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RAW BEAUTY

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Bradley Theodore and Antoine Verglas

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June 11 through July 31\, 2015

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New York\, NY - \;ACA Galleries is pleased to announce i ts forthcoming exhibition\, RAW BEAUTY: Bradley Theodore and An toine Verglas\, on view June 11 through July 31\, 20 15. \; The focus of the exhibition is a collaborative series between ce lebrated artist Bradley Theodore and renowned photographer Antoine Verglas that combines the excitement of street art with the sensuality of fashion p hotography. \; The canvasses for the project are internationally acclai med models painted by Theodore and then captured on camera by Verglas.  \; In addition to the collaboration series the exhibition at ACA Galleries will feature individual paintings by Theodore and photographs by Verglas.&n bsp\;

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Fashion models wear beauty everyday\, what better canvas for art in its purest form than the human bod y. \; I teamed up with my friend Antoine Verglas\, whose work I respect greatly\, to combine our worlds and create an exhibit that highlights both my painting and his photography in a way that is unique and provocative.

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- Bradley Theodore

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When Bradley and I decided to work on this project we want ed to bring art to life and then capture that moment in photos. \; This was the perfect way to do that. \; We used fashion models to create a living piece of art that can be captured in that moment with movement chang ing the piece with each pose. \; Bradley&rsquo\;s creations were genius and the models were stunning and a pleasure to work with.

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- Antoine Verglas

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When I was asked to be part of this project I jumped at the chance. & nbsp\;I have worked with Antoine before and I am a great admirer of Bradley 's art. \; It was an amazing experience to be able to project Bradley's art\, with my body\, in a variety of emotional poses for Antoine photograp hy.

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- Han a Nitsche\, supermodel

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\n< p style="text-align: justify\;">Born on the island of Turks &\; Caicos\,  \;Bradley Theodore \; lives in New York City and has become an integrated part of the art scene. \; Dedicated to making his art accessible for all to see in the streets of international cities li ke New York\, London\, Los Angeles\, Oslo and Paris\, his iconic subjects\, painted in bright colors\, have become his signature style. A documentary film on Theodore&rsquo\;s life and art is currently being produced by ASSEM BLY9 and will be released later this year. \; Theodore will also be par ticipating in the exhibition program for FRIDA KAHLO: Art\, Garden\, Li fe at the Bronx Botanical Garden on view May 16 through November 1\, 2 015.

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Born in Paris\, Antoine Verglas \;is a New York City based photographer who gained pop ular acclaim for his uninhibited documentary-style fashion photographs of c elebrities and supermodels including Halle Berry\, Naomi Campbell\, \;C indy Crawford\, Penelope Cruz\, Angelina Jolie\, Claudia Schiffer \;and Stephanie Seymour\, among others. \; His photography has appeared in m ajor publications including Elle\, Harper&rsquo\;s Bazaar \, Esquire\, GQ\, Maxim\, Sports Illustrated and Vogue\, among others. \; Verglas has published two b ooks of his photography: SHOWGIRL (2011) and Untitled (2013).< /em>

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DTEND:20150731 DTSTAMP:20150731T051230 DTSTART:20150611 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:Raw Beauty\, Antoine Verglas\, Bradley Theodore UID:384523 END:VEVENT BEGIN:VEVENT DTEND:20150611T200000 DTSTAMP:20150731T051230 DTSTART:20150611T180000 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:Raw Beauty\, Bradley Theodore\, Antoine Verglas UID:384524 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Aicon Gallery \;is prou d to present \;Uncanny Space\, an exhibition of new works by \;Abir Karmakar dealing with issues of voyuerism\, privacy and paranoia in a post-Edward Snowden world. A world w here one man disrupted his life to give us a voyeur's vantage into institut ionalized voyeurism by the state. But also a world where that vantage may b e on the path to obsolescence\, as people on the inner \;sides of keyho les throw open their doors and share their most private moments with the wo rld in graphic detail\, voluntarily and for no apparent gratification other their own desire to exhibit. This is the world that Abir Karmakar inhabits - in life\, in his head and through his paintings - in his Uncanny Space.& nbsp\;

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 \;Paintings from Karmakar's newest body of work take his audience into confidence. He is no longer giving us a script\, but inst ead urging us to write it ourselves. The quiet of seemingly ordinary scenes has a lingering disquiet as the viewer witnesses them not through the fram e of natural vision but through the filter of a camera lens. Why is there a camera spying on domestic idyll? Is it because we are no longer confident of ourselves? Can we not be assured of normalcy in our homes and in our liv es without the reassurance of an electronic eye conveying the far away scen e to us? But is that really reassurance? Can disquiet and danger lie right outside the frame?
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We live in a world where we need a selfie to p rove our very presence\; where joy\, anger\, curiosity and knowledge all ne ed visual validation. It is world where we will risk voyeurism by unwanted eyes\, whether of the state or of digital paparazzi\, in order to preserve an image on the cloud. In this world of hyper documentation\, Abir Karmakar drags and drops us on the very thin edge between real and unreal. A step b ackwards and we are no better than the state which doesn't respect the priv acy of its citizens. A step forward and we are the meat upon which voyeuris tic sharks feed. But right where Abir Karmakar has us\, we are suspended in -between\, with only our imaginations to help us.

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Abir Karmakar was born in Siliguri\, I ndia in 1977. He studied at the Faculty of Fine Arts\, M.S. University\, Ba roda (2003)\, where he was awarded the Gold Medal for Fine Art\, Painting\, and at B.V.A. Rabindra Bharati University\, Kolkata (2001). He now lives a nd works in Baroda\, India. He has exhibited widely in India - De Tour at G allery 88\, Mumbai (2005)\, Fusion at Baya ABS Gallery\, Baroda (2004)\, Bi rla Academy of Arts and Culture\, Kolkata (2003). His previous solo exhibit ions include Interiors\, Galerie Heike Curtze\, Berlin (2006) and from my p hoto album\, The Museum Gallery\, Mumbai (2005).
DTEND:20150905 DTSTAMP:20150731T051230 DTSTART:20150723 GEO:40.7268368;-73.9929619 LOCATION:AICON GALLERY - New York\,35 Great Jones Street \nNew York\, NY 10 012 SEQUENCE:0 SUMMARY:Uncanny Space\, Abir Karmakar UID:390310 END:VEVENT BEGIN:VEVENT DTEND:20150723T200000 DTSTAMP:20150731T051230 DTSTART:20150723T180000 GEO:40.7268368;-73.9929619 LOCATION:AICON GALLERY - New York\,35 Great Jones Street \nNew York\, NY 10 012 SEQUENCE:0 SUMMARY:Uncanny Space\, Abir Karmakar UID:390311 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Alexander Gray Associates pres ents Vera Paints a Rainbow\, an exhibition of artworks by Vera Neu mann (b.1907\, Stamford\, CT &ndash\; d.1993\, North Tarrytown\, NY)\, crea ted between the 1960s and 1980s. The presentation focuses on the artist&rsq uo\;s use of color as means to express emotions through compositions charac terized by a colorful palette. The works on view\, organized following the rainbow spectrum&mdash\;red\, orange\, yellow\, green\, blue\, indigo and v iolet&mdash\;emphasize Neumann&rsquo\;s rich use of color\, which in her wo rds\, &ldquo\;is a marvelous way of expressing emotion.&rdquo\;

Neumann loved color. She often opted for warm tones\, with a particular p enchant for yellow and orange. As she used to say\, &ldquo\;Color sings to me&hellip\;[it] is the language I speak best.&rdquo\; Her artwork is define d by single gestures that convey maximum expression by employing few\, yet visually strong tones. Among Neumann&rsquo\;s motifs are stylized florals\, abstract color fields\, and avant-garde geometrics rendered in singular co mbinations. When designing\, she stated\, &ldquo\;If you have too many colo rs\, you could very easily get tied down to just one color scheme that can& rsquo\;t be changed [&hellip\;] I feel I have given people more joy with th e designs I create.&rdquo\;

The exhibition&rsquo\;s title\, Vera Paints a Rainbow
\, alludes to the Vera Company&rsquo\;s promoti onal materials and showrooms\, whose ads from the 1970s featured the taglin e &ldquo\;Vera paints\,&rdquo\; as an ongoing campaign. Every season featur ed a new theme\, from &ldquo\;Vera paints a bunch\,&rdquo\; a cluster of ca rrots\, to &ldquo\;Vera paints suns\,&rdquo\; a recurrent motif in all her collection. As the artist expressed: &ldquo\;I&rsquo\;m a Leo. I&rsquo\;m a sun person.&rdquo\; Neumann&rsquo\;s vivid watercolor paintings and collag es were used on an array of fabrics to create wallpaper\, home linens\, app arel\, and most famously\, her silk scarves. Vera Paints a Rainbow brings together a selection of her artworks representing the solar spectru m\, which became key visual references of mid-century design.

A revolutionary icon of American design and brand development\, dating from the 1950s onwards\, Neumann became one of the most successful female entre preneurs of her time. As writer Stephanie Mansfield wrote\, &ldquo\;When th ey dig up the remains of this land\, known as America\, archaeologists of t he future will undoubtedly come across cultural curiosities of the 20th cen tury that might be mistaken for objects of religious worship: millions of r ainbow-colored relics bearing the name Vera.&rdquo\; Throughout her busines s career Neumann was first and foremost an artist\, whose works translated graphically into everyday objects. She maintained close relationships with her contemporaries in art and design\, sharing similar aesthetics. Among he r closest friends were Alexander Calder\, Joan Miró\;\, and Marcel Br euer. Neumann was an avid traveler\, gathering inspiration from her visits to countries around the world\, including Mexico\, Peru\, China\, Japan\, I ndia\, and Iran\, among others. Neumann&rsquo\;s curiosity and experiences abroad impacted her vision\, palette and understanding of the world. It emb oldened her use of color as a way to communicate happiness. As she once exp ressed\, &ldquo\;We have so many problems in this world\, color brings just a little bit of joy into our lives.&rdquo\;

Vera Neumann gra duated from Cooper Union with a degree in Fine Arts in 1928\, and in the 19 30s attended the Traphagen School of Design. During the 1940s\, she began d esigning placemats with a handmade silkscreen. Neumann&rsquo\;s work as a d esigner indelibly impacted the American visual landscape\, from the Truman White House and inspiring the designer Perry Ellis. In 1972 the Smithsonian National Museum of American History commissioned her to paint the museum&r squo\;s Foucault Pendulum installation\, which was displayed in the Smithso nian's National Museum of American History from 1964 through 1998. Neumann& rsquo\;s designs are represented in the collections of the Museum of Modern Art\, New York\; the Metropolitan Museum of Art\, New York\; The Goldstein Museum of Design\, St. Paul\, MN\; and the Davis Museum at Wellesley Colle ge\, Wellesley\, MA\, among others.

DTEND:20150807 DTSTAMP:20150731T051230 DTSTART:20150709 GEO:40.74975;-74.003741 LOCATION:Alexander Gray Associates\,508 West 26 Street #215 \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Vera Paints a Rainbow\, Vera Neumann UID:387481 END:VEVENT BEGIN:VEVENT DTEND:20150709T200000 DTSTAMP:20150731T051230 DTSTART:20150709T180000 GEO:40.74975;-74.003741 LOCATION:Alexander Gray Associates\,508 West 26 Street #215 \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Vera Paints a Rainbow\, Vera Neumann UID:387482 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Invention of Folk Art
In the early years of the twentieth century\, a group of young\, pivotal American modernists began to equate the straightforwardnes s\, abstracted forms\, and delight in color of early folk art with the new modernist art they had studied in Europe and were pioneering in America. Folk Art and American Modernism
traces the journey of these weatherv anes\, portraits\, decoys\, hooked rugs\, theorem paintings\, and other for ms of folk art from the fishing shacks of the Summer School of Graphic Arts established in Ogunquit\, Maine\, in 1911 to the walls of major art museum s beginning in the 1930s\, and culminating in the establishment of museums such as the Abby Aldrich Rockefeller Folk Art Museum in Colonial Williamsbu rg and the American Folk Art Museum in New York City.

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The exhibition highlights folk art owned\, collected\, and exhibited by such early art-world luminaries as Holger Cahill (curator)\, Edith Halpert (dealer)\, and Juliana Force (first director of the Whitney M useum of American Art)\, and artists Elie Nadelman\, Yasuo Kuniyoshi\, and Charles Sheeler\, among others\, whose own work is shown alongside the folk art that inspired them. In regarding folk art as art and as evidence of a &ldquo\;usable past\,&rdquo\; these trailblazers led their generation in pr eserving a continuous American artistic tradition of which they considered themselves a living part.

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The Ogunqui t Modernists
Elie and Viola Nadelman
Marguerite and William Zor ach
Juliana Force and the Whitney Studio Club
Charles Sheeler Isabel Carleton Wilde
Holger Cahill
Edith Halpert
Ab by Aldrich Rockefeller
Index of American Design
Jean and Howard Lipman

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Organized by the Fenimore Art Museum\, Cooperstown\, New York

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The exhibition is supported in part by Becky and Bob Al exander\, Joyce Berger Cowin\, the David Davies and Jack Weeden Fund for Ex hibitions\, the Leir Charitable Foundations\, public funds from the New Yor k City Department of Cultural Affairs in partnership with the City Council\ , the New York State Council on the Arts with the support of Governor Andre w Cuomo and the New York State Legislature\, and Marvin and Donna Schwartz.

DTEND:20150927 DTSTAMP:20150731T051230 DTSTART:20150718 GEO:40.7731765;-73.9814441 LOCATION:American Folk Art Museum\,2 Lincoln Square \nNew York\, NY 10023 SEQUENCE:0 SUMMARY:Folk Art and American Modernism\, Mary Ann Willson\, Bernard Karfio l\, Elie Nadelman\, Charles Sheeler UID:388187 END:VEVENT BEGIN:VEVENT DTEND:20150718T173000 DTSTAMP:20150731T051230 DTSTART:20150718T103000 GEO:40.7731765;-73.9814441 LOCATION:American Folk Art Museum\,2 Lincoln Square \nNew York\, NY 10023 SEQUENCE:0 SUMMARY:Folk Art and American Modernism\, Bernard Karfiol\, Elie Nadelman\, Charles Sheeler\, Mary Ann Willson UID:388188 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Andrea Rosen Gallery is deligh ted to present EVERYTHINGS\, a three-person exhibition with Hayden Dunham\, Parker Ito and Timur Si-Qin. EVERYTHINGS encompasses sim ultaneously a concept of all information imbued within &ldquo\;everything&r dquo\;\, while suggesting a multiplicity or variant of the concept itself.< /p>\n

Through what feel very much like thre e new and significantly diverse installations\, aesthetic perspectives and material languages\, this exhibition introduces a conceptually expansive ap proach to thinking about and realizing artworks\; exposing a unique potenti al for objects&mdash\;and the experience of objects&mdash\;to be imbued wit h information\, as well as addressing an expanded\, non-linear sense of tim e. Meaning and material are allowed to exist in multiple states at once\, a dvocating the perception of a stagnant object as a moving one&mdash\;as a t ransformative product that communicates\, and is malleable. Together\, Dunh am\, Ito and Si-Qin retain a clear responsibility to how we engage\, and co mmitment to the role of an art object and how those objects move through ti me\, while each possessing such distinct perspectives of what an object can be.

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Hayden Dunham&rsquo\;s work embo dies a process of facilitation\, where objects are conditioned and supporte d through their individual internal transformations. In the same way one wo uld physically augment their body\, paint is here used as an augmentation d evice\, where its weight is supported by a surface\, and its impressions co mmunicate beyond their form in a performance. Likewise\, porcelain drips an d silicon pools become by-products of internal systems\, implicitly active. Circulated through the air vents of the gallery\, and concentrated within each object is GEL&mdash\;a product developed by Dunham that takes on multi ple sensory forms: solid\, liquid and vapor. GEL is the distillation of pro ducts associated with energy&mdash\;a supplement&mdash\;whose activation oc curs through interface within the objects\, space\, and its viewers. While Dunham&rsquo\;s systems are distinct\, these ideas of transformation are em bedded within her parallel creative processes\, where\, like the objects\, a process of conditioning facilitates her own internal conversions and deve lopment of identities and domains.

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In filtrating multiple spaces of the gallery\, Parker Ito&rsquo\;s installatio n builds an information network whose variables&mdash\;material and non-mat erial&mdash\;are transformed and made dynamic with each exhibition. Through an ownership of assimilation\, where all visual information is sourced and accessed to create a comprehensive whole\, Ito&rsquo\;s transformative ins tallations present materially distinct and discrete works that each employ a different strategy. Classical techniques of bronze casting and coil ceram ics are engaged with freeway culture and popular parked domain imagery. Dou ble-sided paintings and self-portrait photographs become referential wormho les\, reflective of the exhibition and object&rsquo\;s history itself. Whil e committed to the role of an object\, Ito&rsquo\;s layering replicates the complexity of our accessibility to information and our world\, and a conti nuous non-static perspective. For Ito\, objects are understood through netw orks\, and here tangled within a web of LED\, chain and rope\, and shown am idst an accumulation of installation remnants\, his work as a hub embodies a dynamic cohesive scape\, whose intricacies are as meaningful as the incom prehensibility of the whole.

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Aiming t o expand our understanding of reality beyond something purely structured by language\, signs and symbols\, Timur Si-Qin&rsquo\;s works suggests a geol ogic perspective of time\, as well as multiple times existing simultaneousl y. Here\, presented as a funerary space\, his works combine the imagery and form of commercial images and display structures with ritualistic display and biological relics. While all objects have a life outside of our relatio nship to them\, Si-Qin explores how objects and forms possess a deep histor y whose morphogenesis is a result of the interactions of culture\, biology and materiality. Whether through an early Homo Sapien fossil rendered in to day&rsquo\;s 3-D printing technology or commercial images specifically used to stimulate ingrained biological reactions\, Si-Qin&rsquo\;s work present s our culture as material itself\, with its own tendencies and capacities t o self organise and form patterns of meaning and discourse.

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While the entropic processes of nature are invisible \, the emotive condition and potential of each of the artist&rsquo\;s works speaks to a new accommodation of our realities\, while still grounded in a n aesthetic tradition and responsibility to materiality.

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Hayden Dunham currently lives and works in New York .
Parker Ito lives and works in Los Angeles.
Timur Si-Qin lives and works in Berlin.

DTEND:20150814 DTSTAMP:20150731T051230 DTSTART:20150702 GEO:40.749185;-74.005023 LOCATION:Andrea Rosen Gallery\,525 W.24th St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Everythings\, Hayden Dunham\, Parker Ito\, Timur Si-Qin UID:389029 END:VEVENT BEGIN:VEVENT DESCRIPTION:

kaufmann repetto is happy to a nnounce Nicola Martini&rsquo\;s first solo exhibition in New York.

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Nicola Martini&rsquo\;s practice is character ized by an intrinsic dualism in which empirical research and ritual coexist .

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Ancestral procedures such as baking \, mixing and melting take Nicola Martini&rsquo\;s work to a sort of ground zero of sculpture\, in which the artist allows the physical properties of the substances to guide the final form of the object (or of the space activ ated by the artist&rsquo\;s intervention) that is almost dictated by the ph ysical characteristics of the materials and their reciprocal interactions.< /p>\n

This cognitive tension\, expressed th rough continuous experimentation\, emerges into a category of thought that is common to different cultures and epochs: the revelation. Revelation to b e interpreted as the vital link between material and idea\, a link through which a chemical process dismantles preexisting paradigms in favor of a new system of understanding\, and a mathematical formula opens the way to meta physical speculation.

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Through his wor ks\, Nicola Martini reveals to himself &ndash\; as well as to the viewer &n dash\; the fundamental relativity of physical and perceptive assumptions. I ncongruous materials such as bitumen of Judea\, shellac\, concrete and colo phony interact to create reactions that change with time\, that generate ph ysical tensions and unstable equilibriums\, which remind us that matter is never static nor inert.

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For his first solo exhibition in New York\, THE SOBER DAY\, Nicola Martini floo ds the gallery space with UV light and belies\, through this simple gesture \, the univocal nature of our visual system of perception.

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Bundled together in the space are a series of p lates of Plexiglas\, whose form mutate according to the degree of tension g enerated by surrounding architecture.

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Moistened with a filtering of shellac and pure alcohol\, the plates are tr ansformed by the fluid penetration within the micropores of the material\, creating a new system of refraction in which the semi-transparent shellac l ayer is back-lit by the mirroring surface. Working as an alchemist\, the ar tist activates a process that allows seemingly incompatible elements to rea ct and reconstruct in a new physical manifestation.

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The shellac is left to react with other elements in the exhi bition\, an engraved glass fiber reinforced concrete plate\, whose tones ch ange according to the absorption of the solution\, as well as the gallery&r squo\;s walls.

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The material itself &n dash\; prompted to react to different microphysical conditions &ndash\; is here manifested in some of its infinite possibilities and the viewer\, abso rbed/submerged in a totalizing work of art\, starts to resonate with matter .

DTEND:20150814 DTSTAMP:20150731T051230 DTSTART:20150625 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: The Sober Day\, Nicola Martini UID:388159 END:VEVENT BEGIN:VEVENT DTEND:20150625T200000 DTSTAMP:20150731T051230 DTSTART:20150625T180000 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: The Sober Day\, Nicola Martini UID:388160 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Andrew Kreps Gallery is please d to present new paintings by Ruth Root\, the New York-based artist&rsquo\; s sixth solo exhibition with the gallery.

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Ruth Root&rsquo\;s new works are two-fold\, encompassing both a design ed and digitally printed fabric and a painted\, shaped Plexiglas element. R oot distills abstraction to its components\, color\, shape\, mark\, and mat erial\, treating each work as its own site of investigation. In some works\ , the painted elements mirror Root&rsquo\;s fabrics. However\, these fabric s maintain their own distinct logic\, allowing for a contrast between digit al repetition and the handmade repetition of paint\, whether it is spray\, airbrush\, or enamel. Utilizing the conventional materials of painting\, so ft fabric\, hard supports\, screws\, and brushstrokes\, Root interchanges t heir understood functions\, creating new forms. \;

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This practice represents simultaneously a departure and c ontinuation of Root&rsquo\;s past works\, which similarly challenged painti ng&rsquo\;s apparatus. In previous works\, Root painted fields of color on ultra-thin aluminum sheeting. Drawing on art historical references\, Root u tilized shape and color to experiment with the ways in which these elements shaped the space around them. Hung flush on the wall as to make their supp ort invisible\, these works inserted themselves into the gallery architectu re and as a result and encompassed the negative space of the wall as part o f the work&rsquo\;s overall composition. Acting in tandem\, these works fun ctioned both to complicate their own influences\, as well as the exhibition space itself. \;

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In addition to the considered spontaneity that characterizes Root&rsquo\;s new works\, the fabric element of Root&rsquo\;s new works mark their largest departure\, a s they allow for the painting&rsquo\;s support to come to the forefront. Cu tting and sewing these into shapes of their own\, which continue or contrad ict the form of the shaped Plexiglas\, the fabric wrap and hold the painted elements through distinct looping methods\, allowing the works to float fr om the wall. Through this\, the paintings perform a reversal\, as they util ize a soft support for a hard surface\, upending conventions of painting. I n turn\, these works exist in a tenuous yet generative balance\, allowing f or a tension that creates a new experience of the works environment. \;

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Ruth Root&rsquo\;s work is the subje ct of forthcoming solo exhibitions including \;Old\, Odd &\; Ova l\, \;at the Aldrich Contemporary Art Museum\, (Ridgefield\, Conne cticut) in 2015\, and 356 S. Mission Road\, (Los Angeles\, California) in 2 016. Her work is currently on view as part of \;New York Painting\,  \;Kunstmuseum Bonn\, (Bonn\, Germany.)  \;Root&rsquo\;s work has previously been presented at \;Dartmouth College\, (Hanover\, New H ampshire)\, The Suburban\, (Oak Park\, \;Illinois \;)\, MoMA \; PS1\,  \;ArtPace\, (San Antonio\, Texas)\, LACMA\, (Los Angeles\, Calif ornia)\, and the Seattle Art Museum.

DTEND:20150814 DTSTAMP:20150731T051230 DTSTART:20150625 GEO:40.7477457;-74.0063477 LOCATION:Andrew Kreps Gallery @ 537 W. 22nd\,537 W. 22nd St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Solo Exhibition\, Ruth Root UID:388161 END:VEVENT BEGIN:VEVENT DTEND:20150625T200000 DTSTAMP:20150731T051230 DTSTART:20150625T180000 GEO:40.7477457;-74.0063477 LOCATION:Andrew Kreps Gallery @ 537 W. 22nd\,537 W. 22nd St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Solo Exhibition\, Ruth Root UID:388162 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Photography was destined t o be involved with death. Reality is in color\, but at its beginni ngs photography always discolored reality and turned it into black and white. Color is life\, black and white is death. A ghost was hiding in the invention of photography.

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- Nobuyoshi Araki\, in an interview with Nan Goldin\, 1995 .

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June 23 &mdash\; Nobuyoshi Araki&rs quo\;s latest exhibition at Anton Kern Gallery\, EROS DIARY\, is comprised of a series of 77 new black and white photographs\, which break from his tr aditional ruminations on eroticism and death to reflect more inwardly on th e artist&rsquo\;s own life and mortality. These photographs highlight an un usual softness and sombre introspection as Araki internalizes recent person al traumatic events including the loss of his beloved cat\, Chiro\, his fig ht with prostate cancer\, and later\, the loss of vision in his right eye.< /p>\n

Each photograph is timestamped in ref erence to the anniversary of Araki's marriage to his wife Yoko\, who died i n 1990. This date also coincides with the Chinese Qixi Festival\, also know n as the Tanabata Festival in Japan\, a celebration of the annual meeting o f &ldquo\;The Cowherd and Weaver Girl\,&rdquo\; an ancient Chinese folktale where two forbidden lovers reunite once a year for a single night. The per sistent repetition of this date speaks at once to both the artist&rsquo\;s reverence for his spouse and original muse\, while also highlighting her ab sence in his life.

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For Araki\, photog raphy itself represents a diary: a record of what happens day to day in his life\, and the act of taking a photograph represents the killing of a mome nt or life\, where his &ldquo\;self&rdquo\; is pulled out through the subje ct. In consequence of this action\, as well as his age\, illness\, and life experience\, the images in EROS DIARY become memorialized\, showi ng us the distinct humanistic truths of joy\, sorrow\, life and death. Thes e images\, which are at times humorous\, sexual\, melancholy\, and reflecti ve\, depict the entire spectrum of life from a personal perspective foresha dowing death.

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With a career spanning six decades\, Nobuyoshi Araki is one of the most prolific photographers of all time\, having published over 400 books and exhibited in over 280 solo s hows worldwide. Born in 1940 in Tokyo\, Araki began his career as a commerc ial photographer\, before making the intensely sexual Kinbaku bond age photographs he became known for. In 1971 he published his seminal book Sentimental Journey\, and in 1991\, Winter Journey\, documenting both the e uphoria of his honeymoon and sadness from his wife&rsquo\;s death. EROS DIARY is Araki&rsquo\;s fourth exhibition at Anton Kern Gallery.

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Recent solo shows include KaoRi Through t he Looking Glass: Photo-Mad Old Man A 2015.5.25 75th Birthday\, Taka Ishii Gallery\, Tokyo\, Japan (2015)\; Love on the Left Eye\, Taka Ishii Gallery\ , Tokyo\, Japan (2015)\; Ojo Shashu - Photography for the After Life: Easte rn Sky\, qARADISE\, Shiseido Gallery\, Tokyo\, Japan\; Ojo Shashu - Photogr aphy for the After Life: Love Journey\, Niigata City Art Museum\, Niigata\, Japan\; Ojo Shashu - Photography for the After Life: Faces\, Skyscapes\, R oads\, Toyota Municipal Museum of Art\, Toyota\, Japan (2015)\; Ojo Shashu - Photography for the After Life: Alluring Hell\, Foam\, Amsterdam\, Nether lands (2014). Recent group shows include In the Wake: Japanese Photographer s respond to 3/11\, Museum of Fine Arts\, Boston\, MA (2015)\; Schlaflos &n dash\; Das Bett in Geschichte und Gegenwartskunst\, Ö\;sterreichische G alerie Belvedere\, 21er Haus\, Vienna\, Austria (2015)\; Conflict\, Time\, Photography\, Tate Modern\, London\, UK (2015).

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The exhibition opens on Thursday\, July 9 and runs until August 7\, 2015. The gallery&rsquo\;s summer hours are Monday through Friday from 6-8pm. For further information and images\, please contact at gallery at 21 2.367.9663 or email: jasmin@antonkerngallery.com.

DTEND:20150807 DTSTAMP:20150731T051230 DTSTART:20150709 GEO:40.7463808;-74.007077 LOCATION:Anton Kern Gallery\,532 West 20th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Eros Diary\, Nobuyoshi Araki UID:388190 END:VEVENT BEGIN:VEVENT DTEND:20150709T200000 DTSTAMP:20150731T051230 DTSTART:20150709T180000 GEO:40.7463808;-74.007077 LOCATION:Anton Kern Gallery\,532 West 20th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Eros Diary\, Nobuyoshi Araki UID:388191 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150807 DTSTAMP:20150731T051230 DTSTART:20150709 GEO:40.7463808;-74.007077 LOCATION:Anton Kern Gallery\,532 West 20th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Back Gallery | Three Black Paintings \, Chris Martin UID:391474 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This exhibition was organized by The Burchfield Penney Art Center at the Buffalo State College\, Buffalo\ , NY

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Charles Burchifeld is best known today for his fantastic watercolor landscapes\, but from November 1921 to August 1929\, he worked at the M. H. Birge &\; Sons Company\, eventually becoming one of their best wallpaper designers. His designs were so highly regarded that they printed his name in the selvage. He based many of his e arly designs on watercolors he had produced in Salem\, Ohio. Later designs were either company determined variations on traditional themes\, or imagin ative designs based on his special view of nature. This exhibition highligh ts works from the collection including color variations of wallpapers produ ced with rollers\, original painted designs for wallpapers and coordinating fabrics known as cretonnes. The exhibition also features panels from the c omplex\, block-printed scenic wallpaper\, Country Life and the Hunt (c. 192 2-1924) that had been removed from its original installation in a home in N ew England\, donated by Gail and John Greenberger in 1999\, and restored by paper conservator Patricia D. Hamm\, with assistance of Eileen Saracino\, James D. Hamm\, and Tracy Dulniak.

DTEND:20150920 DTSTAMP:20150731T051230 DTSTART:20150626 GEO:42.907359;-74.572002 LOCATION:Arkell Museum\,2 Erie Boulevard \nCanajoharie\, NY 13317 SEQUENCE:0 SUMMARY:Surrounded: Sampling Burchfield's Wallpaper\, Charles Burchifeld UID:386142 END:VEVENT BEGIN:VEVENT DTEND:20150626T170000 DTSTAMP:20150731T051230 DTSTART:20150626T100000 GEO:42.907359;-74.572002 LOCATION:Arkell Museum\,2 Erie Boulevard \nCanajoharie\, NY 13317 SEQUENCE:0 SUMMARY:Surrounded: Sampling Burchfield's Wallpaper\, Charles Burchifeld UID:386143 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Artists Space is to pr esent the most comprehensive Tom of Finland survey exhibition to date\, inc luding more than 180 drawings\, gouaches from the 1940s\, over 300 pages of collages\, as well as early childhood works.

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Touko Laaksonen\, aka Tom of Finland (1920\, Kaarina &nda sh\; 1991\, Helsinki)\, is considered to be the most iconic gay artist of t he 20th century. In spite of his global status\, his work\, however\, has o nly been very infrequently presented\, examined or discussed within institu tional and academic contexts.

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A child of teachers\, Tom grew up in rural Fin land. At age 19 he enrolled in a distance learning advertising course. Soon drafted\, he joined the Finnish Army in its fight against the Soviet invas ion. After the war he stayed in Helsinki studying classical piano at the re nowned Sibelius Academy. While at the Academy\, he worked as freelance grap hic designer\, later becoming senior art director at the Helsinki branch of the global ad agency McCann Erickson. In 1973\, after 17 years with the fi rm\, he quit to be able to focus entirely on his own work.

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While living life as an adman in Helsinki\, his g lobal career as gay icon was jumpstarted in 1950's Los Angeles through his ongoing contributions to Bob Mizer's Physique Pictorial. Later Tom became friends with Robert Mapplethorpe\, who in 1980 helped him to get hi s first major gallery exhibition in New York. From the 1970s onwards Tom vi sited the US frequently and while he never permanently resided in the US\, in the last decade of his life he spent equal time between Helsinki and Los Angeles\; it could be argued that there was a distinct Finnish Tom as much as there was a real LA Tom\, but there was always only one Tom of Finland.

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B ecause of Tom of Finland's compound status as artist and pop icon\, his wor k has for many years been admired by artists including the late Mike Kelley \, who in 1988 invited him to speak at CalArts\; Raymond Pettibon\, who bec ame a lifetime supporter of the Tom of Finland Foundation\, as well as Rich ard Hawkins\, who continues to work with the Foundation today.

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Leading exhi bition support provided by:
The Andy Warhol Foundation for the Visual Arts\, through its Curatorial Fellowship Program\; The Robert Mapplethorpe Foundation\; Finnish Cultural Institute in New York\, through its Mobius F ellowship Program\; David Kordansky Gallery\; and Galerie Buchholz
The Tom of Finland Exhibition Supporters Circle:
Philip Aarons & amp\; Shelley Fox Aarons\, Shane Akeroyd\, Beth Rudin DeWoody\, Nicoletta F iorucci (Fiorucci Art Trust\, London)\, Greene Naftali Gallery\, Robert Gob er &\; Donald Moffett\, Mark Grotjahn\, Wade Guyton\, Michaeljohn Horne\ , Robert Longo\, Bjarne Melgaard\, John Morace &\; Tom Kennedy\, Lari Pi ttman\, Jack Shear\, Cindy Sherman\, Brent Sikkema\, Danh Vo\, and Jordan W olfson

Artists Space Exhibitions Program is supported by:
The Friends of Artists Space\; Lambent Foundation Fund of Tides Foundatio n\; Cowles Charitable Trust\; The Horace W. Goldsmith Foundation\; New York City Department of Cultural Affairs in partnership with the City Council\; and the New York State Council on the Arts\, a State Agency.

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\n\n \n Normal\n 0\n \n \n \n \n false\n false\n < w:AlwaysShowPlaceholderText>false\n \n EN-PH\n X-NONE\n X-NONE\n \n \n \n \n \n \n \n \n \n \n \n \n \n MicrosoftInternetExplorer4\n \n \n \n \n \n \n \n \n \n \n \n \n \n DTEND:20150823 DTSTAMP:20150731T051230 DTSTART:20150614 GEO:40.7215609;-74.002266 LOCATION:Artists Space: Exhibitions\,38 Greene St. 3rd Floor\nNew York\, NY 10013 SEQUENCE:0 SUMMARY:The Pleasure of Play\, Tom of Finland UID:386074 END:VEVENT BEGIN:VEVENT DTEND:20150613T200000 DTSTAMP:20150731T051230 DTSTART:20150613T180000 GEO:40.7215609;-74.002266 LOCATION:Artists Space: Exhibitions\,38 Greene St. 3rd Floor\nNew York\, NY 10013 SEQUENCE:0 SUMMARY:The Pleasure of Play\, Tom of Finland UID:386075 END:VEVENT BEGIN:VEVENT DESCRIPTION:

ATLANTIC GALLERY is pleased to present its 2015 National Juried Exhibition of drawings\, opening  \;July 7\,  \;and continuing  \;through Saturday\, August 1\, 2015. \; \; The guest juror is&nb sp\; Faustino Quintanilla\, Executive Director of the \; QCC G allery of the City University of New York. \; A reception for t he artists will be held on Thursday\, July 9\,  \;from 5-8 pm. \;&n bsp\; During the Reception\, Professor Quintanilla will announce the award of a \; 3-person exhibition at Atlantic Gallery to three artists whose work he deems outstanding.

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The twenty artists Prof. Quintanilla has selected represent a diversity of approaches to drawing\, from pure line to full color form\, from traditiona l to experimental. \; Each work selected\, according to Professor Quint anilla\, is a purposeful visual statement in itself\, clear in intent\, and stands alone as the expression of its creator&rsquo\;s unique vision.  \;

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The artists whose works are on display include Bertille de Baudiniere\, Igor Bogojovic\,  \;Scip Bar nhart\, Cheryl \; Brock \, Lizabeth Buckley\, Marjorie Deutsch\, Ben Fe rry\, Kathryn Hart\, Griselda Healey\, Scott Hutchinson\, Barbara Hyman\, G uy Kettlhack\, Benjamin Lyon \, Jean Marcellino\, AJ Nadel\, Leah Raab\, Ja mes Ramage\, Joseph Shepler\, Frank Sofo\,  \; \; \;Takashi Yam ashita

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Atlantic Gallery is located at 548 West 28 Street\, suite 540\, in the Landmark Arts Building in Chelsea\ , Manhattan\, NY 10001. \; \;

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Atlantic Gallery Hours during this special show are Monda y-Saturday 12-6 pm\; with extended hours on Thursdays 6-8 pm.  \; \ ;Works and biographies of the artist - members \; can be seen on the At lantic Gallery website\, www.atlanticgallery.org

DTEND:20150801 DTSTAMP:20150731T051230 DTSTART:20150707 GEO:40.7517031;-74.0040108 LOCATION:Atlantic Gallery\,548 West 28th Street \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Drawing: The Art of Seeing\, Bertille de Baudiniere\, Igor Bogojovi c\, Scip Barnhart\, Cheryl Brock\, Lizabeth Buckley\, Marjorie Deutsch\, Be n Ferry\, Kathryn Hart\, Griselda Healey\, Scott Hutchinson\, Barbara Hyman \, Guy Kettlhack\, Benjamin Lyon\, Jean Marcellino\, AJ Nadel\, Leah Raab\, James Ramage\, Joseph Shepler\, Frank Sofo\, Takashi Yamashita UID:387731 END:VEVENT BEGIN:VEVENT DTEND:20150709T200000 DTSTAMP:20150731T051230 DTSTART:20150709T170000 GEO:40.7517031;-74.0040108 LOCATION:Atlantic Gallery\,548 West 28th Street \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Drawing: The Art of Seeing\, Scip Barnhart\, Igor Bogojovic\, Chery l Brock\, Lizabeth Buckley\, Bertille de Baudiniere\, Marjorie Deutsch\, Be n Ferry\, Kathryn Hart\, Griselda Healey\, Scott Hutchinson\, Barbara Hyman \, Guy Kettlhack\, Benjamin Lyon\, Jean Marcellino\, AJ Nadel\, Leah Raab\, James Ramage\, Joseph Shepler\, Frank Sofo\, Takashi Yamashita UID:387732 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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In the main gallery\, Milstei n\, long known for his images of planes in flight photographed from directl y below\, reverses the perspective in the current images\, offering views o f New York and Los Angeles taken from an altitude of 1\,000 - 2\,000 feet. The distance is far enough that the geometry of the urban streetscape\, inv isible from the ground\, emerges into surprising\, often elegant patterns\, as in the Masonic-inspired layout of the Park La Brea housing development in Los Angeles\, yet close enough that the scenes retain a human feeling\, whether it's the claustrophobia of tiny rectangular houses squeezed next to each other in virtually treeless grids. The images suggest that however ch aotic or inscrutable modern life might appear\, it is tied to age-old patte rns that guide in ways we don't immediately perceive\, but which neverthele ss guide us through our daily routines. \;

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DTEND:20150822 DTSTAMP:20150731T051231 DTSTART:20150709 GEO:40.7502381;-74.0036147 LOCATION:Benrubi Gallery\,521 West 26th Street 2nd floor\nNew York\, NY 100 01 SEQUENCE:0 SUMMARY:LA NY\, Jeffrey Milstein UID:389515 END:VEVENT BEGIN:VEVENT DTEND:20150709T200000 DTSTAMP:20150731T051231 DTSTART:20150709T180000 GEO:40.7502381;-74.0036147 LOCATION:Benrubi Gallery\,521 West 26th Street 2nd floor\nNew York\, NY 100 01 SEQUENCE:0 SUMMARY:LA NY\, Jeffrey Milstein UID:389516 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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In the project space\, Eric C ahan's Data Mining takes its name from marketing research techniques that m easure web users' browsing patterns when they view fine art content online. A museum-goer spends an average of thirty seconds in front of an individua l work of art\, whereas a browser on Instagram or Pinterest spends only eig ht. Images flow past the eye one after another\, throwing into question lon g-held assumptions about the totemic nature of a work of art. Cahan mirrors this blurring process in his photographs\, transforming solarized image of water through a combination of techniques both digital and traditional. Th e resulting images\, luminescent yet opaque\, are as seductive as carnival mirrors\, yet ultimately reflect only the viewer's gaze. Though representat ional\, there silver swirls and bursts of color and shadow are so abstracte d that they challenge our notion of what a photograph actually communicates : a view of an object removed in time and space\, or nothing but the viewer 's assumptions about the image itself. \;

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DTEND:20150822 DTSTAMP:20150731T051231 DTSTART:20150709 GEO:40.7502381;-74.0036147 LOCATION:Benrubi Gallery\,521 West 26th Street 2nd floor\nNew York\, NY 100 01 SEQUENCE:0 SUMMARY:Data Mining\, Eric Cahan UID:389536 END:VEVENT BEGIN:VEVENT DTEND:20150709T200000 DTSTAMP:20150731T051231 DTSTART:20150709T180000 GEO:40.7502381;-74.0036147 LOCATION:Benrubi Gallery\,521 West 26th Street 2nd floor\nNew York\, NY 100 01 SEQUENCE:0 SUMMARY:Data Mining\, Eric Cahan UID:389537 END:VEVENT BEGIN:VEVENT DESCRIPTION:

"I believe we lose immortality because we have not conquered our opposition to death\; we keep insisting on the primary\, rudimentary i dea: that the whole body should be kept alive. We should seek to preserve o nly the part that has to do with consciousness." &ndash\; Adolfo Bioy Casar es\, The Invention of Morel.

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Inspired by Argentinian author Adolfo Bioy Casares&rsquo\; 1940 novel\, The Invention of Morel\, the exhibition M emory Burn explores concepts of presence\, absence\, immortality\, and deat h. The title of the exhibition refers simultaneously to unforgettable visio ns burned in the mind and to digital burning used to archive memories.

DTEND:20150816 DTSTAMP:20150731T051231 DTSTART:20150710 GEO:40.72012;-73.990339 LOCATION:bitforms gallery\,131 Allen Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Memory Burn\, Daniel Canogar\, Exonemo\, Rafael Lozano-Hemmer\, Sar a Ludy\, Sarah Rothberg\, Angela Washko\, Andrea Wolf UID:385119 END:VEVENT BEGIN:VEVENT DTEND:20150710T200000 DTSTAMP:20150731T051231 DTSTART:20150710T180000 GEO:40.72012;-73.990339 LOCATION:bitforms gallery\,131 Allen Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Memory Burn\, Daniel Canogar\, Exonemo\, Rafael Lozano-Hemmer\, Sar a Ludy\, Sarah Rothberg\, Angela Washko\, Andrea Wolf UID:385120 END:VEVENT BEGIN:VEVENT DESCRIPTION:
Blum &\; Poe announces a survey exhibition of sculpture by Swiss-born artist Fran&cc edil\;oise \;Grossen. On view will be works from 1967-1991 including&nb sp\;Cygne \;(1967)\, loaned from the Museum of Arts and Design \, New York and originally shown in the groundbreaking 1969 exhibition  \;Wall Hangings \;at the Museum of Modern Art. This is Grossen 's first solo-presentation with Blum &\; Poe and her first survey in the United States.
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Emerging i n the late 1960s alongside contemporaries such as Eva Hesse\, Sheila Hicks\ , and Lenore Tawney\, Grossen sought to relinquish the traditional tools an d methods of textile and fiber art\, instead utilizing a free-hand braiding and knotting technique allowing for greater freedom and spontaneity in her process. \;Works appear simultaneously weightless and weighted\, both masculine and feminine\, all the while reinforcing their objecthood. \;
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Grossen's knotted an d plaited rope sculptures eschew the four edges that delimited traditional tapestry\, and boldly enter the third dimension by hanging from the ceiling or unfolding directly onto the floor. Grossen pushes beyond this initial r upture with the rectangle and the wall to explore the weight of her materia l and its response to gravity\, an investigation that aligns her art with b roader artistic debates taking place in New York and elsewhere. (Jenelle Po rter\,Fiber: Sculpture 1960-Present \;[Boston: Institute of Co ntemporary Art\, 2014]\, 198) \;

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Having studied architecture and later textile design at Kuns tgewerbeschule Basel and at UCLA with Bernard Kester in the 1960s\, Grossen became keenly aware of her ability to \;bring fiber sculpture into une xpected and experimental realms (hanging from the ceiling\, draped on the g round or over pedestals\, floating in bodies of water).Grossen's interest i n the weight and physical composition of her chosen material is evident in her earliest hanging manila rope sculptures\, \;Study for Embarcade ro \;(1970) and \;Sisyphe \;(1974)\, as well as i n later hand-painted and dyed \;Metamorphosis \;(1987-1990 ) works. Humble materials\, drawn from nature and \;manipulated in the studio\, \;are coaxed into elegantly intertwined and draping forms\, el evating the utilitarian to something extraordinary. \;

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Franç\;oise \;Grossen (b. 1943 in Neuch&aci rc\;tel\, Switzerland) lives and works in New York City. Recent group exhib itions include \;Fiber: Sculpture 1960-Present\, which was hel d at the Institute of Contemporary Art\, Boston and traveled to the Wexner Center for the Arts\, Columbus\, OH and the \;Des Moines Art Center\, D es Moines\, IA \;(2014-2015). Her work is in international public and p rivate collections\, including the Metropolitan Museum of Art\, New York\; the Smithsonian Institution\, Renwick Gallery\, Washington\, DC\; and the S tate Hermitage Museum\, Saint Petersburg\, Russia. \;

DTEND:20150815 DTSTAMP:20150731T051231 DTSTART:20150604 GEO:40.768329;-73.968485 LOCATION:Blum & Poe | New York\,19 East 66th Street \nNew York\, NY 10065 SEQUENCE:0 SUMMARY:Solo Exhibition\, Fran├žoise Grossen UID:384701 END:VEVENT BEGIN:VEVENT DTEND:20150604T200000 DTSTAMP:20150731T051231 DTSTART:20150604T180000 GEO:40.768329;-73.968485 LOCATION:Blum & Poe | New York\,19 East 66th Street \nNew York\, NY 10065 SEQUENCE:0 SUMMARY:Solo Exhibition\, Fran├žoise Grossen UID:384702 END:VEVENT END:VCALENDAR