ArtSlant - Recently added en-us 40 - Museum of the City of New York - October 30th - January 6th, 2015 <p style="text-align: justify;"><strong>City Museum Unveils Over 20 Rarely Seen Personal Letters from Thomas Jefferson to Renowned New Yorker Robert R. Livingston</strong></p> <p style="text-align: justify;"><strong>New York, NY (October 30, 2014): </strong>For the first time, the <strong>Museum of the City of New York </strong>will put on public view more than 20 original letters from Thomas Jefferson to Robert R. Livingston, who served as Chancellor of the State of New York and whom Jefferson appointed resident minister at the court of Napoleon. The personal letters, which span from 1800 &ndash; 1803 and have been part of the City Museum&rsquo;s collection since 1947, will be on public display Thursday, October 30 &ndash; Friday, December 5, 2014.</p> <p style="text-align: justify;">In these fascinating documents, Jefferson writes about a number of remarkable and historically important topics, including: the Louisiana Purchase, the Napoleonic Wars, early debates over the Constitution, the unearthing of a buried mammoth skeleton in upstate New York, the technical details of the first steam engine, the development of new codes for delivering secret messages to American diplomats living overseas, and much more.</p> <p style="text-align: justify;">&ldquo;History comes alive in these letters, which are written in a conversational, direct tone &ndash; and in Jefferson&rsquo;s own elegant hand to one of our most famous New Yorkers,&rdquo; said Susan Henshaw Jones, Ronay Menschel Director of the Museum of the City of New York. &ldquo;We are thrilled to showcase these rare letters for the first time and reveal to the public Jefferson&rsquo;s wider legacy as inventor, amateur biologist, tinkering engineer, a cryptologist, and an all-around collector of knowledge.&rdquo;</p> <p style="text-align: justify;">Highlights include:</p> <p style="text-align: justify;">• <strong>December 14, 1801</strong>: Jefferson inquires about the unearthing of a buried mammoth skeleton in upstate New York and asks if there&rsquo;s any way he can acquire a sample &ndash; &ldquo;If they are to be bought, I will gladly pay for them.&rdquo;</p> <p style="text-align: justify;">• <strong>September 9, 1801</strong>: Jefferson advises Livingston to do his best to maintain US neutrality as Napoleon and Great Britain head to war.</p> <p style="text-align: justify;">• <strong>April 18, 1802</strong>: Jefferson suggests a secret encryption system for the two men to use when transmitting sensitive messages.</p> <p style="text-align: justify;">• <strong>February 3, 1803</strong>: Reacting to France&rsquo;s closing the port of New Orleans to American shipping, which had thrown the entire continent into disarray, Jefferson asks Livingston to consider options for buying New Orleans. Soon after, Napoleon would offer not just New Orleans but the entire Louisiana Territory for sale, thereby doubling the size of the United States.</p> <p style="text-align: justify;">• <strong>November 4, 1803</strong>: Jefferson reports that Jerome Bonaparte, Napoleon&rsquo;s brother, has married a charming 18-year-old Baltimore woman. He worries that Napoleon might not approve and advises Livingston to tread lightly so long as the Louisiana deal remains&nbsp; unsettled.</p> <p style="text-align: justify;">In 1947, Goodhue Livingston (descendent of Robert R. Livingston) donated to the City Museum more than 300 documents dating from 1719 to the 1820s that had passed down through his family. While most dealt with the commercial and real estate dealings of the Livingston family, more than 20 letters from Thomas Jefferson. </p> Wed, 26 Nov 2014 08:48:15 +0000 Daniel Crooks, Richard Bell, Angelica Mesiti, Susan Norrie - The Jewish Museum - November 28th - December 25th <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 08:43:16 +0000 Yevette Hendler - Hunterdon Art Museum - November 23rd - January 4th, 2015 Wed, 26 Nov 2014 07:36:20 +0000 - Guild Hall - January 17th, 2015 - February 22nd, 2015 <p style="text-align: justify;">Now in its 23rd year, the Student Arts Festival celebrates the young artists of our region and salutes their devoted art instructors, school administrators, and families who nurture their creative pursuits. Each year, schools from Bridgehampton to Montauk participate in our two inspiring student&nbsp;exhibitions. The museum features more than 3,500 works of student art that covers the gallery walls floor to ceiling salon-style. Part I of the exhibition features the works of students in pre-school, elementary and middle schools, and Part II features the work of our talented high school students.</p> Wed, 26 Nov 2014 07:16:09 +0000 - Dia:Beacon, Riggio Galleries - December 13th 2:00 PM - 3:00 PM <p style="text-align: justify;">Regine Basha is a curator and writer. From 2002 to 2007, Basha was adjunct curator of Arthouse in Austin, Texas, and produced projects with artists Daniel Bozhkov and Dario Robleto. Recently, she curated the exhibitions <em>Marfa Sessions</em> at Ballroom Marfa, Texas (2008); <em>An Exchange with Sol LeWitt</em> at Cabinet, Brooklyn, and Mass Moca, Williamstown, Massachusetts (2011); and <em>Mark of the Feminine</em> at Contemporary Arts Center, New Orleans (2014). She is founder of Basha Projects, which serves as a virtual compendium of exhibitions, critical essays, as well as the web video channel RESIDENT: HOST. She holds a MA in Curatorial Studies from Bard College. She lives in Brooklyn.</p> Wed, 26 Nov 2014 07:08:55 +0000 Sam Lewitt - Dia Art Foundation - December 16th 6:30 PM - 7:30 PM <p style="text-align: justify;">Artists on Artists Lecture Series</p> <p style="text-align: justify;">Established in 2001, this series highlights the work of contemporary artists from the perspective of their colleagues and peers, and focuses on artists in Dia's collection and exhibition programs. Lectures take place at Dia's 535 West 22nd Street, 5th floor between 10th and 11th Avenues in New York City.</p> <p style="text-align: justify;">Sam Lewitt was born in Los Angeles, California, in 1981. His recent solo exhibitions include <em>International Corrosion Fatigue</em>, at Galerie Buchholz, Cologne (2013); <em>Verbrannte Erde: Second Salvage</em>, Leopold-Hosch Museum, D&uuml;ren (2014); as well as an upcoming solo exhibition at CCA Wattis Institute for Contemporary Art, San Francisco in 2015. Lewitt was also included in the Whitney Biennial, at the Whitney Museum of American Art, New York (2012). He lives and works in New York.</p> Wed, 26 Nov 2014 07:05:59 +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 - Society of Illustrators - November 4th - December 20th <p style="text-align: justify;">Presenting a selection of pieces from the The Graphic Canon of Children's Literature, written by Russ Kick and published by Seven Stories Press. &nbsp;</p> <div style="text-align: justify;">In this follow-up volume to the lauded Graphic Canon series, master anthologist Russ Kick shows adults everywhere that great children's literature is great literature, period. And that it's not just for children.</div> <div style="text-align: justify;">&nbsp;</div> <div> <p style="text-align: justify;">The original three-volume anthology <em>The Graphic Canon</em> presented the world's classic literature--from ancient times to the late twentieth century--as eye-popping comics, illustrations, and other visual forms. In this follow-up volume, young people's literature through the ages is given new life by the best comics artists and illustrators. Fairy tales, fables, fantastical adventures, young adult novels, swashbuckling yarns, your favorite stories from childhood and your teenage years . . . they're all here, in all their original complexity and strangeness, before they were censored or sanitized.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">On display in the second floor MoCCA Gallery.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>An Opening Reception and Awards Ceremony will take place on Friday, November 7th, beginning at 7:00 PM. &nbsp;Wine and light refreshments will be served.</strong></p> <p><strong>&nbsp;</strong></p> <p style="text-align: center;"><strong>The Push and Kick Awards for Excellence in the World of Graphic Books</strong></p> <p style="text-align: center;"><strong>honoring the works of Lynda Barry, R. Sikoryak, and Hillary Chute</strong></p> <p><strong>&nbsp;</strong></p> <p><strong>Sponsored by the Society of Illustrators and <em>Publishers Weekly</em>.</strong></p> </div> <p>&nbsp;</p> Tue, 25 Nov 2014 16:02:58 +0000 - Society of Illustrators - November 5th - December 19th <p style="text-align: justify;"><strong>A&nbsp;Selection of work from the Museum of American Illustration at the Society of Illustrators on display at the Art Directors Club (106 West. 29th Street, New York, NY 10001).</strong></p> <p style="text-align: justify;">A page, a poster, a billboard, a screen. They all begin as blanks until content fills them. The meaning of the content and its reach depend on display. On form, color and space. All in the service of meaning. How well this is accomplished is due to the skill of art directors and their collaborators. The art director chooses whom to take to the dance&mdash;if the partners are well matched, who leads hardly matters.<br /><br />By choosing the right partner, a great art director matches the best talent to the content and the space. The best image entrapped in a poor layout is diminished. The best layout can rarely overcome a poor image. When working well together, designer and artist make the experience complete.<br /><br />The best art directors know when to leave well enough alone. The best illustrators bring not only craft, but also great ideas to the table. The best art directors give artists the freedom to run, and can, if need be, rethink a solution around an image that sparks the imagination.<br /><br />A great art director knows, above all, the totality of the space. Knows how all elements interact with the imagery, not only through appropriate typefaces, but the way copy blocks, headlines, margins and edges are engaged in a dance with the artwork. A great illustrator can weave within the layout, or can initiate that interaction for the art director. All to entice, capture and keep an audience&rsquo;s attention.<br /><br />All these works were created not as standalone entities, but to fit within a total dictated by boundaries and intended meaning. All are images made through partnerships with the mutual desire to entice, capture and keep an audience&rsquo;s attention.</p> Tue, 25 Nov 2014 16:02:01 +0000 Group Show - Society of Illustrators - January 7th, 2015 - January 31st, 2015 <div style="text-align: justify;">The first of the two-part annual exhibition&nbsp;<em>Illustrators 57</em>&nbsp;will be held at the Museum of American Illustration at the Society of Illustrators January 7 to January 30, 2015. The exhibit features works by leading contemporary illustrators worldwide, selected by a prestigious jury of professionals.&nbsp;</div> <p style="text-align: justify;"><br style="font-family: arial, helvetica, sans-serif;" />The first exhibit includes works in the categories of Institutional, Advertising, and Uncommissioned.<br style="font-family: arial, helvetica, sans-serif;" /><br style="font-family: arial, helvetica, sans-serif;" />Institutional illustration includes work appearing on merchandise, announcements, annual reports, calendars, corporate projects, government service projects, greeting cards, newsletters, in-house publications, philatelic work and collectibles.&nbsp; Gold medals are awarded to <strong>Serge Bloch</strong>&nbsp;for "Posters for the 2014-2015 season"<em>&nbsp;</em>(for the&nbsp;Th&eacute;&acirc;tre G&eacute;rard Philipe, Paris),&nbsp;<strong>Nicolas Delort&nbsp;</strong>for <em>It's the Great Charlie Brown&nbsp;</em>(Client: Dark Hall Mansion), and <strong>Tatsuro Kiuchi</strong>&nbsp;for <em>Please</em>&nbsp;(AD: Katie Burk, Client: National Public Radio), and <strong>Red Nose Studio</strong> for his animation <em>Holding Polluter Accountable</em> (Client: GreenLaw). Silver medals go to <strong>Ofra Amit&nbsp;</strong>for <em>Outside Over There&nbsp;</em>(AD: Kobi Ben Meir, Client: The Israel Museum, Jerusalem) and <strong>Brian Stauffer</strong>&nbsp;for <em>Ambition&nbsp;</em>(AD: Kit Hinrichs, Client: Kroll Foundation, Studio Hinrichs).<br style="font-family: arial, helvetica, sans-serif;" /><br style="font-family: arial, helvetica, sans-serif;" />Advertising illustration includes work for advertisements appearing in newspapers, magazines or on television; video and CD covers; brochures, fashion, point-of-purchase and packaging illustration; movie and theater posters.&nbsp; Gold medals are awarded to&nbsp;<strong style="font-family: arial, helvetica, sans-serif;">Jonathan Bartlett</strong>&nbsp;for&nbsp;<em style="font-family: arial, helvetica, sans-serif;">Denim + Supply</em>&nbsp;(AD: Amir Mohammady, Client: Ralph Lauren), <strong>Bartosz Kosowski</strong><strong style="font-family: arial, helvetica, sans-serif;">&nbsp;</strong>for <em>Lolita</em>, and <strong>David Plunkert</strong>&nbsp;for <em>Baltimore Theatre Project</em>&nbsp;(for Baltimore Theatre Project).&nbsp; Silver medals go to&nbsp;<strong style="font-family: arial, helvetica, sans-serif;">Susan Farrington</strong>&nbsp;for&nbsp;<em style="font-family: arial, helvetica, sans-serif;">Robots</em>&nbsp;(AD: Amy Hausmann, Client: MTA Arts &amp; Design), <strong>Philip Giordano</strong>&nbsp;for&nbsp;<em style="font-family: arial, helvetica, sans-serif;">Playtime</em>&nbsp;(AD: Marie Czapska, Client: Playtime), and <strong>Leslie Herman</strong>&nbsp;for&nbsp;<em style="font-family: arial, helvetica, sans-serif;">The Orwells&nbsp;</em>(AD: The Orwells, Client: Lincoln Hall).&nbsp;<br style="font-family: arial, helvetica, sans-serif;" /><br style="font-family: arial, helvetica, sans-serif;" />Uncommissioned pieces include all self-generated work.&nbsp; Gold medals are awarded to <strong>John Cuneo</strong>&nbsp;for <em>Killed Sex Sketches</em>, <strong>Bill Mayer&nbsp;</strong>for&nbsp;<em style="font-family: arial, helvetica, sans-serif;">Le Nouveau Chapeau de Marie</em>, and <strong>Kadir Nelson</strong><strong style="font-family: arial, helvetica, sans-serif;">&nbsp;</strong>for <em>Morning Post</em>.&nbsp; Silver medals are awarded to <strong>Steven Darden</strong>&nbsp;for <em>Wizards, </em>Keith Negley for <em>Hope Chest</em>,&nbsp;&nbsp;Bill Plympton for his animation <em>Footprints</em>, and&nbsp;<strong style="font-family: arial, helvetica, sans-serif;">Dadu Shin</strong>&nbsp;for&nbsp;<em style="font-family: arial, helvetica, sans-serif;">Can't Sleep</em>.&nbsp;&nbsp;<br style="font-family: arial, helvetica, sans-serif;" /><br style="font-family: arial, helvetica, sans-serif;" />The<em style="font-family: arial, helvetica, sans-serif;">&nbsp;Illustrators 57</em><span style="font-family: arial,helvetica,sans-serif;">&nbsp;will now be exhibited throughout the entire building, including the 3rd floor Hall of Fame Gallery.&nbsp; An&nbsp;</span><a title="Opening Reception&nbsp;for Institutional, Advertising, and Uncommissioned Categories" href=";ItemID=12228" target="_blank">Opening Reception&nbsp;for Institutional, Advertising, and Uncommissioned Categories</a><span style="font-family: arial,helvetica,sans-serif;"> will be held on Friday, January 9th. <br /></span></p> Tue, 25 Nov 2014 15:59:24 +0000 Araya Rasdjarmrearnsook - Sculpture Center - January 25th, 2015 - March 30th, 2015 <p style="text-align: justify;">SculptureCenter is pleased to present <em>Araya Rasdjarmrearnsook</em>, the Thai artist's first major retrospective in the United States. <br /><br /> Araya Rasdjarmrearnsook is one of the most prominent artists working in Southeast Asia. The exhibition will showcase over 20 artworks spanning two decades of the artist's career, and will include video, sculpture, photography, and some of her better-known works, as well as those that have rarely been viewed, especially in the United States. Rasdjarmrearnsook is also producing new sculptures for the exhibition. <br /><br /> Working with psychologically rich materials, Rasdjarmrearnsook considers a wide range of subjects that have existed in marginal spaces' including women, the deceased, the insane, and animals. She creates complex narratives that confront societal structures of power and pedagogy. Concerned with systems of language and communication, Rasdjarmrearnsook makes earnest attempts to converse with subjects who don't speak in languages that are comprehended by or even acknowledged by mainstream society. For the past 25 years, her videos and installations have been regularly shown throughout the world. <br /><br /> Rasdjarmrearnsook represented Thailand at the Venice Biennale in 2005, and has been featured in many international exhibitions including Documenta 13, the Sydney Biennale, the Gwangju Biennale, the Istanbul Biennial, the Johannesburg Biennial and the Carnegie International. Rasdjarmrearnsook is also a respected professor in Thailand's leading art program in Chiang Mai University, where she has recently spearheaded one of the first media and theory departments in the country. <br /><br /> The exhibition is curated by Ruba Katrib, Curator, SculptureCenter.</p> Tue, 25 Nov 2014 15:52:13 +0000 - Sculpture Center - January 25th, 2015 - April 13th, 2015 <p style="text-align: justify;">*Annual open-call exhibition for emerging artists with a focus on the production of new work. Guest curated by SculptureCenter's 2014-15 Curatorial Fellow Jess Wilcox.</p> Tue, 25 Nov 2014 15:49:44 +0000 Group Show - Queens Museum of Art - November 15th - December 31st <p style="text-align: justify;"><strong>Opening Reception November 15, 2-5pm</strong></p> <p style="text-align: justify;"><em>Unwavering Truth: Archive of Our Own</em> seeks to present an honest look at people with Neurofibromatosis Type 2 (NF2). The exhibit presents works of art by artists with NF2 or artwork related to NF2, meant to depict the emotional truth underlying the thought processes of someone with NF2, while demonstrating that there is more to the artist than just the disorder. In an accompanying video to be played at the exhibit, Kristina Diaz discusses her experience with the disorder throughout her life. She will tell her story in relation to artist Nathalie Trytell who passed away fighting the disorder in 2011 while striving to maintain her artistic voice despite diminishing physical ability to do so. Viewers will see the progression over time as NF2 has long-term effects that take their toll on people both physically and emotionally.</p> <p style="text-align: justify;">The exhibit will display MRI/CT scans, poetry, paintings, pictures, a sculpture to help the audience get a better idea of the artists and NF2.&nbsp; The centerpieces of the exhibit are 2 large collages that show pictures from throughout Nathalie and Kristina&rsquo;s life shown left to right in a chronological order in order to&nbsp;establish and discover&nbsp;trends which may have manifested because of NF2. At the same time, the exhibit organizers aim to show&nbsp;that the subject&rsquo;s sole trait is not the disorder, but that there is life beyond NF2. Through the expression of an individual these traits will be shown in their artwork, their words, their feelings expressed through a long period of time.</p> <p>NF2 is a genetic nervous system disorder that causes tumors to grow around nerves and throughout the body; it affects about 1 in every 25,000 people and does not discriminate.</p> <p>Symptoms can include:</p> <ul> <li>Vestibular Schwannomas (bilateral tumors in the tissue around the eighth cranial nerve that often result in hearing loss or deafness, and/or ringing in the ear (tinnitus) and facial weakness</li> <li>Meningiomas (tumors on the membrane that covers the spinal cord and brain)</li> <li>Ependymomas (tumors that develop inside the spine)</li> <li>Other peripheral nerve tumors</li> <li>Vision problems</li> <li>Balance problems</li> <li>Weakness or numbness</li> <li>Debilitating pain</li> <li>Can lead to complications causing death.</li> </ul> <p>&nbsp;</p> <p style="text-align: justify;"><strong>About the Exhibition&nbsp;Organizers</strong></p> <p style="text-align: justify;"><strong>Kristina Diaz</strong>&nbsp;Diagnosed with NF2 (the first case in her family&rsquo;s history) at age 8, has kept to her love for art and earned her Master of Arts in Creative Arts Therapy as a means to give back and help others. She has developed and implemented Art Therapy programs at the Queens Museum Art Access program for deaf school-aged children in her graduate research study. She continues to provide art therapy with both hearing and deaf communities with mental illness and developmental delays. Kristina has also been proactive in the NF community by fundraising while running in many endurance events (Half Marathons, 10ks, 5ks) and connecting with the NF community by forming friendships and support. She is an advocate for similar causes such as St Jude Children&rsquo;s Research Hospital and the American Cancer Society because she understands on both physical and emotional levels what it means to struggle with chronic illness from a young age and maintaining quality of life.</p> <p style="text-align: justify;"><strong>Ryan Camarda</strong>&nbsp;Ryan cut his teeth working as a freelance, Director, DP, and Producer as well as by his stint as asst. Producer and Editor with 1TEntertainment. His short, <em>The Craigslist Files: Episode 1 &ndash; Donnie and Charlotte</em>, was selected as a Best of New York film in this year&rsquo;s 48 Hour Film Project Festival. His short&nbsp;<em>Departure</em>&nbsp;has also been selected for the Melbourne International Student Film Festival.</p> <p style="text-align: justify;"><em>This exhibition is a collaboration with the Queens Museum&rsquo;s ArtAccess Program.</em></p> <p style="text-align: justify;"><em>Thanks to GoFundMe Supporters: Maria Diaz,&nbsp;Randi C. Friedman, Catherine Engelmeyer, John Golfinos, MD., Thomas Roland, MD., Jeffry Wisoff, MD., Dominique lallemand, Victoria Station Hair Supply and Salon, Tan Yi Liang, Joseph Diaz, Daniel Diaz and Alexandra, Daniel Diaz, Sharon King, Children&rsquo;s Tumor Foundation, Walter Diaz, Kristin Barcia, Jacqueline Murphy, Martin and Noreen Diaz, Helga Braun, Eileen Licausi, Liz Smith.</em></p> <p style="text-align: justify;"><em>Additional support for the exhibition generously provided by <strong>DBUN Designs</strong>,&nbsp;&nbsp;<strong>Children&rsquo;s Tumor</strong></em><strong> Foundation</strong>,&nbsp;<strong>NY Physical Therapy &amp; Wellness</strong>, and <strong>Lord &amp; Taylor</strong>.</p> Tue, 25 Nov 2014 15:44:55 +0000 - Queens Museum of Art - November 1st - January 4th, 2015 <p style="text-align: justify;"><strong>Opening Reception: Saturday, November 1, 2014, 4-8pm</strong></p> <p style="text-align: justify;">In the Tibetan Buddhist and B&ouml;n traditions, a <em>kora</em> is a type of pilgrimage made through repeatedly walking and meditating around a sacred site or temple, the word itself meaning circumambulation or revolution. &nbsp;As a counterpoint to <em>Anonymous: Contemporary Tibetan Art,</em> the artists featured in <em>Kora: A Meditation on Pilgrimage</em> examine pilgrimage in its broadest possible context, with many creating site specific works for the Panorama&rsquo;s unique environment. Footprints of an imaginary devotee encircle the entire space, connecting works that explore different ideas of veneration. Each artist occupies a wall, suggestive of stages on the journey.&nbsp;The architecture of the Panorama and its ramp structure, make it impossible to complete a conventional circumambulation. It is a discontinuous or uncompleted <em>kora</em> surrounding the three-dimensional depiction of the city of New York.</p> <p style="text-align: justify;">In&nbsp;<em>The Last Supper </em>by Tulku Jamyang, there is an obvious link to this idea of a ruptured circle: the calendar of rituals performed by Dalai Lamas in Tibet since the 16<sup>th</sup>&nbsp;century, cannot for the foreseeable future be performed there. As exiles, each of the artists live in multi-cultural cities, where exposure to other ideas and cultures is a daily experience that can feel like sensory overload. Outside of Buddhist culture, the speed of modern life and ideas of self-expression and identity are everywhere, and have become a currency in their own right within the global art market. The works collectively imply a mourning for Tibet experienced by those in exile, or an acceptance and tentative embrace of multi-culturalism.&nbsp;The exhibition&nbsp;can also be seen as an attempt to encircle the city in a different philosophy, pointing the viewer toward a life of selflessness and contemplation. Visually, many of the pieces in the exhibition show traits of the attention to detail and technique of Thangka&mdash;traditional Tibetan painting, though the ideas behind some suggest a break with religious tradition, an incomplete pilgrimage or rupture of the path to enlightenment.</p> <p>&nbsp;</p> Tue, 25 Nov 2014 15:40:15 +0000 Jewyo Rhii - Queens Museum of Art - November 1st - February 8th, 2015 <p style="text-align: justify;"><strong>Opening Reception: November 1, 2014, 4-8 pm</strong></p> <p style="text-align: justify;">Since the early 1990s, Jewyo Rhii has worked in sculptural installation, video, drawing, performance and publications.&nbsp; Constantly displacing herself from her native Seoul, Korea, to study and work in Western Europe and the US, Rhii has come to embrace this fluid lifestyle as an integral part of her process, in such a way that her studios have functioned as exhibition spaces, and exhibition spaces as studios. Having occupied a studio space at the Queens Museum since November 2013, Rhii developed this sprawling sculptural installation, with its multiple components, to materialize her transplantation to the borough of Queens.</p> <p style="text-align: justify;">Rhii explores the intuitive and experiential aspects of being a newcomer.&nbsp; Bringing to the fore both the psychology and physicality, her installation can only be experienced as the visitor actively moves through the gallery space and observes the various components both individually and as a single body.&nbsp; The installation pieces together fragments of Queens as the artist has lived it&mdash;a rooftop of a low-rise building as glimpsed from the elevated subway track, fences of houses,&nbsp;and snippets of daily life as seen on the streets. These are visual coincidences and physical uncertainties of local color perceived by Rhii, often with a sense of hesitation, discomfort, and pure awe.</p> <p style="text-align: justify;"><em>Commonly Newcomer </em>is also an extension of a collaborative publication titled <em>Outside the Comfort Zone</em>, written by Irene Veenstra, a Dutch art historian who visited Rhii&rsquo;s 2013 exhibition at the Van Abbemuseum in Eindhoven, Netherlands, for nine consecutive days. During this time, Veenstra wrote a wide-ranging, impressionistic text that touched on her own life, art history, and contemporary issues, using the works in Rhii&rsquo;s exhibition as a jumping-off point. In <em>Commonly Newcomer</em>, Rhii experiments with re-materializing a textual incarnation of her previous work, while adopting and adapting it into her present life in Queens.</p> <p style="text-align: justify;">Jewyo Rhii (b. 1971, Seoul) studied in Seoul, London and Amsterdam. Recent solo exhibitions include <em>Wall To Talk To </em>at the Van Abbemuseum,&nbsp;Eindhoven, Netherlands; Museum fur Modern Kunst,&nbsp;Frankfurt;&nbsp;the Artsonje Center, Seoul (2011-2013, traveling); <em>Night Studio</em>, Itaewon, Seoul (2010); <em>Lodged</em>, Ursula Walbrol Gallery, Dusseldorf, Germany (2010), and <em>Muscle Aches: Arrivals</em>, Doosan Gallery, New York, USA (2009). Recent group exhibitions include <em>Media City Seoul</em>, Korea (2010), <em>Everyday Miracle (Extended), </em>REDCAT, Los Angeles (2009), <em>On The Road &amp; Insertation</em>, the 7th Gwangju Biennale, Gwangju, Korea (2008). In 2010 she was awarded the prestigious Yanghyun Prize. She has lived in New York since November 2013, focusing on the Queens Museum exhibition.</p> <p style="text-align: justify;">Special thanks to Ikjung Cho, Eunsun Choi, Ji Youn Hong, Boram Jang, Bo Kim, Su Jung Kim, and Susan Lee for their assistance in the installation.</p> <p style="text-align: justify;"><em>Commonly Newcomer&nbsp;</em>is supported by Nexon and Ford Foundation.&nbsp;Additional support provided by the New York City Department of Cultural Affairs and New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.</p> Tue, 25 Nov 2014 15:36:57 +0000 - Queens Museum of Art - November 1st - February 8th, 2015 <p style="text-align: justify;"><strong>Opening Reception: November 1, 2014, 4-7 pm </strong></p> <p style="text-align: justify;">From Weegee to Margaret Bourke-White, the New York World&rsquo;s Fairs proved to be an irresistible subject for photographers. Professionals were sent on assignment for magazines and newspapers to document the advances in science and technology, art and fashion. At the same time, there was an even larger wave of camera enthusiasts coming to the fairs in droves armed with new technologies in cameras and film. Both these amateurs and the professionals captured compelling memories being made before right before the viewers&rsquo; eyes.</p> <p style="text-align: justify;">One popular stop in both fairs was, of course, the Eastman Kodak Pavilion. In the 1939-40 fair, anyone could pose in their &ldquo;Photo-Garden&rdquo; where a series of unusual tableaux provided unrivaled souvenir picture taking opportunities &mdash; in front of a map of the grounds highlighted by a child-sized Trylon and Perisphere, the iconic symbols imprinted on everything from &ldquo;manly&rdquo; rubber and glass ashtrays to ladies&rsquo; enameled metal powder compacts or the immensely popular painted panorama of the fairgrounds that simulated the impression that one was riding in a balloon. Here two visitors could sit side-by-side and appear to be gently floating high above the scenery creating an unforgettable moment.</p> <p style="text-align: justify;">In the 1964-65 fair, Kodak&rsquo;s unusual building design featured the &ldquo;Moon Roof,&rdquo; an undulating rooftop floating thirty feet above the fair distinctive for its highly dramatic vantage points for both the professional and amateur shutterbug. Strangely articulated mounds and peaks presented photographers with distinctive shadows and angles compelling both as backdrops or subjects in and of themselves. One of the ten largest buildings in the fair, the Kodak pavilion was crowned by the world&rsquo;s most massive photographs ever produced for outdoor display mounted on an eighty foot tower. Magazines such as LIFE, LOOK, Harper&rsquo;s Bazaar and Vogue all took advantage of this otherworldly attraction for extraordinary images.</p> <p style="text-align: justify;">Inspired by the generous donation of over 1,200 medium format color slides taken by fashion photographer Jerry Kean and theater photographer Van Williams at the 1964-65 Fair, <em>That Kodak Moment: Picturing the New York Fairs&nbsp;</em>will reveal materials from the museum&rsquo;s permanent collection never seen before by the public such as vintage photographs, albums and scrapbooks, ephemera and books such as &ldquo;How to Make Good Pictures,&rdquo; a Kodak publication from the &lsquo;30s. Other artifacts to be included in the exhibition will be on loan from local and national collections.</p> <p style="text-align: justify;"><em>That Kodak Moment: Picturing the New York Fairs</em> has been organized by Louise Weinberg, Registrar, Archives Manager and Curator.</p> Tue, 25 Nov 2014 15:35:29 +0000