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

Press Release

Wineke Gartz\, an Amsterdam based a rtist\, will show at 3A Gallery from March 22nd until April 19th\, in an ex hibition titled “American Pain(ting)”.  This work combines video\, drawings and collage with sound mixes. Gartz’s work was last shown in New York at 3 03 Gallery in 2009 in a group exhibition curated by the artist\, Dan Graham .  “American Pain” involves an investigation of the American dream landscap e\, linking historical 19th Century American “luminist” landscape painting (such as Thomas Cole) to the present-day Disneyotic Fantasyland in the subu rban arcadia setting of the Native American operated “Mohegan Sun” casino-e ntertainment complex.

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The casino’s theme-park-like setting can be v iewed as a temple linking America’s Native American past to the promised fu ture dreams of monetary success and a luxurious glamour “life style” for vi sitors who flock to “Mohigan Sun” ‘Country’ by bus from Chinatown. Gartz vi sualizes “Mohegan Sun’s” interior architecture as a Kafkaesque “Nature Thea ter”.




DTEND:20130419 DTSTAMP:20140731T073909 DTSTART:20130322 GEO:40.716943;-73.997372 LOCATION:3A Gallery\,179 Canal Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Wineke Gartz - American Pain\, Wineke Gartz UID:266898 END:VEVENT BEGIN:VEVENT DTEND:20130322T200000 DTSTAMP:20140731T073909 DTSTART:20130322T180000 GEO:40.716943;-73.997372 LOCATION:3A Gallery\,179 Canal Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Wineke Gartz - American Pain\, Wineke Gartz UID:266899 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20130505 DTSTAMP:20140731T073909 DTSTART:20130313 GEO:40.7268368;-73.9929619 LOCATION:AICON GALLERY - New York\,35 Great Jones Street \nNew York\, NY 10 012 SEQUENCE:0 SUMMARY:Past Parallels: The Art of Modern & Pre-Modern India\, F.N. Souza\, N. S. Bendre\, Bikash Bhattacharjee\, Ganesh Haloi\, M. F. Husain\, George Keyt\, S. H. Raza\, K.G. Subramanyan UID:264175 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Pre-Modern Masterpieces

DTEND:20130505 DTSTAMP:20140731T073909 DTSTART:20130313 GEO:40.7268368;-73.9929619 LOCATION:AICON GALLERY - New York\,35 Great Jones Street \nNew York\, NY 10 012 SEQUENCE:0 SUMMARY:Past Parallels: The Art of Modern & Pre-Modern India\, Pt. II UID:264178 END:VEVENT BEGIN:VEVENT DTEND:20130505T200000 DTSTAMP:20140731T073909 DTSTART:20130505T180000 GEO:40.7268368;-73.9929619 LOCATION:AICON GALLERY - New York\,35 Great Jones Street \nNew York\, NY 10 012 SEQUENCE:0 SUMMARY:Past Parallels: The Art of Modern & Pre-Modern India\, Pt. II UID:275365 END:VEVENT BEGIN:VEVENT DESCRIPTION:

An exhibition of Robert Bordo’s recent paintings will open o n March 16th at Alexander and Bonin. In these works\, Bordo supplements atm osphere with graphic\, explicit painting in which colors are darker in tone \, line and space are rendered thick and the landscape is saturated with th e residue of use and habitation.

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Some of these works seek to balanc e formal concerns relating to color and mass with the symbolic resonance of dirt\, mounds\, and hills. Others depict the landscape as it is obscured t hrough the windows of a moving car\, employing the metaphors of compressed time and distorted memory. Through these recent paintings we see the artist ’s increasing interest in allegory\, particularly by way of the intercessio n of objects\; a shovel in one mound\, a crown on another. Both Dial\, 2012 and the evocatively titled The Future\, 2012 are effecti vely obliterated by crescent-shaped swipes\, reminiscent of a car’s windshi eld wiper\; the mechanism meant to clear one’s view becomes a vehicle of co mplexity and commentary. In this way\, the landscape comes to resemble its mediation - having been manipulated and enclosed by the viewer in its midst .

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When asked in a recent interview about the painting titled Mo gul\, 2012\, Bordo had this to say\, “I was thinking about the pile in the painting as a kind of naked\, cartoon landscape. I was also thinking a lot about the intense social and political conditions we’ve experienced si nce 2008. So Mogul refers to a rich and powerful man or woman and also to a pile of mud\, a morass.” As such\, Bordo’s new paintings seek to address p ainting’s political and metaphorical capacities through a dream-like series of associations. They comingle images of the green hills of upstate New Yo rk with the tumultuous existential uncertainty of the city\, just two hour’ s drive to the south. They more directly connect the messy work of painting with the life and labor built into our environment.

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Robert Bordo w as born in Montreal and has lived in New York since 1972. He has been a Pro fessor of Painting at Cooper Union since 1995. In the late 80s and early 90 s his work was the subject of several one-person exhibitions at Brooke Alex ander\, New York. Subsequently he has exhibited with Alexander and Bonin\, New York\; Galerie René Blouin\, Montreal\; Mummery + Schnelle\, London and Rubicon Gallery\, Dublin. He was awarded a Solomon R. Guggenheim Foundatio n Fellowship in 2007. Robert Bordo has designed several sets for the Mark M orris Dance Group including the 2012 production of Dido and Aeneas at the L incoln Center of Performing Arts.

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An illustrated brochure with a co nversation between the artist and Cameron Martin will be published to accom pany the exhibition.

DTEND:20130427 DTSTAMP:20140731T073909 DTSTART:20130316 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: Three Point Turn\, Robert Bordo UID:262242 END:VEVENT BEGIN:VEVENT DTEND:20130315T200000 DTSTAMP:20140731T073909 DTSTART:20130315T180000 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: Three Point Turn\, Robert Bordo UID:262243 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Inaugurating its representation of Harmony Hammond\, Alexand er Gray Associates is pleased to present Broken Spaces: Cut\, Mark\, and Ge sture\, a group exhibition examining the parallel conceptual and formal pra ctices of Luis Camnitzer\, Jeremy Gilbert-Rolfe\, Harmony Hammond\, Lorrain e O’Grady\, Hassan Sharif\, and Jack Whitten. Focused on process-oriented\, conceptual works on paper\, the exhibition highlights each artist’s experi mentation with boundaries of media and form.

Harmony Hammon d’s charcoal drawings and mixed media works on paper investigate post-m inimal processes and materials. 
In her mixed media works\, Hammond experim ents with printmaking and crafting materials. Her charcoal drawings serve a s 
studies for the iconic 1970s floor sculptures\, utilizing braiding and w eaving\, referencing women’s traditional arts\; her recent “Grommetypes” pu ncture and mold paper with ink and watercolor. In etchings begun in the lat e 1960s\, Luis Camnitzer plays with the language of printmaking and text-based art. In Shift (1968)\, Camnitzer explores conceptual mean ings of identity and perspective\, while breaking ground with etching and d ie-cutting techniques. Lorraine O’Grady’s Cutting Out the New Yor k Times (1977/2010) is a series of 26 poems created from newspaper clip pings. In these works\, created on successive Sundays spanning six months\, O’Grady produced collaged poems made from public text\; presented as wall- mounted installations\, the poems hover between language and image\, person al and political. Jack Whitten’s works on paper from the 1970s prese nt an experimental approach to art-making. During this period\, Whitten app lied a wide array of media—including oil\, magnetite\, and acrylic—to creat e abstractions\, highlighting the artist’s interest in surface and form\, l ine and void. In Closed Loops #2 (2012)\, Whitten pushes the boundar ies of acrylic in a compositionally complex\, sculptural work that exemplif ies Whitten’s inventive abilities. Hassan Sharif’s line drawings dem onstrate the artist’s interest in art-making processes. The artist’s preocc upation with conceptualism is evident in the repetitive gestures and system atic compositions of his drawings\, making reference to caligraphic traditi ons\, architectural form\, and urban planning. Jeremy Gilbert-Rolfe’ s drawings challenge contemporary ideas of aesthetics and purpose. In his w orks on view\, Gilbert-Rolfe manipulates the Modernist grid and applies hyp er-saturated color to question painting’s position in a post-Modern context .

DTEND:20130406 DTSTAMP:20140731T073909 DTSTART:20130227 GEO:40.74975;-74.003741 LOCATION:Alexander Gray Associates\,508 West 26 Street #215 \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Broken Spaces: Cut\, Mark\, and Gesture\, Luis Camnitzer\, Jeremy G ilbert-Rolfe\, Harmony Hammond\, Lorraine O'Grady\, Hassan Sharif\, Jack Wh itten UID:261260 END:VEVENT BEGIN:VEVENT DTEND:20130227T200000 DTSTAMP:20140731T073909 DTSTART:20130227T180000 GEO:40.74975;-74.003741 LOCATION:Alexander Gray Associates\,508 West 26 Street #215 \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Broken Spaces: Cut\, Mark\, and Gesture\, Luis Camnitzer\, Jeremy G ilbert-Rolfe\, Harmony Hammond\, Lorraine O'Grady\, Hassan Sharif\, Jack Wh itten UID:261261 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Anna Conway's recent paintings pose a number of questions: a re we able to\, by acting on our environments\, change ourselves? Can our l abor and attention to the spaces around us really protect us from feelings of alienation\, ugliness and banality? Or can they only provide an illusion of control\, a balm\, a suspension of disbelief? Conway shows us the momen ts in which our best efforts falter briefly\, her subjects trapped in betwe en the quotidian\, the existential and the spiritual: a young custodian\, d eep in thought\, pauses while arranging flowers on a decorative ledge in a mega church\; a terrified American executive peers out the window of his co ndo at the plume of smoke rising over a desert city\; a docent spends his g olden years waiting for visitors with whom to share his knowledge of life i n colonial America\, uncertain that anyone will turn up.

All t hese figures are delicately rendered but the empathy we feel for them is as much a function of their settings as it is about their actions\, inaction or appearance. Conway\, above all else\, is sensitive to psychology and the minutiae of space\, taste and decor-to interior and exterior worlds-upon w hich she layers personification and pathetic fallacy: the church's restrain ed institutional palette is marred only by the ostentation of a small water fall set into the pulpit\, a vague promise of material comfort to match the transcendental\; the sterility of the condo\, an extended stay furnished s uite\, is seen against the blinding sun that glares through floor to-ceilin g windows and the overstuffed couches heaped with dirty dishes and laundry.

In two other paintings only the inanimate traces of human amb itions have been left behind to relate the story: a rough patch\, revealing wires and cables\, has been cut out of a mural depicting the folk art moti f of the biblical 'peaceable kingdom\,' in which the lion\, the lamb and th e rest of the animal world coexist harmoniously and in a bathroom decorated by another mural\, a yellow sticky note has been left on the mirror as a r eminder that 'it's not going to happen like that'. The visceral sense of ab sence in these paintings encourages self-reflection on the part of the view er: through the anonymity of thought\, we enter these pregnant voids\, for a moment filling their emptiness and perhaps experiencing in a small way th e sense of expectation that quietly weighs on the occupants of the other wo rks.

The events in all these paintings illuminate the post-it axiom\; namely\, that while we try to control our environment and manage al l the many things beyond ourselves\, the results of our efforts may land us anywhere on the scale between comedy and tragedy but they're never what we expect. Conway's methodical approach to painting further instantiates this idea: all the perfectly rendered details add up to something that is more than\, but uncannily other than\, the sum of their parts. One imagines anot her painting\, absent from the show\, depicting another note in the same ho use: 'its not going to happen like that\, either.'

Anna Conway lives and works in New York\, having received her BFA from Cooper Union an d her MFA from Columbia University. Group and solo exhibitions include: Gui ld and Greyshkul\, NY\; Mitchell\, Innes and Nash\, NY\; The Kemper Museum of Contemporary Art\, Kansas City and Galerie Rodolphe Janssen\, Brussels. Her work has been published in numerous journals including\, Art in America \, Artforum\, Modern Painters\, Art Review and The New Yorker. This is her first exhibition with the gallery.

DTEND:20130421 DTSTAMP:20140731T073909 DTSTART:20130314 GEO:40.725623;-73.991532 LOCATION:American Contemporary\,4 East 2nd Street \nNew York\, NY 10003 SEQUENCE:0 SUMMARY: It's not going to happen like that\, Anna Conway UID:266752 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Organized by the Fenimore Art Museum\, Cooperstown\, New Yor k\, this exhibition includes more than 40 oil paintings spanning William Ma tthew Prior’s career from 1824 to 1856. Through his pragmatic marketing str ategy\, Prior was able to document the faces of middle-class Americans thro ughout his lifetime\, making art accessible to a previously overlooked grou p.

A versatile artist\, Prior is well known not only for the s kill and range of his technique but for the diversity of his sitters. Prior ’s involvement with Millerism (early Adventism) was instrumental in his per sonal development as well as providing access to new clients\, including ma ny African Americans.

DTEND:20130526 DTSTAMP:20140731T073909 DTSTART:20130124 GEO:40.7732646;-73.9816233 LOCATION:American Folk Art Museum - Lincoln Square\,2 Lincoln Square \nNew York\, NY SEQUENCE:0 SUMMARY:Artist and Visionary: William Matthew Prior Revealed\, William Matt hew Prior UID:248576 END:VEVENT BEGIN:VEVENT DTEND:20130124T173000 DTSTAMP:20140731T073909 DTSTART:20130124T103000 GEO:40.7732646;-73.9816233 LOCATION:American Folk Art Museum - Lincoln Square\,2 Lincoln Square \nNew York\, NY SEQUENCE:0 SUMMARY:Artist and Visionary: William Matthew Prior Revealed\, William Matt hew Prior UID:248577 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The late twentieth century has seen great strides for women working within visual mediums\, yet the male gaze persists as the primary p erspective from which women are considered — and thus perceived — in film a nd art. This exhibition presents drawings and photographs of women by four self-taught artists from the1940s through the late twentieth century\, two male\, two female. Eugene Von Bruenchenhein\, Paul D. Humphrey\, Nellie Mae Rowe\, and Inez Nathaniel Walker offer four very different approaches that raise questions of intent\, portrayal\, and self-identity: Are the portrai ts acts of creation or acts of documentation\, mimesis or wish fulfillment? Are self-taught artists immune from the pervasive male gaze of mainstream artmaking spheres\, or do they reflect a gender divide that still runs deep ly within American society?

DTEND:20130526 DTSTAMP:20140731T073909 DTSTART:20130124 GEO:40.7732646;-73.9816233 LOCATION:American Folk Art Museum - Lincoln Square\,2 Lincoln Square \nNew York\, NY SEQUENCE:0 SUMMARY:Women’s Studies\, Eugene Von Bruenchenhein\, Paul D. Humphrey\, Nel lie Mae Rowe\, Inez Nathaniel Walker UID:253833 END:VEVENT BEGIN:VEVENT DTEND:20130124T173000 DTSTAMP:20140731T073909 DTSTART:20130124T103000 GEO:40.7732646;-73.9816233 LOCATION:American Folk Art Museum - Lincoln Square\,2 Lincoln Square \nNew York\, NY SEQUENCE:0 SUMMARY:Women’s Studies\, Paul D. Humphrey\, Nellie Mae Rowe\, Eugene Von B ruenchenhein\, Inez Nathaniel Walker UID:253834 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Every piece in this exhibition embodies both the rich dramat ic content and the powerful physical presence for which Elliott Hundley is known. Rigorous and vibrant paintings\, hybrid painted collages\, quintesse ntial billboards and sculptures hold each of their own territory as well as take on monumental significance as Hundley pushes to further intertwine an d contrast his varying bodies of work. In formulating a distinct visual lex icon he has achieved unbelievable freedoms - not only creating pure gesture s but also allowing those gestures to manifest in complete\, purposeful way s.

While content can be perceived through each combined layer in which materials are fastened\, unhinged\, glued and stripped away\, it i s ultimately in the making of the work that meaning is generated. For years he has pulled from his prior works – sometimes physically\, sometimes meta phorically. A fragment torn away during the creation of an earlier work can ignite a new piece\; remnants from previous sculptures will reappear in an other. Pulling from an archive of his own documented works\, Hundley lays d own his past as a new foundation and history becomes material. Photographs of entire pieces may dissolve into under-layers of new work\; a sequin can appear as an object shimmering in three dimensions or as a pixelated repres entation from another piece.

Hundley is a reactionary artist w ith a fine-tuned and specific index of goods from which he plies his trade. A thickly rendered\, painted surface may be built upon a foundation of wor n\, stacked materials\, and a smooth area may be made of countless layers o f rubbed and fanned out paint. He cuts angular crevices into works to stark ly contrast the flatness of two-dimensional surfaces. Through vast fields o f printed paper and pinned photographs he delicately carves intricate chann els\, embroidered with a full spectrum of colorful thread and held by thous ands of gold pins. The works are constructed in a way that is completely co ntrolled but freely conceived. It is with strict intentionality and equalit y between painting\, collage\, photography\, sculpture and hybrids of each that the work can be authentic and automatic.

While in much of his past work he has referred to Greek plays\, Hundley is not only interes ted in how those particular narratives are representations of our shared su bconscious – he also has a deep interest in how the recordings of those pla ys\, for which there were never perfect versions or final drafts\, physical ly and mentally manifest in perpetual reinterpretations. While this particu lar body of work is not about one specific play\, Hundley takes mythologies from his own language so that the metaphysical and ethical quality of Gree k theater weaves throughout. Utilizing his remarkable ability to join conno tative content and pure markmaking\, he is able to goad new reactions with psychological impact.

Always a natural collector and archivist \, Hundley also has a deep love and scholarly understanding of performance\ , literature\, history\, film and theatre. Born from these passions\, he el egantly stitches together a cumulative portrait of the world he sees filter ed through the familiar. He builds elaborate sets on which he directs\, sta ges and shoots performers and then systematically alters their scale\, eith er blowing them up to billboard sized murals or cutting them into thousands of tiny figures. He culls from flea markets\, newsstands\, and art supply stores and enlists foundries and industrial shops for raw materials. By emp loying content-rich resources that are psychologically dense\, he forms a k ind of decentralized cultural map to magnify realities and achieve unexpect ed formal connections. Art history imparts a heavy weight onto mediums like oil paint\, but\, like any other material\, Hundley then capitalizes on th ese histories by embracing them and unleashing their potential - by titling some of the paintings Still Life or Composition he embeds yet another laye r of historical reference. Through sheer invention and an endless cycle of reactions he is able to chronicle the very actions of ideas.

T his is Elliott Hundley's third solo show at Andrea Rosen Gallery.
Elliott Hundley (b. 1975) lives and works in Los Angeles. The B acchae has recently been the subject of a traveling Museum solo exhibiti on at the Nasher Sculpture Center\, Dallas and the Wexner Center for the Ar ts\, Columbus. His work is held in numerous prominent public institutions i ncluding the Armand Hammer Museum\, Los Angeles\; Broad Foundation\, Los An geles\; Louisiana Museum of Modern Art\, Humblebaek\, Denmark\; Miami Art M useum\, Miami\; Museum of Contemporary Art\, Los Angeles\; Museum of Modern Art\, New York\; Nasher Sculpture Center\, Dallas\; San Francisco Museum o f Modern Art\, San Francisco\; Solomon R. Guggenheim Museum\, New York and Whitney Museum of American Art\, New York.

DTEND:20130427 DTSTAMP:20140731T073909 DTSTART:20130330 GEO:40.749185;-74.005023 LOCATION:Andrea Rosen Gallery\,525 W.24th St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Solo Exhibition\, Elliott Hundley UID:266709 END:VEVENT BEGIN:VEVENT DTEND:20130329T200000 DTSTAMP:20140731T073909 DTSTART:20130329T180000 GEO:40.749185;-74.005023 LOCATION:Andrea Rosen Gallery\,525 W.24th St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Solo Exhibition\, Elliott Hundley UID:268470 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Andrea Rosen Gallery is pleased to announce The Temptatio n of the Diagram\, a group show organized by Matthew Ritchie\, at our n ew Gallery 2 location. Ritchie has been represented by the gallery for almo st fifteen years\, and we are thrilled to present his first curatorial ende avor at our space. The exhibition explores the diagram as an essential mode of artistic practice and expands on themes Ritchie researched and consider ed as an Artist in Residence at the Getty Research Institute in 2012 and cu rrently at Columbia University.

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Excerpt from th e catalog essay by Matthew Ritchie

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In Flaubert’s ‘The Temptatio n of St Anthony\,’ the tortured hermit\, besieged by an encyclopedic parade of gorgeous visions\, finally calls out: “Somewhere there must be primordi al figures whose bodily forms are only symbols\, could I but see them I wou ld know the link between matter and thought\; I would know in what Being co nsists!”

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It is the last\, impossible temptation.

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As Susanne Leeb writes: “diagrams escape the insoluble dialectic of absence and prese nce which pervades the play of representation\, yet…diagrams have no status in art per se.” In art historical terms\, the diagram is both refuge and r efugee\, a universal visual bridge between the written and the seen\, but w ithout a home in either.

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This modest exhibition is not a history of the diagram but an organization of compelling examples of a specific kind of diagram\, hand-made diagrams that occupy the impossible space between id ea and reality. Perhaps they can somewhat counter the residual presumption that thinking runs counter to aesthetic contemplation\; that intelligence i s not beautiful. Perhaps we can see these diagrams as the artists do\, cent ral to their thinking about art-making. Diagrams are\, as Leeb puts it “A t ool for the making of relationships and for the abandonment of rational pro cedure.” For the anchorite saint\, this desire\, “to assume all forms - pen etrate each atom – be matter itself” is the final and irresistible temptati on\, the ultimate dream of the artist. Diagrams are the nervous systems of artists working with their skin off.

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In the presence of diagrams\, the profound questions of symbiosis between image and text\, scale and dist ance\, proximity and imagined immunity that define our use of any shared in formational space are all too painfully evident. 

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That is not to su ggest the diagram constitutes an easy escape route\, or a trap door for the visionary. Although for artists it may be precisely the progress their wor k makes away from the original index of reality that constitutes its true ‘ sensual objecthood\,’ diagrams ultimately reference an operable (if imagine d) dimensionality. Diagrams\, seen and hidden\, constitute the pivotal mean s for commutation between the multitudinous spaces of prediction\, memory\, fantasy\, language\, metaphor and instruction.

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If all this seems r omantic\, it is. The diagram is a trace of our collective efforts to articu late and negotiate an almost impossible circumstance: reality itself.

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Imagine a single dimension\, a point. Add a line. Now add an arrow to th e line\, a vector. Can you imagine another dimension? Go ahead. Add another line\, another and another. Now add arrows to all those lines. More! Are t hey all going in the same direction? Impossible!

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Are we there yet?< /p>\n

"The movement is everything\, the final goal nothing."

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Edua rd Bernstein.

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Matthew Ritchie’s installations\, whic h integrate painting\, wall drawings\, light boxes\, performance\, sculptur e\, and projections\, are investigations of the idea of information explore d through science\, architecture\, history and the dynamics of culture\, de fined equally by their range and their lyrical visual language. In 2001\, < /i>Time magazine listed Ritchie as one of 100 innovators for the new mil lennium\, for exploring “the unthinkable or the not-yet-thought.” His work has been shown in numerous exhibitions worldwide\, including the Whitney Bi ennial\, the Sydney Biennial\, the Sao Paulo Biennial\, the Venice Architec ture Biennale\, the Seville Biennale\, and the Havana Biennale\, and is in the collections of the Museum of Modern Art\, the Guggenheim Museum\, the W hitney Museum of American Art\, the Albright-Knox Museum\, the San Francisc o Museum of Modern Art and other institutions worldwide\, including a perma nent large-scale installation at MIT. He has written for Artforum\,  Flash Art\, Art &\; Text\, and theContemporary Arts Jo urnal\, and is a contributor to Edge. In 2012 Ritchie was Artist in Residence at the Getty Research Institute\, Los Angeles.

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Ritchie is currently Mellon Artist in Residence and Adjunct Professor in th e Graduate Visual Arts Program at Columbia University\, New York\, where he has organized two public workshops this spring to examine how we can exten d understanding and use of our new\, current dimension – where every image in history can be seen at once\, every idea can be communicated\, rebutted and digitally reformatted\, and every space can host any form of presence – in the shared space of cultureThe next workshop\, Art\, Infor mation and Networks\, will feature Albert-László Barabási and Caroline Jones\, moderated by Matthew Ritchie\, on April 19 at 6 PM at Columbia Uni versity. It is free and open to the public\; for more information\, visit a rts.columbia.edu. Ritchie will also take part in Rhizome’s Seven on Seven c onference in April.

DTEND:20130427 DTSTAMP:20140731T073909 DTSTART:20130329 GEO:40.749177;-74.0058861 LOCATION:Andrea Rosen Gallery 2\,544 West 24th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Temptation of the Diagram\, Aranda/Lasch\, Archigram\, Matthew Barn ey\, Joseph Beuys\, Earle Brown\, Trisha Brown\, Mel Bochner\, John Bock\, Lygia Clark\, Max Ernst\, Öyvind Fahlström\, Thomas Hirschhorn\, Steven Hol l\, Barry Le Va\, Mark Lombardi\, Thom Mayne\, Julie Mehretu\, Matt Mullica n\, Matthew Ritchie\, Carolee Schneemann\, Katy Schimert\, Rudolf Steiner\, Wolfgang Tillmans\, Bernar Venet UID:266710 END:VEVENT BEGIN:VEVENT DTEND:20130329T200000 DTSTAMP:20140731T073909 DTSTART:20130329T180000 GEO:40.749177;-74.0058861 LOCATION:Andrea Rosen Gallery 2\,544 West 24th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Temptation of the Diagram\, Aranda/Lasch\, Archigram\, Matthew Barn ey\, Joseph Beuys\, Mel Bochner\, John Bock\, Earle Brown\, Trisha Brown\, Lygia Clark\, Max Ernst\, Öyvind Fahlström\, Thomas Hirschhorn\, Steven Hol l\, Mark Lombardi\, Thom Mayne\, Julie Mehretu\, Matt Mullican\, Matthew Ri tchie\, Katy Schimert\, Carolee Schneemann\, Rudolf Steiner\, Wolfgang Till mans\, Barry Le Va\, Bernar Venet UID:267290 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Andrew Kreps Gallery is pleased to present Umschläge\, Peter Piller’s second solo exhibition at the gallery. 

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Translat ed as “covers”\, the title of the show refers to one of two bodies of work in this exhibition comprised of the pairing of the front and back images of the East German military magazine Armeerundschau which always fea tured armored vehicles on the front and pin-up girls on the back.  Piller h as been working with found images for over 20 years and has created and wor ked with the archive as medium –and the re-interpretation and the re-presen tation of images already published in other contexts. By gathering and re-p resenting seemingly innocuous images – images that we are presented with ev eryday in newspapers\, magazines\, advertisements and the internet – into g roups\, Piller brings forth some of the sinister\, comedic\, and sometimes tragic aspects of these images wholly projected by the viewer themselves.\n

A second group of works\, Noch Sturm (Still Storming)\, jux taposes images of World War I battlefields from found German postcards and images of seascapes from a 1920’s geography textbook. The landscape photogr aphs – documents of humanity‘s excesses of destruction – and the images of the forces of nature create a visual parallel of chaos and violence. In rel ation to the art historical genre of battle paintings\, both on land and at sea\, Piller depicts the locations of violent conflicts as empty stages le ft behind by the actors.

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Peter Piller has been working on his A rchiv Peter Piller since 1998: an ongoing archive of . In his artistic work to date\, in addition to the images from regional newspapers\, he has also utilized the photographs of a commercial aerial photography archive\, images from the internet as well as an insurance group‘s photographic docu mentation of damage claims. He then subsequently transfers this diverse mat erial into his own ordering systems such as schießende Mädchen (Girls S hooting)\, Suchende Polizisten (Police Searching)\, Tanz vor Logo (Dancing in Front of Logos). With precise observation and a subtle sen se of humor\, Piller reflects upon media images‘ potential and the possibil ities and limits of photographic and conceptual art.

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Piller has pub lished his ten-volume set of artist‘s books of the Archive Peter Piller as well as other artist‘s books and catalogues at Revolver Publishing by VVV. Solo exhibitions include those at the Museum für Gegenwartskunst Siegen (20 03)\, the Witte de With Center for Contemporary Art Rotterdam (2005/06)\, t he Kunsthaus Glarus (2007)\, the Salzburger Kunstverein (2007)\, the Kunstm useum Bonn (2009) and the Kunstverein Braunschweig (2011)\, among others.\n

DTEND:20130518 DTSTAMP:20140731T073909 DTSTART:20130328 GEO:40.7477457;-74.0063477 LOCATION:Andrew Kreps Gallery @ 537 W. 22nd\,537 W. 22nd St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY: Umschläge \, Peter Piller UID:266712 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Anna Kustera Gallery is pleased to present an exhibition of new ceramics by Andrew Cornell Robinson and paintings by Doron Langberg and Kyle Coniglio.

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Andrew Cornell Robinson uses his u nique\, theatrical approach to ceramics to beguile the audience then thwart expectations.  Trophies for the non-heroic and glazed clay effigies of flo werless houseplants are quirky and charming\, but also possess a kind of ma gic. They're like freshly three-dimensional props from scenes taking place within the artist's own id.

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Andrew Cornell Robinson's work includes ceramics\, mixed media sculpture and work on paper that often bridges ecce ntric\, socio-political content with craft and assemblage materials. Robins on received his BFA in 1991 from the Maryland Institute College of Art and his MFA from the School of Visual Arts in New York City in 1994. He lives a nd works in Brooklyn\, NY\, and teaches art and design at Parsons The New S chool for Design.

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Doron Langberg's color-saturated oil on linen works create worlds that hover somewhere between sexual ecsta sy and profound despair.  The varied surfaces of the paintings add charge t o the oblique narratives. Viewers might find themselves seduced by the situ ations despite the overwhelming angst depicted. Doron Langberg received his MFA from Yale University in New Haven\, CT\, in 2012 and his BFA from the University of Pennsylvania in Philadelphia\, PA\, in 2010.  Originally from Israel\, Doron lives and works in Queens\, NY.

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With his precocious ly well-honed sense of camp and painterly chops\, Kyle Coniglio takes his self-portraits to tragic and always self-deprecating places .  In 'Young Bacchus'\, young men at a nightclub take time from their party to gather around the central artist figure who is exposing his stomach as a disco ball\, one that emits its own light from within. 
Kyle Conig lio received his MFA from Yale University in New Haven\, CT\, in 2012 and h is BFA from the Montclair State University in New Jersey in 2010.  He lives and works in New Jersey and teaches painting at the Montclair State Univer sity. 

DTEND:20130504 DTSTAMP:20140731T073909 DTSTART:20130328 GEO:40.7463774;-74.0070609 LOCATION:Anna Kustera\,520 W. 21st St. \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:new ceramics and paintings \, Doron Langberg\, Kyle Coniglio\, Andr ew Cornell Robinson UID:268531 END:VEVENT BEGIN:VEVENT DTEND:20130328T200000 DTSTAMP:20140731T073909 DTSTART:20130328T180000 GEO:40.7463774;-74.0070609 LOCATION:Anna Kustera\,520 W. 21st St. \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:new ceramics and paintings \, Kyle Coniglio\, Doron Langberg\, Andr ew Cornell Robinson UID:268532 END:VEVENT BEGIN:VEVENT DESCRIPTION:

For this fifth solo exhibition at Anton Kern Gallery\, Polis h artist Wilhelm Sasnal has selected a group of paintings and works on pape r around the theme of Kodak\, the now defunct film and camera manufacturer.
Some works make direct references to specific products\, advertisemen ts and to Kodak’s founder George Eastman\, others create a “capture the mom ent” atmosphere addressing issues of picture-taking and picture-making.
It comes as no surprise that a painter and filmmaker like Wilhelm Sasnal would make Kodak the subject of his work. Since their invention\, film and cameras have fascinated and challenged painters. Specifically\, as Kodachro me film gained a reputation for its reproduction of “true colors”\, the ide a of reality\, naturalism and truth in painting has been reformulated by ar tists in various ways. In addition\, the Kodak pocket camera’s ability to c apture a fleeting moment\, along with the branding of the so called “Kodak moment” has liberated everyday photographers and created a universal cultur e of vernacular images that has the potential to turn ordinary events into private historical moments.
Sasnal’s position in regards to all of thi s is one of analytic observation and intuitive transformation. Known for hi s wide range of painterly methods\, evident in these new paintings\, Sasnal ’s work deals with the underlying and subconscious presence of the history of an image\, place or situation. As much as the artist is indebted to the physicality of film stock and cinematography\, including its many visual ef fects\, Sasnal creates every image as a singular event\, both in his chosen motif and in the pictorial mode in which it is painted. Despite their subj ect’s universal nature\, these works are delicate and precise\, yet also si ngularly striking reflections on the nature of personal and collective memo ry. Sasnal’s paintings capture the fleeting moment twofold\, once as a mome nt brought to a halt\, quite like a photograph\, and secondly as an unravel ing of sub-conscious layers of meaning and history\, quite beyond the capab ility of photography.
Sasnal’s work has most recently been featured in solo exhibitions at the Haus der Kunst\, Munich (2012)\, Whitechapel Galle ry\, London (2011)\, K21\, Düsseldorf (2009)\, and will be presented this f all in a major retrospective at the MSN Museum of Modern Art in Warsaw. His work has been included in group shows such as Image Counter Image\, Haus d er Kunst\, Munich (2012)\, Painting Between The Lines\, CAA\, San Francisco (2011)\, The Reach of Realism\, MOCA Museum of Contemporary Art\, Miami (2 009)\, the 55th Carnegie International\, the Glasgow International (both 20 08)\, Musée d’ Art Moderne de la Ville de Paris\, MoMA\, New York (both 200 7)\, the Stedelijk Museum in Amsterdam\, where he won the 2006 Vincent Van Gogh Biennial Award for Contemporary Art\, the National Museum of Art in Os aka\, the Museu Serralves in Porto (all 2006)\, and the Biennale de Sao Pau lo (2004). Sasnal's most recent feature-length film "It Looks Pretty From A Distance" has been screened at New Horizons Film Festival Poland (2011)\, Rotterdam Film Festival\, Munich Film Festival\, Crossing Europe Film Festi val\, Jeonju International Film Festival Korea\, Hong Kong International Fi lm Festival\, and New Directors New Films Festival\, New York (all 2012). DTEND:20130406 DTSTAMP:20140731T073909 DTSTART:20130222 GEO:40.7463808;-74.007077 LOCATION:Anton Kern Gallery\,532 West 20th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Solo Exhibition\, Wilhelm Sasnal UID:261264 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Exhibition Space considers the aesthetic and concep tual implications of photography and its pivotal role in two early mileston es of the US exploration of space. Begun in 1948 using the most powerful te lescope in the world\, the Palomar Observatory Sky Survey was the first sys tematic attempt of photograph and catalogue the visible universe. The resul ting 1\,870 plates took ten years to complete\, and are some of the most te chnically advanced prints ever made. Project Echo was the first manmade obj ect photographed in space. Hastily conceived as NASA's first response to Sp utnik\, Echo I was an inflatable Mylar sphere 100 feet in diameter\, a comm unications satellite whose primary mission was to be visible to the naked e ye. Photos of Echo began appearing in the US press almost immediately after its launch in 1960. Meanwhile\, models of Echo\, called "the most beautifu l object ever put in space\," were exhibited at the US Capitol\, and at Wor ld's Fairs throughout the 1960s.



Greg Alle n is a writer and filmmaker based in Washington DC. He has publish ed his art writings in Cabinet magazine and The New York Times \, and on his blog\, greg.org: the maki ng of\, since 2001. Allen published Canal Zone Richard Prince Yes Rasta : Collected Court Documents from Cariou v. Prince\, in 2011\, and exhi bited paintings at both Postmasters Gallery and Printed Matter in 2012.

DTEND:20130508 DTSTAMP:20140731T073909 DTSTART:20130320 GEO:40.719022;-74.004432 LOCATION:Apexart\,291 Church Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Exhibition Space UID:261200 END:VEVENT BEGIN:VEVENT DTEND:20130320T200000 DTSTAMP:20140731T073909 DTSTART:20130320T180000 GEO:40.719022;-74.004432 LOCATION:Apexart\,291 Church Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Exhibition Space UID:261201 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Paintings of idyllic farmland and pristine parkland and are included in this exhibition of American art from the Arkell collections. Th omas Doughty's idealized depiction of early New England's backwoods and Alb ert Bierstadt's painting of the majesty of Yellowstone are among the wilder ness views. The exhibition also features pastoral and poetic and landscapes by George Inness\, Ralph Blakelock\, Henry W. Ranger and J. Alden Weir.

DTEND:20130424 DTSTAMP:20140731T073909 DTSTART:20120630 GEO:42.907359;-74.572002 LOCATION:Arkell Museum\,2 Erie Boulevard \nCanajoharie\, NY 13317 SEQUENCE:0 SUMMARY:Pastoral and Parkland: American Landscape Paintings\, Thomas Dought y\, George Inness\, Albert Bierstadt\, Ralph Blakelock\, Henry W. Ranger\, J. Alden Weir UID:229826 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This exhibition features remarkable American Impressionist p aintings from the Arkell collections. Twelve paintings recently returned fr om the Fenimore Art Museum's exhibition "American Impressionism: Paintings of Light and Life" will be featured along with other treasures from the per manent collection. Sun-dappled views of France and America by Childe Hassam \, John Twatchman\, Theodore Robinson\, J. Alden Weir\, and Edward Redfield are among the notable paintings in this exhibition. Most American Impressi onists spent time in Paris and Monet&rsquo\;s hometown of Giverny where the y saw the work of French Impressionists. Once they returned to America they made the new Impressionist style their own. Views of the New England count ryside\, coastal communities and New York City were popular subjects for th e American Impressionists. The exhibition includes Twatchtman&rsquo\;s "Jos ephine in the Garden" in Giverny\, Hassam's "Provincetown"\, Twatchtman&rsq uo\;s "Gloucester Harbor" and Ernest Lawson&rsquo\;s "Brooklyn Bridge."

DTEND:20131020 DTSTAMP:20140731T073909 DTSTART:20121027 GEO:42.907359;-74.572002 LOCATION:Arkell Museum\,2 Erie Boulevard \nCanajoharie\, NY 13317 SEQUENCE:0 SUMMARY:From Giverny to the Brooklyn Bridge: American Impressionist Paintin gs from the Arkell Collections\, Edward Redfield\, J. Alden Weir\, Theodore Robinson\, John Twatchman\, Childe Hassam UID:234785 END:VEVENT BEGIN:VEVENT DTEND:20121027T170000 DTSTAMP:20140731T073909 DTSTART:20121027T123000 GEO:42.907359;-74.572002 LOCATION:Arkell Museum\,2 Erie Boulevard \nCanajoharie\, NY 13317 SEQUENCE:0 SUMMARY:From Giverny to the Brooklyn Bridge: American Impressionist Paintin gs from the Arkell Collections\, Childe Hassam\, Edward Redfield\, Theodore Robinson\, John Twatchman\, J. Alden Weir UID:234786 END:VEVENT END:VCALENDAR