BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION:

303 Gallery is pleased to present its fifth exhibition of ph otographs by Stephen Shore\, whose pioneering use of color photography in t he 1970s and beyond has made him one of art history's most revered and expl oratory practitioners of photographic possibilities.

\n

For this occas ion\, Shore will present two new bodies of work realized in zones of itiner ant conflict. In a series of images made in Israel and the West Bank\, unin habited landscapes meet scenes of modern quotidian life\, and tender portra its become entangled with images of aestheticized propaganda and the charge of architecture in conflicted space. Shore's interest in daily life\, in t he landscape itself as a way to interpret a sociological climate - a baseli ne theme in all his work - here takes on a different type of potency due to the critical nature of the living situation. In an a piece such as \;< em>Sderot\, Israel\, September 14\, 2009\, a photograph of a hand poin ting at a map is another way of considering the contentious nature of terri tories.

\n

The second body of work presented in this exhibition consis ts of images shot in the Ukraine\, in and around the homes and villages of Holocaust survivors. Another subject with an emotional charge perhaps unequ alled in terms of acute sensation\, each image becomes a type of reliquary replete not only with the tragedy of the Holocaust\, but with the tragic hi story of the Ukraine itself. Shore's compositions in these images are tight er and more controlled\; colors and objects bristle with intimation of past events. In directly confronting these charged subjects\, Shore subtly impo ses his own order and logic on the landscape\, continuing a tradition he cr eated and has practiced for close to 50 years.

\n

Stephen Shore: F rom Galilee to the Negev\, a compendium of images shot in Israel and t he West Bank\, was published earlier this year by Phaidon Press. His most r ecent photographic series shot in Winslow\, AZ in 2013 was recently publish ed by IMA Concept Store in Tokyo in a new book titled \;Stephen Sho re Winslow Arizona.

\n

Stephen Shore's upcoming exhibitions will include Fundació\;n MAPFRE\, Madrid (2014)\, Barbican Centre\, London (2014)\, Tate Modern (2014). Past exhibitions include The Museum of Modern Art\, New York (2013-14)\, The Metropolitan Museum of Art\, New York (2013 )\, The Art Institute of Chicago (2011)\, Centre Pompidou\, Paris (2011)\, Aspen Art Museum\, Aspen (2011).

\n

Stephen Shore has been the Directo r of Photography Program at Bard College since 1982.

\n

 \;

DTEND:20141101 DTSTAMP:20141023T175339 DTSTART:20140911 GEO:40.7485947;-74.0041953 LOCATION:303 Gallery\,507 West 24th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Solo Exhibition\, Stephen Shore UID:351774 END:VEVENT BEGIN:VEVENT DESCRIPTION:

I don&rsquo\;t feel the same anymore.
I feel new. I do n&rsquo\;t know how to describe the sensation.
Do you?
Can you feel how I feel?
Is really the sole purpose of emotions the survival of a gene pool? The ultimate bonding gel.
Through the screen\, can yo u tell how I feel? My voice\, do I sound nervous or happy?
Can one le arn new feelings? A new type of anger\, with a hint of pride\, a new breed of painless
joy.
Can you teach me how to feel\, because I lost touch?
It&rsquo\;s like something recently severed\, and emotions are drifting inside of me.
When I was a little boy\, I put myself in oth er's shoes. I would mimic people around me\,
copy the way they walked \, the way they sat or spoke. It would open a window into their minds.
Empathic machines are coming\, like children\, learning.
Will I be able to outsource my feelings to emobots one day. I wouldn't have to deal w ith shitty
emotions anymore. Let the emobots process my crappy moods and re-infuse my body with good vibes.
Fleeting.
If emotionomic s is to become a reality\, would I ever be able to purchase a meal with the
sensation of freedom that permeates through me today? Pay with a con fused transactional smile.
This is personal\, and it&rsquo\;s not. It&rsquo\;s all transparent. Let&rsquo\;s put our feelings on the table .
Antoine Catala (born in 1975\, Toulouse France) lives and works in New York and has exhibited
extensively both in the US and abroad. Rec ent solo exhibitions include: Heavy Words\, curated by
Florence Derie ux at Peep-Hole\, Milan (2014) and Image Families\, curated by Linus Elmes at
UKS\, Oslo (2013). His work has also been included in Archeo\, cur ated by Cecilia Alemani\, High
Line\, New York\, NY\; Meanwhile...Sud denly and Then\, 12 Biennale de Lyon\, France curated
by Gunnar B. Kv aran\; ProBio\, organized by Josh Kline\, EXPO 1: New York\, MoMA PS1\, New
York\, NY\; Empire State\, curated by Alex Gartenfeld and Norman Ros enthal\, Palazzo delle
Esposizioni\, Rome\, Italy and Puddle\, pothol e\, portal\, co-curated by Ruba Katrib and Camille
Henrot\, Sculpture Center\, Long Island City\, NY\, opening in October.

DTEND:20141102 DTSTAMP:20141023T175339 DTSTART:20140928 GEO:40.7174289;-73.9921681 LOCATION:47 Canal\,291 Grand Street 2nd floor\nNew York\, NY 10002 SEQUENCE:0 SUMMARY:New Feelings\, Antoine Catala UID:358925 END:VEVENT BEGIN:VEVENT DTEND:20140928T200000 DTSTAMP:20141023T175339 DTSTART:20140928T180000 GEO:40.7174289;-73.9921681 LOCATION:47 Canal\,291 Grand Street 2nd floor\nNew York\, NY 10002 SEQUENCE:0 SUMMARY:New Feelings\, Antoine Catala UID:358926 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Over the arc of his career\, I an Hughes has honed a distinctive visual language in which paint reveals it s lushest and most viscous qualities while simultaneously giving shape to b io-reminiscent forms that have a compelling life of their own. In Twist ed Figures\, his third solo show at 532 Gallery Thomas Jaeckel\, Hughe s&rsquo\;s latest series of acrylic paintings pushes this language into a n ew phase in which the shapes on the canvases continue to self-confidently a ssert their own presence\, yet begin to move beyond an earlier\, more matte r-of-fact reliance on organic and visceral associations.

\n

Twisted Figures reflects a subtle turn in Hugh es&rsquo\;s paintings toward motifs that are slightly more elusive in conte nt\, while retaining the beautiful but vaguely stomach-churning core of his earlier works. Many of the latest pieces feature the same intense\, warm p alette and pseudo-anatomical imagery set against flat monochromatic backgro unds\, such as Green Ovals\, which presents a smooth fleshlike sur face against which brightly rendered rolling forms in pink\, white\, and or ange suggest intestines\, buttocks\, and/or reproductive organs. Yet patche s of textile-like patterning and a handful of amorphous shapes scattered th roughout hint at a much wider range of associations\, from soft pillows to eerie but strangely inviting otherworldly landscapes.

\n

In some of the new paintings\, Hughes sets up a tension be tween more organic\, down-to-earth colors&mdash\;such as the duller hamburg er/flesh pink in Untitled (Taupe) &mdash\;and contorted masses tha t are much harder to pin down. Still other canvases veer in the opposite di rection by merging undulations of vivid\, carnivalesque blues\, pinks\, ora nges\, or greens with somber dark swathes into curves that evoke chaotic ba lloon sculptures or failed attempts to wring order from unruly sausages of brute matter. In Untitled (Golden Yellow) and Red Wrap\, the brushstrokes begin to assert themselves in a way that seems to subtly t hreaten the integrity of the forms they comprise\, thereby highlighting the importance of paint as the essential substrate for Hughes&rsquo\;s cheerfu l-yet-disquieting images. The juxtaposition of painterly effects (rounded f orms and illusionistic volumes) with more graphic elements (flat\, opaque b ackgrounds and sharp edges) strongly reinforces this message. The result is a potent comment on the powerful tension between medium and image that has haunted painting for as long as abstraction has existed\, or perhaps since the first images were daubed on a cave wall millennia ago.

DTEND:20141108 DTSTAMP:20141023T175339 DTSTART:20141009 GEO:40.749403;-74.004838 LOCATION:532 Gallery Thomas Jaeckel\,532 W. 25th Street \nNew York\, NY 100 01 SEQUENCE:0 SUMMARY:Twisted Figures\, Ian Hughes UID:360424 END:VEVENT BEGIN:VEVENT DESCRIPTION:

 \;

\n

JACK LEVINE an d HYMAN BLOOM: \;AGAINST THE GRAIN

\n

Sep tember 18 through October 25\, 2014

\n

ACA Galleries is pleas ed to announce the upcoming exhibition Jack Levine and Hyman Bl oom: AGAINST THE GRAINon view September 18 through October 25 \, 2014. The exhibition will feature a survey of paintings and works on pap er from the 1930s to 1990s from both the artists&rsquo\; estates and privat e collections.

\n

Jack Levine (1915-2010) and Hyman Bloom (1913-2009) were close friends who each became a master of a new American realism that blended abstraction and realism.  \;As Jewish immigrants \;from Eas tern Europe\, of a similar age and background \;they arrived at their s ocially conscious art through shared \;experiences but through differen t routes of development.

\n

The Great Depression brought the aesthetic controversy of abstraction versus realism into an uneasy resolution. \ ; American Social Realists\, many of whom had been modernist painters\, bel ieved that the hardships of unemployment\, hunger and homelessness were too profound to be depicted through obscure abstractions. \; For such arti sts\, a return to realism was the only honest means to portray the struggle s of the citizenry.

\n

But &ldquo\;realism&rdquo\; did not mean &ldquo \;traditional&rdquo\;.  \;The genie of modernism could not be put back into the bottle. Instead\, these socially conscious artists created a new r ealist language\; an edgy aesthetic that brought realism and modernist abst ract elements into a restless but electrifying visual alliance.

\n

&nb sp\;Jack Levine\, though deeply influenced by the grandeur of Titian and Ve lazquez\, also admired the harsh drama of the German Expressionists.  \ ;In the 1930s\, Levine united these influences into grand but scathing port rayals of America&rsquo\;s corrupt political and economic power brokers.

\n

Though the Social Realism Levine practiced in the &rsquo\;30s remaine d the foundation of his oeuvre throughout his career\, he expanded his visi on into more spiritual realms.  \;In these late works\, Levine returns to his Jewish roots\, using biblical themes as the basis for his  \;pen etrating observations of the human condition.

\n

Hyman Bloom&rsquo\;s work evolved into socially aware realism. Originally influenced by America& rsquo\;s early twentieth century avant-garde\, Bloom became one of New York &rsquo\;s mid-century abstract painters and was even credited by Jackson Po llock and Willem deKooning as the first genuine Abstract Expressionist. &nb sp\;His work moved away from pure abstraction into a mystical realism.  \;

\n

Unlike his former Abstract Expressionist compatriots who were se eking the secrets of the subconscious\, Bloom\, through the strength of agg ressive line and color\, was after &ldquo\;the nature of being\,&rdquo\; th e mystical essence of life.  \;It was through his spirituality that Blo om found his kinship with humanity and its struggles. \;

\n

ACA Galleries is the exclus ive agent for the estates of Hyman Bloom and Jack Levine. DTEND:20141025 DTSTAMP:20141023T175339 DTSTART:20140918 GEO:40.7452665;-74.0083239 LOCATION:ACA Galleries\, Est 1932\,529 West 20th Street (5th floor) bt 10th and 11th Ave\nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Jack Levine and Hyman Bloom: Against the Grain \, Jack Levine\, Hym an Bloom UID:351133 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Acquavella Galleries is pleased to announce an exhibition of works by iconic American artist Wayne Thiebaud\, on view from October 1 &n dash\; November 21\, 2014. The exhibition includes a total of 49 works &nda sh\; 35 paintings and 14 works on paper. Many of the works included are bei ng shown to the public for the first time\, and several are compositions th e artist has been working on for over thirty years. This is Thiebaud&rsquo\ ;s second exhibition with the gallery.

Celebrated for his works that highlight the commonplace\, the 93-year-old Thiebaud continues to shed painterly light on the people\, places and things that surround him on a d aily basis. Despite his association with pop artists of the 1960s\, \;T hiebaud&rsquo\;s method is more aligned with the still life tradition &ndas h\; and this preoccupation with scrupulously representing his subjects sets him apart from his contemporaries. Ordinary objects rendered in the tactil ity of Thiebaud&rsquo\;s brushwork \;become resplendent\, and thus his canvases radiate a particularly American optimism and nostalgia for the fam iliar.

The works on view in this exhibition touch upon recogniza ble themes in the context of Thiebaud&rsquo\;s oeuvre. Cold Case (2010-2013 ) revisits his most famous subject &ndash\; confections. Similarly\, Cupcak es &\; Donuts (2006/2012) and Ring Circle \;(2012-2014) both explore the artist&rsquo\;s preexisting interest in modes of commercial display. T he splendor of California&rsquo\;s landscape is once again depicted in Bluf fs (2013) &ndash\; this time in a cake-like pink. The figures in this exhib ition\, among them \;Robed Woman with Letter (1976/2013)\, are familiar ly stoic and simultaneously confessional. &ldquo\;We are thrilled to be pre senting Thiebaud&rsquo\;s recent work\,&rdquo\; said Eleanor Acquavella &ld quo\;this exhibition is a testament to his unique ability to \;illumina te the everyday and elevate the ordinary.&rdquo\;

Wayne Thiebaud (b. 1920) lives and works in Sacramento\, CA. He has been widely recognize d for his achievements as an artist and has received various prestigious aw ards such as the National Medal of Arts from President Clinton\, 1994\; the  \;Lifetime Achievement Award for Art from the American Academy of Desi gn\, NY\, 2001 and he was inducted into The California Hall of Fame at The California Museum\, Sacramento\, CA in 2010. Thiebaud was the subject of a retrospective \;at the Whitney Museum of American Art in 2001\, and his work has been exhibited in major museums and institutions worldwide. Thieb aud&rsquo\;s work can also be found in the permanent collections of the Los Angeles County Museum of Art\, \;CA\; Phillips Collection\, Washington \, D.C.\; Crocker Art Museum\, CA\; Albright-Knox Art Gallery\, Buffalo\, N Y\; Hirshhorn Museum and Sculpture Garden\, Washington\, D.C.\; and the Whi tney Museum of American Art\, New York.

DTEND:20141121 DTSTAMP:20141023T175339 DTSTART:20141001 GEO:40.7762839;-73.9626764 LOCATION:Acquavella Galleries\,18 East 79th Street \nNew York\, NY 10075 SEQUENCE:0 SUMMARY:Solo Exhibition\, Wayne Thiebaud UID:355635 END:VEVENT BEGIN:VEVENT DESCRIPTION:

JOHN WALKER: RECENT PAINTINGS

\n

Thursday\, October 2 t hrough Saturday\, November 12\, 2014

\n

A selection of large and small scaled paintings in the first New York exhibition of John Walker's work si nce his 2011 show at Knoedler Gallery.

\n

Illustrated catalogue availa ble.

DTEND:20141112 DTSTAMP:20141023T175339 DTSTART:20141002 GEO:40.762227;-73.971964 LOCATION:Alexandre Gallery\,Fuller Building 41 East 57th Street\, 13th Floo r\nNew York\, NY 10022 SEQUENCE:0 SUMMARY:JOHN WALKER: Recent Paintings\, John Walker UID:354814 END:VEVENT BEGIN:VEVENT DTEND:20141002T193000 DTSTAMP:20141023T175339 DTSTART:20141002T173000 GEO:40.762227;-73.971964 LOCATION:Alexandre Gallery\,Fuller Building 41 East 57th Street\, 13th Floo r\nNew York\, NY 10022 SEQUENCE:0 SUMMARY:JOHN WALKER: Recent Paintings\, John Walker UID:354815 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Ralph Fasanella (1914&ndash\;1997) celebrated the common man and tackled complex issues of postwar America in colorful\, socially minde d paintings. This exhibition celebrates the one hundredth anniversary of th e artist&rsquo\;s birth and brings together key works from a career spannin g fifty-two years. Fasanella was born in the Bronx and grew up in working-c lass neighborhoods of New York\; he became a tireless advocate for laborers &rsquo\; rights\, first as a union organizer and later as a painter.
< br />This major exhibition includes a selection of artworks from the Americ an Folk Art Museum&rsquo\;s collection\, which holds more than one hundred paintings and drawings by the artist. The Estate of Ralph Fasanella gifted many of these objects to the museum over the years\, in addition to the art ist&rsquo\;s notebooks\, sketches\, correspondence\, personal records\, pho tographs\, publications\, and films\, which were donated in 2009 and 2013.< br />
Ralph Fasanella: Lest We Forget \;is organized by t he Smithsonian American Art Museum with generous support from Tania and Tom Evans\, Herbert Waide Hemphill\, Jr. American Folk Art Fund\, and Paula an d Peter Lunder. The C.F. Foundation in Atlanta supports the museum&rsquo\;s traveling exhibition program\,Treasures to Go.

DTEND:20141201 DTSTAMP:20141023T175339 DTSTART:20140902 GEO:40.7732646;-73.9816233 LOCATION:American Folk Art Museum - Lincoln Square\,2 Lincoln Square \nNew York\, NY SEQUENCE:0 SUMMARY: Lest We Forget\, Ralph Fasanella UID:350629 END:VEVENT BEGIN:VEVENT DTEND:20140902T173000 DTSTAMP:20141023T175339 DTSTART:20140902T103000 GEO:40.7732646;-73.9816233 LOCATION:American Folk Art Museum - Lincoln Square\,2 Lincoln Square \nNew York\, NY SEQUENCE:0 SUMMARY: Lest We Forget\, Ralph Fasanella UID:350630 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Willem van Genk: Mind Traffic \;is the first mo nographic exhibition of works by the internationally acclaimed Dutch artist Willem van Genk (1927-2005) to be presented in the United States. The exhi bition includes over forty artworks: panoramic paintings\, collages\, drawi ngs\, personal notes\, sculptures of trolleys\, and an installation of rain coats (van Genk collected hundreds of raincoats over the course of his life time). This comprehensive selection provides an overview of the artist&rsqu o\;s oeuvre and insight into his creative processes\, methods\, and themes. Van Genk&rsquo\;s artworks usually depict intricately layered and densely networked urban panoramas and reference interconnectivity. He was a restles s stockpiler of information\, factoids\, and trivia: from this perspective\ , the artworks can be seen as memory palaces&mdash\;visualizations implemen ted to organize and recall information. These imaginary landscapes serve as sophisticated devices and scaffolds to map hidden forces\, since the artis t believed that all things were connected via both visible and invisible ne tworks.

The exhibition is co-organized by Dr. Valé\;rie Ro usseau\, curator\, art of the self-taught and art brut\, American Folk Art Museum\, and Patrick Allegaert and Yoon Hee Lamot\, both curators at Museum Dr. Guislain\, Ghent\, Belgium. All of the works on view are drawn from th e Willem van Genk Foundation\, which retained the largest body of the artis t&rsquo\;s work\, the De Stadshof Collection\, and the Museum Dr. Guislain\ , which manages both of these collections.

DTEND:20141201 DTSTAMP:20141023T175339 DTSTART:20140910 GEO:40.7732646;-73.9816233 LOCATION:American Folk Art Museum - Lincoln Square\,2 Lincoln Square \nNew York\, NY SEQUENCE:0 SUMMARY: Mind Traffic\, Willem van Genk UID:350631 END:VEVENT BEGIN:VEVENT DTEND:20140910T173000 DTSTAMP:20141023T175339 DTSTART:20140910T103000 GEO:40.7732646;-73.9816233 LOCATION:American Folk Art Museum - Lincoln Square\,2 Lincoln Square \nNew York\, NY SEQUENCE:0 SUMMARY: Mind Traffic\, Willem van Genk UID:350632 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Andrea Rosen Galle ry is delighted to present Ten Possible Links\, Matthew Ritchie&rs quo\;s fifth solo-exhibition with the gallery. Weaving together four distin ct projects\, the exhibition embodies a comprehensive visual examination of diagrammatic thinking. Encompassing a wide range of mediums\, Ritchie&rsqu o\;s immersive installation - including painting\, wall drawing\, sculpture \, sound and moving image - demonstrates the complexity and transient natur e of information.

The &lsquo\;Ten Possible Links&rsquo\; are a series of subtly vibrant and densely layered paintings that investigate th e abstract imagery of Ritchie&rsquo\;s sculpture and cinematic landscapes t hrough multiple diagrammatic and painterly gestures. Within an organic amas sing of form\, Ritchie creates densely layered eco-systems of information\, retaining multiple styles of presentation. These canvases contain activity of complex natures\, experiences\, states\, but their rich and saturated b eauty also captures moments of stillness where something impossible to gras p is left un-grasped. The images are saturated with light and meaning\, but bruised\, as if the very process of examination is changing the physics of the forms described. Posed against a white ground\, they could be emerging from what Paul Klee called &lsquo\;the interworld&rsquo\;\, the dimensionl ess space of possibility.

The fragmentary diagrams within the paintings are all contained within the immersive wall installation The Temptation of the Diagram\, an immense network of diagrams\, collected \, mapped\, digitized\, stripped of legible signs and reprocessed into esse ntial gestures. Two accompanying source-books offer a guide for viewers thr ough this vast investigation of the complex systems underlying the human cr eative and representational process and represent the origin and foundation of the works shown within its circuit. Confronted with the impossibility o f comprehending the whole &ndash\; what the artist describes as an oceanic feeling &ndash\; Ritchie locates our sense of a vast universe without the a bandonment of meaning. Together\, the installation and the books describe g enerations of systems\, ideas\, interpretations\, and reinforce the idea th at it is the diagrammatic impulse that insistently connects\, links and dra ws ideas together regardless of the possibility of ultimate comprehension. In doing so\, Ritchie emphasizes the double constitution of painting and dr awing as forms of &rsquo\;hypostatic abstraction&rsquo\; &ndash\; a kind of abstraction that carries various levels of meaning.

Nested w ithin this sprawling cerebral web of information is Night Drawing\ , a sculpture comprised of a matrix of interlocking segments designed to pa ssively nest within one-another\, creating a puzzle-like structure. Each se gment employs the artist&rsquo\;s specific vernacular of form\, and is draw n from the universe of diagrams that surround it. Mathematically based on m odeling strange attractors explored in collaboration with architects Aranda \Lasch\, the laser-cut aluminum construction takes two-dimensional form int o a realm of three-dimensional drawing\, forming a double moebius strip.
Expanding the space of drawing and painting into the realm of t he moving image\, Ritchie&rsquo\;s hyper-saturated film\, Monstrance\, traces an abstract and romantic narrative of past\, present and future \, as he mixes live performance footage and animation for the first time in his practice. Cut to a polyphonic choral score composed and performed by R itchie&rsquo\;s long-standing collaborator Bryce Dessner\, the film feature s singer Shara Worden as a masked oracle\, presiding over a mythic\, or pos t-post apocalyptic seascape. Created to be exhibited within a longshoreman& rsquo\;s chapel in Boston as part of his current residency at the ICA Bosto n\, the film contains within its landscapes and choreographed gestures subt le diagrams and information that make visible the greater network of links underlying his practice.

Over the last seven years\, through substantial cross disciplinary collaborations\, Ritchie has consciously ext ended his own projects to explore the possibility of shared systems\, aggre gations and collaborations in contexts as diverse as opera\, contemporary m usic\, architecture\, horticulture\, urban design\, theology and science th rough endeavors\, both collaborative and intimate\, to concretize and reali ze ephemeral and intangible theories of information and time. This exhibiti on proposes a further step\, the re-integration of these diverse practices into a network of connections\, a shared sea of information that retains it s distinct properties in a state of superposition. In &lsquo\;Superposition and Field&rsquo\;\, recently published by MIT press\, Ritchie writes\, &ld quo\;not only are &lsquo\;form&rsquo\; and &lsquo\;contentʼ the same thing\ , namely information\, but they are super-positionable and therefore do not enjoy any inherent oppositions at any scale.&rdquo\; &lsquo\;Ten Possible Links&rsquo\; specifically refers to a navigational diagram by the philosop her Graham Harman that describes this aspect of what he calls &lsquo\;the q uadruple object&rsquo\; and is the subject of an essay by Ritchie in the fo rthcoming &lsquo\;Realism\, Materialism\, Art&rsquo\; published by Sternber g Press and Bard CCS. In the essay Ritchie writes: &ldquo\;Over the last tw o centuries\, the diagram has become the essential mechanism for our collec tive efforts to articulate and negotiate an almost impossible circumstance: reality itself. It embodies our interest in humanity as a directed and lim ited quantity\, one we all have a vested interest in understanding and exte nding to the very limits of our abilities.&rdquo\; For Ritchie\, acknowledg ing our incapability of grasping the totality of the universe is not simply a reason to let go\, but also the vital force that compels investigation.

Matthew Ritchie was born in 1964. Ritchie is currently su bject of an 18-month interdisciplinary residency at the Institute of Contem porary Art\, Boston which encompasses several major works and will activate the entire museum through installation\, sound performance and video. A ne w molecular sculpture garden for the Food and Drug Administration\, Silver Spring\, Maryland will open on October 1\, 2014 and a 15\,000 square foot s ite-specific rooftop drawing for a building in Miami designed by Aranda\Las ch\, will open for Design Miami on December 3\, 2014. His work has been sho wn in numerous exhibitions worldwide\, including the Whitney Biennial\, the Sydney Biennial\, the Sã\;o Paulo Biennial\, the Venice Architecture Biennale\, the Seville Biennale\, and the Havana Bienal\, and is in the pe rmanent collections of the Museum of Modern Art\, Institute of Contemporary Art\, Boston\, Guggenheim Museum\, Whitney Museum of American Art\, San Fr ancisco Museum of Modern Art\, and other institutions worldwide\, including a permanent large-scale installation at the Massachusetts Institute of Tec hnology.

DTEND:20141022 DTSTAMP:20141023T175339 DTSTART:20140912 GEO:40.749185;-74.005023 LOCATION:Andrea Rosen Gallery\,525 W.24th St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Ten Possible Links\, Matthew Ritchie UID:353561 END:VEVENT BEGIN:VEVENT DTEND:20140911T200000 DTSTAMP:20141023T175339 DTSTART:20140911T180000 GEO:40.749185;-74.005023 LOCATION:Andrea Rosen Gallery\,525 W.24th St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Ten Possible Links\, Matthew Ritchie UID:353562 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Andrea Rosen Gallery is delighted to present new sculpture a nd photographic works by Matt Keegan with \;Landfall\, 1970\, a totemic column by Anne Truitt (1921-2004). Keegan&rsquo\;s body of new wo rks builds upon his ongoing inquiry into the sociability and singularity of industrially produced forms\, and together with Truitt hatches a sensuous investigation of material\, surface and form.

In Keegan&rsquo\;s unique approach to fabrication\, the template is both a scalable model and a uniquely factual form. The artist's untitled steel sculptures begin from rudimentary\, randomly generated paper cutouts\, which are enlarged\, lase r-cut in steel and machine bent to approximate the original prototype. Thes e abstractly legible sculptures together with his framed works make visible the act of translation from template to form.

Previous sculptur e by Keegan has explored the potential of color as sign\, reference and cod e\, particularly as manifest in the urban environment. Within this exhibiti on\, the artist&rsquo\;s steel sculptures are so saturated with spray finis h and powder coating as to achieve a unity of color and form. Truitt&rsquo\ ;s vertical wooden sculpture\, meticulously covered with many coats of pain t\, stands as a profound integration of painting and sculpture. Together th ese works generate a dialogue centered on tactility through focused materia l decisions.

Truitt describes in Daybook (1982) her realization of color &rdquo\;having meaning not only in counterpoint [&hellip\;]\, but also in itself\, as holding meaning all on its own.&rdquo\; In Truitt&rsquo \;s work\, color is not merely a decorative surface\, but rather a bodily l ocus of meaning: &rdquo\;In some mysterious way\, I felt myself to be color .&rdquo\; Through a common treatment of surface\, color and its ability to embody\, the intergenerational pairing emphasizes Truitt&rsquo\;s unique po sition among the minimalists.

Framing the entire exhibition\, an d expanding the recurring lattice template\, Keegan has outfitted Gallery 2 with 21 sheetrock panels\, standardized architectural units that the artis t has hand-etched in vernacular patterning. Previously\, Keegan has used th is material and process to make freestanding sculpture. For this exhibition \, they are shown for the first time as a ground for other works to be inst alled upon\, departing further from their original incarnation as object to function as container for the works within. Sharing a formal affinity with these patterns\, Keegan&rsquo\;s photographs possess a stable figure-groun d relationship akin to that of the panels\, and like the lattice\, contain and collect\, like a city&rsquo\;s sieve.

Matt Keegan is an artist based in Brooklyn\, New York. Next year\, he will have a solo show a t Rogaland Kunstsenter in Stavanger\, Norway. His work has been included in recent notable group exhibitions at The Art Institute of Chicago\; Foam Fo tografiemuseum\, Amsterdam\; and the Deutsche Guggenheim. Keegan&rsquo\;s w ork is included in numerous private and public collections\, including The Whitney Museum of American Art\; the Guggenheim Museum\; and The Metropolit an Museum of Art. Keegan is the co-founder of North Drive Press\, an art pu blication published from 2004-2010. In 2012\, Keegan edited ==\, an art edi tion published by mfc miché\;le didier. ==#2 will be launched in Spri ng\, 2015.

Anne Truitt (1921-2004) grew up in Easton\, Maryland. Her work has been recognized by one-person exhibitions at the Cor coran Gallery of Art\, Washington\, D.C.\; the Whitney Museum of American A rt\; Delaware Art Museum\, as well as a retrospective mounted at the Hirshh orn Museum\, Washington\, D.C.\, in 2009. Truitt received many awards\, inc luding a Guggenheim Fellowship and five honorary doctorates\, and was actin g director of Yaddo\, the artists' retreat in New York\, in 1984. Her work is in the permanent collections of many leading museums\, including the Nat ional Gallery of Art\, Washington\, D.C.\; The Metropolitan Museum of Art\; the Whitney Museum of Art\; and The Museum of Modern Art\, New York.< /p> DTEND:20141022 DTSTAMP:20141023T175339 DTSTART:20140912 GEO:40.749177;-74.0058861 LOCATION:Andrea Rosen Gallery 2\,544 West 24th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Joint Exhibition\, Matt Keegan\, Anne Truitt UID:354907 END:VEVENT BEGIN:VEVENT DTEND:20140911T200000 DTSTAMP:20141023T175339 DTSTART:20140911T180000 GEO:40.749177;-74.0058861 LOCATION:Andrea Rosen Gallery 2\,544 West 24th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Joint Exhibition\, Matt Keegan\, Anne Truitt UID:354908 END:VEVENT BEGIN:VEVENT DESCRIPTION:

For Tamara Henderson&rsquo\;s first solo exhibition in New Y ork entitled \;Speaking in Scales\, \;she will present a 1 6mm film\, sculpture and painting.

\n

Tamara Henderson's pr actice begins with the diaristic note-taking of \;her experiences and t houghts under various altered or unconscious states such as sleep or hypnos is. \;These notes are then elaborated upon and translated into differen t media: writing\, 16mm film\, sculpture and painting. Within her \;ver y personal and subjective \;practice\, \;artworks are means\, vesse ls of communication between different states: \;conscious and unconscio us\, dream and awake-ness.

\n

Henderson's short 16mm films are often based on \;storyboards or screenplays - texts translated into scenography\, images and movements. \;In each film the succession of e vents is carefully planned\, captured in single shots \;and edited in-c amera. The main characters are often quotidian objects (bottles\, glasses\, plants\, furniture\, pineapples) that are manipulated and altered\, becomi ng subjects of a narrative that is both uncanny and ordinary\, absurd and f amiliar &ndash\; and in which a human presence\, the artist's or somebody e lse's\, is never explicit but only implied.

\n

Henderson's ongoing series of sculptural/furniture works are also based on drawings and sketches realized after sessions of hypnosis. \;The resulting sculptur es simultaneously retain dreamlike qualities (bright colors\, unconventiona l shapes) but also their identity as functional objects. \;Additionally \, part of her practice are "storyboard" paintings and collages\, realized with different materials\, that function as maquettes for the films\, and i n which symbols and maze-like patterns are recurrent.

\n

Ta mara Henderson (born 1982 in \;Sackville\, Canada)\, lives and works be tween \;Vancouver and Stochkolm. \;Her work has been recently prese nted in solo shows at \;Grazer Kunstverein\, Graz (Austria)\; Walter Ph ilips Gallery\, Banff Alberta (in collaboration with Julia Feyer) and Kunst verein Nü\;rnberg (2013). She was also recently included in group exhib itions at the \;Toronto Kunstverein (2014)\; \;Kunstverein Nü\; rnberg\, \;Magasin 3\, \;Stockholm\, \;(2013) and \;DOCUMEN TA 13\, Kassel (2012). \;Upcoming presentation include Frieze Live with Rodeo Gallery\, London and Kunsthall Stavanger\, Norway (with Santiago Mos tyn) in 2014\; ICA Philadelphia (with Julia Feyer) in 2015. \;

DTEND:20141025 DTSTAMP:20141023T175339 DTSTART:20140911 GEO:40.7472381;-74.0051301 LOCATION:Andrew Kreps Gallery @ 535 West 22nd\,535 West 22nd Street \nNew Y ork\, NY 10011 SEQUENCE:0 SUMMARY:SPEAKING IN SCALES\, Tamara Henderson UID:355658 END:VEVENT BEGIN:VEVENT DTEND:20140911T200000 DTSTAMP:20141023T175339 DTSTART:20140911T180000 GEO:40.7472381;-74.0051301 LOCATION:Andrew Kreps Gallery @ 535 West 22nd\,535 West 22nd Street \nNew Y ork\, NY 10011 SEQUENCE:0 SUMMARY:SPEAKING IN SCALES\, Tamara Henderson UID:355659 END:VEVENT BEGIN:VEVENT DESCRIPTION:

A Shore Thing\, Fredrik Væ\;rslev's second sol o exhibition at the gallery will feature a new body of works captured entir ely in white.

\n

Fredrik Væ\;rslev&rsquo\;s work is distinctly co llaborative in nature. When considering different series of paintings\, alw ays evident are the elements left to another &ndash\; to another artist or person\, or place\, to nature\, to malfunctions\, to temperature. The &ldqu o\;garden&rdquo\; paintings &ndash\; works that are comprised of wood slats are left outside to gather and reveal the index of environmental happening s and forces\; or the &ldquo\;canopy&rdquo\; paintings that are painted on canvas exposed to contingencies of air\, humidity\, and sun that often brid ge different geographies and reference the suburban window shade.

\n

F or this most recent series and for \;A Shore Thing\, the works are created with a mechanism used to make boundaries on football and socce r fields as well as roadway lines. A spray can that is mounted on a set of wheels &ndash\; the trolley easily moves forward and backward (the mechanis m itself manufactured to make only straight lines) and resists any curves o r deviations. These defined and consistent back-and-forth lines &ndash\; al most a gridding or mapping out of the surface of the canvas - are layered u nder and over more chaotic marks made by wheels rolling back and forth thro ugh paint &ndash\; and uneven lines made by a malfunctioning sprayer and ma rks made from drips and differing amounts of paint &ndash\; as the temperat ure rises or drops.

\n

About Fredrik&rsquo\;s work\, Peter Andam write s: &ldquo\;One of the most probing features of Fredrik Væ\;rslevʼs pai nterly non-project is a relentless\, yet palpably and rigorously quiet\, de stabilization of mark-making signatures\, &ldquo\;signatures of the world\, &rdquo\; and different vectors and variations of pure contingency. It is as if the visual and tactile world that is teased out to the fore in his work is always on the verge of collapse on the weight of its own positing inexi stence.&rdquo\;

\n

The works in the show are monochromatically white\, thus highlighting the dynamism inherent in this project of contingency fur ther. The series unfolds like a collection of possibilities of a practice t hat is not wholly defined by the artist&rsquo\;s hand.

\n

Fredrik V&ae lig\;rslev was born in 1979 in Moss\, Norway. He studied at Staatliche Hoch schule fur Bildende Kü\;nste\, Stä\;delschule\, Frankfurt and Malm& ouml\; Art Academy\, Sweden. \;He currently lives and works in Dr&oslas h\;bak and Vestfossen. He is Director and founder of Landings Project Space \, Vestfossen\, Norway. \;Recent and upcoming solo show include: Museo Marino Marini\, Firenze\, Italy and \;CAC - Passerelle\, Brest\, France \, (2015): \;East Bound and Down\, The Power Station\, Dallas\ , TX\; Luminar Cité\;\, Lisbon\, Portugal (2014). His work has been r ecently presented in group shows such as \;Lé\; Almanach -14< /em>\, Lé\; Consortium\, Dijon\, France \;(2014)\; \;Flex -Sil Reloaded\, Kunsthalle St.Gallen\; \;Backa in i framtiden< /em>\, Lunds Konsthall\, Lund: \;Lies About Painting\, Moderna Museet\, Malmö\;\, Sweden (2013).

DTEND:20141025 DTSTAMP:20141023T175339 DTSTART:20140911 GEO:40.7477457;-74.0063477 LOCATION:Andrew Kreps Gallery @ 537 W. 22nd\,537 W. 22nd St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY: A SHORE THING\, Fredrik Værslev UID:355660 END:VEVENT BEGIN:VEVENT DTEND:20140911T200000 DTSTAMP:20141023T175339 DTSTART:20140911T180000 GEO:40.7477457;-74.0063477 LOCATION:Andrew Kreps Gallery @ 537 W. 22nd\,537 W. 22nd St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY: A SHORE THING\, Fredrik Værslev UID:355661 END:VEVENT BEGIN:VEVENT DESCRIPTION:

It is our great pleasure to announce the representation and first exhibition of New York painter Chris Martin at Anton Kern Gallery. Hi s first show will consist of a selection of new paintings created over the past summer in upstate New York. These works\, as the writer Bob Nickas des cribes them in the accompanying book\, present "sun-dried paintings and gli tter in the rain."
Martin\, whose career spans over three decades\, co ntinues to create bold\, glittering paintings\, each animated by undulating forms\, radiating landscapes\, and electric hues. Despite their immediate spectacle and immense scale (he connects canvases together to produce sever al of these larger works)\, the paintings exude a human grounded-ness that seems to stem directly from Martin&rsquo\;s connection to nature\, rock &am p\; roll\, street art\, and a dedication to material experimentation.
Nothing and everything is sacred: Martin&rsquo\;s abstract forms offer a s ense of mystical clairvoyance condensed into the profane\, or vice versa. T he paintings present a mesmerizing collision of formal geometries and diagr am-like grids with cut-outs of dead pop stars\, flashy cars\, old records b uried under layers of paint\, and large amounts of holographic glitter (pro duced specifically for showgirls in Las Vegas). Consequently\, Chris Martin s paintings prove to be masterfully ambidextrous\; one is able to fully exp erience their presence from a great distance or up-close\, indoors or outdo ors\, in a state of spiritual transcendence or casual play.

\n

Chris M artin has continuously exhibited in US and European galleries since the 198 0s. His work has recently been presented in solo shows at the Kunsthalle D& uuml\;sseldorf\, Dü\;sseldorf\, Germany\; The Corcoran Gallery of Art\, Washington D.C. (both 2011)\; and the Nerman Museum\, Kansas City\, KS (20 09). The work has also been included in group shows at the Museum Boijmans Van Beuningen\, Rotterdam\, The Netherlands (2013)\; Kunstmuseum Dü\;ss eldorf\, Dü\;sseldorf\, Germany (2011)\; Richmond Center for Visual Art s\, Western Michigan University\, Kalamazoo\, MI (2008)\; American Academy of Arts and Letters\, New York\, NY (2006)\; P.S.1\, Long Island City\, NY (2005)\; Karl
Ernst Osthaus Museum\, Hagen\, Germany (2004)\; Newhous e Center for Contemporary Art\, Staten Island\, NY (2004)\; Weatherspoon Ar t Gallery\, University of North Carolina\, NC (1998)\; The Denver Museum\, Denver\, CO (1991)\; La Jolla Museum of Contemporary Art\, California\, CA (1989)\; and The Brooklyn Museum\, Brooklyn\, NY (1988). Martin lives and w orks in Brooklyn and upstate New York.

\n

* A new monograph Chris Mart in\, published by Karma and Anton Kern Gallery will accompany the exhibitio n including a conversation with Bob Nickas and the artist.

DTEND:20141115 DTSTAMP:20141023T175339 DTSTART:20141009 GEO:40.7463808;-74.007077 LOCATION:Anton Kern Gallery\,532 West 20th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Solo Exhibition\, Chris Martin UID:357740 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In recent years\, more and more artists and activists are re -appropriating aerial perspectives of power and control to develop a new la nguage of ethics and aesthetics. Deploying advanced technologies while deve loping DIY strategies of documentation and analysis\, they look for new way s to transform the aerial point of view from a "space of state control\," h istorically linked to the disciplinary gaze of the nation-state\, into a to ol for the production and distribution of civil knowledge. These artists an d activists manipulate satellite images\, operate un-militarized drones\, a nd actualize new mapping systems in a search for civil-oriented visual and political imagery. \;

The exhibition \;Decolonized S kies \;presents five international artists who explore the ramific ations of the &ldquo\;democratization of the view from above." While some a rtists focus on the new visuality produced by this process\, others underli ne its empowering potential in the field of human rights and participatory knowledge production. The exhibition also marks a genealogy of artistic eng agement with the demilitarization of the aerial point of view and frames th e current discourse in an historical context. By doing so\, it explores wha t it takes to decolonize the view from above\, and how we can produce a new visual and ethical perspective by actively reclaiming the sky.

\n
\n


High&\;Low Bureau \;is a curatorial duo composed of Yael Messer and Gilad Reich. Based in Amsterdam and Tel-Aviv\, they curate exhibitions\, film programs\, performative events\, and publications. The B ureau&rsquo\;s practice is dedicated to the exploration of artistic strateg ies that reflect on\, and suggest alternatives to\, specific social-politic al conditions. Recent projects: \;Our Work is Never Over\, Mat adero Art Center\, Madrid (2012)\; \;Time/Resistance\, The Isr aeli Center for Digital Art (2013)\; and \;Am I Not a Citizen? Barb arism\, Civic Awakening and the City \;(The 13th Istanbul Biennial Film Program\, 2013). The duo is the recipient of the Mondriaan Fonds  \;Cultural Mediator subsidy \;(2013) and was invited to curato rial residencies in art centers such as Bar Barcelona (2013)\, CCA Warsaw ( 2013)\, and Para-Site Hong Kong (2014). \;

Yael Mess er \;is an independent curator. She holds a postgraduate diplo ma in curating from Goldsmith College\, London\, and participated in the de Appel Curatorial Program\, Amsterdam. She has been collaborating with muse ums\, institutions\, and independent art spaces internationally. In 2013 Me sser was the Research Curator for the 13th Istanbul Biennial. \;
< br />Gilad Reich \;is a writer\, curator\, and a PhD c andidate in the Gender Studies department at Ben Gurion University\, Israel . His main field of research is representations of gender in post-Fordist s ocieties. He has published numerous articles as well as exhibition texts an d essays. \;

DTEND:20141025 DTSTAMP:20141023T175339 DTSTART:20140911 GEO:40.719022;-74.004432 LOCATION:Apexart\,291 Church Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Decolonized Skies\, Bik van der Pol\, Effi & Amir\, Peter Fend\, Ge orge Lawrence\, Ruben Pater\, Forensic Architecture UID:351775 END:VEVENT BEGIN:VEVENT DTEND:20140911T200000 DTSTAMP:20141023T175339 DTSTART:20140911T180000 GEO:40.719022;-74.004432 LOCATION:Apexart\,291 Church Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Decolonized Skies\, Effi & Amir\, Forensic Architecture\, Peter Fen d\, George Lawrence\, Ruben Pater\, Bik van der Pol UID:351776 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The exhibition features five landscapes from the permanent c ollection painted by George Inness between 1860 and 1882. These stunning wo rks of art reveal the artist&rsquo\;s diverse painting methods and approach es during the middle of his career&mdash\;from detailed depictions of natur e to gestural brushwork and vague landscapes. His paintings\, often referre d to as Tonalist\, were deeply influenced by the spiritual teachings of Ema nuel Swedenborg.

DTEND:20150104 DTSTAMP:20141023T175339 DTSTART:20140607 GEO:42.907359;-74.572002 LOCATION:Arkell Museum\,2 Erie Boulevard \nCanajoharie\, NY 13317 SEQUENCE:0 SUMMARY:The Arkell Collection\, George Inness UID:334448 END:VEVENT BEGIN:VEVENT DTEND:20140607T170000 DTSTAMP:20141023T175339 DTSTART:20140607T123000 GEO:42.907359;-74.572002 LOCATION:Arkell Museum\,2 Erie Boulevard \nCanajoharie\, NY 13317 SEQUENCE:0 SUMMARY:The Arkell Collection\, George Inness UID:334449 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Bartlett Arkell purchased and donated 20 Winslow Homer works to the Canajoharie Art Gallery. These watercolors and oil paintings\, alon g with other Homer works Arkell acquired for his personal collection will b e reunited for this exhibition that opens at the Fenimore Art Museum and th en returns for a big celebration at the Arkell Museum in the fall 2014. The se works span Homer's career from his first works in oil\, to his first wat ercolors up to his fantastic marine painting at Prount's Neck\, Maine "Watc hing the Breakers--A High Sea."

DTEND:20150104 DTSTAMP:20141023T175339 DTSTART:20140902 GEO:42.907359;-74.572002 LOCATION:Arkell Museum\,2 Erie Boulevard \nCanajoharie\, NY 13317 SEQUENCE:0 SUMMARY:Winslow Homer: The Nature and Rhythm of Life from the Arkell Collec tions\, Winslow Homer UID:351586 END:VEVENT END:VCALENDAR