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I've known Asha Schechter since about 1991 and Patrick Jacks on since about 2001. \; The three of us moved to New York in 2002 and l ived in a carriage house across from Prospect Park Southwest. They had bedr ooms on the third floor and I lived at the base of the stairs\, on the seco nd floor. My rent was slightly less. It worked out well\, because I was a n ightclub photographer working late and had the living room to myself during the day. Patrick had a studio at the Marie Walsh Sharpe Foundation and he let me use a wall to work on drawings. \; That was really cool of him. Asha worked at Jane Magazine as a photo editor and hooked me up with severa l freelance photo jobs. Sometimes I would go with a beauty editor to 34th S treet or Bryant Park and ask random women if they had a pedicure\, a tattoo \, or a belly button piercing. I'd photograph them if they had one of these beauty trends. Sometimes we asked random people if they could point out wh o they thought was hot. I also photographed blind dates: there was one at a Mets game\, another between Talib Kwali and Santi White\, before she was S antogold. One photo job allowed me to pay an entire month's rent. Jane Maga zine went bankrupt\, but it was a good run.

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I recently introduced A sha and Patrick to Mieko\, suggesting that they do a two-person show at 3A Gallery. Maybe this is a small way of returning their favors\, but we&rsquo \;ll see how it goes. I don't know too much about what they're making for t he show\, but Asha has told me his video involves a barista championship\, which sounds pretty incredible. I can relate since I was once a barista in Los Angeles\, where both Patrick and Asha currently live and work. I often served coffee to Ryan Gosling.

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Patrick emailed me this paragraph ab out his work: "I began these pieces by sitting at a large tray of clay and sculpting what came to mind. These final wall reliefs are casts of the orig inals\, made of a reddish-brown plasticine often used in prototyping. So fa r\, I&rsquo\;ve made twelve of these\, and as they've grown in number I've come to see them as my subconscious iconography."

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 \;< /p> DTEND:20160221 DTSTAMP:20160214T081423 DTSTART:20160123 GEO:40.716943;-73.997372 LOCATION:3A Gallery\,179 Canal Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Mud of Murk\, Patrick Jackson and Asha Schechter UID:406437 END:VEVENT BEGIN:VEVENT DTEND:20160123T200000 DTSTAMP:20160214T081423 DTSTART:20160123T180000 GEO:40.716943;-73.997372 LOCATION:3A Gallery\,179 Canal Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Mud of Murk\, Patrick Jackson and Asha Schechter UID:406438 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Jaeckel Gallery is pleased to present a winter group show. \; This show features many returning artis ts to our gallery\, as well as a few artists showing with us for the first time. \; The works on view include smaller scale works in a variety of mediums.

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To highlight just a few.&nbs p\; Text-based &ldquo\;Witt&rdquo\; drawings by Alastair Noble\, a meditati on on Wittgenstein&rsquo\;s \;&ldquo\;Remarks on Colour&rdquo\;\, commu nicate the colors mentioned and the content in Wittgenstein&rsquo\;s text a bout the ambiguities of light and color. John Parks&rsquo\;s delicately pai nted &ldquo\;Garden with Soldier&rdquo\; presents a wistful and very gently ironic vision of his English heritage. Holger Keifel&rsquo\;s photograph o f Louise Bourgeois &lsquo\;Hand with Clay&rsquo\; exists in a hidden messag e or puzzle. Kathy Bruce&rsquo\;s eclectic signature mix of collage and dra wing takes a more classical turn in her &ldquo\;Adaptive Behavior&rdquo\; s eries. Abstract paintings by Jac Lahav evoke the philosopher&rsquo\;s stone \, magical talismans\, his youth by the Mediterranean. Ilyan Ivanov&rsquo\; s &ldquo\;Self Portrait&rdquo\; paintings explore the ambivalence between g eometric structure and free brush strokes\, reflecting one&rsquo\;s own per sonal conflicts between convention and spontaneity. \; In Kylie Heidenh eimer&rsquo\;s &ldquo\;Carnival&rdquo\;\, she twists and wrests space \ ;via &ldquo\;drawn&rdquo\; line and intentionally placed marks. Marcy Brafm an&rsquo\;s &ldquo\;Cents Rubbing Bestine&rdquo\; is a meditation on the ma gnetic field where the invisible runs the show\, a place half remembered.\n

Each of the artists featured in the sh ow speaks in a distinctive voice.

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Fea turing: Per Adolfsen\, Marcy Brafman\, Kathy Bruce\, Diana Copperwhite\, Ma rie-Dolma Chophel\, Jeffrey Cyphers\, Kylie Heidenheimer\, Ian Hughes\, Ily an Ivanov\, Holger Keifel\, Jac Lahav\, Julie Langsam\, Darrell Nettles\, A lastair Noble\, John Parks\, Danny Rolph\, Elio Rodriguez\, Jean Karl Petio n\, Piers Secunda\, Tanja Selzer.

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&ld quo\;Winter Salon&rdquo\; opens this Friday\, 5 February and continues unti l 22 February\, 2016.

DTEND:20160222 DTSTAMP:20160214T081423 DTSTART:20160205 GEO:40.749403;-74.004838 LOCATION:532 Gallery Thomas Jaeckel\,532 W. 25th Street \nNew York\, NY 100 01 SEQUENCE:0 SUMMARY:Winter Salon\, Per Adolfsen\, Marcy Brafman\, Kathy Bruce\, Diana C opperwhite\, Marie-Dolma Chophel\, Jeffrey Cyphers\, Kylie Heidenheimer\, I an Hughes\, Ilyan Ivanov\, Holger Keifel\, Jac Lahav\, Julie Langsam\, Darr ell Nettles\, Alastair Noble\, John Parks\, Danny Rolph\, Elio Rodriguez\, Jean Karl Petion\, Piers Secunda\, Tanja Selzer UID:409548 END:VEVENT BEGIN:VEVENT DESCRIPTION:
Aicon Gallery New York is proud to announceRekha Rodwittiya - The Rituals of Memory: Per sonal Folklores and Other Tales\, the first major showing of the artist's work in New York City in two decades. A pioneering feminist ar tist and voice from the Indian subcontinent\, Rodwittiya rose to prominence throughout the 80s and 90s through her strikingly idiosyncratic depictions of female forms\, rituals and spaces. Drawn from both the personal experie nces and memories of her own feminist journey and the larger historical str uggles of women through the centuries\, her work was an early rejection of the tropes of a male dominated South Asian art world and its traditionally voyeuristic treatment of the female subject. This exhibition is the second in a series of exhibitions re-examining figuration in Modern and Contempora ry South Asian art to be held at Aicon Gallery\, New York over the next two years.
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Rekha Rodwittiya's iconic\, starkly delineated female figures are often viewed as concrete emb odiments of the artist's complex psychological insights into the personal a nd historical struggles and day-to-day challenges of modern womanhood. The simply rendered yet powerful\, sometimes confrontational\, figures in these works seem to simultaneously stand as symbols of an ongoing struggle in th e feminist realm\, while refusing to be reduced to objects for visual consu mption or easy interpretation. The classically poised figures carry or are surrounded by everyday household objects\, reminiscent of the mythical attr ibutes of deities found accompanying ancient sculpture. By deliberately cal ling attention to both the trappings and traditions of viewing the naked fe male body\, stretching from antiquity straight through to early modernism\, Rodwittiya re-appropriates these familiar archetypes and their objects of domesticity for use in her highly individual interpretation of feminist art practice.
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Key to this practice and central to the st riking group of a dozen or so works on canvas in this exhibition is the ten sion created between Rodwittiya's confrontational avatars and the viewer. I mbued with both a deeply personal cache of experience and ideology as well as centuries of feminist history\, the figures often directly stare down th e viewer\, demanding a reckoning with the past struggles and injustices the y embody rather than a simple aesthetic assessment as objects of visual art . However\, these figures are not here solely to intimidate or confront\, b ut also seek to engage our empathy and appreciation for the deeper meanings behind their existence. Rodwittiya herself provides some context into her desires surrounding this delicate interplay\, stating that "the female figu re\, often in isolation\, becomes the presence that bears witness to the pa ssage of time. Embodied through the centuries with the energies that hold t he continuums of being a life-giving force\, I place the female figure as t he central focus to be encountered...like protective guardians of the unive rse."
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In addition to this central group of works on canvas\, the exhibition features a large body of mixed media works combi ning Rodwittiya's iconic figures with intricately woven collage work derive d from her personal photography. Significantly\, this represents the first use of photography in the artist's work in over twenty-eight years and mark s the return of yet another important layer to the complex autobiographical nature of her process. The outlines of these new figures are derived from those used in past paintings\, while the montaged photographs function as e lements of dress or in some cases a second skin. Once again these new works use the female form to create a site of retrieval for both personal and sh ared histories\, "retraced liked mapped terrains...archived like from an ar chaeological survey."
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Also on view will be a rarely seen suite of Rodwittiya's early works drawn from the Chester and Davida Herwitz Collection\, providing a retrospe ctive view into the artist's formative years. Assembled during trips to Ind ia from the 1960s through 1980s\, the Herwitz Collection represents the lar gest and most comprehensive collection of Indian Modern Art ever assembled outside of India. The collection includes masterworks by M. F. Husain\, Tye b Mehta\, Jamini Roy and countless other modern masters from the subcontine nt.
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Rekha Rodwittiya \;was born in Bangalore in 1958. She studied painting at the Faculty of Fine Arts\, Ba roda (B.A. fine 1981)\, and at the Royal College of Art\, London (M.A. 1984 \, on the Inlaks Scholarship). She held her first solo show in 1982 in Baro da\, and has subsequently held solo exhibitions in New Delhi\, Mumbai\, Sin gapore\, New York\, London\, Venice and Stockholm\, among other locations. Her work has been included in several group exhibitions in India and intern ationally\, including the VI International Triennial\, New Delhi (1986)\, I ndia in Switzerland: Six Young Contemporaries\, Geneva (1987)\, Dialogues o f Peace\, Geneva to celebrate the 50th anniversary of the United Nations\, Geneva\, Inside Out: Women Artists of India\, a touring exhibition in the U K (1995-96) and many others. She has traveled widely and lectured on contem porary Indian art at the invitation of many institutions and participated i n several fellowships and artist residencies in Sweden\, France\, the Unite d States\, and the U.K. She has also written at length on contemporary art and routinely curates exhibitions of young artists' works. This is her firs t solo exhibition with Aicon Gallery New York.
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DTEND:20160227 DTSTAMP:20160214T081423 DTSTART:20160204 GEO:40.7268368;-73.9929619 LOCATION:AICON GALLERY - New York\,35 Great Jones Street \nNew York\, NY 10 012 SEQUENCE:0 SUMMARY:The Rituals of Memory: Personal Folklores and Other Tales\, Rekha R odwittiya UID:407351 END:VEVENT BEGIN:VEVENT DTEND:20160204T210000 DTSTAMP:20160214T081423 DTSTART:20160204T180000 GEO:40.7268368;-73.9929619 LOCATION:AICON GALLERY - New York\,35 Great Jones Street \nNew York\, NY 10 012 SEQUENCE:0 SUMMARY:The Rituals of Memory: Personal Folklores and Other Tales\, Rekha R odwittiya UID:407352 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Enigmatic\, evocative\, and of ten simply strange\, fraternal references are a rich part of contemporary A merican popular culture. But the seductive mystique of secret societies\, w ith their cryptic signs\, gestures\, and arcane rituals\, has been inculcat ed in our American experience since the early eighteenth century. Before th e age of mass production\, the artist who painted a portrait or embellished a piece of furniture might have also decorated a parade banner\, an apron\ , symbols on a chart\, or a backdrop for a fraternal lodge. More important\ , he or she encoded the ideals of fellowship\, labor\, charity\, passage\, and wisdom&mdash\;the core of fraternal teachings&mdash\;into the many form s associated with fraternal practice. The iconic art and objects showcased in Mystery and Benevolence \;relate the tenets of fraternal be lief through a potent combination of highly charged imagery\, form\, and me aning. The exhibition explores the fascinating visual landscape of fraterna l culture through almost two hundred works of art comprising a major gift t o the American Folk Art Museum from Kendra and Allan Daniel.

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Co-curators: Stacy C. Hollander\, Deputy Director f or Curatorial Affairs\, Chief Curator\, and Director of Exhibitions\, Ameri can Folk Art Museum\, and Aimee E. Newell\, Director of Collections\, \ ;Scottish Rite Masonic Museum &\; Library. An exhibition catalog will be available.

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The exhibition is supported in part by Joyce Berger Co win\, Kendra and Allan Daniel\, the David Davies and Jack Weeden Fund for E xhibitions\, the Ford Foundation\, the Leir Charitable Foundations\, public funds from the New York City Department of Cultural Affairs in partnership with the City Council\, and the New York State Council on the Arts with th e support of Governor Andrew Cuomo and the New York State Legislature.

DTEND:20160508 DTSTAMP:20160214T081423 DTSTART:20160121 GEO:40.7731765;-73.9814441 LOCATION:American Folk Art Museum\,2 Lincoln Square \nNew York\, NY 10023 SEQUENCE:0 SUMMARY:Mystery and Benevolence: Masonic and Odd Fellows Folk Art from the Kendra and Allan Daniel Collection UID:407059 END:VEVENT BEGIN:VEVENT DTEND:20160121T173000 DTSTAMP:20160214T081423 DTSTART:20160121T103000 GEO:40.7731765;-73.9814441 LOCATION:American Folk Art Museum\,2 Lincoln Square \nNew York\, NY 10023 SEQUENCE:0 SUMMARY:Mystery and Benevolence: Masonic and Odd Fellows Folk Art from the Kendra and Allan Daniel Collection UID:407060 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160305 DTSTAMP:20160214T081423 DTSTART:20160130 GEO:40.749185;-74.005023 LOCATION:Andrea Rosen Gallery\,525 W.24th St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Solo Exhibition\, William Pope.L UID:408083 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160305 DTSTAMP:20160214T081423 DTSTART:20160130 GEO:40.749185;-74.005023 LOCATION:Andrea Rosen Gallery\,525 W.24th St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Reflection\, Larry Bell\, Anne Collier\, Bernard Piffaretti UID:408084 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Andrea Rosen Gallery is please d to present &ldquo\;Reflection\,&rdquo\; an exhibition featuring the cube sculptures of Larry Bell\, the photographs of Anne Collier\, and the painti ngs of Bernard Piffaretti. In their respective practices\, these three arti sts ask questions about what art objects are\, how they work\, and how they are perceived. &lsquo\;Reflection&rsquo\; in the work of these three artis ts is something physical and intellectual\, figured by representation and i nterpretation\, shaped by the looping assumptions of art viewing and popula r culture alike.

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In the early 1960s\, the gestural oil-on-canvas paintings of Los Angeles-based artist Larry Bel l&rsquo\;s student years made way for shaped canvases and glass constructio ns. By 1965\, Bell was making vacuum-coated glass cubes. In these works\, t he expressionist brush strokes of his early paintings are replaced by the e ffects of a vapor evaporator\, a piece of specialized machinery that allowe d Bell to apply subtle gradations of translucent color. Bell&rsquo\;s seemi ngly &lsquo\;touchless&rsquo\; cubes were interpreted as the product of tec hnology. As Bell has stated\, &ldquo\;my work is for the dreamers&rdquo\; & ndash\; opening up the possibility for looking and seeing in as pure a way as possible &ndash\; using physics in the service of the sensuousness of in dividual human vision.

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For over 15 ye ars\, Los Angeles-born\, New York-based Anne Collier has made photographs t hat examine photographic representation and practice. As Collier points out \, the taking and making of photographic images requires constant manipulat ion. Her choices in the framing of an individual photograph\, for example\, determine what is or is not included in a given image. The constructed nat ure of all photographs means that\, as Collier states\, &ldquo\;you are con stantly made aware of how a photograph edits things.&rdquo\; Making a photo graph is thus not a simple act of recording. Reinforcing her investigation of the forces at play in photographic imagery\, Collier photographs pre-exi sting image-driven consumer objects: record album covers\, popular magazine s\, film stills\, etc. Shot by Collier against neutral studio backdrops\, t he objects she chooses are seen to embody the language of social and materi al desire\, and reflect the values of our culture as engendered by each of us individually - in our gaze and in our interpretations.

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Since the early 1980s\, Paris-based Bernard Piffaretti has approached the blank canvas with a first mark: a single line that he p aints down the center of each work. This first mark has been described as & ldquo\;a sort of question\,&rdquo\; rather than a defining line\, a stateme nt\, or a figure in space. Piffaretti paints a composition on one side of t his line and then paints a duplicate on the other side of it\; FRAC Franche -Comté\; curator Sylvia Zavatta writes that\, for Piffaretti\, that f irst line opens up &ldquo\;the distance he needs to concentrate on his real purpose: painting itself.&rdquo\; Piffaretti&rsquo\;s paintings incorporat e both individual expression and duplication of that expression into the fi nal art object. His paintings are primary sources marking the original spot of expression\, and also secondary sources that translate for Piffaretti- and for us - the experience of that expression. In looking at Piffaretti's work\, our eyes move through his compositions\, matching color and shape\, line and texture in a dynamic\, yet strangely looping fashion that wraps ba ck upon itself.

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Philip Martin

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Larry Bell (b.1939) has exhibited widely\, including the group exhibitions &ldquo\;Larry Bell\, Robert Irwin \, Doug Wheeler\,&rdquo\; (Tate Britain\, London\, UK)\; &ldquo\;11 Los Ang eles Artists\,&rdquo\; (Hayward Gallery\, London\, UK) and &ldquo\;Phenomen al\,&rdquo\; (Museum of Contemporary Art San Diego\, San Diego\, CA). Solo exhibitions include the Pasadena Art Museum (Pasadena\, CA)\; Fort Worth Ar t Museum (Fort Worth\, TX)\; Museum of Contemporary Art (Los Angeles\, CA)\ ; Denver Art Museum (Denver\, C0)\; Carré\; d&rsquo\;Art Musé\; e d&rsquo\;art Contemporain de Nî\;mes (Nimes\, France)\; and The Chin ati Foundation (Marfa\, Texas).

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Anne Collier (b.1970) has recently held solo exhibitions at the Aspen A rt Museum (Aspen\, CO)\; Art Gallery of Ontario (Toronto\, Ontario)\; and M useum of Contemporary Art (Chicago\, IL). Her work has been included in suc h recent exhibitions as &ldquo\;Photo Poetics&rdquo\; (Guggenheim Museum\, New York\, NY)\; &ldquo\;America Is Hard To See&rdquo\; (Whitney Museum\, N ew York\, NY)\; and &ldquo\;UGO RONDINONE : I &hearts\; JOHN GIORNO&rdquo\; (Palais de Tokyo\, Paris\, France). Collier&rsquo\;s exhibition \;at the MCA Chicago was accompanied by the monographic text\, &ldquo\;A nne Collier&rdquo\; (2014)\, with essays by Michael Darling and Chrissie Il es.

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Bernard Piffaretti&rsquo \;s (b.1955) work will be the focus of a survey exhibition at the Centre Po mpidou in 2017. Piffaretti&rsquo\;s work was recently the subject of two-pe rson exhibition with Martin Barré\; at Musé\;e des Beaux Arts d e Nantes. Karma\, New York will release a new English-language book on Piff aretti&rsquo\;s work in early 2016. Recent solo exhibitions include the FRA C Franche-Comté\;\, (Besanç\;on\, France) and Cherry and Martin \, (Los Angeles\, CA). A new monograph on Piffaretti&rsquo\;s work\, with t exts by Marie Muracciole and Jens Asthoff\, will be published in 2016 by th e Museum of Modern and Contemporary Art (MAMCO)\, Geneva. Karma New York wi ll also be publishing a new book on Piffaretti&rsquo\;s work in 2016 with a text by Paul Galvez.

DTEND:20160305 DTSTAMP:20160214T081423 DTSTART:20160130 GEO:40.749177;-74.0058861 LOCATION:Andrea Rosen Gallery 2\,544 West 24th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Reflection\, Larry Bell\, Anne Collier\, Bernard Piffaretti UID:409553 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160213 DTSTAMP:20160214T081423 DTSTART:20160109 GEO:40.7477457;-74.0063477 LOCATION:Andrew Kreps Gallery @ 537 W. 22nd\,537 W. 22nd St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Semi-Quasi-Bower Recreational\, Robert Melee UID:405056 END:VEVENT BEGIN:VEVENT DTEND:20160109T200000 DTSTAMP:20160214T081423 DTSTART:20160109T180000 GEO:40.7477457;-74.0063477 LOCATION:Andrew Kreps Gallery @ 537 W. 22nd\,537 W. 22nd St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Semi-Quasi-Bower Recreational\, Robert Melee UID:405057 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160220 DTSTAMP:20160214T081423 DTSTART:20160114 GEO:40.7463808;-74.007077 LOCATION:Anton Kern Gallery\,532 West 20th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Joint Exhibition\, Francis Upritchard\, Martino Gamper UID:404371 END:VEVENT BEGIN:VEVENT DTEND:20160114T200000 DTSTAMP:20160214T081423 DTSTART:20160114T180000 GEO:40.7463808;-74.007077 LOCATION:Anton Kern Gallery\,532 West 20th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Joint Exhibition\, Martino Gamper\, Francis Upritchard UID:404372 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Setting Out seeks to untangle the terms that motivate and define contemporary expeditions. It ho lds in one hand the historical legacy of science\, art\, and society and th eir pursuit of all knowable and natural frontiers. It holds technology in i ts other hand and its connivance with human curiosity to see beyond each ho rizon. Together these fields create an image of the edge of human understan ding. In its original use\, the term expedition implied &ldquo\;setting out with aggressive intent&rdquo\; to procure a &ldquo\;prompt supply&rdquo\; of something desired. Today\, the frontiers of contemporary expeditions exc eed physical geography. Setting Out asserts that the horizon towar ds which today&rsquo\;s explorers reach has turned back on itself: it now r esides within sociological and technological atmospheres\, ones born from t he integration of remote viewing technologies into our cultural consciousne ss. To examine these atmospheres\, the work showcased in Setting Out dovetails at the inexhaustible curiosity and desire to bring the human e xperience into all worlds.

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Sh ona Kitchen is an artist/designer exploring psychological and soci al consequences of today&rsquo\;s technological landscape. She holds an MA from The Royal College of Art\, London and has exhibited\, lectured\, and b een published worldwide.

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Aly Ogasian works across a variety of disciplines including sculpture\ , video\, sound\, drawing\, writing\, and photography. Ogasian graduated fr om Queen&rsquo\;s University with a BFAH in Sculpture and has exhibited in both the United States and Canada. She is currently pursuing her MFA in Dig ital + Media at Rhode Island School of Design.

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Jennifer Dalton Vincent is a Rhode Island based artist/writer whose work examines the social and environmental outcomes of sustainable technologies. Before graduating from Brown University\, she own ed and operated a restaurant in Warren\, Rhode Island dedicated to sustaina ble food ways.

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For more information p lease contact Elizabeth.Larison@apexart.org or visit apexart.org/exhibition s/kitchen-ogasian-vincent.php

DTEND:20160305 DTSTAMP:20160214T081423 DTSTART:20160121 GEO:40.719022;-74.004432 LOCATION:Apexart\,291 Church Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Setting Out\, James Balog\, Bruce Coffland\, Matthew Coolidge\, Tac ita Dean\, Annabel Elgar\, William Lamson\, Charles Lindsay\, Drew Ludwig\, Agnes Meyer-Brandis\, Heidi Neilson\, Claudia O’Steen\, Katie Paterson\, I van Puig\, Andrés Padilla Domene\, Robert Rauschenberg\, Joel Slayton\, The X-Hunters UID:404373 END:VEVENT BEGIN:VEVENT DTEND:20160120T200000 DTSTAMP:20160214T081423 DTSTART:20160120T180000 GEO:40.719022;-74.004432 LOCATION:Apexart\,291 Church Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Setting Out\, James Balog\, Bruce Coffland\, Matthew Coolidge\, Tac ita Dean\, Andrés Padilla Domene\, Annabel Elgar\, William Lamson\, Charles Lindsay\, Drew Ludwig\, Agnes Meyer-Brandis\, Heidi Neilson\, Claudia O’St een\, Katie Paterson\, Ivan Puig\, Robert Rauschenberg\, Joel Slayton\, The X-Hunters UID:404374 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Art in General is pleased to announce the inaugural exhibition at its new ground floor g allery at 145 Plymouth Street in Dumbo\, Brooklyn\, opening on January 30\, 2016. The exhibition Beyond Credit is presented in partnership wi th the Center of Contemporary Art in Tbilisi\, Georgia\, as part of Art in General&rsquo\;s acclaimed International Collaborations program.

An Art in General International Collabo ration

This exhibition features the work of five Georgi an artists who are highly regarded internationally but relatively unknown i n the United States. Beyond Credit seeks to explore the artist&rsq uo\;s process\, as a mixture of modes involving rational thinking\, intuiti on\, contradiction\, accident\, mistake\, and absurdity\, all of which serv e as the building blocks for not only their artistic practices\, but also t heir lives. The show aims to investigate the artist&rsquo\;s condition as o ne who is trained as a &ldquo\;professional creative\,&rdquo\; and how that creativity often infuses the habits\, structure\, and trajectory of their individual paths. What does it mean to live a life in a state of unbroken c reativity\, detecting inspiration and art everywhere and at all times? The notion of &ldquo\;credit&rdquo\; in this context suggests the status and po sition of artists in relation to over commercialized and monetized aspects of art as products. Beyond Credit attempts to not only present fin ished pieces authored by the five artists on view\, but rather to show evid ence of five lives as the result of their ongoing creative processes\, and to consider these lives as continuous\, unfolding artworks themselves.

Art in General&rsquo\;s International Collaborations program provides emerging artists abroad with the opportunity to create and present new work in New York\, introducing audiences to exciting artis ts from regions of the world that are otherwise underrepresented in the U.S . Through this collaborations program\, Art in General offers similar oppor tunities to New York-based artists to present works at international partne r institutions.

Thea Gvetadze has studied at the Tbilisi State Academy of Arts\, the Gerrit Rietveld Academy in Amsterd am\, and the Dü\;sseldorf Art Academy. Her paintings have been shown in numerous exhibitions\, including the Georgian pavilion of the 50th Venice Biennale\, the Museum Kunst Palast in Dü\;sseldorf in 2005\, and the Ku nsthalle Zü\;rich in 2008. Featured in the 2015 installation At Hom e With Good Ideas for the Pulse Art Fair\, New York\, Gvetadze present ed a series of ceramic works that explore domestic customs of Georgian life .

Mamuka Japharidze currently lives and works in Shindisi\, Georgia\, and also spends time in the UK. Japharidze works a cross a broad range of mediums\, including public happenings\, archived ima ges\, video\, photography\, drawing\, sculpture\, and sound works. His prac tice is often inspired by natural surroundings within the context of Tbilis i. In the 2014 exhibition Re: Museum at the Georgian National Muse um\, Japharidze presented Media&rsquo\;s Garden\, a mixed media installatio n of indigenous plant life and video projections of dense local forests whi ch have a mystical history. Japharidze was selected to represent Georgia at the 48th Venice Biennale.

Nika Machaidze (al so known by the pseudonyms Nikakoi and Erast) is a Georgian video artist\, film director\, and musician. Machaidze studied animation and film directio n at the Shota Rustaveli Theatre Institute in Tbilisi. He has worked as a w riter\, director\, composer and editor for Georgian television. Under the n ame Nikakoi\, Machaidze produces a type of electronic music with references to Georgian folk music. He has won numerous awards\, including the grand-p rix at the Paris Electronic Music Festival in 1999.

Gi o Sumbadze is a Georgian multimedia artist living in Tbilisi. His practice encompasses collage\, graphic design\, photography\, sculpture\, a nd video installation. Sumbadze&rsquo\;s artworks focus on architecture and the structure of natural forms\, and specifically architectural planning t hat mirrors or confronts nature. Sumbadze represented Georgia at the 55th V enice Biennale in 2013 in which he created a &ldquo\;parasitic&rdquo\; addi tion onto an existing Venetian building titled Kamikaze Loggia\, r eferencing the common practice of extending pre-existing structures in Geor gia. He is a graduate of the Tbilisi State Academy of Arts.

Nino Sekhniashvili
is an artist based in Tbilisi\, Georgia. She is a graduate of the Tbilisi State Academy of Arts and studied fine art s with Rosemarie Trockel at the Art Academy Dü\;sseldorf as well as gra phic design at the Art Academy of Tiflis. Sekhniashvili has attended numero us artistic residencies including the Helsinki International Artist Program me (HIAP) in Finland. In her often conceptual work\, she uses varied medium s and primarily focuses on the notion of identity. Sekhniashvili is a found er of Gallery Nectar\, an exhibition and performance space in Tbilisi.

Wato Tsereteli is an artist\, curator\, and crea tive administrator. He is the founder of Center of Contemporary Art in Tbil isi. The CCA Tbilisi operates as an exhibition space and academic instituti on offering an alternative\, affordable Master&rsquo\;s program for artists and arts professionals. Tsereteli has curated and taken part in numerous e xhibitions in Georgia and internationally\, including the 53rd Venice Bienn ale. He holds a MA from the department of Photography at the Academy of Fin e Arts\, Antwerp\, Belgium.


Special support for this ex hibition has been provided by the Trust for Mutual Understanding\, New York and Project ArtBeat\, Tbilisi \, Georgia.

DTEND:20160402 DTSTAMP:20160214T081423 DTSTART:20160202 GEO:40.7038061;-73.9875039 LOCATION:Art in General\,145 Plymouth Street \nBrooklyn\, NY 11201 SEQUENCE:0 SUMMARY:Beyond Credit\, Thea Gvetadze\, Mamuka Japharidze\, Nika Machaidze\ , Nino Sekhniashvili\, Gio Sumbadze UID:408031 END:VEVENT BEGIN:VEVENT DTEND:20160130T200000 DTSTAMP:20160214T081423 DTSTART:20160130T180000 GEO:40.7038061;-73.9875039 LOCATION:Art in General\,145 Plymouth Street \nBrooklyn\, NY 11201 SEQUENCE:0 SUMMARY:Beyond Credit\, Thea Gvetadze\, Mamuka Japharidze\, Nika Machaidze\ , Nino Sekhniashvili\, Gio Sumbadze UID:408032 END:VEVENT BEGIN:VEVENT DESCRIPTION:

13th Amendment to the U.S. Constitution
Passed by Congress January 31\, 1865. Ratified December 6\, 1865.

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Section 1.\n


Neither slavery nor involun tary servitude\, except as a punishment for crime whereof the party shall h ave been duly convicted\, shall exist within the United States\, or any pla ce subject to their jurisdiction.

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Section 2.

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Cong ress shall have power to enforce this article by appropriate legislation.

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 \; \; \; \;  \; \; \; \; \; \; \;Property is preserved through i nheritance. Legal and economic adaptations have maintained and reconfigured the property interests established by the economy of slavery in the United States. The 13th constitutional amendment outlawed private chattel slavery \; however\, its exception clause legalized slavery and involuntary servitu de when administered "as a punishment for crime whereof the party shall hav e been duly convicted." Immediately following the passage of the 13th amend ment the advent of laws designed to criminalize black life\, known as Black Codes\, aligned the status of the ex-slave and the pre-criminal:

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Using the 13th amendment\, Southern state gove rnments effectively enmeshed themselves within the antebellum cycle of accu mulation. The system of convict leasing financialized prisoners by leasing their labor to private industry. Many former slaves were leased back to for mer slave owners\, now as a fully fungible labor force.²\; Although no longer designated as private property\, ex-slaves functioned as a kind of p ublic property whose discounted labor benefited both the governments that l eased them and the corporations that received them.³\;

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 \; \; \; \; \; \;&nbs p\; \; \; \; \;U.S. steel\, coal and railroad industries gr ew as a result of extensive convict lease programs in the South.⁴ Corporate production was limited\, however\, by insubstantial Southern roads. In the early 20th century\, the majority of roadways in the rural south were unpa ved dirt roads. Due to rain\, sections frequently became impassable. In 190 4 less than 3 percent of Georgia's 57\,000 miles of roads were paved with g ravel\, stone\, or sand clay\, and none with bituminous macadam.⁵ The U.S. Department of Agriculture Office of Public Roads\, established in 1905\, an d local\, non-governmental "good roads" associations influenced Southern Pr ogressive politicians in prioritizing road development. Up to this point\, most Southern states had employed the largely ineffective statute labor sys tem\, which conscripted all citizens of a state to work on the roads a few days per year. As a more reliable alternative\, politicians turned to convi ct labor: "In North Carolina and elsewhere in the South where enthusiasm fo r good roads reigned\, convict leasing was attacked\, and the state was urg ed to put convicts to work on the roads\; the good roads movement became 'i dentified with the movement to take the prisoner out of the cell\, the pris on factory and the mine to work him in the fresh air and sunshine.'"⁶ The P rogressive rhetoric of penal reform emphasized mutual benefit&mdash\;Willia m L. Spoon\, a civil engineer and good roads advocate in North Carolina sta ted in 1910: "The convict is forced to do regular work...and that regular w ork results in the upbuilding of the convict\, the upbuilding of the public roads\, and the upbuilding of the state."⁷
 \; \; \;&nbs p\; \; \; \; \; \; \; \;Unlike convict leasing\ , which facilitated private corporations use of prisoners' labor\, the chai n gang system restricted the labor of the incarcerated to "state-use."⁸ Org anized labor championed this restriction as convict leasing competed with " free market" labor.⁹ Progressive politicians rationalized the alternative c hain gang system via a procedural legal framework that continues to charact erize liberal reforms today: "the punishment [of convicts] ought not to be at the hands of a private party who may be tempted by the exigencies of bus iness ... to make punishment either more or less."¹\;⁰ More contemporar y liberal reforms to reduce judicial discretion include the establishment o f mandatory minimum sentences. As Naomi Murakawa describes\, while this kin d of proceduralism reduces the variance of punishment\, it also contributes to the "pursuit of administrative perfection" and effectively strengthens U.S. carceral machinery.¹\;¹\; By 1928\, every U.S. state's convict lease laws had been repealed in favor of laws that restrict prison labor t o state-use. In this way:

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The interwo ven economy of road improvement and prison labor expanded on previous stage s of industrialization. The development of transport infrastructure and log istics was a precondition for the shipping of slaves across the Atlantic\, and was the primary purpose of the slave and convict leased labor used to b uild U.S. railroads. The transition to chain gang labor extended this genea logy\, adapting it to the development of publicly owned infrastructure.

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 \; \; \; \;  \; \; \; \; \; \; \;The rate of incarceration in th e U.S. remained at approximately 110 people per 100\,000 from 1925 to 1973. ¹\;³\; Following the passage of the Omnibus Crime Control and Safe Streets Act of 1968 signed by President Johnson and the Drug Abuse Preventi on and Control Act of 1970 signed by President Nixon\, the scale of prison development and the rate of incarceration increased dramatically. By 2014 t he rate of incarceration had risen to 612 people per 100\,000.¹\;⁴ Desp ite the rhetoric of colorblindness\, the administration of racialized law h as effectively maintained racial order. In 2014\, an estimated 539\,500 bla ck people made up the majority of the 2.3 million people sentenced in priso n in the United States\, and were incarcerated at over 5 times the rate of whites.¹\;⁵ Ruth Wilson Gilmore writes that the development of prisons in California beginning in the 1970s served to utilize the state's nonprodu ctive surpluses of "finance capital\, land\, labor\, and state capacity."&s up1\;⁶ As inert overaccumulation\, the stasis of these surpluses constitute d an impending crisis. The "prison fix\," as Gilmore terms it\, financed pr ison construction through government issued bonds. California avoided crisi s by developing "public markets for private capital" that would use its sur plus to fuel the expansion of its prison system.¹\;⁷
 \;  \; \; \; \; \; \; \; \; \; \;Through an increasing set of capitalizations\, people in prison have become part of a nexus of government economic interests. While inmates serve as captive con sumers to various private suppliers\, many jails and state prisons also imp ose pay-to-stay fees. These daily fees incurred for residing at the institu tion can range from $1 to $142.¹\;⁸ These fees often outweigh the wages of typical work programs\, forming a debt that is immediately up for colle ction upon release.¹\;⁹ Outside of prison\, formerly incarcerated drug felons are denied welfare benefits and food stamps. In 2013\, 37 states imp osed some form of restrictions on access to Temporary Assistance for Needy Families (TANF) welfare benefits for drug felons\, and 34 states imposed so me form of restrictions on access to Supplemental Nutrition Assistance Prog ram (SNAP) food stamps for drug felons.²\;⁰
 \; \; \;  \; \; \; \; \; \; \; \;State-use laws stil l prescribe U.S. federal and state prison institutions as the primary condu its of inmate labor.²\;¹\; In 2005\, the Bureau of Justice Statisti cs recorded that 775\,469 of the 1\,321\,685 people in public prisons (not including jails) working in prison industries\, institutional support servi ces\, public works\, farming or other forms of labor.²\;²\; Many st ate codes have work requirements or options for requirement.²\;³\; New York correctional code states: "The commissioner and the superintendent s and officials of all penitentiaries in the state may cause inmates in the state correctional facilities and such penitentiaries who are physically c apable thereof to be employed for not to exceed eight hours of each day oth er than Sundays and public holidays."²\;⁴
 \; \; \;&n bsp\; \; \; \; \; \; \; \;The state-use of pris oner labor does not result in publicly traded profit\, but rather in saving s. The savings function of the neoliberal state is a reflection of governan ce modeled after business. In New York\, inmates provide savings on the bas is that they are paid $0.16 to $1.25 an hour.²\;⁵ This reduced labor co st does not appear as an increased profit margin\, but is dispersed as savi ngs on the cost of the products and services rendered to the state and as r evenue intended to offset the operating budget of the Department of Correct ions and Community Supervision. The savings provided by the state-use of in mate labor describes a discrete dependence between the state's correctional and economic systems. Without profits or direct comparison to market rates \, it is difficult to quantify the total savings that inmate labor provides the state.²\;⁶
 \; \; \; \; \; \; \;  \; \; \; \;In the early 1990s\, many states began to expan d the savings function of inmate labor by offering commodities made in stat e prison industry facilities to private nonprofit organizations within the same state. New York added this provision to its correctional code in 1991. ²\;⁷ Nonprofit partnerships often serve a savings function themselves\, allowing the state to carry out operations through grants or contracts wit hout having to maintain full-time or unionized staff. The savings function is a form of austerity that may be more efficacious than profit. These savi ngs\, as absences of costs and information\, operate as financial and rheto rical instruments of governmental opacity.

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 \; \; \; \; \; \; \; \; \; \ ; \;91020000 is the customer number assigned to Artists Space upon regi stering with Corcraft\; the market name for the New York State Department o f Corrections and Community Supervision\, Division of Industries. Corcraft' s mission is: "to employ inmates in real work situations producing quality goods and services at competitive prices\, delivered on time as required by the State of New York and its subsidiaries at no cost to the taxpayer."&su p2\;⁸ By law\, Corcraft can only sell to government agencies (including oth er states) at the state and local levels\, schools and universities\, court s and police departments\, and certain nonprofit organizations.

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&ndash\; Cameron Rowland

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__________

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&sup 1\;  \;Douglas A. Blackmon\, Slavery by Another Name: The Re-Enslav ement of Black Americans from the Civil War to World War II\, (New Yor k: Anchor\, 2009)\, 53.

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²\ ;  \;"By the late 1870s\, the defining characteristics of the new invol untary servitude were clearly apparent. It would be obsessed with ensuring disparate treatment of blacks\, who at all times in the ensuing fifty years would constitute the vast majority of those sold into labor. They were rou tinely starved and brutalized by corporations\, farmers\, government offici als\, and small-town businessmen intent on achieving the most lucrative bal ance between the productivity of captive labor and the cost of sustaining t hem. The consequences for African Americans were grim. In the first two yea rs that Alabama leased its prisoners\, nearly 20 percent of them died. In t he following year the mortality rate rose to 35 percent. In the fourth\, ne arly 45 percent of them were killed." Blackmon\, Slavery by Another Nam e\, 57.
³\;  \;As ruled in Ruffin v. Commonwealth\, the prisoner "is in a state of penal servitude to the State. He has\, as a consequence of his crime\, not only forfeited his liberty\, but all hi s personal rights except those which the law in its humanity accords to him . He is for the time being a slave of the State. He is civiliter mortus\; a nd his estate\, if he has any\, is administered like that of a dead man." R uffin v. Commonwealth\, 62 Va. 790\, 796 (Va. 1872).
⁴  \;Alex Li chtenstein\, Twice the Work of Free Labor: The Political Economy of Con vict Labor in the New South (New York: Verso\, 1996)\, 40.
⁵ &nb sp\;Lichtenstein\, Twice the Work of Free Labor\, 177.
⁶ &nb sp\;Alex Lichtenstein\, "Good Roads and Chain Gangs in the Progressive Sout h: 'The Negro Convict is a Slave'\," The Journal of Southern History 59\, no. 1 (1993): 87.
⁷  \;William L. Spoon\, "Road Work and the Convict\," Southern Good Roads 2 (November 1910): 15.
⁸  \;Kim Gilmore\, "Slavery and Prisons: Understanding the Connections\," History is A Weapon\, accessed January 6\, 2016\, http://www.historyisaweapon.com/defcon1/gilmoreprisonslavery.html.
⁹  \;Lichtenstein\, Twice the Work of Free Labor: The Political Economy of Convict Labor in the New South\, 158.
¹\;⁰   \;Eugene C. Branson\, "Eugene Cunningham Branson Papers\, Correspondence\," Journal of Labor (July 17\, 1908): 4.
¹\;¹\;  \ ;Naomi Murakawa\, The First Civil Right: How Liberals Built Prison Amer ica (New York: Oxford\, 2014)\, 26.
¹\;²\;  \;Lichte nstein\, "Good Roads and Chain Gangs\," 106.
¹\;³\;  \;Bu reau of Justice Statistics\, Sourcebook of Criminal Justice Statistics< /em> (Washington\, DC: Department of Justice\, 1925-1973).
¹\;⁴ & nbsp\;Bureau of Justice Statistics\, Prisoners in 2014 (Washington \, DC: Department of Justice\, 2014)\, 1.
¹\;⁵  \;Bureau of J ustice Statistics\, Prisoners in 2014 (Washington\, DC: Department of Justice\, 2014)\, 15.
¹\;⁶  \;Ruth Wilson Gilmore\, G olden Gulag: Prisons\, Surplus\, Crisis\, and Opposition in Globalizing Cal ifornia (Berkeley: University of California\, 2007)\, 57.
¹\ ;⁷  \;Gilmore\, Golden Gulag\, 63.
¹\;⁸  \;Laure n-Brooke Eisen\, "Paying for Your Time: How Charging Inmates Fees Behind Ba rs May Violate the Excessive Fines Clause\," Brennan Center for Justice \, modified July 31\, 2014\, https://www.brennancenter.org/analysis/pa ying-your-time-how-charging-inmates-fees-behind-bars-may-violate-excessive- fines-clause.
¹\;⁹  \;"By 1988\, forty-eight states authorize d some form of correctional fees. Room and board fees grew rapidly in the s econd half of the 1980s\, becoming even more common in the 1990s and into t he 21st century. By 2004\, approximately one-third of county jails and more than fifty percent of state correctional systems had instituted "pay-to-st ay" fees\, charging inmates for their own incarceration." Lauren-Brooke Eis en\, "Paying for Your Time: How Charging Inmates Fees Behind Bars May Viola te the Excessive Fines Clause."
²\;⁰  \;The 1996 Personal Res ponsibility and Work Opportunity Reconciliation Act welfare reform "...impo sed a denial of federal benefits to people convicted in state or federal co urts of felony drug offenses. The ban is imposed for no other offenses but drug crimes. Its provisions that subject individuals who are otherwise elig ible for receipt of SNAP or TANF benefits to a lifetime disqualification ap plies to all states unless they act to opt out of the ban." Marc Mauer and Virginia McCalmont\, A Lifetime of Punishment: The Impact of the Felony Drug Ban on Welfare Benefits (Washington D.C.: The Sentencing Project \, 2013)\, 1-2.
²\;¹\;  \;Passed in 1979\, the Prison Ind ustry Enhancement Certification Program currently allows participating stat es (38 prison systems in total) to establish joint ventures in which inmate s work for private corporations (Bureau of Justice Assistance\, Prison Industry Enhancement Certification Program [Washington\, D.C.: Departm ent of Justice\, 2012]\, 4). The majority of private prison contracts revie wed by In The Public Interest include occupancy guarantees of 80-100% (In t he Public Interest\, Criminal: How Lockup Quotas and "Low-Crime Taxes" Guarantee Profits for Private Prison Corporations [Washington D.C.: In The Public Interest\, 2013]\, 6). However\, the PIECP includes only 5000 p risoners out of the total 2.3 million prisoners. (Bureau of Justice Statist ics\, Census of State and Federal Correctional Facilities\, [Washington\, D .C.: Department of Justice\, 2005]\, Appendix table 16). Private prisons ho ld 8.4% of this total prison population. (Bureau of Justice Statistics\, Prisoners in 2014
\,15).
²\;²\;  \;Bureau of Justic e Statistics\, Census of State and Federal Correctional Facilities\, (Washi ngton\, DC: Department of Justice\, 2005)\, Appendix table 16.
²\ ;³\;  \;Extensive case law\, most recently Sanders v. Hayden\, 544 F.3d 812\, 814 (7th Cir.2008)\, has ruled that inmates are not employees of the state and are not protected by the Fair Labor Standards Act.
&su p2\;⁴  \;New York Correctional Code §\; 171.
²\;⁵  \; Michael Virtanen\, "For Low Pay and a Chance\, Inmates get to Work\," B loomberg Businessweek\, last modified February 13\, 2012\, h ttp://www.businessweek.com/ap/financialnews/D9SSIB180.htm.
²\ ;⁶  \;As Corcraft is a New York State Preferred Source\, government age ncy customers do not conduct a price comparison. This is ostensibly because Corcraft offers the lowest prices on all the products it provides.
& sup2\;⁷  \;New York Correctional Code §\; 171.
²\;⁸   \;"Who We Are\," Corcraft\, accessed January 6\, 2016\, http://www.corcraft.org/webapp /wcs/stores/servlet/WhoWeAreView?langId=-1&\;storeId=10001&\;catalogI d=10051.

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Leading Exhibition Suppo rters:
The Friends of Artists Space\; The 40 Years Artists Space Prog ram Fund\; New York City Department of Cultural Affairs\; Pedro Barbosa &am p\; Patricia Moraes\; ESSEX STREET\, New York

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Exhibition Supporters Circle:

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Shane Akeroyd\; James Cahn &\; Jeremy Collatz\; Eleanor Cayre\; Lonti Ebers\; Alfred Gillio &\; Paul Bernstein\; David Joselit &\; S teve Incontro\; Anne Simone Kleinman &\; Thomas Wong\; Glenn Ligon\; Bar bara &\; Howard Morse\; Eleanor H. Propp\; R. H. Quaytman\; Rob Teeters &\; Bruce Sherman

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Artists Space Ex hibition Program Supporters:

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L ambent Foundation Fund of Tides Foundation\; The Andy Warhol Foundation for the Visual Arts Cowles Charitable Trust\; The Horace W. Goldsmith Foundati on\; New York City Department of Cultural Affairs in partnership with the C ity Council\; New York State Council on the Arts\, a State Agency

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Every southern state except Arkansas and Tenne ssee had passed laws by the end of 1865 outlawing vagrancy [understood as e ither homelessness and joblessness] and so vaguely defining it that virtual ly any freed slave not under the protection of a white man could be arreste d for the crime.¹\;

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[T]he state b ecame the direct exploiter of that labor in an effort to build and maintain a transportation infrastructure that might contribute to the expansion of the manufacturing and commercial sectors. And just as that earlier system o f forced labor was driven primarily by the dictates of political economy ra ther than humane penology\, so too was the decision to remove the South's f orced labor pool from private enterprise and give it to the "people" in the interest of a more public notion of economic development.¹\;²\; DTEND:20160313 DTSTAMP:20160214T081423 DTSTART:20160117 GEO:40.7215609;-74.002266 LOCATION:Artists Space: Exhibitions\,38 Greene St. 3rd Floor\nNew York\, NY 10013 SEQUENCE:0 SUMMARY:91020000\, Cameron Rowland UID:406335 END:VEVENT BEGIN:VEVENT DTEND:20160116T200000 DTSTAMP:20160214T081423 DTSTART:20160116T180000 GEO:40.7215609;-74.002266 LOCATION:Artists Space: Exhibitions\,38 Greene St. 3rd Floor\nNew York\, NY 10013 SEQUENCE:0 SUMMARY:91020000\, Cameron Rowland UID:406336 END:VEVENT BEGIN:VEVENT DESCRIPTION:

With over thirty Kamakura mast erpieces from private and museum collections in North America and Europe\, &ldquo\;Kamakura: Realism and Spirituality in the Sculpture of Japan&rdquo\ ; is the first exhibition to look beyond the aesthetics and technical achie vements of these remarkable sculptures\, and specifically examine the relat ionship between realism and the sacred empowerment of these objects. The ex hibition explores how sculptures are &ldquo\;brought to life&rdquo\; or &ld quo\;enlivened&rdquo\; by the spiritual connection between exterior form\, interior contents\, and devotional practice\, reflecting the complexity and pluralism of the period. "Kamakura: Realism and Spirituality in the Sculpt ure of Japan" marks the first major loan show of Kamakura sculpture in the United States in more than thirty years.

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Pre-order the richly illustra ted exhibition catalogue at AsiaStore.

DTEND:20160508 DTSTAMP:20160214T081423 DTSTART:20160209 GEO:40.7700155;-73.9644801 LOCATION:Asia Society Museum\,725 Park Avenue at 70th Street\nNew York\, NY 10021 SEQUENCE:0 SUMMARY:Kamakura: Realism and Spirituality in the Sculpture of Japan UID:406337 END:VEVENT BEGIN:VEVENT DTEND:20160209T180000 DTSTAMP:20160214T081423 DTSTART:20160209T110000 GEO:40.7700155;-73.9644801 LOCATION:Asia Society Museum\,725 Park Avenue at 70th Street\nNew York\, NY 10021 SEQUENCE:0 SUMMARY:Kamakura: Realism and Spirituality in the Sculpture of Japan UID:406338 END:VEVENT BEGIN:VEVENT DESCRIPTION:

OVER THE BRIDGE II\, a group exhibition featuring t he works of 42 Queens-based artists\, all of whom are members of Long Islan d City Artists\, Inc. /LICArtists\, Inc.\, \; opens February 9\ , 2016\, at Atlantic Gallery\, 548 West 28 Street\, suite 540\, in the Landmark Arts Building in Chelsea\, Manhattan\, NY 10001. \; \ ; The exhibition will continue through Saturday\, February 20\, 201 6. \;

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A reception for the artists will be hel d on Thursday\, February 11\, from 5-8 pm. \; \; An informal Meet-t he-Artists event and closing reception will be held on Saturday\, February 20th\, from 2-5. \; The artists will  \;introdu ce themselves to visitors and discuss their works and the new growi ng art scene in Long Island City. \; Atlantic Gallery Hours are Tuesdays-Saturdays 12-6 pm\; with extended hours on Thur sdays 6-8 pm. \; \;

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In addition \, a continuous dig ital slide show will provide glimpses into the studios of the show participants\, plus a brief visual tour of \; the art venues in Long I sland City. \; \; All events are free and open to the public.

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The artists in OVER THE BRIDGE II incl ude painters\, sculptors and graphic artists\, all of whom have their studi os and residences in Queens: \; \; DAVID A LTFELD\, CINDY AVROCH-ROSENTHAL\, AMANDA BARKER\, KATHY CORNELL BERMAN\, MICHELE BONELLI\, ROGERIO G. BORGES\,  \;JOHN CAVE\, MYRNA HARRISON CHANGAR\, \; EILEEN CO YNE\, CAROL CRAWFORD\, FABIENNE CUTER\, ARLENE EGELBERG \, LILIAN R. ENGEL\, ANNE CLOSUIT EISENHART\, ERIC FRIEDMANN \, KATHY FERGUSON\, \; DEBORAH JULIAN\, \; MARY HOROWITZ\, REBECCA KANFER\ , TESSA KENNEDY\, \; MICHELLE KAUFMAN\, MARIE KOO\, AY AKOH FURUKAWA LEONART\, \; STEPHANIE LIU\, \; ALIC E LIPPING \, ROBERT LOBE\,  \;ELLEN MANDELBAU M\, GLENN MARLOWE \, \; REGINA MCFADDEN\, NANCY MILLER\,  \;SUZANNE PEMBERTON\, STEVE PALERMO\, THADDEUS RADELL\, JULIA A. ROGGE\, & nbsp\;SELVA SANJINES \, \; ELIMORE SC HNURR\,  \;JACQUELINE SFERRA-RADA\, ORLY SHIV \, NANCY TAYLOR\, EDJO WH EELER\, YELENA TYLKINA

DTEND:20160220 DTSTAMP:20160214T081423 DTSTART:20160209 GEO:40.7517031;-74.0040108 LOCATION:Atlantic Gallery\,548 West 28th Street \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:OVER THE BRIDGE II UID:407129 END:VEVENT BEGIN:VEVENT DTEND:20160211T200000 DTSTAMP:20160214T081423 DTSTART:20160211T170000 GEO:40.7517031;-74.0040108 LOCATION:Atlantic Gallery\,548 West 28th Street \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:OVER THE BRIDGE II UID:407130 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Benrubi Gallery is pleased to announce Asylum\, the second solo exhibition from award-winning ph otographer Christopher Payne. Payne visited seventy shuttered mental hospit als in thirty states between 2002 and 2008\, photographing both their palat ial exteriors and their crumbling interiors. The facades are ornate and eno rmous&mdash\;the largest facilities could house more than 10\,000 patients& mdash\;while the dusty rooms often look as though their occupants had just left\, their labeled toothbrushes still hanging in neat rows. Many of these institutions have since been demolished\, so Payne&rsquo\;s images serve a s their final appearance in the historical record.
 \;
A sylum reminds us of the pre-pharmaceutical era of psychiatric treatmen t\, when the mentally ill were shunted out of public view in vast\, village -like facilities\, complete with movie theaters\, hairdressing salons\, bow ling alleys and vegetable gardens. But although many of the buildings are t he worse for wear\, they seem less like prisons than mansions\, as if archi tectural rigor could soothe a troubled mind. There is a palpable tension be tween the orderly spaces and the suffering and confusion of the patients wh o once lived in them\, a melancholy that builds to tragedy as one contempla tes images of empty coffins and pre-numbered grave markers and shelf after shelf of unclaimed cremains.
 \;
Payne&rsquo\;s photographs evoke their absent tenants by the traces they left behind\, be it their cl othes or medical records or the erosion caused by the passage of thousands of unknown hands and feet. Yet they also invoke their caregivers and family and a society which knew of no other way to care for the mad then building them vast palaces in which to wile away their last years on earth.
& nbsp\;
The Benrubi exhibition follows Asylum: Inside the Closed W orld of State Mental Hospitals\, which was published by MIT Press in 2 009 and includes an essay by renowned neurologist Oliver Sacks.

DTEND:20160326 DTSTAMP:20160214T081423 DTSTART:20160211 GEO:40.7502381;-74.0036147 LOCATION:Benrubi Gallery\,521 West 26th Street 2nd floor\nNew York\, NY 100 01 SEQUENCE:0 SUMMARY:Asylum\, Christopher Payne UID:409556 END:VEVENT BEGIN:VEVENT DTEND:20160211T200000 DTSTAMP:20160214T081423 DTSTART:20160211T180000 GEO:40.7502381;-74.0036147 LOCATION:Benrubi Gallery\,521 West 26th Street 2nd floor\nNew York\, NY 100 01 SEQUENCE:0 SUMMARY:Asylum\, Christopher Payne UID:409557 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Blum &\; Poe is pleased to present a survey of paintings by Beijing-based painter \;Zhu Jinshi.&nb sp\;This is Zhu's first solo exhibition in New York and his second solo pre sentation with the gallery.

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Zhu&rsquo \;s painting practice is divided into two parts: all-over paintings which l iterally cover the canvases end to end with paint often the depth of the hu man hand\, and what are known as Liu Bai paintings (direct Chinese translat ion: &ldquo\;leaving blank&rdquo\;). Liu Bai\, a traditional aesthetic appr oach to compositional balance in Chinese painting\, was conceived as a form of &ldquo\;blankness\,&rdquo\; rather than &ldquo\;emptiness\,&rdquo\; emb odying great philosophical nuance. In parallel with works such as these\, Z hu has recently explored the flat application of the black monochrome\, wit h all of its minimalist and philosophical implications. One all-black paint ing\, \;Kant \;(2015)\, will be on display\, its one-inch deep surface scored by a delicate web of shallow grooves and ripples. This exhibition will also feature three sculptural works\; \;Bank&n bsp\;(2013) and \;Head Sculpture \;(2015)\, consisting of enormous slabs of paint laid upon plinths\; and \;Nine Levels& nbsp\;(2015)\, a minimal\, modular installation conceived especially for th e gallery terrace.

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All the works in t he exhibition are accumulations of Chinese aesthetic and socio-political hi stories and hard labor\, drawn from the artist&rsquo\;s experience growing up during the Cultural Revolution. Born in 1954 in Beijing\, and later assi gned by the government to work in factories\, it was in this oppressive con text that he developed his early identity as an artist. \;Zhu joined a group of artists of similar age called the Stars (Xing Xing) in 1979. That year\, after being denied a show at the National Gallery in Beijing\, they staged an unauthorized exhibition outside the museum\, which has since been widely recognized as a breakthrough in Chinese cultural expression. Therea fter\, Zhu and others began to explore abstraction. By the mid-1980s\, many Chinese artists had relocated to Western countries\, including Zhu Jinshi and Qin Yufen who moved to Berlin in 1986. After living in the West for twe nty years\, Zhu Jinshi moved back to Beijing\, where he currently lives and works. \;

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This exhibition is one in a series that Blum &\; Poe is hosting with the intention of illumina ting the narrative of postwar art in China\, Japan\, and Korea &mdash\; ser ving as a point of contrast and correspondence between east and west &mdash \; in both of which Zhu Jinshi is steeped\, in knowledge and reference.

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Zhu Jinshi has been the subject of numer ous solo exhibitions. \;Performance in Paint\, curated by Meli ssa Chiu\, director of the Hirshhorn Museum and Sculpture Garden in Washing ton DC\, is on view at the Inside-Out Museum in Beijing until January 31\, 2016. Other important solo shows include \;On the Road\, City of Prague Museum\, Czech Republic (2002)\; \;Tao of Rice Paper \, Museum of Vancouver\, Canada (1997)\; and \;Fangzhen\, DAAD Galerie\, Berlin (1990). \;Recent group exhibitions include \; Alone Together\, Rubell Family Collection\, Miami (2012)\; \;M ind Space: Maximalism in Contrasts\, University of Pittsburgh\, Pennsy lvania (2011)\; and \;China Now &ndash\; Art in Times of Change\, ESSL Museum\, Vienna\, Austria (2006).

DTEND:20160213 DTSTAMP:20160214T081423 DTSTART:20160107 GEO:40.768329;-73.968485 LOCATION:Blum & Poe | New York\,19 East 66th Street \nNew York\, NY 10065 SEQUENCE:0 SUMMARY:Solo Exhibition\, Zhu Jinshi UID:405409 END:VEVENT BEGIN:VEVENT DTEND:20160107T200000 DTSTAMP:20160214T081423 DTSTART:20160107T180000 GEO:40.768329;-73.968485 LOCATION:Blum & Poe | New York\,19 East 66th Street \nNew York\, NY 10065 SEQUENCE:0 SUMMARY:Solo Exhibition\, Zhu Jinshi UID:405410 END:VEVENT END:VCALENDAR