ArtSlant - Recently added en-us 40 Joshua Johnson - Cuchifritos Gallery + Project Space - November 4th - December 4th <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <p>Oozing around the pores and navigating the epidermal whorls of the fingertips like rats in a maze, bacteria slithers out across the nacreous surface of the screen, tracing the outline of an ergonomic gesture designed in a lab half a continent away. Black-boxed and hand-held, a 5G signal hops across the radio spectrum, is netted by a metal spire, and routed via fiber-optic to a server-farm miles out. Handshakes are exchanged, keys decrypted. Data is analyzed and calculated by algorithms. A response bounces back in microsecond clicks: &ldquo;Gotta catch &lsquo;em all!&rdquo;</p> <p>If there is value in Pokemon Go, it lies not in its users&rsquo; enjoyment of the game, but in the scope of the geographical data collected as consequence of its attention capture. It is the same reason why Uber is valued at over sixty-billion by Wall Street -- despite the fact that the company outsources its workforce and owns minimal material assets -- it extracts data that rivals Google Maps. These apps present a clear example of how the specificity of a space is increasingly interpenetrated by systems of organization that exist beyond the bounds of any locality. The cloud melts all that is solid into Airbnb.</p> <p>Technology has always influenced the design of our cities. In 1941, the New York City planner Robert Moses proposed the Lower Manhattan Expressway (LOMEX), a massive public redevelopment based on the prevalence of the automobile. LOMEX would cut across lower Manhattan connecting the Manhattan and Williamsburg bridges to the Holland tunnel. As support waned for the project in the late 1960&rsquo;s, the modernist architect Paul Rudolph attempted to revitalize it. He proposed a series of megastructures, organized around the artery of LOMEX. The design operated as a total architecture, encompassing ziggurat-like living quarters, parking, underground districts, gardens and parks.</p> <p>Today projects such as Rudolph&rsquo;s are not only being considered, but actually built (for example: the Hudson Yards project). On a much larger scale, Lower Manhattan is now considering a project dubbed &ldquo;The Dryline&rdquo;, after the well-received &ldquo;Highline&rdquo;. Conceived by one of the principal architects of Hudson Yards, Bjarke Ingels Group (BIG), &ldquo;The Dryline&rdquo; promises parks, bike paths, and newly developed infrastructure wrapping around the whole of Lower Manhattan. The foremost aim of the project, however, is to act as a flood barrier, protecting valuable real-estate, infrastructure, and property in Lower Manhattan from the increasingly severe effects of Anthropogenic climate change.</p> <p>Under those same waters that threaten to engulf the city lie a series of fiber-optic cables, linking the city&rsquo;s communication and market hubs to a global communication infrastructure. Just as it has been suggested that we alter the coastline to protect the heart of New York&rsquo;s trade district, other (less-conspicuous terraforming) projects have bored through mountains to shave milliseconds off the networks through which high-frequency trading operates. This rapacious need for speed culminates in the speculative plot to tunnel through the center</p> </div> </div> </div> <div class="page" title="Page 2"> <div class="layoutArea"> <div class="column"> <p>of the earth, connecting New York and China, and saving even a few more thousandths of a second for the slight advantage in arbitage.</p> </div> </div> <div class="section"> <div class="layoutArea"> <div class="column"> <p>Lower Manhattan cannot be separated from its weave in the woof of a global superstructure. This becomes evident in the effects and response to coming global disasters such as anthropogenic climate change, and its footprint on the local landscape. Furthermore, technological change has layered the spatiality of the city with both highly localized infrastructural concatenations and global informatics, operating beyond traditional forms of governmentality. Attempts to ameliorate such crises are complicated by the city&rsquo;s own role as a central hub in the feedback mechanism of global capitalism, and the continued dependency of its local reproduction on this self-same mechanism.</p> <p>Xtrotecture is project which examines the simultaneous local and global presence of Lower Manhattan in an age of late-capitalism, technological acceleration, and the Anthropocene. How do we envisage the city now, and what potential strategies are available for confronting these contemporary aporias? In this phase of the project, artist and writer Joshua Johnson will interview artists, theorists and experts who have articulated new conceptualizations of architecture, technology, and planning for the 21st century. These interviews will be conducted in Artists Alliance&rsquo;s Cuchifritos Gallery, in the midst of an evolving installation. The interviews will be publicly broadcast and documented on a companion website:</p> </div> </div> </div> <div class="layoutArea"> <div class="column"> <p>Presented as part of theWorkspace 2016series, featuring the work ofLES Studio Program artists-in-&nbsp;</p> </div> </div> </div> Thu, 27 Oct 2016 19:53:30 +0000 Christina P. Day - CUE Art Foundation - December 13th 6:00 PM - 7:00 PM <p id="yui_3_17_2_1_1477578367623_624" style="text-align: justify;">CUE Art Foundation is pleased to announce a solo exhibition of new sculptural works and a large-scale installation by Christina P. Day. The works in <em>Stills and Composites</em> were created in response to recently discovered video footage from the wedding anniversary celebration of Day&rsquo;s great aunt and uncle in 1983. A home video camera was situated in the corner of the dance floor of the VFW hall, where guests repeatedly bumped into it. At times, the camera was pointed at the ceiling, or the back of a partygoer&rsquo;s head. The resulting film is a fragmentary, unobstructed recording of time. For her exhibition, Day employs found materials and architectural constructions to explore this mise-en-sc&egrave;ne&mdash;restaging the video from different perspectives.</p> <p style="text-align: justify;">For the installation <em>Playbacks #1-5</em>, Day extracted audio from the video, which plays on a row of five vintage Pioneer Mimmy headphones. The disembodied sound of an entertainer playing love songs on a Casio keyboard echoes through the headphones, as if just on the other side of the wall. Day&rsquo;s wall-mounted piece <em>Cascade (One&rsquo;s one and only)</em> was inspired by the corsages and boutonni&egrave;res of the guests in the video, and fashioned from the vinyl of a found seat cover. Transparent and yellowed with age, the hand-stitched flowers cast a warm glow on the gallery wall.</p> <p style="text-align: justify;">The large-scale installation <em>The light I&rsquo;ll be (1983)</em> is central to the exhibition. Composed of a white-walled cube, each side is interrupted by an impassable opening that offers a tantalizing view into the interior. Day has constructed a maze of walls and surfaces inside the cube, collapsing and manipulating the viewer&rsquo;s perspective. Curator Cecilia Alemani notes: &ldquo;Day&rsquo;s complex installations seem to also evoke a specific temporality, which proceeds with ruptures and hiatuses instead of being linear. Similar to Gordon Matta-Clark&rsquo;s practice of physically altering spaces and places, Day&rsquo;s artistic vocabularies challenge the sense of history and evoke a vertigo of displacement, both physical and temporal. It is a matter of a temporal tension between form and its deconstruction, between wholeness and the fragment. Day&rsquo;s works vacillate between inside and outside: they are fragments of an architectural environment that appear like slices cut out from buildings. Looking at these structures, it is difficult to say whether they are in the process of being built, if they are the structural parts of a more complete work, or if they are what remains of an old family memory.&rdquo;</p> <p style="text-align: justify;"><strong>Christina P. </strong><strong>Day </strong>lives and works in Philadelphia, PA. She earned a BFA from the University of the Arts, and an MFA from the Cranbrook Academy of Art. Her work has been exhibited at the Philadelphia Sculpture Gym, the Hongik Museum of Art (Seoul, Korea), the Philip and Muriel Berman Museum of Art (Collegeville, PA), NAPOLEON (Philadelphia, PA), the Artist-Run project at the Satellite Show (Miami, FL), the Philadelphia Art Alliance, and the Woodmere Art Museum (Philadelphia, PA). She has held residencies at Sculpture Space, the Vermont Studio Center, the Haystack Mountain School of Craft, and RAIR (Recycled Artist in Residency). She is a former member of the NAPOLEON artist collective of Philadelphia (2012-2016). She teaches in the Crafts/Fiber Program at the University of the Arts (Philadelphia, PA) and is a Professor of Fiber at the Maryland Institute College of Art (Baltimore, MD).</p> <p style="text-align: justify;">This exhibition is a winning selection from the 2015-16 Open Call for Solo Exhibitions. The proposal was unanimously selected by a jury comprised of panelists <strong>Cecilia Alemani</strong>, Donald R. Mullen, Jr. Director &amp; Chief Curator of High Line Art;&nbsp;<strong>Renaud Proch</strong>, Executive Director of Independent Curators International (ICI); and <strong>Rujeko Hockley</strong>, Assistant Curator of Contemporary Art at the Brooklyn Museum. In line with CUE&rsquo;s commitment to providing substantive professional development opportunities, panelists also serve as mentors to the exhibiting artists, providing support throughout the process of developing the exhibition. We are honored to work with panelist Cecilia Alemani as the Curator-Mentor for this exhibition.</p> <p style="text-align: justify;">This exhibition is sponsored in part by <a href="" target="_blank">RAIR (Recycled Artist in Residency)</a>.</p> Thu, 27 Oct 2016 14:30:14 +0000 Hannah Levy, Michael Simpson - Marlborough Chelsea - October 27th - December 3rd <p class="Pa1" style="text-align: justify;">Marlborough Chelsea is pleased to announce the two-person exhibition <em>Shall we sit, stand or kneel?, </em>featuring New York artist Hannah Levy and British artist Michael Simpson, conceived by and organized with Wills Baker. Although from different backgrounds and generations, Levy and Simpson each unravel a dark comedy of humanistic confinement in the objects and ergonomics of the cleric.</p> <p class="Pa1" style="text-align: justify;">Michael Simpson&rsquo;s paintings of leper squints, titled after the small holes in medieval churches (built to allow sufferers of leprosy and other &ldquo;undesirables&rdquo; to listen to a sermon without sitting amongst the congregation) point to the authoritarian devices employed by the institution. While Simpson&rsquo;s paintings directly address the infamy of religious history, he utilizes seemingly flattened compositions which, upon close inspection, reveal an inner surface that works both in pigment and formal line to yield a dynamic and complex display of the act of painting itself.</p> <p class="Pa1" style="text-align: justify;">Hannah Levy&rsquo;s sculptures use flesh-colored cast silicone and wrought nickel-plated steel to mimic the erotic and industrial. Her bench constructions twist the synthetic into bindings of the metal grid. This vision-like engineering reflects a physicality while providing a ubiquitous domestic form with new agency where a relationship to figuration, death, and debased flesh are emphasized.</p> <p class="Pa1" style="text-align: justify;">In sharing an architectural language with Simpson, Levy&rsquo;s benches complement his paintings, humanizing and alerting the viewer to their corporeality&mdash;something often dismissed or repressed by the instruments of socio-religious institutions. Moving between abstraction and representation, the artists situate their work in a purgatory where links between the spiritual and everyday world are broken down. By transforming and recalibrating&mdash;through secularization or sheer perversion&mdash;objects with embedded power, meant to elicit obedience or faith, become undermined.</p> <p class="Pa1" style="text-align: justify;">Hannah Levy (b.1991) lives and works in New York, NY. She studied at Cornell University (2013) and received a Meistersch&uuml;ler title from, St&auml;delschule, Frankfurt am Main, Germany (2015). Selected past exhibitions include: <em>And the Dish Ran Away with the Spoon</em>, 247365, New York, NY,(2016); <em>Soft Costs_Money Over World</em>, Wiesen, Kunstverein Wiesen, Germany, (2016); <em>Hannah Levy, White Flag Library</em>, St Louis, MO; Live in yours, play in ours, Galerie Parisa Kind, Frankfurt, Germany,(2015); Basic Essentials, Allen and Eldridge at James Fuentes Gallery, New York, NY,(2015); <em>Vegetative State</em>, Deuxi&egrave;me Bureau Galerie Parisa Kind, Frankfurt Germany, (2014); <em>Parked Like Serious Oysters</em>, Museum F&uuml;r Moderne Kunst, Frankfurt, Germany, (2015).</p> <p class="Pa1" style="text-align: justify;">Michael Simpson (b.1940) lives and works in Wiltshire. He studied at Bournemouth College of Art (1958-60) and Royal College of Art, London (1960-63). Selected past exhibitions include: <em>Study #6</em>, David Roberts Arts Foundation, London (2014); <em>The Leper Squint Paintings 2012 - 13, </em>David Risley Gallery, Copenhagen (2013); <em>Michael Simpson, presented by David Risley Gallery</em>, Volta, New York (2008); <em>Bench Paintings - Recent Paintings 2005-2006, </em>David Risley Gallery, London (2007); <em>Michael Simpson</em>, The Tithe Barn, Bradford on Avon (2005); <em>Bench Paintings 1992-1995, </em>Arnolfni Gallery, Bristol and Oriel Davies, Newtown (1996); <em>Recent paintings, </em>Serpentine Gallery (1985); <em>Paintings 1980-1983</em>, Arnolfni Gallery Bristol (1983); <em>Six Large Paintings</em>, Bristol Museum and Art Gallery (1973). He is the first prize winner and recipient of the 2016 John Moores Painting Prize.</p> <p style="text-align: justify;">Wills Baker was born in Knoxville, TN and is a writer and exhibition maker based in Brooklyn, NY.</p> Wed, 26 Oct 2016 17:41:41 +0000 Yvonne Jacquette - DC Moore Gallery - November 10th - December 17th <p>Yvonne Jacquette in conversation with Vincent Katz, 6-7pm. Reception to follow.</p> Wed, 26 Oct 2016 16:17:27 +0000 Augustus Sherman - Steven Kasher Gallery - November 3rd - December 23rd <blockquote> <p style="text-align: justify;">&ldquo;Remember, remember always, that all of us, and you and I especially, are descended from immigrants and revolutionists.&rdquo; &ndash; Franklin D. Roosevelt</p> </blockquote> <p style="text-align: justify;"><br />Steven Kasher Gallery is pleased to announce Augustus Sherman: Aliens or Americans?, an exhibition featuring 35 vintage black and white portraits of immigrants on Ellis Island made by Augustus Sherman between 1905 and 1920. This is the first U.S. exhibition and first gallery exhibition of Sherman&rsquo;s work. This exhibition gives historical context to Donald Trump&rsquo;s populist disparagement of immigrants as undesirable aliens. Sherman, who was Chief Clerk at Ellis Island Immigration Station, made these sympathetic portraits to promote the services of his organization. However they were also used, without attribution, in various anti-immigrant publications that asserted that America would fall apart under the pressure of these so called &ldquo;aliens.&rdquo; For instance, in 1906 Sherman&rsquo;s images were used in the book Aliens or Americans? by Baptist minister Howard B. Grose as visual evidence of the supposed menace of the &ldquo;new immigrants.&rdquo; More than 100 million living Americans, a third of our population, are descendants from the 12 million people who entered the U.S. through Ellis Island between 1892 and 1954. Whether aliens or Americans, they are us.</p> <p style="text-align: justify;">Augustus Sherman was hired by the Bureau of Immigration as a clerk on Ellis Island in 1892. By his death in 1925, he was Chief Clerk of Ellis Island, in charge of the Immigration Bureau&rsquo;s extensive correspondence. His high ranking position gave him special access to Ellis Island detainees and afforded him opportunity to take his photographs. He persuaded detainees to pose for his camera, encouraging them to wear their finest clothes or national dress. The Sherman archive at the Ellis Island Immigration Museum holds over 250 of his portraits of immigrants. They are not the &ldquo;huddled masses yearning to be free" as described by Emma Goldman. They are not portrayals of anonymous travelers weary from journey as photographed by Lewis Hine. Sherman is producing a catalog of diversity. Each newcomer is described in full, face forward, in their most exceptional outfits, captioned by place of origin, and often name and occupation. Sherman takes pains to individuate each subject with a unique setting, pose and framing. In these ways Sherman was a companion to August Sander whose portrait project People of the Twentieth Century is a touchstone of photography.</p> <p style="text-align: justify;">Sherman&rsquo;s work came to attention in 2005 when Aperture published Augustus F. Sherman: Ellis Island Portraits 1905 &ndash; 1920. Recently, Sherman&rsquo;s portraits were chosen by specialists at Dynamichrome as important subjects for their innovative colorization techniques, and will be published in their forthcoming book The Paper Time Machine. Using historical references from the era they pinpointed the exact colors that would have appeared in the immigrant&rsquo;s costumes. Featured in an article on Buzzfeed ( the colorized photographs help us imagine the vivid splendor these culturally significant clothes would have held in their day.</p> Wed, 26 Oct 2016 15:43:00 +0000 Thomas Roma - Steven Kasher Gallery - November 3rd - December 23rd Wed, 26 Oct 2016 15:41:07 +0000 Damon Davis - Museum of Contemporary African Diasporan Arts (MoCADA) - August 4th - November 6th <p style="text-align: justify;">Opening Reception on Thursday, August 4 | 7-10PM</p> <p style="text-align: justify;">Museum of Contemporary African Diasporan Arts</p> <p style="text-align: justify;">The use of state-sanctioned violence against people of color has historically functioned as a warning that death is a suitable consequence for assumed criminality, suspected or otherwise. With the advent of social media and citizen journalism, visuals of these deaths are immediately available and widely shared. While this documentation often serves to protect the individual at risk during both the incident and the ensuing legal process, its repetition maintains a traumatizing effect, especially on communities of color.</p> <p style="text-align: justify;">The intrusion of this reality on the psyche of oppressed people&nbsp;is central to <strong>Selections from </strong><strong><em>Negrophilia</em></strong>, which features meditative, collaged mixed media works by Damon Davis. On exhibition for the first time, the works challenge a grotesque fascination with black death in American culture. Davis&rsquo; instinctual works serve as a therapeutic response to these seemingly endless and intentional acts of violence.</p> <p style="text-align: justify;"><strong>Selections from <em>Negrophilia</em></strong>&nbsp;is supported in part by public funds from The New York City Department of Cultural Affairs (DCA) in partnership with The City Council, and private funds from Lambent Foundation.</p> Wed, 26 Oct 2016 15:30:02 +0000 - Ludlow 38 - October 30th 7:00 PM - 8:00 PM <p style="text-align: justify;"><strong>Emeka Ogboh</strong> transforms the exhibition space at MINI/Goethe-Institut Curatorial Residencies Ludlow 38 into a branding zone for a Berlin beer called Sufferhead Original. Drawing upon a lecture by a leading figure in a German rightwing populist party, who referred to a &ldquo;life-affirming African mode of propagation&rdquo; and contrasted African and European reproductive strategies, Ogboh imagines a scenario in which a beer that tastes &lsquo;like home&rsquo; to members of the African diaspora takes over the German capital and its beer culture. An infomercial recounts how a black stout brewed by the artist himself subverts the German beer purity law&mdash;the so-called &lsquo;Reinheitsgebot&rsquo;&mdash;and becomes so popular in Berlin that it supersedes all other beer brands. A jingle pays an Afrobeat-inspired, Lagos-Berlin tribute to Fela Kuti&rsquo;s track &ldquo;Original Suffer Head&rdquo;, which talks about the economic and political situation in Nigeria in the 1980s, a decade of mass emigration. Questions emerge from the opaque Sufferhead Original beer bottles with their tattoo-style labels: Is the &lsquo;sufferhead&rsquo; the result of drinking this spicy beer with high alcohol content? Or might it be related to the complex experiences of migration? Or is it due to the mere fact that Sufferhead Original is the only beer left in Berlin&rsquo;s bars and stores?<br /> <br /> <em>Das Afrikanische Bierlaboratorium I</em> stages and swirls investigations, projections, and debates about immigration, blackness, food, and community culture in Berlin and lets them resonate in the city of New York.<br /> <br /> Opening on Sunday, September 18, 6&ndash;8pm, the exhibition will be on view through October 30. An artist talk with Emeka Ogboh will take place on September 21, 7pm.</p> Wed, 26 Oct 2016 15:27:36 +0000 Dusty Boynton - Denise Bibro Fine Art - November 3rd - December 10th <p style="text-align: justify;">On the heels of Boynton&rsquo;s solo exhibition at the Delaware Contemporary Museum, Denise Bibro Fine Art, Chelsea, NYC, announces Boynton&rsquo;s eighth solo exhibition with the gallery,<em> Drawings &amp; Paintings</em>.</p> <p style="text-align: justify;">This exhibition is comprised of intimate iconic drawings and paintings conveying the nuts and bolts of the artist&rsquo;s modus operandi. Apropos to the recent exhibition at The Met Breuer, &ldquo;Unfinished: Thoughts Left Visible&rdquo;, Boynton&rsquo;s works give the viewer insight on the ideas and stream of consciousness that makes up an artist. Boynton&rsquo;s works are spontaneously organic, and have an inherent quality of brute force&mdash;No halls barred. Her wanton love of form and line is consistent throughout her works, regardless of size and content. The figure is reveled, played with and positioned in the most natural and forthright states of human condition. Boynton&rsquo;s work suggest introspection, comradery and combativeness whenever and whatever&mdash;it just comes forth. The beauty of these works is the intimacy and forthrightness that is depicted regardless of the surfaces. Subtle nuances enrich these works with layers of configuration and muted color. The drawings are presented in beautiful fine hand rubbed and stained frames that enhance the uniqueness of the subjects brought forth.</p> <p style="text-align: justify;">Prior to exhibiting with the gallery Boynton exhibited with Littlejohn Contemporary, New York, NY; Gallery Jupiter, Little Silver, NJ; and Steffany Martz Gallery, New York, NY. Selected group exhibitions include In The Garden at Barbara Krakow in Boston, MA; New Prints, 2002 at the International Print Center, New York, NY; Book, Box, Word, Volume II at the University of Florida and North Miami Contemporary Art Center. Her work has been reviewed in ArtForum, ARTNews, Art in America, New York Times, Arts Magazine, New Art Examiner, Modern Painters, Architectural Digest, and the Wall Street Journal. Boynton&rsquo;s work was featured in the film, &ldquo;Remember Me&rdquo; with Robert Pattinson. Among her museum shows she has exhibited are: her most recent solo, &ldquo;Out Of Line&rdquo;, Delaware Contemporary Museum, Wilmington, DE and the Helen Day Art Center in Stowe, VT. Noted Art Critic Donald Kuspit has written about Boynton both in her book and has reviewed her exhibitions at Denise Bibro Fine Art for ArtForum,</p> Wed, 26 Oct 2016 15:21:47 +0000 Group Show - Murray Guy - November 3rd - December 3rd Wed, 26 Oct 2016 13:45:36 +0000 Æthelred Eldridge - Essex Flowers - October 21st - November 20th <p style="text-align: justify;"><strong>Essex&nbsp;Flowers</strong>&nbsp;presents the first NY solo exhibition of&nbsp;<strong>&AElig;thelred&nbsp;Eldridge</strong>&nbsp;in 30 years.</p> <p style="text-align: justify;">
The exhibition focuses on just over three decades of the artist&rsquo;s output from 1970 - 2005. On view will be a wallpaper presentation of black and white works from the 1980s through the early 2,000s and framed color paintings on paper from the 1970s.</p> <p style="text-align: justify;">Eldridge (b. 1930 Monroe, MI) is a legend in Athens County, Ohio where he has lived, worked, and taught for over 50 years. He was an associate professor from 1957-2014 at the Ohio University School of Art where his iconic work remains on view as a 50 by 80 foot black and white mural at the school&rsquo;s Seigfred Hall. Using the last and current iteration of this mural as inspiration, the gallery will feature wall-to-wall reproductions of the artist&rsquo;s&nbsp;<em>&AElig;thograms</em>&nbsp;- black and white works that feature conglomerated symbols, figures, and drawn texts that take on an autopsical approach to the English language. Eldridge creates provocative messages that weave together Blakian, Celtic, Pre-Roman British, and his own deeply coded mythologies. These at once stark and humorous works take on prophetic tones, often political in nature, and are rattling, energizing, and relevant in their pointed critique of civilization.</p> <p style="text-align: justify;">
Eldridge self-published thousands of his &AElig;thograms into what he calls Invective Pamphlets - small, zine- like, booklets that serve as trail markers for the artists prolific, almost frenzied production. He is listed in the Dictionary of the Avant-Gardes, which characterizes his works as:</p> <p style="text-align: justify;">
</p> <p class="qoute" style="text-align: justify;">&ldquo;cryptically pedantic, and at times autobiographical, all within his own mythopoeia...
Similar to the texts accompanying his images, his class lectures are themselves works of art. &AElig;thelred weaves playful, sometimes invective speech tapestries with outlandish word associations electrically charged phonetics, and scrambled catchphrases that succeed or fail with his often baffled listeners.&rdquo;
<br />- Michael Peters</p> <p style="text-align: justify;">
Eldridge&rsquo;s work exists somewhere in-between the folk and academic traditions and is entwined in every aspect of his life. In the 1960s he purchased land in Millfield, Ohio below Mt. Nebo, a spiritual mecca since the 1830s. This secluded acreage is where he restored a log cabin originally built by the spiritualist Koons family to house their famous seances. He calls this homestead Golgonooza after the great city of imagination, art, and science in Blake&rsquo;sJerusalem. On this property, &AElig;thelred founded the&nbsp;<em>Golgonooza Church and School of William Blake</em>&nbsp;and regularly held &ldquo;happening-like&rdquo; gatherings and ceremonies up until the late 1980s. Over the decades he has constructed additional wings to the original cabin, completely on his own, in a style that can be described as Tudor meets Dr.Caligari. At 86 he is still living alone in his sculptural dwelling, which has only well water and outhouses, a fireplace for heating, and a few electric lights. A live video feed of &AElig;thelred in his home will accompany the exhibition.</p> <p style="text-align: justify;">For inquiries please contact R. Blair Sullivan at the gallery email or by phone at&nbsp;740-243-2228&nbsp;</p> Wed, 26 Oct 2016 11:01:31 +0000 - Elizabeth Dee Gallery - October 29th - December 17th Wed, 26 Oct 2016 10:55:12 +0000 - Elizabeth Dee Gallery - November 3rd 6:30 PM - 8:00 PM <p style="text-align: justify;">Please join us at the gallery for a conversation with Susan E. Cahan, author of Mounting Frustration: The Art Museum in the Age of Black Power. This event is part of the Department of Art History and Archaeology, Columbia University&rsquo;s MA Program in Modern and Contemporary Art: Critical and Curatorial Studies (MODA) Fall Colloquium series.<br /> <br /> In her new book, Cahan investigates the strategies African<br /> American artists and museum professionals employed as they fought over access to and direction of New York City&rsquo;s elite museums. Drawing on numerous interviews with artists and analyses of internal museum documents, the book offers a detailed and at times surprising picture of institutional and social forces that both drove and inhibited racial equality in New York&rsquo;s museums.<br /> <br /> Susan E. Cahan is Associate Dean and Dean of the Arts at Yale College, the editor of I Remember Heaven: Jim Hodges and Andy Warhol, and the coeditor of Contemporary Art and Multicultural Education. She has directed programs at the New Museum of Contemporary Art, the Museum of Modern Art and the Peter Norton Family Foundation.<br /> <br /> Space is limited, please RSVP to<br /> <br /> Refreshments will be provided with the kind sponsorship of Harlem Brewing Company.</p> Wed, 26 Oct 2016 10:47:59 +0000 Klaus Weber - Andrew Kreps Gallery @ 535 West 22nd - November 4th - December 21st Thu, 27 Oct 2016 14:24:31 +0000 - Danese/Corey - November 18th - December 23rd Tue, 25 Oct 2016 15:42:49 +0000 Andy Harper - Danese/Corey - November 18th - December 23rd Tue, 25 Oct 2016 15:40:01 +0000