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"That woman, as nature has created her, and man at present is educating her, is man's enemy. She can only be his slave or his despot, but never his companion. This she can become only when she has the same rights as he and is his equal in education and work."
                                                                                  (Venus in Furs by Leopold von Sacher-Masoch)

                                                                                        (Image: Harry Novak) WATCH HERE

Following the latest version of Venus In Furs by Roman Polanski (2013) and going through the book written in (1870) by Leopold von Sacher - Masoch, another version produced by Harry Novak (1967). Legendary exploitation cinema producer and distributor Harry H. Novak Nicknamed "The Sultan of Sexploitation" produced numerous films in such manner, some of his titles include "Mini-Skirt Love", "Cool It Baby" and many more.

WARNING: This program contains Nudity, Sexual Situations, and the Sort of People You'll Never Meet In Real Life!



 Betty Thompson

Betty Tompkins' Fuck Paintings were begun in the early 1970s and are based on surreptitiously obtained hardcore pornographic magazines, feature gynecological close ups of penetration, and are painted in an extraordinary and gorgeous monographic palette. This is sex, but on an Olympian scale; It's a distance and far-from-dumb view of heterosexual coupling, but none the less erotic for that. Text by Martin Herbert. BUY HERE



October 9 - November 8, 2014
456 W 18th Street

Petzel Gallery is pleased to announce an exhibition of new silkscreens by the London-based artist John Stezaker and the U.S. premiere of his film "Blind". This is the artist's fourth solo exhibition at the gallery. 

Shadows and silhouettes have been a dominant feature in Stezaker's work since the late 1970s. Some of the earliest of his silhouettes collages called the "Dark Stars,"1979-80, involved the removal of the main figures from cinema publicity portraits of the '40s and '50s and were shown at Petzel Gallery in 2011. In addition to these and other small-scale 'shadow' collages of 1970s and '80s Stezaker also went on to exploit the silhouette device in silkscreen prints on canvas, the first of which was produced in 1989. Now, for the first time in 25 years, he has been able to return to his series of silkscreen prints on black canvas. 

Stezaker's "Shadow" silkscreens respond to the projection and enlargement of the cinematic image. By using redundant lobby film stills as his source material, he inverts their staged, condensed and illustrative scale and returns them to the cinematic experience they once endeavored to represent. Most of the images used in the "Shadow" series come from the 1940s and '50s when the dominant image of cinema seemed to shift from the central spotlight of spectacular vision to the periphery of shadow in what became known as "film noir". Indeed, the shadowy underworlds of B-movies have been a significant source of fascination within Stezaker's relationship to the cinematic image. Whereas his collages establish a distance and remove from the appropriated image, Stezaker's silkscreens generate a palpable bodily through shadowy absences.

Stezaker's return to silkscreen printing reflects a general shift of interest towards the projected image in his recent work. In his latest film "Blind," he also returns the film still to the space of cinematic projection by creating a film of stills - a still film. By projecting a random sequence of his collection of film stills - a still film. By projecting a random sequence of his collection of his collection of film stills, each at 1/24th of a second, a duration at which the eye is said to be physiologically blind to each image, "Blind" creates an intense and dazzling palimpsest of after-images. Initially, "Blind" seems like an overwhelming bombardment of disparate images, like an encounter with the violence of the film image and the incessant difference of image technology. Gradually however, after yielding to the immersive experience, the intensity begins to settle into a dream-like space of estranged after-images.

Both the film and the silkscreens involve a suspension of the image from its original function. Whereas Stezaker's silkscreens and collages generate stilled disconnections through.

John Stezaker was born in England. His work appeared most recently in the 19th Biennale of Sydney in Australia. Institutional solo exhibitions include Tel Aviv Museum of Art, Israel (2013) and the Whitechapel Gallery, London, (2011), which traveled to MUDAM Luxembourg and the Kemper Art Museum in St. Louis. His work is included in the public collections of the Museum of Modern Art, New York, the Tate Collection, London; the Los Angeles County Museum of Art; and the Ellipse Foundation, Cacais. He lives and works in London.

Petzel Gallery is located at 456 W 18th Street, New York, NY 10011. Gallery hours are Tuesday through Saturday from 10:00am - 6.00pm. For press inquires, please contact Andrew Black at andrew@petzel.com, or call (212) 680-9467.



Life And Death.

What a great experience from Jim Shaw latest show at Metro Pictures, we wanted to meet him in person and try to get a few insides about his latest work but apparently we missed the opening day. Maybe some day soon. Instead go check out his work in the gallery pretty powerful. Also his book "Life And Death" a last copy and you can get it here.



Opening Reception and Book Signing September 12, 6-8pm
Jim Shaw presents new paintings in his exhibition “I Only Wanted You to Love Me” at Metro Pictures. One of the most influential artists of his generation, Shaw ardently researches a vast spectrum of subjectsfrom comic books he has accumulated since childhood to mythologyand dizzyingly incorporates them into his drawings, paintings, sculpture and videos. These latest works, done on sections of old theater backdrops, include elements from Disney, Richard Wagner’s Ring Cycle, Jimi Hendrix cover art and his dreams to talk about subjects such as workaholism, the biochemical industry and 19th Century monopoly capitalism. Drawing from da Vinci’s Deluge drawings, Shaw’s painting The Deluge depicts an arm extending from a crashing wave and from this “hand of God,” as Shaw refers to it, an enraptured Eva Marie Saint and heroic-looking Cary Grant emerge. With a tugboat from the original backdrop left in the background, Grant’s hand rests on an oversize nose carved into the rock of Mt. Rushmore.
The elision of everyday and mythological realities and allegories has been emblematic of Shaw’s work for more than thirty years. He has elaborately developed characters and narratives that draw on America’s history and culture, its products and artifacts, to make three extensive bodies of work. My Mirage tells the story of Billy, a blond-haired, blue-eyed suburban youth born in the 1950s who delves into a world of psychedelia during his college years and, after a bad acid trip, joins a pagan sect before finally becoming a Christian Fundamentalist. Shaw’s intricate pseudo-religion Oism closely resembles Mormonism and other homespun American religions. Founded by a virgin named O who gives birth to herself, Oism is replete with its own history, objects of worship and ritual. In the ongoing Dream Drawings and Dream Objects series of drawings, paintings and sculpture, Shaw draws on his subconscious to plot out the narratives of his dreams and make surreal objects.
Jim Shaw attended the California Institute of the Arts in the late 1970s. Graduating with artists that included Mike Kelley, John Miller and Tony Oursler, the group became known for their reaction against the material restrictions adhered to by the conceptual artists of the 70s, many of whom were their teachers at Cal Arts.
Shaw will sign copies of his new book The Hidden World during the opening reception. This exhibition catalogue, published by Koenig Books, follows his 2013 show at the Chalet Society in Paris, which exhibited Shaw’s collection of paraphernalia from religious orders and fraternities, conspiracy theorists and children’s encyclopedias. The Hidden World is on view at Centre Dürrenmat, Neuchatel, Switzerland through December 7.
An exhibition of Shaw’s work opens at Mass MoCA in spring 2015. Past one-person exhibitions include Baltic Centre for Contemporary Art, Gateshead, UK; Museum Boijmans van Beuningen, Rotterdam; CAPC, Musee de’Art Contemporain de Bordeaux; MoMA PS1, New York; Magasin, Centre National d’Art Contemporain, Grenoble; ICA, London; and Musee d’Art Moderne et Contemporain, Geneva. His work has been in group shows at Walker Art Center, Minneapolis; Los Angeles County Museum; New Museum, New York; Museum of Modern Art, New York; Centre Pompidou, Paris; and Museum of Contemporary Art, Los Angeles. He participated in the 55th Venice Biennale in 2013.
                                For more images please click here.



Fred Wilson

Fred Wilson (born 1954, the Bronx) has created site-specific installations in collaboration with museums and cultural institutions throughout North America, the Caribbean, Europe, the Middle East, and Asia. His work encourages viewers to reconsider social and historical narratives and raises critical questions about the politics of erasure and exclusion. Beginning with the groundbreaking and critically accalaimed exhibition Mining the Museum (1992-93) at the Maryland Historical Society, Fred Wilson has juxtaposed and re-contextualized existing objects to create new installations, which alter their traditional meanings or interpretations. In 2003, Wilson represented the United States at the 50th Venice Biennale with the solo exhibition, Fred Wilson: Speak of Me as I Am. His many accolades include the prestigious John D. and Catherine T. MacArthur Foundation “Genius” Grant (1999), amongst others.




The New World Summit is an artistic and political organization founded by visual artist Jonas Staal in 2012, dedicated to providing “alternative parliaments” hosting organizations that currently find themselves excluded from democracy. New World Summit opposes the misuse of the concept of democracy for expansionist, military and colonial gains to which the organization refers as “democratism.” The most recent excess of democratism has taken the form of the so-called War Against Terror. In opposition to democratism the New World Summit explores the field of art as a space to re-imagine and act upon a fundamental practice of democracy. For more please click here.