Konstakademien, The Royal Academy of Fine Arts, Stockholm, Sweden. March 8 - March 16, 2019 Tengbomhallen & Tidningsrummet, plan 1. Tisdag - fredag 11 -17, loradg-sondag 12-16 The exhibition in Tengbomhallen and adjacent Tidningsrummet shows a selection of works by: Marc Handelman (US) Kristina Bength (SE) Nuno Vicente (PT) Tatiana Danilevskaya (RUS) Anders Bergman (FI) Malin Pettersson Öberg (SE).

During the summer of 2017 and 2018, the artists participated in a voluntary research project in Gagnef via GAIR residency, initiated by curator Sara Rossling. The project discussed cultural heritage and Dalarna as a place and investigated the legacy of Ottilia Adelborg (1855 -1936) artist, writer, illustrator, folklore enthusiast and founder of the outdoor museum Gagnefs Minnesstuga. At the end of the 19th century and the beginning of the 20th century during the national romantic period in Sweden, the focus was on Dalarna. Artists such as Anders Zorn, Carl and Karin Larsson and Ottilia Adelborg were some of those who settled there. At the same time, they themselves, over time, contributed to the image of the landscape, which is often associated with the core of Swedish culture. How do contemporary artists view these ideas today? From the research project in Gagnef, six art projects grew in dialogue with Adelborg's texts, materials, areas of interest and methods that in different ways reflect our contemporary in the artist's Dalarna. The projects draw attention to her interdisciplinary interest, work for women's independence, view of nature and the children's perspective, and preservation of older culture. Adelborg was one of the few women at this time who traveled abroad and who underwent higher education, first at Technical School 18766–78 and then at the Royal Academy for the free arts 1878–82. The exhibition aims to highlight artistic research in an increasingly streamlined educational system. Artists' gaze, methodologies and curiosity for periphery play an important role in relation to conventional research. The curator is Sara Rossling and the exhibition is made with support from the Ottilia Adelborg Museum.

Flora / BRINTZ Gallery February 20 - March 20, 2019 234 Worth Ave. Palm Beach, FL 33480 Petra Cortright Marc Handelman Donald Baechler Ross Bleckner Rachel Rossin André Butzer John Newsom // BRINTZ Gallery is pleased to present Flora, an exhibition of paintings by nine stylistically diverse contemporary artists: Donald Baechler, Ross Bleckner, André Butzer, Petra Cortright, Marc Handelman, John Newsom, Rachel Rossin, Julian Schnabel, and Brian Willmont. The artists were chosen for their idiosyncratic approaches to floral and plant motifs, which reflect the multiplicity of their worldviews and artistic practices. The result is an aesthetically and intellectually adventurous “flower show” that’s not about flowers.

For several artists, the term flora communicates a strong idea of place. Rachel Rossin, the New Museum in New York’s first-ever Virtual Reality Fellow, has made what she describes as “plein air paintings of virtual flowers” for the exhibition. To create the initial computer models from which she paints, Rossin inputs the unique light qualities and atmospheric conditions of her hometown of West Palm Beach, Florida, into the 3-D modeling software, infusing her fictive, virtual flowers with a memory of rootedness. The geographical connections—or disconnections—between plant and place are even more apparent in the works of Julian Schnabel and Marc Handelman. In Schnabel’s Port of Lisbon, from the Neo-Expressionist maestro’s Navigation series, purple and crimson oil paint meanders across a vintage map of Lisbon, Portugal. The colors evoke the bougainvillea flowers that blossom throughout the capital city, while the roving lines suggest imaginary journeys that exceed the limits of cartography. Marc Handelman’s Towards a Form of Voluntary Dispossession (for Édouard Glissant) is a series of delicate, luminous watercolor and mixed media paintings inspired by the tropical orchid motifs of 19 th century Luminist painter Martin Johnson Heade. Through his use of repetition, Handelman reveals the artifice behind Heade’s apparent naturalism, while at the same time discovering luxuriant pleasures blooming in his untamable backgrounds.

Petra Cortright builds layers of pixelated brushstrokes into billowing clouds of floral extravagance in her one-of-a-kind digital paintings. Cortright foregrounds the technological futurism of her flowers by means of cutting-edge printing methods that allow her to compose with contrasting lusters, from matte to glossy, on anodized aluminum supports. Brian Willmont, on the other hand, uses meticulously handcrafted stenciling and airbrush techniques to make his icy cool paintings of poppies. Like Corthright, Willmont approaches the concept of flora from a post-natural perspective: his wavelike effects mimic Photoshop distortion filters, and the lush purple and amber gradients with which he fills his poppy flower silhouettes suggest retro-futurist sunglass tints.

If Cortright and Willmont dramatize our distance from the natural world, John Newsom’s Meadow Paintings provide an opportunity for us to reconnect. In each painting, Newsom employs subtle optical effects that convey the cosmic grandeur of a sunflower or the mysterious sensation of petals dematerializing in the wind. His titles, such as Tender Certainty, Within a Moment, and Origin of Light, signal that there are metaphysical subtleties at play. The Meadow Paintings encourage us to slip beneath the surface into a world of magic and enchantment.

Other Flora artists use the flower motif as a stand-in for the human subject or the inner self. Ross Bleckner’s motion-blurred flowers that dissolve into fields of shimmering light feel like human bodies on the verge of transfiguration or suspended in the timelessness of a lover’s memory. André Butzer’s rows of thumbprint-sized, primary-color marks on sketchbook paper, meanwhile, suggest pointillist landscapes that have been reduced to a zero-degree level of color and pattern. While Butzer’s paintings on paper eschew Bleckner’s romanticism, their handmade quality and intimate scale lends them an existential pathos. Similarly, Donald Baechler is attracted to the charm and pathos of naïve drawings, and the flower paintings Baechler made for Flora use sophisticated compositional and color strategies to elevate his source material to a state of stoic nobility without losing the awkwardness that makes them so human.

The nine artists in Flora have developed very different strategies for incorporating floral motifs into artworks that feel exciting and relevant in the twenty-first century. By placing these artists in conversation, Flora allows us to draw intriguing connections among their respective works and marvel at the breadth of poetic expression, stylistic innovation, and philosophical insight that nature inspires.

IMAGE FOR DEMOCRACY / Grafikens Hus September 8 - November 4, 2018 The Art Window, Köpmangatan 1, Södertälje. Parasto Backman Johanna Burai Oscar Emanuel Alexandra Falagara & Minda Jalling / Bastion Lab Karl Grandin Marc Handelman Edith Hammar Sepidar Hosseini Kalle Johansson Fully Art Group in collaboration with Latif Ahmadi Luwam Abraham Mahdi Rasoli Shuja Shayari & Waris Ahmadi Lisa Jonasson Oskar Laurin Olof Sandahl Oli Svenblad Nille Svensson Ulla Wennberg and Klara Wiksten The exhibition Picture for Democracy brings together graphic designers and artists in an exhibition that consists of new and old posters that address basic conditions for a healthy democracy. Political posters, made with different graphic techniques, have throughout the 20th century and up until now been a particularly effective and important medium to publicly pay attention to social injustice. It has not least been a way of organizing different types of resistance. 2018 we celebrate the breakthrough for democracy in Sweden, 100 years ago, universal and equal voting rights were introduced for men and women. Democracy in Sweden is strong. Human rights and fundamental freedoms are well established, but at the same time there are challenges. Democracy is about more than just elections and political decisions, it is also about creating an excellent breeding ground for sustainable democracy and social development every day. Disturbing signs that indicate that intolerance is growing accumulate in Sweden and in Europe. It feels more urgent than in a long time to protect a living democracy. Intolerance and the lack of a broad representation of citizens, in decisive positions in our society, is a threat to the whole of the values ​​that build our democracy. The exhibition's posters reflect a broad palette of emotions, questions, calls and hopes. Design and poster aesthetics can re-interpret complex ideas, questions and choices. It can make them easier to understand. Throughout history, knowledge and information have been the greatest enemies of intolerance. Meetings and dialogue strengthen our social protection against the values ​​that divide us and set groups against each other. The art window is a perfect place to show the exhibition in the public space. The direct contact with Södertäljeborna lowers the threshold for the meeting with art and in this case, the meeting with thoughts of democracy. Art is an important free zone for experimental and debating activities. Can a graphically printed message increase the interest in the state of our democracy? Grafikens Hus wants to invite the audience to consider how to create a social commitment and start a dialogue with the exhibition Picture for democracy. And in what ways, through poster art, can emphasize how important a living and healthy democracy is to all of us. Grafikens Hus started a long-term collaboration with Telge Fastigheter in 2017 to offer art to everyone and give the center an extra boost. The collaboration continues with the new owners Stadsrum Fastigheter.
Marc Handelman / Alter-Blomsteraflabet GSK / July 7 - August 17, 2018 Alter-Blomsteralfabet is an exhibition taking place in the five shop windows of Galeri Se Konst in Falun (Sweden). All the windows are filled from top to bottom with printed textiles by artist Marc Handelman, creating an opaque draped surrounding curtain-wall of vivid colors (derived from an array of floral pigmentation) and detailed pattern. At first glance, the airy and usually open gallery appears closed but it is actually the other way around. In Alter-Blomsteralfabet, the art can be viewed from the street at any time. These conditions make the exhibition an unconscious target for the ordinary flaneur or citizen - as it reinserts art into public life. Yet, the curtains also connote a domestic place reminding us of the intersection and ongoing conflict between the private and the public. When stepping closer towards the transparent glass, sharp letters in several fonts including blackletter and runic-like alphabet that speaks for itself, begin to formulate a text. Handelman has used Édouard Glissant's essay “For Opacity”, in Poetics of Relation (1990), where Glissant conveys the power of opacity in identity, against an often violent desire for transparency. Moving beyond a necessary notion of “difference,” opacity is offered as a further resistance to the reductive and subjugating forms of assimilation that seek to make identities transparent, graspable, and measurable to “an ideal scale” of whiteness. Glissant writes: “For the time being, perhaps, give up on the old obsession with discovering what lies at the bottom of natures. There would be something great and noble about initiating such a movement, referring not to Humanity but to the exultant divergence of humanities. Thought of self and thought of other here become obsolete in their duality. Every Other is a citizen and no longer a barbarian.” Although opacity signifies a new condition of visibility it does not legitimize the visible as such, much the same way as Handelman's printed textiles reformulate what is recognizable and identifiable. In his text, Glissant cites a reaction to the idea of opacity “How can you communicate with what you don't understand?” It is a question that also finds growing resonance in the white nationalistic and fascist political organizations in Falun and the region. Handelman´s body of work digitally appropriates typefaces from the propaganda of these organizations re-ordering their rhetoric as an attempt to counter their speech. The text runs through all windows and is intentionally difficult to grasp creating a mass of letters that potentially can shape any word. Still, fragments are visible that originate from distinct corners of our society here woven together with other material from other corners of the world in a new context. Glissant believes that different opacities can coexist and thus converge and together weave fabrics. But to understand these truly and to be in relation, one must focus on the texture of the weave and not on the nature of its components. —Sara Rossling The exhibition is a part of the extended exhibition project Unfold a Place - an international group exhibition organized by GAIR (Gagnef Artist-in-Residence Programme) that shows six artists' investigative work about the cultural heritage of Dalarna and the legacy of the artist Ottilia Adelborg (1855 Karlskrona - 1936 Gagnef ). Unfold a place shows work by Kristina Bength (SE), Anders Bergman (SE/FI), Tatiana Danilevskaya (RUS), Marc Handelman (US), Malin Pettersson Öberg (SE) och Nuno Vicente (PT). Curator är Sara Rossling The exhibition takes place at Ottilia Adelborgmuseet in Gagnef with satellite presentations at different places around Dalarna.
Unfold a Place Ottilia Adelborgmuseet July 5 – September 16, 2018 Kyrkbyvägen 36 785 30 Gagnef, Sweden Opening: Thursday the 5th of July at 15.00 Unfold a Place, is a group exhibition showing six artists’ different acquaintances with Dalarna. The exhibition runs between July 6th – September 16th 2018 at the Ottilia Adelborg museum in Gagnef, Sweden, and represents investigating works, reflecting over time, place and the heritage of Ottilia Adelborg. It has been developed as part of the international residency programme G/AIR – Gagnef artist-in-residence programme 2017-2018. Participating artists: Tatiana Danilevskaya (RU) Anders Bergman (SE/FI) Nuno Vicente (PT) Malin Pettersson Öberg (SE) Marc Handelman (US) Kristina Bength (SE) Curated by Sara Rossling.
THE ONRUSH OF SCENERY JANUARY 25 - FEBRUARY 24, 2018 LEONARDO DREW MITCH EPSTEIN MARC HANDELMAN LUIZ ZERBINI Sikkema Jenkins & Co. is pleased to present The Onrush of Scenery, a group exhibition featuring work by Leonardo Drew, Mitch Epstein, Marc Handelman, and Luiz Zerbini. The Onrush of Scenery takes its title from a line in Sylvia Plath’s novel The Bell Jar: I felt my lungs inflate with the onrush of scenery – air, mountains, trees, people. I thought, “This is what it is to be happy.” Nature has been an inspiration for artists of all manner since antiquity. The current exhibition features four gallery artists’ takes on this classic theme in a variety of mediums including sculpture, photography, painting, and work on paper. Leonardo Drew is known for his abstract sculptural installations that incorporate a variety of materials, though he is best known for his inventive use of wood, a material that, even in its altered form, maintains a strong link to its natural source. This link is reinforced through visual references to tree and root-like forms found in many of Drew’s works since around 2007. Beyond the material and visual references, nature is also reflected in Drew’s philosophical understanding of his work, which he views to be a reflection of the cyclical nature of time, the continual processes of transformation, and the connectivity of all things, or as the artist has succinctly put it, “the nature of nature.” A pioneer of fine art color photography in the 1970s, Mitch Epstein has focused his lens on nature on many occasions throughout his career, usually on landscapes that have been altered by human activity, such as in the series American Power, New York Arbor, or Rocks and Clouds, where he subverts the conventions of nature photography. The more pristine and fragile environment of the Hoh Rain Forest in Washington State is the subject of Epstein’s most recent body of work. These photographs were featured in The New York Times’ T Magazine November 12, 2017 issue, on the cover and accompanying an article about the silent solitude of the forest. Marc Handelman's new hybrid-works on paper of the Cattleya labiata orchid explore the unique repetition of this motif in the work of 19th century artist Martin Johnson Heade. Continuing a long-standing critical interest in landscape and image culture, Handelman explores how Heade’s colonial project slides into a proliferation of differencing within the proposed. Brazilian artist Luiz Zerbini's work is broadly inspired by his surroundings of his own studio and neighborhood in Rio de Janeiro as well as by his travels around the Brazilian coast. The current exhibition includes a selection of recent monotype prints made from impressions of the flora found near his studio.
15 July – 20 August 2016 Opening reception: Friday, 15 July, 6–9pm An exhibition in two parts: P!, 334 Broome St ROOM EAST, 41 Orchard St P! and ROOM EAST are pleased to present a summer group show, O / U, organized in collaboration with artist Aaron Gemmill. It is the first time the two galleries have worked together. The exhibition will take place in both venues, from 15 July through 20 August 2016. The show includes 25 artists working in a variety of media, including site-specific pieces. The show’s title is shorthand for “over-under”—which may refer to the combined score of a gambling or sporting event, a complicated sexual position, or a type of double-barrelled shotgun. In a formal context, over-under suggests overprinting or undercutting. As a maneuver to override or undermine, it has political and strategic connotations. Consider the Übermensch and the underdog. Over-under juxtaposes two prepositions that exist in a dialectic: you cannot have one without the other. Divided between the two galleries, the works on view invoke spatial, hierarchical, and power relations in both overt and understated ways. Artists: Michael Assiff Julie Ault & Martin Beck Barbara Bloom Lars Breuer Marcel Broodthaers Sam Charles Dexter Sinister Jessica Dickinson Aaron Gemmill Wade Guyton Marc Handelman Phoebe d’Heurle Steven Holl, Miles Huston James Kelly, Zoe Leonard Kate Levant Karel Marten Ebecho Muslimova Seth Price Amy Yao Brian O’Doherty (Patrick Ireland) Aki Sasamoto Matthew Schrader Please note: During the summer, P! is open Tuesday–Fr
December 5 - February 21, 2016 Opening Reception: Saturday December 12, 2015 4-7 PM Rail Curatorial Projects Gallery at Industry City / 254 36th Street, Brooklyn David Brooks The Canary Project Laura Grace Chipley Cynthia Daignault Rackstraw Downes Ellie Irons Josephine Halverson Mary Miss Marc Handelman Roxy Paine Trevor Paglen Alexix Rockman Martha Rosler Charles Simonds Robert Smithson Gio Sumbadze Tattfoo Tan Mierle Laderman Ukeles Allyson Vieira Matthew C. Wilson Kevin Zucker
March 12 - April 11, 2015 Opening Reception: Thursday March 12, 2015 6-8 PM
Flat by Fiat January 31—February 22 Opening January 31, 5:00—9:00 PM Pradeep Dalal Rocco Fama Aaron Gemmill Marc Handelman Dmitri Hertz Rachel Higgins Angie Keefer Lia Lowenthal
STUDIO TALKS: THINKING THROUGH PAINTING Thinking Through Painting is an on-going investigation of contemporary painting since 2009 involving numerous discussions and studio visits. The book was initiated after a discussion between Swedish artist Jan Rydén and curator Jonatan Habib Engqvist about how the contemporary institutional and theoretical art scene often seems to be uneasy, and at times even lost in its relationship to painting. Together with the artists Kristina Bength and Sigrid Sandström, they embarked on a project that would investigate painting as a way of thinking with a group composed of a curator/philosopher and three theoretically minded painters who all have different points of departure and dissimilar painting practices. Taking the artist’s perspective as a point of departure, the book collects over 400 pages of commissioned texts and transcribed conversations between artists, theorists, curators and critics active in Stockholm, Oslo and New York. Language: English Editors: Jan Rydén, Jonatan Habib Engqvist, Kristina Bength, Sigrid Sandström Graphic design: Eva Lindeberg No. of pages: 418 Format: 148 x 210 mm Binding: Hardcover Publication date: October 2014 ISBN: 978-91-87543-54-8
Kristina Bength Marc Handelman David Reed Jan Rydén Sigrid Sandström Wendy White Curated by Jonatan Habib Engqvist Thinking Through Painting consists of Kristina Bength, Jonatan Habib Engqvist, Jan Rydén and Sigrid Sandström: ”We want to explore painting as way of thinking and creating meaning. We are interested in the alternation specific to painting between on the one hand concept-based thinking in language, and on the other an embodied mode of thinking through material, space, perception and painting as activity. The project is an on-going investigation since 2009 and encompasses workshops, studio visits, travel, meetings and interviews of other artists who work with painting.” In the exhibition at the Royal Academy they have asked the three invited American artists and themselves the question: How would you visualize painting as a mode of thinking within your practice? The exhibition is divided into two periods. After the first period the installation is renegotiated and parts of the exhibition will change. The Book In Studio Talks: Thinking Through Painting 2009-2014, the group has transcribed, translated and edited long conversations between the group and several of the artists, theorists and other colleagues that we have met these last four years. Among others, they have spoken to: Fredrik Liew, Kristina Jansson, Monika Marklinger, Håkan Nilsson, David Reed, Håkan Rehnberg, Hanneline Rogeberg, Susanna Slöör and Wendy White. The book also holds essays by Jonna Bornemark, Lars-Erik Hjertström Lappalainen and Marcia Sá Cavalcante Schuback. This book is not only a documentation of Thinking Through Painting, it is the hub around which the exhibition and public talks are activated. The book will be released in conjunction to the exhibition´s opening and generate a number of seminars and talks during the exhibition period, including artist-talks and an improvised lecture on improvisation with the French philosopher Jean-Luc Nancy.
"Marc Handelman Rethinks Image Culture" September 19, 2014
The Dying Wind / A Ventriloquist's Art / Luminist Silence and the Sublime Noise of Progress The Dying Wind / A Ventriloquist's Art / Luminist Silence and the Sublime Noise of Progress (2013) is a dual-synched PowerPoint presentation that takes the form of an automated lecture. Through three brief reflections that explore the sound works of Jack Goldstein, the inception of the talkies into the sound-film, and the visual production of silence in the Luminist landscape painters of the late 19th century, Handelman’s presentation poses questions about the translations and transmutations of the auditory into the visual, and vice-versa. Here, the presenter’s dis-embodied voice and the tethering and disconnection of images to a range of speech-acts further disrupts the common language linking and frequently reproducing the relations between speaker, author, and the objects to which one speaks. The presentation engages themes such as images and iconography that elicit or induce sound, the silencing of art with the syncing of speech to image, the disappearance of the body of the artist, auditory sequences that conjure cultural pictorial motifs, and the effects of sublimity in these aesthetic correspondences. The presentation suggests that the politics of speaking, sounding, or picturing for one another are a powerful if fraught space of medial communication and contingency. A different version of this lecture was first presented at RECESS Activities, New York, in "Seeing Voice: The Seven-Tone Color System, a series of presentations that explored the relation between the auditory and the visual, organized by Christine Sun Kim, and R.H.E. Gordon in Conjunction with the Center for Experimental Lectures in the Spring of 2013. Presented as part of Anna Craycroft’s C’mon Language project and the TBA:13 Festival.
June 4 – June 15, 2013 41 Grand Street in Soho Thursday June 13th, 6-8pm. Recess is proud to present List in Formation, a sampling of works from artists who have supported Recess in the past four years. As part of a special extension of this year’s benefit, sale of these works will go towards supporting artists projects at Recess. We will be greeting summer with a gin and tonic reception on Thursday, June 13th. RSVP to info@recessactivities.org. List in Formation features work by: Vivienne Griffin Marc Handelman Corin Hewitt David Horvitz Jon Kessler Daniel Lefcourt Kalup Linzy Clifford Owens Michael Smith A.L. Steiner
The third exhibition of P!’s six-month cycle on copying rethinks the double exposure as democratic gesture: what it means for an image to be replicated instantaneously, ad infinitum, or uniquely limited. In Peter Rostovsky’s recent digital paintings, a speculative model of unlimited distribution and accessibility for all refigures the traditional labor of underdrawing and painterly technique. Marc Handelman’s trompe-l’oeil surfaces — included here both on canvas and as a site-specific installation on glass — incorporate reflective painting grounds that recast the viewing experience as fickle and dependent on context. In Arthur Ou’s analog photographs, multiple exposures and doubled mark-making disturb the flattened, singular image. Subverting expectations of form and genre, Permutation 03.3 stages an at-odds, dialogic engagement with classical and contemporary strategies of production and distribution.
Christine Sun Kim in conjunction with the Center for Experimental Lectures Recess in Soho 41 Grand Street, New York, NY 10013 March 15th: 7-9 pm 7pm – R.E.H. Gordon (introduction) 7:10pm – Christine Sun Kim (green) 8pm – Tom Finkelpearl & Eugenie Tsai (indigo) *followed by prosecco reception March 16: 3-8 pm 3pm – Corrine Fitzpatrick (blue) 4pm – Stephen Lichty (violet) 5pm – R. Lyon (red) 6pm – Jesse Prinz (orange) 7pm – Marc Handelman (yellow) *informal after party at Red Bench (107 Sullivan St) On March 15 & 16, Christine Sun Kim, in collaboration with the Center for Experimental Lectures, will initiate a conversation led by seven presenters, all of whom will give a lecture without using audible voice. This is the final event in Feedback, Sun Kim’s six-part Session at Recess. Throughout Feedback, Sun Kim, deaf since birth, has performed auditory investigations that initiate a slippage of audio into visual. Using non-vocal methods of dialogue to form collaborative vision with visitors to Recess and a cast of collaborators, the artist has created multiple aural perceptions through the use of bodies in motion, microphones, delay pedals, and more. For the final iteration of Feedback, Isaac Newton’s alignment of the color wheel and the octave will serve as a point of departure for conversations that do not privilege audible voice. Each of the seven presenters is assigned a particular color/note. Some presenters will use their assigned color/note as a place to begin research while others will focus on topics in and around individual voice. Each presenter will engage his or her own specific interests and varied backgrounds. Coming from a variety of disciplines, presenters will offer research-based lectures that critically engage the notion of transmuted, embodied voice. They will employ projected images, laptops, tablets, the physical body, and other communicative tools that do not require their vocal chords.
March 5 - April 14, 2013, 633 West 155th Street, New York, NY
Modernist Art from India, Radical Terrain, November 16, 2012 - April 29, 2013 Radical Terrain, the third exhibition in the series Modernist Art from India, highlights the exploration of landscape in Indian art for the generation after independence. The exhibition will also feature new work by international contemporary artists of diverse backgrounds currently working in and identifying with landscape. This is both a response to the modernist paintings on view and to work towards a nuanced conceptual understanding of what "landscape" in art is. The modernist paintings in the exhibition suggests that landscape became a recognizable form of expression in this period as a means for artists to come to terms with the vastness and diversity of India as a newly sovereign nation. Explorations of landscape – especially rural landscapes-- by painters inadvertently paralleled official initiatives of government organizations like the Films Division of India, which commissioned many films of rural and distant regions like Orissa and Himachal Pradesh for a primary audience of citizens in urban centers. These activities reflect a country creating a new identity. Radical Terrain shows the great variety of landscapes created by artists in India after independence from British rule – including figural and abstract landscapes, specific sites and conceptual landscapes painted in a wide range of styles and from many social, political, and formal perspectives. The contemporary interventions in the exhibition will be in various modes and media, reflecting the diversity of what landscape means to contemporary artists of various backgrounds. The artists include Lisi Raskin, Marc Handelman, Seher Shah, Janaina Tschäpe, and others. Curated by Beth Citron
Exhibition review, “Radical Terrain” RUBIN MUSEUM OF ART
ART REVIEW, South Asia Through Modernist Binoculars ‘Radical Terrain’ at the Rubin Museum of Art, Holland Cotter, December 27, 2012
Group Exhibition at Galeria Nara Roesler, San Paolo, curated by Vik Muniz, December 1, 2012 to February 23, 2013
Group Exhibition, One River Gallery, Englewood, NJ, curated by Stephen Truax, November 11 2012 - December 21 2012

Goethe-Institut New York, Group Exhibition/Project organized by David Horvitz, Through 12/21/12

A 20th Anniversary Celebration of the Nerman Museum's Oppenheimer Collection, September 29, 2012 - February 3, 2013