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On Tuesday\, February 16th\, Storefront for Art and Architec ture will open Closed Worlds\, an exhibition curated by Lydia Kallipoliti t hat presents an archive of 41 living prototypes of closed resource regenera tion systems built over the last century. The archive represents an unexplo red genealogy of closed systems in architectural practice. The exhibition w ill also feature Some World Games\, a virtual reality installation by Farzi n Farzin that presents a contemporary 42nd prototype of a closed system ins ide the walls of Storefront&rsquo\;s gallery space at 97 Kenmare Street.

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About the Closed Worlds Exhibition

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What do outer space capsules\, submarines\, and offi ce buildings have in common? Each was conceived as a closed system: a self- sustaining physical environment demarcated from its surroundings by a bound ary that does not allow for the transfer of matter or energy.

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The history of twentieth century architecture\, design\, and engineeri ng has been strongly linked to the conceptualization and production of clos ed systems. As partial reconstructions of the world in time and in space\, closed systems identify and secure the cycling of materials necessary for t he sustenance of life. Contemporary discussions about global warming\, recy cling\, and sustainability have emerged as direct conceptual constructs rel ated to the study and analysis of closed systems.

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Clo sed Worlds will exhibit an archive of 41 historical living prototypes built over the last century that present an unexplored genealogy of closed resource regeneration systems. The exhibition will also feature the virtual reality ecosystem Some World Games\, a contemporary 42nd prototyp e selected as the winner of the Closed Worlds Design Competition h osted by Storefront in November 2015.

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From the space prog ram to countercultural architectural groups experimenting with autonomous l iving\, Closed Worlds documents a disciplinary transformation and the rise of a new environmental consensus in the form of a synthetic natura lism\, where the laws of nature and metabolism are displaced from the domai n of wilderness to the domain of cities and buildings. While these ideas de rive from a deeply rooted fantasy of architecture producing nature\, Cl osed Worlds displays their integration into the very fabric of reality in our contemporary cities and buildings.

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A bout the 42nd Prototype

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Some World Ga mes\, the winning installation of the Closed Worlds Design Competi tion\, is an immersive environment that urges visitors to explore and experiment with virtual prototypes generated from the archive of 41 closed systems exhibited as part of the larger Closed Worlds exhibition. Participants are guided through the installation on a looped track that cha nnels their kinetic motion through an orbiting virtual environment.

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Some World Games harnesses the expended energy of exhibition expl oration-the acts of reading\, viewing\, and wandering-and puts this agency on display. Entering the installation is a decisive act in which the visito r consents to a moment of vulnerability\, plugging into the universe of the archive and engaging with its content through virtual immersion in physica l space.

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Credits

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Closed Worlds Exhibition:

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Curator and Principal Res earcher: Lydia Kallipoliti

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Research: Alyssa Goraieb\, Hamza Hasan\, Tiffany Montanez\, Catherine Walker\, Royd Zhang\, Miguel Lantigua-Inoa\, Emily Es tes\, Danielle Griffo and Chendru Starkloff

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Graphic and Exhibition Design: Pentagr am / Natasha Jen with Melodie Yashar and JangHyun Han

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Feedback Drawings: Tope Oluj obi with Lydia Kallipoliti

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Lexicon Editor: Hamza Hasan

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Special Thanks: Bess Krietemeyer\, Andreas Theodoridis\, Cecilia Ramos\, Alex Miller

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42nd Prototype \, Some World Games:

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Installation Design\, Concept\, and Fabrication: Farzin Farzin (Farzin Lotfi-Jam\, Sharif Anous\, John A rnold)

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Fabrica tion Assistance: Joseph Vidich\, Kin &\; Company

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Lighting Design Assistance: Christopher Adam Architectural Illumination Engineering

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Support

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This exhibition is supported by the Graham Foundation and the New York Stat e Council for the Arts. The research for this exhibition has been supported by Syracuse University School of Architecture and Rensselaer Polytechnic I nstitute.

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42nd Prototype 3D printing reso urces provided by MakerBot.

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3D printing provided by Voodo o Manufacturing.

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General suppor t for Storefront exhibitions is provided by the New York State Council for the Arts\, the New York City Department of Cultural Affairs\, Arup\, KPF\, Sciame Construction\, DS+R\, and ODA.

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DTEND:20160409 DTSTAMP:20160210T234332 DTSTART:20160216 GEO:40.7215083;-73.9971759 LOCATION:Storefront for Art and Architecture\,97 Kenmare Street \nNew York\ , NY 10012 SEQUENCE:0 SUMMARY:Closed Worlds Exhibition UID:409692 END:VEVENT BEGIN:VEVENT DTEND:20160216T210000 DTSTAMP:20160210T234332 DTSTART:20160216T190000 GEO:40.7215083;-73.9971759 LOCATION:Storefront for Art and Architecture\,97 Kenmare Street \nNew York\ , NY 10012 SEQUENCE:0 SUMMARY:Closed Worlds Exhibition UID:409693 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Please join us as E.S.P. TV tu rns SI into the studio set for a live taping of their eponymous live televi sion show and performance.

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You Do n&rsquo\;t Say Much\, Do You?\, an installation for a two-channel vide o and teleprompter\, will be on view to visitors in the hours leading up to the live event. As E.S.P. TV goes &ldquo\;on air&rdquo\; this piece will t ransform into the set of the night&rsquo\;s performance.

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A program containing selections from E.S.P. TV&rsquo\;s nearly 100-episode archive will also be on view in the downstairs screenin g room.

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Please RSVP to \;rsvp@swissinstitute.net.

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Note: All attendees of the live taping may appear on camera and bro adcast television.

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E.S. P. TV hybridizes technologies old and new\, contemporary and obsolete\, to realize the live television studio as a site for performance-based works. D irected by Scott Kiernan and Victoria Keddie\, E.S.P. TV utilizes a mobile television studio to explore transmission\, analog and digital media\, and broadcast. Through an ongoing series of live television taping events\, E.S .P. TV places the control room of the TV studio on center stage\, making th e means of production into a vehicle for performance. E.S.P. TV has held ov er 80 live taping events internationally and has aired over 90 episodes to date. In addition to live tapings and screenings\, E.S.P. TV has initiated the TUBE Archive as a means for republishing works and ephemera from early artist-based engagements with broadcast media.

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E.S.P. TV has worked with various venues and institutions includi ng: The Whitney Museum of American Art\, New Museum\, Museum of Arts and De sign\, Printed Matter\, Millennium Film Workshop\, New School\, Recess\, Ca mera Club (New York\, NY)\; Interstate Projects\, Spectacle Theater\, Issue Project Room\, Knockdown Center\, Flux Factory\, Roulette (Brooklyn\, NY)\ ; Franklin Street Works (Stamford\, CT)\, Liminal Space (Oakland\, CA)\, Ye rba Buena Center for the Arts (San Francisco\, CA)\, Human Resources (Los A ngeles\, CA)\, Ballroom Marfa\, Marfa Public Radio\, (Marfa\, TX)\, Museum of Human Achievement (Austin\, TX)\, S1(Portland\, OR)\, Nightingale Cinema (Chicago\, IL)\, MoCAD (Detroit MI)\, General Public (Berlin)\,  \;STO RE (Dresden)\, Studio XX (Montreal)\, Kling and Bang Gallery (Reykjavik) an d Pallas Projects (Dublin).

DTEND:20160226T210000 DTSTAMP:20160210T234332 DTSTART:20160226T120000 GEO:40.721431;-74.003129 LOCATION:Swiss Institute\,18 Wooster Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Installation and Live Taping | E.S.P. TV: You Don’t Say Much\, Do Y ou? UID:409687 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Guests may enter the gallery a t any point during the course of the performance.

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Alex Baczynski-Jenkins has created a \;choreographic score for performers on rollerblades who orbit one another whilst reciting\, rem ixing and reformulating fragmented lines of poetry that meditate on desire. This contingent\, polyphonic script circulates among the performers and is perpetually altered by their movements\, attitudes and affects. \;Thro ugh their continued speech\, the performers \;begin to channel a queer archive of verses and inflections\, including lines from Essex Hemphill\, E ileen Myles\, Langston Hughes. The rollerbladers both move through\, and ar e set in motion by\, these articulations of desire and the sensuality of re petition.

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Please RSVP to \;rsvp@swissinstitute.net.

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Alex Baczynski-Jenkins works with chore ography and performance. His practice is concerned with the mediation and p olitics of affect and embodiment. His works have been presented in contexts including the David Roberts Art Foundation\, Delfina Foundation\, Basel Li ste\, \; Block Universe\, Home Works Beirut\, Whitechapel Gallery and t he Sophiensaele Theatre. He is co-founder of artist-run project space \ ;Kem \;in Warsaw. He completed a BA in Contemporary Dance\, Ch oreography\, Context at the Universitat der Kunste\, Berlin and an MA in Au ral and Visual Cultures at Goldsmiths University\, London. He participated in Ashkal Alwan&rsquo\;s Home Workspace Program\, Beirut.

DTEND:20160221T190000 DTSTAMP:20160210T234332 DTSTART:20160221T170000 GEO:40.721431;-74.003129 LOCATION:Swiss Institute\,18 Wooster Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Performance: Us Swerve\, Alex Baczynski-Jenkins UID:409684 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Swiss Institute is pleased to present \;A Plane Unseen and Scattering its Curve\, au loin\,& nbsp\;an installation and concert by Sabisha Friedberg\, taking place over two consecutive evenings. Using a triadic structure\, the work poetically a ddresses the concept of the &lsquo\;angle of incidence&rsquo\;\, from three connected states that propel desire: the exalted\, the neutral and the pro fane. \;Considering the phrase &lsquo\;as above so below&rsquo\;\, one of the central tenets of Hermeticism\, Friedberg explores the behavior of r eflected sound and its perception in this one-hour composition\, comprised of three segments across the two levels of the Swiss Institute&rsquo\;s gal lery space. Exploring the sonic construction of a reality that presents its elf when what is heard is perceptually devoid of its source\, the work sugg ests a perceptual fourth dimension\, in which motifs of ley lines\, paralle l planes and spherical dimensions reoccur in an attempt to reveal the in-be tween unseen.

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Please RSVP with which date you would like to attend to \;rsvp@swissinstitute.net.

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Sabisha \;Friedberg&rsquo\;s composition\, performance and installatio n work draws on the phenomenological and phantasmagorical\, exploring perce ptual delineation of space through sound\, sculpture\, and low-end experien tial thresholds. She has performed and exhibited internationally\, and rece ntly received commissions through residencies at ISSUE Project Room\, EMPAC (Experimental Media and Performing Arts Center\, RPI)\, and The Clocktower Gallery. She has had recent solo shows at Audio Visual Arts and EMPAC\, an d released \;a double LP entitled \;Hant Variance \;in 2015 on the label Distributed Objects. She is included in the MoMA PS1 LP& nbsp\;There Will Never Be Silence \;released in 2015. Friedber g received her MFA from Bard College following undergraduate studies at San Francisco Art Institute. She \;is represented by Audio Visual Arts.

DTEND:20160220T210000 DTSTAMP:20160210T234332 DTSTART:20160220T200000 GEO:40.721431;-74.003129 LOCATION:Swiss Institute\,18 Wooster Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Installation and Concert: A Plane Unseen and Scattering its Curve\, au loin (February 20)\, Sabisha Friedberg UID:409683 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Swiss Institute is pleased to present \;A Plane Unseen and Scattering its Curve\, au loin\,& nbsp\;an installation and concert by Sabisha Friedberg\, taking place over two consecutive evenings. Using a triadic structure\, the work poetically a ddresses the concept of the &lsquo\;angle of incidence&rsquo\;\, from three connected states that propel desire: the exalted\, the neutral and the pro fane. \;Considering the phrase &lsquo\;as above so below&rsquo\;\, one of the central tenets of Hermeticism\, Friedberg explores the behavior of r eflected sound and its perception in this one-hour composition\, comprised of three segments across the two levels of the Swiss Institute&rsquo\;s gal lery space. Exploring the sonic construction of a reality that presents its elf when what is heard is perceptually devoid of its source\, the work sugg ests a perceptual fourth dimension\, in which motifs of ley lines\, paralle l planes and spherical dimensions reoccur in an attempt to reveal the in-be tween unseen.

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Please RSVP with which date you would like to attend to \;rsvp@swissinstitute.net.

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Sabisha \;Friedberg&rsquo\;s composition\, performance and installatio n work draws on the phenomenological and phantasmagorical\, exploring perce ptual delineation of space through sound\, sculpture\, and low-end experien tial thresholds. She has performed and exhibited internationally\, and rece ntly received commissions through residencies at ISSUE Project Room\, EMPAC (Experimental Media and Performing Arts Center\, RPI)\, and The Clocktower Gallery. She has had recent solo shows at Audio Visual Arts and EMPAC\, an d released \;a double LP entitled \;Hant Variance \;in 2015 on the label Distributed Objects. She is included in the MoMA PS1 LP& nbsp\;There Will Never Be Silence \;released in 2015. Friedber g received her MFA from Bard College following undergraduate studies at San Francisco Art Institute. She \;is represented by Audio Visual Arts.

DTEND:20160219T210000 DTSTAMP:20160210T234332 DTSTART:20160219T200000 GEO:40.721431;-74.003129 LOCATION:Swiss Institute\,18 Wooster Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Installation and Concert: A Plane Unseen and Scattering its Curve\, au loin (February 19)\, Sabisha Friedberg UID:409682 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Hostess: Solonje Burnett
Art Show DJ: DJ AKU
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FREE w/ RSVP: rsvp@lprnyc.com
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Follo wing the reception will be a performance by Akwetey &\; Friends\, featur ing Gray\, D.O.Z\, Kyp Malone\, and Madame Gandhi. Tickets are required to attend &\; can be purchased in advance here.
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This is a general admission event in The Gallery at LPR.

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Akwetey Orraca-Tetteh "Tiro: Millennial Soldier" Gallery Opening
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ARTIST STATEMENT:
In this new millenn ium\, heroes kill the Internet\, land planes on water\, and fast for justic e. When a new hero acts\, we are challenged to distend culturally overdrawn attitudes\, reckon with our collective social conscience\, and transfer my thology into positive harmonic realities. If not only for the freshness of new faces a lá\; Michelle Rodriguez or John Boyega (Star Wars: Episod e VII)\, heroes stand to recalibrate what African scholar Kanu calls the &l dquo\;attitudinal orientations&rdquo\; of world socio-political thought. Ne w attitudes\, when fed into a myth-machine\, reframe and widen our understa nding of past and future cultural narratives. Through existential revelatio n and affirmations of love and triumph\, hero stories create new pathways t o social connectedness\, transforming and re-humanizing the spirit inside o f us.
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Growing up as a young Ghanian-American\, there ex isted in my early years a confluence of customs and belief systems that tod ay inform my art practice. Spanning both African and Western cosmologies\, these experiences influence my development as an artist and world citizen. From a hyphenated pose\, a duality of conscience arises in my work. Concurr ent histories uncover for me what John Coltrane defined as a &ldquo\;primal futurism&rdquo\;\, for me a dipolar mode drawn as much from Joseph Campbel l&rsquo\;s The Power of Myth and Nietzsche&rsquo\;s Superman\, as from the historical and lyrical resonance of W.E.B Dubois\, Ralph Ellison\, and James Baldwin&rsquo\;s The Fire Next Time.
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Employing the use of painting\, 3D technology\, and computer eng ineering\, my interest lies squarely in the liminal spaces between power\, tragedy\, absurdity\, and beauty\, and the ways in which intercontinental d read is reconciled by the imagination. In these new works I am drawn to the excavation of fear\, fantasy\, and heroic action as a means to bridge seem ingly disparate genealogies&ndash\;be they literal or symbolic. To that aff ect Tiro\, Millennium Soldier is a techno-visual quest&ndash\;to e xplore the inception of one&rsquo\;s own personal mythology\, the emergence of self as 21st century superhero.

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ARTIST BI O:
AK (b.1980)\, born Akwetey Orraca-Tetteh.
 \; Akwetey Orraca-Tetteh\, also known as &ldquo\;AK&rdquo\;\, is a Ghanai an-American artist and musician born and residing in New York\, NY. The art ist received his BA from Amherst College in 2002\, where he studied philoso phy\, religion and fine art. Heavily drawn to narrative folklore\, fantasy and myth in African and Western traditions\, Akwetey draws clear inspiratio n from themes of efficacy and transcendence. Through painting\, mixed media \, and voice\, AK crafts historically active works that owe to the re-imagi nation of culture and the emergence of personal mythology. The artist sites Surrealism\, West African\, and American Popular Art (1960-) as strong inf luences. Akwetey&rsquo\;s work has exhibited at the Tate Modern Museum\, Th e New Museum\, LACMA\, and the Gucci Museum in Florence\, Italy. The artist also contributes voice and original song to the video essay Grosse Fat igue\, the winner of the 2013 Venice Biennial&rsquo\;s Silver Lion Awa rd.

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co ntributions from Camille Henrot and Kiku Yamaguchi
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Born in 1978\, Camille He nrot lives and works in New York. Her work has been exhibited at the Instit ute of Contemporary Art in London\, Chisenhale Gallery in London\, the Cent re Pompidou\, the Louvre\, the Musé\;e d&rsquo\;Art Moderne\, the Pal ais de Tokyo in Paris\, the New Orleans Museum of Art\, Schinkel Pavillon i n Berlin\, and the New Museum in New York. In 2013\, she was the recipient of the Smithsonian Artist Research Fellowship in Washington\, DC\, where sh e produced the video Grosse Fatigue awarded by the Silver Lion at the 55th Venice Biennale. Camille Henrot currently has a solo exhibition at Kunsthal Charlottenborg\, Copenhagen\, which will travel to Bé\;tonsalon &nda sh\; Centre for art and research\, Paris and the Westfä\;lischer Kunstv erein\, Mü\;nster. She is nominated for the 2014 Hugo Boss Prize. Camil le Henrot is represented by kamel mennour\, Paris\; Johann Kö\;nig\, Be rlin\; and Metro Pictures\, New York.
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Best-known for he r videos and animated films combining drawn art\, music and occasionally sc ratched or reworked cinematic images\, Camille Henrot&rsquo\;s work blurs t he traditionally hierarchical categories of art history. Her recent work\, adapted into the diverse media of sculpture\, drawing\, photography and\, a s always\, film\, considers the fascination with the &ldquo\;other&rdquo\; and &ldquo\;elsewhere&rdquo\; in terms of both geography and sexuality. Thi s fascination is reflected in popular modern myths that have inspired her\, such as King Kong and Frankenstein. The artist&rsquo\;s impure\, hybrid ob jects cast doubt upon the linear and partitioned transcription of Western h istory and highlight its borrowings and grey areas. In the series of sculpt ures Endangered Species\, for example\, the artist has created objects insp ired by African art by using pieces from car engines\; placed on tall pedes tals\, these slender silhouettes with zoomorphic allure make reference to t he migration of symbols and forms as well as to the economic circulation of objects. This survival of the past\, full of misunderstandings\, shifts an d projections (as shown in the slideshow Egyptomania\, the film Cynopolis\, drawings of the Sphinx\, and even in the photographs of prehistoric flints ) troubles cultural codes and conventions. In this way\, Camille Henrot&rsq uo\;s work questions mental resistances and the past&rsquo\;s resonance\, w hether it be drawn from myth or from reality.
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Photo compositing by artist Kiku Yamaguchi of The Barnstormers Collectiv e.

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DTEND:20160301 DTSTAMP:20160210T234332 DTSTART:20160301 GEO:40.7285022;-74.0000425 LOCATION:The Gallery at (Le) Poisson Rouge\,158 Bleecker Street \nNew York\ , NY 10012 SEQUENCE:0 SUMMARY:Tiro: Millennial Soldier\, Akwetey Orraca-Tetteh\, Camille Henrot\, Kiku Yamaguchi UID:409680 END:VEVENT BEGIN:VEVENT DTEND:20160301T193000 DTSTAMP:20160210T234332 DTSTART:20160301T173000 GEO:40.7285022;-74.0000425 LOCATION:The Gallery at (Le) Poisson Rouge\,158 Bleecker Street \nNew York\ , NY 10012 SEQUENCE:0 SUMMARY:Tiro: Millennial Soldier\, Camille Henrot\, Akwetey Orraca-Tetteh\, Kiku Yamaguchi UID:409681 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Exploring the role that the vi sual arts have played in cinema and television history\, whether as props\, set dressings\, plot devices\, character cues and other symbols\, this exh ibition considers artworks that have been created to appear onscreen. Recas ting the gallery as a set for a dramatic scene\, the exhibition features a history of art as seen in classic movies and low-budget soap operas\, scien ce fiction\, pornography and musicals\, where complex \;ideas\, objects and characters are processed\, played with\, misunderstood and celebrated.  \;FADE IN \;features work inspired by the artwork made to appear on screen\, which has been sourced\, reproduced and created by arti sts including: Nairy Baghramian\, \;Michael Bell-Smith\, \;Dora Bud or\, \;Heman Chong\, \;Mike Cooter\, \;Brice Dellsperger\,  \;GALA \;Committee\, \;Mathis Gasser\, \;Jamian Juliano-Villani \, \;Bertrand Lavier\, \;William Leavitt\, \;Christian Marclay\ , \;Rodrigo Matheus\, \;Allan McCollum\, Carissa Rodriguez\, Cindy Sherman\, \;Amie Siegel\, \;Scott Stark\, \;Albert Whitlock.

DTEND:20160508 DTSTAMP:20160210T234332 DTSTART:20160303 GEO:40.721431;-74.003129 LOCATION:Swiss Institute\,18 Wooster Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Fade In: Int. Art Gallery – Day\, Nairy Baghramian\, Michael Bell-S mith\, Dora Budor\, Heman Chong\, Mike Cooter\, Brice Dellsperger\, GALA Co mmittee\, Mathis Gasser\, Jamian Juliano-Villani\, Bertrand Lavier\, Willia m Leavitt\, Christian Marclay\, Rodrigo Matheus\, Allan McCollum\, Carissa Rodriguez\, Cindy Sherman\, Amie Siegel\, Scott Stark\, Albert Whitlock UID:409679 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160409 DTSTAMP:20160210T234332 DTSTART:20160313 GEO:40.721431;-74.003129 LOCATION:Swiss Institute\,18 Wooster Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:ONE FOR ALL | Parent and Parroting\, Nancy Lupo UID:409678 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Steven Harvey Fine Art Project s is proud to present &ldquo\;Real States\,&rdquo\; a three-person exhibiti on with Tom Burckhardt\, Clare Grill\, and \;Sangram \;Majumdar.&nb sp\;The exhibition will include three to five pieces by each artist\, New Y ork-based friends and colleagues.

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The three artists in this exhibition \;all make paintings that engage  \;abstract or abstracted \;forms on the armature of an implied grid. &n bsp\;However\, these forms and shapes are \;simultaneously allowed to f all away from any such structure.  \;This &ldquo\;on-grid / off-grid&rd quo\; tension \;permeates the work of all three painters.

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In \;Majumdar&rsquo\;s \;paintings\, the&n bsp\;forms are derived from observed sources the artist arranges and constr ucts. The structure\, in some of these works\, originates from a digital pr intout of an early video game interior\, layered with images of gardens in Indian miniature paintings\, or the remains of cardboard cutouts from his l arger paintings. The resulting paintings hint at something known\, but seen here out of context. They evoke simultaneity\, the feeling of being in two places at once. Gesture and felt experience are recognizable: embedded in the fragments\, even as the artist plays with figure-ground reversal.

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Clare Grill's \;paintings are not plan ned\, but rather found through \;repeated sanding\, rubbing\, and dragg ing of paint over linen. Antique embroidery samplers--needlepoint work made by young girls to present their craftwork skills to potential \;employ ers--often \;serve as an entry point. \;Grill is drawn to the tedio us\, tiny stitches that comprise these worn artifacts. Each of her painting s operates within its own tight chromatic and tonal range\, the result of w orking in low\, raking-light\, on a tabletop. The subtle forms seen on and below the surface \;inform the resultant imagery. Her paintings testify to human touch and the subtle variations that inform our daily experiences \, often unnoticed and unacknowledged.

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Burckhardt uses humor \;to \;pull back from the logic of abstract forms within a grid. A \;maximalist \;(while \;the other two a rtists investigate traces\, shadows\, \;and \;missing information)\ , Burckhardt allows \;suggestive \;forms to \;breed and layer. Some \;works \;are painted on cast plastic \;(trompel&rsquo\;&o elig\;il \;canvases)\, made from the artist&rsquo\;s \;molds.   \;They \;play with our constructed \;hierarchies of the unique  \;work of art and tendency to \;fetishize \;material. \;They ar e wild but controlled: combining colors and forms that invoke a range of vi sual culture: art historical images\, banal patterning\, and mechanistic an imation.

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Burckhardt \;(b. 1964\, New York\, NY) \;received a BFA from Purchase College\, SUNY\, and also studied at the Skowhegan School of Painting and Sculpture.  \;He has&n bsp\;had over twenty solo exhibitions\, several held at \;Tibor \;d e Nagy Gallery between 2002-15. In 2014 a travelling exhibition of his FULL STOP (2004-2005)\, a walk-in version of an artist&rsquo\;s studio made of cardboard at life size\, opened at the Columbus College of Art &\; Desig n. In 2011\, \;his work was the subject of a solo exhibition at the&nbs p\;Weatherspoon \;Art Museum\, Greensboro\, NC. The artist is the recip ient of the International Association of Art Critics Award\, the Richard an d \;Hinda \;Rosenthal Foundation Award from the Academy of Arts and Letters\, and two Pollack-Krasner Foundation grants. \;He \;lives in New York and spends his summers in Maine.  \;

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Grill \;(b. 1979\, Chicago\, IL) lives and works in Que ens\, NY. She received a MFA from Pratt and attended the Skowhegan School o f Painting and Sculpture. \;Zieher \;Smith &\; Horton\, NY prese nted a \;solo exhibition of her paintings \;in 2015. Additional sol o exhibitions include Albright College\, Reading\, PA\; Reserve Ames\, Los Angeles\, CA\; \;Soloway\, Brooklyn\, NY\; and Real Art Ways\, Hartford \, CT. Recent group exhibitions include Paramo\, Guadalajara\, MX\; Josh Li lley Gallery\, London\, UK\; P420\, Bologna\, IT\; The New Britain Museum o f American Art\, New Britain\, CT\, OMI International Art Center\, Ghent\, NY\; and \;Artspace\, New Haven\, CT.

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Majumdar \;(b. 1976\, \;Kolkata\, India) \;has an MFA from Indiana University and a BFA from the Rhode Island School of Design. \ ;He has been the subject of three solo exhibitions at \;Steven Harvey F ine Art Projects \;(2009\, 2012\, and 2013).  \;Additional solo exh ibitions include \;Georgetown University\, DC\; Rothschild Fine Art\, T el Aviv\, Israel\, and the \;Kresge \;Art Museum\, MI. Recent selec ted group exhibition venues include Morgan Lehman Gallery\, NY\; \;Come Together: Surviving Sandy\, \;curated \;by \;Phong Bui\, Brook lyn\, NY\; Salon \;Zü\;rcher\, Paris\, France\; \;and \;the 2010 Invitational Exhibition of Visual Arts\, American Academy of Arts and Letters\, NY. Awards include a MacDowell Fellowship\, a residency at \ ;Yaddo\, \;and \;the 2009-10 Marie Walsh Sharpe Studio Space Progra m Grant. \;Majumdar \;lives and works in Brooklyn\, New York and&nb sp\;is a full-time Professor of Painting at the Maryland Institute College of Art.

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There will be a panel discuss ion with the artists and art historian Jennifer Samet on Sunday\, February 28th\, at 3pm in the gallery. Please contact SHFAP at info@shfap.com or 917 -861-7312 for further information or images.

DTEND:20160313 DTSTAMP:20160210T234332 DTSTART:20160210 GEO:40.7225575;-73.989974 LOCATION:Steven Harvey Fine Art Projects (PROJECTOR)\,237 Eldridge St. \nNe w York\, NY 10002 SEQUENCE:0 SUMMARY:Real States\, Tom Burckhardt\, Clare Grill\, Sangram Majumdar UID:409676 END:VEVENT BEGIN:VEVENT DTEND:20160213T200000 DTSTAMP:20160210T234332 DTSTART:20160213T180000 GEO:40.7225575;-73.989974 LOCATION:Steven Harvey Fine Art Projects (PROJECTOR)\,237 Eldridge St. \nNe w York\, NY 10002 SEQUENCE:0 SUMMARY:Real States\, Tom Burckhardt\, Clare Grill\, Sangram Majumdar UID:409677 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Skarstedt is pleased to presen t Nice Weather\, an exhibition of paintings curated by David Salle \, at both its Upper East Side and Chelsea locations. Inspired by the title of Frederick Seidel&rsquo\;s poem\, this exhibition brings together some o f the strongest painters of the present day. Spanning two galleries\, N ice Weather hosts a platform for conversation within a multigeneration al group of artists\, ranging in age from their twenties to their eighties\ , many of whom will be seen together for the first time.

Each work is concerned\, to one degree or another\, with the basic properties of painting: size\, scale\, surface\, shape\, color and gesture. Some of the paintings are also concerned with imagery\, with how it can be presented an d integrated with pure painting\, but none of these artists are realists pe r se. Overall\, there is an emphasis on structure and materiality. Many of the works are declarative\; they make an immediate impact. Some are visuall y blunt\; others are more lyrical. All have a strong sense of painting&rsqu o\;s internal energy. A few of the artists are not &ldquo\;painters&rdquo\; in the strict sense\, but their inclusion here makes visual and material s ense. The show communicates an aesthetic\, which while difficult to name\, examines the role of gesture\, in all senses of that term\, in painting. Wh atever differences in starting premise or choice of media\, the show examin es how paintings talk to each other across stylistic orthodoxies &ndash\; h ow they connect beneath the surface. Employing a variety of strategies\, th eseworks achieve a result that is neither exclusively figurative nor comple tely abstract\, one that expresses an immediacy and engagement with materia lity.

Although the painters here work toward different objecti ves\, a point of intersection is an interest in making an &ldquo\;open&rdqu o\; type painting\, one in which more or less anything &ndash\; including n othing at all &ndash\; can happen\, and does. These artists share a lack of dogma\; their work is aware of\, but not in the least constricted by\, can ons of the past. Embracing an overall &ldquo\;constructed&rdquo\;\, or cons tructivist\, approach\, they generate a fresh image: not an image of the wo rld\, but a new image on its own terms. This exhibition does not attempt to be encyclopedic or all-inclusive of the best painters today\; the show is a small sampling of the painters working now. The selection brings together painters whose work represents a fresh mind-set\; they share some original quality &ndash\; one without a name. The show affords an opportunity to se e that this attitude is something realized by a diverse group of painters\, with widely divergent points of origin.

DTEND:20160416 DTSTAMP:20160210T234332 DTSTART:20160225 GEO:40.776222;-73.962527 LOCATION:Skarstedt Gallery - Upper East Side\,20 E. 79th St. \nNew York\, N Y 10075 SEQUENCE:0 SUMMARY:Nice Weather\, Richard Aldrich\, Joe Bradley\, Cecily Brown\, Georg e Condo\, Martha Diamond\, Lucy Dodd\, Carroll Dunham\, Louise Fishman\, Ra shid Johnson\, Alex Katz\, Shawn Kuruneru\, Chris Martin\, Albert Oehlen\, Sterling Ruby\, David Salle\, Dana Schutz\, Amy Sillman\, Gary Stephan\, Bl air Thurman\, Patricia Treib\, Rosemarie Trockel\, Piotr Uklanski\, Charlin e von Heyl\, Mary Weatherford\, Stanley Whitney\, Terry Winters UID:409674 END:VEVENT BEGIN:VEVENT DTEND:20160225T200000 DTSTAMP:20160210T234332 DTSTART:20160225T180000 GEO:40.776222;-73.962527 LOCATION:Skarstedt Gallery - Upper East Side\,20 E. 79th St. \nNew York\, N Y 10075 SEQUENCE:0 SUMMARY:Nice Weather\, Richard Aldrich\, Joe Bradley\, Cecily Brown\, Georg e Condo\, Martha Diamond\, Lucy Dodd\, Carroll Dunham\, Louise Fishman\, Ra shid Johnson\, Alex Katz\, Shawn Kuruneru\, Chris Martin\, Albert Oehlen\, Sterling Ruby\, David Salle\, Dana Schutz\, Amy Sillman\, Gary Stephan\, Bl air Thurman\, Patricia Treib\, Rosemarie Trockel\, Piotr Uklanski\, Charlin e von Heyl\, Mary Weatherford\, Stanley Whitney\, Terry Winters UID:409675 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Nice Weather< br /> This is what it&rsquo\;s like at the end of the day.
But soon the day will go away.
Sunlight preoccupies the cross street.
It and night soon will meet.
Meanwhile\, there is Central Park. Now the park is getting dark.

- Frederick Seidel

Skarste dt is pleased to present Nice Weather\, an exhibition of paintings curated by David Salle\, at both its Upper East Side and Chelsea locations . Inspired by the title of Frederick Seidel&rsquo\;s poem\, this exhibition brings together some of the strongest painters of the present day. Spannin g two galleries\, Nice Weather hosts a platform for conversation w ithin a multigenerational group of artists\, ranging in age from their twen ties to their eighties\, many of whom will be seen together for the first t ime.

Each work is concerned\, to one degree or another\, with the basic properties of painting: size\, scale\, surface\, shape\, color an d gesture. Some of the paintings are also concerned with imagery\, with how it can be presented and integrated with pure painting\, but none of these artists are realists per se. Overall\, there is an emphasis on structure an d materiality. Many of the works are declarative\; they make an immediate i mpact. Some are visually blunt\; others are more lyrical. All have a strong sense of painting&rsquo\;s internal energy. A few of the artists are not & ldquo\;painters&rdquo\; in the strict sense\, but their inclusion here make s visual and material sense. The show communicates an aesthetic\, which whi le difficult to name\, examines the role of gesture\, in all senses of that term\, in painting. Whatever differences in starting premise or choice of media\, the show examines how paintings talk to each other across stylistic orthodoxies &ndash\; how they connect beneath the surface. Employing a var iety of strategies\, theseworks achieve a result that is neither exclusivel y figurative nor completely abstract\, one that expresses an immediacy and engagement with materiality.

Although the painters here work t oward different objectives\, a point of intersection is an interest in maki ng an &ldquo\;open&rdquo\; type painting\, one in which more or less anythi ng &ndash\; including nothing at all &ndash\; can happen\, and does. These artists share a lack of dogma\; their work is aware of\, but not in the lea st constricted by\, canons of the past. Embracing an overall &ldquo\;constr ucted&rdquo\;\, or constructivist\, approach\, they generate a fresh image: not an image of the world\, but a new image on its own terms. This exhibit ion does not attempt to be encyclopedic or all-inclusive of the best painte rs today\; the show is a small sampling of the painters working now. The se lection brings together painters whose work represents a fresh mind-set\; t hey share some original quality &ndash\; one without a name. The show affor ds an opportunity to see that this attitude is something realized by a dive rse group of painters\, with widely divergent points of origin.

DTEND:20160416 DTSTAMP:20160210T234332 DTSTART:20160225 GEO:40.747185;-74.007529 LOCATION:Skarstedt Gallery - Chelsea\,550 West 21st Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Nice Weather\, Richard Aldrich\, Joe Bradley\, Cecily Brown\, Georg e Condo\, Martha Diamond\, Lucy Dodd\, Carroll Dunham\, Louise Fishman\, Ra shid Johnson\, Alex Katz\, Shawn Kuruneru\, Chris Martin\, Albert Oehlen\, Sterling Ruby\, David Salle\, Dana Schutz\, Amy Sillman\, Gary Stephan\, Bl air Thurman\, Patricia Treib\, Rosemarie Trockel\, Piotr Uklanski\, Charlin e von Heyl\, Mary Weatherford\, Stanley Whitney\, Terry Winters UID:409672 END:VEVENT BEGIN:VEVENT DTEND:20160225T200000 DTSTAMP:20160210T234332 DTSTART:20160225T180000 GEO:40.747185;-74.007529 LOCATION:Skarstedt Gallery - Chelsea\,550 West 21st Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Nice Weather\, Richard Aldrich\, Joe Bradley\, Cecily Brown\, Georg e Condo\, Martha Diamond\, Lucy Dodd\, Carroll Dunham\, Louise Fishman\, Ra shid Johnson\, Alex Katz\, Shawn Kuruneru\, Chris Martin\, Albert Oehlen\, Sterling Ruby\, David Salle\, Dana Schutz\, Amy Sillman\, Gary Stephan\, Bl air Thurman\, Patricia Treib\, Rosemarie Trockel\, Piotr Uklanski\, Charlin e von Heyl\, Mary Weatherford\, Stanley Whitney\, Terry Winters UID:409673 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160423 DTSTAMP:20160210T234332 DTSTART:20160317 GEO:40.7474311;-74.0061585 LOCATION:Sikkema Jenkins & Co.\,530 West 22nd St. \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Visible Darkness\, Invisible Darkness\, Keiichi Tanaami UID:409670 END:VEVENT BEGIN:VEVENT DTEND:20160317T200000 DTSTAMP:20160210T234332 DTSTART:20160317T180000 GEO:40.7474311;-74.0061585 LOCATION:Sikkema Jenkins & Co.\,530 West 22nd St. \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Visible Darkness\, Invisible Darkness\, Keiichi Tanaami UID:409671 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Sikkema Jenkins &\; Co. is pleased to present stuff change\, a solo exhibition of work by Amy Sillman\, on view at the gallery from February 4 to March 12\, 2016.
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The exhibition will feature a selection of new oil paintings\, two dozen individual works on paper\, a wall of smaller drawings\, and a cycle of paintings that begin as inkjet-p rinted canvases.
\n
 \;
\n< div style="text-align: justify\;">In German\, the word for "metabolism" is stoffwechsel&mdash\;literally &ldquo\;stuff change.&rdquo\; The ar tist\, currently living part-time in Germany\, is interested in the idea of the metabolism as an analogy for both the making and the viewing of painti ng. Metabolism: a process by which the body changes something from one form to another\, the work of the body itself\, a process of breaking thing s down--which could also be called a form of abstraction. This brings the artist to the question: what is the work of a painting? In a recent ess ay in Frieze d/e\, Sillman says: "I would call it a metabolism: th e intimate and discomforting process of things changing as they go awry\, [ as they] look uncomfortable\, have to be confronted\, repaired\, or risked\ , i.e. trying to figure something out while doing it." This finding of form and de-formation\, transformation\, destruction and re-building renders pa intings that are both delicate and tough.
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Sillman began ma king animated digital drawings in 2010\, and found in animation an avenue f or extending over time the process of finding forms and narratives that her drawings have been doing all along. Now\, her analog working method clearl y indicates the interwoven logic of painting time versus filmic time. Her p aintings incorporate both fast-moving changes as well as a slow\, almost ar cheological accretion of dense layers often continuously changing for over a year. Rather than endpoints\, her paintings propose forms and materials i n flux&mdash\;suggesting a continuously changing future.
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W ith her newest working method Sillman sets canvases printed with her own dr awings next to each other like animation cels\, and paints loosely on top\, thus blurring distinctions between the handmade\, the digitally modified\, and the mechanically reproduced. Inkjet on canvas is commonly used in cont emporary painting as way to include photographic work\, but Sillman uses he r own drawings as the base\, and then loops back to hand-made marks on top\ , thus returning to the beginning again and again. In doing so\, she reveal s the self-reflexive aspects of time and process in painting\, and asks the viewer to look at painting not as a final product\, but as a vital process . \;
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Amy Sillman earned her BFA in 1979 from the Schoo l of Visual Arts\, New York and her MFA in 1995 from Bard College\, Annanda le-on-Hudson\, New York. She has received numerous awards and grants\, incl uding a Guggenheim Fellowship\, the Louise Comfort Tiffany Foundation Award \, the Guna S. Mundheim Fellowship in the Visual Arts from the American Aca demy in Berlin. Her work has been exhibited widely and is included in the c ollections of many prestigious institutions including The Museum of Modern Art in New York\, The Art Institute of Chicago\, the Metropolitan Museum of Art\, the San Francisco Museum of Modern Art\, and the Whitney Museum of A merican Art. \;
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Sillman&rsquo\;s first museum survey\, one lump or two\, premiered at The Institute of Contemporary Art\, Boston in October 2013. The exhibition\, curated by Helen Molesworth\, also travel ed to the Aspen Museum of Art and the Hessel Museum of Art at Bard College. A hardcover catalogue published by Prestel accompanied the exhibition.\n
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Sillman currently splits her time between New York and German y where she is Professor of Painting at Frankfurt&rsquo\;s Stä\;delschu le.
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DTEND:20160312 DTSTAMP:20160210T234332 DTSTART:20160204 GEO:40.7474311;-74.0061585 LOCATION:Sikkema Jenkins & Co.\,530 West 22nd St. \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Stuff Change\, Amy Sillman UID:409668 END:VEVENT BEGIN:VEVENT DTEND:20160204T200000 DTSTAMP:20160210T234332 DTSTART:20160204T180000 GEO:40.7474311;-74.0061585 LOCATION:Sikkema Jenkins & Co.\,530 West 22nd St. \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Stuff Change\, Amy Sillman UID:409669 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Kathryn Lynch&rsquo\;s Exhibition at Sears-Peyton Ga llery Conjures Shelter Island Summer

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While summer may feel a world away for many New Yorkers\, in Kathr yn Lynch&rsquo\;s exhibition A View of One&rsquo\;s Own\, the arti st&rsquo\;s gestural impressions of her experiences and environment on Shel ter Island evoke New York&rsquo\;s sunny rural islands and pitched blue sea s. In this first part of the exhibition\, (the second will feature painting s of Red Hook)\, painterly washes of aqua and cobalt blue usher viewers int o the breezy days of summer on Shelter Island. Windows or cottage doorways frame views of the summer refuge in the Long Island Sound\, suggesting an o bserver&rsquo\;s position&mdash\;a space of quiet enjoyment and contemplati on where the painter hovers between interior and exterior\, assembling each painted moment from fragments of experience seen and felt.

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The exhibition title echoes Virginia Woolf&rsquo\;s declaration that a writer (and perhaps an artist) must have &ldquo\;a room of one&rsquo\;s own\,&rdquo\; but also\, as Lynch says &ldquo\;how we see& mdash\;our own internal thoughts act as a window or door to how we see the world&hellip\;we are a combination of looking out and looking within.&rdquo \;

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Lynch&rsquo\;s associative proces s of gathering impressions\, memories\, and feelings of her experiences and surroundings results in paintings that evoke more than they explain. Lynch stitches fragments of everyday life into poetic re-imaginings that recolle ct and reinterpret the world with her signature blend of painterly acumen\, cultural allusion\, and wit. \;

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With their strikingly different atmospheres\, yet related painterly forms and surfaces\, this two-part exhibition of Lynch&rsquo\;s works offers a vi ew from the artist&rsquo\;s perch as keen observer\, cultural producer\, an d witty commentator. Among the boats\, bridges\, and seagulls\, we find the familiar cadence of Lynch&rsquo\;s fluency with brush\, light\, space\, an d something more ephemeral&mdash\;the shape and color of each fleeting expe rience\, and the salty taste of summer.

DTEND:20160312 DTSTAMP:20160210T234332 DTSTART:20160211 GEO:40.749843;-74.005914 LOCATION:Sears-Peyton Gallery\,210 11th Ave. Suite 802\nNew York\, NY 10001 SEQUENCE:0 SUMMARY:A View of One's Own\, Part 1\, Kathryn Lynch UID:409666 END:VEVENT BEGIN:VEVENT DTEND:20160211T200000 DTSTAMP:20160210T234332 DTSTART:20160211T180000 GEO:40.749843;-74.005914 LOCATION:Sears-Peyton Gallery\,210 11th Ave. Suite 802\nNew York\, NY 10001 SEQUENCE:0 SUMMARY:A View of One's Own\, Part 1\, Kathryn Lynch UID:409667 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Mierle Laderman U keles will launch her new book "Mierle Laderman Ukeles: Seven Work Ball ets" at Ronald Feldman Fine Arts\, February 11\, 2016\, 6-8 p.m. and New Yo rk Public Library\, Schwarzman Building\, Celeste Auditorium\, March 2\, 20 16\, 6-8 p.m. Copies will be available for sale and signing at both events. This is the first monograph on Ukeles' seminal practice\, and is as much a n artist's book as an art-historical publication

DTEND:20160211T200000 DTSTAMP:20160210T234332 DTSTART:20160211T180000 GEO:40.7210296;-74.0017957 LOCATION:Ronald Feldman Fine Arts\,31 Mercer Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Book Launch: "Mierle Laderman Ukeles: Seven Work Ballets" UID:409665 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Cottingham&r squo\;s subjects don&rsquo\;t really exist. ...The closer the fictive figur es are scrutinized\, the more they begin to deconstruct\, much as paintings break down into welters of colored brush strokes.  \;It&rsquo\;s this ambiguity &ndash\; \;each image&rsquo\;s uncanny tendency to both mimic and contradict  \;photographic  \;reality \;&ndash\; \;tha t tells us no photo should be taken at face value. \; \; \;&nbs p\; \; \; \; \; \; \; \; \; \; \;&n bsp\; \; \; \; \; \; \; \; \; \; \;  \; \; \; \; \; \; \; \; \; \;  \; \; \; \; \; \; \; \; \; \; \;&nb sp\; \; \; \; \; \; \; \; \; \; \;& nbsp\; \; \; \; \; \; \; \; \; \; \ ; \; \; \; Ron Platt\, &ldquo\;Believing is Seeing.&rdquo\ ;  \;Wired 3\, No. 10  \;

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For his fourth e xhibition at Ronald Feldman Fine Arts\, Keith Cottingham will exhibit fourt een large-scale photographic prints that touch on spatially complex imagery from the realms of biology and cosmology.  \;Minimal compositions incl ude spheres\, crystals\, and other seemingly recognizable shapes floating a gainst black backgrounds\, as well as intersecting forms which convey a pri smatic sense of space.  \;Hyper-realistic lighting activates the subjec ts\, and bold colors\, narrow depth of field\, and time-lapse motion create emotional undertones. Suggestions of condensation and liquid represent for m and spirit infusing out of emptiness. These futuristic renderings\, opera ting outside human scale\, ask the question: are we inside living cells or floating amongst the stars?

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The exhi bition charts a new direction for Cottingham\, a seminal artist in the digi tal age\, who previously challenged the authenticity of photography by simu lating the material world to unsettling effect in three series: multiple im ages of a prepubescent boy in \;Fictitious Portraits \;(19 92)\; \;a collection of nineteenth century ethnographic studies in  \;History Repurposed \;(1999)\; architectural spaces in \; Constructed Photographs \;(2004)\; and animations of successiv e movement and interaction of diverse forms in \;Growth \; (2007). None of the subjects depicted exist.

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With \;Biology &\; Cosmology\, Cottingham finds fr eedom to create new symbolic worlds that go beyond real world limitations a nd operate outside human scale.  \;The process\, which he identifies as &ldquo\;constructive imaging\,&rdquo\; begins with 3D models rendered and then printed as archival pigment prints.  \;Instead of light photons re vealing an outside world through a lens\, these pure renderings go beyond p hotography to objectify 3D representations not tethered to real world refer ents.  \;The 3D scenes\, materials and lights are sculpted and designed \, but how their physical properties interact with each other to create an image is based on real world physics.  \;This divergent approach create s artful &ldquo\;visualizations\,&rdquo\; blurring the distinction between imagination and reality.  \;

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As the lifeworld becomes more and more quantified\, mystery is being further r educed and buried underneath the appearance of the rational.  \;But the re is more than meets the eye.  \;What is circulating and permeating be low the surface of the visible?  \; \;What are the unseen creative forces breathing life into our unfolding existence?  \;How will the new paradigm of matter and energy taking precedence over the &lsquo\;soul&rsqu o\; affect our understanding of ourselves? These colorful visualizations ho pe to re-enchant the viewer with the &lsquo\;mysterious&rsquo\; by glimpsin g the world that is just beyond our understanding.  \;The deeper we loo k\, the greater the new expanse becomes.

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Cottingham&rsquo\;s work has been reproduced and exhibited in ma jor exhibitions\, including the MIT List Visual Arts Center\, Cambridge\, M A\; Los Angeles County Museum of Art\, Los Angeles\, CA\; Siemens AG\, Muni ch\, Germany\; Fundació\;n Telefó\;nica\, Madrid\, Spain\; Hayw ard Gallery\, London\, England\; and Neue Galerie Graz\, Austria.

DTEND:20160326 DTSTAMP:20160210T234332 DTSTART:20160213 GEO:40.7210296;-74.0017957 LOCATION:Ronald Feldman Fine Arts\,31 Mercer Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Biology & Cosmology: Below the Visible\, Keith Cottingham UID:409661 END:VEVENT BEGIN:VEVENT DTEND:20160213T200000 DTSTAMP:20160210T234332 DTSTART:20160213T180000 GEO:40.7210296;-74.0017957 LOCATION:Ronald Feldman Fine Arts\,31 Mercer Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Biology & Cosmology: Below the Visible\, Keith Cottingham UID:409662 END:VEVENT END:VCALENDAR