"History merges with the present through the quaotations of Leslie Baum's painting practice. Baum cites imagery from existing artwork as if arranging partners in a duo while simultaneously trying to learn the steps of their dance. Visitors are invited to move into a floor painting, mountainand SEA(partial) p.c. where a Cezanne-like landscape surrounds the body on all sides. In shape of the day:e.v.l.h, Baum references imagery from the plein air landscapes of Lawren Stewart Harris along with the abstraction of Esteban Vicente. Harris's Iceberg, Davis Strait, from which Baum quotes, was first painted during a ship voyage through the artic. The artist describes this series, shape of the day, which materialized in the wake of the 2016 election cycle as a way to meditate on natural forces greater than the politics of the day. It is hard not to ponder in this age of climate change that a view of the icebergs may not be visible much longer. In the work of Baum, we find another avenue to explore the world, what we inherit from artists, and the traditions of the part through her artistic agency."
Night brings day/day brings night is a selection of intimately scaled paintings from an ongoing project. This project came to fruition in the shadow of the 2016 presidential election. In that moment, the studio became a refuge and a place to contemplate forces greater in scale than the politics of the day. The paintings that emerged meditate on natural cycles and the passage of time: seasonal rotations, the turning of the calendar, and the rhythmic flow of night into day and day into night. Each work imagines a world within a world: a portal, an opening, into the unknowable, and each is tethered to the hope found in the long arc of time.
Participating artists include: Leslie Baum, Drexciya, Julie Marie Lemon, Iñigo Manglano-Ovalle, Mohau Modisakeng, David Nasca, and Allan Sekula.
Curated by Holly + Zachary Cahill
A new collaborative piece with Allison Wade is featured in Pushing Up Daisies, a group exhibition at Peana organized in collaboration with Triumph Chicago.
At the heart of the exhibition is a photograph of a concrete mural relief situated at the entrance to the Beit Yad Labanim memorial building (which from 1975 to 2000 also served as the Herzliya Museum's main entrance). In this relief - created by the local artist Shlomo Eliraz - we see a combination of a formal, geometrically abstract arrangement, biblical verses, and excerpts from Natan Alterman's poem, "The Silver Platter" - in keeping with conventional official and ceremonial protocol. Recently, the Mundi_Lab research group of the Technion's Faculty of Architecture in Haifa (headed by Dr. David Behar-Perahia) removed the partitions between the memorial building and the museum, as part of ongoing research that they presented at the museum. Evron has placed a photograph of that relief within the museum space, as an integral part of it, in a bid to tackle the charged historical, national, and local contexts that it embodies. In addition, Evron invited the American artist Leslie Baum - to respond to it in her own language, which engages with the modernist heritage. The juxtaposition between the photograph of the relief and these paintings offers a study of complementary contrasts, bringing together the universal and personal as well as an ideological call for the right to autonomy.
On Friday, September 8, from 6 to 8 p.m., the Cincinnati Arts Association’s Alice F. and Harris K. Weston Art Gallery in the Aronoff Center for the Arts will kick off its twenty-third exhibition season with the opening of UnFunction, a group exhibition curated by writer and independent curator Maria Seda-Reeder (Cincinnati, OH) that examines the intersection of functional objects and fine art.
The materials with which artists choose to engage have long reflected their particular understanding of the complex consequences of art as commodity. So what does it mean for artists to continue to create objects that will likely outlive their makers? Playing with signifiers of both craft and fine art, the dozen artists in UnFunction undermine and reinforce paradigms of purpose—transcribing meaning from the materials around them in ways that make us question our understanding of function. Interrogating the limits of formalism, applications of affordable and abundant materials, and subversions of the semiotics of design and notions of practical use are explored throughout the exhibition in myriad and unexpected ways.
Featuring artworks by Denise Burge, Terence Hammonds, Emily Hanako Momohara, Sean Mullaney (all Cincinnati, OH); Leslie Baum, Dan Devening, Emily Moorhead, Allison Wade (all Chicago, IL); Daniel Bare (Clemson, SC); Tracy Featherstone (Hamilton, OH); Elizabeth Runyon (Oxford, OH); and Chris Vorhees (Indianapolis, IN), UnFunction surveys a broad cross section of disciplines, techniques, concepts, and materials in an expansive installation utilizing both floors of the Weston Art Gallery.
The Cleve Carney Art Gallery begins its 2017-18 season with an exhibition of paintings and works on paper by the artist Leslie Baum.
Known for her painting-based installations Baum's work covers a diverse range of surfaces and media. The different materials, scale and installations of her work mix with a sampling and remixing of iconic modern painting imagery. Her attention to, and referencing of, the rich history of painting is a devoted celebration of its history. At the same time her agility and willingness to move throughout that history is a joyful casting-off of its limitations.
For Here Comes The Rainbow Baum will be debuting two new bodies of work that use the seven hues of the rainbow as a launching point. Central to the installation will be seven monumental paintings on un-stretched canvas that will be mounted directly on a 45 foot long section of wall in the gallery.
For more of Leslie Baum's work visit: http://lesliebaum.net/
one art space
23 warren street
new york new york
november 6 2014
New catalog for souvenirs from wonderland exhibition available. Designed by Sonnenzimmer, with an essay by Philip Martin and poem by Maureen N. McLane
My Crippled Friend investigates the recent history of the intersection of painterly abstraction and the object. While “painting as object” has often been a formalist issue, the works in this exhibition gather their identity through the subversion of formalism—scrambling and reassembling themselves in an aesthetic shell game where the act of painting is always an investigation of a painting’s ability to push into objecthood.
The result is a collection of works that are each alive in a way that only a painting can be, as well as present in a way that seems more like an object. Impossible to label as one specific medium (“a painting” or “a sculpture”), they are, rather, an often-lumpy but always compelling combination of the two.Participating artists will include Richard Aldrich, Claire Ashley, Leslie Baum, Anna Betbeze, Sarah Braman, Tom Burr, Tom Burckhardt, Kathy Butterly, Sarah Cain, N. Dash, Cheryl Donegan, Michel François, Joe Fyfe, Katharina Grosse, Mary Heilmann, Chris Johanson, Ross Knight, Jim Lambie, Jim Lee, Chris Martin, Sam Martineau, Matt Rich, Cordy Ryman, Nancy Shaver, Daniel Turner, Amy Yoes, and Tamara Zahaykevi