“The career of the American filmmaker Charles Atlas has been a steady but slow-burning fire for more than 40 years,” wrote Holland Cotter just last year. Despite pioneering the media-dance art form, and collaborating with dancers and performers like Michael Clark, Marina Abramović and Leigh Bowery, Atlas didn’t have his first solo until 1995 at the Museo Nacional Centro de Arte Reina Sofía in Madrid. That’s a big name institution to land a solo with, but it’s only been within the past decade that he’s had a steady stream of solo presentations at institutions and galleries. Those include the Tate Modern, London’s Vilma Gold, and Luhring Augustine in Chelsea.
Why the CV gap? This question naturally came up in the context of Atlas’s recent screening of his early works in Toronto. Organized by Pleasuredome, the event was a cross-section of motion movies, narratives and video featurettes accompanied by a book launch of his first monograph at Art Metropole.
Those who thought they’d ease into the work week after the holiday break will be sorely disappointed. Nearly every gallery in the city has an opening. Between the Abrons Art Center’s American Realness Festival opening this week and a rash of Chelsea and Lower East Side shows, your calendar will be full. And not just with the usual crap. Painter Jane Corrigan will debut fresh new figurative paintings at Feuer/Mesler—it’s her first solo show in two years. Grids, systems and minimalism take over The Kitchen, Cheim & Read and Lesley Heller, all in unrelated shows. And for those following all the climate change stories, Dana Sherwood’s exhibition at Denny Gallery focuses on our destruction of the earth. Assuming we survive long enough to see the show, it should be illuminating.