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Globalization creates unexpected relationships and contrasts in contemporary art. This series focuses on the significance of exhibiting a variety of works in a pluralistic art world. Inspired by salon-style han ging\, most commonly attributed to the Salon de Paris held during the 18th and 19th centuries\; Broadway Gallery NYC continues this legacy with a cont emporary and fresh outlook. Following a trend of previous exhibitions at Br oadway Gallery NYC\, this show pays tribute to the format of a salon hangin g. It is a tradition that awakens contemporary culture to a dynamic collect ive consciousness.

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A few notable themes in this exhibit that cross cultures are romanticism\, spirituality\, and humanity. Part of an ongoing series\, Artists at Home and Abroad reaches out to the diverse community of New York. In addition to the exhibition on display at Broadway Gallery NYC \, are several concurrent Internet projects\, and a print catalog. Furtherm ore\, this exhibit offers writers and viewers an exciting opportunity to su bmit essays and comments on the nature and significance of biennials\, fair s and public exposure for new and emerging artists.

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This exhibit us es the space as another medium altogether\; incorporating the maximum floor -to-ceiling gallery space activates the wall with art works in various medi a by artists\, each of whom offer a unique perspective to the show. These a rtists have transformed the gallery walls into a compendium of generational takes on figuration\, portraiture\, and abstraction.

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Visitors will be surprised to see the stunning results. The speed of interactions via ne w media allows for global artistic conversations previously unheard before. In an attempt to integrate the numerous artistic languages\, this exhibit was installed in a unique format. Two long parallel walls have been careful ly installed to create dialogue in the spatial order. Artists at Home and A broad allows the viewer access to some of the past and current pivotal arti stic ideas while introducing newer talent\, to generate fresh creative ener gy through unexpected juxtapositions.

DTEND:20131010 DTSTAMP:20140918T012646 DTSTART:20130924 GEO:40.721558;-74.000985 LOCATION:BROADWAY GALLERY\,473 Broadway\, 7th floor \nNew York \, NY 10013 SEQUENCE:0 SUMMARY:Global Projects Series: October 2013\, Solange Nourry\, Young-Ae Yi \, Samantha Robinson\, Sabine Schulz\, Andras Mengyan\, Josephine Turalba\, Rolf Hunkeler\, Rita Koch\, Lars Kesseler\, Christel Schmidt\, Basha Marya nska\, Sophia Rein\, Luc Reichert\, Julie Ann Stevens\, Anne Thorsby\, Alex andra Manikas\, Luenza Adams\, Jenna Pinch\, Dustin Yang\, Emma Stern\, Dar nell Edwards UID:295762 END:VEVENT BEGIN:VEVENT DTEND:20131001T200000 DTSTAMP:20140918T012646 DTSTART:20131001T180000 GEO:40.721558;-74.000985 LOCATION:BROADWAY GALLERY\,473 Broadway\, 7th floor \nNew York \, NY 10013 SEQUENCE:0 SUMMARY:Global Projects Series: October 2013\, Luenza Adams\, Darnell Edwar ds\, Rolf Hunkeler\, Lars Kesseler\, Rita Koch\, Alexandra Manikas\, Basha Maryanska\, Andras Mengyan\, Solange Nourry\, Jenna Pinch\, Luc Reichert\, Sophia Rein\, Samantha Robinson\, Christel Schmidt\, Sabine Schulz\, Emma S tern\, Julie Ann Stevens\, Anne Thorsby\, Josephine Turalba\, Dustin Yang\, Young-Ae Yi UID:295763 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.

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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.

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

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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:20140918T012646 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:20140918T012646 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:

The Paula Cooper Gallery is pleased to announce the exhibiti on of an important wall drawing conceived by Sol LeWitt for the Venice Bien nale of 1988. Not exhibited since\, Wall Drawing #564: Complex forms wi th color ink washes superimposed will be installed in the main gallery at 534 W 21st \;Street from September 3 through October 11.

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Wall Drawing #564 belongs to a series of wall drawings from the late 1980s\, which made use of multifaceted geometric forms and color ink washes. \; To achiev e rich and luminous surfaces\, LeWitt devised a specific system of superimp osing pigments\, layer upon wet layer\, with ink-soaked rags. \; LeWitt \, who had moved to Spoleto\, Italy\, in the late 1970s credited his transi tion from graphite pencil or crayon to vivid ink washes\, to his encounter with the frescoes of Giotto\, Masaccio\, and other early Florentine painter s.

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Sol LeWitt\, w hose pioneering style defies categorization\, executed his first wall drawi ng for Paula Cooper&rsquo\;s inaugural show in 1968. A critical departure f rom the tradition of object-based art\, he believed in the &ldquo\;primacy of the idea.&rdquo\; LeWitt went so far as to offer precise plans with whic h his assistants could execute his work\, much as composers create scores f or musicians.

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Sol LeWitt (1928-2007) was born in Hartford\, Connecticut. In 1953 he moved to New York where had his first one-person show at the John Daniels Gallery i n 1965.  \;The Gemeentemuseum in The Hague presented his first retrospe ctive exhibition in 1970\, and his work was later shown in a major mid-care er retrospective curated by Alicia Legg at the Museum of Modern Art\, New Y ork in 1978.

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LeWi tt's works are in numerous public collections. To name a few: Museum of Mod ern Art\, The Whitney Museum of American Art\, The Solomon R. Guggenheim Mu seum\, The Art Institute of Chicago\, The San Francisco Museum of Modern Ar t\, Centre National d&rsquo\;Art Moderne Georges Pompidou\, Paris\, Stedeli jk Museum Amsterdam\, Turin&rsquo\;s Castello di Rivoli\, Moderna Museet St ockholm and Tate\, London.

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In November 2008 &ldquo\;Sol LeWitt: A Wall Drawing Retrospective &rdquo\; opened at MassMOCA (Massachusetts Museum of Contemporary Art)\, an d will remain on view for 25 years. In 2010\, the Yale University Art Galle ry and Yale University Press co-published Sol LeWitt Wall Drawings: A C atalogue Raisonné\;.

DTEND:20131011 DTSTAMP:20140918T012646 DTSTART:20130903 GEO:40.746921;-74.006891 LOCATION:Paula Cooper Gallery - 534 W. 21st Street\,534 W.21st St. \nNew Yo rk\, NY 10011 SEQUENCE:0 SUMMARY:Wall Drawing #564: Complex forms with color ink washes superimposed \, Sol LeWitt UID:286206 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Steven Kasher Gallery is thrilled to present Max Kozloff : New York Over the Top\, a collection of 20 color prints drawn from o ver 35 years of Kozloff&rsquo\;s New York photography. This show launches K ozloff&rsquo\;s first photographic monograph\, New York Over the Top\,< /em> introduction by Marvin Heiferman (Contrasto\, 2013)\, and coin cides with the Art Institute of Chicago&rsquo\;s exhibition Ma x Kozloff: Critic and Photographer\, running October 5th th rough January 5th. Max Kozloff is a street photographer\, alert to the extravagance and sorrows of life in the Big Apple\, which he visuali zes with idiosyncratic color.

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Kozloff photographs his fellow citize ns with an urban eye. \; He does not see them as legendary creatures\, but he often makes them out to be fabulous presences\, glimpsed at carnival s and festivals. He is especially enchanted with that he has called &ldquo\ ;the music of faces&rdquo\;\, a spectrum of moods at variance with the cons umerism or ethnicity of circumstance. Statues\, effigies\, or teddy bears s eem to offer internal witness to what he calls New York Over the Top.

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As Marvin Heiferman writes in the introduction to the book\, &ldquo\;Rep etitive forms appear and sweep across these pictures in waves: decorative p atterns created by fences and barriers\; the syncopated angles of the elbow s and knees of those who walk by\, crowd together\, or stand in place\; the stripes on a pair of pants. &lsquo\;Color for me\,&rsquo\; Kozloff has exp lained\, &lsquo\;is a form of tenderness.&rsquo\; And so\, paradoxically\, while high-key chromatics spark much of this work\, it is an unexpected gen tleness that clings to and distinguishes these sneaky complex photographs.& rdquo\;

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Max Kozloff continues to be a prominent New York writer on photography after his tenure as Executive Editor of Artforum concluded in t he 1970s. He has published three volumes of his collected essays on the med ium\, as well as New York: Capital of Photography and more recentl y\, The Theatre of the Face: Portrait Photography Since 1900. Simu ltaneously\, and with equal zeal\, he has developed a career as a practitio ner of color negative street photography. Opening in October\, the Art Inst itute of Chicago is recognizing his achievement with a retrospective that a cknowledges the scope of his imagery as well as the provocations of his wri ting.

DTEND:20131011 DTSTAMP:20140918T012646 DTSTART:20130912 GEO:40.7501399;-74.003542 LOCATION:Steven Kasher Gallery\,515 West 26th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:New York Over the Top\, Max Kozloff UID:289628 END:VEVENT BEGIN:VEVENT DTEND:20130912T200000 DTSTAMP:20140918T012646 DTSTART:20130912T180000 GEO:40.7501399;-74.003542 LOCATION:Steven Kasher Gallery\,515 West 26th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:New York Over the Top\, Max Kozloff UID:289629 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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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.

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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.

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DTEND:20131012 DTSTAMP:20140918T012646 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:20140918T012646 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:20140918T012646 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:
bitforms gallery is pleased to announce the US debut of ne w work by the Los Angeles based artistCasey Reas.
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ULTRACONCENTRATED \;is his first New York solo exhibi tion in over five years\, marking a departure from past works based on emer gent systems. Since 2008\, Reas has collaborated on a number of architectur ally-scaled commissions. These projects have ranged widely\, including:&nbs p\;stage set designfor the band Yeasayer in 2012 with Aranda\Lasch\; a \;permanent video projection  \;for the nighttime faç\;ade of Frank Gehry's New World Symp hony building in Miami Beach\, created with Tal Rosner\; amural with Ben Fry \;on the campus of M IT\; and \;"Clad"\, a set of sculptures exhibited at the 12th Veni ce Architecture biennial with the davidclovers studio. Presently on view at the LA MoCA\, \;"Textile Room" \;is video sculpture featurin g projections by Reas\, in collaboration with the studio \;P-A-T-T-E-R- N-S.

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Reas' latest work inhabits the increasingly vo luminous\, yet invisible\, spaces of information systems and mass communica tion. Using a variety of materials\, his new projects explore the behavior of television signals and entropy. Live video-driven software systems are f eatured inULTRACONCENTRATED\, as well as c prints\, laser-etched a nodized aluminum pieces\, and an illuminated sculpture created with Aranda\ Lasch.

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The series \;Si gnal to Noise \;intentionally disrupts the information of loca l broadcast signals. It investigates the field of technical images\, as the orized by philosopher Villem Flusser\, such as visual information transmitt ed as data\, which relies on text-based instructions to "write" a picture. In the creation of this work\, television content was captured from the air with an antenna. Reas edited\, and then processed the appropriated materia l with his own custom software\, which runs live in the gallery. The progra mmed logic is visible as a geometric lattice\, building the illusion of a s urface. \;

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In these works\, software's capacity for precision and order is subverted. Each generative animation in the ser ies scrambles a 20-minute segment of television captured from a major US ne twork\, such as ABC\, NBC\, Fox or CBS. They fracture and distort the inten ded images and narrative\, to craft alternate\, imagined spaces. Their cons truction is comparable to early twentieth-century collages built from the m edia of that time\, and mid-century video collage. Taking a Dada approach t o the raw materials\, each piece is silent and named after a specific momen t from the broadcast script. \;

\n DTEND:20131012 DTSTAMP:20140918T012646 DTSTART:20130905 GEO:40.72012;-73.990339 LOCATION:bitforms gallery\,131 Allen Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Casey Reas: ULTRACONCENTRATED\, Casey Reas UID:293654 END:VEVENT BEGIN:VEVENT DTEND:20130905T203000 DTSTAMP:20140918T012646 DTSTART:20130905T180000 GEO:40.72012;-73.990339 LOCATION:bitforms gallery\,131 Allen Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Casey Reas: ULTRACONCENTRATED\, Casey Reas UID:293656 END:VEVENT BEGIN:VEVENT DESCRIPTION:
ClampArt is pleased to p resent \;Darshan\, \;an exhibition of new work by contempo rary photographer Manjari Sharma. "Darshan" is a Sanskrit word meaning "vis ion" or "view." It is most commonly used in the context of Hindu worship an d can also be translated as an "apparition" or a "glimpse."  \;One may seek and receive the Darshan of a deity\, and upon sight\, that Darshan may invoke an immediate connection between that deity and the devotee. A Darsh an can ultimately be described as an experience purposed on helping one foc us and call out to his or her sense of spirituality.
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For Sharma\, the series \;Darshan \;aims to photographically recreate various classical images of Gods and Goddesses p ivotal to mythological stories in Hinduism.  \;Printed on a massive sca le\, photographs will be presented in an elaborate installation closely res embling the experience of a Hindu temple\, complete with incense\, lamps\, and invocations. \; \;

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Entirely self-funded in 2011\, via the crowd-sourcing site Kickstarter \, \;Darshan \;has already garnered a significant amount o f attention from \;NPR \;to the \;New York Times\, \;Huffington Post \;and \;LIFE. \; \ ;Sharma has said of the work that \;"Growing up in India\, I saw s piritual paintings and sculptures of deities everywhere...but never a photo graph...My mission is to prove that a carefully created photograph can evok e a similar spiritual response."

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To make the imagery for the series Sharma did extensive research on each character which led to the assemblage of a team of approximately thirt y-five Indian craftsmen who created\, as theNew York Times'\, Niko Koppel explained\, "elaborate sets\, detailed costumes\, \;Bollywood-l evel prosthetics and custom props\," all tailored to the artist's exacting specifications. The collaborative process and execution of the primarily st raight images that have been planned in-camera is the beauty of the images that do not rely on extensive post-production manipulation.

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Darshan \;will be on view Se ptember 12th \;through \;October 12th \;2 013 at ClampArt Gallery in New York City. \;To request a contact sheet or for additional information please contact Jessie \;Cohen: \;Jessie@jessieiscohen. com \;or go to: \;www.proje ctdarshan.com.

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Manjari Sharma (b. 1979) is a photographer born and raised in Mumbai\, India\, now based in Brooklyn\, New York. She has a BSC in Visual Communication from S .N.D.T. University\, Mumbai and a BFA in Still Photography from Columbus Co llege of Art and Design in Columbus\, Ohio. Her images have appeared in suc h publications as \;Forbes India Magazine\, \;Vogue In dia\, \;Geo Magazine\, online at \;NPR\,&nbs p\;New York Times\, \;Huffington Post\, \;PDN  \;and \;Life Magazine. Sharma received an honorable mention for the prestigious Santa Fe Prize in 2012\, and she was invited as a "Shots and Works" artist for LOOK 3: Festival of the Photograph in 2013.  \;

DTEND:20131012 DTSTAMP:20140918T012646 DTSTART:20130912 GEO:40.7536854;-73.9991637 LOCATION:ClampArt\,521-531 W 25th St Ground Floor\nNew York\, NY 10001 SEQUENCE:0 SUMMARY: Darshan\, Manjari Sharma UID:293100 END:VEVENT BEGIN:VEVENT DTEND:20130912T200000 DTSTAMP:20140918T012646 DTSTART:20130912T180000 GEO:40.7536854;-73.9991637 LOCATION:ClampArt\,521-531 W 25th St Ground Floor\nNew York\, NY 10001 SEQUENCE:0 SUMMARY: Darshan\, Manjari Sharma UID:293101 END:VEVENT BEGIN:VEVENT DESCRIPTION:

ClampArt is pleased to present Manjari Sharma&rsquo\;s &ldquo\;Shower Se ries.&rdquo\; Four years back\, Sharma discovered the best way to get a sub ject to relax in front of her camera lens was to get them in the shower.

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Shooting in her own apartment in Brooklyn\, the artist invited friends and acquaintances over to sit for a portrait. What she eventually realized was that much of the awkwardness and anxiety of posing for a picture strangely melted away in the intimacy of a shower.

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Once they would agree\, Sharma &rsquo\;s subjects almost invariably relaxed in demeanor and conversation a s the warm water began to flow. Standing in that private space typically on ly shared by a parent or a lover\, the artist now has heard about the emoti onal journeys of a number of people. For a feature on the series written by Lauren Russell for CNN\, Sharma stated\, &ldquo\;The shower creates this c onfessional-like space.&rdquo\;

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Customarily\, Sharma would begin the dia logue with simple questions\, allowing people to open up over time. &ldquo\ ;It was like Russian dolls\, and it became more and more personal\,&rdquo\; she says. Sharma feels the best photographs are those in which the subject shared the most&mdash\;both conversationally and physically. Those who cou ld not make eye contact with the camera seemed to be the ones who had the m ost difficulty surmounting their reticence.

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Sharma concludes\, &ldquo\;I have been told by my sub-jects that it is thrilling and adventuresome to b e in my shower. Secretly cheating my traditional and \;tame Indian upbringing\, I live through all of my s ubjects&mdash\;fighting their wars and braving their fears for those few ho urs where we are connected through this pious space. I continue to investig ate this photo project\, which has thus far given rise to some of the faste st\, most disarming relationships I have ever formed.&rdquo\;

\n< p style="text-align: justify\;">Manjari Sh arma (b. 1979) is a photographer born and raised in Mumbai\, India\, now ba sed in Brooklyn\, New York. She has a BA in Visual Communication from S.N.D .T. University\, Mumbai\, and a BFA in Still Photography from Columbia Coll ege of Art and Design in Columbus\, Ohio. Her images have appeared in such publications as Forbes India Magazine\, Vogue India\, and Geo Magazine\, an d online at NPR\, The New York Times\, PDN\, The Huffington Post\, and Life Magazine. Sharma received an honorable mention for the prestigious Santa F e Prize in 2012\, and she was invited as a &ldquo\;Shots and Works&rdquo\; artist for LOOK 3: Festival of the Photograph in 2013.

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This exhibition i s generously supported by Rayographix Fine Art Digital Printing in Bushwick Brooklyn\, New York.

DTEND:20131012 DTSTAMP:20140918T012646 DTSTART:20130912 GEO:40.7536854;-73.9991637 LOCATION:ClampArt\,521-531 W 25th St Ground Floor\nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Shower Series\, Manjari Sharma UID:296293 END:VEVENT BEGIN:VEVENT DTEND:20130912T200000 DTSTAMP:20140918T012646 DTSTART:20130912T180000 GEO:40.7536854;-73.9991637 LOCATION:ClampArt\,521-531 W 25th St Ground Floor\nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Shower Series\, Manjari Sharma UID:296294 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Papalia's work\, which takes the form of participatory publi c projects\, \;explores the topic of access as it relates to public spa ce\, the Art \;institution\, and visual culture&mdash\;as the artist's own access is defined \;by a visual impairment. Papalia invites the par ticipant to explore the \;possibilities for learning and knowing that b ecome available through \;the non-visual senses\, and to trust in the r evelatory practice that is \;non-visual interpretation. Through exercis es in trust and blind \;orienteering\, participants discover new geogra phic contours from which \;to develop a sense of place. They begin to c onsider looking as one of \;the many ways to engage with and interpret their surroundings.

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The core component of Papalia&rsquo\;s exhibiti on will be a multichannel \;sound installation documenting a non-visual site mapping workshop that \;Papalia conducted in Vancouver\, British Columbia\, and a number of \;images and videos documenting various inst ances of Papalia&rsquo\;s Blind \;Field Shuttle walking tour and his Se e for Yourself non-visual museum \;tour project&mdash\;in which visitor s close their eyes and embark on a \;one-on-one tour while art objects\ , architectural details and other \;museum visitors are described to th em by a tour guide.

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The exhibition will also include a performance of the Blind \;Field Shuttle walking tour for a group of 50 people&mdas h\;which will take \;place on the High Line in conjunction with the ope ning. \;Participants will line up behind Papalia\, link arms and will c lose \;their eyes for the entire hour-long experience . The tour will&n bsp\;culminate in a group discussion.

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Projects will be recorded and documented in the gallery and online.

DTEND:20131012 DTSTAMP:20140918T012646 DTSTART:20130907 GEO:40.7536854;-73.9991637 LOCATION:CUE Art Foundation\,137 West 25th Street Ground Floor\nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Long Time No See \, Carmen Papalia UID:288534 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Danese is pleased to present its inaugural exhibition of scu lpture and drawings by Susie MacMurray.

Formerly a classical musician\, the Manchester-based artist retrained as an artist\, graduating with an MA in Fine Art in 2001\, and has built up an international exhibiti on profile.

As Kathleen Soriano observes in her 2011 essay for MacMurray's catalogue: "A first encounter with the work of artist Susie Ma cMurray inevitably places the viewer right at the centre of the key issue i n her work &ndash\; the tension between extremes of sensual and aesthetic r esponse: Ying/yang\; anima/animus\; soft/hard\; a dress/not a dress\; love/ death\; freedom/constraint\; power/submission. The seduction of her pieces draws you to them with a lightness of touch that belies their complexity an d\, more often than not\, their aggressive\, confrontational qualities that deny their commentary on difficult issues such as anorexia\, mortality and bereavement.

The beauty of MacMurray&rsquo\;s work occasional ly belies the power and strength held within it. Whilst the sense of loss h as nearly always been present in her work\, it is also as much about the na ture of memories and remnants of our existence. She gathers and gives new l ife and meaning to lost hair\, fallen violin bow hair\, harp strings\, to a loss of time and tradition &mdash\; as we see her installations strive to capture the stories of the past\, be it the lives of National Trust propert ies or the flint walls of the Sussex towns and villages as in Shell. These strings of our experience carry the memories of our lives\, our talismans t hat MacMurray would argue need to be considered in Buddhist terms as part o f the bigger flow\, where we recognise that all things pass\, whether in a minute or in a million years\, so that we resist being paralysed by the pos sibilities of loss. That does not stop her from exploring that loss within her work but we should not be seduced by the vulnerability that it suggests given her position as artist with the control and authority that she has o ver the interpretation of that loss\, and ultimately in the powerful and co nfident position that those pieces now assume."

DTEND:20131012 DTSTAMP:20140918T012646 DTSTART:20130913 GEO:40.7473106;-74.0053077 LOCATION:Danese/Corey\,511 West 22 Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Walking on the Rim of Night\, Susie MacMurray UID:288547 END:VEVENT BEGIN:VEVENT DTEND:20130912T200000 DTSTAMP:20140918T012646 DTSTART:20130912T180000 GEO:40.7473106;-74.0053077 LOCATION:Danese/Corey\,511 West 22 Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Walking on the Rim of Night\, Susie MacMurray UID:288548 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Denise Bibro Fine Art\, 529 West 20th Street\, Chelsea\, NYC \, is pleased to present David Herman: People/Places II\, on view September 19 through October 12\, 2013. Herman's intensely hued pulsating canvases a s in his previous solo exhibition are inspired by his worldly travels. Turn ing perspective on its head\, he flattens space into abstracted architecton ic forms\, depicting human figures and nature in deftly rendered silhouette s.

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Human figures and circumstance as well as natural environ ments and their elements become iconic and reverential.

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Herman has had solo shows at Caelum Gallery\, Gallery Swan\, and Nexus Gallery\, all i n New York City\; Fairleigh Dickinson University\, Hackensack\, NJ\; Galler y Emanuel\, Kings Point\, NY\; and Mills Pond House Gallery\, St. James\, N Y. His work has also been featured in group exhibitions including the Albri ght-Knox Collector's Gallery\, Buffalo\, NY\; Williamsburg Art and Historic al Center\, Brooklyn\, NY\; and the Great Neck Art Center\, Great Neck\, NY . Herman's work has been reviewed in The New York Times\, Gallery and Studi o Magazine\, and The New York Art World.

DTEND:20131012 DTSTAMP:20140918T012646 DTSTART:20130919 GEO:40.7464825;-74.0069332 LOCATION:Denise Bibro Fine Art\,529 West 20th Street 4W\nNew York\, NY 1001 1 SEQUENCE:0 SUMMARY: People/Places II\, David Herman UID:297781 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Driscoll Babcock Galleries is pleased to present Locus\, a solo exhibiti on by Harriet Bart\, which transforms the gallery space into a place where the artist seeks to &ldquo\;signify a site\, mark and event\, and otherwise draw attention to imprints of the past as they live in the present&rdquo\; . In Locus\, bronze\, coal\, lead and found objects become instruments of m easurement and divination.  \;What does it mean to be here?  \;Plum b bobs\, vessels\, maps and magnifying glasses serve as markers and guides in exploring the mysterious experience of place.

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DTEND:20131012 DTSTAMP:20140918T012646 DTSTART:20130903 GEO:40.7494436;-74.0043134 LOCATION:Driscoll Babcock\,525 West 25th Street \nNew York\, NY SEQUENCE:0 SUMMARY:Locus\, Harriet Bart UID:285847 END:VEVENT BEGIN:VEVENT DTEND:20130912T200000 DTSTAMP:20140918T012646 DTSTART:20130912T180000 GEO:40.7494436;-74.0043134 LOCATION:Driscoll Babcock\,525 West 25th Street \nNew York\, NY SEQUENCE:0 SUMMARY:Locus\, Harriet Bart UID:285848 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Edward Thorp Gallery is pleased to announce Season Review \, a group exh ibit comprising of works from gallery artists and a selection of works from a rtists who participated in the 2012 - 2013 season. This overview will re flect a diversity of approaches in a wide variety of mediums from ink on pa per to mixed media multi-panel works\, large scale painting on canvas to st eel and tin sculpture.

DTEND:20131012 DTSTAMP:20140918T012646 DTSTART:20130613 GEO:40.7536854;-73.9991637 LOCATION:Edward Thorp Gallery\,210 11th Ave. 6th Fl \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:SEASON REVIEW : A SELECTION\, Andrea Belag\, Katherine Bradford\, C ora Cohen\, Neil Farber\, Sara Gamble\, Claire Grill\, June Leaf\, Rachel M alin\, Henri Michaux\, Matthew Blackwell\, Judith Simonian\, Andrew Spence\ , Gary Stephan UID:282644 END:VEVENT BEGIN:VEVENT DTEND:20130613T200000 DTSTAMP:20140918T012646 DTSTART:20130613T180000 GEO:40.7536854;-73.9991637 LOCATION:Edward Thorp Gallery\,210 11th Ave. 6th Fl \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:SEASON REVIEW : A SELECTION\, Andrea Belag\, Matthew Blackwell\, Ka therine Bradford\, Cora Cohen\, Neil Farber\, Sara Gamble\, Claire Grill\, June Leaf\, Rachel Malin\, Henri Michaux\, Judith Simonian\, Andrew Spence\ , Gary Stephan UID:282645 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Elizabeth Harris Gallery is pleased to present its third sol o exhibition of new paintings by Ron Milewicz.

Acclaimed as a painter of the urban landscape\, in his new works Milewicz turns to painti ng objects in order \;to regard the life of his father\, Eli Milewicz. The elder Milewicz\, who died in 2012 at age 98\, was a tailor who survived Auschwitz\, three other Nazi concentration and forced-labor camps\, and tw o death marches. The artist has chosen\, from the facts of extraordinary ex perience\, to depict ordinary objects &ndash\; a shovel\, bricks\, spools o f thread\, an overcoat\, a leaf. The paintings surprisingly and uncannily a ddress\, without bombast\, fundamental issues raised by atrocity of inconce ivable cruelty and scale.As poet Tom Sleigh writes in the catalog essay:&nb sp\;"Milewicz's images are suffused with a kind of metaphorical double visi on&hellip\;whatever the literal object in the painting\, that object is bot h itself and something more. And that something more is always disturbing\, not in some vague way\, but in a way that feels deeply personal to the pai nter\, meditated over\, wrestled with\, approached head on\, then edged awa y from -­\;-­\; as if the images were as much a psychic invitation as a psychic threat to both painter and viewer...These paintings make serious demands on the viewer. They are at once symbolic\, historical\, and person al. They refuse to stand aloof from biographical circumstance\, but demand that viewers come to them prepared to intuit some deeper private resonance. "

Consistent with the gravity of his subject matter\, Milewicz 's imposing compositions are elemental &ndash\; a single object or a group of objects\, always presented actual size\, is centrally located on the can vas\, sometimes raised or lowered. Color\, likewise held in check\, relies on precise calibration and subtle shifts in hue and tone to achieve its hau nting impact. Milewicz's restraint yields images of tremendous force that b elie the seemingly simple subjects they depict. Deftly painted but without emphasis on Milewicz's formidable artistic skill\, the paintings are quietl y iconic\, illicit multiple associations and acquire monumental significanc e.

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As Sleigh writes of the painting Shovel: " a shovel laid out on a plank of wood\, the blade's rust and abrasions\, nicks and scars\, even t he blade's helmet-like shape atop the vertical shaft\, suggests a starved c orpse laid out in a coffin\; or a mock memorial to the slave labor of conce ntration camp victims\; or a deteriorating\, sick\, and aged body hovering above the plank's map-like grain\, as if an individual life had risen momen tarily above the vast ebb and flow of historical circumstance."
It is difficult to refer to these painting as still lifes\, because the term is so often condescendingly misunderstood. Improbably\, essential questions ab out man's resilience and the possibilities of redemption underlie this powe rful and moving exhibition of luminous paintings of simple things.

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Ron Milewicz was born in 1963 in Brooklyn\, New York. He studied art histor y at Cornell University (1979-83)\, received a masters degree from Columbia University Graduate School of Architecture (1983-86)\, and attended the Ne w York Studio School (1990-1994)\, where he currently teaches. He lives and works in Queens\, New York.

DTEND:20131012 DTSTAMP:20140918T012646 DTSTART:20130905 GEO:40.7464825;-74.0069332 LOCATION:Elizabeth Harris Gallery\,529 W.20th St. \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:the soul exceeds its circumstances\, Ron Milewicz UID:288549 END:VEVENT BEGIN:VEVENT DTEND:20130912T200000 DTSTAMP:20140918T012646 DTSTART:20130912T180000 GEO:40.7464825;-74.0069332 LOCATION:Elizabeth Harris Gallery\,529 W.20th St. \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:the soul exceeds its circumstances\, Ron Milewicz UID:288550 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Flowers Gallery is pleased to announce an exhibit ion of recent works by British artist\, John Kirby. His paintings explore t he darker side of youth and the anxieties of adulthood touching on issues o f gender\, sexuality\, religion and race. The exhibition will run from Sept ember 12 through October 12th\, 2013\, with an opening reception on Thursda y\, September 12th from 6-8pm.

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Born in Liverpool in 1949 \, Kirby was raised Catholic and served as an alter boy before spending a s tint as a shipping clerk and then traveling to Calcutta to work in a childr en's home run my Mother Theresa. Upon returning to England\, Kirby settled in London where he found employment first as a social worker and then as a probation officer. It was not until the 1980s\, when he was already in his thirties\, that Kirby decided to attend art school--enrolling first at Cent ral Saint Martins School of Art and then at the Royal Academy of Arts.  \;

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Kirby's paintings often feature solitary figures agai nst sparse backgrounds\, evoking a sense of loneliness and melancholy. Many of his works are sublimated self-portraits\, while others nod to religious and cultural iconography and still others are coded memories of his own fa mily. His surrealist style has drawn comparisons to Magritte\, Hopper and B althus and in 2012 Kirby was honored with his first major retrospective hel d\, fittingly\, at the Walker Art Gallery in his hometown of Liverpool.

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John Kirby has been exhibited internationally and is works are held in several public collections including the Tate Gallery in London \, the Victoria and Albert Museum in London\, and the private collection of David Hockney. \;

DTEND:20131012 DTSTAMP:20140918T012646 DTSTART:20130912 GEO:40.7464825;-74.0069332 LOCATION:Flowers Gallery NY\,529 West 20th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:John Kirby\, John Kirby UID:292510 END:VEVENT BEGIN:VEVENT DTEND:20130912T200000 DTSTAMP:20140918T012646 DTSTART:20130912T180000 GEO:40.7464825;-74.0069332 LOCATION:Flowers Gallery NY\,529 West 20th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:John Kirby\, John Kirby UID:292511 END:VEVENT END:VCALENDAR