ArtSlant - Openings & events en-us 40 Caleb Considine - Bureau - March 29th 6:00 PM - 8:00 PM Wed, 11 Mar 2015 07:39:42 +0000 Leonardo Benzant, Lindsay Dye, Kate Stone, Hugh Hayden - FiveMyles - March 29th 5:00 PM - 6:00 PM <p style="text-align: justify;">FiveMyles&nbsp;is pleased to present&nbsp;<strong><em>New American Sculpture</em>,</strong>&nbsp;an exhibition highlighting the work of nine artists who seek to challenge conventional thinking about sculpture and simultaneously express their cultural agency. The exhibition&rsquo;s title not only reflects the fact that the exhibited works are new, but it also conveys the artists&rsquo; fresh approach to three-dimensional art making.</p> <p style="text-align: justify;">&ldquo;For these multidisciplinary artists sculpture is but one aspect of their practice, yet it emerges as the most potent manifestation of their creative output.&nbsp;<strong><em>New American Sculpture</em></strong>&nbsp;serves as a platform for some of their most exciting and insightful work,&rdquo; states Dexter Wimberly.</p> <h3 style="text-align: justify;">THE ARTISTS:&nbsp;</h3> <p style="text-align: justify;"><strong>Leonardo Benzant&nbsp;</strong>&nbsp;investigates notions of ideographic writing, charms, objects of power, memory, codes of culture, cosmology, and the effects of colonialism on the mentality of those who have been colonized, as well as the Eurocentric lens of anthropologists and Western &ldquo;experts.&rdquo; The artist explores to what extent perceptions are informed by foreign or indigenous and African cosmology and narratives, and the extent to which these forces shape identity. Benzant&rsquo;s ongoing series of sculptures, Paraphernalia Of The Urban Shaman M:5 (POTUS M:5), grew as a visceral response to various kinds of power-objects the artist encountered in his studies.</p> <p style="text-align: justify;"><strong>Lindsay Dye</strong>&nbsp;uses merchandise, disassembled and appropriated material culture: spray tan and stripper poles as her medium. Dye employs objects and actors evocative of the code of ordinances of the Florida neighborhood in which she was raised, a master-planned Disney community. Dye repurposes materials that children use for arts &amp; crafts and recreational pleasure.</p> <p style="text-align: justify;"><strong>Hugh Hayden</strong>'s artwork explores American cultural identity through the use of materials such as hair, feathers, wood, and animal hides. His work utilizes content, form, materiality, and technique to create new visual histories that address race, class, and gender. For his sculpture, Moses, Hayden&nbsp;"hacks" a vintage arcade grabber machine to pick infinite fields of cotton. The work is a meditation on The Great Migration - the exodus of large populations of African Americans throughout the US South due to the mechanization of the agriculture industry in the early 20th Century. Moses is painted &ldquo;John Deere&rdquo; green and yellow, fenestrated with double sided mirrors, and filled with cotton balls.</p> <p style="text-align: justify;"><strong>Asif Mian</strong>&rsquo;s work explores the physiological and social factors of antisocial behavior; primarily as it applies to violence, juvenile delinquency, social genomics, the conscience and morality. Mian&rsquo;s process often starts with figurative drawing - beautifully violent &ldquo;events&rdquo; marked by a visceral physicality that meld expressionism with a body caught on surveillance video. He translates these events into large-scale sculptures using insulation foam, plaster and paint that echo classical Greek battle scenes. Mian&rsquo;s The Resurrection of Phineas Gage is monument that honors the legendary figure, Phineas Gage, an American railroad construction foreman remembered for his improbable survival of an accident in which a large iron rod was driven completely through his head, destroying much of his brain's left frontal lobe, and for that injury's reported effects on his personality and behavior over the remaining twelve years of his life</p> <p style="text-align: justify;"><strong>Clive Murphy</strong>&rsquo;s practice draws from the peripheries of visual culture. Mining diverse sources he utilizes the formal properties of the commonplace to produce works that create a junction of societal and cultural phenomenon. He appropriates and reconfigures familiar signifiers in order to explore their wider cultural resonance, uncovering new ground for the proliferation of diverse meanings. Murphy&rsquo;s Neon Toaster is visually alluring, yet its glowing grills evoke a sense of imminent danger. Murphy&rsquo;s work concerns itself with both site and surface - not only the position of the individual within an increasingly &lsquo;mass&rsquo; oriented environment but also the contours, the landscapes through which this environing is revealed.</p> <p style="text-align: justify;">Influenced by his extensive experience as a furniture maker,&nbsp;<strong>Matt Sears</strong>&rsquo; artwork often incorporates some form of physical implication or interaction. Sears&rsquo; sculpture Cheek To Cheek is an interactive work consisting of a black, wall-mounted box with a brass plate protruding from the center. The brass plate transfers vibrations to the bones of the human body and allows the participant to hear audio without a speaker. Cheek To Cheek&rsquo;s bone conduction audio system utilizes the body as a thinking mechanism/mode of interface.</p> <p style="text-align: justify;"><strong>Kate Stone</strong>&rsquo;s work is a response to the way we relate to space and it challenges associations we have with familiar architectural structures. Through repurposing and recontextualizing raw building materials, found objects and photography, Stone seeks new ways of organizing space. Her sculptures, drawings and photographs break space apart and rearrange the pieces to highlight the banal and the over-looked, revealing hidden substructures and questioning established functions of common objects. The work combines the abstract and the everyday in order to redefine them - to sever context and meaning, elevating form, color and material.</p> <p style="text-align: justify;">Created by&nbsp;<strong>Justin Randolph Thompson</strong>&nbsp;and&nbsp;<strong>Bradly Dever Treadaway</strong>, Primer is a wall-mounted sculpture composed of a mix of quilted mechanics rags, funerary portraiture, and light boxes (created from reclaimed lumber from the aftermath of Hurricane Katrina), quilted hats, shoulder chords, picket signs, advertising and shoe shining material. It is a work that is meant as a primer of American culture and&nbsp;explores generational divisions, cultural fragmentation, cross-racial dialogues, and the disparate knowledge of identities yielded by collectively imagined identities versus institutional and personal records.</p> Mon, 23 Mar 2015 15:32:42 +0000 - MoMA (Museum of Modern Art) - March 29th 10:30 AM - 5:30 PM <div class="description"> <p class="top" style="text-align: justify;">In 1955 The Museum of Modern Art staged <em>Latin American Architecture since 1945</em>, a landmark survey of modern architecture in Latin America. On the 60th anniversary of that important show, the Museum returns to the region to offer a complex overview of the positions, debates, and architectural creativity from Mexico and Cuba to the Southern Cone between 1955 and the early 1980s.</p> <p style="text-align: justify;">This period of self-questioning, exploration, and complex political shifts also saw the emergence of the notion of Latin America as a landscape of development, one in which all aspects of cultural life were colored in one way or another by this new attitude to what emerged as the &ldquo;Third World.&rdquo; The 1955 exhibition featured the result of a single photographic campaign, but <em>Latin America in Construction: Architecture 1955&ndash;1980</em> brings together a wealth of original materials that have never before been brought together and, for the most part, are rarely exhibited even in their home countries.</p> <p style="text-align: justify;">The exhibition features architectural drawings, architectural models, vintage photographs, and film clips alongside newly commissioned models and photographs. While the exhibition focuses on the period of 1955 to 1980 in most of the countries of Latin America, it is introduced by an ample prelude on the preceding three decades of architectural developments in the region, presentations of the development of several key university campuses in cities like Mexico City and Caracas, and a look at the development of the new Brazilian capital at Brasilia. Architects met these challenges with formal, urbanistic, and programmatic innovation, much of it relevant still to the challenges of our own period, in which Latin America is again providing exciting and challenging architecture and urban responses to the ongoing issues of modernization and development, though in vastly different economic and political contexts than those considered in this major historical reevaluation.</p> <p style="text-align: justify;">The exhibition is accompanied by two major publications: a catalogue and an anthology of primary texts translated from Spanish and Portuguese.</p> </div> Fri, 06 Feb 2015 10:58:59 +0000 Pierre Bismuth - Team Gallery - Grand St - March 29th 6:00 PM - 8:00 PM <p style="text-align: justify;">Team (gallery, inc.) is pleased to announce a solo show by Brussels-based, French artist Pierre Bismuth. Entitled <em>Where is Rocky II?</em>, the exhibition will run from 29 March through 26 April 2015. Team is located at 83 Grand Street, between Wooster and Greene. Concurrently, our 47 Wooster Street space will host a program of works by Alex Bag, Marc Hundley and Santiago Sierra. &nbsp;</p> <p style="text-align: justify;">For this exhibition, the gallery will screen a &ldquo;coming attraction&rdquo; for Bismuth&rsquo;s debut feature-length film <em>Where is Rocky II?</em>.Bismuth&rsquo;s quasi-documentary chronicles his hunt for an enigmatic Ed Ruscha sculpture &ndash; an artificial boulder, fabricated and hidden in Death Valley during the 1970s, where it has since remained undetected. Bismuth first heard about <em>Rocky II</em>&nbsp;ten years ago from a VHS tape of a BBC news segment from the 80's, and has since been fascinated by its evasiveness. In early 2014, Bismuth hired a private detective and commenced his full-fledged manhunt for an artwork that, prior to this investigation, was little known or discussed. The film is an exploration of art objects <em>en masse</em> and how our own projections define them.</p> <p style="text-align: justify;"><em>Rocky II</em>&rsquo;s absence is crucial to its meaning &ndash; so what happens if Bismuth unearths it? How is it essentially altered? Is it even the same artwork? The subject of the investigation is twofold &ndash; the hunt for the sculpture also serves as an interrogation of the source of an art object&rsquo;s power. <em>Rocky II</em> is the perfect receptacle for fantasy and mystery &ndash; the elusive existence of the artificial boulder acts as a synecdochic surrogate for the roles aura and unattainability play in our conception of Fine Art. &nbsp;</p> <p style="text-align: justify;">Bismuth often takes film as subject and <em>Where is Rocky II?</em> is no exception: the artist playfully utilizes, challenges and actively undermines techniques from narrative cinema to tell this story. The movie employs tropes from Film Noir: a private investigator &ndash; formerly an LAPD homicide detective &ndash; hunts for a counterfeit, a subject that has lived in convincing disguise for decades. Members of the art world &ndash; museum directors, curators, collectors &ndash; play the roles of informants; Bismuth and his detective treat their insights as potential evidence for their investigation. The trailer, too, recalls that for a thriller, providing suspense without resolution and triggering our desire to know more, to find resolution from an object or an idea that offers none. While the film proper will see a wide release at a later date, the trailer on view exists separately as an editioned artwork, further complicating the nebulous, multifaceted and deeply self-reflexive nature of Bismuth&rsquo;s practice.</p> <p style="text-align: justify;">Bismuth has frequently found unlikely and often unwitting collaborators for his artistic practice. His <em>Following the Right Hand of&hellip;</em> series traces the hands of primarily female actors throughout sections of famous pieces of cinema, giving them an agency in this creative act. With <em>Where is Rocky II?</em>, the act of collaboration is explicit: Bismuth worked with a highly regarded private detective as well as three prominent screenwriters, whom he granted full creative license to develop a short fictionalized film about the sculpture. The artist&rsquo;s particular mode of making allows for an engagement with the audience, which here participates in the forensic collection of on-screen information and evidence.</p> <p style="text-align: justify;">Pierre Bismuth (b. 1963) has been exhibiting his work internationally for over twenty years. Prominent monographic exhibitions have been held at the Kunsthalle in Basel, Nice&rsquo;s Villa Arson, Rotterdam&rsquo;s Witte de With, MAMCO in Geneva, and most recently the Kunsthalle in Vienna. His work was included in the 2001 Venice Biennale, in Manifesta 4 and in the 11th Biennale de Lyon, 2011. In 2002, Bismuth won an Academy Award for Best Original Screenplay, alongside Michel Gondry and Charlie Kaufman, for the film&nbsp;<em>Eternal Sunshine of the Spotless Mind</em>.</p> Wed, 11 Mar 2015 11:35:44 +0000 Alex Bag, Marc Hundley, Santiago Sierra - Team Gallery - Wooster St. - March 29th 6:00 PM - 8:00 PM <p style="text-align: justify;">Team (gallery, inc.) is pleased to announce a program of events by Alex Bag, Marc Hundley and Santiago Sierra, which will take place during April 2015. Team (gallery, inc.) is located at 47 Wooster Street, between Grand and Broome, on the ground floor. Concurrently, our 83 Grand Street space will house a solo exhibition by Pierre Bismuth.</p> <p style="text-align: justify;">24 &ndash; 26 April: <strong>Alex Bag</strong> rose to prominence in the 1990&rsquo;s with her video work, which was heavily influenced by the simultaneously repulsive and magnetic qualities of television. For this performance, Bag will hold an open audition for a scripted sitcom-style show centering around four archetypal art-world characters. Each prospective actor will perform one of several monologues, chosen on location by the artist &ndash; the roles are fluid, not defined by physical characteristics. The premise for the TV program &ndash; which Bag will go on to produce as a separate artwork, to be shown at a later date &ndash; comes from David Foster Wallace&rsquo;s novel <em>Infinite Jest</em>, a footnote describing a sitcom designed to stagnate, whose characters cannot advance or develop, trapped in an utterly circular narrative.</p> <p style="text-align: justify;">10 &ndash; 12 April: Since the late 90&rsquo;s, <strong>Marc Hundley</strong> has been stenciling t-shirts with bits of text, which are most often sampled from his favorite songs. For this multi-faceted performance, Hundley will &ldquo;set up shop&rdquo; at the gallery, returning to his archive of stencils to reproduce favorite shirts, which will then be displayed for sale, as well as programming a block of radio to stream on Know Wave ( for the duration of gallery hours on Saturday. Both elements closely relate to the artist&rsquo;s printmaking practice, which pairs text and imagery appropriated from a variety of sources &ndash; Virginia Woolf novels, Smiths lyrics, a Glenn Gould record cover &ndash; with dates and locations from his own personal life. These posters celebrate the close connection between art and a life lived, the intractable stamps beloved cultural ephemera leave on our experiences.&nbsp;</p> <p style="text-align: justify;">03 &ndash; 04 April: <strong>Santiago Sierra</strong>&rsquo;s practice explicates the tendency of capitalist systems to exploit, control and alter human bodies &ndash; especially those of the working classes &ndash; treating people as minable resources. Symbolically charged acts of commerce, in particular the exchange of money for services, frequently serve as the fulcrum of the artist&rsquo;s gestures: in the past, he has paid prostitutes to receive minimalist tattoos, war veterans to stand in a corner for hours on end and poverty-stricken laborers to create sculptures from human excrement. As is standard with Sierra&rsquo;s works, no information will be released prior to the event. This is his second performance at the gallery this season, the first of which consisted of filling the gallery with a flock of live sheep.</p> <p style="text-align: justify;">Alex Bag has been the subject of solo exhibitions across the United States and Europe, including those at the Whitney Museum in New York; the Migros Museum in Zurich; and the Andy Warhol Museum in Pittsburgh. Her work has been included in group shows at venues such as the Museum of Modern Art, the Tate Gallery, the Centre Georges Pompidou, the Renaissance Society and the Kunsthalle Basel.</p> <p style="text-align: justify;">Marc Hundley&rsquo;s work has been exhibited in numerous galleries in the U.S. and abroad. He has been included in shows at Rivington Arms in New York; Cherry and Martin in Los Angeles; White Columns in New York; and Herald St in London.&nbsp; His solos at Team Gallery in 2011 and 2013 were well reviewed, receiving praise in Artforum, New York Magazine, TimeOut New York and Interview.</p> <p style="text-align: justify;">Over the past twenty years, Santiago Sierra has exhibited widely in Europe and the Americas, and has been the subject of numerous solo presentations in museums and galleries, including London&rsquo;s Tate Modern; Mexico&rsquo;s Museo Rufino Tamayo; Magasin 3 Konsthall in Stockholm; Hannover&rsquo;s Kestnergesellschaft; Belgium&rsquo;s Museum Dhondt-Dhaenens; the Kunsthaus Bregenz in Austria; the Kunsthalle Wein; Birmingham&rsquo;s Ikon; and at Kunst Werke in Berlin. His work has garnered him international acclaim, and in 2003 he represented Spain at the 50th Venice Biennale.</p> Wed, 11 Mar 2015 11:38:00 +0000 Dejan Lukic - Whitebox Art Center - March 29th 3:00 PM - 5:00 PM <div style="text-align: center;">WhiteboxLab&gt;Lit Lounge</div> <div style="text-align: center;">&nbsp;</div> <div style="text-align: center;">presents</div> <div style="text-align: center;">&nbsp;</div> <div style="text-align: center;">Stand Up Philosophy &ndash; Dejan Lukic</div> <div style="text-align: center;">&nbsp;</div> <div style="text-align: center;">Step Not Beyond / Philosophical Therapeutics for the Lucid</div> <div style="text-align: center;">&nbsp;</div> <div style="text-align: center;">A series of spring workshops on Hallucination<br />Sunday, March 29 | 3-5 pm<br />Sundays, April 12 &amp; 26 | 3-5 pm</div> <div style="text-align: center;">&nbsp;</div> <div style="text-align: center;"><a title="Lit Lounge &gt; Sundays Salon &gt; Stand Up Philosophy " href="" rel="nofollow" target="_blank"></a></div> <div style="text-align: center;">&nbsp;</div> <div style="text-align: center;">An open and free workshop series focusing on themes central to art and culture. These enlightening lectures will teach you how to look at art with more confidence and an expanded vocabulary. They will speak about the role seduction plays in choosing what we like. A veritable &ldquo;scholastic-oracular&rdquo; presentation that is scholarly and enigmatic, rigorous and rarefied, where key terms in aesthetics are defined in a fluid and luminous language. The goal is to take essential experiences which became occluded in contemporary practice as purely practical matters that can be plugged into our lives to better inform our tastes. Inspiration is drawn from art, philosophy, architecture, and anthropology. The mediator, Dejan Lukic holds a Phd in anthropology from Columbia University and has lectured at numerous universities. For more details visit: <a href="" target="_blank" rel="nofollow"></a></div> <div style="text-align: center;">&nbsp;</div> <div style="text-align: center;">On Hallucination</div> <div style="text-align: center;">&nbsp;</div> <div style="text-align: center;">Is it fair to say that superior works of art, literature, philosophy, film, etc., are some kinds of (precise and revelatory) hallucination? To what extent can we address reality itself as hallucinatory? On the other hand, what are the implications of sober hallucination, one that results neither from intoxication nor from any disorder? The Latin root of the term is hallucinari, meaning &ldquo;gone astray in thought.&rdquo; Hence, is it not ethically and aesthetically necessary to produce (in this world, our world, gone astray) a work that is equally out of bounds, wandering according to its own impulses? How else can reinvigorated sensations, ideas, and worlds emerge (if not during twilight and dawn)?</div> Tue, 24 Mar 2015 18:03:45 +0000 Ralph Pucci, Michael Evert - Museum of Arts and Design - March 31st 11:00 AM - 6:00 PM <div class="description_block_body"> <div class="field field-name-field-exh-body-left-1 field-type-text-long field-label-hidden"> <div class="field-items"> <div class="field-item even"> <p style="text-align: justify;"><em>Ralph Pucci: The Art of the Mannequin</em> will be the first museum exhibition to explore the work of renowned New York-based designer Ralph Pucci, who is widely regarded for his innovative approach to the familiar form of the mannequin. Founded as an itinerant repair business run by his parents, Pucci&rsquo;s company has evolved to global prominence. Having collaborated with luminaries such as Diane von Furstenberg, Patrick Naggar, Andr&eacute;e Putman, Kenny Scharf, Anna Sui, Isabel and Ruben Toledo and Christy Turlington, Pucci&rsquo;s mannequins not only expand the parameters of this ubiquitous sculptural form, but reflect major cultural trends of the past three decades.</p> <p style="text-align: justify;">As Pucci was building his business in the 1970s, the notion of the &ldquo;super model&rdquo;&mdash;the living mannequin with a personality&mdash;emerged. Pucci captured this catalytic moment in his work, finding inspiration from sources as varied as Greek and Roman statues and the getups of the New York Dolls. Pucci characterized the previously anonymous form in new and challenging ways, creating an idea of physical beauty that was more specific, empowered, and diverse than the fashion industry had previously allowed. More than commercial armatures or sculptural forms, his mannequins are agents of change in our attitudes to the body, to fashion, and individual identity.</p> <p style="text-align: justify;"><em>The Art of the Mannequin </em>will include nearly 30 of Pucci&rsquo;s most important mannequins, as well as an in-gallery recreation of his sculpture studio. Pucci&rsquo;s master sculptor and longtime collaborator, Michael Evert, will be in residence during the exhibition's run to give visitors a first-hand look at the creative process, from initial modeling in clay to the rendering of the fiberglass end-product. In conjunction with the installation of mannequins the renowned designers Isabel and Ruben Toledo will curate a selection of jewelry from MAD&rsquo;s collection which will be installed on Ruben&rsquo;s famous surrealist jewelry mannequins.</p> <p style="text-align: justify;">Organized by MAD&rsquo;s Chief Curator Lowery Stokes Sims and Barbara Paris Gifford, Curatorial Assistant and project manager, the exhibition will be accompanied by a publication that includes a foreword by Margaret Russell, editor in chief of <em>Architectural Digest</em>, an essay by art historian Emily M. Orr on the history of mannequins and an interview with Pucci by Jake Yuzna, Director of Public Programs at MAD.</p> <p style="text-align: justify;"><em>Ralph Pucci: The Art of the Mannequin</em> is made possible in part through the generous support of Hans and Jayne Hufschmid.</p> </div> </div> </div> </div> Sat, 07 Feb 2015 00:00:42 +0000 Amie Siegel - Storefront for Art and Architecture - March 31st 7:00 PM - 9:00 PM <p style="text-align: justify;">Commissioned by Storefront for Art and Architecture as part of Office&nbsp;<em>US</em></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">The stories of architects have historically been portrayed and understood through singular figures and monographic narratives. However, the human and logistical edifices behind each of these individual figures is oftentimes less singular and more homogenous than usually depicted. What is the portrait of the collective body of architects building globally today?&nbsp;</p> <p style="text-align: justify;">On March 31st, 2015, Storefront for Art and Architecture will host an exhibition featuring<em>&nbsp;The Architects</em>, a film by artist Amie Siegel originally commissioned by Storefront as part of Office<em>US</em>, the United States Pavilion at the 2014 Venice Biennale of Architecture.&nbsp;<em>The Architects&nbsp;</em>examines and analyzes the drivers, protocols, and implications of architectural production in an era marked by globalizing forces. The film embodies the efforts made by Office<em>US</em>&nbsp;towards the understanding of practice and accountability within architecture.&nbsp;</p> <p style="text-align: justify;"><em>The Architects</em>&nbsp;cuts transversally through the city of New York, producing a continuous image of the global architecture office today. Moving through several architecture studios&mdash;from Fifth Avenue to Downtown to Brooklyn&mdash;the film depicts the operational territories and landscapes of worldwide architectural production from New York.&nbsp;As a singular unfolding visual, the film deploys silent conversations among the architectures, locations, objects and characters that inhabit its frames, raising questions of scale, agency, and power.&nbsp;</p> <p style="text-align: justify;">Parallel tracking shots through the working offices chart their typologies of sameness and difference, revealing reappearing elements of the spaces of architectural production: long horizontal desks, screens, renderings, and models. The film frames a wide spectrum of practices, from large firms to smaller studios in a collective new whole. It positions itself from a vantage point that places the lens of the camera between the spaces of production and the world, which is always, and only, just outside the window.&nbsp;</p> <p style="text-align: justify;"><em>The Architects was made possible through the generous support of Storefront's Board of Directors and Elise Jaffe + Jeffrey Brown.</em>&nbsp;</p> <div class="JL" style="text-align: justify;"> <div class="Mu SP"> <div> <p>Ranging from photographs, video, film installations, performance and feature films for the cinema, American artist Amie Siegel's work has been exhibited in solo exhibitions including&nbsp;<em>Amie Siegel: Provenance</em>&nbsp;at The Metropolitan Museum of Art, New York, as well as solo and group exhibitions at MoMA/PS1, NY; MAXXI, Rome; Hayward Gallery, London; Whitney Museum of American Art, NY; Walker Art Center, MN; CCA Wattis, San Francisco; Kunstmuseum Stuttgart and KW Institute for Contemporary Art, Berlin. Her films have screened at the Cannes, Berlin, New York and Toronto Film Festivals, The Museum of Modern Art, New York and The National Gallery of Art, Washington, D.C. She has been a fellow of the DAAD Berliner-Ku╠łnstlerprogramm, Guggenheim Foundation, and the recipient of a Sundance Institute Film Fund award and Berlin Film Festival award.&nbsp;</p> <p>&nbsp;</p> </div> </div> </div> <p style="text-align: justify;"><strong>Amie Siegel,<em>&nbsp;The Architects</em>, 2014, HD Video, color/sound</strong></p> <p style="text-align: justify;">Producer: Andrew Fierberg</p> <p style="text-align: justify;">Co-Producer: Martina Klich</p> <p style="text-align: justify;">Production Manager: Tina Piccari</p> <p style="text-align: justify;">Cinematographer: Christine A. Maier</p> <p style="text-align: justify;">1st Assistant Camera: Bayley Sweitzer</p> <p style="text-align: justify;">Digital I Tech: Henry Prince</p> <p style="text-align: justify;">Sound Recordist: Timothy Wong</p> <p style="text-align: justify;">Key Grip: Mark Solomon</p> <p style="text-align: justify;">Grip: Dan Stenzel and Wil Hamlin</p> <p style="text-align: justify;">PA: Nir Bitton and Matthew Town</p> <p style="text-align: justify;">Color Correct and Conform: Post Republic, Berlin</p> <p style="text-align: justify;">Sound Mixer: Gisberg Smialek</p> <p style="text-align: justify;">Storefront for Art and Architecture: Eva Franch i Gilabert, Kara L. Meyer, Melissa Weisberg, eynep Goksel, Piotr Chizinski, Carlos Minguez Carrasco &nbsp;</p> <p style="text-align: justify;">OfficeUS: Eva Franch i Gilabert, Ana Miljacki, Ashley Schafer</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Special Thanks: Simon Preston Gallery, New York</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>About Office<em>US</em></strong></p> <p style="text-align: justify;">As the commissioner of the 2014 United States Pavilion at the 14th Biennale of Architecture in Venice, Storefront for Art and Architecture presented Office<em>US</em>, a global experiment in the making of architecture, history and work. &nbsp;Office<em>US</em>&nbsp;in Venice focused on the ways in which the space, structures, and protocols of the U.S. architectural office have participated in the construction of Modernity. Office<em>US</em>&nbsp;was curated by Eva Franch, Anna Miljacki and Ashley Schafer with the support and collaboration of more than 300 individuals. To learn more go to &nbsp;<a href="">&nbsp;</a></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Office<em>US</em>&nbsp;is expanding to New York, and will serve as an active, global, experimental architecture institute. As an ongoing reimagination of the concept of the office, Office<em>US</em>&nbsp;will revisit the history of architecture, its relationship to politics and power and the premises and conclusions of modern and contemporary projects, to construct an agenda for the future production of architecture today. To learn more please contact</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><em>General support for Storefront&rsquo;s exhibition and programs are made possible by Arup; F.J. Sciame Construction Co., Inc.; the Foundation for Contemporary Arts; The Greenwich Collection Ltd.; the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature; public funds from the New York City Department of Cultural Affairs in partnership with the City Council; The Peter T. Joseph Foundation; and by Storefront&rsquo;s Board of Directors, members, and individual donors.</em></p> Wed, 25 Mar 2015 15:11:59 +0000 - The Jewish Museum - March 31st 11:30 AM - 12:30 PM <div style="text-align: justify;">Henry J. Leir Curator Susan Braunstein speaks&nbsp;about the Judaica objects included in <a href="" target="_blank"><em>Repetition&nbsp;and Difference</em></a>, which gathers seemingly identical&nbsp;works from the Museum&rsquo;s collection to examine how&nbsp;differences and derivations can reveal significant&nbsp;meanings about artistic production, social issues, and&nbsp;prevailing political conditions.</div> <h6 style="text-align: justify;">The Lines of Distinction Lecture has been endowed by Barbara and&nbsp;Benjamin Zucker in memory of Lotty and Charles Zucker and by&nbsp;William W. Hallo, the late Susanne Hallo Kalem, and the late Ruth Hallo&nbsp;Landman, in memory of Dr. Gertrude Hallo.</h6> Sat, 07 Feb 2015 05:48:22 +0000 Wendell Castle - Friedman Benda - April 1st 6:00 PM - 8:00 PM <p class="p1">Friedman Benda is pleased to present <em>Gathering Momentum</em>, an exhibition of new works by Wendell Castle. This will be Castle&rsquo;s second exhibition at the gallery and will feature three new series of works in wood and bronze. An opening reception will be held on Wednesday, April 1from 6 to 8 pm, where Castle will be present to sign copies of <em>Wendell Castle: A Catalogue Raisonn&eacute;, 1958-2012</em>, a new publication that comprehensively documents his longstanding career.</p> <p class="p3">Castle, 82, will be the focus of three major events this year: the publication of his highly anticipated catalogue raisonn&eacute;, a meticulous and thorough documentation of an epic career covering the years 1958-2012; a major exhibition at the Museum of Arts and Design, New York; and his second solo exhibition at Friedman Benda.</p> Thu, 12 Mar 2015 19:27:05 +0000 Janette Beckman, Joe Conzo, Martha Cooper - Museum of the City of New York - April 1st 10:00 AM - 6:00 PM <div class="content-block"> <p style="text-align: justify;"><em>Hip-Hop Revolution</em> presents more than 80 photographs taken between 1977 and 1990 by three preeminent New York-based photographers&mdash;Janette Beckman, Joe Conzo, and Martha Cooper&mdash;who documented hip hop from its pioneering days through its emergence into mainstream popular culture.</p> <p style="text-align: justify;">Hip-hop culture, incorporating such elements as DJing, rapping, and breaking (dancing), was born on the streets of New York City in the 1970s and grew to have a global impact on music, dance, and fashion. The exhibition showcases the experiences of each photographer during these seminal years, as DJs, MCs, and b-boys (breakdancers) were continually innovating, developing new forms of self-expression. The work of these photographers&mdash;featuring early figures Afrika Bambaata, Kool Herc, and Cold Crush Brothers, breakers (or b-boys) like Rock Steady Crew, and breakout acts such as Run DMC and the Beastie Boys&mdash;form a broad survey of a movement that is indelibly linked to New York City and still has a resounding influence today.</p> </div> Sat, 07 Feb 2015 06:23:34 +0000 Robert Harms - Steven Harvey Fine Art Projects (PROJECTOR) - April 1st 6:00 PM - 8:00 PM Wed, 25 Mar 2015 21:11:40 +0000 Joan Semme - Alexander Gray Associates - April 2nd 6:00 PM - 8:00 PM Thu, 05 Feb 2015 12:04:06 +0000 Barbara Kasten - Bortolami Gallery - April 2nd 6:00 PM - 8:00 PM Sat, 07 Mar 2015 16:27:06 +0000 Sarah Crowner - Casey Kaplan Gallery - April 2nd 6:00 PM - 8:00 PM Mon, 23 Mar 2015 08:41:40 +0000 Luke Smalley - ClampArt - April 2nd 6:00 PM - 8:00 PM Mon, 23 Mar 2015 14:24:59 +0000