ArtSlant - Openings & events en-us 40 Nitin Mukul - AICON GALLERY - New York - November 25th 6:00 PM - 8:00 PM <p style="text-align: justify;" align="justify">In conjunction with<strong>&nbsp;Nitin Mukul's</strong>&nbsp;exhibition&nbsp;<em>those that blossom, and the blossomless</em>,<strong>Aicon Gallery</strong>&nbsp;is pleased to present a screening of two of Mukul's videos:&nbsp;<em>Crater</em>(2013) and&nbsp;<em>Falls of Byzantium</em>&nbsp;(2014). The screening will be accompanied by a live score from composer and musician&nbsp;<strong>Gregory Reynolds</strong>. Crater has been presented previously at The Queens Museum of Art and at UMASS at Amherst, while Falls of Byzantium will have its premiere at Aicon Gallery.&nbsp;</p> <div style="text-align: justify;">The two video works derive from paintings in a frozen state, which are then allowed to melt and disintegrate while being filmed. Ice is used here as the primary support, along with mixed media elements including ink, acrylic paint, tea, charcoal, metallic powder, and more. As they melt, the works echo tectonic shifts, weather patterns and satellite views. The works are presented in real time without any effects or time lapse. The glacial pace may induce trance like states and lucidity by fixating on a process that is at once cataclysmic and sublime.The process of the disintegration is recorded in video. While there is a degree of pre-meditation in making the piece, the disintegration and its visual register over an unfixed passage of time is subject to forces beyond the artist's control. The work is informed by an awareness of the Hindu Shaivite concept of creation and destruction being intertwined. The glacial pace and meditative qualities of these pieces is mirrored by drone like scores madespecifically for each piece by composers Gregory Reynolds and Leyna Marika Papach, whose own aesthetics are attuned to this format.</div> <p style="text-align: justify;"><strong>Nitin Mukul</strong>&nbsp;is a visual artist living and working in NYC. He has shown with Nature Morte Gallery in Delhi, The Guild (Mumbai/New York), and Aicon Gallery (New York/London). His work was included in The India Art Fair in 2011, 2014, Art Asia Miami 2009, Hong Kong Art Fair 2009, Scope Art Basel 2009 and is held in private collections. He has curated exhibitions at P.S. 122 and Aicon Gallery in NYC and Arts*I Gallery in Delhi.</p> <p style="text-align: justify;"><strong>Gregory Reynolds</strong>&nbsp;will perform his score for&nbsp;<em>Falls of Byzantium</em>&nbsp;live at this special event. Reynolds is a musician and sound artist who lives in Queens, NY.&nbsp; He is a multi-instrumentalist, improvisor and composer who finds himself drawn to non-idiomatic and liminal soundworlds as much as the amazing and diverse musical traditions and cultures found in the United States and around the globe.</p> <p style="text-align: justify;" align="justify"><strong style="text-align: left;">Leyna Marika Papach&nbsp;</strong><span style="text-align: left;">(</span><em style="text-align: left;">Crater</em><span style="text-align: left;">) is a composer, artist/director, and violinist from Japan and the United States. Her work ranges from chamber music to musical theater pieces where text, dance, music and video work together to tell a story. Her work has been performed in western and eastern Europe as well as in Japan and the US. As a violinist and improviser, she performs her own work as well as interpretive work with bands and composers (Geraldine Fibbers, JG Thirwell/Monerexia+many others) and occasionally performing as an accompanist of Ragas (North Indian traditional music) as well. Leyna studied violin at the Prague Academy of Music, sound at the Bard College MFA program, and has a Masters in Theater from Dasarts, Amsterdam.</span></p> Sat, 22 Nov 2014 08:56:43 +0000 - MoMA (Museum of Modern Art) - November 25th 6:00 PM - 8:00 PM <p style="text-align: justify;">Mail art&mdash;broadly defined as artists&rsquo; postal communication&mdash;emerged in the early 1960s from Fluxus, Nouveau R&eacute;alisme, and Conceptual art practices and expanded into a decentralized, global network. This exhibition traces the growth of correspondence networks, shows politically oriented works, documents discourse about the practice, and concludes with mail artists&rsquo; adaptation to the Internet.</p> <p style="text-align: justify;">The exhibition is organized by Jennifer Tobias, Reader Services Librarian, MoMA Library.</p> Tue, 25 Nov 2014 14:38:29 +0000 John Beardman - Noho Gallery - M55 Art (Noho - M55) - November 25th 6:00 PM - 8:00 PM <p><strong>The Flower as Metaphor</strong></p> <p>I like to think of myself as knowing flowers. I&rsquo;ve spent my life experiencing flowers, from the time I was a small boy crushing a huge pink-white peony to my nose and running past the old dog on the porch to tell my grandmother, to now, as a man planting and caring for them and trying to shrink a 3-acre garden. Always sensing them, feeling them. And yet, I realize just how little I know of them, not just the namesI (for I rarely paid attention to those) but how little of the intricacies of those shoots and petals that focus energy and light.</p> <p>I wished to make those discoveries new again and had hoped that I could make them free of all convention. Impossible! I had hoped to eschew techniques and gimmicks and paint fresh. Paradoxically I found that it was in the precise and skillful use of learned comparisons that I felt the most free. I used what I had learned so completely that it had become part of my body in order to find different ways of &ldquo;seeing&rdquo; flowers . Oddly enough, this gave the sensation of newness . Perhaps it&rsquo;s not at all odd, but common, in <br /> realigning what we thought we had learned, we constantly recover <br /> freshness. We all remake the world as we are looking at it.</p> <p>The flowers become a metaphor. They fight with each other for space. Yet ironically, it&rsquo;s spatial ambiguity that merges them. Similarly, their beauty, with its particular energy, connects us with everything.</p> Thu, 09 Oct 2014 16:06:15 +0000 - The Metropolitan Museum of Art - November 25th 10:00 AM - 5:30 PM <p style="text-align: justify;">The Museum continues a longstanding holiday tradition with the presentation of its Christmas tree, a favorite of New Yorkers and visitors from around the world. A vivid eighteenth-century Neapolitan Nativity scene&mdash;embellished with a profuse array of diminutive, lifelike attendant figures and silk-robed angels hovering above&mdash;adorns the candlelit spruce. Recorded music and lighting ceremonies add to the enjoyment of the holiday display.</p> <p style="text-align: justify;">The annual Christmas installation&nbsp;is the result of the generosity, enthusiasm, and dedication of the late Loretta Hines Howard, who began collecting cr&egrave;che figures in 1925 and soon after conceived the idea of combining the Roman Catholic custom of elaborate Nativity scenes with the tradition of decorated Christmas trees that had developed among the largely Protestant people of northern Europe. This unusual combination was presented to the public for the first time in 1957, when the Metropolitan Museum initially exhibited Mrs. Howard's collection. More than two hundred eighteenth-century Neapolitan cr&egrave;che figures were given to the Museum by Loretta Hines Howard starting in 1964, and they have been displayed each holiday season for nearly forty years. Linn Howard, Mrs. Howard's daughter, worked with her mother for many years on the annual installation. Since her mother's death in 1982, she has continued to create new settings for the Museum's ensemble. In keeping with family tradition, Linn Howard's daughter, artist Andrea Selby Rossi, joins her mother again this year in an important guiding role to create the display.</p> <p style="text-align: justify;">The Museum's towering tree, glowing with light, is adorned with cherubs and some fifty gracefully suspended angels. The landscape at the base presents the figures and scenery of the Neapolitan Christmas crib. This display mingles three basic elements that are traditional to eighteenth-century Naples: the Nativity, with adoring shepherds and their flocks; the procession of the three Magi, whose exotically dressed retinue echoes the merchants and travelers one may have encountered in bustling Naples at the time of the cr&egrave;che's creation; and, most distinctive, colorful peasants and townspeople engaged in their quotidian tasks. The theatrical scene is enhanced by a charming assortment of animals&mdash;sheep, goats, horses, a camel, and an elephant&mdash;and by background pieces serving as the dramatic setting for the Nativity, including the ruins of a Roman temple, several quaint houses, and a typical Italian fountain with a lion's-mask waterspout.</p> <p style="text-align: justify;">The origin of the popular Christmas custom of restaging the Nativity traditionally is credited to Saint Francis of Assisi. The employment of manmade figures to reenact the hallowed events soon developed and reached its height of complexity and artistic excellence in eighteenth-century Naples. There, local families vied to outdo each other in presenting elaborate and theatrical cr&egrave;che displays, often assisted by professional stage directors. The finest sculptors of the period&mdash;including Giuseppe Sammartino and his pupils Salvatore di Franco, Giuseppe Gori, and Angelo Viva&mdash;were called on to model the terracotta heads and shoulders of the extraordinary cr&egrave;che figures. The Howard collection includes numerous examples of works attributed to them as well as to other prominent artists.</p> <p style="text-align: justify;">The Museum's cr&egrave;che figures, each a work of art, range from six to twenty inches in height. They have articulated bodies of tow and wire, heads and shoulders modeled in terracotta and polychromed to perfection. The luxurious and colorful costumes, many of which are original, were often sewn by ladies of the collecting families and enriched by jewels, embroideries, and elaborate accessories, including gilded censers, scimitars and daggers, and silver filigree baskets. The placement of the approximately fifty large angels on the Christmas tree and the composition of the cr&egrave;che figures and landscape vary slightly from year to year as new figures are added.</p> <p style="text-align: justify;">The exhibit of the cr&egrave;che is made possible by gifts to The Christmas Tree Fund and the Loretta Hines Howard Fund.</p> Thu, 16 Oct 2014 16:39:50 +0000 - The Morgan Library & Museum - November 26th 10:30 AM - 5:00 PM <p style="text-align: justify;">Every holiday season, the Morgan displays Charles Dickens's <a href="" target="_blank">original manuscript</a> of <em>A Christmas Carol</em> in Pierpont Morgan's historic Library. Dickens wrote his iconic tale in a six-week flurry of activity, beginning in October 1843 and ending in time for Christmas publication. He had the manuscript bound in red morocco as a gift for his solicitor, Thomas Mitton. The manuscript then passed through several owners before Pierpont Morgan acquired it in the 1890s.</p> Mon, 24 Nov 2014 17:29:49 +0000 Daniel Crooks, Richard Bell, Angelica Mesiti, Susan Norrie - The Jewish Museum - November 28th 11:00 AM - 5:45 PM <div class="overview-description overview-item one-half pull-left"> <div class="description"> <p style="text-align: justify;">The first color video artworks in Australia were made in 1970. By 1974, Sony Portapak video cameras were widely available to artists. Early uses by artists included documenting performances and actions, as well as emulating the look and feel of television, narrative cinema, and more experimental filmmaking. Exploration of the specific properties of video itself quickly developed, and a true video art scene began to flourish. With the advent of digital media, the number of artists who use moving images as their primary medium has increased rapidly.</p> <p style="text-align: justify;">The field of video art in Australia is extensive and heterogeneous. I have selected works that address the broad themes of the Sights and Sounds project: home and family are important, as are ideas of place, though these concepts are in some cases explored from the perspective of those who are displaced or living in a kind of exile within Australia. The renewed global interest in performance art is also reflected in Australian practice, and video art&rsquo;s intimate links with performance and documentation bring it back to where it began some forty years ago.</p> <p style="text-align: justify;">Wayne Tunnicliffe<br /> Curator</p> </div> </div> Wed, 26 Nov 2014 08:43:17 +0000 David Mollett - Bowery Gallery - November 29th 3:00 PM - 6:00 PM <p style="text-align: justify;">Bowery Gallery is pleased to present an exhibition of recent work by David Mollett, who has been producing field paintings throughout the state of Alaska for over forty years. In the artist's own words: <br /> <br /> "Painted outdoors, these wilderness landscapes were created in the Alaska Range near Denali National Park and around the Fairbanks area. Volatile wet weather this past summer made for constantly changing light which created an opportunity for repeated reworking of each painting. The works in this exhibition are part of my ongoing quest for unified expression, space and light." <br /> <br /> Mr. Mollett's exhibition coincides with a show at Bowery of work by Jessie Hedden. There will be a reception for both artists 3-6pm on Saturday, November 29.</p> Sat, 22 Nov 2014 16:10:43 +0000 Jessie Hedden - Bowery Gallery - November 29th 3:00 PM - 6:00 PM <p style="text-align: justify;">Bowery Gallery is pleased to present an exhibition of recent work by Jessie Hedden, whose drawings and paintings are based on direct observations of still lifes.<br /> <br /> In these intensely colored works, the unique qualities of each form relates to the whole, contributing to a charged, overall space. "The challenge," Hedden says, lies in "getting the gestural and rhythmic sequences of marks and colors to occupy the rectangle in a meaningful way."<br /> <br /> The artist's exhibition coincides with a show at Bowery of work by David Mollett. There will be a reception for both artists 3-6pm on Saturday, November 29.</p> Sat, 22 Nov 2014 16:12:13 +0000 Chris Verene - Postmasters - November 29th 5:30 PM - 8:00 PM <p style="text-align: justify;">The new exhibition of Chris Verene, his second at Postmasters, will consist of a group of photographs and a series of projected short videos, all depicting his family and other families in the small city of Galesburg, Illinois, whose lives were drastically altered in the 2008 economic downturn. Over the past five years, Verene has been videotaping the key subjects from his thirty years of photographic work. Until recently, Verene never watched any of the videos, feeling it was enough just to have them recorded. Yet, as the stories became more urgent, he proceeded to make video records and interviews with his cousins Candi and Steve, and his friend Amber. Verene worked his way from cellphone to an amateur DSLR camera, and eventually used sound equipment. In recent months he finally began to watch the videos and edit them into "Home Movies," short documentary video-novellas. <br /><br /> Chris Verene: <br /> <em>"My cousin Libby's farm foreclosed, and she has moved in with family in order to survive. Nothing has replaced the missing links in the city's economy. In 2011, my cousin Candi, who has appeared in my work since the 1980s, lost her house, as did many of her former co-workers. Candi and her four children ended up living at a campsite outside of town. Candi attributes the loss of her job and her husband's job to the collapse of their marriage, and indeed, divorce is a subject we have agreed to make public." <br /><br /> "My friend for over sixteen years, Amber, is the head of a family in daily crisis. In 2003, Amber discussed her ambitions to have a child and a get a job, despite our town's declining economy, in a full-page interview in The New York Times Sunday Magazine. Eleven years later, Amber is recovering from methamphetamine addiction, is raising three young children, and has at times been homeless. She has not used in several years, yet she and her children are surrounded by the meth culture." <br /><br /> Difficult to watch yet impossible to stop watching, the new videos and photographs are often heartbreaking, and yet they are filled with humanity, love, pride, and hope. We follow as Candi talks about her loss of work in 2008 and how the banks and the collapse of Wall Street impacted her wedding. We follow Amber blowing her welfare check on lottery tickets. We follow her in a tender moment as she gets a bouquet of flowers her boyfriend found discarded in garbage. And we follow Amber's mother on a trip to a foodbank to feed ten people living with her under one roof. <br /><br /></em> ********** <br /><br /> <em>Verene walks right into the lives of his folks, showing you how they are, without any embarrassment on either side. Their togetherness is taken for granted so openly that the viewer feels at each moment like one of them, a member of the clan. Verene's color [is] tender, warm and sensual, though stops well short of being glamorous . . . flooding them all with a strange, sweet romance. These pictures convey his bittersweet fondness for a smaller world in which he grew up but no longer shares, but which has lessons to teach him about the inroads of ageing, disability and other difficulties. Many viewers are familiar with visits back home in this mood, which Verene renders luminous and fatal.</em> <br />Max Kozloff, The Theater of the Face: Portrait Photography Since 1900</p> Tue, 11 Nov 2014 14:21:14 +0000 Anton Perich, Ryder Ripps, Molly Crabapple, Kristin Lucas, Katarzyna Kozyra, Sally Smart, Shamus Clisset, Austin Lee - Postmasters - November 29th 5:30 PM - 8:00 PM Tue, 11 Nov 2014 14:22:07 +0000 - Invisible-Exports - November 30th 6:00 PM - 8:00 PM <p style="text-align: justify;">INVISIBLE-EXPORTS is pleased to announce the opening of The Botanica, including work by: Kamrooz Aram, Daniel Albrigo, Amelia Bauer, Naomi Ben-Shahar, AA Bronson, Ryan Brewer, BREYER P-ORRIDGE, Michael B&uuml;hler-Rose, Walt Cassidy, Nicolaus Chaffin, TM Davy, Liam Davy, Jen DeNike &amp; Damien Echols, Nick Doyle, Ralph Dunn, Damien Echols, Skylar Fein, Alexandra Forsyth, Mike Furey, Mike Furey &amp; Dalton Flint, Sheila Gallagher, Kathryn Garcia, Gigi Gatewood &amp; Anders Johnson, Frank Haines, David Horvitz, Timothy Hull, Richard John Jones, Rashid Johnson, Arnold Joseph Kemp, Bradford Kessler, Bharti Kher, Lisa Kirk, Aaron Krach, Matthew Leifheit, Shana Moulton, Arthur Ou, Penumbra Paraphernalia, Steven Pestana, Bethany Price, Noel Rodo-Vankeulen, Ryan Reggiani, Justin James Reed, Kent Rogowski, Arlene Shechet, Matthew Schreiber, Rachel Stern, Luke Stettner, Chrysanne Stathacos, Scott Treleaven, Ofer Wolberger, Derek Zeitel, and others.</p> <p style="text-align: justify;">* * *</p> <p style="text-align: justify;">Referring to the tradition of Hispanic botanicas (religious and magical supply shops in the Americas), AA Bronson and Michael B&uuml;hler-Rose bring us a storefront featuring a variety of works from over 40 artists. The installation plays with the idea of the artist as a shaman or priest, the art object becomes a venerated deity, and the creation of the artwork is now a ritual consecration. Invoking spirits and evoking both real and imaginary religions, the artists confront the conventions of rituals, ritual objects, magical supplies, and spiritual consumerism, while engaging in the&mdash;sometimes difficult&mdash;conversation between spirituality and artistic practice.</p> <p style="text-align: justify;">For TM Davy&rsquo;s work, <em>Candle Cards</em>, the artist creates a work that, at first glance due to the sheer quantity of multiples, seem like they are mechanically reproduced greeting cards. However, upon closer inspection, they are all original watercolors, and fit within his traditional artist practice. Kamrooz Aram&rsquo;s studio relics, <em>Fana/Rags,</em> continue the conversation of the artist as Medium, while simultaneously paralleling ideas of erasure from Sufi mysticism. Matthew Schreiber&rsquo;s <em>Optical Consecration Kit</em> invites the collector to his studio to experience the auratic infusion of otherwise static objects. Matthew Leifheit, on the other hand, consumes the secrets of David Wojnorowicz&rsquo;s <em>Magic Box</em> (found only after his death and hidden under his bed) into sets of playing cards, allowing us to see miniature versions of themes that appear throughout his artistic practice. Rashid Johnson&rsquo;s life-size Lionel Richie candle mimics the structure of a votive candle while, alternately, deifying a pop culture icon. Amelia Bauer&rsquo;s <em>For Setting One&rsquo;s Intention</em> continues with a botanica&rsquo;s archetypal trove of candles, while including a Dr. Bronner-esque diatribe that gives both instructions on how to light her tree-trunk-molded-candle, and presenting advice on an introspective approach to life in general. Throughout the run of the installation, the artist Nick Doyle will be offering tattoos (by appointment only) of imagery that evokes the ideas of spirituality as a meta-experience of perception itself.</p> <p style="text-align: justify;">Available as affordable multiples specially made exclusively for The Botanica, many of the works act as conceptual instigators, challenging the theory of contemporary art as a wholly religious experience for a secular audience; while others introduce more traditional botanica wares.</p> <p style="text-align: justify;">* * *</p> <p style="text-align: justify;">AA Bronson&rsquo;s work&mdash;as an artist, curator, and educator&mdash;is dominated by the practice of collaboration and consensus.&nbsp; From his beginnings in a free school and commune, through his 25 years as one of the artists of General Idea, in his deep involvement with founding and developing collaborative and social structures such as Art Metropole, the NY Art Book Fair and AA Bronson&rsquo;s School for Young Shamans, and through his current collaborations with younger generations, he has focused on the politics of decision-making and on living life radically as social sculpture.</p> <p style="text-align: justify;">Michael B&uuml;hler-Rose is an artist and an Instructor at the Rhode Island School of Design, as well as a purohita (Hindu priest). His study and practice of Vaishnavism, Sanskrit, kalpa (ritual), and philosophy over the last 20 years have prompted extended stays in India, including one as a Fulbright Fellow, his work on these platforms influence his artistic production. In his photographs, videos and installations he explores the relationship between the art object and the artist as a parallel to a venerated deity and a priest, and aesthetic experience as ultimately religious. B&uuml;hler-Rose will be participating&nbsp;in a panel discussion at the New Museum on religion, myth, and contemporary art&nbsp;<a href="x-apple-data-detectors://0" target="_blank">on Thursday, Dec. 18, 7-9pm</a>.</p> Sat, 22 Nov 2014 17:15:15 +0000 - International Center of Photography (ICP) - December 1st 7:00 PM - 9:00 PM <p><a href="" rel="nofollow">Get tickets</a></p> <p>Climate change is a complex phenomenon and climate science can be intimidating to the layperson. What kinds of photographs advance the arguments of climate change activists and scientists? How do photographers illustrate the root causes of climate change as well as its impact on the environment? Panelists include photographers Balazs Gardi, Ed Kashi (VII), and Camille Seaman; and Gavin Schmidt, climate scientist and co-author of&nbsp;<em>Climate Change: Picturing the Science</em>. Moderator: Francesco Fiondella, Director of Communications, International Research Institute for Climate and Society.</p> <p><a href="" rel="nofollow">Learn more</a></p> Fri, 17 Oct 2014 17:27:58 +0000 - Dia Art Foundation - December 2nd 6:30 PM - 7:30 PM <p style="text-align: justify;">Dia&rsquo;s monthly Readings in Contemporary Poetry series, curated by poet and author Vincent Katz, highlights commonalities between poets and puts their diverse voices in conversation with one another. Readings take place at Dia:Chelsea, 535 West 22nd Street, 5th Floor, in New York City.</p> <h3 class="subtitle_4" style="text-align: justify;">Paul Auster</h3> <div class="content_body dia-links" style="text-align: justify;">Paul Auster&rsquo;s recent publications include the autobiographical works <em>Report from the Interior</em> (2013) and <em>Winter Journal</em> (2012), and the novel <em>Sunset Park</em> (2010). His books have been translated into more than forty languages.</div> <p style="text-align: justify;"><a class="anchortag" name="c2248"></a></p> <h3 class="subtitle_4" style="text-align: justify;">Facing the Music</h3> <div class="content_body dia-links" style="text-align: justify;">Blue. And within that blue a feeling<br /> of green, the gray blocks of clouds<br /> buttressed against air, as if<br /> in the idea of rain<br /> the eye<br /> could master the speech<br /> of any given moment<br /><br /> on earth. Call it the sky. And so<br /> to describe<br /> whatever it is<br /> we see, as if it were nothing<br /> but the idea<br /> of something we had lost<br /> within. For we can begin<br /> to remember<br /><br /> the hard earth, the flint<br /> reflecting stars, the undulating<br /> oaks set loose<br /> by the heaving of air, and so down<br /> to the least seed, revealing what grows<br /> above us, as if<br /> because of this blue there could be<br /> this green<br /><br /> that spreads, myriad<br /> and miraculous<br /> in this, the most silent<br /> moment of summer. Seeds<br /> speak of this juncture, define<br /> where the air and the earth erupt<br /> in this profusion of chance, the random<br /><br /> forces of our own lack<br /> of knowing what it is<br /> we see, and merely to speak of it<br /> is to see<br /> how words fail us, how nothing comes right<br /> in the saying of it, not even these words<br /> I am moved to speak<br /> in the name of this blue<br /> and green<br /> that vanish into the air<br /> of summer.<br /><br /> &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;Impossible<br /> to hear it anymore. The tongue<br /> is forever taking us away<br /> from where we are, and nowhere<br /> can we be at rest<br /> in the things we are given<br /> to see, for each word<br /> is an elsewhere, a thing that moves<br /> more quickly than the eye, even<br /> as this sparrow moves, veering<br /> into the air<br /> in which it has no home. I believe, then,<br /> in nothing<br /><br /> these words might give you, and still<br /> I can feel them<br /> speaking through me, as if<br /> this alone<br /> is what I desire, this blue<br /> and tins green, and to say<br /> how this blue<br /> has become for me the essence<br /> of this green, and more than the pure<br /> seeing of it, I want you to feel<br /><br /> this word<br /> that has lived inside me<br /> all day long, this<br /> desire for nothing<br /><br /> but the day itself, and how it has grown<br /> inside my eyes, stronger<br /> than the word it is made of, as if<br /> there could never be another word<br /><br /> that would hold me<br /> without breaking.</div> <p style="text-align: justify;"><a class="anchortag" name="c2249"></a></p> <h3 class="subtitle_4" style="text-align: justify;">Siri Hustvedt</h3> <div class="content_body dia-links" style="text-align: justify;">Siri Hustvedt is the author of a book of poems, <em>Reading to You</em> (1995); a collection of essays, <em>Living, Thinking, Looking</em> (2012); and the novels <em>The Blazing World</em> (2014), <em>The Summer Without Men</em> (2011), <em>The Sorrows of an American</em> (2009), <em>The Enchantment of Lily Dahl</em> (2004), <em>What I Loved</em> (2004), and <em>The Blindfold</em> (1992). Her work has been translated into over thirty languages.</div> <p style="text-align: justify;"><a class="anchortag" name="c2250"></a></p> <h3 class="subtitle_4" style="text-align: justify;">An Excerpt from Nine Boxes for Joseph Cornell</h3> <div class="content_body dia-links" style="text-align: justify;">9. They whisper,<br /> Like those who see the dead in the same room:<br /> Outlining the universe in a coffin.<br /> It is strange to think that infinity has six sides.<br /> Heaven is this cage of the cosmos,<br /> Reduced to the minute and the placid,<br /> Our reticulum visible in January,<br /> Ten tiny lights on an oak lid,<br /> Shining like glass where the world sleeps<br /> In a cat's eye.</div> Wed, 26 Nov 2014 07:02:24 +0000 - International Center of Photography (ICP) - December 3rd 12:30 PM - 1:30 PM <p><strong>Please note that this program is ONLINE.</strong></p> <p>Can't make it to an&nbsp;<a href="" rel="nofollow">Open House</a>&nbsp;or Friday Information Session at the School? Then join our Full-Time Programs staff online and speak with them about ICP's MFA and One-Year Certificate Programs. All you need is a webcam and microphone to participate.</p> <p>Online Information Sessions take place on Wednesdays.</p> <p><strong><a href="" rel="nofollow">Learn more about joining this session.</a></strong></p> Wed, 05 Nov 2014 22:27:45 +0000 Maria Blaisse - The Noguchi Museum - December 3rd 10:00 AM - 5:00 PM <p style="text-align: justify;">For a month this winter, The Noguchi Museum presents Maria Blaisse's&nbsp;<em>Breathing Sphere</em>, a computer-controlled, motorized sphere of woven bamboo. The installation creates a spatial and formal dialogue both with Noguchi&rsquo;s work and with two more of Blaisse&rsquo;s woven bamboo structures, which are being presented by slowLab at the Pratt Manhattan Gallery.</p> <p style="text-align: justify;">In the words of Oek de Jong, taken from Maria Blaisse&rsquo;s just-published monograph <em>Emergence of Form</em>, she &ldquo;is one of the designers making an important contribution to the metamorphosis of human existence.&rdquo; Blaisse&rsquo;s idealism is pragmatic, rigorous and well-earned. While in the past decade she has set herself to exploring natural structural alternatives for almost anything manmade, she has also designed hats used by Issey Miyake, EVA foam costumes employed by Paula Abdul, and boots for Camper.</p> <p style="text-align: justify;">Blaisse tends to explore with the directness of nature: water running downhill through soft material, seeking the physically obvious answers to the questions that emerge from her material research. But she is also sympathetic to the instincts that lead us to apply our ingenuity to synthesizing, counterfeiting and opposing nature. Her resolutions of this paradox make her uniquely qualified to help lead us not to anything so twee as a post-industrial utopia, but into a more pragmatic and mutually beneficial relationship with our planet. Her latest large body of work exploring the structural potential of woven bamboo is a prime example; she is presently engaged in expanding one of her bamboo structures to the scale of architecture.&nbsp;</p> <p style="text-align: justify;">Maria Blaisse comes to New York as part of slowLab&rsquo;s 2014 Slow knowledge programming. Her bamboo structures are being presented and performed at The Noguchi Museum in partnership with slowLab, with support from the Pratt Institute and the Creative Industries Fund NL.</p> Mon, 24 Nov 2014 17:41:36 +0000 Vincenzo Lo Sasso - Atlantic Gallery - December 4th 6:00 PM - 9:00 PM <div> <div>&nbsp;</div> <div>Atlantic Gallery is pleased to present a solo exhibition of recent works by<strong> Vincenzo</strong>&nbsp;<strong>Lo Sasso </strong>titled</div> <div>"Parts of Me". This collection is divided into three sections: Photo Prints on paper, oil paintings on canvas&nbsp;and mixed media on aluminum. Vincenzo Lo Sasso was born in Taranto, Italy and currently lives in Milan. Early on, he began his artistic career marked by intense activity of painting using traditional medium. At age 20, he discovered photography which led him to work in the U.S., France,</div> <div>Germany, England and other countries. He has had a long and fruitful collaboration with magazines like Vogue Italia, Vogue Bellezza, Uomo Mare, Linea Italiana and Moda. His work included advertising for clients such as L'Oreal, Wella, Schwarzkopf and other well known fashion houses. His photography included the entertainment business as well with names like the Ballet Theatre of Contemporary Art in St. Petersburg, the Teatro Stabile di Ancona and his friend Eros Ramazzotti.</div> <div>Vincenzo Lo Sasso's works are in public and private collections.</div> <div>&nbsp;</div> <div>&nbsp;</div> </div> Wed, 12 Nov 2014 21:25:37 +0000