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

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DTEND:20150530 DTSTAMP:20150428T020547 DTSTART:20150416 GEO:40.7485947;-74.0041953 LOCATION:303 Gallery\,507 West 24th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:All We Need Is Inside\, Jeppe Hein UID:379473 END:VEVENT BEGIN:VEVENT DESCRIPTION:
3A Gallery is pleased to ann ounce Jef Geys: Some Paintings from Belgium. On view are ten Marti n Douven paintings from the collection of Felipe Perez. \; The exhibit includes ten prints\, on loan from the Columbia University Rare Book and Ma nuscript Library\, depicting the various international contexts of this set of paintings&rsquo\; exhibition history. \; Jef Geys has produced a Kempens Informatieboek for the occasion.
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Jef Geys: Some Paintings from Belgium was made possible by the gen erosity of the Related Group.
DTEND:20150724 DTSTAMP:20150428T020547 DTSTART:20150326 GEO:40.716943;-73.997372 LOCATION:3A Gallery\,179 Canal Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Jef Geys: Some Paintings From Belgium\, Jef Geys UID:374817 END:VEVENT BEGIN:VEVENT DTEND:20150326T200000 DTSTAMP:20150428T020547 DTSTART:20150326T180000 GEO:40.716943;-73.997372 LOCATION:3A Gallery\,179 Canal Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Jef Geys: Some Paintings From Belgium\, Jef Geys UID:374818 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150612 DTSTAMP:20150428T020547 DTSTART:20150415 GEO:40.7762839;-73.9626764 LOCATION:Acquavella Galleries\,18 East 79th Street \nNew York\, NY 10075 SEQUENCE:0 SUMMARY:Off Canvas: From Matisse to Celmins\, Jean-Michel Basquiat\, André Derain\, Richard Diebenkorn\, Jean Dubuffet\, Lucian Freud\, Philip Guston\ , Jasper Johns\, Henri Matisse\, Manolo Millares\, Pablo Picasso\, Robert R auschenberg\, Jean Paul Riopelle\, James Rosenquist\, Ed Ruscha\, David Smi th\, Wayne Thiebaud\, Andy Warhol UID:371310 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150612 DTSTAMP:20150428T020547 DTSTART:20150415 GEO:40.7762839;-73.9626764 LOCATION:Acquavella Galleries\,18 East 79th Street \nNew York\, NY 10075 SEQUENCE:0 SUMMARY:Drawing \, Jacob El Hanani UID:371311 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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

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

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

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

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

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

DTEND:20150530 DTSTAMP:20150428T020547 DTSTART:20150418 GEO:40.7497717;-73.9976946 LOCATION:Alexander and Bonin\,132 10th Ave. between 18th and 19th streets i n Chelsea\nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Running to stand still\, Stefan Kurten UID:379474 END:VEVENT BEGIN:VEVENT DTEND:20150418T200000 DTSTAMP:20150428T020547 DTSTART:20150418T180000 GEO:40.7497717;-73.9976946 LOCATION:Alexander and Bonin\,132 10th Ave. between 18th and 19th streets i n Chelsea\nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Running to stand still\, Stefan Kurten UID:379475 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150516 DTSTAMP:20150428T020547 DTSTART:20150402 GEO:40.74975;-74.003741 LOCATION:Alexander Gray Associates\,508 West 26 Street #215 \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Solo Exhibition\, Joan Semme UID:372922 END:VEVENT BEGIN:VEVENT DTEND:20150402T200000 DTSTAMP:20150428T020547 DTSTART:20150402T180000 GEO:40.74975;-74.003741 LOCATION:Alexander Gray Associates\,508 West 26 Street #215 \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Solo Exhibition\, Joan Semme UID:372923 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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

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

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

DTEND:20150705 DTSTAMP:20150428T020547 DTSTART:20150326 GEO:40.7731765;-73.9814441 LOCATION:American Folk Art Museum\,2 Lincoln Square \nNew York\, NY 10023 SEQUENCE:0 SUMMARY:When the Curtain Never Comes Down\, Bill Anhang\, Anton “The Great Antonio” Barichievich\, Deborah Berger\, Arthur Bispo do Rosário\, Raimundo Borges Falcão\, Leonid Chrol\, Joe Coleman\, Lonnie Holley\, Hans Krüsi\, Marie Lieb\, Charlie Logan\, Raphaël Lonné\, Jean Loubressanes\, Gustav Mes mer\, Eijiro Miyama\, Heinrich Anton Müller\, Fernando Oreste Nannetti\, Va han Poladian\, Melina Riccio\, Martial Richoz\, Rock N Roll\, The Saint Pau l Spiritual Holy Temple\, Palmerino Sorgente\, Giuseppe Versino\, Eugene Vo n Bruenchenhein\, Theodor “Theo” Wagemann\, Adolf Wolfli UID:375231 END:VEVENT BEGIN:VEVENT DTEND:20150326T173000 DTSTAMP:20150428T020547 DTSTART:20150326T103000 GEO:40.7731765;-73.9814441 LOCATION:American Folk Art Museum\,2 Lincoln Square \nNew York\, NY 10023 SEQUENCE:0 SUMMARY:When the Curtain Never Comes Down\, Bill Anhang\, Anton “The Great Antonio” Barichievich\, Deborah Berger\, Leonid Chrol\, Joe Coleman\, Raimu ndo Borges Falcão\, Lonnie Holley\, Hans Krüsi\, Marie Lieb\, Charlie Logan \, Raphaël Lonné\, Jean Loubressanes\, Gustav Mesmer\, Eijiro Miyama\, Hein rich Anton Müller\, Fernando Oreste Nannetti\, Vahan Poladian\, Melina Ricc io\, Martial Richoz\, Rock N Roll\, Arthur Bispo do Rosário\, Palmerino Sor gente\, The Saint Paul Spiritual Holy Temple\, Giuseppe Versino\, Eugene Vo n Bruenchenhein\, Theodor “Theo” Wagemann\, Adolf Wolfli UID:375232 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Andrew Kreps Gallery is pl eased to present its third solo exhibition with Jamie Isenstein\, entitled& nbsp\;Para Drama. The works in the show explore Isenstein&rsquo\;s continued interest in the mercurial nature of truth\, illusion\, the self\ , the body and performance as seen through the window of a haunted house.&n bsp\;

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In the lingo of the ghost hunte rs\, the term \;para-drama \;is sometimes used to describe the annoyance created when some paranormal investigators enact fake spirit activity often for spectacle on television. But in this world where no one has scientific proof to backup their research\, who can say what has been faked and what has not? The exasperation created by this problem has led to terrible infighting in the community\, as different groups accuse each oth er of faking evidence and using claptrap gear. It is a slippery slope betwe en believer and non-believer when those who swear they saw a ghost have to use enhancing gear and theatrical conventions such as darkened lighting to convince others of their claims.

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Isen stein has used the disorientation of the \;para-drama \;as a starting point for work in the exhibition. Much of the work in the show straddles this line between suspension of disbelief and attempts at a trans parency and truth. In the \;sculpture/performance \;Mechanical Bed\, \;2015\, the acts of leaving and coming are made apparent in the shifting of sheets and covers by an unseen actor. \; \;The bed appears to make and unmake itself as if a ghost sleeps here. The title ref ers to a famous 18th \;century automaton\, the "Mechanical Turk" that a pparently played chess with a human opponent. Eventually\, it was revealed that a small chess master inside the case operated the figure. \;As wit h \;Mechanical Bed\, 2015\, the works in the exhibition also r uminate on the paradoxes of creating presence from absence\, and vice versa . \;Ghost Clothes\, \;2014\, \;represents \;the tr aditional Halloween costume - a hokey bed sheet with eyes cut in the center - suggesting a present figure is actually absent &ndash\; or an absent fig ure present. \; \;But here the white ghost costume is hung flat on a white gallery wall so that it camouflages and disappears. Only the eyehol es remain like a mask. \;

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Like th e protean body of a ghost\, the work in this exhibition often suggests dise mbodied body parts that morph and change and take on lives of their own. In a corner of the gallery\, gloved hands seem to cast a spell on an invisibl e subject sitting in a chair. Lying on pillows on the floor are harlequin m asks that spew fire from their eyes or mouth like fire-eaters or deranged c ircus performers. \; And on the wall are a series of photographs of mas ks wearing masks. By putting on masks the support masks become anthropomorp hized into faces so that these inanimate objects come alive. At the same ti me\, the layering of these masks emphasizes their emptiness. Behind the ill usions there is nothing. \;Absurdly\, the more masks the masks wear\, t he deeper the layering of nothingness becomes. \; \;Onions \, 2015\, is a sculpture of many masks layered over the hollow head of a ma scot costume. The title of the work refers to a monologue in the Henrik Ibs en play \;Peer Gynt \;in which Peer peels away the layers of an onion as he examines the various roles he has played in his life. Eve ntually he comes to realize there is nothing substantial at the core.

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Jamie Isenstein has had solo exhibitions a t the Hammer Museum in Los Angeles and more recently at the Douglas F. Cool ey Memorial Art Gallery at Reed College in Portland. Her work was recently featured in \;Pratfall Tramps \;at the Atlanta Contemporar y Art Center. She has also exhibited her work at CCA Wattis Institute for C ontemporary Arts\, San Francisco\, P.S.1 Contemporary Art Center\, Long Isl and City\, the Manchester International Festival\,UK and Tate Liverpool\, U K.

DTEND:20150502 DTSTAMP:20150428T020547 DTSTART:20150402 GEO:40.7477457;-74.0063477 LOCATION:Andrew Kreps Gallery @ 537 W. 22nd\,537 W. 22nd St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Para Drama\, Jamie Isenstein UID:379232 END:VEVENT BEGIN:VEVENT DTEND:20150402T200000 DTSTAMP:20150428T020547 DTSTART:20150402T180000 GEO:40.7477457;-74.0063477 LOCATION:Andrew Kreps Gallery @ 537 W. 22nd\,537 W. 22nd St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Para Drama\, Jamie Isenstein UID:379233 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150523 DTSTAMP:20150428T020547 DTSTART:20150416 GEO:40.7463808;-74.007077 LOCATION:Anton Kern Gallery\,532 West 20th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Solo Exhibition\, David Shrigley UID:379476 END:VEVENT BEGIN:VEVENT DTEND:20150416T200000 DTSTAMP:20150428T020547 DTSTART:20150416T180000 GEO:40.7463808;-74.007077 LOCATION:Anton Kern Gallery\,532 West 20th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Solo Exhibition\, David Shrigley UID:379477 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Dioramas and miniatures are us ed in the field of architecture to preview a vision\, in cinema to create a fabricated world\, and in workshops as a means for children to process tra umatic events. There are many uses for small scale representations of our r eality\, and artists have long adopted model-making in their own exploratio ns. The artworks in this exhibition move beyond a simple recreation of what surrounds us\, creating optical illusions and pieces of wonderment that ma ke viewers look twice.

At first glance\, miniature views of cu rrent social realities may appear like child&rsquo\;s play. But what do dio ramas and miniatures reveal about the psychological impact on artists today ? Does the process of making something small allow the artist to feel a cer tain amount of control? Or does the nearly manic time commitment necessary to recreate day-to-day situations in a small scale tell us something else a bout the psyche of the creator? Feel Big Live Small explores diora mas and miniatures as well as our fascination with all things small\, both as a technical feat and a psychological relationship.  \;

DTEND:20150516 DTSTAMP:20150428T020547 DTSTART:20150319 GEO:40.719022;-74.004432 LOCATION:Apexart\,291 Church Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Feel Big Live Small\, Kathleen Gerber\, Lori Nix\, Matthew Albanese \, Citizen Brick\, Thomas Doyle\, Joe Fig\, Idan Levin\, Kendal Murray\, Se rial Cut\, Tracey Snelling\, Daisy Tainton UID:375237 END:VEVENT BEGIN:VEVENT DTEND:20150318T200000 DTSTAMP:20150428T020547 DTSTART:20150318T180000 GEO:40.719022;-74.004432 LOCATION:Apexart\,291 Church Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Feel Big Live Small\, Matthew Albanese\, Citizen Brick\, Serial Cut \, Thomas Doyle\, Joe Fig\, Kathleen Gerber\, Idan Levin\, Kendal Murray\, Lori Nix\, Tracey Snelling\, Daisy Tainton UID:375238 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Feel Big Live Small is an exploration of our fascinati on with all things small\, both as a technical feat and a psychological rel ationship through the lens of dioramas and miniatures.

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The featured works of 10 artists and collectives tour viewers through t he intricate and sometimes odd worlds of their creators. \;

DTEND:20150516 DTSTAMP:20150428T020547 DTSTART:20150319 GEO:40.719022;-74.004432 LOCATION:Apexart\,291 Church Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Feel Big Live Small\, Matthew Albanese\, Citizen Brick\, Thomas Doy le\, Joe Fig\, Idan Levin\, Kendal Murray\, Lori Nix & Kathleen Gerber\, Se rial Cut\, Tracey Snelling\, Daisy Tainton UID:375295 END:VEVENT BEGIN:VEVENT DTEND:20150318T200000 DTSTAMP:20150428T020547 DTSTART:20150318T180000 GEO:40.719022;-74.004432 LOCATION:Apexart\,291 Church Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Feel Big Live Small\, Matthew Albanese\, Citizen Brick\, Serial Cut \, Thomas Doyle\, Joe Fig\, Lori Nix & Kathleen Gerber\, Idan Levin\, Kenda l Murray\, Tracey Snelling\, Daisy Tainton UID:375296 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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

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

DTEND:20150614 DTSTAMP:20150428T020547 DTSTART:20150301 GEO:42.907359;-74.572002 LOCATION:Arkell Museum\,2 Erie Boulevard \nCanajoharie\, NY 13317 SEQUENCE:0 SUMMARY:The Artist Revealed: Artist Portraits and Self-Portraits\, Milton A very\, Chuck Close\, Leonard Baskin\, Edward Steichen\, Norman Rockwell\, A nders Zorn UID:371314 END:VEVENT BEGIN:VEVENT DTEND:20150301T170000 DTSTAMP:20150428T020547 DTSTART:20150301T123000 GEO:42.907359;-74.572002 LOCATION:Arkell Museum\,2 Erie Boulevard \nCanajoharie\, NY 13317 SEQUENCE:0 SUMMARY:The Artist Revealed: Artist Portraits and Self-Portraits\, Milton A very\, Leonard Baskin\, Chuck Close\, Norman Rockwell\, Edward Steichen\, A nders Zorn UID:371315 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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

DTEND:20150618 DTSTAMP:20150428T020547 DTSTART:20150301 GEO:42.907359;-74.572002 LOCATION:Arkell Museum\,2 Erie Boulevard \nCanajoharie\, NY 13317 SEQUENCE:0 SUMMARY:From House Pets to Endangered Species: Prints and Drawings by Beth Van Hoesen\, Beth Van Hoesen UID:377223 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Art in General is pleased to p resent Figures\, a New Commission with Matt Lipps in the Storefron t Project Space.

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Matt Lipps&rsquo\; a rtistic practice speaks to a sense of longing when confronted by most photo graphs&mdash\;a longing for the lost object or moment abstracted by the cam era\, when corporeal and temporal experiences are flattened into static\, s ilent images. His process involves re-shooting cut-out and staged images so urced from iconic publications such as Horizon magazine\, the Time-Life series\, and Ansel Adams coffee table books. Lipps creates a nachronistic associations\, recontextualizing analog black and white photog raphy using collage tactics that reference contemporary digital imaging. Hi s strategies of appropriation call attention to the practice of photography itself\, embedding layers of reproduction within each print.

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The relationship between photography and sculpture \, and the limitations of each\, is central to Lipps&rsquo\; practice: how each promises what the other fails to provide. Photography can deliver an i nstantaneous\, multi-view perspective\, but it omits broader context and la cks true physicality in space. Sculpture offers this visceral experience\, but resists a holistic view&mdash\;requiring a body in motion\, objects are continuously hidden and revealed as the surrounding landscape shifts with each step. Lipps&rsquo\; photographic reproductions of sculpture heighten a n awareness of this absence of location and the loss of one&rsquo\;s own bo dy in relation to the figure-in-the-round.

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Lipps&rsquo\; photographs create complex spatial relationships not on ly between the collaged elements within each piece\, but also in response t o the conditions of exhibition. For Art in General&rsquo\;s storefront gall ery\, the artist has created an installation of three large-scale works\, e ach collapsing and enlarging documentation of figurative sculptures from th e canon of Art History. The glassed-in project space further flattens persp ective while simultaneously revealing a sculptural presentation\, reinforci ng the tension between two and three dimensions. The works act as surrogate s for performers in their content\, size\, and uprightness\, and a theatric al curtain acts as a color field backdrop in each one\, underscoring the di splay as a window proscenium. Critically examining photography from both fi ne art and mass media sources\, Lipps reveals how these images have reflect ed and shaped our culture\, and the ways in which the mass-distributed phot ograph can be invested with the deeply personal: a desire to locate these i mages within intimate settings.

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Matt Lipps received his MFA from the University of California\, Irvine in 2004\, and he is currently an assistant professor of art at San Francisco State University. Lipps&rsquo\; work has been part of LAXART&rsqu o\;s billboard project in Los Angeles (2011) and the Museum of Photographic Arts (MOPA)\, San Diego&rsquo\;s annual peer-nominated Staking Claim: A California Invitational (2013). His works have also been exhibited a t institutions such as the Utah Museum of Contemporary Art (2012)\, the Los Angeles County Museum of Art (2012)\, and the FOAM Museum\, Amsterdam (201 4). Upcoming exhibitions in New York include Under Construction: New Po sitions in American Photography at Pioneer Works and Matt Lipps: L ibrary at James Danziger Gallery. The artist lives and works in San Fr ancisco.

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General Support of Art in General is provided by General Hardware Manufacturing Inc.\; the Institute of Museum and Library Services\; the Lambent Foundation\; th e New York State Council on the Arts with support of Governor Andrew Cuomo and the New York State Legislature\; Ruth Ivor Foundation\; The Greenwich C ollection\; Milton and Sally Avery Arts Foundation\; Toby D. Lewis Donor Ad vised Fund of the Jewish Federation of Cleveland\; the William Talbott Hill man Foundation\; and by individuals. This program is also supported\, in pa rt\, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.

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The New Commissions Program is made possible by the Andy Warhol Foundation for the Visual Arts\; Trust for Mutual Understanding\; Na tional Endowment for the Arts\; and Jerome Foundation. Support has also bee n provided by Commissioners&rsquo\; Circle leaders Jeffery Larsen and Josep h Bolduc\; Commissioners&rsquo\; Circle supporters Sandra Ho and Jang Kim\, and Cher Lewis\, and Commissioners&rsquo\; Circle members Roya Khadjavi-He idari\, Mary Lapides\, Richard Massey\, Ron and Lucille Neeley\, and Leslie Ruff.

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Additional special support pro vided by ROOT Studios.

DTEND:20150502 DTSTAMP:20150428T020547 DTSTART:20150303 GEO:40.718124;-74.001856 LOCATION:Art in General\,79 Walker Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Figures\, Matt Lipps UID:375190 END:VEVENT BEGIN:VEVENT DTEND:20150303T200000 DTSTAMP:20150428T020547 DTSTART:20150303T180000 GEO:40.718124;-74.001856 LOCATION:Art in General\,79 Walker Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Figures\, Matt Lipps UID:375191 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This exhibition surveys the wo rk of German filmmaker and writer Hito Steyerl\, focusing particularly on t he artist's production from 2004 onwards. Over this period Steyerl&rsquo\;s films\, essays and lectures have uniquely articulated the contemporary sta tus of images\, and of image politics. Central to her work is the notion th at global communication technologies &ndash\; and the attendant mediation o f the world through circulating images &ndash\; have had a dramatic impact on conceptions of governmentality\, culture\, economics and subjectivity it self.

Hito Steyerl presents eight existing works and o ne new commission within an exhibition design conceived by the artist and h er team. The exhibition spans both Artists Space venues and also encompasse s a program of talks and screenings\, and an online aggregation of Steyerl& rsquo\;s writing.

Steyerl studied documentary filmmaking\, and her essay films of the 1990s address issues of migration\, multiculturalism and globalization in the aftermath of the formation of the European Union. Her films November (2004) and Lovely Andrea (2007) mark a move towards the extrapolation of the essay form as an open-ended means o f speculation. They locate representations of herself and her friend Andrea Wolf as object lessons in the politics played out within the translation a nd migration of image documents. Steyerl&rsquo\;s prolific filmmaking and w riting has since occupied a highly discursive position between the fields o f art\, philosophy and politics\, constituting a deep exploration of late c apitalism&rsquo\;s social\, cultural and financial imaginaries. Her films a nd lectures have increasingly addressed the presentational context of art\, while her writing has circulated widely through publication in both academ ic and art journals\, often online.

The exhibition begins at Art ists Space Exhibitions with Red Alert (2007)\, an installation tha t succinctly collapses many of the concerns active in Steyerl&rsquo\;s work . Three vertically-oriented monitors each show the same solid red shade. Th e monochrome three-screen film provides a humorous &ldquo\;new-media&rdquo\ ; take on Alexander Rodchenko&rsquo\;s triptych of paintings Pure Colou rs: Red\, Yellow and Blue (1921)\, an artwork that has been interprete d as both the &ldquo\;end of art&rdquo\; and the &ldquo\;essence of art.&rd quo\; Also referencing the terror alert system introduced by Homeland Secur ity in the wake of 9/11\, Red Alert signifies\, in Steyerl&rsquo\; s words\, &ldquo\;the end of politics as such (end of history\, advent of l iberal democracy) and at the same time an era of &lsquo\;pure feeling&rsquo \; that is heavily policed.&rdquo\;

These &ldquo\;politics of th e monochrome&rdquo\; are carried further into the scenography of the exhibi tion. The films Guards (2012) and In Free Fall (2010) are located in labyrinthine &ldquo\;black-box&rdquo\; spaces that take the vie wer from the claustrophobia of a padded corridor\, to first-class airline l uxury\; whereas Liquidity Inc. (2014) is installed in a space bath ed in aquatic blue light. As with the majority of Steyerl&rsquo\;s films\, these works extend from research conducted through interviews and the accum ulation of found visual material\, and move between forensic documentary an d dream-like montage. Guards\, produced at the Art Institute of Ch icago\, centers on conversations with museum security staff with previous m ilitary or law enforcement careers. Their descriptions of tactics and strat egy point to the museum as a site of militarization and privatization\, and to their contradictory position between visibility and invisibility within a space of pure affect and sensation. In Free Fall takes as a cen tral motif an aircraft graveyard in the Californian desert\, and builds aro und the biographies of objects and materials held there a web of connection s between economic crash\, the volatility of the moving-image industry\, an d the spectacularization of crisis. Steyerl&rsquo\;s most recent film\, Liquidity Inc.\, treats as dual subjects the figure of Jacob Wood\, a former investment banker turned MMA fighter\, and water\, in all its mutab le physical and metaphorical states.

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The exhibition continues at Artists Sp ace Books &\; Talks\, with November and Lovely Andrea shown consecutively in the basement space. Steyerl&rsquo\;s teenage friend Andrea Wolf\, who became a martyr of the Kurdish liberation movement when k illed in Ç\;atak\, Turkey in 1998\, serves as a driving force underly ing both works. Steyerl develops a reflexive investigative approach in thes e two films\, in which she documents her journeys in tracing the circulatio n of particular images and strands of information. This approach positions her own body and subjectivity\, alongside that of Wolf\, between primary do cuments and allegorical sites &ndash\; at which complex flows of desire\, c ontrol and capital intersect.

Such an approach is also evident in three lecture-based works exhibited on the ground floor. In recent years Steyerl&rsquo\;s practices as filmmaker and writer have intersected in the se works\, that begin as public lectures given by the artist and then find a second form in their documentation and presentation both online and in ex hibitions. They are distinctive in placing Steyerl center stage &ndash\; as investigative voice\, as image &ldquo\;body\,&rdquo\; as subject and objec t &ndash\; and catalyze theoretical speculation with their use of visual an d linguistic cues. I Dreamed a Dream (2013)\, Is the Museum a Battlefield? (2013) and Duty Free Art (2015) depart from expe riences the artist recounts\, that blur the lines between fact and fiction. Particularly present in these works are Steyerl&rsquo\;s visits to Kurdist an and to the site of Andrea Wolf&rsquo\;s murder\, which have brought Stey erl in contact with the current humanitarian crisis in the region\, stemmin g from military actions in Syria.

Duty Free Art is a n ew lecture\, presented for the first time at the opening of this exhibition . It builds a thread of connections between leaked emails from Syrian gover nment accounts\, and the growing phenomenon of the &ldquo\;freeport&rdquo\; &ndash\; storage facilities where millions of dollars of artworks are held without incurring taxes. As concentrated sites of the dialectics apparent in Steyerl&rsquo\;s films and writing\, her lectures articulate the notion of the artist as performing image\, as producer and as circulator. Steyerl has coined the term &ldquo\;circulationism&rdquo\; in order to describe a s tate that is &ldquo\;not about the art of making an image\, but about post- producing\, launching\, and accelerating it.&rdquo\;

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This exhibition is supported by the Friends of Artists Spac e\; the Graham Foundation for Advanced Studies in the Fine Arts\; and the < em>Hito Steyerl Exhibition Supporters Circle: Andrew Kreps Gallery\, E leanor Cayre\, Nion McEvoy\, and the Goethe-Institut New York.

W ith thanks to David Riff for the co-design of the exhibition\, Christoph Ma nz for technical direction\, Wilfried Lentz\, Andrew Kreps\, Alice Conconi\ , and Micha Amstad.

DTEND:20150524 DTSTAMP:20150428T020547 DTSTART:20150308 GEO:40.7215609;-74.002266 LOCATION:Artists Space: Exhibitions\,38 Greene St. 3rd Floor\nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Solo Exhibition\, Hito Steyerl UID:375182 END:VEVENT BEGIN:VEVENT DTEND:20150307T200000 DTSTAMP:20150428T020547 DTSTART:20150307T180000 GEO:40.7215609;-74.002266 LOCATION:Artists Space: Exhibitions\,38 Greene St. 3rd Floor\nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Solo Exhibition\, Hito Steyerl UID:375183 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The five sculptures on view in the Asia Society Visitor Center come from the Asia Society Museum Collecti on of Asian and Asian American art.

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T he historical Buddha\, often called Sakyamuni (&ldquo\;Sage of the Sakyas&r dquo\;) in later times\, was born into an elite family of the Sakya clan\, whose territory lay on what is now the border between northeastern India an d Nepal. Traditionally\, the date of his birth was believed to be 563 BCE\, but some sources suggest that he was born as much as a century later.

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Buddhism began to spread dramatically mor e than a century after the historical Buddha&rsquo\;s death. A Sri Lankan c hronicle compiled in the sixth century CE records that the Indian emperor A shoka (reign ca. 268&ndash\;232 BCE) sent missionaries to the &ldquo\;land of gold\,&rdquo\; which scholars believe was in Southeast Asia. The mission aries\, as well as Indian and Sri Lankan traders and scholars\, brought Bud dhism and its teachings and imagery with them to kingdoms of Southeast Asia . By the seventh century\, Buddhism was a major religious force across both South and Southeast Asia\, and travel and exchange among these countries f lourished for centuries after.

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The sc ulptures on view include Indian Buddha images from the Gupta and Pala perio ds\, which had major stylistic influence on the Buddhist artistic productio n of Southeast Asia\, as well as an example from the primarily Buddhist cou ntries that are present-day Myanmar and Thailand.

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This installation coincides with the exhibition Buddhist A rt of Myanmar\, on view in the second and third floor galleries from F ebruary 10 through May 10\, 2015.

DTEND:20150519 DTSTAMP:20150428T020547 DTSTART:20150210 GEO:40.7700155;-73.9644801 LOCATION:Asia Society Museum\,725 Park Avenue at 70th Street\nNew York\, NY 10021 SEQUENCE:0 SUMMARY:South and Southeast Asian Sculpture from the Asia Society Museum Co llection UID:373193 END:VEVENT BEGIN:VEVENT DTEND:20150210T180000 DTSTAMP:20150428T020547 DTSTART:20150210T110000 GEO:40.7700155;-73.9644801 LOCATION:Asia Society Museum\,725 Park Avenue at 70th Street\nNew York\, NY 10021 SEQUENCE:0 SUMMARY:South and Southeast Asian Sculpture from the Asia Society Museum Co llection UID:373194 END:VEVENT END:VCALENDAR