BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION: DTEND:20160531 DTSTAMP:20160501T202014 DTSTART:20160518 GEO:40.7836604;-73.9586801 LOCATION:National Academy Museum\,1083 Fifth Avenue \nNew York City\, NY 10 128 SEQUENCE:0 SUMMARY:Creative Mischief 2016\, Beatrice Bardin\, Mary Mattingly\, Loren B rown\, Julia Mitchell\, Francis Nguyen\, Barry Friedfertig\, Kathy Cameron\ , Poramit Thantapalit\, Martha Bloom\, JUDIE SWANSON\, Peggy Flaum\, Jess B roze\, Michelle Bratsafolis\, Sofia Echa\, Nadia Martinez\, Keke Brown\, Ra fael Ferran\, Jacopo Degl'innocenti\, Taube P. Rothman\, Floor Grootenhuis\ , Charlie BrownBunny\, Kakeru Asai\, Anne Vandycke\, YUKO UCHIDA\, Victoria Borisova\, Richard Bonomo\, Matthew Flowers\, Rebecca Kane\, Esther Rosa\, Philip A. Robinson Jr.\, Jennifer Brickman\, Karen Sue Smith\, Joseph Warr en\, Nancy Coleman Dann\, Betsy Lawrence\, Aya Ogasawara\, yoshimi\, INGO A PPEL\, Youngmi Kim\, Miho Hiranouchi\, Weiqing Yuan\, Kenichi Nakajima\, Jo siane Dias\, Julia Dubovyk\, Caroline Clarke-Lawrence UID:417260 END:VEVENT BEGIN:VEVENT DTEND:20160518T210000 DTSTAMP:20160501T202014 DTSTART:20160518T180000 GEO:40.7836604;-73.9586801 LOCATION:National Academy Museum\,1083 Fifth Avenue \nNew York City\, NY 10 128 SEQUENCE:0 SUMMARY:Creative Mischief 2016\, INGO APPEL\, Kakeru Asai\, Beatrice Bardin \, Martha Bloom\, Richard Bonomo\, Victoria Borisova\, Michelle Bratsafolis \, Jennifer Brickman\, Keke Brown\, Loren Brown\, Charlie BrownBunny\, Jess Broze\, Kathy Cameron\, Caroline Clarke-Lawrence\, Nancy Coleman Dann\, Ja copo Degl'innocenti\, Josiane Dias\, Julia Dubovyk\, Sofia Echa\, Rafael Fe rran\, Peggy Flaum\, Matthew Flowers\, Barry Friedfertig\, Floor Grootenhui s\, Miho Hiranouchi\, Rebecca Kane\, Youngmi Kim\, Betsy Lawrence\, Nadia M artinez\, Mary Mattingly\, Julia Mitchell\, Kenichi Nakajima\, Francis Nguy en\, Aya Ogasawara\, Philip A. Robinson Jr.\, Esther Rosa\, Taube P. Rothma n\, Karen Sue Smith\, JUDIE SWANSON\, Poramit Thantapalit\, YUKO UCHIDA\, A nne Vandycke\, Joseph Warren\, yoshimi\, Weiqing Yuan UID:417261 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Arash Hanaei has been portrayi ng the city of Tehran since 2008. His digital drawing series entitled \ ;Capital \;dissects its shifting pattern of streets and their inherent contradictions. Based upon his own documentary photographs\, the a rtist interprets the capital city&rsquo\;s constant transformation and the chaotic superimposition of dissonant layers with formal austerity. Primaril y black-and-white or greyish-green\, the drawings reduce the original amoun t of information on the photographic image to a minimum and direct the view er&rsquo\;s attention to the cultural and geopolitical underpinnings inscri bed in the urban landscape.

Among other works\, \;Capita l Complex \;presents Hanaei&rsquo\;s history of advertising in Teh ran&rsquo\;s public space narrated in two series\, one featuring billboards and another one murals with war heroes and martyrs. After the Iranian Revo lution and during the Iran-Iraq war\, propaganda images took the place of a dvertisements for foreign products. Ever since the latter began making thei r way back into the cityscape\, they have coexisted with the other\, politi cal images and texts\, often displaying slogans with similar language. Hana ei&rsquo\;s visual alphabet of the dynamics of past and present in Tehran r ecounts a local history within its global context.

In Hanaei&rsq uo\;s first solo exhibition in the United States\, Tehran&rsquo\;s urban ar chitecture merges with the display walls at MINI/Goethe-Institut Curatorial Residencies Ludlow 38. The visual works are presented alongside a new audi o piece in which the artist reflects on a future project devoted to the cap ital city of Paris.

The exhibition opens this Sunday\, April 24\ , \;6-8pm\, and will be on view through June 5. \;Please also join us for an artist talk with Arash Hanaei on April 27\, 7pm. Visit our \; website \;for more information.

DTEND:20160605 DTSTAMP:20160501T202014 DTSTART:20160424 GEO:40.7135097;-73.9859414 LOCATION:Ludlow 38\,38 Ludlow St. (between Grand and Hester) \nNew York\, N Y 10002 SEQUENCE:0 SUMMARY:Capital Complex\, Arash Hanaei UID:417250 END:VEVENT BEGIN:VEVENT DTEND:20160424T200000 DTSTAMP:20160501T202014 DTSTART:20160424T180000 GEO:40.7135097;-73.9859414 LOCATION:Ludlow 38\,38 Ludlow St. (between Grand and Hester) \nNew York\, N Y 10002 SEQUENCE:0 SUMMARY:Capital Complex\, Arash Hanaei UID:417251 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Published by \;Timothy Taylor \;and \;Sternberg Press

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A fully illustrated publication\, with newly commissioned texts by
Piper Marshall and Domenick Ammirati\, designed by Zak Group.

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Pu blished by \;Timothy Taylor \;and \;Sternberg Press
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A fully illustrated pu blication\, with newly commissioned texts by
Piper Marshall and Domeni ck Ammirati\, designed by Zak Group.
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DTEND:20160505T200000 DTSTAMP:20160501T202014 DTSTART:20160505T173000 GEO:40.746937;-74.005121 LOCATION:Printed Matter\, Inc.\,195 10th Ave. \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Book Launch | Josephine Meckseper: 10 minutes after UID:417248 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160626 DTSTAMP:20160501T202014 DTSTART:20160520 GEO:40.7174289;-73.9921681 LOCATION:James Cohan Gallery - Lower East Side\,291 Grand Street \nNew York \, NY 10002 SEQUENCE:0 SUMMARY:Solo Exhibition\, Kirk Mangus UID:417221 END:VEVENT BEGIN:VEVENT DTEND:20160520T200000 DTSTAMP:20160501T202014 DTSTART:20160520T180000 GEO:40.7174289;-73.9921681 LOCATION:James Cohan Gallery - Lower East Side\,291 Grand Street \nNew York \, NY 10002 SEQUENCE:0 SUMMARY:Solo Exhibition\, Kirk Mangus UID:417222 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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James Cohan is pleased to present an exhibition of paintings by the late California artist Lee Mullican (1919-1998) in the Chelsea gall ery space from May 12 through June 11\, 2016.  \;The exhibition will fe ature paintings and drawings from the late 1950s through the 1960s. An exhi bition of paintings produced by Mullican between 1949 and 1961 will be on v iew at Susan Inglett Gallery\, located at 522 West 24 Street\, from April 2 8 through June 4.
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Mullican&rsquo\;s productive sixty-year career was launched in San Francisco as one of three artists who identified as the Dynaton Group. Through a chance meeting\, he became close to Gordon Onslow Ford and later met the Surrealist painter\, Wolfgang Paalen\, who h ad published the influential Dyn Magazine. Their shared interests culminate d in the seminal \;Dynatonexhibition at San Francisco Museum o f Art in 1951 which not only included the work of the three artists\, but a lso featured objects from their own collections of pre-Columbian and Native American artifacts. These works by indigenous artists including kachina do lls\, Zuni wood carvings\, Sioux pictographs\, Navajo rugs\, Rio Grande bla nkets and pre-Columbian and Northwest coast art\, were treasured for their powerful rhythms. Though short-lived\, the Dynaton Group&rsquo\;s philosoph ies became foundational to his career. \;
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Mullican&rsq uo\;s paintings are a uniquely West Coast exploration into abstraction\; on e that is grounded in content\, full of mysticism and connections to the tr anscendent. Mullican describes\, &ldquo\;We were involved with a kind of me ditation\, and for me this had a great deal to do with the study of nature\ , and the study of pattern&hellip\;We were dealing with art as a way of med itation.&rdquo\;  \;This outlook was in contrast to the heroic\, action -driven work made by their contemporaries\, the New York School of Abstract Expressionists\, on the East Coast.
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Through a close exploration of nature and the prehistoric past\, Mullican focused on finding new meanings throug h formal problems of composition\, color and mark making. He created a uniq ue method of applying paint to the canvas with the thin edge of a printer&r squo\;s knife\, building up the surface with textured\, fine lines--a techn ique he referred to as striation. This signature mark-making &ldquo\;excite d the surface&rsquo\;&rdquo\; and the paintings seemed to &ldquo\;vibrate i nto being.&rdquo\; The high-keyed yellows in many conjure up the golden lig hts of a radiating cosmos\, while in others the deep reds\, violets and bro wns form mystic mountains inspired by &ldquo\;walks in landscapes that appe ared from the depths of the mind.&rdquo\; \;
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Always a seeker\, Mullican culled influences from a wide range including his job as a topographer during WWII from which he developed the mapmaker&rsquo\;s bir d&rsquo\;s-eye perspective\, to Surrealism&rsquo\;s automatism\, to Zen Bud dhism and later from his studies of the tantric art of India\, finding a ki nship with the conflation of concepts of outer and inner-space. \;
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Lee Mullican was born in Chickasha\, Oklahoma in 1919 and died in Los Angeles in 1998. He attended the Kansas City Art Institute after tr ansferring from the University of Oklahoma in 1941. Upon his graduation fro m the Institute in 1942\, Mullican was drafted into the army\, serving for four years as a topographical draughtsman. Mullican traveled to Hawaii\, Gu am and Japan before ending his tenure in the army in 1946\, when he moved t o San Francisco. After winning a prestigious Guggenheim Fellowship in 1959\ , he spent a year painting in Rome before returning to Los Angeles where he joined the teaching staff of the UCLA Art Department in 1961\, keeping his position for nearly 30 years. He divided the later part of his life betwee n his homes in Los Angeles and Taos\, traveling internationally and co- org anizing exhibitions at UCLA. Mullican&rsquo\;s works are included in the pe rmanent collections of the San Francisco Museum of Modern Art\, the Whitney Museum of American Art\, the Los Angeles County Museum of Art\, and the Me tropolitan Museum of Art\, as well as in numerous other institutions.
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DTEND:20160618 DTSTAMP:20160501T202014 DTSTART:20160512 GEO:40.750397;-74.004099 LOCATION:James Cohan Gallery\,533 West 26th St. \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Solo Exhibition\, Lee Mullican UID:417219 END:VEVENT BEGIN:VEVENT DTEND:20160514T190000 DTSTAMP:20160501T202014 DTSTART:20160514T170000 GEO:40.750397;-74.004099 LOCATION:James Cohan Gallery\,533 West 26th St. \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Solo Exhibition\, Lee Mullican UID:417220 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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James Cohan is pleased to announce the opening of an exhibitio n by The Propeller \;Group\, running from April 8 through May 15 at the gallery&rsquo\;s Lower East Side location. \;The exhibition presents t he New York premier of \;The Living Need Light\, The Dead Need  \;Music\, \;a film work originally created for \;Prospect. 3 \;New Orleans biennial in 2014. Also \;on view is \; AK-47 vs. M16\, \;made in collaboration with Grand Arts\, Kansas C ity and \;presented at Venice Biennale in 2015. This is the artist  \;collective&rsquo\;s first exhibition at James Cohan.

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Founded in 2006\, The Propeller Group (TPG) is a collaboration between three \;mul ti-disciplinary artists based in Ho Chi Minh City and Los Angeles\; Phunam\ , \;Matt Lucero and Tuan Andrew Nguyen. Their multimedia works use the languages \;of advertising and politics to initiate conversations about power\, propaganda and \;manipulation\, especially as they relate to f allen Communist dictatorships and the \;rapid rise of capitalism in Vie tnam and beyond. TPG became well-known for their \;2011 advertising par odyTelevision Commercial For Communism\, included in the New \ ;Museum&rsquo\;sUngovernables \;2012 Triennial exhibition. Con sistently\, their work crosses \;traditional lines between art and main stream media. They explain\, &ldquo\;We like to play. We \;align oursel ves with different cultural producers. We like to let ourselves get ingeste d \;into the bellies of big social beasts such as television\, advertis ing\, or the various \;manifestations of pop-culture.&rdquo\;

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Among the most notable works included in \;Prospect.3 \;Ne w Orleans\, \;The Living \;Need Light\, The Dead Need Music \;(2014) borrows its title from a Vietnamese \;Buddhist proverb\, which calls for the playing of celebratory music for the dead. \;The f ilm\, shown in the main gallery\, follows several funeral processions led b y \;brass musicians and a cast of surreal characters including spiritua l mediums\, \;professional criers and street performers that turn the m ourning ceremonies into \;euphoric rites of passage. Tapping into the s imilarity between funeral processions \;in Vietnam and New Orleans&mdas h\;they are both led by brass bands\, TPG explores\, \;&ldquo\;the elus ive butterfly effect&mdash\;the theory of &lsquo\;non-locality\,&rsquo\; wh ereby two distinct \;phenomena affect each other across a vast expanse of space and time.&rdquo\;

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In the back gallery\, th e work \;AK47 vs. M16 \;(2015) explores the history \; of two assault rifles (Soviet-made and US-made) born during the Vietnam War . \;These almost identical weapons represent the philosophical paradox inherent \;in the notion of opposing sides\, as during the Cold War and Vietnam War. In \;a highly controlled environment overseen by ballisti cs experts\, an AK47 and a \;M16 rifle were aimed at each other and tri ggered simultaneously to discharge \;their ammunition into a gelatinous block. The block is made specifically for \;ballistic testing to mimic the density of human tissue. The sculptures capture the \;moment of im pact of the two bullets in what the artists refer to as the &ldquo\;stalema te \;of a moment&hellip\;like a freeze frame.&rdquo\; The entire projec t is comprised of 21 unique \;sculptures each featuring a collision of two bullets inside a block and a video \;filmed at 100\,000 frames per second.
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In June 2016\, TPG&rsquo\;s first survey exhibitio n will open at MCA Chicago and will travel to the Blaffer Art Museum\, Hous ton and then to the Phoenix Art Museum. The exhibition is co-organized by M CA Chicago\, the Blaffer Art Museum\, and the Phoenix Art Museum and has an accompanying catalog.
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International exhibitions include t he Gö\;teborg International Biennial\, Sweden (2015)\; the 56th Venice Biennale (2015)\; \;Prospect.3\, New Orleans (2014)\; Los Ange les Biennial (2012)\; New Museum Triennial (2012)\; and Guangzhou Triennial (2008).
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TPG&rsquo\;s work is included in collections of t he Guggenheim Museum\, NY\; MoMA\, \;NY\; LACMA\, CA\; Carnegie Museum\ , PA\; New Orleans Museum of Art\; Speed \;Museum\, Louisville\, KY\; Q ueensland Gallery of Modern Art\, Brisbane\, AU\; Burger \;Collection\, Hong Kong\; and Singapore Art Museum. \;
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In addition to TPG&rsquo\;s work as a collective\, each member is involved in their&nbs p\;individual pursuits. Phunam (b. 1974) was trained as a restorer of Khmer  \;and Vietnamese stone and bronze antique sculptures. He is a self-tau ght \;cinematographer who has produced television commercials\, music v ideos\, \;documentaries\, short films and television dramas. Matt Lucer o (b. 1976) has a \;background in physics and received his MFA from the California Institute of Art \;and has been widely exhibited. Tuan Andr ew Nguyen (b. 1976) received an MFA \;from the California Institute of the Arts and is one of the founders of San Art\, an \;artist initiated exhibition space in Ho Chi Minh City.
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DTEND:20160515 DTSTAMP:20160501T202014 DTSTART:20160408 GEO:40.7174289;-73.9921681 LOCATION:James Cohan Gallery - Lower East Side\,291 Grand Street \nNew York \, NY 10002 SEQUENCE:0 SUMMARY:The Living Need Light\, the Dead Need Music\, The Propeller Group UID:417217 END:VEVENT BEGIN:VEVENT DTEND:20160408T200000 DTSTAMP:20160501T202014 DTSTART:20160408T180000 GEO:40.7174289;-73.9921681 LOCATION:James Cohan Gallery - Lower East Side\,291 Grand Street \nNew York \, NY 10002 SEQUENCE:0 SUMMARY:The Living Need Light\, the Dead Need Music\, The Propeller Group UID:417218 END:VEVENT BEGIN:VEVENT DESCRIPTION:

James Cohan is pleased to anno unce a book signing and artist talk by Spencer Finch on Saturday\, May 7 at the gallery's 533 West 26 Street location to celebrate the release of a ne w mongraphic publication\, \;Spencer Finch: The Brain Is Wider Than the Sky. \;
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Spanning the breadth of Spencer Finch's career\, this new monog raph explores his fascination with light and color in pursuit of the most e lusive and inneffable human experiences. The publication\, edited by Susan Cross with contributions from Mark Godfrey and James Rondeau\, has been pub lished by Prestel Publishing and will be available for purchase at the gall ery.

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For more information on&nb sp\;Spencer Finch \;please visit our \;w ebsite. \;

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For press in quiries\, please contact Jeffrey Waldron at \;jwaldron@jamescohan.com \;< /strong>or \;212.714.9500.
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For further inquiries\, please contact Emily Ruotol o at \;eruotolo@jamescohan.com \;or \;212.714.9500.

DTEND:20160507T120000 DTSTAMP:20160501T202014 DTSTART:20160507T100000 GEO:40.750397;-74.004099 LOCATION:James Cohan Gallery\,533 West 26th St. \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:'The Brain Is Wider Than the Sky' Book Signing and Artist Talk\, Sp encer Finch UID:417216 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160605 DTSTAMP:20160501T202014 DTSTART:20160501 GEO:40.7157124;-73.9877915 LOCATION:Ramiken Crucible\,389 Grand Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Ephemerol\, Dora Budor UID:417213 END:VEVENT BEGIN:VEVENT DTEND:20160501T200000 DTSTAMP:20160501T202014 DTSTART:20160501T180000 GEO:40.7157124;-73.9877915 LOCATION:Ramiken Crucible\,389 Grand Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Ephemerol\, Dora Budor UID:417214 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Luhring Augustine is pleased t o announce the opening of \;STAGED\, the first solo exhibition by the musician/composer/artist Jason Moran\, in our Bushwick gallery. &nb sp\;Moran's rich and varied work in both music and visual art mines entangl ements in American cultural production.  \;He is deeply invested in com plicating the relationship between music and language\, exploring ideas of intelligibility and communication.  \;In his first gallery exhibition\, Moran will continue to investigate the overlaps and intersections of jazz\ , art\, and social history\, provoking the viewer to reconsider notions of value\, authenticity\, and time. \;
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STAGED&n bsp\;will include a range of objects and works on paper\, including two lar ge-scale sculptures from Moran&rsquo\;sSTAGED \;series that we re recently exhibited in the 56th Biennale di Venezia. \; Based on two historic New York City jazz venues that no longer exist (the Savoy Ballroom and the Three Deuces)\, the sculptures are hybrids of reconstructions and imaginings. \; Works on paper and smaller objects will be in dialogue w ith the stage sculptures on many levels: citing performance and process\, e mploying sound\, and exploiting the visual history of jazz in America.

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Moran was born in Houston\, TX in 1975. \; He was made a MacArthur Fellow in 2010 and is currently the Artistic Director for Jazz at The Kenn edy Center in Washington DC\; he also teaches at the New England Conservato ry in Boston\, MA.  \;Moran&rsquo\;s activities comprise both his work with masters of jazz such as Charles Lloyd\, the late Sam Rivers\, Henry Th readgill\, Cassandra Wilson\, and his trio The Bandwagon (with drummer Nash eet Waits and bassist Tarus Mateen) as well as a number of partnerships wit h visual artists\, including Stan Douglas\, Theaster Gates\, Joan Jonas\, G lenn Ligon\, Adam Pendleton\, Adrian Piper\, Lorna Simpson\, and Kara Walke r.  \;Commissioning institutions of Moran&rsquo\;s work include the Wal ker Art Center\, Minneapolis\, the Philadelphia Museum of Art\, the Dia Art Foundation\, New York\, the Whitney Museum of American Art\, New York\, Ja zz at Lincoln Center\, New York\, and Harlem Stage\, New York.  \;Moran has a long-standing collaborative practice with his wife\, the singer Alic ia Hall Moran\; as named artists in the 2012 Whitney Biennial\, they create d \;BLEED\, a five-day series of live performances that crosse d genres and cultural barriers. \; He is currently curating the Artists Studio\, series of performances in the Veterans Room of the Park Avenue Ar mory\, New York City\, which will run throughout 2016.  \;Moran also re cently launched his own recording label\, Yes Records\, which will release his work as well as that by Ms. Hall Moran. \; In Fall 2017\, Moran wil l have his first solo museum exhibition at the Walker Art Center in Minneap olis\, MN.

DTEND:20160730 DTSTAMP:20160501T202014 DTSTART:20160429 GEO:40.707381;-73.931332 LOCATION:Luhring Augustine Bushwick\,25 Knickerbocker Ave. \nNew York\, NY 11237 SEQUENCE:0 SUMMARY:Staged\, Jason Moran UID:417205 END:VEVENT BEGIN:VEVENT DTEND:20160428T200000 DTSTAMP:20160501T202014 DTSTART:20160428T180000 GEO:40.707381;-73.931332 LOCATION:Luhring Augustine Bushwick\,25 Knickerbocker Ave. \nNew York\, NY 11237 SEQUENCE:0 SUMMARY:Staged\, Jason Moran UID:417206 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Danny Lyon: Message to the Future \;is the first comprehensive r etrospective of the career of Danny Lyon (b. 1942) to be presented in twent y-five years. The exhibition is organized by the Fine Arts Museums of San F rancisco and will premiere at the Whitney in June 2016 before traveling to San Francisco.

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The exhibition assembl es approximately 175 photographs and related films and ephemera to highligh t Lyon&rsquo\;s concern with social and political issues and the welfare of individuals considered by many to be on the margins of society. The presen tation includes many objects that have seldom or never been exhibited befor e and offers a rare look at works from Lyon&rsquo\;s archives alongside imp ortant loans from major public and private collections in the United States . This is also the first exhibition to assess the artist&rsquo\;s achieveme nts as a filmmaker.

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A leading figure in the American street photography movement of the 1960s\, Lyon has disting uished himself by the personal intimacy he establishes with his subjects an d the inventiveness of his practice. With his ability to find beauty in the starkest reality\, Lyon has through his work provided a charged alternativ e to the bland vision of American life often depicted in the mass media.

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Danny Lyon: Mess age to the Future \;is organized by Julian Cox\, Founding Curator of Photography for the Fine Arts Museums of San Francisco (FAMSF) and Chief Curator at the de Young Museum. The installation at the Whitney Museum is overseen by Elisabeth Sussman\, Curator and Sondra Gilman Curator of Photog raphy.

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Generous support for \;Danny Lyon: Message to the Future&n bsp\;is provided by the Henry Peterson Foundation.

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DTEND:20160925 DTSTAMP:20160501T202014 DTSTART:20160617 GEO:40.7396334;-74.0088764 LOCATION:Whitney Museum of American Art\,99 Gansevoort Street \nNew York\, NY 10014 SEQUENCE:0 SUMMARY:Message to the Future\, Danny Lyon UID:417189 END:VEVENT BEGIN:VEVENT DTEND:20160617T210000 DTSTAMP:20160501T202014 DTSTART:20160617T110000 GEO:40.7396334;-74.0088764 LOCATION:Whitney Museum of American Art\,99 Gansevoort Street \nNew York\, NY 10014 SEQUENCE:0 SUMMARY:Message to the Future\, Danny Lyon UID:417190 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Stua rt Davis (1892&ndash\;1964) is one of the preeminent figures of American mo dernism. With a long career that stretched from the early twentieth century well into the postwar era\, he brought a distinctively American accent to international modernism. Faced with the choice between realism and pure abs traction early in his career\, Davis invented a vocabulary that harnessed t he grammar of abstraction to the speed and simultaneity of modern America. By merging the bold\, hard-edged style of advertising with the conventions of European avant-garde painting\, he created an art endowed with the vital ity and dynamic rhythms that he saw as uniquely modern and American. In the process\, he achieved a rare synthesis: an art that is resolutely abstract \, yet at the same time exudes the spirit of popular culture.

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The exhibition is unusual in its focus on Davis&rs quo\;s mature career and on his working method of using preexisting motifs as springboards for new compositions. From 1939 on\, Davis rarely painted a work that did not make reference\, however hidden\, to one or more of his earlier compositions. Such &ldquo\;appropriation&rdquo\; is a distinctive a spect of his mature art. This presentation will be the first major exhibiti on to consistently hang Davis&rsquo\;s later works side by side with the ea rlier ones that inspired them. With approximately one hundred works\, from his paintings of consumer products in the early 1920s to the work left on h is easel at his death in 1964\, the exhibition will highlight Davis&rsquo\; s unique ability to transform the chaos of everyday life into a structured yet spontaneous order that communicates the wonder and joy that can be deri ved from the color and spatial relationships of everyday things. \;

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Stuart Davis: In Full Swing \;is co-organized by Barbara Haskell\, Curator\, Whitne y Museum of American Art\, New York\, and Harry Cooper\, Curator and Head o f Modern Art\, National Gallery of Art\, Washington\, DC\, with Sarah Humph reville\, Curatorial Assistant\, Whitney Museum of American Art\, New York.  \;

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Stu art Davis: In Full Swing \;is organized by the Whitney Museum of A merican Art\, New York\, and the National Gallery of Art\, Washington.  \;

In New York\, the exhibition is sponsored by

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Morgan 
 Stanley

Major support is provided by the Henry Luce Foun dation and the Terra Foundation for American Art.

Significant su pport is provided by the Philip and Janice Levin Foundation and Ted and Mar y Jo Shen.

Generous support is provided by Cheryl and Blair Effr on\, Karen and Kevin Kennedy\, Garrett and Mary Moran\, and Laurie M. Tisch .

Additional support is provided by the Alturas Foundation and J eanne Donovan Fisher.

Major endowment support is also provided b y the Barbara Haskell American Fellows Legacy Fund.

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The Henry Luce Foundation \;TERRA

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DTEND:20160925 DTSTAMP:20160501T202014 DTSTART:20160610 GEO:40.7396334;-74.0088764 LOCATION:Whitney Museum of American Art\,99 Gansevoort Street \nNew York\, NY 10014 SEQUENCE:0 SUMMARY:In Full Swing\, Stuart Davis UID:417187 END:VEVENT BEGIN:VEVENT DTEND:20160610T210000 DTSTAMP:20160501T202014 DTSTART:20160610T110000 GEO:40.7396334;-74.0088764 LOCATION:Whitney Museum of American Art\,99 Gansevoort Street \nNew York\, NY 10014 SEQUENCE:0 SUMMARY:In Full Swing\, Stuart Davis UID:417188 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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This exhibition brings together artists Liz Craft\, Rochelle Goldberg\, Elizabe th Jaeger\, Maggie Lee\, and Win McCarthy\, who often conceive of interconn ected works that suggest strange invented worlds. While each artist creates discrete objects\, these works act in direct dialogue with one another&mda sh\;at times alluding to furniture or other functional items&mdash\;in orde r to generate a broader context that extends beyond their individual physic al forms. They often make use of humble materials such as wood\, resin\, an d ceramic clay\, putting a renewed emphasis on the act of making and materi ality. The exhibition&rsquo\;s installation on the eighth floor will take o n an otherworldly quality by using the galleries as a single\, surreal land scape yet drawn from ideas tied to a common social reality.

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The title \;Mirror Cells \;referenc es mirror neurons\, specialized brain cells that are activated when observi ng the behavior of others. Researchers have theorized that these cells allo w us to feel the joy and pain of others and associate them with understandi ng human intention and feelings of empathy. Accordingly\, the works present ed in the exhibition are often made as empathetic responses to events such as the loss of a loved one\, preoccupations of a particular community\, or changes that impact the world more broadly. Referencing both fantasy and re al-life experience\, they address broad concerns like inequality and climat e change as well as more personal narratives connected to trauma and loss.< /p>\n

Mirror Cells \;is organized by associate curators Christopher Y. Lew and Jane Pa netta.

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Generous support is provided by Jackson Tang. \;

Additional support is provided by Eleanor Cayre.

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DTEND:20160821 DTSTAMP:20160501T202014 DTSTART:20160513 GEO:40.7396334;-74.0088764 LOCATION:Whitney Museum of American Art\,99 Gansevoort Street \nNew York\, NY 10014 SEQUENCE:0 SUMMARY:Mirror Cells\, Liz Craft\, Rochelle Goldberg\, Elizabeth Jaeger\, M aggie Lee\, Win McCarthy UID:417185 END:VEVENT BEGIN:VEVENT DTEND:20160513T210000 DTSTAMP:20160501T202014 DTSTART:20160513T110000 GEO:40.7396334;-74.0088764 LOCATION:Whitney Museum of American Art\,99 Gansevoort Street \nNew York\, NY 10014 SEQUENCE:0 SUMMARY:Mirror Cells\, Liz Craft\, Rochelle Goldberg\, Elizabeth Jaeger\, M aggie Lee\, Win McCarthy UID:417186 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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From February 26 through May 14\, 2016\, the Whitney Museum of American Art will presentOpen Plan\, an experimental fiv e-part exhibition using the Museum&rsquo\;s dramatic fifth-floor as a singl e open gallery\, unobstructed by interior walls. The largest column-free mu seum exhibition space in New York\, the Neil Bluhm Family Galleries measure 18\,200 square feet and feature windows with striking views east into the city and west to the Hudson River\, making for an expansive and inspiring c anvas.

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Pianist \;Cecil Taylor \;(b. 1929) is one of America's mo st innovative and uncompromising living musicians. His pioneering work in f ree jazz\, which draws on myriad different musical styles conveyed through radical improvisation\, will be featured in the fifth-floor gallery\, where he will perform on occasion\, along with homage performances by friends an d fellow artists. This exhibition celebrates the artist&rsquo\;s extraordin ary life and work in a retrospective environment that will include document ation of Taylor&rsquo\;s career through archival videos\, audio\, notationa l scores\, photographs\, poetry\, and other ephemera\, accompanied by a ser ies of live performances featuring over twenty of Taylor&rsquo\;s musical c ollaborators\, as well as dancers\, playwrights\, poets\, filmmakers and wr iters who have been deeply involved in his work (see complete schedule of e vents below). \;

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Participants include Hilton Als\, Cheryl Banks-Smit h\, Clark Coolidge\, Andrew Cyrille\, Steve Dalachinsky\, Thulani Davis\, C hris Funkhouser\, Henry Grimes\, Tristan Honsinger\, Nathaniel Mackey\, Dia nne McIntyre\, Jemeel Moondoc/Ensemble Muntu\, Tracie Morris\, Fred Moten\, William Parker\, Enrico Rava\, A.B. Spellman\, Anne Waldman\, Heather Watt s\, and others. Throughout the galleries\, listening stations will provide the chance to hear Taylor&rsquo\;s albums. Screenings of important films do cumenting Taylor&rsquo\;s life and performances will also be presented\, in cluding the world premiere of a new feature length performance film\, \ ;The Silent Eye\, that was shot in Taylor&rsquo\;s home over three days in January 2016.

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Open Plan: Cecil Taylor \;is organized by curator and curator of performance Jay Sanders and Lawrence Ku mpf\, artistic director\, Blank Forms\, with senior curatorial assistant Gr eta Hartenstein\, and Andrew W. Mellon Curatorial Fellow Lauren Rosati.

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Major sup port for \;Open Plan \;is provided by the Philip and Janice Levin F oundation and the National Committee of the Whitney Museum of American Art.

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Significant support is pro vided by The Brown Foundation\, Inc.\, of Houston and Donald R. Mullen\, Jr .

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Generous support is provi ded by Diane and Adam E. Max with additional support from Alexander S. C. R ower\, Joseph Rosenwald Varet and Esther Kim Varet\, and ISSUE Project Room .

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Major funding for the Whi tney's Performance Program is provided by The Andrew W. Mellon Foundation\, with generous support also provided by the Mertz Gilmore Foundation and th e Performance Committee of the Whitney Museum of American Art.

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Bö\;sendorfer 28 0SP concert grand piano is provided in-kind by Yamaha Artist Services\, New York.

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The curators would like to thank the following individuals for the ir invaluable guidance\, support\, and advice:

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Nicola Adriani\, Yuji Agematsu\, Peggy Ahwesh\, Laura Aknin\, Mark Amitin\, Micha el Anthony/Studio Café\;\, Larry Appelbaum\, Mikhail Baryshnikov\, Ro bin Bell-Stevens\, Charles Bernstein\, Jennifer Bertani\, Robert Bielecki\, Francois Bonnet\, Karen Borca\, Emanuel Campbell\, Kayla Coleman\, Nena Co uch\, Pat Cruz\, Lisa Darms\, Diane Jenkins\, Diedrich Diedrichsen\, Jennif er Eberhardt\, Amir ElSaffar\, Andrea Felder\, David First\, Jeffrey Fraenk el\, Phil Freeman\, Lee Friedlander\, Josh Friedman\, Jost Gebers\, John Ge nnari\, Alan Green\, Sasha Greene\, Zev Greenfield\, Margaret Davis Grimes\ , Mario Guidi\, Tali (Chiyong) Han\, Morgan Harris\, Bill Imperial\, Rin Is hihara\, Bennett Jackson\, Olivier Kaeppelin\, Emily King\, Cem Kurosman/Bl ue Note\, Andrew Lampert\, Angela Lawrence\, Jess Lee\, Steven Leiber Trust \, Chantal Darcy Lette\, Eyal Levi\, Jeremy Liebman\, Maira Liriano\, John Litweiler\, Davide Lorenzon\, Howard Mandel\, Ron Mann\, Makia Matsumara/Ya maha Artistic Services\, Tyler Maxim\, Tommy McCutchon\, The Estate of Fred W. McDarrah\, Joshua McKeon\, Sarah Michelson\, Martin Milgrim\, Jason Mor an\, Meredith Mowder\, Jill Newman\, David G. Null\, Jim O&rsquo\;Rourke\, Veryl Oakland\, Frazer Pennebaker\, Sierra Pettengill\, Georgiana Pickett\, Benjamin Piekut\, Melissa Ragona\, Ozzie Rodriguez\, Vernon Scott\, Bill S eery\, Fred Seibert\, Cynthia Sesso\, Alan Silva\, Dominique Singer\, Kathy Sloane\, Libby Smigel\, Kaegan Sparks\, Charles Steiner\, Tom Surgal\, Eli zabeth Surles\, Ben Taylor\, Sharon Vogel\, Matthew Walker\, Monroe Warshaw \, Adam Wilner\, Damian Woetzel\, Matt Wolf\, Billy Woodberry\, Tim Wyskida \, Mary Yearwood\, Ben Young\, and all the artists and participants.

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ABOUT THE ARTIST

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Cecil Taylor (b. 1929) is a towering\, sometimes divisive figure within twentieth-century music. In the early 1960s\, with fellow mav erick artists Ornette Coleman\, Albert Ayler and others\, he revolutionized jazz by extending bebop into a radical terrain dubbed the "New Thing" or " free jazz"&mdash\;the latter a term with political as well as aesthetic con notations given the social changes underway at the time in America. For Tay lor\, freedom meant a deep synthesis of the modern composers such as B&eacu te\;la Bartó\;k and Igor Stravinsky that he encountered during his st udies at the New England Conservatory of Music with the nuanced and origina l piano innovations of Thelonious Monk\, Horace Silver\, Bud Powell\, and D uke Ellington\, elaborated into an uncharted territory.

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Taylor has extended the potential of jazz as an art form to include an e xceptionally wide range of intellectual\, conceptual\, and spiritual expres sions. The sheer speed and percussive attack of his piano playing\, its ext reme density of both ideas and notes\, and his complete unlocking of pitch\ , harmony\, rhythm\, and tempo to exploit their vast multiplicities has for more than fifty years left some listeners baffled or overwhelmed and other s ecstatically transfixed. Whether he is playing solo piano or leading one of his bands&mdash\;which he often calls "Units" to underscore the structur al\, almost architectural nature of their improvisations&mdash\;Taylor has remained an uncompromising musical innovator of the highest order. For him\ , music exists in a continuum that extends to all art forms\, and his work is deeply informed by the artists he loves\, whether musicians\, dancers\, architects\, or poets. His expansive view of music has led him to write poe try himself (though rarely to publish it)\, and to branch out into dance an d theater through his own performances and by working with a remarkably bro ad range of collaborators including The Living Theater\, Dianne McIntyre\, Adrienne Kennedy\, Mikhail Baryshnikov\, Heather Watts\, and Min Tanaka.

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DTEND:20160424 DTSTAMP:20160501T202014 DTSTART:20160415 GEO:40.7396334;-74.0088764 LOCATION:Whitney Museum of American Art\,99 Gansevoort Street \nNew York\, NY 10014 SEQUENCE:0 SUMMARY:Open Plan: Cecil Taylor\, Cecil Taylor UID:417182 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Fr om February 26 through May 14\, 2016\, the Whitney Museum of American Art w ill present Open Plan\, an experimental five-part exhibition using the Muse um&rsquo\;s dramatic fifth-floor as a single open gallery\, unobstructed by interior walls. The largest column-free museum exhibition space in New Yor k\, the Neil Bluhm Family Galleries measure 18\,200 square feet and feature windows with striking views east into the city and west to the Hudson Rive r\, making for an expansive and inspiring canvas.

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Michael Heizer&rsquo\;s \;(b. 1944) lar ge-scale earth works have redefined the parameters of sculpture. He will be represented at the Whitney by his 1970 installation\, \;Actual Size: M unich Rotary\, a full-scale photographic documentation of the horizon from inside an 18-foot-deep hole that Heizer dug in the earth in Munich\, German y. Comprised of six black-and-white glass slide projections\, six custom-ma de steel projectors\, and six steel pipes with wood platforms\, this vast p rojected work re-images the depression as seen from its center. This is the first time this iconic work in the Whitney&rsquo\;s collection will be sho wn in New York. \;

Open Plan: Michael Heizer \;is organi zed by Deputy Director for International Initiatives and Senior Curator Don na De Salvo and Melva Bucksbaum Associate Director for Conservation and Res earch Carol Mancusi-Ungaro.

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Major support for \;Open Plan \;is provided by the Philip and Janice Levin Foundation and the National Committee of the Whitn ey Museum of American Art.

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Significan t support is provided by The Brown Foundation\, Inc.\, of Houston\, Virgini a Dwan\, and Donald R. Mullen\, Jr.

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G enerous support is provided by Diane and Adam E. Max.

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Additional support is provided by Alexa nder S. C. Rower\, Joseph Rosenwald Varet and Esther Kim Varet\, and the Pe rformance Committee of the Whitney Museum of American Art.

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\n DTEND:20160410 DTSTAMP:20160501T202014 DTSTART:20160325 GEO:40.7396334;-74.0088764 LOCATION:Whitney Museum of American Art\,99 Gansevoort Street \nNew York\, NY 10014 SEQUENCE:0 SUMMARY:Open Plan: Michael Heizer\, Michael Heizer UID:417181 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Fr om February 26 through May 14\, 2016\, the Whitney Museum of American Art w ill present Open Plan\, an experimental five-part exhibition using the Muse um&rsquo\;s dramatic fifth-floor as a single open gallery\, unobstructed by interior walls. The largest column-free museum exhibition space in New Yor k\, the Neil Bluhm Family Galleries measure 18\,200 square feet and feature windows with striking views east into the city and west to the Hudson Rive r\, making for an expansive and inspiring canvas.

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Lucy Dodd \;(b. 1981) turns the gallery into a site of art istic exploration and live action for herOpen Plan \;presentation. Befo re the exhibition opens to the public\, Dodd will create a new large-scale painting utilizing unusual materials like fermented walnuts\, kombucha scob y\, hematite\, yerba mate\, and pigments she has collected in her travels. The new painting will be surrounded by recently made shaped canvases that a re intended to evoke sails or waves and respond to the gallery&rsquo\;s riv er views. By bringing her studio activities into the gallery and inviting m usicians to perform\, Dodd fosters what she calls &ldquo\;a space of ritual action and improvisation demanding a longer and broader engagement on the part of the audience.&rdquo\;

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Open Plan: Lucy Dodd \;is organized by associate curator Ch ristopher Y. Lew.

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Major support for \;Open Plan \;is provided by the Philip an d Janice Levin Foundation and the National Committee of the Whitney Museum of American Art.

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Significant support is provided by The Brown Foundation\, Inc.\, of Houston and Donald R. Mulle n\, Jr.

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Generous support is provided by Diane and Adam E. Max.

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Additional support is provided by Alexander S. C. Rower\, Joseph Ro senwald Varet and Esther Kim Varet\, and the Performance Committee of the W hitney Museum of American Art.

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DTEND:20160320 DTSTAMP:20160501T202014 DTSTART:20160317 GEO:40.7396334;-74.0088764 LOCATION:Whitney Museum of American Art\,99 Gansevoort Street \nNew York\, NY 10014 SEQUENCE:0 SUMMARY:Open Plan: Lucy Dodd\, Lucy Dodd UID:417180 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Fr om February 26 through May 14\, 2016\, the Whitney Museum of American Art w ill presentOpen Plan\, an experimental five-part exhibition using the Museu m&rsquo\;s dramatic fifth-floor as a single open gallery\, unobstructed by interior walls. The largest column-free museum exhibition space in New York \, the Neil Bluhm Family Galleries measure 18\,200 square feet and feature windows with striking views east into the city and west to the Hudson River \, making for an expansive and inspiring canvas.

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Andrea Fraser&rsquo\;s \;(b. 1965) provocative work spans p erformance\, institutional critique\, video\, and audience engagement.  \;Open Plan: Andrea Fraser \;will present her site-specific project\,Do wn the River\, which uses audio recorded at a correctional facility to brid ge the social\, cultural\, and geographic divide separating museums from co rrectional facilities. Since the mid-1970s\, the United States has seen a p arallel boom in museum and prison construction\, with some states\, such as  \;New York\, recently reversing this trend with prison closures. Fras er&rsquo\;s sound installation seeks to reflect on the parts we play in sus taining these disparate institutions.

Public seminars on \;D own the River \;occur daily on the third floor: Monday&ndash\;Friday at 2 pm\; Saturdays and Sundays at 1 pm.

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Open Plan: Andrea Fraser \;is organized by Deputy Director for Programs and Nancy and Steve Crown Family Chief Curator Scott Rothkopf and assistant curator Laura Phipps.

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Major support for \;Open Plan \;i s provided by the Philip and Janice Levin Foundation and the National Commi ttee of the Whitney Museum of American Art.

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Significant support is provided by The Brown Foundation\, Inc.\, of Houston and Donald R. Mullen\, Jr.

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Ge nerous support is provided by Diane and Adam E. Max.

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Additional support is provided by Alexan der S. C. Rower\, Joseph Rosenwald Varet and Esther Kim Varet\, and the Per formance Committee of the Whitney Museum of American Art.

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\n DTEND:20160313 DTSTAMP:20160501T202014 DTSTART:20160226 GEO:40.7396334;-74.0088764 LOCATION:Whitney Museum of American Art\,99 Gansevoort Street \nNew York\, NY 10014 SEQUENCE:0 SUMMARY:Open Plan: Andrea Fraser\, Andrea Fraser UID:417179 END:VEVENT END:VCALENDAR