BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION:

303 Gallery is pleased to pres ent our third solo exhibition with Nick Mauss. For this exhibition\, Mauss creates a mirrored garden in the gallery\, in which his singular relationsh ip to the line of drawing moves across and through space and mediums.

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Mauss' work takes the mode of drawing\, fo und at the interstices of various media\, processes\, and histories\, and d ilates\, twists\, folds\, intensifies\, and loosens those gaps to produce a different mode of making art.

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Here\, the viewer is guided into the exhibition by a serpentine railing\, and upo n arriving in the gallery space\, finds a room shimmering in reflections an d refractions of lines and forms. Mauss has been working in his own form of verre eglomisé\; for the past year\, as he was developing a series o f "intervals" within the Florine Stettheimer retrospective at the Lenbachha us in Munich. The mirrored glass paintings have a way of puncturing the spa ce--of giving the viewer the sense of being there and not being there at th e same time. They also act--like Mauss' drawings in the past--as filters th rough which a wide net of sensibilities and art-historical rewirings are br ought into the room. In a different material\, Mauss takes lines and output s them as body-sized steel filigree\, which itself is drawn over again and again\, in acrylic and pastel powder.

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All of these individual works layer on top of and through each other\, as Mauss orchestrates the space as he would a drawing on paper. For Mauss\, th e initial intimacy of the drawing is a tenuous and un-spoken wondering of t he viewer\, of objects\, glances\, forms and lines in a simultaneous proces s of formation and falling apart.

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In 2014\, Nick Mauss presented works within the Florine Stettheimer retrospect ive at the Lenbachhaus\, Munich and in Portraits d?Inté\;rieurs at No uveau Musé\;e National de Monaco. He also staged a performance\, 1NVE RS1ONS\, working with the Northern Ballet and the National Youth Ballet\, a nd the performance of texts and music by Kim Gordon and Juliana Huxtable\, as part of Frieze Projects\, London. An artist's book has been created to a ccompany this work. Mauss also presented a new piece as part of Art Basel U nlimited in 2014. Other recent solo presentations of his works were realize d at Bergen Kunsthall\, Norway (2014)\; Fiorucci Art Trust\, London (2014)\ ; kim?\, Riga (2012) and Indipendenza Studio\, Rome (2012). Mauss was inclu ded in the Whitney Biennial in 2012 and Greater New York\, MoMA PS1 in 2010 \, and has participated in group exhibitions at institutions including Kuns thaus Bregenz (2013)\; The Walker Art Center (2011)\; The Hessel Museum of Art\, Bard Center for Curatorial Studies (2010)\; Kunsthalle Basel (2010)\; Kunsthalle Zurich (2009) and Le Magasin\, Grenoble (2008). A launch of Nic k Mauss and Ken Okiishi's Artist Web Project for the Dia Art Foundation is planned for April 16\, 2015. Mauss lives and works in New York.

DTEND:20150411 DTSTAMP:20150328T234608 DTSTART:20150228 GEO:40.7485947;-74.0041953 LOCATION:303 Gallery\,507 West 24th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Solo Exhibition\, Nick Mauss UID:373611 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:20150328T234608 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:20150328T234608 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:

Once again it is a great pleas ure to exhibit new paintings by John Alexander Parks and most especially be cause he has recently been making paintings about New York\, his adopted ho me for more than three decades. \; For much of this time Parks has pain ted subjects that bear on English life using his vantage point as a British exile. Those pictures are often at once nostalgic and gently ironic. \ ; Parks brings a new energy\, lively wit and considerable poignancy to his very personal vision of New York.

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A g ifted colorist\, sensitive draftsman and delightful handler of paint\, Park s mixes whimsical humor and enormous sympathy for his subjects. \; His works are inviting\, accessible and entertaining but their full import can take time to sort out and fully savor.  \;They are the paintings of an artist who is thoroughly and wonderfully engaged with the world around him.

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Although he has kept a modest profil e as an artist Parks has accrued some serious critical acclaim over the yea rs. Writing in the New York Times as long ago as 1982\, the great critic Jo hn Russell described Parks as &ldquo\;&hellip\;a true poet in paint and som ething of a find.&rdquo\; In December of 2012 Roberta Smith\, the current c hief art critic of the Times\, described Parks&rsquo\; painting as &ldquo\; &hellip\;a treat to discover.&rdquo\;

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Parks was born in Leeds\, England in 1952\, and studied at the Royal Colle ge of Art in London. \; He has lived in and around New York since 1976 and was represented for many years by Allan Stone\, the legendary art deale r and gallerist. \; He is a member of the faculty of the School of Visu al Arts in New York where he teaches drawing and painting. \; He recent ly authored a general introduction to the world of art entitled &ldquo\;Uni versal Principles of Art\,&rdquo\; Rockport Publishing\, 2014. His work is in the collection of the Victoria and Albert Museum\, London\, the Museum o f the Rhode Island School of Design and many others.

DTEND:20150425 DTSTAMP:20150328T234608 DTSTART:20150326 GEO:40.749403;-74.004838 LOCATION:532 Gallery Thomas Jaeckel\,532 W. 25th Street \nNew York\, NY 100 01 SEQUENCE:0 SUMMARY:New York Paintings\, John Alexander Parks UID:378303 END:VEVENT BEGIN:VEVENT DTEND:20150326T200000 DTSTAMP:20150328T234608 DTSTART:20150326T180000 GEO:40.749403;-74.004838 LOCATION:532 Gallery Thomas Jaeckel\,532 W. 25th Street \nNew York\, NY 100 01 SEQUENCE:0 SUMMARY:New York Paintings\, John Alexander Parks UID:378304 END:VEVENT BEGIN:VEVENT DESCRIPTION:

For Immediate Release  \;  \;  \;  \;  \ ;  \;  \;  \;  \;  \;  \;  \;  \;  \; & nbsp\;  \;  \;  \;  \;  \;  \;  \;  \; &nbs p\;  \;  \;  \;  \;  \;  \;  \; Media Contact: Mikaela Sardo Lamarche

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January 16\, 2015  \;  \;  \; &n bsp\;  \;  \;  \;  \;  \;  \;  \;  \;   \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \; &nb sp\;  \;  \;  \;  \; \;Curator@acagalleries.com \;212 206-8080

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Herb Alpert and Richard Mayhew : HARMONIC RHYTHMS< /p>\n

February 19 through April 4\, 2015< /p>\n

Opening Reception: Thursday\, Febru ary 19 from 6 to 8pm

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Press Preview: 3 to 6pm

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ACA Galleries is pleased t o announce its forthcoming exhibition\, Herb Alpert and Richard Mayhew: Harmonic Rhythms\, on view February 19 through April 4\, 2015. \; Primarily known for his music\, Herb Alpert has gained a reputation as an accomplished visual artist. \; At 91\, Richard Mayhew is acknowledged a s one of America&rsquo\;s premier landscape painters and colorists. \; Both artists\, informed intensely by music\, use improvisation in their wor k. \;

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Herb Alpert&rsquo\;s sculptures reveal Alpert&rsquo\;s gr owth and influences: the spirituality of the native American totems of the Pacific Northwest\, the monumentality and modernism of Rodin\, Henry Moore and Alberto Giacometti. But as these influences passed through Alpert\, the y picked up elements of Alpert&rsquo\;s soul\, a soul informed by the harmo nies and rhythms of music\, especially jazz. Thus\, his totemic forms are a s effervescent as they are magisterial\, as sensual as they are spiritual.< /p>\n

Alpert&rsquo\;s sculptures\, though generally abstract\, nonetheles s revel in the fleshy exuberance of human forms. Sensuality and sexuality p roclaim themselves with eloquent poise. Alpert treats sensuality not just a s an organic experience\, but as emotions that seem to erupt from the sculp tures themselves. Thus\, this interplay between the emotional\, physical an d spiritual gives Alpert&rsquo\;s sculptures and internal power\, an energy that flows from their forms and surrounds the viewer.

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Richard Mayh ew expresses in color and landscape the spirituality Alpert finds in form. Mayhew&rsquo\;s oeuvre is spirit itself\, the spirit that inhabits Mayhew&r squo\;s landscapes of the mind and soul.  \;His African-American\, Cher okee and Shinnecock ancestry provide a deep well of spiritual heritage from which to draw on\, and finds expression in the near-mystical visions of na ture Mayhew spreads across his canvases. Colors shimmer\; fields and hills undulate\; trees quiver. Mayhew&rsquo\;s landscapes\, pouring forth from th e depths of his imagination\, inhabit their painted surface with equal meas ure of serenity and energy. \;

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A jazz singer himself\, rhythm a nd melody seem to flow through Mayhew&rsquo\;s landscapes: smoothly gliding through one area\, skipping in syncopation in another\, colors rising like melodies through the air. Like much of jazz\, Mayhew&rsquo\;s work is ofte n improvisational. As a painter\, he&rsquo\;ll let the picture dictate its own creation\, letting the paint flow where it needs to flow\, much as a ja zz musician will let the notes fly where they need to fly. Mayhew thus trus ts the paint\, the process of painting\, and his deep knowledge of how it a ll works. He understands that improvisation does not mean abandoning skill or control of one&rsquo\;s medium\, but that skill and chance must enhance each other.

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Richard Mayhew&rsquo\;s work is in the permanent collec tions of The Metropolitan Museum of Art\, Whitney Museum of American Art\, Brooklyn Museum of Art\, NY\, African-American Museum\, Philadelphia\, PA\, Museum of African Art\, National Museum of American Art\, and the Smithson ian Institute in Washington\, DC\, among others. \;

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A monograph on Richard Mayhew was published in 2009 in conjunction with three solo exh ibitions in California: Museum of the African Diaspora (San Francisco)\; Mu seum of Art and History at the McPherson Center (Santa Cruz) andDe Saisset Museum at Santa Clara University (Santa Clara). \;

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Alpert&rsquo \;s paintings and sculptures have been exhibited in museums across the Unit ed States including the Tennessee State Museum and the Pasadena Museum of C alifornia Art. His work is in the permanent collections of the Museum of Co ntemporary Art (MOCA)\, Los Angeles and the Tennessee State Museum\, Nashvi lle\, among others. In 2013\, Alpert was awarded the National Medal of Art by President Barack Obama at the White House. \; From the Tijuana Brass \, to his present day solo jazz performances\, with his signature sound\, H erb Alpert is a nine-time Grammy Winner\, his latest for "Best Pop Instrume ntal Album&rdquo\; in 2014 for his album\, Steppin' Out.

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L ast year three monumental sculptures by Herb Alpert were on view across fro m Lincoln Center in New York City and 7 of Alpert&rsquo\;s massive sculptur es\, at different locations\, around Los Angeles and Malibu\, Ca. \; Mr . Alpert and his wife\, Lani\, will be performing at the Carlyle Hotel in N ew York City\, from March 10-21. \;

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For additional information and images contact

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Mikaela Sardo Lamarche

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curator@acagalleries.com

DTEND:20150404 DTSTAMP:20150328T234608 DTSTART:20150219 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:Herb Alpert and Richard Mayhew: Harmonic Rhythms\, Herb Alpert UID:372846 END:VEVENT BEGIN:VEVENT DTEND:20150219T200000 DTSTAMP:20150328T234608 DTSTART:20150219T180000 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:Herb Alpert and Richard Mayhew: Harmonic Rhythms\, Herb Alpert UID:372847 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150425 DTSTAMP:20150328T234608 DTSTART:20150317 GEO:40.7268368;-73.9929619 LOCATION:AICON GALLERY - New York\,35 Great Jones Street \nNew York\, NY 10 012 SEQUENCE:0 SUMMARY:Approaching Figuration: Pt. 1 -Modern and Pre-Modern Indian Art and the Figure UID:377723 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150425 DTSTAMP:20150328T234608 DTSTART:20150317 GEO:40.7268368;-73.9929619 LOCATION:AICON GALLERY - New York\,35 Great Jones Street \nNew York\, NY 10 012 SEQUENCE:0 SUMMARY:Approaching Figuration: Pt. 2 - Modern and Pre-Modern Indian Art an d the Figure UID:377724 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Alexander and Bonin is pleased to announce Jonathas de Andrade&rsquo\;s first one-person exhibition in North America. The installations\, sculpture and photographic works to be exhibited date from 2013 to 2015 and address socio-economic is sues in contemporary Brazil.

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In two multi-part installations\, (Cartazes para o Museu do Hom em do Nordeste and 40 nego bom é\; 1 real)\, both from 2013\, Andrade questions the influential but controversial ideas of the Bra zilian sociologist Gilberto Freyre\, particularly as expressed in his 1933 publication Casa-Grande e Senzala (The Master and the Slave). In t his text\, Freyre suggests a lived experience of racial-democracy in Brazil \, which he believed to be a result of miscegenation between Portuguese col onizers\, Africans\, and Native Brazilians.

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Cartazes para o Museu do Homem do Nordeste (Posters for the Museum of the Northeast Man) is inspired by an ex isting institution\, the Museu do Homem do Nordeste\, an anthropological mu seum in Recife\, founded in 1979 and largely inspired by Gilberto Freyre&rs quo\;s theories on &lsquo\;racial democracy&rsquo\;. In this project Andrad e visually reimagines the identity of the museum. Beginning in 2012 the art ist advertised in local newspapers calling for workers interested in posing for photographs advertising the museum. Photographing participants in ever yday situations\, Andrade created 70 posters with notes documenting the enc ounters. Through this collection of images and notes Andrade examines how a n anthropological approach influences the representation and understanding of cultural and personal identities. The artist continues to use the Museu do Homem do Nordeste as inspiration for parallel projects some of which can be seen in his survey exhibition currently at Museu de Arte do Rio (MAR) i n Rio de Janeiro.

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The title of the installation\, (a collaborative project with Silvan Kaelin)\, 40 nego bom é\; 1 real (40 black candies for R$ 1\,00)\, is drawn from the name of a popular candy in northeastern Brazil. &l squo\;Nego bom&rsquo\; which can be literally translated as &lsquo\;good bl ack&rsquo\; is a colloquial albeit affectionate term with colonial connotat ions. Inspired by a street vendor promoting his sweets at the top of his vo ice\, the work consists of two parts and tells the story of the production of the sweet and exposes the falsity of the supposed good-natured working r elations between employers and employees. Through this narrative Andrade pr obes the complex social dynamics of post-colonial Brazil through the locus of cheap labor.

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In 20 14 Andrade invited the workers from a refinery in Condado to participate in the creation of his most recent work\, ABC de Cana\, (Sugar Cane ABC). Inspired by a 1957 &lsquo\;alphabet&rsquo\; drawing by Luis Jardim wh ich uses sugar cane motifs\, the work consists of 26 images of workers form ing the alphabet with sugar cane stalks.

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Jonathas de Andrade was born in 1982 in Maceió\;\, Brazil\; he li ves and works in Recife. A survey of his work is on view at Museu de Arte d o Rio (MAR)\, Rio de Janeiro through March 22. Past solo exhibitions includ e Instituto Cultural Itaú\;\, Sã\;o Paulo (2008)\; Instituto Cu ltural Banco Real\, Recife (2009)\; Centro Cultural Sã\;o Paulo (2010 )\; Galeria Vermelho\, Sã\;o Paulo (2013\, 2010)\; Kunsthalle Lissabo n\, Lisbon (2013)\; and Musé\;e d&rsquo\;art Contemporain de Montr&ea cute\;al (2013). He participated in the Mercosul Biennial\, Porto Alegre\, (2009)\; Sã\;o Paulo Biennial (2010)\; Istanbul Biennial (2011)\; New Museum Triennial: The Ungovernables\, New York (2012)\; Lyon Bien nial (2013) and the 11th Dakar Biennial (2014). Jonathas de Andrade's work was included in Under the Same Sun: Art from Latin America Today a t the Guggenheim Museum\, New York in 2014.

DTEND:20150411 DTSTAMP:20150328T234608 DTSTART:20150228 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:Solo Exhibition\, Jonathas de Andrade UID:375180 END:VEVENT BEGIN:VEVENT DTEND:20150228T200000 DTSTAMP:20150328T234608 DTSTART:20150228T180000 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:Solo Exhibition\, Jonathas de Andrade UID:375181 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Alexander Gray Associates pres ents an exhibition of artwork by Luis Camnitzer\, featuring works in a vari ety of media dating from 1968 to the present. An accompanying catalogue is published in both English and Spanish\, featuring the artist&rsquo\;s essay The Mediocrity of Beauty (2010).

The artworks on vie w convey Camnitzer&rsquo\;s skepticism of universal beauty\, specifically s ymmetry as a defining visual characteristic of beauty. In the video Jan e Doe (2012)\, Camnitzer fused fifty photographs of women&rsquo\;s fac es&mdash\;taken from online police reports\, legal documents\, and newspape r articles&mdash\;utilizing image morphing software. The portrait of Jane D oe\, a seemingly &ldquo\;beautiful&rdquo\; symmetrical face\, resulted from the averaging out of individual features. The video shows a fictional face and story that provides an identity for Jane Doe. In the realm of the poli tical\, for his most recent suite of seven etchings\, Symmetry Jail (2014)\, Camnitzer stacked and mirrored each letter in the word &ldquo\;s ymmetry&rdquo\;&mdash\;using the United Nations official languages Arabic\, Chinese\, English\, French\, Spanish\, Russian\, plus he adds German&mdash \; to create seven unique characters. For the artist\, &ldquo\;Words are ne ver able to fully convey what one truly thinks: thoughts and feelings are p ressed into an alien format\, like when poetry tries to imprison poetics in stiltedness. Symmetry worsens this by curtailing the freedom of informatio n.&rdquo\;

Camnitzer believes that art&rsquo\;s function is no t to reinforce traditional notions of beauty\, but rather\, it can create a lternative orders and frameworks\, enabling an expanded perspective. This p hilosophy is represented in works such as Questions and Answers (1 981)\, a series of ten photographs of ordinary objects\, which the artist m ade under hypnosis\; and Seven Virtues (2014)\, a seven-part graph ic work in which Camnitzer indexed the seven cardinal and theological virtu es&mdash\;charity\, courage\, faith\, fortitude\, hope\, temperance\, prude nce&mdash\;into the pages of Dorland&rsquo\;s Medical Dictionary. Altering the clinical tone of this volume\, he defined each virtue in the context of medical descriptions of ailments\, which suggests a more nuanced understan ding of the human state and the present condition of religious and scientif ic ethics.

Transgression has characterized Camnitzer&rsquo\;s practice since the mid-1960s\, when he co-founded The New York Graphic Work shop with fellow artists Argentine Liliana Porter and Venezuelan José \; Guillermo Castillo (1939&ndash\;1999). The etchings Self-Portrait (1968&ndash\;72)\, a series of five self-portraits that only include the inscription of the artist&rsquo\;s name and the date of creation\, demonst rate this defining quality and question authorship\, authenticity and seria lity. Camnitzer&rsquo\;s interest in language extends to Please Look Away ( 2014)\, a room-size installation that invites the audience to walk into the immersive cage-like environment made of imperative inscriptions\, such as &ldquo\;Please look away\, you are invading my territory\,&rdquo\; printed in white lettering on black vinyl banners adhered along the walls and floor of the Gallery\, demarcating the alienation of physical space.

Situating elegance in the context of beauty\, Camnitzer argues that simpl icity is perhaps the most profound form of beauty. In 1973\, Camnitzer crea ted a series of drawings to document ephemeral installations he did between 1969 and 1972. The primary component in the installations had been succinc t sentences describing objects or situations\, paired with simple geometric shapes that stood as the corresponding illustration to the text. Works suc h as the drawing Aquí\; yace una obra de arte (1973)\, creat ed after a 1972 installation of the same name\, depicts a rectangular slab that serves as a tombstone with the inscription &ldquo\;Here Lies and Artwo rk\;&rdquo\; a handwritten notation legible on the drawing&rsquo\;s margin provides installation instructions for how to exhibit the work as a three d imensional object. The invisibility of the artwork that lies under the tomb stone speaks to Camnitzer&rsquo\;s pairing of direct images and text to enc ourage the viewer to generate alternative meanings. Camnitzer states\, &ldq uo\;I am interested in art as a formulation of and solution to problems\, a nd it&rsquo\;s there where elegance is really important. In art\, there may be many correct solutions\, but the best is the most elegant among the cor rect ones. Elegance is not necessarily simple\, but it is the one that may achieve the greatest complexity without getting lost in stupidity.&rdquo\;< /p> DTEND:20150328 DTSTAMP:20150328T234608 DTSTART:20150219 GEO:40.74975;-74.003741 LOCATION:Alexander Gray Associates\,508 West 26 Street #215 \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Solo Exhibition\, Luis Camnitzer UID:372920 END:VEVENT BEGIN:VEVENT DTEND:20150219T200000 DTSTAMP:20150328T234608 DTSTART:20150219T180000 GEO:40.74975;-74.003741 LOCATION:Alexander Gray Associates\,508 West 26 Street #215 \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Solo Exhibition\, Luis Camnitzer UID:372921 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Shara Hughes&rsquo\; new paint ings present layers of abstracted\, actual and pictorial space\, all in sea rch of simplicity.

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These clouded wind ows of ambiguous form\, pattern\, and texture are like vibrated\, vibrant d rawings\, plied with multiple mediums. The direct intention instilled in ea ch mark empowers these paintings with a sense of focused purpose\, directne ss\, yet they depict suggestions of open space\, floating moons\, flowing r ivers\, melting snow. The indirect and the slow burning.

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Hughes explores these ideas as she quickly grasps new w ays of applying paint. Idea becomes form\, form becomes an idea\, image bec omes both. The result is a mix of peace and purpose\; material and place\; raw canvas and painted surface. Transparency and brick wall.

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In these works past and future disappear. There is only the present. Invention\, intention\, playfulness and trust. All happen then/now. Stop to go.

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Shara Hughes ( b. 1981 in Atlanta\, GA) lives and works in Brooklyn\, NY. Previous solo ex hibitions include Museum of Contemporary Art\, Georgia\, A tlanta\, GA\; Atlanta Contemporary Art Center\, Atlanta\, GA\; American Contemporary\, New York\, NY\; P-r-i -m-e-t-i-m-e\, Brooklyn\, NY\; Metroquadro\, Turi n\, IT\; Galerie Mikael Anderson\, Copenhagen\, DE\; and < strong>Rivington Arms\, New York\, NY. Hughes was the recipient of the MoCA GA Working Artist Project Grant for 2012/2013.

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She studied at Rhode Island School of Design\, Providen ce\, RI and Skowhegan School of Painting and Sculpture\, Skowhegan\, ME.

DTEND:20150426 DTSTAMP:20150328T234608 DTSTART:20150326 GEO:40.725623;-73.991532 LOCATION:American Contemporary\,4 East 2nd Street \nNew York\, NY 10003 SEQUENCE:0 SUMMARY:Far Out\, Shara Hughes UID:377721 END:VEVENT BEGIN:VEVENT DTEND:20150326T200000 DTSTAMP:20150328T234608 DTSTART:20150326T180000 GEO:40.725623;-73.991532 LOCATION:American Contemporary\,4 East 2nd Street \nNew York\, NY 10003 SEQUENCE:0 SUMMARY:Far Out\, Shara Hughes UID:377722 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:20150328T234608 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:20150328T234608 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:

Andrea Rosen Galler y is pleased to announce Enigmas\, an exhibition of works by Marti n Barré\;\, David Ostrowski\, Julian Schnabel\, and Reena Spaulings. Curated in collaboration with writer and art historian Alison Gingeras\, th e exhibition engages the notion of imprimatur.  \;

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Despite the word&rsquo\;s initial loftiness\, it offers a precise entré\;e into a specific set of problems that man y artists face when creating pictorial work. This exhibition hopes to explo re the ways artists both physically and metaphorically create credible &ldq uo\;imprints&rdquo\; or gestures at the same time that they generate a sanc tioning belief in their various approaches to mark-making. The term &ldquo\ ;imprimatur&rdquo\; also brings to mind the burden of approval: in an eccle siastical setting\, the term refers to the Church granting permission to pu blish or print. \; In an artistic context\, imprimatur addresses the ar tist&rsquo\;s need to create a distinguishing mark\, to give credence to th eir enterprise (no matter how de-materialized\, unorthodox or conceptual)\, to generate approval or faith in their oeuvre. In different ways\, then\, each of the artists in this show is concerned with signature residue: their works challenge the viewer into believing in the artistic aura of their ge stures\, however minimal.

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An artist whose work is almost synonymous with the notion of imprimatur\, J ulian Schnabel has created a group of paintings that highlight his signific ance as a paradigmatic practitioner of contemporary abstraction. Many of Sc hnabel&rsquo\;s signature tropes&mdash\;the use of dropcloths and soiled ca nvases\, the incorporation of studio debris and other &ldquo\;imperfections &rdquo\; into the body of the work\, and his re-imagining of found material s&mdash\;have become celebrated gestures in contemporary painting. Although not always acknowledged\, his influence is visible in the works of a curre nt generation of painters that includes\, Joe Bradley\, Dan Colen\, Sergej Jensen and Oscar Murillo to name but a few. \;

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While Schnabel has been making paintings with spra y-paint for more than thirty years\, the body of work on view in Enigma s remains relatively unknown\; these more recent paintings are built o n a single found photograph whose weathered emulsions gave birth to an imag e beyond the original. The exhibition sets up a specific dialogue between S chnabel&rsquo\;s works and three significant oeuvres that provoke viewers t o consider how meaning is created and communicated via even the most minima l of visual and conceptual gestures. \;

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Martin Barré\;&rsquo\;s spray-paint works from the 1960&rsquo\;s establish an early chronological and conceptual anchor. Barr& eacute\; created spare\, minimal figures which left much of the canvas open \; when he began using spray paint in 1963 as a reflection of his appreciat ion of graffiti in the Paris metro\, he employed a particular matte black t o create white surfaces marked by traces or stripes.

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David Ostrowski&rsquo\;s painting practice provi des a contemporary counterpoint. Ranging from restrained blue marks on a ra w canvas ground to barely visible foot print traces on a naked canvas\, his work draws on the performative &ldquo\;aura&rdquo\; of these marks and is fueled by a self-generated mythology centered on his studio practice and hi s infamous foot fetish.

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Re ena Spaulings&rsquo\; Enigmas series extends the theme of the mark -as-gesture into sociological terrain\; formally\, the soiled tablecloths f rom art-world dinners\, stretched into minimal paintings\, close the circle opened by Schnabel more than thirty years ago. \; The exhibition borro ws its title from this body of work: its principal concern is the enigmatic process by which artists generate an &ldquo\;imprimatur&rdquo\; and invest their work with an aura of credibility. \;

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In keeping with the Gallery&rsquo\;s program\, this e xhibition is grounded in a deep critical examination of the work. Presentin g Julian Schnabel&rsquo\;s new paintings considers both his influence and h is critical reception. Contextualized in relation to historical and contemp orary practices engaging the physical\, metaphorical\, and sociological typ es of mark-making\, the works provoke a simultaneously distinctive and hist orically positioned experience for deepened interpretation and reflection.< /p>\n

 \;

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Martin Barré\; was born in 1924 in Nantes\, France. He lived and worked in Paris.

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David Ostrowski was born in 1981 in Cologne\ , Germany. He lives and works in Cologne.

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Julian Schnabel was born in Brooklyn in 1951. He l ives and works in New York City and Montauk\, Long Island.

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Reena Spaulings emerged from the daily operation of an art gallery (Reena Spaulings Fine Art\, founded by Jo hn Kelsey &\; Emily Sundblad)\, in 2004\, and works in New York City.

DTEND:20150425 DTSTAMP:20150328T234608 DTSTART:20150305 GEO:40.749185;-74.005023 LOCATION:Andrea Rosen Gallery\,525 W.24th St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Enigmas\, Martin Barre\, David Ostrowski\, Julian Schnabel\, Reena Spaulings UID:375233 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Andrea Rosen Galler y is delighted to present an exhibition of work by Sharon Hayes\, Tony Lewi s\, and Adam Pendleton at Gallery 2. The exhibition explores the relationsh ip between the use of language and the formal and social implications of ab straction. \;

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In this exhibition Sharon Hayes presents two works\, each a fragment from a banner carried in the Women's Strike for Equality on August 26th\, \;1970. The works approximate the scale of the original banner\, but the material tran sformation and presentation of selected letters from the word women alter t he original&rsquo\;s legibility and seemingly straightforward declaration o f meaning.

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Tony Lewis pres ents a large graphite work on paper diptych featuring a symbol based on Gre gg shorthand. These works continue Lewis&rsquo\;s interrogation of language systems. Using the shorthand symbols\, these works are at once technically more specific while becoming increasingly gestural and abstract.

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Presenting a painting from his well known body of work &ldquo\;Black Dada&rdquo\; as well as a newer work from a series layering text and images on mirrored stainless steel\, Adam Pendl eton&rsquo\;s works in this exhibition give material form to the artist&rsq uo\;s engagement with a dynamic idea of history\; one that is ever mutable and reflective of subjective and infinite narrative potentials.

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Instrumental in the thinking about th is exhibition is a 2006 essay about Felix Gonzalez-Torres&rsquo\;s work by Miwon Kwon. In it she argues: &ldquo\;the radicality of FGT&rsquo\;s work l ies in the insinuation of the particular in the place of abstraction\, whil e simultaneously destabilizing the particular as a fixed positivity. And wi th this complex move\, the artist accomplishes a remarkable reversal: e veryone becomes a particularly marked subject\, making it impossible f or there to be an unmarked\, invisible\, hierarchy-determining point of ref erence. Which means that no one is less than public either.&rdquo\; Kwon&rs quo\;s text provides a useful lens for reading these works as well\, offeri ng a possible way for abstraction to engage with specific histories\, polit ics\, and identities.

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&nbs p\;

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Sharon Hayes was b orn in 1970 in Baltimore\, MD. She has had major solo exhibitions at the Re ina Sofia\, Madrid\; the Art Institute of Chicago\, and most recently at th e Whitney Museum of American Art\, New York. Her work has been widely exhib ited in significant exhibitions including The Encyclopedic Palace at the 55 th Venice Biennale\; the 2010 Whitney Biennial\, documenta 12 (collaborativ e project)\, Kassel\; MoMA PS1\, Long Island City\, NY\; Generali Foundatio n\, Vienna\; Museum Moderner Kunst (MUMOK)\, Vienna\; Artists Space\, New Y ork\; New Museum\, New York\; Tate Modern\, London\; and the Istanbul Bienn ale. Hayes has been recently granted the Alpert Award in the Arts. The arti st lives and works in New York.

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Tony Lewis was born in 1986 in Los Angeles\, California. Rec ent exhibitions have taken place at Massimo de Carlo\, London\; Shane Campb ell Gallery\, Chicago\; Room East\, New York\; Richard Gray Gallery\, Chica go\; and Autumn Space\, Chicago. His work was presented in the 2014 Whitney Biennial\, and will be the focus of an upcoming solo show at Shane Campbel l Gallery\, Chicago. Lewis lives and works in Chicago\, IL.

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Adam Pendleton was born in 1984 in Richmond\, Virginia. Recent solo exhibitions have taken place at Galleri a Pedro Cera\, Lisbon\; Pace Gallery\, New York\; Shane Campbell Gallery\, Lincoln Park\; Travesia Cuatro\, Guadalajara\; and Pace Gallery\, London. P endleton&rsquo\;s work recently included in group exhibitions at Whitechape l Gallery\, London\; 21er Haus and Winter Palace\, Vienna\; Studio Museum i n Harlem\, New York\; Pace Gallery\, Beijing\; Museum of Modern Art\, New Y ork\; Swiss Institute\, New York\; and Palais de Tokyo\, Paris. Pendleton l ives and works in Germantown\, New York\, and Brooklyn\, New York.

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This exhibition is organized by Cory Nomura.

DTEND:20150425 DTSTAMP:20150328T234608 DTSTART:20150306 GEO:40.749177;-74.0058861 LOCATION:Andrea Rosen Gallery 2\,544 West 24th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Group Exhibition\, Sharon Hayes\, Tony Lewis\, Adam Pendleton UID:375234 END:VEVENT BEGIN:VEVENT DESCRIPTION:

I do think an artist and a psychoanalyst do the same thing\, in a way. They&rsquo\;re presented with an official version of reality\, and then they say\, &lsquo\;Okay\, but wha t&rsquo\;s underneath that? What are the hidden factors driving it?&rsquo\; We&rsquo\;re both fascinated by the human condition in general &ndash\; we want to know what&rsquo\;s really going on. \;(David Cronenberg)< /p>\n

Treatment \;(2013)\, a n ew dual-channel installation by Candice Breitz\, brings an original soundtr ack to three key scenes from David Cronenberg&rsquo\;s \;The Brood< /em> \;(1979)\, a film that the director has described as deeply person al. \;The Brood&rsquo\;s autobiographical script explores the emotional strain experienced by a couple as their marriage dissolves and a custody battle for their young daughter Candice ensues. Himself going throu gh divorce and fighting for custody at the time of writing \;The Br ood\, \;Cronenberg creates&mdash\;in the plot of his film&mdash\;a movie facsimile of the psychological drama that he was facing in his own f amily life at the time. Brutally exploring the fabric of family nightmares& mdash\;painful conflicts between father and son\, mother and daughter\, dau ghter and father&mdash\;The Brood \;is above all a powerful st udy of dysfunctional parent-child relationships.

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For \;Treatment\, Breitz enlists herself\, her own mother and father\, and her real-life psychotherapist to inhabit and re-cr eate a series of scenes from \;The Brood. As with the Cronenbe rg film\, \;Treatment \;resists indulging concrete autobio graphical information\, denying onlookers voyeuristic access to Breitz&rsqu o\;s actual relationships with her parents and therapist\, and focusing ins tead on the psychological horror that lies potential within family life.

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At key moments in \;The Brood\, we observe the renegade psychotherapist Dr Hal Raglan (played by Oliv er Reed) administering therapy to traumatized patients. Dr Raglan&rsquo\;s experimental techniques require patients to reenact family relationships as a means of working through their trauma. His treatment involves intensive bouts of therapeutic roleplay during which the doctor typically plays his p atients&rsquo\; abusive parents or maltreated children. Breitz isolates thr ee such scenes for \;Treatment\, projecting them one after the next on a gallery wall\, in a constant rotation that evokes the looping re petition of trauma. In removing these vignettes portraying therapeutic sess ions from their service to the plot of \;The Brood\, Breitz al lows them to exist independently of the film&rsquo\;s fictional narrative.< br />Stripped silent of Cronenberg&rsquo\;s original soundtrack\, the isola ted scenes now receive their vocal content from the soundtrack of a second projection of the same size\, which mirrors the original footage on the opp osite wall of the exhibition space. The second projection consists of a spa rse visual documentation of the making of this new soundtrack: set in a pro fessional sound studio\, the footage cuts between four individuals\, each s eated at a microphone\, each laboring to project his/her voice convincingly into the body of one of the actors appearing in the original scenes projec ted on the opposite wall.

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The credits of the work confirm the identities of the dubbing team: the artist&rsquo\; s de facto psychotherapist Dr Renate Becker synchronizes the voice of Dr Ra glan across all three re-voiced scenes\, while the voices of the three pati ents undergoing therapy are painstakingly recreated by the artist&rsquo\;s mother\, father and the artist herself. This move is consistent with Cronen berg&rsquo\;s view of cinema as a space in which to &ldquo\;rehearse the di fficult things of life\,&rdquo\; and points strongly to Breitz and Cronenbe rg&rsquo\;s shared interest in the overlap between cinematic analysis and p sychological analysis.

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In inviting he r parents and therapist to vocally re-articulate the domineering Dr Raglan and his longsuffering patients\, Breitz literally loops Cronenberg&rsquo\;s cinematic analysis of the psychological wounds that parents inflict on the ir children through her own mother and father\, bringing full circle a fict ionalized study of trauma that originally grew out of Cronenberg&rsquo\;s p rocessing of his own family horror story.

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Treatment \;directs our thoughts to the circular nature o f the relationship between real life and reel life\; to the ability of film to give voice to the stuff of life in the guise of fiction\, but also to t he alchemy via which cinematic fiction in turn becomes &lsquo\;real&rsquo\; for its viewers\, as it vocalizes their actual or imagined experience. In the words of Paul Auster\, &ldquo\;Novels are fictions\, of course\, and th erefore they tell lies (in the strictest sense of the term)\, but through t hose lies every novelist attempts to tell the truth about the world.&rdquo\ ;

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Treatment \;was commis sioned by the Toronto International Film Festival 2013. It was awarded firs t prize in its category (non-linear video installation) at the B3 Moving Im age Biennial in Frankfurt in October 2013.

DTEND:20150328 DTSTAMP:20150328T234608 DTSTART:20150228 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: Treatment\, Candice Breitz UID:375176 END:VEVENT BEGIN:VEVENT DTEND:20150228T200000 DTSTAMP:20150328T234608 DTSTART:20150228T180000 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: Treatment\, Candice Breitz UID:375177 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Andrew Kreps Gallery is ve ry pleased to announce its first solo exhibition with Los Angeles-based art ist Barbara T. Smith. \; Critically known for being an innovator of Wes t Coast performance art of the late 1960's and early 1970's\, she was also a sustained contributor to the feminist movement. \; For over 35 years she has found personal transformation through unique rituals and performanc es characterized by prolonged engagement with spirituality and issues of ge nder and power. The works included in this exhibition share the medium of r esin and span the years 1968 &ndash\; 1993. \;  \;Smith began to wo rk with resin in her first large-scale sculpture\, \;Field Piece \;in 1968 and consistently utilized it in her practice in myriad for ms. \;

In the 1960s\, Smith's conventional nuclear family li fe transitioned into a lifestyle consumed by art making. The exploration of autobiography and community via relations with her audience and peers beca me vital to Smith's art\, exploring themes of the body\, ritual\, nurturing \, sexuality\, female desire\, spiritual transformation\, love and death. A nd this was taking place against the backdrop of the dominant patriarchal n arrative evolving specifically in the Los Angeles art world &ndash\; and in the world at large.

The Holy Squash\, \;the first work one encounters in the exhibition is an installation comprised of a rel ic (the squash) and its reliquary (the mold) as well as other objects used in an eight-day durational performance that resulted in a Holy Squash cerem ony &ndash\; including baptism and mass. The performance brought together t he themes so important to Smith: universal communion\, spirituality\, ritua l\, and meaningful interaction. \; And perhaps more importantly is the performance&rsquo\;s examination of the gender hegemony latent in the Judeo -Christian religious traditions by offering up a more female-centered alter native. \;

Adjacent to this work are the last existing eleme nts of \;Field Piece\, 1968/72 &ndash\; a large-scale segment of an (infinite) field of grass. The work is made up of translucent resin & ldquo\;blades&rdquo\; that light up as viewers walk through them creating a n almost synesthetic experience. Upending the conventional dichotomy of per former and viewer (as she did with so many of her performances)\, Smith ask ed the audience to actively take part in their own experience of the work.< br />
While working on \;Field Piece \;Smith utilized the extra resin from the process to create clear-cast resin spheres and ot her ceremonial objects to form a magical collection in an old trunk display ed open on an oriental rug. \; She began by creating artifacts from the process of making another work she ended with a magic carpet trunk\, or do wry\, treasures and their stories.

&ldquo\;[So] resin and fiberg lass has been a material of transparency\, and light also a material of str ength and versatility. \; It protects and preserves sacred objects.&nbs p\; It is difficult and dangerous to work with both because of fumes and th e danger of fire.  \;The catalyst and acetone are highly inflammable. & nbsp\;The edges of fiber glassed pieces are sharp and can cut you\, and if thin will break.  \;Because of the dangers of working with resin it is not so readily availably now.  \;It is messy and stinks of a strange al mond smell\, sometimes if not quite properly catalyzed\, never completely c ures.&rdquo\;

Smith&rsquo\;s work was included in the following exhibitions: \;Out of Action: Between the Performance and Object\,< /em> \;1949-1979\, \;Los Angeles\, \;1955-1985: Th e Birth of an Art Capitol\, \;WACK!: Art and the Feminist Revo lution\, which traveled extensively including shows at PS1\, New York and Pompidou\, Paris\, \;Installations Inside/Out: 20th \;Anniv ersary Exhibition\, \;The Armory Center for the Arts Pasadena\, CA \, and the \;Pacific Standard Time \;exhibitions in Southe rn California in 2011 includingThe State of Mind\, Orange County M useum of Art\, and \;Under the Big Black Sun \;at MOCA/LA\ , as well as a one-person show \;The Radicalization of a 1950&rsquo \;s Housewife \;at UC Irvine. \;

DTEND:20150328 DTSTAMP:20150328T234608 DTSTART:20150228 GEO:40.7477457;-74.0063477 LOCATION:Andrew Kreps Gallery @ 537 W. 22nd\,537 W. 22nd St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:The Smell of Almonds: Resin Works\, 1968–1982\, Barbara T. Smith UID:375178 END:VEVENT BEGIN:VEVENT DTEND:20150228T200000 DTSTAMP:20150328T234608 DTSTART:20150228T180000 GEO:40.7477457;-74.0063477 LOCATION:Andrew Kreps Gallery @ 537 W. 22nd\,537 W. 22nd St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:The Smell of Almonds: Resin Works\, 1968–1982\, Barbara T. Smith UID:375179 END:VEVENT BEGIN:VEVENT DESCRIPTION:

"The Painter of Modern Life" b rings together works by 21 artists\, with the 19th century designation of t he poet-critic Charles Baudelaire as its mantle1\, including:

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Nathaniel Axel\, Lisa Beck\, Sadie Benning \, Sascha Braunig\, Alex Brown\, Mathew Cerletty\, Wayne Gonzales\, Joanne Greenbaum\, Daniel Hesidence\, Mamie Holst\, Cannon Hudson\, Chip Hughes\, Xylor Jane\, Robert Janitz\, Erik Lindman\, Nikholis Planck\, David Ratclif f\, Nicolas Roggy\, Ivan Seal\, Richard Tinkler and Stanle y Whitney.

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The artists are r epresented by paintings\, drawings\, collages\, prints\, and hand-painted s culpture. The exhibition may be thought to ask\, what is modern life? Or ra ther\, what has it become? In what ways do we translate and make sense of t he world around us\, our sense of place and displacement in the everyday? M anet was a painter of modern life in Baudelaire's time. On Kawara was a pai nter of modern life in ours. How do we navigate this not inconsiderable dis tance?

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What is commonly referred to a s today's art world is a far larger canvas\, and even if one were to posses s a crystal ball\, our supposed clairvoyance would be a continuous squint o f the eye\, and in what would be closer to an evershaken snow globe.

\n< p style="text-align: justify\;">Modern life is in no way opaque. It can be observed and seen through. And while our notion of beauty may change and di stort\, we remain dedicated to its pursuit. After all\, don't we want to ta ke pleasure in the visual landscape&mdash\;even that which appears beyond a esthetic concerns or worthy of a higher level of poetics? But what of the d rab canvas we accept as life today? Although detours are of the utmost nece ssity\, they comprise our path without leading directly to our destination. And what is the modern life of painting?

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As with spirit photography in the 19th century\, one could say that th e medium of painting is in fact a medium\, the very means to commu nicate with the past\, wholly within and expanding the contours of the pres ent\, pointing perhaps to a future it never intended to predict.

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One is guided\, as always\, by the works that r eflect the moment in which they have been made\, as they register in their own voice\, and at their own volume. The artists actively participate in an d amplify the larger world of the imagination. A statement\, if there is on e\, is made by the works themselves. All you can do is bring them together. But these days\, an assembly does not in any way constitute a movement\, s ince movements belong to the past\, and surely for the best. History will n ot be rushed along. All contemporary art\, then\, with no reliable guaranto rs for posterity\, is in a sense pre-historic. Let the works\, one at a tim e\, convince you that this visual realm remains a compelling place to explo re\, and that picture-making can't help but define our time. After all\, th e artists are both observers of and re-makers of reality.

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This exhibition has been organized by the writer and c urator Bob Nickas.

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1 Mantle\, a loose sleeveless cloak\; something that covers or conceals&mdash\;'On a winter n ight &hellip\; a mantle of mist hangs above the city street'\; the protrudi ng shelf over a fireplace\; the outer covering of a wall\; a zone of hot ga ses around a flame\; a sheaf around a gas lamp that gives off brilliant ill umination when heated by the flame\; anat.&mdash\;the cerebral cortex\; geo l.&mdash\;the layer of the earth between the crust and the core\; the wings \, shoulders\, feathers and back of a bird when differently colored from th e rest of the body.

DTEND:20150411 DTSTAMP:20150328T234608 DTSTART:20150305 GEO:40.7463808;-74.007077 LOCATION:Anton Kern Gallery\,532 West 20th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:The Painter of Modern Life\, Nathaniel Axel\, Lisa Beck\, Sadie Ben ning\, Sascha Braunig\, Alex Brown\, Mathew Cerletty\, Wayne Gonzales\, Joa nne Greenbaum\, Daniel Hesidence\, Mamie Holst\, Cannon Hudson\, Chip Hughe s\, Xylor Jane\, Robert Janitz\, Erik Lindman\, Nikholis Planck\, David Rat cliff\, Nicolas Roggy\, Ivan Seal\, Richard Tinkler\, Stanley Whitney UID:375235 END:VEVENT BEGIN:VEVENT DTEND:20150305T200000 DTSTAMP:20150328T234608 DTSTART:20150305T180000 GEO:40.7463808;-74.007077 LOCATION:Anton Kern Gallery\,532 West 20th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:The Painter of Modern Life\, Nathaniel Axel\, Lisa Beck\, Sadie Ben ning\, Sascha Braunig\, Alex Brown\, Mathew Cerletty\, Wayne Gonzales\, Joa nne Greenbaum\, Daniel Hesidence\, Mamie Holst\, Cannon Hudson\, Chip Hughe s\, Xylor Jane\, Robert Janitz\, Erik Lindman\, Nikholis Planck\, David Rat cliff\, Nicolas Roggy\, Ivan Seal\, Richard Tinkler\, Stanley Whitney UID:375236 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:20150328T234608 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:20150328T234608 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 END:VCALENDAR