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In conjunction with The Mo vement: Bob Adelman and Civil Rights Era Photography exhibiti on \, NSU Museum of Art presents an exhibition of four videos by Zachary Fa bri. As a young artist of Jamaican and Hungarian heritage\, Fabri&rsquo\;s work is created in dialogue with historical events and ideologies that shap e our present. The films are scattered throughout the museum as stepping st ones for the viewer&rsquo\;s passage through time and space. Fabri explores the movement and politics of the body and uses humor as a subversive tool that entices viewers to engage his work\, and to ultimately shift their per spective in relation to the subject.

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Me and Them

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The pronouns Fabri often uses in the titles of his work are deliberately vague. In Me and Them\, it is not clear who is being identified as &ldquo\;me&rdquo\; or &ldquo\;them&rdquo\;&mdash\;the dancers\, the Wester n woman\, the artist filming the scene\, or the viewer. \; As in most o f Fabri&rsquo\;s work\, viewers need to locate themselves in relation to th e subject as insider or outsider. \; Fabri used his camera to record th ree girls performing a traditional dance in Darjeeling\, India that from a Westerner&rsquo\;s perspective seems exotic. \; The artist is as much a n outsider of this tradition as the cheerful tourist who joins in the dance . The film is funny and uncomfortable as the viewer&rsquo\;s response const antly shifts in perspective.

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olo Combo

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Fabri use s film to record fleeting moments and the ephemeral nature of performance a rt. In this film\, his movements were choreographed to respond to the ephem eral elements of light\, shadow\, solid and air.

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Fortune&rsquo\;s Bones

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This film was commissioned by the El Museo del Barr io located on New York&rsquo\;s Museum Mile on Fifth Avenue. Fabri used vid eo to document his guerrilla performance in which he and a group of partici pants marched into various museums along Fifth Avenue. During his visit to the Metropolitan Museum of Art\, he improvised a ritualistic dance in the A frican wing.

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The film&rsquo\;s title is a reference to a skeleton of a slave called Fortune\, found in a closet and exhibited by the Mattituck Museum in Waterbury\, Connecticut until 1970 . Fabri notes that his intervention in the Metropolitan Museum of Art&rsquo \;s African wing addresses the metaphoric skeletons in the closet of cultur al institutions. His performance at the Met was a means to reclaim the forg otten bones of African and indigenous people. His work questions how museum s acquire artifacts\, especially those of other cultures.

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Forget me not\, as my tether is clipped

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Forget me not\, as my tether is clipped is an eloquent mediation on the artist&rsquo\;s rel ationship to history\, the ideologies and beliefs that define him and his t ransformation as he gains experience and knowledge. Shot in 16 mm black and white film in Harlem in and around Marcus Garvey Park\, the work is a meta phor for memory and the weight of history. \; The title beseeches the a rtist and/or the viewer not to forget the past and the ideas that shape ide ntity even as the action recorded by the film expresses the inevitability o f transformation. Even the medium of 16 mm film suggests dated technology\, thereby infusing the work with a sense of nostalgia. Fabri&rsquo\;s choice of location for his performance is rife with references to the past: Harle m is a historical place that has evolved over time\, and Marcus Garvey Park is dedicated to the Jamaican political leader who was a proponent of Black Nationalism and Pan African movements in the early twentieth century. As a young Jamaican man\, born and raised in Miami and currently living and wor king in New York\, Fabri used his own dreadlocks as the physical manifestat ion of the Rastafarian traditions that shaped him. \; The balloons that are tethered to his hair suggest both the weight and buoyancy of past ideo logies. His hair defines who he is by gender\, race and politics. Yet these definitions also place limits on his identity. As he ritualistically ties the balloons to the coils of matted hair\, they form a cocoon from which he emerges transformed after he clips his hair and both balloons and dreadloc ks float away.

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DTEND:20140517 DTSTAMP:20140418T190122 DTSTART:20140119 GEO:26.1182209;-80.106958 LOCATION:Museum of Art Fort Lauderdale\,1 East Las Olas Blvd. \nFort Lauder dale\, FL SEQUENCE:0 SUMMARY:Forget me not\, as my tether is clipped\, Zachary Fabri UID:332317 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Every city has a building that is emblematic of its culture and history. New York has the Empire State Bu ilding and Paris has the Eiffel Tower. For Miami\, Florida\, that building is the Ralph Munroe Marine Stadium\, a modernist concrete structure that lo oks like an origami rendition of the Sydney Opera House. Designed in 1963 b y a young Cuban architect named Hilario Candela\, this 6\,566-seat stadium is a marvel of design and engineering that takes its architectural cues fro m Havana&rsquo\;s Tropicana Nightclub. With a football field-length rooflin e (356 ft.) that was the longest span of cantilevered concrete in the world when it was built\, the stadium was designed for watching speed boat racin g at a time when Miami was the epicenter of the sport. The Marine Stadium a lso mirrored the cultural heartbeat of Miami\, hosting stars like Jimmy Buf fett\, Gloria Estefan\, Dave Brubeck\, the Beach Boys\, and Ray Charles on its dramatic floating stage. Flamboyant enough to serve as a set for Elvis Presley&rsquo\;s film Clambake\, it was also majestic enough to host religi ous services and political rallies.

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T hough shuttered and neglected since 1992 when the City cited unsafe conditi ons after Hurricane Andrew\, Miami&rsquo\;s architectural jewel has continu ed to be a focal point for cutting-edge artistic trends. Graffiti artists a nd skateboarders have turned its ramps and raw concrete expanses into one o f the nation&rsquo\;s most important venues for street art. Contemporary ar tists\, engineering scholars\, architects\, photographers\, and designers c ontinue to be mesmerized and influenced by its soaring roofline and panoram ic water views.

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This exhibit features film clips\, antique hydroplanes\, videos of Parkour athletes&rsquo\; stun ts\, site-specific graffiti murals\, and much more\, this multi-media exhib it will bring Miami&rsquo\;s most daringly modern building back to dazzling life. This exhibit is curated by Rosa Lowinger and Megan Schmitt\, present ed by the Coral Gables Museum\, and supported by the Friends of the Miami M arine Stadium and the National Historic Trust.

DTEND:20140531 DTSTAMP:20140418T190122 DTSTART:20140224 GEO:25.77445;-80.197341 LOCATION:Museum of HistoryMiami\,101 Flagler Street \nMiami\, FL 33130 SEQUENCE:0 SUMMARY:Concrete Paradise UID:332316 END:VEVENT BEGIN:VEVENT DESCRIPTION:

On February 25\, 1964\, Muhamm ad Ali (then Cassius Clay) made history when he defeated reigning heavyweig ht champion Sonny Liston in a match that took place at the Miami Beach Conv ention Hall.

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Revisit one of the great est upsets in boxing history through artwork\, rare artifacts and never-bef ore-seen photographs by Miami Herald photographers. Items on displ ay include trainer Angelo Dundee&rsquo\;s corner kit\, tickets\, promotions and other event ephemera from the Hank Kaplan Boxing Archive at Brooklyn C ollege Library\, and paintings by Ferdie Pacheco\, Ali&rsquo\;s former phys ician and cornerman. \;

DTEND:20140531 DTSTAMP:20140418T190122 DTSTART:20140215 GEO:25.77445;-80.197341 LOCATION:Museum of HistoryMiami\,101 Flagler Street \nMiami\, FL 33130 SEQUENCE:0 SUMMARY:I Shook Up the World Cassius Clay vs. Sonny Liston\, Ferdie Pacheco \, Angelo Dundee UID:332315 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140503 DTSTAMP:20140418T190122 DTSTART:20140404 GEO:25.7326119;-80.2583978 LOCATION:The Americas Collection\,4213 Ponce de Leon Blvd. \nMiami\, FL 331 46 SEQUENCE:0 SUMMARY:De-Construction\, Muher UID:332314 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140510 DTSTAMP:20140418T190122 DTSTART:20140322 GEO:26.7007534;-80.0375662 LOCATION:Gavlak\,249 B Worth Avenue \nPalm Beach\, FL 33840 SEQUENCE:0 SUMMARY:Photographs from the 1950's and 60's\, Bunny Yeager UID:332311 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Join us for the opening of Tit i Kerndt's new solo show entitled\, "Constructive Nature". These new works harness Kerndt's command of color and texture in service of more geometric elements\, but the core passion and energy and her nature-driven paintings remain intact.

DTEND:20140511 DTSTAMP:20140418T190122 DTSTART:20140412 GEO:25.813151;-80.194483 LOCATION:Etra Fine Art\,50 NE 40th St \nMiami\, FL 33137 SEQUENCE:0 SUMMARY:"Constructive Nature"\, Titi Kerndt UID:332308 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Diana Lowenstein Gallery i s pleased to announce the Your Forest for My Trees\, an exhibition featuring new work by Michael Scoggins a nd Alex Gingrow. \; An opening reception will take pla ce Saturday\, April 12th\, from 6 to 9pm during the Wynwood Seco nd Saturday Gallery Walk. \; The exhibition will be on view through Jun e 7th. \;  \;

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Michael Scoggins

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&ls quo\;A page out of a notebook\, with its blue lines and spiral bound edges\ , is a familiar image. This is my primary vehicle in utilizing a connection with the viewer. The paper is enlarged to give this common object a sense of importance and to create a new perspective. The text and images placed u pon the large page deal with the influences of American culture and how it has shaped my life. The paper is torn\, crumpled and folded to implicate a tangible history and to suggest the creation of an object\, thus expanding the definition of traditional drawing.&rsquo\;

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Scoggins was b orn in Washington D.C. and earned an MFA in painting from the Savannah Coll ege of Art and Design in 2006. He has attended various prestigious residenc ies including the Skowhegan School of Painting and Sculpture\, the MacDowel l Colony\, and most recently the Fountainhead Residency. Michael has gained international recognition. His works are found in notable collections incl uding\, but not limited to\, the Hammer Museum in Los Angeles and the Museu m of Modern Art in New York. Michael&rsquo\;s artwork has been exhibited in over twenty solo shows\, fifty curated group exhibitions\, as well as writ ten about in countless publications.

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Alex Gingrow

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'I make text-based paintings and drawings that are at turns witty\, sardonic\, poetic\, self-deprecating and revealing. \; The delivery systems for t he narratives are easily recognizable objects such as gallery provenance st ickers or a daily desk calendar. \; These objects are reappropriated wi th my own writing and carefully rendered text so that from a distance the w ork appears to be that of a mechanical reproduction. \; On closer inspe ction\, it is evident that the surface of the work is carefully and delicat ely modeled with repetitive mark-making: a symbolic meditative homage to th e history of painting. \; Like the goal of all good literature\, I stri ve to make nuanced work that is\, at its core\, an examination of the oddit ies and intricacies of the human condition.&rsquo\;

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Born in 1 979 in Knoxville\, Tennessee\, Gingrow has lived and studied in various cit ies such as Boston\, Savannah and the small village of Dorf Tirol\, in nort hern Italy. \; In addition to her own artistic practice\, she has parti cipated in numerous panel discussions\, fundraisers\, speaking engagements\ , and as a guest artist at various performances and events. Her first solo show in New York City was held at Mike Weiss Gallery in September 2012 and was followed by residency appointments at the Hambidge Center in Georgia an d the Fountainhead Residency in Miami. \; Gingrow has exhibited widely both nationally and internationally and has received critical reviews from publications such as The New York Times\, The Wall Street Jour nal\, Modern Painters\, and Frieze Magazine. She cur rently lives and works in Brooklyn\, New York.

DTEND:20140530 DTSTAMP:20140418T190122 DTSTART:20140412 GEO:25.7965765;-80.194785 LOCATION:Diana Lowenstein Fine Arts\,2043 N. Miami Avenue \nMiami \, 33127 SEQUENCE:0 SUMMARY:Your Forest for My Dreams\, Michael Scoggins\, Alex Gingrow UID:332307 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Knitted and embroidered artwor ks with a conceptual twist have made Elaine Reichek's artwork the subject o f solo exhibitions at the Museum of Modern Art\, The Jewish Museum of New Y ork\, the Tel Aviv Museum of Art\, and other international venues.

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The Boca Museum of Art presents an elegant ex hibition focusing on the period of Reichek's art dating from 1972 to 1995. This body of work addresses the translation\, and mis-translation\, of arti facts from outside cultures and colonizers. Reichek finds\, enlarges\, and colors ethnographic and architectural photographs\, pairing them with her o wn hand-knitted interpretations. Photographs of teepees\, ceremonial dress\ , and others are juxtaposed with knitted forms that mimic the images found in them.

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The use of knitting and embr oidery (often denigrated as simply craft)\, rather than the usual art mater ials to produce contemporary art\, is central to Reichek&rsquo\;s work. As she says\, &ldquo\;the meaning of an artwork is always bound up with its me dia and processes and their history.&rdquo\;

DTEND:20140727 DTSTAMP:20140418T190122 DTSTART:20140503 GEO:26.3566809;-80.0852924 LOCATION:Boca Museum of Art\,501 Plaza Real in Mizner Park\nBoca Raton\, 33 432 SEQUENCE:0 SUMMARY:The Eye of the Needle\, Elaine Reichek UID:332303 END:VEVENT BEGIN:VEVENT DTEND:20140503T170000 DTSTAMP:20140418T190122 DTSTART:20140503T120000 GEO:26.3566809;-80.0852924 LOCATION:Boca Museum of Art\,501 Plaza Real in Mizner Park\nBoca Raton\, 33 432 SEQUENCE:0 SUMMARY:The Eye of the Needle\, Elaine Reichek UID:332304 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The international exhibition\, Afghan Rugs: The Contemporary Art of Central Asia\, features over 40 rugs from a private European collection\, traveling for the first time to museums in North America. Selected for their exceptional quality and stu nning imagery\, the rugs in this exhibition represent a unique category in decorative arts. They constitute some of the most powerful visual invention s of the late 20th century and are skillfully crafted with hand-spun and dy ed\, tightly knotted wool.

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These exqu isitely woven works of art are designed with thoroughly untraditional motif s. Approximately half of the rugs&mdash\;some produced well before the Sovi et invasion of Afghanistan in 1979&mdash\;feature cityscapes\, portraits\, landscapes\, and world maps\, framed by tanks and helicopters. Other rugs i n the include weapons and fighting scenes made by weavers in Afghanistan\, or in the North-West Frontier Province of Pakistan. No matter the central i magery\, each rug is traditionally bounded by an intricately framed and det ailed border design offering incredible works of art to be enjoyed on the f loor as well as the wall.

DTEND:20140727 DTSTAMP:20140418T190122 DTSTART:20140503 GEO:26.3566809;-80.0852924 LOCATION:Boca Museum of Art\,501 Plaza Real in Mizner Park\nBoca Raton\, 33 432 SEQUENCE:0 SUMMARY:Afghan Rugs: The Contemporary Art of Central Asia UID:332301 END:VEVENT BEGIN:VEVENT DTEND:20140503T170000 DTSTAMP:20140418T190122 DTSTART:20140503T120000 GEO:26.3566809;-80.0852924 LOCATION:Boca Museum of Art\,501 Plaza Real in Mizner Park\nBoca Raton\, 33 432 SEQUENCE:0 SUMMARY:Afghan Rugs: The Contemporary Art of Central Asia UID:332302 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Alejandra von Hartz Gallery is very pleased to announce the installation of new work by New York-based artist Russell Maltz. This is Ma ltz&rsquo\;s first solo exhibition with the gallery.

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Russell Maltz& rsquo\;s most recent works are the product of an ongoing project begun in J anuary 2004. These works by mapping the element of time and duration explor e issues of fabrication\, transportation\, painting\, assembly\, disassembl y and the integration of the work&rsquo\;s elements into the public realm.& nbsp\; These newest works of the S.P. series consist of plywood plates pain ted and suspended from steel posts attached to the wall of the gallery. In their raw physical state\, they convey the concept of semblance\, an assemb ly of everything they are\; an ordered representatioof the unseen process\, that go into their making. Onto these structures Day-Glo paint and industr ial enamels are applied as &ldquo\;material on material\,&rdquo\; defining areas or zones on the raw plywood surfaces generating layers of information . It is this layering that curbs the perception of entropy and fosters a di scussion of painting in terms of process and duration and time\, as its for m and as its content.

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The altering of manufactured material such as steel plates and beams\, glass\, metal stud\, lumber\, drywall and CMU etc .\; for the purposes of making art becomes an act of ventriloquism by the a rtist. This ventriloquism manifests itself in the artist&rsquo\;s ability t o take the basic\, intrinsic and intended use of a material by its manufact urer\, as defined by the requirements of a society and transform these into art-works that function on several levels simultaneously\, without relinqu ishing its original\, newly found or potential\, future identity. In additi on to the S.P. works\, Russell Maltz will engage the gallery space with a n ew installation work that will examine the phenomena of conveyance as an ev ent.

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Russell Maltz (b. 1952\, Brooklyn\, NY) has exhibited work in numerous solo and group exhibitions throughout the United States and intern ationally\, including in Australia\, Germany\, Austria\, France\, Italy\, I srael\, Denmark\, Mexico\, Switzerland\, Japan and New Zealand. \;

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His work has been reviewed in publications such as The New York Times\ , Artforum\, Art in America\, and Village Voice. His works are in the colle ction of The Brooklyn Museum\, Yale University Art Museum\, Fogg Art Museum \, Harvard University Art Museum\, Kunstraum-Alexander Burkle\, Freiburg\, Germany\, San Jose Museum of Art\, San Jose\, California\, Arkansas Art Cen ter\, Little Rock\, Arkansas\, Saarland Museum\, Saarbrucken\, Germany\, St iftung fur Konkreter Kunst\, Reutlingen\, Germany\, Wilhelm-Hack Museum\, L udwigshafen \, Germany\, Gallery of Western Australia\, Perth\, Australia .  \;  \;  \;  \;  \; He has been facilitating with Critical Practices Incorporated since its incep tion and serves on its advisory board.

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Critical Practices i s currently participating in the \; 2014 Whitney Biennial as a think ta nk for intellectual participation and critical theory.

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Russell Malt z lives and works in New York City.

DTEND:20140607 DTSTAMP:20140418T190122 DTSTART:20140410 GEO:25.8021714;-80.1910295 LOCATION:Alejandra Von Hartz Gallery\,2630 NW 2nd Avenue \nMiami\, 33137 SEQUENCE:0 SUMMARY:Conveyance \, Russell Maltz UID:332074 END:VEVENT BEGIN:VEVENT DTEND:20140410T200000 DTSTAMP:20140418T190122 DTSTART:20140410T180000 GEO:25.8021714;-80.1910295 LOCATION:Alejandra Von Hartz Gallery\,2630 NW 2nd Avenue \nMiami\, 33137 SEQUENCE:0 SUMMARY:Conveyance \, Russell Maltz UID:332075 END:VEVENT END:VCALENDAR