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NEW YORK CITY - Gallery Molly Krom

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OPENING RECEPTION : Sunday\, Sept. 7\, 6 &ndash\; 9 pm

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Gallery Molly Krom is pleased to present In the Garden of (Plastic) Paradise\, a show of recent drawings and collages by Sanda Iliescu. An artist whose work blends the dynamic visu al energy of abstraction with often narrative and figural suggestiveness\, Iliescu turns her attention in the current show to that most naturalistic a nd nostalgic of subjects &ndash\; the bird. The results are unexpectedly mo ving.

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Modeled on birds seen in nature and in books\, Iliescu&rsquo\ ;s bird drawings &ndash\; done with graphite\, colored pencil\, Sharpie mar kers\, discarded plastic and sewn embroidery thread &ndash\; do not altoget her shun the evocative and expressive sweetness one associates with traditi onal renderings of birds. Yet Iliescu&rsquo\;s sometimes fragile\, sometime s ungainly birds\, are so simply and even at times primitively rendered tha t one cannot say that what is moving about them is the subject. It is rathe r Iliescu&rsquo\;s odd juxtaposition of boldly drawn lines with winding\, s inuous strings of handwriting and strange floating abstract shapes just bar ely suggestive of trees and other foliage\, that entrances and engages us. As such\, these elusive and ethereal\, yet decidedly un-nostalgic drawings draw their power as much from the poetry of abstract form as they do from n ature.

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At the same time\, another set of purely abstract drawings i n the exhibit partake as much of an aesthetic of nature as they do of abstr action. &ldquo\;Snow Drawing 2\,&rdquo\; for instance\, with its spartan as semblage of slanting lines and shapes conveys the glowing\, crystalline fee ling of light bouncing off snow and ice with an economy and intensity that few realistic renderings achieve. &ldquo\;Floriani Unfinished I\,&rdquo\; t hough in essence only a complex web of colored shapes and odd plant-like li nes\, nevertheless blooms before our eyes with its exuberant pageant of col ors and textures.

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Iliescu&rsquo\;s art\, like the art of many colla gists\, revels in raw contrasts and sharp juxtapositions\, in that rebellio us sensibility that Picasso\, another collagist\, likened to &ldquo\;throwi ng dust in the eye&rdquo\; of the conventional canvas and\, by implication\ , the viewer. In her energetic variety of technique\, material\, and approa ch\, one that shuns the unitary\, uniform branding so prevalent in art toda y&mdash\;Iliescu is perhaps at her most refreshing.

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In addition to the bird drawings and the abstractions\, the exhibit also includes several large-scale collages made of recycled plastics entitled &ldquo\;Trash Bag T rees.&rdquo\; Made in 1995 while Iliescu was a fellow at the American Acade my in Rome\, these show the artist&rsquo\;s abiding interest in her natural surroundings and in the language of abstract visual form.

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Sanda Iliescu lives and works in Charlottesville\, Virginia. Her w ork is currently on exhibit in &ldquo\;Picasso and Friends&rdquo\; at Les Y eux du Monde gallery in Charlottesville. Other paintings\, drawings\, and c ollages she has made were shown in New York&rsquo\;s 2014 Cutlog art fair\, at Richmond&rsquo\;s 2013 &ldquo\;Knowing How to See&rdquo\; exhibit\, and in two group shows at Gallery Molly Krom\, both in 2013: &ldquo\;The Hidin g Places are (Utterly) Empty&rdquo\; and &ldquo\;Flights of Love.&rdquo\; I n addition to painting and drawing\, she creates art installations for publ ic spaces\, often with students at the University of Virginia\, where she t eaches art and design. Her public projects\, all in Charlottesville\, inclu de the 2013 ephemeral installation &ldquo\;SNOWBALLS on STEPS (for David Ha mmons)\,&rdquo\; the 2011 mural project &ldquo\;UN- PAINTING: From Yellow t o White\,&rdquo\; and the 2010 &ldquo\;Lines of Darkness and Light\,&rdquo\ ; in which Iliescu shrouded the columns of Jefferson&rsquo\;s Rotunda in da rk veils to mourn a student&rsquo\;s death.

DTEND:20141005 DTSTAMP:20140821T112259 DTSTART:20140905 GEO:40.7219666;-73.9903845 LOCATION:Gallery Molly Krom\,53c Stanton Street \nNew York City\, NY 10002 SEQUENCE:0 SUMMARY:Sanda Iliescu: In the Garden of (Plastic) Paradise\, sanda iliescu UID:352244 END:VEVENT BEGIN:VEVENT DTEND:20140907T210000 DTSTAMP:20140821T112259 DTSTART:20140907T180000 GEO:40.7219666;-73.9903845 LOCATION:Gallery Molly Krom\,53c Stanton Street \nNew York City\, NY 10002 SEQUENCE:0 SUMMARY:Sanda Iliescu: In the Garden of (Plastic) Paradise\, sanda iliescu UID:352245 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Pedro
  Calapez\, Round 01\, 2014\, Oil on lacquered aluminum\, Diameter 37 &frac1
 2\; inches (95 cm)\, Depth 6 inches (15 cm)

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 \;PEDR O CALAPEZ / meadow-curtain-round-broken line

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10 Se p to 2 Nov 2014

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Opening Reception: Wednesday\, 10 Sep 2014\, 6-8pm

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LYNCH THAM is pleased to present a seminal exhibition of new works by leading Portuguese contemporar y artist Pedro Calapez\, marking the debut of the artist&rsquo\;s work in t he United States.

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Following critically acclaimed exhibitions in Eur ope\, meadow-curtain-round-broken line\,offers a succinct overview of Calapez&rsquo\;s fascination with spatial relationships\, landscapes\, and the significance of ways of seeing. Details are critical in his work\, as this exhibition presents an exercise in exploration and discovery\, enco uraging an awareness of the different possibilities of the gaze. In each wo rk\, Calapez enters into dialogue with the architectural context as he evok es everyday encounters and memories through fragmented\, richly colored ref lections about light\, space and landscape.

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meadow is a ce lebration of an encounter with landscape. More than a representation of a m eadow\, Calapez&rsquo\;s subject is the sensation of gazing and the revelat ory and fragmentary feelings of the hot wind undulating over the plains or the cool shadows of passing clouds. In curtain\, Calapez explores the invented superimpositions of light and darkness that hinder a clear def inition of a space or place. The principle of visibility ensures presence\, while the abstraction of darkness confuses the senses and invokes the imag ination. round reflects fragments of other works\, functioning as a mirror that subtly observes what is behind it. The circular edge produces centrifugal\, centripetal movements\, which alter the image that emerges w ithin it. The two vertical &ldquo\;gashes&rdquo\; stabilize the painting\, barring the paint from leaving its place. The limits of drawing and paintin g are tested in the installation broken line. The gesture of traci ng a line to create a structural design on the ground recalls the game of h opscotch. Like the game\, Calapez&rsquo\;s work presents a sequence of atti tudes that have no defined aim or end in sight\, stimulated by the continuo us repetition of a movement. Mallarmé\; called attention to this in t he preface to his poem un coup de dé\;s jamais n'abolira le hazar d\, where he said: &ldquo\;Everything takes place\, in sections\, by s upposition\; narrative is avoided.&rdquo\; The lines drawn on each brick ar e fragments of an endless hypothetical line\, fragments of knowledge reorga nised into different alignments and directions\, relating the gaze to a mem ory\, journey or destiny.

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Pedro Calapez was born in Lisbon\, Portug al in 1953\, where he currently lives and works. He has been exhibiting wid ely national and internationally since the 1980s. His work has been shown i n many important museums and galleries: "Field of shadows\," Pilar i Joan M iró\; Foundation\, Majorca (1997)\; "Madre Agua\," MEIAC - Contempora ry Art Museum\, Badajoz and CAAC - Andalucia Contemporary Art Centre (2002) \; CGAC - Galicia Contemporary Art Centre\, Santiago de Compostela (2005)\; "Painting places\," CAB - Caja Burgos Art Centre\, Burgos (2005). &ldquo\; White and neutral clarity\,&rdquo\; Casa da Cerca\, Centro de Arte Contempo râ\;nea\, Almada (2009)\; &ldquo\;Kickflip\,&rdquo\; PLMJ Foundation\, Lisbon (2011)\; "dark skies"\, Casa das Histó\;rias\, Paula Rego Hou se for Contemporary Art\, Cascais (2012)\; &ldquo\;There is only drawing\," Luis Seoane Foundation\, La Coruñ\;a\, Galicia (2013)\; Serralves Mu seum\, OPorto (2009)\; &ldquo\;It&rsquo\;s not my fault\,&rdquo\; Berardo M useum\, Lisbon (2010)\; &ldquo\;The Collection\,&rdquo\; Barrié\; Fou ndation\, A Coruñ\;a (2011)\; &ldquo\;under the sign of Amadeo\,&rdqu o\; CAM- Calouste Gulbenkian Foundation\, Lisboa (2013)\; "93\," CGAC&ndash \;Galician Centre for Contemporary Art\, Santiago de Compostela\; Venice Bi enniale (1986)\; Sao Paulo Biennale (1987 and 1991)\, among others.

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Calapez&rsquo\;s work is in the collections of: Caixa Geral de Depó\ ;sitos\, Lisboa\; Centro de Arte Caja Burgos\, Burgos\; Central European Ba nk\, Frankfurt\; Chase Bank\, New York\; European Investment Bank\, Luxembo urg\; Coca-Cola Foundation Spain\, Madrid\; Pilar and Joan Miró\; Fou ndation\, Majorca\; EDP Foundation\, Lisbon\; PLM Foundation\, Lisbon\; Por tugal Telecom Foundation\, Lisbon\; MEIAC\, Ibero\; Reina Sofia Contemporar y Art Museum\, Madrid\; Serralves Museum\, Oporto\, among others. \;

DTEND:20141102 DTSTAMP:20140821T112259 DTSTART:20140910 GEO:40.7188646;-73.9846431 LOCATION:LYNCH THAM\,175 Rivington Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY: PEDRO CALAPEZ / meadow-curtain-round-broken line \, Pedro Calapez UID:352174 END:VEVENT BEGIN:VEVENT DTEND:20140910T200000 DTSTAMP:20140821T112259 DTSTART:20140910T180000 GEO:40.7188646;-73.9846431 LOCATION:LYNCH THAM\,175 Rivington Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY: PEDRO CALAPEZ / meadow-curtain-round-broken line \, Pedro Calapez UID:352175 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Total Body Conditioning \;is an exhibition by M ika Tajima comprised of three scenes&mdash\;display\, work\, and fitness&md ash\;that invoke technologies developed to control and affect the body. The se are techniques that shape bodily experience of time and space\, taking t he human body as a target of power. The works in the exhibition include Jac uzzi hot tub painting objects\, a series of abstract woven textile portrait s\, and transparent paintings set to changing ambient lighting and sound se quences. Each scene in the exhibition traces the management of the body in different spaces and temporal contexts from factory assembly lines to thera peutic &ldquo\;after work&rdquo\; locations.

DTEND:20141025 DTSTAMP:20140821T112259 DTSTART:20140913 GEO:40.718124;-74.001856 LOCATION:Art in General\,79 Walker Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Mika Tajima: Total Body Conditioning\, Mika Tajima UID:352144 END:VEVENT BEGIN:VEVENT DTEND:20140913T200000 DTSTAMP:20140821T112259 DTSTART:20140913T180000 GEO:40.718124;-74.001856 LOCATION:Art in General\,79 Walker Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Mika Tajima: Total Body Conditioning\, Mika Tajima UID:352145 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Introduction

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Inside Out: New Chinese Art 
Curated by Gao Minglu 
in association with the Asia Society 
and the San Francisco Museu m of Modern Art

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The last two decades have witnessed momentous e conomic\, social\, and political changes in mainland China and throughout t he "Chinese world." Artists in urban centers and elsewhere in China\, Taiwa n\, and Hong Kong (now a special administrative region of China) have respo nded to these changes with an explosion of diverse work that is simultaneou sly exhilarating and bewildering. Using a variety of media\, from ink and o il painting to installation and performance art\, many Chinese artists in t he region and abroad are grappling with what it means to be Chinese in an a ge of economic globalization and transnationalism.

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Inside Out: New Chinese Art is the first major exhibition to present the dynamic new art be ing produced by artists in mainland China\, Taiwan\, Hong Kong\, and by sel ected artists who emigrated to the West in the late 1980s. Including works dating from the mid-1980s to the present (some commissioned for this exhibi tion)\, Inside Out focuses on works of art that explore the complex relatio nship between culturally specific issues and larger developments of a moder n/postmodern age. Within this context\, artists are appropriating and trans forming both conventional Chinese aesthetic idioms and contemporary Western vocabularies to negotiate the cultural differences between past and presen t\, self and other.

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The decade-long perspective is intended to prov ide the viewer with a sense of the unprecedented pace of economic\, social\ , and political change in the region. Organized thematically\, the exhibiti on explores topics that are regionally specific-the reaction to consumerism and leisure culture in China in the 1990s or the quest for cultural identi ty in Taiwan-and issues that transcend physical borders\, such as the viabi lity of ink painting or the concern with language.

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Inside Out has b een organized by the Asia Society Galleries and the San Francisco Museum of Modern Art\, and curated by Gao Minglu. The exhibition is being presented simultaneously at the Asia Society and P.S.1 Contemporary Art Center from S eptember 15\, 1998 through January 3\, 1999.

DTEND:19990103 DTSTAMP:20140821T112259 DTSTART:19980915 GEO:40.7700155;-73.9644801 LOCATION:Asia Society Museum\,725 Park Avenue at 70th Street\nNew York\, NY 10021 SEQUENCE:0 SUMMARY:Inside Out: New Chinese Art\, Cai Guo-Qiang\, Cao Yong\, Chen Hui-C hiao\, Chen Shun-Chu\, Chu Chia-Hua\, Fang Lijung\, Fang Tu\, Fang Wei-Wen\ , Geng Jianyi\, Wenda Gu\, HO Siu-Kee\, Hong Hao\, HOU Chun-Ming\, Huang Ch ih-Yang\, Huang Yong Ping\, Kum Chi-keung\, Li Shan\, Shu-Min Lin\, Lin Tia n-miao\, Liu Wei\, Liu Xiangdong\, Long-Tailed Elephant Group\, Ma Jian\, M a Liuming\, Phoebe Man (Man Ching Ying)\, Mao Xuhui\, New Analysis Group\, Pan Xing Lei\, Qiu Zhijie\, Ren Jian\, Shu Qun\, Song Dong\, Song Yonghong\ , Song Yongping\, Southern Artists Salon\, Su Xinping\, Tang Song\, To Weun \, Tsong Pu\, Wang Gongxin\, Wang Guangyi\, Wang Jin\, Wang Jinsong\, Wang Jun-Jieh\, Wang Peng\, Wang Tiande\, Wen Pulin\, Wu Mali\, Wu Shan Zhuan\, Wu Tien-Chang\, XIAO LU\, Xu Bing\, Yan Binghui\, Yin Xiuzhen\, Tim Yu\, 21 st Century Group\, Yuan Jai\, Danny Ning Tsun Yung\, Zhang Huan\, Zhang Pei li\, Zhang Xiaogang\, Zhang Yu UID:352007 END:VEVENT BEGIN:VEVENT DTEND:19980915T190000 DTSTAMP:20140821T112259 DTSTART:19980915T150000 GEO:40.7700155;-73.9644801 LOCATION:Asia Society Museum\,725 Park Avenue at 70th Street\nNew York\, NY 10021 SEQUENCE:0 SUMMARY:Inside Out: New Chinese Art\, Xu Bing\, Yan Binghui\, Kum Chi-keung \, Chu Chia-Hua\, Huang Chih-Yang\, HOU Chun-Ming\, Song Dong\, Wang Gongxi n\, 21st Century Group\, Long-Tailed Elephant Group\, New Analysis Group\, Wenda Gu\, Wang Guangyi\, Cai Guo-Qiang\, Hong Hao\, Zhang Huan\, Chen Hui- Chiao\, Yuan Jai\, Ma Jian\, Ren Jian\, Geng Jianyi\, Wang Jin\, Wang Jinso ng\, Wang Jun-Jieh\, Pan Xing Lei\, Fang Lijung\, Shu-Min Lin\, Ma Liuming\ , XIAO LU\, Wu Mali\, Phoebe Man (Man Ching Ying)\, Zhang Peili\, Wang Peng \, Tsong Pu\, Wen Pulin\, Shu Qun\, Southern Artists Salon\, Li Shan\, Chen Shun-Chu\, HO Siu-Kee\, Tang Song\, Lin Tian-miao\, Wang Tiande\, Wu Tien- Chang\, Fang Tu\, Liu Wei\, Fang Wei-Wen\, To Weun\, Liu Xiangdong\, Zhang Xiaogang\, Su Xinping\, Yin Xiuzhen\, Mao Xuhui\, Cao Yong\, Huang Yong Pin g\, Song Yonghong\, Song Yongping\, Tim Yu\, Zhang Yu\, Danny Ning Tsun Yun g\, Qiu Zhijie\, Wu Shan Zhuan UID:352008 END:VEVENT BEGIN:VEVENT DESCRIPTION:

For interviews and high resolution images

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Please con tact Susan Bishopric

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THE BISHOPRIC AGENCY

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212 289 2227 susan@susanpr.com

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JILL NEWHOUSE presents

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new work by

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WENDY MARK

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&ldquo\;BEGINNING WITH SQUARE O NE&rdquo\;

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--includin g a site specific installation

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&lsquo\;CloudSpace&rs quo\;

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by AGENCY

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October 1 &ndash\; November 15 2014

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&ldquo\ ;The Fragment/Recollection/Disappearance/Addition/Contrast/Weight and Shado w/The Fugue

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are all explored within the space o f a square &ndash\; beginning with square one.&rdquo\;

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- W endy Mark

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 \; \; \; \; \; \ ; \; \; \; \; \; NEW YORK June 11 - New York gallerist Jill Newhouse (www.jil lnewhouse.com) is delighted to present a multi-media exhibition of new work by Wendy Mark from October 1st to November 15th at her gallery at 4 Ea st 81 Street.

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BEGINNING WITH SQUARE ONE is Wendy Mark&rsquo\;s late st creative expression\, exploring the use of squares as grids\, frames and space\, and as active participants in the construction and decons truction of images. \; The multi-media exhibit of work\, including Mark &rsquo\;s monotypes\, watercolors\, mirror paintings\, photographs\, books\ , and small objects\, alongside a site specific installation by award-winni ng architects AGENCY\, underscores the artist&rsquo\;s interest in collabor ation\, which infuses every one of her projects with special meaning and fi nds new forms for their realization. Each piece in the show explores and el aborates the theme with different material and optical techniques\, engagin g the viewer in a range of relationships to imagery and space.

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Lang uage\, and forms of prose and poems\, have always been at the center of Wen dy Mark&rsquo\;s work. \; Mark explains how each piece contributes to t he syntax of her shows and her entire body of work. \; Working to both refine each image\, and collections of images arranged in a grid\, Mark explains\, &ldquo\;each image is like a line of a poem\, a segment\, or verse of meaning. \; These series of image/lines make up th e poem which is the whole piece\, composed of this row or row of images .&rdquo\;

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BEGINNING WITH SQUARE ONE draws on rich conceptions of drawing and translation methods throughout art history\, while extending known methods into surprising new modes of output. Recurring images of dots and clouds fill the space in gridded compositions and in collect ions of squares and frames. \; Mark adds\, &ldquo\;the idea of permutat ion &ndash\; of how images refer to and impress meaning on each other -- is important to me. The graph and the Renaissance cartoon a re both influences on these images of dots and clouds\, not in terms of tra nsference maps\, but in terms of translation and graphed point s of reference.&rdquo\;

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Certain pieces in the show engage the viewer and the space of the gallery in contributing to the construction of the work. \; Collections of dice present disassembled vignette s of larger images in the show on their faces\, inviting viewers to assembl e three-dimensional reconstructions of the printed images. \; \;&nb sp\;

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 \; \; \; \; \; \; \; \; \ ; \; \; &ldquo\;The viewer\,&rdquo\; Newhouse points out\, &ldquo\; is asked to respond and\, with Mark&rsquo\;s dice\, as in game the ory\, the viewer may rearrange these pieces of 9 or 12 or 100\, as they des ire: to make their own configurations.&rdquo\;

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BEGINNING WITH SQUAR E ONE \;includes the result of a new collaboration\, a site specific in stallation for the Jill Newhouse Gallery based on the spatial implications of Mark&rsquo\;s monotypes. \; Designed and fabricated by AGENCY (www.agencyarchitectur e.com)\, a collaborative interdisciplinary practice engaging contempora ry culture through architecture\, urbanism\, and advocacy\, the architects explore resonances between digital processes and material artifacts shared in their work and the work of Wendy Mark.

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AGENCY principals Ersela Kripa and Stephen Mueller\, winners of the 2010-11 Rome Prize in Architectu re\, explain\, &ldquo\;we are transforming a confined gallery space to crea te the illusion of weightlessness and surprising depth\, translating and de contextualizing Wendy&rsquo\;s clouds into a richly textured\, mul ti-dimensional\, optical and spatial manifold. The installation\, which we call &lsquo\;CloudSpace&rsquo\; intensifies the unexpected depth of space a nd light one is faced with upon encountering Wendy&rsquo\;s clouds\, immers ing the viewer in a specially constructed and choreographed environment. A multi-directional mass-customized screen acts like a room-sized lenticu lar lens\, capitalizing on generative digital design tools and fabrica tion technologies to create multiple new and complex readings of the im age. \; Viewers become complicit in the construction and deconstru ction of spatial images as they move through the space\, revealed through constantly shifting perforations\, opacities\, and reflections gene rated by different viewing angles.&rdquo\;

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 \; \; \;&nb sp\; \; \; \; \; \; \; \; &ldquo\;Our goal\,&rd quo\; the architects explain\, &ldquo\;is to translate the scale of the art work into a three dimensional spatial experience for gallery visit ors\, who will be reflected in the infinitely expansive environment\, captu red in the seemingly weightless clouds. \; The installation ga thers three-dimensional data through the systematic indexing and transforma tion of color and value and then articulates Mark&rsquo\;s vision in a vert ical\, optical\, topography.&rdquo\;

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Newhouse adds that\, &ldquo\;w hen you visit the gallery you will see how well Wendy Mark and AGENCY have exploited similarities between Mark&rsquo\;s material-intensive monotype pr ocess and AGENCY&rsquo\;s virtual analytic and constructive techniques -- b y breaking down Wendy&rsquo\;s clouds into a series of progressive spatial matrices.&rdquo\;

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BEGINNING WITH SQUARE ONE includes sever al visual and intellectual reference points for the observer. &ldquo\;The c onnection to the history of cloud painting is inherent in this installation \,&rdquo\; Mark writes. &ldquo\;My clouds are not taken from the r eal clouds in nature\; I do not paint from Life. \; These image/clo uds are a reinterpretation of the clouds in paintings from the Renaiss ance painters. \; I am looking at the clouds of Pontormo\, Mantegna\, a nd the skies of the Dutch landscape painters as well.&rdquo\; She writes th at &ldquo\;my clouds are a riff on these early skies. \; At the same ti me they refer forward to computer generated dots and information diagrams.& rdquo\;

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In the catalog for the show\, Wendy Mark says\, &ldquo\;one idea is to use scale to reinterpret the Renaissance Landscape: You have to Zoom IN through a small window/frame/turn on the screen. &rdquo\;

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Mark&rsquo\;s work has captured the attention of major col lectors as well as notable museums and institutions. This is Wendy Mark&rsq uo\;s second solo show at the Jill Newhouse gallery\, which showed Wendy Ma rk monotypes in an October\, 2011 exhibition titled &ldquo\;Drive.&rdquo\;& nbsp\; It is the twelfth solo show for the New York-based artist known for her collaborations with writers\, composers\, and choreographers. \;

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Wendy Mark began her career as a writer and received her MFA from the poetry division of Columbia University School of the Arts. She writes\, &l dquo\;reading poems and fiction is intrinsic to my life as well as my work as a painter.&rdquo\; \; Limited edition books are part of her many sol o exhibitions. \; She has repeatedly sought to infuse her work with tho ught-provoking words and images\, forging successful creative collaboration s with Pulitzer Prize-winning poets Mark Strand\, Charles Simic\, Paul Muld oon and David St. John\, and writers such as Adam Gopnik\, Louis Menand\, a nd the Spanish writer\, Javier Marias.

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In an essay by The New Yorke r art critic\, Adam Gopnik\, on Mark&rsquo\;s &lsquo\;Clouds&rsquo\; he ask ed\, &ldquo\;is there possibly the hint of a television screen in her s quared off formats?&rdquo\;

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Wendy Mark has had numerous solo e xhibitions and her monotypes were included in the historical exhibition at The Smithsonian Institution &ldquo\;Singular Impressions: The monotype in A merica.&rdquo\; Other museum shows include The Lyman Allyn Museum in CT.\, The Metropolitan Museum of Art\, NYC and The Hiroshima Museum of Contempora ry Art in Japan. \; Her prints and books are in the collections of The Metropolitan Museum of Art\, the Morgan Library\, The Spenser and Berg coll ections at the New York Public Library and numerous other museums. She is a mong the twenty artists cited by Thomas Hoving in his article in Cigar Aficionado\, "Twenty Artists Who May Be the Picassos and Monets of the 21st Century."

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Hoving\, the former Director of the Metropolitan Mu seum of Art\, was among the first to applaud Mark's monotypes. In his catal ogue essay for her show\, "A New Shade of Blue" at the Lyman Allan Museum h e writes:

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Her latest works demonstrate a further maturing of he r subtle skills and are all about contradictory sensations &ndash\; the eph ermal in her pieces\, some deliberately murky thoughts as well as crystal r ealities. \; Super evocation! \; In every work there&rsquo\;s a mas terful combination of delicacy and force and weightiness and light-as-air f reedom. \; It doesn&rsquo\;t matter what the work is\, every resplenden t one crackles with energy and drama and embodies a simply astounding sense of release and celebration.

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Paul LeClerc\, the former Preside nt of The New York Public Library\, says of her work in his essay for Mark' s exhibition\, The Steamroller Project\, a large scale monotype ma de in Central Park:

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One finds\, I think\, in nearly all of her work something akin to Baudelaire&rsquo\;s &lsquo\;Invitation to the Voyage \,&rsquo\; where Mark invites us to join her in venturing into new\, seduct ive\, and mysterious landscapes\, filled with the arresting colors of Turne r or the nuanced palate of Stieglitz&rsquo\;s &lsquo\;Equivalents.

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The Pulitzer Prize-winning poet\, Charles Simic\, writes in his introd uction to their collaboration limited edition book\, Wendy's Pinball\, published by Glenn Horowitz B ookseller:

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One only needs to divide a blank piece of paper with a line of the horizon and the imagination starts working. \; Soon ther e are fields and clouds\; there is a solitary tree\, the changing light of the day and the seasons with their colors. \; Wendy Mark&rsquo\;s monot ypes remind us of those moments when we make our world larger by meaning.

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 \; \; \; \; \; \; \; \; \;  \; \; Jill Newhouse says\, &ldquo\;Wendy Mark&rsquo\;s art transfo rms traditional\, classical imagery and makes it current. The skies and clo uds of Constable and Turner become the dots and grids of the 21st century.& rdquo\;

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Wendy Mark | &lsquo\;BEGINNING WITH SQUARE ONE&rsquo\; | Exhibition

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Wendy Mark returns to her &lsquo\;cloud referenced&rsquo\; images to express what can take place within a square. \; The show includes monot ypes\, watercolors\, photographs\, mirror paintings and dice. &ldquo\;Begin ning With Square One&rdquo\; refers to the more common phrase &lsquo\;back to square one&rsquo\; but changes the emphasis\, from starting over to the more intense and intentional focus on the &lsquo\;square as a frame&rsquo\; and as a series of expressions. \;

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The BEGINNI NG WITH SQUARE ONE exhibition at the Jill Newhouse gallery also includes We ndy Mark&rsquo\;s new &lsquo\;Mirror&rsquo\; \;paintings.  \; Inspired by Jeff Koons&rsquo\; bright\, shiny\, reflective surface sculp tures\, these paintings of rose/cloud forms of gesso and enamel include the viewer within the image\, as they are reflected in these surfaces the clos er they get to the image. \; Mark has been taken by Koons&rsquo\; sculp ture for many years and this year walked past the Christmas red &ldquo\;Ven us&rdquo\; sculpture at Sotheby&rsquo\;s and was &ldquo\;forced\,&rdquo\; s he says\, to try to work on this new\, non-porous\, and bright surface\, in her case\, on Mirror paper\, which she found at NY Central Supply.

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AGENCY | &lsquo\;CloudSpace&rsquo\; | Site Specific Instal lation

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AGENCY transforms a confined gallery space t o create the illusion of weightlessness and surprising depth\, translating and decontextualizing Wendy&rsquo\;s clouds into a richly textured \, multi-dimensional\, optical and spatial manifold. The installation inten sifies an unexpected depth of space and light\, immersing the viewer in a s pecially constructed and choreographed environment. A multi-directional mas s-customized screen acts like a room-sized lenticular lens\, creat ing multiple new and complex readings of the image. \; Viewers become complicit in the construction and deconstruction of spatial ima ges as they move through the space\, revealed through constantly shift ing perforations\, opacities\, and reflections generated by different viewi ng angles.

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AGENCY is an award-winning architectural design and research practice known for transforming spaces\, sites and sys tems by working within and against each context&rsquo\;s limitations and co nstraints. The work of the practice ranges from speculative research and ur ban policy proposals to commissioned architectural projects\, film\, photog raphy\, and public art installations. AGENCY was awarded the 2010 ONE Prize \; the 2010-11 Rome Prize in Architecture and has been invited to participa te in the Venice Biennale\, Sofia Architecture Week\, Eme3 International Ar chitectural Market and SUPERFRONT in Los Angeles.

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J ILL NEWHOUSE GALLERY

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 \;

\n

Jill Newhouse gallery was esta blished in 1980 and is devoted to the exhibition and sale of Works of Art o n Paper. \; Jill Newhouse is a fourth generation art dealer and a found ing member and past president of the Private Art Dealers Association (PADA. net). \; She has also been a member of the Art Dealers Association of A merica (ADAA) and is a Member of the Visiting Committee\, Dept. of Prints a nd Drawings\, Metropolitan Museum of Art\; a member of the Council of Fello ws\, Pierpont Morgan Library (2003-2007)\, and a member of the Morgan&rsquo \;s Visiting Committee\, Department of Prints and Drawings.

\n

 \;

\n

This is Wendy Mark&rsquo\;s second solo show at the Jill Newhouse gallery\, which showed Wendy Mark monotypes in an October\, 2011 exhibition titled &ldquo\;Drive.&rdquo\; Jill Newhouse Gallery is delighted to once a gain be hosting her latest series of works.

\n

 \;

\n

WE SUPP ORT STUDIO IN A SCHOOL

\n

 \;

\n

Twenty percent of sale proce eds will benefit STUDIO IN A SCHOOL\, a 36-year partnership with the New Yo rk City Department of Education that allows professional artists to teach v isual arts to hundreds of thousands of New York City children in under-serv ed public schools\, daycare centers\, and community-based organizations.&nb sp\; STUDIO IN A SCHOOL offers quality art workshops where children explore their creativity and learn the joys and benefits of making art. \; Pro grams offered are for Pre-K through college\, including internships for hig h school and college students. \; Studio is a nationally recognized lea der in arts education. \;

\n

 \;

\n

If You Go

\n

 \;

\n

&ldquo\;BEGINNING WITH SQUARE ONE&rdquo\;

\n

&nb sp\;

\n

New work by Wendy Mark at Jill Newhouse Gallery

\n

includ ing a site-specific installation by AGENCY

\n

 \;

\n

Octo ber 1st to November 15th 2014

\n

 \;

\n

Jill Newhouse Ga llery

\n

4 East 81 Street

\n

New York NY 10028

\n

212 249 92 16

\n

 \;

\n

Monday to Friday 10am to 5:30pm or by appointmen t

\n

www.jillnewh ouse.com mail drop@jillnewhouse.com

\n

 \;

\n

Please contact Susan Bish opric for High resolution images and interviews&hellip\;

\n

THE BISHOP RIC AGENCY 212 289 2227 s usan@susanpr.com

\n

 \;

DTEND:20141115 DTSTAMP:20140821T112300 DTSTART:20141001 GEO:40.777966;-73.962263 LOCATION:Jill Newhouse Gallery\,4 East 81st Street \nNew York\, NY 10028 SEQUENCE:0 SUMMARY:Wendy Mark BEGINNING WITH SQUARE ONE\, Wendy Mark UID:351909 END:VEVENT BEGIN:VEVENT DTEND:20141001T200000 DTSTAMP:20140821T112300 DTSTART:20141001T180000 GEO:40.777966;-73.962263 LOCATION:Jill Newhouse Gallery\,4 East 81st Street \nNew York\, NY 10028 SEQUENCE:0 SUMMARY:Wendy Mark BEGINNING WITH SQUARE ONE\, Wendy Mark UID:351910 END:VEVENT BEGIN:VEVENT DESCRIPTION:

For interviews and high resolution images

\n

Please con tact Susan Bishopric

\n

THE BISHOPRIC AGENCY

\n

212 289 2227 susan@susanpr.com

\n

 \;

\n

 \;

\n

JILL NEWHOUSE presents

\ n

new work by

\n

 \;

\n

WENDY MARK

\n

&ldquo\;BEGINNING WITH SQUARE O NE&rdquo\;

\n

 \;

\n

--includin g a site specific installation

\n

&lsquo\;CloudSpace&rs quo\;

\n

by AGENCY

\n

 \;

\n

October 1 &ndash\; November 15 2014

\n

 \;

\n

 \;

\n

&ldquo\ ;The Fragment/Recollection/Disappearance/Addition/Contrast/Weight and Shado w/The Fugue

\n

are all explored within the space o f a square &ndash\; beginning with square one.&rdquo\;

\n

- W endy Mark

\n

 \;

\n

 \; \; \; \; \; \ ; \; \; \; \; \; NEW YORK June 11 - New York gallerist Jill Newhouse (www.jil lnewhouse.com) is delighted to present a multi-media exhibition of new work by Wendy Mark from October 1st to November 15th at her gallery at 4 Ea st 81 Street.

\n

BEGINNING WITH SQUARE ONE is Wendy Mark&rsquo\;s late st creative expression\, exploring the use of squares as grids\, frames and space\, and as active participants in the construction and decons truction of images. \; The multi-media exhibit of work\, including Mark &rsquo\;s monotypes\, watercolors\, mirror paintings\, photographs\, books\ , and small objects\, alongside a site specific installation by award-winni ng architects AGENCY\, underscores the artist&rsquo\;s interest in collabor ation\, which infuses every one of her projects with special meaning and fi nds new forms for their realization. Each piece in the show explores and el aborates the theme with different material and optical techniques\, engagin g the viewer in a range of relationships to imagery and space.

\n

Lang uage\, and forms of prose and poems\, have always been at the center of Wen dy Mark&rsquo\;s work. \; Mark explains how each piece contributes to t he syntax of her shows and her entire body of work. \; Working to both refine each image\, and collections of images arranged in a grid\, Mark explains\, &ldquo\;each image is like a line of a poem\, a segment\, or verse of meaning. \; These series of image/lines make up th e poem which is the whole piece\, composed of this row or row of images .&rdquo\;

\n

BEGINNING WITH SQUARE ONE draws on rich conceptions of drawing and translation methods throughout art history\, while extending known methods into surprising new modes of output. Recurring images of dots and clouds fill the space in gridded compositions and in collect ions of squares and frames. \; Mark adds\, &ldquo\;the idea of permutat ion &ndash\; of how images refer to and impress meaning on each other -- is important to me. The graph and the Renaissance cartoon a re both influences on these images of dots and clouds\, not in terms of tra nsference maps\, but in terms of translation and graphed point s of reference.&rdquo\;

\n

Certain pieces in the show engage the viewer and the space of the gallery in contributing to the construction of the work. \; Collections of dice present disassembled vignette s of larger images in the show on their faces\, inviting viewers to assembl e three-dimensional reconstructions of the printed images. \; \;&nb sp\;

\n

 \; \; \; \; \; \; \; \; \ ; \; \; &ldquo\;The viewer\,&rdquo\; Newhouse points out\, &ldquo\; is asked to respond and\, with Mark&rsquo\;s dice\, as in game the ory\, the viewer may rearrange these pieces of 9 or 12 or 100\, as they des ire: to make their own configurations.&rdquo\;

\n

BEGINNING WITH SQUAR E ONE \;includes the result of a new collaboration\, a site specific in stallation for the Jill Newhouse Gallery based on the spatial implications of Mark&rsquo\;s monotypes. \; Designed and fabricated by AGENCY (www.agencyarchitectur e.com)\, a collaborative interdisciplinary practice engaging contempora ry culture through architecture\, urbanism\, and advocacy\, the architects explore resonances between digital processes and material artifacts shared in their work and the work of Wendy Mark.

\n

AGENCY principals Ersela Kripa and Stephen Mueller\, winners of the 2010-11 Rome Prize in Architectu re\, explain\, &ldquo\;we are transforming a confined gallery space to crea te the illusion of weightlessness and surprising depth\, translating and de contextualizing Wendy&rsquo\;s clouds into a richly textured\, mul ti-dimensional\, optical and spatial manifold. The installation\, which we call &lsquo\;CloudSpace&rsquo\; intensifies the unexpected depth of space a nd light one is faced with upon encountering Wendy&rsquo\;s clouds\, immers ing the viewer in a specially constructed and choreographed environment. A multi-directional mass-customized screen acts like a room-sized lenticu lar lens\, capitalizing on generative digital design tools and fabrica tion technologies to create multiple new and complex readings of the im age. \; Viewers become complicit in the construction and deconstru ction of spatial images as they move through the space\, revealed through constantly shifting perforations\, opacities\, and reflections gene rated by different viewing angles.&rdquo\;

\n

 \; \; \;&nb sp\; \; \; \; \; \; \; \; &ldquo\;Our goal\,&rd quo\; the architects explain\, &ldquo\;is to translate the scale of the art work into a three dimensional spatial experience for gallery visit ors\, who will be reflected in the infinitely expansive environment\, captu red in the seemingly weightless clouds. \; The installation ga thers three-dimensional data through the systematic indexing and transforma tion of color and value and then articulates Mark&rsquo\;s vision in a vert ical\, optical\, topography.&rdquo\;

\n

Newhouse adds that\, &ldquo\;w hen you visit the gallery you will see how well Wendy Mark and AGENCY have exploited similarities between Mark&rsquo\;s material-intensive monotype pr ocess and AGENCY&rsquo\;s virtual analytic and constructive techniques -- b y breaking down Wendy&rsquo\;s clouds into a series of progressive spatial matrices.&rdquo\;

\n

BEGINNING WITH SQUARE ONE includes sever al visual and intellectual reference points for the observer. &ldquo\;The c onnection to the history of cloud painting is inherent in this installation \,&rdquo\; Mark writes. &ldquo\;My clouds are not taken from the r eal clouds in nature\; I do not paint from Life. \; These image/clo uds are a reinterpretation of the clouds in paintings from the Renaiss ance painters. \; I am looking at the clouds of Pontormo\, Mantegna\, a nd the skies of the Dutch landscape painters as well.&rdquo\; She writes th at &ldquo\;my clouds are a riff on these early skies. \; At the same ti me they refer forward to computer generated dots and information diagrams.& rdquo\;

\n

In the catalog for the show\, Wendy Mark says\, &ldquo\;one idea is to use scale to reinterpret the Renaissance Landscape: You have to Zoom IN through a small window/frame/turn on the screen. &rdquo\;

\n

Mark&rsquo\;s work has captured the attention of major col lectors as well as notable museums and institutions. This is Wendy Mark&rsq uo\;s second solo show at the Jill Newhouse gallery\, which showed Wendy Ma rk monotypes in an October\, 2011 exhibition titled &ldquo\;Drive.&rdquo\;& nbsp\; It is the twelfth solo show for the New York-based artist known for her collaborations with writers\, composers\, and choreographers. \;

\n

Wendy Mark began her career as a writer and received her MFA from the poetry division of Columbia University School of the Arts. She writes\, &l dquo\;reading poems and fiction is intrinsic to my life as well as my work as a painter.&rdquo\; \; Limited edition books are part of her many sol o exhibitions. \; She has repeatedly sought to infuse her work with tho ught-provoking words and images\, forging successful creative collaboration s with Pulitzer Prize-winning poets Mark Strand\, Charles Simic\, Paul Muld oon and David St. John\, and writers such as Adam Gopnik\, Louis Menand\, a nd the Spanish writer\, Javier Marias.

\n

In an essay by The New Yorke r art critic\, Adam Gopnik\, on Mark&rsquo\;s &lsquo\;Clouds&rsquo\; he ask ed\, &ldquo\;is there possibly the hint of a television screen in her s quared off formats?&rdquo\;

\n

Wendy Mark has had numerous solo e xhibitions and her monotypes were included in the historical exhibition at The Smithsonian Institution &ldquo\;Singular Impressions: The monotype in A merica.&rdquo\; Other museum shows include The Lyman Allyn Museum in CT.\, The Metropolitan Museum of Art\, NYC and The Hiroshima Museum of Contempora ry Art in Japan. \; Her prints and books are in the collections of The Metropolitan Museum of Art\, the Morgan Library\, The Spenser and Berg coll ections at the New York Public Library and numerous other museums. She is a mong the twenty artists cited by Thomas Hoving in his article in Cigar Aficionado\, "Twenty Artists Who May Be the Picassos and Monets of the 21st Century."

\n

Hoving\, the former Director of the Metropolitan Mu seum of Art\, was among the first to applaud Mark's monotypes. In his catal ogue essay for her show\, "A New Shade of Blue" at the Lyman Allan Museum h e writes:

\n

Her latest works demonstrate a further maturing of he r subtle skills and are all about contradictory sensations &ndash\; the eph ermal in her pieces\, some deliberately murky thoughts as well as crystal r ealities. \; Super evocation! \; In every work there&rsquo\;s a mas terful combination of delicacy and force and weightiness and light-as-air f reedom. \; It doesn&rsquo\;t matter what the work is\, every resplenden t one crackles with energy and drama and embodies a simply astounding sense of release and celebration.

\n

Paul LeClerc\, the former Preside nt of The New York Public Library\, says of her work in his essay for Mark' s exhibition\, The Steamroller Project\, a large scale monotype ma de in Central Park:

\n

One finds\, I think\, in nearly all of her work something akin to Baudelaire&rsquo\;s &lsquo\;Invitation to the Voyage \,&rsquo\; where Mark invites us to join her in venturing into new\, seduct ive\, and mysterious landscapes\, filled with the arresting colors of Turne r or the nuanced palate of Stieglitz&rsquo\;s &lsquo\;Equivalents.

\n

The Pulitzer Prize-winning poet\, Charles Simic\, writes in his introd uction to their collaboration limited edition book\, Wendy's Pinball\, published by Glenn Horowitz B ookseller:

\n

One only needs to divide a blank piece of paper with a line of the horizon and the imagination starts working. \; Soon ther e are fields and clouds\; there is a solitary tree\, the changing light of the day and the seasons with their colors. \; Wendy Mark&rsquo\;s monot ypes remind us of those moments when we make our world larger by meaning.

\n

 \; \; \; \; \; \; \; \; \;  \; \; Jill Newhouse says\, &ldquo\;Wendy Mark&rsquo\;s art transfo rms traditional\, classical imagery and makes it current. The skies and clo uds of Constable and Turner become the dots and grids of the 21st century.& rdquo\;

\n

 \;

\n

 \;

\n

 \;

\n

Wendy Mark | &lsquo\;BEGINNING WITH SQUARE ONE&rsquo\; | Exhibition

\n

 \;

\n

Wendy Mark returns to her &lsquo\;cloud referenced&rsquo\; images to express what can take place within a square. \; The show includes monot ypes\, watercolors\, photographs\, mirror paintings and dice. &ldquo\;Begin ning With Square One&rdquo\; refers to the more common phrase &lsquo\;back to square one&rsquo\; but changes the emphasis\, from starting over to the more intense and intentional focus on the &lsquo\;square as a frame&rsquo\; and as a series of expressions. \;

\n

 \;

\n

The BEGINNI NG WITH SQUARE ONE exhibition at the Jill Newhouse gallery also includes We ndy Mark&rsquo\;s new &lsquo\;Mirror&rsquo\; \;paintings.  \; Inspired by Jeff Koons&rsquo\; bright\, shiny\, reflective surface sculp tures\, these paintings of rose/cloud forms of gesso and enamel include the viewer within the image\, as they are reflected in these surfaces the clos er they get to the image. \; Mark has been taken by Koons&rsquo\; sculp ture for many years and this year walked past the Christmas red &ldquo\;Ven us&rdquo\; sculpture at Sotheby&rsquo\;s and was &ldquo\;forced\,&rdquo\; s he says\, to try to work on this new\, non-porous\, and bright surface\, in her case\, on Mirror paper\, which she found at NY Central Supply.

\n

 \;

\n

AGENCY | &lsquo\;CloudSpace&rsquo\; | Site Specific Instal lation

\n

 \;

\n

AGENCY transforms a confined gallery space t o create the illusion of weightlessness and surprising depth\, translating and decontextualizing Wendy&rsquo\;s clouds into a richly textured \, multi-dimensional\, optical and spatial manifold. The installation inten sifies an unexpected depth of space and light\, immersing the viewer in a s pecially constructed and choreographed environment. A multi-directional mas s-customized screen acts like a room-sized lenticular lens\, creat ing multiple new and complex readings of the image. \; Viewers become complicit in the construction and deconstruction of spatial ima ges as they move through the space\, revealed through constantly shift ing perforations\, opacities\, and reflections generated by different viewi ng angles.

\n

 \;

\n

AGENCY is an award-winning architectural design and research practice known for transforming spaces\, sites and sys tems by working within and against each context&rsquo\;s limitations and co nstraints. The work of the practice ranges from speculative research and ur ban policy proposals to commissioned architectural projects\, film\, photog raphy\, and public art installations. AGENCY was awarded the 2010 ONE Prize \; the 2010-11 Rome Prize in Architecture and has been invited to participa te in the Venice Biennale\, Sofia Architecture Week\, Eme3 International Ar chitectural Market and SUPERFRONT in Los Angeles.

\n

 \;

\n

J ILL NEWHOUSE GALLERY

\n

 \;

\n

Jill Newhouse gallery was esta blished in 1980 and is devoted to the exhibition and sale of Works of Art o n Paper. \; Jill Newhouse is a fourth generation art dealer and a found ing member and past president of the Private Art Dealers Association (PADA. net). \; She has also been a member of the Art Dealers Association of A merica (ADAA) and is a Member of the Visiting Committee\, Dept. of Prints a nd Drawings\, Metropolitan Museum of Art\; a member of the Council of Fello ws\, Pierpont Morgan Library (2003-2007)\, and a member of the Morgan&rsquo \;s Visiting Committee\, Department of Prints and Drawings.

\n

 \;

\n

This is Wendy Mark&rsquo\;s second solo show at the Jill Newhouse gallery\, which showed Wendy Mark monotypes in an October\, 2011 exhibition titled &ldquo\;Drive.&rdquo\; Jill Newhouse Gallery is delighted to once a gain be hosting her latest series of works.

\n

 \;

\n

WE SUPP ORT STUDIO IN A SCHOOL

\n

 \;

\n

Twenty percent of sale proce eds will benefit STUDIO IN A SCHOOL\, a 36-year partnership with the New Yo rk City Department of Education that allows professional artists to teach v isual arts to hundreds of thousands of New York City children in under-serv ed public schools\, daycare centers\, and community-based organizations.&nb sp\; STUDIO IN A SCHOOL offers quality art workshops where children explore their creativity and learn the joys and benefits of making art. \; Pro grams offered are for Pre-K through college\, including internships for hig h school and college students. \; Studio is a nationally recognized lea der in arts education. \;

\n

 \;

\n

If You Go

\n

 \;

\n

&ldquo\;BEGINNING WITH SQUARE ONE&rdquo\;

\n

&nb sp\;

\n

New work by Wendy Mark at Jill Newhouse Gallery

\n

includ ing a site-specific installation by AGENCY

\n

 \;

\n

Octo ber 1st to November 15th 2014

\n

 \;

\n

Jill Newhouse Ga llery

\n

4 East 81 Street

\n

New York NY 10028

\n

212 249 92 16

\n

 \;

\n

Monday to Friday 10am to 5:30pm or by appointmen t

\n

www.jillnewh ouse.com mail drop@jillnewhouse.com

\n

 \;

\n

Please contact Susan Bish opric for High resolution images and interviews&hellip\;

\n

THE BISHOP RIC AGENCY 212 289 2227 s usan@susanpr.com

\n

 \;

DTEND:20141115 DTSTAMP:20140821T112300 DTSTART:20141001 GEO:40.777966;-73.962263 LOCATION:Jill Newhouse Gallery\,4 East 81st Street \nNew York\, NY 10028 SEQUENCE:0 SUMMARY:Wendy Mark BEGINNING WITH SQUARE ONE\, Wendy Mark UID:351907 END:VEVENT BEGIN:VEVENT DTEND:20141001T200000 DTSTAMP:20140821T112300 DTSTART:20141001T180000 GEO:40.777966;-73.962263 LOCATION:Jill Newhouse Gallery\,4 East 81st Street \nNew York\, NY 10028 SEQUENCE:0 SUMMARY:Wendy Mark BEGINNING WITH SQUARE ONE\, Wendy Mark UID:351908 END:VEVENT BEGIN:VEVENT DESCRIPTION:

For interviews and high resolution images

\n

Please con tact Susan Bishopric

\n

THE BISHOPRIC AGENCY

\n

212 289 2227 susan@susanpr.com

\n

 \;

\n

 \;

\n

JILL NEWHOUSE presents

\ n

new work by

\n

 \;

\n

WENDY MARK

\n

&ldquo\;BEGINNING WITH SQUARE O NE&rdquo\;

\n

 \;

\n

--includin g a site specific installation

\n

&lsquo\;CloudSpace&rs quo\;

\n

by AGENCY

\n

 \;

\n

October 1 &ndash\; November 15 2014

\n

 \;

\n

 \;

\n

&ldquo\ ;The Fragment/Recollection/Disappearance/Addition/Contrast/Weight and Shado w/The Fugue

\n

are all explored within the space o f a square &ndash\; beginning with square one.&rdquo\;

\n

- W endy Mark

\n

 \;

\n

 \; \; \; \; \; \ ; \; \; \; \; \; NEW YORK June 11 - New York gallerist Jill Newhouse (www.jil lnewhouse.com) is delighted to present a multi-media exhibition of new work by Wendy Mark from October 1st to November 15th at her gallery at 4 Ea st 81 Street.

\n

BEGINNING WITH SQUARE ONE is Wendy Mark&rsquo\;s late st creative expression\, exploring the use of squares as grids\, frames and space\, and as active participants in the construction and decons truction of images. \; The multi-media exhibit of work\, including Mark &rsquo\;s monotypes\, watercolors\, mirror paintings\, photographs\, books\ , and small objects\, alongside a site specific installation by award-winni ng architects AGENCY\, underscores the artist&rsquo\;s interest in collabor ation\, which infuses every one of her projects with special meaning and fi nds new forms for their realization. Each piece in the show explores and el aborates the theme with different material and optical techniques\, engagin g the viewer in a range of relationships to imagery and space.

\n

Lang uage\, and forms of prose and poems\, have always been at the center of Wen dy Mark&rsquo\;s work. \; Mark explains how each piece contributes to t he syntax of her shows and her entire body of work. \; Working to both refine each image\, and collections of images arranged in a grid\, Mark explains\, &ldquo\;each image is like a line of a poem\, a segment\, or verse of meaning. \; These series of image/lines make up th e poem which is the whole piece\, composed of this row or row of images .&rdquo\;

\n

BEGINNING WITH SQUARE ONE draws on rich conceptions of drawing and translation methods throughout art history\, while extending known methods into surprising new modes of output. Recurring images of dots and clouds fill the space in gridded compositions and in collect ions of squares and frames. \; Mark adds\, &ldquo\;the idea of permutat ion &ndash\; of how images refer to and impress meaning on each other -- is important to me. The graph and the Renaissance cartoon a re both influences on these images of dots and clouds\, not in terms of tra nsference maps\, but in terms of translation and graphed point s of reference.&rdquo\;

\n

Certain pieces in the show engage the viewer and the space of the gallery in contributing to the construction of the work. \; Collections of dice present disassembled vignette s of larger images in the show on their faces\, inviting viewers to assembl e three-dimensional reconstructions of the printed images. \; \;&nb sp\;

\n

 \; \; \; \; \; \; \; \; \ ; \; \; &ldquo\;The viewer\,&rdquo\; Newhouse points out\, &ldquo\; is asked to respond and\, with Mark&rsquo\;s dice\, as in game the ory\, the viewer may rearrange these pieces of 9 or 12 or 100\, as they des ire: to make their own configurations.&rdquo\;

\n

BEGINNING WITH SQUAR E ONE \;includes the result of a new collaboration\, a site specific in stallation for the Jill Newhouse Gallery based on the spatial implications of Mark&rsquo\;s monotypes. \; Designed and fabricated by AGENCY (www.agencyarchitectur e.com)\, a collaborative interdisciplinary practice engaging contempora ry culture through architecture\, urbanism\, and advocacy\, the architects explore resonances between digital processes and material artifacts shared in their work and the work of Wendy Mark.

\n

AGENCY principals Ersela Kripa and Stephen Mueller\, winners of the 2010-11 Rome Prize in Architectu re\, explain\, &ldquo\;we are transforming a confined gallery space to crea te the illusion of weightlessness and surprising depth\, translating and de contextualizing Wendy&rsquo\;s clouds into a richly textured\, mul ti-dimensional\, optical and spatial manifold. The installation\, which we call &lsquo\;CloudSpace&rsquo\; intensifies the unexpected depth of space a nd light one is faced with upon encountering Wendy&rsquo\;s clouds\, immers ing the viewer in a specially constructed and choreographed environment. A multi-directional mass-customized screen acts like a room-sized lenticu lar lens\, capitalizing on generative digital design tools and fabrica tion technologies to create multiple new and complex readings of the im age. \; Viewers become complicit in the construction and deconstru ction of spatial images as they move through the space\, revealed through constantly shifting perforations\, opacities\, and reflections gene rated by different viewing angles.&rdquo\;

\n

 \; \; \;&nb sp\; \; \; \; \; \; \; \; &ldquo\;Our goal\,&rd quo\; the architects explain\, &ldquo\;is to translate the scale of the art work into a three dimensional spatial experience for gallery visit ors\, who will be reflected in the infinitely expansive environment\, captu red in the seemingly weightless clouds. \; The installation ga thers three-dimensional data through the systematic indexing and transforma tion of color and value and then articulates Mark&rsquo\;s vision in a vert ical\, optical\, topography.&rdquo\;

\n

Newhouse adds that\, &ldquo\;w hen you visit the gallery you will see how well Wendy Mark and AGENCY have exploited similarities between Mark&rsquo\;s material-intensive monotype pr ocess and AGENCY&rsquo\;s virtual analytic and constructive techniques -- b y breaking down Wendy&rsquo\;s clouds into a series of progressive spatial matrices.&rdquo\;

\n

BEGINNING WITH SQUARE ONE includes sever al visual and intellectual reference points for the observer. &ldquo\;The c onnection to the history of cloud painting is inherent in this installation \,&rdquo\; Mark writes. &ldquo\;My clouds are not taken from the r eal clouds in nature\; I do not paint from Life. \; These image/clo uds are a reinterpretation of the clouds in paintings from the Renaiss ance painters. \; I am looking at the clouds of Pontormo\, Mantegna\, a nd the skies of the Dutch landscape painters as well.&rdquo\; She writes th at &ldquo\;my clouds are a riff on these early skies. \; At the same ti me they refer forward to computer generated dots and information diagrams.& rdquo\;

\n

In the catalog for the show\, Wendy Mark says\, &ldquo\;one idea is to use scale to reinterpret the Renaissance Landscape: You have to Zoom IN through a small window/frame/turn on the screen. &rdquo\;

\n

Mark&rsquo\;s work has captured the attention of major col lectors as well as notable museums and institutions. This is Wendy Mark&rsq uo\;s second solo show at the Jill Newhouse gallery\, which showed Wendy Ma rk monotypes in an October\, 2011 exhibition titled &ldquo\;Drive.&rdquo\;& nbsp\; It is the twelfth solo show for the New York-based artist known for her collaborations with writers\, composers\, and choreographers. \;

\n

Wendy Mark began her career as a writer and received her MFA from the poetry division of Columbia University School of the Arts. She writes\, &l dquo\;reading poems and fiction is intrinsic to my life as well as my work as a painter.&rdquo\; \; Limited edition books are part of her many sol o exhibitions. \; She has repeatedly sought to infuse her work with tho ught-provoking words and images\, forging successful creative collaboration s with Pulitzer Prize-winning poets Mark Strand\, Charles Simic\, Paul Muld oon and David St. John\, and writers such as Adam Gopnik\, Louis Menand\, a nd the Spanish writer\, Javier Marias.

\n

In an essay by The New Yorke r art critic\, Adam Gopnik\, on Mark&rsquo\;s &lsquo\;Clouds&rsquo\; he ask ed\, &ldquo\;is there possibly the hint of a television screen in her s quared off formats?&rdquo\;

\n

Wendy Mark has had numerous solo e xhibitions and her monotypes were included in the historical exhibition at The Smithsonian Institution &ldquo\;Singular Impressions: The monotype in A merica.&rdquo\; Other museum shows include The Lyman Allyn Museum in CT.\, The Metropolitan Museum of Art\, NYC and The Hiroshima Museum of Contempora ry Art in Japan. \; Her prints and books are in the collections of The Metropolitan Museum of Art\, the Morgan Library\, The Spenser and Berg coll ections at the New York Public Library and numerous other museums. She is a mong the twenty artists cited by Thomas Hoving in his article in Cigar Aficionado\, "Twenty Artists Who May Be the Picassos and Monets of the 21st Century."

\n

Hoving\, the former Director of the Metropolitan Mu seum of Art\, was among the first to applaud Mark's monotypes. In his catal ogue essay for her show\, "A New Shade of Blue" at the Lyman Allan Museum h e writes:

\n

Her latest works demonstrate a further maturing of he r subtle skills and are all about contradictory sensations &ndash\; the eph ermal in her pieces\, some deliberately murky thoughts as well as crystal r ealities. \; Super evocation! \; In every work there&rsquo\;s a mas terful combination of delicacy and force and weightiness and light-as-air f reedom. \; It doesn&rsquo\;t matter what the work is\, every resplenden t one crackles with energy and drama and embodies a simply astounding sense of release and celebration.

\n

Paul LeClerc\, the former Preside nt of The New York Public Library\, says of her work in his essay for Mark' s exhibition\, The Steamroller Project\, a large scale monotype ma de in Central Park:

\n

One finds\, I think\, in nearly all of her work something akin to Baudelaire&rsquo\;s &lsquo\;Invitation to the Voyage \,&rsquo\; where Mark invites us to join her in venturing into new\, seduct ive\, and mysterious landscapes\, filled with the arresting colors of Turne r or the nuanced palate of Stieglitz&rsquo\;s &lsquo\;Equivalents.

\n

The Pulitzer Prize-winning poet\, Charles Simic\, writes in his introd uction to their collaboration limited edition book\, Wendy's Pinball\, published by Glenn Horowitz B ookseller:

\n

One only needs to divide a blank piece of paper with a line of the horizon and the imagination starts working. \; Soon ther e are fields and clouds\; there is a solitary tree\, the changing light of the day and the seasons with their colors. \; Wendy Mark&rsquo\;s monot ypes remind us of those moments when we make our world larger by meaning.

\n

 \; \; \; \; \; \; \; \; \;  \; \; Jill Newhouse says\, &ldquo\;Wendy Mark&rsquo\;s art transfo rms traditional\, classical imagery and makes it current. The skies and clo uds of Constable and Turner become the dots and grids of the 21st century.& rdquo\;

\n

 \;

\n

 \;

\n

 \;

\n

Wendy Mark | &lsquo\;BEGINNING WITH SQUARE ONE&rsquo\; | Exhibition

\n

 \;

\n

Wendy Mark returns to her &lsquo\;cloud referenced&rsquo\; images to express what can take place within a square. \; The show includes monot ypes\, watercolors\, photographs\, mirror paintings and dice. &ldquo\;Begin ning With Square One&rdquo\; refers to the more common phrase &lsquo\;back to square one&rsquo\; but changes the emphasis\, from starting over to the more intense and intentional focus on the &lsquo\;square as a frame&rsquo\; and as a series of expressions. \;

\n

 \;

\n

The BEGINNI NG WITH SQUARE ONE exhibition at the Jill Newhouse gallery also includes We ndy Mark&rsquo\;s new &lsquo\;Mirror&rsquo\; \;paintings.  \; Inspired by Jeff Koons&rsquo\; bright\, shiny\, reflective surface sculp tures\, these paintings of rose/cloud forms of gesso and enamel include the viewer within the image\, as they are reflected in these surfaces the clos er they get to the image. \; Mark has been taken by Koons&rsquo\; sculp ture for many years and this year walked past the Christmas red &ldquo\;Ven us&rdquo\; sculpture at Sotheby&rsquo\;s and was &ldquo\;forced\,&rdquo\; s he says\, to try to work on this new\, non-porous\, and bright surface\, in her case\, on Mirror paper\, which she found at NY Central Supply.

\n

 \;

\n

AGENCY | &lsquo\;CloudSpace&rsquo\; | Site Specific Instal lation

\n

 \;

\n

AGENCY transforms a confined gallery space t o create the illusion of weightlessness and surprising depth\, translating and decontextualizing Wendy&rsquo\;s clouds into a richly textured \, multi-dimensional\, optical and spatial manifold. The installation inten sifies an unexpected depth of space and light\, immersing the viewer in a s pecially constructed and choreographed environment. A multi-directional mas s-customized screen acts like a room-sized lenticular lens\, creat ing multiple new and complex readings of the image. \; Viewers become complicit in the construction and deconstruction of spatial ima ges as they move through the space\, revealed through constantly shift ing perforations\, opacities\, and reflections generated by different viewi ng angles.

\n

 \;

\n

AGENCY is an award-winning architectural design and research practice known for transforming spaces\, sites and sys tems by working within and against each context&rsquo\;s limitations and co nstraints. The work of the practice ranges from speculative research and ur ban policy proposals to commissioned architectural projects\, film\, photog raphy\, and public art installations. AGENCY was awarded the 2010 ONE Prize \; the 2010-11 Rome Prize in Architecture and has been invited to participa te in the Venice Biennale\, Sofia Architecture Week\, Eme3 International Ar chitectural Market and SUPERFRONT in Los Angeles.

\n

 \;

\n

J ILL NEWHOUSE GALLERY

\n

 \;

\n

Jill Newhouse gallery was esta blished in 1980 and is devoted to the exhibition and sale of Works of Art o n Paper. \; Jill Newhouse is a fourth generation art dealer and a found ing member and past president of the Private Art Dealers Association (PADA. net). \; She has also been a member of the Art Dealers Association of A merica (ADAA) and is a Member of the Visiting Committee\, Dept. of Prints a nd Drawings\, Metropolitan Museum of Art\; a member of the Council of Fello ws\, Pierpont Morgan Library (2003-2007)\, and a member of the Morgan&rsquo \;s Visiting Committee\, Department of Prints and Drawings.

\n

 \;

\n

This is Wendy Mark&rsquo\;s second solo show at the Jill Newhouse gallery\, which showed Wendy Mark monotypes in an October\, 2011 exhibition titled &ldquo\;Drive.&rdquo\; Jill Newhouse Gallery is delighted to once a gain be hosting her latest series of works.

\n

 \;

\n

WE SUPP ORT STUDIO IN A SCHOOL

\n

 \;

\n

Twenty percent of sale proce eds will benefit STUDIO IN A SCHOOL\, a 36-year partnership with the New Yo rk City Department of Education that allows professional artists to teach v isual arts to hundreds of thousands of New York City children in under-serv ed public schools\, daycare centers\, and community-based organizations.&nb sp\; STUDIO IN A SCHOOL offers quality art workshops where children explore their creativity and learn the joys and benefits of making art. \; Pro grams offered are for Pre-K through college\, including internships for hig h school and college students. \; Studio is a nationally recognized lea der in arts education. \;

\n

 \;

\n

If You Go

\n

 \;

\n

&ldquo\;BEGINNING WITH SQUARE ONE&rdquo\;

\n

&nb sp\;

\n

New work by Wendy Mark at Jill Newhouse Gallery

\n

includ ing a site-specific installation by AGENCY

\n

 \;

\n

Octo ber 1st to November 15th 2014

\n

 \;

\n

Jill Newhouse Ga llery

\n

4 East 81 Street

\n

New York NY 10028

\n

212 249 92 16

\n

 \;

\n

Monday to Friday 10am to 5:30pm or by appointmen t

\n

www.jillnewh ouse.com mail drop@jillnewhouse.com

\n

 \;

\n

Please contact Susan Bish opric for High resolution images and interviews&hellip\;

\n

THE BISHOP RIC AGENCY 212 289 2227 s usan@susanpr.com

\n

 \;

DTEND:20141115 DTSTAMP:20140821T112300 DTSTART:20141001 GEO:40.777966;-73.962263 LOCATION:Jill Newhouse Gallery\,4 East 81st Street \nNew York\, NY 10028 SEQUENCE:0 SUMMARY:Wendy Mark BEGINNING WITH SQUARE ONE\, Wendy Mark UID:351905 END:VEVENT BEGIN:VEVENT DTEND:20141001T200000 DTSTAMP:20140821T112300 DTSTART:20141001T180000 GEO:40.777966;-73.962263 LOCATION:Jill Newhouse Gallery\,4 East 81st Street \nNew York\, NY 10028 SEQUENCE:0 SUMMARY:Wendy Mark BEGINNING WITH SQUARE ONE\, Wendy Mark UID:351906 END:VEVENT BEGIN:VEVENT DESCRIPTION:

For interviews and high resolution images

\n

Please con tact Susan Bishopric

\n

THE BISHOPRIC AGENCY

\n

212 289 2227 susan@susanpr.com

\n

 \;

\n

 \;

\n

JILL NEWHOUSE presents

\ n

new work by

\n

 \;

\n

WENDY MARK

\n

&ldquo\;BEGINNING WITH SQUARE O NE&rdquo\;

\n

 \;

\n

--includin g a site specific installation

\n

&lsquo\;CloudSpace&rs quo\;

\n

by AGENCY

\n

 \;

\n

October 1 &ndash\; November 15 2014

\n

 \;

\n

 \;

\n

&ldquo\ ;The Fragment/Recollection/Disappearance/Addition/Contrast/Weight and Shado w/The Fugue

\n

are all explored within the space o f a square &ndash\; beginning with square one.&rdquo\;

\n

- W endy Mark

\n

 \;

\n

 \; \; \; \; \; \ ; \; \; \; \; \; NEW YORK June 11 - New York gallerist Jill Newhouse (www.jil lnewhouse.com) is delighted to present a multi-media exhibition of new work by Wendy Mark from October 1st to November 15th at her gallery at 4 Ea st 81 Street.

\n

BEGINNING WITH SQUARE ONE is Wendy Mark&rsquo\;s late st creative expression\, exploring the use of squares as grids\, frames and space\, and as active participants in the construction and decons truction of images. \; The multi-media exhibit of work\, including Mark &rsquo\;s monotypes\, watercolors\, mirror paintings\, photographs\, books\ , and small objects\, alongside a site specific installation by award-winni ng architects AGENCY\, underscores the artist&rsquo\;s interest in collabor ation\, which infuses every one of her projects with special meaning and fi nds new forms for their realization. Each piece in the show explores and el aborates the theme with different material and optical techniques\, engagin g the viewer in a range of relationships to imagery and space.

\n

Lang uage\, and forms of prose and poems\, have always been at the center of Wen dy Mark&rsquo\;s work. \; Mark explains how each piece contributes to t he syntax of her shows and her entire body of work. \; Working to both refine each image\, and collections of images arranged in a grid\, Mark explains\, &ldquo\;each image is like a line of a poem\, a segment\, or verse of meaning. \; These series of image/lines make up th e poem which is the whole piece\, composed of this row or row of images .&rdquo\;

\n

BEGINNING WITH SQUARE ONE draws on rich conceptions of drawing and translation methods throughout art history\, while extending known methods into surprising new modes of output. Recurring images of dots and clouds fill the space in gridded compositions and in collect ions of squares and frames. \; Mark adds\, &ldquo\;the idea of permutat ion &ndash\; of how images refer to and impress meaning on each other -- is important to me. The graph and the Renaissance cartoon a re both influences on these images of dots and clouds\, not in terms of tra nsference maps\, but in terms of translation and graphed point s of reference.&rdquo\;

\n

Certain pieces in the show engage the viewer and the space of the gallery in contributing to the construction of the work. \; Collections of dice present disassembled vignette s of larger images in the show on their faces\, inviting viewers to assembl e three-dimensional reconstructions of the printed images. \; \;&nb sp\;

\n

 \; \; \; \; \; \; \; \; \ ; \; \; &ldquo\;The viewer\,&rdquo\; Newhouse points out\, &ldquo\; is asked to respond and\, with Mark&rsquo\;s dice\, as in game the ory\, the viewer may rearrange these pieces of 9 or 12 or 100\, as they des ire: to make their own configurations.&rdquo\;

\n

BEGINNING WITH SQUAR E ONE \;includes the result of a new collaboration\, a site specific in stallation for the Jill Newhouse Gallery based on the spatial implications of Mark&rsquo\;s monotypes. \; Designed and fabricated by AGENCY (www.agencyarchitectur e.com)\, a collaborative interdisciplinary practice engaging contempora ry culture through architecture\, urbanism\, and advocacy\, the architects explore resonances between digital processes and material artifacts shared in their work and the work of Wendy Mark.

\n

AGENCY principals Ersela Kripa and Stephen Mueller\, winners of the 2010-11 Rome Prize in Architectu re\, explain\, &ldquo\;we are transforming a confined gallery space to crea te the illusion of weightlessness and surprising depth\, translating and de contextualizing Wendy&rsquo\;s clouds into a richly textured\, mul ti-dimensional\, optical and spatial manifold. The installation\, which we call &lsquo\;CloudSpace&rsquo\; intensifies the unexpected depth of space a nd light one is faced with upon encountering Wendy&rsquo\;s clouds\, immers ing the viewer in a specially constructed and choreographed environment. A multi-directional mass-customized screen acts like a room-sized lenticu lar lens\, capitalizing on generative digital design tools and fabrica tion technologies to create multiple new and complex readings of the im age. \; Viewers become complicit in the construction and deconstru ction of spatial images as they move through the space\, revealed through constantly shifting perforations\, opacities\, and reflections gene rated by different viewing angles.&rdquo\;

\n

 \; \; \;&nb sp\; \; \; \; \; \; \; \; &ldquo\;Our goal\,&rd quo\; the architects explain\, &ldquo\;is to translate the scale of the art work into a three dimensional spatial experience for gallery visit ors\, who will be reflected in the infinitely expansive environment\, captu red in the seemingly weightless clouds. \; The installation ga thers three-dimensional data through the systematic indexing and transforma tion of color and value and then articulates Mark&rsquo\;s vision in a vert ical\, optical\, topography.&rdquo\;

\n

Newhouse adds that\, &ldquo\;w hen you visit the gallery you will see how well Wendy Mark and AGENCY have exploited similarities between Mark&rsquo\;s material-intensive monotype pr ocess and AGENCY&rsquo\;s virtual analytic and constructive techniques -- b y breaking down Wendy&rsquo\;s clouds into a series of progressive spatial matrices.&rdquo\;

\n

BEGINNING WITH SQUARE ONE includes sever al visual and intellectual reference points for the observer. &ldquo\;The c onnection to the history of cloud painting is inherent in this installation \,&rdquo\; Mark writes. &ldquo\;My clouds are not taken from the r eal clouds in nature\; I do not paint from Life. \; These image/clo uds are a reinterpretation of the clouds in paintings from the Renaiss ance painters. \; I am looking at the clouds of Pontormo\, Mantegna\, a nd the skies of the Dutch landscape painters as well.&rdquo\; She writes th at &ldquo\;my clouds are a riff on these early skies. \; At the same ti me they refer forward to computer generated dots and information diagrams.& rdquo\;

\n

In the catalog for the show\, Wendy Mark says\, &ldquo\;one idea is to use scale to reinterpret the Renaissance Landscape: You have to Zoom IN through a small window/frame/turn on the screen. &rdquo\;

\n

Mark&rsquo\;s work has captured the attention of major col lectors as well as notable museums and institutions. This is Wendy Mark&rsq uo\;s second solo show at the Jill Newhouse gallery\, which showed Wendy Ma rk monotypes in an October\, 2011 exhibition titled &ldquo\;Drive.&rdquo\;& nbsp\; It is the twelfth solo show for the New York-based artist known for her collaborations with writers\, composers\, and choreographers. \;

\n

Wendy Mark began her career as a writer and received her MFA from the poetry division of Columbia University School of the Arts. She writes\, &l dquo\;reading poems and fiction is intrinsic to my life as well as my work as a painter.&rdquo\; \; Limited edition books are part of her many sol o exhibitions. \; She has repeatedly sought to infuse her work with tho ught-provoking words and images\, forging successful creative collaboration s with Pulitzer Prize-winning poets Mark Strand\, Charles Simic\, Paul Muld oon and David St. John\, and writers such as Adam Gopnik\, Louis Menand\, a nd the Spanish writer\, Javier Marias.

\n

In an essay by The New Yorke r art critic\, Adam Gopnik\, on Mark&rsquo\;s &lsquo\;Clouds&rsquo\; he ask ed\, &ldquo\;is there possibly the hint of a television screen in her s quared off formats?&rdquo\;

\n

Wendy Mark has had numerous solo e xhibitions and her monotypes were included in the historical exhibition at The Smithsonian Institution &ldquo\;Singular Impressions: The monotype in A merica.&rdquo\; Other museum shows include The Lyman Allyn Museum in CT.\, The Metropolitan Museum of Art\, NYC and The Hiroshima Museum of Contempora ry Art in Japan. \; Her prints and books are in the collections of The Metropolitan Museum of Art\, the Morgan Library\, The Spenser and Berg coll ections at the New York Public Library and numerous other museums. She is a mong the twenty artists cited by Thomas Hoving in his article in Cigar Aficionado\, "Twenty Artists Who May Be the Picassos and Monets of the 21st Century."

\n

Hoving\, the former Director of the Metropolitan Mu seum of Art\, was among the first to applaud Mark's monotypes. In his catal ogue essay for her show\, "A New Shade of Blue" at the Lyman Allan Museum h e writes:

\n

Her latest works demonstrate a further maturing of he r subtle skills and are all about contradictory sensations &ndash\; the eph ermal in her pieces\, some deliberately murky thoughts as well as crystal r ealities. \; Super evocation! \; In every work there&rsquo\;s a mas terful combination of delicacy and force and weightiness and light-as-air f reedom. \; It doesn&rsquo\;t matter what the work is\, every resplenden t one crackles with energy and drama and embodies a simply astounding sense of release and celebration.

\n

Paul LeClerc\, the former Preside nt of The New York Public Library\, says of her work in his essay for Mark' s exhibition\, The Steamroller Project\, a large scale monotype ma de in Central Park:

\n

One finds\, I think\, in nearly all of her work something akin to Baudelaire&rsquo\;s &lsquo\;Invitation to the Voyage \,&rsquo\; where Mark invites us to join her in venturing into new\, seduct ive\, and mysterious landscapes\, filled with the arresting colors of Turne r or the nuanced palate of Stieglitz&rsquo\;s &lsquo\;Equivalents.

\n

The Pulitzer Prize-winning poet\, Charles Simic\, writes in his introd uction to their collaboration limited edition book\, Wendy's Pinball\, published by Glenn Horowitz B ookseller:

\n

One only needs to divide a blank piece of paper with a line of the horizon and the imagination starts working. \; Soon ther e are fields and clouds\; there is a solitary tree\, the changing light of the day and the seasons with their colors. \; Wendy Mark&rsquo\;s monot ypes remind us of those moments when we make our world larger by meaning.

\n

 \; \; \; \; \; \; \; \; \;  \; \; Jill Newhouse says\, &ldquo\;Wendy Mark&rsquo\;s art transfo rms traditional\, classical imagery and makes it current. The skies and clo uds of Constable and Turner become the dots and grids of the 21st century.& rdquo\;

\n

 \;

\n

 \;

\n

 \;

\n

Wendy Mark | &lsquo\;BEGINNING WITH SQUARE ONE&rsquo\; | Exhibition

\n

 \;

\n

Wendy Mark returns to her &lsquo\;cloud referenced&rsquo\; images to express what can take place within a square. \; The show includes monot ypes\, watercolors\, photographs\, mirror paintings and dice. &ldquo\;Begin ning With Square One&rdquo\; refers to the more common phrase &lsquo\;back to square one&rsquo\; but changes the emphasis\, from starting over to the more intense and intentional focus on the &lsquo\;square as a frame&rsquo\; and as a series of expressions. \;

\n

 \;

\n

The BEGINNI NG WITH SQUARE ONE exhibition at the Jill Newhouse gallery also includes We ndy Mark&rsquo\;s new &lsquo\;Mirror&rsquo\; \;paintings.  \; Inspired by Jeff Koons&rsquo\; bright\, shiny\, reflective surface sculp tures\, these paintings of rose/cloud forms of gesso and enamel include the viewer within the image\, as they are reflected in these surfaces the clos er they get to the image. \; Mark has been taken by Koons&rsquo\; sculp ture for many years and this year walked past the Christmas red &ldquo\;Ven us&rdquo\; sculpture at Sotheby&rsquo\;s and was &ldquo\;forced\,&rdquo\; s he says\, to try to work on this new\, non-porous\, and bright surface\, in her case\, on Mirror paper\, which she found at NY Central Supply.

\n

 \;

\n

AGENCY | &lsquo\;CloudSpace&rsquo\; | Site Specific Instal lation

\n

 \;

\n

AGENCY transforms a confined gallery space t o create the illusion of weightlessness and surprising depth\, translating and decontextualizing Wendy&rsquo\;s clouds into a richly textured \, multi-dimensional\, optical and spatial manifold. The installation inten sifies an unexpected depth of space and light\, immersing the viewer in a s pecially constructed and choreographed environment. A multi-directional mas s-customized screen acts like a room-sized lenticular lens\, creat ing multiple new and complex readings of the image. \; Viewers become complicit in the construction and deconstruction of spatial ima ges as they move through the space\, revealed through constantly shift ing perforations\, opacities\, and reflections generated by different viewi ng angles.

\n

 \;

\n

AGENCY is an award-winning architectural design and research practice known for transforming spaces\, sites and sys tems by working within and against each context&rsquo\;s limitations and co nstraints. The work of the practice ranges from speculative research and ur ban policy proposals to commissioned architectural projects\, film\, photog raphy\, and public art installations. AGENCY was awarded the 2010 ONE Prize \; the 2010-11 Rome Prize in Architecture and has been invited to participa te in the Venice Biennale\, Sofia Architecture Week\, Eme3 International Ar chitectural Market and SUPERFRONT in Los Angeles.

\n

 \;

\n

J ILL NEWHOUSE GALLERY

\n

 \;

\n

Jill Newhouse gallery was esta blished in 1980 and is devoted to the exhibition and sale of Works of Art o n Paper. \; Jill Newhouse is a fourth generation art dealer and a found ing member and past president of the Private Art Dealers Association (PADA. net). \; She has also been a member of the Art Dealers Association of A merica (ADAA) and is a Member of the Visiting Committee\, Dept. of Prints a nd Drawings\, Metropolitan Museum of Art\; a member of the Council of Fello ws\, Pierpont Morgan Library (2003-2007)\, and a member of the Morgan&rsquo \;s Visiting Committee\, Department of Prints and Drawings.

\n

 \;

\n

This is Wendy Mark&rsquo\;s second solo show at the Jill Newhouse gallery\, which showed Wendy Mark monotypes in an October\, 2011 exhibition titled &ldquo\;Drive.&rdquo\; Jill Newhouse Gallery is delighted to once a gain be hosting her latest series of works.

\n

 \;

\n

WE SUPP ORT STUDIO IN A SCHOOL

\n

 \;

\n

Twenty percent of sale proce eds will benefit STUDIO IN A SCHOOL\, a 36-year partnership with the New Yo rk City Department of Education that allows professional artists to teach v isual arts to hundreds of thousands of New York City children in under-serv ed public schools\, daycare centers\, and community-based organizations.&nb sp\; STUDIO IN A SCHOOL offers quality art workshops where children explore their creativity and learn the joys and benefits of making art. \; Pro grams offered are for Pre-K through college\, including internships for hig h school and college students. \; Studio is a nationally recognized lea der in arts education. \;

\n

 \;

\n

If You Go

\n

 \;

\n

&ldquo\;BEGINNING WITH SQUARE ONE&rdquo\;

\n

&nb sp\;

\n

New work by Wendy Mark at Jill Newhouse Gallery

\n

includ ing a site-specific installation by AGENCY

\n

 \;

\n

Octo ber 1st to November 15th 2014

\n

 \;

\n

Jill Newhouse Ga llery

\n

4 East 81 Street

\n

New York NY 10028

\n

212 249 92 16

\n

 \;

\n

Monday to Friday 10am to 5:30pm or by appointmen t

\n

www.jillnewh ouse.com mail drop@jillnewhouse.com

\n

 \;

\n

Please contact Susan Bish opric for High resolution images and interviews&hellip\;

\n

THE BISHOP RIC AGENCY 212 289 2227 s usan@susanpr.com

\n

 \;

DTEND:20141115 DTSTAMP:20140821T112300 DTSTART:20141001 GEO:40.777966;-73.962263 LOCATION:Jill Newhouse Gallery\,4 East 81st Street \nNew York\, NY 10028 SEQUENCE:0 SUMMARY:Wendy Mark BEGINNING WITH SQUARE ONE\, Wendy Mark UID:351901 END:VEVENT BEGIN:VEVENT DTEND:20141001T200000 DTSTAMP:20140821T112300 DTSTART:20141001T180000 GEO:40.777966;-73.962263 LOCATION:Jill Newhouse Gallery\,4 East 81st Street \nNew York\, NY 10028 SEQUENCE:0 SUMMARY:Wendy Mark BEGINNING WITH SQUARE ONE\, Wendy Mark UID:351902 END:VEVENT BEGIN:VEVENT DESCRIPTION:

For interviews and high resolution images\n

Please contact Susan Bishopric

\n

THE BISHOPRIC AGENCY

\n

212 289 2227 susan@susanpr.com

\n

 \;

\n

 \;

\n

Guarapuava

\n

 \;

\n

VALDIR CRUZ

\n

 \;

\n

at

\n

 \;

\n

< strong>Throckmorton Fine Art

\n

 \ ;

\n

September 18 &ndash\; November 1< /strong>

\n

 \;

\n

&l dquo\;Over many years Valdir Cruz and his master printer\, Leonard Bergson\ , have developed a proprietary printing process by which to create exquisit e large-format pigment on paper artworks. The emotional nuances and excepti onal quality of these original prints catapults them into a niche all their own.&rdquo\;

\n

&ndash\; Spencer Throckmorton

\n

 \;

\n

NEW YORK June 9 2014 - Throckmorton Fine Art (www.throckmorton-nyc.com)

\n

announces an exhibition of photographs by Guggenh eim Award winning Brazilian

\n

photographer Valdir Cr uz (born 1954 - \; \; \; \; \; \; ) at its New York gallery from September 18 to November 1\, 2014.

\n

& ldquo\;Guarapuava&rdquo\; is Throckmorton Fine Art&rsquo\;s sixth solo exhi bition of works by the documentary-photographer\, Valdir Cruz\, and one tha t is the culmination of a thirty-year project.

\n

Sp encer Throckmorton says\, &ldquo\;Cruz&rsquo\;s exquisite photographic essa y on &lsquo\;Guarapuava\,&rsquo\; the photographer&rsquo\;s hometown\, bear s out Tolstoy&rsquo\;s observation that to be universal one only needs to t alk about his own village. With unremitting devotion\, Cruz has chronicled the lives and lifestyles of this ephemeral and evocative place. The images are the result of his close investigation of its people and landscapes.&rdq uo\;

\n

Among highlights &ndash\; &ldquo\;Guarapuava &rdquo\; showcases a photograph entitled\, &ldquo\;Gypsy Woman I.&rdquo\; I t is not merely a portrait\; it is a confrontation. As though her unkempt h air\, her

\n

shirt of asymmetric wildflowers and her pose of apparent control were not enough\, what grabs the viewer&rsquo\;s a ttention is her perturbing gaze.

\n

In &ldquo\;Trope ada I&rdquo\; the photographer immortalizes an extinct way of life as

\n

gauchos and cattle recede into the horizon. The distinc tive landscapes and magnificent waterfalls of the region complement this bo dy of work.

\n

Although Throckmorton Fine Art is know n for its silver\, platinum\, and vintage prints\, this exhibition is a col lection of large-format pigment on paper. Over the course of twelve years\, Cruz and his master printer\, Leonard Bergson\, have developed a proprieta ry printing process by which to create exquisite original artworks. The exc eptional quality of these prints catapults them into a niche of their own.

\n

&ldquo\;Hands&rdquo\; beautifully represents the absolute wide range of black and gray tones&mdash\;from delicate charcoal s hades to pitch darkness&mdash\;resulting in a striking composition. It is a lso a visual and cultural commentary of a solitary gesture that models huma n complexity.

\n

Spencer Throckmorton adds that\, &ld quo\;The photographs that comprise this body of work are his most collected \; they have been acquired by The Museum of Modern Art in New York City\, t he New York Public Library\, the Brooklyn Museum\, the Museum of Fine Arts in Houston\, the Museu de Arte de Sã\;o Paulo\, and other institution s and private collections.&rdquo\;

\n

 \; \;& nbsp\; \; \; \; \; \; \; \; \; Valdir Cruz says\, &ldquo\;I have a great appreciation for Spencer Throckmorton and Kra ige Block. \; They have given me opportunities in my life because they believe in my work and welcome the chance to show it. Spencer is a gentlema n and a good listener. \; He is also a very strong man and very generou s. \; He knows his trade so well\; I have never met anybody like him.&r dquo\;

\n

Cruz was born in Guarapuava\, in the Southe rn State of Paraná\;\, in 1954. Although Cruz has lived in the United States for more than thirty years\, much of his work in photography has fo cused on the people and landscape of Brazil. He was awarded a Guggenheim Fe llowship in 1996 for Faces of the Rainforest\, a project documenting the life

\n

of i ndigenous people in the Brazilian rainforest from 1995 to 2000. Cruz shares his time between his studios in New York City and Sã\;o Paulo.

\n

VALDIR CRUZ

\n

It has been said t hat Cruz&rsquo\;s interest in photography began when he first viewed some o f George Stone&rsquo\;s photographs in National Geographic magazines in the 1970s. &ldquo\;Stone was a master teacher and it is thanks to him that I b ecame a photographer.&rdquo\;  \;Cruz adds that it was George Tice who helped him become a good printer. At the Germain School he studied photogra phy\, but he gained technical skills from George Tice at the New School for Social Research\, in New York. He later collaborated with Tice in the auth orized production of two important Edward Steichen portfolios\, Juxtapo sitions (1986) and Blue Skies (1987) before focusing largely on his own works. \; Valdir Cruz developed a deep understanding of how 20th century photographers such as Edward Steichen and Horst P. Horst expressed their creativity in photography. He says\, &ldquo\;Mr Horst was not only a great photographer\, but a gentleman. \; I remember the 80&rsquo\;s with affection. \; Those were years of learning and growin g tremendously in my vision - \; and photography &ndash\; and in my lif e! \; Those were the years dedicated to New York City&hellip\;and learn ing photography.&rdquo\; \; Valdir Cruz&rsquo\;s work has been the subj ect of more than fifty solo exhibitions.

\n

 \;

\n

THROCKMORTON FINE ART

\n

For 25 years Throckmorton Fine Art has specialized in vintage and contemporary photography of the Americas with a primary focus on Latin American talents.  \; The gallery&rsquo\;s founder\, Spencer Throckmorton\, has also purs ued a long held interest in Chinese Jades and Pre-Columbian Art and Throckm orton has staged important exhibitions and published numerous publications on these subjects. \; Throckmorton Fine Art is a featured exhibitor at the world&rsquo\;s leading art fairs. \; Spencer Throckmorton and Kraig e Block are also recognized for their extraordinary photography collection including strong works of museum quality by luminaries such as Tina Modotti \, Manual Alvarez Bravo\, Edward Weston and Martin Chambi\, among many tale nts they have supported in the past quarter century. \;

\n

 \;

\n

VALDIR CRUZ publications includ e:

\n

 \;

\n

Bonito: Confins do Novo Mundo (Rio de Janeir o: Capivara Editora\, 2010)\, sponsored by BNP Paribas.

\n

Raí\;zes: Á\;rvores na paisagem do Estado de Sã\;o Paulo (Sã\;o Paulo: Impr ensa Oficial\, 2010).

\n

O cam inho das á\;guas (Sã\;o Paulo: Cosac & \; Naify\, 2007)\; with a sponsorship by the Stickel Foundation.\n

Carnaval\, Salvador\, Bahia 1995&ndas h\;2005 (New York: Throckmorton Fine Art\, 2005).

\n

Faces da Floresta: Os Yanomami (Sã\;o Paulo: Cosac &\; Naify\, 2004).

\n

Faces of the Rainforest: The Yanomami (Ne w York: powerHouse\, 2002)\; with the support of a publication

\n

subvention awarded by the Guggenheim Foundation in 2000\,

\n

Faces of the Rainforest (New York: Throckmorton Fine Art\, 1997)\;

\n

Catedral Basilica de Nossa Senhora da Luz do s Pinhais (New York: Brave Wolf Publishing\, 1996)\; with the support

\n

of Associaç\;ã\;o Cul tural Avelino A. Vieira &ndash\; Banco Bamerindus

\n

Book available: Guarapuava: Inte rview by Anne Wilkes Tucker\, Essay by Rubens Fernandes Junior: $75

\n

 \;

\n

IF YOU GO

\n

 \;

\n

&ldquo\;Guarapuava&rdq uo\;

\n

 \;

\n

VALDIR C RUZ

\n

at Throckmorton Fine Art

\n

 \;

\n

September 18th & ndash\; November 1st\, 2014

\n

 \;

\n

Throckmorton Fine Art

\n

145 E. 57th Stree t\, 3rd fl. New York\, NY 10022

\n

T. 212. 223. 1059 F. 212. 223. 1937

\n

Info@throckmorton-nyc.com www.throckmorton-nyc.com

\n

Tuesday &ndash\; Saturday 11 am to 5 pm

\n

 \;

\n

 \;

\n

Please contact Susan Bishopric for High resolution images of the attached

\n

VALDIR CRUZ images\, and interviews&hel lip\;

\n

THE BISHOPRIC AGENCY 212 289 2227 susan@susanpr.com

DTEND:20141101 DTSTAMP:20140821T112300 DTSTART:20140918 GEO:40.760955;-73.968441 LOCATION:Throckmorton Fine Art\,145 EAST 57th STREET\, 3RD FLOOR \nNEW YORK \, NEW YORK 10022 SEQUENCE:0 SUMMARY:Valdir Cruz GUARAPUAVA 30 year docu-essay in photographs\, Valdir C ruz UID:351899 END:VEVENT BEGIN:VEVENT DTEND:20140918T200000 DTSTAMP:20140821T112300 DTSTART:20140918T180000 GEO:40.760955;-73.968441 LOCATION:Throckmorton Fine Art\,145 EAST 57th STREET\, 3RD FLOOR \nNEW YORK \, NEW YORK 10022 SEQUENCE:0 SUMMARY:Valdir Cruz GUARAPUAVA 30 year docu-essay in photographs\, Valdir C ruz UID:351900 END:VEVENT BEGIN:VEVENT DESCRIPTION:

For interviews and high resolution images\n

Please contact Susan Bishopric

\n

THE BISHOPRIC AGENCY

\n

212 289 2227 susan@susanpr.com

\n

 \;

\n

 \;

\n

Guarapuava

\n

 \;

\n

VALDIR CRUZ

\n

 \;

\n

at

\n

 \;

\n

< strong>Throckmorton Fine Art

\n

 \ ;

\n

September 18 &ndash\; November 1< /strong>

\n

 \;

\n

&l dquo\;Over many years Valdir Cruz and his master printer\, Leonard Bergson\ , have developed a proprietary printing process by which to create exquisit e large-format pigment on paper artworks. The emotional nuances and excepti onal quality of these original prints catapults them into a niche all their own.&rdquo\;

\n

&ndash\; Spencer Throckmorton

\n

 \;

\n

NEW YORK June 9 2014 - Throckmorton Fine Art (www.throckmorton-nyc.com)

\n

announces an exhibition of photographs by Guggenh eim Award winning Brazilian

\n

photographer Valdir Cr uz (born 1954 - \; \; \; \; \; \; ) at its New York gallery from September 18 to November 1\, 2014.

\n

& ldquo\;Guarapuava&rdquo\; is Throckmorton Fine Art&rsquo\;s sixth solo exhi bition of works by the documentary-photographer\, Valdir Cruz\, and one tha t is the culmination of a thirty-year project.

\n

Sp encer Throckmorton says\, &ldquo\;Cruz&rsquo\;s exquisite photographic essa y on &lsquo\;Guarapuava\,&rsquo\; the photographer&rsquo\;s hometown\, bear s out Tolstoy&rsquo\;s observation that to be universal one only needs to t alk about his own village. With unremitting devotion\, Cruz has chronicled the lives and lifestyles of this ephemeral and evocative place. The images are the result of his close investigation of its people and landscapes.&rdq uo\;

\n

Among highlights &ndash\; &ldquo\;Guarapuava &rdquo\; showcases a photograph entitled\, &ldquo\;Gypsy Woman I.&rdquo\; I t is not merely a portrait\; it is a confrontation. As though her unkempt h air\, her

\n

shirt of asymmetric wildflowers and her pose of apparent control were not enough\, what grabs the viewer&rsquo\;s a ttention is her perturbing gaze.

\n

In &ldquo\;Trope ada I&rdquo\; the photographer immortalizes an extinct way of life as

\n

gauchos and cattle recede into the horizon. The distinc tive landscapes and magnificent waterfalls of the region complement this bo dy of work.

\n

Although Throckmorton Fine Art is know n for its silver\, platinum\, and vintage prints\, this exhibition is a col lection of large-format pigment on paper. Over the course of twelve years\, Cruz and his master printer\, Leonard Bergson\, have developed a proprieta ry printing process by which to create exquisite original artworks. The exc eptional quality of these prints catapults them into a niche of their own.

\n

&ldquo\;Hands&rdquo\; beautifully represents the absolute wide range of black and gray tones&mdash\;from delicate charcoal s hades to pitch darkness&mdash\;resulting in a striking composition. It is a lso a visual and cultural commentary of a solitary gesture that models huma n complexity.

\n

Spencer Throckmorton adds that\, &ld quo\;The photographs that comprise this body of work are his most collected \; they have been acquired by The Museum of Modern Art in New York City\, t he New York Public Library\, the Brooklyn Museum\, the Museum of Fine Arts in Houston\, the Museu de Arte de Sã\;o Paulo\, and other institution s and private collections.&rdquo\;

\n

 \; \;& nbsp\; \; \; \; \; \; \; \; \; Valdir Cruz says\, &ldquo\;I have a great appreciation for Spencer Throckmorton and Kra ige Block. \; They have given me opportunities in my life because they believe in my work and welcome the chance to show it. Spencer is a gentlema n and a good listener. \; He is also a very strong man and very generou s. \; He knows his trade so well\; I have never met anybody like him.&r dquo\;

\n

Cruz was born in Guarapuava\, in the Southe rn State of Paraná\;\, in 1954. Although Cruz has lived in the United States for more than thirty years\, much of his work in photography has fo cused on the people and landscape of Brazil. He was awarded a Guggenheim Fe llowship in 1996 for Faces of the Rainforest\, a project documenting the life

\n

of i ndigenous people in the Brazilian rainforest from 1995 to 2000. Cruz shares his time between his studios in New York City and Sã\;o Paulo.

\n

VALDIR CRUZ

\n

It has been said t hat Cruz&rsquo\;s interest in photography began when he first viewed some o f George Stone&rsquo\;s photographs in National Geographic magazines in the 1970s. &ldquo\;Stone was a master teacher and it is thanks to him that I b ecame a photographer.&rdquo\;  \;Cruz adds that it was George Tice who helped him become a good printer. At the Germain School he studied photogra phy\, but he gained technical skills from George Tice at the New School for Social Research\, in New York. He later collaborated with Tice in the auth orized production of two important Edward Steichen portfolios\, Juxtapo sitions (1986) and Blue Skies (1987) before focusing largely on his own works. \; Valdir Cruz developed a deep understanding of how 20th century photographers such as Edward Steichen and Horst P. Horst expressed their creativity in photography. He says\, &ldquo\;Mr Horst was not only a great photographer\, but a gentleman. \; I remember the 80&rsquo\;s with affection. \; Those were years of learning and growin g tremendously in my vision - \; and photography &ndash\; and in my lif e! \; Those were the years dedicated to New York City&hellip\;and learn ing photography.&rdquo\; \; Valdir Cruz&rsquo\;s work has been the subj ect of more than fifty solo exhibitions.

\n

 \;

\n

THROCKMORTON FINE ART

\n

For 25 years Throckmorton Fine Art has specialized in vintage and contemporary photography of the Americas with a primary focus on Latin American talents.  \; The gallery&rsquo\;s founder\, Spencer Throckmorton\, has also purs ued a long held interest in Chinese Jades and Pre-Columbian Art and Throckm orton has staged important exhibitions and published numerous publications on these subjects. \; Throckmorton Fine Art is a featured exhibitor at the world&rsquo\;s leading art fairs. \; Spencer Throckmorton and Kraig e Block are also recognized for their extraordinary photography collection including strong works of museum quality by luminaries such as Tina Modotti \, Manual Alvarez Bravo\, Edward Weston and Martin Chambi\, among many tale nts they have supported in the past quarter century. \;

\n

 \;

\n

VALDIR CRUZ publications includ e:

\n

 \;

\n

Bonito: Confins do Novo Mundo (Rio de Janeir o: Capivara Editora\, 2010)\, sponsored by BNP Paribas.

\n

Raí\;zes: Á\;rvores na paisagem do Estado de Sã\;o Paulo (Sã\;o Paulo: Impr ensa Oficial\, 2010).

\n

O cam inho das á\;guas (Sã\;o Paulo: Cosac & \; Naify\, 2007)\; with a sponsorship by the Stickel Foundation.\n

Carnaval\, Salvador\, Bahia 1995&ndas h\;2005 (New York: Throckmorton Fine Art\, 2005).

\n

Faces da Floresta: Os Yanomami (Sã\;o Paulo: Cosac &\; Naify\, 2004).

\n

Faces of the Rainforest: The Yanomami (Ne w York: powerHouse\, 2002)\; with the support of a publication

\n

subvention awarded by the Guggenheim Foundation in 2000\,

\n

Faces of the Rainforest (New York: Throckmorton Fine Art\, 1997)\;

\n

Catedral Basilica de Nossa Senhora da Luz do s Pinhais (New York: Brave Wolf Publishing\, 1996)\; with the support

\n

of Associaç\;ã\;o Cul tural Avelino A. Vieira &ndash\; Banco Bamerindus

\n

Book available: Guarapuava: Inte rview by Anne Wilkes Tucker\, Essay by Rubens Fernandes Junior: $75

\n

 \;

\n

IF YOU GO

\n

 \;

\n

&ldquo\;Guarapuava&rdq uo\;

\n

 \;

\n

VALDIR C RUZ

\n

at Throckmorton Fine Art

\n

 \;

\n

September 18th & ndash\; November 1st\, 2014

\n

 \;

\n

Throckmorton Fine Art

\n

145 E. 57th Stree t\, 3rd fl. New York\, NY 10022

\n

T. 212. 223. 1059 F. 212. 223. 1937

\n

Info@throckmorton-nyc.com www.throckmorton-nyc.com

\n

Tuesday &ndash\; Saturday 11 am to 5 pm

\n

 \;

\n

 \;

\n

Please contact Susan Bishopric for High resolution images of the attached

\n

VALDIR CRUZ images\, and interviews&hel lip\;

\n

THE BISHOPRIC AGENCY 212 289 2227 susan@susanpr.com

DTEND:20141101 DTSTAMP:20140821T112300 DTSTART:20140918 GEO:40.760955;-73.968441 LOCATION:Throckmorton Fine Art\,145 EAST 57th STREET\, 3RD FLOOR \nNEW YORK \, NEW YORK 10022 SEQUENCE:0 SUMMARY:Valdir Cruz GUARAPUAVA 30 year docu-essay in photographs\, Valdir C ruz UID:351897 END:VEVENT BEGIN:VEVENT DTEND:20140918T200000 DTSTAMP:20140821T112300 DTSTART:20140918T180000 GEO:40.760955;-73.968441 LOCATION:Throckmorton Fine Art\,145 EAST 57th STREET\, 3RD FLOOR \nNEW YORK \, NEW YORK 10022 SEQUENCE:0 SUMMARY:Valdir Cruz GUARAPUAVA 30 year docu-essay in photographs\, Valdir C ruz UID:351898 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Sperone Westwater is pleased to announce a Not Vital exhibit ion featuring new stainless steel sculptures\,HEADS\, and a series of related drawings. Vital developed this striking sculptural series in hi s studio in the art district of Caochangdi\, Beijing. These seven \;HEADS\, all of a monochromatic palette\, ranging from 4.5 to 6.2 feet in height\, are pared down to simple contours. Only two of the works\,&nbs p\;HEAD Self-Portrait \;(2013) and \;HEAD Everton  \;(2014)\, depict specific sitters. The flawlessly smooth\, metallic f inish\, created using cutting-edge technology\, establishes an austere and commanding presence. Seemingly both human and machine-like\, the sculptures occupy an uneasy middle ground\, on occasion ambiguous and disconcerting.< /p>\n

These sculptures suggest Vital&rsquo\;s fascination with the fast-p aced\, highly productive\, and raw nature of industrial China today. The ab stracted and simplified shapes\, however\, also recall the earliest forms o f sculptural representation\, such as the iconic carved \;Moai  \;statues of Easter Island and the ancient sculptural forms of Asian r eligious art.

\n

The 18 drawings of \;Everton \;are V ital&rsquo\;s most recent work. Executed in early 2014 in Rio de Janeiro\, these drawings\, measuring 17 x 14 inches\, are repeated depictions of the same sitter\, \;Everton. All of the drawings are rendered in e ither oilstick on paper or oilstick and tape on paper. This series becomes a meditation on the same subject\, the human face. Although dark and often rendered with rapid strokes\, Vital&rsquo\;s depictions possess a quiet and potent strength despite the absence of facial details.

\n

Not Vital ( b. 1948\, Sent\, Engadin\, Switzerland) studied in Paris and Rome before mo ving to New York in 1974. Vital currently divides his time between Brazil\, Chile\, China\, Niger and Switzerland. The artist&rsquo\;s work was featur ed in &ldquo\;Plateau of Humanity&rdquo\; at the 49th Venice Biennale\, Ita ly (2001). Vital's major exhibitions have taken place at the Kunsthalle Bie lefeld\, Germany (2005)\; The Arts Club of Chicago\, Illinois\, (2006)\; K& Ouml\;R Kunsthalle Wien public space Karlsplatz\, Vienna\, Austria (2009-20 10)\; Ullens Center for Contemporary Art\, Beijing\, China (2011)\; the Cab inet d&rsquo\;Arts Graphiques\, Musé\;es d&rsquo\;Art et d&rsquo\;His toire\, Geneva\, Switzerland (2014)\; and the Museo d&rsquo\;arte di Mendri sio\, Mendrisio\, Switzerland (2014-2015). In 2013\, \;700 Snowball s\, an installation of 700 individual glass balls\, was on view on the Isola di San Giorgio Maggiore in Venice\, Italy. In autumn 2014\, Vital&rs quo\;s \;Tongue \;will be featured in the Busan Biennale 2 014\, South Korea. Vital had his first solo show at Sperone Westwater in 19 95\, and &ldquo\;EVERTON&rdquo\; will be his seventh solo show at the galle ry.

DTEND:20141004 DTSTAMP:20140821T112300 DTSTART:20140905 GEO:40.723144;-73.9925559 LOCATION:Sperone Westwater\,257 Bowery \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:EVERTON\, Not Vital UID:351817 END:VEVENT BEGIN:VEVENT DTEND:20140905T200000 DTSTAMP:20140821T112300 DTSTART:20140905T180000 GEO:40.723144;-73.9925559 LOCATION:Sperone Westwater\,257 Bowery \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:EVERTON\, Not Vital UID:351818 END:VEVENT BEGIN:VEVENT DESCRIPTION:

MAC PREMO's installation\, It's Still Later Than You Think\, reconfigures two bodies of work exhibited in the studio-like set for his a utobiographical one-man play The Luckiest Arab in Belfast\, which debuted e arlier this year at The Invisible Dog Art Center. Both series focus on the intimate relationships between individuals and the objects with which they identify and surround themselves. In one\, fifty collectible baseball cards \, their value lost to the floodwaters of Hurricane Sandy\, are paired with a graphic lexicon symbolizing the mythology that preserves each player in our cultural memory. In the other\, sundry humble objects ranging from card board shoeboxes\, backgammon boards and leather suitcases are encased in re sin and silk-screened with the compulsive maxim &ldquo\;I Want This One&rdq uo\;.

\n

Mac Premo has been exhibiting widely since 1999\, including e xhibitions at MoMA P.S.1\, the Brooklyn Academy of Music and the Philoctete s Center\, New York as well as several public art projects in Belfast\, Nor thern Ireland. He is a 2008 NYFA Video Fellow and his promotional films and animations have won numerous awards\, including 7 New York Emmy Awards\, i ncluding Best Commercial and Best Graphics in 2009 and 2010. This is the ar tist's fourth solo exhibition at Pavel Zoubok Gallery.

DTEND:20141011 DTSTAMP:20140821T112300 DTSTART:20140912 GEO:40.7501774;-74.0041245 LOCATION:Pavel Zoubok Gallery\,531 W.26 St. \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:IT'S STILL LATER THAN YOU THINK\, Mac Premo UID:351815 END:VEVENT BEGIN:VEVENT DTEND:20140912T200000 DTSTAMP:20140821T112300 DTSTART:20140912T180000 GEO:40.7501774;-74.0041245 LOCATION:Pavel Zoubok Gallery\,531 W.26 St. \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:IT'S STILL LATER THAN YOU THINK\, Mac Premo UID:351816 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The mechanistic collages in LANCE LETSCHER's Real Life Drama revel in the dynamism of invention\, deploying a highly individual languag e that combines meticulous cutting with spontaneous gesture. In 2010\, Lets cher wrote and illustrated the children's book\, The Perfect Machine\, whic h follows &ldquo\;a boy whose head was filled with ideas&rdquo\; on his que st to answer a simple question: &ldquo\;If there is a perfect machine what would it be?&rdquo\; This boy\, it's plain to see\, is Letscher himself\, w hose work consistently responds by visualizing imagination itself. The play between whimsy and precision is monumentally realized in Hot Rod\, a WWII era training glider\, the rigid geometry of which has been truncated to tak e on the contours of a passerine bird\, its topsy-turvy flight plan applied to its surface in a motley coil of spirals. In envisioning new landscapes filled with impossible machines\, Letscher's work renders childhood wonderm ent with a skill honed by a lifelong commitment to collage.

\n

Lance L etscher has exhibited extensively in across the United States and abroad in cluding Austin\, Houston\, Los Angeles\, New York\, San Francisco\, as well as in London\, Brussels\, Munich and Barcelona. His work is represented in the collections of the Austin Museum of Art\, Austin\; Museum of Fine Arts \, Houston\; California State University Print Collection\, Long Beach\; Te xas Children's Hospital\, Houston\; and numerous other public and private c ollections. A lavish monograph of his work\, Lance Letscher: Collage\, was published in 2009. This is the artist's first solo exhibition at Pavel Zoub ok Gallery.

DTEND:20141011 DTSTAMP:20140821T112300 DTSTART:20140912 GEO:40.7501774;-74.0041245 LOCATION:Pavel Zoubok Gallery\,531 W.26 St. \nNew York\, NY 10011 SEQUENCE:0 SUMMARY: REAL LIFE DRAMA\, Lance Letscher UID:351813 END:VEVENT BEGIN:VEVENT DTEND:20140912T200000 DTSTAMP:20140821T112300 DTSTART:20140912T180000 GEO:40.7501774;-74.0041245 LOCATION:Pavel Zoubok Gallery\,531 W.26 St. \nNew York\, NY 10011 SEQUENCE:0 SUMMARY: REAL LIFE DRAMA\, Lance Letscher UID:351814 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In JAVIER PIÑ\;Ó\;N's Octopussy\, tranquil Carib bean seascapes are charged with latent danger as beckoning sirens preen and pose amongst starfish and anemones\, infusing the waters with portentous s exuality. Deftly combining vintage magazine cuttings and nautical landscape s\, these cinematic encounters contrast the alluring pin-up girls' faded fl esh tones with the reef's vibrant neon palate. These alluring creatures\, p art mythological goddess and part Bond girl\, seductively articulate narrat ives of sex\, love\, adventure and death. Transfixing divers\, explorers an d viewers alike\, these intimate works create uncanny scenes that solicit t he viewer's narrative completion.

\n

Javier Piñ\;ó\;n's wo rk has been shown throughout the United States and Europe\, with exhibition s in Spain\, Belgium\, Denmark\, England\, New York\, Miami\, and Boston am ong others. He is the recipient of the 2009 Fountainhead Residency in Miami \, the 2008 Bauernmarkt Residency from the Lenikus Collection in Vienna and the New York Foundation for the Arts (NYFA) fellowship in 2007. His work c an be found in the collections of the High Museum of Art\, Atlanta\; the In ternational Collage Center\; and the 21c Museum\, Louisville as well as in numerous private collections. This is Piñ\;ó\;n's first solo ex hibition at Pavel Zoubok Gallery.

DTEND:20141011 DTSTAMP:20140821T112300 DTSTART:20140912 GEO:40.7501774;-74.0041245 LOCATION:Pavel Zoubok Gallery\,531 W.26 St. \nNew York\, NY 10011 SEQUENCE:0 SUMMARY: OCTOPUSSY\, Javier Piñón UID:351811 END:VEVENT BEGIN:VEVENT DTEND:20140912T200000 DTSTAMP:20140821T112300 DTSTART:20140912T180000 GEO:40.7501774;-74.0041245 LOCATION:Pavel Zoubok Gallery\,531 W.26 St. \nNew York\, NY 10011 SEQUENCE:0 SUMMARY: OCTOPUSSY\, Javier Piñón UID:351812 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Paula Cooper Gallery is pleased to present \;Inv isible Surrealists\, an exhibition of new work by Sam Durant. The show \, on view from September 12 to October 18 at 521 West 21st Street\, will i nclude intricate graphite drawings alongside mixed-media sculpture.

\n

Inspired by Robin D.G. Kelly&rsquo\;s essay\, &ldquo\;Keepin&rsquo\; it (S ur)real: Dreams of the Marvelous\,&rdquo\; Durant&rsquo\;s new body of work revisits the history of Surrealism\, casting light on lesser-known members of the movement from the Francophone colonies. Using iconic group photogra phs of the celebrated Paris-based founders of the movement like André \; Breton\, Man Ray and Leon Trotsky\, Durant alters the images\, inserting a number of overlooked artists such as Wifredo Lam\, René\; Mé \;nil\, Aimé\; and Suzanne Cé\;saire\, Jules Monnerot and Joyce Mansour.

\n

By revising the Eurocentric narrative and creating new ar chival imagery\, Durant&rsquo\;s drawings question the photograph&rsquo\;s ability to represent history\, exposing it instead as an instrument with wh ich collective amnesia and repression are perpetuated.

\n

Durant also seeks to renew the original spirit of Surrealism&mdash\;oppositional\, radi cal and revolutionary&mdash\;which came about as a reaction to the cataclys m of World War I. Coinciding with the 100th anniversary of the beginning of the war\,Invisible Surrealists \;explores the relationship be tween combat and art\, especially through the phenomena of &ldquo\;Trench A rt.&rdquo\; In one sculpture\, Durant transforms heavy caliber shells into bells for a large wind chime\, and in another\, he assembles a collection o f trench warfare objects on a stage-like platform\, highlighting their scul ptural qualities.

\n

Durant&rsquo\;s method of intertwining historical and cultural events of the past and the present is a recurring theme withi n his work. He has focused on such pivotal periods as the civil-rights era\ , the 1968 student riots\, and last century&rsquo\;s struggle between Nativ e Americans and European settlers. Durant has been the subject of one-perso n exhibitions at the Museo d'arte contemporanea\, Rome\; the Getty Center\, Los Angeles\; the Wadsworth Atheneum Museum of Art\, Hartford\, CT\; the M useum of Contemporary Art\, Los Angeles\; the Kunstverein Dü\;sseldorf\ ; the Walker Art Center\, Minneapolis\; and the Massachusetts College of Ar t\, Boston. His most recent group exhibitions include \;dOCUMENTA \;(13)\, Kassel and &ldquo\;See You In The Hague\,&rdquo\; Stroom d en Haag\, The Hague. He has participated in the 2004 Whitney Museum Biennia l\, New York\; the 2002 Venice Biennale\, Italy\; and Out of Place: \;< em>Contemporary Art and the Architectural Uncanny \;at the Museum of Contemporary Art\, Chicago. Durant's large-scale installation \; Proposal for White and Indian Dead Monument Transpositions\, Washington\, D .C. \;will be on view at the Los Angeles County Museum of Art (Aug ust 3 - November 30\, 2014) for the first time since entering the museum's collection in 2013. Durant lives and works in Los Angeles.

DTEND:20141018 DTSTAMP:20140821T112300 DTSTART:20140912 GEO:40.747213;-74.00618 LOCATION:Paula Cooper Gallery - 521 W. 21st Street\,521 W 21 St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Invisible Surrealists\, Sam Durant UID:351810 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Pace is honored to present an exhibition of recent iPad prin ts\, charcoal drawings and video by David Hockney\, one of the most importa nt and celebrated living artists in the world.

DTEND:20141101 DTSTAMP:20140821T112300 DTSTART:20140905 GEO:40.749156;-74.0040293 LOCATION:Pace Gallery 508 W. 25th\,508 W. 25th Street \nNew York\, NY 10001 SEQUENCE:0 SUMMARY: The Arrival of Spring\, David Hockney UID:351809 END:VEVENT END:VCALENDAR