Shows

Postcards from the Edge - this Weekend at Gallery 524 in Chelsea /  by mirena

mirena rhee visual aids

mirena rhee visual aids

POSTCARDS FROM THE EDGE

is almost here!

Featuring artworks by Mirena Rhee, Robert Longo, Kiki Smith, Polly Apfelbaum, William Wegman, John Baldessari, Kay Rosen, Michael St. John, Nancy Burson, Lawrence Weiner, Nayland Blake, Donald Baechler, Barbara Hammer, Hans Haacke, Ida Applebroog, Louise Fishman

THIS WEEKENDJanuary 19 - 21, 2018Gallery 524524W 26th Street, NYC

PREVIEW PARTY:FRIDAY, JANUARY 19th5-8pmThe only opportunity to see the entire exhibition.  Silent Auction & Raffle Prizes. (No postcard sales.) * Artist Preview from 6pm-8pmParticipating artists can attend the Preview for free (no RSVP required), starting at6pm, one hour after VIP Preview. Additional guests $100 each (see below).

* VIP Preview begins at 5pm $100 admission(payable at the door or online here) allows guests into the gallery one hour before the general doors open.  Beat the crowd and get an extra close look at all the artwork.

Postcards from the Edge is Visual AIDS' biggest show and fundraiser of the year - and one of the most unique and democratic events in the art world!Since 1998, over 26,000 postcard-sized works have been exhibited, raising over $1,100,000 to date. By participating in Postcards From the Edge, artists and collectors support the important mission of Visual AIDS.

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BENEFIT SALE 

SATURDAY, JANUARY 20 from 10 AM – 6 PMSUNDAY, JANUARY 21 from 12 PM – 4 PM (SUNDAY SPECIAL: Buy 2 & Get 1 Free)

Over 1400 artworks displayed anonymously – and artist's name revealed only after purchase. First-come, first-served. All postcard artwork only $85 each.  On SundayONLY - buy 2 postcards, get 1 free as our "thank you."  With so much wonderful art on display, you are bound to find something you love—and all proceeds supports the programs of Visual AIDS.  $5 suggested admission.

Ingredients of a Subway Car won the 2017 Ivyside Juried Art Competition. Juried Solo Exhibition coming up for 9/14/17 through 11/18/2017. See the ingredients of the winning project /  by mirena

Ingredients of a Subway Car won the 2017 Ivyside Juried Art Competition. Juried Solo Exhibition coming up for 9/14/17 through 11/18/2017. Click image below to see the ingredients of the winning project.  

The significance of the Subway Car is in that it holds together in very close proximity, quite unique in the world, people of all walks of life, ages and positions in the world.  People that otherwise would not have each other in their personal space. In that the Subway Car is like a practical Buddha that is the focal point in the action of many hands.

 

Ingredients of a Subway Car won the 2017 Ivyside Juried Art Competition

 

This series of drawings and simulations arose from the realization that during simple and mundane daily activity, like holding onto the rails in the subway, the hands draw extraordinary three-dimensional shapes. As they move through space they create flowing, complex structures of hand trails - this body of work explores these ephemeral constructs.

The NYC subway has always been an endless animation, with hands of various sizes coming and going, getting strung firmly for a bit and then letting go. Also the great stories of the subway, sometimes you hear a life’s story by the time you get off. Often strange and sometimes with villains in various disguises.

The pen and ink drawings of hand structures are created using dip pen and ink on board. Drawing with dip pen and ink is an archaic technique of drawing dating back to the reed pens of 400 BC. The paper is an American board which is made with very heavy presses which compress the fibers of the paper into a unique smooth finish. The pen’s sharp point produces etching like effect and deposits tiny particles of pigments in the grooves of the paper and the drawing looks and feels like a one of a kind etching. Each video is created with one or several pen and ink drawings, scanned, animated or simulated on the computer.

These drawings and simulations follow the expansion in time and space of several hand drawings. They travel in a series of gestures, follow a think line and coalesce into three-dimensional structures. My own hands serve as the models and main building element of my work because they are present and available, constantly traversing and dominating my personal space.

Next week's show will include animations in part inspired by friends and scored by portland artist Marcus Fischer's album For Friends This Winter /  by mirena

http://www.mapmap.ch/index.php/sound/for-friends-this-winter/

Doing commercial work is not .... the same as fine art work. Commercial work is a synthesis.  And a lot of it gets done by talking - I used to get in touch with around 20 people when creating art commercially for a specific project - and at the end the work gets evaluated by another set of at least 20 people. While it is not necessarily a committee work as it is done in ad agencies, the work I used to do at Lucasfilm, you could say, was my best shot synthesis on a visual theme. Being "good" commercially meant you were a good listener and interpreter of a cloud of ideas. Sorry ... a very receptive 3d printer.

Fine art work is, on the other hand, genesis. A brand new world is created where you generate an idea, you are the primary vehicle, the messiah, the creator, the motivator, the heavy lifter, the ceo and the heart of the operation. But art is rarely created in isolation and completely without an agenda. Michelangelo worked for the Pope. Renaissance artists worked for the Medici. I personally like when artwork generates several outcomes. winter diagrams were just simple drawings of hands before they were strung together in an animation, then they became a three-dimensional sculpture in Winter - the dress. They will continue to push their way into various forms I am sure, some of the stills from the animations are to become a painting , or several stills combined and interlocked into one painting - I haven't decided yet.

I grew up as an artist creating work commercially and have a lot of the same habits. I love bouncing ideas and talking about work - others' or mine or old masters or new ones.. love dissecting and putting out feelers for the impressions any work leaves on people.

I remember vividly the winter in Brooklyn when I created the animations - although Hand Painted ocean was originally conceived in Manhattan. I came across Marcus Fischer's album For Friends This Winter and decided to use the music for the animations, also feeling that the animations themselves and how I wanted to do them were in large part a synthesis, inspired by many conversations and then a first(i think) visit to one of my favorite museums in New York.  I remember one particular evening with a lot of New-Agey talk, with a girl that was doing New-Agey type massage and having really strange conversations about how she feels her patients with her hands. True? I don't know but deepened my obsession with hands.

Also my friend Rob List had earlier come to my Harlem room and did an impromptu performance which i for some reason filmed, and almost set me on a course:

https://vimeo.com/12269715

The seed for Hand painted ocean and fruit:

Hand Painted Ocean and Fruit from mirena rhee on Vimeo.

I keep the same shifty perspective for my installations where i do value people's unscripted intrusions and impromptu contributions more than my attempts to control a visual outcome.

ART FROM THE BOROS IV Press Release /  by mirena

By popular demand, Denise Bibro Fine Art announces Art From The Boros IV, on view July 14-August 13, 2016. After a copious amount of submissions and studio visits, forty-one diverse artists were selected to participate in this group show highlighting talent found within New York City’s five boroughs. Art From the Boros IV exemplifies the eclectic artistic community of New York City, showing a varied range of genres of art and mediums. With a nod to the Renaissance and Dutch painting, artists Thurston Belmer and Sally Cochrane create rich, highly representational contemporary paintings referencing the great masters through light and application. Roger Preston’s Heathcliff shares a similar worldly feel in a contemporary fashion as photographer Zeren Badar’s Very first Accident mocks the propriety of the old world. In contrast, paintings by artists Jack Rosenberg and Robert Jessel rely on thick, often staccato brushstrokes to create and highlight their compositions while Courtney Bae’s evenly painted figurative narratives and Petey Brown’s lusciously painted swimmers are quirky and often, whimsical.

The fourth edition of Art From The Boros, also, features three-dimensional works and multi-media videos such as the deftly manipulated wood assemblages by Mikhail Gubin countered by the sleek, polished metal works and bronzes by Daniel Sinclair. Artist Mirena Rhee offers a fresh, personal perspective through animated interpretations of her own hand drawings. In a world that often projects galleries as being jaded and inaccessible, we are demonstrating that we are one that values and shares the desire to keep abreast with the bustling creativity all around us.

Artists: Margery Appelbaum, Zeren Badar, Courtney Bae, Thurston Belmer, Petey Brown, Kenneth Burris, Bob Clyatt, Sally Cochrane, Marilyn Davidson, Andre Eamiello, Laura Fantini, Anne Finkelstein, Mikhail Gubin, Yasmin Gur, Amir Hariri, Robert Jessel, Elizabeth Knowles, Amanda Konishi, Kate Lawless, Amanda Lenox, Park McGinty, Harvey Milman, Maria Morabito, Laura Mosquera, Suyeon Na, AJ Nadel, Douglas Newton, Kathleen Newton, Lisa Petker-Mintz, Ben Ponté, Roger Preston, Chelsea Ramirez, Mirena Rhee, Jack Rosenberg, Zvi Schreiber, Daniel Sinclair, Jeff Sundheim, Paul Antonio Szabo, Scott Walker, Lucy Wilner, and Charles Yoder. Opening Reception: July 14, 6-8pm For more information call (212) 647-7030, email info@denisebibrofineart.com, or visit www.denisebibrofineart.com

 

ART FROM THE BOROS IV Press Release

Art From the Boros IV - at Denise Bibro Fine Art, opening on July 14th and will run until August 13th. Hope to see you at the opening at 529 West 20th Street, 6-9pm /  by mirena

Heading to start the setup tomorrow - I will be showing animated pen and ink drawings, more soon.

 

There's trouble with putting stuff in bags.. Either there goes too little or too much, it is comical as it is the simplest thing  - thought, decision, item, bag. sometimes bags need to get emptied to see what went in in the first place., in and out - i have no idea why people need to trouble with clothes. it's the 21st century -  by now we do know what is where.

Winter Diagrams: January goes on exhibit on 4 Times Square as part of “The Beauty of Color” /  by mirena

Mirena Rhee, Winter Diagrams: January  

 

Show is organized and curated by http://www.see.me/

 

As part of this show I put together a new squarespace site as a trial.. please, enter code to view:

https://mirena-rhee.squarespace.com/

 

Prints currently available exclusively on saatchi:

http://www.saatchiart.com/art/Drawing-Winter-Diagrams-January/93024/2260698/view

Thank you for coming! /  by mirena

It was great to see you at my Bushwick Show - Invented Mythologies !  And Thank you for braving the heat in Bushwick, some of you coming from upstate or Manhattan, which is just as far:) I got a fresh point of view and heard your comments about the work and your honest opinions. I was amazed at the insights some of you had about what you thought was a successful piece and what you thought was the best part of a successful piece. And what you thought didn't work. Artists sometimes like to say they do the work for themselves. The truth is we are part of a soup, physiologically and cognitively, we constantly shed cells and replenish with new ones, we are constantly engaged in the world mentally.. so unless we a are a Robinson Crusoe - we are an amalgamation, and so is our work.. to some degree.