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Manhattan\, NY. Causey Contempor ary is pleased to announce \; Tally.

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The exhibition will take place at 29 Orchard St. at the gallery&rsquo\;s lower east side l ocation in New York City and from July 15 to August 21\, 2016.

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The Lower East Side has been a significan t migratory site for shaping utopian speculation and practical thinking\, f rom the indigenous Lenape tribes\, mass European immigration from 1840&rsqu o\;s &ndash\; 1930&rsquo\;s\, to recent wholesale gentrification. \; Re searching and responding to the broad source of archived visual and written documentation on the Lower East Side\, artists Steven Dobbin\, Patricia St ockman\, Georgia Deal\, and Workingman Collective will maneuver and employ their collective interpretations of place\, migration\, invention\, and bei ng human.  \; The result is a collaborative exchange and visual examina tion of the Lower East Side as place and allegory

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Workingman Collecti ve Statement

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Based i n Washington\, D.C. \;and Western North Carolina\, Workingman Collectiv e is a collaborative group of artists and range of professionals who move i n and out of various projects. \; An interest in exploring the nature o f collaboration and cooperation\, invention\, chance\, and the public guide s their practice. \; Projects move through stages from the collection o f information to the construction of an object or situation to the particip ation of an audience. \; Typically participation alters the process\, p roducing new information that is integrated into the art experience. Ultima tely\, their projects seek to generate environmental awareness\, stimulate the re-identification of a population with its hometown history\, and urge participants into strengthening relationships with their neighbors.Since it &rsquo\;s founding in 2005\, Workingman Collective has exhibited and create d projects in the U.S.\, Europe\, Africa\, and the Caribbean.They are repre sented by Hemphill Fine Arts\, Washington DCwmcpubli cdomain.wordpress.comworkingmancollective.blogspot.com/

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Steven Dobbin

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Steven Michael Dobbin was born in Washingt on D.C. He received his BS in Urban Affairs from the University of Maryland \, his Masters in Education from George Washington University in Severely E motionally Disturbed Adolescents and his MFA from the University of Souther n California. He has been represented by the Meyers/Bloom Gallery in Santa Monica\, California and is presently represented by Causey Contemporary Art in New York\, New York. \; Steven teaches Special Education at Frederi ck High School in Frederick\, Maryland. \; He was Co-Director of Artoma tic@Frederick \; in 2011\,2013 and 2016 which displayed \; the work of \; over 400 visual artists as well as providing a venue for perform ance\, film and music. Steven was awarded the Maryland State Arts Council a ward for excellence in sculpture and has shown his work internationally and national for over 30 years. \;

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Peter Winant

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Peter works on individual projects and i n collaboration with other artists. For twenty years\, as a founding member of the collaborative group\, Workingman Collective\, and as a core member of the group\, Art Attack\, he has engaged in making pieces that question t he domain and currency of personal authorship\, the context of location and the creative process. The groups&rsquo\; works have been exhibited/perform ed/intervened in settings as diverse as PS.1\, Artist&rsquo\;s Space\, park ing lots\, abandoned houses and public spaces\, and in public and alternati ve galleries and spaces in Berlin\, Prague\, Slovakia\, Marseilles\, Warsaw \, Krakow\, Chicago\, Washington\, New York\, Liberia\, Butte Montana and t he North Carolina Museum of Art. Peter has been a three time recipient of C EC Artslink grants. Peter&rsquo\;s personal work has ranged from forged ste el\, abstractly painted figurative sculpture\, to &ldquo\;unarchitecture&rd quo\; structures of conventional building materials\, to compositions of pa inted\, fallen branches. His work is in private collections throughout the United States. Peter reviews Washington area fine art exhibitions as a pane list on public television station WETA&rsquo\;s Around Town. He is a board member of Albus Cavus\, an arts outreach program centered in Washington DC. He is also Vice-President for Education for Integrative Teaching Internati onal\, a national group whose focus is on the development of visual art fou ndation programs for the 21st century.

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Tom Ashcraft

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Tom is an artist\, builder\, educator\, and founding member of W orkingman Collective\, a collaborative group of artists who share an intere st in exploring cooperation\, public space\, and inventive applications.

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Tom navigates his practice in and out of the public realm with a combination of skilled object making and purposeful inquiry based wa ndering. \; His subject matter is rooted in the curiosities and rituals of everyday life.

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Tom and Workingman Collective have ex hibited and produced work in the U.S.\, Europe\, Africa\, and the Caribbean . \;

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Awards include a National Endowment for the Art s Design Grant\, Ford Foundation Fellowship\, YADDO Fellowship\, NY State A rts Grant\, Washington DC Commission on the Arts Award\, and Mabel Pew Gran t.

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Born in Long Beach Califor nia\, raised in Nevada and Florida. \; Tom earned his MFA in Sculpture from Indiana University\, BA from University of South Florida\, and an AA f rom Miami Dade CC. \;

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Tom is a Distinguished Profess or of Art and the MFA Director at Western Carolina University\, Cullowhee N C\, and divides his time between Washington DC and Western North Carolina.< /p>\n

Represented by Hemphill Fine Arts\, Washington\, D.C. \; &ldquo\;I start with a handshake and se e where it goes&rdquo\;

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Georgia Deal

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Geor gia Deal is a Washington DC based artist who is Professor and Printmaking P rogram head at the Corcoran College of Arts + Design. \; She has been a warded residencies at the Yaddo Foundation\, Lakeside Studios\, Chicago\, a nd Pyramid Atlantic. \; Grants include Maryland State Individual Artist Grants\, the Washington Project for the Arts and New York State Council of the Arts grants. \; She has taught workshops nationally and abroad\, i ncluding the Cortona\, Italy Studies Abroad program for the University of G eorgia\, Santa Reparata School in Florence\, Italy\, the Skopelos Foundatio n for the Arts in Skopelos Greece\, Penland School of Crafts\, NC\, the Pap er &\; Book Intensive\, Oxbow\, MI\, and the Haystack School in Maine.&n bsp\; Collections include the Philadelphia Museum of Art\, the Library of C ongress\, the Corcoran Museum of Art\, the Duke Museum of Art\, \; and Yale University Library\, amongst others. She has exhibited her prints\, bo ok and works on paper throughout the Washington DC area\, nationally and ab road.

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Patricia Stockm an

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Patricia Stockman is a Frederick based photographer and digital artist\, as well as a digita l arts teacher. \; Having been on hiatus\, she has been an up and comin g artist exhibiting in the MD-DC area for approximately 5 years now. \; Her photography work for\, and with\, Steven Dobbin has led to her involve ment in this collaborative show. She has been presented various juried awar ds including first place at The Annual Juried Exhibit\, the Delaplaine\; an d Juror&rsquo\;s First Choice Award at the Focal Point Show\, MFA Gallery.  \;

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For more information on the exhibition Tally at Causey Contemporary running from\, please contact Lara Aim\, the commun ications associate at the gallery via email: \;

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lara@causeycontemp orary.com or telephone: 212-966-2520 \;

DTEND:20161009 DTSTAMP:20160701T034038 DTSTART:20160907 GEO:40.7155483;-73.9917538 LOCATION:Causey Contemporary\,29 Orchard Street Lower East Side\nManhattan\ , NY 10002 SEQUENCE:0 SUMMARY:Tally UID:422529 END:VEVENT BEGIN:VEVENT DTEND:20160907T200000 DTSTAMP:20160701T034038 DTSTART:20160907T180000 GEO:40.7155483;-73.9917538 LOCATION:Causey Contemporary\,29 Orchard Street Lower East Side\nManhattan\ , NY 10002 SEQUENCE:0 SUMMARY:Tally UID:422530 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Manhattan\, June 2016: Causey Co ntemporary is pleased to present\, Bricolage\, its upcoming group show. The exhibition opens with a public on July 15 and runs trough \;

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Bricolage is an underused word relating to the compositing of div erse materials\, ideas or structures. It is used mainly with regards to art or literature.
Each of the artists in this curation created works wh ich fall into this description. Further\, each of the artists utilizes Bric olage to help them enunciate responses to the myriad identification issues& nbsp\;

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present within our current society whether as a r esult of branding\, politics\, gender differences or societal norms. \;

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Each artist believes it necessary to "copy and paste" b orrowing via the use of photography\, newspaper transfers or direct image c opying to illustrate the confusion of identity within which we now live.&nb sp\;

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Ben Bertocci appropriates images of animals and app liances within his paintings to portray self-identity.  \;

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Kevin Bourgeois draws almost photorealistic logos in graphite and pa irs them with matches\, bullet casing or found \;

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ob jects to show how we identify with branding even when those brands harm our selves and our environment.  \;

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Nick Cash incorporates digital photographs and magazines to discuss our perception of \; the environments we live in or with.

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Michel Demanche uses a collage of photogra phs\, drawings and photo transfers from children's books to discuss gender& nbsp\; perception and how mentally handicapped are viewed in society. \ ;

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Steven Dobbin\, casts exact copies of found objects or toys\, then photographs them and displays the duo to raise discussions on gender roles directed at children. \;

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Erik Foss uses photo transfers from old Maxims or Playboy magazines to speak about female identities.  \;

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Greg Haberny recycles pieces of old paintings\, and melted crayons to convey ideas on our polictial and socio- political beliefs

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Gerry Mocarsky composes staged photogr aphs which copy famous portraits or paintings but with transgender men in p lace of the central figure.

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John David O&rsquo\;Brien li ke Nick Cash\, focuses on \; our identification of space\, of home\, of environment using paint\, and photographic transfers\, straight photograph y and collage.

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DTEND:20160821 DTSTAMP:20160701T034038 DTSTART:20160714 GEO:40.7155483;-73.9917538 LOCATION:Causey Contemporary\,29 Orchard Street Lower East Side\nManhattan\ , NY 10002 SEQUENCE:0 SUMMARY:Bricolage UID:422527 END:VEVENT BEGIN:VEVENT DTEND:20160714T200000 DTSTAMP:20160701T034038 DTSTART:20160714T180000 GEO:40.7155483;-73.9917538 LOCATION:Causey Contemporary\,29 Orchard Street Lower East Side\nManhattan\ , NY 10002 SEQUENCE:0 SUMMARY:Bricolage UID:422528 END:VEVENT BEGIN:VEVENT DESCRIPTION:

SiTE:LAB presents \;Nothing is Destroyed\, a si te-specific project for Open Source Gallery.

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Nothing is Destroy ed \;is part of a larger conversation that began in Grand Rapids\, Michigan. This exhibit contains objects extracted from and related to prev ious projects surrounding the church that trace the trajectory of intervent ions at and with the desanctified Rumsey Street Church. Nothing is Dest royed includes architectural artifacts and work by Paul Amenta\, Lora Robertson and Nick Kline. The title of the exhibition\, taken from Lorenzo Fusi&rsquo\;s essay on the work of Gordon Matta-Clark nothing is create d\, nothing is destroyed\, everything is transformed\, references Matt a-Clark&rsquo\;s idea of &ldquo\;anarchitecture\,&rdquo\; which described h is interest in voids\, gaps and leftover spaces related to architecture.&nb sp\;Nothing is Destroyed \;focuses on these concepts\, creatin g\, like Matta-Clark\, an expanded vision of space and its representation o ver time. Each recontextualization of the Rumsey Street Church adds a new h istory\, creating new collaborations and connections which contribute to th e project through both additions and subtractions. \;

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Nothi ng is Destroyed \;is a kind of love letter to a space and its rein carnations. The Rumsey Street Church originally functioned as a Catholic ch urch\, but was abandoned by its congregation when they outgrew the structur e. In July 2015\, pieces of the church were brought to Upstate New York by Paul Amenta\, who reconstructed the pipe organ into a motorized venting sys tem at CR10. In August 2015\, Nick Kline\, Lynn Cazabon and Monika Wuhrer t ransformed the church where it stood in Grand Rapids\, Michigan. During Art Prize\, the church received stripes and hosted performances by local artist s\, musicians\, poets\, writers and residents. In June 2016\, the steeple o f the church traveled to New York to be presented at 92Y by the Satellite C ollective and SiTE:LAB. In the last stop on the tour\, the artifacts are pr esented during \;Nothing is Destroyed \;before returning t o the Grand Rapids to be reconstructed for ArtPrize 2016. The facade of the building will be rehabilitated to its original appearance\, landscaped wit h trees and welcomed back with a film by Lora Robertson of the Satellite Co llective.

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SiTE:LAB is a nomadic all-volunteer arts organization tha t has organized dozens of temporary site-specific art projects\, usually in underutilized downtown buildings in Grand Rapids\, Michigan. Previous proj ects have used locations as diverse as an abandoned natural history museum\ , a nature preserve\, vacant commercial buildings\, and most recently\, a o nce-grand downtown hotel. The Rumsey Street Project was created in collabor ation with Habitat for Humanity of Kent County in 2015. The property consis ts of nearly three acres of unoccupied structures\, including a body shop\, vacant lots\, residencies and the former Catholic church whose steeple is included in \;Nothing is Destroyed. The Rumsey Street Project is functioning as an art center until Habitat begins its redevelopment of t he property in 2017. In this space\, SiTE:LAB focuses on presenting large-s cale\, site-specific work by both local and international artists.

DTEND:20160730 DTSTAMP:20160701T034038 DTSTART:20160709 GEO:40.6622778;-73.9891306 LOCATION:Open Source Gallery\,306 17th Street \nNew York\, NY 11215 SEQUENCE:0 SUMMARY:SiTE:LAB: Nothing Is Destroyed\, Paul Amenta\, Nick Kline\, Lora Ro bertson UID:422513 END:VEVENT BEGIN:VEVENT DTEND:20160709T210000 DTSTAMP:20160701T034038 DTSTART:20160709T190000 GEO:40.6622778;-73.9891306 LOCATION:Open Source Gallery\,306 17th Street \nNew York\, NY 11215 SEQUENCE:0 SUMMARY:SiTE:LAB: Nothing Is Destroyed\, Paul Amenta\, Nick Kline\, Lora Ro bertson UID:422514 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Xinyi Cheng &ndash\; Nabuqi &ndash\; Ali Van

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July 7 &ndash\; August 5\, 2016
Opening Reception: Thur.\, July 7\, 6 &ndash\; 8:30pm
Summer Hours: Mon. &ndash\; Fri.\, 11am &ndash\; 6pm

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Thomas Erben Gallery is ple ased to present Soft Haze\, an exhibition of works by Xiny i Cheng\, Nabuqi\, and Ali Van. The show features sculptures\, paintings\, audio\, and works on paper in which the conventio ns of each medium are infused with softness and intimacy. Soft Haze\, as a title\, references the serenity of warm summer nights\, the dusk i n which the air turns velvety. The works in the show feature a playful and personal sensibility\, an approach that encourages slight details\, articul ated textures\, and atmospheric moods.

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In Xinyi Cheng's paintings\, the artist depicts nude figures reclining and relaxing wi thin sparsely rendered spaces. In Tension\, a lone man lies on his side\, staring straight out of the picture. The domestic architecture surr ounding him is created through an assemblage of flat planes\, whose light p astels are in sharp contrast to the dark lines of the figure's leg hair. Si milarly\, in Goodnight\, Thomas\, the subject is seen from above\, his body laid back in bed. Within the smooth\, geometric rendering of his surroundings\, his finely rendered chest hair hints at a certain eroticism\ , reflected in the way his bearded face looks playfully at the viewer.

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Nabuqi's works\, on the other hand\, are deeply invest ed in the history of sculpture. A View Beyond Space No. 7-12 compr ises six freestanding pieces\, narrow yellow steles on which small growths spring out of their tops. These finely crafted metal sculptures adopt a har d-edge vocabulary\, but are softened\, seemingly organic. As such\, they re ference and remix iconic sculptural practices &ndash\; \;from Louise Bo urgeois and Constantin Brancusi\, to Sol LeWitt and John McCracken. The ram bunctiousness of their forms becomes apparent in the context of Object No. 4\, a sculpture made of two stacked wooden stools\, the top invert ed such that the two seats are in contact. The entire sculpture is covered with fabric\, with the spaces between the legs selectively bound with cloth \, implying a potential series of permutations. A white thread crossing the interior space of the lower stool ending in a white stain introduces a vag ue impression of bodily fluids.

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As an interdisciplinary artist\, Ali Van's work can be understood through a language of poetr y and time as medium. \; On paper\, poetic text is distributed across t he surface of sheets stained with pigments and liquid. With photography she captures whimsical details of her surroundings\, presenting them as define d forms that emphasize both their ephemerality and their elliptical nature as a whole. Van describes her practice as &ldquo\;living inscriptions of br eath [&hellip\;] in gifted time.&rdquo\; As with writing and image making\, her still lives are a choreography of objects in operational time. Install ed with a sound component within the gallery\, these works point towards he r interest in atmospheric matter\, in the way small units of life may colle ctively produce something of inexplicable beauty.

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Xinyi Che ng (b. 1989\, Wuhan\, China) attended the Tsinghua University in B eijing (BA\, 2012)\, Maryland Institute College of Art (MFA\, 2014)\, and t he Skowhegan School of Painting &\; Sculpture (2014). Her work has been included in numerous group shows while studying in Baltimore and in New Yor k after moving to the city. She has participated in the AIM program at the Bronx Museum\, received a fellowship to the Vermont Studio Center and was a recent artist-in-residence at the Lower East Side Printshop in New York. S he is currently a resident artist at the Rijksakademie\, Amsterdam.

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Nabuqi (b. 1984\, Inner Mongolia\, China) graduated from the Central Academy of Fine Arts\, Beijing\, in 2013. A recent solo exhibit ion was held in 2015 at C-Space in Beijing. Group exhibitions include Star Gallery\, Beijing and Songzhuang Museum\, Beijing (both 2014). She will par ticipate in the forthcoming 2016 Gwangju Biennale in South Korea. She lives and works in Beijing.

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Ali Van \;(b. 1986\, New York) received her M.F.A. from Columbia University in 2013 and h er B.A. from Yale University in 2008. She is the recipient of numerous gran ts and awards with organizations based in Austria\, China\, Japan\, France\ , Thailand and the US\; including residencies at Yaji Garden\, Suzhou\, Chi na\; Practice\, New York (both 2016)\; SoART Millstä\;ttersee\, Austria (2013-15)\; and CCA Kitakyushu\, Japan (2014-15) to name a few. Her work i s currently included in \;Beyond the Globe: 8th Triennial of Contem porary Art \;in Slovenia curated by Boris Groys\, and she is worki ng toward an exhibition at the Watson Library in the Metropolitan Museum of Art\, New York. She lives and works between New York and Hong Kong.

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DTEND:20160805 DTSTAMP:20160701T034038 DTSTART:20160707 GEO:40.750267;-74.004393 LOCATION:Thomas Erben Gallery\,526 West 26th Street 4th Floor\nNew York\, N Y 10001 SEQUENCE:0 SUMMARY:Soft Haze\, Xinyi Cheng - Nabuqi - Ali Van UID:422507 END:VEVENT BEGIN:VEVENT DTEND:20160707T200000 DTSTAMP:20160701T034038 DTSTART:20160707T180000 GEO:40.750267;-74.004393 LOCATION:Thomas Erben Gallery\,526 West 26th Street 4th Floor\nNew York\, N Y 10001 SEQUENCE:0 SUMMARY:Soft Haze\, Xinyi Cheng - Nabuqi - Ali Van UID:422508 END:VEVENT BEGIN:VEVENT DESCRIPTION:

HEY! What's Inside The Box ?
IAM 2016 Annual Open Call.  \; \;
An Islip Art Museum tradition of 40+ years. \;

The Islip Art Museum is pleased to announce \; \;
Priva te Viewing: For Your Eyes Only\, curated by Eileen Palmer. \;

This summer IAM galleries will host Private Viewing: For Your Eyes Only\, our annual open call exhibition curated by Eileen Palmer. This year the op en call challenged artists to "think inside the box" by creating works in a box that engage only one viewer at a time. \;
This time it's what is on the inside that counts!

Featuring works by\;
Olga Al exander\, Berges Alvarez\, Renee Andolina\, Holly Black\, Jackie Branson\, James Battistelli\, Kate Collyer\, Monica Chulewicz\, Ana Paula Cordeiro\, Margaret DeLima\, Krystle L. DiNiola\, JoAnne Dumas\, Anna Fredericks\, Lau ren Goldstein\, Adel Gorgy\, Crista Grauer\, Carol J. Hansen\, Bernard Hall stein\, Ellen Hanauer\, Lori Horowitz\, Lorena Kalaja\, Julianna Kirk\, Jan et Lust Ganes\, David Lee Moneypenny\, Eric Murphy\, Lesley Obrock\, Linda Rettich\, Meredith Rose\, Neva Setlow\, Sally Shore\, Rosemary Sloggatt\, D inah Maxwell Smith\, Marsha Solomon\, Mark Strodl\, Hisayasu Takashio\, Shi ra Toren\, Gerald Walsh\, Ching Wen Tsai\, Ellen Wetmore\, Leigh Yardley\, and Tmima Z

DTEND:20160911 DTSTAMP:20160701T034038 DTSTART:20160619 GEO:40.7351896;-73.198218 LOCATION:Islip Art Museum\,50 Irish Lane \nEast Islip\, NY 11730 SEQUENCE:0 SUMMARY: Private Viewing\; For your Eyes Only\, Olga Alexander\, Bergés Alv arez\, Renee Andolina\, Holly Black\, Jackie Branson\, James Battistelli\, Kate Collyer\, Monica Chulewicz\, Ana Paula Cordeiro\, Margaret DeLima\, Kr ystle L. DiNiola\, JoAnne Dumas\, Anna Fredericks\, Lauren Goldstein\, Adel Gorgy\, Crista Grauer\, Carol J. Hansen\, Bernard Hallstein\, Ellen Hanaue r\, Lori Horowitz\, Lorena Kalaja\, Julianna Kirk\, Janet Lust Ganes\, Davi d Lee Moneypenny\, Eric Murphy\, Lesley Obrock\, Linda Rettich\, Meredith R ose\, Neva Setlow\, Sally Shore\, Rosemary Sloggatt\, Dinah Maxwell Smith\, Marsha Solomon\, Mark Strodl\, Hisayasu Takashio\, Shira Toren\, Gerald Wa lsh\, Ching Wen Tsai\, Ellen Wetmore\, Leigh Yardley\, Tmima Z UID:422380 END:VEVENT BEGIN:VEVENT DTEND:20160625T230000 DTSTAMP:20160701T034038 DTSTART:20160625T200000 GEO:40.7351896;-73.198218 LOCATION:Islip Art Museum\,50 Irish Lane \nEast Islip\, NY 11730 SEQUENCE:0 SUMMARY: Private Viewing\; For your Eyes Only\, Olga Alexander\, Bergés Alv arez\, Renee Andolina\, James Battistelli\, Holly Black\, Jackie Branson\, Monica Chulewicz\, Kate Collyer\, Ana Paula Cordeiro\, Margaret DeLima\, Kr ystle L. DiNiola\, JoAnne Dumas\, Anna Fredericks\, Janet Lust Ganes\, Laur en Goldstein\, Adel Gorgy\, Crista Grauer\, Bernard Hallstein\, Ellen Hanau er\, Carol J. Hansen\, Lori Horowitz\, Lorena Kalaja\, Julianna Kirk\, Davi d Lee Moneypenny\, Eric Murphy\, Lesley Obrock\, Linda Rettich\, Meredith R ose\, Neva Setlow\, Sally Shore\, Rosemary Sloggatt\, Dinah Maxwell Smith\, Marsha Solomon\, Mark Strodl\, Hisayasu Takashio\, Shira Toren\, Ching Wen Tsai\, Gerald Walsh\, Ellen Wetmore\, Leigh Yardley\, Tmima Z UID:422381 END:VEVENT BEGIN:VEVENT DESCRIPTION:

THE LIGHT drawing series explores notions of light in a vari ety of form\, context\, symbol\, signification\, and association. Sources\, data and references &ndash\; often presented and composed simultaneously & ndash\; encompass the colliding worlds of science\, religion\, and art. Fro m light as an elemental particle/photon\, a measurable wave set in motion o r shaped by forces of gravity\, to spectral and spiritual phenomena\, visua l experience and component of color and color perception\, or subjective/ob jective experience\, each piece in the series evolves in complexity\, juxta position\, scale\, optical play\, and manipulation of data and medium.

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Botticelli&rsquo\;s spectral spirits (from his Dante&rsquo\;s Inf erno drawings) share a multilayered compositional space with data on optics and quantum physics. Light (Yellow) is placed in stark contrast with dark (Black). Theories of Josef Albers collide with the theories of Albert Einst ein\, properties of crystals\, alchemy and mysticism. Representations of li ght and shape contrast spatially and in mass with gestural marks both real (actual paint/brush strokes) and simulated (drawn and replicated echoes).\n


Like previous drawing series (CODEX\, SYNCHRONICITY\, ACCOUNTI NG FOR\, ORDER\, and RELATIVITY) strategies of semiotics and language are a t play\, filtering and arranging the selection and composition of thematic material\, while orchestrated through the interaction of surface\, media\, and the imagination of the artist.

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Paul Glabicki is reknowned for his experimental film animations that have appeared at major film fest ivals\, as well as national and international museum exhibitions. His anima tion work in film has been carefully crafted by means of thousands of hand- drawn images on paper - each drawing representing both a frame of film and a unique complete work on paper. His film works have been widely screened a t such prestigious sites as the National Gallery of Art\, New York Film Fes tival at Lincoln Center\, the Cannes Film Festival\, the Museum of Modern A rt\, Whitney Museum of Art in New York (Whitney Biennial)\, and the Venice Biennale. He has received numerous awards\, grants\, and fellowships\, incl uding a Guggenheim Fellowship\, grants from the National Endowment for the Arts\, the American Film Institute\, and several grants from the Pennsylvan ia Council on the Arts.

DTEND:20161015 DTSTAMP:20160701T034038 DTSTART:20160908 GEO:40.7464825;-74.0069332 LOCATION:Kim Foster Gallery\,529 W. 20th St. \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:THE LIGHT drawing series\, Paul Glabicki UID:422376 END:VEVENT BEGIN:VEVENT DTEND:20160908T200000 DTSTAMP:20160701T034038 DTSTART:20160908T180000 GEO:40.7464825;-74.0069332 LOCATION:Kim Foster Gallery\,529 W. 20th St. \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:THE LIGHT drawing series\, Paul Glabicki UID:422377 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160805 DTSTAMP:20160701T034038 DTSTART:20160707 GEO:40.723144;-73.9925559 LOCATION:Sperone Westwater\,257 Bowery \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:SPLOTCH UID:422317 END:VEVENT BEGIN:VEVENT DTEND:20160707T200000 DTSTAMP:20160701T034038 DTSTART:20160707T180000 GEO:40.723144;-73.9925559 LOCATION:Sperone Westwater\,257 Bowery \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:SPLOTCH UID:422318 END:VEVENT BEGIN:VEVENT DESCRIPTION:
Part II:
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Tuesday\, July 19th
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Storefront for Art and A rchitecture
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97 Kenmare Street\, New York
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Moderated by \;Eva Franch i Gilabert \;and \;Beatrice Galilee
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Manifesto Series: In Our Time &ndash\; The Shari ng Movement\, is a two-part series presented by Storefront for Art and Architecture and The Metropolitan Museum of Art. \;How will today&rsqu o\;s sharing movement affect the way we work\, move\, build\, and produce n ew ideas and knowledge?

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Participants will discuss t his contemporary and ubiquitous movement\, one that is increasingly influen cing the exchange of goods\, data\, images\, services\, and spaces of resid ence and work. The series brings together leading practitioners and scholar s embedded within the movement to explore its spatial\, social\, public\, a nd private consequences\, many of which are changing the future of urban li fe.

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Events will take place on June 8th at the Met B reuer\, and on July 19th at Storefront for Art and Architecture. Storefront will also publish a related book as part of its Manifesto Series that draw s upon the issues presented during the event.

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#sharingmovement
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@storefrontnyc
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@metbreuer
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This lecture is made possible by Dr . William Pordy.
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These events are \;free \;and \;open \;to the \;pu blic\, with seating on a first come\, first served basis. \;Storefront members receive reserved seating. If you are a member and would like to res erve a seat\, you can RSVP to aa@storefrontnews.org and specify which event s you&rsquo\;ll be attending. \;If \;you would like to become a&nbs p\;Storefront \;member\, please \;see here. DTEND:20160719T210000 DTSTAMP:20160701T034038 DTSTART:20160719T190000 GEO:40.7215083;-73.9971759 LOCATION:Storefront for Art and Architecture\,97 Kenmare Street \nNew York\ , NY 10012 SEQUENCE:0 SUMMARY:Part II: Manifesto Series: In Our Time – The Sharing Movement UID:422247 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Salon 94 Bowery presents a Summer group exhibitio n\, \;A Being In The World. \; Curated by artist Jayson Mu sson and gallery Partner and Curator Fabienne Stephan\, the exhibition gath ers the work of over a dozen artists. Stephan describes the artworks as all &ldquo\; sharing personal iconography\, characters\, and an intimate herme tic that reaches out to the world that inspires it.&rdquo\; The multi-gener ational list of artists include: Emilia Brintnall\, James Castle\, Steven a nd Billy Dufala\, William Edmondson\, Gerasimos Floratos\, Mark Thomas Gibs on\, Maia Ruth Lee\, Caro Niederer\, Lee Scratch Perry\, Tschabalala Self\, Katie Stout\, Bill Traylor\, and James Ulmer.

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The show was greatly aided by conversations with Philadelphia gallerist John Ollman\ , who has long championed the work of outsider artists such as William Edmo ndson\, a hospital janitor in Nashville\, Tennessee who developed a sculptu ral practice of carving symbolic religious figures from tombstones and was the first African American artist to be given a solo exhibition at the Muse um of Modern Art in1937. A Being In The World juxtaposes work by E dmondson and other self-taught artists like Bill Traylor and James Castle w ith a new generation of artists who have built their practice on readily id entifiable images\, self created linguistics\, and exploration of cultural myth.

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According to Musson\, the show spotlights &ldq uo\; an art deeply tethered to the innate human desire to make a thing \; to give language and form to one's own experiences\, regardless of their position within history&rsquo\;s narrative.&rdquo\; \; Seen alongside Traylor&rsquo\;s iconic figures and Castle&rsquo\;s charcoal drawings\, Tsc habalala Self&rsquo\;s explorations of the Black female body and Katie Stou t&rsquo\;s bubblegum colored re-imagining of humble furnishings all convey a sense of celebration of artistic creativity.

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A Bei ng In The World harkens back to one of the most essential impulse to c reate art\; to hold a dialogue between the Self\, World\, and the Unknown i n the hopes of finding light amid the darkness of the universe in the hopes of understanding oneself as a being in the world. The exhibition remains o n view through July 29th.

DTEND:20160629 DTSTAMP:20160701T034038 DTSTART:20160629 GEO:40.7194165;-73.9819938 LOCATION:Salon 94 Bowery\,243 Bowery near Stanton St.\nNew York\, NY 1000 2 SEQUENCE:0 SUMMARY:A Being in the World\, Emilia Brintnall\, James Castle\, Steven Duf ala\, Billy Dufala\, William Edmondson\, Gerasimos Floratos\, Mark Thomas G ibson\, Maia Ruth Lee\, Caro Niederer\, Lee Scratch Perry\, Tschabalala Sel f\, Katie Stout\, Bill Traylor\, James Ulmer UID:422243 END:VEVENT BEGIN:VEVENT DTEND:20160629T200000 DTSTAMP:20160701T034038 DTSTART:20160629T180000 GEO:40.7194165;-73.9819938 LOCATION:Salon 94 Bowery\,243 Bowery near Stanton St.\nNew York\, NY 1000 2 SEQUENCE:0 SUMMARY:A Being in the World\, Emilia Brintnall\, James Castle\, Billy Dufa la\, Steven Dufala\, William Edmondson\, Gerasimos Floratos\, Mark Thomas G ibson\, Maia Ruth Lee\, Caro Niederer\, Lee Scratch Perry\, Tschabalala Sel f\, Katie Stout\, Bill Traylor\, James Ulmer UID:422244 END:VEVENT BEGIN:VEVENT DESCRIPTION:

On Stellar Rays is pleased to announce the opening of Persua sive Percussion\, featuring new works by Athanasios Argianas\, Julia Bland\ , Zipora Fried\, and Ryan Mrozowski. This exhibition is the second in a ser ies of exhibitions to inaugurate 213 Bowery with new works by gallery artis ts.

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Persuasive Percussion explores the interplay of rhythm and repe tition commonly attributed to sound\, but in this case\, transmutable to im age. The exhibition title takes its name from the series of LP albums relea sed in the late 1950&rsquo\;s and early 1960&rsquo\;s by Enoch Light (1905- 1978)\, a classical violinist\, bandleader\, and recording engineer who pio neered use of a specific stereo effect that bounced sound between right and left channels to create a more immersive aural experience&mdash\;a radical departure from the then-commonplace mono sound of AM radio. Light notably invited Josef Albers to design seven Persuasive Percussion covers\, featuri ng rhythmic color-block patterns of circles and grids of circles.

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A thanasios Argianas&rsquo\;s sculptures are often generated through composit ion and transcription of sound and language. The rhythms and frequencies of speech\, and the pronunciation of consonants and vowels\, determine patter n and form. Presented here in sequences of ropes and mussels cast in relief \, the works can be read as script\, poetry\, or score. Argianas&rsquo\;s S ilence Breakers series is based on percussion as an idea of objecthood\; co nsidering an object&rsquo\;s tactile and material properties\, and ensuing potential for sound when struck&mdash\;shifting between the aural\, tactile \, and visual.

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In Ryan Mrozowski&rsquo\;s work\, flowers\, fruits\, and dots sourced from stock imagery and graphic design are further altered with an acute sense of optical play. Binocular vision is split into diptyc h painting &ndash\; possibly the visual analogue to Light&rsquo\;s experime nts in bi-channel stereo recording &ndash\; whereas in a new video\, multip le vantage points are layered in one work\, resulting in unexpected and def t renditions of imagery.

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Zipora Fried presents new drawings from he r Night series\, consisting of colored pencil drawings in densely repeated gestures akin to script\, however purposefully devoid of language. Fried is not interested in the specificity of language\, but in capturing the essen ce of sensory experience or an obscure inner mood. A large-scale\, site-spe cific mural with reappearing heads comparably combines a psychological spac e with a material one.

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Meanwhile\, Julia Bland&rsquo\;s paintings\, made from dyed\, stitched and painted fabrics\, canvas and hand-woven supp orts\, fuse structural elements and the rhythm of warp and weft with archet ypal and familiar geometric forms. Bland&rsquo\;s interest in phenomenologi cal and sensory experiences that transcend the optical permeates Persuasive Percussion\, in favor of a more inspired sense of perception and shape-shi fting sense of play.

DTEND:20160812 DTSTAMP:20160701T034038 DTSTART:20160707 GEO:40.7214414;-73.9931783 LOCATION:On Stellar Rays\,1 Rivington Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Persuasive Percussion \, and Ryan Mrozowski\, Zipora Fried\, Julia Bland\, Athanasios Argianas UID:422194 END:VEVENT BEGIN:VEVENT DTEND:20160707T200000 DTSTAMP:20160701T034038 DTSTART:20160707T180000 GEO:40.7214414;-73.9931783 LOCATION:On Stellar Rays\,1 Rivington Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Persuasive Percussion \, Athanasios Argianas\, Julia Bland\, Zipora Fried\, and Ryan Mrozowski UID:422195 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Comprising almost 700 snapshot -like portraits sequenced against an evocative music soundtrack\, Nan Goldi n&rsquo\;s \;The Ballad of Sexual Dependency \;is a deeply personal narrative\, formed out of the artist&rsquo\;s own experiences aro und Boston\, New York\, Berlin\, and elsewhere in the late 1970s\, 1980s\, and beyond. Titled after a song in Bertolt Brecht and Kurt Weill&rsquo\;sThe Threepenny Opera\, Goldin&rsquo\;s \;Ballad \;i s itself a kind of downtown opera\; its protagonists&mdash\;including the a rtist herself&mdash\;are captured in intimate moments of love and loss. The y experience ecstasy and pain through sex and drug use\; they revel at danc e clubs and bond with their children at home\; and they suffer from domesti c violence and the ravages of AIDS. &ldquo\;The Ballad of Sexual Depend ency \;is the diary I let people read\,&rdquo\; Goldin wrote. &ldq uo\;The diary is my form of control over my life. It allows me to obsessive ly record every detail. It enables me to remember.&rdquo\; \;The Ba llad \;developed through multiple improvised live performances\, f or which Goldin ran through the slides by hand and friends helped prepare t he soundtrack&mdash\;from Maria Callas to The Velvet Underground&mdash\;for an audience not unlike the subjects of the pictures. \;The Ballad< /em> \;is presented in its original 35mm format\, along with photograph s from the Museum&rsquo\;s collection that also appear as images in the sli de show. Introducing the installation is a selection of materials from the artist&rsquo\;s archive\, including posters and flyers announcing early ite rations of \;The Ballad. Live performances will periodically a ccompany \;The Ballad \;during the course of the Museum&rs quo\;s presentation\; performance details will be announced during the cour se of the exhibition presentation.

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The installation is organized by Klaus Biesen bach\, Chief Curator at Large\, MoMA\, and Director\, MoMA PS1\; Rajendra R oy\, The Celeste Bartos Chief Curator of Film\, MoMA\; and Lucy Gallun\, As sistant Curator\, Department of Photography\, MoMA.

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Allian z is a partner of contemporary art at MoMA.

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DTEND:20170212 DTSTAMP:20160701T034038 DTSTART:20160611 GEO:40.7614029;-73.9776248 LOCATION:MoMA (Museum of Modern Art)\,11 West 53 Street \nNew York\, NY 100 19 SEQUENCE:0 SUMMARY:The Ballad of Sexual Dependency\, Nan Goldin UID:422179 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Tony Oursler&rsquo\;s \;Imponderable \;(2015&ndash\;16) offers an alternative depiction of modernism that reveals the intersection of technological advancements an d occult phenomena over the last two centuries. Presented in a &ldquo\;5-D& rdquo\; cinematic environment utilizing a contemporary form of Pepper&rsquo \;s ghost&mdash\;a 19th-century phantasmagoric device&mdash\;and a range of sensory effects (scents\, vibrations\, etc.)\, \;Imponderable  \;is an immersive feature-length film inspired by Oursler&rsquo\;s own archive of ephemera relating to stage magic\, spirit photography\, pseudos cience\, telekinesis\, and other manifestations of the paranormal. Drawing on these objects\, \;Imponderable \;weaves together a soci al\, spiritual\, and empirical history of the virtual image that overlaps w ith the artist&rsquo\;s own family history. A cast of characters including Sir Arthur Conan Doyle\, Harry Houdini\, Mina &ldquo\;Margery&rdquo\; Crand on\, and members of Oursler&rsquo\;s family are portrayed by an eclectic en semble of artists\, musicians\, and performers including Kim Gordon\, Jim F letcher\, Keith Sanborn\, and Constance DeJong. Bringing together Oursler&r squo\;s ongoing interest in mysticism\, psychedelia\, popular culture\, and media history\, the work employs macabre humor and theatrical surrealism t o reflect on the irrational relationship between belief systems and the aut henticity of images. \;Imponderable \;is presented in conj unction with selections from Oursler&rsquo\;s archive relating to the film.

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This exhibition coincides with \ ;Tony Oursler: The Imponderable Archive\, on view at the Center fo r Curatorial Studies\, Bard College\, Annandale-on-Hudson\, New York\, June 25&ndash\;October 30\, 2016. \;Imponderable \;was origina lly commissioned and produced by the LUMA Foundation for the Parc des Ateli ers\, Arles\, France\, and LUMA Westbau\, Zurich\, Switzerland\, 2015.

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Original soundtrack by JG Thirlwell. Scen ts created by International Flavors &\; Fragrances Inc.

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The exhibition is org anized by Stuart Comer\, Chief Curator\, and Erica Papernik-Shimizu\, Assis tant Curator\, Department of Media and Performance Art.

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Allianz is a partner of contemporary art at MoMA.

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Generous funding for \;Tony Oursler: Imponderable  \;is provided by The Jill and Peter Kraus Endowed Fund for Contemporar y Exhibitions.

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DTEND:20170108 DTSTAMP:20160701T034038 DTSTART:20160618 GEO:40.7614029;-73.9776248 LOCATION:MoMA (Museum of Modern Art)\,11 West 53 Street \nNew York\, NY 100 19 SEQUENCE:0 SUMMARY:Imponderable\, Tony Oursler UID:422178 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This exhibition presents\, in its entirety\, Bouchra Khalili&rsquo\;s \;The Mapping Journey Proje ct \;(2008&ndash\;11)\, a series of videos that details the storie s of eight individuals who have been forced by political and economic circu mstances to travel illegally and whose covert journeys have taken them thro ughout the Mediterranean basin. Khalili (Moroccan-French\, born 1975) encou ntered her subjects by chance in transit hubs across Europe\, North Africa\ , and the Middle East. Following an initial meeting\, the artist invited ea ch person to narrate his or her journey and trace it in thick permanent mar ker on a geopolitical map of the region. The videos feature the subjects&rs quo\; voices and their hands sketching their trajectories across the map\, while their faces remain unseen.

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The stories are presented on individual screens positioned throughout MoMA's Do nald B. and Catherine C. Marron Atrium. In this way\, a complex network of migration is narrated by those who have experienced it\, refusing the forms of representation and visibility demanded by systems of surveillance\, int ernational border control\, and the news media. Shown together\, the videos function as an alternative geopolitical map defined by the precarious live s of stateless people. Khalili&rsquo\;s work takes on the challenge of deve loping critical and ethical approaches to questions of citizenship\, commun ity\, and political agency.

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Organized by Stuart Comer\, Chief Curator\, with Gia mpaolo Bianconi\, Curatorial Assistant\, Department of Media and Performanc e Art.

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This exhibition is part of Cit izens and Borders\, a series of discrete projects at The Museum of Modern A rt related to works in the collection offering a critical perspective on hi stories of migration\, territory\, and displacement.

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Allianz is a partner of contemporary art at MoMA.

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Generous funding for this exhibition is provid ed by The Modern Women&rsquo\;s Fund.

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DTEND:20161010 DTSTAMP:20160701T034038 DTSTART:20160409 GEO:40.7614029;-73.9776248 LOCATION:MoMA (Museum of Modern Art)\,11 West 53 Street \nNew York\, NY 100 19 SEQUENCE:0 SUMMARY:The Mapping Journey Project\, Bouchra Khalili UID:422177 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Dadaglobe Reconstructed \;reunites over 100 works created for \;Dadaglobe\, Tri stan Tzara&rsquo\;s planned but unrealized magnum opus\, originally slated for publication in 1921. An ambitious anthology that aimed to document Dada &rsquo\;s international activities\, \;Dadaglobe \;was not merely a vehicle for existing works\, but served as a catalyst for the pro duction of new ones. Tzara invited some 50 artists from 10 countries to sub mit artworks in four categories: photographic self-portraits\, photographs of artworks\, original drawings\, and layouts for book pages. The exhibitio n brings together these photographs\, drawings\, photomontages\, and collag es\, along with a selection of related archival material\, to reconstruct t his volume. Though never published\, due to financial and organizational di fficulties\, Tzara&rsquo\;s project addresses concerns about art&rsquo\;s r eproducibility that continue to be relevant today.

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The exhibition is organized by Kunsthaus Zü\;rich in coll aboration with The Museum of Modern Art\, New York\, with the special parti cipation of the Bibliothè\;que litté\;raire Jacques Doucet.

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Organized at MoMA by Adrian Sudhalter\, Guest Curator\, and Samantha Friedman\, Assistant Curator\, Department of D rawings and Prints.

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The presentation at MoMA is supported by the Swiss Arts Council Pro Helvetia.

DTEND:20160918 DTSTAMP:20160701T034038 DTSTART:20160612 GEO:40.7614029;-73.9776248 LOCATION:MoMA (Museum of Modern Art)\,11 West 53 Street \nNew York\, NY 100 19 SEQUENCE:0 SUMMARY:Dadaglobe Reconstructed UID:422176 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This exhibition features the f ive finalists&rsquo\; proposals from the MoMA/MoMA PS1 Young Architects Pro gram (YAP)\, in addition to five finalists from each of our affiliated prog rams&mdash\;the National Museum of XXI Century Arts in Rome\, Italy (MAXXI) \; the Museum of Modern and Contemporary Art in Seoul\, Korea (MMCA)\; and CONSTRUCTO in Santiago\, Chile. Now in its 17th edition\, the Young Archite cts Program at MoMA PS1 offers emerging architectural practitioners the opp ortunity to propose a built project\, challenging each year&rsquo\;s entran ts to develop highly innovative designs for a temporary outdoor installatio n that provides shade\, seating\, and water. The architects must also work within guidelines that address environmental and contextual issues. Winning designs by Escobedo Soliz Studio (Mexico City\, Mexico)\, Parasite 2.0 (Mi lan\, Italy)\, and Shinslab Architecture&mdash\;Shin Hyung Chul (Korea and France) will be on view throughout the summer in the courtyards of MoMA PS1 \, MAXXI\, and MMCA\, respectively\, and in Santiago\, Chile\, from March t hrough May 2017.

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View the exhibition  \;website

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DTEND:20160828 DTSTAMP:20160701T034038 DTSTART:20160101 GEO:40.7614029;-73.9776248 LOCATION:MoMA (Museum of Modern Art)\,11 West 53 Street \nNew York\, NY 100 19 SEQUENCE:0 SUMMARY:Young Architects Project (YAP) 2016 UID:422175 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Named after a town in New Jers ey where an apparition of the Virgin Mary was said to have appeared on the window of a two-story house\, Rachel Harrison&rsquo\;s room-sized work  \;Perth Amboy \;exemplifies a cross-disciplinary approach to m aking art. The work comprises 21 photographs\, individual sculptural assemb lages\, and an open-ended labyrinth made from cardboard. It takes as its su bject the basic acts of looking and seeing\, which are central to any exper ience of visual art. This is the first presentation of \;Perth Ambo y \;at MoMA since the work entered the collection in 2011.

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Organized by Paulina Pobocha\, Assistant Curator\, Department of Painting and Sculpture .

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The exhibition is made possible by The Modern Women&rsquo\;s Fund.

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Gener ous funding is provided by The Walton Family Foundation.

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DTEND:20160905 DTSTAMP:20160701T034038 DTSTART:20160319 GEO:40.7614029;-73.9776248 LOCATION:MoMA (Museum of Modern Art)\,11 West 53 Street \nNew York\, NY 100 19 SEQUENCE:0 SUMMARY:Perth Amboy\, Rachel Harrison UID:422174 END:VEVENT END:VCALENDAR