BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION:

Form Special

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Andy Hall - Solo Show

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CAM Ralei gh \;

DTEND:20121011 DTSTAMP:20141228T093540 DTSTART:20120614 GEO:35.776894;-78.645685 LOCATION:Contemporary Art Museum Raleigh\,409 W Martin Street \nRaleigh\, N C 27603 SEQUENCE:0 SUMMARY:Form Special\, Andy Hall UID:327097 END:VEVENT BEGIN:VEVENT DTEND:20120614T200000 DTSTAMP:20141228T093540 DTSTART:20120614T180000 GEO:35.776894;-78.645685 LOCATION:Contemporary Art Museum Raleigh\,409 W Martin Street \nRaleigh\, N C 27603 SEQUENCE:0 SUMMARY:Form Special\, Andy Hall UID:327098 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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In celebration of the 100th anniversary of the birth of Karl Schrag (1912 – 1995)\, Alexandre Gallery\, in collaboration with Kraushaar Galleries\, wi ll present Karl Schrag\, The Rhythms of Nature\, A Centennial Celebratio n.  The joint exhibition will feature 20 paintings covering a quarter c entury of work.  Many of the works come directly from the artist’s family a nd have not previously been exhibited.

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M any of these paintings explore the Maine landscape that inspired Karl Schra g for fifty years.  He finds the mysteries of land and sea and captures the m in a fusion of realism and abstraction that can change the way we see our world.  The glow of the sun\, the shimmer of the moon\, the motion of the grasses\, the power of the rocky shore are all captured in the vigorous bru shstrokes and vibrant colors of the paintings.  “My strong desire to expres s from sunlit serenity to the darkest moods has its roots in a constant awa reness of myself being a part of the nature and life which I observe.  With every breath I take\, with every heartbeat I feel within myself the rhythm s of nature\,” wrote the artist on the occasion of his 1992 traveling retro spective organized by the Farnsworth Museum of Art\, Maine.  

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Schrag was born in Germany\; after study in Paris and Brussels he came to New York in 1938.  He worked with S. W. Hayter and bec ame director of his international print studio\, Atelier 17.  He taught at Brooklyn College and Cooper Union.  Since 1938 Schrag’s work has been the s ubject of over 40 one-person exhibitions.

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A concurrent exhibition\, Memories and Premonitions: A Karl Schrag Ret rospective\, which will focus on Schrag’s print work\, will open at Syr acuse University Art Galleries\, Syracuse\, New York on August 30th.

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The Kraushaar Galleries and Alexandre Gallery exhibition will open Septem ber 6th and continue through October 12th.  A reception will be held at bot h galleries on September 15th.

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Kraushaar Gallerie s\, 74 East 79th Street\, New York\, New York 10075    212.288.2558
A lexandre Gallery\, 41 East 57th Street\, 13th Floor\, New York\, New York 10022    212.755.2828

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For f urther information\, biographical information or images\, please contact Al lison Hester at 212-755-2828 or ahester@alexandregallery.com.

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DTEND:20121012 DTSTAMP:20141228T093540 DTSTART:20120906 GEO:40.762227;-73.971964 LOCATION:Alexandre Gallery\,Fuller Building 41 East 57th Street\, 13th Floo r\nNew York\, NY 10022 SEQUENCE:0 SUMMARY:The Rhythms of Nature\, A Centennial Celebration\, Karl Schrag UID:223450 END:VEVENT BEGIN:VEVENT DTEND:20120915T150000 DTSTAMP:20141228T093540 DTSTART:20120915T130000 GEO:40.762227;-73.971964 LOCATION:Alexandre Gallery\,Fuller Building 41 East 57th Street\, 13th Floo r\nNew York\, NY 10022 SEQUENCE:0 SUMMARY:The Rhythms of Nature\, A Centennial Celebration\, Karl Schrag UID:223451 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Sikkema Jenkins &\; Co. is pleased to present a solo exhi bition of work by Leonardo Drew\, his fourth at the gallery\, on view from September 6th through October 13\, 2012.

Rooted in historical evidence\, Leonardo Drew’s abstract sculptural compositions are emotionall y charged reflections on the cyclical nature of existence. From the eroded fibers of human industry and the tide of urban development to the awareness of ourselves as part of the fabric of a larger universe and a connection t o all things\, Drew exhumes the visions of the past in a mirror of organic reality that reveals the resonance of life - the nature of nature.
In the current exhibition\, gallery visitors are confronted by a large -scale site-specific installation that snakes its way from the entrance thr ough the main gallery space before finally culminating in the back gallery. To complete the piece\, Drew spent nearly an entire month working on site. The result is an enveloping sculptural installation that engages in the ph ysical and visceral experience of art spectatorship.

Drew has been making artwork since childhood\, first exhibiting his work at the age of 13. He went on to attend the Parsons School of Design and received his B FA from the Cooper Union for the Advancement of Science and art in 1985. Si nce then his work has been shown in solo exhibitions at notable institution s such as Museum of Contemporary Art\, San Diego (1995)\; The Hirschhorn Mu seum and Sculpture Garden at the Smithsonian Institution in Washington DC ( 2000)\; the Royal Hibernian Academy in Dublin\, Ireland (2001)\; and Palazz o Delle Papesse\, Centro Arte Contemporanea in Siena\, Italy (2006). Drew’s mid-career survey exhibition\, Existed: Leonardo Drew\, debuted in 2009 at the Blaffer Gallery\, the Art Museum of the University of Houston and trav eled to the Weatherspoon Art Museum in Greensboro\, NC and the DeCordova Mu seum and Sculpture Park in Lincoln\, MA.

Drew has also collabo rated with the Merce Cunningham Dance Company\, and has participated in art ist residencies at ArtPace\, San Antonio and The Studio Museum of Harlem in New York\, among others. He was awarded the 2011 Joyce Alexander Wein Arti st Prize. He lives and works in Brooklyn\, NY.

Recent editions by Drew will be exhibited at Pace Prints\, 521 West 26th Street\, from Sep tember 14th through November 3rd.

DTEND:20121012 DTSTAMP:20141228T093540 DTSTART:20120906 GEO:40.7476226;-74.0061424 LOCATION:Sikkema Jenkins & Co\,530 W.22nd St. \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Solo Exhibition\, Leonardo Drew UID:233286 END:VEVENT BEGIN:VEVENT DTEND:20120906T200000 DTSTAMP:20141228T093540 DTSTART:20120906T180000 GEO:40.7476226;-74.0061424 LOCATION:Sikkema Jenkins & Co\,530 W.22nd St. \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Solo Exhibition\, Leonardo Drew UID:233287 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Acquavella Galleries is delighted to present Multiverse Y ou Are\, I Am\, an exhibition of new work by celebrated Pop artist Jame s Rosenquist. The exhibition will feature eleven paintings – two of which a re monumental in scale – that reflect the artist’s continued interest in ti me and outer space. Known for his leadership in the American Pop Art moveme nt\, James Rosenquist began his career as a billboard painter in New York C ity. This experience inspired him to work on a large scale. With bright Day -Glo colors and a sleek aesthetic\, Rosenquist’s early work juxtaposed frag mented images derived from advertising to create enigmatic\, thought-provok ing narratives that foster a dialogue about consumer culture. As a child Ro senquist witnessed the Northern lights\, star showers and solar winds on th e nighttime prairie in North Dakota that has had significant impact on his visual vocabulary. A new painting\, Geometry of Fire\, created in re sponse to the artist’s studio being destroyed by a brushfire in 2009\, will also be exhibited.

DTEND:20121013 DTSTAMP:20141228T093540 DTSTART:20120910 GEO:40.7762839;-73.9626764 LOCATION:Acquavella Galleries\,18 East 79th Street \nNew York\, NY 10075 SEQUENCE:0 SUMMARY:Multiverse You Are\, I Am\, James Rosenquist UID:229355 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Alexander and Bonin starts the fall season with Here com es the night\, a solo exhibition of new work by Stefan Kürten. The exh ibition will include Kürten’s most recent large paintings\, executed in acr ylic and ink on linen\, as well as more than twenty smaller paintings on pr imed cardboard.

DTEND:20121013 DTSTAMP:20141228T093540 DTSTART:20120908 GEO:40.7497717;-73.9976946 LOCATION:Alexander and Bonin\,132 10th Ave. between 18th and 19th streets i n Chelsea\nNew York \, NY 10011 SEQUENCE:0 SUMMARY: Here comes the Night\, Stefan Kürten UID:233040 END:VEVENT BEGIN:VEVENT DTEND:20120908T200000 DTSTAMP:20141228T093540 DTSTART:20120908T180000 GEO:40.7497717;-73.9976946 LOCATION:Alexander and Bonin\,132 10th Ave. between 18th and 19th streets i n Chelsea\nNew York \, NY 10011 SEQUENCE:0 SUMMARY: Here comes the Night\, Stefan Kürten UID:234677 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Anna Kustera Gallery is pleased to present a solo exhibition of new work by Gregory Green.  Along with his now iconic "explosive" works \, the exhibition will showcase an installation of the artist's worktable t hat simulates the lair of a mad bomber\, complete with glue\, drills\, duct tape and other innocent looking objects capable of mayhem in the wrong han ds.  This cluttered\, clandestine place where it all begins is brought cent er stage\; a theatrical space that can be thought of as an artist's craft t aken to its self-destructive conclusion. Undefined dissent remains the most transgressive human response of them all.

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Green's effigies of bomb s throb with a kind of muted danger. Each work represents its own complicat ed universe\, dialogues that tell parallel tales of construction/ destructi on\, art/reality\, activism/formalism.  As a third culture kid\, Gregory's provocative works expand the parameters between art and direct action\, cul ture and social commentary\, while also bridging the evolution/de-evolution from Modernism to Altermodernism. 

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It might be tempting to view Gr een's singular body of work as a shrewd response to the contemporaneous sur ge in worldwide terrorism. In fact the artist began making his potently ste rile bombs and radical mechanical devices in the late 1980s.  He has\, in a sense\, become the quintessential artist of the 9/11 decade\, presaging un quantifiable matters such as extremist activism and governmental control\, while exploring the unreliability of historical perspective and the essence of the creative drive itself.

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With over 35 one-person exhibitions and numerous group exhibitions\, Gregory has played a significant role in t he contemporary art discourse of the last 20 years.   His work is included in major public and private collections\, including the Museum of Contempor ary Art\, Los Angeles\; the Tate Gallery\, London\; the Saatchi Gallery\, L ondon\; the Museum of Modern Art\, New York\; the Whitney Museum of America n Art\, New York\; the Mori Museum in Tokyo and MAMCO\, Geneva among others .  His installation "Worktable #9\, (Minneapolis) he of Righteousness" was recently featured in the exhibition\, Absentee Landlord\, curated by John Waters at the Wal ker Art Center in Minneapolis\, Minnesota.

DTEND:20121013 DTSTAMP:20141228T093540 DTSTART:20120906 GEO:40.7463774;-74.0070609 LOCATION:Anna Kustera\,520 W. 21st St. \nNew York\, NY 10011 SEQUENCE:0 SUMMARY: The Second Principle of History\, GREGORY ODELL GREEN UID:234318 END:VEVENT BEGIN:VEVENT DTEND:20120906T200000 DTSTAMP:20141228T093540 DTSTART:20120906T180000 GEO:40.7463774;-74.0070609 LOCATION:Anna Kustera\,520 W. 21st St. \nNew York\, NY 10011 SEQUENCE:0 SUMMARY: The Second Principle of History\, GREGORY ODELL GREEN UID:234319 END:VEVENT BEGIN:VEVENT DESCRIPTION:

BravinLee programs is pleased to present Miners\, new painti ngs by Philip Akkerman. BravinLee programs has exhibited Philip Akkerman si nce 1993.

Akkerman's work is entirely self-portraiture but li mitation leads to a stunning diversity. Painting variations of the same sub ject repeatedly for his entire career\, Mr. Akkerman searches for something different each time\, exploring all possibilities that paint\, the mind an d the self have to offer. Akkerman searches for universal qualities veiled within particular characteristics.

Past exhibitions of Mr. Akk erman have been selected to emphasize the contrasts in painterly approach a nd the juxtaposition of appearance in each painting. But for this exhibitio n\, Akkerman and BravinLee chose to show one type of paintings\, a series\, devoid of color\, all in shades of grays from light to dark. The face of t he painter is dark and dirty and resembles the face of a coal miner... A mi ner\, whose daily work is to toil deep into the earth for the fuel of our w orld. Mr. Akkerman keeps on digging the mother lode of his own likeness.

In a letter to BravinLee\, architecture and art scholar Jeffrey Kipnis wrote:

"In my view\, the brilliance of Akkerman's proje ct is in its indulgence in the promiscuous capacity of painting technique t o lie - against the tradition of Dutch self-portraiture understood as the e xample par excellence of paint to reveal a deeper truth - thus\, there can only be "one" Akkerman - i.e.\, the continuing unfolding total ensemble of the experiment (as opposed to the importance of each Rembrandt or van Gogh self-portrait). One can pick one's favorites\, but the essence of the proje ct itself nullifies any tenable basis for choice." Jeffrey Kipnis
Philip Akkerman was born in Vaassen in The Netherlands in 1957 and now lives and works in The Hague\, Netherlands. In addition to numerous museum exhibitions\, Akkerman's work is included in the collections of The Stedel ijk Museum\, Amsterdam and The Hirshhorn Museum in Washington D.C.\, The Ca rtin Collection\, In 2011 Akkerman enjoyed a survey exhibition at The Kunst hal Rotterdam. He is represented in Zürich by Galerie Bob van Orsouw\, in L ondon by Mummery &\; Schnelle and in Amsterdam by Torch Gallery.

DTEND:20121013 DTSTAMP:20141228T093540 DTSTART:20120906 GEO:40.7500416;-74.0038805 LOCATION:BravinLee Programs\,526 West 26th Street Suite 211\nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Miners\, Philip Akkerman UID:233618 END:VEVENT BEGIN:VEVENT DESCRIPTION:

BravinLee programs is very pleased to present a new work on paper by Guy Richards Smit.
Mr. Smit mines his brooding absurdism as a performance artist\, front man\, artist and filmmaker. In his many guises \, Mr. Smit is a provocateur with the heart of Jean Seberg and the soul of Pat Cooper. Over a decade ago\, merely playing one of his Grossmalerman vid eos had the effect of ending a dinner party at John Post Lee's apartment-- before the main course was served. Other attempts by Mr. Lee to show Mr. Sm it's reel to small groups of art world folks had similarly chilling effects . Years later\, after Mr. Smit's reputation had grown\, one of the guests a t the dinner party apologized for not appreciating and understanding his si gnificance. True story.
The work in this show comes out of his "New Y ork Times front page " series. As an artist Smit has always loved telling s tories and the form of the New York Times front page allows him to indulge his grisly dark humor and harshly political side with comic visuals and the factual banality of "the news." Here\, for the first time\, he moves on fr om the front page to produce the entire New York Times creating\, ultimatel y a sculptural monument to the dead act of newspaper reading. An internal m onologue and a running commentary on issues large and small\, public and pr ivate. You could almost swear the pages were tear stained.
Guy Richard s Smit's work has been seen at biennials in Havana and Valencia and at ARCO Madrid in 2008 and Dublin Contemporary in 2011. Solo exhibitions include Gr ossmalerman! Schroeder Romero &\; Shredder\, New York\, USA 2011\; Fred [London] Ltd.\, London\, UK 2009\; Nausea 2\, Premier Series\, Museum of Mo dern Art\, New York\, USA 2004\; QED\, Los Angeles\, CA in 2006. He has rec eived awards including the Penny McCall Foundation Award in 2004.>\;

DTEND:20121013 DTSTAMP:20141228T093540 DTSTART:20120906 GEO:40.7500416;-74.0038805 LOCATION:BravinLee Programs\,526 West 26th Street Suite 211\nNew York\, NY 10001 SEQUENCE:0 SUMMARY: The New York Times 10/22/11\, Guy Richards Smit UID:235751 END:VEVENT BEGIN:VEVENT DESCRIPTION:

BravinLee programs is very pleased to present Dianna Frid's one-of-a-kind books "The Waves" and "The Comets" (both 2011). These works a re constructed through Frid's signature process where stitching and the int egration of mixed media merge to produce tactile sequences that foreground visual pleasure. Thematically\, "The Waves" is an exploration of Virginia W oolf's declaration that in her eponymous book she wrote rhythms\, not plots . In Frid's "The Waves" the book begins with the word "wave" stitched once on the page. As the book progresses\, the number of times the word occurs o n each folio increases until it crests and recedes. In "The Comets" Frid in terprets pictorial representations of portentous and fleeting astral bodies .

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Born in Mexico\, the artist immigrated to Canada as a youth and c urrently lives in Chicago where she teaches in Studio Arts at the Universit y of Illinois. Her artwork consists of sculptures\, artist's books\, and wo rks on paper. At a larger scale\, she has also done site-specific installat ions in response to particular architectural locations. She has exhibited a t P.S.1- MOMA\, The Drawing Center\, The Museum of Contemporary Art Chicago \, and at other national and international venues.

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Frid began to ma ke artist's books in 1993 in Vancouver\, Canada under the pseudonym The Artery Archives. Her first projects were photographic editions in whi ch an ephemeral event or sculpture was documented and encapsulated sequenti ally. Over time\, she started to use the components traditionally used for binding pages\, namely thread and needle\, as tools for marking and configu ring content. This became an opportunity to think critically about craftsma nship and to expand on delineations of drawing and mark-making within conte mporary art.

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Her long-standing production of one-of-a-kind handmade objects represents an engagement with lineages of craft in a domain that h as\, for the last several centuries\, increasingly been mechanized: first a s print and most recently as digital dissemination. Like her manual transfo rmations of other mechanically reproduced representations (charts\, graphs\ , blueprints)\, Frid's artist's books draw sensuous attention to the potent ials of a form – the book – that\, in its predominant mass-produced version \, has come to seem little more than a neutral\, even disposable medium for conveying information in linear sequence. By calling attention to the embo died physicality of the book\, Frid pushes against this neutralization.

DTEND:20121013 DTSTAMP:20141228T093540 DTSTART:20120906 GEO:40.7500416;-74.0038805 LOCATION:BravinLee Programs\,526 West 26th Street Suite 211\nNew York\, NY 10001 SEQUENCE:0 SUMMARY:The Waves and The Comets\, Dianna Frid UID:235752 END:VEVENT BEGIN:VEVENT DESCRIPTION:

ClampArt is pleased to announce “Brian Finke: Construction\, ” the artist’s fourth solo show at the gallery. The exhibition coincides wi th the release of Finke’s third monograph of the same title from Decode Boo ks (Hardcover\, 60 color illus.\, 10.5 x 10.5 inches\, $55)\, which include s an essay by Whitney Johnson\, the Director of Photography at The New Yorker.

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Finke (b. 1976) is now well-regarded for his photograp hs concentrating on select groups of people\, including high school cheerle aders and football players\, male and female bodybuilders\, and also flight attendants. In his newest body of work\, he focuses upon yet another class ification—namely construction workers\, who are often imagined in broad and stereotypical terms. However\, whereas in his previous series he zeroed in on postures\, expressions\, and gestures\, relaying diversity in uniformit y while also detailing the establishment of individual identities in the im age of the larger group\, in the “Construction” project\, Finke frequently pulls the camera back\, creating much more atmospheric photographs of the w hole setting.

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Finke began “Construction” at the height of the build ing boom in Manhattan in early 2008. As skyscrapers were going up at frenzi ed pace\, the artist hoped to capitalize upon all of the energy. However\, the real estate market soon collapsed\, and what Finke found instead were o ften empty sites with very little going on. Finke writes: “It would feel li ke being out in the desert or in the middle of nowhere. A lot of the time i t was just staring at a ladder on the roof of a building\, all by itself.”< /p>\n

As Whitney Johnson comments: “In the documentary tradition\, Finke’ s observations of this subset of society reveal something about our time.” She continues: “These pictures are not about drama or awe\, [n]or are they about architectural feat. . . Instead Finke takes an honest look at what it means to be—at the daily task of being—a construction worker.”

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Bri an Finke graduated from the School of Visual Arts in New York City in 1998 with a BFA in photography. Since that time\, he has had incredible success as an artist\, with work placed in nine museum collections here and abroad. His first monograph was named one of the best photography books of 2004 by American Photo magazine. Also in 2004\, Finke was one of twelve artists no minated for the International Center for Photography’s annual Infinity Awar d\, and he won a prestigious New York Foundation for the Arts Fellowship. DTEND:20121013 DTSTAMP:20141228T093540 DTSTART:20120906 GEO:40.7536854;-73.9991637 LOCATION:ClampArt\,521-531 W 25th St Ground Floor\nNew York\, NY 10001 SEQUENCE:0 SUMMARY: Construction\, Brian Finke UID:229983 END:VEVENT BEGIN:VEVENT DTEND:20120906T200000 DTSTAMP:20141228T093540 DTSTART:20120906T180000 GEO:40.7536854;-73.9991637 LOCATION:ClampArt\,521-531 W 25th St Ground Floor\nNew York\, NY 10001 SEQUENCE:0 SUMMARY: Construction\, Brian Finke UID:229984 END:VEVENT BEGIN:VEVENT DESCRIPTION:

ClampArt is proud to present “Henry Horenstein | Honky Tonk: Portraits of Country Music.” The exhibition coincides with the release of the artist’s monograph of the same title from W.W. Norton &\; Company (H ardcover\, 120 illus.\, 10.25 x 10 inches\, $50)\, which includes a forewor d by Eddie Stubbs\, one of the two regular announcers for the long-running Grand Ole Opry on WSM radio.

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Concentrating on the 1970s\, but spann ing to the present day\, Horenstein’s gritty\, black-and-white photographs capture the irrepressible spirit of an American institution. Some say the 1 970s were the last great decade of country music—between the pomade\, plaid jackets\, and goofy hillbilly jokes of the 1950s and the more polished “Ur ban Cowboy” sound of Nashville in the early 1980s. Horenstein’s work captur es it all\, from the roadside seediness of TJ’s Lounge to the backstage gla mour at the Grand Ole Opry. From bluegrass festivals and country music park s to the honky tonks and dance halls\, these images picture such celebritie s as Dolly Parton\, Jerry Lee Lewis\, Waylon Jennings\, up to a recent card board cut-out of Garth Brooks (which speaks volumes about the artist’s pers onal opinion of the direction the genre has taken of late). However\, the p hotographs feature not only the stars\, but also include the familiar venue s and enthusiastic fans who sustain them.

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Henry Horenstein is the a uthor of more than thirty books to date. His work is represented in the col lections of a long list of public institutions including the Museum of Fine Arts\, Boston\; the Museum of Fine Arts\, Houston\; the Museum of Art\, Pr inceton University\, New Jersey\; the High Museum\, Atlanta\; the Fogg Muse um of Art\, Cambridge\, Massachusetts\; and the George Eastman House\, Roch ester\, New York. He is a professor at the Rhode Island School of Design\, and resides in Boston.

DTEND:20121013 DTSTAMP:20141228T093540 DTSTART:20120906 GEO:40.7536854;-73.9991637 LOCATION:ClampArt\,521-531 W 25th St Ground Floor\nNew York\, NY 10001 SEQUENCE:0 SUMMARY: Honky Tonk: Portraits of Country Music\, Henry Horenstein UID:239909 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Artist's Statement

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Slyboot's Promise

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These pieces are all skin and bones and\, at least at the beginning\, a lot of h ot air. The materials are flexible and liquid: cloth soaked in sugar water. Thin\, light and of little substance\, these sculptures are a gang of sly boots. 

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Although some of them are really big guys\, they are all in the end just surface and illusion. That said\, they are stiff\, not stuffe d\; tight and tonic not soft or embryonic like street inflatables\, so some thing must be at work to make these pieces stand\, float and leap off the w all\, floor\, and ceiling as they do.

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The strength and promise of t hese pieces depends on the interactions of the weight of the cloth\, the cu t of the patterns\, the choice of seam\, the concentration of the sugar wat er solution and the circulation of air. With the right balance\, the sugar reinforces the seams so they can act as bones and binds the fibres so the c loth can hold the gestures of the figures. In fact\, once the pieces are se t\, they are remarkable resistant.

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Since I started this work during a residency at the International Studio and Curatorial Programme in New Yo rk in 2008\, I've come to realise that making these slyboots is a complex a nd contradictory matter. Complex\, because most of the figures are a patchw ork of over one hundred and seventy separate pieces of cloth and contradict ory\, because I consider each piece of cloth as both clothing and body\, th e assembly of pieces as sculpture and effigy and when I step back\, I see t he group of works as both classical nudes and superheroes.

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Perhaps they are so complex and contradictory because I first created the patterns by drawing directly on my companion's body - Michel Daigneault - the different muscle groups to transfer them unto pattern paper onl y to adjust and exploit the potential and promise of each variable: cloth\, cut\, seam\, mix and air in order to make the cloth be true. 

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en français

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Slyboots : La promesse

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Ces pièce s sont toutes de peau et d'os et\, au début du moins\, de beaucoup d'air ch aud. Les matériaux sont souples et liquides : du tissu trempé dans de l'eau sucrée. Fines\, légères et de consistance délicate\, ces sculptures formen t un groupe de petits malins. 

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Bien que certains d'entre eux soient plutôt bien baraqués\, ils ne sont finalement qu'enveloppe et illusion. Ma lgré leur apparence\, ils ne sont pas rembourrés\, mais rigides\, compacts et toniques\, contrairement aux structures gonflables molles et embryonnair es qu'on peut voir dans la rue. Il doit donc y avoir quelque chose pour fai re tenir ces pièces\, les faire flotter et bondir du mur\, du plancher et d u plafond comme elles le font.

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La force et la promesse de ces pièce s dépendent des interactions entre le poids du tissu\, la coupe des modèles \, le choix du point de couture\, la concentration de la solution à base de sucre et d'eau\, et la circulation de l'air. Lorsque le tout est bien équi libré\, le sucre renforce les coutures de sorte qu'elles puissent agir comm e une ossature\, et il cimente les fibres pour que le tissu puisse tenir le s positions imposées aux personnages qui\, une fois installés\, sont remarq uablement résistants.

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Depuis que j'ai amorcé ce travail à titre d'a rtiste en résidence à l'International Studio and Curatorial Program à New Y ork\, en 2008\, j'ai pris conscience que la création de ces personnages fut és est une démarche complexe et contradictoire. Complexe parce que la plupa rt des personnages sont composés d'une mosaïque de plus de 170 pièces de ti ssu distinctes\, et contradictoire parce que je considère chaque pièce de t issu à la fois comme le vêtement et le corps\, et l'assemblage des pièces c omme une sculpture et une effigie\; lorsque je prends du recul\, je vois le groupe d'œuvres à la fois comme des nus classiques et des superhéros.

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Peut-être sont-ils à ce point complexes et contradictoires parce que j' ai d'abord créé les modèles en dessinant les différents groupes de muscles directement sur le corps de mon compagnon\, Michel Daigneault\, avant de le s transférer sur un papier à patron\, pour adapter et exploiter le potentie l et la promesse de chaque variable - le tissu\, la coupe\, la couture\, le mélange et l'air - de manière à permettre au tissu de rendre compte de la vérité.

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Curator's Statement

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by Richard Tu ttle

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The Fuller Void

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Seeing Stephen Scofield's work in Toro nto at the National Textile Museum in 2010\, was moving the way good art sh ould be and seldom is.  I was moved because of its testimonial aspect\, per haps because I felt drawn to witness\, myself\, having suffered close proxi mity to the many 9/11 victims too quickly cremated\, or more generally beca use anyone\, who has lived\, need memorializing in this way.

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It is also a comment on life- a floating\, horizontalizing\, air form\, all the m ore prescient for how it's formed\; every detail (down to what molecule?) b espoke the intensity of its expression\, though I'm not sure Stephan would want to acknowledge all that I saw\, or see- so it is with the personal\, a nd maybe why he is not better known as an artist?

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Rare to find some one who has something to say\, we are lucky to have his work\, that he has found a way\, and the means to display what he must feel ardently needs it.  A work of voice- unusual in the purely visual arts- its extraordinary ful fillment sits besides the fuller void.

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en franç ais

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Le vide comblé

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Le fait de voir le travail de Stephen Sc hofield au Textile Museum de Canada en 2010 constitua pour moi un moment ém ouvant\, comme devrait l'être - mais comme l'est rarement - l'art de qualit é. Je fus ému par ce travail faisant œuvre de témoignage\, peut-être parce que je me sentais appelé à constater les choses par moi-même\, ayant vécu d e près la souffrance associée à ces nombreuses victimes du 11 septembre tro p rapidement incinérées\, ou peut-être\, plus généralement\, parce que tout e personne ayant vécu se doit d'être commémorée de cette façon. 

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Il y avait également là un commentaire sur la vie - une forme aérienne\, flot tante\, horizontalisante\, presciente de la façon dont elle a été formée. C haque détail (jusqu'à quelle molécule?) venait témoigner de l'intensité de son expression - bien que je ne sois pas certain que Stephen serait prêt à reconnaître tout ce que j'y ai vu\, ou y vois. Nous sommes ici dans la sphè re du personnel - peut-être est-ce là la raison pour laquelle il n'est pas plus connu en tant qu'artiste?

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Il est rare de rencontrer une person ne ayant quelque chose à dire. Nous sommes choyés de pouvoir apprécier ses œuvres\, choyés qu'il ait trouvé une façon et les moyens d'exposer ce qui\, juge-t-il sans doute\, doit nécessairement être exposé. Un travail de la v oix - inhabituel dans le monde des arts purement visuels - dont l'extraordi naire accomplissement se tient aux côtés du vide comblé.

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Artist's Bio

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Stephen Schofield has presented\, at different times\ , drawings\, sculptures and performances across Canada: at the Power Plant\ , the Southern Alberta Art Gallery\, the Art Gallery of Mississauga\, le Mu sée d'art contemporain de Montréal\, the Montreal Biennial\, the National G allery of Canada\, Dalhousie Art Gallery as well as the Musée nationale des Beaux-arts du Québec.  In France he has had solo exhibitions at the CAC de Vassivère\, L'Aquarium and the CREDAC and in New York he has shown in indi vidual and group shows at the Sculpture Centre\, White Columns\, John Weber Gallery and Horodner Romley Gallery.  Recently he has started to present o utdoor sculptures at the Toronto Sculpture Garden in 2002 and in Artefact 2 007 on l'Ile Ste-Hélène in Montréal.  His work in in major public and priva te collections. He was awarded the Louis Comtois Prize of the City of Montr éal in 2005 and the Canada Council studio at ISCP\, New York in 2008. 

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Curator's Bio

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Richard Tuttle is one of the most significant a rtists working today.  Since the mid-1960s\, he has created an extraordinar ily varied body of work that eludes historical or stylistic categorization.   Tuttle's work exists in the space between painting\, sculpture\, poetry\, assemblage\, and drawing.   He draws beauty out of humble materials\, refl ecting the fragility of the world in his poetic works.  Without a specific reference point\, his investigations of line\, volume\, color\, texture\, s hape\, and form are imbued with a sense of spirituality and informed by a d eep intellectual curiosity.  Language\, spatial relationship\, and scale ar e also central concerns for the artist\, who maintains an acute awareness f or the viewer's aesthetic experience.

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Tuttle has been the subject o f hundreds of solo exhibitions since 1965\, including numerous museum surve ys\, ranging from his first\, at the Whitney Museum of American Art in 1975 \, to more recently\, a two-year travelling retrospective organized by the San Francisco Museum of Modern Art (2005-2007).  Tuttle has also been inclu ded in the prestigious group exhibitions\, the Venice biennale (1976\, 1997 \, 2001) and the Whitney Museum of American Art Biennial (1977\, 1987\, 200 0).  His work is held nearly every major collection worldwide\, including i n Europe at the Stedelijk Museum\, Amsterdam\; the Centre Pompidou\, Paris\ ; and Kunstmuseum Winterthur\, Switzerland\; the Hirshhorn Museum and Sculp ture Garden\, Smithsonian Institution\, and the National Gallery of Art in Washington\, D.C.\, and The Metropolitan Museum of Art and The Museum of Mo dern Art in New York\, among many others.

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Tuttle will be the Artist in Residence at the Getty Research Institute from September 2012-June 2013 .  A solo exhibition of his work will be on view at Pace this fall\, which has represented the artist since 2007.  The artist lives and works in Mount Desert\, Maine\; Abiquiu\, New Mexico and New York City. 

DTEND:20121013 DTSTAMP:20141228T093540 DTSTART:20120910 GEO:40.7536854;-73.9991637 LOCATION:CUE Art Foundation\,137 West 25th Street Ground Floor\nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Slyboot's Promise\, Stephen Schofield UID:236109 END:VEVENT BEGIN:VEVENT DTEND:20120910T200000 DTSTAMP:20141228T093540 DTSTART:20120910T180000 GEO:40.7536854;-73.9991637 LOCATION:CUE Art Foundation\,137 West 25th Street Ground Floor\nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Slyboot's Promise\, Stephen Schofield UID:236110 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Flowers is pleased to announce an exhibition of new painting s and prints by the British artist Carol Robertson\, titled Color Stream. T he exhibition will run from September 7th through October 13th\, 2012\, wit h an opening reception for the artist on Thursday\, September 6th\, from 6 to 8pm. A new catalogue with an essay by writer and art historian Chris Yet ton will be available.
As I get older I find my relationship with the world has changed. The self-assured certainty that used to fix things in pl ace has gone. My work has moved from contained architectonic stability to a state of flux and impermanence. I paint about chance encounters\, fleeting impressions\, an ephemeral speeded-up world. As a non-figurative artist I don’t seek to replicate the way the world looks but my work is never discon nected from it.
Robertson’s recent work reveals a process of richly st ained and poured grounds contrasted by intensely colored\, compass-drawn ar cs and circles. Unstructured color fields create atmospheric spatial enviro nments for carefully painted over-detail: arcs collide and cross over in th eir individual orbits\, traversing the paintings like light trails\, while recording connective flashes of chance and coincidence. Robertson has becom e less interested in fixed enduring motifs and presently responds more to n otions of transience and change.
Two new series of arc paintings\, Col our Stream and Colour Field will make up a significant part of the exhibiti on\, along with paintings that use a circle motif\, Restless Circles. Accor ding to Robertson\, the Colour Stream series are like …“a constant flow of durational consequences\, a stream of consciousness if you like\, never the whole story.” Two further arc paintings\, Night Lines (2011) and Homage to Rainer Maria Rilke (2010) have dark unfathomable surfaces against which ar cs band together in vast trajectories.
The Restless Circles series dis rupt our notions of concentric logic\; circles spinning off independently\, disturbing the implied central order. The circle paintings are complemente d by silkscreen monoprints made in Cambridge\, UK with master printer Kip G resham. Through his tutelage\, Robertson worked with layer upon layer of tr ansparent colors resulting in hypnotic and unusual color combinations for a new series\, Crossover.
Robertson often uses the circle commemorative ly – most recently in a poignant painting\, In Memory: Marie Colvin (2012)\ , included in this exhibition. The painting is a tribute to Marie Colvin\, the inspirational American journalist killed in Syria while on assignment a s foreign correspondent for UK newspaper The Sunday Times. Based in London\ , Colvin died seeking truth and clarification\, giving voice to innocent pe ople caught up in war and conflict. The painting offers a single ring\, eve nly divided into multi colored sections that draw the eye\, un-endingly\, a round and around it.
Robertson lives and works in London and exhibits her work extensively worldwide. Her work is respected for its quality and a uthenticity and she is active in supporting current thinking and critical d ebate within the abstract field. Recent shows have seen her work in Europe\ , Japan\, UK and USA. Color Stream marks her second solo exhibition with Fl owers in New York City.

DTEND:20121013 DTSTAMP:20141228T093540 DTSTART:20120907 GEO:40.7464825;-74.0069332 LOCATION:Flowers Gallery NY\,529 West 20th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY: Color stream\, Carol Robertson UID:227169 END:VEVENT BEGIN:VEVENT DTEND:20120906T200000 DTSTAMP:20141228T093540 DTSTART:20120906T180000 GEO:40.7464825;-74.0069332 LOCATION:Flowers Gallery NY\,529 West 20th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY: Color stream\, Carol Robertson UID:227170 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Today there no longer exists any distance between the natura l world and the artificial world\, because the latter has become a second n ature….When I bring nature up against technology\, I do not seek to reconci le myself with nature\, but to reconcile myself with technology\, by transf erring into it this great plankton of mixed materials in which we live.”
- Andrea Branzi\, Branzi\, ed. Burkhardt and Morozzi

On Se ptember 11th\, Friedman Benda will present Trees and Stones\, Andrea Branzi ’s first gallery exhibition in the United States. An exemplary social think er\, professor\, architect\, and designer\, Branzi has been a fundamental i nfluence on contemporary design in Italy and abroad since the early 1960s. Here he offers the latest works in his Trees series and unveils a new body of work\, Stones\, beside it.

Since his emergence at the foref ront of the 1960s and 1970s Italian radical design movements\, Branzi has s ought to reconcile design and architecture with the challenges of contempor ary society. He was among the first thinkers to consider and integrate issu es of unlimited supply\, the mass-production of images and products\, and t he over-saturation of cities with conflicting aesthetics.

Dec ades of thought-work and experimentation have produced Trees and Stones\, g estures Branzi has honed throughout his life. With these pieces\, Branzi ag ain overcomes the strictures of Modernism and Classicism to forge more sens ible and more human paths in design. He escapes any stifled aesthetics and rather than “perfect” design\, makes items that are warm\, aged\, and trans cendent. After 50 years\, it is possible to recognize these confident piece s as the distillation of Branzi’s life-long endeavor.

In his latest works\, Branzi unites a dichotomy of objects in modern society. TheT rees designs allow the entry of symbolic\, organic elements into a daily ur ban life estranged from its ties to nature. Included in the exhibition are bookshelves for which Branzi combines pieces of birch tree with metal grids and mirrors. His interventions in the metal structures create small enviro nments\, wherein man-made forms balance with the interloping trees to achie ve a new harmony. Once set together\, they become Branzi’s unique creation\ , serene and open to growth through use. These new projects share a minimal ist approach and exquisite craftsmanship\, and their refinement draws a hig h-water mark in Branzi’s illustrious career.

Andrea Branzi was born in Florence in 1938 and studied as an architect at the Florence Schoo l of Architecture\, receiving a degree in 1966. From 1964 to 1974\, he was a founding member of the experimental group Archizoom\, which envisioned th e No-Stop-City among other projects. A key member of the Studio Alchimia\, founded in 1976\, he went on to associate with the Memphis Group in the 198 0s. Presently\, he lives and works in Milan\, and until 2009 was a professo r and chairman of the School of Interior Design at the Politecnico di Milan o.

Branzi distinguished himself as a co-founder of Domus Acad emy\, the first international post-graduate school for design. He is a thre e-time recipient of the Compasso d’Oro\, honored for individual or group ef fort in 1979 and 1987 and 1995. His work has been featured in the Venice Bi ennale and Milan Triennale\, and he has curated the design exhibitions of t he latter. He has been widely published and is frequently invited to lectur e internationally.

In 2008\, Branzi was named an Honorary Roya l Designer in the United Kingdom and he received an honorary degree from La Sapienza in Rome. That same year\, his work was featured in an installatio n at the Fondation Cartier\, Paris. His works are held in the permanent col lections of the Centre Georges Pompidou\, Paris\; the Victoria and Albert M useum\, London\; the Museum of Fine Arts\, Houston\; the Israel Museum\, Je rusalem\; and the Museum of Modern Art\, New York\, among others.

DTEND:20121013 DTSTAMP:20141228T093540 DTSTART:20120911 GEO:40.7497891;-74.0032111 LOCATION:Friedman Benda\,515 West 26th St 1st Floor\nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Trees & Stones\, Andrea Branzi UID:228920 END:VEVENT BEGIN:VEVENT DTEND:20120911T200000 DTSTAMP:20141228T093540 DTSTART:20120911T180000 GEO:40.7497891;-74.0032111 LOCATION:Friedman Benda\,515 West 26th St 1st Floor\nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Trees & Stones\, Andrea Branzi UID:235994 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Andrea Branzi: Trees &\; Stones

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September 11 – October 13\, 2012

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Friedman Benda

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“Today there no longer exists any distance between the natural world and the artificial world\, be cause the latter has become a second nature….When I bring nature up against technology\, I do not seek to reconcile myself with nature\, but to reconc ile myself with technology\, by transferring into it this great plankton of mixed materials in which we live.”

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                                                                         - Andrea Branzi\, Branzi\, ed. Burkhardt and Morozzi

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On September 11th\, Friedma n Benda will present Trees and Stones\, Andrea Branzi’s first galler y exhibition in the United States. An exemplary social thinker\, professor\ , architect\, and designer\, Branzi has been a fundamental influence on con temporary design in Italy and abroad since the early 1960s. Here he offers the latest works in his Trees series and unveils a new body of work\ , Stones\, beside it.

\n

 

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Since his emergence at the f orefront of the 1960s and 1970s Italian radical design movements\, Branzi h as sought to reconcile design and architecture with the challenges of conte mporary society. He was among the first thinkers to consider and integrate issues of unlimited supply\, the mass-production of images and products\, a nd the over-saturation of cities with conflicting aesthetics.

\n

 

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Decades of thought-work and experimentation have produced Trees and Stones\, gestures Branzi has honed throughout his life. With th ese pieces\, Branzi again overcomes the strictures of Modernism and Classic ism to forge more sensible and more human paths in design. He escapes any s tifled aesthetics and rather than “perfect” design\, makes items that are w arm\, aged\, and transcendent. After 50 years\, it is possible to recognize these confident pieces as the distillation of Branzi’s life-long endeavor.

\n

 

\n

In his latest works\, Branzi unites a dichotomy of objec ts in modern society. TheTrees designs allow the entry of symbolic\, organic elements into a daily urban life estranged from its ties to nature . Included in the exhibition are bookshelves for which Branzi combines piec es of birch tree with metal grids and mirrors. His interventions in the met al structures create small environments\, wherein man-made forms balance wi th the interloping trees to achieve a new harmony. Once set together\, they become Branzi’s unique creation\, serene and open to growth through use. T hese new projects share a minimalist approach and exquisite craftsmanship\, and their refinement draws a high-water mark in Branzi’s illustrious caree r.

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Andrea Branzi was born in Florence in 1938 and studied as an architect at the Florence School of Architecture\, receiving a degre e in 1966. From 1964 to 1974\, he was a founding member of the experimental group Archizoom\, which envisioned the No-Stop-City among other projects. A key member of the Studio Alchimia\, founded in 1976\, he went on to assoc iate with the Memphis Group in the 1980s. Presently\, he lives and works in Milan\, and until 2009 was a professor and chairman of the School of Inter ior Design at the Politecnico di Milano.

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Branzi distingui shed himself as a co-founder of Domus Academy\, the first international pos t-graduate school for design. He is a three-time recipient of the Compasso d’Oro\, honored for individual or group effort in 1979 and 1987 and 1995. H is work has been featured in the Venice Biennale and Milan Triennale\, and he has curated the design exhibitions of the latter.  He has been widely pu blished and is frequently invited to lecture internationally.

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In 2008\, Branzi was named an Honorary Royal Designer in the United Ki ngdom and he received an honorary degree from La Sapienza in Rome. That sam e year\, his work was featured in an installation at the Fondation Cartier\ , Paris. His works are held in the permanent collections of the Centre Geor ges Pompidou\, Paris\; the Victoria and Albert Museum\, London\; the Museum of Fine Arts\, Houston\; the Israel Museum\, Jerusalem\; and the Museum of Modern Art\, New York\, among others.

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For mo re information\, please contact:

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Jennifer Olshin\, Director - (212) 239 8700\, jennifer@friedmanbenda.com

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Alice Higgins\, Associate Di rector - (212) 239 8700\, alice@friedmanbenda.com

DTEND:20121013 DTSTAMP:20141228T093540 DTSTART:20120911 GEO:40.7497891;-74.0032111 LOCATION:Friedman Benda\,515 West 26th St 1st Floor\nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Andrea Branzi: Trees & Stones\, Andrea Branzi UID:235127 END:VEVENT BEGIN:VEVENT DTEND:20120911T200000 DTSTAMP:20141228T093540 DTSTART:20120911T180000 GEO:40.7497891;-74.0032111 LOCATION:Friedman Benda\,515 West 26th St 1st Floor\nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Andrea Branzi: Trees & Stones\, Andrea Branzi UID:235128 END:VEVENT BEGIN:VEVENT DESCRIPTION:

I wanted to do something with a piano in a landscape of some significance and I suppose\, as a Scotsman\, there's nothing more sign ificant than the border. I thought it was beautiful to look from one countr y into another and I liked the idea that Hadrian's Wall is\, under a certai n interpretation\, a great end of civilization... I was overwhelmed to be i n a landscape of such beauty\, and with such a huge unfathomable history.

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--Douglas Gordon

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Gagosian Gallery is pleased to announce The End of Civilisation\, a major film installation by Douglas Gordon.

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Gordon is a conjurer of collective memory and perc eptual surprise whose tools include commodities and mechanisms of everyday life. Into a diverse body of work--which spans narrative video and film\, s ound\, photographic objects\, and texts both as site-specific installation and printed media--he infuses a combination of humor and trepidation to rec alibrate reactions to the familiar. An early example\, 24 Hour Psycho (1993)\, slowed down Alfred Hitchcock's legendary film into a full day' s duration\, attenuating the horror until any sensation of suspense ceased to exist. In 2006\, he collaborated with Philippe Parreno on the general re lease feature film Zidane: A 21st Century Portrait\, in which mult iple cameras tracked every action and emotion of the soccer star during an important game.

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In The End of Civilisation\, a grand piano burns at a remote site deep in the Cumbrian landscape. This lushly green a nd desolate locale overlooking the boundary between England and Scotland wa s once the border of the Roman Empire. The grand piano\, emblematic of high culture as both a finely crafted instrument and a beautiful sculptural obj ect\, is destroyed at the primeval edge of civilization. With this symbolic conflagration\, Gordon re-enacts an ancient local tradition of igniting be acons as an admonition or communication. Inspired in part by the journey of the 2012 Olympic torch across the British Isles\, The End of Civilisat ion is both a celebration and a warning--of fire as a symbol of optimi sm and hope\, but also of risk\, danger\, and destruction.

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The film is shown on multiple screens and with layered sound. One screen is devoted to a close recording of the burning piano\, from when it is first set alig ht to when it has been reduced to ashes. Another presents a panning shot of the tranquil surrounding landscape-occasionally\, licks of flame or wisps of smoke invade the periphery of the screen\, the only indication that the seemingly serene landscape is in close proximity to a raging fire. The End of Civilisation was first screened on July 5\, 2012 at the Tyne Th eater\, on the site of Hadrian's Wall in Newcastle City Center as part of t he London 2012 Cultural Olympiad. Commissioned by Great North Run Culture a nd Locus+\, the film was funded by Arts Council England. It is part of the London 2012 Festival.

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Douglas Gordon was the recip ient of the 1996 Turner Prize\, the 1997 Venice Biennial's Premio 2000 awar d\, the 1998 Hugo Boss Prize awarded by the Solomon R. Guggenheim Museum\, the 2008 Roswitha Haftmann Prize\, and the 2012 Käthe Kollwitz Prize. His w ork has been the subject of numerous museum exhibitions\, including the Mus eum of Contemporary Art\, Los Angeles (2001)\; the Fundació Joan Miró\, Bar celona (2006)\; "Timeline\," The Museum of Modern Art\, New York (2006\, tr aveled to MALBA Colección Costantini\, Buenos Aires through 2007)\; "Pretty much every word written\, spoken\, heard\, overheard from 1989...\," the M ART\, Museo di arte moderna e contemporanea di Trento e Rovereto\, Rovereto \, Italy (2006)\; "Superhumanatural\," the National Galleries of Scotland\, Edinburgh (2006)\; "Between Darkness and Light: Works 1989-2007\," Kunstmu seum Wolfsburg\, Germany (2007)\; "Blood\, Sweat\, Tears\," DOX Centre for Contemporary Art\, Prague (2009)\; Tate Britain\, London (2010)\, and Museu m für Moderne Kunst Frankfurt am Main (2011) and the Tel Aviv Museum of Art (Will open January 2013). Zidane: A 21st Century Portrait premier ed at the 2006 Cannes Film Festival before screenings at numerous internati onal venues. k.364 premiered at the Venice Film Festival in Septem ber 2010\, and Henry Rebel: Drawing and Burning premiered at Art B asel's Art Unlimited in 2012.

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Gordon lives and works in Berlin and Glasgow.

DTEND:20121013 DTSTAMP:20141228T093540 DTSTART:20120908 GEO:40.7468938;-74.0064243 LOCATION:Gagosian Gallery- 21st St.\,522 West 21st Street \nNew York\, NY 1 0011 SEQUENCE:0 SUMMARY:The End of Civilisation\, Douglas Gordon UID:234678 END:VEVENT BEGIN:VEVENT DTEND:20120908T200000 DTSTAMP:20141228T093540 DTSTART:20120908T180000 GEO:40.7468938;-74.0064243 LOCATION:Gagosian Gallery- 21st St.\,522 West 21st Street \nNew York\, NY 1 0011 SEQUENCE:0 SUMMARY:The End of Civilisation\, Douglas Gordon UID:234679 END:VEVENT END:VCALENDAR