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Join us Friday February 12th\, from 7-9 pm for Williamsburg' s Second Friday event and pickup your copy of "Beyond Ruin Porn's" exhibiti on catalog. Guest DJ Ethan Crenson will be spinning a special evening editi on of 78 RPMs: Cold War Era Records

The catalog includes photogr aphs from the exhibition as well as additional works from each artists' ser ies\, featuring:

Amanda Alic\, Phillip Buehler\, Sasha Bezzubov &\; Jessica Sucher\, Sean Hemmerle\, Stephen Mallon\, Paul Raphaelson

DTEND:20160221 DTSTAMP:20160208T070447 DTSTART:20160108 GEO:40.7142021;-73.9575708 LOCATION:Front Room Gallery\,147 Roebling St. \nBrooklyn\, NY 11211 SEQUENCE:0 SUMMARY:Beyond Ruin Porn Exhibition Catalog Release\, Amanda Alic\, Phillip Buehler\, Sasha Bezzubov & Jessica Sucher\, Sean Hemmerle\, Stephen Mallon \, Paul Raphaelson UID:409357 END:VEVENT BEGIN:VEVENT DTEND:20160108T210000 DTSTAMP:20160208T070447 DTSTART:20160108T190000 GEO:40.7142021;-73.9575708 LOCATION:Front Room Gallery\,147 Roebling St. \nBrooklyn\, NY 11211 SEQUENCE:0 SUMMARY:Beyond Ruin Porn Exhibition Catalog Release\, Amanda Alic\, Phillip Buehler\, Sean Hemmerle\, Stephen Mallon\, Paul Raphaelson\, Sasha Bezzubo v & Jessica Sucher UID:409358 END:VEVENT BEGIN:VEVENT DESCRIPTION:

EUNG HO PARK< /p>\n

OBJECT/OBJECTIVE

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February 10-March1st\, 2016

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Opening Reception: Wednesday February 10\ , 2016 from 6 p.m. to 9 p.m. \;

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Y Gallery is pleased to present OBJECT/OBJECTIVE\, the first solo show by Eung Ho Park in our new space. The exhibition features r ecent works created to convey his ongoing interest in the arrangement and t ransformation of ordinary objects into statements about the human condition .

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Commonplace objects from daily life - spoons and f orks\, coins\, and bottle caps - are grouped into works depicting &ldquo\;C ontemporary Narratives of Humanity.&rdquo\; \; The exhibition includes a large-scale floor installation of tree twigs\, and also features Park&acu te\;s video of small branches swept away by ocean waves.

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The show's title refers not only to the items chosen\, OBJECT\, but al so to the ideas that Park is approaching\, OBJECTIVE.  \;He transforms ordinary objects into unexpected and inventive compositions. \; Park es tablishes a parallel between the chosen elements and the human body: heads\ , eyes and silhouettes. He addresses the course of life from birth to death \, and the pursuit of truth despite cultural differences. Through his obser vance of social movements\, he hopes to advance the goal of personal fulfil lment.

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Arthur C. Danto states about Park and his art istic practice: \;Eung Ho Park is an artist with great sympathy and understanding of their [immigrants] all too human ordeals. His art is a re sponse to these ordeals\, and symbolizes ways to overcome them. His is a pa rticularly inventive way of using the fact that art can be made of anything to help people of different cultures together work and live happier lives.

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Eung Ho Park was born in South Korea. He lives and works in NYC. He received his BFA from Pratt Institute. \; He has exhibited at Exit Art\, NY\; the Drawing Center\, NY\; the Sculpture Center \, NY\; Brooklyn Museum of Art\; the Queens Museum of Art\, NY\; Long Islan d University\; Dartmouth College\; Wake Forest University\; Skidmore Colleg e\; ADA Gallery Richmond\, VA\; Montserrat College of Art\, MA\; Randolph M acon College\, VA\; \;Wave Hill Bronx\, NY\; Islip Museum\, West Islip\ , NY\; Korean American Museum LA\, CA\; Jamaica Center for Art and Learning \, Queens\; Long Island University Brooklyn NY. He has created a permanent sculpture for PS 270 in Queens\, NY. His works have been reviewed in the Ne w York Times\, The Los Angeles Times\, The Baltimore Sun\, The Boston Globe and other publications.

DTEND:20160301 DTSTAMP:20160208T070447 DTSTART:20160210 GEO:40.7171322;-73.9910262 LOCATION:Y Gallery\,319 Grand St. 5th floor\nNew York\, NY 10002 SEQUENCE:0 SUMMARY:OBJECT/OBJECTIVE\, Eung Ho Park UID:409243 END:VEVENT BEGIN:VEVENT DTEND:20160210T210000 DTSTAMP:20160208T070447 DTSTART:20160210T180000 GEO:40.7171322;-73.9910262 LOCATION:Y Gallery\,319 Grand St. 5th floor\nNew York\, NY 10002 SEQUENCE:0 SUMMARY:OBJECT/OBJECTIVE\, Eung Ho Park UID:409244 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Rosalind \;Fox& nbsp\;Solomon: \;Got to Go
February 25 & ndash\; April 16\, 2016
Opening Reception and Book Signing: Thursday\, February 25\, 6-8pm

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Part memoir and part fiction\, Got To Go presents a collection of photographs from across Rosalind Fox Solomon&rsquo\;s life\, contrasting a narrative of her own ear ly years with other\, urgent images that reveal a wider vision of the world \, one outside of the rigid boundaries imposed by society and the home. If biography is a net cast upon us by family and shaped by social codes\, Fox Solomon lays bare the limits of the net\, as she negotiates the cusp betwee n lived life and her imagination. Describing the work as a &ldquo\;tragicom edy&rdquo\;\, full of both humour and pathos\, Fox Solomon probes the limit s we impose on ourselves\, not only social codes but also the inherited ten ets which are so difficult to escape.

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Got to Go \, Rosalind Fox Solomon&rsquo\;s fourth solo exhibition with the galle ry\, will include 27 pictures of varied sizes\, as well as an audio-visual installation including approximately 40 images. The sound component include s excerpts from Jason Eckardt&rsquo\;s piece\, Tongues\, performed by Tony Arnold\, soprano\, and the International Contemporary Ensemble live at Roul ette\; a funeral chant\; and Fox Solomon&rsquo\;s audio texts. \;

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Fox Solomon\, an American artist based in New York City\ , is celebrated for her portraits and connection to human suffering\, ritua l\, survival and struggle. Her work has been shown in nearly 30 solo exhibi tions and 100 group exhibitions\, and is in the collections of over 50 muse ums worldwide.

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The exhibition will be accompanied by the release of the artist's monograph\, \;G ot to Go\, published by MACK. \;The book will be launched with a book signing at the opening reception on February 25th

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Please contact inquiries@brucesilverstein.com f or more information.

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DTEND:20160416 DTSTAMP:20160208T070447 DTSTART:20160225 GEO:40.7493067;-74.0051881 LOCATION:Bruce Silverstein Gallery\,535 West 24th Street \nNew York\, NY 10 011 SEQUENCE:0 SUMMARY:Got to Go\, Rosalind Fox Solomon UID:409238 END:VEVENT BEGIN:VEVENT DTEND:20160225T200000 DTSTAMP:20160208T070447 DTSTART:20160225T180000 GEO:40.7493067;-74.0051881 LOCATION:Bruce Silverstein Gallery\,535 West 24th Street \nNew York\, NY 10 011 SEQUENCE:0 SUMMARY:Got to Go\, Rosalind Fox Solomon UID:409239 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Steven Harvey Fine Art Projects is proud to present &ldquo\; Real States\,&rdquo\; a three-person exhibition with Tom Burckhardt\, Clare Grill\, and \;Sangram \;Majumdar. \;The exhibition will includ e three to five pieces by each artist\, New York-based friends and colleagu es.

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The three artists in this exhibition \;all make paintings t hat engage \;abstract or abstracted \;forms on the armature of an i mplied grid.  \;However\, these forms and shapes are \;simultaneous ly allowed to fall away from any such structure.  \;This &ldquo\;on-gri d / off-grid&rdquo\; tension \;permeates the work of all three painters .  \;

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 \;In \;Majumdar&rsquo\;s \;paintings\, the&n bsp\;forms are derived from observed sources the artist arranges and constr ucts. \; The structure\, in some of these works\, originates from a dig ital printout of an early video game interior\, layered with images of gard ens in Indian miniature paintings\, or the remains of cardboard cutouts fro m his larger paintings. The resulting paintings hint at something known\, b ut seen here out of context. \; They evoke simultaneity\, the feeling o f being in two places at once. \; Gesture and felt experience are recog nizable: embedded in the fragments\, even as the artist plays with figure-g round reversal.

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 \;Clare Grill's \;paintings are not planne d\, but rather found through \;repeated sanding\, rubbing\, and draggin g of paint over linen. Antique embroidery samplers--needlepoint work made b y young girls to present their craftwork skills to potential \;employer s--often \;serve as an entry point. \;Grill is drawn to the tedious \, tiny stitches that comprise these worn artifacts. Each of her paintings operates within its own tight chromatic and tonal range\, the result of wor king in low\, raking-light\, on a tabletop. The subtle forms seen on and be low the surface \;inform the resultant imagery. Her paintings testify t o human touch and the subtle variations that inform our daily experiences\, often unnoticed and unacknowledged. \;

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 \;Burckhardt uses humor \;to \;pull back from the logic of abstract forms within a gr id. A \;maximalist \;(while \;the other two artists investigate traces\, shadows\, \;and \;missing information)\, Burckhardt allow s \;suggestive \;forms to \;breed and layer. Some \;works&n bsp\;are painted on cast plastic \;(trompel&rsquo\;&oelig\;il& nbsp\;canvases)\, made from the artist&rsquo\;s \;molds.  \;They&nb sp\;play with our constructed \;hierarchies of the unique \;work of art and tendency to \;fetishize \;material. \;They are wild bu t controlled: combining colors and forms that invoke a range of visual cult ure: art historical images\, banal patterning\, and mechanistic animation.< /p>\n

 \;Burckhardt \;(b. 1964\, New York\, NY) \;received a BFA from Purchase College\, SUNY\, and also studied at the Skowhegan School of Painting and Sculpture.  \;He has \;had over twenty solo exhibi tions\, several held at \;Tibor \;de Nagy Gallery between 2002-15. In 2014 a travelling exhibition of his FULL STOP (2004-2005)\, a walk-in ve rsion of an artist&rsquo\;s studio made of cardboard at life size\, opened at the Columbus College of Art &\; Design. In 2011\, \;his work was the subject of a solo exhibition at the \;Weatherspoon \;Art Museum \, Greensboro\, NC. The artist is the recipient of the International Associ ation of Art Critics Award\, the Richard and \;Hinda \;Rosenthal Fo undation Award from the Academy of Arts and Letters\, and two Pollack-Krasn er Foundation grants. \;He \;lives in New York and spends his summe rs in Maine. \;

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 \;Grill \;(b. 1979\, Chicago\, IL) liv es and works in Queens\, NY. She received a MFA from Pratt and attended the Skowhegan School of Painting and Sculpture. \;Zieher \;Smith &\ ; Horton\, NY presented a \;solo exhibition of her paintings \;in 2 015. Additional solo exhibitions include Albright College\, Reading\, PA\; Reserve Ames\, Los Angeles\, CA\; \;Soloway\, Brooklyn\, NY\; and Real Art Ways\, Hartford\, CT. Recent group exhibitions include Paramo\, Guadala jara\, MX\; Josh Lilley Gallery\, London\, UK\; P420\, Bologna\, IT\; The N ew Britain Museum of American Art\, New Britain\, CT\, OMI International Ar t Center\, Ghent\, NY\; and \;Artspace\, New Haven\, CT. \;

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 \;Majumdar \;(b. 1976\, \;Kolkata\, India) \;has an MFA f rom Indiana University and a BFA from the Rhode Island School of Design.&nb sp\;He has been the subject of three solo exhibitions at \;Steven Harve y Fine Art Projects \;(2009\, 2012\, and 2013).  \;Additional solo exhibitions include \;Georgetown University\, DC\; Rothschild Fine Art\ , Tel Aviv\, Israel\, and the \;Kresge \;Art Museum\, MI. Recent se lected group exhibition venues include Morgan Lehman Gallery\, NY\; \;C ome Together: Surviving Sandy\, \;curated \;by \;Phong Bui\, Br ooklyn\, NY\; Salon \;Zü\;rcher\, Paris\, France\; \;and \; the 2010 Invitational Exhibition of Visual Arts\, American Academy of Arts and Letters\, NY. Awards include a MacDowell Fellowship\, a residency at&nb sp\;Yaddo\, \;and \;the 2009-10 Marie Walsh Sharpe Studio Space Pro gram Grant. \;Majumdar \;lives and works in Brooklyn\, New York and  \;is a full-time Professor of Painting at the Maryland Institute Colle ge of Art.

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 \;There will be a panel discussion with the artists and art historian Jennifer Samet on Sunday\, February 28th\, at 3pm in the gallery. Please contact SHFAP at info@shfap.com or 917-861-7312 for further information or images.

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DTEND:20160313 DTSTAMP:20160208T070447 DTSTART:20160210 GEO:40.7228401;-73.9902918 LOCATION:Steven Harvey Fine Art Projects\,208 Forsyth Street \nNew York \, New York 10002 SEQUENCE:0 SUMMARY:Real States: Tom Burckhardt\, Clare Grill\, Sangram Majumdar\, Tom Burckhardt\, Clare Grill\, Sangram Majumdar UID:409192 END:VEVENT BEGIN:VEVENT DTEND:20160213T200000 DTSTAMP:20160208T070447 DTSTART:20160213T180000 GEO:40.7228401;-73.9902918 LOCATION:Steven Harvey Fine Art Projects\,208 Forsyth Street \nNew York \, New York 10002 SEQUENCE:0 SUMMARY:Real States: Tom Burckhardt\, Clare Grill\, Sangram Majumdar\, Tom Burckhardt\, Clare Grill\, Sangram Majumdar UID:409193 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Saul Becker&rsquo\;s paintings have long been inform ed and enchanted by the natural world&rsquo\;s seductive abundance. With th e delicate accuracy of a camera lucida drawing and the stark contrast of a photogram\, Becker is adept at utilizing methods of photography\; his brand of realism stems from manipulations of photographs taken on Arctic expedit ion. Recombining images and memories\, and in this latest body of work\, mi rror images\, the paintings suggest dreams more than documents\, and are en hanced by the haunting\, frozen quietude of the subject\, with what Ken Joh nson of The New York Times called an &ldquo\;infectious\, distinctly contem porary mood of existential perplexity.&rdquo\;

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The human relationsh ip to nature\, fraught and imperiled\, lies at the heart of Becker&rsquo\;s practice\, which the artist describes as seeking &ldquo\;to make the uncer tainties of this relationship palpable.&rdquo\; And this he does by way of a deceptively simple brushstroke that unfolds under scrutiny into skitterin g\, uneasy gestures. Far from hyper-real\, the technique lends itself to ev ocative depictions of lichen\, snow\, ice\, water and the many mottled surf aces that pervade Becker's compositions.

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Saul Becker (b. 1975\, Tac oma\, WA) lives and works in Burien\, WA. He received a MFA from Virginia C ommonwealth University\; Richmond\, VA and a BFA from Nova Scotia College o f Art and Design (NSCAD)\; Halifax\, NS. In addition to several exhibitions with Horton Gallery\, his work has been featured at Artists Space\, the Ho rticultural Society of New York\, and Socrates Sculpture Park\, among other s. The artist is the recipient of numerous awards\, residencies\, and trave l grants including the Virginia Museum of Fine Art Fellowship\, the Washing ton State Arts Award\, a NYFA Fellowship\, The Artic Circle 2010 Expedition \, and Gros Morne Artist Residency. His work has been discussed in The New York Times\, The New Yorker\, NY Arts Magazine\, and The Seattle Times\, am ong others. \;

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\n DTEND:20160319 DTSTAMP:20160208T070447 DTSTART:20160219 GEO:40.74612;-74.006804 LOCATION:Zieher Smith & Horton\,516 West 20th Street \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Saul Becker "An Unfamiliar Tide"\, Saul Becker. UID:409184 END:VEVENT BEGIN:VEVENT DTEND:20160219T200000 DTSTAMP:20160208T070447 DTSTART:20160219T180000 GEO:40.74612;-74.006804 LOCATION:Zieher Smith & Horton\,516 West 20th Street \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Saul Becker "An Unfamiliar Tide"\, Saul Becker. UID:409185 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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New York City - ColorBox and A Red Show in A are the latest works to emerge from Jean Pierre Muller&rsquo\;s innovative 7x7 pro ject. 7x7 is an inter-disciplinary collaboration between Belgian artist Mul ler and seven musical luminaries from a variety of contemporary genres\; Ni le Rodgers\, Robert Wyatt\, Mulatu Astatke\, Archie Shepp\, Sean O&rsquo\;H agan\, Kassin and Terry Riley. 7x7 is based on the simple principle that th e seven colors of the rainbow correspond to the seven notes of the scale\, the seven days of the week (and deities and planets associated with those d ays) and the seven chakras. Seven sound altarpieces have been created\, in an edition of seven\, each housing an original music by one of the seven co mposers. A is Red is Monday\, Day of the Moon and of Diana (Robert Wyatt)\, B is Orange is Tuesday\, Day of Mars (Archie Shepp)\, and so on.

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I n the summer of 2012\, Muller created a full site-specific set for 7x7 at E dinburgh&rsquo\;s Summerhall: 7x7th Street. As its name suggests\, this was actually a real street with billboards\, signs\, small houses\, based on a photographic process.

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A year later\, Jean Pierre Muller and Nile R odgers created An Indigo Night in F at the same venue\, an amazing show com bining music\, live painting and theatre. This acclaimed event was inspired by their collaboration on the 7x7-F-Indigo sound altarpiece. For WhiteBox\ , Jean Pierre Muller will present two original shows related to 7x7: Spectr um on the main level and A Red show in A on the lower level.

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ColorB ox - Isaac Newton divided his color wheel in seven parts: red\, orange\, ye llow\, green\, blue\, indigo and violet. White is in the central part of th e diagram\, because all colors of light mixed together produce white. 7x7 a t WhiteBox makes complete sense. How can we embrace diversity in a world to rn by the conflict between standardization and obsession for identity? Mull er wishes to pen the color box and celebrate the full spectrum of our lives in their many contradictions. Rather than taking the stance of the artist as a moralist\, he embarks us on a journey through the seas of complexity a nd the skies of hybridity. Sometimes taking a sound panoramic view on thing s - drawing lessons from past history\, digging into the origins of words\, the meaning of symbols &ndash\; sometimes zooming into our most intimate o bsessions\, Muller utters a multi-layered cry for life\, plural yet deeply personal.

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As much a painter as a printmaker\, Jean Pierre Muller al so uses photogtraphy\, light\, sound and interactivity to make us feel the beat of the world\, the rhythm of life. The elements that Jean Pierre uses in his art reflect processes of urban evolution and the way people become c onnected to each other through common experiences and references. Like stre ets grown organically over time\, these elements interact through juxtaposi tion and ever increasing layers of complexity and history. They also tell m any intertwined stories\, much like the intertwined stories of people in a street\, who may not know each other but are linked through commonality of space and time.

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A Red Show in A - Jean Pierre\, together with Rober t Wyatt\, one of music&rsquo\;s greatest shamans\, has expanded and deepene d the rich material used for their 7x7-Red-A sound altarpiece. It is a nost algic salute to Al-Andalusia\, when Spain was under Moorish rule and religi ons coexisted peacefully (at least\, this is the way one can dream of it to day\, when everything concurs to convince us we&rsquo\;re at war with the o thers). The most powerful symbol of this period is the Alhambra palace in G ranada. This golden age ended in 1492 with the Alhambra Decree and the expu lsion of all the Jews from Spain. Al-Hamra means the Red one\, in Arabic...

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For WhiteBox\, the artist has built his own Alhambra\, a red templ e to house the 7x7-Red-A sound altarpiece\, with meaningful columns and whi spering walls (with voices by Robert Wyatt\, but also Terry Riley\, Archie Shepp and Nile Rodgers). Muller has adapted Kazimir Malevich&rsquo\;s emble matic paintings of the Black Square\, the Black Circle and the Black Cross into a Red Star of David\, a Red Crescent and a Red Cross. These are powerf ul symbols to initiate a new reflection on hybridity\, coexistence\, expuls ion... and the power of symbols. Following on from the success of 7x7th Str eet and An Indigo Night in F with Nile Rodgers\, Spectrum and A Red Show in A represent the next stage in a truly international project of ever-growin g artistic ambition and cultural resonance. \;

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\n DTEND:20160229 DTSTAMP:20160208T070447 DTSTART:20160229 GEO:40.7190592;-73.9939197 LOCATION:WhiteBox\,329 Broome Street \nNew York\, New York 10002 SEQUENCE:0 SUMMARY:7X7 : COLORBOX & A RED SHOW IN A\, Jean Pierre Muller UID:409128 END:VEVENT BEGIN:VEVENT DTEND:20160306T200000 DTSTAMP:20160208T070447 DTSTART:20160306T180000 GEO:40.7190592;-73.9939197 LOCATION:WhiteBox\,329 Broome Street \nNew York\, New York 10002 SEQUENCE:0 SUMMARY:7X7 : COLORBOX & A RED SHOW IN A\, Jean Pierre Muller UID:409129 END:VEVENT BEGIN:VEVENT DESCRIPTION:

#makeamericagreatagain is a group exhibition of diverse medi a that will run during February and coincide with the initial Democratic an d Republican primaries. \; The exhibition&rsquo\;s title is culled verb atim from Donald Trump&rsquo\;s campaign slogan. Appropriation does not sto p there\, however\, for #makeamericagreatagain thematically rubs up against the demagoguery prevalent in the current American social and political lan dscape and rhetoric espoused by primary candidates to engender fear in the American public.

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The appropriated hashtag also serves as curatorial device to further expand the exhibition into social media. The exhibition- viewing public and those not physically present to see the show\, will be a sked to upload images or texts with the hashtag of #makamericagreatgain ont o Twitter\, Instagram or Facebook. These contributions will become part of the exhibition and will be interventions into existing social media sites w ith the same hashtag.

DTEND:20160221 DTSTAMP:20160208T070447 DTSTART:20160201 GEO:40.7190592;-73.9939197 LOCATION:WhiteBox\,329 Broome Street \nNew York\, New York 10002 SEQUENCE:0 SUMMARY:#makeamericagreatagain UID:409126 END:VEVENT BEGIN:VEVENT DTEND:20160201T210000 DTSTAMP:20160208T070447 DTSTART:20160201T180000 GEO:40.7190592;-73.9939197 LOCATION:WhiteBox\,329 Broome Street \nNew York\, New York 10002 SEQUENCE:0 SUMMARY:#makeamericagreatagain UID:409127 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Stux + Haller is pleased to present AFTERMATH\, a solo show of new works by Tel Aviv-based artist Esther Naor\, which expl ores and investigates the themes and consequences of immigration\, loneline ss\, personal and psychic pain\, the recent terrorist attacks in Paris\, Fr ance and San Bernardino\, California and the current global refugee crisis. AFTERMATH will be on view at Stux + Haller Gallery\, 24 West 57th Street\, 6th Floor\, New York\, NY from February 24th to March 26\, 2016. An openin g reception will be held on Wednesday\, February 24th from 5:30 pm to 8 pm.  \;

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AFTERMATH\, Naor&rsquo\;s first solo exhibition at the gall ery\, features photographs and sculpture selected from the artist&rsquo\;s recent body of work and is the third episode in a &ldquo\;trilogy\,&rdquo\; functioning as both a survey and culmination of Naorʼs wo rk since 2010. The exhibition will continue the concerns Naor has been addr essing for the past decade\, and further shaped in her solo exhibitions in 2012\, &ldquo\;Side Effects\,&rdquo\; and 2015\, &ldquo\;A Sudden Dark Bree ze over My Uncovered Skin.&rdquo\;

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&ldquo\;The first e pisode was very personal and dealt with my own trauma\, identity and biogra phy\, the second was more general\, borrowing figures from a painting by Go ya\, instead of my own\, and depicting a scene of lifesaving in undefined s ite and situation\,&rdquo\; says Naor. &ldquo\;The &ldquo\;Aftermath&rdquo\ ; works further develop this theme\, defamiliarizing and distancing myself from the situation in order to address more universal pains and anxieties\, partly under the influence of the images I have been seeing in the last mo nths in the news of refugees in Europe and the recent terror attacks in Par is and California.&rdquo\;

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Though suffering is not unique to our cu rrent world\, we are now inundated with tragedy\, terror\, disease\, and wa r on a 24-hour news cycle that does not relent. Esther Naorʼs work freezes the cycle of our unstable age\, distilling our anxieties i nto a public confession of the world&rsquo\;s afflicted\, lonely\, redempti ve common ground. A new series of photo works\, printed on glossy aluminum\ , will surround and exist in dialogue with Naorʼs newest s culpture. Scenes of anonymous individuals bidding farewell\, awaiting unkno wn futures\, are overlaid on the life-preserving surface of a thermal emerg ency blanket. The thin foil (developed by NASA in 1964)\, coated silver on one side and gold on the other\, calls to mind images of the survivors of t he Paris terror attack. Completing this new series is a selection of works from her 2012 and 2015 solo exhibitions in New York City. A window obscured by earth greets one at the door\, beside Naorʼs monumenta l worry beads hanging stoically next to a gurgling sink\, surrounded by her Tigris River blue melon sculptures perched on the floor.

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 \;Ce ntral to this exhibition is a life-sized sculpture inspired by the figure i n Goya's 1798 painting "WitchesʼFlight.&rdquo\; The therma l emergency blanket yet again cloaks a man\, hunched\, fleeing&hellip\;the blanket here in three dimensions\, serving its true purpose: protection\, w arding off the specter of fear. The man lurches forward\, frozen in his per petual movement and plain clothes\, an energy preserved in his body and ten se\, nervous face.

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 \;Goyaʼs reminder that &ld quo\;the sleep of reason produces monsters&rdquo\; is the haunting refrain behind Naor&rsquo\;s visual language. As Michaë\;l Amy\, critic and Pro fessor of the History of Art in the College of Imaging Arts &\; Sciences at Rochester Institute of Technology\, writes in &ldquo\;Esther Naor: The Raft of Memory\,&rdquo\; his essay for the exhibition catalog\, &ldquo\;By citing the Spanish master\, Naor seems to be condemning\, through her own w ork\, intolerance of every stripe\, which\, like a terrible illness\, destr oys life.&rdquo\;

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 \;&ldquo\;Humanity is currently facing a new phase of violence and upheaval\; of course\, our history has known endless wars and catastrophes\, some caused by nature and some by our own hands. Even so\, I feel that the individual today lives in a state of constant anxiety &mdash\; a relentless fear of the unknown and the evil tha t can strike any moment\, anywhere\, without early warning\,&rdquo\; says N aor. &ldquo\;My new works relate to this unstable and frightening situation (known to me very well\, being Israeli) and address issues such as lonelin ess\, pain\, violence and ways of coping with such events and emotions from the point of view of the individual.&rdquo\;

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About Esther Naor

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Esther Naor was born in 196 1 in Israel. She graduated from the department of Civil Engineering at Haif a Technion Institute\, Israel\, and the department of Computer Sciences at Tel Aviv University\, Israel. Following a career in engineering and compute rs\, she moved on to art studies at the Midrasha Art School in Kfar Saba an d at several artists&rsquo\; studios in Israel. Naor works mainly in the me diums of sculpture\, photography\, and video. Naor lives and works in Israe l. &ldquo\;Although I focus on installations\, my work also involves video and photography. I&rsquo\;m interested in issues of identity\, social behav ior\, and physical and mental borders\, but I always take something very pe rsonal as a point of departure\,&rdquo\; says Naor. &ldquo\;Such points hav e been my personal family history and its immigration from Iraq and integra tion in Israel\, the tension and conflicts involved in my being both a moth er and an artist\, and personal traumas which influenced my artistic work.& rdquo\;

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To download the exhibition catalog\, p lease go to http://issuu.com/sg53025/docs/esthernaor_aftermath

DTEND:20160326 DTSTAMP:20160208T070447 DTSTART:20160224 GEO:40.7632792;-73.9756657 LOCATION:Stux + Haller\,24 West 57th Street \nNew York\, NY 10019 SEQUENCE:0 SUMMARY:AFTERMATH\, Esther Naor UID:409111 END:VEVENT BEGIN:VEVENT DTEND:20160224T200000 DTSTAMP:20160208T070447 DTSTART:20160224T173000 GEO:40.7632792;-73.9756657 LOCATION:Stux + Haller\,24 West 57th Street \nNew York\, NY 10019 SEQUENCE:0 SUMMARY:AFTERMATH\, Esther Naor UID:409112 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160312 DTSTAMP:20160208T070447 DTSTART:20160212 GEO:40.7473106;-74.0053077 LOCATION:Danese/Corey\,511 West 22 Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Unintended Consequences\, Dove Bradshaw UID:409076 END:VEVENT BEGIN:VEVENT DTEND:20160211T200000 DTSTAMP:20160208T070447 DTSTART:20160211T180000 GEO:40.7473106;-74.0053077 LOCATION:Danese/Corey\,511 West 22 Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Unintended Consequences\, Dove Bradshaw UID:409077 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Still Life: Variations on a Theme is a group exhibition exam ining how artists through the years have addressed the classic subject of t he still life. The show features works spanning nineteenth-century Impressi onism to twentieth-century Modernism to the contemporary. \;The exhibit ion offers visitors an illustrative glimpse of a vast genre\, with selectio ns including sculpture by de Waal\; photographs by Fred Stein\; works on pa per by Roger de la Fresnaye\, Alberto Giacometti\, Juan Gris\, and Ben Nich olson\; and paintings by Georges Braque\, Prunella Clough\, Henri Fantin-La tour\, Donald Hamilton Fraser\, and Louis Valtat.

DTEND:20160402 DTSTAMP:20160208T070447 DTSTART:20160218 GEO:40.768329;-73.968485 LOCATION:Rosenberg & Co.\,19 East 66th Street \nNew York\, NY 10065 SEQUENCE:0 SUMMARY:Still Life: Variations on a Theme UID:408969 END:VEVENT BEGIN:VEVENT DTEND:20160218T200000 DTSTAMP:20160208T070447 DTSTART:20160218T180000 GEO:40.768329;-73.968485 LOCATION:Rosenberg & Co.\,19 East 66th Street \nNew York\, NY 10065 SEQUENCE:0 SUMMARY:Still Life: Variations on a Theme UID:408970 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Desiring to be Data for Others: Panel Discussion

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Sunday\, Feb. 7th\, 4-5pm

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Panelist s discuss how science and the arts can overlap\, in the setting of Pohan&rs quo\;s current exhibit at FiveMyles. Moderated by FiveMyles director \; Hanne Tierney.

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About the Exhibition

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Vials contain various arcane liquids\; vapors and perfumed formulas derive from & lsquo\;recorded data measured by sensors of the heartbeat of the artist.&rs quo\; Yet\, the clinical easily transmutes into the poetic and the personal .

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Location: FiveMyles Gallery | 558 St Johns Pl | Brooklyn\, NY 11238 MAP

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Exhibition on view until February 21\, 2016

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Gallery hours: Thursday through Sunday\, 1pm to 6pm\; or by appointment.

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Click here for more information about this e xhibition.

DTEND:20160207T170000 DTSTAMP:20160208T070447 DTSTART:20160207T160000 GEO:40.672585;-73.959598 LOCATION:FiveMyles\,558 St. Johns Place \nBrooklyn\, NY 11238 SEQUENCE:0 SUMMARY:Desiring to be Data for Others: Panel Discussion\, Amanda Turner Po han\, Carl E. Hazlewood\, Joan Snitzer\, Hanne Tierney UID:408960 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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Clic k here to view the NYC Summer Invitational submission form.

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Click here to view the NYC Summer Invitational submission form.

DTEND:20160820 DTSTAMP:20160208T070447 DTSTART:20160726 GEO:40.7503804;-74.003922 LOCATION:George Billis Gallery- NY\,525 West 26th Street \nNew York\, NY 10 001 SEQUENCE:0 SUMMARY:NYC Summer Invitational Show\, 2016 UID:408941 END:VEVENT BEGIN:VEVENT DTEND:20160728T200000 DTSTAMP:20160208T070447 DTSTART:20160728T170000 GEO:40.7503804;-74.003922 LOCATION:George Billis Gallery- NY\,525 West 26th Street \nNew York\, NY 10 001 SEQUENCE:0 SUMMARY:NYC Summer Invitational Show\, 2016 UID:408942 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160228 DTSTAMP:20160208T070447 DTSTART:20160205 GEO:40.6883492;-73.9791764 LOCATION:BRIC Arts | Media House\,647 Fulton Street \nBrooklyn\, NY 11217 SEQUENCE:0 SUMMARY:OPEN (C)ALL: Up For Debate\, Richard Lund UID:408931 END:VEVENT BEGIN:VEVENT DTEND:20160204T210000 DTSTAMP:20160208T070447 DTSTART:20160204T180000 GEO:40.6883492;-73.9791764 LOCATION:BRIC Arts | Media House\,647 Fulton Street \nBrooklyn\, NY 11217 SEQUENCE:0 SUMMARY:OPEN (C)ALL: Up For Debate\, Richard Lund UID:408932 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Join Agitprop! artists Martha Rosler\, Nancy Buchan an\, and Andrea Bowers in a discussion on the intersections of art and acti vism in their practices. The speakers represent one chain of the artist-dri ven nominations that shape Agitprop!&rsquo\;s evolving installatio n: Martha Rosler\, invited for wave one\, nominated Nancy Buchanan for wave two\, who invited Andrea Bowers (see photo)\, whose work will appear in wa ve three. Presented by the Elizabeth A. Sacker Center for Feminist Art.&nbs p\;

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The event will be held in the Iris and B. Gerald Cantor Auditor ium\, 3rd floor.

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Free with Museum admission.

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Photo credit/c aption: Andrea Bowers (American\, born 1965)\, Stop Ecocide Tree Sittin g Platform for Forest Defense\, 2012.

DTEND:20160220T160000 DTSTAMP:20160208T070447 DTSTART:20160220T140000 GEO:40.671172;-73.9635189 LOCATION:Brooklyn Museum of Art\,200 Eastern Parkway \nBrooklyn\, NY 11238- 6052 SEQUENCE:0 SUMMARY:Conversation: Martha Rosler\, Nancy Buchanan\, and Andrea Bowers. 2 /20/2016. 2PM\, Martha Rosler\, Nancy Buchanan\, Andrea Bowers UID:408873 END:VEVENT BEGIN:VEVENT DESCRIPTION:

New York\, NY&mdash\;Leila Heller Gallery is pleased to pres ent \;Night Paintings\, \;a discrete installation of steel \, shadow\, and sound by Iranian born\, Brooklyn-based artist\, Afruz Amigh i on view from February 18&mdash\;March 26th\, 2016. \; Comp osed in light and welded-steel\, a diptych of two sculptural reliefs seeks to investigate the plural temporality of an architectonics of ritual and cu ltural memory.  \;Night Paintings \;draw in shadow\, in th e sharp relief of darkness against light\, in the liminal conflation of the ephemeral solidity of the line and the voluminous\, enduring negative spac e of open metal silhouettes meeting air. Hers is not an illumination\, but a darkening.

DTEND:20160326 DTSTAMP:20160208T070447 DTSTART:20160218 GEO:40.7500883;-74.0059166 LOCATION:Leila Heller Gallery - Chelsea\,568 West 25th Street \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Afruz Amighi: Night Paintings\, Afruz Amighi UID:408870 END:VEVENT BEGIN:VEVENT DTEND:20160218T200000 DTSTAMP:20160208T070447 DTSTART:20160218T180000 GEO:40.7500883;-74.0059166 LOCATION:Leila Heller Gallery - Chelsea\,568 West 25th Street \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Afruz Amighi: Night Paintings\, Afruz Amighi UID:408871 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Chuck Agro\, Philip Akkerman\, Janine Antoni\, Robert Arneso n\, Luis Cruz Azaceta\, Leonard Baskin\, Jack Beal\, Max Beckmann\, Bradley Biancardi\, Todd Bienvenu\, Matt Bollinger\, Deborah Brown\, Delia Brown\, Peter Burns\, Jim Butler\, Chuck Close\, Lovis Corinth\, Sophie Crumb\, Ma ry DeVincentis\, Eric Doeringer\, Diane Edison\, \;Ralph Fasanella\, Da n Fischer\, Kathleen Gilje\, Mary Glenn\, \;Mark Greenwold\, Irene Hard wicke\, Barkley L. Hendricks\, Judith Henry\, Scott Kahn\, \;Dennis Kar don\, Deborah Kass\, Kä\;the Kollwitz\, Kurt Kauper\, David Kramer\, La ura Krifka\, Charlotte Lee\, John Lees\, Andrew Lenaghan\, \;Beverly Mc Iver\, Catherine Murphy\, Erik Olson\, Carl Ostendarp\, Philip Pearlstein\, Erika Ranee\, Charles Ritchie\, Kenny Rivero\, Walter Robinson\, Giordanne Salley\, Tom Sanford\, Cindy Sherman\, Devan Shimoyama\, Cary Smith\, Lava Thomas\, Betty Tompkins\, Eugene Von Bruenchenhein\, Martin Wilner\, Aaron Zimmerman

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The self portrait is the lingua franca \;of the smar tphone \;era. \; The scourage and proliferation of &ldquo\;selfes&r dquo\; and &ldquo\;profiles&rdquo\; is certainly indicative that we are end uring the best of times-as well as the worst of times in the apothesosis of onanistic humanism. \; Despite its utter debasement in the hand-held d evice\, adolesentalized epoch\, the self portrait in the 21st Century remai ns an elevated\, vital\, interesting\, important and revealing genre. \ ; The show includes \;nearly \;60 self-portraits\, some are literal \, others allude to autobiography in a psychological or metaphorical way. DTEND:20160319 DTSTAMP:20160208T070447 DTSTART:20160204 GEO:40.7500416;-74.0038805 LOCATION:BravinLee Programs\,526 West 26th Street Suite 211\nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Introspective UID:408823 END:VEVENT BEGIN:VEVENT DTEND:20160204T200000 DTSTAMP:20160208T070447 DTSTART:20160204T180000 GEO:40.7500416;-74.0038805 LOCATION:BravinLee Programs\,526 West 26th Street Suite 211\nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Introspective UID:408824 END:VEVENT END:VCALENDAR