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Acts of Sedition is a mixed&ndash\;media exhibition of international artists that indirectly tak es its cue from two previous WhiteBox shows that addressed different facets of the U.S. elections. Sedition (2008) paralleled the general ele ction leading to Obama&rsquo\;s first term\, while #makamericagreatagai n (2016) was prescient in focusing on the primaries and subsequent eme rgence of Donald J. Trump who is now the 2016 Republican Presidential nomin ee. Whereas Sedition took the pulse of the national political clim ate\, #makeamericagreatagain was more partisan as well as incorpor ating social media as a curatorial strategy. Acts of Sedition is l ike a third party\, for it takes the aforementioned exhibitions as a point of departure but extends their thematic concerns to the contemporary world& ndash\;at-large yet linking international geo-political strife to the U.S. political landscape and forthcoming Presidential elections. Artworks to be exhibited that underscore this\, for example\, include Carlos Aires&rsquo\; collaged dollar bills.

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These works c onsist of currency that have been superimposed with imagery of Iraqi war de ad in coffins draped in American flags as well as homeless individuals. On one level the work may be construed as questioning U.S war policies and eco nomic disparity\, however because money is traded in transnational financia l markets whose value can fluctuate according to global events\, Aires&rsqu o\; work reveals the symbiosis of local\, national and international politi cs. Another work that highlight&rsquo\;s an aspect of the exhibition&rsquo\ ;s foci is Dread Scott&rsquo\;s A Black Man Was Hung By Police Yesterda y (2015). Taking the form of a flag\, Scott&rsquo\;s sculpture is mean t to be displayed in public and is based on a similar banner hung outside t he offices of the N.A.A.C.P in Manhattan from 1920-38 to draw attention to lynching of African-Americans in the Jim Crow South. In the same manner tha t N.A.A.C.P. attempted to alert the public of the racial violence being inf licted on our fellow Americans\, Scott&rsquo\;s updated version was to make people aware of the institutional violence inflicted on the African-Americ an community by certain members of the police. The work forces us to think of how the horrors of the past are still with us today but under different guises producing the same atrocious results: unabated racial violence that is seemingly institutionalized.

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A cts of Sedition argues that although sedition in colloquial nomenclatu re refers to subversive acts by individuals towards institutions of power\, what has now manifested are acts of treason by those same entities against a myriad of communities and even the sacrosanct ideals that has made the U .S.A a beacon and haven for tolerance\, inclusivity\, freedom and democracy . Violence against the African-American community\, xenophobia\, attempts t o repeal Rew vs Wade\, sexual orientation and transgender discrimination\, the dominance of Superpacs in our political infrastructure that buy politic ians and elections are just a few of the many acts of sedition by antidemoc ratic and authoritarian forces that this exhibition pushes against.

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The programs of WhiteBox are made possible in part by the New York City D epartment of Cultural Affairs \;and New York State Council for the Arts

DTEND:20161109 DTSTAMP:20160925T184749 DTSTART:20161019 GEO:40.7190592;-73.9939197 LOCATION:WhiteBox\,329 Broome Street \nNew York\, New York 10002 SEQUENCE:0 SUMMARY:Acts of Sedition UID:429145 END:VEVENT BEGIN:VEVENT DTEND:20161019T200000 DTSTAMP:20160925T184749 DTSTART:20161019T180000 GEO:40.7190592;-73.9939197 LOCATION:WhiteBox\,329 Broome Street \nNew York\, New York 10002 SEQUENCE:0 SUMMARY:Acts of Sedition UID:429146 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Painting Center is pleased to announce an exhibition of recent work by Pamela Salisbury. The show is comprised of sixteen small-scale paintings\, ranging in size from 4 x 4 inc hes to 12 x 12 inches. All works are acrylic paint on wood panel. The new w ork represents a departure from the artist&rsquo\;s earlier oil paintings\, which were made from observation and often made reference to birds and the ir habitat. While she continues to borrow basic shapes from the natural wor ld\, the forms are more abstract\, and in many examples\, highly stylized. The space created through color juxtapositions\, and by overlapping and fus ing form\, is of special interest.

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Pa mela Salisbury received a BA in Sculpture from Bennington College\, VT\, an d an MFA in Painting from the New York Studio School of Drawing\, Painting\ , &\; Sculpture\, where she worked as an administrative associate throug h 2015. Her paintings have been shown in New Jersey and New York at venues including the Huntington Museum of Art\, NJ\; Riverside Studio\, NJ\; Panth er Creek\, NY\; and The Studio School\, NY. She is especially proud to be s howing at the Painting Center with her mother\, the artist Lois Dickson. Sa lisbury lives and works full-time in Kinderhook\, NY.

DTEND:20161029 DTSTAMP:20160925T184749 DTSTART:20161004 GEO:40.75111;-74.004475 LOCATION:The Painting Center\,547 West 27th Street Suite 500\nNew York\, NY 10001 SEQUENCE:0 SUMMARY:New Work 2016\, Pamela Salisbury UID:429141 END:VEVENT BEGIN:VEVENT DTEND:20161006T200000 DTSTAMP:20160925T184749 DTSTART:20161006T180000 GEO:40.75111;-74.004475 LOCATION:The Painting Center\,547 West 27th Street Suite 500\nNew York\, NY 10001 SEQUENCE:0 SUMMARY:New Work 2016\, Pamela Salisbury UID:429142 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Painting Center is pleased to present an exhibition of recent paintings by Lois Dickson. Lois makes h er paintings in response to images that emerge from her imagination. A pain ting can evolve using spontaneous sweeping and interlocking gestures. As im ages appear on her canvas\, and colors ask to be present\, the process of w orking and solving the painting begins. The result is a conflagration of im ages that are simultaneously imaginative and engineered\, deliberate and ac cidental. She is very influenced by the work of early European abstract pai nters and by the Americans: Marsden Hartley and\, especially\, Arthur Dove. She states: &ldquo\;I continue to be interested primarily in the fundament als of picture making: form\, space\, color. With this recent body of work\ , I am also opening the door to surprise narratives. While I always hope to invite something &ldquo\;dark&rdquo\;\, I find humorous personalities taki ng up residence. I think I&rsquo\;ll let them stay for now.&rdquo\;

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Lois Dickson was born in Cleveland\, Ohio. S he received a Bachelor of Arts from the University of Michigan\, a Master o f Fine Arts from the New York Academy of Art and Honors in Drawing from the New York Studio School&rsquo\;s full time Certificate Program. Lois has ex hibited extensively the Northeast\, including six solo shows at the John Da vis Gallery\, NYC and Hudson\, NY\; a solo show at North Point Gallery\, Ki nderhook\, NY\; and The Witherspoon Gallery\, Princeton\,NJ. Selected Group Exhibitions include: Nina Nielson Gallery\, Boston\, MA\; John Davis Galle ry\, Hudson\, NYC\; and The Prince Street Gallery\, The Bowery Gallery\, Ar t and Democracy Gallery\, The New York Studio School\, and The Painting Cen ter- all in NYC.

DTEND:20161029 DTSTAMP:20160925T184749 DTSTART:20161004 GEO:40.75111;-74.004475 LOCATION:The Painting Center\,547 West 27th Street Suite 500\nNew York\, NY 10001 SEQUENCE:0 SUMMARY:New Work 2016\, Lois Dickson UID:429139 END:VEVENT BEGIN:VEVENT DTEND:20161006T200000 DTSTAMP:20160925T184749 DTSTART:20161006T180000 GEO:40.75111;-74.004475 LOCATION:The Painting Center\,547 West 27th Street Suite 500\nNew York\, NY 10001 SEQUENCE:0 SUMMARY:New Work 2016\, Lois Dickson UID:429140 END:VEVENT BEGIN:VEVENT DESCRIPTION:
Born in Sw itzerland\, I grew up fascinated by paintings by Hodler\, Segantini\, Valot ton\, Amiet\, Giacometti and others. Unfortunately\, my art teachers were t otally taken by the abstract minimalism movement of the time. They discoura ged me from pursuing my love of strong\, realistic imagery\, the organic an d narrative quality of my work. So I resorted to photography for many years .
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In the 70&rsquo\;s I moved to the USA\, returned to painting and never stopped. I immersed myse lf in images of organic forms...the Pear\, the female figure\, the Cone Flo wer.
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During the past t hree years\, I took a leap of faith and started painting small abstract wor ks inspired by nature\, gardens\, walks in the park\, color and light. It h as been very exciting to work with thick layers of colorful paint applied w ith palette knives. Ironically\, it is my reluctance to waste paint that le ad to this transformation. For a long time\, after a day&rsquo\;s work on a large painting\, I would make a quick small painting or sketch with the le ftover paints on my palette.
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I have also used the iPad with various painting Apps to further my e xploration of abstract images. The only problem with the digital media is t hat the images have to be reproduced on either paper\, canvas or metal whic h result in something very different from an oil painting. I am still searc hing for the ideal way to reproduce them. The two abstract painters who ins pired me greatly for the work on exhibit are Alma Thomas and Joan Mitchell.
www.ateliermc hugh.com
DTEND:20161029 DTSTAMP:20160925T184749 DTSTART:20161005 GEO:40.7515661;-74.0041872 LOCATION:Phoenix Gallery\,548 West 28 Street Suite 528\nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Phoenix Gallery Project Space​: Marie-Louise McHugh\, Marie-Louise McHugh UID:429137 END:VEVENT BEGIN:VEVENT DTEND:20161006T200000 DTSTAMP:20160925T184749 DTSTART:20161006T180000 GEO:40.7515661;-74.0041872 LOCATION:Phoenix Gallery\,548 West 28 Street Suite 528\nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Phoenix Gallery Project Space​: Marie-Louise McHugh\, Marie-Louise McHugh UID:429138 END:VEVENT BEGIN:VEVENT DESCRIPTION:

< span style="font-size: small\;">Richard Des Jardins

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Richard Des Jardins (b. 1948) studied Fine Arts at Universite de Quebec an d Ecole Des Beaux Arts in Quebec\, Canada. Upon completing his studies\, he continued with his art\, but also went on to have careers in visual mercha ndising for home furnishings in Montreal\, floral design and set styling in New York City\, as well as a successful interior design practice. \; H e has shared his aesthetic sense of design and color and his knowledge of s patial concepts with interior design students at the Fashion Institute of T echnology over the last 30 years.
 \;In 2000 he returned to further exploration of space through pain tings and mixed media art work. \; In the collection exhibited\, his se nse of space through mixed media is further enhanced with gold and silver l eaf. The reflection off of these materials creates a movement as the eye mo ves in exploring the collage and engages one in the spatial experience.
www.desjardinsfinearts.com
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Katherine Evans
"New Works"

\nAssorted gestures in Kat Evans&rsquo\; abstracts vibrate with color. Moods flicker between bold brush strokes and layered textures. Integral to her work is the interaction of color and its ability to evoke a n emotional response. The disciplined compositions arrange complex color ha rmonies that emerge from intuition open to chance.
Kat&rsquo\;s artwork has been shown in numerous juried solo and group exhibitions\, one juror praising its &ldquo\;jewel-like qua lity.&rdquo\; Within the last 15 years she has won many awards for painting s (including the Winner Circle Award at the Westport Arts Center as selecte d by the Whitney Museum Director) and been included in many juried exhibits \, and presented numerous solo shows in the Northeast. Her \;work can b e found in private collections throughout the U.S. and Europe.
For Kat Evans\, creativity is a family tra it. Her father\, a WPA artist\, worked on the famous Coit Tower murals in S an Francisco. Evans studied graphic design at the University of Bridgeport (summa cum laude) and continued her education at the Parsons School of Desi gn\, Yale University and the Center for Contemporary Printmaking in Norwalk .  \;  \;  \;  \;  \;  \;  \;  \;  \; & nbsp\;  \;  \;  \;  \;  \;  \;  \;  \; &nbs p\;  \; www.kevansar t.com
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Star Li

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Star Li was born in 1986 and has attended school in Japa n\, Korea\, Canada and the U.S over 10 years. She majored in Biology\, Comm erce\, Film Making and Painting during these years and finally got her Mast er of Fine Art degree in San Francisco. She is now living in New York as a professional artist.
& nbsp\;www.hya linestar.com
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DTEND:20161029 DTSTAMP:20160925T184749 DTSTART:20161005 GEO:40.7515661;-74.0041872 LOCATION:Phoenix Gallery\,548 West 28 Street Suite 528\nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Group Exhibition\, Star Li\, Katherine Evans\, Richard des Jardins UID:429135 END:VEVENT BEGIN:VEVENT DTEND:20161006T200000 DTSTAMP:20160925T184749 DTSTART:20161006T180000 GEO:40.7515661;-74.0041872 LOCATION:Phoenix Gallery\,548 West 28 Street Suite 528\nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Group Exhibition\, Katherine Evans\, Richard des Jardins\, Star Li UID:429136 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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In the 1960s\, Franç\;oise Grosse n rejected the rectilinear loom that constrained contemporary weaving for a n intuitive approach to fiber that resulted in the creation of large-scale\ , suspended rope forms constructed of knots\, loops\, braids\, and twists. At the time\, fiber was still associated with utility rather than fine art\ , and Grossen&rsquo\;s freehand\, three-dimensional handling of the medium was considered a revolutionary gesture that upset the traditional hierarchy subordinating craft to art. A number of other artists in the 1960s and 197 0s\, including Eva Hesse\, Sheila Hicks\, and Magdalena Abakanowicz\, also began working with fiber in innovative ways\, and they shared Grossen&rsquo \;s interest in the process of making and the desire for unmediated contact with everyday materials such as rope\, string\, cord\, and twine.

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Process as an aesthetic value in the art worl d of the 1960s and 1970s provides one context for this groundbreaking work. Grossen also found inspiration in utilitarian structures and objects made of fiber\, such as rope suspension bridges\, Peruvian khipus\, mar ine ropes for docking and anchoring\, and natural forms such as the exoskel etons of insects. Her practice has always involved translating these source s into abstract forms through a cumulative\, repetitive approach that she d escribes as &ldquo\;rope upon rope\, braid after braid.&rdquo\; Through thi s methodical process her work takes shape\, shifts\, ­\;­\;­\;and mutates into forms that elegantly thematize transformations of the natural and the cultural\, from the processing of fiber into utilitarian rope to it s subsequent elevation in her work as a medium of sculpture.

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As part of MAD&rsquo\;s POV series\, Grossen has mi ned the Museum's permanent collection and brought her own rope sculptures t ogether with a selection of work from MAD's unusual collection of baskets\, as well as other work in fiber\, wood\, and metal. Privileging elemental m ethods of construction as a language of abstraction\, Grossen&rsquo\;s sele ctions highlight an approach to contemporary sculpture that focuses on the artist&rsquo\;s direct transformation of material and links it to a wider d iscussion about ways of making in culture at large.

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MAD's POV series invites guests' perspectives on the Museum' s permanent collection through the lens of their own practices. Grossen&rsq uo\;s exhibition is the first POV to address the full MAD collection\, and part of the second season of POV exhibitions\, alongside Lauren Kalman&rsqu o\;s But if the Crime Is Beautiful&hellip\;in the Tiffany &\; C o. Foundation Jewelry Gallery.

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Fr anç\;oise Grossen Selects is organized by Windgate Research and Collections Curator Elissa Auther with the support of Curatorial Assistant and Project Manager Sophia Merkin.

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Su pport for Franç\;oise Grossen Selects is generously provided by Michele and Marty Cohen\, Blum &\; Poe\, and the Swiss Arts Council Pro Helvetia.

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Franç\;oise G rossen Selects is part of MAD Transformations\, a series of six exhibi tions presented this fall that address artists who have transformed and con tinue to transform our perceptions of traditional craft mediums. Building u pon the exhibition Voulkos: The Breakthrough Years\, which celebra tes the work of an artist known for drastically changing the way clay is ca tegorized as an art material and discipline\, the MAD Transformations exhib itions consider fiber\, clay\, and jewelry and metals&mdash\;disciplines (a long with glass and wood) that compose the bedrock of the Museum of Arts an d Design&rsquo\;s founding mission and collection\, and that continue to mo rph in the hands of contemporary artists today.

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DTEND:20170315 DTSTAMP:20160925T184749 DTSTART:20161018 GEO:40.7673947;-73.9820338 LOCATION:Museum of Arts and Design\,2 Columbus Circle \nNew York\, NY 10019 SEQUENCE:0 SUMMARY:Françoise Grossen Selects: A MAD Collection POV\, Françoise Grossen UID:429133 END:VEVENT BEGIN:VEVENT DTEND:20161018T180000 DTSTAMP:20160925T184749 DTSTART:20161018T110000 GEO:40.7673947;-73.9820338 LOCATION:Museum of Arts and Design\,2 Columbus Circle \nNew York\, NY 10019 SEQUENCE:0 SUMMARY:Françoise Grossen Selects: A MAD Collection POV\, Françoise Grossen UID:429134 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Taking up the subject of gold (specific ally jewelry and adornment) as representative of power\, wealth\, love\, an d sex\, \;Lauren Kalman: \;But if the Crime Is Beautiful...\, \;created by visual artist and metalsmith Lauren Kalman\, is MAD's second POV exhibition in the Tiffany &\; Co. Foundation Jewelry Gallery.

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In reference to Austrian architect A dolf Loos' 1910 lecture "Ornament and Crime\," in which he declared decorat ion regressive and fit only for degenerates and criminals (this included wo men and minorities)\, Kalman commits a "crime" by covering the inside and o utside of MAD's jewelry cases with 2\,000 gold-plated brass leaves. Loos' t heories laid the groundwork for modernism\, known for its spareness\, recti linearity\, and rationality. In this installation\, the upright white cases in the jewelry gallery stand in for Loos' modernism.

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Kalman employs her gold-plated brass leaves as representat ive of the leaves of kudzu\, an invasive vine species that engulfs\, spread s\, and creates new decorative forms wherever it thrives. Furthermore\, sim ilar to invasive kudzu\, as guest curator and installation designer Kalman recontextualizes the jewelry gallery\, MAD's historic collection\, and othe r artists' practices in an act both beautiful and suffocating. The organic\ , gilded foliage overtakes the pristine gallery space and weaves in and aro und gold jewelry from MAD's collection\, upending minimalism and austerity. Kalman highlights the relationship between decoration (gold) and female se xuality (another "crime") in her video work made specifically for the exhib ition. Though decoration and femininity are still often marginalized in soc iety\, Kalman uses them as opportunities for deviance and protest.

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MAD's POV series invites guests' perspectives on the Museum's permanent collection through the lens of their own practic es. \;Lauren Kalman: \;But if the Crime Is Beautiful...&nb sp\;is organized by Assistant Curator Barbara Paris Gifford.

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Support for \;Lauren Kalman: But if the Cri me Is Beautiful&hellip\; is generously provided by \;Michele and M arty Cohen\, Rotasa Foundation\, \;Susan and Larry Ach\, \;Nancy an d David Solomon\, and \;Janet and John Winter.

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Lauren Kalman: \;But if the Crime Is Beautiful... \;is \;part of MAD Transformations\, a series of six exhibitions presented this fall that address artists who have transformed and continue to transform our perceptions of traditional craft mediums. Building upon th e exhibition Voulkos: The Breakthrough Years\, which celebrates th e work of an artist known for drastically changing the way clay is categori zed as an art material and discipline\, the MAD Transformations exhibitions consider fiber\, clay\, and jewelry and metals&mdash\;disciplines (along w ith glass and wood) that compose the bedrock of the Museum of Arts and Desi gn&rsquo\;s founding mission and collection\, and that continue to morph in the hands of contemporary artists today.

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DTEND:20170315 DTSTAMP:20160925T184749 DTSTART:20161018 GEO:40.7673947;-73.9820338 LOCATION:Museum of Arts and Design\,2 Columbus Circle \nNew York\, NY 10019 SEQUENCE:0 SUMMARY:But if the Crime Is Beautiful… A MAD Collection POV\, Lauren Kalman UID:429131 END:VEVENT BEGIN:VEVENT DTEND:20161018T180000 DTSTAMP:20160925T184749 DTSTART:20161018T110000 GEO:40.7673947;-73.9820338 LOCATION:Museum of Arts and Design\,2 Columbus Circle \nNew York\, NY 10019 SEQUENCE:0 SUMMARY:But if the Crime Is Beautiful… A MAD Collection POV\, Lauren Kalman UID:429132 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Between the early 1950s and 1968\, Pete r Voulkos reshaped expectations around the ceramic medium\, and created a v aried body of work both in abstract and pottery forms. Today\, this work se ems more relevant than ever\, as artists increasingly turn to ceramics for its expressive possibilities. This panel\, composed of the leading speciali sts on Voulkos and contemporary artists\, will consider the nature of his a chievement and its ongoing resonance. Also under discussion will be the cul tural associations that Voulkos has inspired. The panel will consider his w ork not only in aesthetic terms\, but also in relation to issues of gender and American identity.

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Paneli sts:

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Glenn Adamson\, moderator and co-curator of Voulkos: The Breakthrough Years.

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Andrew Perchuk\, Deputy Director of the Getty Museum and co-curator of Voulkos: The Breakthrough Ye ars.

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James Melchert\ , former student of Voulkos in the 1950s\; Artist\; Professor of Art\, Emer itus\, U.C. Berkeley\, 1964 &ndash\;1994\, and former Director of the Visua l Arts Program at the National Endowment for the Arts.

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Nicole Cherubini\, artist working primar ily in ceramic sculpture and mixed media. Cherubini's solo exhibitions incl ude the Perez Art Museum Miami (Miami\, FL)\, the Santa Monica Museum of Ar t (Los Angeles\, CA) and the Institute of Contemporary Art (Philadelphia\, PA)\, among many others.

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Arle ne Shechet\, artist. Solo exhibitions include the \;RISD Museu m (Providence\, RI)\; the \;Weatherspoon Art Museum (Greensboro\, NC)\; the \;Nerman Museum of Contemporary Art (Overland Park\, KS) The Tang Teaching Museum and Art Gallery (Sarasota Springs NY)\; the \;Museum of Contemporary Art Denver (Denver CO)\; and a twenty-year survey of her work at the \;Institute of Contemporary Art\, Boston \;(Boston\, MA) in June 2015\, among many others.

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This program is organized in conjunction with the exhibition Voulkos: The Breakthrough Years.

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DTEND:20161020T200000 DTSTAMP:20160925T184749 DTSTART:20161020T190000 GEO:40.7673947;-73.9820338 LOCATION:Museum of Arts and Design\,2 Columbus Circle \nNew York\, NY 10019 SEQUENCE:0 SUMMARY:Voulkos\, Then and Now UID:429130 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Spanning the years 1953&ndash\;1968\, < em>Voulkos: The Breakthrough Years \;is the first exhibition to fo cus on the early career of Peter Voulkos\, whose radical methods and ideas during this period opened up the possibilities for clay in ways that are st ill being felt today.

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While trained a s a traditional potter\, Voulkos defied mid-century craft dictums of proper technique and form to completely reinvent his medium. He combined wheel th rowing with slab building\, traditional glazes with epoxy paint\, figuratio n with abstraction\, and made huge ceramic structures with complex internal engineering. The exhibition will feature approximately 31 examples from th is crucial body of early work\, most of which have not been exhibited on th e East Coast for four decades. Also included will be three of the artist's rarely seen works in oil on canvas\, which help to demonstrate how Voulkos developed his ideas concurrently in painting\, sculpture\, and pottery.

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Voulkos is a central figure in the histo ry of MAD\, featured in numerous exhibitions\, including two monographic su rveys\, and an exemplar of the cross-disciplinary thinking that the Museum supports. Both the exhibition and accompanying scholarly catalogue will pro vide a detailed account of the breakthrough works from Voulkos' vital perio d of experimentation.

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Voulkos: Th e Breakthrough Years \;is co-curated by Andrew Perchuk\, Deputy Di rector of the Getty Research Institute\, and Guest Curator Glenn Adamson\, with Assistant Curator Barbara Paris Gifford.

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Major funding for Voulkos: The Breakthrough Years is prov ided by the Henry Luce Foundation.

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Ad ditional support is generously provided by Nanette L. Laitman\, KLM Royal D utch Airlines\, the Stavros Niarchos Foundation\, Regina and Marlin Miller\ , Jun and Ree Kaneko\, The Robert Lehman Foundation\, Leatrice and Melvin E agle\, Dick and Gloria Anderson\, Ted Rowland\, the Knafel Family Foundatio n\, and Jeffrey Spahn Gallery.

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This p roject is also supported by an award from the National Endowment for the Ar ts.

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This research was supported by a Craft Research Fund grant from The Center for Craft\, Creativity &\; Des ign\, Inc.

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Media Partner: artnet.

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Following its run at MAD\, Voulkos: The Breakthrough Years will be on view at the Renwick Galle ry in Washington\, DC\, from April 7 through August 20\, 2017.

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Voulkos: The Breakthrough Years \;is part of MAD Transformations\, a series of six exhibitions that address art ists who have transformed and continue to transform our perceptions of trad itional craft mediums. MAD&rsquo\;s six fall exhibitions consider fiber\, c lay\, and jewelry &\; metals\, disciplines that were the bedrock of the museum&rsquo\;s founding mission and collection\, and that continue to morp h in the hands of contemporary artists today.

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DTEND:20170315 DTSTAMP:20160925T184749 DTSTART:20161018 GEO:40.7673947;-73.9820338 LOCATION:Museum of Arts and Design\,2 Columbus Circle \nNew York\, NY 10019 SEQUENCE:0 SUMMARY:Voulkos: The Breakthrough Years\, Peter Voulkos UID:429128 END:VEVENT BEGIN:VEVENT DTEND:20161018T180000 DTSTAMP:20160925T184749 DTSTART:20161018T110000 GEO:40.7673947;-73.9820338 LOCATION:Museum of Arts and Design\,2 Columbus Circle \nNew York\, NY 10019 SEQUENCE:0 SUMMARY:Voulkos: The Breakthrough Years\, Peter Voulkos UID:429129 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Chris Antemann: Forbidden Fruit celebrates the collaboration between Oregon-based artist Chris Antemann a nd the renowned MEISSEN Porcelain manufactory. In 2011 Antemann was invited to participate in MEISSEN&rsquo\;s Art Studio Program\, where she worked c losely with MEISSEN&rsquo\;s master artisans to create unique pieces and a series of limited editions that strike a perfect balance between her distin ctive style and MEISSEN&rsquo\;s identity. These pieces are arranged in Forbidden Fruit as a grand installation that reinvents and invigorate s the great figurative tradition.

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Ins pired by eighteenth-century porcelain figurines and decorative art\, Antema nn&rsquo\;s delicate and intricately detailed sculptures are lavishly prese nted on a central banquet \;table alongside a selection of stand alone sculptures and a nine-light porcelain chandelier. Her centerpiece\, Lov e Temple (2013)\, is inspired by MEISSEN's great historical model of J ohann Joachim Kä\;ndler's monumental Love Temple (1750). Strip ping the original design back to its basic forms\, Antemann added her own f igures\, ornamentation\, and flowers to her five-foot work\, as well as a s pecial finial with three musicians to herald the arrival of guests to the b anquet of &ldquo\;forbidden fruit&rdquo\; below.

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Using the Garden of Eden as her metaphor\, Antemann has created a contemporary interpretation of the eighteenth-century banqueting craze b y inserting her scantily clad male and female figures. Posed in intimate an d playful vignettes of seduction\, Antemann&rsquo\;s figures convey narrati ves of domesticity\, social etiquette\, and taboos while making formal refe rences to classic Baroque MEISSEN figurines. The ceramist invents a new nar rative on contemporary morality in a setting that evokes the decadence of F ranç\;ois Boucher and Jean-Antoine Watteau.

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Chris Antemann: Forbidden Fruit \;is a t raveling exhibition organized by Chris Antemann. The artworks were produced with Antemann by the MEISSEN Porcelain Manufactory in the MEISSEN Art Camp us. It was secured for the Museum of Arts and Design by William and Mildred Lasdon Chief Curator Shannon R. Stratton with the support of Curatorial As sistant and Project Manager Angelik Vizcarrondo-Laboy.

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Support for Chris Antemann: Forbidden Fruit is g enerously provided by Arlene Schnitzer and Jordan Schnitzer\, Joan and Alan Safir\, Sandra Kissler and Mort Weinstein\, Dorothy Saxe\, and MEISSEN® \;.

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Chris Antemann: Forbidden Fruit \; is part of MAD Transformations\, a series of six ex hibitions presented this fall that address artists who have transformed and continue to transform our perceptions of traditional craft mediums. Buildi ng upon the exhibition Voulkos: The Breakthrough Years\, which cel ebrates the work of an artist known for drastically changing the way clay i s categorized as an art material and discipline\, the MAD Transformations e xhibitions consider fiber\, clay\, and jewelry and metals&mdash\;discipline s (along with glass and wood) that compose the bedrock of the Museum of Art s and Design&rsquo\;s founding mission and collection\, and that continue t o morph in the hands of contemporary artists today.

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\n DTEND:20170205 DTSTAMP:20160925T184749 DTSTART:20160922 GEO:40.7673947;-73.9820338 LOCATION:Museum of Arts and Design\,2 Columbus Circle \nNew York\, NY 10019 SEQUENCE:0 SUMMARY:Forbidden Fruit\, Chris Antemann UID:429127 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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For over fifty years\, Coille Hooven ha s been working in porcelain and creating psychologically charged sculpture that explores domestic-centered narratives from the kitchen to the bedroom. One of the first ceramists to bring feminist content to clay\, Hooven uses porcelain to honor the history of women&rsquo\;s work\, confront gendered inequality\, and depict the pleasures\, fears\, and failures of partnering and parenting.

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Hooven&rsquo\;s sculpt ures range from teapots and vessels to figurative busts and dioramas\, and they mine the domestic psyche to produce vignettes that resonate with famil iarity despite an undisguised use of the fantastical. Developing her own vo cabulary of archetypes\, she regularly revisits certain creatures and forms : a domestic palette of aprons\, pillows\, shoes\, and pies\, as well as a cast of characters that includes mermaids\, fish\, snakes\, and anthropomor phic beasts that appear part-dog\, part-horse\, and part-human. While these creatures may appear familiar and amiable at first\, tension lurks underne ath. Recalling fairy tales\, fables\, and myths\, Hooven&rsquo\;s sculpture s conjure a vision of the unconscious&mdash\;both the joy and buoyancy of d reams\, as well as the discomfort and despair of anxiety and doubt.

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Coille Hooven: Tell It By Heart ass embles more than thirty years of Hooven&rsquo\;s work. Hooven studied with David Shaner at the University of Illinois at Urbana-Champaign\, and later relocated to Berkeley\, California\, with her two children. Citing Peter Vo ulkos and Robert Arneson as influential in her decision to move west\, Hoov en became part of the Bay Area clay community\, where she worked independen tly from academia and forged a career making both functional pottery and ce ramic sculpture. In 1979 she became only the second woman to be in residenc e at the Kohler Co.&rsquo\;s plant in Kohler\, Wisconsin\, as part of their renowned Arts/Industry residency program.

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Coille Hooven: Tell It By Heart \;is curated by Shannon R. Stratton\, William and Mildred Lasdon Chief Curator\, with the support o f Curatorial Assistant and Project Manager Angelik Vizcarrondo-Laboy.

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Support for Coille Hooven: Tell It By Heart is generously provided by Michele and Marty Cohen\, Marge Levy\, and Friends of Coille Hooven.

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Co ille Hooven: Tell It By Heartis part of MAD Transformations\, a series of six exhibitions presented this fall that address artists who have trans formed and continue to transform our perceptions of traditional craft mediu ms. Building upon the exhibition Voulkos: The Breakthrough Years\, which celebrates the work of an artist known for drastically changing the way clay is categorized as an art material and discipline\, the MAD Transfo rmations exhibitions consider fiber\, clay\, and jewelry and metals&mdash\; disciplines (along with glass and wood) that compose the bedrock of the Mus eum of Arts and Design&rsquo\;s founding mission and collection\, and that continue to morph in the hands of contemporary artists today.

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DTEND:20170205 DTSTAMP:20160925T184749 DTSTART:20160922 GEO:40.7673947;-73.9820338 LOCATION:Museum of Arts and Design\,2 Columbus Circle \nNew York\, NY 10019 SEQUENCE:0 SUMMARY:Tell It By Heart\, Coille Hooven UID:429126 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Crochet Coral Reef: TO XIC SEAS celebrates the tenth anniversary of the &ldquo\;Crochet Coral Reef&rdquo\; (2005&ndash\;present)\, an ongoing project by sisters Margare t and Christine Wertheim and their Los Angeles&ndash\;based organization\, the Institute For Figuring. Mixing crocheted yarn with plastic trash\, the work fuses mathematics\, marine biology\, feminist art practices\, and craf t to produce large-scale coralline landscapes\, both beautiful and blighted . At once figurative\, collaborative\, worldly\, and dispersed\, the &ldquo \;Crochet Coral Reef&rdquo\; offers a tender response to the dual calamitie s facing marine life: climate change and plastic trash.

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With 2016 the hottest year on record\, livi ng reefs everywhere are under stress. Into these arenas of color huge areas of whiteness now intrude\; bleaching events signal that corals are sick an d dying. In 2005\, in response to devastation of the Great Barrier Reef in their native Australia\, the Wertheims began to crochet a simulation of hea lthy and ailing reefs. Using the algorithmic codes of crochet\, the sisters produce crenellated forms that are representations of hyperbolic geometry\ , which is also manifest in the undulating structures of corals\, kelps\, a nd other reef organisms. The Wertheims and their collaborators\, a core gro up of worldwide &ldquo\;Crochet Reefers\,&rdquo\; fabricate an ever-evolvin g artificial ecology.

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This exhibition consists of three main &ldquo\;habitats.&rdquo\; A giant Coral Forest< /em> and a collection of miniature Pod Worlds represent the divers ity of living corals through the varying textures\, colors\, and forms of c rocheted yarn and beads. A Bleached Reef and a brand new Toxic Reef serve as invocations of dying corals\, while The Midden &mdash\;four years&rsquo\; worth of the Wertheims&rsquo\; own domestic plas tic trash&mdash\;constitutes a deeply personal response to the issue of pla stic waste in the oceans\, including human-made phenomena such as the Great Pacific Garbage Patch.

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&ldquo\;T he &ldquo\;Crochet Coral Reef&rdquo\; mixes environmental science with scie nce fiction to create a call to action in this time of response-ability and sisterhood with the sea.&rdquo\; &ndash\; Margaret and Christine Wertheim< /em>

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Crochet Cor al Reef: TOXIC SEAS\, a unique presentation of the "Crochet Coral Reef" that focuses on climate change and ocean health\, is curated by Assi stant Curator Samantha De Tillio for the Museum of Arts and Design.

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Major support for Crochet C oral Reef: TOXIC SEAS is provided by Michele and Marty Cohen. Addition al support is generously provided by Nanette L. Laitman\, Barbara and Donal d Tober\, The Coby Foundation\, Ltd.\, and The Donald and Barbara Zucker Fa mily Foundation.

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Crochet Cora l Reef: TOXIC SEAS is part of MAD Transformations\, a series of s ix exhibitions presented this fall that address artists who have transforme d and continue to transform our perceptions of traditional craft mediums. B uilding upon the exhibition Voulkos: The Breakthrough Years\, whic h celebrates the work of an artist known for drastically changing the way c lay is categorized as an art material and discipline\, the MAD Transformati ons exhibitions consider fiber\, clay\, and jewelry and metals&mdash\;disci plines (along with glass and wood) that compose the bedrock of the Museum o f Arts and Design&rsquo\;s founding mission and collection\, and that conti nue to morph in the hands of contemporary artists today.

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DTEND:20170122 DTSTAMP:20160925T184749 DTSTART:20160915 GEO:40.7673947;-73.9820338 LOCATION:Museum of Arts and Design\,2 Columbus Circle \nNew York\, NY 10019 SEQUENCE:0 SUMMARY:Crochet Coral Reef: Toxic Seas\, Margaret Wertheim\, Christine Wert heim UID:429125 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Mitchell-Innes &\; Nash ann ounces Positive Pathways (+)\, an exhibition of works by artist co llective GCC\, opening October 13\, 2016. This is the group&rsquo\;s debut show at Mitchell-Innes &\; Nash and their first in the United States sin ce GCC: Achievements in Retrospective at MoMA PS1 in 2014.

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The exhibition\, which includes installation \, wall sculptures\, video and sound\, focuses on the increasingly pervasiv e trend of Healthy Living and Positive Lifestyles gaining momentum in the M iddle East. In particular\, GCC explores the ways in which these lifestyle attitudes are appropriated\, employed\, and transformed as part of a greate r political mechanism.

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The spirit of Silicon Valley-style start up culture &ndash\; with its propensity for coal escing New Age thought\, a relaxed casual outlook\, and corporate incentive s &ndash\; has been imported to the Gulf\, but the result does not necessar ily index the same images\, manifesting itself in the region in unexpected and amalgamative forms unique to its circumstance.

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The exhibition at Mitchell-Innes &\; Nash expands upon GCC &rsquo\;s 2016 project at the most recent Berlin Biennale\, a sculptural in stallation of a woman and child. The woman is performing Quantum Touch exer cise\, a non-contact touch therapy that became popular in the West in the l ate 1990s\, on a boy as they stand on sand surrounded by a running track. T he work\, from where the exhibition borrows its title Positive Pathways (+)\, focuses on the ways that the positive energy movement and body healing practitioners have become partly co-opted by governments in the reg ion &ndash\; such as the creation new ministerial positions like the UAE&rs quo\;s Minister of Happiness\, and the emergence of life coaches and Feng S hui consultants employed by hereditary leaders. Also on view will be a set of sculptural reliefs created using Thermoforming\, a commonly used industr ial process where thermoplastic sheets are heated and formed on a mold. The reliefs are based on 3D renderings of stills taken from YouTube videos and images found online of people from the region who practice in or promote t he positive energy movement. Ranging from politicians to social media celeb rities to TV clerics\, these individuals utilize Positive Lifestyle attitud es as a base for state policy\, for example\, or even as a means to &ldquo\ ;update&rdquo\; the \;image of orthodox Islam to coincide with the risi ng popularity of these New Age attitudes. Taking on the form of the archaeo logical narrative relief\, both the subjects and victims of international c ultural heritage wars\, the exhibition features representations of images f rom the healing movement in the region. Referring to the erasure and creati on of cultural myths\, these reliefs create narratives of the present\, a m echanism of both nation building and the politics of cultural extinction an d creation. The exhibition will also be accompanied by pamphlets produced i n Kuwait\, functioning as a pseudo-catalogue for the exhibition\, mimic the tone and design of suggestive packets often used to disseminate informatio n in the Gulf Region.

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In conjunction with the exhibition\, an off-site screening of video works by the collectiv e at Anthology Film Archives will occur on October 15\, 2016 followed by a Q&\;A with all eight collective members.

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About GCC

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GCC \, an acronym that does not necessarily stand for but alludes to the Gulf C ooperative Council (the intergovernmental political and economic partnershi p that connects six countries in the region)\, is an artist &ldquo\;delegat ion&rdquo\; or collective composed of eight members\, all of which have str ong ties to the Arabian Gulf region of the Middle East. The group was forme d in 2013 at Art Dubai and has since shown at Kraupa-Tuskany Zeidler in Ber lin\; Project Native Informant in London\; The New Museum\, Whitney Museum of Art\, and MoMA PS1 in New York\; Musée d&rsquo\;Art Moderne in Paris\; 9th Berlin Biennial\; Sharjah Art Foundation\, UAE\; and Fridericianum in K assel.

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Since its debut at Sultan Gall ery\, Kuwait\, the group has continued to address the changing states of co ntemporary culture within the Gulf region. The collective&rsquo\;s practice \, which includes photography\, sculpture\, and video\, explores the nuance d and acute aspects that set apart the imagery of the Middle East\, of such the Western World is often unaware. GCC is a reflection of the recent turn toward a global contemporary art scene: the artists live between Kuwait\, New York\, Amsterdam\, London\, and Berlin. Apart from several summits held in Switzerland\, Kuwait\, France and\, most recently\, New York\, Whatsapp is the group&rsquo\;s primary mode of communication.

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Collective members:
Nanu Al-Hamad ( b. 1987)
Khalid Al Gharaballi (b. 1981)
Abdullah Al-Mutairi (b. 1990)
Fatima Al Qadiri (b. 1981)
Monira Al Qadiri (b. 1983)
Aziz Al Qatami (b. 1979)
Barrak Alzaid (b. 1985)
Amal Khala f (b. 1982)

DTEND:20161123 DTSTAMP:20160925T184749 DTSTART:20161013 GEO:40.7503575;-74.0046293 LOCATION:Mitchell-Innes & Nash - 26th St.\,534 W. 26th St. \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Positive Pathways (+) \, GCC UID:429123 END:VEVENT BEGIN:VEVENT DTEND:20161013T200000 DTSTAMP:20160925T184749 DTSTART:20161013T180000 GEO:40.7503575;-74.0046293 LOCATION:Mitchell-Innes & Nash - 26th St.\,534 W. 26th St. \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Positive Pathways (+) \, GCC UID:429124 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20161119 DTSTAMP:20160925T184749 DTSTART:20161020 GEO:42.254709;-73.79404 LOCATION:Limner Gallery\,123 Warren St. \nHudson\, NY SEQUENCE:0 SUMMARY:A Show Of Heads\, Deirdre Barrett Huasca\, Tavarus Blackmonster\, J ennifer Carwile\, Matt Cauley\, Lauren Chapman\, Travis Cicchetto\, Greg Du nn\, Kaci L Flora\, Emily Floyd\, Bryn R Gleason\, Jason Gorcoff\, Ann Harp er\, David Hauptschein\, Natalie Henson\, Jason John\, MARIA LAGO\, Michael Largent\, Gary Masline\, Heyshiro Matsuoka\, Elias Necol Melad\, Philip J Palmieri\, Justin Phillips\, Laura Post\, sima schloss\, Scott Stockdale\, Olga Szulc\, Michael J. Ulrich\, JOHN WOODWARD UID:429121 END:VEVENT BEGIN:VEVENT DTEND:20161022T190000 DTSTAMP:20160925T184749 DTSTART:20161022T170000 GEO:42.254709;-73.79404 LOCATION:Limner Gallery\,123 Warren St. \nHudson\, NY SEQUENCE:0 SUMMARY:A Show Of Heads\, Tavarus Blackmonster\, Jennifer Carwile\, Matt Ca uley\, Lauren Chapman\, Travis Cicchetto\, Greg Dunn\, Kaci L Flora\, Emily Floyd\, Bryn R Gleason\, Jason Gorcoff\, Ann Harper\, David Hauptschein\, Natalie Henson\, Deirdre Barrett Huasca\, Jason John\, MARIA LAGO\, Michael Largent\, Gary Masline\, Heyshiro Matsuoka\, Elias Necol Melad\, Philip J Palmieri\, Justin Phillips\, Laura Post\, sima schloss\, Scott Stockdale\, Olga Szulc\, Michael J. Ulrich\, JOHN WOODWARD UID:429122 END:VEVENT BEGIN:VEVENT DESCRIPTION:

International Print Center New York (IPCNY) presents \;Black Pulp!\, \;an exhibition that examines evolving perspectives of Black identity in American culture and history from 1912 to 2016 throug h contemporary works of art and rare historical printed media. The exhibiti on includes works by artists\, graphic designers\, and publishers in format s ranging from little known comic books to covers for historic books and ma gazines\, to etchings\, digital prints\, drawings\, and media-based works b y some of today&rsquo\;s leading artists. The exhibition is organized by ar tists William Villalongo and Mark Thomas Gibson\, and is accompanied by an illustrated catalogue\, extensive didactics\, and free public programming.< /p>\n

The exhibition features contemporary works by an intergenerational group of 21 artists from the Black diaspora: Derrick Adams\, Laylah Ali\, Firelei Bá\;ez\, Nayland Blake\, Robert Colescott\, Renee Cox\, William Downs\, Ellen Gallagher\, Trenton Doyle Han cock\, Lucia Hierro\, Yashua Klos\, Kerry James Marshall\, Wangechi Mutu\, Lamar Peterson\, Pope.L\, Kenny Rivero\, Alexandria Smith\, Felandus Thames \, Hank Willis Thomas\, Kara Walker\, and Fred Wilson.

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Black Pulp! \;situ ates these works in the context of rare historical books\, comics\, newspap ers\, and related ephemera\, from Alain LeRoy Locke&rsquo\;s \;The New Negro \;(1925) and Wallace Thurman&rsquo\;s quarterly \;Fire!!: Devoted to the Younger Negro Artists \;(1926) to Jackie Ormes&rsquo\; comic strip \;Torchy in Heartbeats \;(1953). Other historical artists and writers on view are Gwendolyn Bennett\, E. Si mms Campbell\, Miguel Covarrubias\, Charles Cullen\, Countee Cullen\, Sadie Iola Daniel\, Aaron Douglas\, Emory Douglas\, W.E.B. Dubois\, George J. Ev ans\, Jr.\, Elton C. Fax\, Billy Graham\, Oliver W. Harrington\, George Her riman\, Alvin Hollingsworth\, Langston Hughes\, Zora Neal Hurston\, Charles S. Johnson\, James Weldon Johnson\, Lois Mailou Jones\, Jacob Lawrence\, G ertrude McBrown\, Dwayne McDuffie\, Owen Middleton\, Richard Bruce Nugent\, Laura Wheeler Waring\, Charles White and Carter G. Woodson.

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New Benefit Editions by Mark Thomas Gib son available for purchase on the occasion of Black Pulp!

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Free Public Program
Strategic Existence: Satire\, Comics\, and Authorship
A panel discussion &\; musical event on \;Saturday\, Octobe r 22\, 7:30&ndash\;9:30pm
School of Visual Arts (SVA) Theatre\, \ ;333 West 23rd Street\, NYC

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Panelists : exhibiting artists Trenton Doyle Hancock and Laylah Ali\, and Ariell John son of Amalgam Comics &\; Coffeehouse in Philadelphia.
Moderated b y Michael B. Gillespie\, Assoc. Prof. of Film at CCNY and author.
Int roductory remarks Making Black Modern: An Historical Grounding&nbs p\;by Caroline Goeser\, PhD and author. \;A special live musical perfor mance by writer and musician Greg Tate and Burnt Sugar Arkestra \;Chamb er will accompany this event. Black Pulp! curator s William Villalongo and Mark Thomas Gibson will \;welcome the particip ants.

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RSVP to \;stephanie@ipcny.o rg. The event is preceded by extended viewing hours of \;Bl ack Pulp! \;at IPCNY from 6&ndash\;7pm.

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Credits
Black Pulp! at IPCNY is made possible through the generous support of Katherine F arley and Jerry I. Speyer\, Agnes Gund\, Sara and Joshua Slocum\, Marnie S. Pillsbury\, Bernard I. Lumpkin and Carmine D. Boccuzzi\, and Peggy Cooper Cafritz.

DTEND:20161203 DTSTAMP:20160925T184749 DTSTART:20161001 GEO:40.7536854;-73.9991637 LOCATION:IPCNY International Print Center New York\,508 W.26th St. Rm 5A \n New York\, NY 10001 SEQUENCE:0 SUMMARY:Black Pulp!\, Derrick Adams\, Laylah Ali\, Firelei Baez\, Nayland B lake\, Robert Colescott\, Renee Cox\, William DOWNS\, Ellen Gallagher\, Tre nton Doyle Hancock\, Lucia Hierro\, Yashua Klos\, Kerry James Marshall\, Wa ngechi Mutu\, Lamar Peterson\, Pope.L\, Kenny Rivero\, Alexandria Smith\, F elandus Thames\, Hank Willis Thomas\, Kara Walker\, Fred Wilson UID:429119 END:VEVENT BEGIN:VEVENT DTEND:20161006T200000 DTSTAMP:20160925T184749 DTSTART:20161006T180000 GEO:40.7536854;-73.9991637 LOCATION:IPCNY International Print Center New York\,508 W.26th St. Rm 5A \n New York\, NY 10001 SEQUENCE:0 SUMMARY:Black Pulp!\, Derrick Adams\, Laylah Ali\, Firelei Baez\, Nayland B lake\, Robert Colescott\, Renee Cox\, William DOWNS\, Ellen Gallagher\, Tre nton Doyle Hancock\, Lucia Hierro\, Yashua Klos\, Kerry James Marshall\, Wa ngechi Mutu\, Lamar Peterson\, Pope.L\, Kenny Rivero\, Alexandria Smith\, F elandus Thames\, Kara Walker\, Hank Willis Thomas\, Fred Wilson UID:429120 END:VEVENT BEGIN:VEVENT DESCRIPTION:

DC Moore Gallery is pleased to announce the opening of West Ridge\, an exhibiti on of new work by Claire Sherman. Sherman&rsquo\;s paintin gs of exposed islands and chaotic forest interiors challenge us to encounte r unpredictable\, wild nature through the emphatic materiality of paint. Ex isting in tension with landscape archetypes\, the paintings\, like the exhi bition&rsquo\;s title\, evoke specific places that could also be anything\, anywhere.

Sherman distorts scale\, color\, and perspective t o create &ldquo\;unraveling environments.&rdquo\; Branches bowed by fringes of moss sweep across the canvas and plunge back into space. Angular limbs appear silhouetted amidst the searing blues and agitated brushstrokes of th e night forest beyond. In these works\, the artist&rsquo\;s approach to sub ject matter and paint handling finds a parallel in her interest in epiphyte s&mdash\;plants that grow on top of one another in the tree canopy.

As Grabner writes\, &ldquo\;Landscape\, albeit a traditional genre\, has become a difficult category of engagement in contemporary painting sim ply because its pictorial limitations are nearly impossible to explore anew . Yet Claire Sherman is dedicated to landscape&rsquo\;s potential\, and her large\, complex compositions effortlessly depict the logic of the natural world while also tumbling into disorientating abstraction.&rdquo\;
< br /> Works titled Island seem to punctuate the frenzied\, dense t angle of the overpowering tree paintings. Surrounded by empty sky\, the cen tered masses test the limits of canvases already over eight feet tall. Each sheer rock face is made up of impossibly long drags of vertical paint and short compressed marks that register as geologic strata while simultaneousl y indexing the pace of the painting process.

It is important to Sherman that her paintings take shape over the course of just one day in the studio. She avoids the overworked\, achieving a surface imbued with a sense of ease\, speed\, and openness to imperfections. Yet sustained resear ch\, reading\, travel\, and photography inform the act of painting\, result ing in works that are both seductive and ambivalent. Sherman explains\, &ld quo\;I engage the history of painting while addressing our current relation ships to images\, landscape\, and contemporary media.&rdquo\;

Claire Sherman has exhibited widely throughout the United States and in Ams terdam\, Leipzig\, London\, Seoul\, and Turin. She has completed residencie s at the Terra Foundation for American Art in Giverny\, the MacDowell Colon y\, the Lower Manhattan Cultural Council&rsquo\;s Workspace program\, the M arie Walsh Sharpe Foundation\, and Yaddo. She graduated with an MFA from th e School of the Art Institute of Chicago in 2005. An Associate Professor at Drew University in New Jersey\, Sherman lives and works in New York City. West Ridge is her second exhibition at DC Moore Gallery.

DTEND:20161105 DTSTAMP:20160925T184749 DTSTART:20161006 GEO:40.7478326;-74.0060311 LOCATION:DC Moore Gallery\,535 West 22nd Street 2nd Floor\nNew York\, NY 10 019 SEQUENCE:0 SUMMARY:West Ridge\, Claire Sherman UID:429117 END:VEVENT BEGIN:VEVENT DTEND:20161006T200000 DTSTAMP:20160925T184749 DTSTART:20161006T180000 GEO:40.7478326;-74.0060311 LOCATION:DC Moore Gallery\,535 West 22nd Street 2nd Floor\nNew York\, NY 10 019 SEQUENCE:0 SUMMARY:West Ridge\, Claire Sherman UID:429118 END:VEVENT END:VCALENDAR