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

 \;

\n

Thomas Broadbent

\n

Adaptation

\n

On view: May 2nd -June 1st< /p>\n

Opening Reception: May 2nd from 7-9PM \;

\n

Fro nt Room Gallery is proud to present a solo exhibition of new paintings and sculpture by Thomas Broadbent.  \;In this new series of works the artist explores the idea of situational adaption of nature\, with curio us results.  \;Broadbent often pairs commonly known birds with typical household objects\, creating uncanny scenarios that seem familiar\, but poi nt to larger implications. Broadbent's philosophical compositions often dep ict birds amongst mundane trappings of everyday humanity. These paintings\, in a seemingly well-structured world of man-made artifice\, reference the underlying impulses of nature.

\n

Broadbent's large-scale watercolors have an absurdity to them that borders on the surreal\, they are plausible scenarios\, but the unlikely combination of elements\, objects\, and animal s are otherworldly and common at the same time. Broadbent incorporates the style of James Audubon\, representing birds and natural elements as life-si ze\, with impeccable attention to detail.  \;

\n

Broadbent often j uxtaposes these birds with objects in his stark picture plane that should b e ten times bigger. Scale itself seems contorted in these new works\; the v iewer is suspended in a recalibration of realism\, where a chickadee may se em gigantic in comparison to the ladder where it is perched\, or the ladder itself appears miniaturized

\n

Thomas Broadbent defines adaptation as a change in a plant or animal that makes it better able to live in a parti cular place or situation.  \;His fascination with the way in which natu re is endlessly able to adjust to a rapidly changing world\, helps to infor m his choice of elements in his compositions.  \;His specifically limit s his aviary subjects to birds that are reverenced in the famous: "Birds of America.&rdquo\; In this context Broadbent has selected volumes specific t o his personal travels and objects relative to domesticity and construction in the United States.  \;Environmental adaptation is personal as it is universal in the natural world\; the quality of nature to adapt allows for preservation.  \;The visualization of this adaptation can be surprisin g as it is fantastical and disquieting.

\n

Broadbent has shown extensi vely throughout the U.S. as well as internationally. Broadbent&rsquo\;s num erous solo exhibitions include the Visual Art&rsquo\;s Center of New Jersey \, Croxhapox Gallery (Gent\, Belgium) Inspace gallery (Beijing\, China) and the Newark Arts Council. Broadbent&rsquo\;s work has been reviewed in The New York Times\, The New Jersey Star-Ledger\, NY Arts\, The Brooklyn Rail a nd numerous other publications.

\n

The Front Room Gallery is located a t 147 Roebling Street in Williamsburg\, Brooklyn. \; Open Friday-Sunday from 1-6PM and by Appointment.

\n

 \;

DTEND:20140601 DTSTAMP:20140419T135602 DTSTART:20140502 GEO:40.7141944;-73.9576226 LOCATION:Front Room Gallery\,147 Roebling St \nBrooklyn\, NY 11211 SEQUENCE:0 SUMMARY:Adaption\, Thomas Broadbent UID:332949 END:VEVENT BEGIN:VEVENT DTEND:20140502T210000 DTSTAMP:20140419T135602 DTSTART:20140502T190000 GEO:40.7141944;-73.9576226 LOCATION:Front Room Gallery\,147 Roebling St \nBrooklyn\, NY 11211 SEQUENCE:0 SUMMARY:Adaption\, Thomas Broadbent UID:332950 END:VEVENT BEGIN:VEVENT DESCRIPTION:

PRESS RELEASE

\n

Another body of d rawings enters a world of teeming fantasy\, like fairy tales from the devil &rsquo\;s diary. They are nothing on the order of the brooding War Drawings and show an exquisite facility that is a seductive combination of Goya and Daumier. Mudman also inhabits this world but doesn&rsquo\;t dominate it\; he turns up as a quester &ndash\; a traveler looking for answers in a world bereft of them. The third body of Jones&rsquo\; drawings makes use of phot ographs of the artist in the Mudman guise. In them\, Mudman goes about his day &ndash\; posing\, drawing\, walking. Strange growths expand into enviro nments\, the harness reaches enormous proportions\; it&rsquo\;s a world in constant mutation. \;(Richard Flood\, 2013)

\n

In the 1970&rs quo\;s Kim Jones&rsquo\; performance persona\, &ldquo\;Mudman\,&rdquo\; cou ld be seen roaming the streets of Los Angeles and Venice\, CA and later\, i n the 1980&rsquo\;s\, in New York City\; always covered in mud\, a nylon st ocking stretched over his face\, and carrying on his back an unwieldy and c rudely constructed lattice-work structure of sticks\, tape\, mud\, and twin e. From the beginning he was also drawing\, painting\, and making three-dim ensional works. His two-dimensional pieces range from intricate graphite dr awings involving X and dot figures and erasure\, indicating movement of eac h force (referred to as &ldquo\;war drawings&rdquo\;)\; to works that incor porate acrylic paint\, ink line work\, and collage\; to paintings on photog raphs (most often of his own past performances)\, many of which have been m ade over a period of thirty plus years.

\n

This exhibition will includ e drawings and paintings on paper begun as early as 1971 and completed in 2 013&ndash\;2014\, following Jones&rsquo\; uncommon habit of allowing work h e considers incomplete to sit\, sometimes for years\, working back into the m from time to time until he is satisfied with the results. Also included w ill be recently completed war drawings\, and three new sculptures: \;Doll House\, \;Baby\, and \;Rat Ball.  \;Doll House \;was constructed by Jones early in his career as a functional\, three-level doll house. He later painted over the structure and created a labyrinthine war drawing inside\, each floor housing a separ ate battle. This will be Jones&rsquo\; seventh one-person exhibition at Pie rogi.

\n

The &ldquo\;Chinese Poetry&rdquo\;?quote below suggests multi ple possibilities and permutations of three simple words: &ldquo\;mountain girl door.&rdquo\; Jones&rsquo\; vocabulary similarly draws on and expands into a multiplicity of visual possibilities and potential interpretations.< /p>\n

Kim Jones&rsquo\; work has been included in notable exhibitions suc h as \;Connecting_Unfolding \;(National Museum of Contempo rary Art\, Seoul\, Korea. 2013)\; \;Pacific Standard Time: Under th e Big Black Sun\, 1974-81 \;(the Geffen Contemporary at MoCA\, LA. 2011)\; \;Compass In Hand: Selections from the Judith Rothschild F oundation Contemporary Drawings Collection \;(the Museum of Modern Art\, NYC. 2009)\; \; \;Collage: The Unmonumental Picture  \;(New Museum\, NYC. 2008)\; the52nd International Art Exhibition La Biennale di Venezia \;(Venice. 2007)\; \;Disparities &a mp\; Deformations: Our Grotesque\, (Site Santa Fe\, NM. 2004)\, and\;< em> \;Out of Actions: Between Performance and the Object \;(Mu seum of Contemporary Art\, Los Angeles\, CA and MAK\, Vienna. 1998). His wo rk was the subject of a comprehensive traveling retrospective\, \;M udman: The Odyssey of Kim Jones. He is a 2009 United States Artists Fe llow and has received fellowships and residencies from ArtPace (San Antonio \, TX)\, the Sirius Art Center (Ireland)\, the American Academy in Rome and \, the Mattress Factory (Pittsburgh\, PA).

\n

Chinese Poetry

\n

&ldquo\;The girl waits at the door of her house on the moun tain.&rdquo\;

\n

What it literally says is &ldquo\;mountain girl door. &rdquo\;

\n

So maybe

\n

A girl from the mountain is waiting outsi de my door. \; A girl climbs the mountain and comes to a door.

\n

To get the girl you have to go through a door into the mountain.

\n

Th e mountain is a door only a girl can open.

\n

The girl&rsquo\;s as big as a mountain and can&rsquo\;t get through the door.

\n

What&rsquo\;s the next line?

\n

(From \;Love and Information\, \;a play by Caryl Churchill\; Nick Hern Books\, London: 2012)

DTEND:20140608 DTSTAMP:20140419T135602 DTSTART:20140502 GEO:40.7185463;-73.9558733 LOCATION:Pierogi\,177 North 9th Street \nBrooklyn\, NY 11211 SEQUENCE:0 SUMMARY:mountain girl door by Kim Jones\, Kim Jones UID:332945 END:VEVENT BEGIN:VEVENT DTEND:20140502T210000 DTSTAMP:20140419T135602 DTSTART:20140502T190000 GEO:40.7185463;-73.9558733 LOCATION:Pierogi\,177 North 9th Street \nBrooklyn\, NY 11211 SEQUENCE:0 SUMMARY:mountain girl door by Kim Jones\, Kim Jones UID:332946 END:VEVENT BEGIN:VEVENT DESCRIPTION:

SI Director Simon Castets in c onversation with renowned contemporary art conservator Christian Scheideman n about conservation challenges posed by postwar art. Scheidemann worked on the restoration and installation of Heidi Bucher's \;Grande Alberg o Brissago (Eingangsportal)\, \;1987\, on the occasion of the piec e's first presentation in an institution.

Christian Scheidemann\ , profiled in the New Yorker as \;"The Art Doctor\," \;is the Senior Conserva tor and President of Contemporary Conservation Ltd. He received his trainin g in the conservation of medieval paintings and polychromed sculptures\, as well as in art history\, in Bonn\, Germany. After further studies in conse rvation labs in museums (Pinakothek Munich\, Kunsthalle Karlsruhe\, Hamburg er Kunsthalle)\, he opened his own practice in Hamburg in 1983. Since then\ , Christian has worked with some of the most important collections in Europ e and specializes in the conservation of works from artists who have been c harging non-traditional materials such as petroleum jelly\, elephant dung\, chewing gum\, soap or chocolate with iconographic significance. Christian has lectured and published extensively on the conservation and on the meani ng of material and process in contemporary art.

DTEND:20140501T200000 DTSTAMP:20140419T135602 DTSTART:20140501T180000 GEO:40.721431;-74.003129 LOCATION:Swiss Institute\,18 Wooster Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Conversation with conservator Christian Scheidemann UID:332939 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Award-winning author\, curator \, and activist Lucy R. Lippard is one of America&rsquo\;s most influential writers on contemporary art\, a pioneer in the fields of cultural geograph y\, conceptualism\, and feminist art. Hailed for "the breadth of her readin g and the comprehensiveness with which she considers the things that define place" (The New York Times)\, Lippard now turns her keen eye to the politi cs of land use and art in an evolving New West.

Working from her own lived experience in a New Mexico village and inspired by gravel pits i n the landscape\, Lippard weaves a number of fascinating themes&mdash\;amon g them fracking\, mining\, land art\, adobe buildings\, ruins\, Indian land rights\, the Old West\, tourism\, photography\, and water&mdash\;into a ta pestry that illuminates the relationship between culture and the land. From threatened Native American sacred sites to the history of uranium mining\, she offers a skeptical examination of the "subterranean economy."

Featuring more than two hundred gorgeous color images\, \;Underm iningis a must-read for anyone eager to explore a new way of understan ding the relationship between art and place in a rapidly shifting society.< br />
The author will be present.

DTEND:20140428T200000 DTSTAMP:20140419T135602 DTSTART:20140428T180000 GEO:40.721431;-74.003129 LOCATION:Swiss Institute\,18 Wooster Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:BOOK LAUNCH: LUCY R. LIPPARD\, Lucy R. Lippard UID:332938 END:VEVENT BEGIN:VEVENT DESCRIPTION:

DRISCOLL BABCOCK GALLERIES presents Wafaa Bilal: The Ashes Series\, the artist&rsquo\;s firs t solo exhibition with the gallery\, featuring a suite of ten photographs a nd a durational performance piece. In this body of work\, Bilal offers medi tative and ephemeral moments which address erasure and violence in the afte rmath of war. By re-visiting recent history\, and altering the images of th e past\, he intentionally creates tension and incongruity\, exploring the d uality that exists between the sacred and the profane through photographic practice.

\n

Bilal&rsquo\;s reconstructions are testaments to his land mark artistic innovations which integrate photography\, technology\, and th e literal human body. In The Ashes Series\, Bilal presents photographs of handmade models which he based on a collection of mass-synd icated images documenting the aftermath of Operation Iraqi Freedom. The hum an presence is represented by 21 grams of human ashes that reference the my thical weight lost by the departure of the soul from the body at the time o f death. The resultant monochromatic whiteness of the ash adds to the unavo idable quietness&mdash\;of a chair persistently standing amidst the rubble\ , Saddam Hussein's unmade bed\, or a lone hospital pillow left behind.  \; Yet this poetic act also troubles the serenity of the scenes\, highlight ing the afterimage of conflict and the proverbial dust that will never sett le.  \;

\n

In Bilal&rsquo\;s durational performance piece\, Erasing\, the artist ritually selects a square to be cut and removed from a photographic image of Saddam Hussein& rsquo\;s destroyed palace. He then archives the squares as if they were dis sected specimens. These fragmented pieces of information call out for furth er investigation and understanding. Each detail of the process&mdash\;from the artist&rsquo\;s time of arrival\, to the formal aspects of the selected square&mdash\;is fully documented. \; Bilal&rsquo\;s direct and partic ular interaction with the image allows him to revisit his native country of Iraq\, from which he can no longer physically return\, and create further distortion of the image through the filter of personal contemplation\, whil e also inviting the public to engage in the profane from the safety of the gallery setting. \;

\n

A full-color catalogue accompanies the exhi bition. \;

\n

 \;

\n

ABOUT WAFAA BILAL

\n

Wafaa Bilal has b een exclusively represented by Driscoll Babcock Galleries since 2013. Bilal &rsquo\;s work is represented in major public collections\, including Matha f: Arab Museum of Modern Art\, Qatar\; Museum of Contemporary Photography\, Chicago\; Milwaukee Art Museum\; and the Los Angeles County Museum of Art\ , California. He has exhibited extensively in galleries and institutions th roughout the world\, including the US\, Thailand\, Iraq\, the UK\, Dubai\, Lebanon\, France\, and Germany\, and he has served on the panels of over tw enty major global universities and institutions\, including the Tate Modern \, UK\; Harvard University\; Stanford University\; Museum of Art and Design \; the Global Art Forum\, Qatar\; and the Inter-Society for the Electronic Arts\, Turkey. His work has been reviewed in major publications\, including ARTnews¸\; Art in America\, The New York Times< /em>\, The Wall Street Journal\, and Newsweek\, and he is the author of the critically-acclaimed 2008 publication Shoot an Iraqi: Arts\, Life and Resistance Under t he Gun.

\n

Bilal graduated from the University of New Mexico an d then obtained an MFA at the School of the Art Institute of Chicago. He cu rrently lives and works in New York as an Associate Arts Professor at New Y ork University&rsquo\;s Tisch School of the Arts.

DTEND:20140614 DTSTAMP:20140419T135602 DTSTART:20140501 GEO:40.7494436;-74.0043134 LOCATION:Driscoll Babcock\,525 West 25th Street \nNew York\, NY SEQUENCE:0 SUMMARY: The Ashes Series\, Wafaa Bilal UID:332882 END:VEVENT BEGIN:VEVENT DTEND:20140501T200000 DTSTAMP:20140419T135602 DTSTART:20140501T180000 GEO:40.7494436;-74.0043134 LOCATION:Driscoll Babcock\,525 West 25th Street \nNew York\, NY SEQUENCE:0 SUMMARY: The Ashes Series\, Wafaa Bilal UID:332883 END:VEVENT BEGIN:VEVENT DESCRIPTION:

DRISCOLL BABCOCK GALLERIES presents Logical Guesses\, a group exhibition curated by House of the Nobleman. Logical Guesses features a diverse group of artists who express aesthetic variations through calculations\, p atterns\, and equations. Favoring rational hypothesis over emotional develo pment\, these artists manipulate light and materials to explore the propert ies and illusions of space.

\n

Rather than spontaneity\, these artists engage with specific rule systems and guidelines to perpetuate a unique en gagement with object and form. These shared philosophies of production imbu e their works with a sense of the absolute\, inevitably linked through evol ution\, variation and dynamical phenomena\, and their systematic processes elicit an innate consistency throughout the exhibition.

\n

Logical Guesses features work by Harriet Bart\, Jarrod Beck\ , Marylyn Dintenfass\, Alice Hope\, Sol Lewitt\, Charles Lutz\, Ryan and Tr evor Oakes\, and James Scott.

\n

Included in the exhibition is Jarrod Beck&rsquo\;s monumental TERMINAL MORAINE\, 2012. Using pl aster\, cast from drawings\, as a three-dimensional substrate\, Beck reproc esses materials in order to create new tools. The evolution of this work co rresponds to a slow architecture\, drawn full scale. Lines become form\, ea ch member dependent on the other. Through his methodic approach\, organic a nd fixed patterns emerge\, reflecting the natural order of creation.

\n< p>James Scott&rsquo\;s multifaceted process of painting\, model-making\, an d the flattening and folding of form\, furthers this exploration of the nua nces of spatial illusions. Scott&rsquo\;s calculated engineering of two-dim ensional and three-dimensional space creates perforated patterns of overlap ping hyper-cubes which couple abstract drawing with architectural drafting. In UNTITLED 1 and UNTITLED 2\, 2013\, li ght filters through precisely mapped holes\, projecting overlapping images and shadows onto the adjoining walls and ceiling. As the intensity of light subtly changes throughout the course of the day\, so do the dynamic charac teristics of the work. \;

\n

Ryan and Trevor Oakes create highly d etailed drawings\, paintings\, and sculptures that explore\, among other to pics\, fundamental aspects of light and vision. \; Their works in this exhibition operate within the theory that by following consistent local rul es complex global structures emerge. \; For example\, MATCHSTIC K DOME\, 2014\, emerges into a spherical shape as a result of pack ing individual matches side by side. Each of the 9000 matchsticks used in t he piece point to a single focal point at the hollow center of the sphere. This emergent form is geometrically akin to the way light rays radiate from a single source\, and the shape by which they are inversely received by th e eye. \; Explorations such as this led to one of their central asserti ons\; the human field of vision is spherical.

\n

ABOUT HOUSE OF THE NOBLEMAN

\n

House of t he Nobleman is a progressive curatorial and art advisory firm with offices in London and New York City. Founded in 2010\, House of the Nobleman has es tablished itself as an innovative and acclaimed organization specializing i n cutting-edge curatorial projects\, artist management\, as well as a reput able adviser for elite clientele.

DTEND:20140426 DTSTAMP:20140419T135602 DTSTART:20140313 GEO:40.7494436;-74.0043134 LOCATION:Driscoll Babcock\,525 West 25th Street \nNew York\, NY SEQUENCE:0 SUMMARY:Logical Guesses\, Harriet Bart\, Jarrod Beck\, Marylyn Dintenfass\, Alice Hope\, Sol LeWitt\, Charles Lutz\, Ryan and Trevor Oakes\, James Sco tt UID:332881 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The perpetual struggle to find the right words to communicat e meaning is often tantamount to shouting into a void. Trying to connect wi th a too-huge world frequently hinges on achieving a carefully balanced ton e to allow recipients to read between the lines and grasp deeper\, more sub tle messages than those actually contained in the words.  \;

\n

Th is exhibition assembles artworks featuring language that remains ambiguous. Statements that at first seem stern and commanding\, but after further con sideration begin to hover on the edge of playfulness. Works with wry\, absu rdist humor that come to feel darkly critical over time. The most mysteriou s are the shortest phrases where the least context is given and individual viewers are challenged to complete the stories based on their own experienc es. \;

DTEND:20140427 DTSTAMP:20140419T135602 DTSTART:20140330 GEO:40.7174823;-73.9918727 LOCATION:MARC STRAUS\,299 Grand Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Not For All My Little Words\, Matthew Barney\, Andrew Kuo\, Robert Barry\, Cary Leibowitz\, Birgit Brenner\, Rick Levinson\, Rita Sobral Campo s\, Roy Lichtenstein\, Nigel Cooke\, Bruce Nauman\, Marcel Dzama\, Catherin e Opie\, Andrew Guenther\, Alex Pollard\, Trenton Doyle Hancock\, Jon Pylyp chuk\, Matthew Higgs\, David Rathman UID:332879 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Dacia Gallery is pleased to present Christina Massey&rsquo\; s Salva Veritate solo exhibition. Christina&rsquo\;s works depict the unhar med truth about the economic recession\, bank bailouts and the emotional st rains placed upon innocent families in the wake of its aftermath. \; He r works are physical fragments of the new and old\, success and failure.&nb sp\; They are also bits and pieces of her own past and present\, likes and dislikes. Through donated business attire from banks and corporate employee s\, Christina re-purposed this fabric and hand stitched it together with se ctions of her own failed works on canvas. The results are organic\, quilt-l ike surfaces made from painted canvas where the sometimes subtle\, sometime s obvious influence of the khakis\, collared shirts and nylons lay within t he composition as reminders of the ever present influence of money on the c reation and promotion of art.

\n

ARTIST STATEMENT

\n

Using method s of constructing and deconstructing\, I am constantly re-using and re-purp osing my own artwork. One series literally leads to another\, where previou s series of works are cut\, torn and sewn or woven back together again into new series of works\, which may again be reconstructed into yet another ar t form. \; The past is always present in both current and future works\ , and they tell a story of my progression as an artist.I often use word pla y\, theatrics and general political topics as a way to communicate opinions that ultimately define an observation about the art world itself. \; P ainting as a medium\, having taken the largest &ldquo\;beating&rdquo\; so t o speak from the critical art world has been my primary focus of material\, be it acrylic\, oil or watercolor on either paper or canvas. \; I &ldq uo\;kill&rdquo\; my traditionally framed paintings by cutting and tearing t hem apart\, then mend them together by thread\, a series of knots or weavin g them together again giving them new life as a different form.How I choose what works to re-work\, and what works to remain is a difficult process.&n bsp\; Often it is work that has sat around for too long\, perhaps &ldquo\;f ailed&rdquo\; in some way\, by not showing or selling or simply no longer s atisfying my creative desires. \; There are &ldquo\;favorites&rdquo\; s o to speak that will stick around for years and not be touched\, however\, on occasion\, even these &ldquo\;favorites&rdquo\; sometimes get the axe if it&rsquo\;s what I feel the new work requires. \; It&rsquo\;s a therap eutic process of letting go in order to move forward. \; Ultimately\, a ny work that I have created in the past is subject to be re-worked again in the future in some way shape or form as my own tastes and opinions change\ , my body of work continues to evolve with me.

DTEND:20140508 DTSTAMP:20140419T135602 DTSTART:20140424 GEO:40.7219666;-73.9903845 LOCATION:DACIA GALLERY\,53 Stanton St. \nNew York \, NY 10002 SEQUENCE:0 SUMMARY:SALVA VERITATE \, Christina Massey UID:332873 END:VEVENT BEGIN:VEVENT DTEND:20140424T210000 DTSTAMP:20140419T135602 DTSTART:20140424T180000 GEO:40.7219666;-73.9903845 LOCATION:DACIA GALLERY\,53 Stanton St. \nNew York \, NY 10002 SEQUENCE:0 SUMMARY:SALVA VERITATE \, Christina Massey UID:332874 END:VEVENT BEGIN:VEVENT DESCRIPTION:

For the month of May\, sculptor John Powers \;will use P ostmasters Gallery as a studio\, and combine his strategies of temporary pu blic \;work and permanent studio work. Beginning with raw material\, an entire show will develop daily. Working simultaneously in polystyrene\, st eel\, plywood\, paper and phenolic resin blocks\, Powers will stack\, const ruct and collage a series of individual works. Powers will construct wall p ieces\, floor pieces\, reliefs\, towers and carpets.
 \;
Ra ther than site-specific\, each will be conceived\, each day\, as part of th e whole. \;Each day will be a new show\, that will vanish under the nex t days' work. Returning visitors to the gallery will be able to track the s how's progress\, as will those on social media\, who can follow changes via the artist's twitter\, Instagram\, and tumblr accounts - \;for the Mon th of May\, \;each will be dedicated to updating different aspects of t he show. \;Only for the last week of the show (June 1-7)\, after the cl osing reception (May 31)\, will the work stop\, allowing the show to lay fa llow.
 \;
For the past two decades\, Powers has split his w ork between permanent-built studio work\, and temporary freestanding instal lations\, all built from identically shaped blocks. Made of plywood\, polys tyrene\, steel\, resin composites\, PVC\, paper and other materials\; and r anging in size from tiny slivers to furniture-scale\, all of the blocks Pow ers uses are cut to the same proportion: 1 x 2 x 3.
 \;
In the studio he has glued\, drilled\, welded and cast blocks to make intricat e objects intended to last\; to be passed from hand to hand\; to move place to place. Working in public\, he has stacked them to make ephemeral accumu lations\, intended for the audience that happens to be at that one spot at that particular time. Rather than describing these works as site-specific\, Powers thinks of them as specific to a moment in time.
 \;
At the end of April\, Powers will have entirely moved out of the studio he has maintained in Industry City for the past ten years. Forced out of the facility by a tripling in rent\, the change has meant he has had to sort th rough a great deal of old work. Handiwork of a younger artist\, as differen t from him now as a foreigner from another country. \;
 \;
For Powers the choice to work with a single shape for the past 19 years \, was to unite the country of the past\, with that of the future\; to make explicit that each thing he makes\, are slivers in time. \;
&nbs p\;
Almost 50 years ago\, the artist Robert Smithson observed that &l dquo\;the process behind the making of a storage facility may be viewed in stages\, thus constituting a whole &lsquo\;series&rsquo\; of works of art f rom the ground up." \;
 \;
Smithson's concept of "discr ete stage abstractions" resonates with Powers because so much of the work h e does is buried beneath the additive process of making his art. Powers thi nks of his own work in a similar vein\, except where the 60s earth artist p ointed to the possibility of aestheticizing large scale industrial processe s&mdash\;like dam \;construction&mdash\;where the final outcome \;p redetermines \;everything that comes before \;it\, Powers is more i nterested in the discrete stages of more idiosyncratic development. \;< br />  \;
"Land surveying and preliminary building if isolated in to discrete stages may be viewed as an array of art works that vanish as th ey develop.&rdquo\; Smithson cooly observed. Likewise\, for Powers\, sculpt ure develops as an array\, but not as an array of predetermined tasks&mdash \;like the processes Smithson was enamored with. For Powers\, sculpture beg ins&mdash\;not with the image of a final object&mdash\;but with an initial condition. Moving outwards\, in a series of small improvisation\, each one\ , a possible end point\; each an opening on to another improvisation. \ ;
 \;
For \;+time\, Powers will bring that eth ic to the gallery. Each day will be a complete show\, a discrete stage\, bu t each day will also be an opening onto the next day's work\; an initial co ndition.
+time \;will be the first exhibition of John Po wers at Postmasters.

DTEND:20140607 DTSTAMP:20140419T135602 DTSTART:20140426 GEO:40.717264;-74.002659 LOCATION:Postmasters\,54 Franklin Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY: +time\, John Powers UID:332871 END:VEVENT BEGIN:VEVENT DTEND:20140426T200000 DTSTAMP:20140419T135602 DTSTART:20140426T173000 GEO:40.717264;-74.002659 LOCATION:Postmasters\,54 Franklin Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY: +time\, John Powers UID:332872 END:VEVENT BEGIN:VEVENT DESCRIPTION:

\n

Born in 1976\, now based in New York \, Eva and Franco Mattes\, (a.k.a. 0100101110101101.ORG) have been pioneers in the net.art movement remixing famous digital art pieces and performing Life Sharing: a real-time digital self portrait\, during which they submitt ed to satellite surveillance for an entire year. In the last decade they ha ve created unpredictable mass-scale performances staged outside the traditi onal art venues and involving an unaware audience\, where truth and falseho od mix to the point of being indistinguishable. They created and released t he code for a computer virus\, erected fake architectural heritage signs\, run media campaigns for non-existent action movies (United We Stand)\, and even convinced the entire populace of Vienna that Nike had purchased the ci ty's historic Karlsplatz and was about to rename it "Nikeplatz". They stole art\, and stole other artists&rsquo\; names\, went to Chernobyl and faked suicide in Chatroulette. Their controversial performances\, often bordering on illegality\, have been widely discussed in the media earning them the n ame &ldquo\;Bonnie and Clyde of Contemporary Art&rdquo\;.

DTEND:20140607 DTSTAMP:20140419T135602 DTSTART:20140426 GEO:40.717264;-74.002659 LOCATION:Postmasters\,54 Franklin Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY: By Everyone\, For No One\, Everyday\, Eva Mattes\, Franco Mattes UID:332869 END:VEVENT BEGIN:VEVENT DTEND:20140426T200000 DTSTAMP:20140419T135602 DTSTART:20140426T173000 GEO:40.717264;-74.002659 LOCATION:Postmasters\,54 Franklin Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY: By Everyone\, For No One\, Everyday\, Eva Mattes\, Franco Mattes UID:332870 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In his practice\, Horvitz grapples with time and standardize d measurements\, and the shifts that occur when natural phenomena are subje cted to manmade systems and vice versa. Unfolding as concrete actions\, Hor vitz&rsquo\;s works are often ongoing or self-generating projects. Taking a dvantage of diverse systems of circulation\, he gathers and disperses image s and objects through media such as the internet\, the postal system\, libr aries\, and airport lost and found services. Optimistically alluding to the possibility of an alternative logic\, Horvitz exploits the structures in p lace around him as much as he deliberately counters patterns derived from p rofessionalization and efficiency.

\n

Titled &ldquo\;Gnomons&rdquo\; a fter the device on a sundial\, which effectively produced the first image o f time in the form of a shadow\, Horvitz&rsquo\;s presentation includes the work Let us keep our own noon (2013)\, consisting of forty-seven handbells created through the remelting of a French church bell dating back to 1742. The work is activated by forty-seven performers who\, at local no on (when the sun is positioned exactly above the New Museum)\, collectively ring the bells and then disperse throughout the building and out onto the surrounding streets of the Museum. Referencing the bygone practice of navig ating time according to the position of the sun\, the work reminds us that our daily rhythms are not solely determined by tradition and locality\, but also rooted in global forces. In another work\, The Distance of a Day< /em> (2013)\, Horvitz journeyed halfway around the world to the exact locat ion where he could see the sunrise in the same moment that his mother was w atching the sunset in California. Rather than emphasizing the result of a j ourney or the duality of here and there\, Horvitz creates an image of the m easurement that separates two people in time&mdash\;exactly one day.

\n< p>David Horvitz was born in California in 1982 and lives in Brooklyn. Recen t solo exhibitions include: concurrent shows at Jan Mot\, Brussels\, and Da wid Radziszewski Gallery\, Warsaw\; Peter Amby\, Copenhagen\; Statements\, Art Basel\; Kunsthal Charlottenborg\, Copenhagen\; and Chert\, Berlin. His work has been shown at EVA International 2014\, Glasgow International 2014\ , LIAF 2013\, MoMA\, The Kitchen\, and the New Museum. In New York\, he has realized projects with Recess\, Clocktower Gallery\, post at MoMA\, Printe d Matter\, Rhizome\, and Triple Canopy. Recent artist books include The Distance of a Day (2013\; Motto Books &\; Chert) and Sad\, Dep ressed\, People\, (2012\; New Documents). He has received the Rema Hor t Mann Grant in 2011 and was nominated for the Discovery Award at Les Renco ntres d&rsquo\;Arles in 2011. In 2013\, he founded Porcino gallery in Berli n. This summer\, he will have his first solo exhibition at Blum &\; Poe\ , Los Angeles.

DTEND:20140629 DTSTAMP:20140419T135602 DTSTART:20140507 GEO:40.722337;-73.992844 LOCATION:New Museum\,235 Bowery \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Gnomons\, David Horvitz UID:332865 END:VEVENT BEGIN:VEVENT DTEND:20140507T180000 DTSTAMP:20140419T135602 DTSTART:20140507T110000 GEO:40.722337;-73.992844 LOCATION:New Museum\,235 Bowery \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Gnomons\, David Horvitz UID:332866 END:VEVENT BEGIN:VEVENT DESCRIPTION:
\n

In her work\, Henrot (b. 1978 Paris\, Fr ance\; lives and works in New York) analyzes systems of visual information and typologies of objects from a wide array of historical moments. She has produced a number of visual essays in which she follows intuitive research pursuits across disciplines and finds a variety of aesthetic and morphologi cal links between disparate systems of knowledge. Henrot&rsquo\;s practice combines anthropological research with a staggering range of cultural fragm ents reflective of the current digital age. Her exhibition at the New Museu m will provide a survey of her recent work.

\n

The title\, &ldquo\;The Restless Earth\,&rdquo\; is borrowed from a poem by the Martinican writer É\;douard Glissant\, known for his novels\, poems\, and writings on c olonialism and diversity. The exhibition will feature four of Henrot&rsquo\ ;s recent videos including Grosse Fatigue\, a standout of the rece nt Venice Biennale\, garnering her the Silver Lion as most promising young artist. The work extends on earlier videos like Coupé\;/Dé\ ;calé\; (2010) and Million Dollar Point (2011)\, which capture rituals and landscapes that move across history and bridge disparat e cultures and geographies. &ldquo\;The Restless Earth&rdquo\; also include s several series of works on paper and a new installation of &ldquo\;Is it possible to be a revolutionary and like flowers?&rdquo\; (2012&ndash\;14). In this series\, Henrot translates books from her library into ikebana arra ngements\, connecting the languages of literature\, anthropology\, and phil osophy with the equally complex language of flowers. Through translation as well as archival research and the creation of hybrid objects&mdash\;appare nt throughout the artist&rsquo\;s videos\, sculptures\, and works on paper& mdash\;Henrot demonstrates how the classification of artifacts and the prod uction of images structure the way we understand the world.

\n

&ldquo\ ;Camille Henrot: The Restless Earth&rdquo\; will be on view on the Second F loor from May 7&ndash\;June 29\, 2014.

\n

Camille Henrot&rsquo\;s work has been exhibited at the Institute of Contemporary Art in London\, the Ce ntre Pompidou\, the Musé\;e d&rsquo\;Art Moderne\, the Palais de Toky o in Paris\, the New Orleans Museum of Art\, and the 55th Venice Biennale. In 2010\, she was nominated for the Prix Marcel Duchamp\, and in 2013\, she was the recipient of the Smithsonian Artist Research Fellowship in Washing ton\, DC\, where she produced the video Grosse Fatigue. Henrot cur rently has a solo exhibition at Chisenhale Gallery\, London\, which will tr avel to Bé\;tonsalon &ndash\; Centre for art and research\, Paris\, K unsthal Charlottenborg\, Copenhagen\, and the Westfä\;lischer Kunstvere in\, Mü\;nster.

\n
DTEND:20140629 DTSTAMP:20140419T135602 DTSTART:20140507 GEO:40.722337;-73.992844 LOCATION:New Museum\,235 Bowery \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:The Restless Earth\, Camille Henrot UID:332863 END:VEVENT BEGIN:VEVENT DTEND:20140507T180000 DTSTAMP:20140419T135602 DTSTART:20140507T110000 GEO:40.722337;-73.992844 LOCATION:New Museum\,235 Bowery \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:The Restless Earth\, Camille Henrot UID:332864 END:VEVENT BEGIN:VEVENT DESCRIPTION:
\n

&ldquo\;Me\, My Mother\, My Father\, and I&rdquo\; will be the first New York museum exhibition of Icelandic artist Ragnar Kjartansson (b. 1976 Reykjaví\;k\, Iceland\; lives and works in Reykjaví\;k). Born into a family of actors and theater professiona ls\, Kjartansson draws from a varied history of stage traditions\, film\, m usic\, and literature. His performances\, drawings\, paintings\, and video installations explore the boundary between reality and fiction as well as c onstructs of myth and identity. He often attempts to convey genuine emotion through melodramatic gestures and conversely reveals sincerity within pret ending. Playing with stereotypes usually projected onto the persona of the actor\, Kjartansson both celebrates and derides the romanticized figure of the artist as cultural hero. His performances are often feats of endurance\ , which last for hours or days at a time\, taking a motif as simple as a po p song and transforming it through protracted repetition into a transcenden t mantra.

\n

At the New Museum\, Kjartansson will present works with a nd about his family\, including a newly orchestrated performance and video piece entitled Take Me Here by the Dishwasher: Memorial for a Marriage< /em> (2011/2014)\, in which ten musicians play a live composition for the d uration of the exhibition. This work takes inspiration from a scene in Icel and&rsquo\;s first feature film\, Morð\;saga (1977)\, directed by Reynir Oddsson\, in which the main character of the film\, played by Kja rtansson&rsquo\;s mother\, Guð\;rú\;n Á\;smundsdó\;tti r\, fantasizes about a plumber\, played by Kjartansson&rsquo\;s father\, Kj artan Ragnarsson\, in a sex scene on the kitchen floor. As family legend ha s it\, Kjartansson was conceived the night after the film shoot. Kjartan Sv einsson\, composer and a former member of the Icelandic band Sigur Ró \;s\, transformed the scene&rsquo\;s dialogue into a ten-part polyphony pla yed by ten musicians\, who sing and play guitar in the tradition of the tro ubadour to accompany a projection of the original film scene. Other works i n the exhibition are made in collaboration with Kjartansson&rsquo\;s parent s\, including a new series of drawings of the sea made with his father\, en titled The Raging Pornographic Sea (2014)\, and an ongoing video c ollaboration with his mother where she repeatedly spits in his face\, M e and My Mother\, which began in 2000. This exhibition provides an opp ortunity to look at the way Kjartansson&rsquo\;s work explores family ties and delusions of grandeur\, as well as to engage with his ongoing interest in the conflation of reality and fantasy.

\n

&ldquo\;Ragnar Kjartansso n: Me\, My Mother\, My Father\, and I&rdquo\; will be on view on the Fourth Floor from May 7&ndash\;June 29\, 2014. The exhibition is curated by Massi miliano Gioni\, Associate Director and Director of Exhibitions\, and Margot Norton\, Assistant Curator.
The exhibition will be accompanied by a fully illustrated catalogue featuring an interview with the artist and new reflections on Kjartansson&rsquo\;s practice by Francesco Bonami and Roni H orn.

\n

On May 9\, 2014\, at 7 p.m.\, join artist Ragnar Kjartansson a nd his parents\, Guð\;rú\;n Á\;smundsdó\;ttir and Kjar tan Ragnarsson\, for a special screening of the film Morð\;saga (1977)\, the first feature film produced in Iceland in which both Kjartans son&rsquo\;s parents performed.

\n

Ragnar Kjartansson was born in Reyk javí\;k\, Iceland\, in 1976\, where he continues to live and work. Hi s recent solo exhibitions and performances include &ldquo\;The Palace of th e Summerland&rdquo\; at Thyssen-Bornemisza Art Contemporary\, Vienna (2014) \, &ldquo\;The Explosive Sonics of Divinity&rdquo\; at the Volksbühne\, Be rlin (2014)\, &ldquo\;The Visitors&rdquo\; at Luhring Augustine Gallery\, N ew York\, Migros Museum für Gegenwartskunst\, Zurich (2012&ndash\;13)\, Th yssen-Bornemisza Art Contemporary Vienna (2013)\, Hangar Biocca (2013&ndash \;14)\, &ldquo\;It&rsquo\;s Not the End of the World&rdquo\; at the Fondazi one Sandretto Re Rebaudengo\, Turin (2012&ndash\;13)\, &ldquo\;Endless Long ing\, Eternal Return&rdquo\; at the Frankfurter Kunstverein (2011)\, and &l dquo\;Take Me Here By the Dishwasher: Memorial for a Marriage&rdquo\; at th e BAWAG Foundation\, Vienna (2011). His first American solo museum exhibiti on\, &ldquo\;Song\,&rdquo\; was organized by the Carnegie Museum of Art in 2011 and traveled to the Museum of Contemporary Art in North Miami and the Institute of Contemporary Art in Boston. Additionally\, Kjartansson recentl y participated in &ldquo\;The Encyclopedic Palace&rdquo\; at the 55th Venic e Biennale (2013) and performed &ldquo\;A Lot of Sorrow&rdquo\; featuring T he National at MoMA P.S.1 (2013). Kjartansson was the recipient of Performa &rsquo\;s 2011 Malcolm McLaren Award for his performance of Bliss\ , a twelve-hour live loop of the final aria of Mozart&rsquo\;s The Marr iage of Figaro\, and in 2009\, he was the youngest artist to represent Iceland at the Venice Biennale.

\n
DTEND:20140629 DTSTAMP:20140419T135602 DTSTART:20140507 GEO:40.722337;-73.992844 LOCATION:New Museum\,235 Bowery \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Me\, My Mother\, My Father\, and I\, Ragnar Kjartansson UID:332861 END:VEVENT BEGIN:VEVENT DTEND:20140507T180000 DTSTAMP:20140419T135602 DTSTART:20140507T110000 GEO:40.722337;-73.992844 LOCATION:New Museum\,235 Bowery \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Me\, My Mother\, My Father\, and I\, Ragnar Kjartansson UID:332862 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Hi

\n

 \;

\n

This is Mark Flood

\n

 \;

\n

As most of my fans know\, my body\, my life\, my career and my ar t are managed by my

\n

cat Sparky

\n

 \;

\n

And hes doing a gater job

\n

 \;

\n

Now Sparle and I want to invite you t o a special event that takes place in

\n

 \;

\n< p align="center">These been a loytta confusion that this has something to d o with Cheksea Handlers

\n

vagina not true\, shes not a n art handler or a career handler shes a talk show ghost.

\n

 \;

\n

that takes place in Chelsea New york C ity Manhattan\, on the second floor above Zacg

\n

Feuer gallery. Its during the second week of my show Available NASDAQ SYmbol but its

\n

a different show

\n

 \;

\n

Actually its an art fair of my own\, a private art fair but hopen to the pubic.

\n

 \;

\n

The INSIDER ART FAIR------insider your rod\, inside your vagina\, i nside your body where

\n

the internal organs jostle aro und in the pools of blood trying to spell out certain words\,

\n

insider the black rooms of the secret art whorld

\n

 \;

\n

Sparkle wants to take us all ther so dont miss out dont wuss out.

\n

OTO YOLO WTF

\n

dates go here like the tunnel of lobe

\n

& nbsp\;

\n

paw print

DTEND:20140517 DTSTAMP:20140419T135602 DTSTART:20140513 GEO:40.7479654;-74.0069775 LOCATION:Zach Feuer Gallery (LFL)\,548 West 22nd Street \nNew York\, NY 100 11 SEQUENCE:0 SUMMARY: The INSIDER ART FAIR\, Mark Flood UID:332853 END:VEVENT BEGIN:VEVENT DTEND:20140513T210000 DTSTAMP:20140419T135602 DTSTART:20140513T120000 GEO:40.7479654;-74.0069775 LOCATION:Zach Feuer Gallery (LFL)\,548 West 22nd Street \nNew York\, NY 100 11 SEQUENCE:0 SUMMARY: The INSIDER ART FAIR\, Mark Flood UID:332854 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Spare change can drive hard-wired evolutionary changes in co rporate logos in a matter of generations. A University of Passion Cove-led study\, published in the journal Fuzzy Letters\, overturns the common assum ption that evolution only occurs gradually over hundreds of thousands of do llars.

\n

Instead\, researchers found significant financially transmit ted changes in laboratory populations of corporate logos in just 15 generat ions\, leading to a doubling of the age at which the logos dissolve into pu ddles of meaningless goo\, and large changes \;in failure-to-impress-ta rget-audience rates. The results have important implications in areas such as the survival of the human race\, and corporate image mismanagement becau se they demonstrate that image de-evolution can be a mindfuck even in the s hort-term.

\n

Professor Darth Haddock\, of the University of Passion C ove's Faculty of Biological Sciences\, said: "This demonstrates that spare change and logo evolution are completely up each other's ass and cannot rea sonably be considered separate. \; We found that seemingly sacred desig ns devolve rapidly in response to lack of respect and stupified idle tinker ing\, as when bored grad students pull the wings off flies. This can have m ajor consequences such as rioting crowds swarming thru urban areas\, police forces laying down their super-weapons in exchange for a chance to pet kit tens\, the repurposing of corporate headquarters as detention\, reeducation \, torture and extermination centers\, or helping along a population of obs olete managers heading for rapid and merciless extinction at the hands of i nformed and ambitious young people who\, so far\, believe in nothing\, abso lutely nothing at all."

\n

Although previous research has implied a li nk between radiation-enhanced\, mutation-based changes in corporate logos' physical characteristics and the nature of human social evolution\, the Cov e-led study is the first to prove a causal relationship between rapid logo evolution and better\, higher highs in a controlled experimental drug-use s etting.

\n

The researchers worked with corporate logos that were colle cted from the wild and then raised in 18 glass tubes. Forty percent of adul t logos were left in the Macs of bored junior high students. A similar prop ortion of logos were left on Facebook in a further six tubes\, while no "ad olescent hijinks" were conducted in the remaining third of the tubes.

\n

Lead author Dr Sassy Links\, a postdoctoral Fellow in the Faculty of Pse udo-human Sciences at Passion Cove at the time of the research and now base d in Uvula University\, Sweden\, said: "We saw significant evolutionary cha nges relatively quickly. The rates of laughable weirdness and stupidity of the logos in the tubes doubled over about 15 generations\, \;because th ey were being authoritative in a different way than they would in the wild. Removing the coolness caused them to remain as targets for contempt even l onger\, because the genetics were responding to the high chance that they w ere going to die from graffiti as soon as they were used in public.

\n

When they did eventually mature\, into sickly future insects with a rabid craving for blood\, and a fierce desire to exploit\, maim and murder human beings\, they were so enormous they could lay all of their poison eggs very quickly."

\n

The initial change in the logos' environment - from the wild into the design laboratory reeking of marijuana smoke - had a disastro us effect on the population\, putting the authority of the logos on an exti nction trajectory. However\, in every population\, including those subjecte d to torture by bored\, hormone-crazed and lonely juveniles\, the trajector y switched after only five degenerations of evolution\, and the new designs were allowed to live simply to amuse their captors\, though they no longer had any power or control.

\n

The researchers found that the laborator y environment was selecting for those logos that turned into shiny\, needle ssly complicated\, insectile-metallic components. Under the competitive con ditions in the tubes\, the fast evolving logos were more "wow" when they ma tured\, meaning they could have more retweets.

\n

Dr Links said: "The logo evolution that resulted in an investment in shiny metallic exoskeleton production at the expense of legibility led to a slight growth in viewing time and a subsequent re-imagining of human reality\, rescuing the stoners from boredom\, and the art world from wave after grey wave of boring concep tual crap. \;This is evolutionary rescue in action\, and suggests that logo evolution can help human populations respond to the complete enslaveme nt of the human race by the Fortune 500 and the human traitors who serve th em."

\n

Professor Benton said: "The traditional idea would be that if you put new logos in a new market\, the way that most people do as they're told would stay basically the same\, but the way they experience gnawing ex istential despair changes\, because of variables like the amount of food\, sex\, and fun their corporate masters allow them to have.

\n

However\, our study proves that the logo evolutionary effect - the instantaneous biz arre change in the logos' appearance in \;response to the human need to run one's own life - can happen \;at the same time as the Fuck-this-sh it response. Social reality - whatever the hell that might be - and creativ e activity are \;intertwined\," he said.

DTEND:20140614 DTSTAMP:20140419T135602 DTSTART:20140509 GEO:40.7479654;-74.0069775 LOCATION:Zach Feuer Gallery (LFL)\,548 West 22nd Street \nNew York\, NY 100 11 SEQUENCE:0 SUMMARY:Available NASDAQ Symbol\, Mark Flood UID:332851 END:VEVENT BEGIN:VEVENT DTEND:20140513T180000 DTSTAMP:20140419T135602 DTSTART:20140513T120000 GEO:40.7479654;-74.0069775 LOCATION:Zach Feuer Gallery (LFL)\,548 West 22nd Street \nNew York\, NY 100 11 SEQUENCE:0 SUMMARY:Available NASDAQ Symbol\, Mark Flood UID:332852 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Blum &\; Poe is pleased to announce the inaugural exhibit ion of its New York gallery at 19 East 66th Street. Mark Grotjahn: Butt erfly Paintings\, curated by Douglas Fogle\, will be a select survey o f this important series of paintings by the Los Angeles-based artist. Consi sting of loans from private collections as well as public institutions\, th e exhibition will illustrate the evolution of Grotjahn's butterfly painting s with seminal examples dated between 2001 and 2008.  \;

The butterfly paintings\, whose name derives from their wing-like\, formal qualities\, hold a key place within the development of Grotjahn's body of w ork. The artist employed a strategy of nearly compulsive repetition and rei teration of rules and stylistic elements -- variations on a theme in the li nes radiating­\; from their central spines -- which allowed the artist t o experiment within a circumscribed set of conceptual limits. With contextu al influences ranging widely from the history of geometric modernism in the works of artists such as Mondrian and Malevich\, to experiments in musical and filmic composition and typographic design\, Grotjahn's butterflies pla yfully blur the once rigorous boundaries between representation and abstrac tion\, between surface and depth\, and between the conceptual and the concr ete in artistic production.  \;

In the works on view\, we see an artist setting up an experimental station for the study of the evol ution of the painterly line\, in which the butterfly is the end result. The exhibition offers a unique opportunity to see the implications of these ex periments in the concrete formation of an artist's vision over a condensed period of time. A catalog will be produced in conjunction with the exhibiti on and will include an essay by Douglas Fogle\, images of the individual pa intings\, and installation photographs of the works in the new gallery. &nb sp\;

Mark Grotjahn (b. 1968) holds a B.F.A. from the Universi ty of Colorado\, Boulder and an M.F.A from the University of California Ber keley. He has upcoming solo exhibitions at the Kunstverein Freiburg\, Freib urg\, Germany and the Nasher Sculpture Center\, Dallas\, TX. Past solo exhi bitions include venues such as the Aspen Art Museum\, Aspen\, CO\; Portland Art Museum\, Portland\, OR\; Kunstmuseum Thun\, Thun\, Switzerland\; Whitn ey Museum of American Art\, New York\, NY\; and Hammer Museum\, Los Angeles \, CA. He has been included in group exhibitions at the San Francisco Museu m of Modern Art\, San Francisco\, CA\; Museum of Contemporary Art\, Los Ang eles\, CA\; New Museum\, New York\, NY\; Hessel Museum of Art\, Bard Colleg e\, Annandale-on-Hudson\, NY\; Museum of Modern Art\, New York\; Stedelijk Museum\, Amsterdam\, Netherlands\; Royal Academy of Arts\, London\, UK\; Mu seum of Contemporary Art\, Chicago\, IL\; Carnegie Museum of Art\, Pittsbur gh\, PA\; and many other institutions.

DTEND:20140621 DTSTAMP:20140419T135602 DTSTART:20140501 GEO:40.768329;-73.968485 LOCATION:Blum & Poe\,19 East 66th Street \nNew York\, NY 10065 SEQUENCE:0 SUMMARY: Butterfly Paintings\, Mark Grotjahn UID:332849 END:VEVENT BEGIN:VEVENT DTEND:20140501T200000 DTSTAMP:20140419T135602 DTSTART:20140501T180000 GEO:40.768329;-73.968485 LOCATION:Blum & Poe\,19 East 66th Street \nNew York\, NY 10065 SEQUENCE:0 SUMMARY: Butterfly Paintings\, Mark Grotjahn UID:332850 END:VEVENT END:VCALENDAR