ArtSlant - Closing soon en-us 40 Group Show - BRIC Arts | Media House - March 17th, 2005 - May 7th, 2005 <p>Are We Having Fun Yet? explores fun, a uniquely American pathology, from the unapologetically joyful surface to the dark, deadpan underbelly. Smiles take on frightening proportions, nuns enjoy cigarette breaks, and artists get hit in the head by flying objects. Straightforward and sublime, subversive and perverse, Are We Having Fun Yet? invites you to have the last laugh.<br /><br />Project Diversity is a multi-venue exhibition of 200 Brooklyn artists to be held at 16 galleries in 10 Brooklyn neighborhoods in Spring 2005. The exhibition is meant to help unite audiences and artists across lines of race, gender, age and place. To feature works across all visual media as well as educational forums and family activities, the event will also celebrate Brooklyn's tremendous diversity, cultural vision and cutting-edge style. The majority of exhibitions will take place April 29-May 28, although some will open in md-March and early April. Free public shuttle bus service will provide easy access to all participating galleries on select weekends. Project Diversity was conceived by Rush Philanthropic cofounder/executive VP Danny Simmons, an accomplished artist and Brooklyn gallery owner, and creator of the award-winning Def Poetry Jam. The exhibition was developed with a coalition of the borough's key cultural leaders. Project Diversity is presented by Bloomberg LP. Generous support is provided by Target, Washington Mutual, Independence Community Foundation, Con Edison, Deutsche Bank, and Danny Simmons. For info, please visit</p> <h3></h3> Sat, 22 Feb 2014 16:06:17 +0000 Group Show - Pavel Zoubok Gallery - April 21st, 2005 - May 21st, 2005 <p align="left"><strong>COLLAGE signs &amp; surfaces</strong></p> <p align="left"><strong>April 21 – May 21, 2005</strong><strong></strong></p> <p align="left"><strong> </strong><strong>PAVEL ZOUBOK GALLERY </strong>is pleased to announce the opening of <strong><em>COLLAGE: signs &amp; surfaces </em></strong>, a large-scale survey exhibition of modern and contemporary collage featuring seventy-seven works by seventy-seven artists, including<strong>Romare Bearden, Joe Brainard, Joseph Cornell, Ray Johnson, Richard Hamilton, Robert Motherwell, Lee Krasner </strong>and <strong>Fred Tomaselli </strong>. Please join us for the opening reception on Thursday, April 21, from 6-8pm, or during the run of the exhibition, which continues through May 21.</p> <p align="left"><strong>The gallery is located at: 533 West 23 rd Street (between 10 th &amp; 11 th Avenues)</strong></p> <p align="left"><strong>Gallery Hours: Tuesday – Saturday, 10am-6pm</strong></p> <p align="left">Since 1997, Pavel Zoubok Gallery has exhibited the work of contemporary and modern artists with a particular focus in the field of collage, assemblage and mixed media installation. Over the years the gallery's exhibition program has expanded to include paintings and drawings by artists whose work embraces a montage, or collage aesthetic. After three exciting years in Soho and three on the Upper East Side, Pavel Zoubok Gallery is celebrating its first year in Chelsea with the exhibition <strong><em>COLLAGE: signs &amp; surfaces </em></strong>. This survey, which borrows its name from author Wendy Holmes' 1989 essay on the semiotics of collage, brings together seventy-seven works by a distinguished group of European and American artists who, both individually and collectively, challenge our perceptions about the medium.</p> <p align="left">Perhaps no art form expresses the character of the twentieth century and the contemporary moment with greater clarity and immediacy than <em>collage </em>. Narrowly defined, collage is the construction of images through the deceptively simple act of pasting cut or torn papers. The term derives from the French word<em>coller </em>, meaning to glue, paste, or stick. Collage, however, is much more than a medium for making pictures. It is a mode of perception, a multi-dimensional language with aesthetic implications that span the histories of art, architecture, literature, and music. In the visual arts collage first emerged as a fine art medium in the <em>papier colles </em>, or pasted papers of the Cubists Georges Braque and Pablo Picasso. Since then, it has played a vital role in almost every phase of Modernism. Its influence is most poignantly reflected in Italian Futurism, Constructivism, Dada, Surrealism, Pop Art and Fluxus. Of the many modern masters who worked in collage, however, only a handful can be considered collagists in the fullest sense. Artists such as Kurt Schwitters, Hannah Hoch, Max Ernst, Marcel Duchamp and Joseph Cornell, to name but a few, changed the face of Modernism by asserting that art could indeed be made from almost anything. Even the pictorial purity of Abstract Expressionism could not evade the powerful allure of collage. Robert Motherwell, Lee Krasner and Anne Ryan used collage to expand the practice of abstract painting.</p> <p align="left">While the Modernist period saw only a handful of bona-fide collagists, numerous artists working today have made collage, and by extension assemblage and mixed-media installation, their primary visual language and continue to explore and expand its boundaries. The evolution of the collage aesthetic has had an equally important effect on contemporary painters who look to it as a conceptual and/or visual model. The incorporation of montage imagery in drawing and painting has helped to redefine what a collage can be, or become.</p> <p align="left">With an immediacy that is distinct from other art forms, the collagist confronts us with a vision of the world that is literally constructed from the physical context of his/her own life. Found images and objects function as signifiers of both individual and collective experience. By incorporating materials that are inextricably linked to the realities of daily life, the artist establishes an immediate identification, both real and imagined, between the viewer and the work of art. The simplicity of the collage process adds to this sense of immediacy and spontaneity. The basic principle of juxtaposition forms the foundation for an art of limitless associative possibilities. Collage allows us to explore simultaneously the mysterious spaces between high art and popular culture, text and image, figuration and abstraction, past and present, two and three-dimensional space.</p> <p align="left"><strong>ARTISTS:</strong></p> <p align="left"><strong>Nora Aslan, Hannelore Baron, Romare Bearden, Barton Lidice Benes, Tony Berlant, Wallace Berman, Peter Blake, Varujan Boghosian, Joe Brainard, Fritz Bultman, Christo, Buster Cleveland, Arch Connelly, Bruce Conner, Michael Cooper, Joseph Cornell, Robert Courtright, Douglas Craft, John Digby, William Dole, Iris El Ayoubi, John Evans, Ginnie Gardiner, Ilse Getz, Nancy Grossman, </strong><strong>Joan Hall </strong><strong>, Richard Hamilton, Al Hansen, Geoffrey Hendricks, Addie Herder, George Herms, Nick Holliday, Christian Holstad, Jess, Jerry Jofen, Cletus Johnson, Ray Johnson, Jirí Kolár, Lee Krasner, Robert Kushner, Thomas Lanigan-Schmidt, Elaine Lustig Cohen, Conrad Marca-Relli, Robert Motherwell, Simon Neville, John O'Reilly, Eduardo Paolozzi, Judy Pfaff, Javier Piñón, Jacques Prévert, Antonio Puleo, Robert Rauschenberg, Mimmo Rotella, Anne Ryan, Barbara Sandler, Miriam Schapiro, Raven Schlossberg, Holli Schorno, Donna Sharrett , Berty Skuber, Stella Snead, Al Souza, Daniel Spoerri, Doug and Mike Starn, John Stezaker, Christopher Tanner, Maritta Tapanainen, Lenore Tawney, Fred Tomaselli, Jacques Villeglé, Wolf Vostell, Robert Warner, Dodi Wexler, May Wilson, David Wojnarowicz, Ray Yoshida, James Zver.</strong></p> Sat, 13 Oct 2012 17:55:57 +0000 Members of the National Academy of Design, Group Show - National Academy Museum - May 25th, 2005 - July 3rd, 2005 <table cellspacing="0" border="0" cellpadding="0" width="100%"> <tbody> <tr> <td width="80%" style="text-align: justify;"><span style="font-size: small;"><strong>Disegno*: The 180th Annual Exhibition</strong></span><br /><span style="font-size: small;">May 25 - July 3, 2005</span></td> <td width="20%" style="text-align: justify;"></td> </tr> <tr> <td> <p><span style="font-size: small;">To draw, delineate, mark out, sketch in outline, or otherwise give visual expression to, as a conception or a plan, especially for the first time, or to serve as a pattern or model for a more finished study. In celebration of the Academy’s 180th anniversary, the museum is made a 180 degree turnaround in this year’s Annual exhibition. Every other year, Annual exhibitions are reserved for artist members (Academicians) only and these shows have generally been known for their works of high finish. This year however, the exhibition had a theme, and one that offered viewers an intimate glimpse into the inner workings of an artist’s mind. Focusing on studies - the most immediate, often rough and spontaneous of creations - indeed, an artist’s starting point - works include a variety of mediums by Academicians from throughout the country including Gregory Amenoff, Robert Cottingham, Elizabeth Catlett, Lois Dodd, Janet Fish, Red Grooms, Knox Martin, Joyce Kozloff, Richard Meier, Miriam Schapiro and George Tooker among others.</span></p> </td> </tr> </tbody> </table> <p style="text-align: justify;">&nbsp;</p> Wed, 11 Aug 2010 14:46:28 +0000 Farrah Karapetian, Roger White, Rachelle Cohen, Rex Enseki, Melissa Dadourian, Michelle Elzay, Dirk Westphal, Casey Ruble - Black & White Gallery - June 10th, 2005 - July 18th, 2005 Mon, 27 Oct 2008 21:45:47 +0000 Rob Conger - Mixed Greens Gallery - July 22nd, 2005 - July 22nd, 2005 Sun, 19 Oct 2008 02:51:58 +0000 Van Hanos - P.P.O.W Gallery - June 30th, 2005 - July 30th, 2005 <p><span style="font-family: Arial,Helvetica,Geneva,Swiss,SunSans-Regular;">Arists included are: <strong><em>Kamrooz Aram, Dotty Attie, Matthew Brannon, Jesse Bransford, Melissa Brown, Lorenzo De Los Angeles, Barnaby Furnas, Van Hanos, Mala Iqbal, Philip Jones, Seth Kelly, Karsten Krejcarek, Tony Matelli, Keith Mayerson, Steve Mumford, Adam Putnam, Noah Sheldon, Roger White, Amy Wilson, Ivan Witenstein</em></strong></span></p> Tue, 17 Aug 2010 04:09:24 +0000 - Yancey Richardson Gallery - July 8th, 2005 - August 26th, 2005 <p><a onclick="popup('/view_works/?object_id=85', '550', '510', 'no');" href="">DOUG CROCCO, CHRIS FINLEY, ANDREW HAHN, PORTIA HEIN, FARIS MCREYNOLDS, CASEY JEX SMITH, SCOTT WATERMAN</a></p> Mon, 27 Oct 2008 01:38:17 +0000 Group Show - Bronx Museum of the Arts - June 30th, 2005 - October 2nd, 2005 <p>For twenty-five years, the groundbreaking Artist in the Marketplace (AIM) program has been providing professional development for emerging artists in the New York area. This year's program culminates with the exhibition <em>AIM 25</em>. <br /> <br /> <em>AIM 25 </em>artists expand time, technology, and perception; explore human movement through synesthesia; update drawing with a sense of action or adventure; craft paintings and sculptures with multi-layered irony; use portraiture to address complex social issues; bring out the politics and poetics intrinsic to peculiar mediums; and strongly misread conceptualism.</p> Tue, 28 Oct 2008 13:53:23 +0000 Michalis Pichler - Printed Matter, Inc. - January 21st, 2006 - February 4th, 2006 <p>Printed Matter Inc. is pleased to announce the opening of an exhibition of the work of German artist Michalis Pichler this Saturday, January 21 from 5 to 7 PM. <strong><em>i fell in love, i fell out of love, 100$, potato chips, airplanes, clouds &amp; sky</em></strong>, the name of the exhibition, is also the title of an ephemeral newspaper piece published on the occasion of the exhibition and designed to be given away at Printed Matter. At the opening reception we will also celebrate the launch of two books by Pichler, both published in 2005 by Revolver: <span style="text-decoration: underline;">"WAR"diary</span> and <span style="text-decoration: underline;">New York Garbage Flag Profile</span>. Printed Matter is located at 195 Tenth Avenue at 22nd Street. <br /><br /> Both <span style="text-decoration: underline;">"WAR"diary</span> and <span style="text-decoration: underline;">New York Garbage Flag Profile</span> originated during Pichler''s residency in New York as a DAAD Arts Fellow in 2003. Taking up themes and formal strategies introduced in his powerful newspaper piece from 2002, <span style="text-decoration: underline;">New York Times Flag Profile</span>, the books investigate the phenomenon of patriotism in post 9-11 New York. <br /><br /> In <span style="text-decoration: underline;">"WAR"diary</span> headlines from the <em>Daily News</em> are collaged onto the stockpages of the <em>New York Times</em>, creating subtle ghosts of words like OUTRAGE! BAGHDAD, and CAUGHT on top of or cut into endless columns of numbers. <span style="text-decoration: underline;">New York Garbage Flag Profile</span> documents mass-produced materials like paper cups and plastic bags emblazoned with American Flags that the artist found discarded in public spaces in New York. Photographs of the objects are accompanied by transcriptions of the texts printed right onto them; Pichler refers to these transcriptions as poetry. <br /><br />Though he is traditionally trained in architecture and sculpture and often involved in labor-intensive work processes, Pichler''s practice seems less concerned with artistic disciplines and more concerned with individual digestion of and response to cultural conundrums. Using public space as both source material and stage for his projects, he deploys the Situationist strategies of <em>derive</em> and <em>détournement</em> that position him as something of an socially engaged trickster. <br /><br /> <span style="text-decoration: underline;">"WAR"diary</span>, and <span style="text-decoration: underline;">New York Garbage Flag Profile</span>, both published by Revolver, Frankfurt, are priced at $12, and $30 respectively and are available at Printed Matter and through our website <span style="text-decoration: underline;">i fell in love, i fell out of love…</span>is available in the store for free. <br /><br /> For additional information, please contact Rachel Bers, Programming and Website Coordinator at (212) 925-0325 or at <br /><br /> Printed Matter, Inc. is an independent 501(c)(3) non-profit organization founded in 1976 by artists and art workers with the mission to foster the appreciation, dissemination, and understanding of artists'' books and other artists'' publications. <br /><br /> Printed Matter, Inc. has received support, in part, through grants from the New York State Council on the Arts, the New York City Department of Cultural Affairs, Altria Group, Inc, the Milton &amp; Sally Avery Arts Foundation, the Canadian Consulate General and the Government of Canada, The Cowles Charitable Trust, the CRH Foundation, Foundation for Contemporary Arts, The Gladys Krieble Delmas Foundation, the Fifth Floor Foundation, The Horace W. Goldsmith Foundation, LEF Foundation, Materials for the Arts, The Peter S. Reed Foundation, the Schoenstadt Family Foundation, The Starry Night Fund, The Roy and Niuta Titus Foundation, The Andy Warhol Foundation for the Visual Arts, and private foundations and individuals worldwide.</p> Sat, 20 Dec 2008 08:17:51 +0000 Jill Greenberg, Tracey Moffatt, Christopher Williams, Florian Maier-Aichen - AIPAD Photography Show New York - February 9th, 2006 - February 12th, 2006 Fri, 23 Mar 2012 17:16:09 +0000 Carl Ferrero, Iris Bernblum, Diane Derr, Vera Iliatova, James Kennedy, Ra di Martino, Chad Nelson, Sara Greenberger Rafferty, Catherine Ross - Artists Space: Exhibitions - January 12th, 2006 - February 18th, 2006 Thu, 15 Apr 2010 07:48:04 +0000 Caitlin Atkinson - Foley Gallery - January 26th, 2006 - March 4th, 2006 Thu, 23 Oct 2008 10:52:52 +0000 Group Show - Anthology Film Archives - March 8th, 2006 - March 14th, 2006 <p><b><span style="font-size: small;">13th Annual New York Underground Film Festival</span></b></p> <p><span style="font-size: small;">Presenting the best works from the outer reaches of independent cinema.</span></p> Fri, 13 Nov 2009 15:13:56 +0000 Eunjung Hwang - Stux + Haller - March 30th, 2006 - April 22nd, 2006 Sun, 26 Oct 2008 08:51:13 +0000 Iris Cintra, Yonat Cintra, Noa Arbel, Ilan Dotan, Pei Sun, Boaz Noy, John Leslie - BROADWAY GALLERY - April 16th, 2006 - April 29th, 2006 Mon, 27 May 2013 13:53:03 +0000 Group Show - Whitebox Art Center - April 24th, 2006 - April 30th, 2006 <p>AsylumNYC was as site-specific investigation into regimes of exclusion.<br /><br />The project invited 10 non-U.S. artists to participate in an exhibition at WHITE BOX in New York. Out of these, two was finally rewarded the legal aid necessary to obtain a 3-year artists visa to the United States.<br /><br />The online application period began on February 7th, 2006 and ended on April 1st, 2006. In this short period, a total of 235 artists from 43 different countries applied for participation. <br /><br />The AsylumNYC exhibition opened at WHITE BOX in Chelsea on Monday, April 24th 2006. From this day to the end of the week, the selected artists were kept in detention in WHITE BOX and were not permitted to leave the gallery.<br /><br />The artists were not allowed to bring any tools or materials with them into the gallery and were only given a notebook, as well as a blue and black pen. For creating their work, they had to rely entirely on the goodwill of gallery visitors and the arrangements they could make with these. <br /><br />This was the set-up for a very intense and interesting week in New York. Interest for the project exceeded all expectations and more than 2.000 visitors came by WHITE BOX to experience things for themselves. <br /><br />Additionally, the extensive media coverage from New York Times, CNN, BBC and numerous other media outlets meant that an estimated 90.000.000 (!) individuals were informed about the AsylumNYC project globally. <br /><br />At the last day of the exhibition, Dusanka Komnenic from Serbia and Montenegro were awarded the free legal services of immigration lawyer Daniel Aharoni, Attorney at Law. Dusanka was selected from the participating artists on the ground that her artistic project managed to break the most mental and visual borders, without actually breaking any of the project rules.<br /><br />Additionally, immigration lawyer Martin C. Liu Associates supported AsylumNYC with pro-bono legal services for yet another artist. Mexican participant Antonio O'Connell Perez Rubio was selected to receive this service.<br /><br />Antonio was not able to physically attend the project in White Box, as he was denied entrance to the United States of America by the official authorities. Nonetheless, Antonio managed to participate from afar, involving visitors in New York City and elsewhere via phone and internet, while by his absence clearly illustrating the situation of many contemporary immigrants.<br /><br /><br />CONTEXT:<br />AsylumNYC was informed by research from the refugee communication-platform:<br /><br />While AsylumHOME aims to actively empower refugees immigrating to Europe, AsylumNYC explores the notion of acceptance needed by the creative worker to be a successful immigrant in the U.S.<br /><br />Echoing restrictions forced upon asylum seekers, foreign artists in the U.S. must be approved by immigration authorities to stay and work. To qualify for a U.S. visa, an artist or any other creative professional have to demonstrate extraordinary ability in the arts as evidenced by awards, critical reviews, or professional affiliations. They must also be able to afford the legal expenses associated with this extensive procedure. <br /><br />Functioning within these processes, AsylumNYC confronted its otherwise privileged participants with their own precarious freedom of movement. <br /><br />The project performed the notion of acceptance needed by both the traditional refugee and the creative worker to be a successful immigrant. Similar in kind to the proof needed by an asylum seeker to be accepted as a "real" refugee by the nation state, the creative worker has to prove her/his worth to the creative community before gaining status as a "real" artist. And just as any other immigrant, the asylum artist will ultimately be dependent on the goodwill of strangers to thrive in their new environment.</p> <p></p> <p>(text courtesy of </p> Sun, 10 Nov 2013 00:13:03 +0000