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 \; \; \; \ ; \; \; \; \; \; \; \; \; \; \;&nbs p\; \; \; \; \; \; \; \; \; \; \;&n bsp\; \; \; \; \; \; \; \; \; \; \;  \; \; \; \; \; \; \; \; \; \;  \; \; \; \; \; \; \; STACEY CLARFIELD NEWMA N

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"The Butterfly Project: cross pol lination"

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June 7-25\, 2016

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Opening reception Thursday June 9\, 5-8pm

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Chelsea: Viridian is pleased to present the exhibition "The Butterfl y Project: cross pollination" mixed media collages by Stacey Clarfield Newm an\, opening June 7th and continuing through June 25th with an o pening reception to meet the artist Thursday June 9\, 5-8pm.

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With p ast exhibition titles "Mindscapes"\, "New Beginnings"\, "Life's Pages" and "Renewal" its clear that the inspiration for Stacey Clarfield Newman's art now at Viridian Artists comes both from within and from the ongoing experie nces of life that are constantly changing and moving our lives forward.&nbs p\;

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Critics have called Stacey Clarfield Newman&rsquo\;s art &ldquo\;ethereal and painterly &hellip\; lyrically evoking surre al dreamscapes\, drawing the viewer in&hellip\;\,&rdquo\; and &ldquo\;richl y suggest(ing) an organic landscape of the mind\,&rdquo\; but her complex & amp\; intricate artworks encompass much more.

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A life-long visual ar tist\, musician and dancer\, Stacey has been teaching and working in the ar ts for over 25 years. No stranger to the tragedy and the drama of life\, sh e uses her work to conquer all that life encompasses and explores colors an d symbols to transform the negative into the positive. \; Influenced by music\, her love affair with color\, life's events and her deep reverence for nature\, she feels that her purpose is to share her art with the world by creating and teaching - empowering people to recognize their self worth within - to discover their authentic selves. \;Newman does this in so m any ways beyond her artmaking.

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"My work is a cross pollination of m edia\," states the artist. "Color has music\, music has color. Nature is my cathedral. \; "Inner Child"\, the title of a mixed media work of inten se color that utilizes her unique painterly approach to mixed media collage \, suggests the experience of being able to dance with abandon- like a chil d- dancing that brings her back to "my most sacred and authentic self\, tap ping into my spirituality". The phrase &ldquo\;cross pollination&rdquo\; in the exhibition title\, refers to how music and dance have fed her art and how her art has fed her dance. \; This new body of work expresses more than ever that sense of the connectedness of all we do in life. The cross p ollination of life's experiences &\; joys- dance- music- art- the joy of being alive is what Newman's art is about. \; \;

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This will be Newman's first solo exhibition since returning from India\, and she fee ls a shift has occurred - a "pollination". The butterfly is not a new symbo l in her work\, but a symbol that exemplifies in a greater sense\, the jour ney that artmaking is\, especially for the creator. \; \; \;&nb sp\; \; \; \; \; \; \; \; \; \; \;& nbsp\; \; \; \; \; \; \; \; \; \; \ ; \; \; \; \; \; \; \; \; \; \;&nbs p\; \; \; \; \; \; \; \; \; \; \;&n bsp\; \; \; \; \; \; \; \; \; \; \;  \; \; \; \; \; \; \; \; \; \;  \; \; \; \; \; \; \; \; \; \; \;&nb sp\; \; \; \; \; \; \; \; \; \; \;& nbsp\; \; \; \; \; \; \; \; \; \; \ ; \; \; \; \; \; \; \; \; \; \;&nbs p\; \; \; \; \; \; \; \; \; \; \;&n bsp\; \; \; \; \; \; \; \; \; \; \;  \; \; \; \; \; \; \; \; \; \;  \; \; \; \; \; \; \; \; \; \; \;&nb sp\; \; \; \; \; \; \; \; \; \; \;& nbsp\; \; \; \; \; \; \; \; \; \; \ ; \; \; \; \; \; \;  \; \; "Stacey Paints I ndia&rdquo\;\, is a book the artist created about time she spent living and working in Kolkata\, India at the Udayan School\, a welfare and rehabilita tion school for children of leprosy patients. \; There she taught techn iques of &ldquo\;painting with paper&rdquo\;\, her unique collage media\, l iving with the students and crossing cultural and language barriers through art.  \; \;

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The works in this exhibition display a vibranc y of color that is new and fresh. Too\, in the photography that she is incl uding for the first time\, there is a sense of visualization that goes beyo nd reality. Newman's unique form of visualization in both her photography a nd her collage/paintings\, her unique approach to imagery created from hand -painted papers and her conviction that artist have a responsibility to ope n a dialog with the viewer about life issues\, were all incorporated into a mural commission for the Albert Einstein Medical Outpatient AIDS wing\, en titled "the Powers of Healing". Stacey Clarfield Newman's painting "Tree of Life" \;was selected as one of fewer than 75 artists for publication in \;ArtQuench Magazine's (AQM ) \;Best International Creatives 2016.

\n< p>In addition to teaching in India\, Stacey is a former faculty member of t he private art enrichment program for children &ldquo\;Young At Art&rdquo\; \, incorporating music and movement\, in Westchester as well as the Scarsda le Continuing Education Art Program and artist in residence at the Green Ch imneys School in Brewster\, NY. \; The artist attended Franklin &\; Marshall College\, SVA\, Purchase College at SYUNY and studied privately wi th the artists Richard Miller\, Leo Manos and the sculptor Caryl Stone.

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Ms. Clarfield Newmanhas exhibited widely both in the United States and abroad\, most recently showing in Chicago and Colorado. \; Her art is in numerous private and public collections\, including the White Plains Hos pital Center\; Bridgepoint Capitol\, Inc.\, The Aesthetic Surgery Center\, Darien\, CT\, The Toberoff Collection and the law firms of Latham and Watki ns\; Berle\, Kass and Case in New York City.

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Gallery hours: Tuesday through Saturday 12-6PM \; \; \; \; \;& nbsp\; \; \; \; \;

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For further infor mation please contact the director Vernita Nemec at 212 414 4040 or viridianartistinc@gmai l.com

DTEND:20160625 DTSTAMP:20160529T031428 DTSTART:20160607 GEO:40.7517031;-74.0040108 LOCATION:Viridian Artists\,548 West 28th St (6th Floor) \nNew York City\, N Y 10001 SEQUENCE:0 SUMMARY: STACEY CLARFIELD NEWMAN "The Butterfly Project: cross pollination "\, Stacey Clarield Newman UID:419677 END:VEVENT BEGIN:VEVENT DTEND:20160609T200000 DTSTAMP:20160529T031428 DTSTART:20160609T170000 GEO:40.7517031;-74.0040108 LOCATION:Viridian Artists\,548 West 28th St (6th Floor) \nNew York City\, N Y 10001 SEQUENCE:0 SUMMARY: STACEY CLARFIELD NEWMAN "The Butterfly Project: cross pollination "\, Stacey Clarield Newman UID:419678 END:VEVENT BEGIN:VEVENT DESCRIPTION:

guerilla-art.mx presents "Transgression\," a collborative pr oject with Open Source Gallery\, NURTUREart and MS136.

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What do we t alk about when we talk about immigration? Or displacement? Migration? Refug ees? Right now all over the world\, people are fleeing their homes from vio lence or poverty\, and too often both. Outrage at immigrants from Mexico is seen across the U.S. In 2015\, over 3500 migrants and refugees lost their lives crossing the Mediterranean sea to get to Europe&ndash\;and many survi vors were turned away at the borders. These crises are not limited to two i nstances\; they are global. Through "Transgression\," conversation about di splacement\, injustice and inequity is brought to the fore\, encouraging a narrative created not by the news outlets and pundits\, but by individuals.

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Inspired by the economic and political situations in marginalized communities across the globe\, art collective guerilla-art.mx\, organized b y Yescka and Jonathan Rutsch\, gives voice to those who are often overlooke d\, showcasing work resulting from&ndash\;and with the potential to spark&n dash\;social movements. Yescka&rsquo\;s work focuses on the power of art as a weapon of change. And through political actions\, such as Yescka and Rut sch&rsquo\;s current work with Syrian refugees in Europe\, the group emphas izes the importance of social engagement in art. guerilla-art.mx aims to ra ise awareness and emphasize the importance of critical thinking in examinat ions of society and politics. Using street art and more historic forms of c raft\, such as woodcuts\, Yescka presents work at Open Source that aims to combine the traditional with the contemporary\, generating art that gives v oice to marginalized communities and promotes critical thinking and underst anding about contemporary issues and global struggles. For example\, in "La ú\;ltima cena mexicana\," Yescka repurposes the last supper to depic t an abuse of power by the elite. Benito Juá\;rez\, a drug boss\, sit s in Jesus&rsquo\;s place\, while others gather around him begging for reco gnition. Their thirst for power makes them devour their values\, such as fr eedom and justice.

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In conjunction with the exhibit at Open Source\, artists Yescka\, Kate Deciccio and Max Albee\, as well as non-profit organ ization NURTUREart\, are collaborating with Open Source and students from M S 136 in Sunset Park to produce a mural at the school titled "The Confidenc e to Persevere." This project presents a combination of the experience of t he students and an exploration of their heritage with the guiding hand of a rtists\, who can help them learn how to follow through from idea to mural a nd effectively use materials to create powerful imagery.

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guerilla-a rt.mx is a German-Mexican street art collective consisting of street artist s and filmmakers. The collective was founded by Mexico-based artist Yescka in 2011. Born from the wish to spread intercultural art the collective has organized projects\, trips\, exhibitions\, and has contributed to numerous street art festivals in Mexico\, Germany\, USA\, Switzerland\, Sweden\, and Spain.

DTEND:20160701 DTSTAMP:20160529T031428 DTSTART:20160611 GEO:40.6622778;-73.9891306 LOCATION:Open Source Gallery\,306 17th Street \nNew York\, NY 11215 SEQUENCE:0 SUMMARY:Transgression\, guerilla-art.mx UID:419633 END:VEVENT BEGIN:VEVENT DTEND:20160611T210000 DTSTAMP:20160529T031428 DTSTART:20160611T190000 GEO:40.6622778;-73.9891306 LOCATION:Open Source Gallery\,306 17th Street \nNew York\, NY 11215 SEQUENCE:0 SUMMARY:Transgression\, guerilla-art.mx UID:419634 END:VEVENT BEGIN:VEVENT DESCRIPTION:

For his solo exhibition \;The Demon of Regret: New Works by Joseph Buckley\, current resident and New York Community Trust Van Lier fellow\, Joseph Buckley\, showcases four new works \;in ISCP&rsquo\;s first floor Project Space. \;Joseph Buckley&rsquo\;s writing\, sculptur e and video works draw from a myriad of sources\, including daily life\, so cietal horrors and mainstream media. His work is also heavily influenced by science fiction\, fantasy and post-colonial theory. Buckley uses cartoons and a bright color palette to allow distance and space for viewers&rsquo\; reflective consideration of darker aspects of humanity.

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The install ation is comprised of four works: a floor piece\, a relief sculpture on fac ing walls\, a large cabinet of drawings and a video. Upon entering \;Th e Demon of Regret\, visitors are immediately surrounded by\, and begin walk ing on a bright red plastic floor. The vinyl red floor of \;No News New s \;ties the room together\, with cardboard boxes splayed throughout th e space\, coated in hand-drawn images derived from line drawings by survivo rs of North Korean prison camps. Buckley considers the space itself as a ba ttleground between two opposing lines of J. R. R. Tolkien&rsquo\;s orcs. Th e sculptural work\, \;My Clone Sons \;are wall mounted relief sculp tures of curators and auctioneers based on characters created in Buckley&rs quo\;s previous work. In an industrial display case containing four \;d rawings\, \;ElfOrc Box\, we see the transition of elf to orc: &ldquo\;a race of sentient upright beings\, former elves captured by dark beings and tortured.&rdquo\; In the final work in the exhibition\, the video \;Th e Black Bastard Bacchus\, a club security guard pours water over a crowd of music fans\, holding the audience back while hydrating them\, while simult aneously reciting stories Buckley has written.

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Buckley aims to deve lop a continuum of work so that throughout his practice the pieces of his o euvre are interconnected. His wide-ranging artwork is purposefully self-ref erential while at the same time reflects his keen attention to the outside world.

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Joseph Buckley (born 1990 in Elle smere Port\, England) studied at Leeds College of Art and Goldsmiths\, Univ ersity of London\, graduating in 2010 and 2013 respectively. In 2013 he mov ed to the United States where he graduated from Yale School of Art in 2015. Recent solo presentations of work include \;Pervert&rsquo\;s Lament&nb sp\;as part of \;Time Item: Sculpture Thesis 2015\, \;Green Gallery \, Yale School of Art\; and \;One Sixth Of A Series Of Elegies: V\,??\, &\; XVII: Retcon! Retcon! Retcon!\, &\;Model Gallery\, Leeds\, Engla nd. Recent group exhibitions include \;Wet Eyes\, Meyohas\, New York\;& nbsp\;Most Loathed\, 3401 Lee Street\, Los Angeles\; and \;A Small Grou p Show of American and British Artists\, Space Space Gallery\, Tokyo.

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This exhibition is curated by Juliana Cope\, Development and Programs Ma nager\, ISCP.

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Public discussion: Tuesday\, July 19\, 2016. Joseph B uckley and Julian Lucas\, Associate Editor at Cabinet Magazine\, will discu ss the exhibition and its references.

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\n< p>The Demon of Regret: New Works by Joseph Buckley \;is made possible t hrough the generous support of the New York Community Trust Edward and Sall y Van Lier Fund and the Milton &\; Sally Avery Arts Foundation.

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DTEND:20160722 DTSTAMP:20160529T031428 DTSTART:20160616 GEO:40.7144315;-73.9349805 LOCATION:International Studio & Curatorial Program (ISCP)\,1040 Metropolita n Avenue \nBrooklyn\, NY 11211 SEQUENCE:0 SUMMARY:The Demon of Regret: New Works by Joseph Buckley\, Joseph Buckley UID:419623 END:VEVENT BEGIN:VEVENT DTEND:20160615T203000 DTSTAMP:20160529T031428 DTSTART:20160615T183000 GEO:40.7144315;-73.9349805 LOCATION:International Studio & Curatorial Program (ISCP)\,1040 Metropolita n Avenue \nBrooklyn\, NY 11211 SEQUENCE:0 SUMMARY:The Demon of Regret: New Works by Joseph Buckley\, Joseph Buckley UID:419624 END:VEVENT BEGIN:VEVENT DESCRIPTION:
&ldquo\;Summer Sampler\, A \;Front Room Favori te&rdquo\;
June 10th \;&ndash\; August 7th
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Opening Reception Friday\, June 10th 7-9PM
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Amanda Alic\, Nancy \;Baker\, Sasha Bezzubo v and Jessica Sucher\, Thomas Broadbent\, Phillip \;Buehler\, Peter Fox \, Sean Hemmerle\, Amy \; \; \;Hill\, Jesse Lambert\, Sascha Ma llon\, Stephen Mallon\, Mark \;Masyga\, Walker Pickering\, Melissa Poko rny\, Paul Raphaelson\, \;Ross \;Racine\, Ken Ragsdale\, Emily Roz\ , Patricia Smith\, Mark \;Stilwell\, Joanne Ungar\, Julia Whitney Barne s and Edie Winograde.

"Summer Sampler" offers a sel ection of works \;previewing upcoming exhibitions and a review of past exhibitions\, with a \;fresh look at artists' new \;works. This is a view of Front Room&rsquo\;s favorites \;and fun way to kick off the S ummer.

Amanda Alic\n
Amanda Alic's series "Off Season" portrays \;abandoned play areas\, racetracks\, min i-golf courses and resorts. All are \;immediately strange. \;Refere ncing the romanticization of ruins\, these images \;convey exquisite ye t eerie locations imbued with memories of pleasure and \;activity. They  \;reflect the desperate drive to satisfy ourselves by filling our  \;lives with external stimulus. \;

Nancy \;Baker
Nancy Baker creates detailed paper \;constructions by co mbining hand and laser cut geometric forms based loosely on \;machine c omponents\, \;which has begun to evolve into a jewel-laden structure.&n bsp\;Baker Incorporates glitter\, fluorescent paint\, modeling paste\, gold leaf\, \;printed \;commercial matter\, and additional substances i nto the pieces\, which \;activate a sense of depth and materiality.

Sasha Bezzubov and Jessica Sucher
Sasha \ ;Bezzubov and Jessica Sucher have been collaborating since 2002. Their work  \;merges their shared interests in the politics of tourism and \;p ilgrimage\, and \;has led them to Mexico\, Nicaragua\, Costa Rica\, Cam bodia and Thailand. In 2006\, \;they spent a year photographing in Indi a for \;their project "The \;Searchers".

Thomas Broadbent
Thomas \;Broadbent creates highly detailed wate rcolor still lives featuring finches\, \;chickadees\, ravens and other birds rendered sensitively with a \;naturalist's eye \;for detail o ften in conjunction with objects such as stacks of books\, Modernist \; furniture\, and ladders. These objects could \;possibly be looked at as stand-ins \;for society in an ambiguous relationship with nature that is absurd&mdash\;and yet \;peculiarly comfortable. More \;recently\ , his work has included asteroid \;&ldquo\;portraits&rdquo\; as they tr avel through space.

Phillip Buehler
Philli p Buehler \;has been photographing abandoned places \;around the wo rld since he rowed to the (then abandoned) Ellis Island in 1974. \;Many \, like Greystone Park Hospital\, have since been demolished\; some\, like& nbsp\;Ellis Island and the High Line\, have been restored\, and some\, like  \;the S.S. \;United States and the New York State Pavilion\, are n ow in jeopardy. Photographs \;from the (now demolished) Greystone Park Hospital \;are featured in this \;exhibition and in the book "Wardy Forty" which he wrote in 2013 about \;the last days of Woody Guthrie.& nbsp\;

Peter Fox
Expanding \;on his si gnature style of drip painting\, Peter Fox's spilled paint works have \ ;taken on bold gestural movements. Referencing formal \;systems of Abst ract \;Painting\, Fox explores the language of relational color\, as ar ticulated through \;layered processes. His compositions are \;devel oped through variance and \;repetition\, and evolve with the allowance of chance. \;

Sean \;Hemmerle
In&n bsp\;Sean \;Hemmerle's poignant photographic series "Rust Belt" (shown at \;Front Room in 2013) which features theaters\, banks\, factories\, and \;abandoned \;houses\, the architecture is metaphoric of societ al issues that have evolved \;over decades. Hemmerle has chosen to juxt apose a \;photograph from this series \;with photos that he has tak en in Beirut and Iraq.

Amy Hill
Hill \ ;composes contemporary scenes inspired by pious gestures and devout express ions \;of Fifteenth century Flemish altarpieces and portraits. \;Us ing a traditional oil \;glazing technique\, her paintings reveal the in dividuality of her subjects \;through style of dress and ornamentation.

Jesse Lambert
Jesse \;Lambert's abstr acted optical grounds are built of color washes that integrate \;linear fragmented figurations in dreamlike environments.

Sasch a Mallon
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Sascha Mallon's multifaceted pen and ink  \;drawings\, infused with surrealist-influenced narrative\, are populated w ith \;creatures that are like the \;unseen within the obvious: anim als\, half-humans\, \;imaginary hybrid beings in a constant state of ch ange. \;Her work creates a surreal world of \;intricate narratives\ , an interior \;space from which her multifaceted characters transgress into the exterior.

Stephen Mallon
Stephen Mallon \;has gained international attention for his project \;"Ame rican Reclamation" which includes the series "Next Stop \;Atlantic" foc using \;on decommissioned NYC subway cars that were reefed in \;the Atlantic Ocean\, as well as "Brace For Impact\, The Aftermath of Flight&nb sp\;1549" \;famously known as the "Miracle on the Hudson" in which  \;Captain "Sully" Sullenberger safely landed and airbus in the Hudson \ ;river saving the \;lives of all the crew and passengers of the plane. His \;series "American Reclamation" contains ruined vehicles\, subway c ars\, \;Navy destroyers\, \;that are becoming a part of the recycli ng process.

Mark Masyga
Featuring \;pa inting and sculpture\, Masyga's compositions have lively linear elements&nb sp\;balanced with a sensitive\, yet intense sense of color. Mark \;Masy ga uses line to \;enhance both specificity and ambiguity\, creating a s ense of mystery. Created \;concurrently with the paintings are \;co nstructions made with wood\, plaster\, \;Structolite and other material s. \;

Walker \;Pickering
Walker Pi ckering&rsquo\;s work employs documentary \;aesthetics\, and uses photo graphy as a means to get access to people and places \;that might \ ;otherwise be inaccessible. \;Through the lens of travel \;and adve nture\, he seeks out the hidden among the ordinary. Pickering's work \; captures the \;mundane trappings of travel\, rest stops and unexpected roadside \;encounters.

Melissa Pokorny
Artist \;Melissa Pokorny features photo and sculpture-based assemblage s that range from \;small\, singular wall mounted works to large-scale floor \;pieces comprised of \;multiple elements. Re-imagined common objects\, ordinary materials used in \;unexpected ways\, saturated col ors\, and \;textural extremes are a hallmark of her \;work. \;< br />
Ross Racine
Ross Racine depicts \;real istic aerial views of fictional suburban communities\, which amplify an&nbs p\;awareness of modern choices in building and living \;styles. Racine employs \;common structural archetypes in his compositions\, with an ex panded view that \;exaggerates the rational utility of these \;imag ined infrastructures.

Ken Ragsdale
Ken&nbs p\;Ragsdale creates magical photographs achieved through his composition of  \;fabricated paper structures\, which depict memories and \;landsc apes of middle to northwest \;United States. Ragsdale's process begins with rough sketches of places and \;things from his past that are \ ;relevant to current themes he is considering.

Paul Raph aelson
Paul Raphaelson's photographs of the Domino Sugar Fact ory in \;Williamsburg\, Brooklyn document a topic of continuing controv ersy. It was \;once \;the biggest sugar refinery in the world. Orig inally a complex\, now just one \;historically landmarked building stil l stands on the Brooklyn \;waterfront. On it's \;way to becoming hi gh-rise condos it might well be the best symbol of the \;climate in Bro oklyn today.

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Emily Roz
In her  \;series "Ripe"\, Emily Roz references seedpods of a specific \;So uthern Magnolia tree from the artist's youth in Chapel Hill\, these lush\,& nbsp\;tactile paintings exude the sexuality of the reproduction system of t he \;Magnolia \;grandiflora. Roz's depiction of these intimate part s of the pods is \;done at \;a larger scale\, which \;arouses o ne's desire for closer \;inspection.

Patricia \; Smith
Known for her idiosyncratic cartographic explorations o f the \;psyche and mental states\, Smith incorporates new outer and inn er geographical \;regions in her latest works. The finished works are d elicate\, highly detailed \;paintings on paper incorporating images and texts rendered in ink\, \;pencil\, \;watercolor\, rubber-stamping and collage.

Mark \;Stilwell
Mark Stil well \;uses painted and reclaimed packaging\, byproducts \;of the o ver-consuming society he portrays\, in this scene of terror. Crowds of  \;paper cut-out citizens run screaming from the devastation and hostile cre atures \;that are overtaking the city.

Joanne \; Ungar
Joanne Ungar&rsquo\;s use of wax obscures and \;mys tifies the origin of the materials she has embedded. \;Ungar \;exam ines the physical and ideological \;concept of packaging\, considering the \;value of the stuff we cast off\, misleading facades and the perva siveness of \;materialism in our culture. \;

Jul ia \;Whitney Barnes
Julia \;Whitney Barnes\, a New Yo rk based artist known for her vivid\, luminous paintings \;which cull n aturalistic imagery from an abstracted ground \;as well as her nature&n bsp\;infused ceramic works\, presents a series of painted porcelain vignett es. \;Ecological practices and the complex relationships \;between humanity and \;the environment influence Julia Whitney Barnes&rsquo\; p hilosophy and artistic \;practice.

Edie WInograde

Edie Winograde photographs extravagantly theatrical staged page ants of \;historical/legendary events surrounding Manifest Destiny and& nbsp\;Westward \;Expansion\, presented in the original locales. Her wor k invokes the cultural \;memory as it has been colored by Western films \, paintings\, \;and television \;shows\, thus representing a uniqu e window into the American psyche\, combining \;historical facts\, myth s\, and legends with dramatic \;devices to entertain and \;educate the local audiences.
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DTEND:20160807 DTSTAMP:20160529T031428 DTSTART:20160610 GEO:40.7142021;-73.9575708 LOCATION:Front Room Gallery\,147 Roebling St. \nBrooklyn\, NY 11211 SEQUENCE:0 SUMMARY:Summer Sampler\, A Front Room Favorite\, Amanda Alic\, Nancy Baker\ , Sasha Bezzubov and Jessica Sucher\, Thomas Broadbent\, Phillip Buehler\, Peter Fox\, Sean Hemmerle\, Amy Hill\, Jesse Lambert\, Sascha Mallon\, Step hen Mallon\, Mark Masyga\, Walker Pickering\, Melissa Pokorny\, Paul Raphae lson\, Ross Racine\, Ken Ragsdale\, Emily Roz\, Patricia Smith\, Mark Stilw ell\, Joanne Ungar\, Julia Whitney Barnes\, Edie Winograde. UID:419621 END:VEVENT BEGIN:VEVENT DTEND:20160610T210000 DTSTAMP:20160529T031428 DTSTART:20160610T190000 GEO:40.7142021;-73.9575708 LOCATION:Front Room Gallery\,147 Roebling St. \nBrooklyn\, NY 11211 SEQUENCE:0 SUMMARY:Summer Sampler\, A Front Room Favorite\, Amanda Alic\, Nancy Baker\ , Julia Whitney Barnes\, Thomas Broadbent\, Phillip Buehler\, Peter Fox\, S ean Hemmerle\, Amy Hill\, Jesse Lambert\, Sascha Mallon\, Stephen Mallon\, Mark Masyga\, Walker Pickering\, Melissa Pokorny\, Ross Racine\, Ken Ragsda le\, Paul Raphaelson\, Emily Roz\, Patricia Smith\, Mark Stilwell\, Sasha B ezzubov and Jessica Sucher\, Joanne Ungar\, Edie Winograde. UID:419622 END:VEVENT BEGIN:VEVENT DESCRIPTION:

 \;Atlantic Gallery is pleased to present:

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BOTAN ICAL: New monotypes by Sally Brody

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ATLANTIC GALLERY

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548 WEST 28TH STREET\, SUITE 540 NEW YORK\, NEW YORK 10001

\n< p>June 14th - July 9th Opening Reception: Thursday\, June 16th 5-8

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Artists have been making monoprints as as long as they have been transferri ng painted work onto paper. Excited by that tradition and experimenting wit h different materials Sally Brody has produced a series of one-of-a-kind in tense and brilliant monotypes for this show of new work at the Atlantic Gal lery

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Gallery hours 12-6 Tuesday through Saturday. Contact Sonni Bur roughs at 212 219-3183

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info@atlanticgallery.org

DTEND:20160709 DTSTAMP:20160529T031428 DTSTART:20160614 GEO:40.7517031;-74.0040108 LOCATION:Atlantic Gallery\,548 West 28th Street \nNew York\, NY 10001 SEQUENCE:0 SUMMARY: BOTANICAL\, Sally Brody UID:419601 END:VEVENT BEGIN:VEVENT DTEND:20160616T200000 DTSTAMP:20160529T031428 DTSTART:20160616T170000 GEO:40.7517031;-74.0040108 LOCATION:Atlantic Gallery\,548 West 28th Street \nNew York\, NY 10001 SEQUENCE:0 SUMMARY: BOTANICAL\, Sally Brody UID:419602 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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For Im mediate Release:  \; \;Whitney B. Hansen - \;REFLECTIONS\, \;June 14 - July 9.
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Opening reception: Thursday June 16\, 5-8pm
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Atlantic Gallery is pleased to present \;Reflections \, an exhibition of recent work by artist\n
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Whitney Hans en. The exhibit will feature oil paintings on Japanese paper that were insp ired
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by the wonders and reflections of nature.
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Whitney Hansen&rsquo\;s work spans many landscapes. From th e windswept beaches of the east coast to the amber hills of California\, fr om misty European towns to New York City's checkered skyline\,
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you are sure to find a painting that evokes that perfect vacation or summer morning.
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Born in California\, she has been painting professionally most of her life. She has been in many gr oup and solo shows in New York\, Boston\, East Hampton\, Chappaqua\, Santa Barbara and Paris\, France.
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Her work hangs in corporate and privat e collections.
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Atlantic Gallery hours are Tuesday - Saturday\, 12- 6 pm\, Thursday\, 12- 8 pm
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DTEND:20160709 DTSTAMP:20160529T031428 DTSTART:20160614 GEO:40.7517031;-74.0040108 LOCATION:Atlantic Gallery\,548 West 28th Street \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:REFLECTIONS\, Whitney B. Hansen UID:419586 END:VEVENT BEGIN:VEVENT DTEND:20160616T200000 DTSTAMP:20160529T031428 DTSTART:20160616T170000 GEO:40.7517031;-74.0040108 LOCATION:Atlantic Gallery\,548 West 28th Street \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:REFLECTIONS\, Whitney B. Hansen UID:419587 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Paul Outerbridge

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June 30 &ndash\; September 17\, 2016

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Bruce Silverstein Gallery is pleased to present a retrospe ctive of the work of Paul Outerbridge (1896-1958). \; This is the first exhibition of its scope to be held in New York since 1979 and will be the largest exhibition of Outerbridge&rsquo\;s work since 2009 at the Getty Mus eum\, Los Angeles. This exhibition is comprised of historically important a nd rare extant material.

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A survey of Outerbridge&rs quo\;s influential career is especially timely as his work is consistently cited by a current generation of artists working in the photographic medium . Numerous contemporary artists riff on commercial strategies of image-maki ng that derive from the aesthetics of advertising photography and our visua l lexicon shaped by Outerbridge.

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Outerbridge&rsquo\ ;s melding of the high and low in his artworks channeled the artistic curre nt of his age\, from Surrealism\, to Cubism\, to Duchamp (who kept Outerbri dge&rsquo\;s \;Ide Collar\, 1922\, tacked to a wall in his stu dio). \; By venerating quotidian commercial products through his elegan t and striking formal arrangements\, and taking a functional object out of its useful context\, Outerbridge tapped the consciousness of modern art whi ch grappled with the experience of living a commercial existence\, the impa ct of mass consumerism\, and an ever expanding visual culture.

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In 1940 Outerbridge published \;Photographing in Color< /em>\, which explicated his creative and technological achievements develop ing the challenging and time consuming medium of tri-color Carbro printing. Outerbridge&rsquo\;s color prints are extraordinarily rare due to the labo rious technical process and the artist&rsquo\;s ruthless standards. \; Through various loans the gallery has been able to secure a significant num ber of Outerbridge&rsquo\;s prints for exhibition.

DTEND:20160917 DTSTAMP:20160529T031428 DTSTART:20160630 GEO:40.7493067;-74.0051881 LOCATION:Bruce Silverstein Gallery\,535 West 24th Street \nNew York\, NY 10 011 SEQUENCE:0 SUMMARY:Paul Outerbridge\, Paul Outerbridge UID:419481 END:VEVENT BEGIN:VEVENT DTEND:20160630T200000 DTSTAMP:20160529T031428 DTSTART:20160630T180000 GEO:40.7493067;-74.0051881 LOCATION:Bruce Silverstein Gallery\,535 West 24th Street \nNew York\, NY 10 011 SEQUENCE:0 SUMMARY:Paul Outerbridge\, Paul Outerbridge UID:419482 END:VEVENT BEGIN:VEVENT DESCRIPTION:

PIONEER WORKS PRESENTS DERRICK ADAMS: ON

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A Solo Exhibition of New Work and Performance

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Ju ne 10 &ndash\; July 15

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Opening Reception + Performance:

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Friday\, June 10 at 7:00 p.m.

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Performance at 7:30 p.m. sharp

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What

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ON is a solo exhibition of new work and performance by D errick Adams. Through nine large-scale\, boldly colored mixed media collage s that function as both illuminated sculptural objects and backdrops for li ve performance\, ON continues Adams&rsquo\; investigation of consumerism an d the dramatization of black figures in entertainment and popular culture.< /p>\n

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On the opening night\, Derrick Adams will act as conductor\, live mixing sound from mic&rsquo\;d performers within t he nine settings into an orchestrated production that references television programs from the late 1980s and early 1990s as well as late-night infomer cials. The performance will be recorded\, then projected onto a gallery wal l for the duration of the show.

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Who

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Derrick Adams is a New York ­\;based artist working in perf ormance\, video\, and sound in both two­\; and three ­\;dimensional r ealms. Adams has exhibited nationally and internationally\, including exhib itions at MoMA PS1\; Brooklyn Museum of Art\; Studio Museum in Harlem\; Bro oklyn Academy of Music\; Contemporary Art Museum Houston\; Birmingham Museu m of Art\; and PERFORMA.

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Press Release: h ttp://pioneerworks.org/assets/press/pw_160511-derrick-adams-on.pdf

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Website: http://pioneerworks.org/exhibitions/derrick-adams-on/

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Pioneer Works

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159 Pioneer Street | Brooklyn\, NY 11231

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Wednesday to Sunday from 12 p.m. to 6 p.m.

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Free and open to the public

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www.pioneerworks. org

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@pioneerworks

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C ontact

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Molly Rowe + Becky Elmquist | press@pioneerworks.o rg

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DTEND:20160716 DTSTAMP:20160529T031428 DTSTART:20160610 GEO:40.6792933;-74.012113 LOCATION:Pioneer Works\,159 Pioneer Street \nBrooklyn\, NY 11231 SEQUENCE:0 SUMMARY:DERRICK ADAMS: ON\, Derrick Adams UID:419474 END:VEVENT BEGIN:VEVENT DTEND:20160610T220000 DTSTAMP:20160529T031428 DTSTART:20160610T190000 GEO:40.6792933;-74.012113 LOCATION:Pioneer Works\,159 Pioneer Street \nBrooklyn\, NY 11231 SEQUENCE:0 SUMMARY:DERRICK ADAMS: ON\, Derrick Adams UID:419475 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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 \;Kim Foster Gallery is pleased to anno unce &ldquo\;Relief\,&rdquo\; seven artists that expand on the creative def inition of relief. They employ diverse materials and innovative techniques\ , allowing for experimentation of their chosen medium. \;

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Kwang Young Chun orchestrates thousands of units to produce variations of surfac e texture and composition. The richly evocative material he uses transcends its tradition. While imbued with Korean nostalgia\, Chun&rsquo\;s unique c onstructions speak on universal levels. Christian Faur has created a new fo rm of visual perception by replacing pixels with conical objects\, hand cas t crayons. This expansion of the pixel allows us to see the structure as tw o and three-dimensional. Depending on your angle\, the image is constantly reanimated similar to a hologram. Will Kurtz create figures out of newspape r\, wire and wood that have a distinct emotive quality. He captures a momen t from their daily lives. The posture\, gestures and facial expressions bri ng the figures to life. They have a familiarity of someone you might know\, capturing their resilience and vulnerability.

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Urchins have often b een used as sympathetic symbols of the marginalized. D Dominick Lombardi&rs quo\;s &ldquo\;Urchins&rdquo\; draw us in with their formal delights\, char m us with their familiar plastic leftovers\, and then\, without warning\, s witch to the forgotten state of lost souls\, castaways in the sand. David M cQueen&rsquo\;s reliefs are simulacra of a wood floor. But they are &lsquo\ ;Un-settled&rsquo\;. The floor\, it seems\, is reshaping itself into someth ing else\, a graceful rejection of its flatness. Some mistake has occurred. This wood was intended to be a boat. It knew\, and that determination was stronger than nails and glue.

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Kathleen Mulcahy takes hard materials \, glass and steel\, and visually transforms them to create the illusion of slow moving water and raindrops. The physical layering of the materials qu alify as a relief process. Antonio Petracca&rsquo\;s painted constructions are reliefs that protrude from the wall. He is interested in establishing t he trace of memory\, how are perception registers this memory\, and how it becomes embedded. The artist crops realistic imagery that contain hints of a particular place\, works border on abstraction due to the extreme manner in which they are cropped.

DTEND:20160730 DTSTAMP:20160529T031428 DTSTART:20160602 GEO:40.7464825;-74.0069332 LOCATION:Kim Foster Gallery\,529 W. 20th St. \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Relief\, Kwang Young Chun\, Christian Faur\, Will Kurtz\, D Dominic k Lombardi\, David McQueen\, Kathleen Mulcahy\, Antonio Petracca UID:419472 END:VEVENT BEGIN:VEVENT DTEND:20160616T200000 DTSTAMP:20160529T031428 DTSTART:20160616T180000 GEO:40.7464825;-74.0069332 LOCATION:Kim Foster Gallery\,529 W. 20th St. \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Relief\, Kwang Young Chun\, Christian Faur\, Will Kurtz\, D Dominic k Lombardi\, David McQueen\, Kathleen Mulcahy\, Antonio Petracca UID:419473 END:VEVENT BEGIN:VEVENT DESCRIPTION:

&ldquo\;Oh\, give me land\, lots of land under starry skies above\, don&rsquo\;t fence me in. Let me ride t hrough the wide open country that I love. Don&rsquo\;t fence me in.&rdquo\;

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&ndash\; \;&ldquo\;Don&rsquo\;t Fe nce Me In\,&rdquo\; Cole Porter\, 1934 \;

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As life in America continues to distance itself from the countryside\, vacations an d travel are a time to reintroduce the self to nature. As summer approaches in America\, this idolized time of year brings thoughts of travel\, escape \, and road trips. With individual freeways that stretch over 3\,000 miles\ , taking the car across country reveals America&rsquo\;s boundless diverse landscapes\, as travelers immerse themselves in America&rsquo\;s ever chang ing personality. \; \; \; \; \; \; \; \;&nb sp\; \;  \; \; \; \; \; \; \;

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Opening June 9\, Joshua Liner Gallery presents Land Escapes\, a curated group show of 18 artists celebrating this time of year. L and Escapes focuses on contemporary definitions of &ldquo\;landscape&r dquo\; using varied and fresh perspectives of both emerging and established artists.

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The &ldquo\;landscape&rdquo\; painting is a long-standing tradition in Western art. The artists of Land Escapes work from within this tradition to redefine the genre with varied mediums ranging from photography\, to mixed media\, to painting. \;This collec tion of artists not only break apart the tradition of landscape art\, but r ebuild and redefine its possibilities\, offering compelling ways of capturi ng America&rsquo\;s multiple identities. \;Land Escapes focuse s and contextualizes these ideas within the framework of summer&rsquo\;s ha bitual relationship with travel\, and natural beauty. \; With each work carrying with it a sense of freedom\, the artists pay homage to the landsc ape tradition in personal ways.

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The fantasy of the &ld quo\;road trip&rdquo\; characterizes a sense of boundlessness and strength\ , often with the car as the focal point of this freedom. However\, this lib eration conversely carries a sense of loneliness and solitude\, as exemplif ied in Jim Mangan&rsquo\;s aerial photograph of the single car amid the vas t landscape. \;Further exploring this idea of travel and solitude\, Ale c Soth&rsquo\;s 2010 Broken Manual series\, shot over four years a nd 20\,000 miles\, \;documents a culture of those living off the grid\, by their own rules. Utah (2008)\, from that series\, captures a home built within the landscape\, here miniaturized by the boundless land and sky. &n bsp\;With their landscape contributions\, Evan Hecox and Alison Elizabeth T aylor too explore this element of quiet isolation. Like Soth\, Taylor&rsquo \;s Monkey Wrench (2015)carries a sense of solitude with two disco nnected figures against a vast\, desert backdrop\, with her wood veneer col laged figure creating a natural attachment to the land. Justine Kurland&rsq uo\;s Construction\, Disputes\, Training (2014) is pulled from her Sincere Auto Care series. Shot over the course of three years tra veling on the road with her young son\, the artist chronicled the remnants of America&rsquo\;s shrinking muscle car sub-culture\, while Cheryl Kelley incorporates and even celebrates this culture into her landscape contributi on. \;

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As seen from the car\, America&rsquo\;s lan dscapes are filtered through the moving windshield creating abstracted inte rpretations of their horizons. Eileen Quinlan\, Mark Innerst\, Ed Ruscha\, and Sam Friedman all use abstract elements to reduce and convey this sentim ent. From her most recent body of work\, photographer Eileen Quinlan uses f lat bed scanners\, and mirrored reflections to manipulate light\, resulting in abstracted forms that convey motion and speed\, while painter Mark Inne rst&rsquo\;s Industrial Landscape with Rain (2014) skillfully blen ds a representational industrial vista\, with abstract colors and form to c reate velocity with his diagonal &ldquo\;rain.&rdquo\; In line with these a bstracted works\, the palate of David Ellis&rsquo\; Bird Pyramid ( 2016)\, evokes the sun setting in the western sky.

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Oth er artists demonstrate their respect the to landscape genre by reinventing the tradition with innovative techniques. Brea Souders&rsquo\; photograph o f film slivers\, depicts a miniature narrative of the outdoors\, created fr om these temporary sculptures accidentally configured with the use of stati c electricity\, resulting in a whisper of someone&rsquo\;s weekend. Jim Hof f&rsquo\;s etchings use copper ink as the medium\, printed on fiberglass\, and Penelope Umbrico&rsquo\;s photographic appropriations of mountains\, ca pture a digital landscape\, reducing their grandeur to televised forms and color. \; Matthew Brandt&rsquo\;s inclusion physically engages the land scape by using the photographed trees to make both the paper and the ink fo r these silk screen prints. Meanwhile\, Letha Wilson questions the success of any landscape representation. As photographs remove spatial dynamics\, W ilson attempts to address this fault by incorporating objects and structure into her landscapes to physically engage the viewer.

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Lastly\, artists Wayne White\, and William Wegman both tackle a more direct reinterpretation on tradition and history. Both White and Wegman transform old prints into new\, contemporary works. Using found\, framed landscape p rints\, Wayne White transforms these traditional images by overlaying the p rints with text\, re-engaging with the vintage backdrop. \;Alternativel y\, William Wegman&rsquo\;s Three and a Halfsome (2012) is a lands cape painting created and inspired by the vintage postcard in the center. W egman pulls postcards from his extensive vintage collection\, which he then mounts to board\, where they to serve as the starting point for his elabor ate oil paintings.

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Land Escapes will open June 9 and run t hrough July 8\, 2016. The exhibition includes work from Alec Soth\, Alison Elizabeth Taylor\, Brea Souders\, Cheryl Kelley\, David Ellis\, Ed Ruscha\, Eileen Quinlan\, Evan Hecox\, James Hoff\, Jim Mangan\, Justine Kurland\, Letha Wilson\, Mark Innerst\, Matthew Brandt\, Penelope Umbrico\, Sam Fried man\, Wayne White\, and William Wegman. There will be an opening reception Thursday\, June 9\, 6-8pm.

DTEND:20160708 DTSTAMP:20160529T031428 DTSTART:20160609 GEO:40.7516439;-74.0040883 LOCATION:Joshua Liner Gallery\,540 West 28th Street \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Land Escapes\, Alec Soth\, Alison Elizabeth Taylor\, Brea Souders\, Cheryl Kelley\, David Ellis\, Ed Ruscha\, Eileen Quinlan\, Evan Hecox\, Ja mes Hoff\, Jim Mangan\, Justine Kurland\, Letha Wilson\, Mark Innerst\, Mat thew Brandt\, Penelope Umbrico\, Sam Friedman\, Wayne White\, William Wegma n UID:419419 END:VEVENT BEGIN:VEVENT DTEND:20160608T200000 DTSTAMP:20160529T031428 DTSTART:20160608T180000 GEO:40.7516439;-74.0040883 LOCATION:Joshua Liner Gallery\,540 West 28th Street \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Land Escapes\, Matthew Brandt\, David Ellis\, Sam Friedman\, Evan H ecox\, James Hoff\, Mark Innerst\, Cheryl Kelley\, Justine Kurland\, Jim Ma ngan\, Eileen Quinlan\, Ed Ruscha\, Alec Soth\, Brea Souders\, Alison Eliza beth Taylor\, Penelope Umbrico\, William Wegman\, Wayne White\, Letha Wilso n UID:419420 END:VEVENT BEGIN:VEVENT DESCRIPTION:

IAM UP LATE with LIP

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An Islip Art M useum and LIP Collaboration.

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Release party for LIP  \;Zine June 25\, 2016

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Artists reception for \; Shapeshifter News Works By Annu Annam

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Private Viewing\; For your eyes only - IAMs Annual Open Call \;

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POP Up Gallery&nb sp\;curated By LIP in collaboration with IAM

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Live performances \;

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8:00-8:45  \;Vett er Schuler Rufolo's \;

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9:00-9:45 Jarv is Probes

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10:00-10:20 The Beat Club Crew with \;Bri Onishea

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10:30-11:00  \ ;Lauren of the Hoopsie \;Daisies and Gnu Fire

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POP Up Gallery curated in collaborat ion with LIP featuring works by

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Brooke D&rsquo\;Ambrosio - Amanda Fichter - Kim Gerdjikian< /p>\n

Samantha Hernandez - Lorena Kalaja - Dan Kudreyko

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Linda Louis - Christopher Michel - Kali Monaco - Rebecca Olson \;

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Ben Owens - Jack Pierce - Michelle Posner - Ratgrrl \;

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Ann Margaret Reilly - Stelios Stylianou - Dan Woulfin \;

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With tasty eats generously provided by Chef Danyell Miller

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 \;Refreshments provided by 25 A Brewing and Angry Orchid & \; Starfish Productions

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An Islip Art Museu m \;signature event- Long Islands premier after-hours multimedia artist networking event and public arts experience.

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Publ ic funding provided by Suffolk County \;

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IAM UP LATE Afterhours series is the only event of its kind presented by a museum on L.I.

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The IAM UP LATE series serves the cultural ly thirsty needs of the community at large\, and provides a unique particip atory arts event that one would normally have to travel at length &\; gr eat expense to experience.

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Presented at Brookwood H all\, 50 Irish Lane\, East Islip.

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These planned festival dates are coordinated in conjunction with the museums main exhibits. The coordinating festival includes multi-media thematic works and an exhibition opportunity open to the public\, providing new and innovative museum quality opportuni ties for artists of various career levels and disciplines to participate. A call for works is released &\; then used to curate the IAM UP LATE seri es which will feature selected local artists (emerging &ndash\; midcareer- established) to exhibit in a variety of forms including performance art\, p rojected digital work\, site specific installation\, music and dance.

DTEND:20160625T230000 DTSTAMP:20160529T031428 DTSTART:20160625T200000 GEO:40.7351896;-73.198218 LOCATION:Islip Art Museum\,50 Irish Lane \nEast Islip\, NY 11730 SEQUENCE:0 SUMMARY:IAM Up Late with LIP\, Brooke D’Ambrosio\, Amanda Fichter\, Kim Ger djikian\, Samantha Hernandez\, Lorena Kalaja\, Dan Kudreyko\, Linda Louis\, Christopher Michel\, Kali Monaco\, Rebecca Olson\, Ben Owens\, Jack Pierce \, Michelle Posner\, Ratgrrl\, Ann Margaret Reilly\, Stelios Stylianou\, Da n Woulfin UID:419353 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In the Air is a collaborative investigation of interconnecti vity of visual expression and mystical science theory. Through serendipitou s development\, Kjø\;k and Max-Jakobsen&rsquo\;s work parallel in ima gery and meaning. Intertwined figures composed by line\, mark\, and color r epresent the unity between native spirituality and its growing validation i n the scientific community. The repetitive \;and chaotic figural compos itions\, alongside fluid\, biomorphic forms\, convey the sense of oneness w hile still singularly consistent with spiritual experience. It seems to be an eerie fate that both these artists have found each other. \;
Born in Norway\, Sol Kjø\;k is a New York based artist whom has b een featured in numerous shows worldwide as well as taught and lectured at universities across the United States. Kjø\;k is represented in publi c collections such as the Cincinnati Art Museum\, the Nordic Museum of Draw ing\, and the Osten Museum of Drawing\, as well as private collections. She founded NOoSPHERE Arts\, a nonprofit exhibition and performance venue\, on the Lower East Side\, a collaborative arts platform called Last Frontier N YC as well as Mothership NYC\, an arts collective in Brooklyn.

P eter Max-Jakobsen is an established Danish artist that has been featured in multiple museum exhibitions at the Vendsyssel Museum of Art\, Vestjysk Mus eum of Art and the Kastrupgaard Collection Art Museum. Max-Jakobsen is a bo ard member of the Hjø\;rring Graphic Workshop\, and taught material e xperimentation and sketching methods at the Royal Academy in The Hague. He has completed many successful commissions for various associations\, includ ing The Criminal Court of Hjø\;rring and Bergenser Law Firm.

Both artists will be present at the reception.

DTEND:20160702 DTSTAMP:20160529T031428 DTSTART:20160602 GEO:40.7464825;-74.0069332 LOCATION:Denise Bibro Fine Art\,529 West 20th Street 4W\nNew York\, NY 1001 1 SEQUENCE:0 SUMMARY:In the Air: New York\, Sol Kjok and Peter Max-Jakobsen UID:419348 END:VEVENT BEGIN:VEVENT DTEND:20160602T200000 DTSTAMP:20160529T031428 DTSTART:20160602T180000 GEO:40.7464825;-74.0069332 LOCATION:Denise Bibro Fine Art\,529 West 20th Street 4W\nNew York\, NY 1001 1 SEQUENCE:0 SUMMARY:In the Air: New York\, Sol Kjok and Peter Max-Jakobsen UID:419349 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160124 DTSTAMP:20160529T031428 DTSTART:20151216 GEO:40.7155483;-73.9917538 LOCATION:Causey Contemporary\,29 Orchard Street Lower East Side\nManhattan\ , NY 10002 SEQUENCE:0 SUMMARY:On the Abstract Side\, Elise Freda\, Lisa Pressman\, Edward Holland \, Alice Zinnes UID:419335 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160124 DTSTAMP:20160529T031428 DTSTART:20151216 GEO:40.7155483;-73.9917538 LOCATION:Causey Contemporary\,29 Orchard Street Lower East Side\nManhattan\ , NY 10002 SEQUENCE:0 SUMMARY:On the Abstract Side UID:419333 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Short Stories refers to Pa t Badt&rsquo\;s recent series of paintings\, which explores the me mories of people\, places and things that create moments of experience. Bad t often uses the backs of her paintings to embed found objects that refer t o the painting&rsquo\;s subjects\, creating hidden &ldquo\;readings&rdquo\; that inform her work. For this exhibition\, these works are presented on h inges so that the viewer is able to see behind the paintings and glimpse th is secret place.

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Pat Badt's work is inspired by memory and place\, filtered through experience and sensibility. Her studio is in an old barn a long the Jordan Creek\, surrounded by apple orchards\, low mountains and th e convergence of two creeks. She loves the process of painting -- the layin g down of paint and the quest to find the appropriate handwriting and the r ight color\, texture and scale.

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Pat Badt is Artist-in-Residence / P rofessor Emeritus at Cedar Crest College. She received her MFA from the Uni versity of Pennsylvania and her BA from the University of California at San ta Cruz. She splits her time between New York City and Pennsylvania.

DTEND:20160524T200000 DTSTAMP:20160529T031428 DTSTART:20160524T180000 GEO:40.75111;-74.004475 LOCATION:The Painting Center\,547 West 27th Street Suite 500\nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Short Stories\, Pat Badt UID:419227 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Suejin Jo&rsquo\;s paintings are often insp ired by poetry\, music and memories of childhood landscapes. When she found out about the upcoming show three months ago she wanted to make all new wo rks for it and sought inspiration in Igor Stravinsky&rsquo\;s ballet and or chestral music\, \;The Rite of Spring. She fe els that\, even though over a hundred years have passed since its first per formance\, that Stravinsky composition stays as fresh and awesome as the re turn of the Spring itself every year. Her first work &ldquo\;Adoration of t he Earth&rdquo\; was followed by &ldquo\;The Sacrifice&rdquo\; and then by &ldquo\;Dances of the young girls&rdquo\; and &ldquo\;Dance of the Earth&rd quo\;. Jo hopes to complete two more ongoing paintings before the show open s.

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Suejin Jo\, a Korean born abstract painter based in New York\, s tudied at Columbia University and the Art Students League where she won McD owell traveling fellowship juried by Richard Pousette D&rsquo\;Art and Roma re Bearden. Jo had numerous solo and group exhibitions in New York\, Korea\ , Mexico\, Italy and Japan and participated in several art fairs including Scope\, Pool\, Architecture and Design and AAF. Her last solo show was in K nokke-Heist\, Belgium\, in 2014. Jo won Jacob and Gwendolyn Lawrence Solo E xhibition Award 2008 juried by DC Moore Gallery. Her work &ldquo\;Pontchart rain&rdquo\; was included in the 2012 State Department calendar\, &ldquo\;H omage to American Women Artists.&rdquo\; Jo&rsquo\;s work is in many privat e and public collections including Library of Congress\, Chase Manhattan Ba nk\, General Instrument Company\, Embassy of San Marino\, NAPABA Law Founda tion\, Sogang Univerisity\, Ahl Foundation\, 9/11 Memorial Museum\, Art in General\, Korea Exchange Bank\, Hyundai Construction Co.\, Pulmuwon Food Co rp.

DTEND:20160618 DTSTAMP:20160529T031428 DTSTART:20160524 GEO:40.75111;-74.004475 LOCATION:The Painting Center\,547 West 27th Street Suite 500\nNew York\, NY 10001 SEQUENCE:0 SUMMARY: The Rite of Spring\, Suejin Jo UID:419223 END:VEVENT BEGIN:VEVENT DTEND:20160526T200000 DTSTAMP:20160529T031428 DTSTART:20160526T180000 GEO:40.75111;-74.004475 LOCATION:The Painting Center\,547 West 27th Street Suite 500\nNew York\, NY 10001 SEQUENCE:0 SUMMARY: The Rite of Spring\, Suejin Jo UID:419224 END:VEVENT END:VCALENDAR