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DRISCOLL BABCOCK GALLERIES presents Wafaa Bilal: The Ashes Series\, the artist&rsquo\;s firs t solo exhibition with the gallery\, featuring a suite of ten photographs a nd a durational performance piece. In this body of work\, Bilal offers medi tative and ephemeral moments which address erasure and violence in the afte rmath of war. By re-visiting recent history\, and altering the images of th e past\, he intentionally creates tension and incongruity\, exploring the d uality that exists between the sacred and the profane through photographic practice.

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Bilal&rsquo\;s reconstructions are testaments to his land mark artistic innovations which integrate photography\, technology\, and th e literal human body. In The Ashes Series\, Bilal presents photographs of handmade models which he based on a collection of mass-synd icated images documenting the aftermath of Operation Iraqi Freedom. The hum an presence is represented by 21 grams of human ashes that reference the my thical weight lost by the departure of the soul from the body at the time o f death. The resultant monochromatic whiteness of the ash adds to the unavo idable quietness&mdash\;of a chair persistently standing amidst the rubble\ , Saddam Hussein's unmade bed\, or a lone hospital pillow left behind.  \; Yet this poetic act also troubles the serenity of the scenes\, highlight ing the afterimage of conflict and the proverbial dust that will never sett le.  \;

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In Bilal&rsquo\;s durational performance piece\, Erasing\, the artist ritually selects a square to be cut and removed from a photographic image of Saddam Hussein& rsquo\;s destroyed palace. He then archives the squares as if they were dis sected specimens. These fragmented pieces of information call out for furth er investigation and understanding. Each detail of the process&mdash\;from the artist&rsquo\;s time of arrival\, to the formal aspects of the selected square&mdash\;is fully documented. \; Bilal&rsquo\;s direct and partic ular interaction with the image allows him to revisit his native country of Iraq\, from which he can no longer physically return\, and create further distortion of the image through the filter of personal contemplation\, whil e also inviting the public to engage in the profane from the safety of the gallery setting. \;

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A full-color catalogue accompanies the exhi bition. \;

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ABOUT WAFAA BILAL

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Wafaa Bilal has b een exclusively represented by Driscoll Babcock Galleries since 2013. Bilal &rsquo\;s work is represented in major public collections\, including Matha f: Arab Museum of Modern Art\, Qatar\; Museum of Contemporary Photography\, Chicago\; Milwaukee Art Museum\; and the Los Angeles County Museum of Art\ , California. He has exhibited extensively in galleries and institutions th roughout the world\, including the US\, Thailand\, Iraq\, the UK\, Dubai\, Lebanon\, France\, and Germany\, and he has served on the panels of over tw enty major global universities and institutions\, including the Tate Modern \, UK\; Harvard University\; Stanford University\; Museum of Art and Design \; the Global Art Forum\, Qatar\; and the Inter-Society for the Electronic Arts\, Turkey. His work has been reviewed in major publications\, including ARTnews¸\; Art in America\, The New York Times< /em>\, The Wall Street Journal\, and Newsweek\, and he is the author of the critically-acclaimed 2008 publication Shoot an Iraqi: Arts\, Life and Resistance Under t he Gun.

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Bilal graduated from the University of New Mexico an d then obtained an MFA at the School of the Art Institute of Chicago. He cu rrently lives and works in New York as an Associate Arts Professor at New Y ork University&rsquo\;s Tisch School of the Arts.

DTEND:20140614 DTSTAMP:20140418T093601 DTSTART:20140501 GEO:40.7494436;-74.0043134 LOCATION:Driscoll Babcock\,525 West 25th Street \nNew York\, NY SEQUENCE:0 SUMMARY: The Ashes Series\, Wafaa Bilal UID:332882 END:VEVENT BEGIN:VEVENT DTEND:20140501T200000 DTSTAMP:20140418T093601 DTSTART:20140501T180000 GEO:40.7494436;-74.0043134 LOCATION:Driscoll Babcock\,525 West 25th Street \nNew York\, NY SEQUENCE:0 SUMMARY: The Ashes Series\, Wafaa Bilal UID:332883 END:VEVENT BEGIN:VEVENT DESCRIPTION:

DRISCOLL BABCOCK GALLERIES presents Logical Guesses\, a group exhibition curated by House of the Nobleman. Logical Guesses features a diverse group of artists who express aesthetic variations through calculations\, p atterns\, and equations. Favoring rational hypothesis over emotional develo pment\, these artists manipulate light and materials to explore the propert ies and illusions of space.

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Rather than spontaneity\, these artists engage with specific rule systems and guidelines to perpetuate a unique en gagement with object and form. These shared philosophies of production imbu e their works with a sense of the absolute\, inevitably linked through evol ution\, variation and dynamical phenomena\, and their systematic processes elicit an innate consistency throughout the exhibition.

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Logical Guesses features work by Harriet Bart\, Jarrod Beck\ , Marylyn Dintenfass\, Alice Hope\, Sol Lewitt\, Charles Lutz\, Ryan and Tr evor Oakes\, and James Scott.

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Included in the exhibition is Jarrod Beck&rsquo\;s monumental TERMINAL MORAINE\, 2012. Using pl aster\, cast from drawings\, as a three-dimensional substrate\, Beck reproc esses materials in order to create new tools. The evolution of this work co rresponds to a slow architecture\, drawn full scale. Lines become form\, ea ch member dependent on the other. Through his methodic approach\, organic a nd fixed patterns emerge\, reflecting the natural order of creation.

\n< p>James Scott&rsquo\;s multifaceted process of painting\, model-making\, an d the flattening and folding of form\, furthers this exploration of the nua nces of spatial illusions. Scott&rsquo\;s calculated engineering of two-dim ensional and three-dimensional space creates perforated patterns of overlap ping hyper-cubes which couple abstract drawing with architectural drafting. In UNTITLED 1 and UNTITLED 2\, 2013\, li ght filters through precisely mapped holes\, projecting overlapping images and shadows onto the adjoining walls and ceiling. As the intensity of light subtly changes throughout the course of the day\, so do the dynamic charac teristics of the work. \;

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Ryan and Trevor Oakes create highly d etailed drawings\, paintings\, and sculptures that explore\, among other to pics\, fundamental aspects of light and vision. \; Their works in this exhibition operate within the theory that by following consistent local rul es complex global structures emerge. \; For example\, MATCHSTIC K DOME\, 2014\, emerges into a spherical shape as a result of pack ing individual matches side by side. Each of the 9000 matchsticks used in t he piece point to a single focal point at the hollow center of the sphere. This emergent form is geometrically akin to the way light rays radiate from a single source\, and the shape by which they are inversely received by th e eye. \; Explorations such as this led to one of their central asserti ons\; the human field of vision is spherical.

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ABOUT HOUSE OF THE NOBLEMAN

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House of t he Nobleman is a progressive curatorial and art advisory firm with offices in London and New York City. Founded in 2010\, House of the Nobleman has es tablished itself as an innovative and acclaimed organization specializing i n cutting-edge curatorial projects\, artist management\, as well as a reput able adviser for elite clientele.

DTEND:20140426 DTSTAMP:20140418T093601 DTSTART:20140313 GEO:40.7494436;-74.0043134 LOCATION:Driscoll Babcock\,525 West 25th Street \nNew York\, NY SEQUENCE:0 SUMMARY:Logical Guesses\, Harriet Bart\, Jarrod Beck\, Marylyn Dintenfass\, Alice Hope\, Sol LeWitt\, Charles Lutz\, Ryan and Trevor Oakes\, James Sco tt UID:332881 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The perpetual struggle to find the right words to communicat e meaning is often tantamount to shouting into a void. Trying to connect wi th a too-huge world frequently hinges on achieving a carefully balanced ton e to allow recipients to read between the lines and grasp deeper\, more sub tle messages than those actually contained in the words.  \;

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Th is exhibition assembles artworks featuring language that remains ambiguous. Statements that at first seem stern and commanding\, but after further con sideration begin to hover on the edge of playfulness. Works with wry\, absu rdist humor that come to feel darkly critical over time. The most mysteriou s are the shortest phrases where the least context is given and individual viewers are challenged to complete the stories based on their own experienc es. \;

DTEND:20140427 DTSTAMP:20140418T093601 DTSTART:20140330 GEO:40.7174823;-73.9918727 LOCATION:MARC STRAUS\,299 Grand Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Not For All My Little Words\, Matthew Barney\, Andrew Kuo\, Robert Barry\, Cary Leibowitz\, Birgit Brenner\, Rick Levinson\, Rita Sobral Campo s\, Roy Lichtenstein\, Nigel Cooke\, Bruce Nauman\, Marcel Dzama\, Catherin e Opie\, Andrew Guenther\, Alex Pollard\, Trenton Doyle Hancock\, Jon Pylyp chuk\, Matthew Higgs\, David Rathman UID:332879 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Dacia Gallery is pleased to present Christina Massey&rsquo\; s Salva Veritate solo exhibition. Christina&rsquo\;s works depict the unhar med truth about the economic recession\, bank bailouts and the emotional st rains placed upon innocent families in the wake of its aftermath. \; He r works are physical fragments of the new and old\, success and failure.&nb sp\; They are also bits and pieces of her own past and present\, likes and dislikes. Through donated business attire from banks and corporate employee s\, Christina re-purposed this fabric and hand stitched it together with se ctions of her own failed works on canvas. The results are organic\, quilt-l ike surfaces made from painted canvas where the sometimes subtle\, sometime s obvious influence of the khakis\, collared shirts and nylons lay within t he composition as reminders of the ever present influence of money on the c reation and promotion of art.

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ARTIST STATEMENT

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Using method s of constructing and deconstructing\, I am constantly re-using and re-purp osing my own artwork. One series literally leads to another\, where previou s series of works are cut\, torn and sewn or woven back together again into new series of works\, which may again be reconstructed into yet another ar t form. \; The past is always present in both current and future works\ , and they tell a story of my progression as an artist.I often use word pla y\, theatrics and general political topics as a way to communicate opinions that ultimately define an observation about the art world itself. \; P ainting as a medium\, having taken the largest &ldquo\;beating&rdquo\; so t o speak from the critical art world has been my primary focus of material\, be it acrylic\, oil or watercolor on either paper or canvas. \; I &ldq uo\;kill&rdquo\; my traditionally framed paintings by cutting and tearing t hem apart\, then mend them together by thread\, a series of knots or weavin g them together again giving them new life as a different form.How I choose what works to re-work\, and what works to remain is a difficult process.&n bsp\; Often it is work that has sat around for too long\, perhaps &ldquo\;f ailed&rdquo\; in some way\, by not showing or selling or simply no longer s atisfying my creative desires. \; There are &ldquo\;favorites&rdquo\; s o to speak that will stick around for years and not be touched\, however\, on occasion\, even these &ldquo\;favorites&rdquo\; sometimes get the axe if it&rsquo\;s what I feel the new work requires. \; It&rsquo\;s a therap eutic process of letting go in order to move forward. \; Ultimately\, a ny work that I have created in the past is subject to be re-worked again in the future in some way shape or form as my own tastes and opinions change\ , my body of work continues to evolve with me.

DTEND:20140508 DTSTAMP:20140418T093601 DTSTART:20140424 GEO:40.7219666;-73.9903845 LOCATION:DACIA GALLERY\,53 Stanton St. \nNew York \, NY 10002 SEQUENCE:0 SUMMARY:SALVA VERITATE \, Christina Massey UID:332873 END:VEVENT BEGIN:VEVENT DTEND:20140424T210000 DTSTAMP:20140418T093601 DTSTART:20140424T180000 GEO:40.7219666;-73.9903845 LOCATION:DACIA GALLERY\,53 Stanton St. \nNew York \, NY 10002 SEQUENCE:0 SUMMARY:SALVA VERITATE \, Christina Massey UID:332874 END:VEVENT BEGIN:VEVENT DESCRIPTION:

For the month of May\, sculptor John Powers \;will use P ostmasters Gallery as a studio\, and combine his strategies of temporary pu blic \;work and permanent studio work. Beginning with raw material\, an entire show will develop daily. Working simultaneously in polystyrene\, st eel\, plywood\, paper and phenolic resin blocks\, Powers will stack\, const ruct and collage a series of individual works. Powers will construct wall p ieces\, floor pieces\, reliefs\, towers and carpets.
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Ra ther than site-specific\, each will be conceived\, each day\, as part of th e whole. \;Each day will be a new show\, that will vanish under the nex t days' work. Returning visitors to the gallery will be able to track the s how's progress\, as will those on social media\, who can follow changes via the artist's twitter\, Instagram\, and tumblr accounts - \;for the Mon th of May\, \;each will be dedicated to updating different aspects of t he show. \;Only for the last week of the show (June 1-7)\, after the cl osing reception (May 31)\, will the work stop\, allowing the show to lay fa llow.
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For the past two decades\, Powers has split his w ork between permanent-built studio work\, and temporary freestanding instal lations\, all built from identically shaped blocks. Made of plywood\, polys tyrene\, steel\, resin composites\, PVC\, paper and other materials\; and r anging in size from tiny slivers to furniture-scale\, all of the blocks Pow ers uses are cut to the same proportion: 1 x 2 x 3.
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In the studio he has glued\, drilled\, welded and cast blocks to make intricat e objects intended to last\; to be passed from hand to hand\; to move place to place. Working in public\, he has stacked them to make ephemeral accumu lations\, intended for the audience that happens to be at that one spot at that particular time. Rather than describing these works as site-specific\, Powers thinks of them as specific to a moment in time.
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At the end of April\, Powers will have entirely moved out of the studio he has maintained in Industry City for the past ten years. Forced out of the facility by a tripling in rent\, the change has meant he has had to sort th rough a great deal of old work. Handiwork of a younger artist\, as differen t from him now as a foreigner from another country. \;
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For Powers the choice to work with a single shape for the past 19 years \, was to unite the country of the past\, with that of the future\; to make explicit that each thing he makes\, are slivers in time. \;
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Almost 50 years ago\, the artist Robert Smithson observed that &l dquo\;the process behind the making of a storage facility may be viewed in stages\, thus constituting a whole &lsquo\;series&rsquo\; of works of art f rom the ground up." \;
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Smithson's concept of "discr ete stage abstractions" resonates with Powers because so much of the work h e does is buried beneath the additive process of making his art. Powers thi nks of his own work in a similar vein\, except where the 60s earth artist p ointed to the possibility of aestheticizing large scale industrial processe s&mdash\;like dam \;construction&mdash\;where the final outcome \;p redetermines \;everything that comes before \;it\, Powers is more i nterested in the discrete stages of more idiosyncratic development. \;< br />  \;
"Land surveying and preliminary building if isolated in to discrete stages may be viewed as an array of art works that vanish as th ey develop.&rdquo\; Smithson cooly observed. Likewise\, for Powers\, sculpt ure develops as an array\, but not as an array of predetermined tasks&mdash \;like the processes Smithson was enamored with. For Powers\, sculpture beg ins&mdash\;not with the image of a final object&mdash\;but with an initial condition. Moving outwards\, in a series of small improvisation\, each one\ , a possible end point\; each an opening on to another improvisation. \ ;
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For \;+time\, Powers will bring that eth ic to the gallery. Each day will be a complete show\, a discrete stage\, bu t each day will also be an opening onto the next day's work\; an initial co ndition.
+time \;will be the first exhibition of John Po wers at Postmasters.

DTEND:20140607 DTSTAMP:20140418T093601 DTSTART:20140426 GEO:40.717264;-74.002659 LOCATION:Postmasters\,54 Franklin Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY: +time\, John Powers UID:332871 END:VEVENT BEGIN:VEVENT DTEND:20140426T200000 DTSTAMP:20140418T093601 DTSTART:20140426T173000 GEO:40.717264;-74.002659 LOCATION:Postmasters\,54 Franklin Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY: +time\, John Powers UID:332872 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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Born in 1976\, now based in New York \, Eva and Franco Mattes\, (a.k.a. 0100101110101101.ORG) have been pioneers in the net.art movement remixing famous digital art pieces and performing Life Sharing: a real-time digital self portrait\, during which they submitt ed to satellite surveillance for an entire year. In the last decade they ha ve created unpredictable mass-scale performances staged outside the traditi onal art venues and involving an unaware audience\, where truth and falseho od mix to the point of being indistinguishable. They created and released t he code for a computer virus\, erected fake architectural heritage signs\, run media campaigns for non-existent action movies (United We Stand)\, and even convinced the entire populace of Vienna that Nike had purchased the ci ty's historic Karlsplatz and was about to rename it "Nikeplatz". They stole art\, and stole other artists&rsquo\; names\, went to Chernobyl and faked suicide in Chatroulette. Their controversial performances\, often bordering on illegality\, have been widely discussed in the media earning them the n ame &ldquo\;Bonnie and Clyde of Contemporary Art&rdquo\;.

DTEND:20140607 DTSTAMP:20140418T093601 DTSTART:20140426 GEO:40.717264;-74.002659 LOCATION:Postmasters\,54 Franklin Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY: By Everyone\, For No One\, Everyday\, Eva Mattes\, Franco Mattes UID:332869 END:VEVENT BEGIN:VEVENT DTEND:20140426T200000 DTSTAMP:20140418T093601 DTSTART:20140426T173000 GEO:40.717264;-74.002659 LOCATION:Postmasters\,54 Franklin Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY: By Everyone\, For No One\, Everyday\, Eva Mattes\, Franco Mattes UID:332870 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In his practice\, Horvitz grapples with time and standardize d measurements\, and the shifts that occur when natural phenomena are subje cted to manmade systems and vice versa. Unfolding as concrete actions\, Hor vitz&rsquo\;s works are often ongoing or self-generating projects. Taking a dvantage of diverse systems of circulation\, he gathers and disperses image s and objects through media such as the internet\, the postal system\, libr aries\, and airport lost and found services. Optimistically alluding to the possibility of an alternative logic\, Horvitz exploits the structures in p lace around him as much as he deliberately counters patterns derived from p rofessionalization and efficiency.

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Titled &ldquo\;Gnomons&rdquo\; a fter the device on a sundial\, which effectively produced the first image o f time in the form of a shadow\, Horvitz&rsquo\;s presentation includes the work Let us keep our own noon (2013)\, consisting of forty-seven handbells created through the remelting of a French church bell dating back to 1742. The work is activated by forty-seven performers who\, at local no on (when the sun is positioned exactly above the New Museum)\, collectively ring the bells and then disperse throughout the building and out onto the surrounding streets of the Museum. Referencing the bygone practice of navig ating time according to the position of the sun\, the work reminds us that our daily rhythms are not solely determined by tradition and locality\, but also rooted in global forces. In another work\, The Distance of a Day< /em> (2013)\, Horvitz journeyed halfway around the world to the exact locat ion where he could see the sunrise in the same moment that his mother was w atching the sunset in California. Rather than emphasizing the result of a j ourney or the duality of here and there\, Horvitz creates an image of the m easurement that separates two people in time&mdash\;exactly one day.

\n< p>David Horvitz was born in California in 1982 and lives in Brooklyn. Recen t solo exhibitions include: concurrent shows at Jan Mot\, Brussels\, and Da wid Radziszewski Gallery\, Warsaw\; Peter Amby\, Copenhagen\; Statements\, Art Basel\; Kunsthal Charlottenborg\, Copenhagen\; and Chert\, Berlin. His work has been shown at EVA International 2014\, Glasgow International 2014\ , LIAF 2013\, MoMA\, The Kitchen\, and the New Museum. In New York\, he has realized projects with Recess\, Clocktower Gallery\, post at MoMA\, Printe d Matter\, Rhizome\, and Triple Canopy. Recent artist books include The Distance of a Day (2013\; Motto Books &\; Chert) and Sad\, Dep ressed\, People\, (2012\; New Documents). He has received the Rema Hor t Mann Grant in 2011 and was nominated for the Discovery Award at Les Renco ntres d&rsquo\;Arles in 2011. In 2013\, he founded Porcino gallery in Berli n. This summer\, he will have his first solo exhibition at Blum &\; Poe\ , Los Angeles.

DTEND:20140629 DTSTAMP:20140418T093601 DTSTART:20140507 GEO:40.722337;-73.992844 LOCATION:New Museum\,235 Bowery \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Gnomons\, David Horvitz UID:332865 END:VEVENT BEGIN:VEVENT DTEND:20140507T180000 DTSTAMP:20140418T093601 DTSTART:20140507T110000 GEO:40.722337;-73.992844 LOCATION:New Museum\,235 Bowery \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Gnomons\, David Horvitz UID:332866 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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In her work\, Henrot (b. 1978 Paris\, Fr ance\; lives and works in New York) analyzes systems of visual information and typologies of objects from a wide array of historical moments. She has produced a number of visual essays in which she follows intuitive research pursuits across disciplines and finds a variety of aesthetic and morphologi cal links between disparate systems of knowledge. Henrot&rsquo\;s practice combines anthropological research with a staggering range of cultural fragm ents reflective of the current digital age. Her exhibition at the New Museu m will provide a survey of her recent work.

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The title\, &ldquo\;The Restless Earth\,&rdquo\; is borrowed from a poem by the Martinican writer É\;douard Glissant\, known for his novels\, poems\, and writings on c olonialism and diversity. The exhibition will feature four of Henrot&rsquo\ ;s recent videos including Grosse Fatigue\, a standout of the rece nt Venice Biennale\, garnering her the Silver Lion as most promising young artist. The work extends on earlier videos like Coupé\;/Dé\ ;calé\; (2010) and Million Dollar Point (2011)\, which capture rituals and landscapes that move across history and bridge disparat e cultures and geographies. &ldquo\;The Restless Earth&rdquo\; also include s several series of works on paper and a new installation of &ldquo\;Is it possible to be a revolutionary and like flowers?&rdquo\; (2012&ndash\;14). In this series\, Henrot translates books from her library into ikebana arra ngements\, connecting the languages of literature\, anthropology\, and phil osophy with the equally complex language of flowers. Through translation as well as archival research and the creation of hybrid objects&mdash\;appare nt throughout the artist&rsquo\;s videos\, sculptures\, and works on paper& mdash\;Henrot demonstrates how the classification of artifacts and the prod uction of images structure the way we understand the world.

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&ldquo\ ;Camille Henrot: The Restless Earth&rdquo\; will be on view on the Second F loor from May 7&ndash\;June 29\, 2014.

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Camille Henrot&rsquo\;s work has been exhibited at the Institute of Contemporary Art in London\, the Ce ntre Pompidou\, the Musé\;e d&rsquo\;Art Moderne\, the Palais de Toky o in Paris\, the New Orleans Museum of Art\, and the 55th Venice Biennale. In 2010\, she was nominated for the Prix Marcel Duchamp\, and in 2013\, she was the recipient of the Smithsonian Artist Research Fellowship in Washing ton\, DC\, where she produced the video Grosse Fatigue. Henrot cur rently has a solo exhibition at Chisenhale Gallery\, London\, which will tr avel to Bé\;tonsalon &ndash\; Centre for art and research\, Paris\, K unsthal Charlottenborg\, Copenhagen\, and the Westfä\;lischer Kunstvere in\, Mü\;nster.

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DTEND:20140629 DTSTAMP:20140418T093601 DTSTART:20140507 GEO:40.722337;-73.992844 LOCATION:New Museum\,235 Bowery \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:The Restless Earth\, Camille Henrot UID:332863 END:VEVENT BEGIN:VEVENT DTEND:20140507T180000 DTSTAMP:20140418T093601 DTSTART:20140507T110000 GEO:40.722337;-73.992844 LOCATION:New Museum\,235 Bowery \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:The Restless Earth\, Camille Henrot UID:332864 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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&ldquo\;Me\, My Mother\, My Father\, and I&rdquo\; will be the first New York museum exhibition of Icelandic artist Ragnar Kjartansson (b. 1976 Reykjaví\;k\, Iceland\; lives and works in Reykjaví\;k). Born into a family of actors and theater professiona ls\, Kjartansson draws from a varied history of stage traditions\, film\, m usic\, and literature. His performances\, drawings\, paintings\, and video installations explore the boundary between reality and fiction as well as c onstructs of myth and identity. He often attempts to convey genuine emotion through melodramatic gestures and conversely reveals sincerity within pret ending. Playing with stereotypes usually projected onto the persona of the actor\, Kjartansson both celebrates and derides the romanticized figure of the artist as cultural hero. His performances are often feats of endurance\ , which last for hours or days at a time\, taking a motif as simple as a po p song and transforming it through protracted repetition into a transcenden t mantra.

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At the New Museum\, Kjartansson will present works with a nd about his family\, including a newly orchestrated performance and video piece entitled Take Me Here by the Dishwasher: Memorial for a Marriage< /em> (2011/2014)\, in which ten musicians play a live composition for the d uration of the exhibition. This work takes inspiration from a scene in Icel and&rsquo\;s first feature film\, Morð\;saga (1977)\, directed by Reynir Oddsson\, in which the main character of the film\, played by Kja rtansson&rsquo\;s mother\, Guð\;rú\;n Á\;smundsdó\;tti r\, fantasizes about a plumber\, played by Kjartansson&rsquo\;s father\, Kj artan Ragnarsson\, in a sex scene on the kitchen floor. As family legend ha s it\, Kjartansson was conceived the night after the film shoot. Kjartan Sv einsson\, composer and a former member of the Icelandic band Sigur Ró \;s\, transformed the scene&rsquo\;s dialogue into a ten-part polyphony pla yed by ten musicians\, who sing and play guitar in the tradition of the tro ubadour to accompany a projection of the original film scene. Other works i n the exhibition are made in collaboration with Kjartansson&rsquo\;s parent s\, including a new series of drawings of the sea made with his father\, en titled The Raging Pornographic Sea (2014)\, and an ongoing video c ollaboration with his mother where she repeatedly spits in his face\, M e and My Mother\, which began in 2000. This exhibition provides an opp ortunity to look at the way Kjartansson&rsquo\;s work explores family ties and delusions of grandeur\, as well as to engage with his ongoing interest in the conflation of reality and fantasy.

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&ldquo\;Ragnar Kjartansso n: Me\, My Mother\, My Father\, and I&rdquo\; will be on view on the Fourth Floor from May 7&ndash\;June 29\, 2014. The exhibition is curated by Massi miliano Gioni\, Associate Director and Director of Exhibitions\, and Margot Norton\, Assistant Curator.
The exhibition will be accompanied by a fully illustrated catalogue featuring an interview with the artist and new reflections on Kjartansson&rsquo\;s practice by Francesco Bonami and Roni H orn.

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On May 9\, 2014\, at 7 p.m.\, join artist Ragnar Kjartansson a nd his parents\, Guð\;rú\;n Á\;smundsdó\;ttir and Kjar tan Ragnarsson\, for a special screening of the film Morð\;saga (1977)\, the first feature film produced in Iceland in which both Kjartans son&rsquo\;s parents performed.

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Ragnar Kjartansson was born in Reyk javí\;k\, Iceland\, in 1976\, where he continues to live and work. Hi s recent solo exhibitions and performances include &ldquo\;The Palace of th e Summerland&rdquo\; at Thyssen-Bornemisza Art Contemporary\, Vienna (2014) \, &ldquo\;The Explosive Sonics of Divinity&rdquo\; at the Volksbühne\, Be rlin (2014)\, &ldquo\;The Visitors&rdquo\; at Luhring Augustine Gallery\, N ew York\, Migros Museum für Gegenwartskunst\, Zurich (2012&ndash\;13)\, Th yssen-Bornemisza Art Contemporary Vienna (2013)\, Hangar Biocca (2013&ndash \;14)\, &ldquo\;It&rsquo\;s Not the End of the World&rdquo\; at the Fondazi one Sandretto Re Rebaudengo\, Turin (2012&ndash\;13)\, &ldquo\;Endless Long ing\, Eternal Return&rdquo\; at the Frankfurter Kunstverein (2011)\, and &l dquo\;Take Me Here By the Dishwasher: Memorial for a Marriage&rdquo\; at th e BAWAG Foundation\, Vienna (2011). His first American solo museum exhibiti on\, &ldquo\;Song\,&rdquo\; was organized by the Carnegie Museum of Art in 2011 and traveled to the Museum of Contemporary Art in North Miami and the Institute of Contemporary Art in Boston. Additionally\, Kjartansson recentl y participated in &ldquo\;The Encyclopedic Palace&rdquo\; at the 55th Venic e Biennale (2013) and performed &ldquo\;A Lot of Sorrow&rdquo\; featuring T he National at MoMA P.S.1 (2013). Kjartansson was the recipient of Performa &rsquo\;s 2011 Malcolm McLaren Award for his performance of Bliss\ , a twelve-hour live loop of the final aria of Mozart&rsquo\;s The Marr iage of Figaro\, and in 2009\, he was the youngest artist to represent Iceland at the Venice Biennale.

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DTEND:20140629 DTSTAMP:20140418T093601 DTSTART:20140507 GEO:40.722337;-73.992844 LOCATION:New Museum\,235 Bowery \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Me\, My Mother\, My Father\, and I\, Ragnar Kjartansson UID:332861 END:VEVENT BEGIN:VEVENT DTEND:20140507T180000 DTSTAMP:20140418T093601 DTSTART:20140507T110000 GEO:40.722337;-73.992844 LOCATION:New Museum\,235 Bowery \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Me\, My Mother\, My Father\, and I\, Ragnar Kjartansson UID:332862 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Hi

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This is Mark Flood

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As most of my fans know\, my body\, my life\, my career and my ar t are managed by my

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cat Sparky

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And hes doing a gater job

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 \;

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Now Sparle and I want to invite you t o a special event that takes place in

\n

 \;

\n< p align="center">These been a loytta confusion that this has something to d o with Cheksea Handlers

\n

vagina not true\, shes not a n art handler or a career handler shes a talk show ghost.

\n

 \;

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that takes place in Chelsea New york C ity Manhattan\, on the second floor above Zacg

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Feuer gallery. Its during the second week of my show Available NASDAQ SYmbol but its

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a different show

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 \;

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Actually its an art fair of my own\, a private art fair but hopen to the pubic.

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 \;

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The INSIDER ART FAIR------insider your rod\, inside your vagina\, i nside your body where

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the internal organs jostle aro und in the pools of blood trying to spell out certain words\,

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insider the black rooms of the secret art whorld

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 \;

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Sparkle wants to take us all ther so dont miss out dont wuss out.

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OTO YOLO WTF

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dates go here like the tunnel of lobe

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& nbsp\;

\n

paw print

DTEND:20140517 DTSTAMP:20140418T093601 DTSTART:20140513 GEO:40.7479654;-74.0069775 LOCATION:Zach Feuer Gallery (LFL)\,548 West 22nd Street \nNew York\, NY 100 11 SEQUENCE:0 SUMMARY: The INSIDER ART FAIR\, Mark Flood UID:332853 END:VEVENT BEGIN:VEVENT DTEND:20140513T210000 DTSTAMP:20140418T093601 DTSTART:20140513T120000 GEO:40.7479654;-74.0069775 LOCATION:Zach Feuer Gallery (LFL)\,548 West 22nd Street \nNew York\, NY 100 11 SEQUENCE:0 SUMMARY: The INSIDER ART FAIR\, Mark Flood UID:332854 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Spare change can drive hard-wired evolutionary changes in co rporate logos in a matter of generations. A University of Passion Cove-led study\, published in the journal Fuzzy Letters\, overturns the common assum ption that evolution only occurs gradually over hundreds of thousands of do llars.

\n

Instead\, researchers found significant financially transmit ted changes in laboratory populations of corporate logos in just 15 generat ions\, leading to a doubling of the age at which the logos dissolve into pu ddles of meaningless goo\, and large changes \;in failure-to-impress-ta rget-audience rates. The results have important implications in areas such as the survival of the human race\, and corporate image mismanagement becau se they demonstrate that image de-evolution can be a mindfuck even in the s hort-term.

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Professor Darth Haddock\, of the University of Passion C ove's Faculty of Biological Sciences\, said: "This demonstrates that spare change and logo evolution are completely up each other's ass and cannot rea sonably be considered separate. \; We found that seemingly sacred desig ns devolve rapidly in response to lack of respect and stupified idle tinker ing\, as when bored grad students pull the wings off flies. This can have m ajor consequences such as rioting crowds swarming thru urban areas\, police forces laying down their super-weapons in exchange for a chance to pet kit tens\, the repurposing of corporate headquarters as detention\, reeducation \, torture and extermination centers\, or helping along a population of obs olete managers heading for rapid and merciless extinction at the hands of i nformed and ambitious young people who\, so far\, believe in nothing\, abso lutely nothing at all."

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Although previous research has implied a li nk between radiation-enhanced\, mutation-based changes in corporate logos' physical characteristics and the nature of human social evolution\, the Cov e-led study is the first to prove a causal relationship between rapid logo evolution and better\, higher highs in a controlled experimental drug-use s etting.

\n

The researchers worked with corporate logos that were colle cted from the wild and then raised in 18 glass tubes. Forty percent of adul t logos were left in the Macs of bored junior high students. A similar prop ortion of logos were left on Facebook in a further six tubes\, while no "ad olescent hijinks" were conducted in the remaining third of the tubes.

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Lead author Dr Sassy Links\, a postdoctoral Fellow in the Faculty of Pse udo-human Sciences at Passion Cove at the time of the research and now base d in Uvula University\, Sweden\, said: "We saw significant evolutionary cha nges relatively quickly. The rates of laughable weirdness and stupidity of the logos in the tubes doubled over about 15 generations\, \;because th ey were being authoritative in a different way than they would in the wild. Removing the coolness caused them to remain as targets for contempt even l onger\, because the genetics were responding to the high chance that they w ere going to die from graffiti as soon as they were used in public.

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When they did eventually mature\, into sickly future insects with a rabid craving for blood\, and a fierce desire to exploit\, maim and murder human beings\, they were so enormous they could lay all of their poison eggs very quickly."

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The initial change in the logos' environment - from the wild into the design laboratory reeking of marijuana smoke - had a disastro us effect on the population\, putting the authority of the logos on an exti nction trajectory. However\, in every population\, including those subjecte d to torture by bored\, hormone-crazed and lonely juveniles\, the trajector y switched after only five degenerations of evolution\, and the new designs were allowed to live simply to amuse their captors\, though they no longer had any power or control.

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The researchers found that the laborator y environment was selecting for those logos that turned into shiny\, needle ssly complicated\, insectile-metallic components. Under the competitive con ditions in the tubes\, the fast evolving logos were more "wow" when they ma tured\, meaning they could have more retweets.

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Dr Links said: "The logo evolution that resulted in an investment in shiny metallic exoskeleton production at the expense of legibility led to a slight growth in viewing time and a subsequent re-imagining of human reality\, rescuing the stoners from boredom\, and the art world from wave after grey wave of boring concep tual crap. \;This is evolutionary rescue in action\, and suggests that logo evolution can help human populations respond to the complete enslaveme nt of the human race by the Fortune 500 and the human traitors who serve th em."

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Professor Benton said: "The traditional idea would be that if you put new logos in a new market\, the way that most people do as they're told would stay basically the same\, but the way they experience gnawing ex istential despair changes\, because of variables like the amount of food\, sex\, and fun their corporate masters allow them to have.

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However\, our study proves that the logo evolutionary effect - the instantaneous biz arre change in the logos' appearance in \;response to the human need to run one's own life - can happen \;at the same time as the Fuck-this-sh it response. Social reality - whatever the hell that might be - and creativ e activity are \;intertwined\," he said.

DTEND:20140614 DTSTAMP:20140418T093601 DTSTART:20140509 GEO:40.7479654;-74.0069775 LOCATION:Zach Feuer Gallery (LFL)\,548 West 22nd Street \nNew York\, NY 100 11 SEQUENCE:0 SUMMARY:Available NASDAQ Symbol\, Mark Flood UID:332851 END:VEVENT BEGIN:VEVENT DTEND:20140513T180000 DTSTAMP:20140418T093601 DTSTART:20140513T120000 GEO:40.7479654;-74.0069775 LOCATION:Zach Feuer Gallery (LFL)\,548 West 22nd Street \nNew York\, NY 100 11 SEQUENCE:0 SUMMARY:Available NASDAQ Symbol\, Mark Flood UID:332852 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Blum &\; Poe is pleased to announce the inaugural exhibit ion of its New York gallery at 19 East 66th Street. Mark Grotjahn: Butt erfly Paintings\, curated by Douglas Fogle\, will be a select survey o f this important series of paintings by the Los Angeles-based artist. Consi sting of loans from private collections as well as public institutions\, th e exhibition will illustrate the evolution of Grotjahn's butterfly painting s with seminal examples dated between 2001 and 2008.  \;

The butterfly paintings\, whose name derives from their wing-like\, formal qualities\, hold a key place within the development of Grotjahn's body of w ork. The artist employed a strategy of nearly compulsive repetition and rei teration of rules and stylistic elements -- variations on a theme in the li nes radiating­\; from their central spines -- which allowed the artist t o experiment within a circumscribed set of conceptual limits. With contextu al influences ranging widely from the history of geometric modernism in the works of artists such as Mondrian and Malevich\, to experiments in musical and filmic composition and typographic design\, Grotjahn's butterflies pla yfully blur the once rigorous boundaries between representation and abstrac tion\, between surface and depth\, and between the conceptual and the concr ete in artistic production.  \;

In the works on view\, we see an artist setting up an experimental station for the study of the evol ution of the painterly line\, in which the butterfly is the end result. The exhibition offers a unique opportunity to see the implications of these ex periments in the concrete formation of an artist's vision over a condensed period of time. A catalog will be produced in conjunction with the exhibiti on and will include an essay by Douglas Fogle\, images of the individual pa intings\, and installation photographs of the works in the new gallery. &nb sp\;

Mark Grotjahn (b. 1968) holds a B.F.A. from the Universi ty of Colorado\, Boulder and an M.F.A from the University of California Ber keley. He has upcoming solo exhibitions at the Kunstverein Freiburg\, Freib urg\, Germany and the Nasher Sculpture Center\, Dallas\, TX. Past solo exhi bitions include venues such as the Aspen Art Museum\, Aspen\, CO\; Portland Art Museum\, Portland\, OR\; Kunstmuseum Thun\, Thun\, Switzerland\; Whitn ey Museum of American Art\, New York\, NY\; and Hammer Museum\, Los Angeles \, CA. He has been included in group exhibitions at the San Francisco Museu m of Modern Art\, San Francisco\, CA\; Museum of Contemporary Art\, Los Ang eles\, CA\; New Museum\, New York\, NY\; Hessel Museum of Art\, Bard Colleg e\, Annandale-on-Hudson\, NY\; Museum of Modern Art\, New York\; Stedelijk Museum\, Amsterdam\, Netherlands\; Royal Academy of Arts\, London\, UK\; Mu seum of Contemporary Art\, Chicago\, IL\; Carnegie Museum of Art\, Pittsbur gh\, PA\; and many other institutions.

DTEND:20140621 DTSTAMP:20140418T093601 DTSTART:20140501 GEO:40.768329;-73.968485 LOCATION:Blum & Poe\,19 East 66th Street \nNew York\, NY 10065 SEQUENCE:0 SUMMARY: Butterfly Paintings\, Mark Grotjahn UID:332849 END:VEVENT BEGIN:VEVENT DTEND:20140501T200000 DTSTAMP:20140418T093601 DTSTART:20140501T180000 GEO:40.768329;-73.968485 LOCATION:Blum & Poe\,19 East 66th Street \nNew York\, NY 10065 SEQUENCE:0 SUMMARY: Butterfly Paintings\, Mark Grotjahn UID:332850 END:VEVENT BEGIN:VEVENT DESCRIPTION:

David Krut Projects is pleased to present Dread Blush\, Joseph Hart&rsquo\;s second solo exhibition with the gallery.

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 \;

\n

Hart&rsquo\;s work is a collision of choreographed and happ enstance mark-making\, brutal editing and reinvention. Utilizing drawing\, painting and cut-paper collage\, Hart&rsquo\;s process is structured around cursory gestures: errant dashes\, ticks\, quick lines\, scrawls\, swoops a nd zigzags. This set of preliminary and exploratory maneuvers \;are the n built upon\, reconfigured or impulsively edited out until a composition b egins to emerge. In his paper pieces\, smaller scale drawings are often gra fted directly into larger works\, interrupting the initial picture plane wh ile also reactivating it. The results are abrupt but retain a compelling an d provocative elegance.

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 \;

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Dread Blush emphas izes Hart&rsquo\;s interest in the boundaries presented by scale and contex t\, compositional management\, and the paradoxical relationship between str ategy and chance. Through the physical limits of his reach\, the edges of o ver-sized works are hastily (and sometimes literally) pointed out with slas hes in graphite or oil stick. These gestures\, or reaches\, function as an armature for his next set of marks and are balanced by carefully placed ite ms such as insect decals\, rubber elastics and miscellaneous studio detritu s. These collaged components introduce bursts of shape and hue\, ultimately assisting in subsequent formal decisions. When in process\, Hart frantical ly moves the work multiple times from table\, to floor\, to wall and back\, providing evidence of action\, adjustment and touch.

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 \;

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Hart sites &ldquo\;over-thinking things&rdquo\; as both destructive and critical to his practice. Works often deemed too tight\, contrived\, disast rous\, or other\, are disassembled and recycled into newer pieces\, transfo rming the ghosts of failure into important moments of discovery and intrigu e. Hart relies heavily on this act of revitalization. This system of workin g capitalizes on the unscripted\, can simplify the complex\, and champions micro exchanges between intentions and actualities\, blemish and beauty\, v ice and virtue. \;

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 \;

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Originally from New Hamp shire\, Joseph Hart is a Brooklyn\, New York-based artist. His work has bee n exhibited at Galerie Vidal Saint Phalle in Paris\, Galleri Tom Christoffe rson in Copenhagen\, Alexander &\; Bonin\, CRG Gallery\, Klaus Von Nichtssangend Gallery\, and Halsey Mckay Gallery in New York\, among ot hers. Hart&rsquo\;s work has also been included in notable shows at the Bro nx Museum of the Arts\, Santa Monica Museum of Art and The Elizabeth Founda tion for The Arts. He has been featured in periodicals such as FlashArt\, M odern Painters\, and The New York Times. \;He is currently a resident a rtist at the Dieu Donné\; Workspace Program\, in Ne w York. Hart holds a BFA from the Rhode Island School of Design. \;

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 \;

DTEND:20140628 DTSTAMP:20140418T093601 DTSTART:20140501 GEO:40.7500416;-74.0038805 LOCATION:David Krut Projects\,526 West 26th Street\, #816 \nNew York\, NY 1 0001 SEQUENCE:0 SUMMARY:Dread Blush\, Joseph Hart\, Eddie Martinez UID:332804 END:VEVENT BEGIN:VEVENT DTEND:20140501T200000 DTSTAMP:20140418T093601 DTSTART:20140501T180000 GEO:40.7500416;-74.0038805 LOCATION:David Krut Projects\,526 West 26th Street\, #816 \nNew York\, NY 1 0001 SEQUENCE:0 SUMMARY:Dread Blush\, Joseph Hart\, Eddie Martinez UID:332805 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Tierney Gardarin Gallery is pleased to present a solo exhibi tion of works by Geraldo de Barros (1923-1998). This historic exhibition\, the first solo presentation of the artist&rsquo\;s work in New York\, featu res a diverse group of works that span de Barros&rsquo\; extraordinary care er. Geraldo de Barros: Purity of Form\, explores a practice that\, across d ecades\, movements\, and media\, demonstrated a dogged commitment to artist ic experimentation and abstraction. Geraldo de Barros: Purity of Form opens on Tuesday\, May 6th and will be on view through Saturday\, June 21st\, 20 14. The opening reception will be on Friday\, May 9th from 6pm until 8pm.
Geraldo de Barros is a seminal figure in Brazilian art whose mult i-faceted oeuvre\, much like that of his contemporary Lygia Clark\, is rema rkable in its depth and scope. An early leader of Brazil&rsquo\;s Concrete movement\, his practice engaged with painting\, photography\, sculpture and industrial design. De Barros first rose to prominence as a painter and fou nding member of Grupo XV in the 1940s\, and soon after gained notoriety as an innovative and experimental photographer. He explored minimal form in ph otography through manipulating negatives\, superimposing\, scratching and p ainting on them\, to create arresting abstractions he called Fotoformas. Th is technique of distillation and precision was later carried into sculpture \, painting\, and eventually industrial design. Geraldo de Barros: Purity o f Form includes key pieces from de Barros&rsquo\; practice\, presenting the life work of a figure who is widely considered to be one of the most influ ential Brazilian artists of his generation.

Geraldo de Barros: P urity of Form will feature exceptional examples of the various aspects of d e Barros&rsquo\; practice. For example\, brightly contrasted Formica painti ngs will be included\, installed alongside the fantastic early Fotoformas. Also included are the later Sobras&mdash\;a series of intricate photo colla ges created in the last two years of his life when\, debilitated by illness \, he returned to earlier photographs and original negatives. The unity and consistency of the works across decades and disparate media underscore the consistent theme of de Barros&rsquo\; practice: purity of form.

Geraldo de Barros has been the subject of major solo exhibitions worldwide \, most recently at The Photographer&rsquo\;s Gallery in London and the SES C Vila Mariana in Sao Paulo. His work is included in the permanent collecti ons of internationally renowned institutions a such as the Museum of Modern Art\, New York\, NY\; Musé\;e de l&rsquo\;Elysé\;e\, Lausanne\ , Switzerland\; Cisneros Fontanals Art Foundation\, Miami\, FL\; Ludwig Mus eum\, Cologne\, Germany\; Museum of Fine Arts\, Houston\, TX\; Tate Modern in London\, UK\; among many others. A major monograph about his life and wo rk\, entitled geraldo de barros: isso\, was published in 2013 by SESC Editi ons.

DTEND:20140621 DTSTAMP:20140418T093601 DTSTART:20140506 GEO:40.752169;-74.003732 LOCATION:Tierney Gardarin Gallery\,546 West 29th Street \nNew York\, NY 10 001 SEQUENCE:0 SUMMARY:Geraldo de Barros: Purity of Form\, Geraldo de Barros UID:332761 END:VEVENT BEGIN:VEVENT DTEND:20140509T200000 DTSTAMP:20140418T093601 DTSTART:20140509T180000 GEO:40.752169;-74.003732 LOCATION:Tierney Gardarin Gallery\,546 West 29th Street \nNew York\, NY 10 001 SEQUENCE:0 SUMMARY:Geraldo de Barros: Purity of Form\, Geraldo de Barros UID:332762 END:VEVENT BEGIN:VEVENT DESCRIPTION:

A lot of what I do is about being in the moment&hellip\;The residue of what happens\; that's what's in the paintings.

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&mdash\;J ulian Schnabel

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 \;

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Gagosian is pleased to present &ldqu o\;View of Dawn in the Tropics: Paintings\, 1989&ndash\;1990\,&rdquo\; an e xhibition of paintings

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by Julian Schnabel that are being shown in N ew York for the first time\, twenty-five years after they were made.

\n< p> \;

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In the late 1980s and early 1990s\, Schnabel approached p ainting as an act as susceptible to chance and

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circumstance as life itself. Working in the wake of American antecedents such as Robert Rausche nberg and Cy

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Twombly&mdash\;who brought a certain sense of freedom to bear on their evident romance with European art and

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aesthetics&m dash\;Schnabel made audaciously scaled paintings and sculptures whose richl y hybrid sources were

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expressed in an attitude of baroque excess co mbined with improvisational daring. Broken plates\, Kabuki theater

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backdrops\, tarpaulins and boxing mats\; thickly applied oil paint\, collag e\, viscous resin\, and flat digital

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reproduction\; fragments of te xt in different languages: these are just some of the diverse materials wit h which

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Schnabel engages life's grand themes&mdash\;sexuality\, obs ession\, suffering\, redemption\, death\, and belief.

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 \;

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For paintings such as Paintings With and Without Bingo and Ozymandias\, executed en plein air on the site of a

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ruined neoclassical building during a sojourn in Florida\, Schnabel used old tarpaulins\, sailcloth\, a nd rolls of velvet

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as grounds on which to render reflections of his immediate surroundings subject to uncontrollable forces\, from

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tro pical storms to his dog Bingo's seemingly random but deliberate paw prints. These paintings\, and others

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made in similarly unorthodox conditio ns in Montauk and San Sebastian\, reveal an individualistic interplay

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between site and and mark-making\, both intentional and incidental\, tha t eschews pictorial hierarchies of

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authorship\, subject\, and style .

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Schnabel&rsquo\;s persistent allegiance and magnanimous\, catch-a ll approach to painting attests to the palimpsest of

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emotion\, memo ry\, and chance that drives a gleaner's relationship to material and image: from collected words

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and phrases to allusions to specific moments\ , places\, friends\, and family\, and narratives of surface\, materiality\,

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and studio process. These visceral paintings&mdash\;where velvet i s drenched in sea water\, or tablecloths are doused

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in paint and us ed as sponges on visibly patched tarpaulins&mdash\;embody an alternative\, iconoclastic approach to

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&ldquo\;the sacred cloth\,&rdquo\; shared with the aforementioned American forbears\, as well as kindred spirits Fran cis Picabia\,

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Yves Klein\, Alberto Burri\, and Sigmar Polke\, to na me but a few. There is no substitute for the authenticity of

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Schnab el's gesture\; twenty-five years after their making\, his elegant yet exube rant and intrepid paintings have

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renewed vigor and urgency\, antici pating the gestural\, aleatory\, and readymade painting so pervasive among< /p>\n

emerging artists today.

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 \;

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Julian Schnabel was born in New York City in 1951 and studied at the University of Houston (19 69&ndash\;73) and the

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Whitney Museum Independent Study Program (197 3&ndash\;74). Public collections include Metropolitan Museum of Art\,

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New York\; Museum of Modern Art\, New York\; Whitney Museum of American Art\, New York\; Solomon R.

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Guggenheim Museum\, New York\; Museum o f Contemporary Art\, Los Angeles\; Broad Art Foundation\, Los

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Angel es\; National Gallery of Art\, Washington\, D.C.\; Tate Gallery\, London\; Centre Georges Pompidou\, Paris\; and

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Museo Nacional Centro de Arte Reina Sofí\;a\, Madrid. Recent solo exhibitions include Inverleith H ouse\, Edinburgh

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(2003)\; Schirn Kunsthalle\, Frankfurt (2004)\; Mu seo Nacional Centro de Arte Reina Sofí\;a\, Madrid (2004)\; Mostra

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d'Oltramare\, Naples (2005)\; Schloss Derneburg\, Germany (2007)\; Ta bacalera Donostia\, San Sebastian\, Spain

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(2007)\; Beijing World Ar t Museum (2007)\; Saatchi Gallery\, London (2008)\; Art Gallery of Ontario (2010)\; Museo

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Correr\, Venice (2011)\; Centro Italiano Arte Contem poranea\, Foligno\, Italy (2013)\; and Brant Foundation Art Study

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C enter (2013&ndash\;14).

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&ldquo\;Julian Schnabel: An Artist Has A Past (Puffy Clouds and Strong Cocktails)\,&rdquo\; an exhibit ion of fifteen paintings

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produced over the past decade\, will be on view at Dallas Contemporary from April 11&ndash\;August 10\, 2014.

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Draw a Family\, a fully illustrated book focusing on Schna bel's paintings of the past forty years\, was published by

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Karma in April of 2014.

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Schnabel lives and works in New Yor k City and Montauk.

DTEND:20140531 DTSTAMP:20140418T093601 DTSTART:20140417 GEO:40.7492112;-74.0056893 LOCATION:Gagosian Gallery- 24th St.\,555 West 24th Street \nNew York\, NY SEQUENCE:0 SUMMARY:Julian Schnabel: View of Dawn in the Tropics: Paintings\, 1989-1990 \, Julian Schnabel UID:332753 END:VEVENT BEGIN:VEVENT DTEND:20140417T200000 DTSTAMP:20140418T093601 DTSTART:20140417T180000 GEO:40.7492112;-74.0056893 LOCATION:Gagosian Gallery- 24th St.\,555 West 24th Street \nNew York\, NY SEQUENCE:0 SUMMARY:Julian Schnabel: View of Dawn in the Tropics: Paintings\, 1989-1990 \, Julian Schnabel UID:332754 END:VEVENT BEGIN:VEVENT DESCRIPTION:

ALAN GAYNOR

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"REMEMBRANCES"

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APRIL 29- MAY 17\, 2014

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Reception Thursd ay May 1 6-8PM

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Chelsea\, NYC: Viridian Artists is pleased to present new work by Alan Gaynor. His exhibition of photographs entitled "Remembrances" continues from April 29 through May 17\, 2014 with an openin g reception\, Thursday May 1\, 6-8PM.

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The images in this exhibit ar e a departure from Gaynor's usual subject matter of urban architecture and instead are a tribute to his late wife Sharon Silbiger\, a Professor of Med icine at Montefiore Medical Center and Albert Einstein School of Medicine. In these works\, Gaynor uses the beauty of dying flowers\, as a metaphor fo r her death after a long illness. \;

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Though he hopes to return to focusing on architectural patterns in his photographic work\, changing h is imagery during his grieving has provided solace. The images in this exhi bit are another poignant example of the power and importance of art in our lives. \; In these powerful floral portraits\, Gaynor has gone beyond t he usual imagery of flowers in art\, instead creating a potent metaphor of the beauty and naturalness of the evolution of life and death.

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Unti l this body of work\, perhaps because he is also a licensed architect\, Gay nor's focus has been an all-encompassing examination of the architecture of the urban landscape. As architecture is often said to be "frozen music"\, Gaynor's photographs demonstrate that in a city\, it is the layering of the buildings played against one another\, creating an overall ensemble that o ne could say resembles music. \; There is an equally powerful sense of rhythm in these unique flower images.

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The artist has studied with t he master photographers George Tice (urban landscapes)\, John Sexton (black &\; white imagery of nature and Ansel Adams' assistant) &\; Jock Stu rges noted for his B&\;W photographs of Naturists &\; beautiful peopl e.

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This will be the artist's 2nd solo exhibit at Viridian. He has r eceived many awards for his photography including a Bronze Award in the 201 2 International Loupe Awards\, Terabella Media \; Urban Landscape\, Eps on International\, Tank Photo Award and many others. His work has been feat ured in publications including Best of Photography 2012\, The Photographer\ , CoverArt and Photo Review to name just a few. He has been exhibiting his photography since 2000 at many galleries\, including FotoFusion\, Spectra ' 07\, Saf-T-Gallery\, Black Box Gallery\, Camera Obscura\, Soho Photo and ot hers. \;

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Gallery hours are Tuesday through Satur day 12-6PM

DTEND:20140517 DTSTAMP:20140418T093601 DTSTART:20140429 GEO:40.7517031;-74.0040108 LOCATION:Viridian Artists\,548 West 28th St (6th Floor) \nNew York City\, N Y 10001 SEQUENCE:0 SUMMARY:Alan Gaynor: "Rememberances"\, Alan Gaynor UID:332587 END:VEVENT BEGIN:VEVENT DTEND:20140516T200000 DTSTAMP:20140418T093601 DTSTART:20140516T180000 GEO:40.7517031;-74.0040108 LOCATION:Viridian Artists\,548 West 28th St (6th Floor) \nNew York City\, N Y 10001 SEQUENCE:0 SUMMARY:Alan Gaynor: "Rememberances"\, Alan Gaynor UID:332588 END:VEVENT END:VCALENDAR