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

Drawn from the permanent collection of the Museum of Fine Ar ts\, Houston\, \;Shadows on the Wall: Cameraless Photography from 1 851 to Today \;presents 50 evocative images created with light and chemistry but without the use of a camera.

\n

Made for science or for art\, the photographs on view vary in size from a few inches to 25 feet. T he images reflect a range of techniques as visually diverse as the movement s of art to which they belong&mdash\;recording the precise outlines of bota nical specimens\, the alchemy of the darkroom\, or the abstraction of form. Although sometimes simply made\, the photographs explore the complex relat ionship between reality and representation.

DTEND:20141130 DTSTAMP:20140901T081439 DTSTART:20140831 GEO:29.7253082;-95.3897064 LOCATION:Museum of Fine Arts\, Houston (Beck Building)\,5601 Main Street \n Houston\, TX SEQUENCE:0 SUMMARY:Shadows on the Wall: Cameraless Photography from 1851 to Today UID:354111 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Contemporary Art \;is the second in a \;series \;highlighting the Museum&rs quo\;s exceptional holdings and showcasing works that are new to Houston au diences. A survey across disciplines\, media\, and three continents\, this exhibition offers a fresh view of artists who have shaped the art of today.

\n

Works on display range from signature paintings\, sculptures\, and videos by Anselm Kiefer\, Sigmar Polke\, Robert Rauschenberg\, Richard Tut tle\, Andy Warhol\, and Peter \;Fischli and David Weiss\, \;to rece nt canvases by Mark Flood\, Trenton Doyle Hancock\, Byron Kim\, and Pat Ste ir.

\n

Major recent acquisitions&mdash\;on view for the first time in these galleries&mdash\;include Julie Mehretu'sMogamma\, A Painting in F our Parts: Part 4\, a monumental canvas that addresses the aspirations and chaos of the Arab Spring\; \;Soundsuits\, \;two paire d figures by Nick Cave\; and Monir Shahroudy Farmanfarmaian's brilliantly r eflective \;Nonagon\, \;which unites Minimalist aesthetics with mirror mosaic techniques from Islamic architecture. Among the other h ighlights are Andrea Branzi'sPrototype for Tree 5\, \;in which nature and structure coexist in a delicate balance\; the haunting and mour nful \;A negra \;by Carmela Gross\; Norberto Nicola's  \;Queda II\, \;a richly woven wall relief that unites the geom etric principles of his paintings with textures drawn from Pre-Columbian ar tistic traditions\; and \;Mysteries\, \;a text-based paint ing by Ed Ruscha that captures the melancholy spirit of film noir and the C alifornia landscape at twilight.

DTEND:20140914 DTSTAMP:20140901T081439 DTSTART:20140703 GEO:29.726578;-95.3906049 LOCATION:Museum of Fine Arts\, Houston (Law Building)\,1001 Bissonnet Stree t \nHouston\, Texas 77005 SEQUENCE:0 SUMMARY:Contemporary Art: Selections from the Museum’s Collection\, Anselm Kiefer\, Sigmar Polke\, Robert Rauschenberg\, Richard Tuttle\, Andy Warhol\ , Peter Fischli\, David Weiss\, Mark Flood\, Trenton Doyle Hancock\, Byron Kim\, Pat Steir UID:354110 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This exhibition\, drawn entirely from the Morris Museum&rsqu o\;s permanent collection\, represents a group of photographs that were sho t over a period of just a few days in January 2012 and is accompanied by a fully illustrated catalog. In addition to the Morris\, William Greiner is r epresented in the permanent collections of more than sixty museums around t he country\, including the Ogden Museum of Southern Art\, the Art Institute of Chicago\, the J. Paul Getty Museum\, and the San Francisco Museum of Mo dern Art.

DTEND:20141102 DTSTAMP:20140901T081439 DTSTART:20140823 GEO:33.479383;-81.9689099 LOCATION:Morris Museum of Art\,1 Tenth Street \nAugusta\, Georgia 30901 SEQUENCE:0 SUMMARY:Oh! Augusta! \, William Greiner UID:354109 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This intimate exhibition of nine works from the \;Co rpus of the Unknowable \;series was created in 2004 by Elizabeth D ove\, Associate Professor of Art at the University of Montana. Dove incorpo rates text into her graphic works as a way of exploring memory and knowledg e. She states\, &ldquo\;I have been cutting up a dictionary for several yea rs now\, letter by letter\, and saving the definitions to use in artwork.&n bsp\;Corpus of the Unknowable \;displays about a hundred of th ese cut-up definitions\; each print holding text dust behind a skin-like su rface. Selecting dictionary definitions and then cutting them up talks abou t a perpetual search for meaning\, the patient digestion of enormous qualit ies of information in an effort to understand\, the impossibility of stabil izing knowledge&hellip\;&rdquo\;

\n

The works that are made of collage \, collagraph\, and cut-up dictionaries will be featured in the Goldberg Fa mily Library. They were accessioned into the MAM Collection through a gener ous gift from the artist. MAM is grateful that direct gifts to the museum&r squo\;s collection from practicing artists helps the MAM Collection grow. DTEND:20150131 DTSTAMP:20140901T081439 DTSTART:20140923 GEO:46.8724585;-113.9924354 LOCATION:Missoula Art Museum\,335 N. Pattee St. \nMissoula\, MT 59802 SEQUENCE:0 SUMMARY:Corpus of the Unknowable\, Elizabeth Dove UID:354107 END:VEVENT BEGIN:VEVENT DTEND:20140923T170000 DTSTAMP:20140901T081439 DTSTART:20140923T100000 GEO:46.8724585;-113.9924354 LOCATION:Missoula Art Museum\,335 N. Pattee St. \nMissoula\, MT 59802 SEQUENCE:0 SUMMARY:Corpus of the Unknowable\, Elizabeth Dove UID:354108 END:VEVENT BEGIN:VEVENT DESCRIPTION:

MAM is thrilled to share this exhibit of work by one of the West&rsquo\;s most important and innovative artists: Kate Hunt. Hunt has ma stered transforming an everyday material that is usually used once then dis carded into a powerful medium. She uses newspaper to create formally and co nceptually strong sculptural works of varied shape\, thought provoking cont ent\, and strange beauty.

\n

This exhibition is full of surprises. The se recent works are easily recognizable as Hunt&rsquo\;s because of her sig nature method of working with newspaper\, for she has long used it as a scu lptural medium. These new works\, however\, include strong formal sensibili ties incorporating both the walls and floors. The central work in the exhib ition is entitled Floor and incorporates an assembly of more than 30 column s arranged in a repetitive fashion on the floor. The sheer number of pieces in the center of the Carnegie Gallery demands attention. This large sculpt ure is in reality an installation.

\n

Initially\, the viewer brings wi th them a preconceived notion that newspaper should be recycled and is frag ile and disposable. But one of the powerful messages manifested by Hunt in this exhibit is the idea that newspaper is strong\, durable\, and resists d ecomposition. There is a sense of discovery in uncovering the human energy and ingenuity in the construction of her work.

\n

There is an influenc e of minimalism present in Hunt&rsquo\;s work. Minimalism\, or what some pe ople refer to as reductivism\, is an aesthetic where the artist reduces the expression to the bare essential design elements. Her strong formal sensib ilities invite us to explore\, and the resulting work speaks to the resilie nce of what we\, at one time\, perceived as fragile and come to see as toug h. While there is no representational narrative in her work\, newspaper bec omes a sculptural material\; paper assembled in a repetitive fashion become s durable and powerfully expressive\, and the layering in her work mimics n ature. We instinctively know that where there is sedimentation there is a r ecord.

\n

Hunt is driven by the clarity with which she understands her materials. She is ingenious in marrying skills. She is an artist who bring s together the skills of a print shop trimmer\, drill press operator\, meta l fabricator\, and construction worker. She paints\, draws\, and fabricates . She has a very strong drive and direction and knows exactly where she wan ts to arrive. Included in the exhibition are two drawings of goats\, each a companion in her creative journey.

\n

While this might seem incongruo us\, they are included as part of a way to more completely understand and a ppreciate the artist\, her life\, and her life&rsquo\;s work where all idea s swirl around in the creative process.

\n

Today Kate Hunt lives and m aintains a studio in Creston\, MT. She received a BFA from Kansas City Art Institute and a MFA from Cranbrook Academy of Art\, Bloomfield Hills\, MI. She has had many solo exhibitions in venues throughout the country\, includ ing Portland Art Museum\; Nicolaysen Art Museum\, Casper\, WY\; Leedy-Voulk os Art Center\, Kansas City\, MO\; Yellowstone Art

\n

Museum\, Billing s\, MT\; and in years past MAM. She has been the recipient of a Montana Art s Council Individual Artist Award\, and an Adolf and Esther Gottlieb Indivi dual Support Grant. Her work is included in numerous collections\, includin g Seattle Office of Arts and Cultural Affairs\,

\n

Yellowstone Art Mus eum\, Eiteljorg Museum of American Indians and Western Art\, and the Missou la Art Museum.

DTEND:20150221 DTSTAMP:20140901T081439 DTSTART:20140912 GEO:46.8724585;-113.9924354 LOCATION:Missoula Art Museum\,335 N. Pattee St. \nMissoula\, MT 59802 SEQUENCE:0 SUMMARY: Recent Works\, Kate Hunt UID:354105 END:VEVENT BEGIN:VEVENT DTEND:20140912T170000 DTSTAMP:20140901T081439 DTSTART:20140912T100000 GEO:46.8724585;-113.9924354 LOCATION:Missoula Art Museum\,335 N. Pattee St. \nMissoula\, MT 59802 SEQUENCE:0 SUMMARY: Recent Works\, Kate Hunt UID:354106 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Annette Messager is a key figure on today&rsquo\;s internati onal art scene\, an artist whose oeuvre prepared the ground for contemporar y French art. Nonetheless\, her last solo show in a German museum took plac e almost 25 years ago. Now\, this exhibition at the K21 \;provides art lovers with an opportunity to rediscover her. On view will be works dating from the late 1980s to the present. The series Les interdictions en 2014 wa s produced especially for the exhibition at the K21.

\n

The Kunstsamml ung Nordrhein-Westfalen purchased the large-scale installation \;So us vent \;(2004&ndash\;10) in 2011\, thereby augmenting its collec tion with a major position in contemporary art. Diverse objects including a n oversized hand\, a foot\, \; bodily organs\, and plush animals\, all covered by a black silk veil that is set into motion by air streams generat ed by three fans. In this work\, the artist alludes to the forces of nature \, but also to the unconscious and to the fears that lurk in the deep layer s of the psyche. During the exhibition at the K21\, Sous vent will be on vi ew in an installation measuring more than 20 meters in length.

\n

Duri ng more than 40 years of artistic activity\, Annette Messager (born 1943) h as developed a highly concentrated visual language. While in the early 1970 s\, she worked primarily with stuffed birds\, embroidery\, and collections of images\, the spectrum of materials and themes later expanded quickly. Ad ded were photographs\, installations with cuddly toys and \; items of c lothing\, and beginning in 2001\, large mechanical systems as well. Playing a central role for Messager in \; particular is the human body and its attributes. These are dismembered by the artist\, who then twists them tog ether \; into something new using thread and mesh. Through the accumula tion and stringing together of the most delicate elements\, Messager genera tes a visually stunning cosmos.

\n

Among Annette Messager&rsquo\;s rec ent works is the striking installationContinents noirs \;(2010 &ndash\;12). Like tiny islands\, black\, crumpled elements hover in the air . The piece is reminiscent of the setting of a science fiction film\, but i s also evocative of a bleak future. Inspired by Gulliver's Travels\, the wo rk&rsquo\;s title returns to a statement by Sigmund Freud\, who said that&n bsp\; \; female sexuality was like a dark continent that represented an uncharted continent for psychoanalysis. The new work \;Les interdi ctions en 2014 \;consists of 68 drawings (a reference to the revol utionary events of May 1968 in Paris) that \; represent various forms o f prohibition from around the world. These range from everyday restrictions such as bans on taking photographs or smoking\, all the way to censorious laws based on cultural-political values such as the ban on \; women dri ving in Saudi Arabia. Here as well\, Annette Messager addresses serious the mes\, the forces that concern and define people in everyday life\, in a poe tic and humorous manner.

DTEND:20150322 DTSTAMP:20140901T081439 DTSTART:20140927 GEO:51.2166375;6.7744352 LOCATION:K21 STÄNDEHAUS\,Ständehausstraße 1 \nDüsseldorf\, 40217 SEQUENCE:0 SUMMARY:Exhibition / Exposition\, Annette Messager UID:354103 END:VEVENT BEGIN:VEVENT DTEND:20140926T210000 DTSTAMP:20140901T081439 DTSTART:20140926T190000 GEO:51.2166375;6.7744352 LOCATION:K21 STÄNDEHAUS\,Ständehausstraße 1 \nDüsseldorf\, 40217 SEQUENCE:0 SUMMARY:Exhibition / Exposition\, Annette Messager UID:354104 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In his first major museum exhibition in Germany Egyptian art ist Wael Shawky (*1971) presents his film trilogy \;Cabaret Crusade s\, in which marionettes cabaret-like reenact the history of the medie val crusades. Shawky&rsquo\;s multiple awarded films explore the ways in wh ich projections and manipulations of the foreign\, as well as confrontation s with it\, actually function. What lies behind the multi-faceted mechanism s of constructing and telling history? While the first two parts of Shawky& rsquo\;s \;Cabaret Crusades \;will be expansively screened at Grabbehalle from 6 September\, the in cooperation with the Kunstsammlun g Nordrhein-Westfalen produced third part \;The Secrets of Karbala< /em> \;will be shot in the same space and premiere at 4 December. Until then Wael Shawky and the Kunstsammlung Nordrhein-Westfalen will transform the \; exhibition space into a site of art production in an unprecedent ed way.

\n

In \;Cabaret Crusades\, among the much discuss ed discoveries at Documenta 13\, richly detailed and costumed marionettes p erform against fantastical backdrops\, reenacting the martial events of the eleventh-twelfth centuries in ways that are simultaneously childlike and g ruesome. The scenario of the trilogy is based on the book &ldquo\;The Crusa des Through Arab Eyes&rdquo\; (1983)\, the work of the French-Lebanese auth or Amin Maalouf (*1949). Shawky mixes together the European perspective\, n otoriously shaped by fantasy and wishful thinking about the Middle East\, w ith Arab forms of representation. With the historical Crusades\, Shawky tak es up a theme that seems highly current today\, even 1000 \; years late r\, in light of current and ongoing conflicts in the Middle East. Today as well\, the locations featured in the film\, among them Aleppo\, Damascus\, and Baghdad\, are theaters of war. Inevitably\, these puppets\, controlled by strings\, and seemingly set in motion by remote control\, pose the quest ion: Who really pulls the strings of history?

In addition to the Wael Shawky and Slevogt/Klee exhibitions\, the theme of Egypt is also the pivotal reference point for the program &ldquo\;F3. Approaching an Unknown Future&rdquo\; at the Schmela Haus. Scheduled for autumn of 2014 at this ve nue are numerous events dealing with the Egyptian situation. Inaugurated at the same time is the Curator in Residence Program\, which receives support from the Goethe Institute. The initial phase involves three jury-selected curators from Egypt\, who will contribute in productive ways during their v isits through their own concerns and themes to the events program at the Sc hmela Haus\, with its orientation toward exchange and dialogue. The Egyptia n-themed activities \; planned for the Schmela Haus\, the exhibitions&n bsp\;To Egypt! \;and \;Wael Shawky. Cabaret Crusades\, as well as the production of the third part of Shawky&rsquo\;s \; Cabaret CrusadesTrilogy under the auspices of the Kunstsammlung No rdrhein-Westfalen\, promise to offer a multifaceted perspective of the art\ , culture\, and reality of this land\, so steeped in history\, whose future is currently being renegotiated.

DTEND:20150104 DTSTAMP:20140901T081439 DTSTART:20140906 GEO:51.2279646;6.7759971 LOCATION:K20 GRABBEPLATZ\,Grabbeplatz 5 \nDüsseldorf\, 40213 SEQUENCE:0 SUMMARY:Cabaret Crusades\, Wael Shawky UID:354101 END:VEVENT BEGIN:VEVENT DTEND:20140906T180000 DTSTAMP:20140901T081439 DTSTART:20140906T110000 GEO:51.2279646;6.7759971 LOCATION:K20 GRABBEPLATZ\,Grabbeplatz 5 \nDüsseldorf\, 40213 SEQUENCE:0 SUMMARY:Cabaret Crusades\, Wael Shawky UID:354102 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This reinstallation of the Joan &\; George Anderman Galle ry of Oceanic Art offers a glimpse at the variety of creative design and in genious construction possible through the unique medium of bark cloth (or t apa) used across the Pacific. Techniques and styles for decorating varied f rom island group to island group. \;Painted\, printed\, and beaten patt erns decorate supple and sometimes expansive bark cloths. Elaborate masks m ade with tapa stretch over rigid stick or cane frames. \;In addition to cloth\, in New Guinea\, coils of solid bark were used to create belts embe llished with intricate carvings of figurative and abstract forms.

\n

T he new gallery space also features an all new family activity area. Draw in spiration from the work of contemporary Samoan artist\, Mary Pritchard. Lea rn about how tapa is made through photos and videos. And\, try your hand at making your own patterns by drawing or using upeti (pattern boards) from A merican Samoa.  \;

DTEND:20170827 DTSTAMP:20140901T081439 DTSTART:20140831 GEO:39.7396509;-105.01192 LOCATION:Denver Art Museum\,100 W 14th Ave \nDenver\, CO 80204 SEQUENCE:0 SUMMARY:Printed and Painted - The Art of Bark Cloth UID:354100 END:VEVENT BEGIN:VEVENT DESCRIPTION:
\n

With \;Right Here\, Right Now : Houston\, \;the Contemporary Arts Museum Houston showcases artis ts living in the city and celebrates our region&rsquo\;s vibrant creative c ommunity. Houston has been a lively breeding ground for artistic innovation for decades now and is increasingly considered a global art center alongsi de New York\, Los Angeles\, London\, and more recently\, Berlin. The Housto n of today is a globally networked city where a manageable cost of living a nd affordable studio space allows innovators to maintain practices at a hig hly professional level without having to sacrifice international recognitio n or an excellent quality of life. \;Right Here\, Right Now: Housto n \;is a dynamic portrait of the artistic developments taking shap e in studios across this city and features solo presentations of work by Ho uston-based artists Debra Barrera\, Nathaniel Donnett\, and Carrie Marie Sc hneider. It marks the beginning of an occasional and ongoing series through which the museum will investigate localized artistic practices.

\n
\n
\n

CAMH&rsquo\;s Director Bill Arn ing\, Senior Curator Valerie Cassel Oliver\, and Curator Dean Daderko respe ctively selected Barrera\, Donnett\, and Schneider. Each artist and curator pair worked together closely from the conception to the installation of th e artist&rsquo\;s individual project. A complement of public programs will be presented in conjunction with the exhibition. (Please check CAMH&rsquo\; s online calendar for a complete listing.) \;Right Here\, Right Now : Houston \;is the first solo museum exhibition for each of the pa rticipating artists.

\n

CAMH sees itself as a nexus point for making s ure that information on cutting edge culture flows in two directions: into and out of our unique metropolis. Along with CAMH&rsquo\;s recent drawing s urvey of Houston-based artist Trenton Doyle Hancock and an upcoming Perspec tives exhibition of work by Robert Hodge\, as well as a survey of the work of Mark Flood slated for 2016\, this exhibition will bring work by some of Houston&rsquo\;s most talented art makers to both area audiences for whom t heir work may be familiar\, as well as act as an introduction to wider audi ences outside of the region.

\n

About \;Debra Barrera: Avalon< /em>
In \;Avalon\, Debra Barrera&rsquo\;s ongoing explora tion of the very human desire for escape is explored in drawing\, installat ion\, and objects. In her earliest mature works\, she focused on modes of t ransportation combined with cinema&mdash\;both methods of getting outside o f or away from one&rsquo\;s present circumstances. She identifies far way p laces real and unreal\, accessible and impossible\, and provides hints of h ow we can get there from wherever we are. In this installation\, drawings o f unlikely escapes\, such as the puff of smoke the Wicked Witch used to van ish in the Wizard of Oz\, are mixed with motorcycle helmets and taxi lights that all but declare &ldquo\;get me out of here.&rdquo\; The installation employs the real exits of CAMH using pink and black\, respectively\, to mak e the existing emergency exit and trap door appear to promise alternative e scape routes. The title \;Avalon \;refers to an imaginary place that derives from our shared mythic histories\, which when sung by Br yan Ferry in Roxy Music&rsquo\;s \;Avalon\, was the perfect lo cation for unreal romance.

\n

About \;Nathaniel Donnett: Nothi ng to See Hear
Nathaniel Donnett&rsquo\;s \;Nothing to Se e Hear \;is an investigation into how sound and light can create a space of remembrance and meditation. Through the use of minimalist gesture s\, Donnett has created an immersive environment that integrates light\, so und\, sculpture\, and works on paper that give visibility to the contempora ry portrayals of resistance and protest\, loss and mourning. Donnett pays h omage to the numerous men and women who have died while placing themselves on the front line for justice. His installation functions as a visual eulog y to their sacrifice as well as a conscious and thought provoking call towa rd social awareness.

\n

About \;Carrie Marie Schneider: Incomm ensurate Mapping
For this exhibition\, Carrie Marie Schneider has created architectural models of CAMH that stage a variety of conceptual\, social\, archival\, structural\, and imagined possibilities for the Museum. Each model builds on CAMH&rsquo\;s iconic parallelogram footprint\, which opened in 1972 and was designed by Gunnar Birkerts\, and considers aspects of CAMH&rsquo\;s place within Houston&rsquo\;s broader cultural fabric. Wit h their variety of scales\, diverse media\, and aesthetic sensibilities\, t hese speculative models &ldquo\;situate the Museum within webs of broader o rganizational and intellectual concerns to investigate CAMH&rsquo\;s wider cultural function\, its place in the city\, and the space it provides for a rt(ists)\,&rdquo\; says Schneider. Her polyphonic display is &ldquo\;full o f possibilities and informed by survival creativity\, good humor\, desperat e imagination\, and the political charge to project a future forward. The m odels operate in the funky overlap where we envision and build a new world while we still occupy this one.&rdquo\;

\n
DTEND:20141130 DTSTAMP:20140901T081439 DTSTART:20140823 GEO:29.726257;-95.391068 LOCATION:Contemporary Arts Museum Houston\,5216 Montrose Boulevard \nHousto n\, TX 77006 SEQUENCE:0 SUMMARY:RIGHT HERE\, RIGHT NOW: HOUSTON\, Debra Barrera\, Nathaniel Donnett \, Carrie Marie Schneider UID:354098 END:VEVENT BEGIN:VEVENT DTEND:20140823T200000 DTSTAMP:20140901T081439 DTSTART:20140823T180000 GEO:29.726257;-95.391068 LOCATION:Contemporary Arts Museum Houston\,5216 Montrose Boulevard \nHousto n\, TX 77006 SEQUENCE:0 SUMMARY:RIGHT HERE\, RIGHT NOW: HOUSTON\, Debra Barrera\, Nathaniel Donnett \, Carrie Marie Schneider UID:354099 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The exhibition features a new body of paintings by Colorado- based artist Sharon Feder. The new paintings stem from Feder&rsquo\;s long- standing interest in urban archaeology. This series of work is based on pho tographs Feder has compiled over the last five years of &ldquo\;big-box sto res\,&rdquo\; such as Target and \;IKEA\, and of vacant and empty store signs. The work explores how the ubiquity of such stores in both urban and rural environments across the country negatively impacts society and natur e. For Feder\, the empty signs signify the spoiling effects of American mas s-consumerism\, which leaves an overabundance of things to buy and makes it difficult for small\, independently owned stores to survive. The surplus o f readily purchasable goods and materials has instilled a greed for conveni ence that in turn generates a &ldquo\;throw-away society&rdquo\;&mdash\;whe ther it is in the product purchased or the unimaginative architectural plan ning of retail stores built quickly and carelessly to serve the needs of ma ss-consumerism.

\n

Feder&rsquo\;s approach to painting exists between abstraction and representation. She is interested in both the visual and me taphorical geometry and emptiness of the large retail stores and their sign s. Her handling of paint and use of color draw our attention from the subje ct of the work to the formal elements of the painting. One can look at the works and see color\, shapes\, and paint\, rather than or in addition to th e representation of a retail store. Obvious visual references to specific s tores\, parking lots or buildings remind us that Feder paints scenes mired in quotidian detail.

\n

Sharon Feder (b. 1957\, Denver\, Colorado) is a third-generation Denverite who has studied painting intently since early childhood. Feder&rsquo\;s work has been exhibited in New York\, Los Angeles and extensively in the Denver area. Her paintings and murals are included in a number of national and international corporate\, private and public co llections.

\n

BMoCA at Macky is a series of exhibitions curated by BMo CA and presented in the Andrew J. Macky Gallery in the foyer of the Macky A uditorium Concert Hall at the University of Colorado Boulder. The Macky Gal lery is located at the intersection of 17th Street and University Avenue on the CU Boulder campus. Admission to the gallery is free and open to the pu blic Monday&ndash\;Friday\, 10am&ndash\;5pm and to ticketed patrons during Macky Auditorium performances and events.

DTEND:20141116 DTSTAMP:20140901T081439 DTSTART:20140828 GEO:40.0152948;-105.2776748 LOCATION:Boulder Museum of Contemporary Art\,1750 13th St. \nBoulder\, Colo rado 80302 SEQUENCE:0 SUMMARY:BUY \, Sharon Feder UID:354097 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Something primal links human beings with trees. Through the millennia\, we have made houses out of boards\, eaten fruit and nuts picked from trees\, carved art and useful objects from wood\, hunted woodland cre atures\, and sought refuge beneath spreading branches. Villages and forests are equal gathering places of life.

\n

Groves\, woods\, gardens\, orc hards and urban tree canopies have inspired many contemporary artists\, as you will see in the visual forest that has sprung up in the Alice Pratt Bro wn Atrium. As you make your way through other galleries\, you will continue to encounter the myriad ways artists have portrayed trees and human figure s throughout the centuries. We encourage you to linger among the trees and consider the many varied connections between us.

\n

 \;

DTEND:20141102 DTSTAMP:20140901T081439 DTSTART:20140812 GEO:34.7395668;-92.2671004 LOCATION:ARKANSAS ART CENTER-MUSEUM OF ART\,501 East 9th Street \nLittle R ock\, Arkansas 72202 SEQUENCE:0 SUMMARY:Seeing the Forest UID:354094 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Featuring international artists who use film and video to ex plore the Middle Eastern desert as a site charged with meaning\, this exhib ition explores zones of conflict\, including the Israel-Palestine border an d Afghanistan\, and the shifting personal\, political and geographical land scapes of the Middle East. Artists include: Lida Abdul (Afghanistan)\, Yael Bartana (Germany/Israel)\, Emily Jacir (Palestine/New York) and Isabel Roc amora (Spain/U.K.).

DTEND:20141129 DTSTAMP:20140901T081439 DTSTART:20140909 GEO:33.4190698;-111.9399975 LOCATION:Arizona State University Art Museum\,Tenth Street and Mill Avenue \nTempe\, AZ 85287-2911 SEQUENCE:0 SUMMARY:Shifting Sands: Recent Videos from the Middle East\, Lida Abdul\, Y ael Bartana\, Emily Jacir\, Isabel Rocamora UID:354092 END:VEVENT BEGIN:VEVENT DTEND:20140909T200000 DTSTAMP:20140901T081439 DTSTART:20140909T110000 GEO:33.4190698;-111.9399975 LOCATION:Arizona State University Art Museum\,Tenth Street and Mill Avenue \nTempe\, AZ 85287-2911 SEQUENCE:0 SUMMARY:Shifting Sands: Recent Videos from the Middle East\, Lida Abdul\, Y ael Bartana\, Emily Jacir\, Isabel Rocamora UID:354093 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Inspired by the essays of American transcendentalists Henry David Thoreau and Ralph Waldo Emerson\, this exhibition explores the value of seclusion and self-reflection. The works\, which range in date and mediu m\, consider both the pain and pleasure of isolation\, ultimately posing th e question: At what point does solitude cease to be a refuge from society?< /p> DTEND:20141108 DTSTAMP:20140901T081439 DTSTART:20140809 GEO:33.4190698;-111.9399975 LOCATION:Arizona State University Art Museum\,Tenth Street and Mill Avenue \nTempe\, AZ 85287-2911 SEQUENCE:0 SUMMARY:In Solitude\, Where We Are Least Alone UID:354091 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Within the scope of its 10th \;year\, Istanbul Modern is preparing an exhibition in honor of the 100th \;anniversary of Turkish film: &ldquo\;One Hundred Years of Love&rdquo\;. A first in Turkey\, this research exhibition covers this century-old adventure of film in Turkey sta rting from 1914\, considered to mark the birth of the history of cinema in Turkey. The exhibition features moments of encounter between film and audie nce and the amazing collective and individual worlds created by this encoun ter. Compiling visual and written representations of film such as posters\, photographs\, box office reports\, gala invitations\, newspaper clippings and advertisements\, lobby cards\, and autographed photos of stars\, the ex hibition aims to render visible the memory of a history whose sources have been poorly preserved and has been kept alive only by personal efforts.

\n

&ldquo\;One Hundred Years of Love&rdquo\; begins by treating of the au dience&rsquo\;s most concrete relationship with cinema\, in other words\, c inema spaces. Emphasizing that movie theaters are &ldquo\;temples of audien ce&rdquo\;\, the exhibition offers a presentation ranging from the first mo vie houses in Turkey to today&rsquo\;s festival halls. Elements connecting the audience with films and the cinema also constitute a major part of the exhibition: Newspaper advertisements\, programs and flyers\, brochures\, ma gazines\, and posters about films distributed by movie theaters. Another im portant section in the exhibition features scenes from close to 50 Turkish films showing spectators and auditoriums.

\n

For the exhibition\, a co mprehensive catalogue for the exhibition will be published. The catalogue w ill feature articles focusing on the relationship between film and audience \, along with various archival visual material.

DTEND:20141231 DTSTAMP:20140901T081439 DTSTART:20140925 GEO:41.00527;28.97696 LOCATION:ISTANBUL MUSEUM OF MODERN ART\,Meclis-i Mebusan Ave. Liman İşletme leri Sahası Antrepo No:4 Karaköy \n ISTANBUL\, SEQUENCE:0 SUMMARY:One Hundred Years of Love - The Affair between Film and Audience in Turkey UID:354089 END:VEVENT BEGIN:VEVENT DTEND:20140925T200000 DTSTAMP:20140901T081439 DTSTART:20140925T100000 GEO:41.00527;28.97696 LOCATION:ISTANBUL MUSEUM OF MODERN ART\,Meclis-i Mebusan Ave. Liman İşletme leri Sahası Antrepo No:4 Karaköy \n ISTANBUL\, SEQUENCE:0 SUMMARY:One Hundred Years of Love - The Affair between Film and Audience in Turkey UID:354090 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Audible Spaces \;presents three sound installat ions that encourage participants to explore the subtleties of listening.&nb sp\;Tristan Perich\, \;Zarouhie Abdalian\, and \;[The User] \;have each created immersi ve environments using seemingly uniform sounds that dissolve into tonal\, t actile\, and temporal variations as participants engage with them. Perich&r squo\;s \;Microtonal Wall(2011)\, on view in the Cohen Gallery at the Granoff Center\, demonstrates the extraordinary complexity that can be generated using only the most basic electronic tools. Drone like from a distance\, this 25 ft long sound \;field of 1-bit noise dissolves into 1500 unique frequencies. Abdalian&rsquo\;s \;In Unison \; (2014) draws attention to each individual&rsquo\;s singularly embodied expe rience of listening. Eight parametric speakers embedded in the Bell Gallery &rsquo\;s ceiling project sonic avenues of the same frequency that disrupt binaural hearing as they reverberate throughout. Twelve glass vessels\, eac h filled with enough water to produce the same tone\, also populate the gal lery. In their conspicuous silence they make visible the horizon of sound\, as each participant explores her own phenomenological limits. \; Final ly\, [The User]&rsquo\;sCoincidence Engine One: Universal People&rsquo\ ;s Republic Time \;(2008) makes the entropy of time audible. This amphitheater-like space filled with thousands of ticking clocks provokes qu estions about homogeny\, loss\, and the spaces of public address. Unified b y a shared economy of means\, all three projects prompt participants to con sider the dynamic relationship between sound\, space\, and personal subject ivity\, while addressing a distinct set of historical\, social\, and sonic concerns.

\n

Sound artist and theorist Brandon Labelle argues that &ld quo\;sound is intrinsically and unignorably relational: it emanates\, propa gates\, communicates\, vibrates\, and agitates\; it leaves a body and enter s others\; it binds and unhinges\, harmonizes and traumatizes\; it sends th e body moving\, the mind dreaming\, the air oscillating.&rdquo\;[1] \;This notion has permeated sound art since its inception and has driven artists to continually explore both the formal properties of singular sounds\, and the conditional nature of listening. In the 1960s\, minimal musicians in pa rticular took up this cause. They developed radically simplified compositio nal structures to experiment with the spatial and temporal apperception of sound\, in the hopes of expanding the horizons of aesthetic experience. Dra wing on their critical strategies\, the artists in \;Audible Spaces  \;use monotony\, seriality and repetition&mdash\;both visually an d sonically&mdash\;as they consider both \;what \;and  \;how \;we hear.

\n

 \;

DTEND:20141012 DTSTAMP:20140901T081439 DTSTART:20140830 GEO:41.826162;-71.405441 LOCATION:David Winton Bell Gallery\,List Art Center Brown University \, 64 College Street\nProvidence\, Rhode Island 02912 SEQUENCE:0 SUMMARY:Audible Spaces\, Tristan Perich\, Zarouhie Abdalian\, [The User] UID:354086 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The 100th Anniversary of World War I is to be marked in 2014 . That global war was one of the deadliest conflicts in history\, which sho ok humanity to its core and paved the way for major political changes and t ragic events of the 20th century.

\n

The State Museum and Exhibition C enter ROSPHOTO presents a unique exhibition project On Both Sides\, which g ives an opportunity to look at the events of WWI from a point of view of tw o participants of the conflict &ndash\; a Russian and German gunner officer s. The display features the rare and unique photographs from wartime photo albums from ROSPHOTO&rsquo\;s collection.

\n

Alas\, World War I is not a well-explored theme for the Russians\, we know little about its heroes a nd military operations. No sooner had the war finished than the Revolution and the Civil War broke out. The First World War I was treated as an imperi alistic conflict by the Soviet power and thus\, they did their best to wipe it from memory: no books were written\, no films were made to pay tribute to fallen heroes and victims of war. All that remained were archival docume nts and photographs.

\n

The exhibition On Both Sides not only reconstr ucts the dramatic events of WWI\, but also makes the viewers feel spiritual connection with Russia that we have lost. \;

\n

The guests to the display will see the amateur photographs from the album of Platon Alekseye v (1882&ndash\;1952)\, a staff captain of the 1st Life Guard Artillery Brig ade\, covering his life on the frontline from the first days of war to the February revolution of 1917.

\n

The featured album represents a record of all events that Platon Alekseyev witnessed during wartime: combat actio ns and redeployments\, the killed and wounded\, prisoners of war\, burials of comrades-in-arms\, decoration ceremonies and prayer services\, holidays and everyday life of soldiers and officers\, battlefield brotherhood. \ ;

The second part of the exhibition is dedicated to the photo al bum depicting the life of the officers of the German Army. Those pictures w ere taken from &ldquo\;the other side of the frontline&rdquo\; by Karl Joha nnes Konrad Strauss\, a lieutenant of the 2nd Bavarian Regiment of Field Ar tillery.

\n

One can see both albums in digital form at the exhibition. Besides\, they have prepared a special project &ldquo\;On the Eve of&helli p\;\,&rdquo\; covering the life of the Russian Empire in 1913 on the eve of WWI.

DTEND:20141012 DTSTAMP:20140901T081439 DTSTART:20140905 GEO:59.933264;30.310468 LOCATION:РОСФОТО (Rosphoto)\,35 Bolshaya Morskaya street \nSt Petersburg\, SEQUENCE:0 SUMMARY:The Exhibition Dedicated to World War I. On Both Sides. UID:354014 END:VEVENT BEGIN:VEVENT DTEND:20140904T200000 DTSTAMP:20140901T081439 DTSTART:20140904T180000 GEO:59.933264;30.310468 LOCATION:РОСФОТО (Rosphoto)\,35 Bolshaya Morskaya street \nSt Petersburg\, SEQUENCE:0 SUMMARY:The Exhibition Dedicated to World War I. On Both Sides. UID:354015 END:VEVENT END:VCALENDAR