Every Day's Journey

OPENING THIS WEEK at the Museum of Contemporary Art Detroit (MOCAD) Tal R  : this is not Detroit Michael Luchs : Fictitious Character Opening Reception:  Friday, May 11, 2018 Member Hour:  6-7PM , Public Opening:  7-11PM Dear Friends, This Friday,  May 11 , marks the opening of two new exhibitions at the  Museum of Contemporary Art Detroit (MOCAD) :   Tal R ’s  : this is not Detroit  and  Michael Luchs ’s  Fictitious Character . A reception will be held at the museum with a member hour from  6-7PM  and public opening from  7-11PM.   :this is not Detroit   is a conceptual, site-specific installation that manifests Tal R's fantasy of Detroit, acting as a meditation on dream-places, identity, and whimsy. Seven large-scale paintings, rendered in a rich and moody palate of blues, depict the artist's vision of specific Detroit neighborhoods. The abstract works use primitive shapes and symbols to investigate the visual lang

REYES PROJECTS PRESENTS BODY SO DELICIOUS OPENING RECEPTION: THURSDAY, MAY 10, 6-8PM 100 2. OLD WOODWARD AVE, BIRMINGHAM, MI Hello Friends! This  Thursday, May 10 ,  Reyes Projects , will open of  Body So Delicious ,   a group exhibition   featuring works by  Genesis Belanger, Amy Brener, Ivy Haldeman, Nevine Mahmoud,  and  Alix Pearlstein . The gallery will celebrate with a reception from  6 to 8pm . Dubbed a must-see by  T, The New York Times Style Magazine , the show presents a nuanced look at the relationships between body, sexuality, and sustenance.  The participating artists work across a variety of mediums – painting, sculpture, and installation – exploring desire as an idea that is both necessary and utopian. The result is equally humorous and absurd. 

OPENING  THURSDAY  AT MOCAD   TOM House: The Work and Life of Tom of Finland Opening Reception:  Thursday, April 19, 2018, 6-9PM Mike Kelley  Mobile Homestead  at Museum of Contemporary Art Detroit    Tom of Finland,  Untitled (Portrait of Pekka) , 1975 Courtesy Tom of Finland Foundation & David Kordansky Gallery, Los Angeles, CA Dear Friends, This  Thursday, April 19th , marks the opening of  T OM House: The Work and Life of Tom of Finland   at  Mike Kelley’s  Mobile   Homestead  at  MOCAD . The exhibition, as presented by The Museum of Contemporary Art Detroit (MOCAD), Mike Kelley Foundation for the Arts, and Graeme Flegenheimer (El Club Detroit) will be celebrated with a reception from  6-9PM . Visitors will see work by  Tom of Finland  (Touko Laaksonen, Finnish, 1920-1991) and incorporate artists who supported and admired his work over the years, including  Richard Hawkins ,  Robert Mapplethorpe ,  Raymond Pettib

HONORING APRIL 11, 2018  at  2 EAST 79TH STREET Proceeds will directly fund Free Arts NYC's art-based mentoring programs, which empower underserved youth by developing their creativity, confidence, and skills to succeed. 1431 Broadway, 7th Fl New York, NY 10018-1907 Powered by

OPENING TOMORROW AT RENTAL GALLERY Margaux Ogden:  Space Never Moved Opening Reception:  Saturday, March 17, 4-6PM 87 Newtown Lane, East Hampton, NY Tomorrow ,  Saturday, March 17  marks the opening of  Margaux Ogden 's new solo exhibition,  Space Never Moved  at  Rental Gallery.  The gallery will celebrate with an opening reception from  4-6pm .  With these new works, Ogden continues her exploration of acrylic on raw canvas, parsing gesture and palette to create tightly patterned, self-referential works. Ogden’s singular approach strips the paintings to their bare essentials: paint, canvas, gesture—and within that, time. The exhibition will be on view through  Saturday, April 18 .  

RENTAL GALLERY PRESENTS Margaux Ogden:  Space Never Moved March 17 – April 18 Opening Reception:  Saturday, March 17, 4-6PM 87 Newtown Lane, East Hampton, NY   NEW YORK  –  Rental Gallery  is proud to present  Space Never Moved , an exhibition of new paintings by  Margaux Ogden  opening with a public reception on  March 17 , and remaining on view until  April 18 . With these new works, Ogden continues her exploration of acrylic on raw canvas, parsing gesture and palette to create tightly patterned, self-referential works. Ogden’s singular approach strips the paintings to their bare essentials: paint, canvas, gesture—and within that, time. In the past, Ogden used phrases and symbols as a painterly typeface, repeating pictographs and bits of often-redacted text in an act of encoded intimacy. Here, she reverses course, redacting the confessional language, leaving behind stark, meditative fields. Yet even though these new paintings lack discernable script, she has