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

303 Gallery is pleased to present our first exhibition of El ad Lassry's new work.

\n

What is the philosophical location of a pictu re? Working with images culled from advertising\, films\, illustrated magaz ines\, and commercial catalogues\, Lassry lifts them out of their original contexts\, alters them\, and radically destabilizes their function. He not only points to the processes of photographic production and reproduction (u nderscoring the idea that a picture de facto relates to other pictures)\, b ut also to the material attributes of the picture as an object. In his rigo rously formatted photographs\, which never exceed the dimensions of a magaz ine page or spread\, Lassry elaborates on the potential of a photograph to exist as a sculpture. Often displayed in frames that derive their saturated colors from the dominant hues in the pictures\, or more recently featuring pleated sheets of 4-ply silk affixed to the frame\, his works "stretch" th e concept of image-making. Taken as a whole\, Lassry's works create an arch ive of significations\, of images that critically investigate other images\ , which leads to more elastic ways of articulating representation.

\n

Over the last several years\, Lassry has distinguished himself as an outsta nding thinker and experimenter within the expanded field of contemporary ar t. Mining the relationship between traditional modes of analogue production and digital intervention within an unprecedented "blitz" of image prolifer ation\, Lassry has creatively reassessed what it means to make pictures in the post-photographic age. His image-driven\, interdisciplinary practice-in cluding photographs\, films\, sculptures\, performances and site-interventi ons-is positioned within an art historical genealogy that taps the readymad e\, post-appropriative practices\, structuralist filmmaking and relational modes of exhibition display.

\n

In 2014\, Lassry's work will be the su bject of a major exhibition at Museum Boijmans Van Beuningan in Rotterdam. Solo exhibitions devoted to his work have also been held at The Kitchen\, N ew York\; Kunsthalle Zurich\, Switzerland\; The Whitney Museum of American Art\, New York\; Padiglione d'Arte Contemporanea\, Milan\; and the Contempo rary Art Museum\, St. Louis. Recent group exhibitions include "Film as Scul pture"\, WIELS Contemporary Art Centre\, Brussels\; "Beyond. International Curator Exhibition of Tallinn Month of Photography"\, KUMU Art Museum\, Tal linn\, Estonia\; "The Anxiety of Photography"\, Aspen Art Museum\; "Secret Societies. To Know\, To Dare\, To Will\, To Keep Silence"\, Schirn Kunsthal le Frankfurt and CAPC de Bordeaux\, "Time Again"\, SculptureCenter\, New Yo rk\; and "New Photography 2010"\, Museum of Modern Art\, New York. Lassry w as born in Tel Aviv in 1977\; he lives and works in Los Angeles.

DTEND:20131026 DTSTAMP:20141218T080433 DTSTART:20130912 GEO:40.7485947;-74.0041953 LOCATION:303 Gallery\,507 West 24th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Solo Exhibition\, Elad Lassry UID:287547 END:VEVENT BEGIN:VEVENT DESCRIPTION:

A Klee painting named &lsquo\;Angelus Novus&rsquo\; shows an angel looking as though it is about to move away from something it is fixe dly contemplating. Its eyes are staring\, its mouth is open\, its wings are spread. This is how one pictures the angel of history. \; Its face is turned toward the past. Where we perceive a chain of events\, it sees one s ingle catastrophe\, which keeps piling wreckage and hurls it in front of it s feet. The angel would like to stay\, awaken the dead\, and make whole wha t has been smashed. But a storm is blowing in from Paradise\; it has got ca ught in its wings with such violence that the angel can no longer close the m. The storm irresistibly propels it into the future to which its back is t urned\, while the pile of debris before it grows skyward. This storm is wha t we call progress.

\n

The true picture of the past flits by. The past can be seized only as an image which flashes up at the instant when it can be recognized and is never seen again.

\n

&ndash\;Walter Benjamin\, & ldquo\;Thesis on the Philosophy of History&rdquo\;

\n

The angel of his tory is the inspiration for Aura Rosenberg&rsquo\;s film. Compressed into f ive minutes\, this film animates the ruin and progress of history\, startin g with formation of planets from gas clouds through to the present. \; The pile\, culled from an online pictorial archive\, depicts Benjamin&rsquo \;s single catastrophe. A flash of original paradise interrupts the catacly smic momentum and reminds the viewer of the dialectic of history in which t he past can be recalled only in relation to the demands of the present.

DTEND:20131011 DTSTAMP:20141218T080433 DTSTART:20130919 GEO:40.716943;-73.997372 LOCATION:3A Gallery\,179 Canal Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Angel of History \, John Miller\, Aura Rosenberg UID:293305 END:VEVENT BEGIN:VEVENT DTEND:20130919T200000 DTSTAMP:20141218T080433 DTSTART:20130919T180000 GEO:40.716943;-73.997372 LOCATION:3A Gallery\,179 Canal Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Angel of History \, John Miller\, Aura Rosenberg UID:293306 END:VEVENT BEGIN:VEVENT DESCRIPTION:\n

We are pleased to announce Diana Copperw hite&rsquo\;s first US solo show in collaboration with Kevin Kavanagh Galle ry\, Dublin. This follows on from her succesful solo presentation at VOLTA NY earlier this year\, and her residency at the Josef Albers Foundation in December 2012.

&ldquo\;Whose afraid of Red\, Yellow and Blue&r dquo\; asked Barnett Newman in the sixties amid the era&rsquo\;s monikers o f post-painterly abstraction and colour field painting. His answer\, and in deed the answers of his compatriots at the time\, seem to us now as stately as they are staid. They sit comfortably into the art historical narrative -the progressive imperative of Modernism. The paintings of Diana Copperwhit e deliver us back into the maelstrom of colour resurrecting the fear that s uch charged tints and hues can conjure. Copperwhite&rsquo\;s colours misbeh ave\, taunting and mocking our narrow appreciation of their emotional poten tial. \;

\n

We have radiant colour\, scrubbed colour\, muddied col our\, mercurial colour\, structural colour\, all carefully choreographed wi thin these large canvases. The work carries the evidence of the intense lab our of its making. These are not easily won images\, we can see from the er asure\, the under-painting and the re-painting the myriad of decisions empl oyed in their completion.

\n

These paintings are not abstract but abst ractions. In some\, the geometrical shaping of certain passages seem to sug gest architecture\, both internal or external\, and at times simultaneously internal and external. These are faint armatures on which to secure the ey e\, take a breath\, before launching into the immensity of colour on offer. Recently the artist has introduced neon radiant colour bars onto the surfa ce. Floating on top of the composition they startle the eye and delight the perception\, like freeform riffs in jazz. \;

\n

So what gives her e in these colourful paintings? There is no ironic strategy underlying thei r production\, nor\, wacky systemic analysis of colour theory. These are ho t paintings\, panting with sensuality\, overburdened with sensitivity\, and  \; demanding &ndash\;demanding that we give ourselves to them as whole heartedly as they were created.

\n

Patrick T Murphy\, Dublin

\n

< span style="font-size: 12.0pt\; font-family: 'Times New Roman'\,'serif'\; m so-fareast-font-family: Calibri\; mso-fareast-theme-font: minor-latin\; mso -ansi-language: EN-US\; mso-fareast-language: EN-US\; mso-bidi-language: AR -SA\;">(from 1989 to 1998 Murphy was Director of the Institute of Conte mporary Art\, at the University of Pennsylvania\, Philadelphia\, currently he is Director of the Royal Hibernian Academy\, Dublin).&nbs p\; \;

\n DTEND:20131019 DTSTAMP:20141218T080433 DTSTART:20130910 GEO:40.749403;-74.004838 LOCATION:532 Gallery Thomas Jaeckel\,532 W. 25th Street \nNew York\, NY 100 01 SEQUENCE:0 SUMMARY:Loose Ends\, Diana Copperwhite UID:283571 END:VEVENT BEGIN:VEVENT DTEND:20130910T203000 DTSTAMP:20141218T080433 DTSTART:20130910T180000 GEO:40.749403;-74.004838 LOCATION:532 Gallery Thomas Jaeckel\,532 W. 25th Street \nNew York\, NY 100 01 SEQUENCE:0 SUMMARY:Loose Ends\, Diana Copperwhite UID:293480 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In Matthew Daub&rsquo\;s newes t body of work\, The Maiden Creek Series\, his subject is a twenty -two mile stretch \;along Maiden Creek\, a rural tributary of Pennsylva nia&rsquo\;s Schuylkill River. Depicting specific sites along the way\, and identified only by their \; latitude and longitude coordinates that se rve as the title of each image\, \;Daub&rsquo\;s finely rendered\, near -monochromatic watercolor panoramas are experienced not as landscape \; but of place: place as a private world with its own interior life\; place a s somewhere to linger and explore deeply or where we are encouraged\, indee d commanded\, to move on\, the place itself escorting us along the road.

DTEND:20131019 DTSTAMP:20141218T080433 DTSTART:20130919 GEO:40.7452665;-74.0083239 LOCATION:ACA Galleries\, Est 1932\,529 West 20th Street (5th floor) bt 10th and 11th Ave\nNew York\, NY 10011 SEQUENCE:0 SUMMARY:The Maiden Creek Series: Watercolor Drawings by Matthew Daub\, Matt hew Daub UID:294701 END:VEVENT BEGIN:VEVENT DTEND:20130921T170000 DTSTAMP:20141218T080433 DTSTART:20130921T140000 GEO:40.7452665;-74.0083239 LOCATION:ACA Galleries\, Est 1932\,529 West 20th Street (5th floor) bt 10th and 11th Ave\nNew York\, NY 10011 SEQUENCE:0 SUMMARY:The Maiden Creek Series: Watercolor Drawings by Matthew Daub\, Matt hew Daub UID:294702 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20131019 DTSTAMP:20141218T080433 DTSTART:20130912 GEO:40.7268368;-73.9929619 LOCATION:AICON GALLERY - New York\,35 Great Jones Street \nNew York\, NY 10 012 SEQUENCE:0 SUMMARY:The Form and the Figure Pt. II\, M. F. Husain\, S. H. Raza\, F.N. S ouza UID:295779 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20131019 DTSTAMP:20141218T080433 DTSTART:20130913 GEO:40.7268368;-73.9929619 LOCATION:AICON GALLERY - New York\,35 Great Jones Street \nNew York\, NY 10 012 SEQUENCE:0 SUMMARY:The Form and the Figure Pt. I\, Ram Kumar UID:295778 END:VEVENT BEGIN:VEVENT DESCRIPTION:
\n

Buthe&rsquo\;s work was widely exhibit ed throughout Germany from 1968 until his death in 1994. His work was inclu ded in the legendary exhibition &ldquo\;When Attitudes Become Form: Live in Your Head&rdquo\; at Kunsthalle Bern as well as four &ldquo\;Documenta&rdq uo\; exhibitions. Beginning in 1970\, Buthe spent an increasing amount of t ime in North Africa and the Middle East. These experiences\, melded with hi s European upbringing and the zeitgeist embraced by his contemporaries Sigm ar Polke and Gerhard Richter\, led to the development of Buthe&rsquo\;s dis tinct and constantly evolving vernacular. With little separation between hi s Shamanistic lifestyle and the work he produced\, there exists a seamless shift from medium to medium.

\n

Buthe&rsquo\;s work has come under re- examination in the past few years. In 2009 &ldquo\;Michael Buthe: The Angel and His Shadow&rdquo\; was presented at Ernst Barlach Haus\, Hamburg and a t the Arp-Museum Banhof\, Rolandseck. In &ldquo\;Abstraction and Empathy\,& rdquo\; (also 2009\,) at the Deutsche Guggenheim\, Berlin\, curator Carmen Gimenez paired his work with that of Thomas Schü\;tte to represent empa thy in contrast with abstract representation as seen in the work of Blinky Palermo and Joseph Albers. Alexander and Bonin presented solo exhibitions o f Buthe&rsquo\;s work in New York in 2007 and 2010. Recent solo exhibitions in European galleries include Thomas Flor\, Dü\;sseldorf (2009) and RE CEPTION\, Berlin (2010). Approximately 20 works by Buthe were exhibited in &ldquo\;Intense Proximity\,&rdquo\; the 2012 Paris Triennale (April 20 &nda sh\; August 12\, 2012). In September 2013\, Alexander and Bonin will presen t a solo exhibition of Buthe&rsquo\;s work.

\n
DTEND:20131012 DTSTAMP:20141218T080433 DTSTART:20130910 GEO:40.7497717;-73.9976946 LOCATION:Alexander and Bonin\,132 10th Ave. between 18th and 19th streets i n Chelsea\nNew York \, NY 10011 SEQUENCE:0 SUMMARY: Secrets\, Michael Buthe UID:293120 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Alexander Gray Associates is pleased to present an exhibitio n featuring new paintings by Jack Whitten\, accompanied by a fully-illustra ted catalog. The presentation highlights the most recent evolution of proce ss in Whitten&rsquo\;s nearly 50-year career dedicated to abstraction\, man ipulation\, and subversion of traditional painting practices.

Scale\, context\, and history play equally integral roles in the group of p aintings on view. With its alluring\, slick black surface\, the sprawling < em>Remote Control (2013) is both seductive and intimidating\, alluding to the appeal and threat of technology. In the massive Crushed Grid (2013)\, Whitten reinvents the modernist grid by immersing a distorted n et of acrylic ribbons in thick layers of undulating paint. The varied effec ts of his material experimentation add a sense of tension\, depth\, and mot ion\; the result is an array of illusory surface textures that seem solid a nd aerated\, dense and viscous yet fluid.

The memorial and hom age paintings in the exhibition further exemplify Whitten&rsquo\;s innovati ve consideration of painting as object. Elements of three-dimensionality ar e applied to the canvas\, such as the acrylic molds in Nine Cosmic CDs: For The Firespitter (Jayne Cortez) (2013). The radiant energy capture d by Whitten&rsquo\;s vivid palette provides insight into the fierce person ality and artistic achievements of the late poet who inspired the painting.

About his recent work Whitten states\, &ldquo\;I like the ide a that people are suspended while asking questions about process. I like th e idea that the viewer might be frozen by wonder. I have developed many con ceptual and technical approaches over the past 50 years\, and now\, all I&r squo\;m doing is going back into my toolbox and using them. I am dealing wi th the evolution of painting\, Western abstract painting in particular. In this way\, evolution is the symbol I am trying to capture. That&rsquo\;s wh y each work is so different\, it is still in the act of evolving.&rdquo\; < br />
Concurrent with the exhibition at Alexander Gray Associates\, Jack Whitten: Light Years 1971&ndash\;1973 is on view at the Rose Art Museum at Brandeis University September 17&ndash\;December 22\, 2013. W hitten&rsquo\;s painting\, 9-11-01\, is featured in 
The Encyc lopedic Palace at the 55th Venice Biennale through November 2 4\, 2013. Whitten will also be featured in the renowned traveling exhibitio n Blues for Smoke at the Wexner Center for the Arts September 21\, 2013&ndash\;January 5\, 2014\, as well as the Gallery&rsquo\;s Art Basel M iami Beach 2013 presentation. Whitten&rsquo\;s work will be the subject of an upcoming retrospective at the Museum of Contemporary Art\, San Diego in 2014.

DTEND:20131012 DTSTAMP:20141218T080433 DTSTART:20130911 GEO:40.74975;-74.003741 LOCATION:Alexander Gray Associates\,508 West 26 Street #215 \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Solo Exhibition\, Jack Whitten UID:289640 END:VEVENT BEGIN:VEVENT DTEND:20130911T200000 DTSTAMP:20141218T080433 DTSTART:20130911T180000 GEO:40.74975;-74.003741 LOCATION:Alexander Gray Associates\,508 West 26 Street #215 \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Solo Exhibition\, Jack Whitten UID:289641 END:VEVENT BEGIN:VEVENT DESCRIPTION:

American Contemporary Gallery is pleased to announce the fir st solo exhibition by Julia Goldman. In Magazine Goldman presents a new\, e xtensive\, series of oil paintings\, all of a similar size\, that explore h er continued interest in the female figure and the structure of painting. < br />
In these paintings Goldman refers to images from a variety of s ources. They are then combined and reconstructed as prototypes for the fina l works. Each tableau presents images of women obstructed by additional ima ges of women\, whilst maintaining multiple traces and disruptions of the or iginal. The compositions are clearly fractured\, seeming at points like pai ntings within paintings\, however\, the manner in which Goldman layers her compositions creates a resounding wholeness.

Goldman is intere sted in the results facilitated by a repeated subject. She chooses subjects she knows well - explaining\, 'I can evaluate them easily\, they are legib le'. This allows her to break each subject into the clear layers that defin e her compositions. Every painting struggles with the same set of problems: her goal is to address this challenge differently each time within the poe tic dynamics of the given series.

Julia Goldman (b.1982. Phila delphia\, PA). After receiving her MFA and BA at Columbia University\, Gold man's work was included in the New York Times reviewed exhibition The Ankle Bones are Higher on the Inside at Museum 52 (2009) where her work was comp ared to Milton Avery and Alex Katz. Her work has been exhibited in New York \, London\, Art Los Angeles Contemporary 2013\, NADA 2011\, and Portugal Ar te 2010.

DTEND:20131020 DTSTAMP:20141218T080433 DTSTART:20130911 GEO:40.725623;-73.991532 LOCATION:American Contemporary\,4 East 2nd Street \nNew York\, NY 10003 SEQUENCE:0 SUMMARY: Magazine \, Julia Goldman UID:295782 END:VEVENT BEGIN:VEVENT DTEND:20130911T200000 DTSTAMP:20141218T080433 DTSTART:20130911T180000 GEO:40.725623;-73.991532 LOCATION:American Contemporary\,4 East 2nd Street \nNew York\, NY 10003 SEQUENCE:0 SUMMARY: Magazine \, Julia Goldman UID:295783 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This exhibition considers three contemporary artists who are inspired by the history and structure of American quilts but who are neith er inhibited\, constricted\, nor defined by it. Sabrina Gschwandtner\, Luke Haynes\, and Stephen Sollins are keenly aware that a quilt&rsquo\;s very s ubstance&mdash\;its remnants\, pieces\, choices\, geometries&mdash\;is prof oundly laden with meaning. They intentionally seek such emotional and reten tive content in their work\, oftentimes through ingenious techniques and by using unexpected materials such as 16mm film strips or used Tyvek envelope s. By purposefully reusing experiential elements with relevance to their ow n lives and times\, they exploit the tension inherent in historical quilts between function and significance. The three artists are especially attract ed to the rationality and precision of specific quilt patterns that often h ave illusive qualities&mdash\;Tumbling Blocks\, Log Cabin\, Sunshine and Sh adow\, Double Wedding Ring&mdash\;examples of which\, from the museum&rsquo \;s collection\, will also be on view.

DTEND:20140105 DTSTAMP:20141218T080433 DTSTART:20131001 GEO:40.7731765;-73.9814441 LOCATION:American Folk Art Museum\,2 Lincoln Square \nNew York\, NY 10023 SEQUENCE:0 SUMMARY:alt_quilts\, Sabrina Gschwandtner\, Luke Haynes\, Stephen Sollins UID:294143 END:VEVENT BEGIN:VEVENT DTEND:20131001T173000 DTSTAMP:20141218T080433 DTSTART:20131001T103000 GEO:40.7731765;-73.9814441 LOCATION:American Folk Art Museum\,2 Lincoln Square \nNew York\, NY 10023 SEQUENCE:0 SUMMARY:alt_quilts\, Sabrina Gschwandtner\, Luke Haynes\, Stephen Sollins UID:294144 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Cristó\;bal Lehyt&rsquo\;s (b. 1973) approach to site- specificity questions the immediate perception of sight (and the site) as a device of cultural translation: what you see is not what you get. For Lehy t\, site-specific sculpture occupies the exhibition space as a phenomenolog ical difficulty rather than an encounter with the audience.

\n

Lehyt&r squo\;s artistic practice\, specially his drawings\, also departs from a ps ychological conundrum\, projecting the real on a screen\, or "sheet"&mdash\ ;a piece of white fabric\, thick but not totally opaque\, serves in this ca se as an allegory of sight as blurred vision or detritus. Typically\, his s eries of drawings entitled\, Drama Projections operates within the liminal realm of language as an impediment or defect. Drawing serves as a medium for a silent type of storytelling in which a mechanism of reproducti on/psychic projection allows the artist to delve into life&rsquo\;s everyda y conflicts that are unleashed by the artist&rsquo\;s narrative impulse.

\n

Iris Sheets\, Lehyt&rsquo\;s solo project for the Americas S ociety\, in its various paradoxes and components&mdash\;a site-specific scu lpture\, a mural of drawings\, and a banner to be hung at the building&rsqu o\;s southwestern faç\;ade&mdash\;tackles the contradictions of an ar tist from the so-called periphery living in and outside his original contex t. On the one hand\, Lehyt's site-specific sculpture echoes the shape of th e geography of Chile and its materials symbolically link the piece with the country&rsquo\;s role as a successful world exporting country. Lehyt is no t interested in undertaking an essentialist celebration or in examining pol itical mythologies from the Cold War\, although in his previous works allus ions to Chile have been repressed and abstracted. It is not accidental he r ecurrently uses materials from the South American country blended with a cl uster of multilayered references to land art and minimalism\, as well as Ma tt Mullican&rsquo\;s hypnotic drawings. An artist born in 1973\, Lehyt&rsqu o\;s sculpture and drawings are informed by an exploration of the repressio n of memory after Chile&rsquo\;s dictatorship and its trivialization throug h the gap between traumatic experience and the past. Lehyt uses history as an abstracted fact muted by language and identifies post-traumatic effects of repression as a mythological construction of the present. Iris Sheet s frames these issues as a Samuel Beckett-like tongue twister directed to non-English native speakers.

\n
\n

The Installation

\n

Lehyt will create a site-specific installation that respond s to the architecture of the Americas Society&rsquo\;s art gallery and cons iders its exhibition history as a space dedicated to (re)present the art of the Americas since the 1960s. The centerpiece of the show will be a gigant ic snake-like\, three-dimensional structure that weaves through the 1000-sq uare foot space. Upon entering\, visitors will encounter what will seem to be the head of the monstrous figure. The structure will be made with natura l wood drenched in red Chilean wine and natural-fiber rope therefore engagi ng the spectator&rsquo\;s perception of space and teasing his or her sense of vision\, smell\, and touch. The body of the sculpture forms a sort of ve rtebrae that will operate very much like many of Lehyt&rsquo\;s other works &mdash\;it will appear as one thing and function as another\, making it dif ficult to identify. The work will be at once abstract\, yet organic in form . Lehyt&rsquo\;s work operates within these contradictions\, which can also take the form of humor or through a linguistic game in which a joke can be a way for the visitor to access to the meaning of the work of art. For Leh yt\, contemporary art&mdash\;specifically sculpture&mdash\;game playing all ows for alternative approaches to be explored\, some of which may not norma lly be taken seriously within the traditional context of art making.

\n< p>Another component of Iris Sheets is a mural the artist will prod uce specifically for the exhibition. Working in tandem with the monumental three-dimensional piece\, this work is based on drawings\, which the artist titles Drama Projections&mdash\; a psycho-analytic process that i s the result of mind-numbing sessions of &ldquo\;automatic drawing.&rdquo\; Begun in 2003\, Drama Projections was started as a means for Lehy t to overcome a conceptual resistance to representing the traumas of the pr esent through portraiture. Through these sessions of automatic drawing\, th e artist projects his own fantasies upon his everyday encounters with unkno wn men and women on the subway\, in restaurants\, or on the streets of the many cities he has visited. At the end of each session\, Lehyt is left with intimate drawings he has produced\, which can be viewed as characters star ing in their own fiction. As the artist has stated\, the portraits are like the &ldquo\;the undead in a strange limbo.&rdquo\; Nevertheless\, these ra w drawing are rarely shown and undergo various levels of mediation. For Iris Sheets\, Lehyt will enlarge these drawings\, so that they are al most life-size in form.

\n

Lehyt will also hang a large banner outside Americas Society&rsquo\;s building southwestern faç\;ade entitled Violeta (2006). The banner features an image of the Chilean protest and folk singer Violeta Parra\, along with the text "Thank you life for giv ing me so much\," lyrics from her iconic song. \; Although Parra&rsquo\ ;s song became internationally associated to the shattered social utopias f rom the 1970s\, the song is the mere product of the singer&rsquo\;s existen tial preoccupations rather than a programmatic piece of propaganda. Lehyt e mphasizes the lack of accuracy of its present meaning by showing it as an e nigmatic marker\, decontextualized from history and transmitted through myt hs. The song&rsquo\;s lyrics printed on the banner also operates as a comic al element to be discovered by the passersby.

\n

Iris Sheets will be accompanied by an upcoming fully illustrated catalogue in which art historian Jaleh Mansoor (Department of Art History\, Visual Art &\; The ory at University of British Columbia) will contribute with an essay as wel l as Chilean writer Alejandro Zambra with a text in dialogue with Lehyt&rsq uo\;s approach to history as repressed memory. In addition\, the publicatio n will feature an interview with Chief Curator Gabriela Rangel and Assistan t Curator Christina De Leó\;n and the artist. \;

\n
\n

About the Artist

\n

Cristó\;bal Lehyt\, born in Santiago\, Chile in 1973\, \;lives and works in New York City. He stud ied at the Universidad Cató\;lica de Chile\, and later at Hunter Coll ege and The Whitney Independent Study Program in New York. His solo exhibit ions include the Carpenter Center (Cambridge\, MA in 2010)\, Fundació \;n Telefó\;nica Chile (2009)\, Kü\;nstlerhaus Stuttgart (2008)\, University of California Irvine (2007)\, and numerous others in galleries in London\, Santiago de Chile\, Caracas\, and Mexico City. He has also part icipated in group exhibitions at the Mercosur Biennial (2009)\, El Museo de l Barrio (2007)\, Kunsthaus Dresden (2006)\, the Shanghai Biennale (2004)\, the Whitney Museum of American Art (2003)\, MoCA Los Angeles (2002)\, amon g many others in New York\, Madrid\, Santiago\, Bogotá\;\, Caracas\, Mexico City\, Berlin\, Vienna\, Beijing\, and Rio de Janeiro. He has been a warded the John Simon Guggenheim Memorial Foundation Fellowship and the Art Forum Fellowship at Harvard University. He is represented by Die Ecke\, Sa ntiago and Johannes Vogt Gallery in New York. His work with paintings\, dra wings\, and photographs explore identity\, figuration\, and dramatic narrat ive.

DTEND:20131214 DTSTAMP:20141218T080433 DTSTART:20130910 GEO:40.6955248;-73.9871396 LOCATION:Americas Society Gallery\,680 Park Avenue (@ 68th St) \nNew York\, NY 10065 SEQUENCE:0 SUMMARY: Iris Sheets\, Cristóbal Lehyt UID:295850 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Andrea Rosen Gallery is delighted to announce Michael Raedec ker's fifth exhibition at the gallery\, highlighting substantial new develo pments in the artist's practice and anticipating an important traveling mid -career survey show opening at the Wilhelm Hack Museum at the end of this y ear.

In a recent shift\, Raedecker began cutting his painted canvases apart and stitching the fragments back together to form new compos itions. The cut is disruptive and perverse: the rip becomes a repair and th e fragmented scene becomes newly reanimated. In his newest body of work\, R aedecker uses the intentional precision of this technique to interrogate ou r sentimental attachment to highly recognizable yet generic symbols of the good life: the suburban model home\, the palm tree\, the chandelier. These anonymous objects\, repeated and set adrift in gestural monochromatic field s of paint\, are placeholders for the whole history of the world\, appearin g and disappearing on the surface of the paintings.

The initi al familiarity of these scenes allows for our personal investment in them\, but the literal trace of the object\, created by the puncture of the needl e and gauge of the thread\, continues to pull us back to the surface and to the painting itself as the object of extraordinary investment and inquiry. For Raedecker the decorative faç\;ade of a house is analogous to a p ainting - its flatness resists vision\, reflecting instead the viewer's own desires and fears. The painting\, like the faç\;ade or the almost ab stract filigree of a chandelier picked out in thread\, is always a fragile surface\, its loose narratives caving in on themselves\, turning upside dow n and failing to resolve into known pictorial categories. This uncanny loop of recognition and estrangement is intensified by the newest sutures\, whi ch disrupt the integrity of the picture and memorialize the essential viole nce of representation.

The title of the exhibition invokes th e tour as a journey undertaken for pleasure or inspection - a contemplative invitation to the viewer with various way stations for connection\, exchan ge and new perspectives.

Michael Raedecker was born in Am sterdam\, Netherlands in 1963 and currently lives and works in London. He s tudied at the Rijksakademie van Beeldende Kunsten\, Amsterdam (1993 - 1994) \, and at Goldsmiths College\, London (1996 - 1997). In 2000\, Raedecker wa s shortlisted for the prestigious Turner Prize. Recent solo exhibitions inc lude volume at Hauser &\; Wirth\, London (2012)\; Galerie Max H etzler\, Berlin (2010)\; and line-up which opened at Camden Arts C entre\, London\, England (2009) and travelled to Gemeentemuseum Den Haag\, The Hague\, Netherlands (2009) and Carré\; d'Art - Musé\;e d'Ar t Contemporain de Nî\;mes (2010).

DTEND:20131005 DTSTAMP:20141218T080433 DTSTART:20130906 GEO:40.749185;-74.005023 LOCATION:Andrea Rosen Gallery\,525 W.24th St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:tour\, Michael Raedecker UID:287987 END:VEVENT BEGIN:VEVENT DTEND:20130906T200000 DTSTAMP:20141218T080433 DTSTART:20130906T180000 GEO:40.749185;-74.005023 LOCATION:Andrea Rosen Gallery\,525 W.24th St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:tour\, Michael Raedecker UID:287988 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Andrea Rosen Gallery is delighted to present Michael St. Joh n&rsquo\;s third Gallery 2 exhibition. Titled Country Life\, the e xhibition unites St. John&rsquo\;s consistent interest in the representatio n of common\, everyday experience with a diligent\, but often playful\, for mal practice. It opens just before the release of St. John&rsquo\;s first m ajor monograph\, published by Karma.

This series of work repre sents source material as varied as 18th Century American tromp l&rsquo\ ;oeil painting by John Peto\, images of women found on the internet by searching &ldquo\;nice racks\,&rdquo\; American presidents\, and Jasper Jo hns&rsquo\; painting &ldquo\;In the Studio\,&rdquo\; 1982. St. John&rsquo\; s work makes claims for the relevance of contemporary art by abandoning a h ierarchy of culture and placing art equally at the center of the broader di scourse with mass media.

At the heart of this exhibition is th e question of representation and the slippery boundary between what is real and what is not. Mimicking the &ldquo\;rack&rdquo\; paintings of Philadelp hia painter John Peto\, St. John employs tromp l&rsquo\;oeil as a metaphor for the increasingly complex nature of fact and fiction and how in formation is perceived\, delivered\, represented\, and understood in the ag e of the internet and cable news. St. John cleverly updates the tradition o f painstaking\, tromp l&rsquo\;oeil painting by incorporating both real objects and modern reproduction (photographs and photocopies). For St . John\, the process of collecting and displaying objects and images\, whet her done by a teenager in a bedroom or an artist in the studio\, is both a means of generating a narrative about one&rsquo\;s own identity and who we might be\, or want to be\, as a people. This body of work moves from the ur ban studio to the country but it continues St. John&rsquo\;s investigation into how people generate meaning through commemorative acts.

H aving lived in New York for many years\, St. John now lives in the Berkshir es and the title Country Life alludes to the potentially false nar rative of simplicity and irony that attends that lifestyle. If the world ha s truly become inescapable with internet access and cable television\, perh aps a country life is as thin a veneer of reality as the faux wood treatmen t used by St. John in many of the paintings in the exhibition. Using a wide range of techniques\, St. John&rsquo\;s paintings alternately fool the eye and call attention to their own material construction.

In con trast to the sentiment of Norman Rockwell&rsquo\;s paintings\, St. John&rsq uo\;s work is a clear-eyed representation of America at this moment. Withou t imbuing his works with any ostensible ideology\, St. John presents his vi ewers with the space to occupy a subjective position. &ldquo\;Like watching the news\,&rdquo\; St. John says\, &ldquo\;you are left to wonder\, what&r squo\;s real and what&rsquo\;s not.&rdquo\;

Michael St. Jo hn lives and works in Sheffield\, Massachusetts. Karma will publish St. Joh n&rsquo\;s first major monograph in September\, shortly after the opening o f this exhibition. Karma will concurrently present a large selection of wor k from St. John&rsquo\;s ongoing series These Days: Leaves of Grass made between 1996 and 2013. Along with an extensive resume of curatorship s\, St. John has held numerous teaching positions.

DTEND:20131005 DTSTAMP:20141218T080433 DTSTART:20130906 GEO:40.749177;-74.0058861 LOCATION:Andrea Rosen Gallery 2\,544 West 24th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Country Life\, Michael St. John UID:287989 END:VEVENT BEGIN:VEVENT DTEND:20130906T200000 DTSTAMP:20141218T080433 DTSTART:20130906T180000 GEO:40.749177;-74.0058861 LOCATION:Andrea Rosen Gallery 2\,544 West 24th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Country Life\, Michael St. John UID:287990 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In the 535 West 22nd Gallery\, Goshka Macuga will be present ing works based on the work of Miroslav Tichý\;. Macuga&rsquo\;s work interweaves two strands that have helped define contemporary art in the la st decade: artists&rsquo\; increasing tendency toward historical and archiv al research and their growing interest in strategies of display and the dia logue between artistic and curatorial practice. Featuring a large-scale tap estry\, as well as collages that incorporate images taken from Tichý\ ;'s original negatives layered with Communist images\, the works in the sho w emulate Tichý\;'s works while presenting a new reading through the eyes of a contemporary female artist who has also lived under Communism\, t here by addressing the inherent problematics of Tichý\;'s practice.\n

Born in Poland in 1967\, Macuga has been based in London since 1989. Her most recent solo exhibition took place the MCA Chicago where \;she is currently in residence. She has shown extensively internationally with solo exhibitions at \;the Walker Art Center in Minneapolis\, the Zachet a National Gallery of Art in Warsaw (both 2011)\, \; \;Whitechapel Gallery in London (2010)\, Kunsthalle Basel (2009)\, and \;Tate Britain (2007).  \;Her work was included in \;Documenta (13) (2012)\,  \; \;the 53rd Venice Biennial (2009)\, \;the 5th Berlin Biennial (2 008) and the \;Liverpool Biennial (2006)\, and she \;was nominated for the Turner Prize in 2008.

DTEND:20131005 DTSTAMP:20141218T080433 DTSTART:20130912 GEO:40.7472381;-74.0051301 LOCATION:Andrew Kreps Gallery @ 535 West 22nd\,535 West 22nd Street \nNew Y ork\, NY 10011 SEQUENCE:0 SUMMARY: Sexuality of Atoms\, Goshka Macuga UID:294540 END:VEVENT BEGIN:VEVENT DTEND:20130912T200000 DTSTAMP:20141218T080433 DTSTART:20130912T180000 GEO:40.7472381;-74.0051301 LOCATION:Andrew Kreps Gallery @ 535 West 22nd\,535 West 22nd Street \nNew Y ork\, NY 10011 SEQUENCE:0 SUMMARY: Sexuality of Atoms\, Goshka Macuga UID:294541 END:VEVENT BEGIN:VEVENT DESCRIPTION:

For her sec ond solo exhibition at the gallery Annette Kelm is presenting new works tha t have been made entirely in 2013. Kelm's photos filter significations as a system of values and codes that are established and stabilized by various forms of image production. This system includes their distribution by the a rt market\, media and consumers: among them phenomena of sports and daily l ife\, botanics\, exoticism\, Hollywood film\, and architecture. She produce s both individual and series of works with repeating motifs and\, in her ex hibitions\, shows a combination of photographs that refuse to submit to a s ingle reading of a theme or concept. Different ways of viewing her works ar e offered\, but never quite fulfilled- instead they obfuscate and undo them selves.

Annette currently has work included in New Photogra phy \;2013 at the Museum of Modern Art\, New York. Born (1975) in Stuttgart\, Kelm presently lives and works in Berlin and has participated i n numerous solo and group exhibitions internationally\; most recently with Presentation House gallery\, Vancouver (2012)\, Bonner Kunstverein (2011)\, KW &ndash\; Institute for Contemporary Art\, Berlin and Kunstalle Zurich ( both 2009). In 2011\, Kelm participated in the 54th Venice Biennale.

DTEND:20131102 DTSTAMP:20141218T080433 DTSTART:20130912 GEO:40.7477457;-74.0063477 LOCATION:Andrew Kreps Gallery @ 537 W. 22nd\,537 W. 22nd St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Solo Exhibition\, Annette Kelm UID:294313 END:VEVENT BEGIN:VEVENT DTEND:20130912T200000 DTSTAMP:20141218T080433 DTSTART:20130912T180000 GEO:40.7477457;-74.0063477 LOCATION:Andrew Kreps Gallery @ 537 W. 22nd\,537 W. 22nd St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Solo Exhibition\, Annette Kelm UID:294539 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Jonas Wood&rsquo\;s fourth solo show at Anton Kern Gallery p resents a collection of paintings that transform everyday spaces\, subjects \, and artifacts from his daily life into novel encounters. These energetic new works expose a complex interweaving of personally charged subject matt er and locales that imbue the paintings with emotional depth and evoke a be wildering sense of familiarity and awe. Still lifes of still lifes\, portra its of friends\, a facade surrounded by dense foliage\, former pets\, a ten nis arena\, a scene from a poker tournament and various artworks all emerge and dissemble\, as though by camouflage\, into the paintings&rsquo\; vivid color planes and mosaic-like forms.
Wood uses techniques of layering and transposition to assemble scenarios that reveal intricately manipulated narratives that hover between genres and artistic styles. Blurring boundar ies of figuration and abstraction\, his works re-animate domestic spaces th rough off-kilter perspectives and instill an exotic air into their autobiog raphical tones.
Working almost exclusively from sketches of photograph s and life studies\, or collaged mock-ups of the two\, Wood&rsquo\;s proces s intentionally moves through several mediums\, each of which subtly alters its previous form before committing the composition to canvas. For several of these paintings\, Wood created etchings\, produced by Jacob Samuel Edit ions\, of his preparatory drawings\, adding yet another level of translatio n to his already semiotic-skewing approach.
Wood&rsquo\;s paintings ce lebrate a mastery of incongruity and the re-organization of representation and memory. Wood not only puts our visual world out of its order\, he rearr anges the temporal and psychological landscapes in such a way that the pain tings themselves conjure a logic and spatial continuity of their own.
Jonas Wood was born in Boston and received his MFA from the University of W ashington. His work has been shown in galleries in the U.S.\, Europe\, and Japan\, as well as numerous public collections\, such as the Hammer Museum\ , Los Angeles\, The Museum of Modern Art\, New York\, and The Museum of Con temporary Art\, Chicago. Wood has a solo exhibition at the Lever House\, Ne w York which opens September 27th\, 2013. Wood lives and works in Los Angel es.

DTEND:20131019 DTSTAMP:20141218T080433 DTSTART:20130912 GEO:40.7463808;-74.007077 LOCATION:Anton Kern Gallery\,532 West 20th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Solo Exhibition\, Jonas Wood UID:293125 END:VEVENT END:VCALENDAR