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A woman races from nowhere to nowhere through an indistinctly rendered forest. A loose scattering of youn g men hovers in a strange white space\, suspended in time. Solitary wandere rs traverse barren plains toward destinations that loom invitingly in the d istance\, yet fade into disheartening insubstantiality upon arrival. At eve ry turn\, there is the sense of something forever sought but never seized.< /p>\n

In his first solo show in the United States at 532 Gallery Thomas Jaeckel\, Bernard Ammerer depicts a private do main of desolate landscapes and vaguely restless figures that would border on the surreal if it didn&rsquo\;t feel so eerily familiar. Across the exhi bition&rsquo\;s dozen canvases&mdash\;all from this year and last&mdash\;we see small cliques of physically and psychologically isolated people at une asy rest or in frantic motion\; cloud-filled skies looming serenely over fl at\, featureless\, stark-white plains\; and lone travelers in obscure terri tories that are shrouded in fog\, reduced to cartoonish black silhouettes\, or completely replaced with generic words&mdash\;Wood\, Field &mdash\;that diminish nature to a worthless and empty abstraction.

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Ammerer&rsquo\;s pointed and ironic ti tles often hint at the somber thread of disaffection that ties these works together. Interface&mdash\;a six-foot-square canvas depicting a co nstellation of nondescript young men in jeans and t-shirts frozen mid-leap in a white void&mdash\;is most notable for the palpable lack of physical an d psychological interaction among its inhabitants. Fulfillment Problem< /em>&mdash\;that bland euphemism from the realm of online commerce that so often signifies corporate ineptitude and consumer frustration&mdash\;is pai red with the image of a cloudy yellowish sky overrun with a chaotic\, maze- like swarm of identical running figures lifted from a Children At Play traf fic safety sign. The infantile and perpetually unsatisfying urge toward ins tant gratification that&rsquo\;s satirized here is subtly underscored by Boyhood\, which presents the sad and wistful disembodied head of a c hild floating alone in a dark\, nebulous space. It&rsquo\;s the only place in these works where an actual face can be seen\, and its stark difference from the other canvasses hints at an irrevocable loss of naive serenity tha t no hoard of shiny toys\, transient pleasures\, or wanderlust can amend. T he moral&mdash\;for Ammerer&rsquo\;s oblivious protagonists as well as us&m dash\;is perhaps best embodied in Home\, with its ghostly white ho use at the end of a blank path in a barren field: far too often\, our ill-c onsidered quests away from ourselves in pursuit of the Next Perfect Thing l eave us alone and exhausted before a hollow apparition.
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Bernard Ammerer (1978) lives and works in Vienna. He g raduated University fü\;r angewandte Kunst\, Wien in 2010 and is the re cipient of the Strabag Art Award.
Recent exhibitions include &ldquo\; Vorher Nachher&rdquo\; Galerie Frey Wien (solo)\, Dagong Art Museum\, Qingd ao (group)\, \;&rdquo\;Subjects&rdquo\; Galerie Drees\, Hannover\, (gro up) &ldquo\;A Better Place&rdquo\; Galerie Frey\, Salzburg\,(solo) &ldquo\; You Choose&rdquo\; Berlin Art Projects\, Berlin(group)

DTEND:20160618 DTSTAMP:20160531T170842 DTSTART:20160520 GEO:40.749403;-74.004838 LOCATION:532 Gallery Thomas Jaeckel\,532 W. 25th Street \nNew York\, NY 100 01 SEQUENCE:0 SUMMARY:Interface\, Bernard Ammerer UID:418862 END:VEVENT BEGIN:VEVENT DTEND:20160519T200000 DTSTAMP:20160531T170842 DTSTART:20160519T180000 GEO:40.749403;-74.004838 LOCATION:532 Gallery Thomas Jaeckel\,532 W. 25th Street \nNew York\, NY 100 01 SEQUENCE:0 SUMMARY:Interface\, Bernard Ammerer UID:418863 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Acquavella Galleries is please d to present Jean Dubuffet: Anticultural Positions\, the first exh ibition surveying Dubuffet&rsquo\;s early work in painting and sculpture in over two decades. Organized by curator Mark Rosenthal\, the exhibition foc uses on Dubuffet&rsquo\;s work from 1943 to 1959\, and emphasizes the artis t&rsquo\;s \;&ldquo\;anti-cultural&rdquo\; approach in his depiction of subjects and his use of unorthodox materials. \;Several works by the F rench painter are on loan from private collections and museums.  \;&nbs p\;

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During the 1940s and &lsquo\;50s\ , Dubuffet advocated a transgressive anti-cultural position&mdash\;a nihili stic spirit in the context of a war-ravaged Europe. His fascination with Ha ns Prinzhorn's Artistry of the Mentally Ill deeply influenced his artistic practice\, and led to his coining of the term &ldquo\;Art Brut.&rdquo\; For Dubuffet\, the raw and uninhibited expression of Art Brut provided a fresh and alternative direction to what he saw as the stifling decorum and confo rmity of French culture and the Western tradition. In 1947 he arranged an e xhibition of objects produced by children and the mentally ill. He admired the intuitive spirit of children's drawings\, graffiti\, and the art of the ill\, which he believed relied on the inner world of the creative mind and rejected traditional notions of taste\, beauty\, and skill. Emulating thes e 'outsider' artworks\, Dubuffet created assemblages with detritus like glu e\, plaster\, putty\, gravel and broken bottles. He would scribble and scra tch their surfaces to give the impression of tactile\, chaotic\, graffiti-c overed walls. His formless renderings of the human figure echo his fixation with the art practices of those he considered &ldquo\;unscathed by artisti c culture.&rdquo\;

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&ldquo\;Dubuffet w as one of the great disruptors of art history\,&rdquo\; said Mark Rosenthal . &ldquo\;He invented an unlikely cast of characters who took center stage as his subjects\, and he utilized the most humble of materials\, all of whi ch projected new visions of beauty.&rdquo\;

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A fully illustrated hardcover catalogue will accompany the exhibitio n\, and will include texts by Mark Rosenthal\, Kent Minturn\, an art histor ian and expert on the work of Dubuffet\, and longstanding MoMA conservator Anny Aviram.

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Jean Dubuffet (1901 &nda sh\; 1985) was born in Le Havre\, France. In 1918 he moved to Paris to stud y at the Acadé\;mie Julian\, which he left after six months to study independently. After abandoning painting for several years\, Dubuffet fully committed himself to being an artist in 1942. Painting in a deliberately c rude manner\, inspired by art of the mentally ill or &ldquo\;Art Brut\,&rdq uo\; Dubuffet developed a technique of thick impasto\, called haute pâ \;te\, and frequently incorporated unorthodox materials ranging from cement and gravel to leaves\, dust\, and even butterfly wings into his works. His controversial materials and mark-making solidified his legacy as an iconoc lastic figure in the canon of postwar European painting\, and his work has been exhibited in and collected by the foremost public and private institut ions in the world.

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Mark Rosenthal is a curator\, author and art historian currently based in Detroit where he cu rrently serves as the adjunct curator for contemporary art for the Detroit Institute of the Arts. \; He has previously held curatorial positions a t Berkeley\, Philadelphia Museum\, National Gallery of Art\, as well as adj unct positions at the Guggenheim Museum\, Menil Collection and Detroit Inst itute of Arts. Rosenthal has curated such exhibits as \;Joseph Beuys: A ctions\, Vitrines\, Environments\, Picasso: The Early Years\, Damien Hirst: The Bilotti Paintings\, The Surreal Calder \;and retrospectives of Phi lip Guston\, Juan Gris\, William Kentridge\, and Jonathan Borofsky. Rosenth al also curated monograph exhibitions of Anselm Kiefer and Jasper Johns. He holds a Ph.D. in art history from the University of Iowa.

DTEND:20160610 DTSTAMP:20160531T170842 DTSTART:20160415 GEO:40.7762839;-73.9626764 LOCATION:Acquavella Galleries\,18 East 79th Street \nNew York\, NY 10075 SEQUENCE:0 SUMMARY:Anticultural Positions\, Jean Dubuffet UID:414194 END:VEVENT BEGIN:VEVENT DTEND:20160414T200000 DTSTAMP:20160531T170842 DTSTART:20160414T180000 GEO:40.7762839;-73.9626764 LOCATION:Acquavella Galleries\,18 East 79th Street \nNew York\, NY 10075 SEQUENCE:0 SUMMARY:Anticultural Positions\, Jean Dubuffet UID:414195 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Aicon Gallery is pleased to pr esent Between Structure and Matter: Other Minimal Futures\, a group exhibit ion curated by Prajit Dutta and Murtaza Vali\, featuring work by Joë\;l Andrianomearisoa\, Minam Apang\, Rasheed Araeen\, Hemali Bhuta\, Shilpa Gu pta\, Somnath Hore\, Nadia Kaabi-Linke\, Jitish Kallat\, Mohammed Kazem\, W aqas Khan and Abdullah M. I. Syed. \;

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In his authoritative historical account of the period\, art historian James Meyer suggests that minimalism may be better understood not as a cohe rent movement or a singular style but as a &ldquo\;field of difference\,&rd quo\; a &ldquo\;dynamic field of specific practices&rdquo\; that was polemi cal\, contested\, and plural from its very inception.While Donald Judd focu sed on form and structure to challenge Clement Greenberg&rsquo\;s demands f or medium specificity\, matter mattered deeply to Carl Andre. And while Dan Flavin&rsquo\;s fluorescent tubes flirted with Pop\, Robert Morris dabbled in performance through collaborations with the Judson Dance Theater. There were\, and continue to be\, many &ldquo\;minimalisms.&rdquo\; More aptly c onceived of as a varied set of strategies or sensibilities\, minimalism con tinues to have currency among artists working today. Inspired by this idea of minimalism as a &ldquo\;field of difference\,&rdquo\; Between Structure and Matter: Other Minimal Futures brings together minimal work by an intern ational and multigenerational selection of artists. \;

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The exhibition is anchored by two important but\, unt il recently\, overlooked historical bodies of work by Rasheed Araeen and So mnath Hore\, which both expand the discourse around minimalism in interesti ng ways. Unaware of concurrent developments in New York\, Araeen began maki ng minimalist sculptures\, or structures as he preferred to call them\, in the mid-1960s\, shortly after his move from Karachi to London. Running a bi secting diagonal across the square faces of the skeletal cubes that were hi s basic units\, Araeen introduced dynamism and rhythm into the otherwise st atic and rigid orthogonal grid. This simple linear addition opened his othe rwise minimalist structures up to the potential of pattern and ornament\, a s did his embrace of vivid color. In 1971\, Somnath Hore began producing a series of paper pulp prints titled Wounds\, whose pristine white surfaces w ere subtly marked with impressions and indentations that resembled gashes\, bruises\, and scars. Best known as a printmaker\, Hore had represented the plight of innocent victims of famine\, war and conflict across the Subcont inent throughout his career. With Wounds he universalized these horrors thr ough abstraction\, branding palpable signs of bodily pain and trauma into t he very material of his otherwise minimal surfaces\, opening them up to the vicissitudes of politics and history. From Araeen&rsquo\;s play with struc ture to Hore&rsquo\;s investment in matter\, these two bodies of work mark the ends of a minimal continuum along which the other\, more contemporary\, works in the exhibition may be situated and understood. \;

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While repetition is most commonly linked to the efficiency of the assembly line and the industrial logic of capitalism in t he West\, it may also be understood as a performative or ritualistic act\, a tool for rehearsal\, reenactment or meditation. This quality of repetitio n as ritual drives both Waqas Khan&rsquo\;s meticulous ink on paper drawing s and Mohammed Kazem&rsquo\;s delicate scratch works\, as forms are built u p through the gradual accumulation of thousands of short precise marks. And like Kazem\, Hemali Bhuta&rsquo\;s monochromatic graphite on graphite draw ing confuses mark with surface\, figure with ground. \;

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Like Hore\, Shilpa Gupta and Nadia Kaabi-Linke addre ss complex real world issues&mdash\;geopolitical conflagrations\, contested borders\, labor exploitation&mdash\;through the most reductive of means: t he ghostly trace of a tree\, a straight line\, a triptych of monochromatic circles. Similarly\, Joë\;l Andrianomearisoa&rsquo\;s cloth pieces both poetically and materially respond to the profound transformations underway in his hometown of Antananarivo. Though in a different medium\, Minam Apan g&rsquo\;s delicate tea and charcoal wash painting on cloth also abstracts landscape\, reducing a mountain vista to simple composition of geometric fo rms. \;

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Referencing Andre&rsquo\; s iconic floor pieces\, Abdullah M. I. Syed tarnishes the pristine surfaces of his carefully inked squares with tears\, bringing the minimal surface i nto dialogue with the affective body. Jitish Kallat engages nature in a com parable manner\, allowing the uncertainty of flames and the direction of pr evailing winds to determine the final form of his large-scale minimal drawi ngs. \;

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The sheer diversity of me diums\, materials and strategies used to produce the works included in Betw een Structure and Matter: Other Minimal Futures reinforces the idea that mi nimalism is best understood as plural\, as a &ldquo\;field of difference\,& rdquo\; an ethos that remains impossible to pin down but that continues to inspire.plural\, as a &ldquo\;field of difference\,&rdquo\; an ethos that r emains impossible to pin down but that continues to inspire.

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About the Curators \;

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Prajit Dutta is a Partner at Aicon Gallery and a Professor of Economics at Columbia Univers ity. He is an accidental curator whose principal excuse for co-curating thi s show is a lifelong fascination with minimalism. This fascination was poss ibly borne of seeing a Robert Ryman White on White painting and a Carl Andr e Grid sculpture at the Second Triennale organized back in 1971 by the Lali t Kala Akademi (the National Academy of Art) in New Delhi\, India. Seeing E va Hesse installations and white Ryman paintings and Andre steel slabs left an eleven-year old boy considerably bemused\, used as he was to art that w as much more conventional. Since then he has learned that minimalism has a more global face and he is happy to help close the circle by bringing this Other Minimalism to the home of Ryman and Andre. \;

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Murtaza Vali is a critic and curator who lives and works between Brooklyn and Sharjah. A recipient of a 2011 Creative Capital | War hol Foundation Arts Writers Grant\, his work has appeared in various intern ational art publications and he has penned essays for commercial galleries and non-profit institutions around the world. His past curatorial projects include: Formal Relations (Taymour Grahne Gallery\, New York\, 2015)\; Acce nted (Maraya Art Centre\, Sharjah\, 2015)\; Geometries of Difference: New A pproaches to Ornament and Abstraction (Samuel Dorsky Museum of Art\, New Pa ltz\, 2015)\; PTSD: Shahpour Pouyan (Lawrie Shabibi Gallery\, Dubai\, 2014) \; extra|ordinary: The Abraaj Group Art Prize 2013 (Art Dubai\, 2013)\; Bru te Ornament (Green Art Gallery\, Dubai\, 2012)\; and Accented (BRIC Rotunda Gallery\, Brooklyn\, 2010). An occasional pedagogue\, Vali is a Visiting I nstructor at Pratt Institute\, a Part-time Lecturer at Parson The New Schoo l of Design\, and a tutor for Campus Art Dubai.

DTEND:20160702 DTSTAMP:20160531T170842 DTSTART:20160526 GEO:40.7268368;-73.9929619 LOCATION:AICON GALLERY - New York\,35 Great Jones Street \nNew York\, NY 10 012 SEQUENCE:0 SUMMARY:Between Structure and Matter: Other Minimal Futures\, Joel Andriano mearisoa\, Minam Apang\, Rasheed Araeen\, Hemali Bhuta\, Shilpa Gupta\, Som nath Hore\, Nadia Kaabi-Linke\, Jitish Kallat\, Mohammed Kazem\, Waqas Khan \, Abdullah M. I. Syed UID:419145 END:VEVENT BEGIN:VEVENT DTEND:20160526T200000 DTSTAMP:20160531T170842 DTSTART:20160526T180000 GEO:40.7268368;-73.9929619 LOCATION:AICON GALLERY - New York\,35 Great Jones Street \nNew York\, NY 10 012 SEQUENCE:0 SUMMARY:Between Structure and Matter: Other Minimal Futures\, Joel Andriano mearisoa\, Minam Apang\, Rasheed Araeen\, Hemali Bhuta\, Shilpa Gupta\, Som nath Hore\, Nadia Kaabi-Linke\, Jitish Kallat\, Mohammed Kazem\, Waqas Khan \, Abdullah M. I. Syed UID:419146 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Alexander Gray Associates pres ents its second exhibition of work by Harmony Hammond (b.1944)\, including paintings\, monotypes and ink drawings dating from 2014 to the present. A p ioneer of feminist and queer discourse\, Hammond&rsquo\;s earliest feminist work combined gender politics with post-minimal concerns of materials and process\, frequently occupying a space between painting and sculpture&mdash \;a focus that continues to this day. Her thick near-monochrome paintings o f the last decade participate in the narrative of modernist abstraction\; a t the same time they insist on an oppositional discourse of feminist and qu eer content. Their focus on materiality and the indexical\, suggesting topo graphies of body derive from and remain in conversation with her feminist w ork of the 1970s.

In her recent paintings featured in the exhi bition\, Hammond grommets a field or grid of holes into her canvases. \ ;Layering patches of fabric\, straps and grommets intermittently with oil p aint\, she builds textured \;near-monochromatic surfaces of earthy reds \, deep-blacks\, dusty beiges\, and creamy whites\, activated by light and cast shadow. \;The gridded field of grommeted holes physically opens th e painting surface alluding to layers\, spaces and histories buried below a s well as body orifaces. A close examination of what at first glance might appear to be minimal monochrome grid paintings\, reveals a disturbance or r upture as underlying layers of color are visible through cracks\, crevices and holes\, interrupting both surface and grid. \; For Hammond\, &ldquo \;It&rsquo\;s about what&rsquo\;s hidden\, muffled\, covered up or over\, p ushing up from underneath\, asserting itself\, suggesting agency and voice. &rdquo\;

In Bandaged Grid #1 (2015)\, the most recent painting in the exhibition\, she applies fraying strips of leftover canvas to evoke a bandaged body\, noting\, &ldquo\;a bandage always implies a wou nd. A bandaged grid implies an interruption of the narrative of the moderni st grid and therefore\, an interruption of utopian egalitarian order...a pr ecarity. But also\, however fragile\, the possibility of holding together\, of healing.&rdquo\; \;

Works on paper are also a key part of Hammond&rsquo\;s oeuvre. The irregular surfaces she achieved in her pai ntings are present in her grommeted monotypes\, which art writer Lucy Lippa rd calls grommetypes. Linking the works on paper to her painting p ractice\, she comments\, &ldquo\;It&rsquo\;s about accumulation\, not blend ing.&rdquo\; Also on view are two suites of Hammond&rsquo\;s Ledger Dra wings (2015)\, text-based drawings on ledger book pages. In these work s\, Hammond&rsquo\;s practice as a critic and art historian becomes self-re flexive. The drawings repeat words and phrases that the artist has noticed used to denigrate late-career\, female artists&mdash\;&ldquo\;obsolete\,&rd quo\; &ldquo\;vintage\,&rdquo\; &ldquo\;your generation\,&rdquo\; &ldquo\;d ragon lady\,&rdquo\; &ldquo\;get your due\,&rdquo\; and &ldquo\;diva.&rdquo \; Re-inscribed on paper originally intended to inventory commodities or se rvices\, Hammond exhausts the words&rsquo\; intended meaning\, rendering th em powerless\, and reclaiming these phrases on her own terms.

DTEND:20160625 DTSTAMP:20160531T170842 DTSTART:20160519 GEO:40.74975;-74.003741 LOCATION:Alexander Gray Associates\,508 West 26 Street #215 \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Solo Exhibition\, Harmony Hammond UID:418864 END:VEVENT BEGIN:VEVENT DTEND:20160519T200000 DTSTAMP:20160531T170842 DTSTART:20160519T180000 GEO:40.74975;-74.003741 LOCATION:Alexander Gray Associates\,508 West 26 Street #215 \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Solo Exhibition\, Harmony Hammond UID:418865 END:VEVENT BEGIN:VEVENT DESCRIPTION:

For a limited \;time only\ , a colorful display of master quilts from the museum&rsquo\;s renowned col lection will be on view. The lively selection includes Amish\, stenciled\, pieced\, and appliqué\;d quilts. Please enjoy these rarely seen texti les while a portion of our space undergoes repairs.

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The exhibition is supported in part by Joyce Berger Cowin\, the David Davies and Jack Weeden Fund for Exhibitions\, the Ford Foundatio n\, the Leir Charitable Foundations\, public funds from the New York City D epartment of Cultural Affairs in partnership with the City Council\, and th e New York State Council on the Arts with the support of Governor Andrew Cu omo and the New York State Legislature.

DTEND:20160605 DTSTAMP:20160531T170842 DTSTART:20160514 GEO:40.7731765;-73.9814441 LOCATION:American Folk Art Museum\,2 Lincoln Square \nNew York\, NY 10023 SEQUENCE:0 SUMMARY:Spring Fling: Quilts from the Collection UID:418920 END:VEVENT BEGIN:VEVENT DESCRIPTION:

A three-part exhibition of the work of Felix Gonzalez-Torres will open at Andrea Rosen Gallery\, New York \; Massimo De Carlo\, Milan\; and Hauser &\; Wirth\, London in May 2016. Curated by artists Julie Ault and Roni Horn\, each exhibition will focus on the dialogue between wo rks within an essential form that Gonzalez-Torres created. In so doing\, Au lt and Horn hope to underline the specificity and magnitude within particul ar bodies of the artist&rsquo\;s work. By engaging the range of decisions b rought to bear in manifesting and installing selected Gonzalez-Torres works that require being made anew\, Ault and Horn underscore vital methods refl ected throughout the artist&rsquo\;s entire oeuvre. The exhibitions are con ceived as individual experiences that should be understood in the larger co ntext of all three. Each presentation is intended to complement and augment the experiences they offer within the larger whole and within Felix Gonzal ez-Torres&rsquo\;s practice.

DTEND:20160618 DTSTAMP:20160531T170842 DTSTART:20160505 GEO:40.749185;-74.005023 LOCATION:Andrea Rosen Gallery\,525 W.24th St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Solo Exhibition\, Felix Gonzalez-Torres UID:414200 END:VEVENT BEGIN:VEVENT DTEND:20160505T200000 DTSTAMP:20160531T170842 DTSTART:20160505T180000 GEO:40.749185;-74.005023 LOCATION:Andrea Rosen Gallery\,525 W.24th St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Solo Exhibition\, Felix Gonzalez-Torres UID:414201 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160618 DTSTAMP:20160531T170842 DTSTART:20160503 GEO:40.749177;-74.0058861 LOCATION:Andrea Rosen Gallery 2\,544 West 24th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Hollow Body\, Ketuta Alexi-Meskhishvili UID:416509 END:VEVENT BEGIN:VEVENT DTEND:20160505T200000 DTSTAMP:20160531T170842 DTSTART:20160505T180000 GEO:40.749177;-74.0058861 LOCATION:Andrea Rosen Gallery 2\,544 West 24th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Hollow Body\, Ketuta Alexi-Meskhishvili UID:416510 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In collaboration with Franklin Parrasch Gallery\, New York

Andrew Kreps Gallery is pleased to announce \;Warm California\, an exhibition of works by Los Ang eles-based artist Billy Al Bengston. Focusing on suspended\, unstretched ca nvases and freestanding screens created by Bengston in the 1970s\, the show includes works never exhibited in New York.

Bengston emerged as part of a vibrant scene in California surrounding Los Angeles&rsquo\; Feru s Gallery\, which hosted his first solo exhibition in 1958. Once referring to oil paint as &ldquo\;pigment mixed up in salad dressing&rdquo\;\, Bengst on favored the synthetic &ndash\; his early works were deeply ingrained in LA car culture\, utilizing polyurethane lacquer on thin aluminum sheets. Bu ilding upon a repeated\, central motif of a sergeant&rsquo\;s stripes\, the se works\, with their slick\, machine-like finish became a vehicle for expl oring composition\, color\, and form.

It is these investigations that both influenced\, and were countered by Bengston&rsquo\;s \;D raculas\, which populate the exhibition. Coined by friend and former s tudiomate Ken Price\, who likened the form of the iris blossom to the trans formational moment of the vampire count from bat to human\, the motif would repeat serially through the 1970s. Marking a move from metal to canvas\, B engston simultaneously adopted a more fluid painting style he considered mo re appropriate to the soft surface. Slowly shedding the structure of past w orks\, he eschewed the idea of central composition\, utilizing an allover a pproach influenced by his time painting outdoors\, repeating the iris withi n washes of acrylic\, exaggerated brushstrokes\, and geometric shapes.

Blurring the boundaries between his life and work\, Bengston&rsquo\; s surrounding environment was consistently folded into his practice &ndash\ ; from his time as a professional motorcycle racer to his surfing. Also an avid diver\, the works included in the exhibition draw on his diving trips in the waters surrounding Catalina Island and the Sea of Cortez. Hanging la rge swaths of canvas in his studio\, often covering entire walls or corners \, Bengston was inspired by the reflection of light on the water&rsquo\;s s urface\, and the undulating shades of the ocean floor. Marking place and ti me of day through color\, Bengston used this as a vehicle to record his own experience and evoke emotive response. These canvases would then be cut in to strips and finished as double-sided scrolls or folding screens\, which c ontinued a composition as multiple panels. Installing these in clusters\, s crolls hung from the ceiling\, or the screens\, staggered on the ground\, t he works guide how one circulates around them. Titled after seaweeds and al gae\, Bengston mimics the movement of these species in the water\, likening the experience of the works to that of moving through a kelp forest.

In 535 W. 22nd street\, the gallery will present a series of watercol ors painted by Bengston in his Venice Beach studio in 1973.

Bill y Al Bengston live and works in Venice Beach and Honolulu. Bengston&rsquo\; s work has recently been included in exhibitions at the Rose Art Museum\, W altham\, 2015\, Los Angeles County Museum of Art\, Los Angeles\, 2015\, the Whitney Museum of American Art\, 2012\, as well as \;Pacific Stand ard Time\, the J. Paul Getty Museum\, Los Angeles\, traveled to Martin Gropius-Bau\, Berlin\, 2011. His work is held in the permanent collection of numerous public institutions that include the Museum of Modern Art\, New York\, Solomon R. Guggenheim Museum\, New York\, Whitney Museum of America n Art\, New York. The National Gallery of Art\, Washington\, D.C\, Philadel phia Museum of Art\, Philadelphia\, Yale University Art Museum\, New Haven\ , The Art Institute of Chicago\, Chicago\, Los Angeles Country Museum of Ar t\, Los Angeles\, and Centre Georges Pompidou\, Paris\, among others.

DTEND:20160625 DTSTAMP:20160531T170842 DTSTART:20160512 GEO:40.7477457;-74.0063477 LOCATION:Andrew Kreps Gallery @ 537 W. 22nd\,537 W. 22nd St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Warm California\, Billy Al Bengston UID:418925 END:VEVENT BEGIN:VEVENT DESCRIPTION:

For her debut exhibition at An ton Kern Gallery\, New York artist Nicole Eisenman will present a new body of paintings\, a group of drawings and one plaster sculpture. The works ran ge from the monumental to the intimate in size and address day-to-day life in New York City with all its ordinary\, unexpected and sometimes marvelous moments. The show will run from May 19 through June 25\, 2016 and compleme nts Eisenman's concurrent survey exhibition at the New Museum.

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Known for her large crowd scenes which all at onc e conjure up images of indulgent baroque bacchanals and the energetic circu mvolution of a contemporary beer garden\, her new paintings are of a more i ntimate nature. Focusing on informal moments shared by friends and lovers\, the paintings concentrate on interior spaces and those casual situations t hat occur only behind closed doors\, be that of the studio\, a New York apa rtment or a train compartment. While Another Green World mirrors E isenman&rsquo\;s crowded outdoor beer garden scenes\, with various groups o f friends interacting in the public domain\, Nicole now takes the party ind oors\, to a safe space where interactions can escalate\, relationships can go deeper\, and the night can unfurl without fear of a closing time. In Morning Studio\, two lovers are pictured in an embrace. Their faces a re detailed and familiar\; their pose is instantly recognizable as one of c omfortable affection. Conversely\, Long Distance depicts the very modern romance of long distance companionship\, maintained over video-chat. The role of technology is expanded through Weeks on the Train and Subway 2\, where commuters distance themselves from those physically aroun d them while connecting through the use of laptops and phones. This theme o f intimacy is abruptly broken by the intrusion of the Shooter paintings\, w hich crash through the serenity and jolt the viewer back to ever-present re ality.

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"The exact way of knowing the world that you do with a friend is the theme of much of Eisenman&rsquo\;s n ew work. [...] Which is part of the blaring\, radiant\, inside-outness of t he Eisenman universe. You could be &lsquo\;real&rsquo\; or Betty Boop. If & lsquo\;allegory&rsquo\; encompasses the travel between these two states\, t hen that is exactly the mode of her work. Because intimacy\, even with ones elf\, is unsettling. With portraits\, perhaps this is magnified by the ever -shifting self-apprehension of the subject."

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&mdash\; Eileen Myles
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Nicole Ei senman (b.1965\, Verdun\, France) is a painter and sculptor living and work ing in Brooklyn\, New York. Eisenman is the winner of the 2015 MacArthur Fo undation Grant\, the 2013 Carnegie Prize and has been included in the Whitn ey Biennial (1995\, 2012). Her work has been the subject of a recent mid-ca reer surveys\, Al-ugh-ories\, at the New Museum\, New York (2016)\ ; and Dear Nemesis\, Nicole Eisenman 1993-2013\, Contemporary Art Museum\, St. Louis (2014)\, which traveled to the Institute of Contemporary Art\, Philadelphia (2015) and the Museum of Contemporary Art San Diego (20 15). Recent solo shows include Nicole Eisenman&rsquo\;s Seder\, Th e Jewish Museum\, New York (2015)\; and &lsquo\;Tis but a scratch&rsquo \; &lsquo\;A scratch?! Your arm&rsquo\;s off!&rsquo\; &lsquo\;No\, it isn&r squo\;t.&rsquo\;\, Studio Voltaire\, London (2012). She has participat ed in group exhibitions internationally at the Museum Brandhorst\, Munich ( 2015)\; The Whitney Museum of American Art (2015)\; Sammlung Falckenberg\, Hamburg (2015)\; the Museum of Modern Art\, New York (2014)\; and MANIFESTA 10\, The State Hermitage Museum\, St. Petersburg (2014). Her work is featu red in the permanent collections of the Museum of Modern Art\, New York\; t he Art Institute of Chicago\, Illinois\; the Hammer Museum\, Los Angeles\; The Whitney Museum of American Art\, New York\; and Kunsthalle Zurich\, Swi tzerland\, among others. She will be included in the 2016 Le Bienniale de M ontreal.

DTEND:20160625 DTSTAMP:20160531T170842 DTSTART:20160519 GEO:40.7463808;-74.007077 LOCATION:Anton Kern Gallery\,532 West 20th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Solo Exhibition\, Nicole Eisenman UID:418928 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Art in General presents Shifters\, an exhibiti on of commissions\, projects and performances that brings together a group of emerging contemporary artists whose practices are engaged with language.

The collective works on view investigate how various systems of communication and their attendan t histories and ideologies are being reconsidered through the lens of gende r today. The project speaks to theories arguing that language as a social a greement is not passive or fixed\, but rather\, it possesses the potential to reimagine structures of power. Shifters will inquire how conven tions that organize how we read\, listen\, and relate to one another\, have the capacity to be rethought and destabilized.

Language as an instrument can express\, or repres s\, the self. Operating from a position of affinity between feminist and qu eer perspectives\, language as both subject and object is placed in proximi ty to the body\, revealing its ability to affect and control routines and b ehavior patterns such as the products we use\, our belief systems\, how we learn and identify. The exhibited works prompt questions into the type of s ubject that specific language systems presuppose and even create\, and how new models might operate against outmoded binary\, racist\, or patriarchal practices.

Performing a type of linguistic alchemy\, these artists defamiliarize language in ord er to make new meanings. The projects on view propose a changeability and l atent potentiality in linguistic traditions that exact influence over our l ives\, bringing to light how ingrained writing or speech patterns are subje ct to revision\, and have been modified over the course of history. Infusin g administrative\, contractual\, religious\, or corporate terminology with poetic or nonsensical gestures\, abstraction and illegibility is put forth as a productive undoing of language.

Becca Albee was born in Portland\, ME and l ives and works in Brooklyn\, NY. She received her MFA from the University o f North Carolina at Chapel Hill and holds a BA from the Evergreen State Col lege in Olympia\, WA. Albee was a founding member of the punk rock riot grr rl band Excuse 17. She is has recently been included in solo and group exhi bitions at The DUMP\, Los Angeles\; CAM Raleigh\; 356 S. Mission Rd.\, Los Angeles\; and C-o-o-l Art\, Agoura Hills. Albee has also been featured in e xhibitions at PiK\, Cologne\; Ortega y Gasset Projects\, Queens\; the Irish Museum of Modern Art\, Dublin\; Contemporary Calgary\, Alberta\; Publicati on Studio\, Hudson\; Apexart\, New York\; and Momenta Art\, Brooklyn\, amon gst others.

C olleen Asper is an artist and writer based in Brooklyn\, NY. She r eceived her MFA from Yale University and holds a BFA from the Maryland Inst itute College of Art. Recent exhibitions include Name It by Trying to N ame It and OS4\, both at the Drawing Center\, New York and Egress at P!\, New York. Asper&rsquo\;s work has been reviewed in pu blications such as Artforum\, The New York Times\, and The New Yorker\, and she has contributed texts to publications including Art in America\, Lacan ian Ink\, and Paper Monument. As part of Hole\, an ongoing collaboration wi th Marika Kandelaki\, Asper has performed at venues in New York including t he Bowery Poetry Club\, Soloway\, Garden Party/Arts\, and Floating Library.

Beatriz Balan ta was born in Colombia\, South America. She received her Ph.D. fr om Duke University in 2010 and holds a BA in Sociology from Boston College. Balanta&rsquo\;s scholarly work analyzes the photographic and literary dim ensions of racial formation in Latin America. Her research interests encomp ass 19th century debates regarding freedom\, citizenship\, and nation build ing in Brazil\, Colombia\, and the United States as well as contemporary th eorizations of art practices from the Global South. She is an assistant pro fessor at SMU&rsquo\;s Meadows School of the Arts. Balanta is currently co- teaching a course\, along with Mary Walling Blackburn\, that mobilizes the role of the stranger in both South and North American art production.

Cara Benedetto was born in Wausau\, WI and lives and works in Richmond\, VA. She rec eived her MFA from Columbia University in 2009 and her BFA at University of Wisconsin River Falls in 2001. Recent performances and collaborations incl ude Come Early and Often\, Chapter NY\; SLOTS\, Young Art Gallery\, Los Angeles\; and Wing &\; Wing\, Art Metropole\, To ronto (all 2014). Benedetto has participated in numerous group exhibitions at venues including Institute of Contemporary Art\, Philadelphia\; Internat ional Print Center of New York\, New York\; Souterrain\, Berlin\; Galeri Ma rquise Dance Hall\, Istanbul\; and Akademie Schloss Solitude\, Stuttgart\, amongst others. She is a recipient of the Columbia University Leroy Neiman Center for Print Studies Fellowship and the Rema Hort Mann Foundation grant . Benedetto has published both creative and critical texts with various pre sses including Badlands Unlimited and Blonde Art Books. She is an assistant professor in print media at Virginia Commonwealth University.

Mary Walling Blackburn was born in California and lives and works in New York. She is the fo under of Anhoek School\, a pedagogical experiment\, and WMYN\, a pirate fem inist radio station. Her work has been featured in solo exhibitions at Sala Diaz\, San Antonio\; University Arts Gallery\, UCSD\, San Diego\; Testsite \, Austin\; and Southern Exposure\, San Francisco\, amongst others. She has participated in numerous group exhibitions both nationally and internation ally\, at venues including Sculpture Center\, New York\; Elizabeth Foundati on for the Arts\, New York\; Center for Curatorial Studies\, Bard College\, New York\; Tate Modern\, London\; The Cooper Union\, New York\; 1a Space\, Kowloon\, Hong Kong\; Blanton Museum of Art\, Austin\; Wattis Institute\, San Francisco\; and the Whitney Museum of American Art\, New York. She was a recipient of an Art Matters Grant. Walling Blackburn&rsquo\;s work has be en featured in publications including Afterall\, BOMB\, Cabinet\, and e-flu x journal.

Dan ielle Dean was born in Huntsville\, AL. She received her MFA from the California Institute of the Arts\, Los Angeles\, CA in 2012\, a BFA fro m Central Saint Martins\, London\, UK\, and an Independent Study Fellowship at the Whitney Museum of American Art. Dean has recently been included in solo exhibitions at The Studio Museum in Harlem\, New York\; Commonwealth a nd Council\, Los Angeles\; and The Bindery Projects\, Minnesota\; and in gr oup exhibitions at Human Resources\, Los Angeles\; Tate Modern\, London\; D iverseWorks\, Houston\; Western Exhibitions\, Chicago\; and The Hammer Muse um\, Los Angeles\; amongst others. She is the recipient of the 2015 Creativ e Capital\, Visual Arts award and the 2014 Rema Hort Mann Foundation award.

Sophia Le Fr aga is a poet and artist living and working in New York. She recei ved her BA in Linguistics and Poetry from New York University. She is the a uthor of literallydead (Spork 2015)\; I RL\, YOU RL (minu teBOOKS 2013\, Troll Thread 2014) and I DON&rsquo\;T WANT ANYTHING TO D O WITH THE INTERNET (KTBAFC 2012). Her anti-play trilogy of iOS adapta tions comprises W8ING\, TH3 B4LD 50PR4N0 and UND3RGR0UND L0V3R 5 (2014\, 2015). Recent exhibitions include Other Titles\, B& uuml\;ro Broken Dimanche\; Berlin\; Greater New York\, MoMA PS1\, New York\; PERFORMA 15\, New York\; and Public Poem Pattern\, The Artist&rsquo\;s Institute\, New York. Le Fraga is the poetry editor of Impe rial Matters\, a curator for the experimental reading series Segue and a me mber of Collective Task. She teaches poetry at BHQFU.

Jonah Groeneboer was born in Vancouver\, BC and lives and works in New York. He received a MFA from N ew York University and a BFA from the Pacific Northwest College of Art in P ortland\, OR. Recent solo and group exhibitions include the Language of Birds\, 80WSE\, New York\; Greater New York\, MoMA PS1\, New York\; Island Time\, Contemporary Art Museum Houston\, Houston\; Blue Shift\, Platform Center for Photographic and Digital Arts\, W innipeg\; and Double Mouth Feedback\, Recess\, New York. His work has been featured in The New Yorker\, New York Arts\, Art 21\, The New York Times\, and Temporary Art Review. Groeneboer has lectured at the Drawing C enter\, Ox-Bow School of Art\, and New York University.


Gordon Hall was born in Boston\, MA and lives and works in New York. Hall holds an MFA and MA in Vi sual and Critical Studies from the School of the Art Institute of Chicago a nd a BA from Hampshire College. Hall has exhibited and performed at Sculptu reCenter\, The Brooklyn Museum\, The Museum of Contemporary Art Chicago\, t he Whitney Museum of American Art\, Movement Research\, EMPAC\, Temple Cont emporary\, Night Club Chicago\, Foxy Production\, The Hessel Museum at Bard College\, White Columns\, and Chapter NY\, amongst others. Hall has also o rganized lecture and performance programs at MoMA PS1\, Recess\, The Shanda ken Project\, and at the Whitney Museum of American Art\, producing a serie s of lectures and seminars in conjunction with the 2014 Whitney Biennial. H all&rsquo\;s writing and interviews have been featured in a variety of publ ications including V Magazine\, Randy\, BOMB\, and Title Magazine. < br />
Marika Kandelaki was born in Tbilisi\, Georgia and lives and works in Brooklyn\, NY. Sh e received her BFA from Parsons School of Design in 2003 and previously stu died at Moor College of Art and Design\, Philadelphia\, and the Nikoladze C ollege of Art and Design\, Tbilisi. Kandelaki&rsquo\;s work has been includ ed in exhibitions and performances including PANGRAMMAR at P!\, Ne w York (2015)\; Name It by Trying to Name It\, The Drawing Center\ , New York (2015)\; Medea\, Floating Library\, New York (2014)\; < em>Hole 2\, Soloway\, Brooklyn (2012)\; and Spectrum\, Bridge Gallery\, New York (2012). Her work has been featured in publications incl uding Adjunct Commuter Weekly\, Art Practical\, The Brooklyn Rail\, and Fus e Magazine. Kandelaki was a 2014-16 Open Sessions Artist at The Drawing Cen ter.

Lead support for Shifters has generously been provided by David Solo.

Additional project support kindly provided by Creative Capi tal (Danielle Dean)\, and Supreme Digital\, Brooklyn (Colleen Asper and Marika Kandelaki) .

DTEND:20160625 DTSTAMP:20160531T170842 DTSTART:20160423 GEO:40.7038061;-73.9875039 LOCATION:Art in General\,145 Plymouth Street \nBrooklyn\, NY 11201 SEQUENCE:0 SUMMARY:Shifters\, Becca Albee\, Colleen Asper\, Beatriz Balanta\, Cara Ben edetto\, Mary Walling Blackburn\, Danielle Dean\, Sophia Le Fraga\, Jonah G roeneboer\, Gordon Hall\, Marika Kandelaki UID:416511 END:VEVENT BEGIN:VEVENT DTEND:20160422T200000 DTSTAMP:20160531T170842 DTSTART:20160422T180000 GEO:40.7038061;-73.9875039 LOCATION:Art in General\,145 Plymouth Street \nBrooklyn\, NY 11201 SEQUENCE:0 SUMMARY:Shifters\, Becca Albee\, Colleen Asper\, Beatriz Balanta\, Cara Ben edetto\, Mary Walling Blackburn\, Danielle Dean\, Sophia Le Fraga\, Jonah G roeneboer\, Gordon Hall\, Marika Kandelaki UID:416512 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Leading Exhibition Supporters:
The Friends of Artists Space\; The 40 Years Artists Space Program Fun d\; Charles Asprey

Exhibition Supporters Circle:
Simone Bat tisti\; Daniel Buchholz &\; Christopher Mü\;ller\; Eleanor Cayre\; I gor DaCosta\; Lonti Ebers\; Martin &\; Rebecca Eisenberg\; Nicoletta Fio rucci (Fiorucci Art Trust\, London)\; Gü\;nter Lorenz\; Konstantinos Pa pageorgiou\; Eleanor H. Propp\; Cé\;sar &\; Mima Reyes\; Rodeo\; A lexander Schrö\;der

With special thanks to Helene Winer\, Sy lvia Kouvali\, Luisa Ausenda\, Cemal Almurat and to all the lenders to the exhibition.

A companion exhibition of Lukas Duwenhö\;gger's work will take place at Raven Row in London from June 30 through September 18\, 2016.

DTEND:20160605 DTSTAMP:20160531T170842 DTSTART:20160501 GEO:40.7188763;-74.0033279 LOCATION:Artists Space : Books & Talks\,55 Walker Street \nNew York \, NY 10013 SEQUENCE:0 SUMMARY:Undoolay\, Lukas Duwenhögger UID:418932 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Leading Exhibition Supporters:
The Friends of Artists Space\; The 40 Years Artists Space Program Fun d\; Charles Asprey

Exhibition Supporters Circle:
Simone Bat tisti\; Daniel Buchholz &\; Christopher Mü\;ller\; Eleanor Cayre\; I gor DaCosta\; Lonti Ebers\; Martin &\; Rebecca Eisenberg\; Nicoletta Fio rucci (Fiorucci Art Trust\, London)\; Gü\;nter Lorenz\; Konstantinos Pa pageorgiou\; Eleanor H. Propp\; Cé\;sar &\; Mima Reyes\; Rodeo\; A lexander Schrö\;der

With special thanks to Helene Winer\, Sy lvia Kouvali\, Luisa Ausenda\, Cemal Almurat and to all the lenders to the exhibition.

A companion exhibition of Lukas Duwenhö\;gger's work will take place at Raven Row in London from June 30 through September 18\, 2016.

DTEND:20160605 DTSTAMP:20160531T170842 DTSTART:20160501 GEO:40.7215609;-74.002266 LOCATION:Artists Space: Exhibitions\,38 Greene St. 3rd Floor\nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Undoolay\, Lukas Duwenhögger UID:418931 END:VEVENT BEGIN:VEVENT DESCRIPTION:

On the occasion of the 60th an niversary of the founding of Asia Society\, this exhibition celebrates the legacy of collecting and exhibiting Asian art that John D. Rockefeller 3rd and Blanchette Hooker Rockefeller set in motion for Asia Society. This exhi bition plays with the notion of context by juxtaposing historical and conte mporary works to trigger distinctive ways of thinking about artworks and th e people that produce them\, both past and present. The exhibition is a tes tament to the visionary commitment to Asia and its art begun by Mr. and Mrs . John D. Rockefeller 3rd\, and that continues to the present at Asia Socie ty.

DTEND:20170108 DTSTAMP:20160531T170842 DTSTART:20160308 GEO:40.7700155;-73.9644801 LOCATION:Asia Society Museum\,725 Park Avenue at 70th Street\nNew York\, NY 10021 SEQUENCE:0 SUMMARY:In and Out of Context: Asia Society Celebrates the Collections at 6 0 UID:406339 END:VEVENT BEGIN:VEVENT DTEND:20160308T180000 DTSTAMP:20160531T170842 DTSTART:20160308T110000 GEO:40.7700155;-73.9644801 LOCATION:Asia Society Museum\,725 Park Avenue at 70th Street\nNew York\, NY 10021 SEQUENCE:0 SUMMARY:In and Out of Context: Asia Society Celebrates the Collections at 6 0 UID:406340 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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Atlantic Gallery is pleased to announce the opening of Weathering Whether\, an exhibition of mixed-media works on paper by Meera Thompson. \; The paintings will be on view from May 17 through June 11\, 2016\, and a reception for the artist will be held on Thursday May 19 from 5:00 to 8:00 PM. \; Weathering Whether is Meera Thompson&rsquo\;s fifth solo show at Atlantic Gallery.

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Meera Thompson&rsquo\;s new paintings offer a meditation on the mutability of th e passing moment. \; Each image sweeps visitors into unfolding dramas. Dynamic brush strokes evocative of crashing waves\, swirling clouds\, fleet ing shadows\, and rustling breezes testify to the presence of unseen powers . \; While the action in the pictures may appear to play out in the air and in the water\, more contemplative intimations of force and change awai t the responsive viewer.  \;Close inspection suggests that Thompson is laying bare the deliberative nature of painting. \; All lines\, shapes and colors embody decisions and to recognize them is to participate in thei r attendant doubt and desire. \; In essence\, Thompson&rsquo\;s sensuou s abstractions are an invitation to look inward and &ldquo\;weather whether .&rdquo\;

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 \;Meera Thompson&rsquo\;s work is represented in num erous collections across the United States and Canada. \; She is a memb er of the faculty of the School of Professional Studies at New York Univers ity where she teaches a variety of Studio Art courses including Drawing at the Metropolitan Museum of Art. \; A graduate of Vassar College\, she e arned her M.F.A. at Boston University and continued her studies at the Art Students League. \;

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DTEND:20160611 DTSTAMP:20160531T170842 DTSTART:20160517 GEO:40.7517031;-74.0040108 LOCATION:Atlantic Gallery\,548 West 28th Street \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Meera Thompson: Weathering Whether\, Meera Thompson UID:416159 END:VEVENT BEGIN:VEVENT DTEND:20160519T200000 DTSTAMP:20160531T170842 DTSTART:20160519T170000 GEO:40.7517031;-74.0040108 LOCATION:Atlantic Gallery\,548 West 28th Street \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Meera Thompson: Weathering Whether\, Meera Thompson UID:416160 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Atlantic Gallery is pleased to present an exhibition of new paintings by Phyllis Chillingworth\, titled "CURRENTS". These paintings cap ture the impressions and rhythms of her recent travels to Nova Scotia\, Cap e Cod and Montana. The waterfalls\, rocks\, tide and endless space become s ymbols of the currents of life\, our moods and our internal navigations. th e elusive water rhythms of the east contrast with the ancient earth-rhythms of the west. Movements permeates all of her work. Describing her painting\ , Phyllis Chillingworth states:

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"I feel a sublime connection to the places I paint. My goal is to transfer nature's energy\, light and warmth to the viewer. Experiencing these intimate moments brings up wonderful chil dhood memories and many surprising undercurrents. i hope the observer disco vers a personal connection to my paintings."

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Phyllis Chillingworth lives in new York City and Montauk. She earned a B.S. from The Institute of Design\, Illinois Institute of Technology\, Chicago\, and a B.F.A./M.F.A. from the Yale School of Art and Architecture.

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DTEND:20160611 DTSTAMP:20160531T170842 DTSTART:20160517 GEO:40.7517031;-74.0040108 LOCATION:Atlantic Gallery\,548 West 28th Street \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Phyllis Chillingworth: CURRENTS\, Phyllis Chillingworth UID:416208 END:VEVENT BEGIN:VEVENT DTEND:20160519T200000 DTSTAMP:20160531T170842 DTSTART:20160519T170000 GEO:40.7517031;-74.0040108 LOCATION:Atlantic Gallery\,548 West 28th Street \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Phyllis Chillingworth: CURRENTS\, Phyllis Chillingworth UID:416209 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Benrubi Gallery is pleased to present Artificial by Nature\, the new exhibition by Karine Laval. Artificial by Nature continues the artist&rsquo\;s long exploration of distorted realities and altered per ceptions\, resulting in manipulations of light and color as sophisticated a s they are seductive. Laval's fifth solo exhibition with the gallery \; will also debut her foray into scuplture.  \;
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The g allery&rsquo\;s main space features selections from Laval&rsquo\;s Hete rotopia\, a series of densely layered photographs of gardens and other manicured &ldquo\;natural&rdquo\; environments. Placing sheets of glass an d \;mirrors in the composition\, and employing skewed perspectives and extreme crops\, the images in Heterotopia \;are suffused with the luminescence of stained-glass windows while possessing the uncanny char m of movie stills or extraterrestrial landscapes. Tiny stems appear tall as trees\, while empty space fills up with clouds of color that swirl with th e celestial movement of nebulas. Yet there are often traces of the unmanipu lated scene left in the frame\, reminding viewers that this is in fact a fa miliar world\, and the only thing that&rsquo\;s changed is the way it&rsquo \;s perceived. Light\, which we&rsquo\;re accustomed to think of as the med ium we see through\, is revealed for what it is: the medium that brings the images to our eyes\, and that possesses layers far richer than what we nor mally see.
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On view in the project room are selections f rom Black Palms\, a series of images of Los Angeles palm trees\, s hot from below and solarized\, leaving behind vast black fields jaggedly sl ashed with silver etchings. The zigzag tracings of the palm leaves recall p hotograms or the stylized manipulations of light in film noir (in which man y of these trees once featured)\, while the inky gloss of the images simult aneously reflects viewers&rsquo\; gaze and sucks them into an interstellar vastness. But as with the images in Heterotopia\, the quotidian re ality is discernible\, leaving viewers with the uneasy yet uplifting sugges tion that the world is what we think it is only because of long-held and of ten unconscious patterns of association. There is always more to see.
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Karine Laval \;(b. 1971) was born in Meu don-La-Foret\, France and lives in Brooklyn\, NY. Her \;work has been w idely exhibited in solo and group exhibitions in the United States and inte rnationally at such venues as the Palm Springs Art Museum\, the Los Angeles Center for Digital Art\, the Sorlandet Art Museum in Kristiansand\, Norway \, the Palais de Tokyo in Paris\, and at several photo festivals throughout Europe and the US. Laval was a finalist in France&rsquo\;s Villa Medicis H ors Les Murs as well as the recipient of the Peter S. Reed Foundation Grant .

DTEND:20160701 DTSTAMP:20160531T170842 DTSTART:20160519 GEO:40.7502381;-74.0036147 LOCATION:Benrubi Gallery\,521 West 26th Street 2nd floor\nNew York\, NY 100 01 SEQUENCE:0 SUMMARY:Artificial by Nature\, Karine Laval UID:418933 END:VEVENT BEGIN:VEVENT DTEND:20160519T200000 DTSTAMP:20160531T170842 DTSTART:20160519T180000 GEO:40.7502381;-74.0036147 LOCATION:Benrubi Gallery\,521 West 26th Street 2nd floor\nNew York\, NY 100 01 SEQUENCE:0 SUMMARY:Artificial by Nature\, Karine Laval UID:418934 END:VEVENT END:VCALENDAR