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Jane &\; Louise Wilson's fifth exhibition at 303 Gallery will mark th e first time that they bring several bodies of work together: the photograp hs "Atomgrad\, Nature Abhors A Vacuum" I\, V\, VI\, VII and VIII\, 2011\; a nd "Blind Landing\, H-Bomb Test Facility"\, Lab 1 and Lab 4\, 2012. In the 'Atomgrad' series\, the Wilsons photographed in the town of Pripyat\, built in the early 1970s under the former Soviet Union to house the Chernobyl fa ctory workers. Known as Atomgrad (Atom City)\, the town has lain abandoned and contaminated for the last 25 years. 'Blind Landing' documents the Wilso ns' first publicly sited installation\, on a former H-Bomb test facility on Orford Ness\, an island off the Suffolk Coast owned by the Ministry of Def ense.

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The large aluminium cast sculptures "Blind Landing" Lab 1 and Lab 4\, 2012\, were installed in the H-bomb test labs on Orford Ness. Siting li teral measures\, the Wilsons used yardsticks to act as a register for scale and intimacy. The measures are cast in aluminum\, painted with individual black and white markers. The vertical uprights challenge our sense of scale and ruin\, pointing to an architecture of forensics and camouflage. The Ya rdsticks are obsolete measures\, because of their imperial standard: the ya rd (0.9144 of a metre)\, 36 inches. (The inch is the basis of the British i mperial system of measurement.) 'Man'\, 'antiquity'\, 'empire' - all obsole te measures. Obsolete and therefore subject to monumentalization.

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In the 'Atomgrad' photographs\, a wooden yardstick measure is physically placed i n each interior\, here acting more as a readymade. The recurring motif of a yardstick signals a desire to make conscious the act of entering and photo graphing these spaces. The photograph encourages us to stare back into the past\, into the empty manmade spaces\, yet the yardsticks (a means of measu rement now fallen into disuse\, much like the buildings themselves) play wi th memory on material fact\, on that which had been recorded\, measured\, a rticulated and analyzed\, for levels of radiation. The work explores the th ematics of dark tourism\, using the yardsticks as a forensic and literal me asure that act as a register for the viewer.

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"Altogether"\, 2010\, is ba sed on a photograph of a hanging spatial construction in Liubov Popova's st udio by Aleksandr Rodchenko from 1924. It is comprised of 52 yard measures. Drawing attention to the various qualities of this internal architecture\, "Altogether"\, does not evoke the sculptural tradition so much as Mel Boch ner's 1969 'Measurement Room' or the Polish artist Edward Krasinski's Inter vention series (1969-70). In which Bochner's and Krasinski's lines mark the alienation of measure from the measurer.

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Also on view will be "Konvas A utomat"\, a cast of the 35mm Russian Bolex camera\, the same model of camer a used by the Ukrainian film maker Vladimir Shevchenko who made the seminal film "Chernobyl: A Chronicle of Difficult Weeks" in the days immediately f ollowing the disaster. This film is an extraordinary\, close-up record of t he efforts to contain and clear up the disaster but it is also a compelling document of the physical effects of radiation on film. When Shevchenko fir st processed his film he noticed that portions of it were heavily pockmarke d and affected by static interference. He mistakenly thought that this inte rference was caused by faulty film stock\, however when he subsequently pla yed the film back on a Steinbeck\, he heard sound alongside the image and r ealized that each time the image deteriorated\, it coincided with the sound of the Geiger counter. So there was no fault with the processing... Shevch enko had captured the effect of radiation on film\, for the first time. Car oline Wilkinson a Professor of Craniofacial Identification at the Centre of Anatomy and Human Identification\, University of Dundee comments\, "The id ea of a radioactive forensic film and camera is also fascinating - that the moment and the event are captured in time as a process as well as an image is the ultimate forensic experience."

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Jane and Louise Wilson were born in Newcastle received their MAs at Goldsmiths College of Art\, London. They began working together in 1989 and since then have exhibited at major gall eries internationally. They were nominated for the Turner Prize in 1999. Re cent solo exhibitions include Whitworth Art Gallery\, Manchester\; Dundee C ontemporary Arts\, Dundee\, UK\; Helga de Alvear\, Madrid\; the British Fil m Institute Gallery\, London\; and Musee d'Art Contemporain de Montreal. Th ey are currently included in the exhibition "Stanley Kubrick" at the Los An geles County Museum of Art. The artists live and work in London.

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DTEND:20130802 DTSTAMP:20140921T201840 DTSTART:20130625 GEO:40.7485947;-74.0041953 LOCATION:303 Gallery\,507 West 24th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Jane and Louise Wilson\, Jane and Louise Wilson UID:281506 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Time Equities Inc. Art-in-Buildings is pleased to announce the newest exhibition in the lobby of the 55 5thAvenue Office Tower\, Jay Shin: Doublerama and Adagiorama. Please join us for an opening celeb ration with the artist on Wednesday\, June 12th from 5-7p m.

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Jay Shinn’s site specific illuminated wa ll painting\, Doublerama\, challenges the viewer’s experience of the lobby s pace by confounding the geometry of the main architectural element\, a curv ed wall. Shinn projects light on to wall painting with theatrical lenses to create the illusion of a three dimensional object floating in space. His e xperiential works are constructed of relatively simple geometric shapes tha t are deployed in intricate patterns to create origami-like structures. Als o on view is Adagiorana\, an 8-minute looping animation that references the wall painting. This is the first time one of Shinn’s animations has been sh one publically. The TV screen is fronted with a frosted Plexiglas box which distorts the video\, blurring the line between video and sculpture. 

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Ja y Shinn lives and works in Dallas and New York. He has a BFA in painting fr om the Kansas City Art Institute. Shinn’s work has been exhibited widely in the US and Europe. Recent exhibitions include Miejska\, Bydgoszcz\, Poland \; University of Colorado Colorado Springs Galleries of Contemporary Art\, Colorado Springs\; Marty Walker Gallery\, Dallas\; Barbara Davis Gallery\, Houston\; Kunstverein Neukolln\, Berlin and Mixed Greens\, New York. Shinn has completed residencies at Omi International Arts Center and Skowhegan Sc hool of Painting and Sculpture. His work is represented by Marty Walker Gal lery\, Dallas and Barbara Davis Gallery\, Houston.

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Jay Shinn: Doublerama an d Adagiorama is curated by Jennie Lame nsdorf and sponsored by the Time Equities Inc. (TEI) Art-in-Buildings. TEI is committed to enriching the experience of our properties through the Art- in-Buildings Program\, an innovative approach that brings contemporary art by emerging and mid-career artists to non-traditional exhibition spaces in the interest of promoting artists\, expanding the audience for art\, and cr eating a more interesting environment for our building occupants\, resident s\, and their guests.

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Founded in 1966\, privately-held Time Equiti es Inc. has been in the real estate investment\, development and asset & \; property management business for more than 40 years. With properties in 26 states\, four Canadian provinces and Germany\, the TEI portfolio consist s of approximately 23.4 million square feet of residential\, industrial\, o ffice and retail property.

DTEND:20130831 DTSTAMP:20140921T201840 DTSTART:20130612 GEO:40.7347941;-73.9944293 LOCATION:55 5th Avenue Lobby Exhibitions\,55 Fifth Avenue \nNew York\, NY 1 0003 SEQUENCE:0 SUMMARY:Doublerama and Adagiorama\, Jay Shinn UID:281807 END:VEVENT BEGIN:VEVENT DTEND:20130612T190000 DTSTAMP:20140921T201840 DTSTART:20130612T170000 GEO:40.7347941;-73.9944293 LOCATION:55 5th Avenue Lobby Exhibitions\,55 Fifth Avenue \nNew York\, NY 1 0003 SEQUENCE:0 SUMMARY:Doublerama and Adagiorama\, Jay Shinn UID:281808 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Aicon Gallery is proud to present Brut-Nama: The Chronicles of Brut\, the first major U. S. solo exhibition by Australia-based Pakistan i artist Abdullah M I Syed. Brut-Nama represents the culmination of ten yea rs of research born from Syed&rsquo\;s award-winning installation\, Discour se within Discourse: The Circle at the IAO Gallery in Oklahoma City (2003) and developed over the past decade through a series of international solo a nd group exhibitions while living\, working and studying between Karachi an d Sydney.
The title Brut-Nama: The Chronicles of Brut alludes to the i mmensely popular fragrance\, Brut for Men\, launched by Faberge in 1964. De signed to create a new market for male grooming products under the slogan & ldquo\;The Essence of Man\,&rdquo\; Brut set itself up as a catch-all symbo l attempting to embody a swarm of conflicting notions of traditional mascul inity\, strength and character\, while its extreme binary\, signified by th e word brute\, implied the inherent power make it so by sheer force of will . In contrast\, the work in Brut-Nama presents a series of nuanced\, comple x and interlocking visual chapters\, portraying contemporary Pakistani masc ulinities ranging from brutish\, the raw and unrestrained\, to the cultured \, gentle and atypical. The exhibition explores the very essence of the dic hotomy of the word Brut(e) through chance\, experimentation\, collaboration and real and imagined narratives while drawing on an obsession with the ef fects of history and geography on questions of performed identity and the c onstruction of multiple contrasting &lsquo\;Others&rsquo\;.
Abdullah M I Syed&rsquo\;s practice is founded in personal observations and experienc es as a Muslim male artist straddling multiple and frequently conflicting c ultures. His work explores political instability\, religious and secular te nsions\, Orientalism\, Post-Colonialism\, Capitalism\, diasporic issues and the tragedy of 9/11 as powerful factors in the construction of contemporar y Muslim male identities. In this exhibition\, Syed deploys a host of recur ring metaphors\, symbols\, imagery and texts across a dizzying array of med iums\, constructing a labyrinthine yet self-referential evolving narrative of personal and shared cultural notions of masculinity. The intricate and o bsessive yet playful art making in Brut-Nama originates in patterns derived from the beehive\, geometric and arabesque streamlined into formal grids a nd regular and isometric graphs\, pinstripes and checkered patterns. The re parative act of making and breaking the modular system of the grid\, either as an order or a screen\, not only suggests a simultaneous acceptance and rejection of social conformity\, but also reasserts the balance and variati on of traditional and conceptual compositions.
Abdullah M I Syed\, The Fragrance of the Moon (Detail)\, 2013\, Brut for Men fragrance bottle\, Pe rspex and transparency projector\, Dimensions variable.
Syed&rsquo\;s interest in Art Brut (Outsider Art) led him to Pakistani arts-and-craft tra ditions\, such as hand woven rugs\, garlands made from currency and the mor e recent urban Pakistani fascination of adorning commercial trucks with int ricate hand-beaten metal reliefs and hand-cut stickers. Recognized as a mas culine domain\, such crafts are undoubtedly a rich source of imagery\, whic h &ndash\; previously muted &ndash\; are now richly colored. In Brut-Nama\, all of these outsider elements find their way into Syed&rsquo\;s formally meticulous practice. Exuberantly colored out-sized hand-made Brut for Men m edallions are set off by flashing neon signs and balanced by quietly powerf ul hand-woven and cut works assembled from uncirculated U.S. currency. Ethe real moon-like sculptures radiate light through surfaces woven of countless Muslim skullcaps while text-based and collaborative installations juxtapos e the earnest and the ironic both within and amongst works.
Throughout the exhibition\, Syed takes his cues from both Western and Eastern vocabul aries of art history and theory to re-contextualize and re-frame contempora ry issues affecting both cultures. His works simultaneously celebrate hybri dity\, pluralism and uprootedness while questioning how time and place act as mediators of subjectivity\, and come to bear on the work&rsquo\;s politi cal and cultural connections to the society that produced it. Taken as a wh ole\, Brut-Nama presents a diversity of ideas\, techniques and material exp lorations as a balancing act of creative obsession and traditional craft\, resulting in a hybrid space where communal wounds\, memories\, dreams and j oy are shared\, new ideas are layered\, traditions are reinvented and Pakis tani &lsquo\;masculinity&rsquo\; is restored to its intrinsically &lsquo\;b alanced&rsquo\; vernacular.

DTEND:20130831 DTSTAMP:20140921T201840 DTSTART:20130718 GEO:40.7268368;-73.9929619 LOCATION:AICON GALLERY - New York\,35 Great Jones Street \nNew York\, NY 10 012 SEQUENCE:0 SUMMARY: Brut-Nama: The Chronicles of Brut\, Abdullah M I Syed UID:287564 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Saying no is easy\, almost too easy\, but yes can lead to ye s\, which opens up possibility: repetition\, continuation\, communication. People say we have to watch our thoughts\, as thoughts become actions and a ctions can become our habits. I try to say what I mean.
Looking can be like listening. When you look and listen really hard it can be worth it\, but doing it can also be like saying no. Sometimes it’s worth just simply s eeing (and listening): just taking in everything in front of you and every thought that comes with it.
People misunderstand me. I misunderstand t hem. But when we do understand each other it’s wonderful.
I just forge t that it takes time.
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“Yes I will Yes” features work by nine artists\, one from LA\, two from London and six from New York. The wor k chosen for the exhibition includes modes of image repetition\, layering a nd juxtaposition in an attempt to examine the differences and similarities that exist between thought and communication.
Current highlights for t he exhibiting artists are listed here. Uri Aran is currently exhibiting in The Encyclopedic Palace at the Venice Biannale and had a solo exhibition at Gavin Brown and the Kunsthalle Zürich\, Switzerland this past fall/winter\ ; David Berezin recently displayed new work at the Sculpture Centre in Janu ary and had a solo presentation at the Columbus Museum of Art\; Cynthia Dai gnault has work this summer at White Columns and MKG127\, Toronto amongst o thers and wlll have her first solo exhibition with Lisa Cooley in September \; Joel Holmberg exhibited with American Contemporary in January and has al so recently shown at the New Museum and Kettles Yard\, Cambridge\, England\ ; Matt Keegan had a two person exhibition at the Kitchen with Eileen Quinla n titled “Y? O! G... A” in 2012 and a solo exhibition at Pedro Cera in 2013 \; Margaret Lee was the recipient of the Artadia NADA Award\, 2012 and was recently included in “MHMMML” with Matthew Higgs and Marlon Mullen at Murra y Guy\, The Green Gallery and International Art Objects\; Jimmy Merris was awarded the Studio Voltaire Members’ Show Award selected by Mike Nelson and Jenni Lomax and was given a Frieze Film commission for the 2012 Frieze Art Fair\; Oliver Osborne has upcoming solo shows with Frutta\, Rome and Vilma Gold\, London and recently exhibited with Mihai Nicodim in Los Angeles\; A manda Ross-Ho had solo exhibitions with Mitchell Innes and Nash\, Shane Cam pbell Gallery and the MCA Chicago in 2013 as well as a solo exhibition at M oCA\, LA in 2012.

DTEND:20130810 DTSTAMP:20140921T201840 DTSTART:20130627 GEO:40.725623;-73.991532 LOCATION:American Contemporary\,4 East 2nd Street \nNew York\, NY 10003 SEQUENCE:0 SUMMARY:Yes I Will Yes\, Uri Aran\, David Berezin\, Cynthia Daignault\, Joe l Holmberg\, Matt Keegan\, Margaret Lee\, Jimmy Merris\, Oliver Osborne\, A manda Ross Ho UID:283009 END:VEVENT BEGIN:VEVENT DTEND:20130626T200000 DTSTAMP:20140921T201840 DTSTART:20130626T180000 GEO:40.725623;-73.991532 LOCATION:American Contemporary\,4 East 2nd Street \nNew York\, NY 10003 SEQUENCE:0 SUMMARY:Yes I Will Yes\, Uri Aran\, David Berezin\, Cynthia Daignault\, Ama nda Ross Ho\, Joel Holmberg\, Matt Keegan\, Margaret Lee\, Jimmy Merris\, O liver Osborne UID:283010 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This exhibition will include a pproximately 63 drawings and paintings by self-taught Alabama artist Bill T raylor. Traylor began making art near the end of his life\, and his works a re notable for their flat\, simply defined shapes and vibrant compositions in which memories and observations relating to African American life are me rged. Traylor is recognized as one of the finest American artists of the 20 th century.

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&ldquo\;Bill Traylor: Dra wings from the Collections of the High Museum of Art and the Montgomery Mus eum of Fine Arts&rdquo\; is co-organized by the High Museum of Art\, Atlant a\, and the Montgomery Museum of Fine Arts\, Montgomery. The exhibition is supported in part by an award from the National Endowment for the Arts.

The presentation at the American Folk Art Museum is sponsored in part by Joyce Berger Cowin\, public funds from the New York City Department of Cultural Affairs in partnership with the City Council\, the Ford Founda tion\, the Robert Lehman Foundation\, the David Davies and Jack Weeden Fund for Exhibitions\, and Laura and Richard Parsons. Lectures and symposia are supported in part by an award from the National Endowment for the Arts.

DTEND:20130922 DTSTAMP:20140921T201840 DTSTART:20130611 GEO:40.7732646;-73.9816233 LOCATION:American Folk Art Museum - Lincoln Square\,2 Lincoln Square \nNew York\, NY SEQUENCE:0 SUMMARY: Drawings from the Collections of the High Museum of Art and the Mo ntgomery Museum of Fine Arts \, Bill Traylor UID:274151 END:VEVENT BEGIN:VEVENT DTEND:20130611T173000 DTSTAMP:20140921T201840 DTSTART:20130611T103000 GEO:40.7732646;-73.9816233 LOCATION:American Folk Art Museum - Lincoln Square\,2 Lincoln Square \nNew York\, NY SEQUENCE:0 SUMMARY: Drawings from the Collections of the High Museum of Art and the Mo ntgomery Museum of Fine Arts \, Bill Traylor UID:274152 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Bill Traylor (c. 1854–1949) forged a personal iconography of recurring characters and subjects. They exhibit the artist’s photographic memory by recalling images\, sounds\, or movements with clear precision. In their protean nature\, these subconscious fragments return in multiple dra wings\, forming interrelated sequences in a single feature that offer signi ficant parallels with cinematic production and its images in motion. Late i n his life\, the street scene in Montgomery itself contributed a kind of ci nema verité\, adding a fertile complexity to themes that beg to be thought of together\, stakeholders in a continuous\, coherent scene. In this regard no detail is superficial but is always connected to an ongoing dynamic cyc le.

“Traylor in Motion: Wonders from New York Collections” del ves into this aspect of Traylor’s vision by considering specific groups of figures and gestures and their implications: the development of action thro ugh staged poses—subjects mostly looking right\, with expressive pointed fi ngers\; the tension created by offset spatial compositions\; the introducti on of vibrant colors\; startling metamorphoses\; and the sinuous movement o f bodies from contortion to the astonishing balletic extension of a limb. H igh-kicking legs evoke the exuberance of such dances of the era as the gymn astic Lindy Hop. But such posturing may also be a sly reference to the sati rical strut of the “cakewalk\,” a subversive plantation dance that mocked t he formal grand marches and minuets of the slaveholders through exaggerated movements. Often the women wore long dresses with hoop skirts and the men sported high hats\, split-tail coats\, and walking sticks.

The se moving images become lines of force: jumps and ellipses between cause an d effect\, stirring up the surfaces. Yet the ritualistic cinema created by Traylor is not a strict narrative\, social commentary\, or reaction to hist orical fact. Mysterious and intimate\, it carries a reinvented perception o f reality laden with fantasies\, myths\, and symbols.

DTEND:20130922 DTSTAMP:20140921T201840 DTSTART:20130611 GEO:40.7732646;-73.9816233 LOCATION:American Folk Art Museum - Lincoln Square\,2 Lincoln Square \nNew York\, NY SEQUENCE:0 SUMMARY:Traylor in Motion: Wonders from New York Collections\, Bill Traylor UID:281247 END:VEVENT BEGIN:VEVENT DTEND:20130611T173000 DTSTAMP:20140921T201840 DTSTART:20130611T103000 GEO:40.7732646;-73.9816233 LOCATION:American Folk Art Museum - Lincoln Square\,2 Lincoln Square \nNew York\, NY SEQUENCE:0 SUMMARY:Traylor in Motion: Wonders from New York Collections\, Bill Traylor UID:281248 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The exhibition is sponsored in part by Joyce Berger Cowin\, public funds from the New York City Department of Cultural Affairs in partn ership with the City Council\, the Ford Foundation\, the Robert Lehman Foun dation\, the David Davies and Jack Weeden Fund for Exhibitions\, and Laura and Richard Parsons. Lectures and symposia are supported in part by an awar d from the National Endowment for the Arts.

DTEND:20130922 DTSTAMP:20140921T201840 DTSTART:20130611 GEO:40.7732646;-73.9816233 LOCATION:American Folk Art Museum - Lincoln Square\,2 Lincoln Square \nNew York\, NY SEQUENCE:0 SUMMARY:Recent Gifts UID:281249 END:VEVENT BEGIN:VEVENT DTEND:20130611T173000 DTSTAMP:20140921T201840 DTSTART:20130611T103000 GEO:40.7732646;-73.9816233 LOCATION:American Folk Art Museum - Lincoln Square\,2 Lincoln Square \nNew York\, NY SEQUENCE:0 SUMMARY:Recent Gifts UID:281250 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Fujiwara's work Studio Pietà\; (King Kong Komplex) debuted at the Sharjah Biennial in March and will be presented in a n ewly expanded format at Andrea Rosen. \;

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A young artist who has achieved exceptional recognition and acclaim across Europe and Asia\, Fuji wara was born in London\, spent his childhood between Japan\, England\, Spa in and Africa and is now based in Berlin. His complex installations incorpo rate sculpture\, performance\, video and photographic elements to create fu lly imagined scenarios that underscore the interdependence of personal hist ory and more universal narratives. Studio Pietà\; (King Kong Komp lex) addresses issues of racial profiling\, exoticism\, terrorism\, an d sexual identity\, and relations between the West and the Middle East.

DTEND:20130809 DTSTAMP:20140921T201840 DTSTART:20130629 GEO:40.749185;-74.005023 LOCATION:Andrea Rosen Gallery\,525 W.24th St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Studio Pietà (King Kong Komplex) \, Simon Fujiwara UID:282085 END:VEVENT BEGIN:VEVENT DTEND:20130628T200000 DTSTAMP:20140921T201840 DTSTART:20130628T180000 GEO:40.749185;-74.005023 LOCATION:Andrea Rosen Gallery\,525 W.24th St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Studio Pietà (King Kong Komplex) \, Simon Fujiwara UID:282086 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20130809 DTSTAMP:20140921T201840 DTSTART:20130628 GEO:40.749177;-74.0058861 LOCATION:Andrea Rosen Gallery 2\,544 West 24th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Exhibition\, Nigel Cooke\, David Altmejd\, Michael Raedecker\, Andr ea Zittel UID:285684 END:VEVENT BEGIN:VEVENT DTEND:20130628T200000 DTSTAMP:20140921T201840 DTSTART:20130628T180000 GEO:40.749177;-74.0058861 LOCATION:Andrea Rosen Gallery 2\,544 West 24th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Exhibition\, David Altmejd\, Nigel Cooke\, Michael Raedecker\, Andr ea Zittel UID:285685 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Andrew Kreps Galler y is pleased to present a single-work installation by Ricci Albenda.  
 
Untitled is a simple experiment. Though similar in many ways to som e of his Trompe l'oeil installations of the past\, this installation does n ot attempt to fool the eye but rather relies on the viewer's suspension of disbelief. Like the ocean meeting the sky\, the floor extends up the wall a s a flat plane of color\, while the ceiling descends to meet it at an infin ite distance on the horizon. This horizon line is tilted slightly\, looseni ng itself from the architecture to which it is attached\, and destabilizing the viewer's relationship with the absolute level horizon with which we ar e all familiar. This tilt also allows the work to accommodate the majority of adult heights and their associated eye-levels. Thus\, if everyone in the gallery were to migrate to a place for which the horizon coincided with th eir own eye-level\, a tilted plane of heads would be created
< /p> DTEND:20130809 DTSTAMP:20140921T201840 DTSTART:20130627 GEO:40.7477457;-74.0063477 LOCATION:Andrew Kreps Gallery @ 537 W. 22nd\,537 W. 22nd St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY: Untitled\, Ricci Albenda UID:284637 END:VEVENT BEGIN:VEVENT DESCRIPTION:

For her full-scale New York gallery debut\, Francis Upritcha rd &ndash\; a London-based New Zealander who represented her country at the 2009 Venice Biennale &ndash\; stages eight figurative sculptures seemingly engaged in a ritualistic war dance. Quite unlike the traditional fiercenes s of such stylized warfare however\, Upritchard&rsquo\;s figures appear to prepare for a different kind of battle\, showing off skills of a different nature. Stance\, expression\, and garb of these delicately modeled sculptur es are focused yet tender and soft\, at times leaning towards awkward\, lim p and visceral.
Gestures\, especially of the hands and elongated finge rs\, suggest a determined dreamy-ness and wistfulness. The figures&rsquo\; skin is built up as if made of wax\; their facial expressions and half-clos ed eyes are introverted and withdrawn. All in all\, these dancers move clos er to the delirious state of a rave than the ferociousness of mock combat.< br />Alluding to a variety of cultural and temporal influences\, Upritchard &rsquo\;s work intimates how effectively the past can be reinterpreted\, ev en manipulated. Here\, the artist takes inspiration from medieval sources s uch as the 11th century Bayeux tapestry as well as the woodcarvings by Nort hern-Renaissance sculptor Erasmus Grasser\, whose work captured the Moresca pantomime and its origins in the sword and mumming dances performed by tro upes of jesters and actors at court and in the streets.
A catalog book published on the occasion of Upritchard&rsquo\;s exhibition at the Notting ham \; Contemporary accompanies the exhibition.
Upritchard&rsquo\; s work has most recently been featured in solo exhibitions at the Marugame Genichiro-
Inokuma Museum of Contemporary Art\, Japan (2013)\; Notting ham Contemporary\, UK (2012)\; Cincinnati Contemporary Art Center\, Cincinn ati (2012)\; 53 Venice Biennale\, Italy (2009)\; Artspace\, New Zealand (20 05). Her work has been included in group shows such as Lilliput\, New York High Line\, New York (2012)\; An Exchange with Sol LeWitt\, Massachusetts M useum of Contemporary Art - MASS MoCA\, MA (2011)\; New Zealand at the Veni ce Biennale 2009\, Museum of New Zealand Te Papa Tongarewa\, New Zealand (2 010)\; TarraWarra Biennial 2008\, Lost &\; Found: An Archeology of the P resent\, TarraWarra Museum of Art\, Australia (2008).

DTEND:20130816 DTSTAMP:20140921T201840 DTSTART:20130627 GEO:40.7463808;-74.007077 LOCATION:Anton Kern Gallery\,532 West 20th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:War Dance\, Francis Upritchard UID:270030 END:VEVENT BEGIN:VEVENT DTEND:20130627T200000 DTSTAMP:20140921T201840 DTSTART:20130627T180000 GEO:40.7463808;-74.007077 LOCATION:Anton Kern Gallery\,532 West 20th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:War Dance\, Francis Upritchard UID:270031 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This exhibition features remarkable American Impressionist p aintings from the Arkell collections. Twelve paintings recently returned fr om the Fenimore Art Museum's exhibition "American Impressionism: Paintings of Light and Life" will be featured along with other treasures from the per manent collection. Sun-dappled views of France and America by Childe Hassam \, John Twatchman\, Theodore Robinson\, J. Alden Weir\, and Edward Redfield are among the notable paintings in this exhibition. Most American Impressi onists spent time in Paris and Monet&rsquo\;s hometown of Giverny where the y saw the work of French Impressionists. Once they returned to America they made the new Impressionist style their own. Views of the New England count ryside\, coastal communities and New York City were popular subjects for th e American Impressionists. The exhibition includes Twatchtman&rsquo\;s "Jos ephine in the Garden" in Giverny\, Hassam's "Provincetown"\, Twatchtman&rsq uo\;s "Gloucester Harbor" and Ernest Lawson&rsquo\;s "Brooklyn Bridge."

DTEND:20131020 DTSTAMP:20140921T201840 DTSTART:20121027 GEO:42.907359;-74.572002 LOCATION:Arkell Museum\,2 Erie Boulevard \nCanajoharie\, NY 13317 SEQUENCE:0 SUMMARY:From Giverny to the Brooklyn Bridge: American Impressionist Paintin gs from the Arkell Collections\, Edward Redfield\, J. Alden Weir\, Theodore Robinson\, John Twatchman\, Childe Hassam UID:234785 END:VEVENT BEGIN:VEVENT DTEND:20121027T170000 DTSTAMP:20140921T201840 DTSTART:20121027T123000 GEO:42.907359;-74.572002 LOCATION:Arkell Museum\,2 Erie Boulevard \nCanajoharie\, NY 13317 SEQUENCE:0 SUMMARY:From Giverny to the Brooklyn Bridge: American Impressionist Paintin gs from the Arkell Collections\, Childe Hassam\, Edward Redfield\, Theodore Robinson\, John Twatchman\, J. Alden Weir UID:234786 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In 1879 American artist James McNeill Whistler arrived in It aly with a commission from the Fine Arts Society of London to create twelve etchings of Venice. Over the ensuing fourteen months the artist produced a body of prints that are among the most important of his career. The prints from Whistler’s Venice period are distinguished by the artist’s original a pproach to capturing the unique qualities of the canaled city and his innov ative use of the etching process. His prints have arguably become the most studied prints in the history of art– after those of Rembrandt – and they h ad a significant influence on his followers.

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This exhibit presents eleven prints by Whistler\, placing them alongside the work of followers wh o were practicing in Italy in the late-nineteenth and early-twentieth centu ries. The juxtaposition of these works allows the viewer to appreciate both Whistler’s innovations and the different ways in which his work affected t he artists who followed him. While artists such as John Marin are well know n today\, and Mortimer Menpes and Joseph Pennell still enjoy a modicum of f ame\, other artists in this exhibit\, like Minna Bolingbroke\, have faded. Whistler’s legacy lies in his far-reaching vision for both his medium and h is subject\, which has made his art significant for a remarkably broad rang e of colleagues.

DTEND:20131020 DTSTAMP:20140921T201840 DTSTART:20130728 GEO:42.907359;-74.572002 LOCATION:Arkell Museum\,2 Erie Boulevard \nCanajoharie\, NY 13317 SEQUENCE:0 SUMMARY:An American in Venice: James McNeill Whistler and His Legacy\, Jame s McNeill Whistler\, John Marin\, Mortimer Menpes\, Joseph Pennell\, Minna Bolingbroke UID:281251 END:VEVENT BEGIN:VEVENT DTEND:20130728T170000 DTSTAMP:20140921T201840 DTSTART:20130728T123000 GEO:42.907359;-74.572002 LOCATION:Arkell Museum\,2 Erie Boulevard \nCanajoharie\, NY 13317 SEQUENCE:0 SUMMARY:An American in Venice: James McNeill Whistler and His Legacy\, Minn a Bolingbroke\, John Marin\, Mortimer Menpes\, Joseph Pennell\, James McNei ll Whistler UID:281252 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Then there’s the story of Wee Willy\, the gangster.

Go ofy wants to be a children’s nurse so he borrows some clothes from his Aunt Anna\, a red-and-white checked calico dress and a big hat. And he tries hi s luck as a kindergarten teacher\, not very successfully though\, because t he kids all say they’ve never seen such a queer old doll. Goofy gets beaten up by the kids and flings his gear in the trashcan.

At that moment\, an escaped convict com es by\, Wee Willy\, the gangster. He’s no bigger than a 3-year-old girl. He finds Goofy’s gear in the trashcan and puts it on.

On his way home\, Goofy bumps into Wee W illy wearing Aunt Anna’s dress. “Poor little homeless mite\,” Goofy thinks and takes the little girl home. He dishes up pheasant and partridges and a whole goose\, and Wee Willy stuffs himself full. Goofy’s pretty surprised a t the little girl’s appetite. But he’s mighty pleased\, too and thumps his fists on the table. Wee Willy behaves terribly\, but at last Goofy finds jo y looking after a child.

\n

During the night th e house is surrounded by gangsters. No\, not by gangsters\, by police. They storm the house and find Wee Willy. They recognize him\, despite the gear he’s wearing. Goofy’s amazed and asks what they want of a poor little girl. “This is terrible! What has she done? Poor little orphan!” The police info rm him that it’s Wee Willy\, a wanted criminal. And as the police carry Wil ly out\, explosive as a hand grenade\, Goofy says: “Must have been a shock for the poor little girl to find out she’s a crook.”

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– Opening monologue in Rainer Werner Fassbinder’s Beware of a Holy Whore\, 1971\, spoken by Werner Schroeter< /p>\n


The exhibition includes: a sculpture by Duane Hanson\, a replica of a hotel bar and severa l protagonists that will appear weekly throughout July and August in the ho tel bar\, always on Thursday and Friday nights. On these occasions Cuba Lib re will be served. Please check back here for full and updated list of prot agonists.

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Pride G oes Before a Fall / Beware of a Holy Whore – An Exhibition in Two Acts takes place across Artists Space’s two venues at 38 Greene Street and 55 W alker Street.

DTEND:20130825 DTSTAMP:20140921T201840 DTSTART:20130630 GEO:40.7188763;-74.0033279 LOCATION:Artists Space : Books & Talks\,55 Walker Street \nNew York \, NY 10013 SEQUENCE:0 SUMMARY:Pride Goes Before a Fall / Beware of a Holy Whore - An Exhibition i n Two Acts\, Duane Hanson UID:281511 END:VEVENT BEGIN:VEVENT DTEND:20130629T200000 DTSTAMP:20140921T201840 DTSTART:20130629T180000 GEO:40.7188763;-74.0033279 LOCATION:Artists Space : Books & Talks\,55 Walker Street \nNew York \, NY 10013 SEQUENCE:0 SUMMARY:Pride Goes Before a Fall / Beware of a Holy Whore - An Exhibition i n Two Acts\, Duane Hanson UID:281512 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Then there’s the story of Wee Willy\, the gangster.

Go ofy wants to be a children’s nurse so he borrows some clothes from his Aunt Anna\, a red-and-white checked calico dress and a big hat. And he tries hi s luck as a kindergarten teacher\, not very successfully though\, because t he kids all say they’ve never seen such a queer old doll. Goofy gets beaten up by the kids and flings his gear in the trashcan.

At that moment\, an escaped convict com es by\, Wee Willy\, the gangster. He’s no bigger than a 3-year-old girl. He finds Goofy’s gear in the trashcan and puts it on.

On his way home\, Goofy bumps into Wee W illy wearing Aunt Anna’s dress. “Poor little homeless mite\,” Goofy thinks and takes the little girl home. He dishes up pheasant and partridges and a whole goose\, and Wee Willy stuffs himself full. Goofy’s pretty surprised a t the little girl’s appetite. But he’s mighty pleased\, too and thumps his fists on the table. Wee Willy behaves terribly\, but at last Goofy finds jo y looking after a child.

\n

During the night th e house is surrounded by gangsters. No\, not by gangsters\, by police. They storm the house and find Wee Willy. They recognize him\, despite the gear he’s wearing. Goofy’s amazed and asks what they want of a poor little girl. “This is terrible! What has she done? Poor little orphan!” The police info rm him that it’s Wee Willy\, a wanted criminal. And as the police carry Wil ly out\, explosive as a hand grenade\, Goofy says: “Must have been a shock for the poor little girl to find out she’s a crook.”

\n

– Opening monologue in Rainer Werner Fassbinder’s Beware of a Holy Whore\, 1971\, spoken by Werner Schroeter< /p>\n


The exhibition includes: a sculpture by Duane Hanson\, a replica of a hotel bar and severa l protagonists that will appear weekly throughout July and August in the ho tel bar\, always on Thursday and Friday nights. On these occasions Cuba Lib re will be served. Please check back here for full and updated list of prot agonists.

\n

Pride G oes Before a Fall / Beware of a Holy Whore – An Exhibition in Two Acts takes place across Artists Space’s two venues at 38 Greene Street and 55 W alker Street.

DTEND:20130825 DTSTAMP:20140921T201840 DTSTART:20130630 GEO:40.7215609;-74.002266 LOCATION:Artists Space: Exhibitions\,38 Greene St. 3rd Floor\nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Pride Goes Before a Fall / Beware of a Holy Whore - An Exhibition i n Two Acts\, Duane Hanson UID:281509 END:VEVENT BEGIN:VEVENT DTEND:20130629T200000 DTSTAMP:20140921T201840 DTSTART:20130629T180000 GEO:40.7215609;-74.002266 LOCATION:Artists Space: Exhibitions\,38 Greene St. 3rd Floor\nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Pride Goes Before a Fall / Beware of a Holy Whore - An Exhibition i n Two Acts\, Duane Hanson UID:281510 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This exhibition comprises select pieces from Asia Society’s Mr. and Mrs. John D. Rockefeller 3rd Collection. The show explores the role of patrons of wealth and rank as dominating figures in the production of a rtistic creations. Approximately fifty examples of sculpture and ceramic fr om South\, Southeast\, and East Asia. The selection includes religious art\ , both Buddhist and Hindu. In addition\, ceremonial objects that served as a visual structure for the governing patterns of patrons both for this life and beyond will be on view. Decorative functional objects such as plates a nd vases\, and prized collectables like porcelains\, which testify to the l egitimacy and supremacy of rulers and aristocrats\, round out the exhibitio n.

DTEND:20130804 DTSTAMP:20140921T201840 DTSTART:20130226 GEO:40.7700155;-73.9644801 LOCATION:Asia Society Museum\,725 Park Avenue at 70th Street\nNew York\, NY 10021 SEQUENCE:0 SUMMARY:Patronage and Power: Selections from the Asia Society Museum Collec tion UID:253837 END:VEVENT BEGIN:VEVENT DTEND:20130226T180000 DTSTAMP:20140921T201840 DTSTART:20130226T110000 GEO:40.7700155;-73.9644801 LOCATION:Asia Society Museum\,725 Park Avenue at 70th Street\nNew York\, NY 10021 SEQUENCE:0 SUMMARY:Patronage and Power: Selections from the Asia Society Museum Collec tion UID:253838 END:VEVENT END:VCALENDAR