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303 Gallery is pleased to pres ent "All We Need Is Inside\," our third exhibition of new work from Jeppe H ein.
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On this occasion\, Hein presents a collection of wor ks in disparate media\, encouraging viewers to enter into their own inner d ialogues. Focusing his attention on the awareness of one's own body and min d\, Hein creates an experiential narrative in which the viewer becomes grac efully cognizant of his own being through the traversal of the exhibition s pace and its signifying works.
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Upon entering the space\, a glowing neon mirror announces \;ALL WE NEED IS INSIDE\, impo sing a prism through which the viewer processes the surrounding space. Turn ing away from this work is an encounter with a series of \;Breathin g Watercolors\, in which Hein's own breath guides the application of b lue stripes painted directly onto the white wall. \; The intensity of c olor\, deep and vigorous at the beginning of each stroke\, gradually fades into a pale shade toward the bottom of each stripe\, physically recording t he process of air gradually escaping from the body. Echoing this work is&nb sp\;Breath\, in which Hein's own breath is encased in glass sphere s lying on the floor.
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In the center of the gallery\,  \;Sine Curve I \;implicates the viewer's perception in the cre ation of the work. Its multifaceted reflection produces an alien experience of the gallery space\, disorienting the subject of its reflection and forc ing a new type of environmental consciousness. Its sculptural shape is remi niscent of the sinus rhythm\, a diagrammatic recording of the normal beatin g of a heart. In another mirror work\, \;Invisible Eye\, \ ;Hein has placed a flickering candle behind a two-way mirror. This elementa l object of ritual is subverted by Hein's intervention\, as candle and view er merge into one another\, resulting in the placement of a flaming third e ye onto the viewer's forehead. This suggestion of enlightenment\, both phys ical and spiritual\, looks toward an enigmatic and foreign sense of being\, implicating the viewer not only in an encounter with an artwork\, but in a confrontation with an obscure and unknown self.
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In Novem ber of this year\, he will open a solo show at Kunstmuseum\, Wolfsburg\, Ge rmany. Recent exhibitions include &ldquo\;A Smile For You&rdquo\; (2013) at Bonniers Konsthall\, Stockholm and Wanå\;s Konst\, Sweden\; &ldquo\;R obert-Jacobsen-Preisträ\;ger&rdquo\; (2012) Museum Wü\;rth\, Bad Me rgentheim\, Germany\; &ldquo\;360?&rdquo\; (2011) at the 21st Century Museu m of Contemporary Art\, Kanazawa\, Japan\; &ldquo\;1xMuseum\, 10xRooms\, 11 xWorks&rdquo\; (2010) at Neues Museum Nü\;rnberg\; Distance (2010) at I MA - Indianapolis Museum of Art\, Indianapolis\; &ldquo\;Sense City&rdquo\; (2009) at AroS Museum of Art\, Å\;rhus\, Denmark. Permanent installat ions of his works were realized in 2014 at Musikkens Hus\, Aalborg\, Denmar k and the New Media Library Hö\;gskolan Dalarna\, Falun\, Sweden. His w orks are held in institutional collections such as the Tate Gallery\, Londo n\; Centre Pompidou\, Paris\; Museum fü\;r Moderne Kunst\, Frankfurt/Ma in\; Museum of Contemporary Art\, Los Angeles. Hein lives and works in Berl in.

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DTEND:20150530 DTSTAMP:20150530T082740 DTSTART:20150416 GEO:40.7485947;-74.0041953 LOCATION:303 Gallery\,507 West 24th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:All We Need Is Inside\, Jeppe Hein UID:379473 END:VEVENT BEGIN:VEVENT DESCRIPTION:
3A Gallery is pleased to ann ounce Jef Geys: Some Paintings from Belgium. On view are ten Marti n Douven paintings from the collection of Felipe Perez. \; The exhibit includes ten prints\, on loan from the Columbia University Rare Book and Ma nuscript Library\, depicting the various international contexts of this set of paintings&rsquo\; exhibition history. \; Jef Geys has produced a Kempens Informatieboek for the occasion.
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Jef Geys: Some Paintings from Belgium was made possible by the gen erosity of the Related Group.
DTEND:20150724 DTSTAMP:20150530T082740 DTSTART:20150326 GEO:40.716943;-73.997372 LOCATION:3A Gallery\,179 Canal Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Jef Geys: Some Paintings From Belgium\, Jef Geys UID:374817 END:VEVENT BEGIN:VEVENT DTEND:20150326T200000 DTSTAMP:20150530T082740 DTSTART:20150326T180000 GEO:40.716943;-73.997372 LOCATION:3A Gallery\,179 Canal Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Jef Geys: Some Paintings From Belgium\, Jef Geys UID:374818 END:VEVENT BEGIN:VEVENT DESCRIPTION:
In her newest exhibition Tomorrow-land\,  \;Julie \;Langsam presents structures built specifically for mid-20th century World&rsquo\;s Fair exhibition s: Philips Pavilion designed by Le Corbusier and Iannis Xenakis\, the Tent of Tomorrow &\; Observation Towers by Philip Johnson a nd Habitat by Moshe Safdie. In choosing these structures Langsam b rings an additional level of engagement to her ongoing exploration into how our ideals as a society are manifest in our collective culture.
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In addition to the on-going &lsquo\;la ndscape&rsquo\; series\, Langsam continues to introduce new structures to h er body of architectural scenes. Small brightly-colored paintings of floor plans assert the abstract qualities of the architectural blueprint\, a two- dimensional depiction of a three-dimensional space. A large collaged floor piece made out of carpet depicts the floor plan of the Director&rsquo\; s Housedesigned by Walter Gropius in Dessau\, Germany for the Bauhaus school. Color in these works is chosen through a random system.

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In a series of drawings presented in a grid\, wa lls are redacted and covered\, [parts of buildings and the adjacent landsca pe] are replaced with a field of graphite gray. This [simultaneous veiling and overlay] conveys an absence\, a void to be filled\, but also embodies a curious push/pull effect: the graphic blocking and blotting out of surface s serves as an intermediary screen that disrupts a structural coherence in reading these pictures. Gray squares\, rectangles\, trapezoids jump from dr awing to drawing. While these images appear historically distant\, they are also reanimated.

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Langsam&rsquo\;s work playfully negotiates and questions the legacy of mo dernism on contemporary culture. Representations of toxic landscapes refere nce the painterly sublime\, serving as the ground for modernist architectur al marvels\, structures that evoke notions of failed utopias. Her work is r endered in a curious flatness\, where edges of iconic formalist\, modernist paintings are flanked against photographic representations of the building . \; For Langsam\, the canon appears less as a &lsquo\;barricade to sto rm than a ruin to pick through. The works presented suggest an attempt to n avigate multiple legacies at once negotiating personal memory with art hist orical and institutional history.

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\n DTEND:20150530 DTSTAMP:20150530T082740 DTSTART:20150430 GEO:40.749403;-74.004838 LOCATION:532 Gallery Thomas Jaeckel\,532 W. 25th Street \nNew York\, NY 100 01 SEQUENCE:0 SUMMARY:Tomorrow-land\, Julie Langsam UID:380991 END:VEVENT BEGIN:VEVENT DTEND:20150430T200000 DTSTAMP:20150530T082740 DTSTART:20150430T180000 GEO:40.749403;-74.004838 LOCATION:532 Gallery Thomas Jaeckel\,532 W. 25th Street \nNew York\, NY 100 01 SEQUENCE:0 SUMMARY:Tomorrow-land\, Julie Langsam UID:380992 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150612 DTSTAMP:20150530T082740 DTSTART:20150415 GEO:40.7762839;-73.9626764 LOCATION:Acquavella Galleries\,18 East 79th Street \nNew York\, NY 10075 SEQUENCE:0 SUMMARY:Off Canvas: From Matisse to Celmins\, Jean-Michel Basquiat\, André Derain\, Richard Diebenkorn\, Jean Dubuffet\, Lucian Freud\, Philip Guston\ , Jasper Johns\, Henri Matisse\, Manolo Millares\, Pablo Picasso\, Robert R auschenberg\, Jean Paul Riopelle\, James Rosenquist\, Ed Ruscha\, David Smi th\, Wayne Thiebaud\, Andy Warhol UID:371310 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150612 DTSTAMP:20150530T082740 DTSTART:20150415 GEO:40.7762839;-73.9626764 LOCATION:Acquavella Galleries\,18 East 79th Street \nNew York\, NY 10075 SEQUENCE:0 SUMMARY:Drawing \, Jacob El Hanani UID:371311 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Aicon Gallery New York \;is proud to announceRasheed Araeen  \;- \;Minimalism Then and Now\, the first major survey ex hibition of the artist's work in New York City. A pioneering artist and voi ce for alternative and Non-Western interpretations of \;Minimalist and Conceptual art in the 1960s and 70s outside of the typically referenced can on\, Araeen's work in this exhibition \;spans his oeuvre from his begin nings in Pakistan and London to the present day. The exhibition ranges from Araeen's earliest and most iconic sculptures of the 1960s\, through his pi oneering kinetic\, interactive and performance-based works\, in addition to a group of increasingly complex relief constructions from his current prac tice. The exhibition at Aicon Gallery will be accompanied by a solo booth i n this year's \;Frieze New York\, Stand A21\, from May 14th tho ugh May 17th. \;

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Writing on the occasion of Araeen's retrospective at Birmingham's Ikon Gallery in 1988\, editor and curator Patricia Bickers argued: "The for mal language Araeen began to develop during the Sixties owed much to his cr itical awareness of Modernist discourse about abstraction\, particularly th e theories of Mondrian and the Constructivists. Such ideas were then still current in England." Araeen himself pinpointed the influence of Anthony Car o on his developing practice. "I have often talked about my encounter with Anthony Caro's works after I arrived in London in 1964 and its influence on what I myself subsequently arrived at in 1965\, which turned out to be a f orm of sculpture that later became known as Minimalism." For Araeen\, it wa s not so much the forms of Caro's artistry that were interesting but his us e of engineering material such as steel girders which\, as Araeen recalls\, "had the appearance of having been picked up from a discarded heap of demo lished engineering works." At the time\, Araeen was working as a civil engi neering assistant in London\, producing drawings of industrial structures. The two influences of Caro and his day-job came together with the drawing f or \;Sculpture No 1\, conceived in December 1965\, which detai led four steel girders symmetrically placed next to each other. Conceived i n the same year\, the drawing for \;Sculpture No 2again showed painted steel girders\, this time arranged in four stacked layers. \;

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However\, Araeen was keen to move away from what he saw as an ong oing traditional approach to the relationship of work to its surroundings\, seen in the work of London's New Generation sculptors and others. Instead\ , he was keen to explore a more non-hierarchical relationship between the w ork\, the viewer and the work's surroundings. His solution was what he term ed his 'structures'-works made in open modular form that theoretically coul d be re-positioned by the viewer. Moreover\, Araeen introduced a lattice st ructure into the oeuvre of Minimalism\, a visual language that had come ind ependently to Araeen at the same time as it was taking root in New York\; a lthough\, in Araeen's case\, it was linked back to his background in struct ural engineering. Art critic Jean Fisher noted the key differences between Araeen's articulation of Minimalism and that of the New Yorkers: "There are \, however\, important distinctions to be \;made between the Minimalist cube and Araeen's Structures\, which to my mind resides in the difference between an instrumental\, abstract-logical regulation of the world and an o rganic one."

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This acknowledgement of the spectator as being a constitutive element in the work resulted in a fur ther development of Araeen's work. He opined: "My interest in participation emerged from the nature of my own work in 1968. While manipulating four sm all cubes to see how many different arrangements I could make out of them\, I realized the potential in them of infinite movement and transformation." Works such as \;Char Yar \;(1968) contain \;this  \;potential of the spectator unmaking and re-making the work through them. However\, Araeen himself was moving away from making objects for viewing in galleries towards more participatory and collaborative work\, which became increasingly informed by his growing political activism. In 1969\, Araeen began working on \;Chakras \;and its subsequent counterpar t \;Triangles\, which were his first participatory works outsi de the gallery space. On the 21st of February 1970\, Araeen and members of the public threw sixteen two-foot diameter discs into London's St. Katherin e's Dock. This quantity of sixteen\, selected to reference a four-by-four c onfiguration of a Minimalist structure\, would immediately be undone by the action of being thrown into water. \;

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Araeen went on to have solo shows at institutional spaces such as the Ikon Gallery (1987)\, the South London Gallery (1994) and the Serpentine G allery (1996). In all\, mainstream critical discussion of the early part of his career up until the early 1970s was less prevalent\, until 2007 when t he Tate London purchased and displayed his works from the late 1960s. In 20 10\, Aicon Gallery\, London hosted the first major retrospective of Araeen' s work in over a decade\, paving the way for a new string of exhibitions an d critical attention. In 2014\, Araeen's work \;was a prominent feature in the exhibition \;Other Primary Structures \;at the Jew ish Museum in New York\, a long-overdue exploration of Minimalism outside i ts art-historical canonically Western context. In that same year\, a major exhibition hosted by the Sharjah Art Foundation emphasized that the hiatus in critical and institutional responses to Araeen's works had finally passe d. A variety of reasons contributed to that hiatus. Araeen's own activist-p ublisher activities setting up the periodicals \;Black Phoenix  \;and \;Third Text\, his involvement in the debates aroun d 'Black Art' and his curating of exhibitions such as \;The Essenti al Black Art \;and \;The Other Story \;meant that the critical and curatorial focus on his artistry was irregular at best. M ore crucial however\, was confusion amongst curators and art historians as to how to account for the appearance of Minimalist sculpture in Britain not directly influenced by the work of contemporaneous New York Minimalists. I t has now been sixty years since Araeen produced Sculpture No 1\, and with the belated institutional recognition his work is now receiving\, it seems critical to bring this large survey of his works to New York in order to re consider the various and overlapping accounts and artistic journeys that ca n be described as Minimalism.

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DTEND:20150606 DTSTAMP:20150530T082740 DTSTART:20150507 GEO:40.7268368;-73.9929619 LOCATION:AICON GALLERY - New York\,35 Great Jones Street \nNew York\, NY 10 012 SEQUENCE:0 SUMMARY:Minimalism Then and Now 1960 - Present\, Rasheed Araeen UID:381865 END:VEVENT BEGIN:VEVENT DTEND:20150507T200000 DTSTAMP:20150530T082740 DTSTART:20150507T180000 GEO:40.7268368;-73.9929619 LOCATION:AICON GALLERY - New York\,35 Great Jones Street \nNew York\, NY 10 012 SEQUENCE:0 SUMMARY:Minimalism Then and Now 1960 - Present\, Rasheed Araeen UID:381866 END:VEVENT BEGIN:VEVENT DESCRIPTION:

An exhibition of new paintings and works on paper by Stefan Kü\;rten will open at Alexander and Bonin on April 18th. The exhibition features Running to stand still (20 14)\, a large scale painting depicting a grid of houses which emerge from a golden\, abstracted thicket and represent Kü\;rten&rsquo\;s typography of 20th Century homes.

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Modernist ove rhang slab roof houses\, brick villas in idyllic surroundings and suburban bungalows with neat garden paths and flower beds are the subject of Kü\ ;rten&rsquo\;s recent paintings. Almost all depict isolated buildings that are surrounded by a wall\, hedge or lush vegetation and draw the viewer's a ttention to a singular piece of invented architecture. These structures oft en closely resemble iconic mid-century modern dwellings\, but have been reb uilt by Kü\;rten&rsquo\;s conflation of imagery. Their sense of familia rity is strong and viewers often feel they have visited these non-existent homes. The surfaces of Kü\;rten&rsquo\;s paintings are composed of innu merable brushstrokes forming patterns that evoke sky\, water and foliage. T he density of the patterning can elicit a sense of horror\, destabilizing t hese beautiful illusions.

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&ldquo\;Eve n though the houses and gardens that distinguish my paintings are drawn fro m real houses and gardens\, taken from my own photos\, books\, and magazine s\, they are somehow transformed into the stuff of daydreams or nightmares. They are devoid of human presence\; the apparent idyll feels isolated to t he point of oppression. Nonetheless\, there seems to be some sort of a pres ence\, like a hidden secret\, something untold and left to our imaginations . Heimlich describes this unsettling\, disturbing uncertainty very fittingl y.&rdquo\;1

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1 Interview wi th Larry Rinder published in Here Comes the Night. Works on Paper 2009 &ndash\; 2013\,Ostfildern: Hatje Cantz

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The artist lives and works in Dü\;sseldorf. His work has been th e subject of several institutional exhibitions and two recent monographs: < em>Here Comes the Night. Works on Paper 2009 &ndash\; 2013\, published by Hatje Cantz and Running to stand still\, a monograph of recent paintings published by Galerie der Stadt Backnang. Stefan Kü\;rten&rsq uo\;s paintings are in the permanent collections of several European and Am erican institutions including Kunstmuseen Krefeld\, The Montreal Museum of Fine Arts\, The Museum of Modern Art\, New York and the San Francisco Museu m of Modern Art.

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For press inquiries contact Olivia Gauthier at 212/367-7474 or og@alexanderandbonin.com

DTEND:20150530 DTSTAMP:20150530T082740 DTSTART:20150418 GEO:40.7497717;-73.9976946 LOCATION:Alexander and Bonin\,132 10th Ave. between 18th and 19th streets i n Chelsea\nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Running to stand still\, Stefan Kurten UID:379474 END:VEVENT BEGIN:VEVENT DTEND:20150418T200000 DTSTAMP:20150530T082740 DTSTART:20150418T180000 GEO:40.7497717;-73.9976946 LOCATION:Alexander and Bonin\,132 10th Ave. between 18th and 19th streets i n Chelsea\nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Running to stand still\, Stefan Kurten UID:379475 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150627 DTSTAMP:20150530T082740 DTSTART:20150528 GEO:40.74975;-74.003741 LOCATION:Alexander Gray Associates\,508 West 26 Street #215 \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Solo Exhibition\, Lorraine O'Grady UID:383094 END:VEVENT BEGIN:VEVENT DTEND:20150528T200000 DTSTAMP:20150530T082740 DTSTART:20150528T180000 GEO:40.74975;-74.003741 LOCATION:Alexander Gray Associates\,508 West 26 Street #215 \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Solo Exhibition\, Lorraine O'Grady UID:383095 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Most self-taught artists can b e perceived as performance artists. Their work is infused with daily ritual s\, public actions\, gestures\, and enactments\, defining a lifelong artist ic practice for which the curtain never comes down. Beyond paintin gs and sculpture\, the exhibition includes ceremonial clothes\, kinetic app aratuses\, ephemeral installations\, writings\, fragments of ever-changing constructions\, music\, recordings\, and other statements that have been ca ptured by photographers and filmmakers. The inventive devices and countless strategies these artists configure are expressions of an alter ego\, which they assume for its power to transform the world and\, above all\, to tran sform their own connections to reality.

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Historically\, collectors and museums have prioritized artworks that are readily collectible and more conventional in their materials and technique s&mdash\;an attitude that elucidates a direct relationship between conserva tion and recognition. The exhibition\, \;which \;gathers 27 artists from around the world\, delves into an underside of self-taught art and ar t brut\, opening a door to the study of its neglected facets.
&md ash\;Valé\;rie Rousseau\, PhD\, curator\, self-taught art and art bru t

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Major support for the exhibition is provided by the National Endowment for the Arts: Art Works. Additional sup port is provided by The Coby Foundation\, Ltd.\, Joyce Berger Cowin\, the D avid Davies and Jack Weeden Fund for Exhibitions\, the Gerard C. Wertkin Ex hibition Fund\, the Leir Charitable Foundations\, public funds from the New York City Department of Cultural Affairs in partnership with the City Coun cil\, and the New York State Council on the Arts with the support of Govern or Andrew Cuomo and the New York State Legislature.

DTEND:20150705 DTSTAMP:20150530T082740 DTSTART:20150326 GEO:40.7731765;-73.9814441 LOCATION:American Folk Art Museum\,2 Lincoln Square \nNew York\, NY 10023 SEQUENCE:0 SUMMARY:When the Curtain Never Comes Down\, Bill Anhang\, Anton “The Great Antonio” Barichievich\, Deborah Berger\, Arthur Bispo do Rosário\, Raimundo Borges Falcão\, Leonid Chrol\, Joe Coleman\, Lonnie Holley\, Hans Krüsi\, Marie Lieb\, Charlie Logan\, Raphaël Lonné\, Jean Loubressanes\, Gustav Mes mer\, Eijiro Miyama\, Heinrich Anton Müller\, Fernando Oreste Nannetti\, Va han Poladian\, Melina Riccio\, Martial Richoz\, Rock N Roll\, The Saint Pau l Spiritual Holy Temple\, Palmerino Sorgente\, Giuseppe Versino\, Eugene Vo n Bruenchenhein\, Theodor “Theo” Wagemann\, Adolf Wolfli UID:375231 END:VEVENT BEGIN:VEVENT DTEND:20150326T173000 DTSTAMP:20150530T082740 DTSTART:20150326T103000 GEO:40.7731765;-73.9814441 LOCATION:American Folk Art Museum\,2 Lincoln Square \nNew York\, NY 10023 SEQUENCE:0 SUMMARY:When the Curtain Never Comes Down\, Bill Anhang\, Anton “The Great Antonio” Barichievich\, Deborah Berger\, Leonid Chrol\, Joe Coleman\, Raimu ndo Borges Falcão\, Lonnie Holley\, Hans Krüsi\, Marie Lieb\, Charlie Logan \, Raphaël Lonné\, Jean Loubressanes\, Gustav Mesmer\, Eijiro Miyama\, Hein rich Anton Müller\, Fernando Oreste Nannetti\, Vahan Poladian\, Melina Ricc io\, Martial Richoz\, Rock N Roll\, Arthur Bispo do Rosário\, Palmerino Sor gente\, The Saint Paul Spiritual Holy Temple\, Giuseppe Versino\, Eugene Vo n Bruenchenhein\, Theodor “Theo” Wagemann\, Adolf Wolfli UID:375232 END:VEVENT BEGIN:VEVENT DESCRIPTION:
&ldquo\;We have only to look at the force of one of the \;Opens&hellip\;to feel the co mplexity of observation the painter requires of himself and the viewer.&rdq uo\; *
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&ldquo\;&hellip\;a subtle but firmly asser ted spatial ambiguity that gives the picture a deep resonance and an aura o f mystery.&rdquo\;**
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Andrea Rosen Gallery is delighte d to announce a comprehensive exhibition of Robert Motherwell&rsquo\;s semi nal \;Open \;series. The gallery has an ongoing commitment to timely presentations of historical material\, in this case highlighting a point in the artist&rsquo\;s trajectory when a confluence of institution al\, intellectual\, and market attention brings renewed appreciation to a s ignificant body of work. The gallery is particularly interested in creating historical exhibitions that expand the reading and understanding of an art ist&rsquo\;s work. While Motherwell&rsquo\;s significance may have been per ceived primarily through the gestural \;Elegies\,presenting th e \;Opens \;now not only allows us to compare these master works against the present-day focus on abstraction\, but also encourages us to reconcile the breadth of Motherwell&rsquo\;s rigor and clarity. They ar e undeniably fresh\, beautiful\, and bold.
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Typically compo sed as single-color surfaces on which he has painted three charcoal lines\, the \;Opens \;were a primary occupation for Motherwell fr om 1967 through the 1970s\, and briefly into the 1980s. Although it has bee n common practice to locate Motherwell alternately within the histories of midcentury American painting and Minimalism\, the \;Opens \;exemplify the cerebral\, content-fueled character that sets his work apar t: the fragmentary rectangles offer an intense conceptual engagement with d ualities of interior and exterior\, and with perceptions of nature and spac e. \;
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Coinciding with the centennial of Motherwell&rsq uo\;s birth\, the exhibition comes amid a groundswell of appre-ciation of h is significance. In 2012\, the Dedalus Foundation (founded by Motherwell in 1981) and Yale University Press published a major catalogue raisonné \; of Motherwell&rsquo\;s work. The Art Gallery of Ontario and The Solomon R. Guggenheim Foundation in New York have also produced remarkable studies on Motherwell in recent years\, and the Opens themselves are the subject of a dedicated collection of essays and scholarly criticism published in 2010 . In February of this year\, the Metropolitan Museum of Art in New York ope ned an exhibition of Motherwell&rsquo\;s monumental paintings\, collages\, prints\, and illustrated books drawn from its holdings and those of the Ded alus Foundation.
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\n< div style="text-align: justify\;">*Mary Ann Caws\n
** Jack Flam
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Robert Motherwell\, a cen tral figure in twentieth-century painting who coined the name &ldquo\;The N ew York School\,&rdquo\; was born in Aberdeen\, Washington\, on January 24\ , 1915. He graduated from Stanford University in 1937 and undertook graduat e coursework first at Harvard University\, then at Columbia University\, wh ere Meyer Schapiro encouraged him to devote himself to painting rather than scholarship. Motherwell had his first solo exhibition at Peggy Guggenheim& rsquo\;s Art of This Century gallery in 1944\; by the mid-1940s he had beco me the leading spokesperson for avant-garde art in America. Throughout his life\, Motherwell taught and lectured extensively\, and exhibited widely at museums in the United States and Europe. In 1965\, The Museum of Modern Ar t\, New York held a major retrospective of his work that subsequently trave led to Amsterdam\, London\, Brussels\, Essen\, and Turin. Throughout the 19 70s and 1980s\, he had important retrospective exhibitions in a number of E uropean cities\, including Dü\;sseldorf\, Stockholm\, Vienna\, Paris\, Edinburgh\, and London. In 1977\, Motherwell was given a major mural commis sion for the new wing of the National Gallery of Art\, Washington\, D.C. A retrospective of one hundred major works was organized by the Albright-Knox Art Gallery\, Buffalo\, NY\, in 1983 and subsequently traveled to The Los Angeles County Museum of Art\; The San Francisco Museum of Modern Art\; The Seattle Art Museum\; the Corcoran Gallery of Art\, Washington\, D.C.\; and The Solomon R. Guggenheim Museum\, New York. Robert Motherwell died in Pro vincetown\, Massachusetts\, on July 16\, 1991.
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Wo rks from Robert Motherwell&rsquo\;s \;Open \;series are in the collections of major international institutions including Albright Kno x Gallery\, Buffalo\, NY\; The Art Institute of Chicago\; The Guggenheim Mu seum\, Bilbao\; The Los Angeles County Museum of Art\; the Menil Collection \, Houston\, TX\; The Metropolitan Museum of Art\, New York\; The Museum of Modern Art\, New York\; the Modern Art Museum of Fort Worth\; the San Fran cisco Museum of Modern Art\; The National Gallery of Art\, Washington\, D.C .\; and The Whitney Museum of American Art\, New York.
DTEND:20150620 DTSTAMP:20150530T082740 DTSTART:20150501 GEO:40.749185;-74.005023 LOCATION:Andrea Rosen Gallery\,525 W.24th St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Opens\, Robert Motherwell UID:380995 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Andrea Rosen Galler y is thrilled to announce an exhibition of Stan VanDerBeek (d. 1984)\, whos e visionary approach to art making was not only radical in his time\, but i s also increasingly reflective of a contemporary discourse around the integ ration of media\, technology\, and everyday life. \;

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Featuring five of eight computer-animated fi lms that comprise the artist&rsquo\;s seminal \;Poemfield \;series (1966-1971)\, as well as a small selection of related computer gra phic prints on paper\, this presentation illuminates a significant pillar o f the gallery&rsquo\;s ongoing mission to re-engage historical work within contemporary contexts.  \; \;

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VanDerBeek first worked on \;Poemfield \;at Be ll Laboratories in Murray Hill\, New Jersey and then as an artist-in-reside nce at MIT&rsquo\;s Center for Advanced Visual Studies in Cambridge\, Massa chusetts. Originally conceived as a multi-screen installation\,Poemfiel d \;was eventually included in VanDerBeek&rsquo\;s ambitious\, mov ing image and sound environments such as \;Movie-Dromeand  \;Cine Dreams. \;In each individual film\, powerful sequences of words gradually emerge from\, and back into\, kinetic mosaics of glitter ing geometric graphics. \; The images seen within each projection are t he visual manifestations of unique poems written in a specific computer lan guage\, then processed by an IBM 7094\, and ultimately output onto the surf ace of a cathode ray tube and filmed. \;

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As a pioneer collaboration between artists and scientist s\, \;Poemfield \;was realized by VanDerBeek with the Bell Labs computer programmer and physicist Ken Knowlton. One of several progra ms developed by Knowlton\, BEFLIX (short for Bell Labs Flicks)\, was used t o make \;Poemfield \;and is considered by AT&\;T as one of the first computer animation languages. \;

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VanDerBeek also collaborated with musicians John C age and Paul Motian on some of the varied soundtracks that accompany the fi lms\, as well as with filmmakers Robert Brown and Frank Olvey to create pro found interplays of intense color. As equal combination of text\, image\, m otion\, sound\, and color\, each \;Poemfield \;is\, in its elf\, a multilayered\, image experience of the kind for which VanDerBeek is best known. \;

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VanDer Beek&rsquo\;s belief in the computer as an extension of the mind kept him p ursuing technology as a revolutionary means of expressing and engaging huma n consciousness and\, for that reason\, a necessary tool for an artist to m aster. Representative of his continued experimentation with computer langua ge\, one black and one uncolored\, embossed print of a computer graphic use d in \;Poemfield \;minimally preface one&rsquo\;s entrance into the main gallery where \;Poemfield No.1\, No. 2\, No.3\,  \;No.5\, and \;No.7 \;vibrantly and loudly p ulsate across surrounding walls. Two differently colored versions of \; Poemfield No. 1\, as well as \;Poemfield No. 2\, have been restored in high definition\, the latter of which will be shown here in the gallery for the first time. \;

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This exhibition was organized with the Estate of Stan VanDe rBeek

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Stan VanDerBeek (1927-1984) studied art at The Cooper Union for the Advancement of Science and Art\, New York\, and at Black Mountain College\, Asheville\, NC (1949-1 951). During his lifetime\, his work was featured in numerous exhibitions a nd film festivals internationally. Past exhibitions include New Media-New F orms\, Martha Jackson Gallery\, New York (1960)\; Found Forms\, Cross Talk Intermedia\, Japan (1969)\; Multiple Interaction Team\, MIT\, Cambridge\, M A (1972)\; Machine Art: An Exhibit of &ldquo\;InterGraphic&rdquo\; by Profe ssor Stanley VanDerBeek\, University of Maryland\, Baltimore (1976)\; Steam Screens\, Walker Art Center\, Minneapolis (1981)\; Whitney Biennial\, Whit ney Museum of American Art\, New York (1983)\; and New American Video Art: A Historical Survey\, 1967-1980\, Whitney Museum of American Art\, New York (1984). \;

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R ecent exhibitions that have featured VanDerBeek&rsquo\;s work include Stan VanDerBeek: The Culture Intercom\, MIT List Visual Arts Center\, Cambridge\ , MA and Contemporary Arts Museum Houston (2011)\; The Historical Box\, Hau ser &\; Wirth\, Zurich (2011-12)/London (2012)\; Ghosts in The Machine\, The New Museum of Contemporary Art\, New York (2012)\; Xerography\, Firsts ite\, Essex\, UK (2013)\; The Venice Biennale (2013)\; Go! You Sure? Yeah\, LUMA Foundation\, Zurich (2013-14)\; Cine Dreams: Stan VanDerBeek\, Jeroni mo Voss\, Katie Paterson\, Nicola Trussardi Foundation\, Milan (2014)\; New Forms Festival\, Vancouver (2014) and Poemfield\, The Box\, Los Angeles (2 014). Upcoming exhibitions include Leap Before You Look: Black Mountain Col lege 1933-1957\, The Institute of Contemporary Art\, Boston\; Hammer Museum of Art\, Los Angeles\; and Museum of Fine Arts\, Houston (2015-16). DTEND:20150620 DTSTAMP:20150530T082740 DTSTART:20150501 GEO:40.749177;-74.0058861 LOCATION:Andrea Rosen Gallery 2\,544 West 24th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Poemfield \, Stan VanDerBeek UID:382442 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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&ldquo\;In the practice of warfare\, ho wever\, the star-shaped fortresses which were being built and improved &nbs p\;everywhere during the eighteenth century did not answer their purpose\, for intent as everyone was on that pattern\, it had been forgotten that the largest fortifications will naturally attract the largest enemy forces&rdq uo\;
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(W. G. Sebald\, Austerlitz\, 2001)
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Andrew Kreps Gallery is pleased to present a group show featuring works by Alberto De Michele\, Gregory Gentert and Adam Gordo n. The works in the exhibition are informed by an interest in storytelling\ , and originate from narratives that revolve around ideas of identity\, per ception\, and issues of physical and psychological control.
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Alberto De Michele&rsquo\;s work blurs boundaries between reality and fic tion\, often through the theme of criminality. His videos and video-install ations are born form encounters with people that live on society&rsquo\;s f ringes\, legally and physically. His works confound and complicate their ow n points of view\, forcing the viewer to suspend moral judgment. The protag onists of &ldquo\;I Lupi (The Wolves)&rdquo\; are a group of thiev es from the north of Italy\, who operate only in heavy fog &ndash\; fog tha t makes everything\, including them\, invisible. De Michele realized the wo rk in collaboration with the Wolves and the assistance of his father\, who is directly involved with the group. In the video\, actual criminal acts ar e never documented\, and the artist&rsquo\;s role remains unclear.
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Gregory Gentert&rsquo\;s photograph s are a profound investigation of the distance between reality and the arti st&rsquo\;s own perception of it. The subjects of the works are places or p eople familiar to him and the scenarios have a seemingly banal and mundane tone. His own psychological stake in these situations is privileged and exa ggerated\, dominating the works as they move towards the unsettling. \;
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Adam Gordon&rsquo\;s work spans installation\, video and painting\, challenging the viewer&rsquo\;s perceptual framework and eliciti ng a re-examination of the sensory experience. The paintings in the exhibit ion\, virtuoso in their approach\, depict their subjects in moments of isol ation with a focus that enacts an intense interrogation of their identities . \;A feeling of stillness pervades the works\, \;but \;despite their tangibility\, they evoke vicissitudes and duration\, like \;mont hs \;lengthening \;into years
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Alberto De Michele ( Venice\, Italy\, 1980)\, lives and works between Amsterdam and Cali\, Colom bia. He studied at the Sandberg Institute and Rijksakademie van beeldende k unsten in Amsterdam and at Cooper Union\, New York. &ldquo\;I Lupi&rdquo\; (The Wolves)&rdquo\;\, was awarded the Rotterdam Film Festival Short Film P rize in 2011 and was nominated for the European Film Awards the same year. It has been screened in numerous film festivals across Europe and at the Ce ntre Pompidou\, Paris\, among other venues.
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Gregory Genter t (Doylestown\, PA\, 1983)\, lives and works in Brooklyn. He has exhibited at the Fisher Landau Center and Andrew Kreps Gallery. He obtained his BFA i n Photography from RIT and his MFA from Columbia University in 2014\, where he was the recipient of the Andrew Fisher Fellowship. \;
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Adam Gordon (St. Paul\, MN\, 1986)\, lives and works in Brooklyn. He re ceived his MFA at Yale University in 2011. His work has been shown at Derek Eller Gallery\, New York\, Know More Games\, Brooklyn\, and Night Gallery\ , Los Angeles\, among others.
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\n DTEND:20150620 DTSTAMP:20150530T082740 DTSTART:20150514 GEO:40.7472381;-74.0051301 LOCATION:Andrew Kreps Gallery @ 535 West 22nd\,535 West 22nd Street \nNew Y ork\, NY 10011 SEQUENCE:0 SUMMARY:Group Exhibition\, Alberto de Michele\, Gregory Gentert\, Adam Gord on UID:383762 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Andrew Kreps Galler y is pleased to present Supercallefragelistic-expialledocious (Universa l Color Part 1) \;Ricci Albenda&rsquo\;s sixth solo exhibition wit h the gallery. The exhibition marks the completion of \;Universal C olor\, a color system developed by Albenda over the past two decades.< /p>\n

In its original form\, called COLOR-I-ME-TRY\, \;Albenda paired the alphabetical and num erical systems with the color wheel. \; Vowels fall onto to the archety pal hues of the prismatic ROYGBIV spectrum: \;a \;= Red\, \;e \;= Orange\, \;< strong>i \;= Yellow\, \;o \;= Green\, \;u \;= Blue\, and y finds itself between Indigo and Violet. Numerals o ccupy the magenta tones\, connecting the end of the alphabet with its begin ning to form a complete color wheel.  \;

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Universal Color \;takes the \;COLOR -I-ME-TRY \;system as its base\, \;implementing this as a malleable\, geometric shape that exists within a comprehensive three-d imensional color space. Scaling and shifting that shape throughout this spa ce\, this new system is able to generate innumerable variants on the origin al. Extending it limitlessly\, the system can now be condensed to single co lors\, expanded across wider spectrums\, and everything in between. \;< /p>\n

Previous exhibitions of Al benda&rsquo\;s paintings have taken the form of rigorously structured inves tigations into this system and its permutations.  \;He has employed con straints ranging from the color of the sky\, to sunrises\, to distinct rela tionships to the exhibition&rsquo\;s architecture\, and the color wheel. Gr aphic design was not a consideration\; Albenda developed his own font to be used consistently throughout his work\, and sought to keep focus on the wo rds themselves. For Supercallefragelistic-expialledocious (Universal Co lor Part 1) Albenda departs from this model\, experimenting widely and freely using the knowledge gleaned \; over the two decades of the syst em&rsquo\;s making. Each work becomes its own framework and site of inquiry \, demonstrating a versatility\, and more importantly\, the sense of play i nherent to studio practice. This celebration of the studio points not only to Albenda&rsquo\;s place in a lineage of painters who use words effectuall y as images\, but also through the works&rsquo\; subtleties and undulations \, it harkens back to the rich explorations of color performed by painters that have defined the last century. \;

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Comprising new paintings\, and works on paper (in its wide st sense)\, the exhibition encompasses not only a variety of formats\, but also an abundance of the systems and subsystems Universal Color co ntains. Making works outside of his own font for the first time\, Albenda b egins to demonstrate the possibilities of the system&rsquo\;s implementatio n outside of his own practice\, and its utopian bent. Simultaneously\, his vernacular of phrases has been opened to include logos\, both familiar and obscure\, alongside the song titles and lyrics\, quips\, scientific classif ications\, and invented words that have defined his practice over the years . The imagined\, real\, and appropriated exist side by side\; pointing towa rds the system&rsquo\;s future as one that is accessible by all. \;

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Supercallefragelistic-exp ialledocious (Universal Color Part 1) will be followed by and exhibiti on of the systems wider implementation\, Universal Color Part 2 in 2016. Ricci Albenda&rsquo\;s work has been exhibited extensively\, both in the United States and abroad at venues including: The Guggenheim Museum\, New York\, The Rachofsky House\, Dallas\, Tel Aviv Museum of Art\, Tel Aviv \, Institute of Contemporary Art\, Boston\, Brooklyn Museum of Art\, Brookl yn\, Castello Di Rivoli\, Turin\, Museum of Modern Art\, New York\, MoMA PS 1\, Queens\, Centre Georges Pompidou\, Paris\, and the New Museum\, New Yor k.

DTEND:20150620 DTSTAMP:20150530T082740 DTSTART:20150514 GEO:40.7477457;-74.0063477 LOCATION:Andrew Kreps Gallery @ 537 W. 22nd\,537 W. 22nd St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Supercallefragelistic-expialledocious (Universal Color Part 1)\, Ri cci Albenda UID:383763 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150703 DTSTAMP:20150530T082740 DTSTART:20150528 GEO:40.7463808;-74.007077 LOCATION:Anton Kern Gallery\,532 West 20th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Solo Exhibition\, Marcel Odenbach UID:383956 END:VEVENT BEGIN:VEVENT DTEND:20150528T200000 DTSTAMP:20150530T082740 DTSTART:20150528T180000 GEO:40.7463808;-74.007077 LOCATION:Anton Kern Gallery\,532 West 20th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Solo Exhibition\, Marcel Odenbach UID:383957 END:VEVENT BEGIN:VEVENT DESCRIPTION:

An artist&rsquo\;s portrait\, like all good portraits\, offers the viewer more than physical features. On e sees the characteristics of the sitter that make that person a unique ind ividual. All artists are involved with\, or have a heightened interest in\, creative pursuits which makes them interesting candidates for portrait sub jects.

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On the other hand\, a self-por trait is an artist&rsquo\;s opportunity to make a statement. Traditional po rtraiture\, especially commissioned ones\, often came with expectations tha t the image be a favorable likeness of the sitter. Self-portraiture removed those restrictions enabling artists to be more experimental. This exhibiti on brings together fifty works in a variety of media that examine self-port raits and portraits of other artists. Included in the show are works by Mil ton Avery\, Chuck Close\, Leonard Baskin\, Edward Steichen\, Norman Rockwel l\, and Anders Zorn. Sitters include James McNeill Whistler\, Thomas Eakins \, Charlie Chaplin\, C.S. Lewis\, and Pablo Casals.

DTEND:20150614 DTSTAMP:20150530T082740 DTSTART:20150301 GEO:42.907359;-74.572002 LOCATION:Arkell Museum\,2 Erie Boulevard \nCanajoharie\, NY 13317 SEQUENCE:0 SUMMARY:The Artist Revealed: Artist Portraits and Self-Portraits\, Milton A very\, Chuck Close\, Leonard Baskin\, Edward Steichen\, Norman Rockwell\, A nders Zorn UID:371314 END:VEVENT BEGIN:VEVENT DTEND:20150301T170000 DTSTAMP:20150530T082740 DTSTART:20150301T123000 GEO:42.907359;-74.572002 LOCATION:Arkell Museum\,2 Erie Boulevard \nCanajoharie\, NY 13317 SEQUENCE:0 SUMMARY:The Artist Revealed: Artist Portraits and Self-Portraits\, Milton A very\, Leonard Baskin\, Chuck Close\, Norman Rockwell\, Edward Steichen\, A nders Zorn UID:371315 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This exhibition features Beth Van Hoesen&rsquo\;s creatures which include household pets\, zoo animals\, worms and salamanders. Beth stated &ldquo\;I started with pet rodents\, far m animals\, dogs and cats. Then came a few birds\, then wild animals. I kee p meeting new ones I like&hellip\;.&rdquo\; The works were selected from dr awings\, lithographs and etchings donated to the Arkell Museum from the E. Mark Adams and Beth Van Hoesen Trust.

DTEND:20150618 DTSTAMP:20150530T082740 DTSTART:20150301 GEO:42.907359;-74.572002 LOCATION:Arkell Museum\,2 Erie Boulevard \nCanajoharie\, NY 13317 SEQUENCE:0 SUMMARY:From House Pets to Endangered Species: Prints and Drawings by Beth Van Hoesen\, Beth Van Hoesen UID:377223 END:VEVENT END:VCALENDAR