ArtSlant - Recently added en-us 40 - Storefront for Art and Architecture - July 19th 7:00 PM - 9:00 PM <div align="left"><strong>Part II:</strong></div> <div align="left">Tuesday, July 19th</div> <div align="left">Storefront for Art and Architecture</div> <div align="left">97 Kenmare Street, New York</div> <div align="left">&nbsp;</div> <div align="left">Moderated by&nbsp;<strong>Eva Franch i Gilabert&nbsp;</strong>and&nbsp;<strong>Beatrice Galilee</strong></div> <div align="left"> <div align="left">&nbsp;</div> </div> <div align="left"> <p><em>Manifesto Series: In Our Time &ndash; The Sharing Movement</em>, is a two-part series presented by Storefront for Art and Architecture and The Metropolitan Museum of Art.&nbsp;How will today&rsquo;s sharing movement affect the way we work, move, build, and produce new ideas and knowledge?</p> <p>&nbsp;</p> <p>Participants will discuss this contemporary and ubiquitous movement, one that is increasingly influencing the exchange of goods, data, images, services, and spaces of residence and work. The series brings together leading practitioners and scholars embedded within the movement to explore its spatial, social, public, and private consequences, many of which are changing the future of urban life.</p> <p>&nbsp;</p> <p>Events will take place on June 8th at the Met Breuer, and on July 19th at Storefront for Art and Architecture. Storefront will also publish a related book as part of its Manifesto Series that draws upon the issues presented during the event.</p> </div> <div align="left">&nbsp;</div> <div align="left">#sharingmovement</div> <div align="left">@storefrontnyc</div> <div align="left">@metbreuer</div> <div align="left">&nbsp;</div> <div align="left"><em>This lecture is made possible by Dr. William Pordy.</em></div> <div align="left">&nbsp;</div> <div align="left">These events are&nbsp;free&nbsp;and&nbsp;open&nbsp;to the&nbsp;public, with seating on a first come, first served basis.&nbsp;Storefront members receive reserved seating. If you are a member and would like to reserve a seat, you can RSVP to and specify which events you&rsquo;ll be attending.&nbsp;If&nbsp;you would like to become a&nbsp;Storefront&nbsp;member, please&nbsp;<a href="" target="_blank" rel="nofollow">see here</a>.</div> Mon, 27 Jun 2016 21:53:02 +0000 Group Show - Salon 94 Bowery - June 29th - June 29th <p class="p1">Salon 94 Bowery presents a Summer group exhibition,&nbsp;<em>A Being In The World</em>.&nbsp; Curated by artist Jayson Musson and gallery Partner and Curator Fabienne Stephan, the exhibition gathers the work of over a dozen artists. Stephan describes the artworks as all &ldquo; sharing personal iconography, characters, and an intimate hermetic that reaches out to the world that inspires it.&rdquo; The multi-generational list of artists include: Emilia Brintnall, James Castle, Steven and Billy Dufala, William Edmondson, Gerasimos Floratos, Mark Thomas Gibson, Maia Ruth Lee, Caro Niederer, Lee Scratch Perry, Tschabalala Self, Katie Stout, Bill Traylor, and James Ulmer.</p> <p class="p1">The show was greatly aided by conversations with Philadelphia gallerist John Ollman, who has long championed the work of outsider artists such as William Edmondson, a hospital janitor in Nashville, Tennessee who developed a sculptural practice of carving symbolic religious figures from tombstones and was the first African American artist to be given a solo exhibition at the Museum of Modern Art in1937. <em>A Being In The World</em> juxtaposes work by Edmondson and other self-taught artists like Bill Traylor and James Castle with a new generation of artists who have built their practice on readily identifiable images, self created linguistics, and exploration of cultural myth.</p> <p class="p1">According to Musson, the show spotlights <em>&ldquo;</em> an art deeply tethered to the innate human desire to make a thing; to give language and form to one's own experiences, regardless of their position within history&rsquo;s narrative.&rdquo;&nbsp; Seen alongside Traylor&rsquo;s iconic figures and Castle&rsquo;s charcoal drawings, Tschabalala Self&rsquo;s explorations of the Black female body and Katie Stout&rsquo;s bubblegum colored re-imagining of humble furnishings all convey a sense of celebration of artistic creativity.</p> <p class="p1"><em>A Being In The World</em> harkens back to one of the most essential impulse to create art; to hold a dialogue between the Self, World, and the Unknown in the hopes of finding light amid the darkness of the universe in the hopes of understanding oneself as a being in the world. The exhibition remains on view through July 29<sup>th</sup>.</p> Mon, 27 Jun 2016 19:48:35 +0000 and Ryan Mrozowski, Zipora Fried, Julia Bland, Athanasios Argianas - On Stellar Rays - July 7th - August 12th <p>On Stellar Rays is pleased to announce the opening of Persuasive Percussion, featuring new works by Athanasios Argianas, Julia Bland, Zipora Fried, and Ryan Mrozowski. This exhibition is the second in a series of exhibitions to inaugurate 213 Bowery with new works by gallery artists.</p> <p>Persuasive Percussion explores the interplay of rhythm and repetition commonly attributed to sound, but in this case, transmutable to image. The exhibition title takes its name from the series of LP albums released in the late 1950&rsquo;s and early 1960&rsquo;s by Enoch Light (1905-1978), a classical violinist, bandleader, and recording engineer who pioneered use of a specific stereo effect that bounced sound between right and left channels to create a more immersive aural experience&mdash;a radical departure from the then-commonplace mono sound of AM radio. Light notably invited Josef Albers to design seven Persuasive Percussion covers, featuring rhythmic color-block patterns of circles and grids of circles.</p> <p>Athanasios Argianas&rsquo;s sculptures are often generated through composition and transcription of sound and language. The rhythms and frequencies of speech, and the pronunciation of consonants and vowels, determine pattern and form. Presented here in sequences of ropes and mussels cast in relief, the works can be read as script, poetry, or score. Argianas&rsquo;s Silence Breakers series is based on percussion as an idea of objecthood; considering an object&rsquo;s tactile and material properties, and ensuing potential for sound when struck&mdash;shifting between the aural, tactile, and visual.</p> <p>In Ryan Mrozowski&rsquo;s work, flowers, fruits, and dots sourced from stock imagery and graphic design are further altered with an acute sense of optical play. Binocular vision is split into diptych painting &ndash; possibly the visual analogue to Light&rsquo;s experiments in bi-channel stereo recording &ndash; whereas in a new video, multiple vantage points are layered in one work, resulting in unexpected and deft renditions of imagery.</p> <p>Zipora Fried presents new drawings from her Night series, consisting of colored pencil drawings in densely repeated gestures akin to script, however purposefully devoid of language. Fried is not interested in the specificity of language, but in capturing the essence of sensory experience or an obscure inner mood. A large-scale, site-specific mural with reappearing heads comparably combines a psychological space with a material one.</p> <p>Meanwhile, Julia Bland&rsquo;s paintings, made from dyed, stitched and painted fabrics, canvas and hand-woven supports, fuse structural elements and the rhythm of warp and weft with archetypal and familiar geometric forms. Bland&rsquo;s interest in phenomenological and sensory experiences that transcend the optical permeates Persuasive Percussion, in favor of a more inspired sense of perception and shape-shifting sense of play.</p> Sun, 26 Jun 2016 19:16:19 +0000 Nan Goldin - MoMA (Museum of Modern Art) - June 11th - February 12th, 2017 <p style="text-align: justify;">Comprising almost 700 snapshot-like portraits sequenced against an evocative music soundtrack, Nan Goldin&rsquo;s&nbsp;<em>The Ballad of Sexual Dependency</em>&nbsp;is a deeply personal narrative, formed out of the artist&rsquo;s own experiences around Boston, New York, Berlin, and elsewhere in the late 1970s, 1980s, and beyond. Titled after a song in Bertolt Brecht and Kurt Weill&rsquo;s<em>The Threepenny Opera</em>, Goldin&rsquo;s&nbsp;<em>Ballad</em>&nbsp;is itself a kind of downtown opera; its protagonists&mdash;including the artist herself&mdash;are captured in intimate moments of love and loss. They experience ecstasy and pain through sex and drug use; they revel at dance clubs and bond with their children at home; and they suffer from domestic violence and the ravages of AIDS. &ldquo;<em>The Ballad of Sexual Dependency</em>&nbsp;is the diary I let people read,&rdquo; Goldin wrote. &ldquo;The diary is my form of control over my life. It allows me to obsessively record every detail. It enables me to remember.&rdquo;&nbsp;<em>The Ballad</em>&nbsp;developed through multiple improvised live performances, for which Goldin ran through the slides by hand and friends helped prepare the soundtrack&mdash;from Maria Callas to The Velvet Underground&mdash;for an audience not unlike the subjects of the pictures.&nbsp;<em>The Ballad</em>&nbsp;is presented in its original 35mm format, along with photographs from the Museum&rsquo;s collection that also appear as images in the slide show. Introducing the installation is a selection of materials from the artist&rsquo;s archive, including posters and flyers announcing early iterations of&nbsp;<em>The Ballad</em>. Live performances will periodically accompany&nbsp;<em>The Ballad</em>&nbsp;during the course of the Museum&rsquo;s presentation; performance details will be announced during the course of the exhibition presentation.</p> <div class="calendar-credits"> <p style="text-align: justify;">The installation is organized by Klaus Biesenbach, Chief Curator at Large, MoMA, and Director, MoMA PS1; Rajendra Roy, The Celeste Bartos Chief Curator of Film, MoMA; and Lucy Gallun, Assistant Curator, Department of Photography, MoMA.</p> <img src="" alt="" /> <p style="text-align: justify;">Allianz is a partner of contemporary art at MoMA.</p> </div> Sun, 26 Jun 2016 18:06:59 +0000 Tony Oursler - MoMA (Museum of Modern Art) - June 18th - January 8th, 2017 <p style="text-align: justify;">Tony Oursler&rsquo;s&nbsp;<em>Imponderable</em>&nbsp;(2015&ndash;16) offers an alternative depiction of modernism that reveals the intersection of technological advancements and occult phenomena over the last two centuries. Presented in a &ldquo;5-D&rdquo; cinematic environment utilizing a contemporary form of Pepper&rsquo;s ghost&mdash;a 19th-century phantasmagoric device&mdash;and a range of sensory effects (scents, vibrations, etc.),&nbsp;<em>Imponderable</em>&nbsp;is an immersive feature-length film inspired by Oursler&rsquo;s own archive of ephemera relating to stage magic, spirit photography, pseudoscience, telekinesis, and other manifestations of the paranormal. Drawing on these objects,&nbsp;<em>Imponderable</em>&nbsp;weaves together a social, spiritual, and empirical history of the virtual image that overlaps with the artist&rsquo;s own family history. A cast of characters including Sir Arthur Conan Doyle, Harry Houdini, Mina &ldquo;Margery&rdquo; Crandon, and members of Oursler&rsquo;s family are portrayed by an eclectic ensemble of artists, musicians, and performers including Kim Gordon, Jim Fletcher, Keith Sanborn, and Constance DeJong. Bringing together Oursler&rsquo;s ongoing interest in mysticism, psychedelia, popular culture, and media history, the work employs macabre humor and theatrical surrealism to reflect on the irrational relationship between belief systems and the authenticity of images.&nbsp;<em>Imponderable</em>&nbsp;is presented in conjunction with selections from Oursler&rsquo;s archive relating to the film.</p> <p style="text-align: justify;">This exhibition coincides with&nbsp;<em>Tony Oursler: The Imponderable Archive</em>, on view at the Center for Curatorial Studies, Bard College, Annandale-on-Hudson, New York, June 25&ndash;October 30, 2016.&nbsp;<em>Imponderable</em>&nbsp;was originally commissioned and produced by the LUMA Foundation for the Parc des Ateliers, Arles, France, and LUMA Westbau, Zurich, Switzerland, 2015.</p> <p style="text-align: justify;">Original soundtrack by JG Thirlwell. Scents created by International Flavors &amp; Fragrances Inc.</p> <div class="calendar-credits"> <p style="text-align: justify;">The exhibition is organized by Stuart Comer, Chief Curator, and Erica Papernik-Shimizu, Assistant Curator, Department of Media and Performance Art.</p> <img src="" alt="" /> <p style="text-align: justify;">Allianz is a partner of contemporary art at MoMA.</p> <p style="text-align: justify;">Generous funding for&nbsp;<em>Tony Oursler: Imponderable</em>&nbsp;is provided by The Jill and Peter Kraus Endowed Fund for Contemporary Exhibitions.</p> </div> Sun, 26 Jun 2016 17:59:29 +0000 Bouchra Khalili - MoMA (Museum of Modern Art) - April 9th - October 10th <p style="text-align: justify;">This exhibition presents, in its entirety, Bouchra Khalili&rsquo;s&nbsp;<em>The Mapping Journey Project</em>&nbsp;(2008&ndash;11), a series of videos that details the stories of eight individuals who have been forced by political and economic circumstances to travel illegally and whose covert journeys have taken them throughout the Mediterranean basin. Khalili (Moroccan-French, born 1975) encountered her subjects by chance in transit hubs across Europe, North Africa, and the Middle East. Following an initial meeting, the artist invited each person to narrate his or her journey and trace it in thick permanent marker on a geopolitical map of the region. The videos feature the subjects&rsquo; voices and their hands sketching their trajectories across the map, while their faces remain unseen.</p> <p style="text-align: justify;">The stories are presented on individual screens positioned throughout MoMA's Donald B. and Catherine C. Marron Atrium. In this way, a complex network of migration is narrated by those who have experienced it, refusing the forms of representation and visibility demanded by systems of surveillance, international border control, and the news media. Shown together, the videos function as an alternative geopolitical map defined by the precarious lives of stateless people. Khalili&rsquo;s work takes on the challenge of developing critical and ethical approaches to questions of citizenship, community, and political agency.</p> <div class="calendar-credits"> <p style="text-align: justify;">Organized by Stuart Comer, Chief Curator, with Giampaolo Bianconi, Curatorial Assistant, Department of Media and Performance Art.</p> <p style="text-align: justify;">This exhibition is part of Citizens and Borders, a series of discrete projects at The Museum of Modern Art related to works in the collection offering a critical perspective on histories of migration, territory, and displacement.</p> <p style="text-align: justify;">Allianz is a partner of contemporary art at MoMA.</p> <p style="text-align: justify;">Generous funding for this exhibition is provided by The Modern Women&rsquo;s Fund.</p> </div> Sun, 26 Jun 2016 17:57:39 +0000 - MoMA (Museum of Modern Art) - June 12th - September 18th <p style="text-align: justify;"><em>Dadaglobe Reconstructed</em>&nbsp;reunites over 100 works created for&nbsp;<em>Dadaglobe</em>, Tristan Tzara&rsquo;s planned but unrealized magnum opus, originally slated for publication in 1921. An ambitious anthology that aimed to document Dada&rsquo;s international activities,&nbsp;<em>Dadaglobe</em>&nbsp;was not merely a vehicle for existing works, but served as a catalyst for the production of new ones. Tzara invited some 50 artists from 10 countries to submit artworks in four categories: photographic self-portraits, photographs of artworks, original drawings, and layouts for book pages. The exhibition brings together these photographs, drawings, photomontages, and collages, along with a selection of related archival material, to reconstruct this volume. Though never published, due to financial and organizational difficulties, Tzara&rsquo;s project addresses concerns about art&rsquo;s reproducibility that continue to be relevant today.</p> <p style="text-align: justify;">The exhibition is organized by Kunsthaus Z&uuml;rich in collaboration with The Museum of Modern Art, New York, with the special participation of the Biblioth&egrave;que litt&eacute;raire Jacques Doucet.</p> <p style="text-align: justify;">Organized at MoMA by Adrian Sudhalter, Guest Curator, and Samantha Friedman, Assistant Curator, Department of Drawings and Prints.</p> <p style="text-align: justify;">The presentation at MoMA is supported by the Swiss Arts Council Pro Helvetia.</p> Sun, 26 Jun 2016 17:52:53 +0000 - MoMA (Museum of Modern Art) - January 1st - August 28th <p style="text-align: justify;">This exhibition features the five finalists&rsquo; proposals from the MoMA/MoMA PS1 Young Architects Program (YAP), in addition to five finalists from each of our affiliated programs&mdash;the National Museum of XXI Century Arts in Rome, Italy (MAXXI); the Museum of Modern and Contemporary Art in Seoul, Korea (MMCA); and CONSTRUCTO in Santiago, Chile. Now in its 17th edition, the Young Architects Program at MoMA PS1 offers emerging architectural practitioners the opportunity to propose a built project, challenging each year&rsquo;s entrants to develop highly innovative designs for a temporary outdoor installation that provides shade, seating, and water. The architects must also work within guidelines that address environmental and contextual issues. Winning designs by Escobedo Soliz Studio (Mexico City, Mexico), Parasite 2.0 (Milan, Italy), and Shinslab Architecture&mdash;Shin Hyung Chul (Korea and France) will be on view throughout the summer in the courtyards of MoMA PS1, MAXXI, and MMCA, respectively, and in Santiago, Chile, from March through May 2017.</p> <p style="text-align: justify;"><a href="" target="_blank">View the exhibition&nbsp;website</a></p> <div class="icon--following-text icon-boxes-16--light" style="text-align: justify;">&nbsp;</div> Sun, 26 Jun 2016 18:01:14 +0000 Rachel Harrison - MoMA (Museum of Modern Art) - March 19th - September 5th <p style="text-align: justify;">Named after a town in New Jersey where an apparition of the Virgin Mary was said to have appeared on the window of a two-story house, Rachel Harrison&rsquo;s room-sized work&nbsp;<em>Perth Amboy</em>&nbsp;exemplifies a cross-disciplinary approach to making art. The work comprises 21 photographs, individual sculptural assemblages, and an open-ended labyrinth made from cardboard. It takes as its subject the basic acts of looking and seeing, which are central to any experience of visual art. This is the first presentation of&nbsp;<em>Perth Amboy</em>&nbsp;at MoMA since the work entered the collection in 2011.</p> <div class="calendar-credits"> <p style="text-align: justify;">Organized by Paulina Pobocha, Assistant Curator, Department of Painting and Sculpture.</p> <p style="text-align: justify;">The exhibition is made possible by The Modern Women&rsquo;s Fund.</p> <p style="text-align: justify;">Generous funding is provided by The Walton Family Foundation.</p> </div> Sun, 26 Jun 2016 17:48:00 +0000 Teiji Furuhashi - MoMA (Museum of Modern Art) - July 30th - February 12th, 2017 <p style="text-align: justify;"><em>Lovers</em>&nbsp;is an immersive, room-sized multimedia installation by Japanese artist Teiji Furuhashi (1960&ndash;1995). Life-sized images of the artist and other fellow members of the Kyoto-based artist collective Dumb Type are projected onto the walls of a darkened room from a tower of computer-controlled video and slide projectors at its center. The figures move like specters around the perimeter of the space, in a looped choreographic sequence made variable by a visitor-activated motion sensor, which intervenes to restart one of the projections when triggered. Confined to their autonomous projections, these eponymous &ldquo;lovers&rdquo; overlap at moments within the sequence, whether running past each other or pausing in a gesture of embrace, yet their bodies never make contact. Made just one year before Furuhashi&rsquo;s death from AIDS-related illness,<em>Lovers</em>&nbsp;speaks to what the artist has described as &ldquo;the theme of contemporary love in an ultra-romantic way.&rdquo; Presented for the first time since its inaugural exhibition at MoMA in 1995, the installation showcases the results of an extensive conservation effort recently completed by the Museum&rsquo;s media conservators.</p> <div class="calendar-credits"> <p style="text-align: justify;">The installation is organized by Klaus Biesenbach, Chief Curator at Large, MoMA, and Director, MoMA PS1; Rajendra Roy, The Celeste Bartos Chief Curator of Film, MoMA; and Cara Manes, Assistant Curator, Department of Painting and Sculpture, MoMA.</p> <img src="" alt="" /> <p style="text-align: justify;">Allianz is a partner of contemporary art at MoMA.</p> </div> Sun, 26 Jun 2016 17:38:25 +0000 Bruce Conner - MoMA (Museum of Modern Art) - July 3rd - October 2nd <p style="text-align: justify;"><em>BRUCE CONNER: IT&rsquo;S ALL TRUE</em>&nbsp;is the artist&rsquo;s first monographic museum exhibition in New York, the first large survey of his work in 16 years, and the first complete retrospective of his 50-year career. It brings together over 250 objects, from film and video to painting, assemblage, drawing, prints, photography, photograms, and performance.</p> <p style="text-align: justify;">Bruce Conner (1933&ndash;2008) was one of the foremost American artists of the postwar era. Emerging from the California art scene, in which he worked for half a century, Conner&rsquo;s work touches on various themes of postwar American society, from a rising consumer culture to the dread of nuclear apocalypse. Working simultaneously in a range of mediums, Conner created hybrids of painting and sculpture, film and performance, drawing and printing, including bodies of works on paper utilizing drawing and collage and two important photographic bodies of work, including a haunting group of black-and-white life-sized photograms called ANGELS. An early practitioner of found-object assemblage, his relief and free-standing sculptural objects, such as CHILD (1959) and LOOKING GLASS (1964), were widely recognized for their masterful compositions and daringly dark subject matter.</p> <p style="text-align: justify;">Equally a pioneer of avant-garde filmmaking, Conner developed a quick-cut method of editing that defined his oeuvre. Incorporating footage from a variety of sources&mdash;countdown leaders, training films, and newsreels&mdash;and adding later his own 16mm film footage, Conner&rsquo;s films also focus on disturbing but utterly current themes. For their structural innovation and daring subject matter, films like A MOVIE (1958) and CROSSROADS (1976) have become landmarks of American experimental cinema.</p> <div class="calendar-credits"> <p style="text-align: justify;">The exhibition is organized by the San Francisco Museum of Modern Art.</p> <p style="text-align: justify;">Co-curated by Stuart Comer, Chief Curator, Department of Media and Performance Art, The Museum of Modern Art, New York; Laura Hoptman, Curator, Department of Painting and Sculpture, MoMA; Rudolf Frieling, Curator of Media Arts, SFMOMA; Gary Garrels, The Elise S. Haas Senior Curator of Painting and Sculpture, SFMOMA; with Rachel Federman, Assistant Curator, Painting and Sculpture, SFMOMA.</p> <img src="" alt="" /> <p style="text-align: justify;">The exhibition at MoMA is made possible by Hyundai Card.</p> <p style="text-align: justify;">Generous funding is provided by The Jill and Peter Kraus Endowed Fund for Contemporary Exhibitions and by The Walton Family Foundation.</p> <p style="text-align: justify;">Additional support is provided by the MoMA Annual Exhibition Fund.</p> <p>MoMA Audio+ is supported by Bloomberg Philanthropies.</p> </div> Sun, 26 Jun 2016 17:34:58 +0000 Pia Camil - Blum & Poe | New York - July 7th - August 12th <div style="text-align: justify;"> <p>Blum &amp; Poe is pleased to present&nbsp;<em>Slats, skins and shop fittings</em>, the gallery&rsquo;s second solo exhibition with Mexico City-based artist Pia Camil. Originally exhibited at the Cincinnati Arts Center, this new series exemplifies Camil&rsquo;s continued interest in the aesthetics of commerce, performance, and viewer participation.</p> <p>Inspired by the display structures of low-end downtown Mexico City commercial spaces, Camil appropriates the material of slat paneling found in dollar stores and department stores to create wall works from which she traces an aesthetic thread to the stylistic traditions of American Minimalism. Camil specifically channels Frank Stella's<em>Copper Paintings&nbsp;</em>(1960-61), a series that presented his first use of tape to create repetitive striped patterns, a mechanical appearance inevitably pointing to the idea of painting as object. As Michael Fried said in&nbsp;<em>Art and Objecthood&nbsp;</em>in 1967 of Stella&rsquo;s work, &ldquo;It aspires, not to defeat or suspend its own objecthood, but on the contrary to discover and project objecthood as such.&rdquo;</p> <p>Camil takes Stella&rsquo;s paintings as a point of departure and imbues an iconic image with contemporary social and cultural implications. The panels, which resemble Stella&rsquo;s shapes, are made of plywood slats &ndash; a material that is mass-produced because of its affordability and most often used for merchandising systems of display. In&nbsp;<em>Slats, skins and shop fittings,</em><em>&nbsp;</em>Camil employs her panel sculptures as structures for presenting textile cloaks hanging from copper hooks. This series of cloaks is made of reclaimed fabrics sourced from factory castoffs, with unintended dye patterns producing a painterly effect that Camil describes as mechanical abstract expressionism, the counterpart to the<em>Copper Paintings</em>&nbsp;series. Her&nbsp;<em>Bust Masks</em>&nbsp;draw from Carl Jung&rsquo;s notion of the&nbsp;<em>persona</em>, a metaphorical mask an individual wears in relation to a society. Camil integrates the aesthetics of jewelry display busts (modelled after the female body) and primitive masks used in ritual performances to render a physical manifestation of the persona; a dual reference to the role that that the public plays in activating her art, and the politics of consumerism and commerce. Both her cloak and mask series merge this endeavor to explore commercial aesthetics with a long-developed interest in performance and female identity. Reminiscent of Lygia Clark or Helio Oitica&rsquo;s wearable art pieces known as &ldquo;habitable paintings,&rdquo;&nbsp;<em>Slats, skins and shop fittings&nbsp;</em>investigates the intersection of art and life and its ability to inspire change.</p> <p>Pia Camil (b. 1980) lives and works in Mexico City. She has a BFA from the Rhode Island School of Design and an MFA from the Slade School of Fine Art, London. Her work has been exhibited internationally, with recent solo-exhibitions including&nbsp;<em>A Pot for a Latch,&nbsp;</em>New Museum, New York (2016);&nbsp;<em>Skins,&nbsp;</em>Contemporary Arts Center, Cincinnati (2015);&nbsp;<em>The Little Dog Laughed,&nbsp;</em>Blum &amp; Poe, Los Angeles (2014); and&nbsp;<em>Cuadrado Negro</em>, Basque Museum Centre for Contemporary Art, Vitoria-Gasteiz, Spain (2013).&nbsp;</p> </div> Sun, 26 Jun 2016 17:23:04 +0000 - Edward Hopper House Art Center - August 14th 1:00 PM - 3:00 PM <p>Story board, sketch and build your own set for photography in the Garden, what stories can you tell through your set design.</p> Sun, 26 Jun 2016 16:58:39 +0000 - Edward Hopper House Art Center - July 10th 1:00 PM - 3:00 PM <p>Let&rsquo;s discover the medium of photography and mix and match with collage as we explore the work of our summer exhibition, <em>David LaChapelle</em>.</p> Sun, 26 Jun 2016 16:57:19 +0000 Norman Galinsky - Edward Hopper House Art Center - August 5th 6:00 PM - 8:00 PM <p><strong>6 PM&nbsp;</strong><strong>-&nbsp;Reception&nbsp;</strong>for&nbsp;August Artist of the Month <strong>Norman Galinsky</strong><br /><strong>7 PM -&nbsp;</strong><strong>Film Screening</strong>:&nbsp;<em><strong>Gregory Crewdson: Brief Encounters,&nbsp;</strong></em>directed by Ben Shapiro (2012, run time 1:17).&nbsp;<br />A close up portrait of the acclaimed photographer, who, like David LaChapelle (currently on view in the gallery), creates large-scale staged photographs that recall Edward Hopper&rsquo;s ambiguous narratives and strong cinematic lighting.</p> Sun, 26 Jun 2016 16:55:38 +0000 Victor Mirabelli - Edward Hopper House Art Center - July 1st 6:00 PM - 8:00 PM <p><strong>6 PM: Reception Artist of the Month:</strong> Victor Mirabelli</p> <p><strong>6-7 PM:</strong> Chipotle margaritas</p> <p><strong>7 PM: Art Talk:</strong> <em>From Railroads to Rooftops: Reinterpreting Hopper &amp; Hitchcock's American Landscapes</em>, Regina Longo, PhD, Visiting Assistant Professor of Cinema Studies at SUNY Purchase.</p> Sun, 26 Jun 2016 16:53:13 +0000