December 6, 2018 to January 31, 2019
A CONCENTRATION OF POWER
Curated by Alexander Gorlizki
Joost van den Bergh
24 Georgian House
10 Bury Street
London, GB SW1Y 6AA
Open days: Thursday 6th & Friday 7th December from 11am - 8pm (additional dates to be announced)
Exhibition dates: 6th December 2018 – 31st January 2019
By appointment: + 44 (0)207 839 8200
What’s the relationship between power, strength, size, weight, bulk? Public sculptures created to celebrate national pride, military conquests or heroic achievements are large enough to capture our attention from a distance. Like the giant artworks outside banks or adorning corporate lobbies the impression is given that size is in proportion to success and that power implies domination over others.
A Concentration of Power aims to explore other forms of power expressed in small scale. Images and objects that depict symbols, physical gestures and icons that suggest potency are presented alongside ceremonial objects and talismans created to achieve transformation though ritual and contemplation. Some of the objects and drawings are created with such focus and concentration that they appear to be imbued with their own latent power.
The intimacy of a hand- held form may be less obviously impressive than a towering sculpture, yet it can still have an intense and profoundly personal impact
A Concentration of Power brings together material spanning fifty centuries. From Egyptian artifacts from 3,000 BC to hand embroidered underwear from the present day. It includes works by artists with well-established international reputations to those working quietly for themselves and their friends. Some of the objects are intensively crafted, made using centuries-old traditional techniques while others are naturally formed found objects, reflecting the ultimate power of nature.
With contributions from:
Matt Connors / Alison Wilding / Conor Wilson / Jackie Ellcock / Karun Thakar / Bone figure, Afghanistan / Lucy Heyward / Madeline Fenton / Kullu Manali Meteorite / Mahali O’Hare / Mark Dunhill & Tamiko O’Brien / Mujeeb Bhatti / Coptic icon, Ethiopia / Nathalie de Leval / Paul McNeil / Wood clapper (dibu), Bakongo tribe / Roger Ackling / Sarah Woodfine / Snowden Flood / Colter Jacobsen / Egyptian fish-tailed knife / Alexander Gorlizki / Elisabeth Kley / Eric Himmel / Eyal Danieli / Hugo Guinness / John Borowicz / Ken Tisa / Keris Salmon / Larry Krone / Matt Tiernan / Oliver Herring / Peter Krashes / Ruth Marten / Sanou Oumar / Siobhan Liddell / Egyptian faience amulet / Frank Walter / Venetian & Jatim glass beads / Ashanti Gold Ring / James Castle / Leonhard Fink / Leopold Strobl / Mortar and Pestle, Northern California Ohlone/Costonoan / Philip King / Hans Sebald Beham / Female steatopygous idol / Jürgen Tauscher / Dom Sylvester Houédard / Badrinath Pandit / Ludmila Mueller Leal / Pre Columbian Stone Axe / Heidi Gustafson
Fifty American artists look back at the projects created during the New Deal, and make work that reflects the United States now.
From 1935 to 1943, the United States government funded a massive economic and cultural effort that redefined the way we see America. Called Federal Project No. 1, the initiative was administered by the Works Progress Administration, the ambitious New Deal agency that put millions to work during the Great Depression with public works programs like the construction of highways, bridges, dams, stadiums, and parks. And with the establishment of Federal Project No. 1, the government recognized that cultural producers also had a critical role to play in the nation’s recovery.
Artists with Federal Project funding fanned out across the states, recording oral histories and folk art. Now-famous travel guides encouraged Americans to leave their homes and discover the complexities of their country. Over 40,000 WPA workers opened art centers, painted murals in hospitals and post offices, produced plays, wrote songs, and more—collectively reflecting and celebrating a diverse national identity.
Welcome to Federal Project No. 2. We’re commissioning 50 American artists to look back at the projects created during the New Deal era and make work that reflects the United States now. The first Federal Project recognized and celebrated the unique culture of the United States during a time of national crisis; it not only put folks to work, it also lifted their spirits. The works of Federal Project No. 2 can supply inspiration to us again. This our tribute to the idea that artists are workers, ones whose contributions are essential to the spirit and identity of America.
January 5 - February 17, 2018
56 Bogart Street
Theodore:Art is pleased to present ON MESSAGE, an exhibition of work about the optics and visual experience of important social, political, and economic issues, both contemporaneous and historical.
Oct 23, 2017, 6:30 PM – 7:30 PM
"BLOCK PARTY" GALLERY TOUR
The James Gallery
The Graduate Center, CUNY
365 5th Avenue, NYC
Please join artist Peter Krashes as well as curators Katherine Carl and Keith Wilson for a gallery tour of the current exhibition "Block Party" in the James Gallery at the Graduate Center, CUNY.
“Block Party” includes work drawn from the last ten years of Krashes’s studio painting practice, made while at the same time he worked outside the studio as a community activist. The conversation will focus on Krashes’ painting, its relationship to activism, and the rationales behind the exhibition’s design and lay-out.
Sponsored by the James Gallery.
October 4, 2017, 6:30 to 8:00
LEARNING FROM ATLANTIC YARDS / PACIFIC PARK
Graduate Center, CUNY
365 Fifth Avenue, NYC
A major urban development project can be quickly absorbed into the daily fabric of a city like New York. Such projects are happening on a massive scale and at a rapid pace in cities around the world; yet, fundamental, significant questions remain about the processes that unfold from the approval of a plan to the ongoing life of a project, including continuing implications for residents, businesses, schools, and other infrastructure. Such changes have profound long-term effects, and, in the case of Atlantic Yards / Pacific Park in Brooklyn, include construction that will affect multiple generations.
This open forum and discussion with journalist Norman Oder, community members and others will focus on what has been learned and what still needs action in the Atlantic Yards / Pacific Park Project in Brooklyn.
September 27, 2017, 6:30 to 8:00 PM
UNINTENTIONAL COMMUNITY, FROM SHARED EXPERIENCE TO ACTION
The James Gallery
Graduate Center, CUNY
365 Fifth Avenue, NYC
A major urban transition right in one’s own backyard can bring together, or conversely divide, a community, throwing light on the question of what makes a group of people a community. When living standards, livelihoods, access to financial, educational, and other resources are on the line, how a community responds depends on factors that are intangible and powerful. Join community members affected by Atlantic Yards / Pacific Park, including from the Dean Street Block Association, for a conversation about how they have mobilized responses for over a decade and continue to build long-term structural change to benefit the community. Featuring Peter Krashes; Director of Pratt Institute M.S. in Sustainable Environmental Systems, Jaime Stein; and others.
September 15, 2017 to October 28, 2017
James Gallery, Graduate Center CUNY
365 Fifth Avenue, NYC
September 15th to October 28th
Please join us Friday, September 15th from 6 to 8pm at the James Gallery for the opening reception of “Block Party” an exhibition of paintings by artist and community organizer Peter Krashes.
Peter Krashes' studio painting over the past decade stands as one complete body of artistic research growing directly out of his other practice as an unpaid community organizer in the Dean Street area of Prospect Heights in Brooklyn.
As Peter says, "My work as an activist and my work as an artist extend from the same set of values. All of my works are derived from meetings I attend or events and initiatives I help organize. There is no room in political or governmental processes for many of the activities we involve ourselves in, but perhaps none more so than painting a nuanced image in the studio. As a result, the paintings are the last step in a process I have been engaged with from beginning to end. The imperatives I feel outside the studio are explicit so the outcome in the studio is particular and linked directly to the real world."
Linking the practices of painting and of activism points out the problematic of actions that can be consumed, ignored, and considered irrelevant by those in official political power. Their human scale and material presence as paint on canvas positions these paintings outside the processes in which decisions are made instead of seeking recognition in political discourses of power.
Taking a different approach to generating cultural power, Krashes has generated this body of paintings through working out questions that arise in his range of collaborative activist practices. For example, frustration with the narrow, sometimes apparently biased focus of the media has led Krashes to make paintings depicting the glare of cameras pointed in elected officials' faces or expansive interiors of government chambers with recurring images of empty microphones. He also paints the flipside of this equation, namely that individual voices speaking collectively can exercise power. Neighbors painting protest signs, children's face painting, Easter egg hunts, seedbombs tossed into empty lots, and block parties claim space—marking the presence of the communities willfully neglected by those in power.
Painter and community advocate Peter Krashes joins Thomas Seely to talk about his exhibition "Make It Work In Brooklyn!" He tells some of the stories behind the paintings in his show, talks about the relationship between painting and community organizing, and explains how to make "seed bombs."
July 15, 2016 to August 28, 2016
New Art Projects
6D Sheep Lane, London E8 4 QS
This exhibition examines how looking at work by other artists can influence and indeed impact an artist’s practice. Rather than setting out to be an inclusive survey, this is really about the vision and choices of one artist, Erik Hanson and the people he has met and conversed with and the things he has seen that have stayed with him and affected his own work.
PLANT A FLAG
COOP Gallery is pleased to present Plant a Flag, an exhibition of works on paper by Brooklyn-based artist and community activist Peter Krashes. Krashes’ works address the power relationships between citizens, government, and corporations using his own advocacy as a springboard. For his show at COOP Krashes will exhibit gouache on paper works inspired by block parties, public meetings and rallies that he has helped organize. “As a result, the paintings are the last step in a process I have been engaged with from beginning to end.”
November 12, 2013 to December 15, 2013
PETER KRASHES: MORE FILLED SEATS MAGNIFIES THE MESSAGE
Illinois State University
College of Fine Art
Peter Krashes, an artist and community activist based in Brooklyn, examines how private citizens can empower themselves in the face of governmental and corporate power. His paintings stem directly from his political actions, whether writing a letter to a government official, organizing a public meeting, or attending a press event to raise questions. In the artist's words, "I play a role in shaping what I paint before I paint it. A letter in my work is a letter that needed to be sent; a meeting is a meeting that I helped to organize; I had a stake in the outcome of the rally. As a result, the paintings are the last step in a process I have been engaged with from beginning to end." For his exhibition at University Galleries, Krashes will install recent gouache works on paper.
October - November, 2013
Illinois State University’s Visiting Artist program was founded in 1996 to bring diverse artistic practices and fresh voices to the School of Art. Visiting Artists contribute to the dialogue of our students and faculty, and present lectures that are free and open to the public.
July 17, 2013 from 12 to 1 PM
19th ANNUAL MFA SUMMER LECTURE SERIES
University of the Arts, CBS Auditorium, Hamilton Hall, 320 South Broad Street
Peter Krashes is an artist and community advocate in Prospect Heights, Brooklyn with a work practice as a painter that embraces his efforts outside the studio. Themes of engagement, empowerment and critique are part of Krashes’ painted political narrative. He plays a role in shaping what he paints before he paints it. A letter in his work is a letter that needed to be sent; a meeting is a meeting he helped organize; he had a stake in the outcome of a rally. The paintings are the last step in a process he has been engaged with from beginning to end.
Krashes’ work has been exhibited in museums and commercial galleries including the He Xiangning Art Museum in Shenzhen, China, the Aldrich Contemporary Art Museum in CT, and White Columns in NYC. He has had solo exhibitions at Theodore: Art, Derek Eller Gallery, Jessica Murray Projects, Momenta Art, and Michael Klein Gallery in New York. Among the grants he has received are a Joan Mitchell Foundation Painter and Sculptors Grant and a Marshall Scholarship for study at the University of Oxford. He has taught art in numerous places including Cooper Union for the Advancement of Science and Art, Skowhegan School of Painting and Sculpture, American University, Rutgers University, and The University of the Arts.
June 12, 2013 at 1:30 PM
|CINEMA ON THE BRINK SERIES AT PRATT INSTITUTE|
Pratt Manhattan - 144 West 14th Street - Room 702 (between 6th and 7th Avenues)
Peter Krashes is an artist and community advocate in Prospect Heights, Brooklyn with a work practice as a painter that embraces his efforts outside the studio. Themes of engagement, empowerment and critique are part of Krashes’ painted political narrative. His work has been exhibited in museums and commercial galleries in the United States and abroad including the Aldrich Contemporary Art Museum in CT, He Xiangning Art Museum in Shenzhen, China and Derek Eller Gallery in NYC. Among the grants he has received are the Joan Mitchell Foundation Painter and Sculptors Grant and a Marshall Scholarship for study at the University of Oxford.
February 23 - April 7, 2013
THE HOUSE OF THE SEVEN GABLES
University Galleries of Illinois State University
110 Center for Visual Arts
Campus Box 5600, Normal, Illinois 61790-5600
Artists: Reed Barrow, Corinne Botz, Jan Bünnig, Anne Collier, Bill Conger, Drew Conrad, Sue de Beer, Rachel Feinstein, Andreas Fischer, Anya Gallaccio, Benjamin Gardner, Katy Grannan, Alice Hargrave, Bob Jones, Brian Kapernekas, Rachel Khedoori, Peter Krashes, Jacco Olivier, Robert Overby, Dario Robleto, Gregor Schneider, Sarah E. Wood
Curated by Kendra Paitz.
Inspired by Nathaniel Hawthorne's 1851 novel of the same name, The House of the Seven Gables features contemporary artists who explore themes of haunting, portraiture and the architectural uncanny. The titular mansion in the book embodies generations of violence, superstition, melancholy, repressed memories, and ancestral guilt for the Pyncheon family. Serving as a repository of memory and atonement, the house itself functions as a portrait of the family's collective trauma. Written concurrently with the rise of daguerreotype photography—and notably featuring an ever-shifting oil portrait, a fetishized miniature pencil drawing, and daguerreotypes made by a central character—the modes of representation Hawthorne references in the book become increasingly more modern to reflect the passage of generations. As in the novel, a rumination on the passage of time, and an encapsulation of the unhomely pervades the work in the exhibition.
January 8th – January 26th, 2013
STUART ELSTER // PETER KRASHES
Crane Arts Building
Opening: Thursday, January 10th, 6 – 9 p.m.
Artist Reception: January 26th, 4 – 6 p.m.
Crane Arts and Gallery 102 are very pleased to present an exhibition of paintings by Stuart Elster and Peter Krashes, curated by Rebecca Saylor Sack.
Stuart Elster’s oil paintings on canvas explore abstraction through iconographic manifestations of power. Images in Elster’s work are gleaned from the public domain; appropriating currency (Abraham Lincoln’s cabin embossed on the back of a penny), fashion (the label from a Marc Jacob bag) and war (stock images of warships from WWI and WWII). Constructed through bold strokes of a palette knife, Elster’s richly painted works simultaneously build and subvert the image, questioning the nature of representation and its source.
Stuart Elster's work has been exhibited nationally and internationally, including solo exhibitions in New York, Paris and Amherst. Reviews of Elster’s work have been printed in the New York Times, Artcritical, and Kunstforum. Stuart Elster lives and works in New York.
Peter Krashes’ works are an examination and critique of power from personal experience. Krashes’ paintings are an extension of his work as a community organizer and leader in Brooklyn. The images in Krashes’ paintings are derived from photographs he takes from his public life. The paintings question where power resides; in the building that houses local or federal government, the camera that mediates our view of governance, or the home-made protest signs and children’s painted faces from political rallies.
Peter Krashes’ solo exhibitions include Theodore: Art, Derek Eller Gallery, and Momenta Art. Krashes is a recipient of the Joan Mitchell Foundations Painters and Sculptors Grant. Reviews of his work have been published in the New York Times, Time Out New York, and The New Yorker. Peter Krashes lives and works in New York.
September 8 - October 14, 2012
56 Bogart Street, Brooklyn, NY 11237
Opening reception: Saturday September 8, 6-9 pm
Gallery hours Friday-Sunday 1-6 pm
Theodore:Art is very pleased to present an exhibition of new work by Peter Krashes. "Make it work in Brooklyn!" is Krashes’ first solo exhibition with the gallery, and his first solo exhibition in New York since 2004.
Krashes is known for paintings of refracted imagery based in personal experience. In early works he represented himself dematerialized by reflections in multiple mirrors while on exercise equipment or in physical therapy. Those paintings were more often than not self-reflexive.
Since then, the focus of his work has moved outward, as he balances his ongoing role as a community organizer in Brooklyn near the Atlantic Yards development with his artistic practice. Everyday activities continue to shape the imagery he uses.
“Put simply, I play a role in shaping what I paint before I paint it. A letter in my work is a letter that needed to be sent, a meeting is a meeting I helped to organize, I had a stake in the outcome of the rally. As a result, the paintings are the last step in a process I have been engaged with from beginning to end.”
Themes of empowerment and critique emerge in Krashes’ painted political narrative. Opulent public architecture serves as a proxy for government processes that may be more show than substance. Cameras represent the media as a conduit for messages, but also as a potentially distorting instrument. More optimistically, a seed-bomb “factory” and portraits of kids whose faces were painted during a neighborhood block party function as emblems of self-empowerment.
For Krashes, in addition to aesthetic challenges, painting is a product of situations in the real world that must be acted upon. Crucial issues outside the studio are drawn into the work as a consideration of point of view, and in order to inspire the engagement of others.
For more information and images, please contact Stephanie Theodore at 212 966 4324 or email@example.com.
December 25, 2010 - February 20, 2011
THE LOGIC OF PAPER: AMERICAN WORKS ON PAPER
He Xiangning Art Museum
December 25, 2010 to February 20, 2011
Andrew Raftery, Ann Hamilton, Dawn Clements, Diana Cooper, Elisabeth Meyer, Gregory Page, Joseph Scheer, Leslie Bellavance, Nancy Friese, Nona Hershey, Oliver Herring, Peter Krashes, and William Contino
Chen Xiaowen, Feng Boyi, Gou Xianxu