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303 Gallery is proud to presen t Design Office: The City Is A Garden\, our first solo exhibition of new works by Kim Gordon.

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In this n ew body of work\, Gordon's primary concern is the radical change in the lan dscape of New York City over the past several years. For the past 20 years Chelsea has been a center of urban renovation\, including the opening of th e highline in 2009. Small parks appear randomly in the middle of a street. Outdoor sculptures often accompany the arrangements. The new lushness of Ne w York would seem to reimagine NYC as a city for the people\, as well as a more attractive landscape for new consumers.

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Gordon's work upends this notion of beauty\, exploiting its inheren t artifice. New condo developments are named with boardroom idealism - The Rushmore\, Fortress of Glassitude\, Greenwich Lane - bestowed to evoke a de sirable and ineffable lifestyle. The exhibition's floor paintings repurpose these hollow slogans onto crumpled canvases\, makeshift eponyms inscribed with black paint. The painting of the show's title "The City is a Garden" h earkens back to an East Village aesthetic found in the neighborhood's funky community gardens. Here\, at the entrance\, it appears as an overturned em blem\, the refuse of misappropriated ideas.

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The garden is now controlled\, a rendered design element in the slic k blending of technology and luxury. Fake hedges installed in the gallery a re the same ones used to form walls at public events and openings. Meant to create a sense of instant status\, they promise a comfort zone of landscap ing\, an event\, an evening of transformation. A series of more crinkly can vases hang on the wall\, smeared with shiny paint and glitter\, here to dis tract and bedazzle.

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Using a variety o f methods to work on canvas\, Gordon utilizes direct application of paints\ , resins\, glitters and fiberglass\, as well as physical manipulation of th e canvas and a playful irreverence in its presentation. Paintings are crump led\, overturned and flung\; battle scars from past performances become ges tural abstraction.

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Kim Gordon has bee n shown internationally including exhibitions at Kü\;nstlerhaus\, Graz\ , White Columns and MoMA/PS1 in New York. Gordon's upcoming solo exhibition at Benaki Museum in Athens in collaboration with DESTE Foundation will ope n on June 12th. Girl in a Band\, a book of Gordon's memoirs\, was released in February by Dey Street Books. Is It My Body\, a collec tion of her writings on art and performance\, was published in January 2014 by Sternberg Press. A widely recorded musician\, Kim Gordon is a founding member of Sonic Youth and performs as Body/Head (with Bil l Nace). 303inprint and Open Mouth Records will release a 12" LP record fro m a limited edition of 250 by Kim Gordon with cover art by Nick Mauss on Ju ne 24th.

DTEND:20150724 DTSTAMP:20150706T005902 DTSTART:20150604 GEO:40.7485947;-74.0041953 LOCATION:303 Gallery\,507 West 24th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Design Office: The City Is A Garden\, Kim Gordon UID:383955 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:20150706T005902 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:20150706T005902 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:

RAW BEAUTY

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Bradley Theodore and Antoine Verglas

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June 11 through July 31\, 2015

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

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

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- Bradley Theodore

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

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- Antoine Verglas

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

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- Han a Nitsche\, supermodel

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

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

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DTEND:20150731 DTSTAMP:20150706T005902 DTSTART:20150611 GEO:40.7452665;-74.0083239 LOCATION:ACA Galleries\, Est 1932\,529 West 20th Street (5th floor) bt 10th and 11th Ave\nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Raw Beauty\, Antoine Verglas\, Bradley Theodore UID:384523 END:VEVENT BEGIN:VEVENT DTEND:20150611T200000 DTSTAMP:20150706T005902 DTSTART:20150611T180000 GEO:40.7452665;-74.0083239 LOCATION:ACA Galleries\, Est 1932\,529 West 20th Street (5th floor) bt 10th and 11th Ave\nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Raw Beauty\, Bradley Theodore\, Antoine Verglas UID:384524 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Aicon Gallery is proud to pres ent the second major exhibition held in New York of the work of Sadequain\, Pakistan&rsquo\;s most renowned and celebrated modernist painter. The exhi bition includes rare works painted and left behind by the artist in Paris d uring the late 1960s. This body of work\, now known as The Lost Exhibition\ , evinces Sadequain&rsquo\;s radically innovative calligraphic style of the period\, while the individual works stand as some of the most formally com manding and revolutionary paintings of the artist&rsquo\;s long and prolifi c career.

Though Sadequain&rsquo\;s oeuvre is by no means limite d to his calligraphic works\, these paintings represent the pinnacle of his uniquely innovative approach\, which allowed for calligraphy to be adapted into South Asian Modern art practices. Kufic\, the oldest-known script in Arabic is characterized by angular strokes punctuated by dots and accents. The letters and words that sweep across Sadequain&rsquo\;s calligraphic can vases embody a richness of form and color that swirl together in majestic e mbrace. Sadequain explained how each letter in his calligraphic style exemp lifies its own personality\, mood\, and \;character. Some are playful a nd radiant while others are thoughtful and dark. There is an intimate relat ionship between artist and artwork. Sadequain took the role of both painter and poet\, fusing the two arts into a single\, harmonious masterpiece.

&ldquo\;My paintings recite the poems that flow within them. Now I compose poetry to compliment my painting.&rdquo\;

In these paint ings\, Sadequain explored these new calligraphic forms\, while maintaining their scriptural origins. In Islamic culture\, calligraphy is seen to be th e most dignified and representative element of the visual arts. To capture its intellectual beauty\, Sadequain portrayed verses in varied shades and f orms. Bold spectrums of color convey the mood and time of day\, manipulatin g the imagery via an activated texture. This body of work represents both a spiritual and mystical artistic endeavor. If art imitates life\, then its relationship with society defines the quintessential forms of our human exi stence. It was this belief through which Sadequain strove to explore and de fine the dichotomy between academic ideals and implicit realities throughou t his career. To him\, art was innovation and expression of truth\, not mer ely a craft.

The same radical blending of tradition and innovati on runs throughout the entirety of this exhibition\, which centers around a unique thirty one-piece calligraphic series titled Sura-e-Rehman (Praise o f the Lord). This iconic set of canvases represents the artist&rsquo\;s ren dition of the sacred Quranic verse in which the Creator reminds mankind of the bountiful world that he has provided. Kufic inscriptions of the past we re to preserve the mysticism and power of the letters. Sadequain&rsquo\;s p aintings allow these surreal expressions to transcend the canvas and bring us to an exalted state. Many of the paintings in the exhibit pre-date the P arisian period\, as well as a host of the artist&rsquo\;s drawings. However \, the Parisian works on view remain the most elusive\, due to the artist&r squo\;s sudden departure from France in early spring of 1967\, having promi sed to return in a few days&rsquo\; time. Sadequain never returned to Paris \, nor did he retrieve his belongings amongst which stood these magnificent paintings. The majority of work from this era remained locked in the attic s and basements of Parisian galleries and private residences\, and has only begun to emerge in recent years due to the collecting and cataloging effor ts of the Sadequain Foundation\, with whom Aicon is jointly sponsoring the current exhibition\, providing for a rare showing of these works in New Yor k.

DTEND:20150718 DTSTAMP:20150706T005902 DTSTART:20150617 GEO:40.7268368;-73.9929619 LOCATION:AICON GALLERY - New York\,35 Great Jones Street \nNew York\, NY 10 012 SEQUENCE:0 SUMMARY:Exaltations: Featuring works from the Lost Exhibition\, Sadequain UID:386138 END:VEVENT BEGIN:VEVENT DTEND:20150617T200000 DTSTAMP:20150706T005902 DTSTART:20150617T180000 GEO:40.7268368;-73.9929619 LOCATION:AICON GALLERY - New York\,35 Great Jones Street \nNew York\, NY 10 012 SEQUENCE:0 SUMMARY:Exaltations: Featuring works from the Lost Exhibition\, Sadequain UID:386139 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150724 DTSTAMP:20150706T005902 DTSTART:20150606 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:Group Exhibition\, Jonathas de Andrade\, Matthew Benedict\, Fernand o Bryce\, Willie Cole\, Mona Hatoum\, Robert Kinmont\, Stefan Kurten\, Jorg e Macchi UID:385183 END:VEVENT BEGIN:VEVENT DTEND:20150606T200000 DTSTAMP:20150706T005902 DTSTART:20150606T180000 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:Group Exhibition\, Matthew Benedict\, Fernando Bryce\, Willie Cole\ , Jonathas de Andrade\, Mona Hatoum\, Robert Kinmont\, Stefan Kurten\, Jorg e Macchi UID:385184 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:20150706T005902 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:20150706T005902 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: DTEND:20150814 DTSTAMP:20150706T005902 DTSTART:20150702 GEO:40.749185;-74.005023 LOCATION:Andrea Rosen Gallery\,525 W.24th St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Everythings\, Hayden Dunham\, Parker Ito\, Timur Si-Qin UID:389029 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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

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

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

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

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

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

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

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

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

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

DTEND:20150814 DTSTAMP:20150706T005902 DTSTART:20150625 GEO:40.7472381;-74.0051301 LOCATION:Andrew Kreps Gallery @ 535 West 22nd\,535 West 22nd Street \nNew Y ork\, NY 10011 SEQUENCE:0 SUMMARY:Kaufmann Repetto presents: The Sober Day\, Nicola Martini UID:388159 END:VEVENT BEGIN:VEVENT DTEND:20150625T200000 DTSTAMP:20150706T005902 DTSTART:20150625T180000 GEO:40.7472381;-74.0051301 LOCATION:Andrew Kreps Gallery @ 535 West 22nd\,535 West 22nd Street \nNew Y ork\, NY 10011 SEQUENCE:0 SUMMARY:Kaufmann Repetto presents: The Sober Day\, Nicola Martini UID:388160 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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

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

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

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

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

DTEND:20150814 DTSTAMP:20150706T005902 DTSTART:20150625 GEO:40.7477457;-74.0063477 LOCATION:Andrew Kreps Gallery @ 537 W. 22nd\,537 W. 22nd St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Solo Exhibition\, Ruth Root UID:388161 END:VEVENT BEGIN:VEVENT DTEND:20150625T200000 DTSTAMP:20150706T005902 DTSTART:20150625T180000 GEO:40.7477457;-74.0063477 LOCATION:Andrew Kreps Gallery @ 537 W. 22nd\,537 W. 22nd St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Solo Exhibition\, Ruth Root UID:388162 END:VEVENT BEGIN:VEVENT DESCRIPTION:

An Unsolicited Proposal Progra m winning exhibition.
Learn more about the \;Unsolicited Proposal Program. &nb sp\;

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In the wake of recent events suc h as Edward Snowden exposing NSA&rsquo\;s egregious breach of personal priv acy and accusations of social media platforms such as Facebook controlling personal information\, contemporary global citizens have come to realize th at society has been re-constructed as a panopticon. The level to which our daily behavior conforms to the new structure of an ever watchful eye has in filtrated the zeitgeist of our time. The exhibition \;Profiled: Sur veillance of a Sharing Society \;unites the practices of six artis ts who seek to operate within this new awareness of being watched. \;
The contemporary society of surveillance\, where international bo undaries are ignored in national data gathering and computer-operated drone s have the ability to monitor communities thousands of miles away\, is not what it appears. The quest to obtain data is counterbalanced by our willing ness\, even need\, to share our personal information. At the heart of the s hared &ldquo\;selfie&rdquo\; or constant status updates is a psychological phenomenon known as the cult of celebrity&mdash\;the ability to have one's image communicated to a network of hundreds of peers and potential admirers but ultimately set loose into the wide world of the Internet. The artists in \;Profiled \;work at the juncture of post-9/11 military concerns and the astronomical rise of social media technologies. Through t heir diverse practices\, these artists analyze the paradoxes in sharing eve rything with our suspicion of those looking. \;


Unsoli cited Proposal Program Winner 2014-15 \;

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Mary Coyne \;i s a curator and writer based in Brooklyn\, New York. She has curated group exhibitions in Los Angeles and New York\, has contributed to multiple publi cations including \;Afterimage\, \;The Journal of Cura torial Studies\, \;Museum and Curatorial Studies Review\,  \;Performa\, and \;Droste Effect. She is the fou nder and curator of Pseudo Empire\, a not-for-profit exhibition space in Br ooklyn. \;

DTEND:20150725 DTSTAMP:20150706T005902 DTSTART:20150604 GEO:40.719022;-74.004432 LOCATION:Apexart\,291 Church Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Profiled: Surveillance of a Sharing Society\, Jens Sundheim\, Julia Scher\, Willem Popelier\, Jenny Odell\, Paolo Cirio\, James Bridle UID:383096 END:VEVENT BEGIN:VEVENT DTEND:20150603T200000 DTSTAMP:20150706T005902 DTSTART:20150603T180000 GEO:40.719022;-74.004432 LOCATION:Apexart\,291 Church Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Profiled: Surveillance of a Sharing Society\, James Bridle\, Paolo Cirio\, Jenny Odell\, Willem Popelier\, Julia Scher\, Jens Sundheim UID:383097 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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

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

DTEND:20150920 DTSTAMP:20150706T005902 DTSTART:20150626 GEO:42.907359;-74.572002 LOCATION:Arkell Museum\,2 Erie Boulevard \nCanajoharie\, NY 13317 SEQUENCE:0 SUMMARY:Surrounded: Sampling Burchfield's Wallpaper\, Charles Burchifeld UID:386142 END:VEVENT BEGIN:VEVENT DTEND:20150626T170000 DTSTAMP:20150706T005902 DTSTART:20150626T100000 GEO:42.907359;-74.572002 LOCATION:Arkell Museum\,2 Erie Boulevard \nCanajoharie\, NY 13317 SEQUENCE:0 SUMMARY:Surrounded: Sampling Burchfield's Wallpaper\, Charles Burchifeld UID:386143 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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

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

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

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

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

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

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

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\n\n \n Normal\n 0\n \n \n \n \n false\n false\n < w:AlwaysShowPlaceholderText>false\n \n EN-PH\n X-NONE\n X-NONE\n \n \n \n \n \n \n \n \n \n \n \n \n \n MicrosoftInternetExplorer4\n \n \n \n \n \n \n \n \n \n \n \n \n \n DTEND:20150823 DTSTAMP:20150706T005902 DTSTART:20150614 GEO:40.7215609;-74.002266 LOCATION:Artists Space: Exhibitions\,38 Greene St. 3rd Floor\nNew York\, NY 10013 SEQUENCE:0 SUMMARY:The Pleasure of Play\, Tom of Finland UID:386074 END:VEVENT BEGIN:VEVENT DTEND:20150613T200000 DTSTAMP:20150706T005902 DTSTART:20150613T180000 GEO:40.7215609;-74.002266 LOCATION:Artists Space: Exhibitions\,38 Greene St. 3rd Floor\nNew York\, NY 10013 SEQUENCE:0 SUMMARY:The Pleasure of Play\, Tom of Finland UID:386075 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Inspired by Nam June Paik: Becoming Robot \;is part of a series of exhibitions that presents the work of New York City students created in response to the great artist ic traditions of Asia. This year the exhibition presents student artwork in spired by the Asia Society fall 2014 exhibition \;Nam June Paik: Be coming Robot. By displaying these fresh interpretations of Asian arts\ , we hope to encourage other young visitors to exercise their creativity.\n

Organized by Asia Society Museum in co llaboration with Studio in a School.

DTEND:20150719 DTSTAMP:20150706T005902 DTSTART:20150519 GEO:40.7700155;-73.9644801 LOCATION:Asia Society Museum\,725 Park Avenue at 70th Street\nNew York\, NY 10021 SEQUENCE:0 SUMMARY:Inspired by Nam June Paik: Becoming Robot\; Works by New York City Students UID:382490 END:VEVENT BEGIN:VEVENT DTEND:20150519T180000 DTSTAMP:20150706T005902 DTSTART:20150519T110000 GEO:40.7700155;-73.9644801 LOCATION:Asia Society Museum\,725 Park Avenue at 70th Street\nNew York\, NY 10021 SEQUENCE:0 SUMMARY:Inspired by Nam June Paik: Becoming Robot\; Works by New York City Students UID:382491 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Now that China has surpassed t he United States as the largest trading nation in the world\, it is timely to \;reflect on how China&rsquo\;s strides to attain this coveted posit ion have affected the social and physical landscape of the country\, and ho w this new status will impact its society in the future. The selection of v ideo and photography works by the eight artists included in this exhibition illuminate the great changes that have occurred as a result of China&rsquo \;s race to establish itself on the world stage\, and the increasingly star k contrast between the development in urban centers and the stagnation of t he rural countryside.

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Featuring works from the Asia Society Museum Collection by Cao Fei\, Chen Shaoxiong\, Hai Bo\, Lin Yilin\, Song Dong\, Sze Tsung Leong\, Wang Qingsong\, and Zhang Dali.

DTEND:20150719 DTSTAMP:20150706T005902 DTSTART:20150609 GEO:40.7700155;-73.9644801 LOCATION:Asia Society Museum\,725 Park Avenue at 70th Street\nNew York\, NY 10021 SEQUENCE:0 SUMMARY:DE/CONSTRUCTING CHINA: Selections from the Asia Society Museum Coll ection\, Cao Fei\, Chen Shaoxiong\, Hai Bo\, Lin Yilin\, Song Dong\, Sze Ts ung Leong\, Wang Qingsong\, Zhang Dali UID:382492 END:VEVENT BEGIN:VEVENT DTEND:20150609T180000 DTSTAMP:20150706T005902 DTSTART:20150609T110000 GEO:40.7700155;-73.9644801 LOCATION:Asia Society Museum\,725 Park Avenue at 70th Street\nNew York\, NY 10021 SEQUENCE:0 SUMMARY:DE/CONSTRUCTING CHINA: Selections from the Asia Society Museum Coll ection\, Hai Bo\, Zhang Dali\, Song Dong\, Cao Fei\, Wang Qingsong\, Chen S haoxiong\, Sze Tsung Leong\, Lin Yilin UID:382493 END:VEVENT BEGIN:VEVENT DESCRIPTION:
Blum &\; Poe announces a survey exhibition of sculpture by Swiss-born artist Fran&cc edil\;oise \;Grossen. On view will be works from 1967-1991 including&nb sp\;Cygne \;(1967)\, loaned from the Museum of Arts and Design \, New York and originally shown in the groundbreaking 1969 exhibition  \;Wall Hangings \;at the Museum of Modern Art. This is Grossen 's first solo-presentation with Blum &\; Poe and her first survey in the United States.
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Emerging i n the late 1960s alongside contemporaries such as Eva Hesse\, Sheila Hicks\ , and Lenore Tawney\, Grossen sought to relinquish the traditional tools an d methods of textile and fiber art\, instead utilizing a free-hand braiding and knotting technique allowing for greater freedom and spontaneity in her process. \;Works appear simultaneously weightless and weighted\, both masculine and feminine\, all the while reinforcing their objecthood. \;
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Grossen's knotted an d plaited rope sculptures eschew the four edges that delimited traditional tapestry\, and boldly enter the third dimension by hanging from the ceiling or unfolding directly onto the floor. Grossen pushes beyond this initial r upture with the rectangle and the wall to explore the weight of her materia l and its response to gravity\, an investigation that aligns her art with b roader artistic debates taking place in New York and elsewhere. (Jenelle Po rter\,Fiber: Sculpture 1960-Present \;[Boston: Institute of Co ntemporary Art\, 2014]\, 198) \;

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

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

DTEND:20150815 DTSTAMP:20150706T005902 DTSTART:20150604 GEO:40.768329;-73.968485 LOCATION:Blum & Poe | New York\,19 East 66th Street \nNew York\, NY 10065 SEQUENCE:0 SUMMARY:Solo Exhibition\, Françoise Grossen UID:384701 END:VEVENT BEGIN:VEVENT DTEND:20150604T200000 DTSTAMP:20150706T005902 DTSTART:20150604T180000 GEO:40.768329;-73.968485 LOCATION:Blum & Poe | New York\,19 East 66th Street \nNew York\, NY 10065 SEQUENCE:0 SUMMARY:Solo Exhibition\, Françoise Grossen UID:384702 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150802 DTSTAMP:20150706T005902 DTSTART:20150628 GEO:40.7135097;-73.9859414 LOCATION:Bodega\,167 Rivington St. Lower Level East\nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Solo Exhibition\, Sarah Ortmeyer UID:386140 END:VEVENT BEGIN:VEVENT DTEND:20150628T200000 DTSTAMP:20150706T005902 DTSTART:20150628T180000 GEO:40.7135097;-73.9859414 LOCATION:Bodega\,167 Rivington St. Lower Level East\nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Solo Exhibition\, Sarah Ortmeyer UID:386141 END:VEVENT END:VCALENDAR