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

Artist Statement:

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&ldquo\;In my visual experience Pac-Man came before Donald Judd\, Carl Andre or even Mondrian. For me Broad way Boogie Woogie will always be an homage to Pac-Man. My current work expl ores the visual connection between minimalism and early video games.

\n< p>&ldquo\;Video gaming and minimalism arrived at the same visual conclusion through different means and by opposite intentions. Early video gaming\, o r pixel-based imaging\, did not intend to be simple or minimal. It intended to communicate as much visual information as possible. The problem was tha t the memory available to store that visual information was extremely limit ed. The images created in early video gaming were so simplified that out of context they are unreadable as representational images. Early video gaming images are\, at best\, abstractions. They are minimal for lack of technolo gy. Minimalism on the other hand\, created objects that were minimal by des ign and intention Minimalism intend to reduce the art object to its simples t form.  \;Minimalist objects and images are based on formal ideas with no reference to image or outside narrative and have the appearance of a ma ss produced object. These two separate movements had quite opposite intenti ons with very similar visual results.

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&ldquo\;My current work explo res this connection between early pixel-based video game images. I limit my image making to the same constraints that governed early pixel based techn ologies. I use a minimal number of squares to create an image. The images a re formed into shaped steel canvases and are constructed using materials an d techniques traditionally used \;to \;build minimalist sculpture. Unlike the minimalist art object my objects are image based and lack a perf ect finish. The paint appearance acknowledges the history of ideas and  \;movements \;that preceded these objects\, but also distinguishes them from those same ideas and movements\, resulting in a pixel-based abstracti on.&rdquo\;

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-Michael Whiting\, artist

DTEND:20140426 DTSTAMP:20140421T125421 DTSTART:20140420 GEO:40.2655585;-111.6678793 LOCATION:Brigham Young University Museum of Art\,North Campus Drive \nProvo \, Utah 84602 SEQUENCE:0 SUMMARY: 8-bit modern\, Michael Whiting UID:333232 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Edward Burtynsky is a Canadian photographer\, renowned for h is photographic industrial scenes from around the world. Burtynsky&rsquo\;s photographs &ndash\; from factories in China to mines in Canada &ndash\; d isplay what Burtynsky calls &ldquo\;the beauty in the beast.&rdquo\; Ed ward Burtynsky: The Industrial Sublime is organized by the Frist Cente r for the Visual Arts\, Weber State University\, and the University of Wyom ing Art Museum.

DTEND:20140614 DTSTAMP:20140421T125421 DTSTART:20140420 GEO:40.2655585;-111.6678793 LOCATION:Brigham Young University Museum of Art\,North Campus Drive \nProvo \, Utah 84602 SEQUENCE:0 SUMMARY: The Industrial Sublime\, Edward Burtynsky UID:333231 END:VEVENT BEGIN:VEVENT DESCRIPTION:

A new exhibition of paintings from the collections of Diane and Sam Stewart and the Brigham Young University Museum of Art showcasing t he crossroads of modernism and the American Southwest\, Simpler\, Brigh ter\, Stronger features a selection of early twentieth-century paintin gs that represent the inspiration that artists in the region drew from earl y European modernists.

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About the Exhibition

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For many earl y twentieth-century artists in the American Southwest\, the academic realis m of the period seemed inadequate to express the emotional intensity of enc ountering towering mountains\, sweeping desert vistas\, blindingly clear su nlight\, and absolute solitude in nature. Their paintings drew inspiration from early European modernists. Monet&rsquo\;s dabs of pure color\, C&eacut e\;zanne&rsquo\;s geometric mountains\, van Gogh&rsquo\;s emotion-charged b rushstrokes\, Matisse&rsquo\;s unnaturally bright colors\, and Picasso&rsqu o\;s fragmented images all found admirers and imitators among American arti sts in this region.

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Simpler
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One approach to distilling th e essential qualities of the Southwestern landscape was to simplify the vie w by deleting many of the details and transforming the big natural shapes i nto bold geometric patterns.

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Brighter
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Many artists arrivi ng in the Southwest were stunned by the brilliant sunlight and vivid colors of the region. They responded with a more intense palette of warmer colors \, brighter highlights\, and deeper shadows.

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Stronger
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So me regional painters imbued their subjects with a sense of vibrant life and dramatic motion by emphasizing rhythmic lines and juxtaposing dynamic form s and exaggerated hues.

DTEND:20140726 DTSTAMP:20140421T125421 DTSTART:20131018 GEO:40.2655585;-111.6678793 LOCATION:Brigham Young University Museum of Art\,North Campus Drive \nProvo \, Utah 84602 SEQUENCE:0 SUMMARY:Simpler\, Brighter\, Stronger - Early Modernism and Southwest Ameri can Art\, Conrad Buff\, Harold “Buck” Weaver\, Harold Joe Waldrum\, Gerald Curtis Delano UID:333230 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Sacred Gifts: The Religious Art of Carl Bloch\, Heinrich Hofmann and Frans Schwartz is an all-new exhibition opening at the Br igham Young University Museum of Art on November 15\, 2013.The exhibition w ill feature nearly two dozen beloved paintings of the life of Jesus Christ by three European master painters from the late-19th century. Most of these works have never before been on view in the United States\, and are being loaned to the BYU Museum of Art under extraordinary circumstances from chur ches and museums in Germany\, Sweden\, Denmark and New York.Sacred Gift swill explore and celebrate the many precious gifts represented by the se outstanding portrayals of the Savior. The BYU Museum of Art invites patr ons to partake of these sacred offerings and discover the miraculous gifts that have made the exhibition possible.

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The term &ldquo\;Sacred Gif ts&rdquo\; as employed in the exhibition&rsquo\;s title and themes was deri ved from a Latter-day Saint scriptural reference:

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&ld quo\;&hellip\;thy gift&hellip\; is sacred and cometh from above&ndash\;&rdq uo\;
- Doctrine &\; Covenants 6:10

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DTEND:20140510 DTSTAMP:20140421T125421 DTSTART:20131115 GEO:40.2655585;-111.6678793 LOCATION:Brigham Young University Museum of Art\,North Campus Drive \nProvo \, Utah 84602 SEQUENCE:0 SUMMARY:Sacred Gifts: The Religious Art of Carl Bloch\, Heinrich Hofmann an d Frans Schwartz\, Carl Bloch\, Heinrich Hofmann\, Frans Schwartz UID:333229 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Take a glimpse into the late-19th Century American West as c aptured by Timothy O&rsquo\;Sullivan\, whose photographs are viewed today a s some of the most compelling of their time. Taken as part of the King Surv ey expedition to gather practical and scientific information about the unde veloped American territory west of the Missouri River\, these photographs p layed a crucial role in the way we think about landscape photography today\ , representing an ideal balance between fact and interpretation.

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This exhibition has been organized by The Nelson-Atkins Museum of Art.

DTEND:20140526 DTSTAMP:20140421T125421 DTSTART:20140123 GEO:40.2655585;-111.6678793 LOCATION:Brigham Young University Museum of Art\,North Campus Drive \nProvo \, Utah 84602 SEQUENCE:0 SUMMARY: The King Survey Photographs\, Timothy O’Sullivan UID:333228 END:VEVENT BEGIN:VEVENT DESCRIPTION:

ARTIST STATEMENT

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&ldquo\;&hellip\;At the core of m y work are ideas about place\, memory\, home and how we come to know oursel ves and our world through our experiences of it- both first hand in real li fe\, and second hand through things like movies\, theater and storytelling. My work occupies that fine line between fiction and reality. Is it a memor y from my own childhood or am I just recalling a scene from a movie?

\n< p>&ldquo\;I make installations that immerse the viewer in a space created w ith projected light and images. Due to the universally recognizable imagery of these spaces\, (a sea-side village\, a desert landscape) the installati ons seem to pivot between the personal memory of a place and the collective memory gained through cultural representation of a place. These spaces fee l familiar but provide glimpses of a past that you&rsquo\;ve never lived. T he inferred narrative is one of stasis\, in which a backdrop has been provi ded but sets the stage for no action. The illusion depends upon the darknes s in which it resides. This place is made of light\, you are not actually h ere.&rdquo\;

DTEND:20140809 DTSTAMP:20140421T125421 DTSTART:20140404 GEO:40.2655585;-111.6678793 LOCATION:Brigham Young University Museum of Art\,North Campus Drive \nProvo \, Utah 84602 SEQUENCE:0 SUMMARY:e.g. \, Sarah O Donnell UID:333227 END:VEVENT BEGIN:VEVENT DESCRIPTION:

"Die Meise benutzt die Haare des Mä\;dchens\, um damit ihr Nest zu polstern"

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A child carries a bird&rsquo\;s nest in his hands whose inside is bolstered with hair. The s ensitivity applied to build the nest is quite remarkable. It is not just a simple nest but a cosy villa for the offspring. Whether &ldquo\;prestige&rd quo\; respectively &ldquo\;status&rdquo\; - as for humans - were a major im petus cannot be answered easily.

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At the time when the Hü\;rlima nn-Villa was built in 1897/1898\, status as well as &ldquo\;building a nest &rdquo\; most likely had been important incentives for the builder and the architect. Pomp\, style and size of the villa still remind us of the time o f creation\; the portraits of all six children of the family have been immo rtalized at the faç\;ade of the house. Private life was covered in a prestigious package just like personal thoughts are visualized in an artwor k.

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In her first solo exhibition at SCHEUBLEIN + BAK\, Andrea Heller presents a new body of work\, including watercolour and ink drawings on pa per\, objects made out of different materials (amongst others mouth blown g lass) and text pieces.

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These text works derive from the artist&rsqu o\;s own collection of citations (private text messages\, newspaper\, inter net) as for example the title of this exhibition. The citations do not reve al their sources and therefore leave behind their original context. Thereby they are becoming general statements and are reflecting our complex ever c hanging private everyday life - between virtuality and reality\, respective ly public and private.

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Andrea Heller (*1975) studied Fine Arts at t he Hochschule fü\;r Bildende Kü\;nste in Hamburg as well as at the Zü\;rcher Hochschule der Kü\;nste in Zurich. Between 2004 and 2006 she had been awarded with a studio scholarship at the Stiftung Binz 39 as w ell as a studio by the city of Zurich in the Cité\; des Arts in Paris . In 2011 she was invited for a solo exhibition at the Helmhaus Zurich\, wh ich was accompanied by her first monograph &ldquo\;Die Wurzeln sind die B&a uml\;ume der Kartoffeln&rdquo\; (ed. Patrick Frey). The artist lives and wo rks in Paris and Zurich.

DTEND:20140530 DTSTAMP:20140421T125421 DTSTART:20140416 GEO:47.3632069;8.5250232 LOCATION:Scheublein + Bak\,Schloss Sihlberg\, Sihlberg 10 \nZurich\, CH- 80 02 SEQUENCE:0 SUMMARY:Solo Exhibition\, Andrea Heller UID:333145 END:VEVENT BEGIN:VEVENT DTEND:20140416T200000 DTSTAMP:20140421T125421 DTSTART:20140416T180000 GEO:47.3632069;8.5250232 LOCATION:Scheublein + Bak\,Schloss Sihlberg\, Sihlberg 10 \nZurich\, CH- 80 02 SEQUENCE:0 SUMMARY:Solo Exhibition\, Andrea Heller UID:333146 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Carla Ferná\;ndez: The Barefoot Designer: A Passio n for Radical Design and Community will explore the traditions and tec hniques of indigenous Mexican artisans and how they can be applied to moder n fashion and styles.

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Carla Ferná\;ndez has gained internatio nal recognition for her extraordinary approach to documenting and preservin g the rich textile heritage of Mexico's indigenous communities by transform ing it into beautiful contemporary clothing\, and proving tradition is anyt hing but static.

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This first-ever fashion exhibition at the Gardner Museum explores the development of a new language in visual design that Fer ná\;ndez has built over two decades. She uses a method called "the Sq uare Root" based on the Mexican tradition of making clothing from squares a nd rectangles. This process emphasizes forms of fabric and delicate\, thoug htful construction based on whole fabric\, as opposed to cutting in curves and molding to the body.

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The Barefoot Designer is multi-fa ceted exhibition consisting of garments\, textiles\, drawings\, photographs \, performance\, video\, workshops and source materials demonstrating Fern& aacute\;ndez's multi-layered design process. A key component of that proces s is her design workshop Taller Flora\, a mobile laboratory that collaborat es with Mexico's indigenous communities\, a sustainable business model base d on close collaboration with and recognition of local knowledge and talent . During her career\, Ferná\;ndez has worked with many indigenous com munities throughout Mexico. The exhibition will highlight the styles and te chniques of five states: Chiapas\, Yucatan\, Campeche\, the State of Mexico and Mexico City.

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Mobility and collaboration can be seen and felt t hroughout the exhibition: in its installation\, multiple films and monthly dance performances\, as well as workshops for the public. The garments and mannequins are positioned on life-sized\, mobile displays. Ferná\;nde z has also activated the garments through a live and filmed dance performan ce by dancers Raushan Mitchell and Silas Reiner\, bringing to life the noti on of "clothing as canvas." The exhibition will include short process video s of weavers\, embroiderers\, and carpenters by photographer and filmmaker Ramiro Chaves\, as well as fashion films produced by Chaves and Pedro Torre s in New York City\, Boston and Mexico City. A series of fashion photos by photographer Graciela Iturbide will be on view. A large workshop table adds a hands-on visitor experience to the exhibition\, with a variety of worksh ops scheduled. Ferná\;ndez will run a two-day clothing workshop as we ll as workshops with the Gardner's School and Community Partnership Program s.

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"I want people to understand that you can find happiness many di fferent ways\, and one way is by creating goods by hand and making things u nique to the artist\," Ferná\;ndez said. "Discovering the process hel ps people to understand how these different worlds work\, because you fall in love with the artisan\, and then you fall in love with the piece. You ca n create a whole economy based on the artists\, and how their work is made. "

DTEND:20140901 DTSTAMP:20140421T125421 DTSTART:20140417 GEO:42.338673;-71.098301 LOCATION:Isabella Stewart Gardner Museum\,280 The Fenway \nBoston \, MA 021 15 SEQUENCE:0 SUMMARY:The Barefoot Designer: A Passion for Radical Design and Community\, Carla Fernandez UID:333140 END:VEVENT BEGIN:VEVENT DTEND:20140417T200000 DTSTAMP:20140421T125421 DTSTART:20140417T180000 GEO:42.338673;-71.098301 LOCATION:Isabella Stewart Gardner Museum\,280 The Fenway \nBoston \, MA 021 15 SEQUENCE:0 SUMMARY:The Barefoot Designer: A Passion for Radical Design and Community\, Carla Fernandez UID:333141 END:VEVENT BEGIN:VEVENT DESCRIPTION:

For the inaugural exhibition at SPACE\, Maura Reilly curated Pace Gems. Kelly O&rsquo\;Connor\, the Exhibitions &\; Collect ions Officer\, organized the selection of works from the Foundation's perma nent collection. Pace Gems aims to accurately reflect Pace&rsquo\; s overarching collection criteria\, which focused on artists linked with th e Artpace residency program and its related Hudson Show Room exhibitions\, as well as other internationally recognized artists.

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In addition to local San Antonio and regional artists\, such as Forrest Bess\, Franco Mon dini-Ruiz\, John Pomara\, Linda Pace\, and Dario Robleto\, other select art works in Pace Gems include Catherine Opie\, Donald Moffett\, Lynda Benglis\, Kendell Geers\, Teresita Fernandez\, Mona Hatoum\, Jim Hodges\, Yayoi Kusama\, Daniel Joseph Martinez\, Marilyn Minter\, Glenn Ligon\, and Wangechi Mutu. The Foundation's newest acquisition\, a monumental sculpture by Andrea Bowers\, Memorial to Arcadia Woodlands Clear-Cut (2013) \, is included in the Pace Gems exhibition.

DTEND:20140913 DTSTAMP:20140421T125421 DTSTART:20140418 GEO:29.4128408;-98.5006775 LOCATION:SPACE: The Linda Pace Foundation Gallery\,111 Camp Street \nSan An tonio\, TX 78204 SEQUENCE:0 SUMMARY:Pace Gems: Selections from the Linda Pace Foundation Permanent Coll ection\, Catherine Opie\, Donald Moffett\, Lynda Benglis\, Kendell Geers\, Teresita Fernández\, Mona Hatoum\, Jim Hodges\, Yayoi Kusama\, Daniel Josep h Martinez\, Forrest Bess\, Franco Mondini-Ruiz\, John Pomara\, Linda Pace\ , Dario Robleto\, Marilyn Minter\, Glenn Ligon\, Andrea Bowers\, Wangechi M utu UID:333139 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Ikkan Art Gallery is pleased to present Extant Phantoms\, an exhibition of early
work by widely acclaimed American artist\, Gary S immons. This is the first solo
presentation of his works in Singapore.
Extant Phantoms features some of Simmon&rsquo\;s first chalk drawings on blackboards
done in the artist&rsquo\;s &ldquo\;erasure&rdquo\; te chnique\, not seen since its presentation at the
Hirshhorn Museum and Sculpture Garden in Washington\, DC in 1994. The
chalkboard and its hi story as a tool for disseminating knowledge become an
investigative si te into how ideas about race are deeply embedded in the
structures of our academic and cultural institutions.
Addressing personal and collec tive histories of race and class\, Disinformation
Supremacy Board inte rrogates educational hegemony and prevailing notions of
white supremac y in pedagogy while Simmon&rsquo\;s early Erasure drawings appropriate
from vintage cartoons and mass culture to highlight the role of televised media
in perpetuating racial stereotypes. From the crows of Disney&rsq uo\;s &ldquo\;Dumbo&rdquo\; to
Honey in Looney Tunes&rsquo\; &ldquo\;B osko&rdquo\;\, Simmons explains that he wanted to show
&ldquo\;how we can attempt to erase the stereotype\, but the image won&rsquo\;t easily go away\,
it persists&rdquo\;.
The inherent performative nature of t he Erasure drawings and its ghostly gestural
marks maintain visual all ure that seduces while challenging the viewer\, eliciting
personal chi ldhood memories and summoning it to the realm of the political:
&ldquo \;We are all haunted by the past and by longing. A ghost is a presence you feel
but cannot see. It&rsquo\;s the hidden element in the room\, the mental traces that
are always with us: personal experiences\, fantasie s\, perceptions or world
events. My work\, in general\, comes from the memories of events and images
that I\, and I imagine others\, are hau nted by.&rdquo\; Gary Simmons in Conversation
with Okwui Enwezor\, Gar y Simmons: Paradise\, 2012\, Damiani Press
Gary Simmons (b. 1964)\, li ves and works in New York City. He graduated from
the School of Visual Arts in New York\, and completed an MFA at the California
Institute o f the Arts in Valencia\, California. Simmons&rsquo\; work has been included in
exhibitions at the Whitney Museum of American Art\, New York\; the Museum of
Modern Art\, New York\; the Studio Museum of Harlem\, New Y ork\; Walker Art
Centre\, Minneapolis\; the Rubell Family Collection\, Miami\; the Kunsthaus
Zü\;rich\, Zü\;rich\; the Hirshhorn Mus eum\, Washington DC\; the Museum of
Contemporary Art\, Chicago\; and t he Institute of Contemporary Arts\, London.

DTEND:20140628 DTSTAMP:20140421T125421 DTSTART:20140530 GEO:1.272078;103.836708 LOCATION:Ikkan Art Gallery\,39 Keppel Road\, #01-05 Tanjong Pagar Distripar k\n Singapore \, 089065 SEQUENCE:0 SUMMARY:Extant Phantoms\, Gary Simmons UID:333133 END:VEVENT BEGIN:VEVENT DTEND:20140530T200000 DTSTAMP:20140421T125421 DTSTART:20140530T180000 GEO:1.272078;103.836708 LOCATION:Ikkan Art Gallery\,39 Keppel Road\, #01-05 Tanjong Pagar Distripar k\n Singapore \, 089065 SEQUENCE:0 SUMMARY:Extant Phantoms\, Gary Simmons UID:333134 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Curator's Statement:
'Wild Garden'

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Wild flowers are scarce in gardens. Any gardener\, however\, knows what a strugg le it is to uproot them. If one looks closely\, he will find that &ldquo\;p rimitive&rdquo\; beings\, which can be compared to weeds\, should be held i n high regard. As long as these wildflowers are devoted attention\, care\, and concentration\, they will prosper and bloom. Autodidact and self-learne d artists\, liberated from chains and bonds\, current styles\, and movement s in contemporary art\, resemble these wildflowers as they continue living their own artistic life. I envy their sagacity and creative spirit. Please\ , do not accuse me of indulging in the desires of wild beings. I do not ind ulge in illusory romantic discourse. My words are about the men as I see th em. I do not want to idealize them because of the limits of their horizons\ ; their madness\; their stubbornness\; and restricted worlds which are unfa thomable to me.

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That being said\, you may be wondering why I have engaged in the defence of the uncultivated&hellip\; The reason behind it is very clear: these &ldquo\;primitive&rdquo\; and illiterate men are a t the origin of art and literature. The matrix of literature indeed derived from legends and myths\, and the rhythm of children&rsquo\;s tunes\, tales and lyrics\, prayers and riddles&hellip\;
The aim of education and l iteracy\, however\, was never related to the enlightenment of the mind. Tho se who called themselves humanists\, those who fanatically supported &ldquo \;education&rdquo\; were only the defenders of industry and capitalism\, th at very industry that required the state to be provided with skilled worker s. That development was nothing but an expression to tame the uneducated\, to take away their imagination\, opinions\, to wash their minds of original thought\, so that not only their physical strength and technical skills wo uld be taken advantage of\, but that their brains would also be exploited!< /p>\n

The aim of this &ldquo\;Wild Garden&rdquo\; exhibition is to introd uce you to three genuine artists (Hasan Hazer Moshar\, Salim Karami\, and D avood Koochaki). As indigenous artists\, they have organically evolved in t heir rich environment\, in deep layers reflected in their work because they are a living part of their own autochthonous natural\, social and historic al milieu. They reveal their existence without any veil\, as they do not we ar the mask of &ldquo\;enlightenment&rdquo\;. This is one of the most promi nent aspects of their work. They\, however\, cannot escape social constrain t\, as they are deprived from formal and academic knowledge. We\, as protec tors of this type of contemporary art\, should be the transmitters of these insights in the public forums of art in order to prevent autodidact learni ng to be mistaken for ignorance.

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Morteza Zahedi
2014\, Iran\n

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DTEND:20140522 DTSTAMP:20140421T125421 DTSTART:20140419 GEO:25.2145565;55.3032906 LOCATION:XVA Gallery Al Fahidi\,Al Fahidi Neighborhood \nBur Dubai\, SEQUENCE:0 SUMMARY:Wild Garden\, Hasan Hazer Mashar\, Salim Karami\, Davood Koocheki UID:333132 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Self-taught artist John Frank Sabado hails from the Mountain Province of the Philippines. Known for his intricate\, tapestry-like lands capes wrought from biro- point\, Sabado re-introduces to us the universal e thnic in his new exhibition &ldquo\;Northern Postcards.&rdquo\;

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In this new monochromatic series\, he presents an artistic practice delicate i n detail and method that is akin to weaving the filaments of fiber of a tex tile. &ldquo\;Northern Postcards&rdquo\; weigh the ecological struggle betw een the utopian land and the technology&rsquo\;s aggressive hand. As with p ostcards\, the intricate landscapes in Sabado&rsquo\;s works suggest a chan nel of communication: the sender of which is an indigenous echo projected t owards the context of the contemporary as a material and transcendent affai r.

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John Frank Sabado (b. 1969\, Benguet\, Philippines) is an autodi dact whose skills and imagery have been recognized by art institutions in t he Asia Pacific since 1999. In 2000\, he received the Cultural Center of th e Philippines&rsquo\; 13 Artists Award and was the Juror&rsquo\;s Choice in the Philippine Art Awards. John Frank Sabado has been exhibiting since 199 0 in his home province in Benguet and Manila\, Philippines. His practice ha s been featured in the 3rd Asia Pacific Triennale in Brisbane\, Australia\, the 16th International Art Exhibition in Guandong Mu seum of Art in China as well as the 3rd Asean Travelling Exhibit ion that debuted in Kuala Lumpur\, Malaysia and the 2nd Fukuoka Asian Art Triennal in Japan. His last solo exhibition was in 2012 in The Dr awing Room Manila.

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DTEND:20140608 DTSTAMP:20140421T125421 DTSTART:20140509 GEO:1.2770282;103.8035136 LOCATION:The Drawing Room - Singapore\,Block 5 Lock Road #01-06 Gillman Bar racks \nSingapore \, 108933 SEQUENCE:0 SUMMARY:NORTHERN POSTCARDS \, John Frank Sabado UID:333128 END:VEVENT BEGIN:VEVENT DTEND:20140509T200000 DTSTAMP:20140421T125421 DTSTART:20140509T180000 GEO:1.2770282;103.8035136 LOCATION:The Drawing Room - Singapore\,Block 5 Lock Road #01-06 Gillman Bar racks \nSingapore \, 108933 SEQUENCE:0 SUMMARY:NORTHERN POSTCARDS \, John Frank Sabado UID:333129 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The annual display by graduating MFA candidates at the Unive rsity of Georgia's Lamar Dodd School of Art.

DTEND:20140504 DTSTAMP:20140421T125421 DTSTART:20140412 GEO:33.9447369;-83.3790812 LOCATION:Georgia Museum of Art\,90 Carlton Street University of Georgia \n Athens\, GA 30602-6719 SEQUENCE:0 SUMMARY:Master of Fine Arts Degree Candidates Exhibition\, Natalia Arellano Blamey\, Lauren Mary Bullock\, Mike Levine\, Aaron Tzvi Izaksonas-Smith\, Lyndey Clayborn\, Jourdan Joly\, Jacob Brault\, Jenna Katherine Kriegel\, B rittainy Lauback\, Caitlin Bieleta\, Manty Dey\, Kaelynn Hong\, Patrick Wal ter\, Yu-hsien Shen\, Yuan Quan\, Elizabeth Bradford Kleene UID:333034 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Cyril Massimelli&lsquo\;s lounges are a show space and a sym bol of the modern and urban life. Cyril Massimelli has been dealing with th is topic for quite some time. With his great knowledge of modern architectu re and contemporary design\, he carries out the passive enjoyment of life i n different\, detailed crafted settings.
Bars\, private rooms\, garde ns and ticket halls become perfectly staged scenes where mostly young peopl e gather together in a relaxed atmosphere. However\, the protagonists alway s remain somewhat idealistic\, artificial and self-absorbed. They seem to b e almost like developed ornaments that the painter puts right next to the r ugs\, designer furniture and lamps only for the sake of the stage. At the s ame time the staged lounges are very alluring despite or maybe because of t he artificiality. The viewer is fascinated by the stylish and cool world an d wants to become a part of it.
The tailoring of the history of pain ting is clearly noticeable in Cyril Massimelli&lsquo\;s work. References to famous painter such as Caravaggio\, Tizian\, Manet and Hopper can be found in his works.
Cyril Massimelli has been living in Dresden since 2005 . The Paris-born studied photography and painting at the É\;cole nati onale supé\;rieure des Arts Dé\;coratifs de Paris. In the begin ning he worked as a freelance architectural photographer\, and since 2001 h e&lsquo\;s been devoting himself to painting.

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On the occasion of th e exhibition the catalogue "Lounges" will be published at Seemann- Henschel Publishing.

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&bdquo\;CATS AND DOGS&ldquo\;- WILL KURTZ

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The life-size sculptures by Will Kurtz which crowd the gallery room are the por traits of his New York environment. His sculptures range from his family me mbers and his dog Artie\, to people who he randomly met on the street. It&l squo\;s a cheeky look\, he does not glamorize and does not go easy on his m odels. No &bdquo\;spare tire&ldquo\;\, poorly fitting clothes or unfavorabl e pose are left out. It is much more about presenting people with their inp erfect peculiar humanity.
He did not begin his creation with human fi gures\, but with an animal\, his own pet to be exact. The reason for this i s quite obvious\, the animals are also a part of his environment. The anima ls reflect the unprejudiced and unbiased life - they play\, sniff around\, sleep and unimpededly go after their own needs. They also allow almost anyo ne access. Through his work\, Will Kurtz wants to open boundaries and inclu de broader base of people in the art world\, regardless of financial backgr ound\, social status\, race\, age or skin color.
Encountering his nex t model on the street\, he takes a picture unnoticed\, in order to capture the typical movement. Finally\, he forms a sort of a skeleton out of differ net materials\, which he gradually covers with colorful newspaper as if cre ating new skin layers\, and coats them until he created a complete naked bo dy. Afterwards\, he forms it with more newspaper layers\, clothes and compl iments it with accessories such as wigs\, hats\, canes or a dog leash. On t he one hand\, he uses newspaper pieces very pictorially\, he uses it as his starting base in order to put different color shades into interaction. On the other\, the word-and picture elements serve as a critique commentary on the media and society. Will Kurtz started to be a professional artist at t he age of 50. After long successful years as a landscape architect and work ing with art in his spare time\, he decided to enroll at the New York Acade my of Art in 2007 and focus on art completely. The exhibition &bdquo\;Anima ted Lounges&ldquo\; will be the first European exhibition of the successful \, American artist.

DTEND:20140614 DTSTAMP:20140421T125421 DTSTART:20140503 GEO:51.327474;12.319472 LOCATION:Galerie Queen Anne\,Spinnereistr. 7 \nLeipzig\, 04179 SEQUENCE:0 SUMMARY:ANIMATED LOUNGES \, Cyril Massimelli\, Will Kurtz UID:333032 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Since 1993\, the Johnson Museum has collaborated with Cornel l&rsquo\;s Department of the History of Art to provide opportunities for in terested undergraduates to gain direct museum experience by organizing an e xhibition. This year\, enticing the eye / exploring the frame expl ores how art is a simultaneous reflection of the artist and the viewer. Thr ough this lens\, the exhibition examines framing through abstraction\, iden tity\, and the medium itself in works from a wide range of periods and medi a in order to broaden understanding of the complex effect of framing on the viewer&rsquo\;s experience. The exhibition aims to convince the viewer tha t no aspect of a work of art is accidental. The focus of a photograph\, the interaction between two lines on a canvas\, each deep incision in a piece of marble&mdash\;all demonstrate something unique\, both about the work of art and the artist&rsquo\;s message.

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The way subject and message ar e presented through a frame leads to a deeper understanding of the work its elf. We look at a straightforward way of framing\, through physical frames of architecture or the surroundings. We move to less tangible manipulations of the frame through abstraction and negative space. Some artists whose wo rks have been chosen for enticing the eye / exploring the frame ha ve structured their frame in a way that asks more of the viewer and does no t always offer immediate gratification. The \;History of Art Majors&rsq uo\; Society \;urges visitors to be active viewers\, constantl y asking the question of how a piece of art is &ldquo\;framed&rdquo\;&mdash \;both literally and within a larger context. \;

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In addition to the exhibition\, the Society has expanded its social media presence in eff orts to engage with audiences on a new level. Through weekly \;blog&nbs p\;posts and an active \;Instagram\, we have engaged the larger Cornell community\, as well as art lovers and museums internationally\, in our cur atorial explorations. This has also helped our team to see what we are doin g through a different lens. We are hopeful that these activities will not o nly stir excitement for the show but also help interested viewers to unders tand our process and engage with enticing the eye / exploring the frame from start to finish. We hope to forge connections with visitors who will respond to a work with an intense feeling&mdash\;when this happens\, y ou have shared a connection with the artist in a unique and personal way. Y ou&rsquo\;ve shared a mind-set. You&rsquo\;ve shared a frame.

DTEND:20140706 DTSTAMP:20140421T125421 DTSTART:20140419 GEO:42.4507239;-76.485587 LOCATION:Herbert F. Johnson Museum of Art\,Cornell University 114 Central A venue\n Ithaca\, NY 14853-4001 SEQUENCE:0 SUMMARY:enticing the eye / exploring the frame UID:333030 END:VEVENT BEGIN:VEVENT DTEND:20140419T170000 DTSTAMP:20140421T125421 DTSTART:20140419T100000 GEO:42.4507239;-76.485587 LOCATION:Herbert F. Johnson Museum of Art\,Cornell University 114 Central A venue\n Ithaca\, NY 14853-4001 SEQUENCE:0 SUMMARY:enticing the eye / exploring the frame UID:333031 END:VEVENT BEGIN:VEVENT DESCRIPTION:

From Travels to Japan\, Italy\, and India

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< br />My work evolves due to internal as well as exter nal influences. I find as my years advance that certain experiences\, image s from my past lie dormant within me and occassionally rise to my conscious ness and nurture me as food for creative thought. Recent work is more sculp tural in essence. Though predominantly making work in the wood fire genre\, I am eager to experiment with mixed media as well as a wider spectrum of c eramic surfaces including but not exclusive to wood firing. I choose not to be limited to a small corner of space that &lsquo\;defines&rsquo\; who I a m and what I make.

DTEND:20140524 DTSTAMP:20140421T125421 DTSTART:20140426 GEO:42.4600875;-71.349482 LOCATION:Lacoste Gallery\,25 Main Street \nConcord \, MA 01742 SEQUENCE:0 SUMMARY:Architectural Fragments \, Jeff Shapiro UID:333028 END:VEVENT BEGIN:VEVENT DTEND:20140426T170000 DTSTAMP:20140421T125421 DTSTART:20140426T150000 GEO:42.4600875;-71.349482 LOCATION:Lacoste Gallery\,25 Main Street \nConcord \, MA 01742 SEQUENCE:0 SUMMARY:Architectural Fragments \, Jeff Shapiro UID:333029 END:VEVENT END:VCALENDAR