P!

Abounaddara. The Right to the Image. October 22–November 11 at The Vera List Center for Art and Politics at The New School.

Abounaddara. The Right to the Image. October 22–November 11 at The Vera List Center for Art and Politics at The New School.

PANGRAMMAR

September 18 – November 1, 2015 Opening reception: Friday, September 18, 6–9pm P!, 334 Broome St, New York City

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Like the quick brown fox that jumps over a lazy dog, PANGRAMMAR is a group exhibition of over 26 works that each depict a single letter. These objects include pieces of art and design ranging from contemporary to historical, mass-produced to unique, in two-, three-, and four-dimensions. Over the course of the show’s run, PANGRAMMAR will rearrange itself periodically to spell different sentences and create new meaning. Jackdaws love my big sphinx of quartz.

Featuring: Carlos Amorales Colleen Asper & Marika Kandelaki Anna Barham Erica Baum Jen Bervin Barbara Bloom Mel Bochner Jean-Francois Bory Robin Cameron Commercial Type Dexter Sinister Shannon Ebner with David Reinfurt Paul Elliman Timo Gaessner / Milieu Grotesque Joe Goode and Ed Ruscha Vivienne Griffin Mathew Hale Christine Hill Esen Karol Viktor Kopp Elaine Lustig Cohen Karel Martens Herbert Matter Tom McGlynn Adam Michaels & Glen Cummings Moniker Georges Perec Dushan Petrovich Man Ray Ksenya Samarskaya Willem Sandberg Joost Schmidt Anna Schuleit Haber Jack Stauffacher Sulki & Min Ladislav Sutnar TypoKaki & Martin Frostner JP Williams Piet Zwart

July 13 – October 19, 2015 Organized by Cole Akers Link to exhibition on The Glass House website

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The Glass House presents the first survey to explore the relationship between the early paintings and pioneering design projects of Elaine Lustig Cohen. Based in New York, Lustig Cohen has been highly regarded as a graphic designer, artist, and rare book dealer throughout her career, which spans over fifty years. On view in the Painting Gallery, the exhibition includes a selection of her paintings from the 1960s and 1970s as well as examples of her multi-year collaboration with architect Philip Johnson, among other projects.

In 1955, Lustig Cohen began a graphic design practice that integrated the aesthetics of European modernism within a distinctly American visual idiom for her diverse clientele of publishers, corporations, cultural institutions, and architects. Her first client was Johnson, who commissioned her to work on the lettering and signage for the Seagram Building. The two forged an important bond that resulted in a variety of projects for the Glass House, Yale University, Lincoln Center, the Munson-Williams-Proctor Art Institute, and the Sheldon Museum of Art, among others, as well as commissions from Johnson’s clients, including John de Menil and the Schlumberger oil company.

As a painter, Lustig Cohen developed a hard-edged style in the 1960s and 1970s that engaged  the physicality of the canvas’ flat surface. Employing a simplified formal language that includes solid colors and abstract geometric shapes, her paintings allude to her design work as well as the contemporaneous practices of other artists who strove to dissolve the barriers between painting and objecthood.

Elaine Lustig Cohen (b. 1927, Jersey City, New Jersey) studied art at the University of Southern California. Her first solo exhibitions in New York were held at John Bernard Meyers Gallery (1970, 1972, 1973), Galerie Denise René (1975), and Mary Boone Gallery (1979), where she was the first woman to have a solo exhibition. Since then, her work has been presented at Exit Art (1985), Cooper Hewitt, Smithsonian Design Museum (1995), Julie Saul Gallery (2005), the Rochester Institute of Technology (2014), and P! (2014), among other venues. As a graphic designer, her clients have included the Jewish Museum, New Directions, the Whitney Museum, and architects Eero Saarinen, Richard Meier, and Philip Johnson. In 1973, she co-founded the influential bookstore Ex Libris, which specialized in 20th century avant-garde books, periodicals, ephemera, and posters. Work by Lustig Cohen is held in numerous public and private collections, and she is the recipient of the 2011 AIGA Medal for her life’s work in design.

P! is pleased to announce K., a new gallery taking over the former P! storefront at 334 Broome Street. From March through July 2015, K. inhabits the renovated Lower East Side space. The first exhibition, Real Flow, opens Sunday, March 1, 6–8pm.

Collapsing the timeframe of the four-week gallery show with that of the four-day art fair, K. presents an accelerated schedule of two- and three-week long exhibitions. Featuring artists Real Flow, Aaron Gemmill, Mathew Hale, Michal Helfman, Matthew Schrader, Wong Kit Yi, and others, the exhibition cycle examines critical questions of economic systems and the production of value in a new context. Gallery architecture by Leong Leong functions as an open white cube for the condensed five month schedule of shows. A hybrid physical/virtual publication edited by Sarah Demeuse and Sarah Hromack launches at the conclusion of K..

For more information, contact Prem Krishnamurthy at [email protected] or visit k-period.com.

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EXHIBITION PROGRAM

March 1–15 Real Flow

March 22–April 5 Aaron Gemmill and Matthew Schrader: Tactile Pose

April 12–May 3  Wong Kit Yi: North Pole Futures

May 10–31  Mathew Hale: 5TH HELENA …

June 14–July 3 Michal Helfman: I’m so broke I can’t pay attention

July 13–31  Egress, organized by Sarah Hromack

JOSÉ LEÓN CERRILLO ELAINE LUSTIG COHEN KAREL MARTENS

Material Art Fair Mexico City February 5–8, 2015

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For Material Art Fair 2015, P! is pleased to present a unique booth featuring José León Cerrillo (b. 1976, Mexico), Elaine Lustig Cohen (b. 1927, USA), and Karel Martens (b. 1939, Netherlands). Spanning generations and geographies, these three practitioners are linked by the legacy of Modernism, as well as a common exploration of geometric form in relation to perception, process, and play. Cerrillo’s work as an artist references and reinvents architectural and graphic tropes; Lustig Cohen and Martens are pioneering designers whose artwork has received widespread attention in recent years. Connecting different lineages of abstraction—in Latin America, North America, and Europe—the tripartite presentation suggests novel possibilities for multidisciplinary dialogue and inquiry.

At Material 2015, the three artists are presented in an idiosyncratic manner that underscores the indelible link between object and armature, raising questions of autonomous and contingent display. Curated by Cerrillo, the booth showcases a rare selection of Lustig Cohen’s hard-edge geometric paintings from the 1960s and 1970s, alongside new letterpress monoprints on Belgian identity cards by Martens. Although both Lustig Cohen and Martens are informed by graphic design, their divergent formal approaches contrast exacting structure with improvisatory composition.

Leslie Hewitt and Zia Haider Rahman in conversation Time: Friday, 9 Jan, 7pm Location: Project Projects, 161 Bowery, 2nd Floor Inquiries: [email protected]

EXTENDED: 17 December 2014 – 25 January 2015 Curated by Prem Krishnamurthy

Special event: Leslie Hewitt and Zia Haider Rahman in conversation Friday, 9 Jan 2015, 7pm Project Projects, 161 Bowery, 2nd Floor Download press release View installation images

P! is pleased to present Power Structures, a three-person exhibition featuring Leslie Hewitt, Karel Martens, and Zia Haider Rahman. Additive and exponential, the show offers an oblique look at acute questions troubling our political moment.

Leslie Hewitt exhibits three works: a black horizontal line bisecting the viewer’s gaze and the space it circumscribes; a color photograph that collapses archival documentation and personal memory; and a white sheet metal sculpture from her current project at the Studio Museum Harlem, which evokes paper through its planar folds. 

Printed on discarded Belgian identity records, a new body of letterpress monoprints by Karel Martens extends his signature technique of overprinting metal forms on found materials. Through this combination of figure and ground, past and present, Martens’ layering reactivates the remainders of a vast bureaucratic archive.