Ivin Ballen @ Pulse New York
As Barry Hoggard over at bloggy.com points out, this is the week the fairs come to town. And as is the trend elsewhere, this year NYC has more art fairs than ever, with The Armory Show moving up its schedule to coincide with the Art Show (ADAA fair), and (at last count) 6 satellites following suit.We are extremely pleased to have been invited again to participate in what I personally consider the very best of NYC's satellite fairs, Pulse New York. As I noted last week, as well, we're thrilled to be featuring a solo exhibition of new work by Ivin Ballen (details below). I'll try to blog from the fair (we're getting wireless this year), but the weather's supposed to warm up, so get outside and come on over to say hello (and see some great art!). We'll be in booth 408 (near the cafe...can you say "easily overcaffienated"? Wahoo!).
Winkleman Gallery is very pleased to present a solo exhibition of new work by New York artist, Ivin Ballen, at Pulse New York, February 22 to 25, 2007. In five stunning new wall pieces from the series of works that he terms “50/50s” (half sculpture, half painting), Ballen offers an insightful and humorous exploration of our relationships to everyday materials via painting.
Composing maquettes from cardboard, duct tape, plastic bottles, garbage bags, and other recyclable commonplace items, Ballen builds molds for casting fiberglass and aqua resin sculptures that he then paints with acrylic and watercolor paints. Although the illusion is temporarily quite convincing, closer inspection of the 50/50s reveals subtle differences in textures and colors that expose the process, reinforcing Ballen’s central investigation of the act of looking and perceiving. As one critic noted, “Formalistically, Ballen’s work is delightfully off-center and wiggy in its inscrutability. Although it compels a pedestrian reading, his art is a strong intellectual assertion of the elusiveness of representation and the multiple readings for artwork simulating reality.”1
A recent graduate of Cranbrook Academy of Art, Ivin Ballen has exhibited at Susanne Hilberry Gallery, Ferndale, MI, and has upcoming concurrent solo exhibitions in Autumn 2007 at Susanne Hilberry and Winkleman galleries.
For more information please contact the gallery at info@winkleman.com or 212.643.3152.
Ivin Ballen @ Pulse New York
February 22 – 25, 2007
The 69th Regiment Armory
Lexington Avenue and 26th Street
New York, NY
FAIR HOURS
Thursday, February 22 9am -- noon (Private Preview Brunch) 12pm -- 6pm (Open to Public)
Friday, February 23 12pm -- 8pm
Saturday, February 24 12pm -- 8pm
Sunday, February 25 12pm -- 5pm
1Mannisto, Glen: “Scrap mettle,” Metro Times, August 3, 2005.
Labels: Ivin Ballen, Pulse
posted by Edward_ at
5:22 PM
32 Comments:
Looking at Ballen's cv I noticed he's fresh out of grad school. How did you find him Ed? (or vice versa) Curious is the Kat?
i was wondering about that same thing when i saw this post a couple hours ago.
I appreciate the reasons for the question, folks, but the openness with which I discuss the behind-the-scenes workings of a gallery depends on my stopping at revealing details for any given individual. Please know that it's the only way I can continue to share what I do here. Thanks for your understanding.
We've discussed how to get a gallery, with lots of helpful comments, here.
Hi Ed-
Looking forward to seeing your booth at Pulse. I stopped by the opening on Friday but you looked to be deeply engrossed with a potential collector in your office and I didn't want to interrupt.
Also looking forward to the K'stan cognac!
Right now there is a small 'BloggerHacks' link after the 'Recent Comments' section on the sidebar - leading to a porn site. This happens through Blogger address http://bloggerhacks.blogspot.com.
Your site appears to be hacked. Unfortunately, Google's Blogger has not contact information. They should investigate the apparent problem
Thanks for the heads up Priit...my guess is the original bloggerhacks stopped posting and someone else took that over. I'll edit it out.
e_
Sorry to have missed you Oriane, but thanks for stopping in. We'll see you at Pulse!
Winkleman I think has the excuse to be an emerging artist gallery.
I think the critic is a bit exaggerating:
"a strong intellectual assertion of the elusiveness of representation and the multiple readings for artwork simulating reality."
Neo-cubism??? Ok, no offense,
That work sound way more spontaneous than intellectual.
To me it's in the vein of recent Slominsky works, which both all come from Rauschenberg.
It's scrapbook art, as simple as that.
Cedric Caspesyan
centiment@hotmail.com
Scrapbook art in the sense of associating things that don't necessarely go together with forms that don't necessarely mean anything.
(in case someone wondered what I meant)
Cedric
Cedric
I wasn't questioning Ed's right to be an emerging artists gallery I was just curious since Ballens' resume lists only 5 group shows (3 of which appear to be when he was in undergrad at RISD) and he gradauted with his MFA in 2006. http://www.ivinballen.com/ No questioning the quality of his art, but just wondered how he made the leap to gallery representation so fast.
KAT
okay, don't tell us about this particular artist, but will you talk about what relationships grad programs have with galleries today?
how much push some programs sometimes exert, if any, to help pave the way to representation?
i mean , aside from giving curators and critics quid pro quo work.
I think just because many of us went to schools at a time when the "professionalization" of the student artist wasn't emphasized, or, as in my case, we went to school where that just was not offered, does not mean that this is a terrible thing.
I know thats not necessarily what you guys are saying - i may be reading btween the lines here. But all I know is , as a teacher, if I was in a position to help my very best students get a leg up I wouldn't hesitate in the slightest. Of course, to some degree, economics is driving this trend. Those "connection schools" can draw the best and charge the most. But there is some good ol fashioned sincere mentorship, good art, and hard work involved as well.
Just want to be clear that i am in no way suggesting what I described above happen in the case of Ivin, I was just responding to Martin's general question about the relationship between galleries and MFA programs.
His CV is almost shockingly sparse, but the work looks to be well-developed and exciting. The idea of someone's work standing out to such a degree, especially as a student, is kind of reassuring. I mean, this happens in such a fantasized wishful-thinking way, all the time. It's reassuring to see actual good work recognised, regardless of situation.
I don't understand...Galleries and MFA's? Old news.
Many dealers since the early 90's (92-93) went/visited to/the graduate shows looking for artists. Every year 4 or 5 got representation right after graduation. Never before. They waited. After the collapse of the late 80's everybody was looking for new and un-tainted talent.
Yale had the lead then. It was the best program. (California seems to be the state now.) M. Barney and others comes to mind.
Emerging galleries or artists were not such a issue then. It was mixed.
mls
Carla
>>>the work looks to be well->>>developed and exciting.
I must be really dumb, I find it ordinary.
Then I just saw that one piece.
Cheers,
Cedric Caspesyan
centiment@hotmail.com
I remember now...
A mixed bunch:
Basilico Gallery was fantastic.
Deitch much better than now.
??? (She died of liver cancer and was a founder of The Armory show at the Gramercy; she and her husband had great galleries.)
A few others....
All of them went to the graduate shows.
mls
Bottom-up innovation. It's subtle and can happen in any type of art, even traditional landscapes. Someone just gets really into what they are doing, and forgets about how it's going to "read" within whatever art world they're dwelling.
Ivan's work shouldn't be all that exciting because when "read" from a top-down perspective, it's simply a certain type of work by a recent grad student, getting a show in Chelsea.
But his work is interesting, I believe, because of genuine artistic enthusiasm, and he's being shown because of this, which is admirable and reassurring, especially considering how his getting this show may read.
mls:
Pat Hearn & Colin de Land.
Many dealers since the early 90's (92-93) went/visited to/the graduate shows looking for artists.
I thought they were there for the cheese and crackers.
Dense, so dense dear... .
Less than a decade earlier no respectable dealer would attend a student show. Never.
That was the job of vanity galleries.
mls
I'm thinking of opening a vanity gallery, but I'm going to specialize. I'll only show work by art dealers who want to be artists.
I'll only show work by art dealers who want to be artists.
brutal... ;-)
i think the intent of my question was misread by mls...
i was curious about what efforts programs are making to get students placed, not about dealers efforts to discover new talent.
but that was yesterday, and today we are on a new, maybe not so completely unrelated, topic.
Well, that would be interesting, perhaps a new trend because most galleries in the 19th and 20th Centuries were started by artists.
The list is long:
1)Plus Ultra
2)Pace
3)Gavin Brown
3)Metro Pictures
4)LFL
5)Robert Miller
6)Lelong
7)Maeght
8)Green Gallery
10)...many in the LES
11)...many in SOHO
12)...London
13) most recently in China
14) on, and on, and on...
mls
15) don't forget Japan....
16)Berlin
mls
again, our wires are crossed or something.
it sounds like you think i'm talking about programs opening their own galleries? actually, i'm not sure what you're saying.
no, i'm only asking (or i was, i give up now) what efforts programs are making to get students placed... with already existing commercial galleries.
i don't know that i agree with you about MOST galleries of the 19th and 20th C.s being started by artists. is that for real? i really have no idea.
i do know that in japan most - or at least half - galleries are in fact "kashi garo", rental spaces.
was plus ultra started by artists? ed?
was plus ultra started by artists? ed?
Plus Ultra was founded by the artist Joshua Stern and myself. I was curating independently at the time we started the gallery.
Most galleries in Williamsburg had at least one artist as founder when we started.
Martin:
Very little is done by art schools to help. They do have class exhibitions/Career days and dealers come.
mls
i've been casting from plastic bags since my thesis (mfa 2004).
www.lorriott.com
lott@lorriott.com
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