Anton Kern Gallery, New York, NY [email protected] www.davidkordanskygallery.com T: 323.935.3030 F: 323.935.3031 KOW, Berlin, Germany 2013 *Yellow, Green, Red (& Blue), Karma, New York, NY David Kordansky Gallery, Los Angeles, CA 2012 Rodolphe Janssen, Brussels, Belgium Mitchell-Innes & Nash, New York, NY Chris Martin, organized by Mary Grace Wright, Shoot the Lobster, Martos Gallery, New York, NY 2011 *Staring into the Sun, Kunsthalle Düsseldorf, Düsseldorf, Germany Chris Martin: Painting Big, curated by Sarah Newman, Corcoran Gallery of Art, Washington, D.C. -
Huma Bhabha's Extraterrestrials Land in New York Frieze.Com, May 2018
CLEARING Huma Bhabha’s Extraterrestrials Land In New York Frieze.com, May 2018 (by Shiv Kotecha) 1/3 Installed above the Metropolitan Museum of Art’s imported bedrooms, ceilings and tombs, above its vitrines and containers full of old porcelain, jewels and weaponry, above Athena Partheonos, Ugolino and his Sons and the Temple of Dendur, and above its archives, where 5,000 years of art and objects have been categorized by period and style and are preserved within the museum’s holdings, Pakistani-born Huma Bhabha has, for this year’s Iris and B. Gerald Cantor Roof Garden Commission, staged ‘We Come in Peace’, an unsettling, post- apocalyptic confrontation between two extraterrestrial entities. These enormous bronze sculptures warp the public space they occupy and comment on the histories they stand upon, claiming the Met itself as their pedestal. The first of these is the titularWe Come in Peace (2018), a twelve-foot tall, weather-beaten golem. The figure is brooding, its brittle surface textured with gashes and scars. Its blue torso is marked with various asterisks, like ritualistic markings that shape and contour the creature’s multi-sexed frame. A yellow swath of paint stains one of its knees: does this idol kneel, as the draped, bowing figure across from it does? As the many eyes that surround its head – cocked, buggy or gouged out – survey New York City’s skyline, I want to ask, What does it want to see? CLEARING Huma Bhabha’s Extraterrestrials Land In New York Frieze.com, May 2018 (by Shiv Kotecha) 2/3 Huma Bhabha, Moment to Moment, 2013–14, installation view, C L E A R I N G, New York, 2018. -
Huma Bhabha Press Release
Huma Bhabha 24 November 2010 – 22 January 2011 Private View Tuesday 23 November 2010, 6 – 8pm. Stephen Friedman Gallery is delighted to present its first ever exhibition of work by Huma Bhabha. This is the artist’s first solo exhibition in the UK and follows her highly praised commission for this year’s Whitney Biennial in New York. Running concurrently with this exhibition in London are two further solo presentations in New York City; at Salon 94 and Peter Blum Gallery. These three exhibitions offer an unprecedented opportunity to explore the work of this compelling artist in depth. Huma Bhabha is a sculptor first and foremost. Her poetic assemblages are born out of tactile materials such as Styrofoam, air-dried clay, wire, cork and scraps of construction material. Often referred to as ‘post- apocalyptic’ in their aesthetic, these works combine figuration with abstract architectural elements and a sense of landscape. Informed by a vast array of cultural references, from the cinematography of 1979 sci-fi classic “Stalker” to the architecture of Cambodia’s ancient temples at Angkor Wat, Bhabha’s work transcends a singular time and place. Instead, these strands come together in a highly personal exploration of what the artist describes as the ‘eternal concerns’ found across all cultures: war, colonialism, displacement and memories of home. This exhibition debuts a new body of sculptural work, an installation and work on paper. The new figurative sculptures, shown in the front gallery space, are carved out of cork, and darkened in parts with black paint. They recall the stone sculptures of ancient civilisations: the Greek kouroi perhaps or the monumental representations of Egyptian pharaohs. -
Editors' Picks
8/6/2018 Editors’ Picks: 11 Things Not to Miss in New York's Art World This Week | artnet News Events and Parties (https://news.artnet.com/art-world/events) Editors’ Picks: 11 Things Not to Miss in New York’s Art World This Week From Olafur Eliasson's solar-powered night walk to Susanna Nicchiarelli's biopic of Andy Warhol-muse Nico at Film Forum, here's what's worth checking out. Sarah Cascone (https://news.artnet.com/about/sarah-cascone-25), July 31, 2018 Chie Fueki, Where (2017). Courtesy of DC Moore Gallery. Each week, we search New York City for the most exciting, and thought-provoking, shows, screenings, and events. See them below. Tuesday, July 31 https://news.artnet.com/art-world/editors-picks-july31-1318871 2/15 8/6/2018 Editors’ Picks: 11 Things Not to Miss in New York's Art World This Week | artnet News Alberto Giacometti painting in his Paris studio (1958). Photo by Ernst Scheidegger, courtesy of the Solomon R. Guggenheim Museum, ©2018 Stiftung Ernst Scheidegger– Archiv, Zürich. 1. “Conversations with Contemporary Artists: Reflections on Giacometti (https://www.guggenheim.org/event/conversations-with-contemporary-artists-reflections-on-giacometti)” at the Guggenheim Museum How has Alberto Giacometti (http://www.artnet.com/artists/alberto-giacometti/) influenced Diana al-Hadid, Huma Bhabha, and Charles Ray? The artists will tell you in their own words. Tickets include admission to the museum’s Tuesday late-night hours. Location: The Solomon R. Guggenheim Museum, 1071 Fifth Avenue between East 88th and 89th Streets Price: $15 general admission in advance, $25 at the door Time: 6:30 p.m. -
Huma Bhabha: Other Forms of Life (Otras Formas De Vida)
Es Huma Bhabha: Other Forms of Life (Otras Formas de Vida) Other Forms of Life (Otras Formas de Vida) es un estudio del reciente trabajo por la artista que reside en Nueva York—Huma Bhabha (Americana, nacida en 1962 en Karachi, Pakistán), presentado momentos claves en su variada práctica artística de la década pasada, incluyendo ejemplos en escultura, fotografía y collage, dibujo, e impresión. Como parte de esta exhibición, un trabajo en bronce, God of Some Things (Dios de Algunas Cosas), 2011, está a la vista en el exterior del museo de catorce acres y parque de esculturas, Laguna Gloria. La escultura figurativa juega un rol muy importante en la práctica de Bhabha. Ella es conocida por el dominante uso del corcho como material de escultura, que es usualmente usado con unicel y pintura. Otras esculturas combinan yeso con objetos usados o que son moldeados en el material tradicional de bronce. Las referencias de Bhabha son enciclopédicas, con un rango de recursos que abarcan desde las civilizaciones Indias y Griegas (como el Griego kouroi o la iconografía Budista Gandharan), el realismo mágico, la ciencia ficción y el tropo cinematográfico de horror (como Jorge Luis Borges, Arundhati Roy, y las clásicas películas de horror de los 1970s y 1980s). Con el matiz y la consideración cuidadosa, el trabajo de Bhabha también se conecta con el amplio repertorio de arte moderno y contemporáneo, con influencias que abarcan con artistas del siglo veinte como Alberto Giacometti, Pablo Picasso, Leon Golub, and Robert Rauschenberg, hasta artistas contemporáneos como David Hammons y Richard Prince. Como en la ciencia ficción, regularmente usa metáforas para describir el tiempo presente, particularmente en el amplio alcance del colonialismo, la política, y la guerra. -
ANNUAL REPORT 2016–2017 Installation View of Shantell Martin: Someday We Can (March 11–June 25, 2017) in the Sculpture Court of the 1905 Building
ANNUAL REPORT 2016–2017 Installation view of Shantell Martin: Someday We Can (March 11–June 25, 2017) in the Sculpture Court of the 1905 Building. Martin also created the mural Dance Everyday at 537 East Delavan Avenue as part of the Public Art Initiative. Photograph by Connie Tsang. COVER: Installation view of Picasso: The Artist and His Models (November 5, 2016–February 19, 2017) in the 1905 Building. From left: Pablo Picasso (Spanish, 1881–1973). Three Musicians, 1921. Oil on canvas, 80½ x 741/8 inches (204.5 x 188.3 cm). Philadelphia Museum of Art; A. E. Gallatin Collection, 1952; and La toilette, 1906. Oil on canvas, 59½ x 39 inches (151.1 x 99 cm). Collection Albright-Knox Art Gallery, Buffalo, New York; Fellows for Life Fund, 1926 (1926.9). © Succession Picasso / Artists Rights Society (ARS), New York. Photograph by Brenda Bieger. ALBRIGHT-KNOX ART GALLERY 2 VISION To fourish as an exceptional hub of artistic and creative energies that enriches and transforms people’s lives in our community, our nation, and the world. MISSION We: 1. Present exhibitions, performances, and programs that challenge and inspire. 2. Seek tomorrow’s masterpieces while developing our world-renowned collection of modern and contemporary art. 3. Create education programs for lifelong learning and discovery. 4. Engage and empower widening, inclusive audiences. 5. Inspire open dialogue and common understanding. VALUES We strive for excellence, innovation, and sustainability in everything we do. BOARD OF DIRECTORS THE BUFFALO FINE ARTS ACADEMY 2016–2017 Monica Angle Deborah Russell Susan O’Connor Baird Christine Sabuda Charles E.