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"Director's Choice: From Virtual To Actual 3"

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Curated by Vernita Ne mec

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September 9 -27\, 2014

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Opening Recep tion Thursday\, September 11\, 6-8PM

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Rob in Becker * Emma Buck * Kristin Enck * Joshua Greenberg * Aimee Hertog *

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Marla Hoffman * Dani ela Izaguirre * Joanna Kidd * Mark Kolessar * Marcia Lloyd \; *

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Srividya Kannan Ramachandran * Christophe r Ruane * Leslie Sheryll

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Chelsea NY: Viridian Arti sts is pleased to present " Director's Choice: From Virtual To Actual"\,&nb sp\; curated by Vernita Nemec\, the gallery director\, featuring a selectio n of artists who entered our 24th International Juried Competition in 2013. The gallery is located at 548 West 28th Street\, also accessibl e from 547 W 27th Street. The exhibit extends from September 9th to 27th\, 2014 with an opening reception Thursday\, September 1 1\, 6-8PM.

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Each of the 13 artists in this diverse exhibition has he r or his own personal obsession that serves as the starting point of their search to transform their inner investigations into reality. The results of transforming these realities into art\, remains open to each viewer's inte rpretation and becomes another translation of the virtual into the actual.< /p>\n

The art in this exhibit takes many unique forms from the knitted &l dquo\;Knots&rdquo\; of Joanne Kidd's artist book and the m ixed media wall sculpture &ldquo\;Batter Up&rdquo\; of Aimee Hertog to a wide variety of photographic approaches. Joshua Gree nberg explores abstraction\, Marla Hoffman reflec tions\, Srividya Kannan Ramachandran poetry\, Chri stopher Ruane religion and Marcia Lloyd autobiogr aphy.

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The dress appears in a variety of meanings &\; executions: Robin Becker's dress with photo transfers\, Lesli e Sheryl's gown of plastic bags &\; netting\, Mark Kole ssar's &ldquo\;Second Skin&rdquo\; of \; canvas\, acrylic\, pl astic\, wood &\; metal.

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Many of the works \; are not what th ey seem to be. Daniela Izaguirre's watercolor and graphite image on vellum looks like real objects\, Emma Buck's dig ital photograph intentionally resembles a painting while Kristin En ck's painting &ldquo\;Slosh&rdquo\;presses the &ldquo\;pause&rdquo \; button\, suspending both time and motion to freeze the image as a photo might. \;

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Although these artists were not &ldquo\;winners&rdquo \; of Viridian's 24th International Juried Competition\, \; \; thei r art is uniquely interesting. Viridian's Director's Choice Exhibitions ari se from one of Viridian's primary missions: to provide meaningful exposure to under-known artists of all ages whose art merits wider attention.

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Gallery hours: Tuesday through Saturday\, 12 - 6 p.m.

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For further information please contact V ernita Nemec\, Gallery Director

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at 212.414.4040 or < a href="mailto:info@viridianartists.com" rel="nofollow">viridianartistsINC@ GMAIL.com or view the gallery website: www.viridianartists.com

DTEND:20140927 DTSTAMP:20140828T110829 DTSTART:20140902 GEO:40.7517031;-74.0040108 LOCATION:Viridian Artists\,548 West 28th St (6th Floor) \nNew York City\, N Y 10001 SEQUENCE:0 SUMMARY:"Director's Choice: From Virtual To Actual 3"\, Robin Becker\, Chri stopher Ruane\, Marcia Lloyd\, Mark Kolessar\, Joanna Kidd\, Daniela Izagui rre\, Marla Hoffman\, Aimee Hertog\, Joshua Greenberg\, Kristin Enck\, Emma Buck\, Srividya Kannan Ramachandran\, Leslie Sheryll UID:353249 END:VEVENT BEGIN:VEVENT DTEND:20140911T200000 DTSTAMP:20140828T110829 DTSTART:20140911T180000 GEO:40.7517031;-74.0040108 LOCATION:Viridian Artists\,548 West 28th St (6th Floor) \nNew York City\, N Y 10001 SEQUENCE:0 SUMMARY:"Director's Choice: From Virtual To Actual 3"\, Robin Becker\, Emma Buck\, Kristin Enck\, Joshua Greenberg\, Aimee Hertog\, Marla Hoffman\, Da niela Izaguirre\, Joanna Kidd\, Mark Kolessar\, Marcia Lloyd\, Srividya Kan nan Ramachandran\, Christopher Ruane\, Leslie Sheryll UID:353250 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In his fourth solo exhibition with the gallery\, Johannes Va nDerBeek explores his interest in how the
process of seeing and under standing is constantly evolving based on stages of human
development. Following the birth of his daughter\, VanDerBeek became fascinated with im agining
how she was seeing the world without the pre-associations tha t language provides. In envisioning
the frenzied mental landscape whe re things are experienced as phenomenon and how over time
the percept ion of the external world is filled in with more specific information\, the works in the
show evoke different phases of resolution and visual re presentation.
Through several bodies of work\, VanDerBeek plays with h ow materiality can be used to create
objects and images that range in stylistic formation. In a series of cast wall works the picture plane
is filled to varying densities with marks made of clay and resin. In some works the figures and
formations remain in raw states\, alluding to a skeletal framing of the subject that allows the viewer
to imbue the ir own thoughts and ideas of what they are seeing&mdash\;while other works progress to
more explicit and detailed imagery. These depictions mimi c the comprehension abilities from baby
to child to adult\, as inform ation or knowledge is gained\, and a more complete picture begins to
form.
The ideas of development run parallel to advances in art history \, and how art traces our level of
consciousness. Cave drawings were typically outlines or simple marks that conveyed their subjects
blunt ly and reveal a species at the dawn of its empire. As self-awareness grew a nd our collective
knowledge accelerated\, art became increasingly ref ined&mdash\;much the way self-portraiture can evolve
from a series of circles and triangles to moodily crosshatched visages during an individual& rsquo\;s
maturation. VanDerBeek alludes to a sort of neo-primitivism in this show that uses planes and
lines to juxtapose abstraction with figuration and flatness with depth. He explores the ability to
creat e space\, surface and texture beyond the physical usage of a typical three- dimensional
sculptural form.
Bridging printmaking\, painting\, s culpture and drawing\, VanDerBeek continues his use of materials
as a way to create unexpected visual clues. As the viewer examines the works\, processes slowly
reveal themselves and objects in the exhibition unfo ld in different directions. These objects require
looking\, and provo ke questions about how physicality can emulate shifting mental states.
Johannes VanDerBeek (b. 1982\, Baltimore\, MD) graduated from Cooper Unio n in 2004. His work
has been featured in High\, Low &\; In Between at White Flag Projects in St. Louis\, A Disagreeable
Object at Sculp ture Center\, Long Island City\, National Projects at PS1/MoMA\, Amazement Park:
Stan\, Sara and Johannes VanDerBeek at the Tang Museum at Skidm ore College\, Personal Freedom\,
Portugal Arte 10 Biennial and Trapdo or\, an exhibition organized by the Public Art Fund at
MetroTech. Van DerBeek lives and works in Brooklyn\, NY.

DTEND:20141004 DTSTAMP:20140828T110829 DTSTART:20140904 GEO:40.7479654;-74.0069775 LOCATION:Zach Feuer Gallery (LFL)\,548 West 22nd Street \nNew York\, NY 100 11 SEQUENCE:0 SUMMARY: Early Hand\, Johannes Vanderbeek UID:353138 END:VEVENT BEGIN:VEVENT DTEND:20140904T200000 DTSTAMP:20140828T110829 DTSTART:20140904T180000 GEO:40.7479654;-74.0069775 LOCATION:Zach Feuer Gallery (LFL)\,548 West 22nd Street \nNew York\, NY 100 11 SEQUENCE:0 SUMMARY: Early Hand\, Johannes Vanderbeek UID:353139 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Yancey Richardson is pleased to announce \;Paperbacks\, the first solo exhibition in the \;gallery for American artist Mary Ell en \;Bartley. The exhibition features a selection \;of ten photogra phic works from the artistʼs \;on-going series\, Paperbacks.
Utili zing the materiality of paperback books\, \;Bartleyʼs spare\, minimalis t compositions \;quietly oscillate between abstraction\, \;sculptur al assemblage\, and color field \;study. The soft light and muted palet te of \;the photographs recall and are homage to \;the still-life p aintings of Giorgio Morandi.
And like Morandiʼs demure bottle still-li fes\, the subtle shifting tones of Bartleyʼs book compositions are imbued w ith a hushed tranquility. In these compositions\, the books are symbols unt ethered from their signifiers\, reimagined as sequenced variations within a tonal poem. The careful calibration of light\, shadow\, and depth of focus further decontextualize the objects\, pushing the compositions closer to a bstraction.
As the artist describes: &ldquo\;This series is about muti ng &ndash\; pressing a mute button and creating a quiet\, circumscribed pro ject. I work with books\, containers\, and symbols of stories\, information \, knowledge\, and meaning\, but I deliberately hide any clues to the books ʼ contents\, rendering them anonymous and wordless&hellip\;The calm palette [of] fog grays and tooth colored whites further tranquillizes the clamor o f narratives\, characters\, and action that must be contained within their pages.&rdquo\;
Mary Ellen Bartley was born in the Bronx \;and rece ived a BFA from SUNY Purchase.
She currently lives and works in Wainsc ott\, \;New York. Her work has been exhibited \;widely in the Unite d States and \;internationally\, including the Parrish Art \;Museum \, NY\, the Center for Photographic Arts\, Carmel\, CA\, The Drawing Room\, NY\, \;and Fototropia Gallery\, Guatemala City\, \;Guatemala\, amo ng others. Her first solo \;museum exhibition will open fall of 2014 at  \;the Guild Hall Museum in East Hampton\, \;New York.

DTEND:20141018 DTSTAMP:20140828T110829 DTSTART:20140904 GEO:40.7476678;-74.0057379 LOCATION:Yancey Richardson Gallery\,525 W. 22nd St. \nNew York\, NY 10011 SEQUENCE:0 SUMMARY: Paperbacks\, Mary Ellen Bartley UID:353137 END:VEVENT BEGIN:VEVENT DTEND:20140904T200000 DTSTAMP:20140828T110829 DTSTART:20140904T180000 GEO:40.7476678;-74.0057379 LOCATION:Yancey Richardson Gallery\,525 W. 22nd St. \nNew York\, NY 10011 SEQUENCE:0 SUMMARY: Paperbacks\, Mary Ellen Bartley UID:353289 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Yancey Richardson is pleased to announce Yours\, more pretty \, an exhibition of new photographs by Laura Letinsky\, presented in conjun ction with the release of the artistʼs fourth monograph\, Ill Form &\; V oid Full (Radius Books). The exhibition includes the most recent works from Letinskyʼs on-going series\, Ill Form &\; Void Full\, which reflects on temporality and desire in the still-life genre\, the self-referentiality o f the photographic medium and the mutability of perception.
Letinskyʼ s compositions utilize fragments from her own photographs and those of othe r artists like Richter or Matisse\, as well as advertisements culled from m agazines\, dissolving the hierarchy between high and low imagery\, and the notion of what is real and what is mediated. In addition\, by using white a s a color\, the edges of paper as lines\, and shadows as planes\, Letinskyʼ s compositions conflate flatness and dimensionality\, upending the viewerʼs sense of space and perspective.
The arrangements in Yours\, more pret ty employ two-dimensional elements as sculptural objects\, to dizzying effe ct. Collaged cutouts of food\, feathers\, tableware or abstracted swaths of color are pinned\, taped or glued onto reproductions of table surfaces or white paper\, all of which are placed on the studio wall and actual tableto ps\, creating a multiplicity of facades that collapse perspective and float in an indecipherable space of light and shadow. As Letinsky describes\, &l dquo\;Not only objects\, but our relation to others\, to our selves\, is co nstantly shifting&hellip\;I do strive to clear away all that is not necessa ry\, to make the picture space a kind of precipice\, anticipation always ac tive.&rdquo\;
Rooted in the Dutch-Flemish vanitas tradition\, Letinsky ʼs arrangements address the notion of timeand the relationship between ripe ness and decay\; however\, they do so by questioning notions of photographi c authenticity\, and the mediumʼs capacity to illustrate temporality vis-&a grave\;-vis form\, \; material\, and narrative. As Letinsky states\, &l dquo\;My photographs are very much about this medium\, its self referential ity&hellip\;I want an acute tension between what is in the picture &ndash\; the image\, what is name-able &ndash\; and its status as an object.&rdquo\ ;
Born in Canada in 1962\, Laura Letinsky received her MFA from Yale U niversity in 1991\, and was awarded a John Simon Guggenheim Fellowship in 2 000. The first half of the series Ill Form &\; Void Full was presented a s a solo exhibition at the Museum of Contemporary Art\, Chicago in 2012. A travelling mid-career retrospective opened at the Denver Art Museum in 2012 . Letinskyʼs work is held in the collections of the San Francisco Museum of Modern Art\, The Art Institute of Chicago\, Museum of Fine Arts\, Houston\ , Amon Carter Museum\, Museum of Contemporary Art\, Chicago\, Museum of Con temporary Photography\, Chicago\, and the Stuttgart Museum\, Germany\, amon g others. Her work has been the subject of three previous monographs: Venus Inferred (University of Chicago Press)\, Hardly More than Ever (Renaissanc e Society)\, and After All (Grafiche Damiani).

DTEND:20141018 DTSTAMP:20140828T110829 DTSTART:20140904 GEO:40.7476678;-74.0057379 LOCATION:Yancey Richardson Gallery\,525 W. 22nd St. \nNew York\, NY 10011 SEQUENCE:0 SUMMARY: Yours\, more pretty\, Laura Letinsky UID:353135 END:VEVENT BEGIN:VEVENT DTEND:20140904T200000 DTSTAMP:20140828T110829 DTSTART:20140904T180000 GEO:40.7476678;-74.0057379 LOCATION:Yancey Richardson Gallery\,525 W. 22nd St. \nNew York\, NY 10011 SEQUENCE:0 SUMMARY: Yours\, more pretty\, Laura Letinsky UID:353136 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140907 DTSTAMP:20140828T110829 DTSTART:20140902 GEO:40.7211642;-73.9887236 LOCATION:Y Gallery\,165 Orchard Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:The Bunker Project \, PS3* UID:353133 END:VEVENT BEGIN:VEVENT DTEND:20140902T210000 DTSTAMP:20140828T110829 DTSTART:20140902T180000 GEO:40.7211642;-73.9887236 LOCATION:Y Gallery\,165 Orchard Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:The Bunker Project \, PS3* UID:353134 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Wallspace is pleased to announce Clive Wearing&rsquo\;s Dile mma\, our second exhibition with Southern California-based photographer Joh n Divola.
Clive Wearing is a renowned neuropsychology patient with no short-term memory\, finding himself in a continuous present\, in a continua l condition of awakening. For Divola\, Wearing&rsquo\;s case provides a pos sible analogy for the photographic experience\, the reception of a present devoid of context. And\, it elucidates the twin concerns that have undergir ded his practice for the last four decades: An insistence on the indexical nature of the photograph alongside the medium&rsquo\;s phenomenological and existential potential.
Clive Wearing&rsquo\;s Dilemma features an un titled body of work made in 1990 that has never been shown in New York. It was recently exhibited as part of As Far As I Could Get\, a retrospective e xhibition of Divola&rsquo\;s work held across three venues in Southern Cali fornia\, led by the Santa Barbara Museum of Art and shown simultaneously at the Los Angeles County Museum of Art and the Pomona College Art Museum. Th e eight large-scale black and white photographs were >\;made in what has become Divola&rsquo\;s signature mode &ndash\; a combination of documentary photography\, conceptual art\, performance and painting &ndash\; where the figure of the artist\, or a surrogate for him\, is often present. For Unti tled\, 1990\, Divola painted 8 photographic backdrops in an expressionistic manner and threw handfuls of flour at them\, photographing this action wit h a 4x5 view camera.
The resulting works achieve goals seemingly at o dds with one another\; they are a cold\, industrial index\, a blunt recordi ng of what was there. Simultaneously\, the works are emotive\, suggestive\, subjective and existential\, using a poverty of means to invite contemplat ion and transcendence.
John Divola was born in Venice in 1949 and has lived and \; worked in Southern California his entire life. A student of Robert Heinecken&rsquo\;s at UCLA\, Divola has become not only a touchst one for artists and photographers working in Southern California\, but also a mentor through his years of teaching\, first at Cal Arts and for the las t twenty-five years\, the University of California\, Riverside. His work ha s been exhibited in key historical exhibitions such as John Szarkowski&rsqu o\;s Mirrors and Windows: American Photography since 1960 at The Museum of Modern Art (1978)\, The Whitney Biennial at the Whitney Museum of American Art (1981) and most recently\, Under the Big Black Sun: California Art 1974 -1981 at the Museum of Contemporary Art\, Los Angeles (2010). His work is i n the public collections of The Museum of Modern Art\, The Whitney Museum o f American Art and the Metropolitan Museum of Art in New York\; The Museum of Contemporary Art\, The Getty Museum and the Los Angeles County Museum of Art in Los Angeles\; San Francisco Museum of Modern Art\, San Francisco\; The Smithsonian American Art Museum in Washington\, D.C.\; The Centre Pompi dou\, Paris and The Victoria and Albert Museum\, London among many others. He is a recipient of multiple National Endowment for the Arts Photography F ellowships as well as a John Simon Guggenheim Memorial Fellowship.

DTEND:20141025 DTSTAMP:20140828T110829 DTSTART:20140905 GEO:40.751817;-74.0061123 LOCATION:Wallspace Gallery\,619 W. 27th St. \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Clive Wearing’s Dilemma\, John Divola UID:353129 END:VEVENT BEGIN:VEVENT DTEND:20140905T200000 DTSTAMP:20140828T110829 DTSTART:20140905T180000 GEO:40.751817;-74.0061123 LOCATION:Wallspace Gallery\,619 W. 27th St. \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Clive Wearing’s Dilemma\, John Divola UID:353130 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Twentieth Anniversary Event
at The Boiler\,
dedica ted to Gary Bachman
Racers on view: September 11th- 21st  \;(noon &ndash\; 6pm\, Thursday  \;- Sunday)
Preliminary races:
Tuesd ay Sept. 16\, 7-9pm
Wednesday Sept. 17\, 7-9pm
Thursday Sept. 18\ , 7-9pm
Final races: Friday Sept. 19\, 7-10pm

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There ar e four qualifying categories:

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The Speed Award
The Hea vyweight Division Award
The Aesthetic Award
The &lsquo\;What Were You Thinking&rsquo\; Award

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_______________________________________ ________________

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The Speed Award goes to the racer that wins the ra ce under the rules that the Cub Scouts specify in their Official Grand Prix Pinewood Derby Kit\, with a few exceptions:

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The car width can be g reater than 2 ¾\; inches but not more than would impede the racer nex t to yours. 3 1/2 inches is the maximum width.

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The length can also be longer than 6 inches\, which are the Cub Scout Rules and the size of the block of wood. For the Brooklyn Gravity Racers\, the car may be up to 10 i nches long. The length doesn&rsquo\;t give the car \;any advantage beca use the \;cars are \;held at the front of the racer at the starting line. The racer needs to be able to clear the curve of the track when it i s descending so the longer the car the more likely your racer will drag on the track.

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The weight cannot exceed 5 ounces in order to qualify fo r The Speed Award.

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The width between the wheels and the bottom clea rance are the most important and are \;the same as the Cub Scout rules: The width between wheels must be 1 ¾\;&rdquo\;\, and the bottom clea rance between the racer and the track must be 3/8&rdquo\;. These measuremen ts allow the racer to ride cleanly on the track.

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__________________ ______________________________________

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The Heavy Weight Awa rd \;goes to the fastest racer that weighs more than 5 ounces. In the past\, cars have \;weighed 3 pounds or more. If they are too he avy or unstable they may be too dangerous to race\; this will be determined at race time by a track team of artists. All of the other specifications a re the same as the speed awards.

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__________________________________ _______________________

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The Aesthetic Award \; is exactly as it sounds: it goes to the best looking and conceived racer. T his award could go to anyone that enters the race in every category. \; This award \;is not affected by the winning of any other awards.

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The &ldquo\;What Were You Thinking&rdquo\; \;Award \;goes to the racer that fits some category but none that we men tioned here. There are always a number of participants\, quite a few actual ly\, that build something for the race that cannot be defined. These will b e determined when they are entered. If these are able to race\, they will.& nbsp\;This award \;is not affected by the winning of any other awards.< /p> DTEND:20140921 DTSTAMP:20140828T110829 DTSTART:20140911 GEO:40.7230068;-73.9556587 LOCATION:The Boiler (Pierogi)\,191 North 14th Street \nBrooklyn\, NY 11211 SEQUENCE:0 SUMMARY:Brooklyn Gravity Racers UID:353126 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Steven Kasher Gallery is proud to present \;Paul Koo iker\, the inaugural exhibition in our new gallery\, located at 515 We st 26th Street. This is the artist's first exhibition at Steven Kasher Gall ery and his first solo exhibition in New York in over a decade. On view wil l be eleven large-scale color nudes from the recent series \;Sunday \, \;seven works \;from the seriesHunting and Fis hing\, and a unique installation of images from the series \;R oom Service. \;Our exhibition previews a major Kooiker retrospecti ve opening at the Fotomuseum in The Hague this fall.

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Paul Kooiker ( Dutch. b 1964) is not interested in a single beautiful image. Through tenac ious repetition and seriality\, his narratives take pleasure in and complic ate the perceptions of the female form. His highly-sexualized voyeuristic n udes are often over-exposed or out of focus\, exploring the limitations of photography and questioning what is beautiful\, ugly\, sexy\, criminal\, he donistic\, or pornographic. Each image represents a complex dual between th e subject and the observer. The result is a beautiful synthesis of the clas sical and the radical\, the sacred and the profane\, the real and the imagi nary.

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The series \;Sunday \;features "eccentricall y posed\, robustly built women with flesh so palpably rendered that their b odies attain an artless poetic grandeur\," says Kooiker. In the early serie s \;Hunting and Fishing\, \;Kooiker probed the limits of f iguration with \;extremely out-of-focus \;nudes fleeing hi s camera\, leaving the viewer to witness the sport of voyeurism.  \;In the 2008 series \;Room Service\, Kooiker made over 100 images of \;naked women against a background of bookshelves. \;This series compares the desire for knowledge/power to lust.

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Paul Kooiker was born in Rotterdam in 1964. He attended Rijksakademie van B eeldende Kunsten in  \;Amsterdam and Koninklijke Academie van Beeldende Kunsten in The Hague. He has published thirteen monographs\, including his most recent publication \;Nude Animal Cigar \;(Art Paper Editions\, 2014). He has had solo shows at FOAM\, Amsterdam\; Museum Boijma ns van Beuningen\, Rotterdam\; Galerie Van Zoetendaal\, Amsterdam\; and Jam es Cohan Gallery\, New York\, among others. Opening in October 2014\, Kooik er will be the subject of a major solo exhibition titled \;Nude Ani mal Cigar \;at the Fotomuseum in The Hague. Kooiker&rsquo\;s work has been exhibited in group shows internationally\, most recently inDut ch Photography: The Space Between Us\, at the He Xiangning Art Museum in Shenzhen\, China. His photographs are found in permanent collections at the Museum Boijmans van Beuningen\, Rotterdam\; Gemeentemuseum\, The Hague\ ; Fries Museum\, Leeuwarden\; Ministry of Foreign Affairs\, Amsterdam\; De Nederlandsche Bank\, Amsterdam\; and H+F collection\, The Netherlands\, amo ng others. \; Kooiker was awarded the A. Roland Holst Award in 2009 and the Prix-de-Rome Photography in 1996.

DTEND:20141025 DTSTAMP:20140828T110829 DTSTART:20140911 GEO:40.7501399;-74.003542 LOCATION:Steven Kasher Gallery\,515 West 26th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Solo Exhibition\, Paul Kooiker UID:353124 END:VEVENT BEGIN:VEVENT DTEND:20140911T200000 DTSTAMP:20140828T110829 DTSTART:20140911T180000 GEO:40.7501399;-74.003542 LOCATION:Steven Kasher Gallery\,515 West 26th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Solo Exhibition\, Paul Kooiker UID:353125 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Simon Preston Gallery is delighted to present the second sol o exhibition at the gallery by artist Jenny Perlin. The show will open to t he public on Sunday 7 September and run until Sunday 5 October\, 2014.

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The exhibition will coincide with a two day program featuring an in-dep th survey of Perlin&rsquo\;s films at Anthology Film Archives on September 15th &\; 16th. \; \;

DTEND:20141005 DTSTAMP:20140828T110829 DTSTART:20140907 GEO:40.7185514;-73.9923292 LOCATION:Simon Preston Gallery\,301 Broome Sytreet \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Solo Exhibition\, Jenny Perlin UID:353123 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20141004 DTSTAMP:20140828T110829 DTSTART:20140902 GEO:40.7476226;-74.0061424 LOCATION:Sikkema Jenkins & Co\,530 W.22nd St. \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Solo Exhibition\, Keiichi Tanaami UID:353122 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20141004 DTSTAMP:20140828T110829 DTSTART:20140902 GEO:40.7476226;-74.0061424 LOCATION:Sikkema Jenkins & Co\,530 W.22nd St. \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:WORKS ON PAPER\, Marlene McCarty\, Marc Handelman\, Kara Walker\, J orge Queiroz\, Antony UID:353121 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20141004 DTSTAMP:20140828T110829 DTSTART:20140902 GEO:40.749843;-74.005914 LOCATION:Sears-Peyton Gallery\,210 11th Ave. Suite 802\nNew York\, NY 10001 SEQUENCE:0 SUMMARY:September Group Show\, Rick Shaefer\, Jason Frank Rothenberg\, Shaw n Dulaney UID:353120 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Brain to Hand to Object [Clay]. \;&mdash\;JJ PEET\, \;The \;Communist \;C ontemporary Ceramics Manifesto

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Ir/reverence\n

Mary Frey\, Pat McCarthy\, JJ PEET and Tom Sachs meet weekly \;t o make\, fire\, and glaze. They met in a class at the 92nd Street Y taught by \;PEET\, the group&rsquo\;s \;&ldquo\;leader&rdquo\; \;(or&n bsp\;&ldquo\;master\,&rdquo\; \;as with traditional Japanese workshops) . The four New \;York-based artists\, friends and collaborators include d in \;Satan Ceramics\, \;shape clay with a sense of irrev erence\, rites and ritual. Like \;&ldquo\;THE LADIES SEWING CIRCLE AND  \;TERRORIST SOCIETY&rdquo\; \;&ndash\; \;or\, craft circles th at second as clandestine political \;meetings \;&ndash\; \;the& nbsp\;work of the group taken as an idiosyncratic whole ties extremist func tionality \;with subversive tendencies. Process\, politics\, labor\, th e handmade\, tradition\, \;humor\, gossip\, danger\, historical nods an d punk sensibilities are ultimately \;tied to the underlying collaborat ive strategies of integrity of the material \;and sincerity of the obje ct. As Frey puts it\, \;&ldquo\;Our weekly ritual takes place within th e clubhouse where we \;eat together\, share knowledge\, discuss\, make pots\, talk shit and dream.&rdquo\;

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Clay + stuff\n

The artists use ceramics with other materials that are \;often n on-traditional media. A porcelain urinal by Tom Sachs \;&ndash\; \; functional though presented like an artifact \;&ndash\; \;also inco rporates epoxy\, rope and Kevlar (the material of \;bullet-proof vests) . JJ PEET&rsquo\;s shiv cup includes a subtle industrial ceramic blade  \;chipped off a store-bought kitchen knife. PEET embeds the cup with second ary \;functionality as a weapon\; the cup can encapsulate water or bloo d\, the \;possibility to nourish or harm. Frey&rsquo\;s porcelain skate board is equipped with actual trucks and \;wheels though un-ridable. Th e handmade version takes on another media fully\,translating and elevating the modest wood board. With another twist\, the \;porcelain nesting bow ls of Pat McCarthy are intended to be filled by his \;pigeons with twig s and leaves and dirt\, to build the ideal bed for laying eggs. \;McCar thy&rsquo\;s bowls \;are functional\, meant to nurture new life and hav e a use value in the physical \;world outside of the artist. \;

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Language &\; Symbols

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All four artists use symbols and text. Frey and Sachs \;respectively incorporate the pentagr am into their pieces. Sachs brands many of \;his traditionally made cha wan tea bowls with well-known logos including that of \;NASA and Chanel \; Frey has glazed her works with references to Barbara Kruger \;via th e Supreme logo. Sachs and McCarthy each tell the story of the sculptural&nb sp\;environments they build through issue after issue of obsessive\, person alized \;zines. PEET has produced small booklets with his manifesto of making ceramics. \;For PEET\, words are malleable and a single word con tains manifold meanings. His \;BRICKVACES \;have odd small skull faces etched into their surfaces\, and \;can be used as bud vase s or as bricks that can be thrown&ldquo\;to start a revolution\, or build a  \;house.&rdquo\;

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Mary Frey

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Frey makes mementos of suburban \;America that consider family values\, contempor ary sexual mores and idiosyncratic \;personal freedoms. A porcelain key party tray finished in matte-black engobe \;features a nude rendering of The Simpsons&rsquo\; \;Krusty the Clown and sex goddess Edna Krabapp el. A classic  \;tourist souvenir tray that might typically feature a s tate bird or flower is replaced \;by swingers\, reflecting the steamy n ightlife that might be imagined in small \;towns. Two porcelain skatebo ards\, re-made in the classic style of the artist's \;1975 Hobie skateb oard\, feature a "nude wearing glasses" drawing by \;her son Arsun\, th en aged seven. Revealing the personal narrative within family \;histori es -- a Mycenaean mixing bowl tells the story of Sapphic encounter\; a  \;teapot modeled on a classic 70's Mr. Coffee percolator is adorned with th e \;familiar cover illustration from The Hobbit -- \; \;Frey ce lebrates the elevated place of ceramics in the \;telling and re-telling of stories and mythologies of the ages.

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Pa t McCarthy

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McCarthy&rsquo\;s object-making is bound to the  \;eccentric framework of his pigeoning practice.Babylon Coops  \;is the home \;of the artist&rsquo\;s few hundred pigeons and&nbs p\;Gesamkunstwerk \;&ndash\; \;or\, total synthes is of arts and life as a revolutionary and \;all-embracing kind of art practice. McCarthy builds\, maintains and develops his \;pigeon environ ment on the roof of his studio as daily performance\, ritual and \;rehe arsal. \;The \;Coops are well-furnished with electricity and simple Bauhaus-like architecture \;of plywood and porcelain\, scrap steel and fur. A central ceramic feeding vessel \;has a self-portrait glaze-fire d atop its lid\, for the birds who perch above to \;study the architect - their leader\, chef\, and janitor. Porcelain nesting bowls \;support protected egg-laying\, and ceramic triangular perches installed in a \ ;grid\, line the birds up with neat minimalism. \;The birds born into t he family are stamped under the wing \;(rather than the traditional mar k of ownership by ankle bracelets which the \;artist refers to as \ ;&ldquo\;shackles&rdquo\;) with Babylon&rsquo\;s symbol\, and are not train ed for \;synchronized flying (standard\, local pigeoning practice) but set free to fly in \;any course they desire as unfettered individuals. His zines (collectively \;titled Born to Kill Fanzine) tell the story o f the rooftop practice: \;&ldquo\;The city in the sky. Civil \;diso bedience. It&rsquo\;s fun to watch.&rdquo\;

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JJ PEET

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PEET&rsquo\;s clay \;objects have latent binaries like water/ blood\, life/death\, build/destroy. PEET&rsquo\;s objects contain inherent volatility \;and potentially harmful politics\, which connects them to our contemporary world \;of financial markets\, global politics and the changing environment. His porcelain \;camera \;&ldquo\;viewers&rdq uo\; \;consider the rapid obsolescence of new technologies. \;Hangi ng sculptures present a framework for two objects\, a piece of clay \;i mprinted with the artist&rsquo\;s handand a partial iPhone sliced open like an elevation or diagram\; there is a comparison \;of life-spans betwee n complicated present-day engineering versus the simply \;handcrafted o bject as the thing that will survive and retain function through \;time . PEET&rsquo\;s \;manifesto of ceramics \;&ndash\; \;&ldquo\;Br ain to Hand to Object&rdquo\; \;&ndash\; \;considers how closely ti ed the body is to the material\, and \;vice versa\, the various ways th at the object affects the body like an \;appendage\, a system or a life cycle. \;

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 \;Tom Sachs

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Sachs&rsqu o\; \;practice is rooted in absurdist functionality\, engineering\,&nbs p\;product design and labor. He often builds whole environments where objec ts are \;to be experienced in tandem as parts of a whole system\, and w here all \;materials\, process and labor are left exposed. Paralleling the space program \;engineers with ancient tea ceremony rituals\, Sachs has made hundreds of \;eclectic porcelain chawan bowls of varying size s\, shapes\, functions and \;branding that reference engineering\, cons umption and fashion. The tea bowls are \;often used in the studio\, and all leftover parts and pieces are used to make \;new objects\, like a tall \;&ldquo\;abstract \;art sculpture&rdquo\; \;madefrom epox ied leftovers of his ceramics practice. A separate precarious \;porcela in walking cane sculpture is more exacting and realistic\, though slim  \;and vulnerable\, as if to describe the leg it is meant to support. An odd funnel \;of a sculpture is a precisely crafted portable unisex urinal. A clay boom-box \;is also crafted for ultimate usability\, and like a relic or object from the technology \;graveyard\, reverberates with a p laylist constructed by the four artists. The \;sound from the clay fill s the gallery\, reproducing the workspace the artists \;share in their process of making. \;

DTEND:20141025 DTSTAMP:20140828T110829 DTSTART:20140907 GEO:40.721956;-73.99246 LOCATION:Salon 94 Freemans\,1 Freeman Alley \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:SATAN CERAMICS \, Tom Sachs\, JJ PEET\, Pat McCarthy\, Mary Frey UID:353115 END:VEVENT BEGIN:VEVENT DESCRIPTION:

David Benjamin Sherry is an explorer. He is a master of bold \, sensual color. He \;ventures deep into the American wilderness and r eimagines the surfaces of \;nature as if seen through a kaleidoscope. P art-archeologist and part-futurist\, Sherry \;uses 8x10 film negatives and analogue techniques in order to speak to new \;technologies and our changing physical world.

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Sherry&rsquo\;s \;latest works take o n photography&rsquo\;s canonical genres\, including landscape &ndash\;  \;which he is most well known for &ndash\; as well as still life\, portrait ure\, the nude\, \;collage and darkroom photograms. There are more wate rscapes than landscapes &ndash\; \;it&rsquo\;s a murkier\, more mysteri ous realm. Many of these compositions sit at an \;uneasy intersection o f travel photography and surveillance imaging. A sunrise behind \;a bou lder in the water is somehow both a picturesque postcard and a strange alie n \;spotlight. Another large-scale image of ripples on the surface of a body of \;water\, without a horizon\, are stained glowing\, neon red\, a color that implies \;blood or a dangerous kind of heat as if on a to pographer&rsquo\;s or meteorologist&rsquo\;s \;map &ndash\; though not quite the right shade of either.

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Sherry&rsquo\;s \;colors are s urreal and often monochrome and painterly. A large degree of the \;comp ositions are achieved by the artist in the darkroom. His exaggerated hues&n bsp\;border on acidic and futuristic\, imbuing his sense with glowing sci-f i\, filmic attitudes. \;Sherry&rsquo\;s particular\, syncopated color p alette gives sentiment and rhythm\, \;setting up his scenes with rhythm and suspense. This setup is a direct \;engagement to our changing phys ical world. Sherry&rsquo\;s acid-toned pictures\, while \;beautiful\, a re also critical of the close human relationship to recent climate \;ch ange. They consider what critics call &ldquo\;the \;anthro pocene&rdquo\; \;&ndash\; or\, geology and the ecosphere as it has been impacted by \;human activity.

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In \;addition to mappin g the rarely visited sites of the earth\, Sherry also shoots \;the pers onal territories of the body. One photograph of a nude man in body \;pa int\, shows him reclining in feminine odalisque pose against a stark black& nbsp\;backdrop. Resembling a hand-painted black and white photograph\, the image both \;exposes the man&rsquo\;s body and shields his flesh in a r ainbow of color\, shaped in \;an arch\, as if constructing him as a spe ctrum of light in a night sky. Another \;image of two men\, covered in thick black petroleum\, kissing\, is a noir romance. \;Shooting bodies like land surfaces\, Sherry stages still performances like a \;reverse landscape &ndash\; the impact of changing nature on our adapting skins.&nbs p\;

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For \;the first time\, Sherry juxtaposes black and white wo rks\, printed in traditional \;Gelatin silver process\, with the energe tic infusions of color that afford his \;landscapes an otherworldly qua lity. Moments of exuberant color are tempered by \;abstract and introsp ective black and white nudes\, shot like terrain or \;anthropological s ubjects. Seen from below\, chunks of melted icebergs are shot \;in rich black and white portraying an eerily decadent vista. An orange-stained&nbs p\;image of an endangered species of frog is captured precariously dangling from a \;blade of tall grass. Sherry&rsquo\;s idiosyncratic vision cry stallizes a breathtaking \;yet fearsome universe.

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David Benjami n Sherry was born in 1981 in Woodstock\, \;NY and currently lives and w orks in Los Angeles. He received his BFA from Rhode \;Island School of Design in 2003 and his MFA from Yale University in 2007. \;Sherry is an analog photographer and an avid darkroom printer who pushes \;extreme and often monochrome color. He experiments with the historical genres \ ;of his medium\, reinvigorating photographic types and creating new kinds o f \;darkroom and print manipulation.

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Sherry is represented by S alon 94\, New York and \;OHWOW\, Los Angeles. His work is part of the&n bsp\;permanent collections \;at \;the Wexner Center of the Arts\, C olumbus\, Ohio\, Los Angeles County Museum of Art \;(LACMA)\, and the S aatchi Collection\, London. His work was included in \;Greater New York \;at PS1 MoMA \;(2010)\, \;New York\, \;The A nxiety of \;Photography \;at Aspen Art Museum (2011)\ , \;Lost Line \;at LACMA (2013)\, and most recently in\,&n bsp\;What Is A Photograph?at the \;International Center for Ph otography\, New York (2014). \;The artist&rsquo\;s latest \;book&nb sp\;Earth Changes\, with essay by \;LACMA curator Britt Salves en\, was recently published in September 2014 by Mö\;rel \;Books\, London.

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Sherry has a \;simultaneous exhibition of photographs m ade over the last two years on view at \;Danziger Gallery\, New York fr om September 11th &ndash\; October 25th. The artist will be \;included in the exhibition \;FotoFocus Cincinnati \;opening this fa ll. His work will be presented alongside the artist&rsquo\;s selection  \;of historical photographs from the collection of the Cincinnati Art Museu m.

DTEND:20141025 DTSTAMP:20140828T110829 DTSTART:20140907 GEO:40.7225851;-73.9929714 LOCATION:Salon 94 Bowery\,243 Bowery \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:CLIMATE VORTEX SUTRA \, David Benjamin Sherry UID:353114 END:VEVENT BEGIN:VEVENT DESCRIPTION:

By displaying the concrete machinery of ill usion&hellip\; Dyer fundamentally advances the staid gallery practice of vi deo installation. &hellip\;[He]&hellip\;delightfully joins the nineteenth c entury with the twenty-first\, and lets the viewer compare self-contained z oetrope space with a video surround. \; \; \;George Griffi n\, \;Eric Dyer: Take the B Train\, \; &ldquo\;Pervasive A nimation\,&rdquo\; Edited by Suzanne Buchan\, AFI Film Reader Series\, Rout ledge. \; \; \; \; \; \; \; \; \; \ ; \; \; \; \; \; \; \; \; \; \;&nbs p\; \; \; \; \; \;

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Ronald Feldman Fine Arts will exhibit \;Copenhagen Cycles \;by Eric Dyer\ , a visual artist\, filmmaker\, and educator\, in his first solo exhibition in New York. \; Dyer has won numerous awards in film festivals for his distinctive animation style based on the zoetrope\, the pre-cinematic devi ce that produces the illusion of movement by displaying a sequence of still images. \; Through his own elaborate process\, Dyer reinvents the zoet rope to explore a visual language of loops and spirals that transcends real -time video documentation.

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Copenhagen Cycles \ ;is Dyer&rsquo\;scollaged portrait of Copenhagen in which transformed but recognizable images\, based on that city\, swirl across screens to dizz ying effect. The body of work was initiated in 2006 when Dyer spent eight m onths videotaping and physically connecting to the city on bicycle. \; Working intuitively to exploit the seemingly never-ending expressive qualit ies of the process\, Dyer selected sequential stills from the footage to st ructure and construct the zoetropes. \; \; Dyer originally showedCopenhagen Cycles \;as a film\, which was included in more than four dozen festivals. \; He then built the zoetrope-sculptures\, reshot them in high-definition\, and configured a two-part installation for the F eldman Gallery in 2014.

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In a darkened room\, the overs ized looped projections\, running from one to four minutes each\, immerse t he viewer in a fantasy world where gravity is suspended\, scale is upended\ , and perspective dissolves. \; Buildings\, wind turbines\, pigeons\, s wans\, boats and buses\, wheels\, flowers\, the sea\, and cobblestones puls ate with kinetic motion. \; A solitary cyclist wearing a Viking helmet appears in several videos as a unifying thread &ndash\; the artist who trav els through a moving pop-up book version of the city. \; Within all the beautiful and strange fast moving images\, slowly the history of a people and place is unexpectedly revealed.

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In a second room\, Dyer&rsquo\;s hand-crafted zoetropes\, circular spinning sculptures of lay ered rings of tiny cutouts\, can be activated and viewed through special sh utter glasses\, an astonishing difference in scale. \; Also on exhibit are photographs of zoetrope details that capture the stop action moment of objects in motion &ndash\; a counterpoint to Dyer&rsquo\;s animations\, whi ch unleash the beauty of movement in still objects. \;

Insti tutions that have exhibited Dyer&rsquo\;s work include the Hirshhorn Museum and Sculpture Garden\, the Smithsonian National Gallery of Art\, the Explo ratorium Museum\, Ars Electronica\, and the Cairo and Venice Biennales. His films have screened at numerous festivals\, including the Chicago Internat ional Film Festival\, the Ann Arbor Film Festival\, South by Southwest\, an d the Ottawa\, Annecy\, Melbourne\, and London International Animation Fest ivals. \; Notable awards include a Guggenheim Memorial Fellowship\, a C reative Capital Grant\, a Fulbright Fellowship\, and was a New Frontier Art ist at the 2007 Sundance Film Festival. \; He is an associate professor at the University of Maryland in Baltimore and recently was a visiting art ist at California Institute of the Arts and Carnegie Mellon University.

DTEND:20141011 DTSTAMP:20140828T110829 DTSTART:20140906 GEO:40.7210296;-74.0017957 LOCATION:Ronald Feldman Fine Arts\,31 Mercer Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY: COPENHAGEN CYCLES: 2006 - 2014\, Eric Dyer UID:353112 END:VEVENT BEGIN:VEVENT DTEND:20140906T200000 DTSTAMP:20140828T110829 DTSTART:20140906T180000 GEO:40.7210296;-74.0017957 LOCATION:Ronald Feldman Fine Arts\,31 Mercer Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY: COPENHAGEN CYCLES: 2006 - 2014\, Eric Dyer UID:353113 END:VEVENT BEGIN:VEVENT DESCRIPTION:

myplasticheart presents &ldquo\;You&rsquo\;ll Miss Me When I &rsquo\;m Gone&rdquo\; a group exhibition exploring the themes of loss and regret\, curated by Lou Pimentel. Each artist interprets his/her own unders tanding of the subject matter\, resulting in a collection of paintings\, sc ulptures and illustrations each telling a unique story spun from a universa l inspiration. We are given a glimpse into each individual experience\, and we are able to connect and find common ground.

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&ldquo\;Being that the theme of the show can be broadly interpreted\, it seemed fitting that t he artists included express themselves in a wide range of mediums as well. I hand picked all the talent for this show. Some are well known\, and other s I feel deserve a little more attention because their work excites me.&nbs p\;I kept the show small\, because I want the viewers to really appreciate each piece of art\, and not feel overwhelmed. \;&rdquo\; &ndash\; Lou P imentel

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Join us for the opening reception on September 5th from 6-9 PM EDT at myplasticheart in the Lower East Side NYC. Refreshments will be s erved. Some of the artists will be in attendance. The exhibition runs throu gh October 5th. Curated by Lou Pimentel.

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Featuring:
Rick Beaup re
Christopher De Leon
Caitlin Hackett
Yuri Leonov
Alex Louisa
Brent Nolasco
Stavros Pavlides
Angel Perez
Lou Pimentel
Allison Sommers
Halsey Swain
Dika Toolkit
Zoe Williams
You&rsquo\;ll Miss Me When I&rsquo\;m Gone Group Exhi bition
Opens Friday\, September 5th\, 2014 from 6 &nd ash\; 9pm
Runs through October 5th\, 2014

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myplasticheart
210 Forsyth St.
New York NY 10002
646.290.6866
myplastichear t.com

DTEND:20141005 DTSTAMP:20140828T110829 DTSTART:20140905 GEO:40.7229442;-73.9903902 LOCATION:myplasticheart nyc\,210 Forsyth St. \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:“You’ll Miss Me When I’m Gone” Group Exhibition\, Zoe Williams\, Di ka Toolkit\, Halsey Swain\, Allison Sommers\, LOU PIMENTEL\, angel perez\, Stavros Pavlides\, Brent Nolasco\, Alex Louisa\, Yuri Leonov\, Caitlin Hack ett\, Christopher de Leon\, Rick Beaupre UID:353100 END:VEVENT BEGIN:VEVENT DTEND:20140905T210000 DTSTAMP:20140828T110829 DTSTART:20140905T180000 GEO:40.7229442;-73.9903902 LOCATION:myplasticheart nyc\,210 Forsyth St. \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:“You’ll Miss Me When I’m Gone” Group Exhibition\, Rick Beaupre\, Ch ristopher de Leon\, Caitlin Hackett\, Yuri Leonov\, Alex Louisa\, Brent Nol asco\, Stavros Pavlides\, angel perez\, LOU PIMENTEL\, Allison Sommers\, Ha lsey Swain\, Dika Toolkit\, Zoe Williams UID:353101 END:VEVENT END:VCALENDAR