BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION: DTEND:20150304 DTSTAMP:20150130T100234 DTSTART:20150206 GEO:40.7211642;-73.9887236 LOCATION:Y Gallery\,165 Orchard Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Solo Exhibition\, Juan Fontanive UID:372039 END:VEVENT BEGIN:VEVENT DTEND:20150206T210000 DTSTAMP:20150130T100234 DTSTART:20150206T180000 GEO:40.7211642;-73.9887236 LOCATION:Y Gallery\,165 Orchard Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Solo Exhibition\, Juan Fontanive UID:372040 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150221 DTSTAMP:20150130T100234 DTSTART:20150203 GEO:40.7517031;-74.0040108 LOCATION:Viridian Artists\,548 West 28th St (6th Floor) \nNew York City\, N Y 10001 SEQUENCE:0 SUMMARY:Taking Flight: A Retrospective of Sculpted Linen Works\, Janet Bohm an UID:372037 END:VEVENT BEGIN:VEVENT DTEND:20150205T200000 DTSTAMP:20150130T100234 DTSTART:20150205T180000 GEO:40.7517031;-74.0040108 LOCATION:Viridian Artists\,548 West 28th St (6th Floor) \nNew York City\, N Y 10001 SEQUENCE:0 SUMMARY:Taking Flight: A Retrospective of Sculpted Linen Works\, Janet Bohm an UID:372038 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150321 DTSTAMP:20150130T100234 DTSTART:20150220 GEO:40.74612;-74.006804 LOCATION:Zieher Smith & Horton\,516 West 20th Street \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Solo Exhibition\, Rachel Owens UID:372033 END:VEVENT BEGIN:VEVENT DTEND:20150220T200000 DTSTAMP:20150130T100234 DTSTART:20150220T180000 GEO:40.74612;-74.006804 LOCATION:Zieher Smith & Horton\,516 West 20th Street \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Solo Exhibition\, Rachel Owens UID:372034 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150418 DTSTAMP:20150130T100234 DTSTART:20150225 GEO:40.774761;-73.963265 LOCATION:Venus Over Manhattan\,980 Madison Avenue \nNew York\, NY SEQUENCE:0 SUMMARY:From Pop to Punk: Paintings from the 60's and 70's\, Peter Saul UID:372032 END:VEVENT BEGIN:VEVENT DESCRIPTION:

With these recent selections f rom a series of portraits begun in 2011\, visitors to the Painting Center a re invited to join the artist in exploring the possibilities inherent in a genre as old as painting itself. Straightforward\, candid\, and intentional ly unmannered\, each canvas is an attempt to get beyond the search for some thing new\, in order to discover what painting can still illuminate in an e ra of exceptional cultural complexity.

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Peter Malone\, a current member of Blue Mountain Gallery\, New York has p articipated in group and solo exhibitions at The National Academy of Design \, New York\; Long Island University\, Brooklyn\; the Municipal Gallery\, K harkov\, Ukraine\; the Munson Williams Proctor Art Museum\, Utica\, NY\; th e Islip Art Museum\, Islip\, New York\; Gallery Henoch\, New York\; Pratt I nstitute\, Brooklyn\, New York\; the Laguna-Gloria Art Museum\, Austin\, Te xas\; the Hudson River Museum\, Yonkers\, New York and the Southern Vermont Arts Center\, Manchester\, Vermont. He is the recipient of a 2014 Pollock- Krasner Foundation Grant\, the author of Back Words: One Painter&rsquo\;s v oice in the Conversation (Amazon/CreateSpace\, 2012)\, and he writes review s and essays for Hyperallergic.com and Artcritical.com.

DTEND:20150328 DTSTAMP:20150130T100234 DTSTART:20150303 GEO:40.75111;-74.004475 LOCATION:The Painting Center\,547 West 27th Street Suite 500\nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Paintings\, Peter Malone UID:372028 END:VEVENT BEGIN:VEVENT DTEND:20150305T200000 DTSTAMP:20150130T100234 DTSTART:20150305T180000 GEO:40.75111;-74.004475 LOCATION:The Painting Center\,547 West 27th Street Suite 500\nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Paintings\, Peter Malone UID:372029 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Marianne Van Lent is a painter of the natural world. Filtered through memory\, her work examines the myst erious forces of the physical world and investigates our fragile position i n the universe through the intersection of natural and technological modali ties. Worlds (cosmologies) are represented both in the outer world of natur e and the inner world of the psyche. Creating a multi dimensional collision of realms\, the glimmer of unexpected openings provides inspiration for th e process of painting. &rdquo\; My painting process relates to the process of transcendence and transformation in which magic occurs through abstracti on.&rdquo\;

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Marianne Van Lent lives a nd works in NYC and Athens\, NY on the Hudson River. She received her BFA f rom Tyler School of Art and her MFA from Cornell University. Van Lent&rsquo \;s paintings have been exhibited in the United States and Europe and inhab it many public and private collections. Recent solo exhibitions include Cosmologies at The Painting Center\, New York and Reflected Light at Ulla Surland Fine Art\, Fairfield CT. Her works can be seen online at www.mariannevanlent.com

DTEND:20150328 DTSTAMP:20150130T100234 DTSTART:20150303 GEO:40.75111;-74.004475 LOCATION:The Painting Center\,547 West 27th Street Suite 500\nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Prima Materia\, Marianne Van Lent UID:372026 END:VEVENT BEGIN:VEVENT DTEND:20150305T200000 DTSTAMP:20150130T100234 DTSTART:20150305T180000 GEO:40.75111;-74.004475 LOCATION:The Painting Center\,547 West 27th Street Suite 500\nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Prima Materia\, Marianne Van Lent UID:372027 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The privilege of being invited into an artist&rsquo\;s studio is something that many never have a chance to experience. Talismans offers a glimpse into the studios of four New-York based painters&mdash\;Robert Berlind\, Susanna Heller\, John L. Moore\, an d Levent Tuncer&mdash\;by presenting their paintings accompanied by objects and images from their studios. These objects or talismans represent people and things that have influenced and inspired the four. The idea for the ex hibition is credited to the photographer John Coplans (also a former museum director\, curator\, and founding editor of Artforum)\, who told John L. M oore that he would have liked to organize an exhibition of artists&rsquo\; bulletin boards\, as he was always attracted to what artists chose to keep on view in their studios and how it related to their work.

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In this exhibition\, Robert Berlind says that he has made selections of works by others that he keeps in his li ving/working space\, and that he has limited his choices to a poster for Al ex Katz&rsquo\;s 1972 exhibition at Hartford&rsquo\;s Wadsworth Atheneum\, Sky\, a 1980 lithograph by Philip Guston that was likely among his last wor ks\, and a photograph by George Woodman. Berlind writes:

I have been looking at each more or less daily\, Katz when I am upstate in C ochecton\, Guston when I am in New York. Both are for me utterly contempora ry\, that is to say\, a beat ahead of me and therefore ongoing challenges. They always show something new. It would be too facile and not quite accura te to characterize them respectively as &ldquo\;cool&rdquo\; and &ldquo\;ho t.&rdquo\; Katz&rsquo\;s extreme technical refinement is grounded in a stro ngly felt response to the particular\, stylish beauty Ada represents\; whil e Guston&rsquo\;s airborne pandemonium is held in place by his flawless\, i mprovised composition. And yet the two pieces are based on antithetical app roaches and procedures. I imagine many of us work with the pressure of such contrary impulses.


Susanna Heller
has b een in her Brooklyn studio since 1994\, a place that she describes as a dee ply layered space\, created over time\, where she spends every day\, thinki ng\, working\, and living. Along with scores of drawings piled up to the fo urteen-foot ceiling\, Heller says she has:

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&hellip\;a mixed bag of things I would describe as &ldquo\;treasu re/trash.&rdquo\; These are a divergent collection of objects\, photos\, po stcards\, pictures of old work\, quotes\, notes\, drawn painting reminders\ , chunks of paint\, tiny painter&rsquo\;s pallettes\, and more. They have c ollected over the years here&hellip\;and the &ldquo\;outer surface&rdquo\; is constantly in flux depending on current work\, walks\, and drawings or c ollages that are in the forefront of my thoughts. Often these things are in groups that I consider stories for possible paintings. I will display seve ral of these &ldquo\;groupings&rdquo\; in this exhibition.

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Heller says that for her:

&hell ip\;a painting\, like a walk\, connects the physical experience (feet on th e ground/paint on the canvas) to movement\, energy\, and space&hellip\;I pa int tactically\, not strategically. The work is without a formula and I wor k with no physical hierarchies or imperatives&hellip\;for me as a painter\, drawer\, or walker\, I follow the &ldquo\;thicks&rdquo\; and &ldquo\;thins &rdquo\; of urban space and marks on surface. In taking in my painting\, it is important that you can travel the ins and outs of your eye&rsquo\;s tra jectory\, as they travel over the surface\, into a color\, or back towards a distant horizon: one either seen or imagined. These are the stories I nee d to tell myself as I work in the studio\, so the studio itself becomes the raw material source or the staging for the paintings. \;

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John L. Moore has chosen to present a selection of objects he lives with that are related to people an d events in his life. Moore met John Coplans when he was director of the Ak ron Museum where Coplans began the photography work that brought him recogn ition as an artist. They had dinner together at least once a month for twen ty years and Moore says he learned a lot from Coplans\; a small photograph by Coplans is included here. Other objects include photos of his first infl uential art teachers\, military buddies\, a drawing by self-taught artist N elly Mae Rowe\, an African Mask (Gabon)\, and a poster for Aquarian Artists \, an exhibition organized by international curator and artist Willoughby S harp. There is also a post card sent by the young Jimi Hendrix to his fathe r regarding his experience in paratrooper jump school. Moore writes:

\n< p style="text-align: justify\;">My work is informed by memories. Memori es of things that I have experienced\, or were told to me\, things that I h ave read or dreamed. Since they are recurring\, they often shape my thought s and visual images. Readings on the history of the middle passage\, partic ularly\, the two million slaves that died in transit crossing the Atlantic\ , raised many unanswered questions that became the focus of my paintings. I often use the image of a mirror or mirror-less frames in my paintings as a metaphor for various contemporary issues of our own often conflicting hist ories. In this exhibition\, River and Mirror\, (2003) and Jimi (2013) are p aintings that ask the question: How did I get here? One unknown ancestor ma de the crossing. The middle passage is in my DNA.

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Painter Levent Tuncer\, whose recent mon umental paintings are inspired by a 15th-century Iranian drawing\, lives an d works in a large duplex\, semi-raw loft in Bushwick. There he is surround ed by talismans\, small items\, and pictures that are out in the open in a seemingly disorganized way:
 \; \; \;
I have p hotos from my first year on earth next to some music CDs\, a carved Indian head next to books\, stones from Peru\, turtles carved in stone\, photos of friends\, lovers\, and family as well as art. Drawers open\, with passing glimpses to my past. Many books I read at the same time\, some notes on the walls&hellip\;.It is as though\, as this space is my life and time is a gi ant\, intricate spider web\; all these items and things are tiny little kno ts that connect the sections of this&hellip\;conduits that make it possible for me\, to place myself in relation to everything and thus live both in p resent and past tense at the same time\, but also review who I am\, afresh each time my gaze or hand touches these things. This is why at times I will paint and not go out for days and days\, yet visiting a lifetime\, in a so rt of time travelling.

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Turkish A merican Tuncer&rsquo\;s intuitive\, psychological paintings deal with duali ties: order and disorder\; history and fiction\; repetition and change. His works are influenced by cross-cultural emblems including architecture\, te xtiles\, and tiles. \; Tuncer says that by repeating these images while still allowing them to mutate\, he is able to create: a complex visual equ ivalent of cultural disjuncture&hellip\;[that] subverts their repetitive ri gidity&hellip\;and suggest that order\, like authority\, is vital only when it evolves\, and that it evolves only when challenged and made to diverge from its historical context.

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This exhibition was made possible by The Wolf Kahn &\; Emily Mason Found ation.

DTEND:20150228 DTSTAMP:20150130T100234 DTSTART:20150203 GEO:40.75111;-74.004475 LOCATION:The Painting Center\,547 West 27th Street Suite 500\nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Talismans\, Robert Berlind\, Susanna Heller\, John L. Moore\, Leven t Tuncer UID:372024 END:VEVENT BEGIN:VEVENT DTEND:20150205T200000 DTSTAMP:20150130T100234 DTSTART:20150205T180000 GEO:40.75111;-74.004475 LOCATION:The Painting Center\,547 West 27th Street Suite 500\nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Talismans\, Robert Berlind\, Susanna Heller\, John L. Moore\, Leven t Tuncer UID:372025 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150321 DTSTAMP:20150130T100234 DTSTART:20150219 GEO:40.7469616;-74.0063805 LOCATION:Tanya Bonakdar Gallery\,521 W. 21st St. \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Backyard\, Analia Saban UID:372022 END:VEVENT BEGIN:VEVENT DTEND:20150219T200000 DTSTAMP:20150130T100234 DTSTART:20150219T180000 GEO:40.7469616;-74.0063805 LOCATION:Tanya Bonakdar Gallery\,521 W. 21st St. \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Backyard\, Analia Saban UID:372023 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Sargent&rsquo\;s Daughters is pleased to present &ldquo\;Ross Bleckner and Volker Eichelmann&rdquo\;\, a two-person exhibition of paintings and collage works on paper.  \;The e xhibition will open on Wednesday\, February 11th and run until March 15\, 2 015.
 \;

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In this exhibition \, Bleckner presents a group of 18 inch paintings\, which span a period of roughly twenty years. This is the first time Bleckner has exhibited these w orks\, though the format has been important to Bleckner throughout his care er. Usually these paintings are made alongside larger works and serve alter nately as experiments\, tests\, things left out\, and things to be remember ed. The choice of 18 inches corresponds to the Hebrew character meaning lif e and light\, and is the title of the book accompanying the exhibition. The paintings presented here correspond to the different styles and bodies of work: Examined life paintings (1990)\, Burn Paintings (1991-1992)\, Archite cture of the Sky Paintings (1993)\, Fading Consciousness Paintings (1996)\, Molecule\, Blood and Disease Paintings (2000)\, Remembering Those Who Died Paintings (2000-Present)\, Crowd Paintings (Dissolving into One Another Pa intings) (2002)\, Lifespan Paintings (2003)\, Meditation Paintings (2005)\, Flower Paintings (2010)\, Forgetting Paintings (2013)\, Brain Paintings (2 013)\, Black Monet Paintings (2013-2014). As much as this selection demonst rates difference and variety\, it is also tied together by ongoing material experimentation as well as reoccurring tropes\, styles\, and themes. Taken as a whole they depict Bleckner&rsquo\;s career long\, multifaceted look a t spirituality\, humanity\, and mortality.  \;
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Eich elmann&rsquo\;s latest text paintings produced in 2014 and 2015 feature ext racts from the writings of two of Britain&rsquo\;s greatest eccentrics\, Wi lliam Beckford (1760-1844) and Stephen Tennant (1906-1987). Both were celeb rated for epitomising the style and taste of their age. William Beckford\, born to immense wealth\, established himself as a most discerning collector of art and artefacts and housed his treasures in the ill-fated Fonthill Ab bey\, one of the most stupendous architectural confections ever constructed . In the 1920s Stephen Tennant was the most dazzling star of the ultimate f ashion set\, known as the Bright Young Things. He continued to be a legenda ry but reclusive figure in later life\; writing poetry and designing endles s book jackets for his long planned but never-to-be written book &lsquo\;La scar\, A Story of the Maritime Boulevards&rsquo\;. The extracts chosen by E ichelmann for these works conjure glittering images which Beckford and Tenn ant recorded in their diaries and letters. Miniature snapshots as seen thro ugh the eyes of 18th and the 20th century arbiters of taste flare up in the here and now. Beckford&rsquo\;s and Tennant&rsquo\;s words combined with E ichelmann&rsquo\;s lyrical abstractions present prisms\, refracting 18th\, 20th and 21st century sensibilities. This is Eichelmann's first exhibition in New York City.
 \;
Both Bleckner and Eichelmann&rsquo\;s attention to the past is mirrored by a fascination with the future.  \ ; History is never far from either of them\, yet neither is caught in the w eb of nostalgia.  \;Each work is as timeless as it is current: achievin g a balance between past and present that endlessly resonates.

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Ross Blecknerwas born in 1949 in New York\, NY.  \;He \;received a Bachelor of Arts from New York U niversity in 1971\, a Master of Fine Arts from Cal Arts in 1973\, and has t aught at many of the nation's most prestigious universities. The Solomon R. Guggenheim Museum held a major retrospective of his works in 1995\, summar izing two decades of solo shows at internationally acclaimed exhibition ven ues such as the San Francisco Museum of Modern Art\, California\; Contempor ary Arts Museum\, Houston\; Moderna Museet\, Stockholm\; and the Carnegie M useum of Art\, Pittsburgh. Works by Bleckner are also held in esteemed publ ic collections around the world\, including the Museum of Modern Art\, New York\; Museum of Contemporary Art\, Los Angeles\; Astrup Fearnley Museum of Modern Art\, Oslo\; Museo National Centro de Arte Reina Sofia\, Madrid\; a nd the Whitney Museum of American Art\, New York. The artist lives and work s in New York.

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 \;

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Volker Eichelmann was born in 1973 in Hamburg\, Germany. He studied at the Academy of Fine Arts\, Vienna\, Ce ntral St. Martins and Goldsmiths College\, London. He has held solo exhibit ions at Ancient &\; Modern\, London\; Jessica Silverman Gallery\, San Fr ancisco\; Galerie Andreas Huber\, Vienna and participated in numerous group shows including 40yearsvideoart.de\, ZKM Karlsruhe\; Hello Darkness\, K21\ , Dü\;sseldorf\; and Das Glasperlenspiel at Vilma Gold Project Space\, Berlin. Eichelmann curated &lsquo\;Silver Mirros\, Silver Wood&rsquo\;\, a group show of his works shown alongside a selection of 18th and 19th centur y objets d&rsquo\;art for Frieze London 2014. He is currently Associate Pro fessor at Kingston University and lives and works in London.

DTEND:20150315 DTSTAMP:20150130T100234 DTSTART:20150211 GEO:40.7139931;-73.9892639 LOCATION:Sargent's Daughters\,179 East Broadway \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Ross Bleckner and Volker Eichelmann\, Ross Bleckner\, Volker Eichel mann UID:372020 END:VEVENT BEGIN:VEVENT DTEND:20150211T200000 DTSTAMP:20150130T100234 DTSTART:20150211T180000 GEO:40.7139931;-73.9892639 LOCATION:Sargent's Daughters\,179 East Broadway \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Ross Bleckner and Volker Eichelmann\, Ross Bleckner\, Volker Eichel mann UID:372021 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Drawing inspiration from Old Worl d artists\, Paulette Tavormina renders luscious fruit\, flowers\, and food with a painterly eye to create rich tableaux. \;These intensely persona l pictures bring to light the evocative life cycles of flora and fauna\, im perfect in their vigor and subsequent decay. Inextricably tied for the arti st to sensation and memory\, each still life finds particular temperament i n the character and balance of its objects.

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Robert Mann Gallery is pleased to present \;Bodegó\;n\, a new series of sumptuous works by Tavormina. \; Meaning "from the pantry \," \;Bodegó\;n is inspired by the paintings of 18th-century Span ish still life painter \;Luis Melé\;ndez. Featuring the elegant e veryday cookware of the rustic kitchen\, these spreads bring the artist's s ignature gift for vibrant simplicity to a new cornucopia of \;grains\, meats and sweets. Hearty loaves bookend bountiful fruits\, grounded by burn ished copper pots and humbly charismatic country jugs.

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Accompanying Bodegó\;n\, Tavormina's \;Botanica ls series recalls the botanical illustrations of the seventeenth and eighte enth centuries\, re-imagining these scientific studies as exuberant cascade s of flora and fauna. A fantastical menagerie of bugs\, buds\, and dewy blo ssoms burst against velvety black depths\, leading the eye in figure eights around the canvas.  \;And yet Tavormina's signature motifs of darkness and decay keep these works from pure flights of fancy&mdash\;rather\, they are visions of life in all of its subtle shades of beauty.  \;

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Paulette Tavormina has been exhibited intern ationally and was the winner of the Grand Prix at the 2010 International Cu linaire Photography Festival in Paris. Largely self-taught\, she has worked on set as a food stylist in Hollywood and also photographs works of art fo r Sotheby's. Her photography has been featured in publications including Th e New York Times\, National Geographic\, The Boston Globe\, L'Express\, Mar tha Stewart Weddings and Photo Technique magazine. She lives and works in N ew York City.

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DTEND:20150321 DTSTAMP:20150130T100234 DTSTART:20150205 GEO:40.7501425;-74.0042392 LOCATION:Robert Mann Gallery- New York\,525 West 26th Street \nNew York\, N Y 10001 SEQUENCE:0 SUMMARY:Bodegón\, Paulette Tavormina UID:372018 END:VEVENT BEGIN:VEVENT DTEND:20150205T200000 DTSTAMP:20150130T100234 DTSTART:20150205T180000 GEO:40.7501425;-74.0042392 LOCATION:Robert Mann Gallery- New York\,525 West 26th Street \nNew York\, N Y 10001 SEQUENCE:0 SUMMARY:Bodegón\, Paulette Tavormina UID:372019 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150329 DTSTAMP:20150130T100234 DTSTART:20150222 GEO:40.7162;-73.991351 LOCATION:Room East\,41 Orchard Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Solo Exhibition\, Sebastian Lloyd Rees UID:372015 END:VEVENT BEGIN:VEVENT DESCRIPTION:

We are faced with a new kind of difficulty. We have two contradictory pictures of realit y\; separately neither of them fully explains the phenomena of light\, but together they do.
 \; \; \; \; \; \;&nbs p\; \; \; \; \; \;Albert Einstein and Leopold Infeld\, The Evolution of Physics\, 1938 (on wave-particle duality)

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Janine Antoni\, Edgar Arceneaux\, Cassils\, Patty Chang\, Julia Christensen\, Chris Doyle\ , Eric Dyer\, Ken Gonzales-Day\, Brent Green\, Kelly Heaton\, Shih Chieh Hu ang\, Jennie C. Jones\, Brian Knep\, Simone Leigh\, Matthew Moore\, Jason S alavon\, Gregory Sale\, Jesse Sugarmann\, Miriam Simun\, SuttonBeresCuller\ , Sam Van Aken\, Quintan Ana Wikswo (List in Form ation) \; \; \; \; \; \; \;  \; \;  \; \; \; \; \; \; \; \; \;

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Ronald Feldman Fine Arts will present Wave &\; Particle\, a group exhibition of more than two dozen art ists who are awardees of the Creative Capital Foundation\, in celebration o f the foundation&rsquo\;s 15th anniversary. \; In general\, the artists in the exhibition address contemporary issues surrounding conditions that might be rectified\; and the selection of artworks embraces the notion of s ynthesizing contradictory elements. \; Using the principles of quantum physics based on duality as a metaphor\, the exhibition muses on how one mi ght describe or consider objects that can be read in more than one way.

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The exhibition presents a w ide range of media including videos\, sculptures\, ready-mades\, prints\, p hotographs\, floor works\, ceiling hangings\, and objects that incorporate electronics and light.  \;The works tell jokes\, breathe\, induce alter ed states\, invite spiritual contemplation\, or call us to political action . \;

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The exhibition is also a modest celebration of the Creative Capital Foundation&rsquo\;s su pport of innovative and adventurous artists across the country through fund ing\, counsel\, and career development services. \; Its pioneering appr oach helps artists working in all creative disciplines to realize their vis ions and build sustainable practices. Since 1999\, Creative Capital&rsquo\; s awards program has committed more than $35 million in financial and advis ory support to 465 projects representing 579 artists. \; Its Profession al Development Program has reached 10\,000 artists in more than 400 communi ties through workshops and webinars.

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Wave &\; Particle includes a very small sample of the artists working in the disciplines of visual arts\, performing arts\, m oving image\, literature\, and emerging fields that Creative Capital has su pported over the years.

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Special thank s to Sean Elwood\, Director\, Programs &\; Initiatives for Creative Capi tal.
A press kit with more information can be found at: http://bit.ly/188TzTL

DTEND:20150321 DTSTAMP:20150130T100234 DTSTART:20150214 GEO:40.7210296;-74.0017957 LOCATION:Ronald Feldman Fine Arts\,31 Mercer Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Wave & Particle: A Group Exhibition to Celebrate Creative Capital's 15th Anniversary\, Janine Antoni\, Edgar Arceneaux\, Cassils\, Patty Chang \, Julia Christensen\, Chris Doyle\, Eric Dyer\, Ken Gonzales-Day\, Brent G reen\, Kelly Heaton\, Shih Chieh Huang\, Jennie C. Jones\, Brian Knep\, Sim one Leigh\, Matthew Moore\, Jason Salavon\, Gregory Sale\, Jesse Sugarmann\ , Miriam Simun\, SuttonBeresCuller\, Sam Van Aken\, Quintan Ana Wikswo UID:372013 END:VEVENT BEGIN:VEVENT DTEND:20150214T200000 DTSTAMP:20150130T100234 DTSTART:20150214T180000 GEO:40.7210296;-74.0017957 LOCATION:Ronald Feldman Fine Arts\,31 Mercer Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Wave & Particle: A Group Exhibition to Celebrate Creative Capital's 15th Anniversary\, Sam Van Aken\, Janine Antoni\, Edgar Arceneaux\, Cassil s\, Patty Chang\, Julia Christensen\, Chris Doyle\, Eric Dyer\, Ken Gonzale s-Day\, Brent Green\, Kelly Heaton\, Shih Chieh Huang\, Jennie C. Jones\, B rian Knep\, Simone Leigh\, Matthew Moore\, Jason Salavon\, Gregory Sale\, M iriam Simun\, Jesse Sugarmann\, SuttonBeresCuller\, Quintan Ana Wikswo UID:372014 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150404 DTSTAMP:20150130T100235 DTSTART:20150213 GEO:40.763293;-73.975497 LOCATION:Peter Blum Gallery\,20 West 57th Street \nNew York\, NY 10019 SEQUENCE:0 SUMMARY:West of the Future\, John Zurier UID:372011 END:VEVENT BEGIN:VEVENT DTEND:20150213T200000 DTSTAMP:20150130T100235 DTSTART:20150213T180000 GEO:40.763293;-73.975497 LOCATION:Peter Blum Gallery\,20 West 57th Street \nNew York\, NY 10019 SEQUENCE:0 SUMMARY:West of the Future\, John Zurier UID:372012 END:VEVENT BEGIN:VEVENT DESCRIPTION:

I make paintings that are deri ved from Renaissance and Baroque depictions of bacchanals and figures in th e landscape. My work is about reclaiming\, re-visioning and re-presenting p aintings that were created at a time when women were seen as objects rather than primary participants in the creative dialog. The paintings I work fro m are distant mirrors which I interpret through the lens of gestural abstra ction. I use painterly notation and shorthand to translate historical paint ings into a contemporary pictorial language. I use paint as a vehicle for f eeling or sensation rather than as a means of illustration. My method is in spired by Cé\;zanne&rsquo\;s idea of &ldquo\;la petite sensation\,&rd quo\; of using each brush stroke to communicate a sensation that is simulta neously optical and emotional. My paintings begin with a specific pictorial point of departure but then move towards abstraction as the representation al content is balanced by focus upon color\, composition and the materialit y of the paint. Linear\, rational readings are interrupted and replaced wit h a capacious awareness of the sensuous possibilities of paint. The histori cal paintings I work from become structures on which to hang paint\; the so undness of these structures capacitates great improvisational freedom. The real subject becomes the substance and surface of oil paint\, the variety o f its applications\, and the ways in which it can be used to celebrate life .


eli seansel.com

DTEND:20150228 DTSTAMP:20150130T100235 DTSTART:20150204 GEO:40.7515661;-74.0041872 LOCATION:Phoenix Gallery\,548 West 28 Street Suite 528\nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Palimpsest\, Elise Ansel UID:372009 END:VEVENT BEGIN:VEVENT DTEND:20150205T200000 DTSTAMP:20150130T100235 DTSTART:20150205T180000 GEO:40.7515661;-74.0041872 LOCATION:Phoenix Gallery\,548 West 28 Street Suite 528\nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Palimpsest\, Elise Ansel UID:372010 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Joe Shef­\;tel Gallery is pleased to present \;ECHO I MPLANT\, Donna Huanca&rsquo\;s first solo exhi­\;bi­\;tion with the g allery. An open­\;ing recep­\;tion and the first per­\;for­\;ma nce will be held on Thurs­\;day\, Feb­\;ru­\;ary 5\, from 7-9pm. T he exhi­\;bi­\;tion will be on view through March 8\, 2015.

Addi­\;tional per­\;for­\;mances will be held on:
Sun­\; day\, Feb­\;ru­\;ary 15\, 3-6pm
Sun­\;day\, March 1\, 3-6pmSun­\;day\, March 8\, 3-6pm

For \;ECHO IMPLANT\, Donn a Huanca cre­\;ates an immer­\;sive instal­\;la­\;tion fea­\ ;tur­\;ing new paint­\;ings and sculp­\;tures that will be acti&sh y\;vated by sched­\;uled per­\;for­\;mances in the exhi­\;bi&sh y\;tion space.

Donna Huanca&rsquo\;s instal­\;la­\;tions f use tac­\;tile mate­\;ri­\;als\, such as cloth­\;ing and epheme ra to cre­\;ate per­\;for­\;ma­\;tive archi­\;tec­\;tural col­\;lages. Work­\;ing pri­\;mar­\;ily with decon­\;struct ed cloth­\;ing\, dipped in paint and solid­\;i­\;fied\, her sculp& shy\;tural ges­\;tures pause a once-fluid life of the gar­\;ment. Dur ­\;ing Huanca&rsquo\;s dura­\;tional per­\;for­\;mances the wor ks inter­\;act with the vul­\;ner­\;a­\;bil­\;ity of live mo d­\;els\, cam­\;ou­\;flaged and infused into the sculp­\;ture\, giv­\;ing life to oth­\;er­\;wise sta­\;tic art­\;works

Born in Chicago\, Huanca received a BFA in Paint­\;ing from the Uni­\;ver­\;sity of Hous­\;ton and stud­\;ied at Stä\;delsc hule\, Frank­\;furt\, Ger­\;many. In 2012\, Huanca was awarded a Ful& shy\;bright Schol­\;ar­\;ship to live and work in Mex­\;ico City.< br />
Recent exhi­\;bi­\;tions include: \;PSYCHOTRIA ELATAat Art Berlin Con­\;tem­\;po­\;rary\, Berlin\, Ger­\;many\,SADE R OOM (famously reclu­\;sive) \;at MoMA PS1 Printshop New York\, \ ;Look where it got us\, MonCHERI Brus­\;sels\, Bel­\;gium\, \;SEE ING AURAS \;at ltd Los Ange­\;les\, \;SCRYING THREATS\, Queer Th oughts\, Chicago\, \;RAW MATERIAL \;at Malmö\; Kon­\;sthall\ , Swe­\;den\, \;2013 Arn­\;hem Fash­\;ion Bien­\;nale\, Net her­\;lands\, \;Pio­\;neer Voices \;at the Gallery of North&s hy\;ern Nor­\;way\, and \;PANIC FEAR CRYING FITSat PRETEEN Gallery\, Mex­\;ico.

*The open­\;ing per­\;for­\;mance will f ea­\;ture gar­\;ments by Women&rsquo\;s His­\;tory Museum\, (Mat&s hy\;tie Barringer/ Amanda McGowan) in the gallery store­\;front.
For press inquiries and images\, please con­\;tact the gallery at ma il@joesheftelgallery.com.

DTEND:20150308 DTSTAMP:20150130T100235 DTSTART:20150205 GEO:40.7154876;-73.9915222 LOCATION:Joe Sheftel Gallery\,24A Orchard \nNY\, NY 10002 SEQUENCE:0 SUMMARY:Echo Implant\, Donna Huanca UID:372007 END:VEVENT BEGIN:VEVENT DTEND:20150205T210000 DTSTAMP:20150130T100235 DTSTART:20150205T190000 GEO:40.7154876;-73.9915222 LOCATION:Joe Sheftel Gallery\,24A Orchard \nNY\, NY 10002 SEQUENCE:0 SUMMARY:Echo Implant\, Donna Huanca UID:372008 END:VEVENT BEGIN:VEVENT DESCRIPTION:

PAVEL ZOUBOK GALLERY invites y ou to exhibitions of new work by RAVEN SCHLOSSBERG and BRADLEY WESTER\, who se investigations of sex\, representation and identity mine distinct niches of popular culture from Rock &\; Roll to Disco.

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DISCOurse#2: Shine\, the second iteration of BRADLEY WESTER's ongoing series of constructions\, employs a rich taxono my of reflective surfaces and tactile materials to illuminate and connect t he breadth of contemporary queer identities. His hybrid practice combines p ainting\, drawing\, collage\, sculpture and digital imagery resulting in in stallations that integrate color\, light and space into a shared sensory ex perience. For Wester\, a New Orleans native steeped in the glitz of Mardi G ras\, late 70s and early 80s discos were spaces in which the richness and d iversity of class\, race and sexuality came together in a glittering gumbo of hyper-stimulation. At the center of that space invariably hung the ubiqu itous disco ball\, a kind of queer mirror\, to fuel the intense atmosphere of social and sexual release and unify the crowd under its expansive projec tion of light.

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In Wester's DISCO< /em>urse\, planes of reflective Mylar pegboard are the connective substrate for a motley set of humble\, commercial materials including small canvases \, disco balls\, digital prints\, found photos\, holographic tape\, tube li ghts\, pipe cleaners\, leather and chains. DISCOurse integrates te chnology into a rich tradition of queer artists who utilize sparkle and shi ne in their work\, including the pioneering Thomas Lanigan-Schmidt\, Tony F eher and Nayland Blake\, among others. Wester's analog and digitally render ed components can be variously arranged and re-arranged\, playing with the information-age conditions of reflexivity\, hybridity\, glitching and repur posing. DISCOurse is emphatically not nostalgic but rather reflect s the artist's vision of a queer utopia that is optimistic\, joyous and fun . In other words\, Wester is putting the disco back into critical discourse .

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Bradley Wester's work has been exhi bited widely since the early 1990s. His work is in private and public colle ctions including New Jersey State Museum\, Trenton\; Mississippi State Muse um\, Jackson\; The Maslow Collection\, Marywood University\, Scranton PA\; and The Prudential Insurance Company\, Newark NJ. He is a recipient of nume rous awards and fellowships including the A.I.R. Antwerpen International Ar tist Residency Award in Antwerp\, Belgium\, a Fulbright Senior Specialist S cholar Grant at Kyoto University of Art and Design in Japan\, two The MacDo well Artist Colony Painting Fellowships and a Pollock&ndash\;Krasner Founda tion Grant. This is Bradley Wester's first solo exhibition at Pavel Zoubok Gallery.

DTEND:20150314 DTSTAMP:20150130T100235 DTSTART:20150212 GEO:40.7501774;-74.0041245 LOCATION:Pavel Zoubok Gallery\,531 W.26 St. \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:DISCOurse#2: Shine\, Bradley Wester UID:372005 END:VEVENT BEGIN:VEVENT DTEND:20150212T200000 DTSTAMP:20150130T100235 DTSTART:20150212T180000 GEO:40.7501774;-74.0041245 LOCATION:Pavel Zoubok Gallery\,531 W.26 St. \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:DISCOurse#2: Shine\, Bradley Wester UID:372006 END:VEVENT END:VCALENDAR