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303 Gallery is pleased to present our third exhibition of new work by Valentin Carron.

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A man comes home fr om a day at work\, removes his belt\, and throws it onto a stool. The belt unfurls itself coming to rest dangling from the stool\, frozen in the insip id elegance of the gestural. \; In the work of Valentin Carron\, this e veryday apologue becomes a series of assemblage sculptures consisting of ex quisite glass casts of men's belts tossed onto pieces of found furniture. E xisting in the strange interstice between the domestic and the sacred\, the se tableaux appear charged with a familiarly disorienting emptiness. The to rsion in the pseudo-baroque elegance of the belts is now cast in glass\, fr eezing and robbing them of their potential poetry. They billow onto their d e facto prefab pedestals\, abject scraps of consumerism acting as supports in Carron's allegorically imbued still lives. The belts themselves become m onuments for the delicate and insidious skein of masculinity in the face of a designed world. Man becomes vulnerable to his surroundings\, to failure\ , to repeating the same gesture again and again. He is interred into a nego tiation between his Nietzschean virility and the self-effacing dead end of the functional.

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In a series of painti ngs\, Carron mines the vernacular of modernist banality and its psychic\, e motional\, and behavioral implications. Details of found motifs selected fr om the covers and spines of industrially produced cloth and leather-bound b ooks of the western postwar period are projected onto PVC tarpaulin and pai nted with vinyl ink. These motifs were meant to inspire and evoke the abstr act promise of the future\, a promise as yet unrealized. Though there is a nobility in the optimism of using formal means to translate a mass-produced consciousness\, in the face of reality it is impossible not to see them th rough the lens of pathos. Even the process itself flattens the dimensionali ty of what is traditionally thought of as "painterly\," rendering with pung ent desolation these contemporary hieroglyphs of failure.

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Valentin Carron lives and works in Martigny\, Switzerl and\, where he was born in 1977. In 2013 he represented Switzerland at the 55th Venice Biennale. Major presentations of his works were realized at Kun sthalle Bern (2014)\, Palais de Tokyo Paris (2010)\, Kunsthalle Zü\;ric h (2007)\, Swiss Institute New York (2006)\, Centre d'Art Contemporain Gene va (2004)\, Chisenhale Gallery London (2006) and Mamco Geneva (2001). Catal ogues were published on the occasion of Carron's exhibition at the Swiss Pa vilion 55th International Venice Biennale (JRP/Ringier) and his recent solo exhibition at Kunsthalle Bern. A monograph of the artist's work was publis hed by JRP/Ringier in 2011.

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303 Galle ry represents the work of Doug Aitken\, Valentin Carron\, Hans-Peter Feldma nn\, Ceal Floyer\, Karel Funk\, Maureen Gallace\, Tim Gardner\, Dominique G onzalez-Foerster\, Kim Gordon\, Rodney Graham\, Mary Heilmann\, Jeppe Hein\ , Jens Hoffmann\, Larry Johnson\, Matt Johnson\, Jacob Kassay\, Karen Kilim nik\, Alicja Kwade\, Elad Lassry\, Florian Maier-Aichen\, Nick Mauss\, Mike Nelson\, Kristin Oppenheim\, Eva Rothschild\, Collier Schorr\, Stephen Sho re\, Sue Williams\, Jane and Louise Wilson\,

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303 Gallery is open Tuesday-Saturday from 10 am - 6 pm. For further information please visit us at www.303gallery.com or contact Cristian Alex a\, Kathryn Erdman\, Thomas Arsac or Erika Weiss.

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DTEND:20141220 DTSTAMP:20141124T013509 DTSTART:20141106 GEO:40.7485947;-74.0041953 LOCATION:303 Gallery\,507 West 24th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Music is a s-s-serious thing\, Valentin Carron UID:361768 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Artist Dan Graham's photography collection which he traded w ith his artist friends.

DTEND:20150214 DTSTAMP:20141124T013509 DTSTART:20141119 GEO:40.716943;-73.997372 LOCATION:3A Gallery\,179 Canal Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Dan Graham Collection\, Nobuyoshi Araki\, Barbara Ess\, Darcy Lange \, Wolfgang Tillmans\, Jeff Wall UID:364919 END:VEVENT BEGIN:VEVENT DTEND:20141119T200000 DTSTAMP:20141124T013509 DTSTART:20141119T180000 GEO:40.716943;-73.997372 LOCATION:3A Gallery\,179 Canal Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Dan Graham Collection\, Nobuyoshi Araki\, Barbara Ess\, Darcy Lange \, Wolfgang Tillmans\, Jeff Wall UID:364920 END:VEVENT BEGIN:VEVENT DESCRIPTION:

When describing Diana Copperwh ite&rsquo\;s work Colm Toibin wrote:

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Her work is about painting first and foremost\; [these] references merely s erve a purpose. \; Thus digital images which freeze and fragment an ori ginal image fascinate her\, but such images in themselves are not enough\, they provide a way into the painting. \; It is their visuality which in spires rather than any precise sense of a blurred or fragmented reality.&nb sp\; \; Because she physically likes making paintings\, everything is s ubservient to what paint will achieve.

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Copperwhite makes paintings that move fluidly between representation and abstraction. Photographs\, montage and assemblage all aid the process and b ecome ancillary works that pin down fleeting thoughts\, glimpses and reacti ons to a media saturated age. \; Her interests and sources are eclectic and wide ranging\, from social media to philosophical debate to art histor ical references. \; Yet\, as Toibin points out\, her paintings are no m ore about the image than they are about the process of painting itself.&nbs p\; Her work is phenomenological in that momentarily emotional responses ov erride the need to capture reality. \; Something has piqued her interes t and from that initial interest she thinks in colour\, in tone\, and textu re\, in setting herself a visual problem to which there is no single defini tive solution. \; Her palette is composed of murky undertones punctuate d by bright neon rifts. The fluidity and expressiveness of the painting giv es little hint of the rigorous and formal abstract principles applied to th e making.

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Strangers in a Room is an a lmost purely abstract painting\, a composition of bold stripes and gestural marks. \; The eye struggles and fails to distinguish the strangers of the title\, but the space retains something room-like\, an echo of represen tation caught just beneath the vibrant surface. This duality is apparent in all the work\, the teasing through of an idea\, of where it has come from and where it may lead. The recurring motif of screens appears in Tropic of Capricorn Tropic of Cancer. \; Two squares like televisions float brigh tly facing each other. \; It is no accident that the title references a strology\, lines of latitude\, and the writer Henry Miller. \; A multi- media world describing the interconnectedness of knowledge.  \;In Coppe rwhite&rsquo\;s work even the most arbitrary act demands balance\, the care fully thought out response. \; The source may seem randomly chosen but the intellectual process\, the making of a painting is not.

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Diana Copperwhite studied Fine Art Painting at Limer ick School of Art and Design and the National College of Art and Design\, D ublin. She completed an MFA at Winchestor School of Art\, Barcelona in 2000 . \; Diana is a tutor at the National College of Art and Design\,Dublin . \; Her work is in the collection of the Irish Museum of Modern Art an d the Arts Council of Ireland\, and also in collections in the United State s\, Europe and Australia.

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The writer Colm Toibin is currently Irene and Sidney B Silverman Professor of Humaniti es at Columbia University. \; He is an IMPAC Dublin Literary Award priz ewinner\, and has appeared on the Booker shortlist\, most recently in 2013 for his play the Testament of Mary.

DTEND:20141220 DTSTAMP:20141124T013509 DTSTART:20141113 GEO:40.749403;-74.004838 LOCATION:532 Gallery Thomas Jaeckel\,532 W. 25th Street \nNew York\, NY 100 01 SEQUENCE:0 SUMMARY:Failure in Miscommunication\, Diana Copperwhite UID:360425 END:VEVENT BEGIN:VEVENT DESCRIPTION:

PETER BLUME (1906-1992)

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November 6\, 2014 through January 31\, 2015

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ACA Galleries is pleased to announce the upco ming exhibition\, PETER BLUME (1906-1992)\,on view November 6\, 201 4 through January 31\, 2015. \; The exhibition will feature pa intings\, drawings and sculpture from the artist&rsquo\;s estate.  \;\n

Concurrent with the ACA Galleries exhibition is the firstPeter Blume retrospective since 1976\, Nature and Metamorphosis\, organized by the Pennsylvania Academy of the Fine Arts (PAFA) \, Philadelphia (November 14\, 2014 &ndash\; April 5\, 201 5). \; This exhibition will travel to the Wadsworth At henaeum\, Hartford\, CT (June 27 &ndash\; September 20\, 2 015). \; Catalogue will be available.  \; \;

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P eter Blume&rsquo\;s modernism embodies the clashing contradictions of the 2 0th Century: abstract complexities with nostalgia for a simpler past\; the rush of urban living with the yearning for a lost pastoral life\; the cold reality of politics with the quest for spiritual meaning in a world ravaged by two world wars and a ruinous economic depression.  \;By embracing t he irreconcilable\, Blume transcends Modernist art&rsquo\;s conventional as pirations to re-define order in a chaotic world.  \;His oeuvre is metam orphosis itself\, a realm where paradox rules.  \;Within that clash Blu me found profound meaning and sublime beauty.

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Blume&rsquo\;s deep k nowledge of art history holds these disparate elements together.  \;We see the elegance of Renaissance rendering\, the balance and figurative perf ection of Classical antiquity\, the rule-breaking energy of Modernism\, and the spontaneity of folk art.  \;The latter reflects his Russian Jewish roots and his embrace of the culture of his adopted land\, America.  \ ;Together with his understanding of the emotional properties of color\, the structural backbone of architecture\, and the physicality of sculpture\, B lume was able to corral these elements into a surreal narrative.  \;&nb sp\;

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Adding richness to Blume&rsquo\;s already complex mix of influ ences was his involvement with metaphysical experimentation.  \;His int erest in Automatism and &ldquo\;automatic writing&rdquo\; found its way int o his preliminary studies for paintings and his works on paper in particula r\, where he allowed his hand to move spontaneously across a surface.   \;The results are dynamic works of flowing lines and exciting shapes existi ng in metaphysical tension\, where the physical facts of the world meet the whispered secrets of the mind and spirit.

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In a life that spanned n early the entirety of the 20th Century\, Blume&rsquo\;s art recorded not th e dry facts of that century but the soul of it\, its struggles against inco mprehensible violence\, and its triumphs of survival over man-made madness. This achievement won Blume critical acclaim throughout his career\, winnin g a Guggenheim Fellowship and the Carnegie International Prize in the 1930s . \; His work is represented in major public and private collections in cluding The Metropolitan Museum of Art\, Museum of Modern Art\, and The Whi tney Museum of American Art in New York\; the Smithsonian Institution of Am erican Art in D.C.\; Carnegie Museum of Art in Pittsburgh\; Museum of Fine Arts in Boston and the Art Institute of Chicago\, among others.

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&nb sp\; \;

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For additional information and images\, contact

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Mikaela Sardo Lamarch e

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curator@acagalleries.com

DTEND:20150131 DTSTAMP:20141124T013509 DTSTART:20141106 GEO:40.7452665;-74.0083239 LOCATION:ACA Galleries\, Est 1932\,529 West 20th Street (5th floor) bt 10th and 11th Ave\nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Peter Blume (1906-1992): Paintings\, Sculpture and Works on Paper\, Peter Blume UID:364430 END:VEVENT BEGIN:VEVENT DTEND:20141106T200000 DTSTAMP:20141124T013509 DTSTART:20141106T180000 GEO:40.7452665;-74.0083239 LOCATION:ACA Galleries\, Est 1932\,529 West 20th Street (5th floor) bt 10th and 11th Ave\nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Peter Blume (1906-1992): Paintings\, Sculpture and Works on Paper\, Peter Blume UID:364431 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Those that blossom\, and t he blossomless\, an exhibition of new work by \;Nitin Muku l. In this body of work\, Mukul utilizes a variety of media - pain ting\, photography\, and video - to create works that reference images from the natural world and from photographs. Flowers and tadpoles and chandelie rs are flattened and layered into a complex\, abstract ground\; while fluid paintings move beyond abstraction\, seeming to replicate processes either primordial or chemical. Mukul's videos are made by applying paint in layers of ice\, and recording the melting and transformation that ensues. The pro cess is serendipitous\, out of the artist's direct control\, and exists in a space between the analog and the digital. The resulting images appear at times cosmic in scope. Altogether\, these pieces elegantly question the dis tinctions between figuration and abstraction\, between the natural and the manmade\, between generation and destruction.

DTEND:20141206 DTSTAMP:20141124T013509 DTSTART:20141107 GEO:40.7268368;-73.9929619 LOCATION:AICON GALLERY - New York\,35 Great Jones Street \nNew York\, NY 10 012 SEQUENCE:0 SUMMARY:those that blossom\, and the blossomless\, Nitin Mukul UID:363352 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20141206 DTSTAMP:20141124T013509 DTSTART:20141107 GEO:40.7268368;-73.9929619 LOCATION:AICON GALLERY - New York\,35 Great Jones Street \nNew York\, NY 10 012 SEQUENCE:0 SUMMARY:Mapmakers III: The Evolution of Contemporary South Asian Art UID:363874 END:VEVENT BEGIN:VEVENT DESCRIPTION:

An exhibition of two recent vi deo installations and photographic works by Willie Doherty will open at Ale xander and Bonin on Saturday\, October 25th .

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The Amnesiac\, 2014\, Doherty&rsquo\;s mo st recent video work\, is a 10 minute single-channel video installation whi ch extends his interest in themes of landscape and memory. The video follow s an unidentified man as he drives along a country road. His journey is int errupted by what might be a momentary lapse in concentration from the tediu m of driving\, a daydream or a rupture in the fabric of the everyday. He re turns to somewhere half remembered or half forgotten\; a reminder that trac es of past events\, whether or not visible\, remain embedded within the lan dscape.

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The video is accompanied by a group of 10 photographs\, titled Damage\, 2014\, which were made at the same location where the video was shot. The photogra phs are details of tree trunks that bear the physical markings of past acts of violence. Doherty explores the boundaries between the visible and invis ible\, past and present\, the tangible and intangible.

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Remains\, 2013 is a 15 minute si ngle-channel video installation\, first shown at Art Unlimited Basel\, and included in his retrospective UNSEEN (September 2013-January 2014) at City Factory Gallery in Derry\, Northern Ireland and currently on view at the De Pont Museum in Tilburg. Remains was made in a number of locations in Derry that have been used since the early 1970s to carry out k neecappings\, a form of punishment shooting used to control drug use and ot her forms of so called &lsquo\;antisocial behavior&rsquo\;. The ghosts of e vents past are summoned by the narrator as his recounting unearths a reposi tory of memories\, specific to the unimposing landscape\, and ultimately re veals a continuing cycle of violence\, enacted in the same locations.

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Doherty&rsquo\;s meditatio ns\, in video and photography\, on the changing political landscape of Nort hern Ireland have been a central theme of his work since 1985. With a new s eries of black and white photographs\, titled Future Fear\, made i n Derry during the summer of 2014\, Doherty returns to some of the location s that he has photographed in the past. These photographs reveal an ongoing state of unease\, a place suspended between the familiarity and comfort of violence and the anxiety and uncertainty of change.

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Willie Doherty was born in1959 in Derry\, N. Ireland and no w lives and works in County Donegal\, Republic of Ireland. In 2015 a select ion of his video works will be shown at CAM-Fundaç\;ã\;o Calous te Gulbenkian\, Lisbon. Past solo exhibitions include those at the Dallas M useum of Art (2009)\, Lenbachhaus\, Munich (2007)\, Laboratorio Arte Alamed a\, Mexico City (2006)\, the Renaissance Society\, Chicago (1999)\, and Tat e Liverpool (1998). He has participated in the Biennale di Venezia (2007\, 2005\, 1993) and the Bienal de Sã\;o Paulo (2002) and dOCUMENTA (13)\ , Kassel (2012).

DTEND:20141206 DTSTAMP:20141124T013509 DTSTART:20141025 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:The Amnesiac and other recent video and photographic works\, Willie Doherty UID:361893 END:VEVENT BEGIN:VEVENT DTEND:20141025T200000 DTSTAMP:20141124T013509 DTSTART:20141025T180000 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:The Amnesiac and other recent video and photographic works\, Willie Doherty UID:361894 END:VEVENT BEGIN:VEVENT DESCRIPTION:

&ldquo\;The use of African wor ds as titles of my sculpture is to extend the practical and philosophical v alues of the large quantity of esthetic possibility in creative art for now and the future.&rdquo\; &ndash\;&ndash\;Melvin Edwards

Alexan der Gray Associates presents an exhibition of work by Melvin Edwards reflec ting his engagement with and influence of Africa. Edwards&rsquo\; first vis its coincided with a key moment in the region&rsquo\;s history as recently independent countries defined their postcolonial national identities. Since his first trip in 1970 to Ghana\, Togo\, Dahomey (now the Republic of Beni n)\, and Nigeria\, Edwards has consistently traveled to Africa\, often retu rning to Nigeria and Ghana and making repeated trips to Senegal and Zimbabw e. He eventually established a studio in Dakar\, Senegal in 2000. His exper ience of and engagement with this region and its traditional and contempora ry art scene has nurtured Edwards&rsquo\; investigations of metalwork and i ts formal qualities\, abstraction\, history\, language\, exchanges between cultures\, and the significance of personal relationships.

The central work in the exhibition is Homage to the Poet Leon Gontran Dama s (1978&ndash\;81)\, a monumental installation shown for the first tim e since Edwards&rsquo\; retrospective at the Neuberger Museum of Art in Pur chase\, NY in 1993. This work consists of several large-scale metal geometr ic sculptural elements and a long piece of chain organized in relation to e ach other to create an environment that encourages gathering and meditation \; collective consciousness and contemplation. Grounded to the horizontal p lain of the Gallery&rsquo\;s floor\, the installation is oriented using the sun as a compass in order to face East\, looking towards Africa. He concei ved the work to honor Damas\, a co-founder of Negritude\, active in anti-co lonial politics\, and a poet whose style creatively eschewed the standardiz ed French of the former colony and embraced influences from Harlem jazz to Caribbean calypso. Edwards met Damas in 1969 through the poet\, activist\, and performance artist Jayne Cortez\, Edwards&rsquo\; late wife and artisti c collaborator\, with whom he traveled extensively throughout Africa and ac ross the world.

Melvin Edwards&rsquo\; use of materials\, prim arily the result of his formal and aesthetic concerns\, unfold multiple mea nings as they relate to African and African Diasporan cultures and historie s\, represented in the exhibition in a selection of Lynch Fragments and wal l-sculptures. Returning from a trip to Nigeria in 1973\, Edwards began inco rporating machetes as a formal and symbolic element as in the Lynch Fragmen t Nunake (1993). He recognizes that machetes function as agricultu ral tools in West Africa\, describing the artifact as &ldquo\;another shape of steel that already exists.&rdquo\; At the same time\, the knives stand as embodiments of social uprisings\, which speak to Edwards&rsquo\; life-lo ng engagement with social movements. Beyond Cabo Verde (2006) uses as its base a grid-like element sourced from Dakar metal workshops. Its ti tle refers to the island nation of the same name\, a site that was a prospe rous center of the slave trade. Edwards views the work&rsquo\;s square-shap e as a window into time\, as he explains\, &ldquo\;Since I spent a fair amo unt of time in the place\, thinking about what&rsquo\;s beyond. Both person ally and what was beyond historically.&rdquo\;

Edwards&rsquo\ ; works also speak to a broad network of creative minds including African a rtists\, writers\, and craftsmen\, with whom he has developed personal rela tionships throughout many decades. Edwards titled his Lynch Fragment Ib adan Oke (1992) in homage to his visits to Nigeria during the 1970s. T he urban landscape of the Yoruba city of Ibadan stimulated Edwards&rsquo\; interests in architecture and urban design\, which were also greatly encour aged through his close friendship with Nigerian artist and architect Demas Nwoko. He met and worked with many others in the city\, including the Niger ian Nobel Prize-winning playwright and poet Wole Soyinka\, and the Jamaican writer Lindsay Barrett. The Fragment Djeri Djeff Papa Tall (2008) references the phrase &ldquo\;djeri djeff&rdquo\; or &ldquo\;thank you&rdq uo\; in Wolof&mdash\;a widely-spoken language in Senegal&mdash\;as well as Papa Ibra Tall\, a seminal Senegalese modern artist\, founder of the influe ntial tapestry workshop Manufactures sé\;negalaises de arts dé\ ;coratifs (MSAD). Tall and Edwards met in Senegal in 1999\, and later colla borated when Edwards produced two tapestries in MSAD\, including the large- scale Diamnaidio (2010)\, on view in the exhibition.

DTEND:20141213 DTSTAMP:20141124T013509 DTSTART:20141030 GEO:40.74975;-74.003741 LOCATION:Alexander Gray Associates\,508 West 26 Street #215 \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Solo Exhibition\, Melvin Edwards UID:360261 END:VEVENT BEGIN:VEVENT DTEND:20141030T200000 DTSTAMP:20141124T013509 DTSTART:20141030T180000 GEO:40.74975;-74.003741 LOCATION:Alexander Gray Associates\,508 West 26 Street #215 \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Solo Exhibition\, Melvin Edwards UID:360262 END:VEVENT BEGIN:VEVENT DESCRIPTION:

WILL BARNET: A TRIBUTE

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Thursday\, November 20 throug h Saturday\, January 10\, 2015

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A survey of six paintings and relate d works on paper spanning Barnet's career (1911 &ndash\; 2012). \;Illus trated catalogue available.

DTEND:20150110 DTSTAMP:20141124T013509 DTSTART:20141120 GEO:40.762227;-73.971964 LOCATION:Alexandre Gallery\,Fuller Building 41 East 57th Street\, 13th Floo r\nNew York\, NY 10022 SEQUENCE:0 SUMMARY:WILL BARNET: A Tribute\, Will Barnet UID:354816 END:VEVENT BEGIN:VEVENT DESCRIPTION:

For the greater part of the 20 th Century\, companies that controlled the lion&rsquo\;s share of markets g ot there by joining partnerships and forming associations as a way to reduc e transaction costs below market price\, but recently the developed world e xperienced a shift in prevailing management theories. Technology can now en able workers to create professional networks and collaborate outside of big business. Labor has found more ways to work in the open market while busin esses are getting smaller and working with a growing number of freelancers.

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A professional website plays a signi ficant role in the costs associated with marketing one&rsquo\;s skills and experience. The act of maintaining an online presence requires a constant n egotiation between participation in a centralized network and internal grow th by way of a personal website more representative of one's skill set and brand. Technical obsolescence and security play a big part in how much work goes into building a website. Sometimes it can contribute to your sense of comfort and well-being\, but sometimes it can be unhealthy.

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Content management systems (frequently abbreviated as CMS) are built on a database wherein the layout of a site can be manipul ated independently from its content. Using software formerly available only to corporations that could afford it\, sites built using CMS are now proli ferated by volunteer programmers.

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Th e ubiquity of CMS has given rise to the template industry\, which\, fueled by ad revenue\, makes it viable for unsupported templates to be downloaded and integrated.

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The dynamic nature of the technology supply chain can result in sites becoming unsupported acros s browser platforms and vulnerable to being infected by malicious attacks. The more shortcuts that go into making a site look professional the more ch ances exist for it's form to be compromised. The result is beautiful. I can only compare it to gardening. The wild can take over fast. The goal is to help it achieve the majesty of an ancient forest\, with a canopy and an und erstory and vista from which to gaze.

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Joel Holmberg (b. 1982 in Bethesda\, MD) lives and works in New York\, NY. He has previously exhibited at Cleopatra&rsquo\;s\, Brook lyn\, NY\; Foxy Production\, New York\, NY\; Ullen s Center for Contemporary Art\, Beijing\, CN\; New Museum< /strong>\, New York\, NY\; Outpost\, Norwich\, UK\; The Museum of the Moving Image\, New York\, NY\; The 9th Shanghai Biennale\, Shanghai\, CN\, W139 in Amst erdam\, NL\, The Sundance Film Festival\, Park City\, UT\, Espace Gantner\, Belfort\, FR\, and Kettles Yard< /strong>\, Cambridge\, UK. His most recent solo exhibition was the inaugura l exhibition at Harmony Murphy Gallery\, Los Angeles\, CA. He is a member of the web based collective Nasty Nets and studied at Virgi nia Commonwealth University\, Richmond\, VA and Yale University\, New Haven \, CT.

DTEND:20141219 DTSTAMP:20141124T013509 DTSTART:20141030 GEO:40.725623;-73.991532 LOCATION:American Contemporary\,4 East 2nd Street \nNew York\, NY 10003 SEQUENCE:0 SUMMARY:You Line\, Joel Holmberg UID:362548 END:VEVENT BEGIN:VEVENT DTEND:20141030T200000 DTSTAMP:20141124T013509 DTSTART:20141030T180000 GEO:40.725623;-73.991532 LOCATION:American Contemporary\,4 East 2nd Street \nNew York\, NY 10003 SEQUENCE:0 SUMMARY:You Line\, Joel Holmberg UID:362549 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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

DTEND:20141201 DTSTAMP:20141124T013509 DTSTART:20140902 GEO:40.7732646;-73.9816233 LOCATION:American Folk Art Museum - Lincoln Square\,2 Lincoln Square \nNew York\, NY SEQUENCE:0 SUMMARY: Lest We Forget\, Ralph Fasanella UID:350629 END:VEVENT BEGIN:VEVENT DTEND:20140902T173000 DTSTAMP:20141124T013509 DTSTART:20140902T103000 GEO:40.7732646;-73.9816233 LOCATION:American Folk Art Museum - Lincoln Square\,2 Lincoln Square \nNew York\, NY SEQUENCE:0 SUMMARY: Lest We Forget\, Ralph Fasanella UID:350630 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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

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

DTEND:20141201 DTSTAMP:20141124T013509 DTSTART:20140910 GEO:40.7732646;-73.9816233 LOCATION:American Folk Art Museum - Lincoln Square\,2 Lincoln Square \nNew York\, NY SEQUENCE:0 SUMMARY: Mind Traffic\, Willem van Genk UID:350631 END:VEVENT BEGIN:VEVENT DTEND:20140910T173000 DTSTAMP:20141124T013509 DTSTART:20140910T103000 GEO:40.7732646;-73.9816233 LOCATION:American Folk Art Museum - Lincoln Square\,2 Lincoln Square \nNew York\, NY SEQUENCE:0 SUMMARY: Mind Traffic\, Willem van Genk UID:350632 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Andrea Rosen Gallery is please d to present a three-person exhibition of Martha Rosler\, Borna Sammak and Michael St. John. Looking to and pulling from the urban\, social and cultur al landscape\, these three distinct trajectories uniquely address matters i ntrinsic to the urban environment and the public sphere. While retaining hi s or her own unique territory\, each individual artist&rsquo\;s work reveal s a critical awareness\, empathy\, and responsibility to the world in which we live. Juxtaposing the different strategies and methods employed by each artist to confront the landscape of the present will hopefully provide new perspectives that can enrich and deepen our understanding of these artists &rsquo\; works. \;

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Martha Rosler& rsquo\;s distinct bodies of work within the gallery offer different approac hes to the representation of familiar urban spaces. In her seminal work The Bowery in two inadequate descriptive systems (1974/75)\, a grid o f 24 texts and images conjoins a photographic and a linguistic system to re present an iconic Skid Row district inhabited by alcoholics and transients (and\, invisibly\, a few loft-dwelling artists). Rather than showing us the usual subjects of documentary\, Rosler depicts the Bowery through a series of unpopulated storefronts and sidewalks with empty bottles and other detr itus\, alongside a variety of metaphoric words and phrases used to describe drunkenness and drunks. But even together\, the deadpan images and the far more poetic words\, rather than &ldquo\;capturing&rdquo\; the realities of dispossession and degradation\, point to the neglected questions of social relations and ethics involved in the photographic exchange.

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Selections from Rosler&rsquo\;s photo series Tr ansitions and Digressions evoke aspects of ordinary life in commercial districts where shop windows provide visions of society we observe but rar ely bother to process. Her video diptych\, Bowery Highlights (2008)\, retur ns to the site of her earlier work but generates a second report through th e juxtaposition of photographs and real estate documents\, rooflines and ce rtificates of occupancy\, displaying the radical ascent up the social scale of the residents of the area and the conversion of the living spaces of ea rlier eras.

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Engaging a constant inter play with the contemporary cultural climate\, Michael St. John&rsquo\;s wor k continues to recalibrate and address a growing circuit of visual informat ion. In creating this particular body of work\, St. John reflects on notion s of disaster\, nihilism\, murder\, guns\, joblessness/economy\, indifferen ce/tragedy\, narcissism\, institutional racism\, and mayhem - each either o vertly\, or discretely embed within the layers of his compositions. Here ne wspaper clippings\, found images\, fragmented language and everyday objects aggregate into captivating collaged portraits of the world at present &nda sh\; the US incarceration system\, Hell Yeah Tumblr sites\, domestic violen ce month &ndash\; emphasizing an immediacy of content and material\, and sp eaking to numerous trajectories within art history. Underlying its visceral humor and clever nods to mass culture\, however\, St. John&rsquo\;s work e mbodies a proactivity that speaks of a devotion and responsibility to a gen eration of overwhelming content and information. &ldquo\;At some point the world became too urgent to ignore\,&rdquo\; states St. John. And this urgen cy is continually reflected in his multivalent works\, complex juxtapositio ns and influential gestures that allows a viewer to see the world with both greater complexity and clarity.

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Draw ing from a social garbage can\, Borna Sammak reins a safari of contemporary visual content within his multi-media compositions. Using cultural product s as raw material\, his works present uncannily affective juxtapositions of objects and information\, excerpted and extracted from their functional co ntemporary contexts\, and rearranged in new and arresting formations. Abstr acted signage is penetrated by a commercial flag - &ldquo\;BUY HERE PAY HER E.&rdquo\; Paintings tangled with heat press t-shirt decals and dense embro idery present raucous and refined collages of stock imagery and digital des igns. Endlessly amassed video content from the internet cut and pared down for their color\, movement and form\, create what is ultimately a celebrato ry canvas\, with each clip refined to a pixel-bound brush stroke. By wrench ing information free from its contextual foundation\, Sammak engages in a c ontinuous play with form\, subject and content\, that encourages viewing th e everyday anew.

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Martha R osler was born in Brooklyn\, New York\, where she lives and works. She is widely regarded as one of the most influential artists of her gener ation\, one whose artistic practice\, teaching\, and writing continue to in fluence succeeding generations. Her work has been exhibited in "Documenta 7 \," Kassel\; several Whitney biennials\; at the New Museum\, NY\; the Insti tute of Contemporary Art\, London\; the Museum of Modern Art\, New York\; t he Dia Center for the Arts\, New York\; and many other international venues . Her work is in the collections of major international museums\, including the Metropolitan Museum\, the Whitney Museum\, the Museum of Modern Art\, and the Guggenheim in New York\, the Art Institute of Chicago\, the San Fra ncisco Museum of Modern Art\, the Art Gallery of Ontario\, Victoria and Alb ert Museum in London\, among many others. A solo exhibition of her Meta-Mon umental Garage Sale was held at the MoMA\, NY in 2012. Her writing has been published widely in catalogues and magazines\, and she has published 14 bo oks\, in several languages\, of photographs\, texts\, and commentary\, as w ell as lectured widely\, both nationally and internationally.

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Michael St. John lives a nd works in Sheffield\, Massachusetts. This will be St. John's 13th solo ex hibition in New York since 1990\, including a recent exhibition at Karma in 2013\, for which a major monograph was concurrently published. He has been included in numerous group exhibitions across the U.S.. Along with an exte nsive resume of curatorships\, St. John has held numerous teaching position s\, including the position as an adjunct professor at New York University s ince 1994.

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Borna Sam mak lives and works in Brooklyn\, NY. Recent exhibitions include a solo presentation at JTT\, New York\, and a two-person exhibition with Ale x De Corte at Oko\, New York organized by Alison Gingeras. Sammak has been included in numerous group exhibitions\, such as DSM-V\, curated by David R imanelli and presented by Vito Schnabel in The Future Moynihan Station\, Ne w York. In 2009\, a public exhibition of select video paintings by Sammak\, organized together with curator Thomas McDonell\, was conceived at the Bes t Buy on Broadway in New York.

DTEND:20141206 DTSTAMP:20141124T013509 DTSTART:20141031 GEO:40.749185;-74.005023 LOCATION:Andrea Rosen Gallery\,525 W.24th St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Group Exhibition\, Michael St. John\, Borna Sammak\, Martha Rosler UID:360263 END:VEVENT BEGIN:VEVENT DTEND:20141030T200000 DTSTAMP:20141124T013509 DTSTART:20141030T180000 GEO:40.749185;-74.005023 LOCATION:Andrea Rosen Gallery\,525 W.24th St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Group Exhibition\, Martha Rosler\, Borna Sammak\, Michael St. John UID:360264 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Andrea Rosen Gallery is please d to present a three-person exhibition of Magali Reus\, Bill Bollinger and John Divola. Shifting away from the supremacy of a single object\, each art ist here acknowledges a more phenomenological experience of material and fo rm. Through strengthening material vernaculars\, there is a distinct presen ce of the body indicated within each of the artists&rsquo\; works that desc ribes both a presence of artist and viewer\, as well as the encounter of ma terial as vessel for meaning. This juxtaposition of unique trajectories is a way to not only contextualize work being made now within the established field of contemporary art\, but also a way of showing how artists like Divo la and Bollinger remain a vital part of the discourse.

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Approximating the scale and basic materiality of fridge a nd freezer units\, Magali Reus&rsquo\; sculptures\, Lukes\, as tit led &ldquo\;bodies\,&rdquo\; combine in anthropomorphic fashion. Stripped o f their supposed functionality\, these hand-activated vessels of skewed rec tangular form deflect our familiarity with an object coded by domesticity\, instead offering themselves as hosts in which smaller\, more materially lu xurious compositions play out. Their skins are phosphate clad\, cast concre te\, milky raspberry coated &ndash\; and interior\, a printed fleece blanke t\, strewn packets of mustard condiment\, a single flattened white knife&nb sp\; &ndash\; deftly confusing binaries of the human and the mechanical. Ma de with industrial finishes and contemporary processes\, the resulting work s puzzle human relationships to inanimate matter and their intended functio ns. The collision of material preservation and more internalized alchemical detail exposes Reus&rsquo\; relationship to object making as one which com municates the universal meanings embedded within all materials\, but also t he transformative strategies we use to mobilize the everyday. \;

\n< p style="text-align: justify\;">Focused on the gesture of construction\, an d the physical limits and nature of material\, Bill Bollinger too sought to expand experience and perception of materiality and commodity. Graphit e Piece\, first shown in January of 1969\, divides the gallery into tw o defined spaces of dark and light planes. Traces of the graphite powder du sted between the floor and wall illicit the sweeping gestural distribution of material\, the physical performance of construction\, while simultaneous ly communicating an opaque sense of openness and expandability so crucial t o the artist in each carnation.

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Two p hotographs from John Divola&rsquo\;s &ldquo\;Dark Star&rdquo\; series accen tuate a delicate balance of creation and destruction. Resembling a full sto p or black hole\, Divola&rsquo\;s spray painted circles\, almost as lesions upon the interior walls of a derelict abandoned space\, add both a lethal mark to a sinister image of utter abandonment\, as well as accentuate the s ignificance and weight of a single material gesture enacted by the artist u pon a chosen ground. Engaging two performative mediums\, of painting and ph otography\, Divola&rsquo\;s evident participation within such spaces transc ends a process of observation or means of documentation\, and reflects a mo re visceral material involvement.

Bill Bollinger (1940-1988) originally studied aeronautical engineering at Brown Univer sity and turned to art when he moved to New York City in 1961. His work was included in some of the most historically important exhibitions of the 196 0s\, including Live in Your Head: When Attitudes Become Form (Kuns thalle Bern\, 1969)\; Anti-Illusion: Procedures/Materials (Whitney Museum of American Art\, 1969)\; Nine at Leo Castelli(Castelli Wa rehouse\, 1969)\; Information (Museum of Modern Art\, 1970) and th e Whitney Museum Annual of 1971 and Biennial of 1973. His oeuvre was recent ly recognized by a international traveling retrospective at the Kunstmuseum Liechtenstein\; the ZKM Zentrum fur Kunst und Medientechnologie\, Karlsruh e\; The Fruitmarket Gallery\, Edinburgh\; and The ScultureCenter\, New York .

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John Divola was bo rn in Venice\, California in 1949. His work has been exhibited in key histo rical exhibitions such as John Szarkowski&rsquo\;s Mirrors and Windows: Ame rican Photography since 1960 at The Museum of Modern Art (1978)\, The Whitn ey Biennial at the Whitney Museum of American Art (1981) and most recently\ , Under the Big Black Sun: California Art 1974-1981 at the Museum of Contem porary Art\, Los Angeles (2010). His work is in the public collections of T he Museum of Modern Art\, The Whitney Museum of American Art and the Metrop olitan Museum of Art in New York\; The Museum of Contemporary Art\, The Get ty Museum and the Los Angeles County Museum of Art in Los Angeles\; San Fra ncisco Museum of Modern Art\, San Francisco\; The Smithsonian American Art Museum in Washington\, D.C.\; The Centre Pompidou\, Paris and The Victoria and Albert Museum\, London among many others. He is a recipient of multiple National Endowment for the Arts Photography Fellowships as well as a John Simon Guggenheim Memorial Fellowship.

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Magali Reus was born in 1981 in Den Haag\, The Netherland s\, and currently lives and works in London. Reus&rsquo\; recent solo shows include DINOSAURS at Circuit\, Lausanne\; In Lukes and Dregs< /em>\; The Approach\, London (both 2014)\; Highly Liquid\, Galerie Fons Welters\, Amsterdam (2013)\, Background\, La Salle de bains\ , Lyon and IBID Projects\, London (2009). She has been included in recent g roup exhibitions at Fridericianum\, Kassel\; Kestnergesellschaft\, Hannover \; Kunstmuseum St Gallen\; David Roberts Art Foundation\, London\; ZERO\, M ilan and De Hallen\, Haarlem (all 2014). \; Her work has been shown in screenings at Tate Britain\, London\; ICA\, London\; Turner Contemporary\, Margate\; MK Gallery\, Milton Keynes\; Cornerhouse\, Manchester\; Tramway\, Glasgow (all 2014) and Oberhausen Film Festival (2013). She has forthcomin g solo exhibitions at SculptureCenter\, New York\, The Hepworth Wakefield a nd Fondazione Sandretto RE Rebaudengo\, Turin (all 2015)\, as well as an up coming group show at LUMA Foundation\, Zü\;rich.

DTEND:20141206 DTSTAMP:20141124T013510 DTSTART:20141031 GEO:40.749177;-74.0058861 LOCATION:Andrea Rosen Gallery 2\,544 West 24th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Group Exhibition\, Bill Bollinger\, John Divola\, Magali Reus UID:360265 END:VEVENT BEGIN:VEVENT DTEND:20141030T200000 DTSTAMP:20141124T013510 DTSTART:20141030T180000 GEO:40.749177;-74.0058861 LOCATION:Andrea Rosen Gallery 2\,544 West 24th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Group Exhibition\, Bill Bollinger\, John Divola\, Magali Reus UID:360266 END:VEVENT BEGIN:VEVENT DESCRIPTION:

&ldquo\;What is a hole?&rd quo\; a clown asked his partner in a ring at the Circus Medrano. Having thu s quite confused the fellow\, he \;wast-ed no time in lording it over him: &ldquo\;a hole\,&rdquo\; he said\, &ldquo\;is an absence surro unded by presence.&rdquo\; For me\, this is an \;example of a perfect definition\, and I will use it to define the object of my interest. A ghost is indeed a hole\; but a hole to \;which are attribut -ed intentions\, a sensibility\, morals\; a hole\, that is\, an absence &nd ash\; but the absence of someone and not \;of something &ndash \; surrounded by presence &ndash\; by the presence of one or several. A gho st is an absent being amidst present \;beings. And it is the p ierced sub-stance that determines the shape of the hole and not the absence which that presence \;surrounds &ndash\; for it is only in je st that some tell of cannons of bygone days that foundry workers made by ta king holes \;and pouring bronze around them &ndash\; when we e ndow ghosts with intentions\, a sensibility\, and morals\, these attributes  \;reside not in the absent beings\, but in the present ones t hat surround the ghosts. This observation will allow us by the \;< em>same token to establish the only reasonable approach to phantasmology.
&ndash\; Rene Daumal\, &ldquo\;The Pataphysics of Ghosts&rdq uo\;

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&ldquo\;As the cyclist awoke one morning from uneasy dreams he found himself transformed in his b ed into a Figure.&rdquo\;

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Together\, these works attempt a sort of speculative portraiture. The se portraits present themselves as so many still lives\, backdrops\, kits\, all on hold\, waiting for a performance that does not come. In playing on the conceptual and rhetorical limits of portraiture\, the works\, instead o f combining signs\, accumulate phantasmagorical residues: textures\, patter ns frozen in repetition\, solid and liquid elements\, objects and substance s that depict presence and absence\, fiction and fact\,positing imagination and memory as nothing more than various states of viscosity.

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Ottavio Bottecchia came to France and with his lim ited French insisted only: &ldquo\;No bananas\, lots of coffee\, thank you. &rdquo\; He rode a bicycle around the entire country\, leading the entire w ay\, clutching a timepiece whose value was only visible to him\, and singin g a song&rsquo\;s refrain: &ldquo\;I have seen the most beautiful eyes in t he world but never as beautiful eyes as yours.&rdquo\; Hidden fixations tra ced a secret course. When he awoke in Toulon\, set to race another day towa rds Nice\, he decided against putting on the yellow leader&rsquo\;s jersey that was a right envied by every other rider\, past and present. From the c rudest of maps\, a red circle showing the path of the 1924 Tour\, minimally contoured\, this stage of the tour has been drawn into a pattern.

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A pattern\, generally a form reserved for sta nding in for content\, stands in instead for a figure\, capable of promptin g an emergence\, yet always ready (perhaps likely) to retreat into the deco rative. This movement is both encouraged and disrupted by the persistent pr esence of a rubbing\, scratching\, busy hand\, entered from somewhere else\ , sensorially sketching out sometime else. Drawing empty\, casting a hole: an absence\, marked by recent presence\, distant use\, a hand\, a scent\, a touch.

The ending of the story should go like this: ju st three years after winning the Tour\, Bottecchia&rsquo\;s body is found b y the roadside near his home\, skull cracked\, collarbone broken. He had ro se at dawn and asked for a bath and some soup to be ready upon his return. Speculation\, false confessions\, conspiracy theories spilled out like bloo d but the mystery is still just that. But these are just stories in the res idues\, a film over the eyes and a sticky moss in the mouths of those still present.

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A map\, a question mark\, a line of runny blood: in this exhibition the contents of the paintings jump to the walls themselves\, allowing frames to emerge wherein the pattern\, huddled amongst other objects (an image of a stage as shown off-stage\, cof fee\, sad bananas\, cups to hold the presence of a hand)\, can also swap th emselves\, stand-in against themselves\, cast holes of themselves. Things a re hidden one-where\, exposed else-where. These lesser bodies in space\, th ey trace together the outlines of a setting\, stand in for a scene\, that r efuses to declare whether it&rsquo\;s the station of arrival\, awaiting its figure &ndash\; a real body\, whether warm or cold &ndash\; or simply anot her staging/restaging of its own site of disappearance\, another ghost.

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Matt Sheridan Smith (born in Red Bank\, New Jersey\, 1980) lives and works in Los Angeles. His recent exhibitions i ncludes Ausstellungsraum Volker Bradtke\, Dusseldorf\, curated by Matt Mora vec and Kyle Thurman (2012)\; Forde\, Geneva\, curated by Vincent Normand ( 2011)\; Contemporary Art Museum St. Louis\, Saint Louis (2011)\; Artspeak\, Vancouver\, curated by Eric Fredricksen (2011)\; List Visual Arts Center\, Cambridge\, Massachusetts (2010)\; Western Bridge\, Seattle (2010)\; NJ Mo CA\, New Jersey (2010)\; Sculpture Center\, New York\, curated by Fionn Mea de (2010)\; Dowd Gallery\, State University of New York\, College at Cortla nd\, Cortland\, New York (2010)\, Para/Site Art Space\, Hong Kong\; Torranc e Art Museum\, Torrance\, California\, Plug in ICA\, Winnipeg\, Manitoba\, Canada (2010)\, curated by Joã\;o Ribas and co-organized by iCI (Inde pendent Curators International)\; Swiss Institute\, New York (2008)\; Video Program by Rirkrit Tiravanija\, Guggenheim Museum\, New York (2007).

DTEND:20141220 DTSTAMP:20141124T013510 DTSTART:20141101 GEO:40.7472381;-74.0051301 LOCATION:Andrew Kreps Gallery @ 535 West 22nd\,535 West 22nd Street \nNew Y ork\, NY 10011 SEQUENCE:0 SUMMARY:kaufmann repetto presents: Cyclist Fig.2 Ep.1\, Matt Sheridan Smith UID:363353 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Andrew Kreps Gallery is pl eased to present \;Animal Mineral Vegetable\, an exhibition fe aturing the work of six artists\, all of whom push their respective mediums beyond conventional constraints. Eschewing well-worn methods\, mediums and rules\, the works included in the show foreground the de/reconstruction of material\, physics\, chemistry and gravity.  \;

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Navid \;Nuur&rsquo\;s work \;cannot be adequately d escribed in terms of sculpture or installation alone. Phenomenological in n ature\, \;the relatively simple structure of his works combined with th e choice of effectively banal everyday materials \;makes up the foundat ion for the bulk of the Nuur&rsquo\;s works. \;Tentacle Thought \;is created from \;the fluorescent light system from the gallery ceiling\, that is partly functional but \;removed from its fixtures an d draped/hung together. Resting in a geometric configuration on the floor\, the sculpture creates a &ldquo\;light-emitting body rather than an object that simply channels light.&rdquo\;  \;

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The sculptures of Swedish artist Nina Canell are made of everyday ma terials such as chewing gum\, wood\, and electrical wiring highlighting the inherent or imminent movement within &ndash\; as well as the danger of the ir own collapse. \; \;Brazilian sculptor \;Erika Verzutti&rsquo \;s works also reference common\, quotidian items like fruits\, vegetables\ , and eggs conflated with ceremonial forms\, such as totems\, tablets\, and gravestones. Imbued with a sense of mysterious ritual\, Verzutti&rsquo\;s sculptural works in the show resemble \;denizens of alternative worlds located somewhere between the real and the fantastic.

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An expansive floor sculpture that takes the form of a huge quilt by Giuseppe Gabellone cuts an undulating path through the gallery li ke a large expanding stream &ndash\; in contrast to the rigid\, white geome try of the gallery\, slowing down the pace of the viewer. \; \;Two bronze wall works by the artist further amplify the relationship between fo rm and space\, as a counterpoint to the soft sculptural expanse.

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American artist Dianna Molzan&rsquo\;s canvases engage in an open and unpredictable dialogue with the history of abstract painting. While Molzan uses a variety of material each painting exhibits a subtle precision in its intention and execution. The works in the show seem disparate and all immigrate beyond the confines of their supports. \;& nbsp\;In contrast\, \;the underlying presence of the grid is the most s triking feature of Leonor Antunes&rsquo\; sculptural pieces based on woven wall hangings by Anni Albers (1899&ndash\;1994). \; \;Although this work appears highly formal\, and measured\, utilizing techniques borrowed from vernacular traditions of craftsmanship\, Antunes&rsquo\; sculptures re veal a floating\, inexplicable language that defies the design of their own making.

DTEND:20141220 DTSTAMP:20141124T013510 DTSTART:20141101 GEO:40.7477457;-74.0063477 LOCATION:Andrew Kreps Gallery @ 537 W. 22nd\,537 W. 22nd St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Animal Mineral Vegetable\, Leonor Antunes\, Nina Canell\, Giuseppe Gabellone\, Dianna Molzan\, Navid Nuur\, Erika Verzutti UID:362550 END:VEVENT BEGIN:VEVENT DTEND:20141101T200000 DTSTAMP:20141124T013510 DTSTART:20141101T180000 GEO:40.7477457;-74.0063477 LOCATION:Andrew Kreps Gallery @ 537 W. 22nd\,537 W. 22nd St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Animal Mineral Vegetable\, Leonor Antunes\, Nina Canell\, Giuseppe Gabellone\, Dianna Molzan\, Navid Nuur\, Erika Verzutti UID:362551 END:VEVENT END:VCALENDAR