BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION: DTEND:20130807 DTSTAMP:20141220T210414 DTSTART:20130719 GEO:40.746768;-74.00721 LOCATION:David Zwirner 537 W 20th\,537 West 20 Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Andre\, Flavin\, Judd\, McCracken\, Sandback\, Aelita Andre\, Dan F lavin\, Donald Judd\, John McCracken\, Fred Sandback UID:288539 END:VEVENT BEGIN:VEVENT DESCRIPTION:

On view at David Zwirner&rsquo\;s West 19th \;Street gal leries in New York\, \;Folk Devil \;brings together a dive rse group of international artists. \;The exhibition&rsquo\;s title is a reference to \;sociologist Stanley Cohen&rsquo\;s descriptio n of the British media&rsquo\;s hostile reaction towards deviant youth grou ps in the 1960s\, and \;embodies a deep-rooted fear of subcultures and the morally aberrant. \;Folk Devil \;presents a comment on the tendency to create artificial connections between a group of individua ls\, while it also contains a self-referential statement on the yearly summ er shows held at many art galleries under various umbrella themes.

DTEND:20130807 DTSTAMP:20141220T210414 DTSTART:20130711 GEO:40.7458915;-74.0072271 LOCATION:David Zwirner- 533 W. 19th\,533 W. 19th Street \nNew York\, NY 100 11 SEQUENCE:0 SUMMARY:Folk Devil \, Lynette Yiadom-Boakye\, Franz West\, Sophie von Helle rmann\, Oscar Tuazon\, Steven Shearer\, Jason Rhoades\, Eddie Peake\, Mike Nelson\, Oscar Murillo\, Ryan McGinley\, Roger Hiorns\, Brian Griffiths\, N ikolas Gambaroff\, Marlene Dumas\, Spartacus Chetwynd\, Lynn Chadwick UID:282608 END:VEVENT BEGIN:VEVENT DTEND:20130711T200000 DTSTAMP:20141220T210414 DTSTART:20130711T180000 GEO:40.7458915;-74.0072271 LOCATION:David Zwirner- 533 W. 19th\,533 W. 19th Street \nNew York\, NY 100 11 SEQUENCE:0 SUMMARY:Folk Devil \, Lynn Chadwick\, Spartacus Chetwynd\, Marlene Dumas\, Nikolas Gambaroff\, Brian Griffiths\, Roger Hiorns\, Ryan McGinley\, Oscar Murillo\, Mike Nelson\, Eddie Peake\, Jason Rhoades\, Steven Shearer\, Osca r Tuazon\, Sophie von Hellermann\, Franz West\, Lynette Yiadom-Boakye UID:282609 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Drawings and Prints

DTEND:20130808 DTSTAMP:20141220T210414 DTSTART:20130613 GEO:40.7499366;-74.005949 LOCATION:SENIOR & SHOPMAKER GALLERY\,210 Eleventh Avenue \nNew York\, NY 10 001 SEQUENCE:0 SUMMARY:Surface Tension\, Tauba Auerbach\, Vija Celmins\, Bruce Conner\, Ro bert Mangold\, Julie Mehretu\, Edda Renouf\, Robert Ryman UID:282651 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Fujiwara's work Studio Pietà\; (King Kong Komplex) debuted at the Sharjah Biennial in March and will be presented in a n ewly expanded format at Andrea Rosen. \;

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A young artist who has achieved exceptional recognition and acclaim across Europe and Asia\, Fuji wara was born in London\, spent his childhood between Japan\, England\, Spa in and Africa and is now based in Berlin. His complex installations incorpo rate sculpture\, performance\, video and photographic elements to create fu lly imagined scenarios that underscore the interdependence of personal hist ory and more universal narratives. Studio Pietà\; (King Kong Komp lex) addresses issues of racial profiling\, exoticism\, terrorism\, an d sexual identity\, and relations between the West and the Middle East.

DTEND:20130809 DTSTAMP:20141220T210414 DTSTART:20130629 GEO:40.749185;-74.005023 LOCATION:Andrea Rosen Gallery\,525 W.24th St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Studio Pietà (King Kong Komplex) \, Simon Fujiwara UID:282085 END:VEVENT BEGIN:VEVENT DTEND:20130628T200000 DTSTAMP:20141220T210414 DTSTART:20130628T180000 GEO:40.749185;-74.005023 LOCATION:Andrea Rosen Gallery\,525 W.24th St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Studio Pietà (King Kong Komplex) \, Simon Fujiwara UID:282086 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20130809 DTSTAMP:20141220T210414 DTSTART:20130628 GEO:40.749177;-74.0058861 LOCATION:Andrea Rosen Gallery 2\,544 West 24th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Exhibition\, Nigel Cooke\, David Altmejd\, Michael Raedecker\, Andr ea Zittel UID:285684 END:VEVENT BEGIN:VEVENT DTEND:20130628T200000 DTSTAMP:20141220T210414 DTSTART:20130628T180000 GEO:40.749177;-74.0058861 LOCATION:Andrea Rosen Gallery 2\,544 West 24th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Exhibition\, David Altmejd\, Nigel Cooke\, Michael Raedecker\, Andr ea Zittel UID:285685 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Andrew Kreps Galler y is pleased to present a single-work installation by Ricci Albenda.  
 
Untitled is a simple experiment. Though similar in many ways to som e of his Trompe l'oeil installations of the past\, this installation does n ot attempt to fool the eye but rather relies on the viewer's suspension of disbelief. Like the ocean meeting the sky\, the floor extends up the wall a s a flat plane of color\, while the ceiling descends to meet it at an infin ite distance on the horizon. This horizon line is tilted slightly\, looseni ng itself from the architecture to which it is attached\, and destabilizing the viewer's relationship with the absolute level horizon with which we ar e all familiar. This tilt also allows the work to accommodate the majority of adult heights and their associated eye-levels. Thus\, if everyone in the gallery were to migrate to a place for which the horizon coincided with th eir own eye-level\, a tilted plane of heads would be created
< /p> DTEND:20130809 DTSTAMP:20141220T210414 DTSTART:20130627 GEO:40.7477457;-74.0063477 LOCATION:Andrew Kreps Gallery @ 537 W. 22nd\,537 W. 22nd St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY: Untitled\, Ricci Albenda UID:284637 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Craig F. Starr Gallery is pleased to announce Lucas Sa maras Pastels\, on view from June 7 to August 9\, 2013. The exhibit ion showcases eighteen drawings from 1974 and 1981\, as well as three of Sa maras’s densely embellished boxes. A fully illustrated catalogue accompanie s the show with an essay by Daniel S. Palmer\, doctoral candidate in Art Hi story at The Graduate Center\, CUNY.

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In 1974\, Samaras produced mor e than 100 pastels. Working in concentrated bursts\, he made fantastically patterned drawings that bridge the gaps between landscape\, still life\, an d self-portraiture. These works evoke the inner landscape of the artist’s m ind.

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As sites of personal exploration and self-reflection\, these s triking pastels exploit the medium’s intrinsic qualities in dreamlike scene s\, many of which contain ghostly figures embedded in their patterning. The active process of discovering this hidden imagery elicits personal inquiry in the viewer as it reveals the artist’s own unconscious desires. Decipher ing these mysterious forms parallels the psychological process we enact whe n we retrieve an image from memory. 

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With his intricate boxes\, Sam aras explores similar issues of identity and memory\, concealing caches of photographs and mementos within threatening\, patterned exteriors. As part of his continual investigation of the self\, Samaras’s boxes and pastels br oaden the boundaries of self-portraiture.

DTEND:20130809 DTSTAMP:20141220T210414 DTSTART:20130607 GEO:40.7729322;-73.9658585 LOCATION:Craig F. Starr Gallery\,5 East 73rd Street \nNew York City\, NY 10 021 SEQUENCE:0 SUMMARY: Pastels\, Lucas Samaras UID:280890 END:VEVENT BEGIN:VEVENT DESCRIPTION:

For our summer show\, David Nolan Gallery is pleased to announce an exhibition of works by Richard Pettibone. On view fro m July 9 through August 9\, this presentation brings together 5 sculptures and nearly 40 paintings from the 1960s and spanning the artist’s career.

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A key proponent of the West Coast “Conceptual Pop” movement\, Pettibo ne appropriated imagery from Warhol\, Lichtenstein and Brancusi – among oth ers. The rear gallery will be devoted to copies of the artist’s abiding ins piration\, Marcel Duchamp.

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Typically framed and constructed upon mi niature stretcher bars\, his small-scale “replicas” subvert the traditional notion of artists as creators of original works of art while maintaining a critical distance from the artworks that they reproduce. As the catalogue for Pettibone’s last major retrospective (2005-6) suggests: “his appropriat ions do more than merely commemorate their sources. Although comic and good -humored\, they probe and tweak those sources.” The present exhibition offe rs a rare to opportunity to assess the work of this important American arti st.

DTEND:20130809 DTSTAMP:20141220T210414 DTSTART:20130709 GEO:40.7521176;-74.0027907 LOCATION:David Nolan Gallery\,527 West 29th Street \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Painting and Sculpture: 1962 - 2003 \, Richard Pettibone UID:284638 END:VEVENT BEGIN:VEVENT DESCRIPTION:

David Zwirner is pleased to present an exhibition of early w ork by American ceramicist Robert Arneson (on view at the gallery’s 537 Wes t 20th Street location). Closely associated with the countercultural Califo rnia Funk movement of the 1960s\, Arneson was integral in elevating ceramic s from mere craft to a valid form of aesthetic expression. This exhibition brings together a grouping of Arneson’s seldom seen early works that simult aneously demonstrates the genesis of his unique artistic vocabulary and und erscores his tremendous influence on generations of artists working in clay .
Having made his living as a high school (and sometimes college) cera mics teacher\, in the spring of 1962\, the still relatively unknown Arneson accepted a teaching position at the University of California’s Davis campu s. Thanks in particular to the antiformalist leanings of its faculty\, the newly established art program quickly gained a reputation for being a hotbe d of experimental and conceptual work. Arneson’s ceramics studio in particu lar became a focal point of artistic exchange and his students\, including Bruce Nauman\, would often stay there late into the night.
It was duri ng this developmentally fertile period that Arneson began to experiment wit h subject matter and to develop his own distinctive iconography with overtl y grotesque and often humorous works. His ceramic sculptures possessed a di stinctly Funk aesthetic\, expressed through an insistence on figurative ima gery\, non-traditional techniques and materials\, and low cultural subject matter\, grafted on to the forms of quotidian objects— a West coast modulat ion of the Pop aesthetic. Arneson’s deliberately taboo and vulgar visual pu ns challenged accepted notions of what constituted appropriate subject matt er both for art and for the medium of ceramics\, which at the time was prim arily relegated to the realm of crafts.
Throughout the 1960s\, Arneson produced highly charged and highly sexualized work that stood in stark con trast to the Minimalist constructions made by his contemporaries in New Yor k. Drawn from public and private collections\, the exhibition includes roug hly 20 works that clearly show Arneson’s artistic development and also pref igure his later work\, which delves even further into the topics of identit y and the self\, as well as political upheaval and war.
Highlights fro m the exhibition include several “Trophies\,” Arneson’s first cohesive body of work made between 1963 and 1965. These debauched accolades\, such as Ja ck and John (Trophy) (1964) and Sex-Life Trophy (1965)\, explicitly embody his turning against convention by introducing incongruous and shocking elem ents such as phallic forms\, breasts\, and human excrement onto trophies. A rneson’s subsequent series of toilets both expands and literalizes even fur ther this strand of inquiry. In works like Throne (1964)\, he playfully sug gests a double entendre between a toilet (colloquially referred to as a “th rone”) and a ceramic object (which is “thrown” on a wheel). Toaster (1965)\ , which depicts a human hand reaching out of a conventional toaster\, repre sents one of Arneson’s earliest engagements with politics. A swastika embla zoned on the side of the object alludes grimly to Nazi ovens and the inesca pability of the legacy of that horror in our day-to-day lives. Also on view here is Arneson’s seminal work Self Portrait of the Artist Losing His Marb les (1965\; Collection of the Museum of Art and Design\, New York)\, his fi rst full-scale ceramic self-portrait and a breakthrough in his career. The genre of selfportraiture\, which is rife with art historical implications\, would preoccupy Arneson for the majority of the 1970s and come to constitu te some of his most-known work.
Born in 1930 in Benicia\, California\, Robert Arneson received his B.A. from the California College of Arts &\ ; Crafts (1954) and his M.F.A. from Mills College in Oakland\, California ( 1958). Arneson remained on faculty at U.C. Davis until 1991— just one year before his death. He has been the subject of numerous solo exhibitions at v enues such as the Museum of Contemporary Art\, Chicago (1974)\, the San Fra ncisco Museum of Modern Art (1974)\, the MIT List Visual Arts Center (1991) \, and the Institute of Contemporary Art\, Philadelphia (1992). His work ha s also been shown in seminal group exhibitions including Dada\, Surrealism and Their Heritage at The Museum of Modern Art\, New York (1968) and the Wh itney Biennial (1979). Arneson’s work can be found in important public and private collections throughout the United States and Europe\, including the Metropolitan Museum of Art\, New York\; the San Francisco Museum of Modern Art\; the Whitney Museum of American Art\, New York\; the Stedelijk Museum \, Amsterdam\; and the Philadelphia Museum of Art.

DTEND:20130809 DTSTAMP:20141220T210414 DTSTART:20130708 GEO:40.746768;-74.00721 LOCATION:David Zwirner 537 W 20th\,537 West 20 Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Early Work\, Robert Arneson UID:282607 END:VEVENT BEGIN:VEVENT DESCRIPTION:

On view at David Zwirner’s West 19th Street galleries in New York\, Folk Devil brings together a diverse group of internationa l artistsThe exhibition’s title is a reference to sociologist St anley Cohen’s description of the British media’s hostile reaction towards d eviant youth groups in the 1960s\, and embodies a deep-rooted fear of subcu ltures and the morally aberrant. Folk Devil presents a comment on the tendency to create artificial connections between a group of individual s\, while it also contains a self-referential statement on the yearly summe r shows held at many art galleries under various umbrella themes.

DTEND:20130809 DTSTAMP:20141220T210414 DTSTART:20130711 GEO:40.7060427;-74.0170414 LOCATION:David Zwirner- 525 W. 19th\,525 W. 19th Street (between 10th Ave. and West St.)\nNew York\, NY 10011-2808 SEQUENCE:0 SUMMARY:Folk Devil \, Lynn Chadwick\, Spartacus Chetwynd\, Marlene Dumas\, Nikolas Gambaroff\, Brian Griffiths\, Roger Hiorns\, Ryan McGinley\, Oscar Murillo\, Mike Nelson\, Eddie Peake\, Jason Rhoades\, Steven Shearer\, Osca r Tuazon\, Sophie von Hellermann\, Franz West\, Lynette Yiadom-Boakye UID:282610 END:VEVENT BEGIN:VEVENT DTEND:20130711T200000 DTSTAMP:20141220T210414 DTSTART:20130711T180000 GEO:40.7060427;-74.0170414 LOCATION:David Zwirner- 525 W. 19th\,525 W. 19th Street (between 10th Ave. and West St.)\nNew York\, NY 10011-2808 SEQUENCE:0 SUMMARY:Folk Devil \, Lynn Chadwick\, Spartacus Chetwynd\, Marlene Dumas\, Nikolas Gambaroff\, Brian Griffiths\, Roger Hiorns\, Ryan McGinley\, Oscar Murillo\, Mike Nelson\, Eddie Peake\, Jason Rhoades\, Steven Shearer\, Osca r Tuazon\, Sophie von Hellermann\, Franz West\, Lynette Yiadom-Boakye UID:282611 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Eleven Rivington is pleased to present a solo exhibition of recentwork by French artist Anne-Lise Coste\, on view from June 20 – throug hAugust 9\, 2013 at our 195 Chrystie Street location.  The artist hasshown extensively in Europe for almost 15 years and this is her firstwith Eleven Rivington.

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The exhibition will feature new paintings executed prima rily inspray-painted acrylic. In the main gallery\, an immersive series of 12black and white canvases based on details of Picasso’s Guernica br eaksdown the highly complex and visually dense painting into singular appro priated and abstracted scenes. In the smaller second space of the gallery i s a display of a new series of text-based works and abstract paintings. All share a unique balance of severity and airiness\, inaddition to sharp wit. Impulsiveness is characteristic for herwork—often painting over previous a ttempts with gesso until satisfied.Treating letters as units of words allow her to bypass the strictrules of language and convention. With her decisiv e use of a spray gunto articulate with pigment\, she fuses the vitality of expressionism(direct and intuitive mark-making) with the aloofness of Pop(m echanized paint application). Coste frequently raises existentialquestions - the social and political content of Picasso's regardedmasterpiece is unde niable - articulating them by cropping details\,re-articulating or subverti ng specifics\, or executing gestures ortexts in the form of direct statemen ts / re-statements that exposeevery single pore. The tangled whole of her p ractice is a many-voicedinner monologue\, a maze whose paths seem to know o nly two ways out:either an implosion of meaning via repetition\, or an expl osion throughpure overload.

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Anne-Lise Coste was born 1973 in Marseille\, France and currently livesand works in New York. She studie d in Marseille at the Ecole desBeaux-Arts\, and in Zurich at the Hochschule fuerGestaltung und Kunst.Recent and upcoming shows include Kunst-und Ausste llungshalle\, Bonn\,Germany\; FundacioCaixa Madrid\, Spain\; EsslingerKunst verein\,Esslingen\, Germany\; Museo de BellasArtes de Santander\, Santander \,Spain.  This exhibition is presented in association with NoguerasBlanchar d\, Barcelona.

DTEND:20130809 DTSTAMP:20141220T210414 DTSTART:20130620 GEO:40.7221335;-73.9919451 LOCATION:Eleven Rivington (Chrystie Street)\,195 Chrystie Street \nNew York \, NY 10002 SEQUENCE:0 SUMMARY:Solo Exhibition\, Anne-Lise Coste UID:281132 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Eleven Rivington is pleased to present the first solo exhi bition in New York by American artist Israel Lund\, on view from June 20 th rough August 9\, 2013 at the gallery’s 11 Rivington Street location. 

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Israel Lund’s paintings are a record of the static within a sys tem of reproduction. There is a point at which they commenced\, but they be gan with an image of nothing\, as Lund initially burned an open rectangle a pproximately 8.5 x 11 inches into a silkscreen\, unevenly forcing black ink through the blank image onto a canvas. By affecting a copy of nothing\, Lu nd imports no other information to the painting’s surface but that which is already inherent to the process of reproduction itself (e.g. the black ink \, its semi-mechanical application\, the data assumed to be copied)\, there by allowing the system to generate the image. As he distorts\, enlarges\, d egrades\, and re-inserts these copies further\, Lund extrapolates a recursi ve and deconstructive method of reproduction that continually re-doubles up on itself\, imparting a physical and conceptual liquidity to each individua l painting\, alleviating the burden of originality from any work and the ar tist himself.The works on view at Eleven Rivington have long since distance d themselves from this beginning\, having appeared in an artist book\, then haphazardly rearticulated through three-color process paintings (cyan\, ye llow\, and magenta)\, scanned and digitally distributed on his and others t umblr pages\, and presently re-photographed through a PDF generating applic ation on his phone\, the images from which provide the basis for this exhib ition. The paintings are altered as much by their actual\, physical product ion\, as by their dissemination\, each step in this process degrading the c opies further\, purposefully leaving us with no original by which we can gr ound the work. The paintings only change slightly from iteration to iterati on\, but they flood the system with copies of themselves\, polluting the es sential qualities of the work with its innumerable duplications and the mut ations that accord such a process.

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Four of the paintings a re hung on the front windows of the gallery\, which may best represent the simultaneity of their production\, consumption\, and dissemination. Facing the paintings from the front\, the stretchers and braces cast a shadow thro ugh the canvas\, the central rectangle not only reflecting\, but also emitt ing light that shines through its surface. With greater contrast between th e shades\, and a certain bald luminescence to the highlights\, the painting s appear to frame dull jpegs of themselves. They are then both image and th e thing itself\, and\, given their relatively inevitable online distributio n\, the physical paintings occupy an experiential stage with their reproduc tions\, anticipating the future life of the painting through the past life of its various copies\, and its present appearance. Lund’s work temporarily flattens these transient moments into one space and context\, aware\, howe ver\, of the slippery identity of paintings. Israel Lund was born in 1980 i n Vermont. He was educated at Mason Gross School of the Arts at Rutgers Uni veristy\, NJ (MFA) as well as Pacific Northwest College of Art\, OR (BFA). He currently lives and works in Brooklyn\, New York. Recent and forthcoming solo exhibitions include Roberts &\; Tilton\, Roberts &\; Tilton\, C ulver City\, CA\, and Elaine Levy Project\, Brussels\, Belgium.

DTEND:20130809 DTSTAMP:20141220T210414 DTSTART:20130620 GEO:40.721463;-73.9925135 LOCATION:Eleven Rivington (Rivington Street)\,11 Rivington Street \nNew Yor k\, NY 10002 SEQUENCE:0 SUMMARY:Solo Exhibition\, Israel Lund UID:281133 END:VEVENT BEGIN:VEVENT DESCRIPTION:
Nine things I learned from the art of Mac Adams. < br /> by David Campany
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One

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Le t’s embrace the hybrid character of photography. In Mac Adams’ pic tures you will find allusions to detective stories and news reportage\, cri me scenes and film noir\, the Nouveau Roman and the photo-roman\, movie pub licity and film frames\, snapshots and high art\, advertising and the still life\, voyeurism and exhibitionism\, glamour and horror\, sculpture and pa inting\, literature and architecture. When he began to make these works the reigning dogma in photographic art was still very much about purity\, abou t finding the ground and the qualities that belonged to the medium alone. T hat was becoming something of a dead end. Why shouldn’t photography accept and enjoy the overlaps with the other arts? Moreover\, might this hybrid ap proach actually cast new light on what really is particular about the mediu m?

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Two

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The gal lery is an operating table and a stage set\, to which the differen t potentials of photography are brought.  These two metaphors – operating t able and set – map very well onto what seem to be the two key impulses of t he medium: the forensic interest in detail and the cinematic interest in mi se-en-scène or staging. These impulses are so forcefully present today beca use all photography in art is somehow obliged to enter a dialogue either wi th the notion of visuals evidence or with the culture of the moving image i n which the still image finds itself. Or both. Mac Adams does both.

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Three

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Watch carefully.  Econ omy of means and economy of expression have been vital to Mac Adams through out his career\, be it in photography\, or sculpture or installation. But h is deftness and precision only serve to highlight the ambiguity of communic ation and the essential openness of all images.  Looking at Adams’s diptych es is like watching a close-up magician. Everything seems clear and lucid\, everything seems graspable but suddenly something has slipped your attenti on. The magician does it once more. You watch intently. It’s gone. The key has vanished between one certainty and another. 

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Fou r

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< strong>Everything starts in the middle.  Agatha Christie would oft en start writing her detective fictions with the outlandish murder of the f inale and the unexpected motive. From these she would work backwards\, reve rse engineering her plots so that they would always go where they were pred estined to go.  Mac Adams has spoken of a certain debt to\, or influence fr om Christie. However his photographs are not ‘whodunnits’. They’re not even ‘whydunnits’\, or ‘howdunnits’.  All those forms are essentially linear\, and explanatory. Adams’s scenarios are suspended. They are middles with beginnings or endings. They are more like the tableau vivant or loop. We come in somewhere in the middle and we leave somewhere in the middle\, and we must make of it what we can. There is no explanation\, no final sett ling of accounts. No pointing the finger.

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Photography has many time zones. I sense Mac Adams has much in common with Nicolas Roeg\, the director who once describ ed cinema as a time machine. The syntax of Adams’ diptychs is reminiscent o f Roeg’s editing. A mix of formal analogy\, temporal leaps and associative linkages. More often than not filmmakers and critics tend to see photograph y as a raw and elemental unit\, awaiting cinematic articulation as one of t wenty-four per second. Yet\, away from cinema we can see that photography h as always had its own complex engagement with time\, with duration\, and wi th movement.  Think of the ‘decisive moment’\, the pregnant moment\, the co nstructed tableau\, flash photography and the long exposure\, to name of fe w of its different temporalities. To these we must add all the procedures o f assembly that have been so crucial to the development of photography: the album\, the archive\, the diary\, the photo essay\, montage\, collage\, se quences\, pairing and juxtapositions (not to mention all the new modes open ed up by electronic technologies). The time of photography deserves a philo sophy every bit as sophisticated as that extended to cinema. The work of Ma c Adams would be an ideal starting point.

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Six

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‘Narrati ve’ is a noun and an adjective. An image can simply be narrative w ithout belonging to ‘a’ narrative. Actually photography is pretty lousy at narrating in the conventional sense but it’s quite perfect for suggesting n arrative possibilities. Often we sense these possibilities when they are se t in motion by the most succinct and minimal means. An ambiguous gesture. A stray object. An allusive composition.  An enigmatic detail. An action poi nting beyond the frame. Whatever else it is\, Mac Adams’s photography is a rich inventory of such things.

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Seven

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Diptyches are difficult but Mac Adams makes it look easy. The diptych is one of the most challenging of modes for art and particularly for photography. Challenging both for makers and audiences.  This is because it undoes the formal unity of the single image but shuns the comfort of the extended sequ ence. In a diptych there is no flow\, but a shuttling to and fro.  A seduct ive and confounding short-circuit.  Two images. One gap. Look before you le ap. Mac Adams calls this ‘The Narrative Void’.

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Eight

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The best things often fall into the void. Art history has its voids\, and for a while it looked as if Mac Adams’ early photograp hy was to be lost\, somehow misplaced between overly tidy accounts of Conce ptualism at the start of the 1970s and the Postmodern Art of the decade’s e nd. But that period in between was so rich for photography\, perhaps the ri chest there has ever been. And this was precisely because it was so messy\, so uninterested in categories and boundaries. Everything was up for grabs\ , nothing was off-limits\, and artists went at the high speed of creativity \, not the sluggish speed of the market. Adams’s work exemplifies the parti cular balance of promiscuous exploration and rigor we also find in the work of James Collins\, John Hilliard\, Victor Burgin\, Robert Cumming\, Barbar a Kasten\, Eileen Cowin\, John Divola and Ger van Elk. Critics in the mid-1 970s even referred to a discernible ‘narrative turn’ in photography. In 197 7 it was notable enough to have a presence of its own at the now legendary Documenta 6 in Kassel\, Germany. This was before Cindy Sherman and Richard Prince\, before Robert Longo and Jeff Wall. Maybe it was less glamorous\, l ess concerned with spectacle and consumerism and it came to be overlooked f or a while. But it’s no surprise today’s audiences and critics are looking again\, not to correct the past but to recognise the continued relevance of the work.  Finally we might be getting the past we deserve\, the past we n eed right now.

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Nine

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All great a rt strikes us as contemporary.  This is so even when we know full well it could only have been made when it was made. In fact the hold that t he present may have on the art of the past is often intensified by its hist orical qualities. Think of the paintings of Johannes Vermeer or Edward Hopp er\, the films of Robert Bresson or Jean-Luc Godard. We’d be foolish not to see them as contemporary\, not to see them as rightfully ours.  There is n o denying the period detail of Mac Adams’s photographs – the clothes\, the objects\, the décor\, the chairs and tables. But the concerns – wi th perception\, seduction\, privacy\, looking\, pleasure\, evidence\, artif ice and knowledge  - they are timeless\, they abide. They belong to every e ra and we are free to claim them as our own.

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David Campan y is a writer and curator. His books include Art and Photography ( Phaidon 2003)\, Photography and Cinema (Reaktion\, 2008)\, Jeff Wall: Picture for Women (Afterall/MIT\, 2011)\, Rich and Strange (Chopped Liver Press\, 2012)\, Gasoline (MACK\, 2013) and Walker Evans: the Magazine Work (Steidl\, 2013). His essays appear i n many magazines including Aperture\, Frieze and Tate . This year he curates shows of the work of Mark Neville (The Photogra pher’s Gallery\, London) and Victor Burgin (Ambika P3\, London). In 2012 he received the ICP Infinity Award for Writing.

DTEND:20130809 DTSTAMP:20141220T210414 DTSTART:20130601 GEO:40.7467443;-74.007526 LOCATION:Elizabeth Dee Gallery\,545 West 20th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY: Crimes of Perception\, Mac Adams UID:280388 END:VEVENT BEGIN:VEVENT DESCRIPTION:

International Print Center New Yor k presents New Prints/New Narratives: Summer 2013\, consisting o f some fifty projects by artists at all stages of their careers. The exhibi tion will be on view at 508 West 26th St\, 5th Floor\, from June 13\, 2013 - August 9\, 2013. New Prints/New Narratives: Summer 2013 is the for ty-fifth presentation of IPCNY’s New Prints Program\, a series of juried ex hibitions organized by IPCNY several times each season featuring prints mad e within the past year. The exhibition will run concurrently with a small s election of prints and artists’ books from the collaboration\, Al-Mutana bbi Street Starts Here\, which will be shown in the IPCNY Viewing Ro om. Garamond\;mso-bidi-font-family:Garamond-Italic">\;

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Prints were selected by Andrew Raftery\, an artist\, engraver and print scholar\, specializing in narrative scenes of A merican life. Born in 1962\, he earned his BFA in painting from Boston Univ ersity and his MFA in printmaking from Yale University. Raftery is a profes sor at Rhode Island School of Design and a faculty fellow at the RISD Museu m. IPCNY received over 2\,400 submissions from artists and presses worldwid e\, and out of this varied collection of work\, he chose 55 works. An illus trated brochure with a curatorial essay by Andrew Raftery will accompany th e exhibition. line-height:120%\;font-family:Garamond\;mso-bidi-font-family: Garamond">\;

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The Artists’ List is a s follows: Lynne Allen\, Kathy Aoki\, Miguel Aragon\, Katie Baldwin\ , Kristin Becker\, Mildred Beltre\, Allison Bianco\, Douglas Bick\, Doug Bo sely\, Alice Leora Briggs\, Veronica Ceci\, Liz Chalfin\, Ann Chernow\, Nic k Conbere\, Madeline D’Aversa\, Amze Emmons\, Richard Falle\, Leslie Golomb \, Art Hazelwood\, Ellen Heck\, Marco Hernandez\, Yuji Hiratsuka\, Jill Ho- You\, Erik Hougen\, Cary Hulbert\, Jon Irving\, Hans Johansson\, Gabriela J olowicz\, Mehrdad Khataei\, Joyce Kozloff\, Brian Kreydatus\, Dinh Q. Lê\, Jim Lee\, Kate Logue\, Joseph Lupo\, Nicole Maloof\, Michael Menchaca\, Nat haniel Stern and Jessica Meuninck-Ganger\, Florent Morellet\, Kurt Pammer\, Ryan Parker\, Ester Partegàs\, Lynn Peterfreund\,  Kahlil Rintye\, Jenny R obinson\, Bill Salzillo\, Hannah March Sanders\, Jesse Shaw\, Dan Steeves\, Ivanco Talevski\, Matthew Van Asselt\, Art Werger\, George Whitman\, Miche lle Wilson and Erin Woodbrey. Garamond">\;

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Presses and publish ers represented are: Cascade Press (OH)\; Centre for Fine Print Researc h (UK)\; Center Street Studio (MA)\; Connecticut Fine Arts\, Inc (CT)\; Fla tbed Press (Texas)\; the LeRoy Neiman Center for Print Studies\; Columbia U niversity (NYC)\; Marginal Editions (NYC)\; Morakeb-e Siah Institute of Fin e Art (Iran)\, Mullowney Printing (CA)\, Philagraphika (PA)\; Rocinante Pre ss (CA). font-family:Garamond\;mso-bidi-font-family:Garamond">\;

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New Prints/New Narratives: Summer 2013 consists of etchings\, lithographs\, monotypes\, screenprints\, books and video\, and other manif estations of the printmaking process.  Highlights include Richard Falle’ s Ice Cream Inferno\, an inkjet print from original vector artwo rk created entirely in Adobe Illustrator and printed at the Center for Fine Print Research in the UK\; Allison Bianco’s glow-in-the-dark intagl io and silkcreen piece\, the Old Man of the Mountain\; a 35-second a nimation\, Storm in a Teacup 124\, created from 124 unique monotypes by Lynn Peterfreund\; and Nicholas Conbere’s detailed and dr eamlike invented world\, Finding Niches. This exhibition < /b>explores visual narrative and the powerful presence it has had in printm aking since its origins. The prints shown here reinvent this tradition for contemporary viewers\, and were selected through careful observation of spe cific details and then arranged into narrative categories such as direct address\, layered narrative\, aftermath\, layered time\, and implied commu nication.

DTEND:20130809 DTSTAMP:20141220T210414 DTSTART:20130613 GEO:40.7536854;-73.9991637 LOCATION:IPCNY International Print Center New York\,508 W.26th St. Rm 5A \n New York\, NY 10001 SEQUENCE:0 SUMMARY:New Prints/New Narratives: Summer 2013 selected by Andrew Raftery\, Dinh Q. Lê\, Brian Kreydatus\, Joyce Kozloff\, Mehrdad Khataei\, Gabriela Jolowicz\, Hans Johansson\, Jon Irving\, Cary Hulbert\, Erik Hougen\, Jill Ho-You\, Yuji Hiratsuka\, Marco Hernandez\, Ellen Heck\, Art Hazelwood\, Le slie Golomb\, Richard Falle\, Amze Emmons\, Madeline D’Aversa\, Nick Conber e\, Ann Chernow\, Liz Chalfin\, Veronica Ceci\, Alice Leora Briggs\, Doug B osely\, Douglas Bick\, Allison Bianco\, Mildred Beltre\, Kristin Becker\, K atie Baldwin\, Miguel Aragon\, Kathy Aoki\, Lynne Allen\, Jim Lee\, Kate Lo gue\, Joseph Lupo\, Nicole Maloof\, Michael Menchaca\, Nathaniel Stern\, Fl orent Morellet\, Kurt Pammer\, Ryan Parker\, Ester Partegàs\, Lynn Peterfre und\, Kahlil Rintye\, Jenny Robinson\, Bill Salzillo\, Hannah March Sanders \, Jesse Shaw\, Dan Steeves\, Ivanco Talevski\, Matthew Van Asselt\, Art We rger\, George Whitman\, Michelle Wilson\, Erin Woodbrey\, Jessica Meuninck- Ganger UID:279230 END:VEVENT BEGIN:VEVENT DTEND:20130613T200000 DTSTAMP:20141220T210414 DTSTART:20130613T180000 GEO:40.7536854;-73.9991637 LOCATION:IPCNY International Print Center New York\,508 W.26th St. Rm 5A \n New York\, NY 10001 SEQUENCE:0 SUMMARY:New Prints/New Narratives: Summer 2013 selected by Andrew Raftery\, Lynne Allen\, Kathy Aoki\, Miguel Aragon\, Matthew Van Asselt\, Katie Bald win\, Kristin Becker\, Mildred Beltre\, Allison Bianco\, Douglas Bick\, Dou g Bosely\, Alice Leora Briggs\, Veronica Ceci\, Liz Chalfin\, Ann Chernow\, Nick Conbere\, Madeline D’Aversa\, Amze Emmons\, Richard Falle\, Leslie Go lomb\, Art Hazelwood\, Ellen Heck\, Marco Hernandez\, Yuji Hiratsuka\, Jill Ho-You\, Erik Hougen\, Cary Hulbert\, Jon Irving\, Hans Johansson\, Gabrie la Jolowicz\, Mehrdad Khataei\, Joyce Kozloff\, Brian Kreydatus\, Dinh Q. L ê\, Jim Lee\, Kate Logue\, Joseph Lupo\, Nicole Maloof\, Michael Menchaca\, Jessica Meuninck-Ganger\, Florent Morellet\, Kurt Pammer\, Ryan Parker\, E ster Partegàs\, Lynn Peterfreund\, Kahlil Rintye\, Jenny Robinson\, Bill Sa lzillo\, Hannah March Sanders\, Jesse Shaw\, Dan Steeves\, Nathaniel Stern\ , Ivanco Talevski\, Art Werger\, George Whitman\, Michelle Wilson\, Erin Wo odbrey UID:279231 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Jeff Bailey Gallery is pleased to present Hard Lines / Soft Vibes\, an e xhibition of paintings\, works on paper and sculpture by Nichole van Beek\, Brian Scott Campbell\, Erik Schoonebeek and Louise Belcourt.

Nichole van Beek's paintings puzzle with their mix of varied forms and marks. Soft dyed canvas and thick trail s of paint play with figure and ground. Letter-like shapes function as arma tures for playful painterly high jinks.

Brian Scott Campbell's spirited drawings wittily quote st ylized forms found not only in well-known artworks but also contemporary ad vertising and cartoons.

Erik Schoonebeek's fluid line and saturated color jump from his small sha rp paintings on book covers to larger paintings and a floor sculpture.

Louise Belcourt's gouaches take a turn with collaged color cutouts. Landscapes are intervened with fl at but sculptural forms.

Nichole van Beek received a 2012 NYFA fellowship in painting and a 2011 EAF Fellowship at Socrates Sculpture Park. She will have her first solo exh ibition with the gallery in 2014. Brian Scott Campbell received his MFA fro m Rutgers University in 2010 and his work was included in the 2011 AIM Bien nial at the Bronx Museum. Erik Schoonebeek received his MFA from Rutgers Un iversity in 2011 and had his first solo exhibition with the gallery in 2012 . Louise Belcourt has had four solo exhibitions with the gallery and is a r ecipient of a 2012 John Simon Guggenheim Memorial Foundation Fellowship.

Summer gallery hours: th rough June: Tuesday - Saturday\, 11-6. July - August 9: Monday - Friday\, 1 1-6 (closed July 4\, 5)

DTEND:20130809 DTSTAMP:20141220T210414 DTSTART:20130627 GEO:40.716387;-74.0129379 LOCATION:Jeff Bailey Gallery\,127 Warren Street Hudson \nNew York\, NY 1253 4 SEQUENCE:0 SUMMARY:Hard Lines / Soft Vibes\, Nichole van Beek\, Erik Schoonebeek\, Sco tt Campbell\, Louise Belcourt Brian UID:282621 END:VEVENT BEGIN:VEVENT DTEND:20130627T200000 DTSTAMP:20141220T210414 DTSTART:20130627T180000 GEO:40.716387;-74.0129379 LOCATION:Jeff Bailey Gallery\,127 Warren Street Hudson \nNew York\, NY 1253 4 SEQUENCE:0 SUMMARY:Hard Lines / Soft Vibes\, Louise Belcourt Brian\, Scott Campbell\, Erik Schoonebeek\, Nichole van Beek UID:282622 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20130809 DTSTAMP:20141220T210414 DTSTART:20130627 GEO:40.716387;-74.0129379 LOCATION:Jeff Bailey Gallery\,127 Warren Street Hudson \nNew York\, NY 1253 4 SEQUENCE:0 SUMMARY:Hard Lines / Soft Vibes\, Louise Belcourt\, Nichole van Beek (USA)\ , Erik Schoonebeek UID:290078 END:VEVENT BEGIN:VEVENT DTEND:20130627T200000 DTSTAMP:20141220T210414 DTSTART:20130627T180000 GEO:40.716387;-74.0129379 LOCATION:Jeff Bailey Gallery\,127 Warren Street Hudson \nNew York\, NY 1253 4 SEQUENCE:0 SUMMARY:Hard Lines / Soft Vibes\, Louise Belcourt\, Erik Schoonebeek\, Nich ole van Beek (USA) UID:290079 END:VEVENT END:VCALENDAR