BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION: DTEND:20141220 DTSTAMP:20141023T164329 DTSTART:20141122 GEO:40.7464825;-74.0069332 LOCATION:Jonathan LeVine Gallery - 529 W. 20th\,529 W. 20th Street\, 9E \nN ew York\, NY 10011 SEQUENCE:0 SUMMARY:Bust a Move\, Taku Obata UID:362052 END:VEVENT BEGIN:VEVENT DTEND:20141122T200000 DTSTAMP:20141023T164329 DTSTART:20141122T180000 GEO:40.7464825;-74.0069332 LOCATION:Jonathan LeVine Gallery - 529 W. 20th\,529 W. 20th Street\, 9E \nN ew York\, NY 10011 SEQUENCE:0 SUMMARY:Bust a Move\, Taku Obata UID:362053 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20141220 DTSTAMP:20141023T164329 DTSTART:20141122 GEO:40.7464825;-74.0069332 LOCATION:Jonathan LeVine Gallery - 529 W. 20th\,529 W. 20th Street\, 9E \nN ew York\, NY 10011 SEQUENCE:0 SUMMARY:Lots of Bits of Star\, Kai and Sunny UID:362050 END:VEVENT BEGIN:VEVENT DTEND:20141122T200000 DTSTAMP:20141023T164329 DTSTART:20141122T180000 GEO:40.7464825;-74.0069332 LOCATION:Jonathan LeVine Gallery - 529 W. 20th\,529 W. 20th Street\, 9E \nN ew York\, NY 10011 SEQUENCE:0 SUMMARY:Lots of Bits of Star\, Kai and Sunny UID:362051 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20141220 DTSTAMP:20141023T164329 DTSTART:20141120 GEO:40.7485981;-74.0062949 LOCATION:Jonathan LeVine Gallery - 557C West 23rd\,557C West 23rd Street \n New York\, NY 10011 SEQUENCE:0 SUMMARY:Out of Knowhere\, Doze Green UID:362048 END:VEVENT BEGIN:VEVENT DTEND:20141120T200000 DTSTAMP:20141023T164329 DTSTART:20141120T180000 GEO:40.7485981;-74.0062949 LOCATION:Jonathan LeVine Gallery - 557C West 23rd\,557C West 23rd Street \n New York\, NY 10011 SEQUENCE:0 SUMMARY:Out of Knowhere\, Doze Green UID:362049 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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GUGLIE LMO ACHILLE CAVELLINI \;/ \;Centennial Exhibition
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5 Nov \;to 21Dec \;2014
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\n< div class="gmail_quote" dir="ltr">Opening Reception: \;Wednesday\,  \;5 Nov \;2014\, 6-8pm
175 Rivington Street\, New York
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LYNCH THAM is pleased to present select carbon works by the celebrated Italian artist Gug lielmo Achille Cavellini. \; The year 2014 is an important marker in Ca vellini&rsquo\;s career as art institutions across Europe and the United St ates celebrate the centenary of his birth. \; In addition to the galler y presentation\, a local Cavellini Festival\, organized by Mark Bloch is sc heduled from \;November 14-16. On \;November 14\, the library at th e Museum of Modern Art\, New York\, will host a reception and special viewi ng of their vast Cavellini archive. \; The weekend will also include a series of performances and interventions at various New York museums and no n-profit spaces.

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The exhibition at LYNCH THAM includes Cavellini&rsquo\;s ontological c arbon series created from 1970 to 1990. \; The works feature fully and partially charred pictures and objects\; including geometric abstraction of chromatic scale with portraits and image of Italy&rsquo\;s physical outlin e as an aesthetic and personal symbol. These pieces contributed to the deep innovation Cavellini had undertaken in his work and when combined\, in ter ms of background and form\, carbon became an absolute texture\, which expan ded through a continued citation. \;

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Cavellini engaged in an extensive postage-art exchange for which he became well known. \; \;This exchange turned him into the leader of a new way of communicating in art. \; He became a mythical figure for a generation of underground artists and was regarded as a liberator that would break the chains of a closed system that often ex cluded artists. \; In 1970\, he invented the term \;autostorici zzazione \;(self-historicization) and started a long work of conce ptual self-promotion\, which sought to bypass the roles of the critic and t he market.

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C avellini was born in Brescia\, Lombardy where he lived and worked until he died in 1990. \; His artist&rsquo\;s books are represented in the perma nent holdings of New York&rsquo\;s Franklin Furnace and in the archive on 2 0th century art maintained by the Venice Biennale. His work is in many priv ate and public collections including the Civiche Raccolte Comune di Milano\ , Museo Pecci Prato\, Museo MART Rovereto\, Museo di Cavalese Trento\, Coll ezione citta di Pesaro\, Civica Raccolta del disegno Sal\, FRAC Nord Pas de Calais and Le Consortium Dijon in France\, among many others. \;

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2014 venues for t he Centennial Exhibitions include Emily Harvey Foundation\, Venezia\, Italy \; Museo MART di Rovereto\, Rovereto\, Italy\; Ludwig Museum of Contemporar y Art\, Budapest\, Hungary\; ICI\, Italian Cultural Institute\, San Francis co\, CA\; Center of Contemporary Art (Lu.C.C.A.)\, Lucca\, Italy\; \;Pu blic Library of Cairo Montenotte\, Cairo\; \;Spazio Contemporanea\, Bre scia\, Italy\, among others. \; A comprehensive exhibition on mail art\ , curated by Mark Bloch\, is scheduled for November-December at White Box\, New York.

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Media enquiries:

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Florence Lynch / Bee Tham

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Tel: \;+1-917-327-3580 \;/ \;+1-917-288-9099

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info@lynchtham. com

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DTEND:20141221 DTSTAMP:20141023T164329 DTSTART:20141105 GEO:40.7188646;-73.9846431 LOCATION:LYNCH THAM\,175 Rivington Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:GUGLIELMO ACHILLE CAVELLINI / Centennial Exhibition at LYNCH THAM / 5 Nov to 21 Dec 2014\, Guglielmo Achille Cavellini UID:362001 END:VEVENT BEGIN:VEVENT DTEND:20141105T200000 DTSTAMP:20141023T164329 DTSTART:20141105T180000 GEO:40.7188646;-73.9846431 LOCATION:LYNCH THAM\,175 Rivington Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:GUGLIELMO ACHILLE CAVELLINI / Centennial Exhibition at LYNCH THAM / 5 Nov to 21 Dec 2014\, Guglielmo Achille Cavellini UID:362002 END:VEVENT BEGIN:VEVENT DESCRIPTION:

A one night\, live performance by ONEM\, a performance group founded in 1969 in St. Paul\, Minnesota by Timothy Kane\, Paul Scher\, and David Scher. In conjunction with David Scher&rsquo\;s &ldquo\;Suspended In terruption\,&rdquo\; exhibition\, on view at Pierogi (177 N 9th Street) until November 16. \;

DTEND:20141029T220000 DTSTAMP:20141023T164329 DTSTART:20141029T200000 GEO:40.7230068;-73.9556587 LOCATION:The Boiler (Pierogi)\,191 North 14th Street \nBrooklyn\, NY 11211 SEQUENCE:0 SUMMARY:ONEM\, Timothy Kane\, David Scher\, Paul Scher UID:361976 END:VEVENT BEGIN:VEVENT DESCRIPTION:
Team (gallery\, inc.) is ple ased to announce a solo exhibition of new works by American photographer Sa m Samore. Entitled \;Accumulation of Shapes (Part One)\, the e xhibition will run from \;23 November through 21 December 2014. Team is located at 83 Grand Street\, between Wooster and Greene. Concurrently\, ou r 47 Wooster Street space will host \;Traffic Jam \, an exhibition by German artist Andreas Schulze.
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For his third solo exhibition with the gallery\, Sam Samore presents a new series of portraits of the French actress Juliette Dol. Eac h work consists of two images\, apparently sequenced a few frames apart\, w hich are cropped and then joined together with a narrow black line of separ ation. Directly referencing the cinematic device of the split screen\, the resulting works not only engage both the formal and conceptual relationship s between film and photography\, but also serve as in-depth investigations into obsession\, inconclusive narrative and the complex psychological corri dors of desire.  \;

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Printed on ra g paper and exhibiting Samore's signature treatment of photographic grain\, these black and white images both adhere to and depart from the artist's p ast works. \; While the texture and content are evocative of previous s eries - particularly his \;Situations \;- the artist in th is instance offers a more complete visual scope of a singular subject. Frag mentation\, both spatial and psychological\, have been central themes in Sa more's practice since the nineties\; however\, in these portraits\, the rup turing of the self is the primary focus. The split of the subject into part s echoes the separation of model from camera and spectator from constructed image. The physical gaps between the two "halves" of these photographs ins tigate our natural urge to locate a legible sequence\, their very unknowabi lity activates a compulsion to unify the images into a cohesive whole. &nbs p\;

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Each photograph depicts Dol in th e process of an immediately identifiable but mysterious action: we see her recumbent on a bed\, fully clothed in a bathtub full of water\, approaching a doorway\, navigating through a dark space by flashlight with eyes fixed on an indeterminate point in the distance. By cleaving together two slightl y different images\, Samore makes a clear reference to the physicality of f ilm cells. Slight variations in the subject's position or the camera's dept h of field imbue the images with a kinetic quality that reinforces the unse ttling sense that we are accessing only fragments of a whole. The coupling of known and unknown quantities pays direct service to the \;Film Noir trope of doubling\, though Samore is careful to disrupt the narrative exper ience by ultimately withholding even the suggestion of conclusivity.  \ ;

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Sam Samore has been exhibiting his work for the past forty years . Prominent monographic exhibitions have been held at De Appel in Amsterdam \, P.S.1 MoMA in New York\, Casino Luxembourg\, and the Kunsthalle Zü\; rich. Samore participated in the 46th Venice Biennale\, the Istanbul Bienni ale 2007\, and the Tirana Biennale 2005. The artist has had recent solo gal lery exhibitions in Brussels\, Berlin\, and Paris. \;

DTEND:20141221 DTSTAMP:20141023T164329 DTSTART:20141123 GEO:40.7217091;-74.0025345 LOCATION:Team Gallery - Grand St\,83 Grand St. \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Accumulation of Shapes (Part One)\, Sam Samore UID:361942 END:VEVENT BEGIN:VEVENT DTEND:20141123T200000 DTSTAMP:20141023T164329 DTSTART:20141123T180000 GEO:40.7217091;-74.0025345 LOCATION:Team Gallery - Grand St\,83 Grand St. \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Accumulation of Shapes (Part One)\, Sam Samore UID:361943 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Team (gallery\, inc.) is pleased to announce \;Traffic Jam\, a show of new work by Cologne-based artist Andreas Schulze. The exhibition will run from \;23 November through 21 December 2014. Team is located at 47 Wooster Street\, between Broome and Grand. Concurrently\, our 83 Grand Street space will hos t an exhibition of new photographs by New York-based artist Sam Samore.  \;
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For his thir d exhibition with the gallery\, Andreas Schulze has turned his focus to a s ingle modern design typology: the automobile. On each of the gallery's thre e walls hangs a series of starkly colored\, larger-than-life paintings of c ars. Schulze\, who is perhaps best known for immersive\, spatially transfor mative installations\, both acknowledges and destabilizes our existing pict orial understandings of quotidian objects. These swollen\, cartoonish rende rings of vehicles -- immediately discernable as such -- pose as light and f amiliar members of our visual culture. The works' apparent playfulness\, ho wever\, is compromised by a palpable melancholy and\, subsequently\, underm ined altogether by theirVerfremdungseffekt. \;
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In the way that a child's drawing posits a car as the mere sum of its visible parts - a misshapen assemblage of windshields\, wheels and windows - so do these works evince little concern for actual automotive design. The painti ngs' essential \;wrongness\, paired with their grandiose scale and impa ssive presentation\, effects a Brechtian alienation. These are not depictio ns of automobiles\; rather\, they are pictures of pictures\, explorations o f the rough\, indelible images that fundamentally inform our perception of these highly aestheticized machines. The artist's painterly act\, like func tional design\, relies on cultural pre-conceptions and expectations. Imagin ation\, invention and beauty occur within a semi-rigid template - a car pai nting must contain certain elements in order to be recognizable as such. Wi thin this framework\, these works accomplish the extraordinary: the self-im posed limitations serve not as a means to snide self-commentary\, but as a gateway to an uncompromised artistic purity.
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Emerging in the fer tile Cologne scene of the 1980s\, Schulze became associated with a group of young painters of the Mü\;lheimer Freiheit\, the name of a shared stud io in which they exhibited their work. This group included the painters Han s Peter Adamski\, Peter Bö\;mmels\, George Condo\, Walter Dahn\, Jiri G eorg Dokoupil\, Gerard Kever and Gerhard Naschberger. Though working closel y and frequently collaborating with these peers\, Schulze has developed an anomalous and haunting painting practice whose influence is becoming more a nd more widely regarded.
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Schulze was born in Hannover in 1955 and has been exhibiting his work sinc e 1981 - his longstanding relationship with gallerist Monika Sprü\;th b eginning in 1983. Schulze's work has been exhibited at museums internationa lly including the Museum of Modern Art in New York\, the Tate Museum in Lon don\, the Kö\;lnischer Kunstverein\, the Solomon R. Guggenheim Museum\, Kunstaele in Berlin and at the Kunstverein and the Sammlung Falckenberg\, both in Hamburg. A retrospective is currently touring three venues: Villa M erkel in Neckel\, The Shirn Kunsthalle in Frankfurt\, both in Germany\, and the Kunstmuseum Sankt Gallen in Switzerland.

DTEND:20141221 DTSTAMP:20141023T164329 DTSTART:20141123 GEO:40.7227557;-74.0025888 LOCATION:Team Gallery - Wooster St\,47 Wooster Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Traffic Jam\, Andreas Schulze UID:361940 END:VEVENT BEGIN:VEVENT DTEND:20141123T200000 DTSTAMP:20141023T164329 DTSTART:20141123T180000 GEO:40.7227557;-74.0025888 LOCATION:Team Gallery - Wooster St\,47 Wooster Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Traffic Jam\, Andreas Schulze UID:361941 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Winston Wä\;chter Fine Art \, New York is pleased to announce its third solo exhibition with German ar tist Andreas Kocks. A sculptor best known for his large-scale paper \;i nstallations\, Kocks playfully integrates elements of drawing\, painting\, and architecture \;into his abstract and meticulously crafted sculpture s. Working from a limited palette\, \;Kocks carves thick sheets of wate rcolor paper to create textured\, layered works that give \;the illusio n of three-dimensional brush strokes\, splatters\, and drips.

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In previous series\, Kocks has created site-specif ic installations that include monumental \;structures that span from fl oor to ceiling and blur the boundaries of defined architectural \;space . THE SINGLES COLLECTION marks a transition into and an exploration of  \;mostly framed works. Working within a contained space\, Kocks finds ways to maintain \;the energy and movement found in his larger pieces while navigating a defined perimeter. \;These concentrated pieces seem to bur st and ooze out of their frames. Some of them even \;contain elements t hat do\, literally\, extend beyond the frame.

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The personal face-to-frame quality of these smaller\, individual p ieces allows for a more intimate dialogue between the viewer and each work to evolve\, a dialogue which Kocks has compared to the personal relationshi p that can develop between a person and a piece of music that is listened t o over and over. The exhibition title is a nod to this musical inspiration as well as to the fact that each artwork stands alone: a single that viewer s can return to again and again.

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The use of metal in several of the new pieces elegantly compliments the fragili ty of the paper structures and also signifies an expansion in the artist&rs quo\;s palette and choice of materials. The gold\, silver\, and aluminum le af that cascade and swirl across the various works originates from the arti st&rsquo\;s past experiences with heavier sculptures\, but has been introdu ced here to highlight the personal\, reflective\, mirroring elements of the se framed pieces.

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With artworks that always seem to embody a transitory state­\;&ndash\; between a sketch and a sculpture\, falling apart and arising\, lightness and weight\, stillness and motion&ndash\; Kocks is a master at balancing the subtle paradoxes tha t keep viewers captivated and coming back for more.

DTEND:20141201 DTSTAMP:20141023T164329 DTSTART:20141016 GEO:40.7494584;-74.0046212 LOCATION:Winston Wachter Fine Art\,530 West 25th Street \nNew York\, NY 100 01 SEQUENCE:0 SUMMARY:The Singles Collection\, Andreas Kocks UID:361920 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150131 DTSTAMP:20141023T164329 DTSTART:20141024 GEO:40.7354951;-73.9888793 LOCATION:Talwar Gallery - NY\,108 East 16th Street \nNew York\, NY 10003 SEQUENCE:0 SUMMARY:Jungle Tide\, Muhanned Cader UID:361917 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20141217 DTSTAMP:20141023T164329 DTSTART:20141108 GEO:40.73102;-74.0080622 LOCATION:Maccarone (Greenwich Street)\,630 Greenwich Street \nNew York\, NY 10014 SEQUENCE:0 SUMMARY:Oh Brother\, Oscar Tuazon\, Eli Hansen UID:361906 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Lesley Heller Workspace introd uces the sculpture and drawings of Brenda Garand in her fi rst New York solo exhibition\, Northern Passage. Garand is French Canadian\, Abenaki and English. This distinct personal heritage is essentia l to her work. Garand has spent years investigating the cultural links betw een the French and the indigenous peoples along the Northeastern corridor.H er work abounds with fluvial references\, not only the physical pressure of water teeming along the narrow banks of the Northern rivers\, but also the cultural pressure of merging peoples and histories.

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Her sculptures are made of a variety of materials such as s teel\, wire\, roofing paper\, fabric\, wool\, silk\, and rope. The combinat ion of these elements convey both strength and fragility\, and allude to th e traditions of fishing\, hunting\, fur-trading\, and trapping- all reinfor cing a sense of place and history.

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Ga rand&rsquo\;s titles often reflect the language and religious concepts of t he Algonquin peoples. Lac-Mé\;gantic is Abenaki- Lac\, meani ng lake and Mé\;gantic\,  \;meaning to host many fish\; Manitoulin\, means spirit island in Ojibwe.  \;The idea of the Supreme Being manifests itself in Manitou.

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Garand&rsquo\;s personal narrative is significant in the Dirge series of sculptures and her large floor sculpture\, It's Like Falling Into Water. They express the mourning her parents&rsquo\; passing\, as well as the loss of life and livelihood caused by the floods caused by Hurricane Irene in 2011. All however are imbued with optimism\, a nd of a life yet to live. Her Deluge drawings\, made with clay\, i ndia and walnut inks\, are ruminations of change. They recollect the floati ng forms she saw in the White River during the flood- known and unknown.

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Coming from a familiar sense of place\, yet unknown to the viewer\, Garand&rsquo\;s work symbolizes the adaptation s that become necessary when nature&rsquo\;s power creates challenges and f orces modification. They reflect lives that are constantly in motion\, like the rushing water near her Vermont studio door.

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Brenda Garand received her MFA in Sculpture from Queens College \, City University of New York and her BFA in Sculpture from the University of New Hampshire. \; Recent exhibitions include: Lesley Heller Workspa ce NYC Building Beauty\;National Academy Museum 183rdAnnual: An Invitational Exhibition of Contemporary American Art NYC\ ; Reeves-Contemporary 535 West 24th St\, NYC\; Honey Space \ ; Object Salon 148 11th Ave.NYC\; Wright State University Art Galleries Brenda Garand &ldquo\;Northern Fiction&rdquo\ ; Sculpture\, Dayton\, Ohio\; Spheris Gallery Hanover\, NH\;  \;Am erican Academy of Arts and Letters Invitational Exhibition of Painting and Sculpture NYC\; im n iL\, Two Ones: Brenda Garand and Betsey G arand Brooklyn NY\; Hampshire College\, Amherst MA\; A.V.C. Contempora ry Arts Gallery\, The Fuller Building\, 57th St. NYC\; 55 Mercer Gallery NY C\; The College of William and Mary\,Williamsburg VA\; and the Meguro Museu m of Art\, Tokyo\, Japan. \; Garand is the recipient of a Fulbright Gra nt to France\; a Fulbright Berlin Seminar\; The Marion and Jasper Whiting F oundation Grant to Bayeux\, France\; The Andrew W. Mellon Foundation Resear ch Grant\, New Hampshire State Council on the Arts Individual Fellowship\; Dartmouth College Senior Faculty Grant\; Vermont Artist in Residence at The Carving Studio and Sculpture Center\; and a Vermont Arts Council Individua l Artist Grant. \; Residencies include Yaddo\, Ragdale\, Dorland Mounta in Arts Colony\, Atelier Silex in Qué\;bec\, and the Pouch Cove Found ation in Newfoundland\, Canada. \; \; Garand is Full Professor of S tudio Art at Dartmouth College. Prior to this position she taught for eleve n years as an adjunct at Queens College\, City University of New York.  \; She has also taught at The Chautauqua Art Institute\, Parsons School of Design\, and The New York Studio School. She has been a visiting artist at Princeton University\, Colby College\, the Vermont Studio Center\, Universi ty of Massachusetts at Dartmouth\, University of New Hampshire\, and the Un iversity of North Alabama in Florence\, Western Connecticut State Universit y\, and Roger Williams University.

DTEND:20141206 DTSTAMP:20141023T164329 DTSTART:20141023 GEO:40.716564;-73.99075 LOCATION:Lesley Heller Workspace\,54 Orchard St \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Northern Passage\, Brenda Garand UID:361904 END:VEVENT BEGIN:VEVENT DTEND:20141023T200000 DTSTAMP:20141023T164329 DTSTART:20141023T180000 GEO:40.716564;-73.99075 LOCATION:Lesley Heller Workspace\,54 Orchard St \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Northern Passage\, Brenda Garand UID:361905 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Em ily Dickinson did it. It is considered the lowliest of art-like activities\ , only practiced by spinsters and faeries. In this case the flowers are "pr essed" into serving as new content in a post-nature constellation of beauty and longing. In the face of unavoidable decay\, they have an elegiac funct ion to perform still\, their loveliness a balm for the bitter pills we swal low. \;  \; \; \;Catherine Howe

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DTEND:20141207 DTSTAMP:20141023T164330 DTSTART:20141023 GEO:40.716564;-73.99075 LOCATION:Lesley Heller Workspace\,54 Orchard St \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Pressed Flowers\, Polly Apfelbaum\, Ross Bleckner\, Nicholas Borell i\, Mary Carlson\, Lawrence Carroll\, Ann Craven\, Julie Evans\, elizabeth glaessner\, Thomas Woodruff\, Michael Velliquette\, Simone Shubuck\, Alliso n Schulnik\, Judith Linhares\, Catherine Howe UID:361902 END:VEVENT BEGIN:VEVENT DTEND:20141023T200000 DTSTAMP:20141023T164330 DTSTART:20141023T180000 GEO:40.716564;-73.99075 LOCATION:Lesley Heller Workspace\,54 Orchard St \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Pressed Flowers\, Polly Apfelbaum\, Ross Bleckner\, Nicholas Borell i\, Mary Carlson\, Lawrence Carroll\, Ann Craven\, Julie Evans\, elizabeth glaessner\, Catherine Howe\, Judith Linhares\, Allison Schulnik\, Simone Sh ubuck\, Michael Velliquette\, Thomas Woodruff UID:361903 END:VEVENT BEGIN:VEVENT DESCRIPTION:

I want to achieve a certai n tough realism which speaks of the fascinating idiosyncrasies of our times .
&mdash\;Duane Hanson

Gagosian New York is pleased to present Duane Hanson&rsquo\;s Security Guard (1990).

In his hyper-realistic sculptures portraying working-class Americans\, Hanson eschewed the predominant Expressionist and Minimalist concerns of th e 1950s and 1960s for an unflinching investigation of the human condition. Early life-size tableaux depicting soldiers killed in action\, police bruta lity\, and the homeless confronted viewers with devastating truths largely overlooked in the art of the time.

Throughout his forty-year c areer\, Hanson&rsquo\;s uncanny sculptural likenesses of blue-collar worker s&mdash\;repairmen\, waitresses\, and bricklayers&mdash\;inhabited exhibiti on spaces eliciting surprise\, embarrassment\, amusement\, and sympathy fro m unsuspecting viewers. Although his world-weary figures owe something to P op and Photorealism\, their veracity prompted responses from viewers normal ly reserved for interactions with other living people. These sculptural ill usions\, radical in the context of their time\, anticipated the later gestu res of contemporary provocateurs such as Chris Burden\, Maurizio Cattelan\, and Fred Wilson.

The appearance of a single uniformed Sec urity Guard&mdash\;leaning against the wall of an otherwise empty stor efront gallery\, eyes fixed to the floor and shortwave radio in hand&mdash\ ;refreshes and updates the visceral experience and critical relevance of Ha nson&rsquo\;s art for our own time.

Duane Hanson was born in Alexandria\, Minnesota in 1925\, and died in Boca Raton\, F lorida in 1996. Selected solo exhibitions include Louisiana Museum of Moder n Art\, Humlebæ\;k\, Denmark (1975)\; Des Moines Art Center\, Iowa (19 77)\; Corcoran Gallery of Art\, Washington\, D.C. (1978)\; Whitney Museum o f American Art\, New York (1979)\; Kunsthaus Wien\, Austria (1992)\; Montre al Museum of Fine Arts\, Canada (1994\, traveled to Modern Art Museum of Fo rt Worth\, Texas)\; Daimaru Museum of Art\, Tokyo (1995\, traveled to Genic hiro-Inkuma Museum of Contemporary Art\, Kagawa\; and Kintetsu Museum of Ar t\, Osaka)\; Saatchi Gallery\, London (1997)\; &ldquo\;Duane Hanson\, A Sur vey of his Work from the 30's to the 90's\,&rdquo\; Museum of Art\, Fort La uderdale (1998\, traveled to Flint Institute of Arts\, Michigan\; Whitney M useum of American Art\, New York\; and Memphis Brooks Museum of Art\, Memph is\; and &ldquo\;Duane Hanson: More than Reality\, 2001\,&rdquo\; Schirn Ku nsthalle\, Frankfurt (2001\, traveled to Padiglione d'Arte Contemporanea\, Milan\; Kunsthal Rotterdam\, The Netherlands\; National Galleries of Scotla nd\, Edinburgh\; and Kunsthaus Zü\;rich).

DTEND:20141203 DTSTAMP:20141023T164330 DTSTART:20141030 GEO:40.7729097;-73.9619581 LOCATION:Gagosian Gallery @ Park & 75\,821 Park Avenue \nNew York\, NY 1002 1 SEQUENCE:0 SUMMARY:Solo Exhibition\, Duane Hanson UID:361901 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20141220 DTSTAMP:20141023T164330 DTSTART:20141101 GEO:40.774761;-73.963265 LOCATION:Gagosian Gallery - 980 Madison Ave.\,980 Madison Ave. \nNew York\, NY 10075 SEQUENCE:0 SUMMARY:Solo Exhibition\, Blair Thurman UID:361899 END:VEVENT BEGIN:VEVENT DTEND:20141101T200000 DTSTAMP:20141023T164330 DTSTART:20141101T180000 GEO:40.774761;-73.963265 LOCATION:Gagosian Gallery - 980 Madison Ave.\,980 Madison Ave. \nNew York\, NY 10075 SEQUENCE:0 SUMMARY:Solo Exhibition\, Blair Thurman UID:361900 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Gagosian Gallery is proud to a nnounce the representation of the Estate of the late Walter De Maria\, a vi tal figure in the evolution of Minimalism\, Conceptual art\, Land art\, and installation. De Maria died in July of 2013 at the age of 77.

On November 8\, the first exhibition of sculptures and works on paper from the Estate will be presented at 980 Madison Avenue. This will be the sixth exhibition of De Maria&rsquo\;s work to be held at Gagosian Gallery&rsquo\ ;s locations since 1989.

The works on view\, which date from 1 976 to 1990\, include a pair of floor sculptures from the Equal Area Se ries (1976&ndash\;90). Each of the 25 pairs in the series comprises a 7/8-inch thick\, solid stainless steel circle and square which\, despite th eir distinctive geometries\, measure nearly the same square space. \; A British racing green wall as backdrop recalls the installation of Pair num ber 19\, at the Moderna Museet\, Stockholm in 1989.

Large Rod Series: Pedestal Rods 5\, 7\, 9\, 11\, 13 (1984) comprises five hi ghly-polished solid stainless steel rods ranging from 5 to 13 sides\, place d atop individual pedestals and spaced two meters apart. This work is part of a thirteen-year span of horizontal sculptures\, beginning with The B roken Kilometer (1979)\, in which De Maria explored mathematical seque nces through the grouping of similar polygonal forms. The Pure Polygon Series (1976)\, an editioned portfolio of seven drawings executed with a stencil\, complements these sculptures. \; And\, finally\, De Maria' s prescient meditation on the incalculable reality of existence\, There exists in the Universe more than One Billion Galaxies (1988)\, will a lso be on view.

A nonprofit entity established by Larry Gagosi an\, the Walter De Maria Foundation will be dedicated to managing the late artist's rights and reproductions\, advising on curatorial matters\, and ov erseeing the preparation of a major monograph. Elizabeth Childress\, former director of the De Maria studio\, and current director of the Walter De Ma ria Collection and Archives\, commented\, &ldquo\;Walter so wished to estab lish his own foundation\, but sadly he did not accomplish this during his l ifetime. It is an important step to have this entity as both a protection a nd a promotion of his legacy.&rdquo\;

Walter De Maria< /strong> was born in 1935 in Albany\, California. He lived and worked in Ne w York from 1960 until his death in 2013. For more than five decades\, he w as a singular figure whose rigorous and visionary works changed the very pa rameters of art history. Combining precise geometry with vast scale\, his r emarkable installations gave fresh impact and new meaning to the experience of looking at art\, while enhancing and expanding the appreciation of the surrounding world. Among the eleven permanently sited installations by the artist are The New York Earth Room (1977)\, New York\; The Bro ken Kilometer (1979)\, New York\; The Lightning Field (1977)\ , New Mexico\; The Vertical Earth Kilometer (1977)\, Kassel\, Germ any\; Monument to the Bicentennial of the French Revolution 1789&ndash\ ;1989 (1989&ndash\;90)\, Assemblé\;e Nationale\, Paris\; and the Large Red Sphere (2010)\, in the Tü\;rkentor building\, Munic h.

DTEND:20141220 DTSTAMP:20141023T164330 DTSTART:20141108 GEO:40.774761;-73.963265 LOCATION:Gagosian Gallery - 980 Madison Ave.\,980 Madison Ave. \nNew York\, NY 10075 SEQUENCE:0 SUMMARY:Solo Exhibition\, Walter de Maria UID:361897 END:VEVENT BEGIN:VEVENT DTEND:20141108T200000 DTSTAMP:20141023T164330 DTSTART:20141108T180000 GEO:40.774761;-73.963265 LOCATION:Gagosian Gallery - 980 Madison Ave.\,980 Madison Ave. \nNew York\, NY 10075 SEQUENCE:0 SUMMARY:Solo Exhibition\, Walter de Maria UID:361898 END:VEVENT BEGIN:VEVENT DESCRIPTION:

An exhibition of two recent vi deo installations and photographic works by Willie Doherty will open at Ale xander and Bonin on Saturday\, October 25th .

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The Amnesiac\, 2014\, Doherty&rsquo\;s mo st recent video work\, is a 10 minute single-channel video installation whi ch extends his interest in themes of landscape and memory. The video follow s an unidentified man as he drives along a country road. His journey is int errupted by what might be a momentary lapse in concentration from the tediu m of driving\, a daydream or a rupture in the fabric of the everyday. He re turns to somewhere half remembered or half forgotten\; a reminder that trac es of past events\, whether or not visible\, remain embedded within the lan dscape.

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The video is accompanied by a group of 10 photographs\, titled Damage\, 2014\, which were made at the same location where the video was shot. The photogra phs are details of tree trunks that bear the physical markings of past acts of violence. Doherty explores the boundaries between the visible and invis ible\, past and present\, the tangible and intangible.

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Remains\, 2013 is a 15 minute si ngle-channel video installation\, first shown at Art Unlimited Basel\, and included in his retrospective UNSEEN (September 2013-January 2014) at City Factory Gallery in Derry\, Northern Ireland and currently on view at the De Pont Museum in Tilburg. Remains was made in a number of locations in Derry that have been used since the early 1970s to carry out k neecappings\, a form of punishment shooting used to control drug use and ot her forms of so called &lsquo\;antisocial behavior&rsquo\;. The ghosts of e vents past are summoned by the narrator as his recounting unearths a reposi tory of memories\, specific to the unimposing landscape\, and ultimately re veals a continuing cycle of violence\, enacted in the same locations.

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Doherty&rsquo\;s meditatio ns\, in video and photography\, on the changing political landscape of Nort hern Ireland have been a central theme of his work since 1985. With a new s eries of black and white photographs\, titled Future Fear\, made i n Derry during the summer of 2014\, Doherty returns to some of the location s that he has photographed in the past. These photographs reveal an ongoing state of unease\, a place suspended between the familiarity and comfort of violence and the anxiety and uncertainty of change.

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Willie Doherty was born in1959 in Derry\, N. Ireland and no w lives and works in County Donegal\, Republic of Ireland. In 2015 a select ion of his video works will be shown at CAM-Fundaç\;ã\;o Calous te Gulbenkian\, Lisbon. Past solo exhibitions include those at the Dallas M useum of Art (2009)\, Lenbachhaus\, Munich (2007)\, Laboratorio Arte Alamed a\, Mexico City (2006)\, the Renaissance Society\, Chicago (1999)\, and Tat e Liverpool (1998). He has participated in the Biennale di Venezia (2007\, 2005\, 1993) and the Bienal de Sã\;o Paulo (2002) and dOCUMENTA (13)\ , Kassel (2012).

DTEND:20141206 DTSTAMP:20141023T164330 DTSTART:20141025 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:The Amnesiac and other recent video and photographic works\, Willie Doherty UID:361893 END:VEVENT BEGIN:VEVENT DTEND:20141025T200000 DTSTAMP:20141023T164330 DTSTART:20141025T180000 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:The Amnesiac and other recent video and photographic works\, Willie Doherty UID:361894 END:VEVENT END:VCALENDAR