ArtSlant - Recommended en-us 40 - KLOMPCHING GALLERY - September 13th, 2012 - October 26th, 2012 <p><strong>KLOMPCHING GALLERY</strong> is delighted to present the third solo exhibition of new artworks by the British photographer, <strong>Helen Sear,</strong> together with the US launch of her publication <em>Helen Sear: Inside The View </em>(Ffotogallery, 2012).<br /> <br /> There will be an <strong>Opening Reception on Thursday, September 13, from 6pm to 8pm</strong>.<br /> <br /> Two new series, never before exhibited in the US, will be presented as the gallery’s opening exhibition for the 2012/2013 season, accompanied by the US launch of the monograph charting her 25+ years practice. <em>Sightlines</em> and <em>Pastoral Monuments</em> continue Sear’s commitment to conceptual applications, integration of photographic process, historical reference and visual allure.<br /> <br /> <em>Sightlines</em> is an exquisite set of 21 photographs, partially concerned with ideas about the unique object and the copy. The images themselves depict a portrait of a woman whose face is obscured by a mass-produced, but hand-painted figurine of a bird. Sear alters the final photograph through the application of several layers of white primer—gesso. The images, then, are also about photographing paint and painting photographs. This convergence of the unique and/or the copy is further implicated by notions of her concern with identity. Through obscuring the face of the woman, Sear interrupts the gaze of both sitter and observer. The spectator of the photograph is unable to know the sitter’s identity, in a similar way that she/he can’t know the identity of the person(s) who hand-painted the bird. These small-scale photographs confound our expectations in the most delightful way, and are a testimony to the conceptual and visual strength of Sear’s practice.<br /> <br /> Showing alongside <em>Sightlines</em>, is <em>Pastoral Monuments</em>, which expands an underlying theme of the real and the re-presentation of it. In this case, Sear references the historical photographs of the botanist and photographer, Mary Dillwyn, whose photographs from the early 1850’s depicted wild flowers arranged in domestic crockery. Sear has sourced more than 80 wild flowers from the same Welsh field and photographed them in jugs and vases from around the world. Through handling the resulting prints and re-photographing them—evidencing this handling—Sear believes that “the flowers and their containers become connected in a material sense, across the surface of the image.” Further, we see in the photographs familiar ideas associated with flowers—youth, beauty and mortality. In some ways, these photographs become monuments to flowers.<br /> <br /> With the recent publication, <em>Helen Sear: Inside The View</em> (Ffotogallery, 2012), which surveys Sear’s 25+ year career as an active artist, this exhibition marks a period in which Helen Sear can be seen to be at her most productive.<br /> <br /> Helen Sear’s (b. 1955) photographic practice has developed from a fine art background of performance, film and installation work made in the 1980’s. Her photographs became widely known in the 1991 British Council exhibition, <em>De-Composition: Constructed Photography in Britain</em>, which toured Latin America and Eastern Europe. Her work is included in <em>Face—The New Photographic Portrait</em> (Thames &amp; Hudson) and has been featured in several publications. Collections holding her work include the Victoria &amp; Albert Museum, Ernst &amp; Young, British Council (Rome), Paul Wilson Collection and Virgin Communications Collection. In 2009, <em>Portfolio Catalogue</em> named Helen Sear one of the 50 most significant artist photographers in the UK. This was followed in 2010, by Helen Sear being awarded the prestigious <em>Major Creative Wales Award</em> and more recently, the <em>National Eisteddfod of Wales 2011 Gold Medal for Fine Art</em>.<br /> <br /> <strong>Exhibition continues through October 26, 2012.</strong><br /> <br /> <br /> <strong>FOR FURTHER INFORMATION, CONTACT:<br /> Debra Klomp Ching: +1 212 796 2070 |</strong></p> Wed, 12 Sep 2012 16:56:01 +0000 Group Show - MoMA (Museum of Modern Art) - April 18th, 2012 - April 21st, 2013 <div class="description"> <p>This exhibition, covering the period from 1910 to today, offers a critical reassessment of photography's role in the avant-garde and neo-avant-garde movements—with a special emphasis on the medium's relation to Dada, Bauhaus, Surrealism, Constructivism, New Objectivity, Conceptual, and Post-Conceptual art—and in the development of contemporary artistic practices.</p> <p>The shaping of what came to be known as "New Vision" photography bore the obvious influence of "lens-based" and "time-based" works. El Lissitzky best summarized its ethos: "The new world will not need little pictures," he wrote in <i>The Conquest of Art</i> (1922). "If it needs a mirror, it has the photograph and the cinema."</p> <p>Bringing together over 250 works from MoMA’s collection, the exhibition features major projects by Man Ray, László Moholy-Nagy, Aleksandr Rodchenko, Germaine Krull, Gerhard Rühm, Helen Levitt, Daido Moriyama, Robert Heinecken, Ed Ruscha, Martha Rosler, Bernd and Hilla Becher, Philip-Lorca DiCorcia, and Walid Raad, among others. Photographic history is presented as a multivalent history of distinct "new visions," rooted in unconventional and innovative exercises that range from photograms and photomontages to experimental films and photobooks.</p> </div> Mon, 07 Jan 2013 00:22:54 +0000 Luis Camnitzer - Alexander Gray Associates - September 12th, 2012 - October 20th, 2012 <p style="text-align: justify;"><span style="font-size: small;"><strong>Alexander Gray Associates</strong> is pleased to present its third individual exhibition with<strong> Luis Camnitzer</strong>, whose contributions since the 1960s to the development of Latin American contemporary art and international Conceptual Art have garnered significant recognition in recent years. The exhibition in the Gallery’s newly expanded space, includes the premiere of two installation works by Camnitzer.</span><br /> <br /><span style="font-size: small;"> Realized for the first time, <i>Bricks</i> (1974/2012) covers the Gallery walls at 10-feet high with black and white photographic murals of bricks and mortar, transforming the space into a place of confinement. In the piece, the image of four brick walls, each photographed from different distances, resulting in a distorted perspective of proximity, scale and location. With <i>Bricks</i>, conceived at the early period of the Uruguayan dictatorship, the piece obscures any cues for cardinal directions, human scale, and the relationship of the body within its environment, imposing boundaries on the viewers’ experience. In Camnitzer’s oeuvre, <i>Bricks</i> is a departure from his text-based works of the 60s, using photographic rather than linguistic signs as tools to alter meaning; subsequent photographic works from the mid-1970s are among the artist’s most iconic.</span><br /> <br /><span style="font-size: small;"> Disorientation plays a central role in the viewer’s experience again with <i>The Shift of the Center of the Earth</i> (1975). 
The installation is composed of a mason’s plumb suspended from the ceiling, skewed at an angle, seemingly defying natural laws of gravity. This repurposed tool—a trusted guide to our geographic or physical center—leads us astray; Camnitzer’s manipulation of the plumb leaves us doubting which way is down. Here too, Camnitzer questions the role of an individual in our social and political worlds, as well as our psychological: who determines location, myself or the world around me? Camnitzer’s Duchampian gesture–repositioning a found object–certainly addresses the realignment of global politics 
and capital.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Luis Camnitzer (b. 1937) is a German-born Uruguayan conceptual artist and academic who works in the media of printmaking and sculpture. His humorous yet biting work has appeared in many exhibitions since the early 1960s.</span><br /> <br /><span style="font-size: small;"> Camnitzer’s work has been shown in noted exhibitions and institutions, including individual shows at the Galería Ruth Benzacar, Argentina; The Kitchen and El Museo del Barrio, New York; List Visual Arts Center at M.I.T., Cambridge, MA; and Museo Carillo Gil, Mexico City. Retrospectives of his work have been presented at Lehman College Art Gallery in the Bronx, NY(1991) and Kunsthalle Kiel, Germany (2003), as well as at the Daros Museum in Zürich (2010) and the upcoming exhibition at El Museo del Barrio, New York (2011). His work has appeared in biennials and group shows, including <i>Information</i> (1970), The Museum of Modern Art, New York; Biennial of Havana, Cuba (1984, 1986, and 1991); <i>Whitney Biennial</i> (2000), <i>Documenta 11</i> (2002), and <i>Beyond Geometry</i> (2005), Los Angeles County Museum of Art, CA. Camnitzer’s work is in the permanent collections of The Museum of Modern Art, The Metropolitan Museum of Art, and the Whitney Museum of American Art, New York; The Museum of Fine Arts, Houston, TX; and Museo de Arte Latinoamericano de Buenos Aires, Argentina (MALBA), among other institutions. Camnitzer received Guggenheim Fellowships in 1961 and 1982. A highly regarded critic and curator, Camnitzer is a frequent contributor to ArtNexus, and wrote <i>New Art of Cuba</i> (1994, 2003) and <i>Conceptualism in Latin American Art: Didactics of Liberation</i> (2007).</span></p> Sat, 08 Sep 2012 16:38:58 +0000 Andrea Branzi - Friedman Benda - September 11th, 2012 - October 13th, 2012 <p>Today there no longer exists any distance between the natural world and the artificial world, because the latter has become a second nature….When I bring nature up against technology, I do not seek to reconcile myself with nature, but to reconcile myself with technology, by transferring into it this great plankton of mixed materials in which we live.”<br /> - Andrea Branzi, Branzi, ed. Burkhardt and Morozzi<br /> <br /> On September 11th, Friedman Benda will present Trees and Stones, Andrea Branzi’s first gallery exhibition in the United States. An exemplary social thinker, professor, architect, and designer, Branzi has been a fundamental influence on contemporary design in Italy and abroad since the early 1960s. Here he offers the latest works in his Trees series and unveils a new body of work, Stones, beside it.<br /> <br /> Since his emergence at the forefront of the 1960s and 1970s Italian radical design movements, Branzi has sought to reconcile design and architecture with the challenges of contemporary society. He was among the first thinkers to consider and integrate issues of unlimited supply, the mass-production of images and products, and the over-saturation of cities with conflicting aesthetics. <br /> <br /> Decades of thought-work and experimentation have produced Trees and Stones, gestures Branzi has honed throughout his life. With these pieces, Branzi again overcomes the strictures of Modernism and Classicism to forge more sensible and more human paths in design. He escapes any stifled aesthetics and rather than “perfect” design, makes items that are warm, aged, and transcendent. After 50 years, it is possible to recognize these confident pieces as the distillation of Branzi’s life-long endeavor. <br /> <br /> In his latest works, Branzi unites a dichotomy of objects in modern society. TheTrees designs allow the entry of symbolic, organic elements into a daily urban life estranged from its ties to nature. Included in the exhibition are bookshelves for which Branzi combines pieces of birch tree with metal grids and mirrors. His interventions in the metal structures create small environments, wherein man-made forms balance with the interloping trees to achieve a new harmony. Once set together, they become Branzi’s unique creation, serene and open to growth through use. These new projects share a minimalist approach and exquisite craftsmanship, and their refinement draws a high-water mark in Branzi’s illustrious career.<br /> <br /> Andrea Branzi was born in Florence in 1938 and studied as an architect at the Florence School of Architecture, receiving a degree in 1966. From 1964 to 1974, he was a founding member of the experimental group Archizoom, which envisioned the No-Stop-City among other projects. A key member of the Studio Alchimia, founded in 1976, he went on to associate with the Memphis Group in the 1980s. Presently, he lives and works in Milan, and until 2009 was a professor and chairman of the School of Interior Design at the Politecnico di Milano. <br /> <br /> Branzi distinguished himself as a co-founder of Domus Academy, the first international post-graduate school for design. He is a three-time recipient of the Compasso d’Oro, honored for individual or group effort in 1979 and 1987 and 1995. His work has been featured in the Venice Biennale and Milan Triennale, and he has curated the design exhibitions of the latter. He has been widely published and is frequently invited to lecture internationally.<br /> <br /> In 2008, Branzi was named an Honorary Royal Designer in the United Kingdom and he received an honorary degree from La Sapienza in Rome. That same year, his work was featured in an installation at the Fondation Cartier, Paris. His works are held in the permanent collections of the Centre Georges Pompidou, Paris; the Victoria and Albert Museum, London; the Museum of Fine Arts, Houston; the Israel Museum, Jerusalem; and the Museum of Modern Art, New York, among others.</p> Sat, 08 Sep 2012 17:41:50 +0000 Richard Misrach - Robert Mann Gallery- New York - September 13th, 2012 - October 27th, 2012 <p>Inaugurating our newest gallery space, Robert Mann Gallery is pleased to simultaneously celebrate our history by launching the exhibition program with an exemplary collection of photographs by Richard Misrach.<br /><br /> Spanning the first 25 years of Misrach's career, the exhibition will offer a rare opportunity to track the artistic development of one of the most significant living American photographers. The chronology of the exhibition begins with the luscious split-toned works realized with a flash shot into desert night scenes. Eerily beautiful, these works introduce many of the themes that would occupy Misrach in the years to come: staging the condition of aesthetic beauty of the natural world as mediated by human intervention in the landscape — in this case the photographer's own invasive flash. The terrible beauty, even sublimity, of the damage wrought on nature by man-made disasters forms the central theme of his Desert Cantos series. These concerns can be further traced through the <i>Playboy</i> series, <i>Battleground Point</i>, and the dramatic views from Misrach's porch tracking meteorological conditions around San Francisco Bay's Golden Gate.<br /><br /> These related bodies of work secured Misrach's place as the preeminent American photographer of his generation investigating issues surrounding landscape. Emerging out of the legacy of the New Topographics movement and informed by a strong ecological consciousness, but with a broad enough conceptual range to admit appropriation-like strategies, Misrach's work points to several of the creative lineages that define Robert Mann Gallery's exhibition program, from Ansel Adams to Joe Deal to Mary Mattingly. Having been the first gallery in New York to feature many of these series, it is with great pleasure that Robert Mann Gallery returns to these seminal works by Misrach to inaugurate this, our third venue.<br /><br /> The prints on display in the exhibition are drawn from a single private collection, likely the largest such group of works by Misrach, assembled over the course of several decades. Many of the works are from sold out editions and have been unavailable for some time.<br /><br /> Richard Misrach is among the most celebrated living photographers, with solo exhibitions at the Art Institute of Chicago, the National Gallery of Art in Washington, DC, the Museum of Fine Arts in Houston, and the High Museum in Atlanta, among many others. His works are featured in the collections of the major art institutions worldwide, including the Metropolitan Museum of Art, the Museum of Modern Art, the Musée d'Art Moderne in Paris, France, the San Francisco Museum of Modern Art and the Philadelphia Museum of Art. Born in Los Angeles, California in 1949, he lives and works in Berkeley, California.</p> Tue, 07 Aug 2012 03:21:43 +0000 Beth Cavener Stichter - Claire Oliver Gallery - September 13th, 2012 - October 20th, 2012 <p>In these seductive, large-scale works made from clay, Beth Cavener Stichter cajoles the viewer into looking at the darker side of the human condition by cloaking it in animal skin. Her subjects express complex emotions and relationships while permitting us to connect on a rare personal level. </p> Thu, 09 Aug 2012 21:40:13 +0000 Tony Smith - Matthew Marks Gallery - 522 W. 22nd St. - September 7th, 2012 - October 27th, 2012 <p>Tony Smith (born 1912) made more than 50 large-scale sculptures between 1960 and his death in 1980. Their distinct black finish and geometric forms represent one of the supreme achievements in American sculpture, and his unique vision has proven enormously influential on subsequent generations. A contemporary of the Abstract Expressionists, many of whom were his close friends, Smith studied architecture, then began painting in the 1930s before turning to architecture full-time in the 1940s. It was not until the late 1950s that he began to make sculpture, and he had his first one-person exhibition in 1966. That same year, Smith was included in <i>Primary Structures</i>, one of the most important exhibitions of the 1960s, at The Jewish Museum, New York.<br /> <br /> In 1998 The Museum of Modern Art, New York, mounted a major retrospective of Smith's work, including his architecture, painting, and sculpture. His work is included in most leading international public collections, including: National Gallery of Art, Washington, D.C.; The Museum of Modern Art, New York; The Menil Collection, Houston; Walker Art Center, Minneapolis; Louisiana Museum of Modern Art, Humlebaek, Denmark; and the Rijksmuseum Kröller-Müller, Otterloo, The Netherlands.</p> Tue, 14 Aug 2012 02:07:21 +0000 Bryan Osburn - Jason McCoy Gallery - September 12th, 2012 - October 26th, 2012 <p>Jason McCoy Gallery is pleased to present “One and Others”, an exhibition of new paintings and watercolors by New York based artist Bryan Osburn. </p> <p>Osburn’s abstractions navigate between layers of gestural biomorphic marks and clearly delineated forms. Associative, yet intentionally vague, they can evoke an array of folkloristic textures, ranging from Far Eastern to Latin American. Caspar David Friedrich’s romantic landscapes, Surrealism, as well as works of the 1950s, such as Louise Bourgeois’ sculpture “One and Others” (1955) that sparked the exhibition title, have impacted Osburn’s vocabulary and shaped his aesthetic. The latter is further filtered through a keen interest in how the inescapable visual density provided by contemporary mass media can continuously lure and repulse us. Striving for balance and harmony, Osburn's images manifest as labyrinthian landscapes that seem to embrace the mysterious unknown. By looking for guidance in the unconscious, instinct, and improvisation, he follows the tradition of various 20<sup>th</sup> Century avant-garde movements. Deeply personal without being illustrative, Osburn’s works translate as complex mosaics of his thoughts and moods; their overall tone ranging from restrained to aggressive, from melancholy to humorous: </p> <p>“<i>I like the space that exists in between abstraction and representation. What we can observe and how we feel when looking beneath the surface or through mere reflections. This is the terrain of the mysterious and the unexpected, and the place I set out to explore. It is a place that can express a sense of beauty and harmony. In this context, color is very intuitive. I don't have a strict color system although it is important to me that all colors in the composition belong to the same "key", or temperament. My process aims to fuse both natural impulses, to create and to destroy, or rather, to drain and to replenish, into one entity</i>." </p> <p>Born in 1974, Bryan Osburn lives and works in Brooklyn and Queens. He received his MFA in painting from Pratt Institute, Brooklyn, NY, where he studied on full scholarship. He has exhibited in the United States and in Germany. This will be Bryan Osburn’s first solo show with the gallery.</p> Wed, 05 Sep 2012 20:48:49 +0000 Bianca Sforni - Yoshii Gallery - September 20th, 2012 - October 27th, 2012 <p>Datura: a flower, which our culture has deemed messenger and expression of grace, allure and seduction. Sacred to the Hindu God, Shiva, the genus name is derived from “dhattura, an ancient Sanscrit word for a plant. <br /> <br />The world of flowers participates in the deconstruction of space and time, holding the work and the image suspended in a timeless, undefined location. Rendered in a unique photographic process with the ability to show relief, the Ataraxia printing process, they tell also about my own investigations into the limits of color photography. <br /> -Bianca Sforni, 2012 <br /> <br />Yoshii Gallery is pleased to present an exhibition of nine photographs from Datura series by Bianca Sforni. This will be Sforni’s first solo exhibition with Yoshii Gallery. An opening reception will be held on Thursday, September 20 from 6 to 8 p.m. The artist will be present. <br /> <br />While rejecting the contemporary photography technique of commercial, time efficient productions, her works proclaim a return to the primary ideas of modernism, the historical tradition of photographic process called Ataraxia. The overall process created through her painstaking technique call to mind exceptional stability for fading and maintaining its original state, wherein four pigmented layers of yellow, magenta, cyan and black become the components in an effortless composition. Left in an unprocessed condition – their physical presence emphasized by their smooth texture and natural color – her work subliminally seduces, creating in the viewer a desire to touch. Sforni’s seemingly innocent, candid works blend ideas about sensuality and attraction. <br /> <br />Datura, also known as Angel’s Trumpet or Thorn-apple, is tightly compacted into each one of these 20 x 24” images. The selection of nine photographic works, created between 1997 and 2001, displays a heightened minimalist’s strictness which tightly balances the bold solitude of her compositions against the lushness of her color. In restricting her format to the simple, centered flower abandoned to a dark, featureless background, Sforni singles out Datura with an intense gaze and calls greater attention to her careful rendering of details. <br /> <br />Her works, which must be viewed from various angles, obdurately deny a singular comprehension, allowing instead for a variety of interpretations ranging from subtle meditative mood to liveliness and sexuality. They unfold slowly, demanding patience from their viewers but rewarding them with lavish outpouring of painterly allusion and sensual pleasure. Sforni’s works have a whispering quality that exceeds the existence and depicts a beauty that exists outside the realm of words and dialogues. <br /> <br />Bianca Sforni was born in Milan, Italy in 1963 and lives and works in New York. She has had solo exhibitions at Galleria Claudia Gian Ferrari Arte Contemporanea in Milan, Galerie Eric Mircher in Paris, Marninart Gallery in Washington, D.C., among others. Previous museum exhibitions include a group show at Museum of European Photography in Paris and Museum of Contemporary Art in Rome. Her works are collected by Museum of Contemporary Art in Rome and private collections in the US, Europe and Asia.</p> Thu, 13 Sep 2012 16:23:52 +0000 Sharon Gordon, Marie Danielle Leblanc - Elisa Contemporary Art Gallery - September 28th, 2012 - November 11th, 2012 <div id="yiv388075016yui_3_2_0_19_134788321930154"><span size="2" face="tahoma, arial, helvetica, sans-serif" style="font-family: tahoma, arial, helvetica, sans-serif; font-size: small;"><span size="2" face="tahoma, arial, helvetica, sans-serif" style="font-family: tahoma, arial, helvetica, sans-serif; font-size: small;"></span></span> <p><span style="font-family: tahoma, arial, helvetica, sans-serif; font-size: medium;">Elisa Contemporary Art presents a new gallery exhibit <strong>Poetic Landscapes</strong>, featuring the artwork of <strong>Canadian Artist, Marie Danielle Leblanc</strong> and <strong>Syracuse Artist, Sharon Gordon</strong>. The exhibit will <strong>open on September 28</strong>, 2012 and run through November 11, 2012.</span></p> <p><span style="font-family: tahoma, arial, helvetica, sans-serif; font-size: medium;"> </span></p> <span size="2" face="tahoma, arial, helvetica, sans-serif" style="font-family: tahoma, arial, helvetica, sans-serif; font-size: medium;"><span size="2" face="tahoma, arial, helvetica, sans-serif"></span></span> <p><span style="font-family: tahoma, arial, helvetica, sans-serif; font-size: medium;">In its’ purest form, a Poetic Landscape takes the viewer into an imaginary place. A land created by the artist’s subjective perspective where geography and architecture are morphed and transformed through myth, fantasy, desire, sensation, thought and color.</span></p> <p><span style="font-family: tahoma, arial, helvetica, sans-serif; font-size: medium;"> </span></p> <span size="2" face="tahoma, arial, helvetica, sans-serif" style="font-family: tahoma, arial, helvetica, sans-serif; font-size: medium;"><span size="2" face="tahoma, arial, helvetica, sans-serif"></span></span> <p><span style="font-family: tahoma, arial, helvetica, sans-serif; font-size: medium;">For Marie Danielle Leblanc, her landscapes are based on worldwide journeys and treks. From Vietnam to Sweden, California to the South of France, all her senses absorb the details of her surroundings. She’ll jot down a note, a fleeting thought or a word, take a picture, and collect images and sensations.  Marie Danielle transforms these landscapes into poetic worlds through acrylic, oil, ink, resin, tar and other natural materials.</span></p> <p><span style="font-family: tahoma, arial, helvetica, sans-serif; font-size: medium;"> </span></p> <span size="2" face="tahoma, arial, helvetica, sans-serif" style="font-family: tahoma, arial, helvetica, sans-serif; font-size: medium;"><span size="2" face="tahoma, arial, helvetica, sans-serif"></span></span> <p><span style="font-family: tahoma, arial, helvetica, sans-serif; font-size: medium;">Sharon Gordon’s oil landscapes draw each viewer into an imaginary world where personal and unique interpretations are evoked. Her paintings form a kind of tone poem. Sharon explores the relationships of color and form or of color and value as they provoke different emotional responses and suggest different referents to the natural world. </span></p> <p><span style="font-family: tahoma, arial, helvetica, sans-serif; font-size: medium;"> </span></p> <span size="2" face="tahoma, arial, helvetica, sans-serif" style="font-family: tahoma, arial, helvetica, sans-serif; font-size: medium;"><span size="2" face="tahoma, arial, helvetica, sans-serif"></span></span> <p><strong><span style="font-family: tahoma, arial, helvetica, sans-serif; font-size: medium;">We’ll be hosting a special Closing Reception Brunch with Marie Danielle Leblanc on Sunday, November 11th from 2-4pm.</span></strong><br /><span style="font-family: tahoma, arial, helvetica, sans-serif; font-size: medium;"> </span></p> <ul> <li><strong><span style="font-family: tahoma, arial, helvetica, sans-serif; font-size: medium;">What: Poetic Landscapes. Featuring Marie Danielle Leblanc and Sharon Gordon</span></strong></li> <li><strong><span style="font-family: tahoma, arial, helvetica, sans-serif; font-size: medium;">When: September 28 - November 11, 2012</span></strong></li> <li><strong><span style="font-family: tahoma, arial, helvetica, sans-serif; font-size: medium;">Special Events:</span></strong></li> <ul> <li><strong><span style="font-family: tahoma, arial, helvetica, sans-serif; font-size: medium;">◦ Join us for a Closing Brunch with Marie Danielle Leblanc on November 11th from 2-4pm</span></strong></li> </ul> <li><strong><span style="font-family: tahoma, arial, helvetica, sans-serif; font-size: medium;">Where: Elisa Contemporary Art, 5622 Mosholu Avenue, Riverdale NY</span></strong></li> <li><strong><span style="font-family: tahoma, arial, helvetica, sans-serif; font-size: medium;">Hours: Friday/Saturday 10-6pm, Sunday Nov. 11 12-5pm and by Appointment</span></strong></li> </ul> <p><span style="font-family: tahoma, arial, helvetica, sans-serif; font-size: medium;"> </span><br /><span style="font-family: tahoma, arial, helvetica, sans-serif; font-size: medium;">Follow us on Facebook!</span></p> </div> Tue, 18 Sep 2012 17:24:57 +0000