BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION: DTEND:20150403 DTSTAMP:20150329T182412 DTSTART:20150403 GEO:40.7583563;-73.9903747 LOCATION:International Center of Photography (ICP)\,School at ICP\, 1114 Av enue of the Americas at 43rd Street \nNew York\, NY 10036 SEQUENCE:0 SUMMARY:Hazard Lights\, Esther Nila Boesche UID:378719 END:VEVENT BEGIN:VEVENT DTEND:20150402T220000 DTSTAMP:20150329T182412 DTSTART:20150402T180000 GEO:40.7583563;-73.9903747 LOCATION:International Center of Photography (ICP)\,School at ICP\, 1114 Av enue of the Americas at 43rd Street \nNew York\, NY 10036 SEQUENCE:0 SUMMARY:Hazard Lights\, Esther Nila Boesche UID:378720 END:VEVENT BEGIN:VEVENT DESCRIPTION:
Jonathan LeVine Gallery is p leased to present \;Oh\, The Places We Have Been: Rediscove ring the Past\, a group exhibition featuring work by the foll owing 33 artists who have helped shape the foundation of the gallery over t he last ten years: \;AJ Fosik\, \;Alex Gro ss\, \;Amandine Urruty\, \;Andrew Brandou\, \;Andy Kehoe\, \;Blek le Rat\, \;Brett Amory\, \;Dan Wi tz\, \;Esao Andrews\, \;Fabio D&r squo\;Aroma\, \;Gary Baseman\, \; Gary Taxali\, \;Jeff Soto\, \;Jim Houser\, \;Juan Francisco Casas\, \;Kevin Cyr\, \;Marc Giai-Miniet\, \;Marco Mazzoni\, \;Masakatsu Sashie\,&nb sp\;Mike Giant\, \;Natalia Fabia\,&nb sp\;Nouar\, \;Nychos\, \; Olek\, \;Paul Insect\, \;Rafael S ilveira\, \;Sam Gibbons\, \;Saner \, \;Souther Salazar\,Tara McPherson< /strong>\, \;Titi Freak\, \;Victor Castill o\, \;WK Interact.
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Oh\, The Places We Have Been: Rediscovering the Past \;is a continuatio n of the gallery's tenth anniversary celebration and highlights a diverse g roup of artists who have been integral to the programming since our doors o pened in 2005. Over the last decade Jonathan LeVine Gallery has exhibited o ver 300 artists. This exhibition pays tribute to the new and familiar faces we have seen along the way and showcases significant works from our archiv es. \;Oh\, The Places We Have Been \;is a retrospective of our past with an eye toward the future.
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In conjunction wi th the exhibition we will be offering limited edition prints from previousl y sold out editions and from our archives. These will become available on o ur online store on \;Thursday\, April 2 at 6pm EST.
DTEND:20150502 DTSTAMP:20150329T182412 DTSTART:20150402 GEO:40.7485981;-74.0062949 LOCATION:Jonathan LeVine Gallery - 557C West 23rd\,557C West 23rd Street \n New York\, NY 10011 SEQUENCE:0 SUMMARY:Oh\, The Places We Have Been: Rediscovering the Past\, WK Interact\ , Victor Castillo\, Titi Freak\, Tara McPherson\, Souther Salazar\, Saner\, Sam Gibbons\, Rafael Silveira\, Paul Insect\, Olek\, Nychos\, Nouar\, NATA LIA FABIA\, Mike Giant\, Masakatsu Sashie\, Marco Mazzoni\, Marc Giai-Minie t\, Kevin Cyr\, Juan Francisco Casas\, Jim Houser\, Jeff Soto\, Gary Taxali \, Gary Baseman\, Fabio D’Aroma\, Esao Andrews\, Dan Witz\, Brett Amory\, B lek le Rat\, Andy Kehoe\, Andrew Brandou\, Amandine Urruty\, Alex Gross\, A J Fosik UID:378711 END:VEVENT BEGIN:VEVENT DTEND:20150402T200000 DTSTAMP:20150329T182412 DTSTART:20150402T180000 GEO:40.7485981;-74.0062949 LOCATION:Jonathan LeVine Gallery - 557C West 23rd\,557C West 23rd Street \n New York\, NY 10011 SEQUENCE:0 SUMMARY:Oh\, The Places We Have Been: Rediscovering the Past\, Brett Amory\ , Esao Andrews\, Gary Baseman\, Andrew Brandou\, Juan Francisco Casas\, Vic tor Castillo\, Kevin Cyr\, Fabio D’Aroma\, NATALIA FABIA\, AJ Fosik\, Titi Freak\, Marc Giai-Miniet\, Mike Giant\, Sam Gibbons\, Alex Gross\, Jim Hous er\, Paul Insect\, WK Interact\, Andy Kehoe\, Marco Mazzoni\, Tara McPherso n\, Nouar\, Nychos\, Olek\, Blek le Rat\, Souther Salazar\, Saner\, Masakat su Sashie\, Rafael Silveira\, Jeff Soto\, Gary Taxali\, Amandine Urruty\, D an Witz UID:378712 END:VEVENT BEGIN:VEVENT DESCRIPTION:

PRESS RELEASE

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Pierogi is pleased to present recent work by Yoon Lee. This exhibition features large-scale pain tings\, made between 2013 and 2015\, which revel in the complexity of Lee&r squo\;s process and composition\; they are visually complex\, almost three- dimensional\, dynamic abstractions.

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Whereas Lee&rsquo\;s previous p aintings tended to suggest movement through deep space\, or whirlwinds of s wirling motion\, her recent paintings also reference observations from natu re. With titles such as &ldquo\;Retribution (Bud)\,&rdquo\; Loose Rocks\,&r dquo\; &ldquo\;A Storm of Sorts\,&rdquo\; and &ldquo\;Bloom\,&rdquo\; she s ets her context clearly and emphasizes nuances in the subject and medium. & ldquo\;Loose Rocks&rdquo\; is informed by her passion for rock climbing. Fo r this painting she worked from memory and photographs\, from crude drawing s of photos\, with additional imagery referencing graphic novels. Clearly t hese are not movements toward realism\, but are rather a truly ambitious re ach\, developing a sensitivity regarding the subjects. Her intent is an exp ressive understanding that&rsquo\;s powerful\, through a subjective eye tha t doesn&rsquo\;t require a definitive answer or an esoteric conclusion.

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Several of these paintings examine the process of the destruction of s tructure. The worlds contained within them are being taken apart piece by p iece\, layer by layer. &ldquo\;Retribution&rdquo\; and &ldquo\;Bloom\,&rdqu o\; whose titles and orientations seem to suggest opposite motivations\, or tendencies &ndash\; &ldquo\;Retribution\,&rdquo\; oriented horizontally\, suggests a blowback and disintegration toward the right side of the visual field\, while &ldquo\;Bloom&rdquo\; is oriented vertically\, as if it is ex ploding into being &ndash\; are actually based on the same composition\, wi th the order of the layers reversed. This reversal causes a shift in the de pth of field\, resulting in an altered spatial experience.

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In &ldqu o\;A Storm of Sorts&rdquo\; there is an entirely different painting underne ath the uppermost layers of opaque and translucent white paint (the storm)\ ; the painting underneath is quite vivid but is then muted by the layers on top. This top layer could stand alone but becomes more complex because of the underpainting. When viewed more carefully\, additional information and colors are revealed\, creating more complexity\, more push-pull.

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He r process initially appears to borrow from action painting but Lee expands upon this intuitive process by using the computer &ndash\; an inherently sy stematic device &ndash\; as a tool to develop layers and structures before she applies paint to panel. In doing so\, she creates an interesting dichot omy and dialogue between the two\, between chaos and order.

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&ldquo\ ;Making work that appears responsive to its time preoccupies many contempor ary painters. Few find a resolution as persuasive as Yoon Lee&rsquo\;s.&rdq uo\; (Kenneth Baker)

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Yoon Lee was born in South Korea and grew up m ainly in Southern California. She received a BA from UC San Diego and an MF A from the San Francisco Art Institute. She has received numerous awards an d residencies\, including a Eureka Fellowship from the Fleishhacker Foundat ion\, a Pollock-Krasner Foundation Grant\, and the Eduardo Carrillo Prize f rom San Jose Museum of Art and Museo Eduardo Carrillo. This is her fourth o ne-person exhibition at Pierogi.

DTEND:20150503 DTSTAMP:20150329T182412 DTSTART:20150403 GEO:40.7185463;-73.9558733 LOCATION:Pierogi\,177 North 9th Street \nBrooklyn\, NY 11211 SEQUENCE:0 SUMMARY:New Work by Yoon Lee\, Yoon Lee UID:378684 END:VEVENT BEGIN:VEVENT DTEND:20150403T210000 DTSTAMP:20150329T182412 DTSTART:20150403T190000 GEO:40.7185463;-73.9558733 LOCATION:Pierogi\,177 North 9th Street \nBrooklyn\, NY 11211 SEQUENCE:0 SUMMARY:New Work by Yoon Lee\, Yoon Lee UID:378685 END:VEVENT BEGIN:VEVENT DESCRIPTION:

April 3 - May 15\, 2015


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Op ening Reception: Fri. April 3\, 6-10pm (Free if you arrive on 2 wh eels / Bike Valet)
Performance by One Dance Co.: Apri l 3\, 8pm

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Artist Talk: Sat. April 4\, 1pm


\n< p>Slow Art Day: Sat. April 11\, 1pm (Hurry Up &\; Wait: Explore the art of slowing down with The Landmark Society&rsquo\;s YUPs)
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First Friday: May 1\, 6-10pm
Bicycle Tour of Publi c Art: Sun. May 3 (Departs from RoCo at 1pm)

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Rocheste r Bicycle Film Festival:
Tues. May 12\, 7pm Breaking Away at Cinema
Wed. May 13\, 7pm Triplets of Belleville at The Little
Ride It is a diverse exploration of bike art\, culture\, and history\, featuring projects by: Cordell Cordaro\, Jon Schull\, Trevor Raab\, Genesee Center for the Arts &\; Education\, Rochester Bicycle Film Fest ival\, Rochester Public Library\, and University of Rochester Special Colle ctions.

DTEND:20150515 DTSTAMP:20150329T182412 DTSTART:20150403 GEO:43.1565761;-77.6007804 LOCATION:Rochester Contemporary Art Center\,137 East Ave \nRochester\, NY 1 4604 SEQUENCE:0 SUMMARY:Ride It\, Cordell Cordaro\, Trevor Raab\, Jon Schull\, Genesse Cent er for the Arts & Education\, Rochester Bicycle Film Festival\, Rochester P ublic Library\, University of Rochester Special Collections UID:378676 END:VEVENT BEGIN:VEVENT DTEND:20150403T220000 DTSTAMP:20150329T182412 DTSTART:20150403T180000 GEO:43.1565761;-77.6007804 LOCATION:Rochester Contemporary Art Center\,137 East Ave \nRochester\, NY 1 4604 SEQUENCE:0 SUMMARY:Ride It\, University of Rochester Special Collections\, Cordell Cor daro\, Genesse Center for the Arts & Education\, Rochester Bicycle Film Fes tival\, Rochester Public Library\, Trevor Raab\, Jon Schull UID:378677 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Thomas Erben is pleased to present the gallery&rsquo\;s seco nd solo exhibition with British painter Rose Wylie. Since What with Wha t\, which introduced Wylie to the US audience in 2010\, she has receiv ed wide recognition\, including a solo exhibition at Tate Britain. In 2014\ , she won the John Moores Painting Prize\, one of the foremost art awards i n the UK. Featuring a broad selection of works on paper\, Girl and Spid ers allows insight into how Wylie condenses a vast stream of images an d impressions into unmistakably personal drawings.

In Rose Wyl ie&rsquo\;s work\, people\, animals and objects -  \;unlabored\, but ve ry complete - combine with patches of color and bits of painted text. These elements come from a variety of sources: cinema\, newspapers\, tabloids\, television\, art history\, and people she meets. Often working from memory\ , Wylie is not interested in overarching themes or stories &ndash\; her foc us is on the particular\, the detail\, the specific visual moment that made an emotional impact and stuck in her mind.

An important aspec t of Wylie&rsquo\;s work is her unusual use of paper\, which she collages t o expand the surface of a drawing\, correct it\, or emphasize a certain are a. By covering &lsquo\;mistakes&rsquo\; with pieces of paper on which she m akes her revisions\, she also highlights her process of gradually finding t he rendition closest to her recollection. This\, along with the immediacy a nd freedom of Wylie's lines and brushstrokes\, conveys a peculiar balance b etween the casual and the considered. She has the sense to know exactly whe n an imperfection needs correcting\, and when it is just right.

Rose Wylie (b. 1934\, Kent\, UK) attended the Folkestone &\; Dover Sch ool of Art until 1956 and received her MA from the Royal College of Art\, L ondon in 1981. She has had numerous solo exhibitions at institutions such a s the Douglas Hyde Gallery\, Dublin (2015)\; Stä\;dtische Galerie\, Wol fsburg (2014)\; Tate Britain (2013)\; The Haugar Museum\, Tø\;nsberg (2013)\; and Jerwood Gallery\, Hastings (2012). Gallery solo exhibitions in clude Choi&\;Lager Galerie\, Cologne (2014)\; Michael Janssen\, Berlin ( 2013)\; Regina Gallery\, Moscow (2011 and 2012)\; and Union Gallery\, Londo n (2006 onwards). Her work is included in public collections such as the Ar ts Council of England\; Contemporary Art Society\, London\; Jerwood Foundat ion\; National Museum of Women in the Arts\, Washington\, D.C.\; Norwich Ga llery\; Tate Britain\; and the Walker Art Gallery\, Liverpool. The artist l ives and works in Newnham-Sittingbourne\, United Kingdom.

DTEND:20150509 DTSTAMP:20150329T182412 DTSTART:20150402 GEO:40.750267;-74.004393 LOCATION:Thomas Erben Gallery\,526 West 26th Street 4th Floor\nNew York\, N Y 10001 SEQUENCE:0 SUMMARY:Rose Wylie: Girl and Spiders\, Rose Wylie UID:378670 END:VEVENT BEGIN:VEVENT DTEND:20150402T203000 DTSTAMP:20150329T182412 DTSTART:20150402T180000 GEO:40.750267;-74.004393 LOCATION:Thomas Erben Gallery\,526 West 26th Street 4th Floor\nNew York\, N Y 10001 SEQUENCE:0 SUMMARY:Rose Wylie: Girl and Spiders\, Rose Wylie UID:378671 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The gallery is thrilled to present Eric Roux-Fontaine's  \;3rd Axelle solo exhibition to New York City. After extremely successful s olo shows at both Axelle Boston and Axelle Soho\, \;the gallery is exci ted to receive an all-new collection of work from the French painter.

DTEND:20150628 DTSTAMP:20150329T182412 DTSTART:20150530 GEO:40.7261899;-74.0005339 LOCATION:Axelle Fine Arts Galerie Soho\,472 West Broadway \nNew York\, NY 10012 SEQUENCE:0 SUMMARY:Eric Roux-Fontaine: Jardins Secrets\, Eric Roux-Fontaine UID:378657 END:VEVENT BEGIN:VEVENT DTEND:20150530T200000 DTSTAMP:20150329T182412 DTSTART:20150530T180000 GEO:40.7261899;-74.0005339 LOCATION:Axelle Fine Arts Galerie Soho\,472 West Broadway \nNew York\, NY 10012 SEQUENCE:0 SUMMARY:Eric Roux-Fontaine: Jardins Secrets\, Eric Roux-Fontaine UID:378658 END:VEVENT BEGIN:VEVENT DESCRIPTION:

AXELLE FINE ARTS GALERIE SOHO \;welcome s back French painter \;YVES CRENN \;for a solo exhi bition of exquisite new work this spring. UN AUTRE TEMPS\, Crenn&rsquo\;s s ixth solo exhibition at Axelle\, will feature stunning nudes\, touching sti ll lifes and soulful animal portraits. Although Crenn broaches a wide range of figurative subjects\, his paintings are unmistakable due to his unique choice of mediums &ndash\; Crenn works with a distinct combination of dry p astels and watercolor on paper\, which adds a visceral quality to his evoca tive paintings.

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Born in 1969 in Vernon\, France\, the young artist studied drawing and oil painting at Les Beaux Arts de Rouen for six years. He first exhibited his work in Germany while he was still a student. After graduating\, the artist had several public exhibitions of his work\, partic ularly of his drawings on paper. He is a highly skilled draftsman and this talent remains evident in the precision of his current work. In 2003\, the artist began experimenting with dry pastels and watercolor\; this technique adds a beautiful texture and softness that now defines Crenn&rsquo\;s styl e. A trip to Pompeii at a young age had a profound influence on the artist& rsquo\;s work\; while there\, he saw frescoes\, human remains and artifacts preserved in ashes as well as the stunning Roman architecture of the city. The affect of this trip is still evident in his muted color choices\, remi niscent of ancient frescoes\, and in the overall tone of his work- his subj ects are often seen through a delicate fog.

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Crenn&rsquo\;s sensitiv e interpretations of the world around him emphasize the connection between nature\, art\, intellect and spirituality. His subjects\, whether a stately dog or a glowing nude\, are endowed with a quiet strength. His art forever preserves them in these beautiful\, contemplative states &ndash\; much lik e the antiquities he saw in Pompeii. Crenn currently lives and works in Rou en\, France. He will attend the opening reception on April 18.

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DTEND:20150517 DTSTAMP:20150329T182412 DTSTART:20150418 GEO:40.7261899;-74.0005339 LOCATION:Axelle Fine Arts Galerie Soho\,472 West Broadway \nNew York\, NY 10012 SEQUENCE:0 SUMMARY:Yves Crenn: Un Autre Temps\, Yves Crenn UID:378655 END:VEVENT BEGIN:VEVENT DTEND:20150418T200000 DTSTAMP:20150329T182412 DTSTART:20150418T180000 GEO:40.7261899;-74.0005339 LOCATION:Axelle Fine Arts Galerie Soho\,472 West Broadway \nNew York\, NY 10012 SEQUENCE:0 SUMMARY:Yves Crenn: Un Autre Temps\, Yves Crenn UID:378656 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Axelle Fine Arts Galerie welcomes back contemporary French B ulgarian painter \;Albert Hadjiganev \ ;to Soho \;for his 11th \;solo exhibition. As a minimalist\, Hadjig anev captures the simple moments of daily life with only a few elements.The all-new collection includes lush landscapes\, seascapes and intimate still -lives.

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Hadjiganev&rsquo\;s depiction of nature is wild and overgro wn\, ripe with dramatic shadows and brilliant light. The extraordinary qual ity of the artist&rsquo\;s paintings is derived not from his subjects\, whi ch are often as simple as an apple on a windowsill\, but from his sensitive treatment of light\, color and shadows. Hadjiganev paints with bold brushs trokes and shades of green\, greys and blues. Deep emotion\, stark contrast s and unusual framed perspectives characterize his work. His large oils on canvas capture the conflicting dualities inherent in the natural world &nda sh\; light and dark\, freedom and control\, beauty and melancholy. His work s maintain a delicate balance between a sense of foreboding and one of welc oming&ndash\; many paintings actually invite the viewer to step into the sc ene through an open door or window. In others\, the dark\, grey skies loom over sweeping landscapes\, often with just a small hint of the emerging sun . Hadjiganev&rsquo\;s landscapes are simultaneously perceptive impressions of the physical world and visual representations of the artist&rsquo\;s lif e\, struggles and views on humanity. Hadjiganev states:

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I do not know what is to come. It is the canvas that decides- I am m erely a tool. I become very small. I do not paint to make something pretty. I paint to put my heart in my paintings.&rdquo\;

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Born in 1954 in Bulgaria to a family of artists\, Hadjiganev was constan tly influenced by his father&rsquo\;s paintings and brother&rsquo\;s sculpt ures. In 1977\, he enrolled at The National School of Photography in Sofia\ , Bulgaria. However\, he constantly kept sight of his ultimate goal: to stu dy at the prestigious Ecole des Beaux Arts in Paris. At the age of 28\, he left his native home and walked across the border. After numerous hardships \, he finally reached Paris. By 1987\, his struggle paid off and he reached his goal &ndash\; he graduated from the Ecole des Beaux Arts. He has lived in France ever since. In 1989\, he was the recipient of the coveted Grand Prix de Peinture of the Academie des Beaux-Arts and in 1990\, he received t he Prix du Gouvernement Princier at the Salon International d&rsquo\;Art Co ntemporain in Monaco. Since then\, Hadjiganev has had over 40 solo exhibiti ons in the US and in Europe. Hadjiganev will attend the opening reception a t Axelle on March 7.

DTEND:20150405 DTSTAMP:20150329T182412 DTSTART:20150307 GEO:40.7261899;-74.0005339 LOCATION:Axelle Fine Arts Galerie Soho\,472 West Broadway \nNew York\, NY 10012 SEQUENCE:0 SUMMARY:Albert Hadjiganev: Solo Exhibition\, Albert Hadjiganev UID:378653 END:VEVENT BEGIN:VEVENT DTEND:20150307T200000 DTSTAMP:20150329T182412 DTSTART:20150307T180000 GEO:40.7261899;-74.0005339 LOCATION:Axelle Fine Arts Galerie Soho\,472 West Broadway \nNew York\, NY 10012 SEQUENCE:0 SUMMARY:Albert Hadjiganev: Solo Exhibition\, Albert Hadjiganev UID:378654 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Team (gallery\, inc.) is pleas ed to announce a show of new work by New York-based artist Tabor Robak. Ent itled \;Fake Shrimp\, the exhibition will run from \;03 Ma y through 07 June 2015. Team is located at 83 Grand Street\, between Wooste r and Greene. Concurrently\, our 47 Wooster Street space will house a three -person show of paintings by Andrew Gbur\, Jaya Howey and David Ratcliff.\n

Tabor Robak presents four new CGI work s\, each wrought with gravitas\, humor\, technical ingenuity and an implaus ible combination of rigorous discipline and unbridled creativity. Robak oft en grounds his imagery in identifiable allusions\, appropriating elements f rom real-world and digital sources\, the likes of which include creative su ites\, video games and science fiction movies\, as well as visions tests\, animals and quotidian consumer goods. Compared to the earlier pieces\, the referents here are more influence than quotation\, digested and synthesized by the artist's thoroughly amalgamating process. The pairing of disparate subjects and the non-interactive recontextualization of software visuals ef fect a defamiliarization that renders the videos and their surfaces inextri cably conjoined - content and canvas merged. The artist's increasing concer n with technological artifice - computers\, programs\, code and\, particula rly\, screens - has led his practice away from any \;a posteriori \;medium towards a neoteric mode of making\, one utterly unique to him. This exhibition is an ecstatic celebration of computer-generated image ry\, as well as an agnostic exploration of its distorting capacity to false ly cast citizen in the role of godlike creator.

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Where's My Water? \;consists of a close crop on a s eries of "pen cups\," displayed contiguously over twelve 55-inch monitors. The video is characterized as much by the misleading mundanity of those cup s as by frequent instances of spontaneity: its dynamic transitions often fe ature acts of destruction\, or other unexpected\, seemingly non-sequitur im agery. In order to be viewed at such a grand scale\, the images are rendere d in excruciating\, hyper-real detail. The choice to reserve this grandiose treatment for this particular subject matter is due to the latter's workad ay practicality - Robak has recently come to conceive of his own practice a s a job like any other\, requiring diligence\, organization and an enormous quantity of time. Writing implements are the tools of artists as well as a ccountants\, writers as well as workers\, here monumentalized.

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Drinking Bird (Seasons)\, the sole singl e-channel piece\, shows churning patterns of abstract color\, reminiscent o f a liquid with constantly changing viscosity. The work traverses the durat ion of the Western calendar year by way of color palettes associated with n ational holidays. Some of the referenced dates are evident - the red and gr een of Christmas that appears towards the loop's finish\, for example - whi le others are obscure or completely invented - Grandparents' Day and Save t he Rhino Day do not have recognizable color schemes. The work also features a live aspect\, connected to WiFi in order to display a CNN news ticker at the bottom of the screen. Like all of the artist's work\,Drinking Bird  \;is ambidextrous: nebulous but eloquent\, operating simultaneous ly on manifold conceptual planes. On one level\, we may understand the work as an abstract painting for a digital age\; on another\, Robak has created a visual manifestation of temporality on his own terms.

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For \;Newborn Baby\, Robak utilizes the re latively new technology of transparent monitors in order to create a work w ith multiple layers as well as channels. By placing the aforementioned scre ens in front of equally sized LED televisions\, the artist creates actual p erspectival depth\, while also drawing further attention to the work's flat ness and artifice. The video appears abstract\, even psychedelic\, but it i s far from arbitrary: the piece explores our perceptions and ways of unders tanding sight itself\, taking queues from vision tests\, blacklight posters \, the spots of muted color we see when we close our eyes. Robak is interes ted not only in the innovative modes of making allowed for by technology\, but the new ways of seeing they often necessitate.

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Hung in a space of its own\, \;Butterfly Room&nb sp\;consists of one hundred small screens arranged in a ten by ten grid\, e ach with a dedicated miniature computer from which an animation of a fictio nal cellular organism emanates. The creatures morph with time\, changing in color formal intricacy. The sheer abundance of constantly shifting visual content endows the work with a prodigious dynamism\, a sense of actual viva city. The churning\, upscaling evolution Robak's organisms is the metaphori c and literal realization of his growing comfort with the particular softwa re. The piece explicates differences and similarities between the digital a nd real\, the synapses and fissures between the artist's creative act and t he development of the natural world.

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This is 28-year-old Robak's second solo show. He has also been featured ext ensively in group exhibitions at galleries and institutions both stateside and abroad\, including the 12th \;Lyon Biennale\; Palazzo delle Esponiz ioni\, Rome\; MoMA: PS1\, New York\; Kunsthalle Dü\;sseldorf\; Migros M useum\, Zü\;rich.

DTEND:20150607 DTSTAMP:20150329T182412 DTSTART:20150503 GEO:40.7217091;-74.0025345 LOCATION:Team Gallery - Grand St\,83 Grand St. \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Fake Shrimp\, Tabor Robak UID:378597 END:VEVENT BEGIN:VEVENT DTEND:20150503T200000 DTSTAMP:20150329T182412 DTSTART:20150503T180000 GEO:40.7217091;-74.0025345 LOCATION:Team Gallery - Grand St\,83 Grand St. \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Fake Shrimp\, Tabor Robak UID:378598 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Team (gallery\, inc.) is pleas ed to announce a group show of work by American painters Andrew Gbur\, Jaya Howey and David Ratcliff. The exhibition will run from \;03 May throug h 07 June 2015. Team is located at 47 Wooster\, between Grand and Broome. C oncurrently\, our 83 Grand Street space will house a solo show by Tabor Rob ak.

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The paintings of Andrew Gbur\, Ja ya Howey and David Ratcliff find common ground in their simultaneous use an d distrust of contemporary visual signage\; each artist exposes the falsene ss of his own vocabulary of symbols\, showing them to be anemic\, fleeting hieroglyphs. Seriality is crucial to the exhibition: the bodies of work are all characterized by the use of extreme limitation and redundancy of form to engage in subtle psychological violence. By accosting us repeatedly with emptiness\, they generate an insidious \;Weltschmerz\,&nb sp\;imbuing the abstruse but unwelcome knowledge of diffuse clich&eacu te\; and contrivance.

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Andrew Gbur's p aintings depict\, in starkly abridged terms\, the human face. The works\, w hich are rendered in a few soft\, amiably opaque colors\, find some visual precedent in cartoon smiley faces. Despite this veneer of pleasantness\, th eir effect is unnerving - the grins are inexorably lascivious\, unexplainab ly lewd. The clown-like formations\, while recognizable\, are deeply and wi llfully non-mimetic\, non-representational\; they illuminate the symbolic a rtifice of their ostensible subject matter\, forcing us to question why the y bothered us in the first place.

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Jay a Howey's pictogramatic paintings are full of straight\, perfectly manicure d lines\, circles and half-circles\, drawing attention to the drafting tool s such shapes necessitate. The works take as their subject the chaos of hum an emotion\, and the perfunctory and profoundly inadequate ways in which we casually attempt to communicate those mosaic mental states\; the likes of traffic signs\, text message bubbles\, post-war American comic strips and o ther such caricatures of feeling form the basis for the artist's vocabulary . The works\, and the symbols they employ\, strike a dissonant chord\, thei r austerity accentuating the gulf between immaculate\, simple surface and t he labyrinthine underlying network of confusion\, agony and passion.

\n< p style="text-align: justify\;">Works by David Ratcliff\, which continue th e artist's always-appropriative practice of stenciling and spray-painting f ound and collaged imagery onto canvas\, consist of evenly gridded five-poin t stars\, surrounded by shadow contrails. The deceptively simple gesture ex ploits viewers' nebulae of associations - specifically\, the smoke-trailed shapes evoke the violence of American patriotism\, the countless acts of wa r committed under the banner of the Stars and Stripes. A typically innocuou s motif\, frequently dispensed as facile encouragement\, in Ratcliff's hand s suggests apocalyptic dread. An almost gleeful nihilism turns childlike ad ornment to a symbol for mass murder\, cultural rot and the temporal decay o f pictorial language.

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Pennsylvania-ba sed Andrew Gbur was the subject of a recent solo exhibition at our Bungalow space in Venice\, California\, as well as group show appearances at MoMA P S1\, New York\; and the Zabludowicz Collection\, London. He received his MF A in painting from Yale. Jaya Howey\, residing in Brooklyn\, has held solo exhibitions at galleries including Bureau\, New York\; Taxter and Spengeman n\, New York\; and Marginal Utility\, Philadelphia. He graduated from Colum bia's MFA program. David Ratcliff\, who currently lives in Iowa\, has mount ed solo shows at Maureen Paley\, London\; Tomio Koyama Gallery\, Toyko\; an d Galerie Rodolphe Janssen\, Brussels. His work has been featured in shows at MoMA PS1\, New York\; The Turin Triennial\; and Art Center College of De sign\, Pasadena. He has been represented by Team since 2005\, and has had f ive solo shows with the gallery.

DTEND:20150607 DTSTAMP:20150329T182412 DTSTART:20150503 GEO:40.7227557;-74.0025888 LOCATION:Team Gallery - Wooster St.\,47 Wooster Street \nNew York\, NY 1001 3 SEQUENCE:0 SUMMARY:Three-Person Show\, Andrew Gbur\, Jaya Howey\, David Ratcliff UID:378595 END:VEVENT BEGIN:VEVENT DTEND:20150503T200000 DTSTAMP:20150329T182412 DTSTART:20150503T180000 GEO:40.7227557;-74.0025888 LOCATION:Team Gallery - Wooster St.\,47 Wooster Street \nNew York\, NY 1001 3 SEQUENCE:0 SUMMARY:Three-Person Show\, Andrew Gbur\, Jaya Howey\, David Ratcliff UID:378596 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150523 DTSTAMP:20150329T182412 DTSTART:20150416 GEO:40.7499732;-74.0037198 LOCATION:Robert Miller Gallery\,524 West 26th Street \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:I Love You\, Todd Pavlisko UID:378589 END:VEVENT BEGIN:VEVENT DTEND:20150416T200000 DTSTAMP:20150329T182412 DTSTART:20150416T180000 GEO:40.7499732;-74.0037198 LOCATION:Robert Miller Gallery\,524 West 26th Street \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:I Love You\, Todd Pavlisko UID:378590 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Blum &\; Po e is pleased to present \;an exhibition of new work by Hugh Scott-Dougl as. This is the artist's second solo exhibition with Blum &\; Poe and hi s first in the New York location.  \;

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Lenin is said to have sneered that a capitalist will sell you the rope to hang him. The quote may be spurious\, but it contains a grain of truth. Capitalists quite often invent the technology that destroys their own busi ness. Eastman Kodak is a picture-perfect example. It built one of the first digital cameras in 1975. That technology\, followed by the development of smartphones that double as cameras\, has battered Kodak's old film- and cam era-making business almost to death. Strange to recall\, Kodak was the Goog le of its day. Founded in 1880\, it was known for its pioneering technology and innovative marketing. "You press the button\, we do the rest\," was it s slogan in 1888. ("The Last Kodak Moment?\," \;Economist\,&nb sp\;January 14\, 2012) \;

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Representing a continuation of the artist's interest in technology 's predilection towards self-effacement through its own progress\, Scott-Do uglas has created a \;suite of built images that serve as both index an d erasure of the space in which they were made and the techniques used to m ake them. \;

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Sets of protocols have been established in the pursuit of capturing an image. A modified digital scanner with its top removed creates a slow scan of watch gears\, dust particles\, and ambient light that lies or passes above its s urface. The resulting image forms the base visual content. As the compositi on becomes further compressed\, exported\, and printed in layers of industr ial black ink on aluminum panel\, the original information becomes obfuscat ed\, assuming a material body that is a ghost of its former self. The inten ded outcome has been blurred in the wake of its own progress. In the pursui t of authoring an original language\, the artist has inadvertently altered the system he enabled. It is through the implementation of these technologi es that loss of control occurs and a discursive space emerges\, calling int o question the role of the author within his own work. \;

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Hugh Scott-Douglas (b. 1988 in Cam bridge\, UK) lives and works in New York. Recent group exhibitions include& nbsp\;In ___ We Trust: Art and Money\, Columbus Museum of Art\, Co lumbus\, OH (2014)\; \;In Transit: Between Image and Object\, MASS MoCA\, North Adams\, MA (2014)\; and \;Pattern: Follow the Rul es\, Eli and Edythe Broad Art Museum\, East Lansing\, MI (2013). His w ork is included in public and private collections internationally including the San Francisco Museum of Modern Art\, San Francisco\, CA\; Eli and Edyt he Broad Art Museum\, East Lansing\, MI\; Art Gallery of Ontario\, Toronto\ , Canada\; and Dallas Museum of Art\, Dallas\, TX.

DTEND:20150530 DTSTAMP:20150329T182412 DTSTART:20150409 GEO:40.768329;-73.968485 LOCATION:Blum & Poe | New York\,19 East 66th Street \nNew York\, NY 10065 SEQUENCE:0 SUMMARY:Solo Exhibition\, Hugh Scott-Douglas UID:378587 END:VEVENT BEGIN:VEVENT DTEND:20150409T200000 DTSTAMP:20150329T182412 DTSTART:20150409T180000 GEO:40.768329;-73.968485 LOCATION:Blum & Poe | New York\,19 East 66th Street \nNew York\, NY 10065 SEQUENCE:0 SUMMARY:Solo Exhibition\, Hugh Scott-Douglas UID:378588 END:VEVENT BEGIN:VEVENT DESCRIPTION:

David Zwirner is pleased to pr esent an exhibition of recent paintings and pastels by Lisa Yuskavage\, on view at 533 West 19th Street in New York.

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Yuskavage&rsquo\;s works merge popular culture and a deep engagement with the history of art. Widel y associated with a re-emergence of the figurative in contemporary painting \, she has always maintained the primacy of color\, with her narratives int ricately based in her use of paint. In this new selection of works\, atonal and prismatic spectrums appear as personifications of themselves\, and her characters become like embodiments of various tones. \;

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The exhibition takes its conceptual and chronologic al point of departure in \;Hippies\, a painting from 2013 of f ive intersecting nudes. Behind a pale woman\, four male figures fan out fro m her on either side\, almost like a Hindu deity\, each a different hue. Th e rainbow-like effect is reminiscent of the \;cangiantismo&nbs p\;technique advanced in the Renaissance\, in which tonal variations were u sed to indicate the presence of the supernatural in otherwise realistic sub ject matter. The effect is achieved against a muted\, neutral background&md ash\;here a dark landscape&mdash\;where \;grisaille\, an almos t monochrome color scheme\, is applied. \;

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The unification of the five figures has an otherworldly feel\, as if they are manifestations of the same character. Yet\, rather than repres enting a bold shift within Yuskavage&rsquo\;s practice\, this merging of ma le and female reinforces the complexities inherent within her previous\, al l female cast\, where a straightforward understanding of the woman as the o bject of a male gaze was complicated by her simultaneous role as the aggres sor. \;

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Leading on from \;Hippies\, a group of three-quarter portraits expands the dual\, contr asting use of \;cangiantismoand \;grisaille\, eac h work imagining its male or female figure through spectral color and its g ray contrast. Yuskavage has referred to them as incubi and succubi&mdash\;f olkloric demons who exist to seduce&mdash\;and their provocative appearance s seem permeated with a sense of the ethereal. \;Dude Looks Like Je sus \;continues the subcultural theme introduced in \;Hipp ies\, and is based on one of the characters behind the female lead. Th e artist presents the nude against a silvery background whose emptiness con trasts with his empathetic\, saddened expression. The classic pose coupled with the invocations to Christianity recall the art-historical genre of the nude\, which for centuries was shrouded as religious subject matter. In pa rticular\, the composition forms a visual parallel to Albrecht Dü\;rer& rsquo\;s unprecedented \;Self-portrait in the Nude \;(c. 1 509)\, as well as to his imitation of Christ in another self-portrait from 1500. \;

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Another painting from th e series\, \;Dude\, depicts a similar male figure looking stra ight at the viewer with one eye seemingly swollen from a brawl. Likewise ag grieved\, his visible tongue recalls the dichotomy in Yuskavage&rsquo\;s wo rk between viewer and painting\, rendering it unclear in the present case w ho threw the first punch. As such\, he forms the male counterpart to severa l earlier compositions by Yuskavage\, including \;Pie Face \;(2007)\, in which a girl&rsquo\;s portrait is humiliated by the slapstic k element. Commenting on the particular relationship between the seer and t he seen\, the artist has noted that &ldquo\;The painting [is] vulnerable an d then manipulative.&rdquo\;1 \;Dude \;posits its protagon ist in front of\, and emerging out of\, a \;grisaille \;ba ckground\, and Yuskavage has further commented that she was inspired equall y by Jasper Johns&rsquo\;s painting \;Diver \;from 1962 an d Jean Fouquet&rsquo\;s \;Virgin and Child Surrounded by Angels&nbs p\;from c. 1450 for her use of this achromatic palette.

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Characterized by its expansive color field approach and cinematic scope\, the large diptych \;Bonfire \;prese nts two seated women against a dimmed\, green background\, perhaps identica l twins offering a Rorschach-like mirror of one another. Behind them\, hund reds of people await their turn to participate in a mysterious and seemingl y violent act\, while a veiled figure recalls the artist&rsquo\;s \;Triptych \;from 2010\, where babushka-wearing peasants occupied a stern contrast to the overt display of nudity. Executed in a similarly gre en palette\, \;In the Park \;depicts a nude girl whose pos ture appears at once fearful and aggressive\, and vies with the dramatic li ghting for unlocking a narrative\, which seems to hover between the subcons cious and the conscious. Additionally\, there are two paintings of couples whose narrative interactions are described by the way formal elements unfol d to reveal tenderness\, tensions\, and playfulness. \;

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The exhibition also debuts a series of large-scale p astels by Yuskavage\, including three-quarter and full-body portraits of so me of the figures featured in the paintings. The pastels introduce a new te chnique developed by the artist in which she draws onto unique inkjet groun ds created in the studio containing gradations of color. She has additional ly used scans of details from unfinished drawings as material support\, whe re the resulting graininess&mdash\;and by implication\, the history of her own work&mdash\;inform the backgrounds. In \;Lovers\, which de picts an intimate meeting of a male and female character\, the same tones a re used for bodies and background\, which together with the tinted surface affords a rich and textured depth to the subjects. A portrait of a reclinin g female\, \;Peekaboo\, provides a visual metaphor for the alm ost meditative layering of color on the paper\, with the woman partially co vered in light sheets.

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Born in 1962 i n Philadelphia\, \;Lisa Yuskavage \;received her B .F.A. from the Tyler School of Art\, Temple University\, in 1984 and her M. F.A. from the Yale University School of Art in 1986. \;

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Since 2005\, the artist&rsquo\;s work has been repre sented by David Zwirner. In 2006\, two solo exhibitions were concurrently p resented at David Zwirner and Zwirner &\; Wirth\, New York\, followed by presentations at the gallery in 2009 and 2011. The present exhibition mark s her fourth solo show at David Zwirner\, New York. \;

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Lisa Yuskavage: The Brood\, a major solo exh ibition spanning twenty-five years of the artist&rsquo\;s work\, will be on view at The Rose Art Museum of Brandeis University in Waltham\, Massachuse tts (September 12 &ndash\; December 13\, 2015). The exhibition will be acco mpanied by a large-scale\, comprehensive publication by Skira Rizzoli\, cre ated in close collaboration with Yuskavage. Included will be texts by renow ned art historians\, curators\, and writers including Christopher Bedford\, Suzanne Hudson\, Catherine Lord\, and Siddhartha Mukherjee\, as well as an interview with the artist by Katy Siegel. \;

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Yuskavage&rsquo\;s work has been the subject of solo exhibitio ns at institutions worldwide\, including The Royal Hibernian Academy\, Dubl in (organized as part of the Dublin Contemporary 2011)\; Museo Tamayo Arte Contemporá\;neo\, Mexico City (2006)\; Royal Academy of Arts\, London (2002)\; Centre d&rsquo\;Art Contemporain\, Geneva (2001)\; and the Instit ute of Contemporary Art\, University of Pennsylvania\, Philadelphia (2000).  \;

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Museum collections which hold works by the artist include The Art Institute of Chicago\; Hirshhorn Museu m and Sculpture Garden\, Washington\, D.C.\; Museum of Contemporary Art\, L os Angeles\; The Museum of Modern Art\, New York\; San Francisco Museum of Modern Art\; Stedelijk Museum\, Amsterdam\; Walker Art Center\, Minneapolis \, Minnesota\; and the Whitney Museum of American Art\, New York. Yuskavage lives and works in New York.

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1Lisa Yuskavage\, cited in interview with Katy Siegel\, \;Lisa Yuskavage: The Brood \;(New Yor k: Skira Rizzoli\, 2015\; forthcoming).

DTEND:20150613 DTSTAMP:20150329T182412 DTSTART:20150423 GEO:40.7458915;-74.0072271 LOCATION:David Zwirner- 533 W. 19th\,533 W. 19th Street \nNew York\, NY 100 11 SEQUENCE:0 SUMMARY:Solo Exhibition\, Lisa Yuskavage UID:378585 END:VEVENT BEGIN:VEVENT DTEND:20150423T200000 DTSTAMP:20150329T182412 DTSTART:20150423T180000 GEO:40.7458915;-74.0072271 LOCATION:David Zwirner- 533 W. 19th\,533 W. 19th Street \nNew York\, NY 100 11 SEQUENCE:0 SUMMARY:Solo Exhibition\, Lisa Yuskavage UID:378586 END:VEVENT BEGIN:VEVENT DESCRIPTION:

VIRIDIANARTISTS  \; \; \; \; \; \;&n bsp\; \; A CONTEMPORARY ART GALLERY

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548 WEST 28TH STREET between 10th &\; 11th Av e.\, NEW YORK\, NY\, 10001 \; \;  \; \; \; \; \;  \; \; \; \; \; \; \ ; \; \; \; \; \; \; \; \; \; \;&nbs p\; \; \; \; \; \; \; \; \; \;TEL 212-4 14-4040 \; \; \; \; \;  \;viridianartistsinc @gmail.com  \; \; \; \; \; \; \; \; \;& nbsp\; \; \; \; \; \; \; \; \; \;www.vi ridianartists.com

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FOR IMMEDIATE RELEASE  \; \; \;  \; \ ; \; \; \; \; \; \; \; \; \; \;&nbs p\; \; \; \; \; \; \; \; \;Please List

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"Augmented Her: AFAIK\;ATM"

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ANGELA CHRISTINE SMITH

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< strong style="text-align: left\;">April 7- April 25\, 2015

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Reception Thursday April 9\, 6-8PM

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Artist's Talk Saturday April 11\, 4-6PM

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 \;Chelsea NY: Viridian Artists is pleased to present Angela Christine Smith's first solo exhibit at Virid ian. A winner in Viridian's Juried Photography exhibit in 2011\, the artist will be present at both the reception on Thursday April 9th\, 6 -8pm &\; on Saturday April 11\, 4-6PM when she will talk about her fasci nating photographic response to our future. The exhibit will continue from April 7th to April 25th.

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The future has arriv ed and the title of Angela Smith's first solo exhibition at Viridian is a t estament to that reality. When asked what the meaning of the title was\, th e artist replied that the title "is an indication of where I am at in this moment." Expanded it reads: "Augmented her: as far as I know\; at this mome nt".

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Angela Christine Smith specializes in Photographic Practices t hat utilize Advanced Darkroom (Analog) Techniques and expand into Advanced Digital Practices. \; As an artist she also specializes in printmaking techniques that inform her overall artistic practice. Through these mediums she explores her identity as a subject and her interaction with the photog raphic machine. Through the use of self-portraits\, selfies and the manipul ations of digital practices\, she is exploring those unseen moments where h er relationship with life\, with the camera\, and with the photograph (as o bject) is evidence of the materiality of identity. \;

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Smith is interested in the medium of photography and the relationship created betwee n the camera and the "self" or the subject\, which is "her". Like the movie with Scarlett Johansson\, her MFA show was titled "Her"\, but rather than a body being just a digital voice\, Smith explores through her work\, the s tasis of the image created from a live body - her own - and making it stasi s or immovable. At the same time\, she is exploring the materiality of the photographic process as she exposes the body (and self) as an object of sta sis.

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The greater identity of "her" (her is the self cut from time w hen the camera cuts the body from the self and contains it within the photo graph) is not limited to the photograph. "Her" is now digital and larger th an ever before. "Her" now takes on this post-Internet art by taking on the challenges of digital dualism - that space where we conceptualize the digit al and the physical\; the on and off -line realities.

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Identity is n ow a cyborg self comprised of a physical body and a digital one. Augmented Her is the expansion of identity beyond the photographic object and time. A ugmented Her is now in constant dialog with both\, and in the digital realm the glitch\, (the glitch art\, the digital interruptions) interrupts the v iewer and reminds us that "her" is Afk (away from keyboard) ATM (at the mom ent).

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So the identity is expanding and what is Afk vs IRL? (Away fr om keyboard\; in real life).

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The artist received her BFA from Savan nah College of Art and Design in photography and printmaking and her MFA in Photography and Integrated Media from Ohio University.

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DTEND:20150425 DTSTAMP:20150329T182412 DTSTART:20150407 GEO:40.7517031;-74.0040108 LOCATION:Viridian Artists\,548 West 28th St (6th Floor) \nNew York City\, N Y 10001 SEQUENCE:0 SUMMARY:"Augmented Her: AFAIK\;ATM" ANGELA CHRISTINE SMITH\, Angela Christi ne Smith UID:378440 END:VEVENT BEGIN:VEVENT DTEND:20150407T200000 DTSTAMP:20150329T182412 DTSTART:20150407T180000 GEO:40.7517031;-74.0040108 LOCATION:Viridian Artists\,548 West 28th St (6th Floor) \nNew York City\, N Y 10001 SEQUENCE:0 SUMMARY:"Augmented Her: AFAIK\;ATM" ANGELA CHRISTINE SMITH\, Angela Christi ne Smith UID:378441 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150510 DTSTAMP:20150329T182412 DTSTART:20150401 GEO:40.722563;-73.989997 LOCATION:Steven Harvey Fine Art Projects (PROJECTOR)\,237 Eldridge St \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Robert Harms: Paintings\, Robert Harms UID:378402 END:VEVENT BEGIN:VEVENT DTEND:20150401T200000 DTSTAMP:20150329T182412 DTSTART:20150401T180000 GEO:40.722563;-73.989997 LOCATION:Steven Harvey Fine Art Projects (PROJECTOR)\,237 Eldridge St \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Robert Harms: Paintings\, Robert Harms UID:378403 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Steven Harvey Fine Art Projects presents an exhibition of dr awings by June Leaf. \;

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The show examines the artist&rsquo\;s d rawing practice from the seventies through the nineties. Often made on type writer sheets\, her drawings focus on the same human subjects and stories a s her sculpture.

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Figures stride and dance across th e page\, wrestling\, fighting\, holding hands\, marching up and down stairs \, having sex\, often animated by a mysterious mechanical processes\, like antique hand puppets or early automatons. Her flattened silhouette figures possess the staccato

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kinesthesia of Balinese shadow plays. \; D rawn mostly in pencil\, with sections in ink and acrylic paint\, Leaf&rsquo \;s drawings sometimes include poetic and personal notations related to ide as for developing sculptures. In a sense she is making designs for humanist monuments\, such as the large woman&rsquo\;s head with the interior mechan ical element that she ultimately realized at the Lippincott Foundry in 1980 or her large striding women.

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She paints over studi o photography\, re-working Ovid&rsquo\;s Pygmalion myth. A woman artist bri ng the work in her studio to life. A tiny figure is drawn out of the canvas by a painter.  \;A skeleton floats in a post-coital cloud of paint nex t to a woman getting dressed. Drawing on multiple copies of early Xerox pri nts\, Leaf has for years\, made use of electro-static technology to explore her sculptural preoccupations serially. \; Leaf&rsquo\;s sculptures an d drawing are stagings of life as a play of passions\, with the artist as a kind of inventive\, eccentric and involved director.

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In the human struggle she presents &ldquo\;It is this embrace of opposit es\,&rdquo\; John Yau notes\, &ldquo\;that animates her work\, as well as e levates it to&hellip\;the realm of poetry.&rdquo\; \;

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June Leaf was born in Chicago in 1929 where she studied at the New B auhaus Institute of Design. She concluded her art education at Roosevelt Un iversity in 1954. She had her first solo exhibition at Sam Bordelon Gallery in Chicago in 1948 and has lived in New York City since the early 60's. Sh e splits her time between the Lower East Side of Manhattan and Nova Scotia.

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She is included in numerous museum collections\, including the Mus eum of Modern Art\, New York The Whitney Museum of American Art\, and the A rt Institute of Chicago.

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This exhibition is organiz ed in cooperation with The Edward Thorp Gallery who are presenting an exhib ition of Leaf&rsquo\;s paintings and sculpture in late April.  \;We wil l also be showing Robert Harms: Paintings in our project space at 237 Eldri dge Street from April 1st to May 10th.. \; Please contact SHFAP at 917-861-7312 or info@shfap.com for further information.

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DTEND:20150510 DTSTAMP:20150329T182412 DTSTART:20150401 GEO:40.7228401;-73.9902918 LOCATION:Steven Harvey Fine Art Projects\,208 Forsyth Street \nNew York \, New York 10002 SEQUENCE:0 SUMMARY:June Leaf: Drawings\, June Leaf UID:378400 END:VEVENT BEGIN:VEVENT DTEND:20150402T200000 DTSTAMP:20150329T182412 DTSTART:20150402T180000 GEO:40.7228401;-73.9902918 LOCATION:Steven Harvey Fine Art Projects\,208 Forsyth Street \nNew York \, New York 10002 SEQUENCE:0 SUMMARY:June Leaf: Drawings\, June Leaf UID:378401 END:VEVENT END:VCALENDAR