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The first survey exhibition of Gastone Biggi in New York sho ws a selection of some of the major works of one of Italy&rsquo\;s most cel ebrated artists. The show offers the opportunity to enjoy the artist&rsquo\ ;s work from moments across the five decades of his career.

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Born in Rome in 1925\, Gastone Biggi&rsquo\;s career has passed through some of th e main developments of contemporary painting from the Fifties to the presen t time\, not just managing to keep his pure and intense attitude\, but also reacting in a personal way to the artistic issues and aesthetical tasks of his time. Since the end of the Forties Gastone Biggi managed to find a way to reconcile abstraction and realism\, in a time when Rome became a meltin g pot for European Art Informel and American Abstract Expressionism\, two s pecific references that he melted with the tradition of Italian art as repr esented by such artists as Giotto\, Piero Della Francesca and Masaccio.

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Recently\, while describing the works he made for his one-man show at the 2009 Venice Biennale\, he wrote: &ldquo\;Give me a dot and I will paint you the Universe&rdquo\;. Here his reference was directed to the research started in the early Sixties around the expressive potentialities of black and white dots\, which he stretched in continuous lines across the whole sp ace of the canvas (series of The Continuous of 1959-63 and of The variables of 1970-75). With these bases Gastone Biggi&rsquo\;s painting has always b een characterized by a strong and dynamic attraction between figural tautne ss and dissolution of the image\, between well-defined naturalism and struc tural fluidity\, between spatial focus and a sudden loss of field of vision \, as it is evident in the series of the Constellations (from 1991).

\n< p>The dramatic effects of the brushstrokes and the poetical tension of each work create a paradoxical polarity that is typical of his art. In his work s even the colors stress this tension creating heaps of shadow and ravishin g apparitions as it can be seen in the Cycle of madness of 1988. In other s eries such as the Skies and the Fields (1978-88) the unfolding space in his paintings becomes a random field of fluid\, multidirectional\, unexpected apparitions. Filling his paintings with luxuriant colors and vibrant forms\ , Biggi works with a variety of styles and with different thematic series o f works that reflects in the recent series of works dedicated to New York. Oozing a rhapsody of technical freedom and chromatic energy\, this series s hows the artist&rsquo\;s shifts in poetic register from the elegiac to the tragic\, from the sensuality of natural forms to the contrasted beauty of t he metropolis.

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The existential and the spiritual\, the imaginative and the realistic\, the two and three-dimensional alternate in his body of work\, making current the issue of the relationship between picture and rea lity. The proclivity for traditional procedures and the openness to the new spaces of painterly material are well justified as they give strength to f reedom in choice of expressive language. The energy of Gastone Biggi&rsquo\ ;s works goes through and beyond the impersonality of many contemporary art istic practices and once again puts enduring art before the observer.

DTEND:20131227 DTSTAMP:20140922T085234 DTSTART:20131205 GEO:40.7190592;-73.9939197 LOCATION:Whitebox Art Center\,329 Broome Street \nNew York\, New York 10002 SEQUENCE:0 SUMMARY:BIGGI NEW YORK (a survey exhibition)\, Gastone Biggi UID:310236 END:VEVENT BEGIN:VEVENT DTEND:20131205T200000 DTSTAMP:20140922T085234 DTSTART:20131205T180000 GEO:40.7190592;-73.9939197 LOCATION:Whitebox Art Center\,329 Broome Street \nNew York\, New York 10002 SEQUENCE:0 SUMMARY:BIGGI NEW YORK (a survey exhibition)\, Gastone Biggi UID:310237 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20131228 DTSTAMP:20140922T085234 DTSTART:20131205 GEO:40.7517031;-74.0040108 LOCATION:Atlantic Gallery\,548 West 28th Street \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Holiday Invitational and Sale UID:309391 END:VEVENT BEGIN:VEVENT DTEND:20131205T210000 DTSTAMP:20140922T085234 DTSTART:20131205T173000 GEO:40.7517031;-74.0040108 LOCATION:Atlantic Gallery\,548 West 28th Street \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Holiday Invitational and Sale UID:309392 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In the 1950s Miriam Schapiro had already been recognized as a successful abstractioni st and represented by the Emmerich Gallery in New York.  \;Even so\, sh e felt a sense of inertia by her role as wife and mother. \; She paused from her painting and embarked on a heroic struggle to find her own identi ty.

Our exhibition begin s with her endeavors in the 1960s.  \;She was experimenting with the eg g\, alluding to women&rsquo\;s fertility and creativity\, set in a phallic shaped rectangular container. These works she called &lsquo\;Shrines&rsquo\ ; as Untitled\, Sketch for an Altar Painting (c. 1961). \; Sch apiro was creating a new persona connecting both her feminine and masculine sides.


1970 was a fatef ul year. \; She met Judy Chicago in California and together they create d the first Feminist Art Program at Cal-Arts entitled Womanhouse.& nbsp\; Their goal was to encourage women&rsquo\;s pride in themselves and t heir creativity as females\, also to inspire them to connect with women&rsq uo\;s art of the past.  \;Miriam began to layer &lsquo\;femmages\,&rsqu o\; a term she coined in 1972. With these boldly distinctive works she alte red the shape of art.


We are exhibiting a mini-biographical route through Schapiro&rsquo\;s art as summed up in Autobiography (1982). \; Utilizing quotidian arti cles from her feminine world she created femmages on which she affixed hand kerchiefs\, doilies\, lace\, aprons and more as in Gertrude and the Phi lllippines (1978). \; She became known for paintings of objects cl ose to a woman&rsquo\;s daily life\, emotions and aspirations such as heart s as in Heart of Hope (1981) and fans like Grandma Bolero (1980). \; The vivacity she felt in dance was a romantic theme. \; In Flash and Annie (1992) she was saying\, like her movie idols\, &ldquo\;here I am.&rdquo\; \; She played with the Garden of Eden t heme as Adam and Eve (1990) and had fun portraying &ldquo\;Punch and J udy&rdquo\; shows as in Punch\, Judy and the Demons #2 \;(1990 ) and What Baby (1991).


 \;&lsquo\;Collaborations&rsquo\; with women artists of the pa st was an important part of her art. \; Her greatest kinship was with F rida Kahlo\, displayed in Time (1988 - 91)\, the earliest painting of the Kahlo Series which she called Frida and Me (1990). \; Time was based on Kahlo&rsquo\;s Self-Portrait with Cropped Ha ir (1940) painted shortly after her breakup with Diego Rivera. The mel ancholy older woman in masculine costume seems to have lost status due to t he aging process. \; The younger woman exudes freedom and hope. \; Schapiro also admired the achievement of Russian avant-garde women artists who the Russian poet Benedikti Livshits referred to as &ldquo\;Amazons.&rdq uo\; Exter&rsquo\;s Dancer (1995) in connection with Alexandra Ext er relates to this theme.


My History (1997) is shaped like the house that is symbolic of m any of Miriam&rsquo\;s works. It consists of sixteen compartments each with a fragmented memory of her Jewish heritage.


The circle is complete with our last and untitled pain ting\, executed in 2008\, that hearkens back to her early abstractions.&nbs p\; \;


Our exhibit c oncludes with personal photos of Miriam\, also with her husband Paul Brach\ , as well as a remarkable selection of her memorabilia loaned by Rutgers Un iversity Institute for Women and Art.

DTEND:20131228 DTSTAMP:20140922T085234 DTSTART:20131107 GEO:40.75111;-74.004475 LOCATION:Flomenhaft Gallery\,547 W.27th St. Suite 200\nNew York\, NY 10001 SEQUENCE:0 SUMMARY:TRAILBLAZER \, Miriam Schapiro UID:303408 END:VEVENT BEGIN:VEVENT DTEND:20131107T200000 DTSTAMP:20140922T085234 DTSTART:20131107T180000 GEO:40.75111;-74.004475 LOCATION:Flomenhaft Gallery\,547 W.27th St. Suite 200\nNew York\, NY 10001 SEQUENCE:0 SUMMARY:TRAILBLAZER \, Miriam Schapiro UID:303409 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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He is not yet 30\, but already London-based \;Wil liam Bradley is taking on the heroes of Abstract Expressionism by challengi ng their use of automation and spontaneity.  \;His work begins with abs tract gestural watercolors\, which are then scanned and digitally manipulat ed into a calculated arrangement. These resolved designs are then repainted in oil on canvas. His work can be described as "abstract art about abstrac t art" with an underlying concept that explores the communicative disconnec t between artist and viewer that is specific to the pure abstract language. Bradley constructs a language of references or quotes from mostly Abstract Expressionists including \;Motherwell\, Still\, Gottlieb\, De Kooning\ , while maintaining his own distinctive approach. \;

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Bradley do es not intend for his paintings to be interpreted as works of Abstract Expr essionism. Instead\, he exploits characteristics of the style in order to e xpose the contextual limitations. \; Thus\, the paintings act to classi fy the artistic movement as a brand and an exhausted academism. \; The Modern concept is refreshed in these works through a contemporary portrayal . Although initially intuitive\, gestural strokes are instead consciously t ranscribed patterns. \;

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What Bradley proposes is a painted depi ction of painting codes pertaining to abstract expressionism\, early pop ar t but also generic painting. \; The visual signifiers\, whether taken f rom high art or mundane reference\, are simply used as visual or memorial r ituals entering the elaboration of another artistic lexicon. \; Therefo re\, Bradley could be considered a conceptual artist. \; His work refer s now to Ad Reinhardt\, Blinky Palermo\, Daniel Buren\, and to a recent gen eration that reinfuses conceptual strategy to painting.

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William Bra dley graduated with a masters degree from Wimbledon College of the Universi ty of the Arts London in 2008\, \;has been selected for FutureMap 08 an d the Catlin Art Prize in 2009 and 2011. \; \;His works are include d in many renowned private collections throughout the United States and Eur ope\, and in the public collections of the University of the Arts London an d the David Roberts Arts Foundation.

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DTEND:20131228 DTSTAMP:20140922T085234 DTSTART:20131121 GEO:40.748587;-74.004821 LOCATION:Galerie Richard\,514 West 24th Street \nNew York\, New York 10011 SEQUENCE:0 SUMMARY:Tall Tales\, William Bradley UID:307158 END:VEVENT BEGIN:VEVENT DTEND:20131121T200000 DTSTAMP:20140922T085234 DTSTART:20131121T180000 GEO:40.748587;-74.004821 LOCATION:Galerie Richard\,514 West 24th Street \nNew York\, New York 10011 SEQUENCE:0 SUMMARY:Tall Tales\, William Bradley UID:308697 END:VEVENT BEGIN:VEVENT DESCRIPTION:

If you know what love is\, please tell us!

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At what stage of evolution does love develop? Is it present at the cellula r level? Where does it start and why and where does it take its leave? Is l oss a measure of love?

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We are saturated with visual and literary narratives about love and still \, mostly when we do not feel it\, we are searching for what it is. \;& nbsp\; The exhibition\, which features paintings by Sanda Iliescu\, drawing s by Klaudia Stoll and sculptures by Katerina Marcelja\, does not create a continuous narrative\, nor does it attempt to analyze the genesis of love. Instead each artist deals with love's moments.

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In Klaudia Stoll's minimalistic drawings\, the li nes create the bodies and the bodies convey the confusion\, vulnerability\, hurt and struggle. It looks as if the bodies were branded and in their pos tures and expressions we can read: "LOVE WAS HERE". The artist is letting t he lines\, drawn in India ink\, pen\, brush\, ballpoint\, pencil or felt- t ip pen\, do the thinking about closeness\, solitude and love. The work chos en for "Flights of Love" is a selection of drawings from the past 15 years.

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The moments of love in the sculptures by Katerina Marcelja are direct and yet complicated. Dire ct because the impulse is so deeply familiar. Complicated because they belo ng to the dramatic narratives that have fueled our literary history. In the ir distilled sculptural form\, these love moments are stripped bare of thei r narrative and exposed.

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All the paintings in "Flights of Love" by Sanda Iliescu are from the se ries "Ares and Aphrodite". The lust and love of G-ds\, the ridicule\, the v anity\, the jealousy and \; fragility\, the pink flesh of Ares and Aphr odite and the golden net\, are all there\; in the thickly painted canvases and delicately composed drawings. \; In response to the works\, Paul Ba rolsky wrote: "Brushed slowly\, deliberately\, lovingly\, but also delicate ly scratched\, they represent thick patches of color that merge and oscilla te ambiguously between the flat canvas and depth. They create an alluring i maginary space. Blues and gold\, but also touches of red vibrate both behin d and in front of simple geometric shapes..."

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Klaudia Stoll lives and works in Berlin and Saarbr uken. \; She is a Prize Winner of "Operare 11"\, an interdisciplinary c ompetition in Berlin. \; Her recent solo and group shows include "Ping Pong" at gallery Julia Phillippi in Heidelberg (2012)\, and Saarart Exhibit ion in Saarbruken (2013).

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Katerina Marcelja lives and works in Brooklyn\, New York. Her sculptur es\, made with materials from an abandoned house\, were exhibited in "Wet W ings and Wooden Sails\," a solo show at Giacobetti Paul gallery in Dumbo\, New York.

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Sanda Ilies cu is an Associate Professor of Architecture &\; Art at University of Vi rginia. She lives and works in Charlottesville\, VA. She is a Fellow of the American Academy in Rome. Her most recent exhibitions include "Knowing How to See\," a group exhibit at the Virginia Center for Architecture (2013)\,  \; "A New Natural History" at the Ruffin Gallery of the UVA (2012)\, a nd "Picasso\, Lidia and Friends" at Les Yeux du Monde\, Charlottesville (20 12).

DTEND:20131228 DTSTAMP:20140922T085234 DTSTART:20131205 GEO:40.7219666;-73.9903845 LOCATION:Gallery Molly Krom\,53c Stanton Street \nNew York City\, NY 10002 SEQUENCE:0 SUMMARY:Flights of Love\, sanda iliescu\, Klaudia Stoll\, Katerina Marcelja UID:310110 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Richard Orient has been painting for the last 25 years. Currents &\; Tides - his new exhibition - is a show of the artist ' s recent paintings of the coast of Eastern Long Island. In this new work\, Orient focuses on the flood and ebb of tides and the flow of ocean currents \, depicting the oceans calm and power. The play of light and the effects o f weather are highlighted in the artist's "plein air" impressionistic recor d of the sea. \;

These paintings are the artists experience of the Atlantic Ocean and bring to mind an element of Gustav Courbet's pai ntings in their naturalism and direct interpretation of landscape. The exhi bition contains oil paintings on canvas and paper.

DTEND:20131228 DTSTAMP:20140922T085234 DTSTART:20131119 GEO:40.7503804;-74.003922 LOCATION:George Billis Gallery- NY\,525 West 26th Street \nNew York\, NY 10 001 SEQUENCE:0 SUMMARY:Currents & Tides\, Richard Orient UID:307159 END:VEVENT BEGIN:VEVENT DESCRIPTION:

There are many ways to approach art making with clay. For me the choices are very conscious and tested. I follow various schools and cu ltural traditions in making vessels and works for the wall.

As a young artist in Los Angeles I followed the work of Gertrud and Otto Natzle r\, and L.A. clay artists associated with Chouinard Art School\, Adrian Sax e\, Ralph Bacerra and Elsa Rady. Their well executed and highly personal ve ssels gave me license to go beyond the strict unspoken rules of pottery mak ing at the time. I embraced industrial methods of making such as slip casti ng\, jiggering and plaster turning taught by Dr. Robert Ramsey at Californi a State University Long Beach. \;

The study of early 20th ce ntury design\, i.e. Wiener Werkstaette\, and the architecture and design of international modernists like Le Corbusier\, Neutra\, and Joseph Hoffman c ontributed to my modernist attitude about form. I have always been interest ed in a pared down aesthetic and admire Sol Le Witt and Agnes Martin for th eir freedom within restraint and continue to refer to 19th century Japanese design for direction in the abstraction of natural forms.

The s culptural vessels I make are metaphorical in their exploration of containme nt\, and celebrate form\, setting aside the constraints of utility. When ma king tableware\, I consider design and the rigors of daily use. The spirit of my hand in these pieces is modest\, to harmonize with and act as a suppo rt to the prepared ingredients. I have taken inspiration from early 20th ce ntury European and American studio artists and designers\, including HT Bau mann\, Lucie Rie\, Timo Saraponeva\, Russel Wright\, and many anonymous art ists who chose to embrace a pared down\, restrained\, and graceful aestheti c to enhance the routine of daily life in an artful way.

Kathy E rteman a New York based ceramic artist and designer makes vessels and archi tectural wall pieces in her Manhattan studio.

She received her B FA from California State University Long Beach\, studied with Adrian Saxe a t UCLA\, and worked with Judy Chicago on the Dinner Party after graduation.

Her work has been exhibited internationally and is included in private and public collections including Renwick Gallery/Smithsonian Instit ute\, Los Angeles County Museum of Art\, Taipei Museum of Fine Arts and SC Johnson Collection. She is widely published in design books and periodicals that include The New York Times\, Metropolitan Home\, Art Forum\, Elle Dec or and Ceramics Monthly.

A full time studio artist and part time teacher\, Kathy has taught at Parsons School of Design and been a guest le cturer at The Brooklyn Museum\, SUNY New Paltz\, Bezalel Academy of Art\, J erusalem and currently teaches at Greenwich House Pottery. \;Kathy is t he recipient of a NYFA Fellowship and EBAY artist technology grant.
Recently she travelled to Yunnan China to work with Tibetan Potters as a Design Consultant for Aid To Artisans/ The Mountain Institute/USAID.

DTEND:20131228 DTSTAMP:20140922T085234 DTSTART:20131119 GEO:40.7503804;-74.003922 LOCATION:George Billis Gallery- NY\,525 West 26th Street \nNew York\, NY 10 001 SEQUENCE:0 SUMMARY:New Vessels\, Kathy Erteman UID:307160 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Lehmann Maupin is pleased to announce an exhibition of new work by Shirazeh Houshiary on view at 201 Chrystie Street from 30 Oc tober &ndash\; 28 December 2013.

Shirazeh Houshiary& rsquo\;s sixth solo show with Lehmann Maupin features a selection of new pa intings that continue to demonstrate the artist&rsquo\;s scale of effort an d process which unites line\, color\, and light to shape a meditative visua l experience. The eye fell in love with the ear will also include Houshiary&rsquo\;s new animation Dust in addition to a series of a nodized aluminum twisting helical sculptures. The artist will be pr esent for an opening reception on Wednesday\, 30 October from 6 to 8 PM.

Houshiary&rsquo\;s work explores the very nature of exi stence. Through her chosen media of painting\, sculpture and video\, the ar tist exposes the nature of human experience to time and space\, marked by a multitude of binary ideas which include transparency and opacity\, presenc e and absence\, and light and shadow. By exploring these polarities\, Housh iary illuminates unique moments suspended in time that reveal and ignite qu alities that are often unseen. In creating her works the artist draws inspi ration from both established formal principles of Western painting and the rich traditions of Islamic art\, however the aesthetic outcome is a new ord er that is foreign to both. Houshiary&rsquo\;s paintings\, which she descri bes as &ldquo\;a thin skin\,&rdquo\; unravel concepts such as perception an d cognition to suggest multiple visual planes that appear to pulse and undu late. Intricate markings resembling script are repeated and overlapped acro ss each canvas to create luminous patterns that seem to morph into vapor. T he depicted gashes and hazy abstract imagery of each work hint of an infini te dimension and create a space for both imagination and contemplation. Sub sequently\, the artist&rsquo\;s intense concentration and process in realiz ing these works is then echoed in the contemplative gaze of the viewer.

Houshiary&rsquo\;s current body of work ambitiously expands her c oncepts in both scope and scale. Echo\, the second diptych paintin g ever produced by the artist\, offers an immersive experience to the viewe r that evolves and is altered by their physical relationship to the paintin g.

Her newly produced animated film entitled Dust fu rther captures the unseen through a combination of moving images of a singl e candle burning. As soot from the flame accumulates and dissipates at vari ed time intervals\, these visual transformations paired with a chant\, movi ng as a wave from low to high and back to low\, by soprano Olivia Salvadori convey the past\, present and future simultaneously.

Finally \, a new trio of sculptures further explore the dichotomy and tension found in Houshiary&rsquo\;s paintings and illustrates the visual vibration of he r two-dimensional works in full form.

Shirazeh Houshiary (b. 1955\; Shiraz\, Iran) moved to London in the mid 1970s\, where she studied at the Chelsea School of Art\, London and later at Cardiff College of Art. Houshiary quickly became established alongside a generation of sculptors wo rking in Britain in the 1980s\, including Anish Kapoor and Richard Deacon. A Turner Prize nominee in 1994\, Houshiary has been included in solo and gr oup exhibitions at the Broad Art Museum\, Michigan (2013)\; Royal Academy o f Arts\, London (2012)\; The Dayton Art Institute\, Ohio (2011)\; Museum of Modern Art\, New York (2007)\; Tate Liverpool (2003)\; and Camden Arts Cen tre\, London (1993)\, among others. In 2013\, Houshiary&rsquo\;s work was i ncluded in two collateral exhibitions at the 55th Venice Biennale\, includi ng a site-specific installation at La Torre di Porta Nuova\, Arsenale Nord and Glasstress 2013. The artist&rsquo\;s work was also recently fe atured in the Kiev Biennale (2012) and the 17th Biennale of Sydney (2010).

Houshiary&rsquo\;s work can be found in prestigious public co llections including the British Council Collection\, London\; The Metropoli tan Museum of Art\, New York\; Museum of Contemporary Art\, Prato\; Museum of Modern Art\, New York\; Solomon R. Guggenheim Museum\, New York\; and Ta te Modern\, London\, among others.

Shirazeh Houshiary lives a nd works in London.

DTEND:20131228 DTSTAMP:20140922T085234 DTSTART:20131030 GEO:40.7222328;-73.9919063 LOCATION:Lehmann Maupin\,201 Chrystie Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:The eye fell in love with the ear\, Shirazeh Houshiary UID:301719 END:VEVENT BEGIN:VEVENT DTEND:20131030T200000 DTSTAMP:20140922T085234 DTSTART:20131030T180000 GEO:40.7222328;-73.9919063 LOCATION:Lehmann Maupin\,201 Chrystie Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:The eye fell in love with the ear\, Shirazeh Houshiary UID:301720 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Lehmann Maupin is pleased to announce an exhibition of new work by Tim Rollins and K.O.S. on view at 540 West 26th Street from 7 November &ndash\; 28 December 2013. \;On The Origin  \;will mark the collective&rsquo\;s third solo show at Lehmann Maupin and will feature a new series titled \;On the Origin of Species (af ter Darwin)\, including two commanding sixteen-foot paintings and addi tional works inspired by Charles Darwin&rsquo\;s seminal text which is cons idered to be the foundation of evolutionary biology. \;

To create \;On the Origin of Species\, Rollins and K.O.S. approp riated a sketch from Darwin&rsquo\;s 1837 notebook that puts his theory of evolution into visual form. The abstract diagram has a tree-like structure and is commonly referred to as Darwin&rsquo\;s &ldquo\;Tree of Life.&rdquo\ ; Working intuitively\, the group copies\, layers\, and repeats Darwin&rsqu o\;s simple image over book pages to create a sprawling complex configurati on. Through this act of repetition and duplication\, Rollins and K.O.S. exp lore the essence of Darwin&rsquo\;s ideas in both form and action. The repe tition of the simple form\, each stemming from the one before\, to create a greater construction illustrates Darwin&rsquo\;s theory. Rollins and K.O.S . also relate this process to a model for social action\, noting the abilit y for one idea or person to inspire and create an outcome greater than the individual. This ideal forms the root of the collective&rsquo\;s practice\, which seeks to engage with a greater audience on both aesthetic and social issues.

Rollins and K.O.S&rsquo\;s collaboration now spans ov er three decades and in its longevity is unprecedented in the history of co ntemporary art. By challenging the notion of sole or individual authorship\ , they have paved the way for today&rsquo\;s widespread collaborative pract ices. With participants ranging in age from 10 to 42 years old\, Tim Rollin s and K.O.S. have maintained a fluid group that has allowed members to evol ve both individually and collectively since its inception in 1980. \;
The group is currently preparing for an upcoming solo e xhibition at the Savannah College of Art and Design&rsquo\;s Museum of Art\ , Georgina\, in February 2014. \;

Tim Rollins (b. 1955\, Pittsfield\, Maine) studied fine art at the University of Maine and earned a BFA from the School of Visual Arts in New York. After graduate st udies in art education and philosophy at New York University\, Rollins bega n teaching art for special education middle school students in a South Bron x public school. In 1984\, he launched the Art and Knowledge Workshop in th e Bronx together with a group of at-risk students who called themselves K.O .S. (Kids of Survival). In 1997\, the documentary\, \;Kids of Survi val: The Art and Life of Tim Rollins &\; K.O.S. \;was widely re ceived at the London Film Festival\, Cinema de Real\, France and the Hampto ns International Film Festival. \;

Since its inception\, t he group has exhibited extensively worldwide\, include presentations at The Studio Museum in Harlem\, New York (2013)\; Hayward Gallery\, London (2012 )\; Museum fur Gegenwartskunst\, Basel (2012)\; Galleria d&rsquo\;Arte Mode rna e Contemporanea\, Bergamo\, Italy (2011)\; Smithsonian American Art Mus eum\, Washington D.C. (2011)\; and the Whitney Biennial\, New York (2006). A retrospective of the group&rsquo\;s 20-year career opened at the Tang Tea ching Museum and Art Gallery at Skidmore College in 2009 and travelled to t he Frye Museum\, Seattle and the ICA Philadelphia later that year. A fully illustrated hardcover catalogue\, co-published by the Tang Museum and MIT P ress\, accompanied the exhibition. The group&rsquo\;s work is represented i n nearly 100 prestigious public collections\, including the Museum of Moder n Art\, New York\; Hirshhorn Museum and Sculpture Garden\, Washington D.C.\ ; Tate Modern\, London\; Smithsonian Museum of American Art\, Washington D. C. and Dallas Museum of Art\, Texas\, among others. \;

Tim Rollins and K.O.S. are based in New York City.

DTEND:20131228 DTSTAMP:20140922T085234 DTSTART:20131107 GEO:40.7502185;-74.0046604 LOCATION:Lehmann Maupin\,540 West 26th Street \nNew York\, NY 10001 SEQUENCE:0 SUMMARY: On The Origin\, Tim Rollins and K.O.S. UID:302681 END:VEVENT BEGIN:VEVENT DTEND:20131108T200000 DTSTAMP:20140922T085234 DTSTART:20131108T180000 GEO:40.7502185;-74.0046604 LOCATION:Lehmann Maupin\,540 West 26th Street \nNew York\, NY 10001 SEQUENCE:0 SUMMARY: On The Origin\, Tim Rollins and K.O.S. UID:302682 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Cé\;cile's career began as a painter and sculptor. She considers curiosity as the main driving force in her work. Her materials a re often unconventional--such as cotton makeup pads\, chocolate wrappers--j oined with a unique aesthetic style.

DTEND:20131228 DTSTAMP:20140922T085234 DTSTART:20131112 GEO:40.744926;-73.9933816 LOCATION:The ArtQuilt Gallery\,133 West 25th Street \nNew York\, NY SEQUENCE:0 SUMMARY: Daily Inspiration\, Cécile Trentini UID:305591 END:VEVENT BEGIN:VEVENT DTEND:20131111T193000 DTSTAMP:20140922T085234 DTSTART:20131111T180000 GEO:40.744926;-73.9933816 LOCATION:The ArtQuilt Gallery\,133 West 25th Street \nNew York\, NY SEQUENCE:0 SUMMARY: Daily Inspiration\, Cécile Trentini UID:305592 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Natasha Frisch is an artist who employs modest materials\, s uch as tracing paper and tape\, to construct models and installations that closely approximate everyday objects and sites. Inspired by urban folklore\ , forgotten architecture and the natural world\, Natasha&rsquo\;s meticulou s constructions aim to challenge our reading of the built environment\, and interrogate the slippage between the real and the unreal.

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Natasha completed her Bachelor of Arts (Media Arts &ndash\; Honours) at RMIT Univer sity\, and since then has exhibited consistently both nationally and intern ationally. Her work has been presented in several solo exhibitions includin g\, Somewhere In Between\, Dianne Tanzer Gallery + Projects\, 2010\, Nasty Little Piece of Work\, Next Wave Festival\, 2004\, and Living\, Artbox at S herman Galleries\, 2001.

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Natasha&rsquo\;s work has also been featur ed in numerous \;group shows\, a selection of which includes Art Takes& nbsp\;Times Square\, Artist Wanted: New York\, 2012\, \;Paper Scissors Rock\, Dianne Tanzer Gallery + Projects\, \;2011\, Grow Wild\, Utopian Slumps\, 2008\, Elsewhere\, Nellie Castan Gallery\, 2007\, Pleasures &\; Terrors\, Blindside\, 2006\, and Papercuts\, Monash Museum of Art\, 2003.< /p>\n

During 2012 Natasha was an Artist in Residence at the Contemporary Artists Centre: Woodside in upstate New York and spent a month in Murrays C ottage as part of the Hill End Artist in Residency program in regional New South Wales.

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Natasha was recently an Artist in Residence with Wooll ahra Council in Sydney\, Australia and is currently an Artist in Residence at The New York Art Residency and Studios (NARS) Foundation in Brooklyn\, N ew York\, a project assisted by the Copyright Agency \;Cultural Fund\, American Australian Association\, The Ian Potter Cultural Trust and the Aus tralian Government through the Australia Council for the Arts\, its arts fu nding and advisory body.

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2013 will also see her present her first s olo international \;exhibition at Gallery Brooklyn in New York.

DTEND:20131229 DTSTAMP:20140922T085234 DTSTART:20131123 GEO:40.676974;-74.012931 LOCATION:Gallery Brooklyn\,351 Van Brunt Street \nBrooklyn\, NY 11231 | SEQUENCE:0 SUMMARY: On a Good Day\, Natasha Frisch UID:308246 END:VEVENT BEGIN:VEVENT DTEND:20131202T210000 DTSTAMP:20140922T085234 DTSTART:20131202T180000 GEO:40.676974;-74.012931 LOCATION:Gallery Brooklyn\,351 Van Brunt Street \nBrooklyn\, NY 11231 | SEQUENCE:0 SUMMARY: On a Good Day\, Natasha Frisch UID:310228 END:VEVENT BEGIN:VEVENT DESCRIPTION:

A selection of artist-made books from around the world and o ur annual open call.
This exhibition promotes and encourages artists&r squo\; unconventional ideas about books. We ask artists to explore the book as an object\, book-installations\, one-offs\, author's books\, artist's b ooks\, writer's books\, experimental and limited editions\, fine press book s and the like. Curated through a number of open calls held internationally and nationally.

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We live in the 21st century\, the centur y of technology\, of computers and mass media\,
all of which are separating us and our children from the written word.
In a few years\, if this direction of our civilized world continues\, books wi ll disappear.
-Dorothea Fleiss

DTEND:20131229 DTSTAMP:20140922T085234 DTSTART:20130922 GEO:40.7351896;-73.198218 LOCATION:Islip Art Museum\,50 Irish Lane \nEast Islip\, NY 11730 SEQUENCE:0 SUMMARY:ANNUAL OPEN CALL 2013 - New York Bound: International Book Art Bien nial UID:294167 END:VEVENT BEGIN:VEVENT DTEND:20131006T160000 DTSTAMP:20140922T085234 DTSTART:20131006T130000 GEO:40.7351896;-73.198218 LOCATION:Islip Art Museum\,50 Irish Lane \nEast Islip\, NY 11730 SEQUENCE:0 SUMMARY:ANNUAL OPEN CALL 2013 - New York Bound: International Book Art Bien nial UID:294168 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20131229 DTSTAMP:20140922T085234 DTSTART:20130929 GEO:40.7351896;-73.198218 LOCATION:Islip Art Museum\,50 Irish Lane \nEast Islip\, NY 11730 SEQUENCE:0 SUMMARY:New Eden Expedition Vol 1\, Kar Rosen UID:311968 END:VEVENT BEGIN:VEVENT DESCRIPTION:

It&rsquo\;s Them or Us... And We are Them
Cringe in te rror at the most invasive
destructive species on Earth

DTEND:20131229 DTSTAMP:20140922T085234 DTSTART:20131206 GEO:42.254709;-73.79404 LOCATION:Limner Gallery\,123 Warren St. \nHudson\, NY SEQUENCE:0 SUMMARY:The Birds and the Bugs (Paintings and Sculpture)\, Dave Channon UID:308230 END:VEVENT BEGIN:VEVENT DTEND:20131207T190000 DTSTAMP:20140922T085234 DTSTART:20131207T170000 GEO:42.254709;-73.79404 LOCATION:Limner Gallery\,123 Warren St. \nHudson\, NY SEQUENCE:0 SUMMARY:The Birds and the Bugs (Paintings and Sculpture)\, Dave Channon UID:308231 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In collaboration with NOoSPHERE Arts in New York\, The National Association of N orwegian Sculptors (NBF) has organized an exhibition by 13 Norwegi an artists working in 3D. \; In our opinion\, this selection represents a cross-section of contemporary Norwegian sculpture\, in terms of techniqu e\, content and the participants&rsquo\; age distribution.

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The National Association of Norwegian Sculpto rs has a long tradition and history. It was founded in 1948 to ens ure professionalism in the process of commissioning public artwork for the erection of war monuments after World War II. The association has since rem ained a major political and cultural agent and promoter of Norwegian sculpt ors. \;

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The association&rsquo\;s membership has evolved from representing only traditional sculptors working primarily in stone\, wood and bronze\, to including all kinds of 3D media. The majority of professional Norwegian artists working in 3D are members o f the association\, which currently has a high level of activity. \; Th rough its self-initiated Sculpture Arena Eastproj ect\, the window gallery Project Room Carl Berner and further collaborations with art institutions at home and abroad\, the association is a major producer of temporary exhibitions and projects in pu blic spaces. The Norwegian Sculpture Biennial org anized by the association is the major national sculpture event and has bec ome an important platform for the contemporary art scene in the country. In addition\, the association deals with the sale\, rental and dissemination of 3D artwork and serves as a trade union for its members. In light of all of this\, the association is at the very core of the community of Norwegian sculptors. \; \;

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The a rtists represented in A Cool Wind Blows were selected by an intern al jury of professional peers comprised of Å\;sil Bø\;tu n\, Gisle Harr\, and Reidar Kraugerud.

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T he participating artists are Paul Brandt\, Barbara Czapran\, Helen Eriksen\, Hå\;kon Anton Fagerå\;s\, Sverre Hoel\ , Anlaug Jakobsen\, Janne Kruse\, Istvan Listez\, Pierre L ionel Matte\, Tonje Ramstad\, Mari Rø\;ysamb\, Vigdi s Storsveen \, Stå\;le Sø\;rensen and Lucie No& euml\;l Thune.

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Spanning traditional and new media\, the m aterials used range from wax\, wood\, stone\, leather and bronze to video\, photography\, mixed media and ready-mades. There is also a greatly varying emphasis on concept versus craftsmanship. If this exhibition allows us to detect a current trend in contemporary Norwegian sculpture\, it would be a reawakened interest in the concrete object and its material properties\, wh ere the poetry lies in the work itself and its physical dialogue with the s urroundings and the audience.

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< br />Hå\;kon Anton Fagerå\;s's classically-execu ted marble figure and Tonje Ramstad's assembled objects co nstitute the two extremes in this exhibition\, which is intended as a small sampling of the great diversity in the contemporary Norwegian sculpture sc ene.

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NO oSPHERE Arts is a 501(c)(3)  \; tax-exempt organization incorp orated as a NYS nonprofit on 10.04.11 under the  \; original name of .N O &ndash\; Art from Elsewhere\, Inc
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 \; We are locat ed at 251 East Houston Street\, between Norfolk &\; Suffolk  \; Stre ets. The closest subway stop is Second Avenue &ndash\; Lower East Side on\n

the  \; F-train. Gallery hours are Tuesday through Sunday 12&ndash\; 6pm. For more  \; information or to arrange a viewing\, please contact the gallery

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manager  \; at (646) 389-8229 or  \; mail@no-in-nyc.org

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DTEND:20131229 DTSTAMP:20140922T085234 DTSTART:20131129 GEO:40.7217317;-73.9852623 LOCATION:NOoSPHERE\,251 East Houston Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:A Cool Wind Blows: Sculpture from Norway \, Paul Brandt\, Barbara C zapran\, Helen Eriksen\, Håkon Anton Fagerås\, Sverre Hoel\, Anlaug Jakobse n\, Janne Kruse\, Istvan Listez\, Pierre Lionel Matte\, TONJE RAMSTAD\, Mar i Røysamb\, Vigdis Storsveen\, Lucie Noël Thune\, Ståle Sørensen\, Group Ex hibit UID:307706 END:VEVENT BEGIN:VEVENT DTEND:20131129T200000 DTSTAMP:20140922T085234 DTSTART:20131129T180000 GEO:40.7217317;-73.9852623 LOCATION:NOoSPHERE\,251 East Houston Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:A Cool Wind Blows: Sculpture from Norway \, Paul Brandt\, Barbara C zapran\, Helen Eriksen\, Håkon Anton Fagerås\, Sverre Hoel\, Anlaug Jakobse n\, Janne Kruse\, Istvan Listez\, Pierre Lionel Matte\, TONJE RAMSTAD\, Mar i Røysamb\, Vigdis Storsveen\, Ståle Sørensen\, Lucie Noël Thune UID:307707 END:VEVENT BEGIN:VEVENT DESCRIPTION:

With the 1929 bequest of Mrs. H. O. Havemeyer\, the Metropol itan Museum acquired its first pastels&mdash\;about twenty nineteenth-centu ry works by Mary Cassatt\, Edgar Degas\, and É\;douard Manet. For for ty years\, they were shown with our European and American paintings. It was not until 1956 that we were bequeathed a pastel by Jean Pillement (1728&nd ash\;1808). Between 1961 and 1975 we acquired a small group of works by Joh n Russell (1745&ndash\;1806)\, and there the matter stood until 2002\, when the Metropolitan bought a pastel by the Venetian artist Rosalba Carriera ( 1673&ndash\;1757). Since then we have purchased nearly a dozen others by It alian\, French\, British\, German\, and Danish artists. Most are portraits\ , and they are exhibited here with two vivid seascapes by Pillement from a private collection. Pastels are made from powdery substances that are fragi le and subject to fading. In accordance with modern museum practice\, they are exhibited in very low light or rotated to ensure their long-term preser vation. This display is therefore a temporary extension of the new installa tion in the adjoining galleries for European Old Master paintings.

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Described by the great Salon critic and encyclopedist Dennis Diderot as no more than dust\, pastel owes it distinctive velvety quality to its powdery surface\, which reflects diffuse scattered light. Consisting of finely grou nd pigment and a white mineral extender moistened with a minute quantity of binder (such as oatmeal whey\, mineral spirits\, and gum tragacanth) rolle d into sticks of color\, pastels are made in a progression of tints and sha des. Pastelists kept hundreds of such crayons on hand. The popularity of pa stel&mdash\;especially for portraiture&mdash\;swept across Europe and Brita in in the eighteenth century. Unlike today\, such compositions were regarde d as paintings. They were executed in vibrant colors on paper mounted on a wood strainer\, elaborately framed with costly glass and on an intimate sca le that suited the refined living spaces of the aristocracy and the haute b ourgeoisie. These works have retained their original brilliance because the pastel medium does not contain resins and the surfaces of works in pastel were never varnished and rarely fixed\, thereby precluding the darkening or yellowing that so often alters the hues of paintings in oil.

DTEND:20131229 DTSTAMP:20140922T085234 DTSTART:20130802 GEO:40.7802083;-73.9630508 LOCATION:The Metropolitan Museum of Art\,1000 Fifth Ave. \nNew York\, NY 10 028-0918 SEQUENCE:0 SUMMARY:Eighteenth-Century Pastels \, Mary Cassatt\, Edgar Degas\, Édouard Manet\, Jean Pillement\, Benedetto Luti\, John Russell\, Rosalba Carriera UID:289439 END:VEVENT END:VCALENDAR