BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION:

Paul Outerbridge

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June 30 &ndash\; September 17\, 2016

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Bruce Silverstein Gallery is pleased to present a retrospe ctive of the work of Paul Outerbridge (1896-1958). \; This is the first exhibition of its scope to be held in New York since 1979 and will be the largest exhibition of Outerbridge&rsquo\;s work since 2009 at the Getty Mus eum\, Los Angeles. This exhibition is comprised of historically important a nd rare extant material.

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A survey of Outerbridge&rs quo\;s influential career is especially timely as his work is consistently cited by a current generation of artists working in the photographic medium . Numerous contemporary artists riff on commercial strategies of image-maki ng that derive from the aesthetics of advertising photography and our visua l lexicon shaped by Outerbridge.

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Outerbridge&rsquo\ ;s melding of the high and low in his artworks channeled the artistic curre nt of his age\, from Surrealism\, to Cubism\, to Duchamp (who kept Outerbri dge&rsquo\;s \;Ide Collar\, 1922\, tacked to a wall in his stu dio). \; By venerating quotidian commercial products through his elegan t and striking formal arrangements\, and taking a functional object out of its useful context\, Outerbridge tapped the consciousness of modern art whi ch grappled with the experience of living a commercial existence\, the impa ct of mass consumerism\, and an ever expanding visual culture.

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In 1940 Outerbridge published \;Photographing in Color< /em>\, which explicated his creative and technological achievements develop ing the challenging and time consuming medium of tri-color Carbro printing. Outerbridge&rsquo\;s color prints are extraordinarily rare due to the labo rious technical process and the artist&rsquo\;s ruthless standards. \; Through various loans the gallery has been able to secure a significant num ber of Outerbridge&rsquo\;s prints for exhibition.

DTEND:20160917 DTSTAMP:20160526T031301 DTSTART:20160630 GEO:40.7493067;-74.0051881 LOCATION:Bruce Silverstein Gallery\,535 West 24th Street \nNew York\, NY 10 011 SEQUENCE:0 SUMMARY:Paul Outerbridge\, Paul Outerbridge UID:419481 END:VEVENT BEGIN:VEVENT DTEND:20160630T200000 DTSTAMP:20160526T031301 DTSTART:20160630T180000 GEO:40.7493067;-74.0051881 LOCATION:Bruce Silverstein Gallery\,535 West 24th Street \nNew York\, NY 10 011 SEQUENCE:0 SUMMARY:Paul Outerbridge\, Paul Outerbridge UID:419482 END:VEVENT BEGIN:VEVENT DESCRIPTION:

PIONEER WORKS PRESENTS DERRICK ADAMS: ON

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A Solo Exhibition of New Work and Performance

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Ju ne 10 &ndash\; July 15

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Opening Reception + Performance:

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Friday\, June 10 at 7:00 p.m.

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Performance at 7:30 p.m. sharp

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What

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ON is a solo exhibition of new work and performance by D errick Adams. Through nine large-scale\, boldly colored mixed media collage s that function as both illuminated sculptural objects and backdrops for li ve performance\, ON continues Adams&rsquo\; investigation of consumerism an d the dramatization of black figures in entertainment and popular culture.< /p>\n

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On the opening night\, Derrick Adams will act as conductor\, live mixing sound from mic&rsquo\;d performers within t he nine settings into an orchestrated production that references television programs from the late 1980s and early 1990s as well as late-night infomer cials. The performance will be recorded\, then projected onto a gallery wal l for the duration of the show.

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Who

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Derrick Adams is a New York ­\;based artist working in perf ormance\, video\, and sound in both two­\; and three ­\;dimensional r ealms. Adams has exhibited nationally and internationally\, including exhib itions at MoMA PS1\; Brooklyn Museum of Art\; Studio Museum in Harlem\; Bro oklyn Academy of Music\; Contemporary Art Museum Houston\; Birmingham Museu m of Art\; and PERFORMA.

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Press Release: h ttp://pioneerworks.org/assets/press/pw_160511-derrick-adams-on.pdf

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Website: http://pioneerworks.org/exhibitions/derrick-adams-on/

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Pioneer Works

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159 Pioneer Street | Brooklyn\, NY 11231

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Wednesday to Sunday from 12 p.m. to 6 p.m.

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Free and open to the public

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www.pioneerworks. org

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@pioneerworks

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C ontact

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Molly Rowe + Becky Elmquist | press@pioneerworks.o rg

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DTEND:20160716 DTSTAMP:20160526T031301 DTSTART:20160610 GEO:40.6792933;-74.012113 LOCATION:Pioneer Works\,159 Pioneer Street \nBrooklyn\, NY 11231 SEQUENCE:0 SUMMARY:DERRICK ADAMS: ON\, Derrick Adams UID:419474 END:VEVENT BEGIN:VEVENT DTEND:20160610T220000 DTSTAMP:20160526T031301 DTSTART:20160610T190000 GEO:40.6792933;-74.012113 LOCATION:Pioneer Works\,159 Pioneer Street \nBrooklyn\, NY 11231 SEQUENCE:0 SUMMARY:DERRICK ADAMS: ON\, Derrick Adams UID:419475 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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 \;Kim Foster Gallery is pleased to anno unce &ldquo\;Relief\,&rdquo\; seven artists that expand on the creative def inition of relief. They employ diverse materials and innovative techniques\ , allowing for experimentation of their chosen medium. \;

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Kwang Young Chun orchestrates thousands of units to produce variations of surfac e texture and composition. The richly evocative material he uses transcends its tradition. While imbued with Korean nostalgia\, Chun&rsquo\;s unique c onstructions speak on universal levels. Christian Faur has created a new fo rm of visual perception by replacing pixels with conical objects\, hand cas t crayons. This expansion of the pixel allows us to see the structure as tw o and three-dimensional. Depending on your angle\, the image is constantly reanimated similar to a hologram. Will Kurtz create figures out of newspape r\, wire and wood that have a distinct emotive quality. He captures a momen t from their daily lives. The posture\, gestures and facial expressions bri ng the figures to life. They have a familiarity of someone you might know\, capturing their resilience and vulnerability.

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Urchins have often b een used as sympathetic symbols of the marginalized. D Dominick Lombardi&rs quo\;s &ldquo\;Urchins&rdquo\; draw us in with their formal delights\, char m us with their familiar plastic leftovers\, and then\, without warning\, s witch to the forgotten state of lost souls\, castaways in the sand. David M cQueen&rsquo\;s reliefs are simulacra of a wood floor. But they are &lsquo\ ;Un-settled&rsquo\;. The floor\, it seems\, is reshaping itself into someth ing else\, a graceful rejection of its flatness. Some mistake has occurred. This wood was intended to be a boat. It knew\, and that determination was stronger than nails and glue.

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Kathleen Mulcahy takes hard materials \, glass and steel\, and visually transforms them to create the illusion of slow moving water and raindrops. The physical layering of the materials qu alify as a relief process. Antonio Petracca&rsquo\;s painted constructions are reliefs that protrude from the wall. He is interested in establishing t he trace of memory\, how are perception registers this memory\, and how it becomes embedded. The artist crops realistic imagery that contain hints of a particular place\, works border on abstraction due to the extreme manner in which they are cropped.

DTEND:20160730 DTSTAMP:20160526T031301 DTSTART:20160602 GEO:40.7464825;-74.0069332 LOCATION:Kim Foster Gallery\,529 W. 20th St. \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Relief\, Kwang Young Chun\, Christian Faur\, Will Kurtz\, D Dominic k Lombardi\, David McQueen\, Kathleen Mulcahy\, Antonio Petracca UID:419472 END:VEVENT BEGIN:VEVENT DTEND:20160616T200000 DTSTAMP:20160526T031301 DTSTART:20160616T180000 GEO:40.7464825;-74.0069332 LOCATION:Kim Foster Gallery\,529 W. 20th St. \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Relief\, Kwang Young Chun\, Christian Faur\, Will Kurtz\, D Dominic k Lombardi\, David McQueen\, Kathleen Mulcahy\, Antonio Petracca UID:419473 END:VEVENT BEGIN:VEVENT DESCRIPTION:

&ldquo\;Oh\, give me land\, lots of land under starry skies above\, don&rsquo\;t fence me in. Let me ride t hrough the wide open country that I love. Don&rsquo\;t fence me in.&rdquo\;

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&ndash\; \;&ldquo\;Don&rsquo\;t Fe nce Me In\,&rdquo\; Cole Porter\, 1934 \;

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As life in America continues to distance itself from the countryside\, vacations an d travel are a time to reintroduce the self to nature. As summer approaches in America\, this idolized time of year brings thoughts of travel\, escape \, and road trips. With individual freeways that stretch over 3\,000 miles\ , taking the car across country reveals America&rsquo\;s boundless diverse landscapes\, as travelers immerse themselves in America&rsquo\;s ever chang ing personality. \; \; \; \; \; \; \; \;&nb sp\; \;  \; \; \; \; \; \; \;

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Opening June 9\, Joshua Liner Gallery presents Land Escapes\, a curated group show of 18 artists celebrating this time of year. L and Escapes focuses on contemporary definitions of &ldquo\;landscape&r dquo\; using varied and fresh perspectives of both emerging and established artists.

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The &ldquo\;landscape&rdquo\; painting is a long-standing tradition in Western art. The artists of Land Escapes work from within this tradition to redefine the genre with varied mediums ranging from photography\, to mixed media\, to painting. \;This collec tion of artists not only break apart the tradition of landscape art\, but r ebuild and redefine its possibilities\, offering compelling ways of capturi ng America&rsquo\;s multiple identities. \;Land Escapes focuse s and contextualizes these ideas within the framework of summer&rsquo\;s ha bitual relationship with travel\, and natural beauty. \; With each work carrying with it a sense of freedom\, the artists pay homage to the landsc ape tradition in personal ways.

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The fantasy of the &ld quo\;road trip&rdquo\; characterizes a sense of boundlessness and strength\ , often with the car as the focal point of this freedom. However\, this lib eration conversely carries a sense of loneliness and solitude\, as exemplif ied in Jim Mangan&rsquo\;s aerial photograph of the single car amid the vas t landscape. \;Further exploring this idea of travel and solitude\, Ale c Soth&rsquo\;s 2010 Broken Manual series\, shot over four years a nd 20\,000 miles\, \;documents a culture of those living off the grid\, by their own rules. Utah (2008)\, from that series\, captures a home built within the landscape\, here miniaturized by the boundless land and sky. &n bsp\;With their landscape contributions\, Evan Hecox and Alison Elizabeth T aylor too explore this element of quiet isolation. Like Soth\, Taylor&rsquo \;s Monkey Wrench (2015)carries a sense of solitude with two disco nnected figures against a vast\, desert backdrop\, with her wood veneer col laged figure creating a natural attachment to the land. Justine Kurland&rsq uo\;s Construction\, Disputes\, Training (2014) is pulled from her Sincere Auto Care series. Shot over the course of three years tra veling on the road with her young son\, the artist chronicled the remnants of America&rsquo\;s shrinking muscle car sub-culture\, while Cheryl Kelley incorporates and even celebrates this culture into her landscape contributi on. \;

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As seen from the car\, America&rsquo\;s lan dscapes are filtered through the moving windshield creating abstracted inte rpretations of their horizons. Eileen Quinlan\, Mark Innerst\, Ed Ruscha\, and Sam Friedman all use abstract elements to reduce and convey this sentim ent. From her most recent body of work\, photographer Eileen Quinlan uses f lat bed scanners\, and mirrored reflections to manipulate light\, resulting in abstracted forms that convey motion and speed\, while painter Mark Inne rst&rsquo\;s Industrial Landscape with Rain (2014) skillfully blen ds a representational industrial vista\, with abstract colors and form to c reate velocity with his diagonal &ldquo\;rain.&rdquo\; In line with these a bstracted works\, the palate of David Ellis&rsquo\; Bird Pyramid ( 2016)\, evokes the sun setting in the western sky.

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Oth er artists demonstrate their respect the to landscape genre by reinventing the tradition with innovative techniques. Brea Souders&rsquo\; photograph o f film slivers\, depicts a miniature narrative of the outdoors\, created fr om these temporary sculptures accidentally configured with the use of stati c electricity\, resulting in a whisper of someone&rsquo\;s weekend. Jim Hof f&rsquo\;s etchings use copper ink as the medium\, printed on fiberglass\, and Penelope Umbrico&rsquo\;s photographic appropriations of mountains\, ca pture a digital landscape\, reducing their grandeur to televised forms and color. \; Matthew Brandt&rsquo\;s inclusion physically engages the land scape by using the photographed trees to make both the paper and the ink fo r these silk screen prints. Meanwhile\, Letha Wilson questions the success of any landscape representation. As photographs remove spatial dynamics\, W ilson attempts to address this fault by incorporating objects and structure into her landscapes to physically engage the viewer.

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Lastly\, artists Wayne White\, and William Wegman both tackle a more direct reinterpretation on tradition and history. Both White and Wegman transform old prints into new\, contemporary works. Using found\, framed landscape p rints\, Wayne White transforms these traditional images by overlaying the p rints with text\, re-engaging with the vintage backdrop. \;Alternativel y\, William Wegman&rsquo\;s Three and a Halfsome (2012) is a lands cape painting created and inspired by the vintage postcard in the center. W egman pulls postcards from his extensive vintage collection\, which he then mounts to board\, where they to serve as the starting point for his elabor ate oil paintings.

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Land Escapes will open June 9 and run t hrough July 8\, 2016. The exhibition includes work from Alec Soth\, Alison Elizabeth Taylor\, Brea Souders\, Cheryl Kelley\, David Ellis\, Ed Ruscha\, Eileen Quinlan\, Evan Hecox\, James Hoff\, Jim Mangan\, Justine Kurland\, Letha Wilson\, Mark Innerst\, Matthew Brandt\, Penelope Umbrico\, Sam Fried man\, Wayne White\, and William Wegman. There will be an opening reception Thursday\, June 9\, 6-8pm.

DTEND:20160708 DTSTAMP:20160526T031301 DTSTART:20160609 GEO:40.7516439;-74.0040883 LOCATION:Joshua Liner Gallery\,540 West 28th Street \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Land Escapes\, Alec Soth\, Alison Elizabeth Taylor\, Brea Souders\, Cheryl Kelley\, David Ellis\, Ed Ruscha\, Eileen Quinlan\, Evan Hecox\, Ja mes Hoff\, Jim Mangan\, Justine Kurland\, Letha Wilson\, Mark Innerst\, Mat thew Brandt\, Penelope Umbrico\, Sam Friedman\, Wayne White\, William Wegma n UID:419419 END:VEVENT BEGIN:VEVENT DTEND:20160608T200000 DTSTAMP:20160526T031301 DTSTART:20160608T180000 GEO:40.7516439;-74.0040883 LOCATION:Joshua Liner Gallery\,540 West 28th Street \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Land Escapes\, Matthew Brandt\, David Ellis\, Sam Friedman\, Evan H ecox\, James Hoff\, Mark Innerst\, Cheryl Kelley\, Justine Kurland\, Jim Ma ngan\, Eileen Quinlan\, Ed Ruscha\, Alec Soth\, Brea Souders\, Alison Eliza beth Taylor\, Penelope Umbrico\, William Wegman\, Wayne White\, Letha Wilso n UID:419420 END:VEVENT BEGIN:VEVENT DESCRIPTION:

IAM UP LATE with LIP

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An Islip Art M useum and LIP Collaboration.

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Release party for LIP  \;Zine June 25\, 2016

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Artists reception for \; Shapeshifter News Works By Annu Annam

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Private Viewing\; For your eyes only - IAMs Annual Open Call \;

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POP Up Gallery&nb sp\;curated By LIP in collaboration with IAM

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Live performances \;

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8:00-8:45  \;Vett er Schuler Rufolo's \;

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9:00-9:45 Jarv is Probes

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10:00-10:20 The Beat Club Crew with \;Bri Onishea

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10:30-11:00  \ ;Lauren of the Hoopsie \;Daisies and Gnu Fire

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POP Up Gallery curated in collaborat ion with LIP featuring works by

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Brooke D&rsquo\;Ambrosio - Amanda Fichter - Kim Gerdjikian< /p>\n

Samantha Hernandez - Lorena Kalaja - Dan Kudreyko

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Linda Louis - Christopher Michel - Kali Monaco - Rebecca Olson \;

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Ben Owens - Jack Pierce - Michelle Posner - Ratgrrl \;

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Ann Margaret Reilly - Stelios Stylianou - Dan Woulfin \;

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With tasty eats generously provided by Chef Danyell Miller

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 \;Refreshments provided by 25 A Brewing and Angry Orchid & \; Starfish Productions

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An Islip Art Museu m \;signature event- Long Islands premier after-hours multimedia artist networking event and public arts experience.

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Publ ic funding provided by Suffolk County \;

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IAM UP LATE Afterhours series is the only event of its kind presented by a museum on L.I.

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The IAM UP LATE series serves the cultural ly thirsty needs of the community at large\, and provides a unique particip atory arts event that one would normally have to travel at length &\; gr eat expense to experience.

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Presented at Brookwood H all\, 50 Irish Lane\, East Islip.

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These planned festival dates are coordinated in conjunction with the museums main exhibits. The coordinating festival includes multi-media thematic works and an exhibition opportunity open to the public\, providing new and innovative museum quality opportuni ties for artists of various career levels and disciplines to participate. A call for works is released &\; then used to curate the IAM UP LATE seri es which will feature selected local artists (emerging &ndash\; midcareer- established) to exhibit in a variety of forms including performance art\, p rojected digital work\, site specific installation\, music and dance.

DTEND:20160625T230000 DTSTAMP:20160526T031301 DTSTART:20160625T200000 GEO:40.7351896;-73.198218 LOCATION:Islip Art Museum\,50 Irish Lane \nEast Islip\, NY 11730 SEQUENCE:0 SUMMARY:IAM Up Late with LIP\, Brooke D’Ambrosio\, Amanda Fichter\, Kim Ger djikian\, Samantha Hernandez\, Lorena Kalaja\, Dan Kudreyko\, Linda Louis\, Christopher Michel\, Kali Monaco\, Rebecca Olson\, Ben Owens\, Jack Pierce \, Michelle Posner\, Ratgrrl\, Ann Margaret Reilly\, Stelios Stylianou\, Da n Woulfin UID:419353 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In the Air is a collaborative investigation of interconnecti vity of visual expression and mystical science theory. Through serendipitou s development\, Kjø\;k and Max-Jakobsen&rsquo\;s work parallel in ima gery and meaning. Intertwined figures composed by line\, mark\, and color r epresent the unity between native spirituality and its growing validation i n the scientific community. The repetitive \;and chaotic figural compos itions\, alongside fluid\, biomorphic forms\, convey the sense of oneness w hile still singularly consistent with spiritual experience. It seems to be an eerie fate that both these artists have found each other. \;
Born in Norway\, Sol Kjø\;k is a New York based artist whom has b een featured in numerous shows worldwide as well as taught and lectured at universities across the United States. Kjø\;k is represented in publi c collections such as the Cincinnati Art Museum\, the Nordic Museum of Draw ing\, and the Osten Museum of Drawing\, as well as private collections. She founded NOoSPHERE Arts\, a nonprofit exhibition and performance venue\, on the Lower East Side\, a collaborative arts platform called Last Frontier N YC as well as Mothership NYC\, an arts collective in Brooklyn.

P eter Max-Jakobsen is an established Danish artist that has been featured in multiple museum exhibitions at the Vendsyssel Museum of Art\, Vestjysk Mus eum of Art and the Kastrupgaard Collection Art Museum. Max-Jakobsen is a bo ard member of the Hjø\;rring Graphic Workshop\, and taught material e xperimentation and sketching methods at the Royal Academy in The Hague. He has completed many successful commissions for various associations\, includ ing The Criminal Court of Hjø\;rring and Bergenser Law Firm.

Both artists will be present at the reception.

DTEND:20160702 DTSTAMP:20160526T031301 DTSTART:20160602 GEO:40.7464825;-74.0069332 LOCATION:Denise Bibro Fine Art\,529 West 20th Street 4W\nNew York\, NY 1001 1 SEQUENCE:0 SUMMARY:In the Air: New York\, Sol Kjok and Peter Max-Jakobsen UID:419348 END:VEVENT BEGIN:VEVENT DTEND:20160602T200000 DTSTAMP:20160526T031301 DTSTART:20160602T180000 GEO:40.7464825;-74.0069332 LOCATION:Denise Bibro Fine Art\,529 West 20th Street 4W\nNew York\, NY 1001 1 SEQUENCE:0 SUMMARY:In the Air: New York\, Sol Kjok and Peter Max-Jakobsen UID:419349 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160124 DTSTAMP:20160526T031301 DTSTART:20151216 GEO:40.7155483;-73.9917538 LOCATION:Causey Contemporary\,29 Orchard Street Lower East Side\nManhattan\ , NY 10002 SEQUENCE:0 SUMMARY:On the Abstract Side\, Elise Freda\, Lisa Pressman\, Edward Holland \, Alice Zinnes UID:419335 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160124 DTSTAMP:20160526T031301 DTSTART:20151216 GEO:40.7155483;-73.9917538 LOCATION:Causey Contemporary\,29 Orchard Street Lower East Side\nManhattan\ , NY 10002 SEQUENCE:0 SUMMARY:On the Abstract Side UID:419333 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Short Stories refers to Pa t Badt&rsquo\;s recent series of paintings\, which explores the me mories of people\, places and things that create moments of experience. Bad t often uses the backs of her paintings to embed found objects that refer t o the painting&rsquo\;s subjects\, creating hidden &ldquo\;readings&rdquo\; that inform her work. For this exhibition\, these works are presented on h inges so that the viewer is able to see behind the paintings and glimpse th is secret place.

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Pat Badt's work is inspired by memory and place\, filtered through experience and sensibility. Her studio is in an old barn a long the Jordan Creek\, surrounded by apple orchards\, low mountains and th e convergence of two creeks. She loves the process of painting -- the layin g down of paint and the quest to find the appropriate handwriting and the r ight color\, texture and scale.

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Pat Badt is Artist-in-Residence / P rofessor Emeritus at Cedar Crest College. She received her MFA from the Uni versity of Pennsylvania and her BA from the University of California at San ta Cruz. She splits her time between New York City and Pennsylvania.

DTEND:20160524T200000 DTSTAMP:20160526T031301 DTSTART:20160524T180000 GEO:40.75111;-74.004475 LOCATION:The Painting Center\,547 West 27th Street Suite 500\nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Short Stories\, Pat Badt UID:419227 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Suejin Jo&rsquo\;s paintings are often insp ired by poetry\, music and memories of childhood landscapes. When she found out about the upcoming show three months ago she wanted to make all new wo rks for it and sought inspiration in Igor Stravinsky&rsquo\;s ballet and or chestral music\, \;The Rite of Spring. She fe els that\, even though over a hundred years have passed since its first per formance\, that Stravinsky composition stays as fresh and awesome as the re turn of the Spring itself every year. Her first work &ldquo\;Adoration of t he Earth&rdquo\; was followed by &ldquo\;The Sacrifice&rdquo\; and then by &ldquo\;Dances of the young girls&rdquo\; and &ldquo\;Dance of the Earth&rd quo\;. Jo hopes to complete two more ongoing paintings before the show open s.

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Suejin Jo\, a Korean born abstract painter based in New York\, s tudied at Columbia University and the Art Students League where she won McD owell traveling fellowship juried by Richard Pousette D&rsquo\;Art and Roma re Bearden. Jo had numerous solo and group exhibitions in New York\, Korea\ , Mexico\, Italy and Japan and participated in several art fairs including Scope\, Pool\, Architecture and Design and AAF. Her last solo show was in K nokke-Heist\, Belgium\, in 2014. Jo won Jacob and Gwendolyn Lawrence Solo E xhibition Award 2008 juried by DC Moore Gallery. Her work &ldquo\;Pontchart rain&rdquo\; was included in the 2012 State Department calendar\, &ldquo\;H omage to American Women Artists.&rdquo\; Jo&rsquo\;s work is in many privat e and public collections including Library of Congress\, Chase Manhattan Ba nk\, General Instrument Company\, Embassy of San Marino\, NAPABA Law Founda tion\, Sogang Univerisity\, Ahl Foundation\, 9/11 Memorial Museum\, Art in General\, Korea Exchange Bank\, Hyundai Construction Co.\, Pulmuwon Food Co rp.

DTEND:20160618 DTSTAMP:20160526T031301 DTSTART:20160524 GEO:40.75111;-74.004475 LOCATION:The Painting Center\,547 West 27th Street Suite 500\nNew York\, NY 10001 SEQUENCE:0 SUMMARY: The Rite of Spring\, Suejin Jo UID:419223 END:VEVENT BEGIN:VEVENT DTEND:20160526T200000 DTSTAMP:20160526T031301 DTSTART:20160526T180000 GEO:40.75111;-74.004475 LOCATION:The Painting Center\,547 West 27th Street Suite 500\nNew York\, NY 10001 SEQUENCE:0 SUMMARY: The Rite of Spring\, Suejin Jo UID:419224 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Artist Kathy Cantwell knows her way around a stripe. In the paintings on display in her current one-person show \; Nightlines\, she takes a pattern associated with regularity and restriction and transforms it into of vehicle of indetermina cy and expansion. Working in encaustic\, the painter shuns the straight edg e in favor of jaggedness\, variable density\, and overlapping. As an art st udent\, Cantwell was drawn to the work of Gene Davis\, a color field painte r known for his color-balancing act of verticals. Taking his minimalist cue \, she collapses the space between form and color\, using simplicity and si ngularity to explore chromatic relationships. Yet for Cantwell\, it is abou t the process of laying down the color\, and her stripes result from making a complete side-to-side gesture with resistance from her medium.

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S he is equally an expressionist in her palette\, which hovers in twilight to nalities. Even when a brighter shade is introduced\, it is subdued by the w ax medium and by the surrounding embrace of darkness. Allowing for associat ions and metaphor\, Cantwell admires the work of Sean Scully\, and she seek s to similarly elicit humanistic content from a universally recognized moti f. With encaustic\, she takes advantage of its having passed from one state to another\, which is an almost fleshy embodiment of crossing the line or of knowing no boundaries.

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After working in the music industry in Ne w York City\, Kathy Cantwell moved to New Jersey\, where she currently live s with her wife and two children. In 2015\, she had a solo exhibition Landf orms at Gallery 103 in Maplewood\, NJ. She has been shown in such group exh ibits as: &ldquo\;Square Foot&rdquo\; Project Gallery\, Miami Art Basel\, M iami\, FL\, Arte Internazionale in Matera\, Italy\, One + One\, A Gallery\, Provincetown\, MA\, Viewpoints 2015\, Aljira\, a Center for Contemporary A rts\, Baruch College&rsquo\;s Mishkin Gallery\, Montclair State University& rsquo\;s George Segal Gallery\, the Monmouth Museum\, the Edward Hopper Hou se in Nyack\, N.Y.\, and numerous others. For more information on the artis t\, please visit \;www.kathycantwell.com.

DTEND:20160618 DTSTAMP:20160526T031301 DTSTART:20160524 GEO:40.75111;-74.004475 LOCATION:The Painting Center\,547 West 27th Street Suite 500\nNew York\, NY 10001 SEQUENCE:0 SUMMARY: Nightlines\, Kathy Cantwell UID:419221 END:VEVENT BEGIN:VEVENT DTEND:20160526T200000 DTSTAMP:20160526T031301 DTSTART:20160526T180000 GEO:40.75111;-74.004475 LOCATION:The Painting Center\,547 West 27th Street Suite 500\nNew York\, NY 10001 SEQUENCE:0 SUMMARY: Nightlines\, Kathy Cantwell UID:419222 END:VEVENT BEGIN:VEVENT DESCRIPTION:
Blum &\; Poe is pleased t o present a survey of work by Kwon Young-woo (1926-2013)\, one of the found ing figures of Dansaekhwa\, the monochrome painting movement that redefined Korean art starting in the mid-1960s. This is Kwon's first solo exhibition with the gallery and his first solo presentation in New York.
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Seeking a new alternative to the ink painting traditions that dominate d Korea in the 1960s\, Kwon initially dispensed with the use of ink and beg an to scratch at the surface of the \;hanji \;paper\, crea ting all-over compositions of rips that emphasized the primacy of the groun d. During the 1970s and early 1980s he expanded his repertoire\, perforatin g the paper from behind and tearing it into more ragged strips. Despite the implied aggression in these gestures\, the works are serenely calm and med itative. \;Eventually Kwon reintroduced the use of col or\, pouring gouache and ink with absolute precision into and around the cu ts to further accentuate his mark making.
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A decade older t han Lee Ufan and the other artists associated with Dansaekhwa\, Kwon's prac tice was fundamental to the development of the movement. Though the term li terally translates as "monochrome painting\," it is better understood in te rms of the processes the artists employed. Variously ripping paper\, draggi ng pencils\, pushing paint\, and soaking canvas\, the artists manipulated t he materials of painting in ways that questioned the terms by which the med ium was known. Promoted in Seoul\, Tokyo\, and Paris\, Dansaekhwa quickly b ecame the globally recognized face of contemporary Korean art.
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Leading up to the opening of the exhibition\, Dominique Lé\;vy\, Greene Naftali\, Gallery Hyundai\, and Blum &\; Poe will cohost a panel discussion on Dansaekhwa with artist Chung Sang-Hwa and \;Alexandra Mu nroe\, Samsung Senior Curator\, Asian Arts\, Solomon R. Guggenheim Museum. The conversation will begin at \;6:30pm \;on \;Tuesday\, May 31 \, \;at \;Dominique Lé\;vy Gallery. \;Seating is limited\ , please RSVP to \;rsvpny@blumandpoe.com. \;
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Previous ly\, Kwon was featured in the survey \;From All Sides: Tansaekhwa o n Abstraction\, held at Blum &\; Poe\, Los Angeles in 2014\, and cu rated by Joan Kee\, Associate Professor of History of Art at the University of Michigan. He was also included in the traveling exhibition of 2016\,&nb sp\;Dansaekhwa and Minimalism\, held at Blum &\; Poe\, Los Ange les and New York - the first overview of Korean monochromatic painting with American Minimalism.
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Kwon Young-woo was born in Liwon\, K orea\, in 1926. He graduated with a BFA in painting from Seoul National Uni versity in 1951 and received his MFA in 1957. He spent a decade living in P aris in the 1980s\, and has been the subject of numerous solo exhibitions i n Korea\, France\, Canada and the United States. The Seoul Museum of Art he ld a major retrospective in 2007. His work has also been celebrated in impo rtant surveys such as \;When Process Becomes Form: Dansaekhwa and K orean Abstraction\, Villa Empain - Boghossian Foundation\, Brussels\, Belgium (2016)\; \;Dansaekhwa\, Palazzo Contarini Polignac\, V enice\, Italy (2015)\; \;Dansaekhwa: Korean Monochrome Painting\, National Museum of \;Modern and Contemporary Art\, Gwacheon (2012)\ ; andKorean Contemporary Art of the 1970s\, \;Tokyo Metropolit an Museum of Art\, which traveled to Tochigi Municipal Museum of Art\, Nati onal Museum of Contemporary Art\, Osaka\, Hokkaido Museum of Modern Art\, S apporo\, Fukuoka City Museum\, Fukuoka (1983). Kwon was one of the five art ists featured in the landmark show \;Five Kinds of White\, hel d at Tokyo Gallery in 1975. Prior to that\, his work was included in \; the Sã\;o Paulo Art Biennial (1973)\, and the Tokyo Biennale (1965).< /div> DTEND:20160701 DTSTAMP:20160526T031301 DTSTART:20160601 GEO:40.768329;-73.968485 LOCATION:Blum & Poe | New York\,19 East 66th Street \nNew York\, NY 10065 SEQUENCE:0 SUMMARY:Solo Exhibition\, Kwon Young-woo UID:419184 END:VEVENT BEGIN:VEVENT DTEND:20160601T200000 DTSTAMP:20160526T031301 DTSTART:20160601T180000 GEO:40.768329;-73.968485 LOCATION:Blum & Poe | New York\,19 East 66th Street \nNew York\, NY 10065 SEQUENCE:0 SUMMARY:Solo Exhibition\, Kwon Young-woo UID:419186 END:VEVENT BEGIN:VEVENT DESCRIPTION:
Blum &\; Poe is pleased t o present a survey of work by Kwon Young-woo (1926-2013)\, one of the found ing figures of Dansaekhwa\, the monochrome painting movement that redefined Korean art starting in the mid-1960s. This is Kwon's first solo exhibition with the gallery and his first solo presentation in New York.
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Seeking a new alternative to the ink painting traditions that dominate d Korea in the 1960s\, Kwon initially dispensed with the use of ink and beg an to scratch at the surface of the \;hanji \;paper\, crea ting all-over compositions of rips that emphasized the primacy of the groun d. During the 1970s and early 1980s he expanded his repertoire\, perforatin g the paper from behind and tearing it into more ragged strips. Despite the implied aggression in these gestures\, the works are serenely calm and med itative. \;Eventually Kwon reintroduced the use of col or\, pouring gouache and ink with absolute precision into and around the cu ts to further accentuate his mark making.
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A decade older t han Lee Ufan and the other artists associated with Dansaekhwa\, Kwon's prac tice was fundamental to the development of the movement. Though the term li terally translates as "monochrome painting\," it is better understood in te rms of the processes the artists employed. Variously ripping paper\, draggi ng pencils\, pushing paint\, and soaking canvas\, the artists manipulated t he materials of painting in ways that questioned the terms by which the med ium was known. Promoted in Seoul\, Tokyo\, and Paris\, Dansaekhwa quickly b ecame the globally recognized face of contemporary Korean art.
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Leading up to the opening of the exhibition\, Dominique Lé\;vy\, Greene Naftali\, Gallery Hyundai\, and Blum &\; Poe will cohost a panel discussion on Dansaekhwa with artist Chung Sang-Hwa and \;Alexandra Mu nroe\, Samsung Senior Curator\, Asian Arts\, Solomon R. Guggenheim Museum. The conversation will begin at \;6:30pm \;on \;Tuesday\, May 31 \, \;at \;Dominique Lé\;vy Gallery. \;Seating is limited\ , please RSVP to \;rsvpny@blumandpoe.com. \;
\n
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Previous ly\, Kwon was featured in the survey \;From All Sides: Tansaekhwa o n Abstraction\, held at Blum &\; Poe\, Los Angeles in 2014\, and cu rated by Joan Kee\, Associate Professor of History of Art at the University of Michigan. He was also included in the traveling exhibition of 2016\,&nb sp\;Dansaekhwa and Minimalism\, held at Blum &\; Poe\, Los Ange les and New York - the first overview of Korean monochromatic painting with American Minimalism.
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Kwon Young-woo was born in Liwon\, K orea\, in 1926. He graduated with a BFA in painting from Seoul National Uni versity in 1951 and received his MFA in 1957. He spent a decade living in P aris in the 1980s\, and has been the subject of numerous solo exhibitions i n Korea\, France\, Canada and the United States. The Seoul Museum of Art he ld a major retrospective in 2007. His work has also been celebrated in impo rtant surveys such as \;When Process Becomes Form: Dansaekhwa and K orean Abstraction\, Villa Empain - Boghossian Foundation\, Brussels\, Belgium (2016)\; \;Dansaekhwa\, Palazzo Contarini Polignac\, V enice\, Italy (2015)\; \;Dansaekhwa: Korean Monochrome Painting\, National Museum of \;Modern and Contemporary Art\, Gwacheon (2012)\ ; andKorean Contemporary Art of the 1970s\, \;Tokyo Metropolit an Museum of Art\, which traveled to Tochigi Municipal Museum of Art\, Nati onal Museum of Contemporary Art\, Osaka\, Hokkaido Museum of Modern Art\, S apporo\, Fukuoka City Museum\, Fukuoka (1983). Kwon was one of the five art ists featured in the landmark show \;Five Kinds of White\, hel d at Tokyo Gallery in 1975. Prior to that\, his work was included in \; the Sã\;o Paulo Art Biennial (1973)\, and the Tokyo Biennale (1965).< /div> DTEND:20160701 DTSTAMP:20160526T031301 DTSTART:20160601 GEO:40.768329;-73.968485 LOCATION:Blum & Poe | New York\,19 East 66th Street \nNew York\, NY 10065 SEQUENCE:0 SUMMARY:Solo Exhibition\, Kwon Young-woo UID:419183 END:VEVENT BEGIN:VEVENT DTEND:20160601T200000 DTSTAMP:20160526T031301 DTSTART:20160601T180000 GEO:40.768329;-73.968485 LOCATION:Blum & Poe | New York\,19 East 66th Street \nNew York\, NY 10065 SEQUENCE:0 SUMMARY:Solo Exhibition\, Kwon Young-woo UID:419185 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Divided into two sections installed in separate galleries\, the exhibition is organized around the two outposts that Peter Beard calls home &ndash\; Africa and the East End of Long Island. Representing the arti st&rsquo\;s first U.S. museum solo exhibition in 15 years\, the show presen ts more than 50 multi-layered collages\, drawings\, photographs\, and diari es from the 1960s to the present\, some on public view for the first time. Peter Beard: Last Word From Paradise includes the artist&rsquo\;s iconic wo rk from Africa that chronicles the change in the landscape from a time rich ly populated by elephants\, rhinos\, and crocodiles\, to what remains today . Also on view will be never-before exhibited Montauk portraits of his home \, family\, and friends including Mick Jagger\, Andy Warhol\, Jacqueline On assis\, and Lee Radziwill. \; \;The Museum at Guild Hall\, 158 Main Street\, East Hampton\, New York 11937\, 631.324.0806\, GuildHall.org. FRE E Admission generously funded by Suffolk County National Bank and Donald an d Barbara Zucker.

DTEND:20160731 DTSTAMP:20160526T031301 DTSTART:20160618 GEO:40.957854;-72.190107 LOCATION:Guild Hall\,158 Main Street \nEast Hampton\, NY 11937 SEQUENCE:0 SUMMARY:Peter Beard: Last Word from Paradise\, Peter Beard UID:419155 END:VEVENT BEGIN:VEVENT DTEND:20160618T180000 DTSTAMP:20160526T031301 DTSTART:20160618T160000 GEO:40.957854;-72.190107 LOCATION:Guild Hall\,158 Main Street \nEast Hampton\, NY 11937 SEQUENCE:0 SUMMARY:Peter Beard: Last Word from Paradise\, Peter Beard UID:419156 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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On view in the Furman Sculpture Gar den are large freestanding metal sculptures whose solid composition and sim ple forms resemble totemic monuments of the ancient world. Smaller lyrical wall reliefs composed of wood veneers are on view in the Wasserstein Family Gallery. \;

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Furman Sculpture Garden and Wasserstein Fa mily Gallery at Guild Hall\, 158 Main Street\, East Hampton\, New York 1193 7\, 631.324.0806\, GuildHall.org. FREE Admission generously funded by Suffo lk County National Bank and Donald and Barbara Zucker.

DTEND:20161001 DTSTAMP:20160526T031301 DTSTART:20160618 GEO:40.957854;-72.190107 LOCATION:Guild Hall\,158 Main Street \nEast Hampton\, NY 11937 SEQUENCE:0 SUMMARY:Carol Ross\, Carol Ross UID:419153 END:VEVENT BEGIN:VEVENT DTEND:20160618T180000 DTSTAMP:20160526T031301 DTSTART:20160618T160000 GEO:40.957854;-72.190107 LOCATION:Guild Hall\,158 Main Street \nEast Hampton\, NY 11937 SEQUENCE:0 SUMMARY:Carol Ross\, Carol Ross UID:419154 END:VEVENT BEGIN:VEVENT DESCRIPTION:


May 25th\, 2016 &ndash\; June 26th\, 2016

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Opening Reception: Wednesday\, May 25th\, 7pm-9pm

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Levan Mindiashvili i s a Georgian-born\, Brooklyn-based visual artist primarily interested in ex ploring the complex relationships between communal and private spaces. This \, Mindiashvili&rsquo\;s second major exhibition at The Lodge Gallery\, fea tures works from his current ongoing project entitled Unintended Archeo logy of (un)Place and expands upon his paintings through \;install ation and sculptural objects. Mindiashvili&rsquo\;s paintings &ndash\; rigo rously rendered in several layers of acrylic paint and gel medium &ndash\; mimic vintage\, pixelated photography and questions our perception of the p ast and &lsquo\;taught&rsquo\; history. While paintings keep &lsquo\;loyalt y&rsquo\; to their source material (the artist&rsquo\;s own snapshots from travels to his native Georgia)\, the sculptures\, on the other hand\, are s ummarized images of experiences and memories from the many places he has&nb sp\;lived. Some details might allude to a particular aparment \;in  \;Brooklyn or a house in Tbilisi\, but they are merely hermetic remnants of what once might have been a home. Rendered in pigmented plaster\, they vis ually and superficially mimic a steady\, permanent concrete\, yet the fragi lity of his \;chosen material outlines the temporal and ephemeral natur e of the notions of &lsquo\;place&rsquo\; and &lsquo\;home&rsquo\; in today &rsquo\;s society.

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This ex hibition is created in collaboration with Uta Bekaia. Both artists share sa me cultural background\, and furthermore\, the same concerns regarding iden tity and historical memory\, but they employ two different starting points in their practice. While \;Mindiashvili is concerned with the intellect ual knowledge and limitations imposed by society and culture\, Bekaia is in terested in genetical\, biological memory.

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The artists have also conceived a performance entitled&nbs p\;If You Lived Here You Would Be Home Now\, which will be perform ed by Japanese/American butoh dancer \;Azumi Oe \; on the day of the opening. The resulting residual \;remnants of the per formance piece will become part of the installation\, and remain on view fo r \;the run of the show. \;

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Levan Mindiashvili \;received his BFA in scu lpture from Tbilisi State Academy of Arts and realized post-graduate studie s in Crossed Media Arts at The National University of Arts of Buenos Aires\ , Argentina. Among his awards should be mentioned Commission Grant for Publ ic Art Projects from National Endowments for Arts\, New York 2014 and Emerg ing Artist of 2011\, Movistar Arte Jó\;ven\, 2011 Buenos Aires\, Arge ntina. His work has been included in recent group exhibitions at Tartu Art Museum\, Estonia\; Brooklyn\; Hathaway David Contemporary\, Atlanta\; ODETT A\, Brooklyn\; RichMix\, London\; Georgian National Museum\, Tbilisi\; Rece nt solo exhibitions include &ldquo\;Studies For Unintended Archeology&rdquo \;\, The Vazquez Building\, Brooklyn\; &ldquo\;Borderlines&rdquo\;\, The Lo dge Gallery\, New York\; &ldquo\;Urban Identities&rdquo\;\, Kunstraub99\, C ologne.

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Uta Bekaia  \;Georgian Born\, New York based multimedia artist. He had st udied Industrial Design at Tbilisi Mtsire Academy. He debuted as an artist at AMA (Avant-Guard Fashion Assembly) with a sculptural performance. He cre ates multimedia performances and installations inhabited with wearable scul ptures\, exploring his historical cultural background\, genetical codes and cycles of the universe. His works were included in Istanbul 14th Biennial and Kiev 2nd Biennial. He currently presented performance pieces &ldquo\;Ve stiphobia&rdquo\;\, Ideal Glass\, New York\; &ldquo\;Fua Sia Tata Sia&rdquo \;\, The Movement Theater\, Tbilisi\; and Tbilisi City Parade &ldquo\;Berik aoba&rdquo\;.

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The Lodge Galle ry\, \;founded by Keith Schweitzer and Jason Patrick Voegele\, is located at 131 Chrystie Street on Manhattan&rsquo\;s Lower East Side. I t is the exhibition venue of Republic Worldwide and serves as both an art s pace and a gathering place for hearty discourse and experimentation.

DTEND:20160626 DTSTAMP:20160526T031301 DTSTART:20160525 GEO:40.719504;-73.99352 LOCATION:The Lodge Gallery\,131 Chrystie Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:UNINTENDED ARCHEOLOGY\, Levan Mindiashvili\, Uta Bekaia UID:419147 END:VEVENT BEGIN:VEVENT DTEND:20160525T210000 DTSTAMP:20160526T031301 DTSTART:20160525T190000 GEO:40.719504;-73.99352 LOCATION:The Lodge Gallery\,131 Chrystie Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:UNINTENDED ARCHEOLOGY\, Uta Bekaia\, Levan Mindiashvili UID:419148 END:VEVENT END:VCALENDAR