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Front Room gallery is proud to present "Blin d Trust" a solo exhibition of new paintings by Peter Fox. Expanding on his signature style of drip painting\, Peter Fox&rsquo\;s spilled paint works h ave taken on bold gestural movements. \; \;Referencing formal syste ms of Abstract Painting\, this series explores the language of relational c olor\, as articulated through layered processes. \; \;Each composit ion is developed through variance and repetition\, and evolves with the all owance of chance. \;

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These works expand on the concept of &lsquo\;line&rsquo\;\, defined by color relationships\; as each movement is recorded on the surface of the paintings\, the poured paint is transformed into a drawing device. The fluid lines of paint transmit veins of parallel color\, which develop into abstracted forms\, evoking aspects o f surrealist figuration.

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The negative space of the picture plane is recovered in these works\, balanced with the thick intensi ty of the waves of color. \; \;Fox has re-contextualized the painti ng&rsquo\;s surface\, allowing for a nuanced volume of space\, the surface texture in its plump volume floats on the ebbing forward movement of the il lusionary space of a white atmospheric ground. \;

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This series presents a new take on pixelation\, Fox&rsquo\;s work in &ld quo\;Blind Trust&rdquo\; distorts a color grouping from spherical drops to elongated color flows\, which are swept across the canvas\, spread and stre tched in all different directions. The fluid ribbons of paint whip and weav e in and out of one another\, fusing and gathering strains of color with ea ch movement. The resulting work captures the action of each pour and a pres ents a lyrical representation of the artists&rsquo\; creative actions.

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DTEND:20150621 DTSTAMP:20150505T040043 DTSTART:20150522 GEO:40.7141944;-73.9576226 LOCATION:Front Room Gallery\,147 Roebling St \nBrooklyn\, NY 11211 SEQUENCE:0 SUMMARY:Peter Fox: "Blind Trust\, Peter Fox UID:382662 END:VEVENT BEGIN:VEVENT DTEND:20150522T210000 DTSTAMP:20150505T040043 DTSTART:20150522T190000 GEO:40.7141944;-73.9576226 LOCATION:Front Room Gallery\,147 Roebling St \nBrooklyn\, NY 11211 SEQUENCE:0 SUMMARY:Peter Fox: "Blind Trust\, Peter Fox UID:382663 END:VEVENT BEGIN:VEVENT DESCRIPTION:

David Zwirner is pleased to pr esent \;Give Me Love\, the gallery&rsquo\;s second exhibition with Yayoi Kusama in New York. On view in two spaces\, 519 and 525 West 19t h Street\, will be new paintings from the celebrated \;My Eternal S oul \;series\, new polka-dotted pumpkin sculptures\, and the artis t&rsquo\;s seminal installation \;The Obliteration Room \; from 2002. \;

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Widely recognized a round the world\, with a recent survey of museum attendance ranking her as the most popular artist in 2014\, Kusama has shaped her own narrative of po stwar and contemporary art. Minimalism and Pop art\, abstraction and concep tualism coincide in her practice\, which spans painting\, sculpture\, perfo rmance\, room-sized and outdoor installations\, the written word\, films\, fashion\, design\, and architectural interventions. \;

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Born in 1929 in Matsumoto\, Japan\, Kusama briefly st udied painting in Kyoto before moving to New York City in the late 1950s. S he began her large-scale \;Infinity Net \;paintings during this decade\, and went on to apply their obsessive\, hallucinatory qualiti es to her three-dimensional work. Her iconic polka dots\, organic shapes\, and optical environments display an unparalleled vitality that becomes hypn otic and self-referential\, merging concepts of flatness and depth\, presen ce and absence\, and beauty and the sublime. In a unique style that is both sensory and utopian\, Kusama&rsquo\;s work possesses a highly personal cha racter\, yet one that has connected profoundly with large audiences around the globe\, as throughout her career she has been able to break down tradit ional barriers between work\, artist\, and spectator. \;

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Kusama continues her recent series of large-format\ , square \;My Eternal Soul \;paintings with a group of can vases conveying extraordinary vitality and passion. With titles such as&nbs p\;Fear of Youth Overwhelmed by the Spring Time of Life\, \;I Who Have Taken an Antidepressant\, and \;My Longing\, the< /em> \;Unseen Land of Death\, the compositions acquire an auto biographic\, even confessional dimension. The bold brushstrokes and swirly shapes seem to hover between figuration and abstraction\; vibrant\, animate d\, and intense\, they transcend their medium to introduce their own pictor ial logic\, at once contemporary and universal. As such\, while they contin ue Kusama&rsquo\;s innovative exploration of form\, subject matter\, and sp ace\, they also represent a connection to her work from the past six decade s. \;

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The sculptures on view incl ude new stainless steel pumpkins featuring either painted or perforated dot s. Their exaggerated sizes&mdash\;the tallest being approximately 70 inches (178 cm) high&mdash\;seem measured after human proportions\, and their mir rored surfaces are thus able to contain viewers&rsquo\; full body reflectio ns. While pumpkins have appeared in Kusama&rsquo\;s work since her early ar t studies in Japan in the 1950s\, they gained increasing prominence from th e late 1980s onwards. The juxtaposition between the lush organic shape and its shiny\, steel materiality here creates a psychedelic impression\, but u ltimately the bulbous forms emerge as celebratory and animated\, absorbing viewers and their surroundings in their own image. \;

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The exhibition marks the United States debut of \; The Obliteration Room\, an all-white\, domestic interior that over the course of the show is covered by dots of varying sizes and colors. In a departure from earlier iterations of the work\, which have involved one o r several rooms\, the present installation is built like a typical\, prefab ricated American suburban house. As visitors are handed a set of stickers a nd step inside\, they enter a completely white residential setting where ot herwise familiar objects such as a kitchen counter\, couch\, and bookshelve s are all painted the same shade. Gradually transforming the space as a res ult of the interaction\, the accumulation of the bright dots ultimately cha nges the interior until it is eradicated into a blur of colors. A sense of depth and volume disappears as individual pieces of furniture\, floors\, an d walls blend together. \;

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Kusama has noted that she began to see her surroundings through a screen of dots early in her life\, and she later came to refer to the process as obliterat ion&mdash\;the gradual removal of any trace of something. Several happening s from the 1960s and onwards were called \;Self-Obliteration&n bsp\;and involved the artist covering herself and others with dots. Their a ll-enveloping presence in \;The Obliteration Room \;also r ecalls the artist&rsquo\;s infinity rooms\, in which thousands of small lig hts flicker against mirrored walls&mdash\;an example of these was presented during Kusama&rsquo\;s first exhibition with the gallery in 2013. \;\n

Immersed in her studio six days a week \, Kusama has spoken of her renewed dedication to creating art over the pas t years: &ldquo\;[N]ew ideas come welling up every day&hellip\;.Now I am mo re keenly aware of the time that remains and more in awe of the vast scope of art&hellip\;.I believe that the creative urge in art is born of quiet\, solitary contemplation and takes flight from the silence of the soul&rsquo\ ;s repose in the form of rainbows of shimmering light&hellip\;.I feel how t ruly wonderful life is\, and I tremble with undying fascination for the wor ld of art\, the only place that gives me hope and makes life worthwhile.&rd quo\;1

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Yayoi Kusama \;joined David Zwirner in early 2013\, and had her ina ugural exhibition with the gallery in New York that same year. Immediately following its opening\, \;Yayoi Kusama: I Who Have Arrived In Heave n \;received widespread critical acclaim and international media c overage\, quickly becoming David Zwirner&rsquo\;s most well-attended show. Attracting thousands of visitors a day\, the exhibition was deemed a social media sensation and hailed by The New York Times as encouraging &ldquo\;th e ultimate selfie.&rdquo\; Published on its occasion was a fully illustrate d catalogue\, which includes new scholarship on the artist&rsquo\;s work by art critic and poet Akira Tatehata and an original poem written by Kusama herself. \;

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Since her first solo show in her native Japan in 1952\, Kusama has exhibited widely in internati onal solo and group presentations. The artist&rsquo\;s work was the subject of a large-scale\, well-received retrospective that traveled from 2011 to 2012 to the Museo Nacional Centro de Arte Reina Sofí\;a\, Madrid\; Ce ntre Georges Pompidou\, Paris\; Tate Modern\, London\; and the Whitney Muse um of American Art\, New York. \;

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Kusama was recently named the world&rsquo\;s most popular artist by variou s news outlets\, based on annual figures reported by \;The Art News paper \;for global museum attendance in 2014. Her exhibitions were the most visited worldwide last year\, with three major museum presentatio ns simultaneously traveling through Japan\, Asia\, and Central and South Am erica&mdash\;all of which have drawn record-breaking attendances at every v enue. \;

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Yayoi Kusama: Eterni ty of Eternal Eternity \;recently concluded its extensive tour to prominent institutions in Japan\, which began in January 2012 and continued until October 2014. Museums included The National Museum of Art\, Osaka\; The Museum of Modern Art\, Saitama\; Matsumoto City Museum of Art\; Niigata City Art Museum\; Shizuoka Prefectural Museum of Art\; Oita Art Museum\; T he Museum of Art\, Kochi\; Contemporary Art Museum\, Kumamoto\; Akita Sensh u Museum of Art\; and the Matsuzakaya Museum\, Nagoya. \;

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Traveling through Asia\, \;Yayoi Kusama: A Dream I Dreamed \;encompasses over one hundred recent works and w as first displayed at the Daegu Art Museum in Korea\, followed by the Museu m of Contemporary Art Shanghai and the Seoul Arts Center. It travels to two institutions in Taiwan&mdash\;currently on view at the Kaohsiung Museum of Fine Arts (through May 17\, 2015) and then to the National Taiwan Museum o f Fine Arts\, Taichung (June 6 &ndash\; August 30\, 2015)&mdash\;as well as to India at the National Gallery of Modern Art\, New Delhi (opening Novemb er 2015). \;

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Yayoi Kusama: In finite Obsession \;has been seen by more than two million people a long its tour through Central and South America. Consisting of over one hun dred works created between 1950 and 2013\, it opened in June 2013 at Malba &ndash\; Fundació\;n Costantini\, Buenos Aires and traveled to the Ce ntro Cultural Banco do Brasil\, Rio de Janeiro\; Centro Cultural Banco do B rasil\, Brasí\;lia\; Instituto Tomie Ohtake\, Sã\;o Paulo\; and the Museo Tamayo Arte Contemporá\;neo\, Mexico City. The show is cur rently on view at the Fundació\;n CorpArtes\, Santiago (through June 7\, 2015). \;

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In the fall of 2015 \, the Louisiana Museum of Modern Art in Humlebæ\;k\, Denmark will pre sent a comprehensive overview of Kusama&rsquo\;s practice\, including works that span the full length of her career\, that will travel to other major Scandinavian institutions. \;

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Wor k by the artist is held in museum collections worldwide\, including the Cen tre Georges Pompidou\, Paris\; Hirshhorn Museum and Sculpture Garden\, Wash ington\, D.C.\; Los Angeles County Museum of Art\; The Museum of Modern Art \, New York\; National Museum of Modern Art\, Tokyo\; Stedelijk Museum\, Am sterdam\; Tate Gallery\, London\; Walker Art Center\, Minneapolis\, Minneso ta\; Whitney Museum of American Art\, New York\; amongst numerous others. K usama lives and works in Tokyo.

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1Yayoi Kusama\, \;Infinity Net: The Autobiography of Yayoi Kusama\, trans. by Ralph McCarthy (Ch icago and London: The University of Chicago Press and Tate Publishing\, 201 1)\, pp. 227\, 229\, 230.

DTEND:20150613 DTSTAMP:20150505T040043 DTSTART:20150509 GEO:40.7456795;-74.0069918 LOCATION:David Zwirner- 519 W. 19th\,519 W. 19th Street \nNew York\, NY 100 11 SEQUENCE:0 SUMMARY:Give Me Love\, Yayoi Kusama UID:382618 END:VEVENT BEGIN:VEVENT DTEND:20150509T200000 DTSTAMP:20150505T040043 DTSTART:20150509T180000 GEO:40.7456795;-74.0069918 LOCATION:David Zwirner- 519 W. 19th\,519 W. 19th Street \nNew York\, NY 100 11 SEQUENCE:0 SUMMARY:Give Me Love\, Yayoi Kusama UID:382619 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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David Zwirner is pleas ed and honored to present a selection of drawings from the Sarah-Ann and We rner H. (&ldquo\;Wynn&rdquo\;) Kramarsky Collection\, on view at 537 West 2 0th Street. Since the late 1950s\, Wynn Kramarsky has amassed one of the mo st significant privately held collections of works on paper from the second half of the twentieth century\, with a particular emphasis on Minimal\, Po st-Minimal\, Conceptual\, and process-oriented works. This exhibition will include highlights from the collection\, with diverse and exemplary works b y \;Carl Andre\, Robert Barry\, Mel Bochner\, Trisha Brown\, Jo hn Cage\, Bruce Conner\, Dan Flavin\, Suzan Frecon\, Eva Hesse\, Nancy Holt \, Jasper Johns\, Donald Judd\, Ellsworth Kelly\, Barry Le Va\, Sol LeWitt\ , Robert Mangold\, Brice Marden\, Agnes Martin\, Bruce Nauman\, Ed Ruscha\, Robert Ryman\, Fred Sandback\, Alan Saret\, Richard Serra\, Robert Smithso n\, Keith Sonnier\, Richard Tuttle\, Cy Twombly\, Lawrence Weiner\, \;and others.

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For Wynn\, assembling this collection over several decades has been a true labor of love\, and hi s passion for collecting is reflected in this carefully curated selection o f drawings by a wide-ranging group of artists. Wynn&rsquo\;s focus has been works on paper\, at first since this type of work was more accessible to h im as a young collector\, but ultimately because he found drawings and othe r works on paper allowed for a more intimate engagement with an artist and his or her creative process. The smaller scale also enabled him to collect both encyclopedically and in-depth. Wynn&rsquo\;s non-commercial exhibition space\, The Fifth Floor Foundation\, which operated from 1991 to 2006 at 5 60 Broadway in New York&rsquo\;s SoHo neighborhood\, exemplifies his dedica ted and consistent arts \;patronage. In addition to presenting focused solo and group exhibitions of both canonical and lesser-known artists in th e collection\, the SoHo space served as a larger center for the study of th ese works (which were thus made readily available to interested visitors an d scholars alike). Wynn&rsquo\;s enthusiasm for art historical scholarship and education further extends to the many loans he and his wife make\, ofte n anonymously\, to major national and international exhibitions. And even b eyond that\, their past and continuing gifts of works from the collection t o numerous museums and universities permanently enrich the public nationwid e.

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Co mprising works from the 1960s through the 2000s\, the selection of drawings included in this exhibition provides an overview of the evolution of abstr act tendencies in American art-making over half a century and lays out a ge nealogy of succeeding styles\, from Minimalism forward.

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Numerous important Minimalist artists are represented in the collection\, evidencing the extreme heterogeneity of styles\, subjects\, an d approaches that fall under this broad designation. For example\, a 1971 d rawing by \;Dan Flavin \;revisiting his \; alternate diagonals of March 2\, 1964 (to Don Judd)\, a series of ligh t installations he dedicated to his longtime friend\, the artist Donald Jud d\, foregrounds the use of commercially available materials and reductive f orms that characterized many of these artists&rsquo\; practices. Meanwhile\ , an ink-on-board triptych by \;Carl Andre \;from 1960 offers a rare painterly expression by the artist. Made early in his ca reer\, this work reveals the genesis of Andre&rsquo\;s fascination with the juxtaposition of disparate elements and formal variation within a repetiti ve structure that would later manifest in some of his best-known sculptural works.Fred Sandback&rsquo\;s drawings\, often executed as preparatory studies for his sculptures\, on the other hand\, utilize preci sely placed lines to outline planes and volumes in space.

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Other works\, while minimal in appearance\, reveal themselves upon closer inspection to be more concerned with the process of their own making than with strict formal investigations. To create \;From &ldquo\;U ntitled&rdquo\; Painting(1964-65)\, a dark amorphous cloud of charcoal on paper\, \;Jasper Johns \;imprinted his own oil -covered face against paper\, rolling it from one side to the other\, and t hen rubbing charcoal over the paper to create an indexical trace of his bod y in motion. Similarly\, \;Eva Hesse&rsquo\;s spare\, delicately rendered 1966 ink wash of two stacked concentric circles\, each inscribed by a square\, demonstrates the tactile\, brushy quality emblemati c of her transition from colorful\, painterly forms to the more mature proc ess-based works that came to distinguish her from her peers. Another work b y Hesse\, \;Right After \;from 1969\, made following her f irst operation for a brain tumor and less than a year before her untimely d eath\, displays both her mastery of gouache and her unique understanding of form with its precisely rendered interlocking shapes.

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A n umber of artists in the collection rely on simple geometric forms to create conceptually rigorous drawings. \;Bands of Lines in 4 Directions \;(1991) \;by \;Sol Lewitt\, \;which i llustrates all the different directions that a line can extend\, \;demo nstrates how the artist&rsquo\;s procedures systematically unfolded the end less formal possibilities that could be derived from predetermined sets of logical principles. Similarly\, a 1975 diagrammatic drawing\, \;Fir st Fulcrum (Study)\, by \;Mel Bochner\, is the fi rst in his succeeding series of &ldquo\;Fulcrum&rdquo\; drawings\, which&md ash\;in their exploration of pentagonal shapes&mdash\;reveals his longstand ing interest in both visual and linguistic systems of meaning. Also on view are two drawings by \;Richard Serra \;that explor e circular forms&mdash\;Sam Cooke \;(1996) and \;Black Tracks \;(2002). Both made using a thick impasto of black paintst ick\, these works create a sense of weight\, gravity\, and mass.

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Still other artists employ words and symbols to drive their conceptu al overtures. A 1979 drawing by \;Ed Ruscha\, \;Gray Sex\, uses gray pastel to faintly spell out the word &ldquo\;se x&rdquo\; in negative space\, prompting the viewer to freely associate word s\, colors\, sensations\, and ideas. Meanwhile\, a pencil sketch by \;< strong>Robert Smithson \;from 1970\, titled \;Spiralin g Jetty in Red Salt Water\, Ogden\, Utah \;represents an early dia grammatic rendering of the artist&rsquo\;s seminal earthwork sculpture  \;Spiral Jetty\, constructed in the Great Salt Lake.

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The Kramarsky Collection also includes examples by a number of artists who create works on paper as part of their ongoing painterly investigations . \;Ellsworth Kelly\, for example\, frequently utilize s paint on paper to create different juxtapositions of forms and colors for his spare but optically vibrant abstractions\, as in an untitled work on p aper from 1964&ndash\;65 composed of loosely rectangular forms in brightly hued green and red. A 1977 watercolor by \;Agnes Martin\, with its luminous glow and tactile surface\, not only reveals Martin&rs quo\;s technical mastery of her materials but\, as in her paintings\, plays on the illusory properties of color and form. \;Robert Ryman&rsquo\;s practice represents a sustained inquiry into the inherent properties of painting\, the key concerns of which are visible in his 1995 work \;Core XII\, made using encaustic\, graphite\, and crayon on corrugated cardboard. Together\, the work&rsquo\;s materials emphasize their inherent properties\, resulting in an open-ended composition that rev eals the process of its making. \;Untitled \;(1971) by&nbs p\;Cy Twombly\, which incorporates notes\, measurements\, and images in an all-over composition\, is a compelling example of his work s on paper of the late 1960s and early 1970s\, engaging both with art histo rical notions of the line and cultural understandings of language. Similarl y\, \;Brice Marden&rsquo\;s \;Small Corpus \;(1989-94)\, which evinces an overall calligraphic quality\, reflect s the artist&rsquo\;s interest in the abstract language of gesture\, as wel l as his integration of drawing within painting&mdash\;aspects that would c ontinue to define his subsequent work.

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Overall\, the works in the Kramarsky collection\, in the individuality of their expression\, t estify to the wide range of media and styles that both reaffirm and expand our definition of drawing. This exhibition will be accompanied by a fully i llustrated catalogue\, forthcoming from David Zwirner Books.

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DTEND:20150620 DTSTAMP:20150505T040043 DTSTART:20150502 GEO:40.746768;-74.00721 LOCATION:David Zwirner 537 W 20th\,537 West 20 Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Group Show Selections from The Kramarsky Collection\, Carl Andre\, Robert Barry\, Mel Bochner\, Trisha Brown\, John Cage\, Bruce Conner\, Dan Flavin\, Suzan Frecon\, Eva Hesse\, Nancy Holt\, Jasper Johns\, Donald Judd \, Ellsworth Kelly\, Barry Le Va\, Sol LeWitt\, Robert Mangold\, Brice Mard en\, Agnes Martin\, Bruce Nauman\, Ed Ruscha\, Robert Ryman\, Fred Sandback \, Alan Saret\, Richard Serra\, Robert Smithson\, Keith Sonnier\, Richard T uttle\, Cy Twombly\, Lawrence Weiner UID:382616 END:VEVENT BEGIN:VEVENT DESCRIPTION:

CREON is pleased to announce Imaginary Anatomies: Mira S chor + Bradley Rubenstein\, an exhibition of paintings and works on pa per. \; Schor and Rubenstein will exhibit work that is linked thematica lly\, focusing primarily on the figure as a subject for experimentation bot h visually as well as conceptually\, on what Jacques Lacan described as the imaginary anatomy. \; Lacan described the imaginary anatomy as a psych ological map or image of the body\, an internal understanding of the lived\ , physical body.  \;As a specular psychological construct\, it represen ted the subject&rsquo\;s experiences of bodily parts and organs.

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Ru benstein&rsquo\;s drawings display his continuing interest in expanding the parameters of the body&rsquo\;s endless possibilities.  \;The stable i dentity of the subject is questioned as the essential biological body liter ally disintegrates in front of our eyes and metamorphoses into distorted an d fragmented entities\, incorporating a plethora of multiple personae and a natomical prototypes.  \;Following a long tradition of literary and art istic protagonists that stretches from the Golem\, Dr. Frankenstein\, and J ekyll and Hyde\, to more recent manifestations of cyborgs and aliens\, the ambiguous moral but also indefinite biological nature of the human conditio n is revealed.

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Schor&rsquo\;s paintings present the figure as a red uctively sketched archetypal protagonist in the symbolic landscape of a phi losophical cartoon.  \;The figure is an agent of thought\, reflection\, and meditation\, frozen in time as on an ancient monument or Egyptian reli ef. Her iconic avatar is arrested in movement\, approaching the cold and di stant observation of scientific illustrations faithful documentation of rar e anatomical specimens.  \;Schor shows the frailty of the human body: d espite its graphic\, mechanized presentation: it wears a leg brace\, it tri ps\, it is knocked over by paint.  \;The paintings are reversible topsy -turvy diptychs: above or below\, depending on how you hang the work\, in o ne register the iconic figure is a diagrammatic representation oppressed by aesthetic and economic imperatives\, and in the other register the figure dissolves\, transforms\, becomes lighter and more ethereal\, as if depictin g the human spirit triumphing over physical and social restraint.

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< em>Mira Schor \;is a painter and writer living in New York City. Schor has been the recipient of awards in painting from the Guggenheim\, Marie Walsh Sharpe\, and Pollock-Krasner Foundations\, as well as the College Art Association's Frank Jewett Mather Award for Art Criticism and a Creative Capital / Warhol Foundation Arts Writers Grant. \; Schor has had  \;one person exhibitions at Ma rvelli Gallery and Momenta Art in New York\, and she is represented by CB1 Gallery in Los Angeles. \ ;

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Bradley Rubenstein has been the recipient of the National Endowment for the Arts Fellowship in Painting\, The Pollock-Krasne r Award and a grant from The Emily Hall Tremaine Foundation.  \;His wor ks are in the permanent collections of the Metropolitan Museum of Art\, Mus eum of Fine Arts\, Boston\, and The Detroit Institute of Arts\, among other s.  \;Bradley Rubenstein lives and works in Brooklyn.

DTEND:20150610 DTSTAMP:20150505T040043 DTSTART:20150520 GEO:40.7387292;-73.9809605 LOCATION:CREON\,238 East 24 St 1B\nNew York\, NY 10010 SEQUENCE:0 SUMMARY:IMAGINARY ANATOMIES\, Mira Schor\, Bradley Rubenstein UID:382598 END:VEVENT BEGIN:VEVENT DTEND:20150520T210000 DTSTAMP:20150505T040043 DTSTART:20150520T190000 GEO:40.7387292;-73.9809605 LOCATION:CREON\,238 East 24 St 1B\nNew York\, NY 10010 SEQUENCE:0 SUMMARY:IMAGINARY ANATOMIES\, Bradley Rubenstein\, Mira Schor UID:382599 END:VEVENT BEGIN:VEVENT DESCRIPTION:

&ldquo\;In &\; Out&rdquo\; brings together the work of vi sionary and outsider artists. Art created intuitively with unstoppable pass ion. \; The expression of heightened creativity arises from unheard voi ces that in the past were dismissed as unimportant expressions\, sadly misu nderstood\, cast away. This is the exploration of impulse\, emotion\, and s uffering from the purity of the artist&rsquo\;s soul created in the stillne ss of mind.

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 \;From the true visionary art that is given to us by Brian Dowdall who senses the energy patterns of animals and interprets t hem to the primal need of Konstantin Bokov to create with found objects\, t his group of artists share a common intuitiveness exuded in the paint strok es\, materials\, and subject matter. Pamala Rogers and Angela Rogers use vi brant components and symbolism to transcend conventional ideas. Candyce Bro kaw spills her insides out onto the page\, as an endless flow of visual inc antation.

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Istvan &ldquo\;Monty Cantsin&rdquo\; Kantor and Adjani Ok pu-Egbe document the painful expressions derived from their own suffering u sing materials as metaphor. Johan Wahlstrom&rsquo\;s graphic neoexpressioni st narratives handle the universality of emotions\, the shared feelings of us all. Kevin Wendall\, the artist known as FA-Q\, releases through his pro cess of expressing. Addiction and inner demons narrate his art&rsquo\;s rou gh expression of emotion. The bold and brash art of Ross Brodar speaks to t he turmoil the human spirit feels during periods of uncertainty without fea r or apologies.

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Van der Plas Gallery shares this vision\, a pure vi sion by these 10 artists to bring together the whole spectrum of life\, a w heel that is always turning through suffering and celebration: In &\; Ou t. \;

DTEND:20150614 DTSTAMP:20150505T040043 DTSTART:20150508 GEO:40.720827;-73.988577 LOCATION:Van Der Plas Gallery\,156 Orchard Street \n New York\, NY 10002 SEQUENCE:0 SUMMARY:In&Out\, Kevin Wendall\, Johan Wahlstrom\, Istvan Kantor\, Brian Do wdall\, Konstantine Bokov\, Pamala Rogers\, Angela Rogers\, Adjani Okpu-Egb e\, Candyce Browkaw\, Ross Brodar UID:382590 END:VEVENT BEGIN:VEVENT DTEND:20150508T200000 DTSTAMP:20150505T040043 DTSTART:20150508T180000 GEO:40.720827;-73.988577 LOCATION:Van Der Plas Gallery\,156 Orchard Street \n New York\, NY 10002 SEQUENCE:0 SUMMARY:In&Out\, Konstantine Bokov\, Ross Brodar\, Candyce Browkaw\, Brian Dowdall\, Istvan Kantor\, Adjani Okpu-Egbe\, Angela Rogers\, Pamala Rogers\ , Johan Wahlstrom\, Kevin Wendall UID:382591 END:VEVENT BEGIN:VEVENT DESCRIPTION:

On Stellar Rays and Sun\Ra are pleased to announce a solo ex hibition of Shirana Shahbazi\, featuring a new body of lithographs.
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Shahbazi&rsquo\;s work frequently explores the relationship of a n image to its material form\, using classical art historical themes such a s portraiture\, still life\, and abstraction. Her newest body of work is co mprised of images taken on a family road trip from Zurich to Tehran in Apri l 2014\, in a style evoking travel and landscape photography.

Sh irana Shahbazi (b. Teheran\, 1974) lives and works in Zurich. She studied p hotography in Dortmund and Zurich. Major presentations of her work include Kunsthalle Bern (2014)\; Museum of Modern Art\, New York (2012/2013)\; Foto museum Winterthur (2011)\; The New Museum\, New York (2011)\; The Hammer Mu seum\, Los Angeles (2008)\; Museum Boijmans van Beuningen\, Rotterdam (2008 )\; Swiss Institute\, New York (2007)\; Barbican Art Gallery\, London (2007 )\; Centre d'Art Contemporain\, Genf (2005)\, Museum of Contemporary Photog raphy\, Chicago (2003)\; The 50th Venice Biennale (2003).
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The exhibition is the third in a series of collaborations between Candice Madey of On Stellar Rays and Sunny Rahbar\, co-founder of the The Third Lin e Gallery (Dubai) and Sun\Ra.

DTEND:20150614 DTSTAMP:20150505T040043 DTSTART:20150510 GEO:40.7214495;-73.9930937 LOCATION:On Stellar Rays\,1 Rivington Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Shirana Shahbazi\, Shirana Shahbazi UID:382578 END:VEVENT BEGIN:VEVENT DTEND:20150510T200000 DTSTAMP:20150505T040043 DTSTART:20150510T180000 GEO:40.7214495;-73.9930937 LOCATION:On Stellar Rays\,1 Rivington Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Shirana Shahbazi\, Shirana Shahbazi UID:382579 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Atlantic Gallery is pleased to present "Contemplating the As phalt\," a solo exhibition of \;recent work by Lois Cremmins. \;The artist continues her exploration of her sensory perceptions of \;city life \;with canvases that offer a textural response to the urban landsc ape. \;In this new body of work \;she \;focuses on \;the co ntradictions she feels \;between the vestiges of \;the dark world o f her father's rough city and the robust \;transformations wrought by a  \;fresh light-seeking generation. By layering complex imagery that is at once gritty \;yet vibrant\, Cremmins has become a de facto chronicle r of a changing city.

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The installation of "Contemplating the Asphal t" transforms Atlantic Gallery into \;a microcosm \;of New York's&n bsp\;teeming streets. To visit this show is to navigate those streets with Lois Cremmins as your keenly observant guide. \;Her art deftly steers t he visitor around the pitfalls of decaying streets and \;happily keeps pace with whizzing Citibikes and buzzing smartphones. Recognizable images b reak down upon close inspection to reveal abstract elements that can be sav ored and lead to a discovery of the artist's process.

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 \;Each c anvas is the result of an intricate and sophisticated technique \;where by the artist tames collaged materials---outcast fabrics\, ribbons and noti ons by vigorously applying \;acrylic paint in thick impastos and delica tely brushed glazes. The viewer&rsquo\;s experience \;of the multiplici ty of the stimulating surfaces runs \;in tandem \;with the artist's celebration \;of \;New York's enthralling variety.

DTEND:20150620 DTSTAMP:20150505T040043 DTSTART:20150602 GEO:40.7517031;-74.0040108 LOCATION:Atlantic Gallery\,548 West 28th Street \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Lois Cremmins: Contemplating the Asphalt\, Lois Cremmins UID:382564 END:VEVENT BEGIN:VEVENT DTEND:20150602T180000 DTSTAMP:20150505T040043 DTSTART:20150602T120000 GEO:40.7517031;-74.0040108 LOCATION:Atlantic Gallery\,548 West 28th Street \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Lois Cremmins: Contemplating the Asphalt\, Lois Cremmins UID:382565 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Pace is pleased to announce it s second solo exhibition of Lee Ufan. It is the artist&rsquo\;s first exhib ition in New York since his landmark 2011 survey at the Solomon R. Guggenhe im Museum\, and follows his 2014 solo presentation of twelve site-specific works created for the Châ\;teau de Versailles. The exhibition will be on view from May 15 to June 27 at 534 West 25th Street. An opening receptio n for the artist will be held Thursday\, May 14 from 6 to 8 p.m.

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To accompany the exhibition\, Pace will publish a catalogue featuring a new essay by Barbara Rose.

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Since his foundational role in Japan&rsquo\;s Mono-ha (&ldqu o\;School of Things&rdquo\;) movement in the 1960s\, Lee has developed an o euvre attuned to the interconnectedness of matter and consciousness. Referr ing to his artworks as &ldquo\;living structures\,&rdquo\; he takes a philo sophical approach to creating them\, viewing his gestures and raw materials as entities that reveal conditions and states of the world as well as our relationship to it. The exhibition highlights the artist&rsquo\;s continued attention to how objects and gestures shape space and will feature new pai ntings\, watercolors and sculpture.

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L ee&rsquo\;s Relatum works&mdash\;the first of which he produced in 1968&mda sh\;highlight interspatial relations through the pairing of steel plates wi th large boulders. Between the two objects\, Lee views the steel plates as the distant\, factory-produced cousin of the stones. He sees the works as c ultivating a space not only between objects but between viewers and the lar ger spatial environment. In choosing the title Relatum&mdash\;referring to a singular aspect of relationship&mdash\;Lee both rebukes the term sculptur e and forgoes the more hermetic associations of the term relationship\, con juring a more philosophical and infinite type of connection engendered thro ugh the correspondence between rock and steel. The contrast between the man ufactured steel plate and the natural rock bring together a new harmony bet ween \;

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technology and nature.

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In his Dialogue paintings\, Lee begins by loading a broad brush with a gradient of pigment&mdash\;here blues\, gre ys\, and oranges&mdash\;and applies the pigments to the canvas in one or tw o strokes. The simple compositions enact a dialogue between the paint and t he unmarked space of the ground layer.

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Lee Ufan (b. 1936\, Haman-gun\, Kyongsangnamdo\, Korea) is a pioneering f igure of Mono-ha (&ldquo\;School of Things&rdquo\;) in Japan and the Tansae khwa school of Korean monochrome painting. He is the 2014 recipient of the Kanagawa Prefecture Cultural Prize and the 2001 Praemium Imperiale\, awarde d by the Japan Art Association. Lee&rsquo\;s work has been celebrated in nu merous international solo and group exhibitions including the Gwangju Bienn ale (2000\, 2006)\, Sã\;o Paulo Biennial (1969\, 1973) and Documenta (1977). His exhibition Resonance was part of the 2007 Venice Biennale.

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In April\, the Busan Metropolitan Art Mus eum opened a permanent installation of Lee&rsquo\;s work in its new buildin g and on its grounds. Spanning approximately 15\,000 square feet of gallery space on two levels\, the Lee Ufan Gallery includes painting and sculpture from different decades of his career. It is the museum&rsquo\;s only galle ry dedicated to a single artist.

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Lee has been the subject of numerous solo exhibitions worldwide at institutions including the Asia Society\, Houston (2012)\; Solomon R. Guggenheim Museum \, New York (2011)\; Royal Museums of Fine Arts of Belgium\, Brussels (2008 )\; Kunstmuseum Bonn (2001)\; Stä\;dtisches Museum im Stä\;del\, Fr ankfurt (1998)\; Galerie Nationale du Jeu de Paume\, Paris (1997&ndash\;98) \; The National Museum of Contemporary Art\, Seoul (1994)\; Hara Museum of Contemporary Art\, Tokyo (1991)\; Louisiana Museum of Modern Art\, Humlebae k (1978)\; and Dü\;sseldorf Kunsthalle (1978).

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In 2010\, the Tadao Ando-designed Lee Ufan Museum opened in N aoshima\, Japan. Lee&rsquo\;s work is included in the public collections of more than sixty institutions worldwide including the Art Gallery of New So uth Wales\, Sydney\; Centre Georges Pompidou\, Musé\;e National d&rsq uo\;Art Moderne\, Paris\; Hara Museum of Contemporary Art\, Tokyo\; Solomon R. Guggenheim Museum\, New York\; Kunsthaus Zurich\; Kunstmuseum Bonn\; Le eum Samsung Museum of Art\, Seoul\; The Museum of Modern Art\, New York\; T he National Museum of Art\, Osaka\; National Museum of Modern Art\, Seoul\; Stä\;dtisches Museum im Stä\;del\, Frankfurt\; and the Tate Galler y\, London.

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Lee lives and works in Ka makura\, Japan\, and Paris. This is his second exhibition at Pace since joi ning the gallery in 2007.

DTEND:20150627 DTSTAMP:20150505T040043 DTSTART:20150515 GEO:40.749485;-74.005031 LOCATION:Pace Gallery - 25th St.\,534 W. 25th St. \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Solo Exhibition\, Lee Ufan UID:382533 END:VEVENT BEGIN:VEVENT DTEND:20150514T200000 DTSTAMP:20150505T040043 DTSTART:20150514T180000 GEO:40.749485;-74.005031 LOCATION:Pace Gallery - 25th St.\,534 W. 25th St. \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Solo Exhibition\, Lee Ufan UID:382534 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150614 DTSTAMP:20150505T040043 DTSTART:20150510 GEO:40.7214495;-73.9930937 LOCATION:On Stellar Rays\,1 Rivington Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Solo Exhibition\, Shirana Shahbazi UID:382529 END:VEVENT BEGIN:VEVENT DTEND:20150510T200000 DTSTAMP:20150505T040043 DTSTART:20150510T180000 GEO:40.7214495;-73.9930937 LOCATION:On Stellar Rays\,1 Rivington Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Solo Exhibition\, Shirana Shahbazi UID:382530 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150627 DTSTAMP:20150505T040043 DTSTART:20150514 GEO:40.7494274;-74.004275 LOCATION:Nancy Margolis Gallery\,523 W. 25th St. \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Stealth Peace\, Melodie Provenzano UID:382527 END:VEVENT BEGIN:VEVENT DTEND:20150514T200000 DTSTAMP:20150505T040043 DTSTART:20150514T180000 GEO:40.7494274;-74.004275 LOCATION:Nancy Margolis Gallery\,523 W. 25th St. \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Stealth Peace\, Melodie Provenzano UID:382528 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150628 DTSTAMP:20150505T040043 DTSTART:20150513 GEO:40.7158106;-73.9913621 LOCATION:Miguel Abreu Gallery Orchard St\,36 Orchard St. \nNew York\, NY 10 002 SEQUENCE:0 SUMMARY:Crash Rail\, Rey Akdogan UID:382525 END:VEVENT BEGIN:VEVENT DTEND:20150515T200000 DTSTAMP:20150505T040043 DTSTART:20150515T180000 GEO:40.7158106;-73.9913621 LOCATION:Miguel Abreu Gallery Orchard St\,36 Orchard St. \nNew York\, NY 10 002 SEQUENCE:0 SUMMARY:Crash Rail\, Rey Akdogan UID:382526 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150628 DTSTAMP:20150505T040043 DTSTART:20150513 GEO:40.7172851;-73.9923399 LOCATION:Miguel Abreu Gallery Eldridge Street\,88 Eldridge Street \nNew Yo rk\, NY 10002 SEQUENCE:0 SUMMARY:Crash Rail\, Rey Akdogan UID:382523 END:VEVENT BEGIN:VEVENT DTEND:20150515T200000 DTSTAMP:20150505T040043 DTSTART:20150515T180000 GEO:40.7172851;-73.9923399 LOCATION:Miguel Abreu Gallery Eldridge Street\,88 Eldridge Street \nNew Yo rk\, NY 10002 SEQUENCE:0 SUMMARY:Crash Rail\, Rey Akdogan UID:382524 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Marlborough Ch elsea is pleased to present Outer Loop a two-person exhibition by Tony Cox and Matthew Ronay in our 2nd floor gallery.

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The show takes its title from the beltway aroun d Louisville\, KY\, where the two artists grew up together\, but is evocati ve also of their shared penchant for the further flung reaches of culture. This includes colorful abstraction\, Appalachian folk art\, science fiction and a self-determined spirituality that hints at the cosmic but positions them outside of any New Age mainstream.

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Cox&rsquo\;s paintings are hand-embroidered in bold geometri c designs and stylized landscape using brightly hued and metallic threads p ulled through acrylic-coated stretched canvas. The mantra-like repetition o f stitches together with vivid patterning\, are reminiscent of mandalas and other sacred art\, but Cox imbues the works with an off-kilter humor and p athos that places them squarely in his head and from his inimitable hand.\n

Ronay&rsquo\;s hand-carved basswood sculptures\, while often heavily patterned with dimples\, curves and cairn-like stacks\, eschew hard edge abstraction for a molecular\, spor e-like affect coupled with a kind of suggestive figuration in the form of d isembodied hands and tongues. Ingeniously and idiosyncratically composed fr om multiple pieces of wood and sections of canvas that have been lushly dye d in a spectrum of rich colors\, the works have the natural feel of an orga nism\, growing and replicating itself like a coral reef or Martian bacteriu m.

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Together\, the works p lay off their commonalities of color and line\, but also a commitment to th e labor-intensive qualities of the handcrafted and the prayer-like meditati ve focus required of their making&mdash\;a focus that has allowed the artis ts to block out many of the more conventional concerns of their contemporar ies.

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Tony Cox (b. 1975 in Louisville\, KY). Recent exhibitions include Outer Lo op (with Matthew Ronay) at Marlborough Chelsea\, New York\, NY (2015)\ ; B-Side at Home Alone 2\, New York\, NY (2013)\; Tony Cox at Marlborough Broome Street\, New York\, NY (2013)\; Incense at Fuse Gallery\, New York\, NY (2011)\; White Trash Mystic at 211 E lizabeth St\, New York\, NY (2010)\; and Too Blonde To Be Catalan at FD Gallery\, Barcelona\, Spain (2007). The artist currently lives and wo rks in Mount Tremper\, New York.

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Matthew Ronay (b. in 1976 in Louisville\, KY) received his BFA from the Maryland Institute College of Art\, and his MFA from Yale Univers ity. Recent solo exhibitions include Organ/Organelle at Marc Foxx\ , Los Angeles\, CA (2014)\; Wavelength at Andrea Rosen Gallery\, N ew York\, NY (2014)\; The Door Is Open at Kunsthalle Lingen\, Ling en\, Germany (2014)\; Mounting Toward Zenith / Descending and Disappear ing at Kentucky Museum of Art and Craft\, Louisville\, KY (2013). Rece nt group exhibitions include 12th Lyon Biennale\, Lyon\, France (2 013)\; A Disagreeable Object at Sculpture Center\, Long Island Cit y\, NY (2012)\; Secret Societies at Schirn Kunsthalle\, Frankfort\ , Germany (2011). The artist lives and works in New York\, New York.

DTEND:20150509 DTSTAMP:20150505T040043 DTSTART:20150404 GEO:40.7497918;-74.0049713 LOCATION:Marlborough Chelsea\,545 West 25th Street \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Outer Loop\, Tony Cox\, Matthew Ronay UID:382522 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Galerie Lelong is pleased to a nnounce the first solo exhibition in the United States in ten years by inte rnationally renowned Brazilian artist Cildo Meireles\, on view from May 15 through June 27. In addition to the monumental work \;Amerikkka\, new works will be on view for the first time. Meireles&rsquo\;s investi gation of ideological\, economic\, and political systems through sculpture\ , installation\, and sensorial experience forms the cornerstone of his prac tice\, which spans the artist&rsquo\;s extensive forty-year career. The art ist will be present for the opening reception on Friday\, May 15 from 6-8pm .

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The centerpiece of Meireles&rsquo\; s presentation at Galerie Lelong will be \;Amerikkka(1991/2013 )\, the work&rsquo\;s first presentation in the United States. Transforming the gallery into a powerful\, interactive experience\, the work places vie wers under a free-standing ceiling angled at forty-five degrees that is com posed of 40\,000 hollow golden bullets set against an intense blue backgrou nd. Viewers stand upon a base of over 20\,000 white wooden eggs set into a red floor. Juxtaposing sharp bullets and fragile eggs\, \;Amerikkka simultaneously creates an uncertain and unsettled environment and call s into question whether the work is opening or closing\, and if the threat of the bullets is real or perceived. The triple &ldquo\;K&rdquo\; in the ti tle alludes to the Ku Klux Klan\, the far right organization that espouses white supremacy and the use of extreme violence.

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Like \;Amerikkka\, \;Virtual Spaces&n bsp\;(1967/2015)\, one of Meireles&rsquo\;s seminal works\, is dependent up on participation and movement by the viewer. This work\, in which Meireles looks to Euclidean geometry\, is a corner within a corner\, an installation trompe l&rsquo\;&oelig\;il\, that highlights the question of that which is virtual versus what is real.

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Inv isible Sphere \;(2014) demonstrates Meireles&rsquo\;s interest in and exploration of the visible/invisible. This work\, in which Meireles has constructed\, carved\, and joined two pieces of aluminum\, creates a hollo w sphere when closed. As Meireles has said &ldquo\;I think there is somethi ng very interesting about things that we can imagine\, but which are hidden .&rdquo\;

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Like many of Meireles&rsquo \;s works\, \;Aquaurum \;(2015) is in response to specific political situations. Meireles&rsquo\;s native Brazil produces approximate ly 12 percent of the world&rsquo\;s fresh water\, however\, there is a chro nic shortage in the country&rsquo\;s most populous city\, Sã\;o Paulo . The cleverly titled \;Aquaurum\, which combines the Latin fo r &ldquo\;water&rdquo\; and &ldquo\;gold\,&rdquo\; is comprised of two crys tal glasses. The first is filled with gold\, appearing as though it is the lining of the glass itself. The other\, left empty\, appears to be void of any matter.

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Beginning in Brazil in th e late 1960s\, Meireles&rsquo\;s practice was shaped by the social and poli tical conditions during the dictatorship of the time\, as well as by the Ne o-Concretist movement. Meireles was among the first artists from Latin Amer ica to become internationally recognized\, beginning with his participation in the 1970 landmark exhibition\, \;Information\, at the Muse um of Modern Art in New York. Since then\, Meireles has been recognized as a pioneer and leader among artists working in politically and socially enga ged conceptual art. Most recently\, his work was the subject of a retrospec tive at the Reina Sofia in Madrid\, which traveled to the Serralves Museum in Portugal\, and part of the exhibition was also presented at the HangarBi cocca in Milan.

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Additional monographi c shows have been presented at Tate Modern\, London\; Museu d&rsquo\;Art Co ntemporani de Barcelona\; Museu de Arte Moderna\, Rio de Janeiro\; Mus&eacu te\;e d&rsquo\;Art Moderne et Contemporain de Strasbourg\; New Museum\, New York\; Kiasma Museum of Contemporary Art\, Helsinki\; Institut Valencia d& rsquo\;Art Modern\; and Institute of Contemporary Art\, London\; among othe rs. The artist has received several prestigious awards\, including the Vela zquez Prize from the Ministerio de Cultura of Spain\, and the Ordway Prize\ , presented by Creative Link for the Arts and the New Museum. Meireles was born in 1948 in Rio de Janeiro\, where he currently lives and works.

DTEND:20150628 DTSTAMP:20150505T040043 DTSTART:20150515 GEO:40.7499345;-74.003629 LOCATION:Galerie Lelong\,528 W. 26th St. \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Solo Exhibition\, Cildo Meireles UID:382520 END:VEVENT BEGIN:VEVENT DTEND:20150515T200000 DTSTAMP:20150505T040043 DTSTART:20150515T180000 GEO:40.7499345;-74.003629 LOCATION:Galerie Lelong\,528 W. 26th St. \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Solo Exhibition\, Cildo Meireles UID:382521 END:VEVENT BEGIN:VEVENT DESCRIPTION:

A friend was visiting my studi o. At the time I was making a lot of sculptures that included the human han d. He asked if I had seen Rodin's hand sculptures. I had not. Somewhat emba rrassingly I began to fall in love with Rodin's hands. Obsession may be mor e appropriate. I have long been searching for the pathos they posses. I beg an to make frequent trips to the Rodin Museum in Philadelphia. With each vi ewing my passion for these tortured artworks grew. I began to invest more a nd more of my own psychic energy within these objects. They became reliquar ies for my spirit\, my geist if you will. It was as if with each viewing I was contorting the sculptures with my will into further torment.

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"Self-consciousness is desire." I wonder if tha t maxim extends to quantum reality\, to the space beyond the subatomic. Per haps desire truly is the mechanism that drives not only the metaphysical un derpinnings of the world but the physical as well. Perhaps a solipsistic wi ll-machine is all it takes to bend space/time.

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Googling Rodin's Hand of the Pianist\, I heard a loud crack. Star tled\, I spun around fearing that my kerosene heater had burst. Instead\, b eyond the flash of light &hellip\; a portal. A hole. A space that wasn't qu ite there appeared in front of my eyes.

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In the blur there was a voice booming\, &ldquo\;Who are you?&rdquo\;\, & ldquo\;Me?&rdquo\; I somewhat confusedly and meekly responded. I got over m y initial bewilderment and introduced myself. It seems\, still to my surpri se\, that the individual with whom I was speaking was Auguste Rodin\; me in my studio in 2015\, he in his in 1890. We both talked tentatively\, still reeling from the realization of what was occurring.

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Desire had ruptured the space/time continuum. A dialogue was born. We talked all night.

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I plotted out for him a fundamental change which has redirected the act of creation - touchscreen devices\, photos that move and machines that print in multipl e dimensions. I explained that the fundamental nature of our representation s had changed. That the hand has replaced the eye as the window to the soul \; the simulacra into which our perceptions are tied relies on an immediate relationship between the hand and the object it touches. I talked at lengt h about the metamorphosis of the artist/creator into the director/manager. How we had lost the humanism in our art. That we privilege the work of many over the work of one while assigning the value of the work of many to one individual. That we want our genius sparkling and perfect\, but that we wan t this genius unsullied by labor.

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He thought I was mad\, of course. He said that you could have a perfect replic a of any object fabricated in marble\, with no talent required. He explaine d that art lies in the hand\; the touch of the artist. That the hand that c reates is the hand of God. Even if the tools have changed\, there is no fun damental change in the nature of creation. Whether something is printed by machine or made with a chisel\, what&rsquo\;s important is the act of will. He said that a figurative hand was just as important as a literal hand. Th e spirit of the work is what matters. If an artist reproduces superficial f eatures\, as a photograph does\, and copies the lineaments of a face exactl y\, without reference to character\, he deserves no admiration. The resembl ance which he ought to obtain is that of the soul. To Rodin\, the genius ne ed not only use his eyes and hands\, but his intelligence as well.

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This exhibition comes from our conversation. The portal allowed us to pass our work back and forth. I am still consideri ng what he has said and what the hand of creation means. My thoughts have t urned to Camille Claudel and Rodin's other assistants and how he would sign his name to their work. How does his hand of God rely on others? Is touch a mere linguistic and metaphoric turn? Would there still be a Rodin if not for them? Have I had an impact on him? Did these hand sculptures with their marks and pathos exist before my desire was expressed to Rodin? Was his wo rk altered in some fundamental way that I am no longer able to remember bec ause the timeline has been fundamentally altered by my own intervention? Di d I create the objects that became the object of my obsession. A Grandfathe r Paradox of my own creation?

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 \;

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Phillip Birch

DTEND:20150614 DTSTAMP:20150505T040043 DTSTART:20150510 GEO:40.716406;-73.9887986 LOCATION:Essex Flowers\,365 Grand St. \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:The Hand of God\, Phillip Birch\, Auguste Rodin UID:382518 END:VEVENT BEGIN:VEVENT DTEND:20150510T200000 DTSTAMP:20150505T040043 DTSTART:20150510T180000 GEO:40.716406;-73.9887986 LOCATION:Essex Flowers\,365 Grand St. \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:The Hand of God\, Phillip Birch\, Auguste Rodin UID:382519 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150731 DTSTAMP:20150505T040043 DTSTART:20150514 GEO:40.7464825;-74.0069332 LOCATION:Elizabeth Harris Gallery\,529 W.20th St. \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Solo Exhibition\, Porfirio DiDonna UID:382516 END:VEVENT BEGIN:VEVENT DTEND:20150514T200000 DTSTAMP:20150505T040043 DTSTART:20150514T180000 GEO:40.7464825;-74.0069332 LOCATION:Elizabeth Harris Gallery\,529 W.20th St. \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Solo Exhibition\, Porfirio DiDonna UID:382517 END:VEVENT END:VCALENDAR