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

Artist Dan Graham's photography collection which he traded w ith his artist friends.

DTEND:20150214 DTSTAMP:20141222T125141 DTSTART:20141119 GEO:40.716943;-73.997372 LOCATION:3A Gallery\,179 Canal Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Dan Graham Collection\, Nobuyoshi Araki\, Barbara Ess\, Darcy Lange \, Wolfgang Tillmans\, Jeff Wall UID:364919 END:VEVENT BEGIN:VEVENT DTEND:20141119T200000 DTSTAMP:20141222T125141 DTSTART:20141119T180000 GEO:40.716943;-73.997372 LOCATION:3A Gallery\,179 Canal Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Dan Graham Collection\, Nobuyoshi Araki\, Barbara Ess\, Darcy Lange \, Wolfgang Tillmans\, Jeff Wall UID:364920 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Like many other people\, Amy L ien and Enzo Camacho\, who have been collaborating for several years\, are based between two or more distant places\, meaning that whether they like i t or not\, they are separated from where they still think they might belong . This can be seen as the root cause of a productive form of anxiety\, or i t might also be a total waste of time. Either way\, certain emergent phenom ena can easily become magnified by an alienated imagination.

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The call centers mushrooming all over the sprawling urban fabric of Metro Manila have unleashed a dazzling chain of analogies. The artists have been perambulating around this industry and its issues si nce 2010\, when the Philippines superseded India as the leading nation in b usiness process outsourcing. The districts in Metro Manila where these comp anies have built their offices have taken on a distinct flavor of banality\ , swarmed by 24-hour eating and drinking establishments that cater to those working zombie shifts on Eastern Standard or some other Time. When enterin g the workplace\, the employees are stripped of their cell phones and enter into a predictable arrangement of fluorescent-lit hallways\, rooms\, \ ; and cubicles. When they dribble out of these buildings\, on a cigarette b reak or to buy a pack of gum or French fries\, they exude a particular teet h-chattery energy\, an upper high. This is what an upgrade in sovereign cre dit rating looks like at ground level. Being amongst thousands of youthful bodies milling around strip malls and back alleyways in the early morning h ours\, leaking nervous cigarette breath into the hot night air and chatteri ng idly before returning to work\, the two artists felt a vicarious buzz\, a fear of missing out.

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Did you hear a bout the call center sex tape? Or the notorious Telecommunications company BBQ transvestite beauty pageant talent show? Did they tell you how Filipino s have friendly voices but low critical problem solving abilities due to an over-eagerness to please and subsequently pretending to understand things that they actually don&rsquo\;t? That they gossip way too much? That they p refer being paid in bags of rice? In the Filipino comedy Call Center Gi rl\, a middle aged OFW (Overseas Filipino Worker) returns home from a career on a cruise ship and\, in order to redeem her relationship with her neglected adult daughter\, joins the same call center where she works\, and seduces their mutual team leader in order to pawn him off onto her. Distor tion makes the facts more titillating. Hidden cameras catch leaks at low re s.

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Is &ldquo\;internet savvy youth&rd quo\; an international concept? While the so called eighty-nine or digital natives databasing project aggregates consensus\, cheaply institutionalizin g its investments\, the call center phenomenon of the Philippines says this : There is an emergent population of young\, English-fluent\, technology-li terate\, newly solvent\, upbeat laborers who don&rsquo\;t feel the pressure to leave the country to support their families\, but internalize the West to meet its service expectations. The lurkers in the shadows\, Amy and Enzo are turned on by their heat.

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Returni ng to NY together for the first time since 2011\, scanning the city by nigh t\, their eyes were drawn\, in a sliding\, lenticular\, double recognition\ , to the most beautiful person they&rsquo\;d ever encountered\, who recipro cated the gaze\, and immediately became a fixation. Fluorescent lighting ma de his complexion luminous. He worked for a vanguard fashion/social media p latform\, but also for himself\, and cultivated an attitude accordingly. He would soon begin monopolizing their nights and seeping into their early mo rning dreams\, with conversations drenched in whiskey and hot pot\, reverbe rating dramatic nights out in Manila but refracted through the patois of ed gy NY youth marketing. This is a love that gets ditched at the Thai restaur ant because he left the proverbial stove on. This is a love that demands to remain an unrequited fantasy\, triangulated to maintain its momentum\, to burn in perpetuity.

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This is a show de dicated to those subjects that pour out into the night\, to seek love in wo rk in wasting time in race/class/gender/globalization.

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Amy Lien (b. 1987) &\; Enzo Camacho (b. 1985) are collaborating artists. They have staged recent solo exhibitions at Mathew G allery (Berlin\, Germany)\, MoSpace (Taguig\, Philippines)\, Pablo Fort (Ta guig\, Philippines) and Republikha Art Gallery\, (Quezon City\, Philippines ). They will participate in a six month residency as artists/curators at Gl uck 50 (Milan\, Italy) starting in January 2015. This is their second solo exhibition at 47 Canal.

DTEND:20141221 DTSTAMP:20141222T125141 DTSTART:20141108 GEO:40.7174289;-73.9921681 LOCATION:47 Canal\,291 Grand Street 2nd floor\nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Leak Light Time Heat\, Amy Lien\, Enzo Camacho UID:365805 END:VEVENT BEGIN:VEVENT DESCRIPTION:

When describing Diana Copperwh ite&rsquo\;s work Colm Toibin wrote:

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&ldquo\;Her work is about painting first and foremost\; [these] referen ces merely serve a purpose. \; Thus digital images which freeze and fra gment an original image fascinate her\, but such images in themselves are n ot enough\, they provide a way into the painting. \; It is their visual ity which inspires rather than any precise sense of a blurred or fragmented reality. \; \; Because she physically likes making paintings\, eve rything is subservient to what paint will achieve.&rdquo\;

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Copperwhite makes paintings that move fluidly be tween representation and abstraction. Photographs\, montage and assemblage all aid the process and become ancillary works that pin down fleeting thoug hts\, glimpses and reactions to a media saturated age. \; Her interests and sources are eclectic and wide ranging\, from social media to philosoph ical debate to art historical references. \; Yet\, as Toibin points out \, her paintings are no more about the image than they are about the proces s of painting itself. \; Her work is phenomenological in that momentari ly emotional responses override the need to capture reality. \; Somethi ng has piqued her interest and from that initial interest she thinks in col our\, in tone\, and texture\, in setting herself a visual problem to which there is no single definitive solution. \; Her palette is composed of m urky undertones punctuated by bright neon rifts. The fluidity and expressiv eness of the painting gives little hint of the rigorous and formal abstract principles applied to the making.

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Di ana Copperwhite studied Fine Art Painting at Limerick School of Art and Des ign and the National College of Art and Design\, Dublin. She completed an M FA at Winchestor School of Art\, Barcelona in 2000. \; Diana is a tutor at the National College of Art and Design\,Dublin. \; Her work is in t he collection of the Irish Museum of Modern Art and the Arts Council of Ire land\, and also in collections in the United States\, Europe and Australia.

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The writer Colm Toibin is currently Irene and Sidney B Silverman Professor of Humanities at Columbia University . \; He is an IMPAC Dublin Literary Award prizewinner\, and has appeare d on the Booker shortlist\, most recently in 2013 for his play the Testamen t of Mary.

DTEND:20150110 DTSTAMP:20141222T125141 DTSTART:20141113 GEO:40.749403;-74.004838 LOCATION:532 Gallery Thomas Jaeckel\,532 W. 25th Street \nNew York\, NY 100 01 SEQUENCE:0 SUMMARY:Shadowland\, Diana Copperwhite UID:360425 END:VEVENT BEGIN:VEVENT DESCRIPTION:

PETER BLUME (1906-1992)

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November 6\, 2014 through January 31\, 2015

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ACA Galleries is pleased to announce the upco ming exhibition\, PETER BLUME (1906-1992)\,on view November 6\, 201 4 through January 31\, 2015. \; The exhibition will feature pa intings\, drawings and sculpture from the artist&rsquo\;s estate.  \;\n

Concurrent with the ACA Galleries exhibition is the firstPeter Blume retrospective since 1976\, Nature and Metamorphosis\, organized by the Pennsylvania Academy of the Fine Arts (PAFA) \, Philadelphia (November 14\, 2014 &ndash\; April 5\, 201 5). \; This exhibition will travel to the Wadsworth At henaeum\, Hartford\, CT (June 27 &ndash\; September 20\, 2 015). \; Catalogue will be available.  \; \;

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P eter Blume&rsquo\;s modernism embodies the clashing contradictions of the 2 0th Century: abstract complexities with nostalgia for a simpler past\; the rush of urban living with the yearning for a lost pastoral life\; the cold reality of politics with the quest for spiritual meaning in a world ravaged by two world wars and a ruinous economic depression.  \;By embracing t he irreconcilable\, Blume transcends Modernist art&rsquo\;s conventional as pirations to re-define order in a chaotic world.  \;His oeuvre is metam orphosis itself\, a realm where paradox rules.  \;Within that clash Blu me found profound meaning and sublime beauty.

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Blume&rsquo\;s deep k nowledge of art history holds these disparate elements together.  \;We see the elegance of Renaissance rendering\, the balance and figurative perf ection of Classical antiquity\, the rule-breaking energy of Modernism\, and the spontaneity of folk art.  \;The latter reflects his Russian Jewish roots and his embrace of the culture of his adopted land\, America.  \ ;Together with his understanding of the emotional properties of color\, the structural backbone of architecture\, and the physicality of sculpture\, B lume was able to corral these elements into a surreal narrative.  \;&nb sp\;

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Adding richness to Blume&rsquo\;s already complex mix of influ ences was his involvement with metaphysical experimentation.  \;His int erest in Automatism and &ldquo\;automatic writing&rdquo\; found its way int o his preliminary studies for paintings and his works on paper in particula r\, where he allowed his hand to move spontaneously across a surface.   \;The results are dynamic works of flowing lines and exciting shapes existi ng in metaphysical tension\, where the physical facts of the world meet the whispered secrets of the mind and spirit.

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In a life that spanned n early the entirety of the 20th Century\, Blume&rsquo\;s art recorded not th e dry facts of that century but the soul of it\, its struggles against inco mprehensible violence\, and its triumphs of survival over man-made madness. This achievement won Blume critical acclaim throughout his career\, winnin g a Guggenheim Fellowship and the Carnegie International Prize in the 1930s . \; His work is represented in major public and private collections in cluding The Metropolitan Museum of Art\, Museum of Modern Art\, and The Whi tney Museum of American Art in New York\; the Smithsonian Institution of Am erican Art in D.C.\; Carnegie Museum of Art in Pittsburgh\; Museum of Fine Arts in Boston and the Art Institute of Chicago\, among others.

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&nb sp\; \;

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For additional information and images\, contact

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Mikaela Sardo Lamarch e

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curator@acagalleries.com

DTEND:20150131 DTSTAMP:20141222T125141 DTSTART:20141106 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:Peter Blume (1906-1992): Paintings\, Sculpture and Works on Paper\, Peter Blume UID:364430 END:VEVENT BEGIN:VEVENT DTEND:20141106T200000 DTSTAMP:20141222T125141 DTSTART:20141106T180000 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:Peter Blume (1906-1992): Paintings\, Sculpture and Works on Paper\, Peter Blume UID:364431 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Aicon Gallery \;is prou d to present \;Semblance of Order\, a traveling exhibition pro moting Australian and Pakistani art and artists across borders and platform s with cross-cultural collaboration at its core. The exhibition \;is&nb sp\;the result of an international artists' residency program delivered in partnership between Parramatta Artists Studios \;and Cicada Press\, Uni versity of New South Wales Art and Design\, Sydney\, Australia.

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Semblance of Order \;presents an array of etchings and silkscreen prints that demonstrate the artists' desire to exte nd beyond replication and explore the creative possibilities of their pract ices and the medium. The artworks mediate notions of cultural translation: subject/object\, original/translation\, center/margin\, personal/communal\, textual/visual\, and artist/printer. Through mark making\, erasure\, repet ition\, layering\, labor\, doubling\, and deconstruction\, the artists push the conceptual and technical discourse of printmaking. The results are con ceptually rich and technically challenging\, underlined with humor and iron y: a visual poetry of disorder and order. \;Featuring the work of five artists\, the exhibition has traveled from Parramatta Artists Studios\, Syd ney to Koel Gallery\, Karachi\, with its premier in the United States hoste d by Aicon Gallery\, New York. \;

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Born in Karachi\, Pakistan (1966)  \;Roohi S. Ahmed \;is a multi-disciplinary artist who lives and works in Karachi\, Pakistan. Ahmed is an Associate Professor at t he Indus Valley School of Arts and Architecture\, Karachi\, and lectured at the University of Karachi's Visual Studies Department and COFA UNSW. She h as exhibited widely internationally. Ahmed was the recipient of the UNSW's International Postgraduate Research Scholarship in 2011. \;
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Michael Kemp son \;is currently Head of Printmaking and Director of Cicada Press\, a research based custom printing workshop\, at COFA UNSW\, Sydney\, Australia. As an artist Kempson has had a total of 27 solo exhibitions and numerous international group exhibitions\, with representation in the Nati onal Gallery of Australia and many state\, regional\, university and corpor ate collections. Kempson also curated an Australian component representing COFA UNSW\, the first international art school invited to the 11th Annual P rintmaking Exhibition and Conference for Chinese Academies and Colleges at Guangzhou Academy of Fine Art (2012).

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Born in Calif ornia\, USA (1978) and raised in \;Israel\, \;Ben Rak \ ;is an artist\, educator and independent curator. He presently wor ks and lives in Sydney\, Australia\, where he lectures at COFA UNSW. His ar tworks have been featured in four solo exhibitions and several local and in ternational group exhibitions. Rak has won several awards including the Nat ional Tertiary Art Prize people's choice (2009)\, Blacktown City Art Prize for works on paper (2008)\, and the Newtown Community Art Prize for works o n paper (2007). Ben Rak's works are in the collections of several national and international institutions. \;

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An artist\, freelance designer\, and independent curator\, \;Abdullah M. I. Syed \;was born in Karachi\, Pakistan (1974 ). Presently he is completing a PhD in Fine Arts practice and lecturing at COFA UNSW. Syed has coordinated the Design Department at the Karachi Univer sity\, Pakistan\, and lectured at the University of Central Oklahoma. His a rtworks have been featured in six solo and several local and international group exhibitions. Syed has won awards including the Blacktown City Art Pri ze for works on paper (2010)\, the UNSW Postgraduate Research Scholarship ( 2009)\, the COFA Senior Artist from Asia Scholarship (2006)\, and the Indiv idual Artist of Oklahoma Award for Installation (2003).
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 \;Adeel-uz-Zafar\, born in 197 5\, Karachi\, Pakistan\, is an artist\, illustrator and art educator. Zafar holds a BFA (with distinction) from the National College of Arts\, Lahore (1998). His works have been featured in two solos and several international group exhibitions. He has participated in both national and international artist residencies including the Studio R. M. Residency\, Lahore 2011\, and most recently at Parramatta Artists Studios and Cicada Press (COFA UNSW) ( 2013). Adeel-uz-Zafar currently works and resides with his wife Nehdia and two daughters in Karachi.

DTEND:20150124 DTSTAMP:20141222T125142 DTSTART:20141211 GEO:40.7268368;-73.9929619 LOCATION:AICON GALLERY - New York\,35 Great Jones Street \nNew York\, NY 10 012 SEQUENCE:0 SUMMARY:Semblance of Order\, Roohi Shafiq Ahmed\, Michael Kempson\, Ben Rak \, Abdullah M. I. Syed\, Adeel-uz-Zafar UID:366523 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150129 DTSTAMP:20141222T125142 DTSTART:20141218 GEO:40.7268368;-73.9929619 LOCATION:AICON GALLERY - New York\,35 Great Jones Street \nNew York\, NY 10 012 SEQUENCE:0 SUMMARY:Raza: A Retrospective\, S.H. Raza UID:366522 END:VEVENT BEGIN:VEVENT DESCRIPTION:

WILL BARNET: A TRIBUTE

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Thursday\, November 20 throug h Saturday\, January 10\, 2015

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A survey of six paintings and relate d works on paper spanning Barnet's career (1911 &ndash\; 2012). \;Illus trated catalogue available.

DTEND:20150110 DTSTAMP:20141222T125142 DTSTART:20141120 GEO:40.762227;-73.971964 LOCATION:Alexandre Gallery\,Fuller Building 41 East 57th Street\, 13th Floo r\nNew York\, NY 10022 SEQUENCE:0 SUMMARY:WILL BARNET: A Tribute\, Will Barnet UID:354816 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Barbara L. Gordon collecti on offers a stunning presentation of American folk art made primarily in ru ral areas of New England\, the Midwest\, and the South between 1800 and 192 0. More than sixty works of art\, including still-life\, landscape\, allego rical\, and portrait paintings\, commercial and highly personal sculpture\, and distinctive examples of art from the German-American community exempli fy the breadth of American creative expression by individuals who did not a lways adhere to the academic models that established artistic taste in urba n centers of the East Coast.

The exhibition is drawn from the Barbara L. Gordon collection and is organized and circulated by Art Servic es International\, Alexandria\, Virginia.

Major support for t he presentation at the American Folk Art Museum is provided by HISTORY®\ ;.

The exhibition is accompanied by a full-color catalog copub lished by ASI and the international publishing firm SKIRA/Rizzoli.

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Additional support is provided by Joyce Berge r Cowin\, the David Davies and Jack Weeden Fund for Exhibitions\, public fu nds from the New York City Department of Cultural Affairs in partnership wi th the City Council\, and the New York State Council on the Arts with the s upport of Governor Andrew Cuomo and the New York State Legislature.

DTEND:20150308 DTSTAMP:20141222T125142 DTSTART:20141216 GEO:40.7731765;-73.9814441 LOCATION:American Folk Art Museum\,2 Lincoln Square \nNew York\, NY 10023 SEQUENCE:0 SUMMARY:A Shared Legacy: Folk Art in America UID:361567 END:VEVENT BEGIN:VEVENT DTEND:20141216T173000 DTSTAMP:20141222T125142 DTSTART:20141216T103000 GEO:40.7731765;-73.9814441 LOCATION:American Folk Art Museum\,2 Lincoln Square \nNew York\, NY 10023 SEQUENCE:0 SUMMARY:A Shared Legacy: Folk Art in America UID:361568 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Andrea Rosen Gallery is deligh ted to announce The Thing and the Thing-in-Itself\, an exhibition comprising a tightly focused group of 20th-century masterworks curated by n oted art historian Robert Hobbs. \; \;Bringing together a compellin g group of significant works\, one by each of seven key 20th-century artist s &ndash\; Marcel Duchamp\, Joseph Kosuth\, René\; Magritte\, Piero M anzoni\, Yoko Ono\, Ad Reinhardt\, and Robert Smithson &ndash\; this exhibi tion offers viewers the opportunity to look at familiar artists in a new wa y and with much greater depth\, both in relationship to each other and in r egards to their individual practices. It opens December 12\, 2014 at the Ga llery&rsquo\;s main space\, 525 West 24th Street.
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Curator Statement

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The Thing and the Thing-in-Itself focuses on the limits of human understanding that Immanuel Kant contemp lated in The Critique of Pure Reason (1st ed. 1781). Th is philosopher speculated that humans only know things in the world through space and time\, as well as the causes they att ribute to these objects and events. Instead of accurately replicating the w orld\, people&rsquo\;s understanding of it is dependent on their restricted ability to grasp it. In other words\, they construct the world they experi ence\, making sensory information idiosyncratic and/or socially oriented ra ther than accurate\, and people&rsquo\;s perception of their world an ongoi ng film or performance. It helps to consider Kant&rsquo\;s term &ldquo\;thi ng-in-itself&rdquo\; as shorthand for the strict limits to the ongoing thea ter of everyday life humans produce\, direct\, and cast\, so that they them selves can then serve as its main players. \;

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This exhibition utilizes Kant&rsquo\;s approach to reconsider how certain twentieth-century artists engaged the frontiers of human unders tanding in works that pit people&rsquo\;s sight and insight against the lim its of what they are able to comprehend\, i.e. the things they believe them selves to be seeing as opposed to &ldquo\;things-in-themselves&rdquo\; (Kan t&rsquo\;s code word for humans&rsquo\; inability to move beyond their own constructed views). Instead of presenting an art endeavoring to reveal its contents to viewers with the least amount of interference\, The Thing a nd the Thing-in-Itself features works that act out the limits of human understanding as they create mysteries\, pose conundrums\, and leave viewe rs with provocative questions.

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Starti ng in the second decade of the 20th-century with Duchamp&rsquo\; s Readymades\, art&rsquo\;s status as an object became a subject of inquiry \, with questions about differences between ordinary things and art. \; The Thing and the Thing-in-Itself consequently begins with Ducham p&rsquo\;s assisted readymade\, Comb (Peigne)\, a steel grooming t ool for dogs\, inscribed with the words &ldquo\;3 ou 4 gouttes de hauteur n &rsquo\;ont rien a faire avec la sauvagerie\; M.D. Feb. 17 1916 11 a.m.&rdq uo\; (&ldquo\;Three or Four Drops of Height [or Haughtiness] Have Noting to Do with Savagery.&rdquo\;).  \;The exhibition then surveys the followi ng six notable steps in the history of the art/thing challenge. René\ ; Magritte&rsquo\;s La Clairvoyance of 1936 depicts a self-portrai t of the artist in the process of metamorphosing his model\, an egg\, into a bird in flight on his canvas\, thereby setting in place a tongue-in-cheek differential between representational painting and life. \; The early majestic black Reinhardt canvas from 1954 challenges the limits of sensory perception\, with its grid poised on the divide between visibility and invi sibility. Manzoni&rsquo\;s Merda d&rsquo\;artista (Artist&rsqu o\;s Shit) (1961)\, a tin of artist&rsquo\;s feces\, ironically underm ines the artist&rsquo\;s traditional role as creator\, the value placed on art&rsquo\;s materiality\, and the traditional view of it as a container of enlightening contents. Kosuth&rsquo\;s Glass Words Material Described< /em> (1965) consists of exactly these four words painted on four transparen t sheets of glass to undermine art&rsquo\;s putative transparency and acces sibility. Ono&rsquo\;s 1966 live video feed of the sky above the gallery co ntrasts literalism with traditional expectations of transcendence. And Smit hson&rsquo\;s Non-site: Line of Wreckage (Bayonne\, New Jersey) of 1968 undermines the art object&rsquo\;s sovereignty as it creates an inter play between the metal bin containing landfill with a map and photographs o f the site in Bayonne\, making this work a dislocated boundary marker.
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- Robert Hobbs
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Art historian Dr. Robert Ho bbs has written widely on modern and contemporary art\, including extended essays on David Altmejd\, Keith Haring\, Richard Jackson\, Jonatha n Lasker\, Robert Longo\, Sterling Ruby\, Yinka Shonibare\, Frank Stella\, Tavares Strachan\, Kara Walker\, Kelley Walker\, John Wesley\, and Kehinde Wiley\, among others. \; His monographs have focused on such artists as Milton Avery\, Alice Aycock\, Edward Hopper\, Lee Krasner\, Mark Lombardi\ , Robert Motherwell\, Beverly Pepper\, Richard Pousette-Dart\, and Robert S mithson. \;

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Hobbs served as curat or for the Venice Biennale&rsquo\;s American National Pavilion (Smithson\, 1981) and the Bahamian National Pavilion (Tavares Strachan\, 2013)\, as wel l as the American Representation at the Sã\;o Paulo Biennial (Kara Wa lker\, 2002). He has curated exhibitions at major museums nationally and in ternationally such as the Brooklyn Museum of Art\; the Drawing Center\, New York\; the Los Angeles County Museum of Art\; Musé\;e d'Art Moderne de la Ville de Paris\; and the Whitney Museum of American Art. \; Acade mic positions include Associate Professor\, Cornell University\; long-time Visiting Professor\, Yale University\; and Thalhimer Endowed Chair\, Virgin ia Commonwealth University.

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R obert Smithson was born in 1938\, in Passaic\, New Jersey\, studie d in New York City and worked throughout the United States and abroad until his death in 1973\, in Amarillo\, Texas. His work has been the subject of numerous solo exhibitions at major institutions\, including comprehensive r etrospectives at the Museum of Contemporary Art\, Los Angeles\, the Whitney Museum of American Art\, New York\, the Musee d&rsquo\;Art Moderne de la V ille de Paris\, and the Dallas Museum of Art\, among others.

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Ad Reinhardt\, born in 1913 in Buf falo\, New York\, lived and worked for the majority of his life in New York City until his death in 1967. His work has been most recently featured in a comprehensive solo exhibition at the \;Josef Albers Museum Quadrat&nb sp\;in Bottrop\, Germany\, and is part of prestigious permanent institution al collections including the Whitney Museum of American Art\, the Museum of Modern Art\, New York\, and The Museum of Contemporary Art\, Los Angeles.< /p>\n

Yoko Ono\, born in 1 933 in Tokyo\, Japan\, lives and works in New York City. Ono has had compre hensive retrospectives at prestigious institutions including the Whitney Mu seum of American Art\, the Walker Art Center\, and the Contemporary Arts Mu seum\, Houston\, including her most recent and largest retrospective in 201 3 at the Schirn Kunsthalle\, Frankfurt\, which traveled to the Louisiana Mu seum of Modern Art\, Humlebæ\;k\, Denmark\, Austria&rsquo\;s Kunsthalle Krems\, and the Guggenheim Bilbao Museum\, Spain.

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Piero Manzoni\, born in 1933 in Soncino\, Ita ly\, lived and worked primarily in Milan until his death in 1963. His work has been featured in solo exhibitions throughout Europe\, including retrosp ectives at the Musé\;e d'Art Moderne de la Ville de Paris\, the Serpe ntine Gallery\, London\, and the Museo d'Arte Contemporanea Donnaregina\, N aples\, and appears in established institutional collections including the Tate Modern\, London\, the Museum of Modern Art\, New York\, Stedelijk Muse um\, Amsterdam\, and Galleria Civica d'Arte Moderna e Contemporanea\, \ ;Turin.

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René\; Magritte \, born in 1898 in Lessines\, Belgium\, and lived and worked in Br ussels until his death in 1967. His work is appears in prestigious institut ional collections throughout Europe and the United States\, including the M useum of Modern Art\, New York\, Moderna Museet\, Stockholm\, Centre George s Pompidou\, Paris\, the Royal Museums of Fine Arts of Belgium\, Brussels\, and the Tate\, London\, and was recently recognized by comprehensive solo exhibitions at the Museum of Modern Art\, New York\, the Menil Collection\, Houston\, and the Art Institute of Chicago\, beginning in 2013.

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Marcel Duchamp\, born in 1887 in Blainville-Crevon\, France\, lived and worked in Paris and New York unti l his death in 1968. His work is included in numerous prestigious instituti onal collections including the Museum of Modern Art\, New York\, the Philad elphia Museum of Art\, the Art Institute of Chicago\, the Menil Collection\ , Houston\, the Tate\, London\, the Musé\;e d´\;Art Moderne de l a Ville de Paris\, and Israel Museum\, Jerusalem\, and has been recognized by recent solo exhibitions at Centre Georges Pompidou\, Paris\, and the Fun dació\;n Proa\, Buenos Aires.

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< strong>Joseph Kosuth\, born in 1945 in Toledo\, Ohio\, lives and w orks in New York and Rome. His work appears in numerous institutional colle ctions including the Whitney Museum of American Art\, the Guggenheim Museum \, and \; the Museum of Modern Art in New York\, and the Tate\, London\ , has been exhibited at the Venice Biennale (1993). His work has been featu red in recent exhibitions at prestigious institutions including the Museum fur Moderne Kunst\, Frankfurt\, and the Fondazione Prada\, Ca&rsquo\; Corne r Della Regina\, Venice.

DTEND:20150124 DTSTAMP:20141222T125142 DTSTART:20141213 GEO:40.749185;-74.005023 LOCATION:Andrea Rosen Gallery\,525 W.24th St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:The Thing and The Thing-In-Itself\, Joseph Kosuth\, Marcel Duchamp\ , René Magritte\, Piero Manzoni\, Yoko Ono\, Ad Reinhardt\, Robert Smithson UID:365928 END:VEVENT BEGIN:VEVENT DTEND:20141212T200000 DTSTAMP:20141222T125142 DTSTART:20141212T180000 GEO:40.749185;-74.005023 LOCATION:Andrea Rosen Gallery\,525 W.24th St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:The Thing and The Thing-In-Itself\, Marcel Duchamp\, Joseph Kosuth\ , René Magritte\, Piero Manzoni\, Yoko Ono\, Ad Reinhardt\, Robert Smithson UID:365929 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Andrea Rosen Gallery is please d to present Michael Wang&rsquo\;s exhibition Rivals at Gallery 2 in cooperation with Foxy Production. Upon entering the gallery\, viewers wi ll find five certificates\, acting as a kind of performance documentation f or the works in the exhibition all from the artist&rsquo\;s series Riva ls. Taking the form of white\, metal shelves containing well-known con sumer goods from multinational corporations\, the works bisect the space\, creating a material horizon.

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Each she lf\, made from powder-coated aluminum\, houses objects appropriated from th e product portfolios of rival firms. The sale of the artwork funds an equal investment in each rival firm as the artist is paid for the work in common stock to become a one millionth of one percent owner of both companies\, t hereby rendering him a fractional owner of what the artist considers a conc eptual merger. The number of products included from each corporation corres ponds to the number of shares that will be purchased with the sale of the a rtwork.

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While Duchamp&rsquo\;s readym ades of the early 20th century took the industrially-produced ob ject out of circulation\, by the end of the cen­\;­\;­\;tury the r eadymade as &ldquo\;commodity sculpture&rdquo\; had fully entered another s ystem of circulation: the art market. Rivals joins these two syste ms of exchange\, linking the value of the readymade to the valuation of the multinational corporations that produce and profit from such objects. For Wang\, the readymade includes not only the object of mass consumption\, but those systems of which it is a part: brand ownership\, exchange value\, an d corporate finance. \;

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Rival s acts within these expanded parameters of the readymade. \; The w orks appropriate corporate value (of a piece with the global financial syst em) as an artistic medium. \; The works manipulate the underlying struc tures of capitalist growth. Competition is the engine of capitalism and asy mmetry drives competition between rival firms. Through a neutered gesture\, Rivals introduces a formal symmetry into the structure of competi tion. An investment in rival corporations sets in motion the apparatus of c orporate finance\, but the balance of the act&mdash\;an equal investment in both corporations&mdash\;cancels out its competitive effects.

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The works in Rivals take the movement of capital itself as a site of artistic intervention. The collector\, artist\ , and gallery collaborate to enact a performance of exchange\, orchestrated around and by the work. The repercussions of the action extend into the ne tworks of capital within which the work is enmeshed. If one of the uses or responsibilities of an artwork is its ability to apprehend the present whil e simultaneously existing within it\, Wang&rsquo\;s work can be seen to mot ivate an evaluation of the most powerful systems structuring cultural produ ction.

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Michael Wang (Olney\, MD\, 1981) holds a Master of Architecture from Princeton University\, an MA fro m NYU\, and a BA from Harvard University. Recent exhibitions include: As We Were Saying: Art and Identity in the Age of &ldquo\;Post\,&rdquo\; curated by Claire Barliant\, The Elizabeth Foundation\, New York (2014)\; Michael Wang: Global Tone\, Foxy Production (2013)\; Liquid Autist\, curat ed by Daniel Keller\, Kraupa-Tuskany Zeidler\, Berlin (2013)\; Spaces for D rawing\, The Hite Collection\, Gangman-gu\, Seoul (2013)\; Differentiation Series\, Primetime Gallery\, Brooklyn\, NY (solo)\; Carpenter Center for th e Visual Arts\, Harvard University\, Cambridge\, MA (two-person)\; and Carb on Copies\, Foxy Production (solo project)(all 2012). He lives and works in New York City.

DTEND:20150124 DTSTAMP:20141222T125142 DTSTART:20141213 GEO:40.749177;-74.0058861 LOCATION:Andrea Rosen Gallery 2\,544 West 24th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Rivals\, Michael Wang UID:365930 END:VEVENT BEGIN:VEVENT DTEND:20141212T200000 DTSTAMP:20141222T125142 DTSTART:20141212T180000 GEO:40.749177;-74.0058861 LOCATION:Andrea Rosen Gallery 2\,544 West 24th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Rivals\, Michael Wang UID:365931 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:20150104 DTSTAMP:20141222T125142 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:20141222T125142 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:

Bartlett Arkell purchased and donated 20 Winslow Homer works to the Canajoharie Art Gallery. These watercolors and oil paintings\, alon g with other Homer works Arkell acquired for his personal collection will b e reunited for this exhibition that opens at the Fenimore Art Museum and th en returns for a big celebration at the Arkell Museum in the fall 2014. The se works span Homer's career from his first works in oil\, to his first wat ercolors up to his fantastic marine painting at Prount's Neck\, Maine "Watc hing the Breakers--A High Sea."

DTEND:20150104 DTSTAMP:20141222T125142 DTSTART:20140902 GEO:42.907359;-74.572002 LOCATION:Arkell Museum\,2 Erie Boulevard \nCanajoharie\, NY 13317 SEQUENCE:0 SUMMARY:Winslow Homer: The Nature and Rhythm of Life from the Arkell Collec tions\, Winslow Homer UID:351586 END:VEVENT BEGIN:VEVENT DESCRIPTION:

For its Winter Exhibitions pro gram\, Art in General is pleased to present new projects by artists Basim M agdy\, Daphne Fitzpatrick\, and Will Yackulic. \;

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Basim Magdy: An Absent Popula tion Laughs at its Haunting Withdrawal

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New Commission\, 6th Floor Galleries\, curated b y Anne Barlow \;

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Magdy&rsquo\;s e xhibition comprises a newly commissioned film\, The Everyday Ritual of Solitude Hatching Monkeys\, 2014\, a series of photographs The Hol low Desire to Populate Imaginary Cities\, 2014\, and a text piece enti tled Clowns\, 2014. \;

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I nterested in the power of mass media\, information systems\, and scientific theories&mdash\;and the relationship between what is real and fiction in s uch domains&mdash\;Magdy uses a combination of images and words to construc t narratives that can be humorous\, reflective\, or disquieting\, but never linear. \; His work is at once suggestive of times past\, present and future through the seamless interweaving of imagery&mdash\;from historic ru ins\, to futuristic landscapes\, to everyday scenes from a nondescript pres ent. Alongside an implied desire to know what the future holds is a sharp c ritique of the notion that the passing of time is indicative of societal pr ogress. \; Rather\, his films suggest the constant push-pull of a striv ing for progress against cycles of repeated failure: the future becomes les s about promise than a continuous re-enactment of the present.

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This commission is produced by Art in General in collaboration with HOME\, Manchester\, UK.

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Art in General gives special thanks to Letternoon and Squid Frames fo r their support of this exhibition. \;

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Daphne Fitzpatr ick: The Baton

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New Commission\, Storefront Project Space\, curated b y Kristen Chappa

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Located somewhere be tween Duchamp and slapstick comedy\, Daphne Fitzpatrick&rsquo\;s photograph y\, found objects\, and mixed-media installations infuse the quotidian with uncanny meaning through repetition\, shifts in scale\, and eyebrow-raising juxtapositions. In her work\, cultural references from the Western art his torical canon to Groucho Marx all coexist using the language of surrealism and the organizing structure of the non-sequitur. The artist is equally fas cinated by the history of the flâ\;neur and the tastes of the dandy\; those who developed a refined aesthetic position by appropriating neglected or subversive characteristics of the urban landscape.

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Will Yackulic: Enigma Variations

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Presentation in the Museé\; Minus cule\, curated by Kristen Chappa

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Insp ired by the nineteenth century Variations on an Original Theme for Orch estra\, in which Edward Elgar composed musical scores that revealed as pects of friends&rsquo\; character traits\, Yackulic initially took the per sonalities of his peers as source material in this latest body of work. Man ifesting as clay constructions with complex geometries\, the renderings are fairly incomprehensible\, skewing toward the allegorical. As a portraitist \, Yackulic searches for essence\, if not likeness. The artworks are recept acles of intimacies&ndash\;vessels in the literal sense\; each acquaintance was asked to privately deposit an object inside their hollow\, ceramic fla sk. Maintaining an unknown relationship between interior and exterior\, the subject of each study remains anonymous\, and the artist is blind to the i tems sealed inside. The newest sculptures in this series\, on view at Art i n General\, demonstrate a development into a broader study of our shared te ndency to invest form with personality. Titled Strangers\, these a re empty reliquaries. The tiny sculptures suggest monumental tomb architect ure in form\, seen perhaps most clearly in Yackulic&rsquo\;s architectural drawings\, companion pieces to the Variations. Farther into the fu ture\, Yackulic imagines the urns as archaeological findings&mdash\;foresee ing the uncovered artifacts as memorializing objects\, evidence of the mode s of exchange in which they took part.

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DTEND:20150110 DTSTAMP:20141222T125142 DTSTART:20141107 GEO:40.718124;-74.001856 LOCATION:Art in General\,79 Walker Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:New Commissions projects by artists Basim Magdy\, Daphne Fitzpatric k\, and Will Yackulic\, Will Yackulic\, Basim Magdy\, Daphne Fitzpatrick UID:363401 END:VEVENT BEGIN:VEVENT DTEND:20141107T200000 DTSTAMP:20141222T125142 DTSTART:20141107T180000 GEO:40.718124;-74.001856 LOCATION:Art in General\,79 Walker Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:New Commissions projects by artists Basim Magdy\, Daphne Fitzpatric k\, and Will Yackulic\, Daphne Fitzpatrick\, Basim Magdy\, Will Yackulic UID:363402 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Art in General is pleased to p resent An Absent Population Laughs at its Haunting Withdrawal\, a newly commissioned work by Basim Magdy.

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Basim Magdy was born in 1977 in Assiut\, Egypt\, and li ves and works in Basel\, Switzerland and Cairo\, Egypt. His work appeared r ecently in exhibitions and screenings at MEDIACITY Seoul Biennial 2014\, Se oul Museum of Art\, Seoul\; Passerelle Centre d&rsquo\;art contemporain\, B rest\, France\; Trafo House of Contemporary Art\, Budapest\; CRAC Alsace\, Altkirch\, France (2014)\; 13th Istanbul Biennial\, Istanbul\; Tate Modern\ , London\; Centre Culturel Suisse\, Paris\; Sharjah Biennial 11\, Sharjah\, UAE\; Yerba Buena Center for the Arts\, San Francisco\; Biennale Jogja XII \, Yogyakarta\, Indonesia\; The High Line\, New York\; Askhal Alwan\, Beiru t (2013)\; Haus der Kulturen der Welt\, Berlin\; La Triennale: Intense Prox imity\, Palais de Tokyo\, Paris (2012)\; Argos Art Center\, Brussels\; Kuns thalle Wien\, Vienna\; Institut Mathildenhohe\, Darmstadt\, Germany (2011)\ ; Mass MOCA\, North Adams and Ateliers de Rennes &ndash\; Biennale dʼart co ntemporain\, Rennes\, France among others. In 2012 he was shortlisted for t he Future Generation Art Prize\, Kiev and in 2014 he won the Abraaj Art Pri ze\, Dubai. Upcoming shows include La Biennale de Montreal\, Montreal and A rt as a Verb\, Monash University Museum of Art | MUMA\, Melbourne\, Austral ia among others.

DTEND:20150110 DTSTAMP:20141222T125142 DTSTART:20141108 GEO:40.718124;-74.001856 LOCATION:Art in General\,79 Walker Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:An Absent Population Laughs at its Haunting Withdrawal\, Basim Magd y UID:360916 END:VEVENT BEGIN:VEVENT DTEND:20141108T200000 DTSTAMP:20141222T125142 DTSTART:20141108T180000 GEO:40.718124;-74.001856 LOCATION:Art in General\,79 Walker Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:An Absent Population Laughs at its Haunting Withdrawal\, Basim Magd y UID:360917 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The exhibition Welcome To My World presents artworks and a book produced with students in Artist s Space’'s education program\, Expanded Art Ideas\, based at two New York C ity schools: PS140 Nathan Straus on the Lower East Side and MS324 Patria Mi rabal in Washington Heights. Featuring drawing\, painting\, sculpture\, pho tography\, video and poetry produced in the last four years\, Welcome t o My World also includes archived documentation of key arts projects i nitiated since 1998. These works and projects are examples of how the progr am is ingrained in the social context of the schools\, and in the lives of the students.

Expanded Art Ideas (EAI) was founded in 1996 by ar tist Chrysanne Stathacos and Ellen Salpeter\, Director of Thread Waxing Spa ce\, and under Stathacos's’ guidance it became a program of Artists Space i n 2001. EAI is rooted in the principle of placing working artists in New Yo rk City public schools\, to encourage students at all levels to develop an artistic voice. The program provides access to art classes for 6th\, 7th an d 8th grade students and also augments teaching in the language arts\, thro ugh residencies with established poets.

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Expanded Art Ideas affirms the important role that the arts play in educ ational contexts and particularly in middle schools\, where students are fa ced with formative decisions about their future studies. More broadly\, the projects and classes led by artists provide the students with insight into how visual and textual expression can be used to articulate their personal circumstances\, and to question the world around them. In the light of sev ere cuts to funding for arts education in New York City over the past decad e\, and the subsequent disappearance of arts classes in many public schools \, programs such as EAI often provide the sole access for students to guida nce and discussion with artists and art educators. At PS140\, the program a lso helps students apply for admission to specialized high schools of art\, design\, and fashion in New York City.

The work presented in < em>Welcome To My World
provides a window into the students'’ approache s to producing art\, from creative exercises produced for their high school applications\, to the use of photography and video to document their urban environments\, and the collaborative production of paintings representing the experience of migration from one country to another. The exhibition als o includes projects made in relation to recent exhibitions at Artists Space \, from painted books inspired by the work of Zilia Sá\;nchez\, to a series of documentary videos made with Marco Vera from Mexicali Rose. A fur ther section of the exhibition looks back to projects undertaken at the sch ools in the Lower East Side and Washington Heights in the period after 9/11 \, including video and poems from The Talisman Project\, and texts and photographs from East-West Dialogues\, a 2000-2003 exchange p rogram conducted with students from the Tibetan Children'’s Village School in Dharamsala.

The teaching artists currently working at PS140 and MS324 are Joy Episalla\, Nancy Friedemann\, Susan Hamburger\, Mary Simp son\, Sara Jane Stoner\, Kate Temple and Marco Vera.

Former tea ching artists include Annie Bien\, A Constructed World\, Stefania Heim\, La uren Lesko and Miriam Schaer\, with project assistance from Ed Burke and So phie Green.

DTEND:20150208 DTSTAMP:20141222T125142 DTSTART:20141211 GEO:40.7188763;-74.0033279 LOCATION:Artists Space : Books & Talks\,55 Walker Street \nNew York \, NY 10013 SEQUENCE:0 SUMMARY:Welcome To My World UID:367398 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Coinciding with the worldwide release of Laura Poitras&rsquo\; widely anticipated and critically acclaimed documentary CITIZENFOUR\, Artists Space presents an exhibition dedicated to the filmmaker&rsquo\ ;s 9/11 Trilogy\, featuring her previous features My Country\, My Country\, and The Oath as well as three short films T he Program\, Death of a Prisoner\, and PRISM: Snowden Int erview. Together with CITIZENFOUR\, these films rigorously do cument and address the expansion of the security state in the aftermath of 9/11.

The 9/11 Trilogy considers\, both obliquely and d irectly\, a period in which access to information\, and agency in relation to that information\, has become contested ground among governments\, citiz ens\, security agencies\, and the media. The films collectively raise vital questions around the role of critical visual culture at a historical junct ure at which the construction of a social imaginary of &ldquo\;freedom&rdqu o\; is positioned at odds with transparency and accountability.

My Country\, My Country (2006)\, The Oath (2010) and CITIZENFOUR all revolve around individuals whose lives\, in differing ways\, have become intrinsically tied to the &ldquo\;war on terror&rdquo\; and U.S. military operations overseas. Each film stems from an encounter be tween Poitras and one of these people: Dr. Riyadh al-Adhadh\, a Sunni elect oral candidate in the 2005 Iraqi elections in Baghdad\; Abu Jandal\, a taxi -driver in Sana&rsquo\;a\, Yemen\, who had previously served as bodyguard t o Osama bin Laden\; and Edward Snowden\, a National Security Agency computi ng systems contractor turned whistleblower. The writer Janet Malcolm has po sited that: &ldquo\;The moral ambiguity of journalism lies not in its texts but in the relationships out of which they arise.&rdquo\; Poitras&rsquo\; films highlight the complexity at the heart of practices of journalism and reportage\, in the light of contemporary ideological struggles between stat e and citizen. They also crucially trace unfolding relations between U.S. p olitical and military interventions\, and individual positions of resistanc e\, as knotted sites of belief and oppression.

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My Countr y\, My Country\, portrays the tragedy and absurdity of the occupation of Iraq through the experience of Riyadh al-Adhadh\, a medical doctor and S unni electoral candidate in Baghdad. Poitras met Dr. Riyadh at Abu-Ghraib p rison where he was recording prisoners&rsquo\; complaints. Subsequently she began visiting his clinic\, meeting his patients and ultimately living wit h his family as she followed their daily lives. Contrasted with footage of U.S. military\, UN officials and private security companies in their orches tration of the country&rsquo\;s 2005 elections\, the film frames a dizzying and disastrous confluence of local and global interests\, within which Dr. Riyadh is an impassioned yet helpless figure.

The Oath originated from visits by Poitras to Sana&rsquo\;a\, Yemen where she rese arched into the lives of Guantanamo prisoners including Salim Hamdan\, bett er known as the driver of Osama bin Laden. Hamdan was the subject of litiga tion in the U.S. Supreme Court that resulted in the disbanding of the Penta gon&rsquo\;s system of military tribunals\, which were found to be unconsti tutional. In the course of her research Poitras met Hamdan&rsquo\;s brother -in-law\, a taxi driver going by the nom de guerre of Abu Jandal. Abu Janda l had also served bin Laden as a bodyguard\, and becomes the ostensible sub ject of The Oath\, paralleling the &ldquo\;ghost&rdquo\; subject o f Hamdan. Poitras&rsquo\; documenting of Abu Jandal&rsquo\;s contradictory statements and motivations\, and his personal conflict over his jihadi oath to bin Laden and the imprisonment of his brother-in-law\, serves as an uns paring\, yet fittingly irreconcilable articulation of the extrajudicial act ions of the U.S. state\, and its human and ideological consequences.
< br />In comparison\, CITIZENFOUR\, now in theatrical release\, hin ges on a moment of reflexivity that suggests the manner in which Poitras&rs quo\; films have inverted typical journalistic relations. In 2013\, Edward Snowden\, a systems analyst contracted to work for the U.S. National Securi ty Agency\, contacted Poitras through encrypted channels. Snowden had ident ified Poitras as a filmmaker whose work directly addressed the apparatus of the security state\, and saw her as a discreet contact through whom it wou ld be possible to make public numerous secrets he was privy to. Poitras' fi rst video interview with Snowden\, in a hotel room in Hong Kong\, provided a vehicle through which the NSA&rsquo\;s PRISM program became known to the world. At Artists Space\, three short films are exhibited that serve as key documents in Poitras&rsquo\; process of investigation and reporting leadin g towards CITIZENFOUR: The Program (2012)\, Death of a Prisone r (2013) and PRISM: Snowden Interview (2013).

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This exhibition is supported by the Laura Poitras exhibition supporters circle: Thomas Dozol\, Rob ert Gober &\; Donald Moffett\, Michael Stipe\, Thea Westreich Wagner &am p\; Ethan Wagner\, Anonymous

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Screening Hours
My Country\, My Country\, and The Oath
noon\, 2pm and 4pm daily

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DTEND:20150215 DTSTAMP:20141222T125142 DTSTART:20141214 GEO:40.7215609;-74.002266 LOCATION:Artists Space: Exhibitions\,38 Greene St. 3rd Floor\nNew York\, NY 10013 SEQUENCE:0 SUMMARY:9/11 Trilogy\, Laura Poitras UID:366563 END:VEVENT BEGIN:VEVENT DTEND:20141213T200000 DTSTAMP:20141222T125142 DTSTART:20141213T180000 GEO:40.7215609;-74.002266 LOCATION:Artists Space: Exhibitions\,38 Greene St. 3rd Floor\nNew York\, NY 10013 SEQUENCE:0 SUMMARY:9/11 Trilogy\, Laura Poitras UID:366564 END:VEVENT END:VCALENDAR