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Karel Appel (1921&ndash\;2006) is perhaps the most renowned Dutch artist of the latter half of the 20th c entury and one of founding members of the avant-garde COBRA group. Marking the 10th anniversary of the artist&rsquo\;s death\, this survey of 22 paint ings and sculptures provides a fresh look at an oeuvre that goes beyond the 1950s\, spanning more than 60 years. The exhibition revisits Appel&rsquo\; s early interest in children&rsquo\;s art\, his stylistic experiments\, and his highly personal&mdash\;and sometimes almost abstract&mdash\;interpreta tion of traditional subjects like the nude\, the portrait\, and the urban o r rural landscape. \;A Gesture of Color \;is a part of an international reappraisal of Appel&rsquo\;s work\, which includes exhibitio ns in The Hague\, Paris\, and Munich.

DTEND:20160918 DTSTAMP:20160626T221609 DTSTART:20160618 GEO:38.9113394;-77.046719 LOCATION:The Phillips Collection\,1600 21st St.\, NW \nWashington \, DC 20 009 SEQUENCE:0 SUMMARY:A Gesture of Color: Paintings and Sculptures\, 1947-2004\, Karel Ap pel UID:422165 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Collections of art\, artifacts\, and natural material reveal unexpe cted relationships and affinities.

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#TheArtistsMuseum< /p>\n

The desire to collect objects and ima ges of personal significance\, and to make connections between them\, is a nearly universal human experience. For centuries\, artists have collected a rtworks\, along with diverse cultural artifacts and natural materials\, as vital sources of inspiration and to create highly individualized models of their world. \;The Artist&rsquo\;s Museum \;begins with th is impulse to collect and connect\, bringing together large-scale installat ions\, photography\, film\, and videos that employ artworks from the past a s material in the present\, animating existing artworks\, images\, and hist ories to reveal art&rsquo\;s unexpected relationships and affinities. Each of the artists in \;The Artist&rsquo\;s Museumreimagines the l ives of artworks and charts recurring forms and themes across cultures and history. They tweak the language of museum display and organization to enga ge a variety of disciplines and subjects\, from dance\, music\, and design to gender\, sexuality\, and technology.

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Works in the exhibition include \;The Earth is a Magnet\, 2 016\, a major new commission by Anna Craycroft that brings the photography\ , biography\, and inventions of Berenice Abbott\, famed for both her street photography and rigorously scientific images made at MIT\, together with v ideo\, sculpture\, and photography by a peer group of younger artists. Rosa Barba&rsquo\;s lush 35mm film \;The Hidden Conference: About the D iscontinuous History of Things We See and Don&rsquo\;t See\, 2010\, im agines a narrative in which paintings and sculptures in storage at Berlin&r squo\;s Neue Nationalgalerie serve as protagonists. Christian Marclay&rsquo \;s sixteen-monitor video installation \;Shake Rattle and Roll (flu xmix)\, 2005\, features the artist literally playing the Walker Art Ce nter&rsquo\;s Fluxus collection. Carol Bove&rsquo\;s sculptural meditation on the latent energies of display\, \;La Traversé\;e Difficil e\, 2008\, marshals René\; Magritte and Gerald Heard as inspirat ions for a mini-encyclopedic museum. Rachel Harrison&rsquo\;s photographic series \;Voyage of the Beagle\, 2007\, surveys human and anima l forms across sculptural manifestations ranging from taxidermy to mannequi ns\, signs\, and public art. Mark Leckey&rsquo\;s uncanny moving-image work  \;Cinema in the Round\, 2008\, develops unexpected connection s between artworks\, media technology\, and popular culture across time and space\, both real and virtual. Pierre Leguillon accompanies a collection o f artworks and photographs of dancers with a lightshow and soundtrack by Am y Winehouse in \;The Great Escape\, 2012.

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The Artist&rsquo\;s Museum \;locates these d iverse works within a cultural moment and artistic impulse bookended by the historical cabinet of curiosities and 20th century image libraries\, and o ur current era of the hyperlink and circulation of digital images. \;Ea ch artwork reconfigures established narratives\, asking each of us to find our place amongst newly imagined worlds.

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The Artist&rsquo\;s Museum \;features works by Rosa Barba\ , Carol Bove\, Anna Craycroft\, Rachel Harrison\, Louise Lawler\, Mark Leck ey\, Pierre Leguillon\, Goshka Macuga\, Christian Marclay\, Xaviera Simmons \, Rosemarie Trockel\, and Sara VanDerBeek.

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The Artist&rsquo\;s Museum \;is \;organized by Dan Byers\, Mannion Family Senior Curator\, \;with Jeffrey De Blois\, Cura torial Assistant. \;A fully illustrated catalogue features texts by Bye rs\, Claire Bishop\, Lynne Cooke\, and Ingrid Schaffner\, as well as a hist orical compendium of influential 20th-century artworks and exhibitions that provide important precedent to the works in the exhibition.  \; \;

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Major support is provi ded by The Andrew W. Mellon Foundation and \;The Andy Warhol Foundation for the Visual Arts.

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A dditional support is generously provided by Steve Corkin and Dan Maddalena\ , Tristin and Martin Mannion\, Ellen Poss\, Charlotte and Herbert S. Wagner III\, and Anonymous.

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DTEND:20170326 DTSTAMP:20160626T221609 DTSTART:20161116 GEO:42.3528233;-71.0430586 LOCATION:ICA (The Institute of Contemporary Art - Boston)\,100 Northern Ave nue \nBoston\, MA 02210 SEQUENCE:0 SUMMARY:The Artists Museum\, Rosa Barba\, Carol Bove\, Anna Craycroft\, Rac hel Harrison\, Louise Lawler\, Mark Leckey\, Pierre Leguillon\, Goshka Macu ga\, Christian Marclay\, Xaviera Simmons\, Rosemarie Trockel\, Sara VanDerB eek UID:422146 END:VEVENT BEGIN:VEVENT DTEND:20161116T170000 DTSTAMP:20160626T221609 DTSTART:20161116T100000 GEO:42.3528233;-71.0430586 LOCATION:ICA (The Institute of Contemporary Art - Boston)\,100 Northern Ave nue \nBoston\, MA 02210 SEQUENCE:0 SUMMARY:The Artists Museum\, Rosa Barba\, Carol Bove\, Anna Craycroft\, Rac hel Harrison\, Louise Lawler\, Mark Leckey\, Pierre Leguillon\, Goshka Macu ga\, Christian Marclay\, Xaviera Simmons\, Rosemarie Trockel\, Sara VanDerB eek UID:422147 END:VEVENT BEGIN:VEVENT DESCRIPTION:

First Light \;bri ngs together new acquisitions and permanent-collection \;favorites in a  \;series of interrelated and stand-alone exhibitions.

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#ICAFirstLight

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Coinciding with the ten-year anniversary of ICA&rsquo\;s move to its iconic waterfront building\, this exhibition will celebrate the museum&rsq uo\;s first decade of collecting. \;Drawn entirely from ICA&rsquo\;s co llection and featuring multiple thematic\, artist-specific\, and historical sections\, the exhibition will bring together both new acquisitions and fa vorites from the permanent collection. Conceived as a series of interrelate d and rotating stand-alone exhibitions\, this presentation will highlight m ajor singular works from the collection\, such as a newly acquired monument al cut-paper silhouette tableau \;by Kara Walker\, as well as the Barba ra Lee Collection of Art by Women\, groupings of work by artists held in de pth such as Louise Bourgeois and Nan Goldin\, and thematic and art-historic al groupings. A new multimedia web platform will be created to mark the occ asion.

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This exhibition is organized by ICA&rsquo\;s curatorial department under th e leadership of Eva Respini\, Barbara Lee Chief Curator\, \;with Jessic a Hong\, Curatorial Assistant.

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First Light: A Decade of Collecting \;at the ICA \;is sponsored by

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This project is supported in part by an award from the National Endowment for the Arts.

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Additional support is generously provided by Fiduciary Trust Comp any\, Chuck and Kate Brizius\, \;Katie and Paul Buttenwieser\, Karen an d Brian Conway\, \;the Robert E. Davoli and Eileen L. McDonagh Charitab le Foundation\, Jean-Franç\;ois and Nathalie Ducrest\, Cynthia and Jo hn Reed\, and Charles and Fran Rodgers.

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DTEND:20170116 DTSTAMP:20160626T221609 DTSTART:20160817 GEO:42.3528233;-71.0430586 LOCATION:ICA (The Institute of Contemporary Art - Boston)\,100 Northern Ave nue \nBoston\, MA 02210 SEQUENCE:0 SUMMARY:First Light: A Decade of Collecting at the ICA\, Kara Walker\, Loui se Bourgeois\, Nan Goldin\, Françoise Grossen\, Marlene Dumas\, Dara Birnba um\, Andy Warhol\, Cornelia Parker\, Paul Chan\, Mickalene Thomas\, Kai Alt hoff\, Cindy Sherman UID:422144 END:VEVENT BEGIN:VEVENT DTEND:20160817T170000 DTSTAMP:20160626T221609 DTSTART:20160817T100000 GEO:42.3528233;-71.0430586 LOCATION:ICA (The Institute of Contemporary Art - Boston)\,100 Northern Ave nue \nBoston\, MA 02210 SEQUENCE:0 SUMMARY:First Light: A Decade of Collecting at the ICA\, Kai Althoff\, Dara Birnbaum\, Louise Bourgeois\, Paul Chan\, Marlene Dumas\, Nan Goldin\, Fra nçoise Grossen\, Cornelia Parker\, Cindy Sherman\, Mickalene Thomas\, Kara Walker\, Andy Warhol UID:422145 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Best known for his large-scale sculptures and installations\, Ugo Rondinone (born 1964\, Brunnen\, Switze rland) works in a diverse range of media\, including drawing\, painting\, p hotography\, \;and video. Rondinone&rsquo\;s series \;Moonrise& mdash\;his first figurative sculptures&mdash\;are eight-foot-high bust s derived from masks. Modeled in clay before being \;cast in aluminum&n bsp\;and painted\, the sculptures show the enduring marks of the artist&rsq uo\;s hand. Rondinone has long been interested in the subject of time\, and he represents it here by the relationship \;between moon\, tide\, and calendar: each of the twelve sculptures in the series was made in homage to the moon and is \;named after a month of the calendar year. Two of the twelve are on view here. These \;monumental visages\, with playfully d istorted faces that smile \;and grimace\, convey a kind of uncanny roma nticism\, \;welcoming wonder and empathy in equal measure.

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Installed outside of the ICA\, \;MOONRISE . east. april \;and MOONRISE. east. may\, both from 2005\ , will welcome visitors to the ICA all summer long.

DTEND:20160911 DTSTAMP:20160626T221609 DTSTART:20160517 GEO:42.3528233;-71.0430586 LOCATION:ICA (The Institute of Contemporary Art - Boston)\,100 Northern Ave nue \nBoston\, MA 02210 SEQUENCE:0 SUMMARY:Moonrise Sculptures\, Ugo Rondinone UID:422141 END:VEVENT BEGIN:VEVENT DESCRIPTION:

&ldquo\;There is a definite po etry and magic to Mr. Farmer&rsquo\;s work.&rdquo\; &ndash\;New York&nb sp\;Times

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&ldquo\;Farmer&rsquo\; s dizzying display is more than a bit marvelous&hellip\;&rdquo\; \;&nda sh\;Boston \;Globe

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#GeoffreyFarmer

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Geoffrey Farmer (b. 1967\, Vancouver) is best known for his installations and large-scale\, sc ulptural photo collages. This immersive survey of the artist&rsquo\;s recen t major &ldquo\;paper works&rdquo\; presents room-sized installations compo sed of hundreds of small sculptures made of cutout photographs\, fabric\, a nd various supports. In these recent works\, processions of figures assembl ed from fragments of book and magazine photography and illustration manifes t the artist&rsquo\;s interest in the cross-pollination of historical and v ernacular imagery. Each spectacular composition begins to chart the histori cal contours of our image-saturated contemporary culture\, and suggest the recurring cultural themes and formal patterns. Farmer uses movement\, sound \, animation\, puppet characters\, and a panoply of highly choreographed bo dies and characters to investigate world history from the different angles of its photographic and sculptural accounts.

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Organized by Dan Byers\, Mannion Fami ly Senior Curator\, with Jessica Hong\, Curatorial Assistant.

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\n DTEND:20160717 DTSTAMP:20160626T221609 DTSTART:20160413 GEO:42.3528233;-71.0430586 LOCATION:ICA (The Institute of Contemporary Art - Boston)\,100 Northern Ave nue \nBoston\, MA 02210 SEQUENCE:0 SUMMARY:Solo Exhibition\, Geoffrey Farmer UID:422140 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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A &ldquo\;quiet giant&rdquo\; (Ne w York Times) of contemporary photography\, Liz Deschenes pushes the v ery limits of the \;medium.

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#LizDeschenes

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Deschenes  \;(b. 1966\, Boston)\, is known for her lushly beautiful and meditative wor k in photography and sculpture\, and \;since the early 1990s has produc ed a singular and influential body of work that probes the relationship bet ween the mechanics of seeing\, image-making processes\, and modes of displa y. The first mid-career survey dedicated to Deschenes&rsquo\;s work\, this exhibition will feature 20 years of her art\, including explorations of var ious photographic technologies\, rich and nuanced work with \;photogram s (a type of photographic image made without a camera)\, and sculptural ins tallations that \;reflect the movements and light within a given space and respond to a site&rsquo\;s unique features.

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Organized by Eva Respini\, Barbara Lee Chief Curator\, with Jessica Hong\, Curatorial Assistant.

S upport for \;Liz Deschenes \;is generously provided by&nbs p\;Edward Berman and Kathleen McDonough\, Robert and Jane Burke\, Fotene De moulas and Tom Coté\;\, Bridgitt and Bruce Evans\, James and Audrey F oster\, Ted Pappendick and Erica Gervais Pappendick\, David and Leslie Puth \, Mark and Marie Schwartz\, and the Residence Inn.

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\n DTEND:20161016 DTSTAMP:20160626T221609 DTSTART:20160629 GEO:42.3528233;-71.0430586 LOCATION:ICA (The Institute of Contemporary Art - Boston)\,100 Northern Ave nue \nBoston\, MA 02210 SEQUENCE:0 SUMMARY:Solo Survey Exhibition\, Liz Deschenes UID:422138 END:VEVENT BEGIN:VEVENT DTEND:20160629T170000 DTSTAMP:20160626T221609 DTSTART:20160629T100000 GEO:42.3528233;-71.0430586 LOCATION:ICA (The Institute of Contemporary Art - Boston)\,100 Northern Ave nue \nBoston\, MA 02210 SEQUENCE:0 SUMMARY:Solo Survey Exhibition\, Liz Deschenes UID:422139 END:VEVENT BEGIN:VEVENT DESCRIPTION:

»\;Ich mö\;chte d ie festen Grenzen auswischen\, die wir Menschen mit einer eigensinnigen Sic herheit um alles\, was in unseren Bereich kam\, gezogen haben.«\;
Hannah Hö\;ch\, 1929

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In the context of the 2016 Zurich Dada anniversary\, our g roup show un ites women artists from our program and selected guests to honor the female protagonists of the Dada movement. Their innovative approaches paved the w ay for the equality of women artists who\, until this day\, provide art wit h decisive impulses i n the range between \; gesture and geometry.

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Today\, women artists such as Brigitte Ko wanz or Judy Ledgerwood are a natural part of the international art scene a longside their male colleagues. However\, in 1916\, when Dada came to live in Zurich and gradually sp read all over the globe\, it was a novelty that women like Sophie Taeuber - Arp\, Sonia Delaunay\, Elsa von Freytag - Lorin ghoven and Hannah Hö\;ch became recognized members of the early avant - garde.

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Our exhibition intends to res pectfully salute women artists of \; that time. Furthermore\, the selec tion of \; five different positions already reveals the variety of arti stic expression that keeps on seeking new ways between gestural and geometr ic abstraction \; &ndash\; the «\;classical»\; poles of moder n art &ndash\; and still finds new and su rprising solutions. With the stro ng colors of Judy Ledgerwood and Harriet Korman\, the radiance of Brigitte Kowanz&rsquo\; coded works\, the masterfully nuanced drawings by Kyung - Li m Lee or the joining of gesture and geometry in Clare Goodwin&rsquo\;s pain tings\, our exhib ition is a truly festive homage to the female Dada pionee rs.

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Deborah Keller \, Hä\;usler C ontemporary

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»\;Ich m ö\;chte die festen Grenzen auswischen\, die wir Menschen mit einer eige nsinnigen Sicherheit um alles\, was in unseren Bereich kam\, gezogen haben. «\;
Hannah Hö\;ch\, 1929

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Mit einer Gruppenausstellung von Kü\;nstlerinnen aus u nserem Programm und ausgewä\;hlten Gä\;sten wü\;rdigen wir im Z uge des Dada-Jubilä\;ums den wichtigen Beitrag von Protagonistinnen jen er Kunstströ\;mung. Ihre innovativen Ansä\;tze haben den Weg geebne t fü\;r die Wahrnehmung und Gleichstellung von Kü\;nstlerinnen\, di e der Kunst bis heute entscheidende Impulse zwischen Gestik und Geometrie l iefern.

DTEND:20160722 DTSTAMP:20160626T221609 DTSTART:20160512 GEO:47.3809028;8.5423129 LOCATION:Häusler Contemporary Zürich\,Stampfenbachstraße 59 \nZurich\, 8007 SEQUENCE:0 SUMMARY:To Sophie\, Sonia\, Elsa\, Hannah…\, Judy Ledgerwood\, Kyung-Lim Le e\, Harriet Korman\, Brigitte Kowanz\, Clare Goodwin UID:422111 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The whole year&rsquo\;s work e nds with an exhibition at the Guggenheim Museum Bilbao\, to take place this year from 14 June to 18 September 2016. The two floors of the Museum&rsquo \;s educational space surprise the visitor with works resulting from an une xpected combination of imagination\, effort\, fun and learning.

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Before opening the exhibition to the public\, th ere is an entertaining opening\, attended by the students\, their teachers\ , the artists\, the sponsors and different people from the world of educati on. The news conference\, held in the Auditorium\, is attended by represent atives of the BBK and the Museum\, and by one of the artists participating in the program.

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The exhibition projec t changes every year. This time round\, it is split into two parts: on the one hand is the section entitled Art and Science\, encompassing the project s related to the planet and the human body\; and\, on the other\, the Story telling section\, referring to the passing of time\, the past and fiction.< /p>\n

In depth:

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Newsletter (download pdf)

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xposició\;n anual

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El trabajo de todo el curso cul mina con una exposició\;n en el Museo Guggenheim Bilbao\, que esta ed ició\;n tiene lugar del 14 de junio al 18 de septiembre de 2016. Las dos plantas del espacio educativo del Museo sorprenden al visitante con obr as que son fruto de una inesperada combinació\;n de imaginació\ ;n\, esfuerzo\, diversió\;n y aprendizaje.

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Antes de la apertura de esta muestra al pú\;blico\, se ce lebra una divertida inauguració\;n\, a la que asisten los escolares\, sus profesores\, los artistas\, los patrocinadores y diversas personas del á\;mbito educativo. En la rueda de prensa\, que se celebra en el Aud itorio\, intervienen representantes de la BBK y del Museo\, así\; com o uno de los artistas que forman parte del programa.

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El proyecto expositivo va cambiando cada añ\;o. En es ta edició\;n\, la muestra se ha dividido en dos partes: por un lado\, se encuentra la secció\;n titulada Arte y ciencia\, donde s e engloban los proyectos relacionados con los planetas y el cuerpo humano\; y\, por otro\, la secció\;n Contando historias\, que hace r eferencia al paso del tiempo\, al pasado y a la ficció\;n.

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A fondo:

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Boletí\;n (descargar pdf)

DTEND:20160918 DTSTAMP:20160626T221609 DTSTART:20160614 GEO:43.2687658;-2.9372485 LOCATION:Guggenheim Museum Bilbao\,Avenida Abandoibarra\, 2 \n Bilbao \, B IZKAIA SEQUENCE:0 SUMMARY:Learning Through Art\, 2016\, Naia del Castillo\, Elssie Ansareo\, Maider Lopez\, Jorge Rubio\, Manu Muniategiandikoetxea\, Ainhoa Ortells UID:422108 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Eij a-Liisa Ahtila (b. 1959\, Hä\;meenlinna\, Finland) shot The Annunciatio n (Marian Ilmestys\, 2010) on the snowy Aulanko Nature Reserve in southern Finland during the winter of 2010. The installation consists of three proje ctions that reenact a well-known passage in the Gospel of Luke (1:26&ndash\ ;38) that narrates one of the most important themes in Christian iconograph y\, which is also the central motifs of some of the earliest paintings to s uccessfully use perspective.

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This con temporary Annunciation explores the nature of miracles and the possibilitie s of perception and knowledge. The work consists of material produced durin g the preparations for shooting and an actual reconstruction of the event o f the Annunciation. There is a clear contrast between the interior scenes\, made to look like an artist's studio&mdash\;where the set of the Annunciat ion reenactment was built&mdash\;and the nature outside.

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The underlying viewpoint in the Annunciation is the Est onian biologist Jacob von Uexkü\;ll&rsquo\;s \; (1864&ndash\;1944) idea that the different worlds of living beings all exist simultaneously. T he idea is used as the approach for an exploration of the nature of miracle s and the possibilities of perception and knowledge. In the work\, the acto rs are engaged in a process of reconstructing the sacred and redefining the human through the divine and the animal.

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All human actors except for two are non-professionals. Most of them ar e clients of the Helsinki Deaconess Institute&rsquo\;s women&rsquo\;s suppo rt services. The animal actors are a trained raven\, two ordinary donkeys a nd a group of carrier pigeons from a bird farm. Although based on an existi ng script\, the events\, roles and dialogue were adapted during the filming process to the actors&rsquo\; individual presence.

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The first part of the work is shot in a matter-of-fact docum entary style with digital cameras. A diverse group of women prepare to stag e the moment of the Annunciation representing the event when the Archangel Gabriel appears to Mary to tell her that she will be impregnated by God. Be fore the final scene we see the test flight of the Archangel and how the wo men discuss the various roles they have been assigned. The woman playing th e part of Mary learns how to ride a donkey and what\, \; according to t he paintings\, have been the different reactions of Mary when she meets the angel. In the final enactment of all their rehearsals\, which is shot in 3 5mm film\, the Angel glides across a beautiful garden and through a glass w indow into the real space of the actors &ndash\; a moment of angelic intrus ion into the ordinary world.

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The piec e ends with an idyllic image of the young woman cast in the role of the Vir gin Mary&mdash\;no longer garbed in the bright blue we associate with Renai ssance Madonnas&mdash\;accompanied by a donkey\, while Townes Van Zandt's s ong &ldquo\;No Place to Fall&rdquo\; plays in the background.

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Eija-Liisa Ahti la (Hä\;meenlinna\, Finlandia\, 1959) filmó\; La Anunciaci&oa cute\;n (Marian Ilmestys\, 2010) en el sur de Finlandia\, en la Reserva Natural Aulanko\, cubierta de nieve\, en el invierno de 2010. La instalació\;n consta de tres proyecciones que recrean un pasaje muy conocido del Evangelio de san Lucas (Lc 1\, 26&ndash\;38)\, el que narra un o de los temas má\;s importantes de la iconografí\;a cristiana\ , motivo central de algunos de los primeros cuadros que usaron la perspecti va de forma satisfactoria.

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Esta A nunciació\;n contemporá\;nea explora la naturaleza de los milagros y las posibilidades de la percepció\;n y del conocimiento. L a obra incluye material producido en los preparativos de la grabació\ ;n y una reconstrucció\;n fiel del acontecimiento de la Anunciaci&oac ute\;n. Se observa un gran contraste entre las escenas de interior\, que pr etenden representar un estudio artí\;stico &mdash\;en el que se const ruyó\; el decorado para la Anunciació\;n&mdash\;\, y l a naturaleza del exterior.

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El enfoque subyacente en La Anunciació\;n parte de la afirmació\ ;n del bió\;logo estonio Jacob von Uexkü\;ll (1864&ndash\;1944) d e que los distintos mundos de los seres vivos coexisten simultá\;neam ente. Esta idea se aplica a la exploració\;n de la naturaleza de los milagros y las posibilidades de la percepció\;n y el conocimiento. En la obra\, los actores está\;n implicados en un proceso de recreaci&o acute\;n de lo sagrado y de redefinició\;n de lo humano a travé \;s de lo divino y lo animal.

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A excep ció\;n de dos de ellos\, todos los actores humanos son amateurs. La mayorí\;a son clientes del servicio de ayuda a la mujer del I nstituto Deaconess de Helsinki. Los actores animales son un cuervo amaestra do\, dos burros y un grupo de palomas mensajeras de una granja aví\;c ola. Aunque se basan en un guió\;n previo\, los hechos\, los papeles y los diá\;logos se adaptaron durante el proceso de filmació\;n a la presencia individual de cada inté\;rprete.

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La primera parte de la obra se grabó\; con un estil o documental\, realista\, con cá\;maras digitales. Un grupo heterog&e acute\;neo de mujeres se prepara para recrear el momento de la Anunciaci&oa cute\;n\, en el que el arcá\;ngel san Gabriel se aparece a Marí \;a para decirle que va a ser fecundada por Dios. Antes de la escena final\ , vemos el vuelo de prueba del arcá\;ngel y el modo en que las mujere s hablan sobre los distintos papeles que les han dado. La mujer que encarna a Marí\;a aprende a montar en burro y las distintas reacciones de la Virgen ante el encuentro con el á\;ngel que aparecen en los cuadros. En la recreació\;n final de todos los ensayos\, grabada en pel&iacut e\;cula de 35 mm.\, el arcá\;ngel vuela sobre un jardí\;n marav illoso y atraviesa una ventana de cristal para penetrar en el espacio real de los actores\, un momento de intromisió\;n angelical en el mundo or dinario.

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La obra finaliza con una ima gen idí\;lica de la joven que interpreta el papel de Virgen Mar&iacut e\;a &mdash\;que no lleva ya la vestimenta azul brillante que asociamos con las madonas renacentistas&mdash\;\, acompañ\;ada de un burro\, mient ras suena de fondo &ldquo\;No Place to Fall&rdquo\;\, de Townes Van Zandt.< /p>\n

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DTEND:20160828 DTSTAMP:20160626T221609 DTSTART:20160512 GEO:43.2687658;-2.9372485 LOCATION:Guggenheim Museum Bilbao\,Avenida Abandoibarra\, 2 \n Bilbao \, B IZKAIA SEQUENCE:0 SUMMARY:The Annunciation\, Eija-Liisa Ahtila UID:422107 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Andy Warhol\, the chronicler of an era\, was known for admitting his &ldquo\;fondness for dull things\,&rdquo\; which b y the early 1960s corresponded to his use of photographic reproductions of found imagery culled from newspapers\, magazines\, and image archives. In 1 978\, at age 50\, Warhol embarked upon the production of a monumental body of work titled Shadows with the assistance of his entourage at the Factory. These 102 silkscreened canvas panels formalized earlier explorations with abstraction. To locate the radical implications of Warhol&rsquo\;s Shadows\ , one must begin with the work&rsquo\;s form: this series was conceived as one painting in multiple parts\, the final number of canvases determined by the dimensions of an exhibition space. In the first exhibition 83 canvases were installed edge to edge\, a foot from the floor\, in the order that Wa rhol&rsquo\;s assistants hung them.

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The 102 canvases\, all of them on view at the Guggenheim Museum Bilbao\, s how Warhol&rsquo\;s signature palette of bright hues with cheerful excess. The backgrounds of these canvases were painted with a sponge mop\, the stre aks and trails left by the mop adding &ldquo\;gesture&rdquo\; to the pictur e plane. Seven or eight different screens were used to create Shadows\, as evidenced in the slight shifts in scales of dark areas as well as the arbitrary presence of spots of light. The &ldquo\;shadows&rdquo\; alter nate between positive and negative imprints as they march along the wall of the gallery.

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Despite the apparent embrace of repetition\, Warhol&rsquo\;s &ldquo\;machine method&rdquo\; is n othing but handmade. A significant and intriguing fact about Shadows is the irreproducibility of its assumed reproduction\, a point that prob lematizes his infamous aesthetic of &ldquo\;plagiarism&rdquo\; and position s Warhol&rsquo\;s project as one that is primordially pictorial. Far from r eplicas\, each Shadow corresponds to a form that reveals\, with pr ecision and self-awareness\, its space\, directing the viewer&rsquo\;s gaze to light\, the central subject of the series. In focusing on the shadow to devise light&mdash\;that is to say\, sparks of color&mdash\;Warhol returns to the quintessential problem of art: perception.

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Andy Warhol: Shadows is organized by Dia Art Foundation

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New York Magaz ine 5 Feb 1979\, Pags. 9-10

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Painter Hangs Own Pain tings
By Andy Warhol

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On Tuesday I hung my pai nting(s) at the Heiner Friedrich gallery in Soho. Really it&rsquo\;s one pa inting with 83 parts. Each part is 52 inches by 76 inches and they are all sort of the same except for the colors. I called them &ldquo\;Shadows&rdquo \; because they are based on a photo of a shadow in my office. It&rsquo\;s a silk screen that I mop over with paint.

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I started working on them a few years ago. But I get the most done on weekends because during the we ek people keep coming by to talk.

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The painting(s) can't be bought. The Lone Start Foundation is presenting them and they own them.

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Som eone asked me if I thought they were art and I say no. You see\, the openin g party had disco. I guess that makes them disco dé\;cor.

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Thi s show will be like all the others. The reviews will be bad&mdash\;my revie ws always are. But the reviews of the party will be terrific.

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I had the painting(s) hung at eye level. Any low er and people would kick them\, especially at the party. The only problem w ith hanging the show was the gallery floor. One end of the gallery floor is one foot higher that the other.

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But the kids helped me\, and when we finished we all had lunch. I ate a pickle and drank some Evian and then some Perrier Jouet.

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The gallery looked great. It&rsquo\;s a simple\, clean space. My Mao show was bigger\, but this is the biggest show I&rsquo\;ve had in Ne w York City in a long time.

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After we were finished\, I took a walk with some friends. We stopped by at Ivan Karp &rsquo\;s gallery\, O.K. Harris. He told me that there are a lot people now doing shadows in art. I didn&rsquo\;t know that.

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Then we crossed the street and went in to Holly Solomon&rsquo\ ;s Gallery. I always like to see if the art across the street is better tha n mine. &ldquo\;

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Andy Warhol\, cronista de una é\;poca\, era conocido por haber admitido que le gustaban &ldquo\ ;las cosas aburridas&rdquo\;\, algo que a comienzos de los añ\;os ses enta se relacionaba con la utilizació\;n de reproducciones fotogr&aac ute\;ficas de imá\;genes encontradas en perió\;dicos\, revistas y archivos de imá\;genes. En 1978\, cuando contaba 50 añ\;os\, Warhol se embarcó\; en la producció\;n de una obra monumental\ , titulada \;Sombras \;(Shadows)\, que realiz&oac ute\; con la ayuda de su entorno en la \;Factory. Estos 102 li enzos serigrafiados daban forma a exploraciones en torno a la abstracci&oac ute\;n que habí\;a estudiado previamente. Para entender la radicalida d que implican las \;Sombras \;de Warhol\, es necesario de tenerse en primer lugar en el formato de la obra\, concebida como una sola pintura en varias partes\, cuyo nú\;mero definitivo queda determinado por las dimensiones del espacio en que se instala. La primera vez que se e xpuso\, se mostraron 83 lienzos\, que se colocaron muy cerca del suelo &mda sh\;a unos 30 cm&mdash\;\, muy pró\;ximos unos a otros y en el orden decidido por los asistentes del artista.

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En el Museo Guggenheim Bilbao se pueden ver los 102 lienzos que compo nen la obra\, en los que se revela la caracterí\;stica paleta warholi ana\, alegre en extremo y de tonos brillantes. El fondo de cada lienzo est& aacute\; pintado con una mopa de esponja\, cuyos rastros y manchas aportan &ldquo\;gestualidad&rdquo\; al plano pictó\;rico. Las \;Sombr as \;fueron creadas utilizando siete u ocho pantallas\, como evide ncian las leves diferencias de escala de las zonas oscuras y la presencia d e puntos de luz aleatorios. A lo largo de las paredes de la sala se alterna n el positivo y el negativo de las &ldquo\;sombras&rdquo\;.

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A pesar de su apariencia repetitiva\, el &ldquo\;m é\;todo mecá\;nico&rdquo\; de Warhol es\, en realidad\, totalme nte manual. Un hecho importante e interesante de las \;Sombras  \;es la irreproductibilidad de su supuesta reproducció\;n\, un t ema que pone en tela de juicio la esté\;tica del &ldquo\;plagio&rdquo \; de Warhol y define su proyecto como fundamentalmente pictó\;rico. Lejos de ser una ré\;plica\, cada \;Sombra \;se corr esponde con una forma que revela su espacio con precisió\;n y rotundi dad\, dirigiendo la mirada del observador hacia la luz\, que es el tema cen tral de la serie. Al concentrarse en la sombra para concebir la luz (estall idos de color)\, Warhol regresa al problema fundamental del arte: la percep ció\;n.

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New York Magazine\, 5 de febrero\, 1979\ , pá\;gs. 9&ndash\;10.

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El Pintor Cuelga sus Propios C uadros
Por Andy Warhol

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El martes colgué \; mi(s) pintura(s) en la galerí\;a que Heiner Friedrich tiene en el Soho. En realidad\, es una sola pintura en 83 partes. Cada parte tiene un t amañ\;o de 132\,1 por 193 cm y todas ellas son similares\, excepto en el color. Las he titulado &ldquo\;Shadows&rdquo\; (Sombras) porque est&aac ute\;n basadas en la fotografí\;a de una sombra en mi oficina. Es una serigrafí\;a sobre la que paso una mopa con pintura.

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Comenc& eacute\; a trabajar en ellas hace algunos añ\;os. Pero cuando m&aacut e\;s trabajo es durante los fines de semana\, porque entre semana suele ven ir gente a charlar un rato.

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La(s) pintura(s) no está\;n en ve nta. La Lone Start Foundation las va a exponer y es la propietaria.

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Alguien me preguntó\; si pensaba que eran arte\, y yo respondí \; que no. En la fiesta de inauguració\;n se celebró\; una fies ta disco. Por eso\, creo que podrí\;an considerarse &ldquo\;decoraci& oacute\;n disco&rdquo\;.

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Esta exposició\;n será\; como las demá\;s. Las crí\;ticas será\;n malas\, las crí \;ticas que me hacen siempre lo son. Pero las crí\;ticas de la fiesta será\;n excelentes.

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Hice col gar las(s) pintura(s) a la altura de la vista. Má\;s abajo\, la gente les habrí\;a dado patadas\, sobre todo en la fiesta. El ú\;nic o problema que surgió\; durante el montaje tuvo que ver con el suelo de la galerí\;a. Un extremo de la galerí\;a es 30 cm má\; s alto que el otro.

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Pero los chicos m e ayudaron y\, cuando acabamos\, nos fuimos a almorzar. Yo comí\; pep inillos en vinagre y bebí\; agua Evian para empezar\; luego\, Perrier Jouet.

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La galerí\;a estaba pre ciosa. Es un espacio sencillo\, limpio. Mi muestra de Mao fue má\;s a mplia\, pero esta es la mayor exposició\;n que he hecho en Nueva York en muchos añ\;os.

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Cuando termi namos\, di un paseo con algunos amigos. Nos detuvimos en la galerí\;a de Ivan Karp\, O.K. Harris. Me dijo que hay mucha gente haciendo ahora som bras en el mundo del arte. No lo sabí\;a.

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Luego\, cruzamos la calle y entramos en la galerí\;a de Ho lly Solomon. Siempre me gusta comprobar si el arte que se expone en la acer a de enfrente es mejor que el mí\;o&rdquo\;.

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DTEND:20161002 DTSTAMP:20160626T221609 DTSTART:20160226 GEO:43.2687658;-2.9372485 LOCATION:Guggenheim Museum Bilbao\,Avenida Abandoibarra\, 2 \n Bilbao \, B IZKAIA SEQUENCE:0 SUMMARY:Shadows\, Andy Warhol UID:422106 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In the early 20th century\, Pa ris was the capital of the avant-garde. Artists from around the world settl ed in the City of Light\, where they created new forms of art and literatur e and responded to the rapid economic\, social\, and technological developm ents that were fundamentally transforming urban life. Paris was where Pablo Picasso and Georges Braque radically overturned the conventions of paintin g\, Robert Delaunay composed visions of harmonious color\, Vasily Kandinsky pursued new directions in abstraction\, and Constantin Brancusi reimagined how sculptures could be present in space.

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Bringing together masterpieces from the Solomon R. Guggenheim Museum collection\, Windows on the City\, curated by Lauren Hinkson\, Ass istant Curator for Collections\, offers a vibrant glimpse of a historic cre ative outpouring and includes some of the past century&rsquo\;s most import ant paintings and sculptures\, works that remain influential today. The exh ibition\, which spans the first years of the 20th century through World War II\, charts key movements of modernism&mdash\;from Cubism to Orphism to Su rrealism&mdash\;and the artists who came to be known as the É\;co le de Paris (School of Paris). Though diverse\, the artistic visions represented manifest a common impulse to eschew conservative aesthe tics and transform perceptions of everyday life in a modern city.

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A comienzos del siglo XX\, Parí\ ;s era la capital de la vanguardia. Artistas llegados de todo el mundo se a sentaron en la Ciudad de la Luz\, donde crearon nuevas formas de arte y lit eratura\, y reaccionaron ante el rá\;pido desarrollo econó\;mic o\, social y tecnoló\;gico que estaba cambiando profundamente la vida urbana. Fue en Parí\;s donde Picasso y Georges Braque transformaron radicalmente las convenciones de la pintura\, Robert Delaunay creó\; sus armoniosas composiciones de color\, Vasily Kandinsky abrió\; nuev os caminos en la abstracció\;n y Constantin Brancusi reinventó\ ; el modo de presentar la escultura en el espacio. La exposició\;n Panoramas de la ciudad\, comisariada por Lauren Hikson\, Curator Adj unta de Colecciones del Solomon R. Guggenheim Museum\, reú\;ne una se lecció\;n de obras maestras de sus fondos\, ofreciendo un recorrido a pasionante por este momento de efusió\;n creativa\, a travé\;s de algunas de las pinturas y esculturas má\;s importantes del siglo p asado\, que continú\;an ejerciendo su influencia en el arte actual. A barcando un perí\;odo comprendido entre los comienzos del siglo XX y la Segunda Guerra Mundial\, la muestra se centra en los movimientos fundame ntales del arte moderno &mdash\;desde el Cubismo hasta el Orfismo y el Surr ealismo&mdash\; y en los artistas englobados en la Escuela de Parí\;s (É\;cole de Paris). Las diversas visiones artí\;stica s que presenta la muestra manifiestan el impulso comú\;n de romper co n esté\;ticas conservadoras y transformar la percepció\;n de la vida cotidiana en la ciudad moderna.

DTEND:20161023 DTSTAMP:20160626T221609 DTSTART:20160422 GEO:43.2687658;-2.9372485 LOCATION:Guggenheim Museum Bilbao\,Avenida Abandoibarra\, 2 \n Bilbao \, B IZKAIA SEQUENCE:0 SUMMARY:Windows on the city: The School of Paris\, 1900–1945 UID:422105 END:VEVENT BEGIN:VEVENT DESCRIPTION:

An annual event at Grounds For Sculpture\, this year&rsquo\;s Members&rsquo\; Musings will be the seventh exhibition exclusively featuring artwork by members of Grounds For Sculptu re. \; In addition to supporting the arts\, many GFS members are gifted artists themselves. \; This exhibition showcases the diversity of the organization&rsquo\;s membership through their varied artistic creations an d unique inspirations.

DTEND:20161204 DTSTAMP:20160626T221609 DTSTART:20161022 GEO:40.2482028;-74.6985891 LOCATION:Grounds For Sculpture\,18 Fairgrounds Road (mailing address) 126 S culptors Way (GPS location)\nHamilton\, New Jersey 08619 SEQUENCE:0 SUMMARY:Members' Musings 2016 UID:422103 END:VEVENT BEGIN:VEVENT DTEND:20161022T180000 DTSTAMP:20160626T221609 DTSTART:20161022T100000 GEO:40.2482028;-74.6985891 LOCATION:Grounds For Sculpture\,18 Fairgrounds Road (mailing address) 126 S culptors Way (GPS location)\nHamilton\, New Jersey 08619 SEQUENCE:0 SUMMARY:Members' Musings 2016 UID:422104 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This exhibition features power ful works on paper created at workshops organized by Combat Paper NJ\, an o rganization which helps veterans express their complex experiences through art-making and the language of papermaking. Combat Paper NJ&rsquo\;s goal i s to build and strengthen the veteran and non-veteran community by changing the culture of the &ldquo\;silent veteran\,&rdquo\; transforming the veter an into a storyteller\, the non-veteran into a witness.

DTEND:20161002 DTSTAMP:20160626T221609 DTSTART:20160813 GEO:40.2482028;-74.6985891 LOCATION:Grounds For Sculpture\,18 Fairgrounds Road (mailing address) 126 S culptors Way (GPS location)\nHamilton\, New Jersey 08619 SEQUENCE:0 SUMMARY:Combat Paper Project UID:422101 END:VEVENT BEGIN:VEVENT DTEND:20160813T180000 DTSTAMP:20160626T221609 DTSTART:20160813T100000 GEO:40.2482028;-74.6985891 LOCATION:Grounds For Sculpture\,18 Fairgrounds Road (mailing address) 126 S culptors Way (GPS location)\nHamilton\, New Jersey 08619 SEQUENCE:0 SUMMARY:Combat Paper Project UID:422102 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This spring\, as part of The B ig Read\, Grounds For Sculpture and the Hamilton Township Public Schools pa rtnered to engage students in a project that brought literature and the vis ual arts together. Working with artist Karina Raude\, students spent time d iscussing Luis Alberto Urrea&rsquo\;s Into the Beautiful North\, l earning about the history of Latin American muralism\, and creating a mural exploring themes including identity\, family\, and community.

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Esta primavera\, \; como un proyecto parte de The Big Read\, fundado por el National Endowment for the Arts y centraliza do en el libro Rumbo al Hermoso Norte por Luis Alberto Urrea\, Grounds for Sculpture y las Escuelas Publicas de Hamilton se juntaron para involucrar a estudiantes en un proyecto que ajunto a la literatura con los artes visual es. Trabajando con la artista Karina Raude\, los estudiantes pasaron tiempo hablando sobre el libro\, aprendiendo la historia del muralismo latinoamer icano\, y creando un mural que explora temas incluyendo identidad\, familia y comunidad.

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To explore all programs taking place in conjunction with The Big Read\, please click here.

DTEND:20160710 DTSTAMP:20160626T221609 DTSTART:20160520 GEO:40.2482028;-74.6985891 LOCATION:Grounds For Sculpture\,18 Fairgrounds Road (mailing address) 126 S culptors Way (GPS location)\nHamilton\, New Jersey 08619 SEQUENCE:0 SUMMARY:Into the Beautiful North UID:422100 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Boaz Vaadia arrived in Soho in the excitement of the 1970&rsquo\;s. \; Artists were building their lo ft studios and the galleries that would eventually show their work became p lentiful over time. \; The international boutiques and design stores ha d not yet arrived. Trucks hit the big potholes on the overburdened cross st reets with a loud bang. \; New York City was on the verge of bankruptcy . \; Vaadia found a place to live and work and\, like many artists\, ra ided dumpsters for his material.

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Boaz &rsquo\;s early exhibitions consisted of works made primarily from the mate rials he found. \; He transformed such finds into distinctive artworks comprised of wood\, bone\, hair and other mixed mediums ritualistic in mann er and resembling highly personal ex-votos. \; He assembled sculptures made of branches stripped of the bark and bound together with rope or leath er. \; In some of these works\, he found resourceful ways to suspend a large stone serving as an integral compositional element. \; He used th e weight of the stone to provide the necessary gravitational force that wou ld allow the piece to stand. \; Recognizing the physical truths reveale d in the process of making this body of work\, Vaadia moved towards deeper explorations of three-dimensional concepts and focused on his interest in s tructure\, balance and gravity.

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Boaz Vaadia: Sculpturecelebrates the art of Boaz Vaadi a and his important contribution to the advancement of sculpture over a lon g and prolific career. \; All stages of the artist&rsquo\;s work since the 1970s appears in this extensive exhibition\, which includes over 125 of his pieces installed in two major buildings. \; The exhibition as a wh ole amplifies the critical understanding of Vaadia&rsquo\;s career\, and co incidentally\, traces a pathway from abstraction to figuration. \; Howe ver\, neither was ever the main point. The limitations he imposed upon hims elf instead concerned natural forces of gravity and balance\; a reliance on natural materials even after they had become part of a cityscape\; and\, a sense of offering - of veneration. \; \; Seven of his bronze sculp tures are on view outdoors in the beautiful gardened landscape of Grounds F or Sculpture. The exhibition includes many of the artist&rsquo\;s earliest works as well as large as well as his large bluestone sculptures and bronze s Vaadia casts from them.  \;On view along with the large bronze and st one sculptures are intimate groupings of his smaller works made of multiple strata of roofing slate mounted atop wooden pedestals Vaadia made out of h uge beams he found. \; Early examples of work\, including some created in his birth country of Israel\, reveal the important first steps he took\, leading to the vast crescendo of works on view these many years later. In Vaadia&rsquo\;s relentless advancement of his art\, the exhibition debuts f our of his new bas-relief sculptures in slate\, signaling an exciting new d evelopment in his oeuvre. \;

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The story of Boaz Vaadia&rsquo\;s journey into art is as rich in texture and de pth as his sculptures. \; He was born in a small village in Israel.&nbs p\; His father was a farmer who worked the fields of the family farm. \ ; From the time he was a boy\, Vaadia did chores on the farm and dreamt abo ut art. \; In time\, he would travel by bus alone to attend art classes in a town some distance away from home and return before dark. \; He b ecame familiar with the incredible ancient treasures of his homeland includ ing architecture and sculpture. \; He eventually worked on the restorat ion of some of these structures during breaks while serving in the army.&nb sp\; Vaadia&rsquo\;s memories of his early years in Israel form a strong pe rsonal identity about his origins and the connection of his art to his root s and his love and respect of nature.

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Having exhibited the series of his early fetishistic works during his firs t years in New York\, Vaadia began working with bulky rectangular slabs of bluestone and slimmer pieces of discarded slate roofing tiles that he rescu ed by the dozens from the dumpsters in SoHo. \; To Boaz\, finding such a cache of usable stone was at once triumphant and prophetic. \; Once h e undertook developing the sculptural approach he would use\, he realized t hat working with such sedimentary materials linked him personally and spiri tually back to the earth. Not long after this\, the debut of his distinctiv e figurative work in stacked stone was on view at Ivan Karp&rsquo\;s SoHo g allery. \; Vaadia never looked back. \;

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From the mid-1980s and over the past three decades\, Vaadia has been fixated on harnessing the natural forces of balance and gravity explor ed in his earlier works into new sculptural works depicting the human figur e. \; Even though using the figure as a subject in his work had been of interest to him for some time\, Vaadia seized it as a subject in the next phase of his work to highlight the true source of his inspiration and focus \, the material. \; His concept centers on stacking thick\, quarried bl uestone slabs in carefully planned and organized renditions of the figure c onstructed in such a way that the force of gravity is in harmony with the b alanced layers forming the composition. \; When complete\, the appariti on of the figure consists of an intricate myriad of stone layers that stand in harmonious respect for the natural formation of the ancient sedimentary stone he uses. \; The same intent carries through Vaadia&rsquo\;s mult itude of smaller sculptures executed in slate. \; In all of his stone l ayered works\, \; Vaadia still meticulously hand-carves the perimeter e dge of each piece bringing final form to the work using a technique so spec ific to his eye that he alone does the carving.

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Vaadia often incorporates large glacial boulders in his composit ions. \; Many of these works contain groupings of figures making the ov erall composition of each piece enormously heavy. \; The origins of how he came to use such large stones dates back to when he purchased a buildin g in Williamsburg which now serves as his studio. \; Arriving there one day\, he found the entire street dug up for a large city sewer project.&nb sp\; Recognizing yet another twist of fate in his favor\, Vaadia was able t o secure and stockpile large amounts of the glacier boulders for use in his works.

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Boaz Vaadia has created a bod y of work that is distinctive in the continuum of sculpture. \; The exh ibition stands as evidence of Vaadia&rsquo\;s powerful will to achieve mast ery in harnessing natural materials within a personally defined and meticul ously focused genesis of form. \; \; By using both an additive and subtractive process in stone\, he has created sculptures that connect deepl y felt natural processes that he recognizes in nature. \; The definitiv e collection of the works in the exhibition is a profound testimony to Vaad ia&rsquo\;s artistry and his connection with the earth and the human condit ion.

DTEND:20160918 DTSTAMP:20160626T221609 DTSTART:20160501 GEO:40.2482028;-74.6985891 LOCATION:Grounds For Sculpture\,18 Fairgrounds Road (mailing address) 126 S culptors Way (GPS location)\nHamilton\, New Jersey 08619 SEQUENCE:0 SUMMARY:Sculpture\, Boaz Vaadia UID:422099 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Treating the small lowe r level gallery annex as an installation site\, Nikki Rosato will fill this room with her figurative works cut from road maps. \; Rosato cuts away all the land masses from the maps\, leaving linear forms created from the leftover roads and waterways. \; The lines of the map are a metaphor fo r \; personal journey. \;

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&ldquo\;As we move though life\, the places we inhabit and the pe ople that we meet alter and shape us into the person that we are in the pre sent day. I am interested in the idea that a place I visited as a child has affected the outcome of the person that I am today.&rdquo\; \; Nikki R osato

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This exhibition will highl ight the exaggerated lines of Rosato&rsquo\;s work by playing with light an d shadow and will also focus on her use of volumetric negative space\, whic h forms a spatial counterpoint to the solidity of Ayami Aoyama&rsquo\;s wor k displayed in the adjacent gallery.  \;

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DTEND:20160918 DTSTAMP:20160626T221609 DTSTART:20160501 GEO:40.2482028;-74.6985891 LOCATION:Grounds For Sculpture\,18 Fairgrounds Road (mailing address) 126 S culptors Way (GPS location)\nHamilton\, New Jersey 08619 SEQUENCE:0 SUMMARY:Inbound\, Nikki Rosato UID:422098 END:VEVENT END:VCALENDAR