BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION:

This exhibition features contemporary works in two dimension s that depict compelling characters and engaging stories.

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Arguably\ , any work of art tells a story&mdash\;whether through materials\, the proc ess of making\, \;or what is depicted. In various ways and different me dia\, the works featured in \;Some Pretty Interesting Characters \;depict people\, animals\, places\, or objects (or all of these).&n bsp\;They offer a particular scene that seems to be pulled from a larger se ries of moments\, with action that happens both before and after the time o r person that is specifically represented. The characters help to define th e action\, and provide emotion and information.

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Whether portrait\, fantastical scene\, or historical fiction\, the works presented here offer& nbsp\;a beginning point for a larger narrative. While the artists may have had a particular tale in mind when creating a piece\, they often purposeful ly allow for a wide variety \;of interpretations. Visitors are invited to use their imagination to &ldquo\;complete&rdquo\; \;these stories. DTEND:20140816 DTSTAMP:20140801T140314 DTSTART:20140606 GEO:42.741652;-87.813057 LOCATION:RAM's Wustum Museum\,2519 Northwestern Avenue \nRacine\, WI 53404 SEQUENCE:0 SUMMARY:Some Pretty Interesting Characters: From RAM's Collection\, Chapter 1\, Renie Breskin Adams\, Diane Balsley\, Leonard Baskin\, Robert Baxter\, Mary Bero\, Dawoud Bey\, Robert Birmelin\, Sally Broadwell\, Ruth A. Brock man\, Nancy Ekholm Burkert\, Robert W. Burkert\, Sue Coe\, Van Deren Coke\, Warrington Colescott\, Cynthia Crigler\, Roy DeCarava\, Doug DeVinny\, Dom inic Di Mare\, David F. Driesbach\, The Reverend Howard Finster\, Glenn Ger ber\, John Goray\, Gregory M. Grenon\, Cindy Hickok\, David V. Holmes\, Che rry Barr Jerry\, Sylvester Jerry\, Rosita Johanson\, Kenneth A. Kerslake\, Munio Makuuchi\, Linda Schwam Merkel\, Gladys Nilsson\, Jim Nutt\, Ed Pasch ke\, Sylvia Plachy\, Jeb Prazak\, Karl J. Priebe\, Claire Prussian\, Ron Ru ble\, Bruce Saille\, Julie Lindemann\, Eleanor Speiss-Ferris\, Hugh Steers\ , Beth Van Hoesen\, Karl Wirsum\, John Shimon UID:348872 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Telling Tales: RAM Community Art Exhibition  \;features fantastical works created by art students\, teache rs and RAM members on view side-by-side with well-known regional artists wh o teach or work at the museums. The exhibition includes a wide range of med ia that reflects the stunning variety of workshops and classes offered at R AM&rsquo\;s Wustum Museum.

DTEND:20140816 DTSTAMP:20140801T140314 DTSTART:20140606 GEO:42.741652;-87.813057 LOCATION:RAM's Wustum Museum\,2519 Northwestern Avenue \nRacine\, WI 53404 SEQUENCE:0 SUMMARY:Telling Tales: RAM Community Art Exhibition UID:348871 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The 1950s and 1960s were a heyday of photo reporting\, commi ssioned by a whole range of newly founded magazines such as Kristall\, Revu e\, Quick or Stern. Inspired by the idea that photography is a language uni versally understood all over the world\, many photojournalists see their wo rk as an expression of socially critical commitment and political responsib ility. They take their photographs as authentic documentation of reality wh ich confront the observer with the evils of the world\, suffering and viole nce and appeal to his compassion and sense of responsibility over and above their value as information. The exhibition &ldquo\;The Committed Picture&r dquo\; focuses on photojournalism in the post-war period. On top of this\, it presents one of the main emphases of the Department for photography and new media in the Museum fü\;r Kunst und Gewerbe Hamburg (MKG)\, which a lready laid the foundations for the collection with acquisitions in the ear ly 1960s. More than 40 works by Jü\;rgen Heinemann\, Ryuichi Hirokawa\, Thomas Hoepker\, Kaku Kurita\, Robert Lebeck\, Peter Magubane\, Marc Ribou d\, Sebastiã\;o Salgado and Max Scheler will be on display. They docu ment the developments and the aesthetic strategies of the genre since the 1 960s. The series of exhibitions under the title of &ldquo\;The Photography Department in Context&ldquo\; will accompany the indexing of the collection on scientific principles and reveals the different methods by which photog raphy can be employed.

DTEND:20150118 DTSTAMP:20140801T140314 DTSTART:20140801 GEO:53.55268;10.0089 LOCATION:Museum für Kunst und Gewerbe\,Steintorplatz 1 \nHamburg\, SEQUENCE:0 SUMMARY:THE COMMITTED PICTURE - THE PHOTOGRAPHY DEPARTMENT IN CONTEXT\, Jür gen Heinemann\, Ryuichi Hirokawa\, Thomas Hoepker\, Kaku Kurita\, Robert Le beck\, Peter Magubane\, Marc Riboud\, Sebastião Salgado\, Max Scheler UID:348859 END:VEVENT BEGIN:VEVENT DESCRIPTION:

A site-specific exhibition by Jason S. Yi will be on view in the State Street Gallery and lobby of the Madison Museum of Contemporary A rt from August 23 to November 9\, 2014. \;Jason S. Yi: A Fragile Pe rmanence \;draws on phenomenology\, contemporary installation\, an d the art historical tradition of landscape painting. From the spiritual si gnificance of East Asian mountain peaks to the rugged sublimity of the Amer ican West\, Yi taps into cultural mythologies of landscape as a point of de parture to address visual perception\, physical experience\, and cognitive uncertainty.

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Jason S. Yi is known for his remarkable ability to tra nsform utilitarian materials into awe-inspiring installations that resemble mountains and other tectonic landforms. He has exhibited nationally and in ternationally in places such as New York\, Philadelphia\, Washington DC\, C hicago\, Los Angeles\, Japan\, China\, South Korea\, Vietnam\, Italy\, and Austria. \;MMoCA has long been an enthusiastic supporter of Yi&rsquo\;s artistic practice: his work has appeared in numerous \;WisconsinTr iennialexhibitions\, and his iconic sculpture made from PVC tubing and connectors\, \;Legend of the White Snake\, was installed for two years on the museum&rsquo\;s rooftop sculpture garden.

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As a maj or component of the exhibition\, Yi is building a massive three-dimensional structure spanning the length the museum&rsquo\;s State Street Gallery. Fr om a distance it will look like a mountainous\, snow-covered landform emerg ing from the floor. As visitors approach the imposing sculpture\, its humbl e materials and seemingly unstable construction will become increasingly ap parent. With an internal network of wooden slats haphazardly nailed togethe r and vertical strips of white Duct Tape overlaying the surface\, this rega l monolith\, white and pristine from afar\, gradually morphs into an odd ju mble of everyday materials. The perceived fragility of the work&rsquo\;s ph ysical structure further undermines the symbolic gravitas of its impressive monumentality\, thereby complicating the symbolic purity\, endurance\, and power of the natural world. In purposely subverting our assumptions\, Yi s urprises and bewilders\; his work exposes the experiential effect of expect ation on how we subsequently interpret the world.

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The exhibition al so includes a series of extensive line &ldquo\;drawings&rdquo\; made with h ighly reflective\, metallic tape. Angled and geometric\, the tape wends a j agged path across the surrounding walls and windows\, even extending onto t he gallery floor to interrupt the path of visitors. The tape&rsquo\;s mirro r-like surface offers viewers a distorted image of their own reflection\, t hereby prompting a heightened awareness of one&rsquo\;s physical presence w ithin the space. Refracting both ambient and artificial light\, the shimmer ing drawing\, though static\, creates an environment that appears to be in a constant state of flux. Yi even pushes the scope of his project beyond th e gallery\, moving onto the lobby&rsquo\;s prominent front wall. Again\, he presents a series of artworks that hint at natural geologies while seeming to defy earth&rsquo\;s material constraints. A large silver sculpture\, im possibly heavy in appearance\, rests easily on top of a thin\, wall-mounted shelf. The object&rsquo\;s apparent weightlessness is in direct conflict w ith its substantial heft.

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From the rigorously erected yet rickety w ooden structure\, to the immobile but ever-evolving drawing\, and to the an ti-gravitational mass of the lobby sculpture\, the physical contradictions embodied by each of the altered materials elicit a momentary disconnect bet ween perception and cognition. Mistaking appearance for reality\, our confi dence in the world around us becomes destabilized.

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During the entir e three-week installation period\, from August 4 through August 21\, the ar tist&rsquo\;s relationship with museum passersby will serve as an integral part of the exhibition. The gallery&rsquo\;s huge windows onto State Street render the space literally transparent\, prompting Yi to engage with the p sychology of curiosity and audience expectation. Although the windows natur ally reveal the project&rsquo\;s evolution\, the artist will erect a transl ucent veil to surround his sculptural centerpiece. By presenting the galler y as a stage to be observed from the street but obstructing the view\, he h eightens anticipation while thwarting gratification. Rather than a satisfyi ng spectacle to behold\, Yi&rsquo\;s &ldquo\;non-performance&rdquo\; teases his audience\, making them aware of their outsider status. Further playing with this push and pull between concealment and exposure\, anticipation an d disappointment\, and the informed versus the uninitiated\, videographer A aron Granat will create a series of short videos that offer an enticing gli mpse into installation process. Released in periodic succession\, the video s will be screened on the lobby&rsquo\;s flat screen monitor and uploaded o nto the museum&rsquo\;s website.

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Jason S. Yi: A Fragile Permanence demonstrates the artist&rsquo\;s remarkable ability to transform materials and their surrounding architecture into an enveloping perceptual experience . On a deeper level\, however\, the exhibition interrogates the ambiguous d omain of cultural identity. Yi and his family immigrated to the United Stat es from South Korea when he was eleven years old. Growing up in a culturall y Asian household on American soil made Yi acutely aware of the complexitie s surrounding place and identity. The simultaneous push toward American acc ulturation and nostalgic pull of his Korean heritage culminates in an unres olved tension\, placing Yi in space of cultural displacement or in-betweene ss.

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A sense of uncertainty pervades his work: fusing the synthetic with the organic\, he defamilarizes both the common materials he uses and t he recognizable imagery to which his installations allude. Yi&rsquo\;s cons tructed landscapes are not just conceptual plays on the visible world. As d isorienting spaces full of visual contradictions\, they convey the shifting inner landscape of the artist's hybrid identity.  \;

DTEND:20141109 DTSTAMP:20140801T140314 DTSTART:20140823 GEO:43.0746771;-89.388957 LOCATION:Madison Museum of Contemporary Art\,227 State Street \nMadison\, W I 53703 SEQUENCE:0 SUMMARY:A Fragile Permanence\, Jason S. Yi UID:348857 END:VEVENT BEGIN:VEVENT DTEND:20140822T210000 DTSTAMP:20140801T140314 DTSTART:20140822T180000 GEO:43.0746771;-89.388957 LOCATION:Madison Museum of Contemporary Art\,227 State Street \nMadison\, W I 53703 SEQUENCE:0 SUMMARY:A Fragile Permanence\, Jason S. Yi UID:348858 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Beginning August 5\, the public will be able to experience t he behind-the-scenes process of installing MMoCA's upcoming State Street Ga llery exhibition\, Jason S. Yi: A Fragile Permanence. Yi is known internationally for transforming utilitarian materials into large-scale scu lptures suggestive of mountains and other natural phenomena.

F or his site-specific installation at MMoCA\, Yi will be creating a massive work spanning the entire gallery. An embodiement of perceptual duality\, th e sculpture will resemble a majestic mountain range while simultaneously ap pearing both fragile and precarious. From August 5 through August 21\, muse um visitors will have the unique opportunity to watch the construction of t his piece and ask Yi questions about the exhibition\, his artistic process\ , and his work. \;

DTEND:20140821 DTSTAMP:20140801T140314 DTSTART:20140805 GEO:43.0746771;-89.388957 LOCATION:Madison Museum of Contemporary Art\,227 State Street \nMadison\, W I 53703 SEQUENCE:0 SUMMARY:Open Installation\, Jason S. Yi UID:348856 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Richard Koh Fine Art (RKFA) Kuala Lumpur is delighted to pre sent Wong Perng Fey&rsquo\;s \;Equilibrium\, a selection of th e artist&rsquo\;s most recent \;paintings. The exhibition will be held at \;Richard Koh Fine Art Kuala Lumpur\, Malaysia and ART SEASONS Galle ry\, Beijing\, China (16 - 31 August\, 2014). \;

Moving aw ay from evident figuration\, Perng Fey&rsquo\;s new abstract works are info rmed by his experience of living in Beijing. \;The ancient metropolis&r squo\;s urban landscape and inner-city exterior structures such as rough wa lls\, corroded cement constructions and graffiti marks that are created slo wly over time by natural forces and human intervention are some of the main inspirations.

Referring to the definition of &lsquo\;equilibr ium&rsquo\; as a state in which opposing forces or influences are in balanc e over time\, the artist creates works that explore the themes \;of&nbs p\;surfaces and the passage of time \;- like \;paint peeling off fr om the wall\, the accumulation of painterly processes \;and the idea of permanence. \;

These tactile \;paintings \;are cr eated through the acts of image erasure and layering and \;refer \; to the \;process of palimpsest. The \;accumulated \;surfaces an d skins of paint \;as well as their gradual subtraction allude to the h istorical development of cities and culture. Composed of reflective enamel and oil paint on linen\, these gestural works\, apart from being richly col oured reflect the colours and light of their surroundings thus their formal appearance are slightly altered when placed in different environments.

The exhibition is curated by Ronald Kiwitt and is accompanied wit h a fully illustrated publication. \;
 \; \;

DTEND:20140827 DTSTAMP:20140801T140314 DTSTART:20140812 GEO:3.1341155;101.6705119 LOCATION:Richard Koh Fine Art - KUALA LUMPUR\,Lot No. 2F-3\, Level 2\, Bang sar Village II\, Jalan Telawi 1\, Bangsar Baru \nKuala Lumpur\, 59100 SEQUENCE:0 SUMMARY:Equilibirum \, Wong Perng Fey UID:348854 END:VEVENT BEGIN:VEVENT DTEND:20140812T203000 DTSTAMP:20140801T140314 DTSTART:20140812T183000 GEO:3.1341155;101.6705119 LOCATION:Richard Koh Fine Art - KUALA LUMPUR\,Lot No. 2F-3\, Level 2\, Bang sar Village II\, Jalan Telawi 1\, Bangsar Baru \nKuala Lumpur\, 59100 SEQUENCE:0 SUMMARY:Equilibirum \, Wong Perng Fey UID:348855 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Paul Johnstone Gallery in conjunction with Papunya Tula Arti sts invite you to an exhibition of twenty-two works sourced solely from the women artists of Kiwirrkura. This tiny community\, located in the magnific ent sand-hill country of the Gibson Desert in Western Australia\, has becom e synonymous with some of the most innovative and mesmerising female Indige nous artists in Australia.

DTEND:20140830 DTSTAMP:20140801T140314 DTSTART:20140808 GEO:-12.4567363;130.8361945 LOCATION:Paul Johnstone Gallery\,2/2 Harriet Place \nDarwin \, NT 0800 SEQUENCE:0 SUMMARY:KIWIRRKURA WOMEN\, Florrie Watson Napangati\, Mantua Nangala\, Jose phine Nangala\, Yukultji Napangati\, Katarra Butler Napaltjarri\, Yinarupa Nangala\, Lorna Brown Napanangka\, Kim Napurrula UID:348853 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140825 DTSTAMP:20140801T140314 DTSTART:20140805 GEO:-37.8070781;144.9847519 LOCATION:AUSTRALIAN GALLERIES 35 Derby Street\,35 Derby Street \nCollingwoo d \, VIC 3066 SEQUENCE:0 SUMMARY:Solo Exhibition\, David Waters UID:348851 END:VEVENT BEGIN:VEVENT DTEND:20140805T200000 DTSTAMP:20140801T140314 DTSTART:20140805T180000 GEO:-37.8070781;144.9847519 LOCATION:AUSTRALIAN GALLERIES 35 Derby Street\,35 Derby Street \nCollingwoo d \, VIC 3066 SEQUENCE:0 SUMMARY:Solo Exhibition\, David Waters UID:348852 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Through acute observations of the world around him
and with considered introspection\, Geoffrey Ricardo
creates detailed in taglio prints which comment on the
human condition as he sees it. Dep icting dystopian
communities populated by darkly surreal characters\,
he employs wry humour and astute satire to engage
the viewer i n a dialogue of broad social\, political and
environmental issues aff ecting man today.
With Ricardo&rsquo\;s idiosyncratic style Ad absurdu m pushes
the follies of human behaviour to the point of absurdity. Shadowy landscapes set the stage for inferred narratives.
Like th e dark works of Francisco Goya or Hieronymus
Bosch&rsquo\;s descent i nto hell\, Ricardo&rsquo\;s figures are trapped
in barren landscapes of their own making\, consumed by
greed in troubling visions of Diony sian madness.
Ricardo is a master of tonality\, utilising a scraped &l squo\;black&rsquo\;
maniere noire technique to create expressive imag es\,
executed with precision and subtlety. The artist works
fro m dark to light\, beginning by roughening a copper
plate to create a rich dark background then picking out
the image with a burnishing too l. The dramatic contrast
and moody lighting achieved with this proces s serves as
the perfect backdrop for Ricardo&rsquo\;s dramatic portra yal
of humanity.

DTEND:20140825 DTSTAMP:20140801T140314 DTSTART:20140805 GEO:-37.8070781;144.9847519 LOCATION:AUSTRALIAN GALLERIES 35 Derby Street\,35 Derby Street \nCollingwoo d \, VIC 3066 SEQUENCE:0 SUMMARY: Ad Absurdum \, Geoffrey Ricardo UID:348850 END:VEVENT BEGIN:VEVENT DESCRIPTION:

We invited \;Leslie \;to do an exhibition in our Manila spaces and he presented us with this international group exhibition of artists he has worked with\, shared residencies\, or d raws inspiration from. For many of the international artists\, this is thei r first time to show in Manila. \;

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Language\, simply defined as a complex system of communication\, is endlessly revolut ionizing itself. It is a unique tool that has a life of its own because it evolves with time and space. Regardless of the locus of which a &ldquo\;sys tem&rdquo\; of communication is devised\, the adaptability and transmutatio n of a language as a form of expression is constantly being challenged. Lan guage is innate to humans\; it can be acquired naturally according to its a ccessibility in an environment\, thus\, stressing its social function and f lexibility. And just like the development of any tool in human history\, la nguage as a form of communication takes its shape through its function. It offers no limitations\, no singular channel or medium\; it can be visual\, auditory\, oral\, or a combination of these.

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Art can take form in m ultiple languages. The exhibition showcases the diverse and multilayered me diums of expression harnessed by the participating artists.

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Mul tiple Languages \;imparts the conditions that make this coming tog ether possible. The artists operate by difference\, each having a unique ba ckground. Their convergence is facilitated by the possibilities of translat ion\, access to information and technology\, increased mobility\, and alter native platforms\, thus presenting opportunities for temporal networks or l asting bonds. They are unified by their persistent explorations of form and active pursuit of meaning in a globalized world. They are brought together by their commitment to art.

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DTEND:20140913 DTSTAMP:20140801T140314 DTSTART:20140813 GEO:14.5368215;121.0206194 LOCATION:Silverlens Manila\,2320 Pasong Tamo Extension \nMakati City\, SEQUENCE:0 SUMMARY:Multiple Languages \, Angki Purbandono\, Ahmad Fuad Osman\, Gwon Os ang\, Lee Dongwook\, An Se Eun\, Jung Jaeho\, Lee Hojin\, Lorenza Diaz\, Je t Pascua\, Santiago Bose\, Mariano Ching\, Leslie de Chavez\, Alfredo Esqui llo\, Mark Justiniani\, Joy Mallari\, Manny Montelibano\, Mike Muñoz\, Wire Tuazon\, Christopher Zamora\, Eric Zamuco UID:348848 END:VEVENT BEGIN:VEVENT DTEND:20140813T210000 DTSTAMP:20140801T140314 DTSTART:20140813T180000 GEO:14.5368215;121.0206194 LOCATION:Silverlens Manila\,2320 Pasong Tamo Extension \nMakati City\, SEQUENCE:0 SUMMARY:Multiple Languages \, Santiago Bose\, Mariano Ching\, Leslie de Cha vez\, Lorenza Diaz\, Lee Dongwook\, Alfredo Esquillo\, An Se Eun\, Lee Hoji n\, Jung Jaeho\, Mark Justiniani\, Joy Mallari\, Manny Montelibano\, Mike M uñoz\, Gwon Osang\, Ahmad Fuad Osman\, Jet Pascua\, Angki Purbandono\, Wire Tuazon\, Christopher Zamora\, Eric Zamuco UID:348849 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20141101 DTSTAMP:20140801T140314 DTSTART:20141009 GEO:29.4712436;-98.4910576 LOCATION:Ruiz-Healy Art\,201 East Olmos Drive \nSan Antonio\, Texas 78212 SEQUENCE:0 SUMMARY:Either or\, Or both\, Nate Cassie & Ethel Shipton UID:348807 END:VEVENT BEGIN:VEVENT DESCRIPTION:


Ruiz-Healy Art is pleased to announce a special solo e xhibition of works by Chuck
Ramirez opening September 11\, 2014 at ren owned contemporary photography gallery
Blanca Berlí\;n Galer&iac ute\;a in Spain during Apertura  \;2014. Ruiz-Healy Art is the exclusiv e representative of the estate \;of Chuck Ramirez (1962-2010)\, one of San Antonio&rsquo\;s most beloved and critically
acclaimed artists.

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Ramirez mixed an Arte Povera-like appreciation for the humble aspects
of life with a graphic designer&rsquo\;s elan\, bringing a joyous aff irmation to acute observations on
cultural identity\, consumerism\, an d the limits of mortality. Working in series of
photographs\, Ramirez depicted the detritus of life&mdash\;filled garbage bags\, castoff brooms\,
empty candy trays\, and broken piñ\;atas&mdash\;in stark portra its that mime the polished
techniques of advertising layouts and packa ge design.

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His tableaux photographs\, such as Seven Days: Breakfast Tacos\, acquired from Ruiz-
Healy Art by the Smithsonian American Art Museum for their permanent collection\, explore
more saturated compos itions that brim with an effulgence of texture and color. Throughout
h is work\, which also includes installation and text\, Ramirez elevated the oft-ignored with
stunning attention through tactics that have aptly be en described by the late-Mexican
curator\, Victor Zamudio-Taylor\, as &ldquo\;minimally baroque.&rdquo\;

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Located on Madrid&rsquo\;s historic Plaza Guardias de Corps\, Blanca Berlí\;n presents an
international selection of established artists from Spain\, France\, Israel \, South Korea\, the
USA\, and Latin America. The upcoming exhibition\ , which will include pieces from the
Brooms\, Seven Days\, Lost and Fo und\, Purse Portrait\, Coconut\, Whatacup\, and Candy
Tray series of R amirez&rsquo\;s large-format photographs\, is a significant stride in furth ering the
Ruiz-Healy Art program of collaborative projects.

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This exhibition builds on the program established with Chuck Ramirez: M inimally Baroque
curated by Victor Zamudio-Taylor and exhibited at San Antonio&rsquo\;s Blue Star Contemporary
Art Museum\, 2011 and Dina Mi trani Gallery\, Miami\, Florida\, 2012. Other collaborative
projects i n the Ruiz-Healy Art 2014 season include Straight from Berlin: Paintings an d
Works on Paper by Uwe Kowski and Jö\;rg Herold\, in collaboratio n with Galerie EIGEN +
ART\, Leipzig/Berlin was on view at Ruiz-Healy Art in San Antonio from March 27 through
May 3\, 2014 and the current exhibition Nicolá\;s Leiva: Infinite Cycle Under Fire\, presented
in tandem with Nicolá\;s Leiva: Infinite Cycle at Southwest School of Art\, May 9 through July
6\, 2014.

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Ramirez is memoria lized through the Casa Chuck Arts Residency\, a program of Sala Diaz
m anaged by Anjali Gupta. The residency is held at Ramirez&rsquo\;s past livi ng quarters in the
iconic\, wooden bungalow in San Antonio&rsquo\;s So uthtown neighborhood that also houses the
legendary Sala Diaz series o f contemporary art exhibitions.

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Ruiz-Healy Art continues to s upport new scholarly studies on Ramirez. During her 2013
internship at Ruiz-Healy Art\, The University of Texas at San Antonio student\, Giselle Diaz
created digital copies of Ramirez&rsquo\;s notebooks\, review cli ppings\, and historical records that
add to the ongoing work of Ramire z&rsquo\;s catalogue raisonné\;. Ruiz-Healy Art has also facilitated access to the Ramirez archives to Illa Gaunt\, who iscompleting her Master& rsquo\;s thesis on Chuck Ramirez&rsquo\;s work at the University of Texas a t Houston.

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Seven Days: Breakfast Tacos appears in the travelling ex hibition Our America: The Latino
Presence in American Art\, organized by the Smithsonian American Art Museum in
Washington\, D.C.\, where it was on view October 25\, 2013 to March 2\, 2014. The
exhibition will travel to five museums over the next two years\, and appears currently atThe Patricia and Phillip Frost Art Museum at Florida International Univ ersity in Miami\,
Florida\, April 2 through June 22\, 2014. Ramirez&rs quo\;s piece and profile appear in the
accompanying catalogue with ess ays by independent scholar Tomá\;s Ybarra-Frausto and
E. Carmen Ramos\, curator of Latino art at the Smithsonian American Art Museum.
Works by Ramirez are held by Smithsonian American Art Museum\, Washington\, D.C.\;
Museum of Fine Arts\, Houston\; The European Museum of Photogr aphy\, Paris\; Diane and
Bruce Halle Collection\, Phoenix\; San Antoni o Museum of Art\; McNay Art Museum\, San
Antonio\; The Linda Pace Foun dation\, San Antonio\, and other public and private
permanent collecti ons and have been exhibited at Bronx Museum of the Arts\, NY\; Museo
d e Arte Latinoamericano de Buenos Aires\; ARCO 02\, Madrid\; Galerie Khadrbe rlin\, Berlin\;
Dallas Visual Art Center\; Lawndale Art Center\, Houst on\; Museo de las Americas\, Denver\,
and many more museums and galler ies internationally.

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To request more information and high-res olution images of the exhibition please contact
the gallery at 210-804 -2219 or email us at info@ruizhealyart.com.
Blanca Berlí\;n Gale rí\;a is located at Calle Limó\;n\, 28 &ndash\; Plaza Guardias de Corps\, 28015
Madrid\, Spain.

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Ruiz Healy Art was foun ded in 2004\, and is located in the historic Olmos Park District of
Sa n Antonio\; Ruiz-Healy Art specializes in contemporary and modern art with an
emphasis on Latin American artists and artists living in\, or with a connection to\, Texas.

DTEND:20141115 DTSTAMP:20140801T140314 DTSTART:20140911 GEO:40.4304536;-3.7105118 LOCATION:Blanca Berlín Galería\,C/ Limón\, 28 – Plaza Guardias de Corps \nM adrid\, 28015 SEQUENCE:0 SUMMARY:"Oscuro Corazón" (Dark Heart): Photography of Chuck Ramirez at Blan ca Berlín Galería Madrid\, Spain in collaboration with Ruiz-Healy Art\, San Antonio\, Texas\, Chuck Ramirez UID:348804 END:VEVENT BEGIN:VEVENT DESCRIPTION:

 \;

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Straight from Spain: Photography by Isabel Muñ\;oz and Juan Manuel Castro Prieto

\n< p>Presented in collaboration with Blanca Berlí\;n Galerí\;a \, Madrid

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In conjunction with FOTOSEPTIEMBRE USA International Photography Festival

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The exhibition will be on display Sep tember 4 through October 4\, 2014

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 \;

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Straight from Spain: Photography by Isabel Muñ\;oz and Juan Manuel Ca stro Prieto

\n

RUIZ-HEALY ART 201-A East Olmos Drive\, San An tonio Texas 78212

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Presented in collaboration with BLANCA BERLÍ\;N GALERÍ\;A\, Madrid\n

The exhibition will be on view through October 4\, 2014

\n

&nbs p\;

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Ruiz-Healy Art\, in collaboration with BLANCA BERLÍ\;N < /strong>GALERÍ\;A\, Madrid\, is pleased

\n

to present Straight from Spain: Photograp hy by Isabel Muñ\;oz and Juan Manuel Castro

\n

Prieto < /em>and in conjunction with FOTOSEPTIEMBRE USA International Photography

\n

Festival.

\n

 \;

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Isabel Muñ\;oz is entranced b y dance\, and her photographs of the body clothed\, nude\,

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and cost umed\, reverberate with motion. A master of the platinum print\, which she uses

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to optimal effect to draw rich tonalities of shadow and light\ , Muñ\;oz extends her

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depictions of wrestlers\, monks\, Flame nco dancers\, and bullfighters towards a

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meditation on being in the world. Her grand theme is\, quite literally\, embodiment. Known

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fo r his cerebral compositions\, Juan Manuel Castro Prieto has chronicled his travels

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through Peru\, Ethiopia\, and India with an acute attention to both cultural detail and

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landscape. Working in black and white\ , and recently\, color inkjet prints\, his oddly

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disquieting reveri es occupy a bridge-space\, hovering between documentation and

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intro spection. Drawing upon tradition to express highly personal and idiosyncrat ic

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visions\, both artists are acknowledged exemplars of Spanish pho tography today.

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 \;

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Born in 1951 in Barcelona\, and liv ing in Madrid since 1970\, Muñ\;oz studied at

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Fotocentro in M adrid\, the School of Visual Studies\, Rochester\, N.Y.\, and the

\n

I nternational Center of Photography in New York City\, where she studied lar ge format

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and traditional printing techniques. Her appreciation for dance derives from her own

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personal practice. Whether she photogra phs the body in motion or at rest\, as young or

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old\, Muñ\;oz celebrates corporal vitality. Often\, only hands are seen\, a head is out of

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frame\, or twirling fabric obscures the shot. This is not the bo dy estranged\, reduced to

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object\, but something else&mdash\;fleeti ng glances of movement observed by eyes in a body

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that also knows m otion intimately: the dancer seeing the dance. Working primarily in

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black and white\, and utilizing dramatic chiaroscuro\, Muñ\;oz&rsquo \;s tableaux are carefully

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constructed scenes that hint at story\, while maintaining a decorum that celebrates

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architecture\, especial ly interiors. This is a trait that she shares with Prieto\, though unlike\n

the works of her fellow countryman\, her compositions serve to frame a sole or coupled

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subject\, always central in importance.

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Born in 1958 in Madrid\, where he currently lives\, Juan Ma nuel Castro Prieto is a trained

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economist whose mathematical skills underlie the making of visionary landscapes\,

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carefully wrought ar chitectural studies\, and unsettling reportage of vaguely discerned\,

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yet politically charged social terrains. Always\, it is place that fasci nates. Coming to

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photography as a self-taught enthusiast in 1970\, albeit with a background in science\,

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Prieto has developed travel p hotography into fantastical formal studies that escape the

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limits o f exoticism. Influenced by Gabriel Cualladó\; and Paco Gó\;mez\ , whom he met at

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the Real Sociedad Fotográ\;fica de Madrid\, Prieto has furthered their strategy of using

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neorealism to position photography as an expressive art.

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 \;

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Prieto has exhib ited widely\, including at the Au Palais de Tokyo\, Paris\, France\; Instit uto

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Gaudi\, Lima\, Peru\; Orsay Museum\, Paris\, France. Among his many publications are

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Perú\;\, Viaje al Sol\, 2001\; Etiopí\;a\, 2009\, both published in Madrid by Lunwerg\, an d

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Bodas de sangre\, Madrid\, 2011\, published by La F&aacu te\;brica.

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 \;

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Photographs by Muñ\;oz are in many international collections\, including Museo Nacional

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Centro de Art e Reina Sofí\;a\, Madrid\, Spain\; Foto Colectania\, Barcelona\, Spai n\; Maison

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Europé\;enne de la Photographie\, Parí\;s\, France\; New Museum of Contemporary Art\,

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New York\, USA\; and Cont emporary Art Museum Houston\, USA.

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Straight from Spain: Photogr aphy by Isabel Muñ\;oz and Juan Manuel Castro Prieto will

\n< p>be on view through October 4\, 2014.

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 \;

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About Ruiz-Healy Art

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Founded in 2004\, and lo cated in the historic Olmos Park District of San Antonio\, Ruiz-

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He aly Art specializes in contemporary and modern art with an emphasis on Lati n

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American artists and artists living in\, or with a connection to\ , Texas. To request highresolution

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images and more information abou t the exhibition\, please contact the gallery

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at 210-804-2219.

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About FOTOSEPTIEMBRE USA

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FOTOSEPTIEMBRE USA International Photography Festival\, is a un ique and eclectic

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forum for the exhibition and celebration of photo graphy and photography-based art

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forms. The FOTOSEPTIEMBRE USA Inte rnational Photography Festival is a yearly

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event that has fostered a tremendous growth in the photographic arts in South Texas.

DTEND:20141004 DTSTAMP:20140801T140314 DTSTART:20140904 GEO:29.4712436;-98.4910576 LOCATION:Ruiz-Healy Art\,201 East Olmos Drive \nSan Antonio\, Texas 78212 SEQUENCE:0 SUMMARY:Straight from Spain: Photography by Isabel Muñoz and Juan Manuel Ca stro Prieto Presented in collaboration with BLANCA BERLÍN GALERÍA\, Madrid \, Isabel Muñoz and Juan Manuel Castro Prieto UID:348801 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140803 DTSTAMP:20140801T140314 DTSTART:20140712 GEO:36.5277339;-87.3588882 LOCATION:Trespass Gallery\,139A Franklin Street \nClarksville\, TN 37040 SEQUENCE:0 SUMMARY:Solo Exhibition\, Michael Aaron Williams UID:348731 END:VEVENT BEGIN:VEVENT DESCRIPTION:

NoguerasBlanchard da continuació\;n al ciclo expositiv o &lsquo\;The Story Behind&rsquo\; en su espacio de Barcelona\, con la mues tra Reclining men with sculpture de la serie Stamps Sketches and Short Stor ies de Mounira Al Solh (1978\, Beirut).

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Gran parte del arte contemp orá\;neo se recrea en el relato sobre sí\; mismo\, historias qu e median entre la obra y el espectador ya sea para transmitir la intenci&oa cute\;n del artista\, explicar el proceso de trabajo que subyace en las im& aacute\;genes o hacerse eco de las interpretaciones má\;s atinadas. N arrar\, contar\, explicar todo el universo interpretativo que rodea aquello que presenciamos se ha convertido en un elemento má\;s de las obras. El ciclo &lsquo\;The Story Behind&rsquo\; presenta un grupo de obras donde historias\, ya sean ficticias o reales\, dan cuerpo a ese mundo oral y par alelo que acompañ\;a a las imá\;genes.

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En el proceso de creació\;n y diseñ\;o de sellos postales intervienen una serie de decisiones polí\;ticas. Mounira Al Solh se centra en algunas hist orias que podrí\;an haber sucedido para proponer sellos conmemorativo s de dichos eventos. En un hipoté\;tico e improbable acuerdo entre L& iacute\;bano\, Siria\, Irá\;n y el Reino Unido\, estos paí\;ses deciden crear un sello conmemorativo conjunto- Al Solh inventa aquí\ ; cuatro situaciones que podrí\;an ser suficientemente importantes pa ra los cuatro paí\;ses como para ser celebradas con un sello.

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Hipó\;tesis\, ficciones y un amplio sentido del humor caracterizan l a producció\;n artí\;stica de Mounira Al Solh. Jugando con el e fecto de lo inesperado\, se centra en historias que pueden parecer ligeras pero que sirven como excusa para empezar una conversació\;n. An&eacut e\;cdotas\, situaciones extrañ\;as e incluso personales se desarrolla n en cuestiones micro-sociales y micro-esté\;ticas\, o como en el cas o del proyecto que nos ocupa\, micro-polí\;ticas. Mezclando personaje s como Mahmoud Ahmadinejad\, Francis Bacon\, Rafic Hariri o Gerrit Rietveld Al Solh construye encuentros memorables\, que pueden parecer inocentes e i nocuos pero que en realidad son cá\;usticos.

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Mounira Al Solh vive y trabaja entre Beirut y Amsterdam.

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Mounira Al Solh ha estudia do pintura en la Universidad Libanesa de Beirut y Bellas Artes en la Academ ia Gerrit Rietveld en Ansterdam donde ha sido residente en la Reijksakademi e. Ha expuesto individualmente en el CCA de Glasgow\, el Stedelijk Museum B ureau de Amsterdam\, la galerí\;a Sfir-Semler en Beirut y en el Kunst halle Lissabon en Lisboa. Entre sus exposiciones colectivas cabe destacar N ew Museum\, NY\; Marrackech Biennale 5\, Marrakech (comisario: Hicham Khald i)\; 'Artificial Amsterdam\, de Appel\, Amsterdam (comisarios: Gerardo Mosq uera y Rieke Vos)\; Manifesta 8\, Murcia (comisario: Cuauhté\;moc Med ina)\, 11th Istambul Biennial (Comisario: WHW Collective).

DTEND:20140731 DTSTAMP:20140801T140314 DTSTART:20140709 GEO:41.3830356;2.1705993 LOCATION:Nogueras Blanchard Barcelona\,xucla\, 7 \nBarcelona\, 08001 SEQUENCE:0 SUMMARY:The Story Behind\, Mounira Al Solh UID:348730 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140920 DTSTAMP:20140801T140314 DTSTART:20140808 GEO:55.681922;12.588053 LOCATION:Martin Asbæk Gallery\,Bredgade 23 \n Copenhagen\, DK-1260 SEQUENCE:0 SUMMARY:Summer in the City UID:348728 END:VEVENT BEGIN:VEVENT DTEND:20140808T190000 DTSTAMP:20140801T140314 DTSTART:20140808T170000 GEO:55.681922;12.588053 LOCATION:Martin Asbæk Gallery\,Bredgade 23 \n Copenhagen\, DK-1260 SEQUENCE:0 SUMMARY:Summer in the City UID:348729 END:VEVENT END:VCALENDAR