Art in General’s unique benefit auction, DoubleBlind, allows collectors to place bids on suites of images created by prominent contemporary artists sight unseen. Participating artists include Hanna Liden, Jay Heikes, Ryan Foerster, Njideka Akunyili, Stephen Posen, Eve Sussman, Jacqueline Humphries, Olaf Breuning, Asger Carlsen, Sara VanDerBeek, Hiraki Sawa and Van Neistat. We have collected a selection of recent highlight exhibitions by a few participating artists to provide a sense of the kind of images a potential collector may expect to get if they place a winning bid in the DoubleBlind auction!
Hanna Liden’s Ghost Town at Maccarone Gallery (May 2nd – June 16th, 2012):
This large solo exhibition of Liden’s work, was a showcase of the many mediums and forms employed in her visual lexicon. The poetic press release by Kayla Guthrie avoids any direct assertions about the themes or central thrust of the exhibition, leaving much up to the viewer. With such a strong aesthetic that easily crosses mediums, it will be a great treat to get to see what images Liden has produced for the DoubleBlind auction.
Eve Sussman & Rufus Corporation’s WHITEONWHITE:ALGORITHMICNOIR at Haunch of Venison, London (April 15th – May 14, 2011):
Eve Sussman along with her group of collaborators called Rufus Corporation created a cinematic installation, photographs and flat screen video works. The exhibition is centered by the film whiteonwhite:algorithmicnoir – a film that “follows the observations and surveillance of a geophysicist code writer stuck in a futuristic city.” The experimental fiction was edited in real time, with no traditional beginning or end and never repeating the same way twice. “Inspired by the Suprematist’s quests for transcendence, pure space and artistic higher ground whiteonwhite:algorithmicnoir was created on an ‘expedition to unravel utopian promise’ with a small crew, one American actor and local actors hired en route.” Stay tuned for many exciting projects Sussman has planned for this year, including an amazing installation at the SPRING/BREAK Art Show in early March!
Jay Heikes’ General Anxiety at Marianne Boesky Gallery (November 9th, 2010 – January 15, 2011):
This unique exhibition of Heikes’ works centered around a more than 12 foor long drawing by Alighiero Boetti, one of the most prominent Arte Povera artists, titled Tracce del racconto, 1975. Haikes counts the Arte Povera movement among his myriad influences. “Through his own systems and repetition Heikes seeks to create an individual language that purges itself of past influences, the work itself documenting the artist’s struggle.”
Olaf Breuning’s The Art Freaks at Metro Pictures (September 23 – October 29, 2011):
Breuning’s show of almost life-size color photographs looks to transpose the signature styles of “seminal 20th-century artists into prosaic body painting. If the manners in which Breuning’s subjects have been painted are not immediately identifiable, then titles like Andy, Frieda, and Piet confirm their references.” This humorous and uncanny exhibition calls into question our relationship with the iconic artworks he references while also exploring the “reproductions and consumable patina through which most of us experience these artists’ works and their distinctive aesthetics.”
Sara VanDerBeek in Decanter: An Exhibition on the Centenary of the 1913 Armory Show (February 17 – April 7,2013):
Sara VanDerBeek (represented by Metro Pictures) will be part of an exciting group show opening this week at the Abrons Art Center celebrating the “formal innovations of the historic avant-garde,” through an “embrace or flirtation with digital mediation.” “DECENTER also serves to highlight Henry Street Settlement’s sponsorship of the 50th anniversary exhibition of the Armory Show in 1963, the occasion which announced the building of what is today known as the Abrons Arts Center.”
Hiraki Sawa’s O at James Cohan Gallery (February 17 – March 26, 2011):
Hikari Sawa’s second solo exhibition at James Cohan Gallery centered around a video and sound installation titled O, presented across a triptych of large-scale projections, ten small video monitors and five channels of audio. “O abstracts the notion of time by the simultaneous depiction of interior and exterior spaces, meditations on the moon and the earth, and suggestions of the present and distant past.”A single channel video work was also on view, “in which Sawa explored the phenomenon of amnesia and the devastation of severe memory loss through a series of abstract visual sequences.”