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

303 Gallery is pleased to present its fifth exhibition of ph otographs by Stephen Shore\, whose pioneering use of color photography in t he 1970s and beyond has made him one of art history's most revered and expl oratory practitioners of photographic possibilities.

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For this occas ion\, Shore will present two new bodies of work realized in zones of itiner ant conflict. In a series of images made in Israel and the West Bank\, unin habited landscapes meet scenes of modern quotidian life\, and tender portra its become entangled with images of aestheticized propaganda and the charge of architecture in conflicted space. Shore's interest in daily life\, in t he landscape itself as a way to interpret a sociological climate - a baseli ne theme in all his work - here takes on a different type of potency due to the critical nature of the living situation. In an a piece such as \;< em>Sderot\, Israel\, September 14\, 2009\, a photograph of a hand poin ting at a map is another way of considering the contentious nature of terri tories.

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The second body of work presented in this exhibition consis ts of images shot in the Ukraine\, in and around the homes and villages of Holocaust survivors. Another subject with an emotional charge perhaps unequ alled in terms of acute sensation\, each image becomes a type of reliquary replete not only with the tragedy of the Holocaust\, but with the tragic hi story of the Ukraine itself. Shore's compositions in these images are tight er and more controlled\; colors and objects bristle with intimation of past events. In directly confronting these charged subjects\, Shore subtly impo ses his own order and logic on the landscape\, continuing a tradition he cr eated and has practiced for close to 50 years.

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Stephen Shore: F rom Galilee to the Negev\, a compendium of images shot in Israel and t he West Bank\, was published earlier this year by Phaidon Press. His most r ecent photographic series shot in Winslow\, AZ in 2013 was recently publish ed by IMA Concept Store in Tokyo in a new book titled \;Stephen Sho re Winslow Arizona.

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Stephen Shore's upcoming exhibitions will include Fundació\;n MAPFRE\, Madrid (2014)\, Barbican Centre\, London (2014)\, Tate Modern (2014). Past exhibitions include The Museum of Modern Art\, New York (2013-14)\, The Metropolitan Museum of Art\, New York (2013 )\, The Art Institute of Chicago (2011)\, Centre Pompidou\, Paris (2011)\, Aspen Art Museum\, Aspen (2011).

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Stephen Shore has been the Directo r of Photography Program at Bard College since 1982.

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DTEND:20141101 DTSTAMP:20141025T144308 DTSTART:20140911 GEO:40.7485947;-74.0041953 LOCATION:303 Gallery\,507 West 24th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Solo Exhibition\, Stephen Shore UID:351774 END:VEVENT BEGIN:VEVENT DESCRIPTION:

I don&rsquo\;t feel the same anymore.
I feel new. I do n&rsquo\;t know how to describe the sensation.
Do you?
Can you feel how I feel?
Is really the sole purpose of emotions the survival of a gene pool? The ultimate bonding gel.
Through the screen\, can yo u tell how I feel? My voice\, do I sound nervous or happy?
Can one le arn new feelings? A new type of anger\, with a hint of pride\, a new breed of painless
joy.
Can you teach me how to feel\, because I lost touch?
It&rsquo\;s like something recently severed\, and emotions are drifting inside of me.
When I was a little boy\, I put myself in oth er's shoes. I would mimic people around me\,
copy the way they walked \, the way they sat or spoke. It would open a window into their minds.
Empathic machines are coming\, like children\, learning.
Will I be able to outsource my feelings to emobots one day. I wouldn't have to deal w ith shitty
emotions anymore. Let the emobots process my crappy moods and re-infuse my body with good vibes.
Fleeting.
If emotionomic s is to become a reality\, would I ever be able to purchase a meal with the
sensation of freedom that permeates through me today? Pay with a con fused transactional smile.
This is personal\, and it&rsquo\;s not. It&rsquo\;s all transparent. Let&rsquo\;s put our feelings on the table .
Antoine Catala (born in 1975\, Toulouse France) lives and works in New York and has exhibited
extensively both in the US and abroad. Rec ent solo exhibitions include: Heavy Words\, curated by
Florence Derie ux at Peep-Hole\, Milan (2014) and Image Families\, curated by Linus Elmes at
UKS\, Oslo (2013). His work has also been included in Archeo\, cur ated by Cecilia Alemani\, High
Line\, New York\, NY\; Meanwhile...Sud denly and Then\, 12 Biennale de Lyon\, France curated
by Gunnar B. Kv aran\; ProBio\, organized by Josh Kline\, EXPO 1: New York\, MoMA PS1\, New
York\, NY\; Empire State\, curated by Alex Gartenfeld and Norman Ros enthal\, Palazzo delle
Esposizioni\, Rome\, Italy and Puddle\, pothol e\, portal\, co-curated by Ruba Katrib and Camille
Henrot\, Sculpture Center\, Long Island City\, NY\, opening in October.

DTEND:20141102 DTSTAMP:20141025T144308 DTSTART:20140928 GEO:40.7174289;-73.9921681 LOCATION:47 Canal\,291 Grand Street 2nd floor\nNew York\, NY 10002 SEQUENCE:0 SUMMARY:New Feelings\, Antoine Catala UID:358925 END:VEVENT BEGIN:VEVENT DTEND:20140928T200000 DTSTAMP:20141025T144308 DTSTART:20140928T180000 GEO:40.7174289;-73.9921681 LOCATION:47 Canal\,291 Grand Street 2nd floor\nNew York\, NY 10002 SEQUENCE:0 SUMMARY:New Feelings\, Antoine Catala UID:358926 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Over the arc of his career\, I an Hughes has honed a distinctive visual language in which paint reveals it s lushest and most viscous qualities while simultaneously giving shape to b io-reminiscent forms that have a compelling life of their own. In Twist ed Figures\, his third solo show at 532 Gallery Thomas Jaeckel\, Hughe s&rsquo\;s latest series of acrylic paintings pushes this language into a n ew phase in which the shapes on the canvases continue to self-confidently a ssert their own presence\, yet begin to move beyond an earlier\, more matte r-of-fact reliance on organic and visceral associations.

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Twisted Figures reflects a subtle turn in Hugh es&rsquo\;s paintings toward motifs that are slightly more elusive in conte nt\, while retaining the beautiful but vaguely stomach-churning core of his earlier works. Many of the latest pieces feature the same intense\, warm p alette and pseudo-anatomical imagery set against flat monochromatic backgro unds\, such as Green Ovals\, which presents a smooth fleshlike sur face against which brightly rendered rolling forms in pink\, white\, and or ange suggest intestines\, buttocks\, and/or reproductive organs. Yet patche s of textile-like patterning and a handful of amorphous shapes scattered th roughout hint at a much wider range of associations\, from soft pillows to eerie but strangely inviting otherworldly landscapes.

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In some of the new paintings\, Hughes sets up a tension be tween more organic\, down-to-earth colors&mdash\;such as the duller hamburg er/flesh pink in Untitled (Taupe) &mdash\;and contorted masses tha t are much harder to pin down. Still other canvases veer in the opposite di rection by merging undulations of vivid\, carnivalesque blues\, pinks\, ora nges\, or greens with somber dark swathes into curves that evoke chaotic ba lloon sculptures or failed attempts to wring order from unruly sausages of brute matter. In Untitled (Golden Yellow) and Red Wrap\, the brushstrokes begin to assert themselves in a way that seems to subtly t hreaten the integrity of the forms they comprise\, thereby highlighting the importance of paint as the essential substrate for Hughes&rsquo\;s cheerfu l-yet-disquieting images. The juxtaposition of painterly effects (rounded f orms and illusionistic volumes) with more graphic elements (flat\, opaque b ackgrounds and sharp edges) strongly reinforces this message. The result is a potent comment on the powerful tension between medium and image that has haunted painting for as long as abstraction has existed\, or perhaps since the first images were daubed on a cave wall millennia ago.

DTEND:20141108 DTSTAMP:20141025T144308 DTSTART:20141009 GEO:40.749403;-74.004838 LOCATION:532 Gallery Thomas Jaeckel\,532 W. 25th Street \nNew York\, NY 100 01 SEQUENCE:0 SUMMARY:Twisted Figures\, Ian Hughes UID:360424 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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JACK LEVINE an d HYMAN BLOOM: \;AGAINST THE GRAIN

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Sep tember 18 through October 25\, 2014

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ACA Galleries is pleas ed to announce the upcoming exhibition Jack Levine and Hyman Bl oom: AGAINST THE GRAINon view September 18 through October 25 \, 2014. The exhibition will feature a survey of paintings and works on pap er from the 1930s to 1990s from both the artists&rsquo\; estates and privat e collections.

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Jack Levine (1915-2010) and Hyman Bloom (1913-2009) were close friends who each became a master of a new American realism that blended abstraction and realism.  \;As Jewish immigrants \;from Eas tern Europe\, of a similar age and background \;they arrived at their s ocially conscious art through shared \;experiences but through differen t routes of development.

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The Great Depression brought the aesthetic controversy of abstraction versus realism into an uneasy resolution. \ ; American Social Realists\, many of whom had been modernist painters\, bel ieved that the hardships of unemployment\, hunger and homelessness were too profound to be depicted through obscure abstractions. \; For such arti sts\, a return to realism was the only honest means to portray the struggle s of the citizenry.

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But &ldquo\;realism&rdquo\; did not mean &ldquo \;traditional&rdquo\;.  \;The genie of modernism could not be put back into the bottle. Instead\, these socially conscious artists created a new r ealist language\; an edgy aesthetic that brought realism and modernist abst ract elements into a restless but electrifying visual alliance.

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&nb sp\;Jack Levine\, though deeply influenced by the grandeur of Titian and Ve lazquez\, also admired the harsh drama of the German Expressionists.  \ ;In the 1930s\, Levine united these influences into grand but scathing port rayals of America&rsquo\;s corrupt political and economic power brokers.

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Though the Social Realism Levine practiced in the &rsquo\;30s remaine d the foundation of his oeuvre throughout his career\, he expanded his visi on into more spiritual realms.  \;In these late works\, Levine returns to his Jewish roots\, using biblical themes as the basis for his  \;pen etrating observations of the human condition.

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Hyman Bloom&rsquo\;s work evolved into socially aware realism. Originally influenced by America& rsquo\;s early twentieth century avant-garde\, Bloom became one of New York &rsquo\;s mid-century abstract painters and was even credited by Jackson Po llock and Willem deKooning as the first genuine Abstract Expressionist. &nb sp\;His work moved away from pure abstraction into a mystical realism.  \;

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Unlike his former Abstract Expressionist compatriots who were se eking the secrets of the subconscious\, Bloom\, through the strength of agg ressive line and color\, was after &ldquo\;the nature of being\,&rdquo\; th e mystical essence of life.  \;It was through his spirituality that Blo om found his kinship with humanity and its struggles. \;

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ACA Galleries is the exclus ive agent for the estates of Hyman Bloom and Jack Levine. DTEND:20141025 DTSTAMP:20141025T144308 DTSTART:20140918 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:Jack Levine and Hyman Bloom: Against the Grain \, Jack Levine\, Hym an Bloom UID:351133 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Acquavella Galleries is pleased to announce an exhibition of works by iconic American artist Wayne Thiebaud\, on view from October 1 &n dash\; November 21\, 2014. The exhibition includes a total of 49 works &nda sh\; 35 paintings and 14 works on paper. Many of the works included are bei ng shown to the public for the first time\, and several are compositions th e artist has been working on for over thirty years. This is Thiebaud&rsquo\ ;s second exhibition with the gallery.

Celebrated for his works that highlight the commonplace\, the 93-year-old Thiebaud continues to shed painterly light on the people\, places and things that surround him on a d aily basis. Despite his association with pop artists of the 1960s\, \;T hiebaud&rsquo\;s method is more aligned with the still life tradition &ndas h\; and this preoccupation with scrupulously representing his subjects sets him apart from his contemporaries. Ordinary objects rendered in the tactil ity of Thiebaud&rsquo\;s brushwork \;become resplendent\, and thus his canvases radiate a particularly American optimism and nostalgia for the fam iliar.

The works on view in this exhibition touch upon recogniza ble themes in the context of Thiebaud&rsquo\;s oeuvre. Cold Case (2010-2013 ) revisits his most famous subject &ndash\; confections. Similarly\, Cupcak es &\; Donuts (2006/2012) and Ring Circle \;(2012-2014) both explore the artist&rsquo\;s preexisting interest in modes of commercial display. T he splendor of California&rsquo\;s landscape is once again depicted in Bluf fs (2013) &ndash\; this time in a cake-like pink. The figures in this exhib ition\, among them \;Robed Woman with Letter (1976/2013)\, are familiar ly stoic and simultaneously confessional. &ldquo\;We are thrilled to be pre senting Thiebaud&rsquo\;s recent work\,&rdquo\; said Eleanor Acquavella &ld quo\;this exhibition is a testament to his unique ability to \;illumina te the everyday and elevate the ordinary.&rdquo\;

Wayne Thiebaud (b. 1920) lives and works in Sacramento\, CA. He has been widely recognize d for his achievements as an artist and has received various prestigious aw ards such as the National Medal of Arts from President Clinton\, 1994\; the  \;Lifetime Achievement Award for Art from the American Academy of Desi gn\, NY\, 2001 and he was inducted into The California Hall of Fame at The California Museum\, Sacramento\, CA in 2010. Thiebaud was the subject of a retrospective \;at the Whitney Museum of American Art in 2001\, and his work has been exhibited in major museums and institutions worldwide. Thieb aud&rsquo\;s work can also be found in the permanent collections of the Los Angeles County Museum of Art\, \;CA\; Phillips Collection\, Washington \, D.C.\; Crocker Art Museum\, CA\; Albright-Knox Art Gallery\, Buffalo\, N Y\; Hirshhorn Museum and Sculpture Garden\, Washington\, D.C.\; and the Whi tney Museum of American Art\, New York.

DTEND:20141121 DTSTAMP:20141025T144308 DTSTART:20141001 GEO:40.7762839;-73.9626764 LOCATION:Acquavella Galleries\,18 East 79th Street \nNew York\, NY 10075 SEQUENCE:0 SUMMARY:Solo Exhibition\, Wayne Thiebaud UID:355635 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Aicon Gallery is pleased to pr esent Rati Chakravyuh\, a new feature-length film by Ashish Avikunthak. The film\, comprised of a single 105-minute shot\, centers around the continuo us conversation of six young newlywed couples and a priestess after a mass wedding. Made entirely in Bengali\, Rati Chakravuyh develops a complex and intense narrative through its meditation on an unbroken ever-evolving conve rsation about the whole of the human condition\, questioning beliefs about life\, death\, love\, sex\, violence\, religion\, war\, mythology\, history and modernity. Rati Chakravyuh&rsquo\;s screening at Aicon Gallery\, New Y ork represents the international premier of Avikunthak&rsquo\;s mesmerizing new film\, following acclaimed debuts in Kolkata and Mumbai.

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Daily Screenings | Oct. 23rd though Nov. 1 st at 1pm | 3pm | 5pm (Closed Sunday)

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Director&rsquo\;s note:
The film is the ex perience of the inescapable maze created through the dizzying effect of the camera that moves in spirals throughout. In that dizzying spiral\, words v anish\, faces blur into a stream of light and eyes crave for the darkness o f ignorance\, of innocent illusions\, of dreams where redemption is really possible. The stories are non-existent\, they are the same\, yet very diffe rent\; but we must transcend them. How do we do that? Temporality is a pain ful truth to reckon with. It stretches out in a painstaking fashion\, trapp ing every attempt to radiate out of the circle. It is our pain on that scre en and we cannot look away\, we cannot wish it away or magically transform it into a dreamscape. There is simply no space for any space. Space collaps es into that speck\, but floats endlessly unlike that moment which is out o f time. The circular motion of the camera creates that spiral maze and make s us aware of the harsh truth &ndash\; that we must fight a losing battle\, only to inevitably lose\, die and disappear. The film thwarts all our atte mpts to hide\, to run\, and all we can really do is to watch those faces bl ur in the spiral motions\, watch those words become a hazy long stretch of intimately familiar sound\, watch everything turn into myself - the emptine ss that gave birth to the words. The inspiration for this film came from Le onardo da Vinci&rsquo\;s &lsquo\;The Last Supper&rsquo\;. The idea of the f inal communion among loved ones before an imminent finale was a dramatic co nduit for a philosophical exploration of contemporary Indian life.
This is a single shot film. It is bookended with two title cards &ndas h\; the first appearing at the beginning of the film mentions the mass wedd ing\, and another ends the film announcing the mass suicide. In the middle is the single shot of 98 minutes of the conversation among the thirteen ind ividuals. They all sit in a circle in the middle of a brightly lit ancient temple.

They talk about their lives and their times in postcol onial India &ndash\; violence\, love\, death\, sex\, cricket\, suicide\, li fe of Gods and Goddesses\, religion\, political murders\, non-violence\, ca rs\, and riots. The film is an allegory of being Indian\, being human\, bei ng alive. It is the last meeting before an impending tragedy to open up the world of living\, that will eventually court death. It is a dramatic dialo gue of death before suicide.

The camera is on a circular dolly and goes in circles throughout the shot. The continuous single shot is emp loyed to heighten the temporal nature of the film. The circular motion of t he camera creates a spiral universe in which the voices float and create a continuous image/soundscape thatencompasses the film. The slow spinning of the camera movement in a single shot produces a dizzy vortex - a cinematic whirlpool into which the image\, the sound\, the actors and the whole film is sucked.

Trailers for the film may be viewed at the followin g links:

http://vimeo.com/97888465
http://vimeo.com/9771 9308
http://vimeo.com/98841932

Ashish Avikunthak is an e xperimental filmmaker who has been making films in India since the mid nine ties. His films have been shown worldwide in film festivals\, galleries and museums. Notable screenings were at the Tate Modern\, London\, Centre Geor ge Pompidou\, Paris\, Pacific Film Archive\, Berkeley\, along with London\, Locarno\, Rotterdam\, and Berlin film festivals among other locations. He has had retrospective of his works at Les Inattendus\, Lyon (2006)\, Yale U niversity (2008) and the National Centre for Performing Arts\, Mumbai (2008 )\, Festival International Signes de Nuit\, Paris (2012)\, Rice University (2014). He has a PhD in cultural anthropology from Stanford University and has taught at Yale University. He is now an Assistant Professor of Film Med ia at the Harrington School of Communication &\; Media\, University of R hode Island. Avikunthak was included as a "Future Greats" artist in 2014 by Art Review magazine.

Please contact Aicon Gallery (Andrew@Aic ongallery.com) for more information.

DTEND:20141101 DTSTAMP:20141025T144308 DTSTART:20141023 GEO:40.7268368;-73.9929619 LOCATION:AICON GALLERY - New York\,35 Great Jones Street \nNew York\, NY 10 012 SEQUENCE:0 SUMMARY:Rati Chakravyuh | A Film by Ashish Avikunthak\, Ashish Avikunthak UID:360912 END:VEVENT BEGIN:VEVENT DESCRIPTION:

JOHN WALKER: RECENT PAINTINGS

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Thursday\, October 2 t hrough Saturday\, November 12\, 2014

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A selection of large and small scaled paintings in the first New York exhibition of John Walker's work si nce his 2011 show at Knoedler Gallery.

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Illustrated catalogue availa ble.

DTEND:20141112 DTSTAMP:20141025T144308 DTSTART:20141002 GEO:40.762227;-73.971964 LOCATION:Alexandre Gallery\,Fuller Building 41 East 57th Street\, 13th Floo r\nNew York\, NY 10022 SEQUENCE:0 SUMMARY:JOHN WALKER: Recent Paintings\, John Walker UID:354814 END:VEVENT BEGIN:VEVENT DTEND:20141002T193000 DTSTAMP:20141025T144308 DTSTART:20141002T173000 GEO:40.762227;-73.971964 LOCATION:Alexandre Gallery\,Fuller Building 41 East 57th Street\, 13th Floo r\nNew York\, NY 10022 SEQUENCE:0 SUMMARY:JOHN WALKER: Recent Paintings\, John Walker UID:354815 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Ralph Fasanella (1914&ndash\;1997) celebrated the common man and tackled complex issues of postwar America in colorful\, socially minde d paintings. This exhibition celebrates the one hundredth anniversary of th e artist&rsquo\;s birth and brings together key works from a career spannin g fifty-two years. Fasanella was born in the Bronx and grew up in working-c lass neighborhoods of New York\; he became a tireless advocate for laborers &rsquo\; rights\, first as a union organizer and later as a painter.
< br />This major exhibition includes a selection of artworks from the Americ an Folk Art Museum&rsquo\;s collection\, which holds more than one hundred paintings and drawings by the artist. The Estate of Ralph Fasanella gifted many of these objects to the museum over the years\, in addition to the art ist&rsquo\;s notebooks\, sketches\, correspondence\, personal records\, pho tographs\, publications\, and films\, which were donated in 2009 and 2013.< br />
Ralph Fasanella: Lest We Forget \;is organized by t he Smithsonian American Art Museum with generous support from Tania and Tom Evans\, Herbert Waide Hemphill\, Jr. American Folk Art Fund\, and Paula an d Peter Lunder. The C.F. Foundation in Atlanta supports the museum&rsquo\;s traveling exhibition program\,Treasures to Go.

DTEND:20141201 DTSTAMP:20141025T144308 DTSTART:20140902 GEO:40.7732646;-73.9816233 LOCATION:American Folk Art Museum - Lincoln Square\,2 Lincoln Square \nNew York\, NY SEQUENCE:0 SUMMARY: Lest We Forget\, Ralph Fasanella UID:350629 END:VEVENT BEGIN:VEVENT DTEND:20140902T173000 DTSTAMP:20141025T144308 DTSTART:20140902T103000 GEO:40.7732646;-73.9816233 LOCATION:American Folk Art Museum - Lincoln Square\,2 Lincoln Square \nNew York\, NY SEQUENCE:0 SUMMARY: Lest We Forget\, Ralph Fasanella UID:350630 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Willem van Genk: Mind Traffic \;is the first mo nographic exhibition of works by the internationally acclaimed Dutch artist Willem van Genk (1927-2005) to be presented in the United States. The exhi bition includes over forty artworks: panoramic paintings\, collages\, drawi ngs\, personal notes\, sculptures of trolleys\, and an installation of rain coats (van Genk collected hundreds of raincoats over the course of his life time). This comprehensive selection provides an overview of the artist&rsqu o\;s oeuvre and insight into his creative processes\, methods\, and themes. Van Genk&rsquo\;s artworks usually depict intricately layered and densely networked urban panoramas and reference interconnectivity. He was a restles s stockpiler of information\, factoids\, and trivia: from this perspective\ , the artworks can be seen as memory palaces&mdash\;visualizations implemen ted to organize and recall information. These imaginary landscapes serve as sophisticated devices and scaffolds to map hidden forces\, since the artis t believed that all things were connected via both visible and invisible ne tworks.

The exhibition is co-organized by Dr. Valé\;rie Ro usseau\, curator\, art of the self-taught and art brut\, American Folk Art Museum\, and Patrick Allegaert and Yoon Hee Lamot\, both curators at Museum Dr. Guislain\, Ghent\, Belgium. All of the works on view are drawn from th e Willem van Genk Foundation\, which retained the largest body of the artis t&rsquo\;s work\, the De Stadshof Collection\, and the Museum Dr. Guislain\ , which manages both of these collections.

DTEND:20141201 DTSTAMP:20141025T144308 DTSTART:20140910 GEO:40.7732646;-73.9816233 LOCATION:American Folk Art Museum - Lincoln Square\,2 Lincoln Square \nNew York\, NY SEQUENCE:0 SUMMARY: Mind Traffic\, Willem van Genk UID:350631 END:VEVENT BEGIN:VEVENT DTEND:20140910T173000 DTSTAMP:20141025T144308 DTSTART:20140910T103000 GEO:40.7732646;-73.9816233 LOCATION:American Folk Art Museum - Lincoln Square\,2 Lincoln Square \nNew York\, NY SEQUENCE:0 SUMMARY: Mind Traffic\, Willem van Genk UID:350632 END:VEVENT BEGIN:VEVENT DESCRIPTION:

For Tamara Henderson&rsquo\;s first solo exhibition in New Y ork entitled \;Speaking in Scales\, \;she will present a 1 6mm film\, sculpture and painting.

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Tamara Henderson's pr actice begins with the diaristic note-taking of \;her experiences and t houghts under various altered or unconscious states such as sleep or hypnos is. \;These notes are then elaborated upon and translated into differen t media: writing\, 16mm film\, sculpture and painting. Within her \;ver y personal and subjective \;practice\, \;artworks are means\, vesse ls of communication between different states: \;conscious and unconscio us\, dream and awake-ness.

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Henderson's short 16mm films are often based on \;storyboards or screenplays - texts translated into scenography\, images and movements. \;In each film the succession of e vents is carefully planned\, captured in single shots \;and edited in-c amera. The main characters are often quotidian objects (bottles\, glasses\, plants\, furniture\, pineapples) that are manipulated and altered\, becomi ng subjects of a narrative that is both uncanny and ordinary\, absurd and f amiliar &ndash\; and in which a human presence\, the artist's or somebody e lse's\, is never explicit but only implied.

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Henderson's ongoing series of sculptural/furniture works are also based on drawings and sketches realized after sessions of hypnosis. \;The resulting sculptur es simultaneously retain dreamlike qualities (bright colors\, unconventiona l shapes) but also their identity as functional objects. \;Additionally \, part of her practice are "storyboard" paintings and collages\, realized with different materials\, that function as maquettes for the films\, and i n which symbols and maze-like patterns are recurrent.

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Ta mara Henderson (born 1982 in \;Sackville\, Canada)\, lives and works be tween \;Vancouver and Stochkolm. \;Her work has been recently prese nted in solo shows at \;Grazer Kunstverein\, Graz (Austria)\; Walter Ph ilips Gallery\, Banff Alberta (in collaboration with Julia Feyer) and Kunst verein Nü\;rnberg (2013). She was also recently included in group exhib itions at the \;Toronto Kunstverein (2014)\; \;Kunstverein Nü\; rnberg\, \;Magasin 3\, \;Stockholm\, \;(2013) and \;DOCUMEN TA 13\, Kassel (2012). \;Upcoming presentation include Frieze Live with Rodeo Gallery\, London and Kunsthall Stavanger\, Norway (with Santiago Mos tyn) in 2014\; ICA Philadelphia (with Julia Feyer) in 2015. \;

DTEND:20141025 DTSTAMP:20141025T144308 DTSTART:20140911 GEO:40.7472381;-74.0051301 LOCATION:Andrew Kreps Gallery @ 535 West 22nd\,535 West 22nd Street \nNew Y ork\, NY 10011 SEQUENCE:0 SUMMARY:SPEAKING IN SCALES\, Tamara Henderson UID:355658 END:VEVENT BEGIN:VEVENT DTEND:20140911T200000 DTSTAMP:20141025T144308 DTSTART:20140911T180000 GEO:40.7472381;-74.0051301 LOCATION:Andrew Kreps Gallery @ 535 West 22nd\,535 West 22nd Street \nNew Y ork\, NY 10011 SEQUENCE:0 SUMMARY:SPEAKING IN SCALES\, Tamara Henderson UID:355659 END:VEVENT BEGIN:VEVENT DESCRIPTION:

A Shore Thing\, Fredrik Væ\;rslev's second sol o exhibition at the gallery will feature a new body of works captured entir ely in white.

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Fredrik Væ\;rslev&rsquo\;s work is distinctly co llaborative in nature. When considering different series of paintings\, alw ays evident are the elements left to another &ndash\; to another artist or person\, or place\, to nature\, to malfunctions\, to temperature. The &ldqu o\;garden&rdquo\; paintings &ndash\; works that are comprised of wood slats are left outside to gather and reveal the index of environmental happening s and forces\; or the &ldquo\;canopy&rdquo\; paintings that are painted on canvas exposed to contingencies of air\, humidity\, and sun that often brid ge different geographies and reference the suburban window shade.

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F or this most recent series and for \;A Shore Thing\, the works are created with a mechanism used to make boundaries on football and socce r fields as well as roadway lines. A spray can that is mounted on a set of wheels &ndash\; the trolley easily moves forward and backward (the mechanis m itself manufactured to make only straight lines) and resists any curves o r deviations. These defined and consistent back-and-forth lines &ndash\; al most a gridding or mapping out of the surface of the canvas - are layered u nder and over more chaotic marks made by wheels rolling back and forth thro ugh paint &ndash\; and uneven lines made by a malfunctioning sprayer and ma rks made from drips and differing amounts of paint &ndash\; as the temperat ure rises or drops.

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About Fredrik&rsquo\;s work\, Peter Andam write s: &ldquo\;One of the most probing features of Fredrik Væ\;rslevʼs pai nterly non-project is a relentless\, yet palpably and rigorously quiet\, de stabilization of mark-making signatures\, &ldquo\;signatures of the world\, &rdquo\; and different vectors and variations of pure contingency. It is as if the visual and tactile world that is teased out to the fore in his work is always on the verge of collapse on the weight of its own positing inexi stence.&rdquo\;

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The works in the show are monochromatically white\, thus highlighting the dynamism inherent in this project of contingency fur ther. The series unfolds like a collection of possibilities of a practice t hat is not wholly defined by the artist&rsquo\;s hand.

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Fredrik V&ae lig\;rslev was born in 1979 in Moss\, Norway. He studied at Staatliche Hoch schule fur Bildende Kü\;nste\, Stä\;delschule\, Frankfurt and Malm& ouml\; Art Academy\, Sweden. \;He currently lives and works in Dr&oslas h\;bak and Vestfossen. He is Director and founder of Landings Project Space \, Vestfossen\, Norway. \;Recent and upcoming solo show include: Museo Marino Marini\, Firenze\, Italy and \;CAC - Passerelle\, Brest\, France \, (2015): \;East Bound and Down\, The Power Station\, Dallas\ , TX\; Luminar Cité\;\, Lisbon\, Portugal (2014). His work has been r ecently presented in group shows such as \;Lé\; Almanach -14< /em>\, Lé\; Consortium\, Dijon\, France \;(2014)\; \;Flex -Sil Reloaded\, Kunsthalle St.Gallen\; \;Backa in i framtiden< /em>\, Lunds Konsthall\, Lund: \;Lies About Painting\, Moderna Museet\, Malmö\;\, Sweden (2013).

DTEND:20141025 DTSTAMP:20141025T144308 DTSTART:20140911 GEO:40.7477457;-74.0063477 LOCATION:Andrew Kreps Gallery @ 537 W. 22nd\,537 W. 22nd St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY: A SHORE THING\, Fredrik Værslev UID:355660 END:VEVENT BEGIN:VEVENT DTEND:20140911T200000 DTSTAMP:20141025T144308 DTSTART:20140911T180000 GEO:40.7477457;-74.0063477 LOCATION:Andrew Kreps Gallery @ 537 W. 22nd\,537 W. 22nd St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY: A SHORE THING\, Fredrik Værslev UID:355661 END:VEVENT BEGIN:VEVENT DESCRIPTION:

It is our great pleasure to announce the representation and first exhibition of New York painter Chris Martin at Anton Kern Gallery. Hi s first show will consist of a selection of new paintings created over the past summer in upstate New York. These works\, as the writer Bob Nickas des cribes them in the accompanying book\, present "sun-dried paintings and gli tter in the rain."
Martin\, whose career spans over three decades\, co ntinues to create bold\, glittering paintings\, each animated by undulating forms\, radiating landscapes\, and electric hues. Despite their immediate spectacle and immense scale (he connects canvases together to produce sever al of these larger works)\, the paintings exude a human grounded-ness that seems to stem directly from Martin&rsquo\;s connection to nature\, rock &am p\; roll\, street art\, and a dedication to material experimentation.
Nothing and everything is sacred: Martin&rsquo\;s abstract forms offer a s ense of mystical clairvoyance condensed into the profane\, or vice versa. T he paintings present a mesmerizing collision of formal geometries and diagr am-like grids with cut-outs of dead pop stars\, flashy cars\, old records b uried under layers of paint\, and large amounts of holographic glitter (pro duced specifically for showgirls in Las Vegas). Consequently\, Chris Martin s paintings prove to be masterfully ambidextrous\; one is able to fully exp erience their presence from a great distance or up-close\, indoors or outdo ors\, in a state of spiritual transcendence or casual play.

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Chris M artin has continuously exhibited in US and European galleries since the 198 0s. His work has recently been presented in solo shows at the Kunsthalle D& uuml\;sseldorf\, Dü\;sseldorf\, Germany\; The Corcoran Gallery of Art\, Washington D.C. (both 2011)\; and the Nerman Museum\, Kansas City\, KS (20 09). The work has also been included in group shows at the Museum Boijmans Van Beuningen\, Rotterdam\, The Netherlands (2013)\; Kunstmuseum Dü\;ss eldorf\, Dü\;sseldorf\, Germany (2011)\; Richmond Center for Visual Art s\, Western Michigan University\, Kalamazoo\, MI (2008)\; American Academy of Arts and Letters\, New York\, NY (2006)\; P.S.1\, Long Island City\, NY (2005)\; Karl
Ernst Osthaus Museum\, Hagen\, Germany (2004)\; Newhous e Center for Contemporary Art\, Staten Island\, NY (2004)\; Weatherspoon Ar t Gallery\, University of North Carolina\, NC (1998)\; The Denver Museum\, Denver\, CO (1991)\; La Jolla Museum of Contemporary Art\, California\, CA (1989)\; and The Brooklyn Museum\, Brooklyn\, NY (1988). Martin lives and w orks in Brooklyn and upstate New York.

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* A new monograph Chris Mart in\, published by Karma and Anton Kern Gallery will accompany the exhibitio n including a conversation with Bob Nickas and the artist.

DTEND:20141115 DTSTAMP:20141025T144308 DTSTART:20141009 GEO:40.7463808;-74.007077 LOCATION:Anton Kern Gallery\,532 West 20th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Solo Exhibition\, Chris Martin UID:357740 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In recent years\, more and more artists and activists are re -appropriating aerial perspectives of power and control to develop a new la nguage of ethics and aesthetics. Deploying advanced technologies while deve loping DIY strategies of documentation and analysis\, they look for new way s to transform the aerial point of view from a "space of state control\," h istorically linked to the disciplinary gaze of the nation-state\, into a to ol for the production and distribution of civil knowledge. These artists an d activists manipulate satellite images\, operate un-militarized drones\, a nd actualize new mapping systems in a search for civil-oriented visual and political imagery. \;

The exhibition \;Decolonized S kies \;presents five international artists who explore the ramific ations of the &ldquo\;democratization of the view from above." While some a rtists focus on the new visuality produced by this process\, others underli ne its empowering potential in the field of human rights and participatory knowledge production. The exhibition also marks a genealogy of artistic eng agement with the demilitarization of the aerial point of view and frames th e current discourse in an historical context. By doing so\, it explores wha t it takes to decolonize the view from above\, and how we can produce a new visual and ethical perspective by actively reclaiming the sky.

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High&\;Low Bureau \;is a curatorial duo composed of Yael Messer and Gilad Reich. Based in Amsterdam and Tel-Aviv\, they curate exhibitions\, film programs\, performative events\, and publications. The B ureau&rsquo\;s practice is dedicated to the exploration of artistic strateg ies that reflect on\, and suggest alternatives to\, specific social-politic al conditions. Recent projects: \;Our Work is Never Over\, Mat adero Art Center\, Madrid (2012)\; \;Time/Resistance\, The Isr aeli Center for Digital Art (2013)\; and \;Am I Not a Citizen? Barb arism\, Civic Awakening and the City \;(The 13th Istanbul Biennial Film Program\, 2013). The duo is the recipient of the Mondriaan Fonds  \;Cultural Mediator subsidy \;(2013) and was invited to curato rial residencies in art centers such as Bar Barcelona (2013)\, CCA Warsaw ( 2013)\, and Para-Site Hong Kong (2014). \;

Yael Mess er \;is an independent curator. She holds a postgraduate diplo ma in curating from Goldsmith College\, London\, and participated in the de Appel Curatorial Program\, Amsterdam. She has been collaborating with muse ums\, institutions\, and independent art spaces internationally. In 2013 Me sser was the Research Curator for the 13th Istanbul Biennial. \;
< br />Gilad Reich \;is a writer\, curator\, and a PhD c andidate in the Gender Studies department at Ben Gurion University\, Israel . His main field of research is representations of gender in post-Fordist s ocieties. He has published numerous articles as well as exhibition texts an d essays. \;

DTEND:20141025 DTSTAMP:20141025T144308 DTSTART:20140911 GEO:40.719022;-74.004432 LOCATION:Apexart\,291 Church Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Decolonized Skies\, Bik van der Pol\, Effi & Amir\, Peter Fend\, Ge orge Lawrence\, Ruben Pater\, Forensic Architecture UID:351775 END:VEVENT BEGIN:VEVENT DTEND:20140911T200000 DTSTAMP:20141025T144308 DTSTART:20140911T180000 GEO:40.719022;-74.004432 LOCATION:Apexart\,291 Church Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Decolonized Skies\, Effi & Amir\, Forensic Architecture\, Peter Fen d\, George Lawrence\, Ruben Pater\, Bik van der Pol UID:351776 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:20141025T144308 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:20141025T144308 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:20141025T144308 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:

Art in General is plea sed to present Total Body Conditioning\, a New Commission by Mika Tajima.

Total Body Conditioning is an exhib ition by Mika Tajima comprised of three scenes&mdash\;display\, work\, and fitness&mdash\;that invoke technologies developed to control and affect the body. These are techniques that shape bodily experience of time and space\ , taking the human body as a target of power. The works in the exhibition i nclude hot tub painting objects\, a series of abstract woven textile portra its\, and transparent paintings set to changing ambient lighting and sound sequences. Each scene in the exhibition traces the management of the body i n different spaces and temporal contexts from factory assembly lines to the rapeutic &ldquo\;after work&rdquo\; locations.


The exhibition takes its name from a physical conditioning program developed to adapt the body to an exercise regimen emphasizing endurance\, flexibility\, and perfo rmance through the seriation of time and the partitioning of bodily space. Total Body Conditioning refers to the complete investment of the b ody\, taking the Greek practice &ldquo\;to care for oneself&rdquo\; into th e Foucauldian register of discipline and control exacted on the self&mdash\ ;where individual practices of freedom are intertwined with modes of domina tion.

Created specifically for the exhibition\, Lucite cast acr ylic sheet hot tub painting objects that are reverse-spray enameled in satu rated gradient colors ground the gallery space. These new hot tub objects a re ergonomically molded to the human form\, underlining how the body is art iculated in relation to an object. The invention of the hot tub began out o f an aviation company\, which later developed hydraulic pumps for medical t herapy before evolving into a social recreation with its multi-seat tubs. H ere the tub form acts as a container for the body and paint\, fusing figura tion with abstraction.

Tajima will also present a new group of works from her &ldquo\;Furniture Art&rdquo\; series consisting of spray ena meled transparent paintings each subtitled by a geographic location&mdash\; Shikoku\, Ojo Caliente\, Kerala&mdash\;drawing on the psychogeographic asso ciations produced by the affective names of industrial colors and paints. T hese works among others in the exhibition will be set to shifting lighting and sound sequences. In one scene\, the lighting color temperature is chore ographed to a soundtrack of musical cues that signal problems on the assemb ly line to workers in a Toyota factory.

The exhibition will fe ature a new series of &ldquo\;Negative Entropy&rdquo\; acoustic woven texti le portraits derived from recordings of Toyota-powered Jacquard looms\, an assembly line at a Toyota car factory in Japan\, and a server colocation ce nter. These recordings were transmuted into image files and physically inte rpreted by a weaving designer into a Jacquard fabric. The woven textiles we re then stretched over custom acoustic panels\, whereby they assume the fun ction of sound- deadening tiles\, similar to those used in recording studio s to isolate sounds made by individual performers.

Before Toyot a began manufacturing cars\, the company was built on the mechanization of the weaving process through the power loom and the streamlining of factory production in the early 20th century. To this day\, Toyota continues to man ufacture power looms alongside the production of cars\, applying the princi ple of &ldquo\;jidoka&rdquo\;&mdash\;the core of Toyota&rsquo\;s production method of lean manufacturing that defines the relationship between machine s and workers (referred to as &ldquo\;automation with a human touch.&rdquo\ ;) Through extreme control of time and space demonstrated by this global pr oduction system\, the natural body comes in tension with the machinic body.

Total Body Conditioning will feature a sound collabor ation between New Humans and Alvin Aronson\, a NYC-based DJ and musician. A ronson&rsquo\;s forthcoming debut for White Material records is scheduled f or release in 2014.

Special thanks to Eleven Rivington\, Greeh ouse Media\, Alvin Aronson\, Madeline Best\, Lucite Lux\, and Dynasty Spas< br />
Bio
Born 1975\, Los Angeles\, CA. Lives and works in New York.

Mika Tajima employs s culpture\, painting\, video\, music\, and performance\, often drawing on co ntradictions in modernist design and architecture to consider how the perfo rming subject (e. g.\, speaker\, dancer\, designer\, factory worker\, music ian\, filmmaker) is constructed in spaces in which material objects outline action and engagement. Tajima&rsquo\;s most recent work extends her interr ogation of &ldquo\;the built environment and the maximized performer to the global flow of life energies sought by unraveling systems.&rdquo\; Tajima also works collaboratively under the moniker New Humans\, including project s with Vito Acconci\, Charles Atlas\, Judith Butler\, and C. Spencer Yeh\, among others.

Tajima&rsquo\;s work has been shown internation ally\, at venues including the South London Gallery\, London\; Tensta Konst hall\, Stockholm\; San Francisco Museum of Modern Art\; Seattle Art Museum\ ; SculptureCenter and PS1 Contemporary Art Center\, New York City\; Bass Mu seum\, Miami\; Museum of Contemporary Art\, Chicago\; and the Walker Art Ce nter\, Minneapolis. She was included in the 2008 Whitney Biennial. Tajima l ives and works in Brooklyn\, New York. She earned a BA from Bryn Mawr Colle ge and an MFA from Columbia University.

DTEND:20141025 DTSTAMP:20141025T144308 DTSTART:20140913 GEO:40.718124;-74.001856 LOCATION:Art in General\,79 Walker Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Total Body Conditioning\, Mika Tajima UID:352144 END:VEVENT BEGIN:VEVENT DTEND:20140913T200000 DTSTAMP:20141025T144308 DTSTART:20140913T180000 GEO:40.718124;-74.001856 LOCATION:Art in General\,79 Walker Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Total Body Conditioning\, Mika Tajima UID:352145 END:VEVENT END:VCALENDAR