ArtSlant - Recently added en-us 40 - Whitney Museum of American Art - May 1st - September 27th <div id="mmi_101149" class="magic-module page-magic-module text-module two-thirds-width" data-id="261868" data-instance-id="101149"> <div class="text-module-text text-larger"> <p style="text-align: justify;">When the Whitney Museum of American Art opens its new Renzo Piano-designed home in Manhattan&rsquo;s Meatpacking District on May 1, 2015, the first exhibition on view will be an unprecedented selection of works from the Museum&rsquo;s renowned permanent collection. Setting forth a distinctly new narrative, <em>America Is Hard to See</em> presents fresh perspectives on the Whitney&rsquo;s collection and reflects upon art in the United States with approximately 650 works by some 400 artists, spanning the period from about 1900 to the present. The exhibition&mdash;its title is taken from a poem by Robert Frost and also used by the filmmaker Emile de Antonio for one of his political documentaries&mdash;is the most ambitious display to date of the Whitney&rsquo;s collection.&nbsp;</p> <p style="text-align: justify;">Delving deep into the Whitney&rsquo;s holdings, <em>America Is Hard to See</em> examines the themes, ideas, beliefs, visions, and passions that have preoccupied and galvanized American artists over the past one hundred and fifteen years. Reflecting the way artists think and work, all mediums are presented together without hierarchy. Numerous pieces that have rarely, if ever, been shown before will appear alongside familiar icons, in a conscious effort to challenge assumptions about the American art canon.&nbsp;</p> <p style="text-align: justify;">The majority of the exhibition will be on view through September 27, 2015, but some floors will close on a staggered schedule before and after that date.</p> <p class="last-child" style="text-align: justify;"><em>America Is Hard to See </em>is organized by a team of Whitney curators, led by Donna De Salvo, Chief Curator and Deputy Director for Programs, including Carter E. Foster, Steven and Ann Ames Curator of Drawing; Dana Miller, Curator of the Permanent Collection; and Scott Rothkopf, Nancy and Steve Crown Family Curator and Associate Director of Programs; with Jane Panetta, Assistant Curator; Catherine Taft, Assistant Curator; and Mia Curran, Curatorial Assistant.&nbsp;</p> </div> </div> <div class="loose-modules"><a name="mmi_101154"></a> <div id="mmi_101154" class="magic-module page-magic-module verbatim-module two-thirds-width" data-id="7955" data-instance-id="101154"> <div class="text-module-text text-smaller"> <p style="text-align: justify;">Sponsored by</p> <p class="last-child"><a style="border-bottom: none;" href=""> <img style="margin: 0 20px 10px 0;" src="" alt="" /> </a><a style="border-bottom: none;" href=""> <img style="margin-bottom: 10px;" src="" alt="" /> </a></p> </div> </div> </div> <p>&nbsp;</p> Fri, 06 Mar 2015 17:32:21 +0000 Anicka Yi - The Kitchen - March 5th - April 11th <p style="text-align: justify;">For <em>You Can Call Me F</em>, The Kitchen&rsquo;s gallery will function as a forensic site in which the artist aligns society&rsquo;s growing paranoia around contagion and hygiene (both public and private) with the enduring patriarchal fear of feminism and potency of female networks. <strong>Anicka Yi</strong>&rsquo;s new works will gather biological information from one hundred women to cultivate the idea of the female figure as a viral pathogen, which undergoes external attempts to be contained and neutralized. Employing the visual language of quarantine tents, which allow limited transparency and access while aiming to protect their fragile ecosystems within, Yi&rsquo;s humanist approach foregrounds the politics and subjectivities of smell, and its impact on our empathic understanding of each other.</p> <p style="text-align: justify;">Special thanks to exhibition collaborators:<br />Tal Danino - MIT Post Doc, Synthetic Biologist<br />Patrick Hickey - Biologist &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; <br />Scent analysis and formulation provided by Air Variable. Founded by Sean Raspet in 2014, Air Variable is a scent fabrication company focusing exclusively on olfactory and chemistry-related art and design projects</p> <p style="text-align: justify;">And to the women who contributed to the exhibition:<br />Michele Abeles, Becca Albee, Alisa Baremboym, Stefania Bortolami, Kerstin Braetsch, Lauren Boyle, A.K. Burns, Johanna Burton, Alexandra Butler, Lauren O'Neill Butler, Eleanor Cayre, Xavier Cha, Mary Ceruti, Margaret Liu Clinton, Lauren Cornell, Aria Dean, Cristina Delgado, Nikola Dietrich, Bridget Donahue, Olivia Erlanger, Emma Fernberger, Elena Filipovic, Bridget Finn, Gabrielle Giattino, Laurel Gitlen, Yulan Grant, K8 Hardy, Pati Hertling, Liz Hop, Katie Hubbard, Juliana Huxtable, Jane Jo, Lisa Jo, Caroline Jones, Ruba Katrib, Sophie Kaye, Michelle Kuo, Maggie Lee, Margaret Lee, Amy Lien, Rachel Uffner, Mirabelle Marden, Park McArthur, Haley Mellin, Andrea Merkx, Laura Mitterrand, Jeanette Mundt, Andrea Neustein, Mariko Ouchi, Laurence Perrillat, Kari Rittenbach, Rachel Rose, Meg Rotzel, Nicole Russo, Holly Stanton, Simone Subal, Mika Tajima, Lumi Tan, Kelly Taxter, Allese Thomson, Brina Thurston, Alise Upitis, Allyson Vieira, Amy Yao, Wendy Yao, and additional anonymous donors.</p> <p style="text-align: justify;">Curated by Lumi Tan.</p> <p style="text-align: justify;"><strong>Opening Reception: March 5, 6&ndash;8pm </strong></p> <div class="funding_credits"> <p style="text-align: justify;">Anicka Yi: <em>You Can Call Me F </em>is made possible with support from Jerome Foundation, The Andy Warhol Foundation for the Visual Arts, Robert Soros, Rebecca and Marty Eisenberg, Eleanor Cayre, Andrew Black, and in part by public funds from New York City Department of Cultural Affairs in partnership with the City Council and New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.</p> </div> Fri, 06 Mar 2015 17:29:12 +0000 Joy Episalla - Participant Inc. - March 8th - April 12th <p style="text-align: justify;">"A still photograph is simply an isolated frame taken out of the infinite cinema." &ndash; Hollis Frampton<br /> <br /> From March 8 &ndash; April 12, 2015, PARTICIPANT INC is pleased to present Joy Episalla, <em>Street View Rear Window</em>, a solo exhibition featuring recent photographic, sculptural, and video work. The Garage series was originally shot in Sun City, Arizona in 1989. Garage doors are membranes that separate a domestic interior from the exterior street. They present a face that also functions as a kind of shutter, like that of a camera. Episalla digitally edited the 35mm color slide images, removing color, heightening values, and occasionally altering compositions.<br /> <br /> Committed to the sculptural possibilities of photography, Episalla places one photograph on the floor leaning against a wall, while another skins 39 feet of gallery wall, melding with the architecture of the space. Aerial View 3 incorporates a large photogram propped up on the floor, sandwiched between layers of overlapping planes of canvas and Plexiglas, stressing time, materiality and the provisional.<br /> <br /> The 3-channel video installation, Les Psychanalystes et le March&eacute;, places the viewer directly in the position of a membrane. The source video captures the sculptural and temporal nature of the set up, running, and dismantling of a street market in Paris, shot from a fixed aerial viewpoint. The three channels present three phases of the action concurrently. While the video documents the scene in front of the lens, the audio narrative describes what is happening behind the camera. The artist&rsquo;s oddly intimate interaction with the psychoanalyst couple, whom have lent their apartment and terrace for the video recording, is mixed with an interior accounting. The viewer experiences outside and inside, the scene and behind the scene, simultaneously.<br /> <br /> This body of work draws from, and relates to, the early photographs of Nic&eacute;phore Ni&eacute;pce and Nadar, the films of Chantal Akerman, Hollis Frampton, and Alfred Hitchcock, performance, drawing, and the legacies of modernist abstraction. The artist explores the porousness of memory, along with the flux of processes, and how process determines outcomes that retain the shifting instability of perception.<br /> <br /> Joy Episalla has shown widely in the US and in Europe since the 1980s. Her work has been featured in solo and group exhibitions at venues including the Centrale for Contemporary Art Brussels, Aeroplastics Contemporary Brussels, the Mannheimer Kunstverein, the Victoria &amp; Albert Museum, Studio 1.1 London, Mercer Union in Toronto, the Wexner Center for the Arts, the International Center of Photography, Debs &amp; Co, White Columns, and Momenta Art. She has been a member of the queer art collective, fierce pussy, since 1991. Joy Episalla lives and works in New York City.</p> Fri, 06 Mar 2015 17:24:45 +0000 - International Studio & Curatorial Program (ISCP) - March 17th 6:30 PM - 8:00 PM <p>On March 17th, Rethinking Residencies, a newly initiated working group of eleven New York-based artist residency programs, will present its first public event at the International Studio &amp; Curatorial Program (ISCP). Moderated by Martha Wilson, this panel discussion includes Kari Conte, Maia Murphy, Laurel Ptak, and Nicholas Weist.</p> <p>Panelists will pose significant questions on issues of cultural production and organizational practice as they relate to residency programs. How can modes of collaboration in residency programs adapt to the changing needs of artists, curators and institutions? How do broader political and economic realities impact artist residency programs today? What effect has the changing cultural climate of New York City had on the lives and practice of artists? How can organizations balance growth with sustainability? Pragmatically and programmatically, what are the ramifications or alternatives to expanding? What is the strangest residency program out there?</p> <p><span style="text-decoration: underline;">Rethinking Residencies</span></p> <p>Rethinking Residencies is a working group of New York-based artist residency programs. Initiated in March 2014, its members share knowledge and resources, while cultivating critical thinking and discourse about residencies.</p> <p>Collaborating organizations represent a wide range of models, scales and approaches and include Eyebeam, Fire Island Artist Residency, International Studio &amp; Curatorial Program (ISCP), Lower Manhattan Cultural Council (LMCC), The Laundromat Project, Queens Museum, Recess, the Shandaken Project, Skowhegan School of Painting &amp; Sculpture, EFA Project Space&rsquo;s SHIFT Residency, and Triangle Arts Association.</p> <p>Upcoming Rethinking Residencies programs include a New York City residency mixer at the Queens Museum in May 2015 and a major conference on residencies during the summer of 2016.</p> <p><span style="text-decoration: underline;">Participant Biographies</span></p> <p>Martha Wilson is a pioneering feminist artist who during the past four decades has created innovative photographic and performance works that explore her female subjectivity through role-playing and &ldquo;invasions&rdquo; of other people&rsquo;s personae. In 1976 she founded Franklin Furnace, an artist-run space in New York that champions the exploration, promotion and preservation of artists&rsquo; books, installation and performance art, video and art online.</p> <p>Kari Conte is a New York-based curator and writer. Since 2010, she has been the Director of Programs and Exhibitions at the International Studio &amp; Curatorial Program (ISCP), where she leads residencies, exhibitions, and public programs.</p> <p>Maia Murphy is a curator and writer based in New York. She is currently the Program Director for Recess, a nonprofit artist workspace that is open to the public. At once a studio and exhibition space, Recess presents projects that embrace experimentation and focus on process.</p> <p>Laurel Ptak is an artist, curator and educator known for creating discursive platforms that allow for dialogue and critical engagement. Named one of 100 Leading Global Thinkers in 2014 by Foreign Policy, she currently teaches at The New School and serves as Executive Director of Triangle Arts Association, a 33-year-old artist-founded residency program within an international network of arts organizations around the world.</p> <p>Nicholas Weist is the founding director of the Shandaken Project, which offers a process-focused residency program now produced in collaboration with Storm King Art Center. Weist has organized presentations by artists internationally, and writes about art and culture for Frieze, Art in America, Interview, Document Journal, and many others.</p> Fri, 06 Mar 2015 17:23:39 +0000 Ericka Beckman - Mary Boone Gallery - 24th St. - March 7th - April 25th <p style="text-align: justify;">On 7 March 2015 Mary Boone Gallery will open at its Chelsea location <em>You The Better</em>, an exhibition of work by ERICKA BECKMAN, curated by Piper Marshall.</p> <p style="text-align: justify;"><em>You The Better </em>features an early film work of the same name. Created in 1983, the film was premiered at the New York Film Festival and shown at The Kitchen in 1984, but never exhibited in New York as a fully developed installation. For this exhibition, Beckman installs the film alongside its props. Choreographed lighting cues highlight the props and then dim in conjunction with specific points of film. This sequencing exteriorizes the film, extending its gameplay into space.</p> <p style="text-align: justify;">The film <em>You The Better </em>follows a team of uniformed players as they navigate a gaming world. The team performs a series of plays in a game controlled by a mysterious betting entity &ldquo;the House&rdquo;. While seemingly a game of skill, rules are altered and competitors exchanged, and the film reveals itself as based on mathematics of chance. While players go through the motions, the &ldquo;House&rdquo; and &ldquo;Bettor&rdquo; are those maneuvering. This structure positions the viewer as the contender, one struggling against a set of rules, a system whose algorithm has been determined in advance and may change at whim. In this film, the odds of gambling frustrate the assumed logic of competitive sports. </p> <p style="text-align: justify;">In 1983, when Beckman created this film, she committed to making works that deliver their material through the structure of a game, opposing the more traditional narrative. </p> <p style="text-align: justify;">This distinction is continued in later works such as &ldquo;Cinderella&rdquo; (1986), as well as &ldquo;Hiatus&rdquo; (1999) and &ldquo;Tension Building&rdquo; (2014). In making this choice, Beckman addresses how the mathematical chance that is built into all game systems frustrates the self-determinism and will of its players. <em>You The Better </em>and subsequent works shift the terms of social behavior, asking us to consider how gaming is a means of engagement for the ultimate dissemination of social rules.</p> Fri, 06 Mar 2015 17:17:05 +0000 Caitlin Keogh - Mary Boone Gallery - 5th Ave. - March 5th - April 25th <p style="text-align: justify;">On 5 March 2015 Mary Boone Gallery will open at its Fifth Avenue location <em>The Corps</em>, an exhibition of paintings by CAITLIN KEOGH, curated by Piper Marshall.</p> <p style="text-align: justify;">Caitlin Keogh is a painter whose work plays with, and undermines, the traditional relationship between technical illustration and painting. Her use of pattern and decoration suggests that we approach the construction of imagery and its efficacy of communication with our eyes wide open.</p> <p style="text-align: justify;"><em>The Corps </em>presents a new group of paintings that depict creative types: <em>The Modiste</em>, <em>The Writer</em>, <em>The Guest Lecturer</em>, <em>The Historian</em>. Each specialist works with materials to make things &ndash; whether fabric cut and sewn or words strung together to craft a narrative. The various creative practices are metaphors for today&rsquo;s artist and the various roles one assumes while producing ideas. Yet they are also indicative of Keogh&rsquo;s self-conscious processes and the roles she assumed to create this body of work. </p> <p style="text-align: justify;">For these paintings, Keogh sourced photographic imagery and illustrations from women&rsquo;s magazines dating from 1936 to 1939. This was a period when hand-drawn fashion illustration had not yet been superseded by photography, and when commercial iterations of Surrealism entered mainstream modes of distribution. Keogh re-fashions this source material while adding depictions of elements such as modeled hands, mannequins, and scraps of cloth that gesture toward commodity fetish. By using material from the past, Keogh asks us to reconsider imagery, specifically images targeted towards women.</p> <p style="text-align: justify;">In <em>The Modiste</em>, for example, a pink ribbon wraps its way around the composition, only to be severed by scissors held by the subject&rsquo;s own hand. The painting <em>The Novel </em>features a book by Marguerite Duras splayed open. The checkered pattern and flame-like decoration of the dust jacket presses the composition against the surface of the canvas, manipulating depth, illusion and expectation. &nbsp;</p> Fri, 06 Mar 2015 17:15:56 +0000 Yayoi Kusama - David Zwirner- 519 W. 19th - May 9th - June 13th Fri, 06 Mar 2015 16:58:20 +0000 - Independent - March 5th - March 8th <p>Admission $20 plus Sales Tax.<br />Tickets available onsite.</p> Fri, 06 Mar 2015 12:11:49 +0000 Fernando Mastrangelo - Mike Weiss Gallery - March 12th - April 25th <p><strong>M</strong><strong>i</strong><strong>ke</strong><strong>W</strong><strong>e</strong><strong>i</strong><strong>ss</strong><strong>G</strong><strong>a</strong><strong>ll</strong><strong>e</strong><strong>r</strong><strong>y </strong>is pleased to present Fernando Mastrangelo&rsquo;s first solo show with the gallery, <em>N</em><em>O</em><em>TH</em><em>I</em><em>N</em><em>G</em>. Strategically using materials for their aesthetic and historical senses and for their power to signify, the works in <em>NOTHING</em> ignore any bias regarding criss-&shy;crossing design and fine art as well as commodity and aesthetic functions. By casting his net widely, NOTHING uses pure form and symbolic meaning to transform commodity goods into sculptures and wall-hanging pieces referencing art and social histories, the seductive ideas of sacred geometry, and the roots of Existentialism.</p> Thu, 05 Mar 2015 22:18:45 +0000 Deborah G Nehmad - Kim Foster Gallery - April 9th - May 9th <p>&ldquo;Wasted&rdquo; is an exhibition of works on paper by Deborah G Nehmad that address the issue of gun violence in America. The artist incorporates repetitive mark making to translate visually what cannot be adequately conveyed through the abstraction of the written language. This is Nehmad&rsquo;s first solo exhibition at the gallery.</p> <p><br />Nehmad&rsquo;s drawing series &ldquo;wasted&rdquo; reveals that nothing has changed in terms of gun violence in the US over the past decade. The statistics themselves are staggering, but in order to affect the reforms necessary to reduce the violence, there must be an awareness of the fact that behind every statistic there are real people whose actual lives have been shattered. The burned holes in &ldquo;wasted&rdquo; and &ldquo;wasted (ii)&rdquo; represent the number of children and adults killed by guns in 2003 (left panel), 2004 (center panel) and 2005 (right panel). &ldquo;Wasted (iii)&rdquo; represents annual average gun fatalities for the period 2009 - 2013. The stitched red crosses represent homicides, the black x&rsquo;s suicides and the burned holes left bare are accidents or of unknown intent. The holes stiched over in red and black are casualties by police intervention.</p> <p><br />Using woodblocks that were burned during the process of creating the &ldquo;wasted&rdquo; pieces, Nehmad inked and rubbed the surface of the blocks to develop a series of unique printed works titled &ldquo;black and blue.&rdquo; The entire constellation of blue dots represent many of the victims throughout the last decade caught in the crosshairs of gun violence.</p> <p><br />While all artists want their work to be discussed, Nehmad has an even greater mission - the possibility that viewers will talk about the issues involved.</p> <p><br />Nehmad is a Honolulu-based artist. After years as a practicing attorney and working in politics, she chose a new path and earned an MFA in printmaking. Nehmad has participated in numerous solo shows and group exhibitions. Her work can be found in many public and private collections including the Museum of Modern Art, the Fine Art Museums of San Francisco, Yale University Art Gallery, the Davis Museum and Cultural Center at Wellesley College, Smith College Museum of Art, Hood Museum at Dartmouth College, the Hammer Museum of UCLA, the Honolulu Museum of Art and the Hawaii State Art Museum.<br /><br /></p> Thu, 05 Mar 2015 21:47:40 +0000 Dylan Spaysky - CUE Art Foundation - March 21st - April 24th <p><span style="font-family: helvetica; font-size: small;">Dylan Spaysky (b. Waterford, MI) lives and works in Detroit, MI. Selected exhibitions include: Susanne Hilberry (Detroit, MI), NGBK (Berlin), Michael Benevento (Los Angeles, CA), and Cleopatra&rsquo;s (Brooklyn, NY). Spaysky is Co-Director of Detroit artist-run space Cave, and has organized exhibitions around the area in venues such as Center Galleries and the abandoned car wash at Norwalk St. and Buffalo St. in Hamtramck.</span></p> Thu, 05 Mar 2015 21:16:10 +0000 USA | Jonathan Monaghan - bitforms gallery - March 22nd - May 3rd <p>bitforms gallery is pleased to announce Jonathan Monaghan&rsquo;s first solo exhibition in New York. Based in the U.S., Monaghan crafts surreal and psychologically driven works that operate within the real, imagined and virtual worlds. He builds absurdist 3D environments that contain compelling objects, often pulling from populist sources, such as historic architecture, religious iconography, design, science fiction, and advertising.</p> <p><em>Escape Pod</em>&nbsp;is an exhibition that features Monaghan&rsquo;s new video installation of the same name, as well as recent prints created in a process of computational collage. Conceived of as an ambitious and dreamlike HD animation,&nbsp;<em>Escape Pod</em>&nbsp;has been in production for several months, and was created with commercial animation software. It builds on a rich visual vocabulary of his past works, which will also be presented at the gallery in a special one-night screening.</p> <p><em>Escape Pod</em>&nbsp;is based on hunting mythologies of the Greek and Nordic traditions. It captures the journey of a golden stag that roams modernist spaces of authoritarian confrontation and material excess. Lavish bedrooms, airport checkpoints, and a luxury riot gear boutique are encountered, as the scenery unfolds from the perspective of a floating viewpoint that is framed as a continuous shot. In a climatic moment, the golden fawn is birthed out of a BoConcept sofa, only to be carried away, into a heavenly Duty Free shop in the clouds. Seamlessly looped in a twenty-minute cycle,&nbsp;<em>Escape Pod&nbsp;</em>suggests an apocalyptic decadent future &ndash; one that is militarized, totalitarian and permeated by extravagance. It is a representation of labored pursuits, particularly of the otherworldly or unobtainable.</p> <p>Also a New York debut,&nbsp;<em>After Faberg&eacute;</em>&nbsp;is a series of five-foot photographic prints that combine the experience of consumer technology and luxury goods. Mashing anatomy and design, these highly detailed compositions evoke alternate realities, if not fetishistic obsessions. The eggs are ornamented with human orifices, industrial vents, USB plugs &ndash; and even a Starbucks coffee shop. Resplendent in decorative detail, and enveloped by stark white backgrounds, their appearance is evocative of commercially functional products. Yet, each egg lacks a specific purpose, which causes these virtual objects to hold a strange and ominous power.</p> <p>The imagery of&nbsp;<em>After Faberg&eacute;</em>&nbsp;reappears in&nbsp;<em>The Pavilion</em>, an animation with a new age soundtrack that conflates the ostentation of Baroque architecture, a walk-in closet, and the folds of a gigantic anus.</p> Thu, 05 Mar 2015 21:08:35 +0000 Takahiro Iwasaki - Asia Society Museum - January 27th - April 26th <p>Takahiro Iwasaki creates detailed miniature landscapes using towels, toothbrushes, used clothing, and other found and recycled materials. This exhibition is a part of Asia Society Museum&rsquo;s ongoing<em>&nbsp;In Focus</em>&nbsp;series, which invites contemporary artists to create new works, often in conversation with the Asia Society Museum&rsquo;s permanent collection of traditional Asian art.</p> <p>Michelle Yun<br />Senior Curator of Modern and Contemporary Art<br />&nbsp;</p> Thu, 05 Mar 2015 18:21:36 +0000 Wim Wenders - James Cohan Gallery - March 7th 10:00 AM - 12:00 PM <p style="text-align: justify;">Join us for a breakfast viewing and artist talk with filmmaker and photographer, Wim Wenders, on the occasion of his film retrospective at the Museum of Modern Art.&nbsp; Several of Wenders&rsquo; large-format photographs will be on view and he will briefly discuss his differing approaches to filmmaking and photography.&nbsp; Light breakfast refreshments will be served.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Wim Wenders is a renowned German film director, photographer, author and playwright.&nbsp; Born in 1945 in Dusseldorf, Germany, Wenders began his career with the rise of the New German Cinema at the end of the 1960s.&nbsp; Life on the road holds much allure for Wenders and has been the driving force in his cinematic and photographic oeuvres.&nbsp; His images of urban and rural landscapes function both as stories unfolding within a single frame and as archaeological dioramas, recording a specific moment in the life of a place.&nbsp; Wenders is the President of the European Film Academy and has received numerous honors for his work in film, including the Golden Lion, Golden Bear and Palme d&rsquo;Or.&nbsp; Wim Wenders lives and works in Berlin, Germany.</p> Thu, 05 Mar 2015 18:20:52 +0000 Works are on loan from the National Museum of Myanmar in Yangon and Nay Pyi Taw, Bagan Archeological Museum, Sri Ksetra Archaeological Museum, Hmawza, and the Kaba Aye Buddhist Museum, as well as works from public and private collections in the United States. - Asia Society Museum - February 10th - May 10th <p class="rtecenter"><strong>"Quietly majestic"<br />&mdash;&nbsp;<em>The New York Times</em></strong></p> <p><em>Buddhist Art of Myanmar</em>&nbsp;is the first exhibition in the West focusing on works of art from collections in Myanmar. The exhibition comprises approximately 70 spectacular works&mdash;including stone, bronze and wood sculptures, textiles, paintings, and lacquer ritual implements&mdash;from the fifth through the early twentieth century. Artworks include objects created for temples, monasteries, and personal devotion, which are presented in their historical and ritual contexts. The exhibition explores how Buddhist narratives were communicated visually and the multiplicity of regional styles. Many of the works in the exhibition have never been shown outside of Myanmar. Works are on loan from the National Museum of Myanmar in Yangon and Nay Pyi Taw; Bagan Archeological Museum; Sri Ksetra Archaeological Museum, Hmawza; and the Kaba Aye Buddhist Museum, as well as works from public and private collections in the United States.</p> Thu, 05 Mar 2015 18:13:11 +0000 Group Show - Clover's Fine Art Gallery - March 12th - April 12th Wed, 04 Mar 2015 22:44:43 +0000