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

Acquavella Galleries is pleased to present Dubuffet | Barcel ó\;\, an exhibition of paintings by French postwar painter Jean Dubuf fet and acclaimed Spanish artist Miquel Barceló\;\, on view from June 30 to September 19\, 2014. The exhibition \;will feature distinct bodi es of work from each artist &ndash\; several of Barceló\;&rsquo\;s re cent white paintings and dark bleach portraits will be shown alongside a se lection of Dubuffet&rsquo\;s landscapes and portraits. Since he was a teena ger\, Barceló\; has been drawn to Dubuffet&rsquo\;s poetic writings a nd unconventional aesthetic. In juxtaposing portraits and landscapes by bot h artists\, this exhibition aims to highlight
their thematic and mater ial affinities.

Dubuffet employed various techniques to represen t soil in his series of Texturologies from the 1950s. Acting as an inventor y of various types of terrain\, these paintings celebrate the nuances of ma terial. Dubuffet initially intended to create the series as an assemblage e vocative of earth&rsquo\;s expanse that could be endlessly extended\; howev er\, his attachment to these initial paintings
prevented him from prod ucing this assemblage\, and they remain as individual works. With their enc rusted\, tactile surfaces\, Dubuffet&rsquo\;s Texturologies evoke the textu res of the earth. This obsession with formlessness extends to Dubuffet&rsqu o\;s portraits\, several of which are included in this exhibition. His meth ods of rendering the human figure reflect his fascination with primitive an d naive art practices.

Barceló\;&rsquo\;s most recent seri es of white paintings also pay tribute to boundless terrain. An artistic no mad\, he has traveled widely\, relying on cultural and geographic diversity for inspiration. Earthly textures &ndash\; sand or waves of the ocean\, fo r example &ndash\; have long influenced his painting practice. Several heav ily impastoed canvases\, in particular\, pay tribute to the coastal terrain of his native Majorca. The intensely textured Huitres II recalls Barcel&oa cute\;&rsquo\;s travels across the arid\, rugged terrain of the Sahara. Thi s work is simultaneously devoid of and brimming with color &ndash\; indicat ing the heat\, light\, and texture of the desert. Barceló\;&rsquo\;s recent portraits are
similarly personal. These paintings\, made with b leach\, chalk\, and charcoal on dark canvas\, present ethereal renderings o f the artist&rsquo\;s colleagues and friends.

Jean Dubuffet (190 1 &ndash\; 1985) was born in Le Havre\, France. In 1918 he moved to Paris t o study at the Acadé\;mie Julian\, which he left after six months to study independently. After abandoning painting to work at his family&rsquo\ ;s wine business for several years\, Dubuffet fully committed himself to be ing an artist in 1942. His fascination with Hans Prinzhorn's Artistry of th e Mentally Ill deeply influenced
his artistic practice\, and led to hi s coining of the term &ldquo\;Art Brut.&rdquo\; For Dubuffet\, the raw and uninhibited expression of Art Brut provided a fresh and alternative directi on to what he saw as the stifling decorum and conformity of French culture and the Western tradition. Painting in a deliberately crude manner\, Dubuff et developed a technique of thick impasto\, called haute pâ\;te\, and frequently
incorporated unorthodox materials ranging from cement and g ravel to leaves\, dust\, and even butterfly wings into his works. His contr oversial materials and mark-making solidified his legacy as an iconoclastic figure in the canon of postwar European painting. His work has been exhibi ted in and collected by major public and private institutions across the wo rld. \;

Miquel Barceló\; (b. 1957) was born in Felanit x\, Majorca and divides his time between Majorca\, Paris\, and Mali. The yo ungest artist to ever show at the Musé\;e du Louvre\, Barceló\; represented Spain at the 53rd Venice Biennale and drew wide acclaim for hi s
participation in Documenta VII in Kassel\, Germany. He has had retro spectives at renowned institutions\, including the Centre Pompidou\, Paris\ ; Museo Nacional Centro de Arte Reina Sofia\, Madrid\; Museo Rufino Tamayo\ , Mexico\; and the Guggenheim Museum\, Bilbao\, Spain. His work is included in many esteemed public and private collections worldwide.

\n

 \;

DTEND:20140919 DTSTAMP:20140821T220150 DTSTART:20140630 GEO:40.7762839;-73.9626764 LOCATION:Acquavella Galleries\,18 East 79th Street \nNew York\, NY 10075 SEQUENCE:0 SUMMARY:Dubuffet | Barceló\, Jean Dubuffet\, Miquel Barcelo UID:343971 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Aicon Gallery \;is proud to present  \;Readymade\, the first ever extensive survey exhibition of c ontemporary Bangladeshi art held in New York. The exhibition features nine artists collectively exploring the complex and interlocking cultural\, poli tical\, economic and environmental issues currently facing the often parado xical and rapidly changing society and state of Bangladesh in the new mille nnium. The nation's exploding population\, the daily socioeconomic struggle s of the lives of millions\, the consequences of climate change\, shifting cultural and gender demographics and the future of industry and economic gr owth are just some of the vastly influential issues informing and challengi ng the visual and verbal language of Bangladesh's diverse and quickly growi ng contemporary art scene. The work in this exhibition unpacks these issues through the concept of the \;readymade\, both in its art hist orical context\, and as a term referring to Bangladesh's massive and unwiel dy ready-to-wear garment industry\, which has made headlines recently due t o the tragic consequences of its lack of regulation and harsh suppression o f reform\, while also remaining the economic backbone of Bangladesh's growi ng economy. \; \;

\n
When Marcel Duchamp challenged high art by making the mundane m onumental\, he called it readymade. The spaceless conjunction of 'ready' an d 'made' is fraught with tension\, simultaneously existing as an affirmatio n\, yet a contradiction. This signifies convenience at the cost of quality\ , access at the cost of wholesomeness\, and success at the cost of failure. Ultimately\, it marks a divide that is hard to bridge. As Bangladesh encou nters these many divides and contradictions\, 'readymade' becomes an identi ty in itself.

\n
With rising levels of gree nhouse gases in the environment\, the global climate is changing. Extreme s torms\, long the scourge of low-lying Bangladesh\, are increasing in freque ncy and ferocity\; and\, there is the rising sea level. Bangladesh presents the largest assemblage of humans at such a low elevation. It is inherently readymade for a natural disaster of epic proportions. With a still trottin g\, if not galloping\, population growth and a shrinking landmass from risi ng waters\, Bangladesh is also a readymade demographic time bomb. About 40% of the population is below the age of 25. If these tens of millions of you ng men and women are not educated and put to work\, Bangladesh is readymade for social unrest.
\n
\n

Yet\, it is in readymades that Bangladesh seeks a path to redemptive transformation. R eadymade is the locally popular term for ready-to-wear clothing. It is an i ndustry of which Bangladesh\, with its large work force and low wages\, has become the global epicenter\, with the garment industry comprising nearly 90% of its Gross Domestic Product. This epicenter\, occasionally shaken by a tragedy of epic proportions\, is merely inconvenienced by smaller everyda y tragedies. Labor organizers disappear into the night\, while dissenting w orkers find their jobs-and at times\, limbs-gone. The lack of economic dive rsity promotes an endemic occurrence of sweatshops and unsafe labor conditi ons\, favoring capitalism over social welfare\, susceptible to poverty and malnutrition of children\, with a growing sex trade of prostitution and chi ld trafficking into India. It is an industry readymade to propel Bangladesh forwards or back\; and\, at times\, it seems to do both. \;

\n

Whether a storm changes th e coastline or a factory collapses upon its occupants\, it takes a myriad o f tragedies for the world to focus on Bangladesh. Can tragedy be the price of good-tidings to come? The disaster\, in the case of a factory-collapse\, is not natural but manmade. For the looming tragedy of climate change\, ma n's authorship should at least allow for remediation. Will the proverbial ' silver lining' be a clear establishment of a civil society's predominance? The political leaders\, no matter how tainted\, know that they would have t o seek the people's mandate\, sooner rather than later. Bangladesh has had a growing democracy for three of its four decades in existence. From being the poorer\, undernourished and fledging of the two wings of Pakistan - the nation it broke from in 1971 - Bangladesh today has peace\, a vibrant econ omy\, higher rates of development and greater empowerment of its people\, e specially its women.

\n

Is Bangladesh\, then\, readymade to chart a way forward? Are its artists ready to play a part in this charted route? Culture has always been integral to Bangladesh's identity. It was bo rn of a struggle to protect a language and its associated culture. "Readyma de"\, the first major curated exhibition of contemporary Bangladeshi art in New York\, seeks to re-introduce a society long known as a reliable source of disaster news\, as one that is at a fork. A big disaster may yet unfold of many little ones\; but equally\, there is hope for the emergence of a c ivil society\, with art and artists at its vanguard. \;

\n DTEND:20140906 DTSTAMP:20140821T220150 DTSTART:20140724 GEO:40.7268368;-73.9929619 LOCATION:AICON GALLERY - New York\,35 Great Jones Street \nNew York\, NY 10 012 SEQUENCE:0 SUMMARY:Readymade | Contemporary Art from Bangladesh\, Kazi Salahuddin Ahme d\, Masum Chisty\, Khaled Hasan\, Imran Hossain Piplu\, Promotesh Das Pulak \, Dhali Al Mamoon\, Yasmin Jahan Nupur\, Mohammad Wahiduzzaman\, Wakilur R ahman UID:347467 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Andrea Rosen Gallery is pleased to present &ldquo\;Wavelengt h\,&rdquo\; a project-based exhibition of Matthew Ronay&rsquo\;s meditative daily drawings. Realizing an integral pillar of the Gallery 2 mission\, th e exhibition sheds light on an unexplored aspect of the artist&rsquo\;s pra ctice\, presenting a uniquely content driven and experimental exhibition.
Finding ritual in repetition\, Ronay&rsquo\;s abstract and rich ly saturated gouaches navigate the human respiratory system. The selected w orks exhibited represent a greater project structured by daily engagements over the course of 100 sittings\, putting color to paper\, and drawing from what Ronay refers to as &ldquo\;muscle memory\,&rdquo\; an unconscious tra cing of forms\, curves and weights that come from one&rsquo\;s inner being. Based on shapes called wavelengths\, the amorphous drawings\, vibrating\, linear and obtuse on purple scapes\, mimic the chambers of the body and emb ody breathing exercises that rise and fall\, flux and sustain.

Often presenting immersive and enigmatic sculptural installations\, which embody and explore bodily processes and portals\, bringing a heightened awa reness to the human experience\, Ronay here isolates a single engagement\, a self-circling process that extends beyond the realm of form and relates n ot only to his art\, but to the artist himself. Discovering the personal wi thin this rhythm\, Ronay precipitates the device of repetition\, a device t hat\, as Josef Helfenstein describes\, &ldquo\;has to do with the importanc e of emotion.&rdquo\; Tracing an obsessive continuity of imagery\, Ronay&rs quo\;s engagements illuminate a strong historic lineage of ritual and repet ition that transcends art history\, while retaining a resonant emotive qual ity grown from inner necessity.

Matthew Ronay was born in 1976 in Louisville\, Kentucky. His work was recently subject of a solo exhi bition at Kunstverein Lingen\, Germany. Earlier solo institutional presenta tions include concurrent presentations at the University of Louisville\, Ke ntucky and the Kentucky Museum of Art and Craft\, Louisville\, KT in 2013\; Luettgenmeijer\, Berlin\; La Conservera\, Murcia\, Spain\; Artpace\, San A ntonio\, TX\; and Parasol Unit Foundation for Contemporary Art\, London. Hi s work was included in the 2004 Whitney Biennale and in the 12th Lyon Bienn ial in 2013\; as well as notable international exhibitions at the Schirn Ku ntshalle\, Frankfurt\; LWL-Landesmuseum fü\;r Kunst und Kulturgeschicht e\, Germany\; the Astrup Fearnley Museum for Modern Art\, Oslo\; and Serpen tine Gallery\, London. Ronay currently lives and works in New York. DTEND:20140822 DTSTAMP:20140821T220150 DTSTART:20140628 GEO:40.749177;-74.0058861 LOCATION:Andrea Rosen Gallery 2\,544 West 24th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Wavelength\, Matthew Ronay UID:343722 END:VEVENT BEGIN:VEVENT DTEND:20140627T200000 DTSTAMP:20140821T220150 DTSTART:20140627T180000 GEO:40.749177;-74.0058861 LOCATION:Andrea Rosen Gallery 2\,544 West 24th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Wavelength\, Matthew Ronay UID:343723 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140822 DTSTAMP:20140821T220150 DTSTART:20140702 GEO:40.7463808;-74.007077 LOCATION:Anton Kern Gallery\,532 West 20th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Solo Exhibition\, Matthew Monahan UID:333313 END:VEVENT BEGIN:VEVENT DTEND:20140702T200000 DTSTAMP:20140821T220150 DTSTART:20140702T180000 GEO:40.7463808;-74.007077 LOCATION:Anton Kern Gallery\,532 West 20th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Solo Exhibition\, Matthew Monahan UID:333314 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Anton Kern Gallery is pleased to announce Displayed an exhibition curated by artist and White Co lumns&rsquo\; director Matthew Higgs.
 \;
Displayed is an exhibition of artworks that\, in very different ways\, explore the methodologies &ndash\; both formal and psychological &ndash\; of display an d presentation. Borrowing from the languages of architecture\, the museum\, interior design\, retail\, and advertising among other disciplines\, the w orks in Displayed variously consider our shifting relationships wi th &ndash\; and attachments to &ndash\; objects and the circumstances in wh ich we encounter them: whether it be the gallery\, the store\, the street\, the home\, etc.
 \;
Central to Displayed is the m ercurial practice of artist Nancy Shaver\, whose antique store &lsquo\;Henr y&rsquo\; in Hudson\, NY is an eccentric laboratory dedicated to nurturing a confusion between art and commerce\, between the applied and fine arts\, between good and bad taste. In Displayed Shaver juxtaposes her own sculptures &ndash\; which often take the form of assisted ready-mades &nda sh\; with finds from estate sales and thrift stores establishing a fluid\, albeit unstable taxonomy of objects. Elsewhere B. Wurtz creates low-fi arma tures that privilege &ndash\; even celebrate &ndash\; the marginal and the maligned (a plastic shopping bag\, a tube sock etc.). Josh Smith&rsquo\;s & lsquo\;Stage Painting&rsquo\; is essentially a jerry-rigged monument to him self. On the gallery&rsquo\;s exterior walls\, exposed to the elements\, Ch ris Martin displays his paintings\, where the gallery itself becomes a kind of pedestal\, and Martin&rsquo\;s paintings a form of &lsquo\;advertising& rsquo\;: alerting the passerby to the nature of the business conducted with in. (A scenario echoed in Moyra Davey&rsquo\;s early 1990s photographs of N ew York newsstands\, with their informal grids and stacks of magazines and newspapers.) Rachel Harrison&rsquo\;s ad-hoc telephone booth-like structure functions as if a vitrine\, or container for its enclosed sculptural event . The museum vitrine\, a device that both frames and protects\, is self-con sciously present in Annette Kelm&rsquo\;s documentary accounts of feminist ephemera. Carissa Rodriguez&rsquo\;s Ikebana display and Marc Camille Chaim owicz&rsquo\;s faux floral bouquet each\, in quite distinct ways\, seek to apply order to nature.
 \;
In these and other works in Displayed the artist explicitly engages with\, amplifies and disrupts the aesthetic &ndash\; and psychological &ndash\; possibilities inherent to the processes of selection\, arrangement and presentation. (A process anal ogous to the role of the curator\, the window dresser\, or the art director \, each of whom identifies\, organizes and choreographs things in space). T he artworks in Displayed self-reflexively explore these dynamics a nd tensions: where the distinction between what is presented and < em>how
it is presented is often moot.
 \;
Created by a intergenerational group of artists the works in Displayed\, like the artists themselves\, are willfully idiosyncratic\, each made with speci fic intent\, yet seen together these artworks are\, I would suggest\, repre sentatives of a broad yet pervasive aesthetic tendency\, an under-acknowled ged &lsquo\;movement&rsquo\; of sorts &ndash\; &ldquo\;displayism&rdquo\; p erhaps &ndash\; that has shadowed the history of modernism (and what follow ed): its legacy evident in the practices of Marcel Broodthaers\, Haim Stein bach\, Gulillaume Bijl\, John Armleder\, Isa Genzken\, Barbara Bloom\, Loui se Lawler\, and Carol Bove among many others.

\n
&ndash\;Matthew Higgs\, June 2014
\n

*Matthew Monahan&rsquo\;s work Hephaestus will co ntinue to be on view in the back gallery through August 22.

DTEND:20140822 DTSTAMP:20140821T220150 DTSTART:20140702 GEO:40.7463808;-74.007077 LOCATION:Anton Kern Gallery\,532 West 20th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Displayed\, Shio Kusaka\, Jonas Wood UID:343972 END:VEVENT BEGIN:VEVENT DTEND:20140702T200000 DTSTAMP:20140821T220150 DTSTART:20140702T180000 GEO:40.7463808;-74.007077 LOCATION:Anton Kern Gallery\,532 West 20th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Displayed\, Shio Kusaka\, Jonas Wood UID:343973 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This exhibition organized by the Syracuse University Art Gal lereis highlights Homer&rsquo\;s fascination with coastal and nautical scen es as an illustrator and special correspondent for the American pictorial p ress. The images include early illustrations for periodicals including Frank Leslie&rsquo\;s Illustrated Newspaper and Harper&rsquo\;s We ekly \,as well as rare lithographs and large etchings made after Homer &rsquo\;s paintings. The exhibition defines Homer&rsquo\;s transition from an illustrator of the pre- and post war years through his travels abroad th at mark his evolution to the pre-eminent American painter of the late 19th century.

\n

This exhibition\, curated by Andrew Saluti\, Assistant Dir ector of the SUArt Galleries\, features thirty-five original prints includi ng wood engravings\, lithographs\, and etchings. The exhibition is drawn fr om the permanent collection of the Syracuse University Art Collection\, and focuses on the illustrious career of Winslow Homer as a draftsman and prin tmaker.

DTEND:20140824 DTSTAMP:20140821T220150 DTSTART:20140606 GEO:42.907359;-74.572002 LOCATION:Arkell Museum\,2 Erie Boulevard \nCanajoharie\, NY 13317 SEQUENCE:0 SUMMARY:A View from the Shore: Winslow Homer's Impressions of the Coast\, W inslow Homer UID:339356 END:VEVENT BEGIN:VEVENT DTEND:20140606T170000 DTSTAMP:20140821T220150 DTSTART:20140606T100000 GEO:42.907359;-74.572002 LOCATION:Arkell Museum\,2 Erie Boulevard \nCanajoharie\, NY 13317 SEQUENCE:0 SUMMARY:A View from the Shore: Winslow Homer's Impressions of the Coast\, W inslow Homer UID:339357 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The exhibition features five landscapes from the permanent c ollection painted by George Inness between 1860 and 1882. These stunning wo rks of art reveal the artist&rsquo\;s diverse painting methods and approach es during the middle of his career&mdash\;from detailed depictions of natur e to gestural brushwork and vague landscapes. His paintings\, often referre d to as Tonalist\, were deeply influenced by the spiritual teachings of Ema nuel Swedenborg.

DTEND:20141115 DTSTAMP:20140821T220150 DTSTART:20140607 GEO:42.907359;-74.572002 LOCATION:Arkell Museum\,2 Erie Boulevard \nCanajoharie\, NY 13317 SEQUENCE:0 SUMMARY:The Arkell Collection\, George Inness UID:334448 END:VEVENT BEGIN:VEVENT DTEND:20140607T170000 DTSTAMP:20140821T220150 DTSTART:20140607T123000 GEO:42.907359;-74.572002 LOCATION:Arkell Museum\,2 Erie Boulevard \nCanajoharie\, NY 13317 SEQUENCE:0 SUMMARY:The Arkell Collection\, George Inness UID:334449 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Art in General is pleased to present +1\, a New Commission by The Still House Group.

\n

The Still House G roup is an emerging artist-run organization based in Red Hook\, NY . Still House is inspired by the ideals of a young creative demographic bou nd by expectations of subordination to preexisting models\, and supports a unit of young artists\, providing them with an environment to conceptualize \, produce\, and exhibit their work. The strong emphasis on collaboration e ncourages members of the group to assist\, critique\, and formally represen t one another\, ultimately creating a collective drive that balances the ad vancement of individual careers with the growth of Still House the entity. The group attempts to escape the traditional gallery set-up\, gearing itsel f\, regardless of the seemingly insurmountable challenges\, toward the goal of creative sustainability.

\n

Founded in 2007 by Isaac Brest and Ale x Perweiler as an online viewing platform\, Still House has produced numero us exhibitions in New York\, Los Angeles and Miami. During 2010\, the group conducted an eight-month residency in an abandoned Department of Transport ation office in TriBeCa\, and has since built a permanent\, multi-faceted a rts institution currently based in Red Hook\, Brooklyn. This location serve s as a hub for new work\, a satellite environment to the art center of Manh attan where young artists engage in a space of their own.

DTEND:20140901 DTSTAMP:20140821T220150 DTSTART:20130922 GEO:40.718124;-74.001856 LOCATION:Art in General\,79 Walker Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:The Still House Group: +1\, Alex Perweiler\, Zachary Susskind\, Lou is Eisner\, Jack Greer\, Brendan Lynch\, Dylan Lynch\, Nick Darmstaedter\, Isaac Brest UID:291938 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Bonni Benrubi Gallery is pleased to present tà\; hier& aacute\;\, a group exhibition of photographs by gallery artists: Regina DeL uise\, Jed Devine\, Laura McPhee\, Jeffrey Milstein\, Jehad Nga\, Simon Nor folk\, and Lauren Semivan in a dialogue of photographic meditations on the notion of the sacred and the practice of ritual.
tà\; hier&aacut e\; is an ancient Greek term that has no equivalent in contemporary languag e. Commonly translated as the holy or the sacred it is the Greek word close st to religion and that which refers to the gods.
Religious rites are typically what we associate with the sacred\, but in our highly secularized global society\, where religion is not the mainstay of every culture\, how do we now define sacred? Where do \;we find ritual in a global metropo lis? What do we learn about ourselves when we look at an image of \;the Large Hadron Collider in CERN compared to the stoic solitude of an ancient offering plinth in \;Calcutta?
Laura McPhee&rsquo\;s contemplativ e large format photographs of life in India are possibly the purest express ion of our common associations to the sacred\, documenting the Durga Puja i n Calcutta a highly orchestrated ritual that has been practiced since the m iddle ages. Jeffrey Milstein&rsquo\;s 200 Saints depicts a wall of crucifix &rsquo\;s hanging above a bed in a Cuban interior.
Jehad Nga&rsquo\;s Untitled #21 shows a faceless man tying his turban\, a great swathe of whit e fabric in the \;morning light\, shot in Mali on assignment\, investig ating the ongoing conflict in this troubled West \;African nation. In e arly 2012\, a group of radical Islamists affiliated with Al Qaeda took cont rol of Mali&rsquo\;s northern half\, declaring it an independent state impo sing the rules of Sharia law.

DTEND:20140906 DTSTAMP:20140821T220150 DTSTART:20140731 GEO:40.762227;-73.971964 LOCATION:Bonni Benrubi Gallery\,41 East 57th Street 13th Floor \nNew York\, NY 10022 SEQUENCE:0 SUMMARY:tà hierá\, Regina DeLuise\, Jed Devine\, Laura McPhee\, Simon Norfo lk\, Lauren Semivan UID:347457 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Vision has always been unreliable. \; \; Whether tru e or false\, could a photograph or a painting ever show us more than the ou tward appearance of things? \;  \; \;But today visual form seem s more vexed than ever. \;
 \;
Under the aegis of digit ization\, we are bombarded with images\, and yet so much of labor\, leisure and communication happens invisibly\, across fiber optic channels\, server farms\, and encrypted Wi-Fi signals\, unseen except for some computer algo rithm silently collecting data\, and then whatever glowing array might appe ar within the confines of a rectangular screen. \; And any distance bet ween visual art and the various myths and spectacles of our time is so unce rtain: \; does art &ldquo\;reflect on&rdquo\; the current ideology of i nformation and dematerialization\, or is it an instrument of this ideology itself\, furnishing images for a new order of things?
 \;
E ach of the works in this exhibition has something to say about life today.& nbsp\;  \;In particular\, it seems to me that in all of them a certain deliquescence of things &mdash\; a utopia of dematerialization and digitiza tion &mdash\; appears inseparable from a disordering\, a systemic breakdown . \; But if the question is still how art might reflect on the changing conditions of living by finding out what it takes to make a representation of them\, the answers are more difficult. \; Who or what is represente d on the surface of Carissa Rodriguez&rsquo\;s pathologically flattened ton gues\, by the babbling chatbots in Ian Cheng&rsquo\;s digital simulation\, in the pixels of Melanie Gilligan&rsquo\;s digital filters\, or within the congealed interior of Anicka Yi&rsquo\;s objects? \;
 \;
Things and pictures never add up\, and maybe these works frame\, and savo r\, certain discrepancies. An insensible traffic between surface and depth: between internal organs and skin\, computer program and human cognition\, fossilized memories and spectral projection\, the flatness of things and a sense of distance and history. \;
 \;
&mdash\; Jacob Ki ng

DTEND:20140822 DTSTAMP:20140821T220150 DTSTART:20140612 GEO:40.7463193;-74.0067752 LOCATION:Bortolami Gallery\,520 W 20th Street \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Chatbots\, tongues\, denial\, and various other abstractions\, Ian Cheng\, Melanie Gilligan\, Carissa Rodriguez\, Anicka Yi UID:340654 END:VEVENT BEGIN:VEVENT DTEND:20140612T200000 DTSTAMP:20140821T220150 DTSTART:20140612T180000 GEO:40.7463193;-74.0067752 LOCATION:Bortolami Gallery\,520 W 20th Street \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Chatbots\, tongues\, denial\, and various other abstractions\, Ian Cheng\, Melanie Gilligan\, Carissa Rodriguez\, Anicka Yi UID:340863 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The air we swim in \;will be on view in the Pro ject Room of BRIC House this summer. The exhibition is curated by \;Kel ly Schroer\, \;2014 \;recipient of BRIC&rsquo\;s Emerging Curator F ellowship. Supporting and fostering the vision of a developing curator\, th e exhibition will focus on artists who create physical interactions with in tangible elements that inhabit our same space\, but are invisible to the hu man eye. The exhibition will feature artists \;Hanny Ahern\, \;Thes sia Machado\, \;Eric Shows\, and \;Palden Weinreb. \;

\n

T he title of the exhibition is sourced from Thessia Machado&rsquo\;s artist statement\, in which she describes her visual interest in sound waves. This fascination with invisible elements in the air acts as a starting point in expressing our human need to make sense of the world around us. Through dr awing\, sculpture\, and interactive installations\, the artists exhibited i n \;The air we swim in \;create tactile sensations out of& nbsp\;sound waves\, energy and light waves\, breath\, and microscopic parti cles.Thessia Machado&rsquo\;s interactive sculptures/instruments express so und as &ldquo\;malleable and responsive\, physical matter\;&rdquo\; \;P alden Weinreb \;attempts to solidify the properties of light waves in t wo dimensions\, using graphite and wax\; \;Eric Shows&rsquo\; installat ion uses light as a point source that projects through glass\, revealing su rface variations and creating sound as a direct result\; and \;Hanny Ah ern \;visualizes breath through an interactive installation/sculpture u sing sensors and light bulbs. Through their engagement with unseen waves an d particles\, we are reminded of both our shortcomings and power as human b eings.

DTEND:20140831 DTSTAMP:20140821T220150 DTSTART:20140710 GEO:40.6883492;-73.9791764 LOCATION:BRIC Arts | Media House\,647 Fulton Street \nBrooklyn\, NY 11217 SEQUENCE:0 SUMMARY:The air we swim in\, Hanny Ahern\, Thessia Machado\, Eric Shows\, P alden Weinreb UID:342985 END:VEVENT BEGIN:VEVENT DTEND:20140709T210000 DTSTAMP:20140821T220150 DTSTART:20140709T190000 GEO:40.6883492;-73.9791764 LOCATION:BRIC Arts | Media House\,647 Fulton Street \nBrooklyn\, NY 11217 SEQUENCE:0 SUMMARY:The air we swim in\, Hanny Ahern\, Thessia Machado\, Eric Shows\, P alden Weinreb UID:344438 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Transcommunality: Laura An derson Barbata\, Collaboration Beyond Borders \;is an exhibition t hat documents the work of Mexican-born\, New York-based artist \;Laura Anderson Barbata\; focusing on the decade-long project she pursued with sti lt-walking communities in Trinidad and Tobago\, Mexico\, and Brooklyn. Her project highlights the vitality of the moko jumbie stilt walking tradition& nbsp\;and demonstrates the possibility of using this storied art form as a platform for social contemporary performance\, group participation and prot est. Spanning from \;17 feet tallto just \;11 inches small\, the wo rks presented in the exhibition range fromtextile-based to sculptural objec ts\, as well as photographs\, videos\, and projections that document the co llaborative projects. Overall\, the exhibition comprises approximately 60 p ieces including over 20 towering dressed figures and 23 \;alebrijes  \;(miniature wooden figures). \;A traveling exhibition\, the presentation of \;Transcommunality \;at BRIC House will be the \;inaugural showing in the United States.

\n

Laura Anderson Barbata is known for her participatory\, colla borative art\, often involving partnerships with local artisans. The relati onships forged with collaborators and the cultural exchanges that take plac e are the most important components for the artist. \;Transcommunal ity \;encompasses community art\, public art\, social intervention \, performance and sculpture\, focusing on an artist who has dedicated her practice to confronting the hierarchies of so-called &ldquo\;fine art&rdquo \; and popular art\, craft and folk traditions. In 2011\, she designed a pe rformance with the Brooklyn Jumbies called \;Intervention: Wall Str eet\, engaging in the Occupy Wall Street movement and the social and e conomic issues it raised.

\n

Transco mmunality: Laura Anderson Barbata\, Collaboration Beyond Borders \ ;has previously been presented at the Centro de las Artes de Nuevo Le&oacut e\;n\, Monterrey\; Museo de la Ciudad de Mé\;xico\, Mé\;xico\, D.F.\; and Museo Textil de Oaxaca\, Mé\;xico. The exhibition at BRIC House will be the first showing in the United States\, after which it will travel to the University of Wisconsin\, Madison\, where the project will be part of the spring 2015 Interdisciplinary Arts Residency Program. It will subsequently continue in Europe.

DTEND:20140831 DTSTAMP:20140821T220150 DTSTART:20140710 GEO:40.6883492;-73.9791764 LOCATION:BRIC Arts | Media House\,647 Fulton Street \nBrooklyn\, NY 11217 SEQUENCE:0 SUMMARY:Transcommunality: Collaboration Beyond Borders\, Laura Anderson Bar bata UID:342986 END:VEVENT BEGIN:VEVENT DTEND:20140709T210000 DTSTAMP:20140821T220150 DTSTART:20140709T190000 GEO:40.6883492;-73.9791764 LOCATION:BRIC Arts | Media House\,647 Fulton Street \nBrooklyn\, NY 11217 SEQUENCE:0 SUMMARY:Transcommunality: Collaboration Beyond Borders\, Laura Anderson Bar bata UID:344437 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Beyond the Supersquare \;explores the indelible influence of Latin American and Caribbean modernist architecture on contem porary art. The exhibition features over 30 artists and more than 60 artwor ks\, including photography\, video\, sculpture\, installation\, and drawing \, that respond to major Modernist architectural projects constructed in La tin America and the Caribbean from the 1920s through the 1960s. \;B eyond the Supersquare \;examines the complicated legacies of moder nism through architecture and thought&mdash\;as embodied by the political\, economic\, environmental\, and social challenges faced by countries throug hout Latin America&mdash\;through the unique perspective of artists working today. This exhibition is co-organized by Holly Block (New York City) and Marí\;a Iné\;s Rodrí\;guez (Colombia)\, and designed by B enedeta Monteverde (Mexico).

DTEND:20150111 DTSTAMP:20140821T220150 DTSTART:20140501 GEO:40.8308846;-73.9202186 LOCATION:Bronx Museum of the Arts\,1040 Grand Concourse at 165th Street\nBr onx\, NY 10456 SEQUENCE:0 SUMMARY:Beyond the Supersquare\, Leonor Antunes\, Alexander Apóstol\, Alexa ndre Arrechea\, Felipe Arturo\, Alessandro Balteo\, Media Farzin\, Alberto Baraya\, Carlos Bunga\, Los Carpinteros\, Jordi Colomer\, Livia Corona Benj amin\, Felipe Dulzaides\, Fernanda Fragateiro\, Magdalena Fernández\, Carlo s Garaicoa\, Mario García Torres\, Terence Gower\, Patrick Hamilton\, Diang o Hernández\, Quisqueya Henriquez\, André Komatsu\, Runo Lagomarsino\, Pabl o Leon de la Barra\, Maria Martinez-Cañas\, Rafael Domenech\, Daniela Ortiz \, Jorge Pardo\, Manuel Piña\, Ishmael Randall-Weeks\, Mauro Restiffe\, Ped ro Reyes\, Chemi Rosado-Seijo\, Roberto 'Boly' Cortéz UID:343920 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Over the course of its forty-year history\, the Bronx Museum has drawn together a significant collection of prints and graphic-art work s\, guided by its mission to give visibility to artists of African\, Asian\ , and Latin American descent. For these artists\, the print medium has been an invaluable tool for channeling their aesthetic and political concerns. Due to its mass reproducibility\, economy\, ease of distribution\, and coll aborative character\, printmaking has long been considered a vehicle for so cial agency and has played a major role in politically mobilizing different communities and constituencies.

\n

Throughout the first half of the t wentieth century and continuing in the present day\, artists have joined to gether as collectives\, guided by the desire to promote social change and t aking advantage of the collaborative nature of the medium. Historical works in the museum&rsquo\;s collection\, such as those of the Mexican Taller de Grá\;fica Popular\, revisit such utopian aspirations and their influ ence on different socially-engaged graphic workshops around the world. The circulation and reproductive capabilities of graphic art have been instrume ntal for artists working under or exposing situations of political turmoil and repression. The pedagogical and empowering value of printmaking is high lighted by the selection of works by members of the Rorke&rsquo\;s Drift sc hool of Johannesburg\, who came together and gained a voice as an important artistic community of black artists during the apartheid years. The aesthe tic and political import of these historical collectives is underscored by the work of contemporary artists\, like Tim Rollins &\; K.O.S.\, whose p ractices go beyond the medium of graphic art\, approaching printmaking as a way of revisiting the historical junction between art and politics.

\n< p>Beyond considerations specific to printmaking\, this display reflects the underlying thematic narratives in the museum&rsquo\;s collection and its c ross-cultural undertakings while reaffirming its commitment to the print me dium.

DTEND:20140831 DTSTAMP:20140821T220150 DTSTART:20140501 GEO:40.8308846;-73.9202186 LOCATION:Bronx Museum of the Arts\,1040 Grand Concourse at 165th Street\nBr onx\, NY 10456 SEQUENCE:0 SUMMARY:in print / imprint: works from the permanent collection UID:343928 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Before making her widely known and iconic feminist work of t he 1970s\, 1980s\, and beyond\, Judy Chicago explored painting\, sculpture\ , and environmental performance\, often using innovative industrial techniq ues and materials\, including auto body painting and pyrotechnics.

\n

Chicago in L.A. surveys this less-familiar but significant early w ork\, produced when Chicago lived in Los Angeles and was a participant in t he Finish Fetish school\, which responded to the rapid industrialization of the West Coast with its own brightly colored\, high-gloss form of minimali sm. The exhibition places the early work within the arc of Chicago&rsquo\;s broader production and continues the reappraisal of the artist&rsquo\;s im portance as a pioneer in the California art scene. Chicago in L.A. also re-examines The Dinner Party as a work that emerged from dec ades of artistic experimentation\, not only with materials\, but with femin ist community building.

\n

This survey includes approximately sixty pa intings\, sculptures\, drawings\, prints\, photographs\, and videos\, inclu ding documentation of performances\, spanning 1963 to 1974. On view are imp ortant early sculptures\, including Rainbow Picket (1964)\, which blend minimalist forms and bold color choices\, and a range of vibrant pain tings and sculptures made with sprayed acrylic lacquer\, a material typical ly used for decorating cars.

DTEND:20140928 DTSTAMP:20140821T220150 DTSTART:20140404 GEO:40.671172;-73.9635189 LOCATION:Brooklyn Museum of Art\,200 Eastern Parkway \nBrooklyn\, NY 11238- 6052 SEQUENCE:0 SUMMARY:Chicago in L.A.: Judy Chicago's Early Work\, 1963–74 \, Judy Chicag o UID:324304 END:VEVENT BEGIN:VEVENT DTEND:20140404T170000 DTSTAMP:20140821T220150 DTSTART:20140404T100000 GEO:40.671172;-73.9635189 LOCATION:Brooklyn Museum of Art\,200 Eastern Parkway \nBrooklyn\, NY 11238- 6052 SEQUENCE:0 SUMMARY:Chicago in L.A.: Judy Chicago's Early Work\, 1963–74 \, Judy Chicag o UID:324305 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Brooklyn-based artist Swoon celebrates everyday people and e xplores social and environmental issues with her signature paper portraits and figurative installations. She is best known for her large\, intricately -cut prints wheat pasted to industrial buildings in Brooklyn and Manhattan.

\n

For this exhibition\, Swoon creates a site-specific installation i n our rotunda gallery\, transforming it into a fantastic landscape centerin g on a monumental sculptural tree with a constructed environment at its bas e\, including sculpted boats and rafts\, figurative prints and drawings\, a nd cut paper foliage.

\n

Often inspired by contemporary and historical events\, Swoon engages with climate change in the installation as a respon se to the catastrophic Hurricane Sandy that struck the Atlantic Coast in 20 12\, and Doggerland\, a landmass that once connected Great Britain and Euro pe and that was destroyed by a tsunami 8\,000 years ago.

DTEND:20140824 DTSTAMP:20140821T220150 DTSTART:20140411 GEO:40.671172;-73.9635189 LOCATION:Brooklyn Museum of Art\,200 Eastern Parkway \nBrooklyn\, NY 11238- 6052 SEQUENCE:0 SUMMARY:Submerged Motherlands \, Swoon UID:324306 END:VEVENT BEGIN:VEVENT DTEND:20140411T170000 DTSTAMP:20140821T220150 DTSTART:20140411T100000 GEO:40.671172;-73.9635189 LOCATION:Brooklyn Museum of Art\,200 Eastern Parkway \nBrooklyn\, NY 11238- 6052 SEQUENCE:0 SUMMARY:Submerged Motherlands \, Swoon UID:324307 END:VEVENT END:VCALENDAR