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Described as &ldquo\;The Muppet Show \;meets&nb sp\;Flight of the Concords&rdquo\; by \;Theater is Easy\, Ithai Benjamin sits on a chair much like his digital automatons. Who&r squo\;s leading who?

Recalling vaudeville ventriloquists and the ir dummies Benjamin and his robots\, who are together known as The Princes of Persuasion\, banter between songs as if they were jamming in their living room. \;

The Princes of Persuasion w ill play a 30-minute set followed by a short talk by Benjamin about his pup petry practice. \;


Ithai Benjamin&nbs p\;is a New York City based composer\, performer and engineer. He makes dol ls\, puppets\, robots\, colorful instruments\, and interactive installation s and uses technology and animation to tell stories that are otherwise impo ssible to tell. His work has been published in \;Make Magazine  \;and the book \;Handmade Electronic Music. His band of r obotic puppets \;The Princes of Persuasion \;have performed a t Exit Art\, The Tank\, 2010 New York Fringe Festival\, Cameo Gallery\, 92Y Tribeca\, and more. Ithai teaches the class "Puppets and Performing Objects " at NYU's Interactive Telecommunications Program. \;- See more at: htt p://apexart.org/events/princes-of-persuasion.php#sthash.qQ9NBBg3.dpuf

DTEND:20150506T200000 DTSTAMP:20150427T091112 DTSTART:20150506T190000 GEO:40.719022;-74.004432 LOCATION:Apexart\,291 Church Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:The Princes of Persuasion\, Ithai Benjamin UID:381943 END:VEVENT BEGIN:VEVENT DESCRIPTION:

NURTUREart is pleased to present \;What It Was\ , curated by Project Curate with Adam Parker Smith\, and featuring artists& nbsp\;Avantika Bawa\, Brent Birnbaum\, Wyatt Burns\, Stephanie Dink ins\, Patrick Mohundro\, \;and \;Scott Rogers.

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What It Was \;asks us to \;confront \;ou r \;pasts \;and explore \;the potential of alternate and plural futures. In \;predicting \;what role art will have in our \;ow n lives \;and the \;lives of others\, we wonder: \;where will t he \;future be?

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Part of NURTUREart&rsquo\;s Education Program\, Project Curate provides a class of students from Juan Morel Campos \;H igh School an opportunity to experience contemporary curatorial \;pract ices by working closely with a professional curator for the entire \;sc hool year\, culminating with an exhibition at NURTUREart Gallery. \;Thi s year their mentor was artist and curator Adam Parker Smith.

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NURTU REart&rsquo\;s \;Education Program \;is \;dedicated t o \;nurturing and enriching the next generation with its unique arts&nb sp\;programs that connect practicing professional artists and curators  \;with students and teachers.

DTEND:20150529 DTSTAMP:20150427T091112 DTSTART:20150508 GEO:40.7060542;-73.9334513 LOCATION:NURTUREart Gallery\,56 Bogart Street \nBrooklyn \, NY 11206 SEQUENCE:0 SUMMARY:What It Was\, Avantika Bawa\, Brent Birnbaum\, Wyatt Burns\, Stepha nie Dinkins\, Patrick Mohundro\, Scott Rogers UID:381933 END:VEVENT BEGIN:VEVENT DTEND:20150508T210000 DTSTAMP:20150427T091112 DTSTART:20150508T190000 GEO:40.7060542;-73.9334513 LOCATION:NURTUREart Gallery\,56 Bogart Street \nBrooklyn \, NY 11206 SEQUENCE:0 SUMMARY:What It Was\, Avantika Bawa\, Brent Birnbaum\, Wyatt Burns\, Stepha nie Dinkins\, Patrick Mohundro\, Scott Rogers UID:381934 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Dan Finsel is a hypothetical s ituation within a force field of sadness. His deepest concern is to complet ely deny himself any chance at self-expression. Finsel's discipline is comp lete personal humiliation. Finsel's production behavior follows a chiastic structure driven by his symmetrical interpretation of methods of presentati onal and representational acting. Finsel is method acting art\, with art be ing action\, and this action taken under the circumstances of being Dan Fin sel\, a device utterly removed from direct responsibility. If Finsel were t o commit a crime while acting\, he could not in good faith be found guilty\ , just as an actor in a film cannot be prosecuted for crimes committed onsc reen. In anticipation of such an event\, Finsel has applied to many state a nd federal prisons for studio residencies\, but none have accepted him\, be cause he is too pathetic. When Finsel urinates\, he always sits down\, but with a nice book. His bladder has been acting up due to an onset embodiment of Tycho Brahe\, in which he held his urine for a full week prior to a stu dio visit with this gallery. For five years\, Finsel left the art world and traveled to Florence\, Italy\, where he avoided public exhibitions and was an apprentice to a shoemaker. In 2015\, Finsel returned\, with the art wor ld looking as sorry as ever\, and Finsel ready to fit right in\, azotemia n otwithstanding.

DTEND:20150531 DTSTAMP:20150427T091112 DTSTART:20150426 GEO:40.7157124;-73.9877915 LOCATION:Ramiken Crucible\,389 Grand Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Solo Exhibition\, Dan Finsel UID:381910 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Aicon Gallery New York  \;is delighted to invite you to the upcoming exhibition of th e work of \;Rasheed Araeen\, a pioneering artist and v oice for non-Western interpretations of Minimalist and Conceptual art from the 1960s to the present. \;The exhibition spans Araeen's oeuvre from h is beginnings to the present day and includes many of his earliest and most iconic sculptures as well as a group of increasingly complex visual constr uctions comprising his current practice.

DTEND:20150606 DTSTAMP:20150427T091112 DTSTART:20150507 GEO:40.7268368;-73.9929619 LOCATION:AICON GALLERY - New York\,35 Great Jones Street \nNew York\, NY 10 012 SEQUENCE:0 SUMMARY:Minimalism Then and Now 1960 - Present\, Rasheed Araeen UID:381865 END:VEVENT BEGIN:VEVENT DTEND:20150507T200000 DTSTAMP:20150427T091112 DTSTART:20150507T180000 GEO:40.7268368;-73.9929619 LOCATION:AICON GALLERY - New York\,35 Great Jones Street \nNew York\, NY 10 012 SEQUENCE:0 SUMMARY:Minimalism Then and Now 1960 - Present\, Rasheed Araeen UID:381866 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20131024T200000 DTSTAMP:20150427T091112 DTSTART:20131024T180000 GEO:40.7498123;-74.0035012 LOCATION:Rush Arts Gallery\,526 W.26th St. Suite 311\nNew York\, NY 10001 SEQUENCE:0 SUMMARY:150\, Sandra Koponen UID:381833 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20131102 DTSTAMP:20150427T091112 DTSTART:20131024 GEO:40.7498123;-74.0035012 LOCATION:Rush Arts Gallery\,526 W.26th St. Suite 311\nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Curate NYC Top 150\, Sandra Koponen UID:381749 END:VEVENT BEGIN:VEVENT DTEND:20131024T200000 DTSTAMP:20150427T091112 DTSTART:20131024T180000 GEO:40.7498123;-74.0035012 LOCATION:Rush Arts Gallery\,526 W.26th St. Suite 311\nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Curate NYC Top 150\, Sandra Koponen UID:381750 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150620 DTSTAMP:20150427T091112 DTSTART:20150507 GEO:40.7476678;-74.0057379 LOCATION:Yancey Richardson Gallery\,525 W. 22nd St. \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Feels Like Real\, Matthew Jensen UID:381699 END:VEVENT BEGIN:VEVENT DTEND:20150507T200000 DTSTAMP:20150427T091112 DTSTART:20150507T180000 GEO:40.7476678;-74.0057379 LOCATION:Yancey Richardson Gallery\,525 W. 22nd St. \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Feels Like Real\, Matthew Jensen UID:381700 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Ignis Fatuus \;is an atmospheric\, phosphoresce nt light seen by travelers at night\, especially over swamps or marshes.&nb sp\;It is said to recede if approached\, drawing travelers away from the sa fe path. \;It was an object of inspiration for many artists and writers of the romantic era\, such as Arnold Bö\;cklin\, Gustave Doré\;\ , Goethe\, as well as contemporary writers such as Cormac McCarthy\, among others.

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&ldquo\;I thought it was a great metaphor for having faith in the creative process. The mysterious numinous light (even if sometimes i t feels foolish!) leads you off the predetermined path into unknown territo ry. \;My process is always open ended and speculative\, so the work con tinually unfolds and shifts directions until a certain image forms out of c omplexity\, out of the friction between different ways of drawing and imagi ning representation.&rdquo\; (Karpov)

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Pierogi is pleased to present an exhibition of recent works on paper by Darina Karpov. Karpov works on b oth canvas and paper and often alternates between the two. After working on a series of paintings she prefers to return to paper in order to find rene wal. This show is a kind of homage to her earlier work\, expanding on some of the themes and techniques that she has touched on since 2007\, and inclu des both large and small-scale drawings. This will be Karpov&rsquo\;s fifth one-person exhibition with the gallery.

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As in her early work\, the re are many references to nature and the body. &ldquo\;I try to refashion v arious elements from flora and fauna &ndash\; shapes and forms that are fer tile and vivacious\, but also impermanent &ndash\; \;at times mutating into something with darker associations.&rdquo\; In this new work\, Karpov has begun abstracting \;elements that have become internalized \;ov er the years:  \;forms such as ropes\, \;stringing \;tentacles\ , tree branches\, crystals\, vegetation\, and organisms\, revealing a more dramatic tension between spontaneity and control.

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In a reflection o f her serendipitous creative process\, Karpov often works in a panoramic fo rmat\, or joins several sheets of paper to make diptychs\, triptychs\, et c etera. In this way\, her work develops as a chain of events through time in a continuous sequence &ndash\; cinematically\, narratively &ndash\; as she is often influenced by her passion for film and literature. \;For this exhibition\, she will expand upon this idea by filling a long narrow vitri ne in Gallery 2 with a selection of small format drawings\, sketches\, and collages\, in an overlapping sequence.

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&ldquo\;To me drawing forms out of the contact between pencil or brush and the surface of the paper. It &rsquo\;s a \;continuous weaving of thought\, images\, fantasies\, and dreams which \;seem to emerge out of a semi-conscious state\, from some zone where human and animal\, past and future\, interior and exterior\, ar e still undifferentiated and are part of the same fabric. \;This very e ssential activity helps me tap into my personal mythology\, to discover sto ries and characters.&rdquo\; (Karpov)

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Karpov has also begun incorpo rating text into her works. In some instances it is readable and comes from poetry\, or what she happens to be listening to while working. \;Howev er\, in works such as \;&ldquo\;Detours and Pitfalls&rdquo\; and &ldquo \;Geryon\,&rdquo\; she incorporates intentionally undecipherable writing &n dash\; \;asemic writing &ndash\; as she is \;grafting a kind of cod e or mantra\, using letterforms as a structural element.

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Karpov was born in St. Petersburg\, Russia and currently lives and works in Brooklyn\ , NY. She studied fine art in St. Petersburg before moving to the United St ates where she received an MFA from Yale University and a BFA from the Mary land Institute College of Art. Her work is included in numerous permanent c ollections\, has been exhibited widely\, and has been included in such publ ications as &ldquo\;Frozen Dreams: Contemporary Art from Russia&rdquo\; (Th ames &\; Hudson). She is a recipient of Yaddo and MacDowell Residencies.

DTEND:20150607 DTSTAMP:20150427T091112 DTSTART:20150508 GEO:40.7185463;-73.9558733 LOCATION:Pierogi\,177 North 9th Street \nBrooklyn\, NY 11211 SEQUENCE:0 SUMMARY:Ignis Fatuus: Works on Paper\, Darina Karpov UID:381697 END:VEVENT BEGIN:VEVENT DTEND:20150508T210000 DTSTAMP:20150427T091112 DTSTART:20150508T190000 GEO:40.7185463;-73.9558733 LOCATION:Pierogi\,177 North 9th Street \nBrooklyn\, NY 11211 SEQUENCE:0 SUMMARY:Ignis Fatuus: Works on Paper\, Darina Karpov UID:381698 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150620 DTSTAMP:20150427T091112 DTSTART:20150509 GEO:40.7469616;-74.0063805 LOCATION:Tanya Bonakdar Gallery\,521 W. 21st St. \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Solo Exhibition\, Rivane Neuenschwander UID:381695 END:VEVENT BEGIN:VEVENT DTEND:20150509T200000 DTSTAMP:20150427T091112 DTSTART:20150509T180000 GEO:40.7469616;-74.0063805 LOCATION:Tanya Bonakdar Gallery\,521 W. 21st St. \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Solo Exhibition\, Rivane Neuenschwander UID:381696 END:VEVENT BEGIN:VEVENT DESCRIPTION:

STUX + HALLER is pleased to an nounce the opening of EYES ONLY\, a group exhibition of photographs by Orla n\, \;Halim Al Karim\, Josef Fischnaller\, Ruud Van Empel\, and Lydia V enieri. These photographs stare back at us\, \;serving as a permanent d ocumentation of what might otherwise be classified memory.

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EYES ONLY explores questions of sight\, self\, war\, trauma\, and memory. The five artists participating in this show \;flue ntly articulate the jarring and expressive impact of the gaze. These artist s relay a varying spectrum of artistic \;messages\, but they are all un flinching in their art. In their contrasts\, we find the commonality of the gaze.

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The eyes are both windows and shutters to the soul. In observing each other and ourselves\, the eyes allo w us to \;construct the photographic storyline of our past and present. We visualize the future while witnessing the present. \;

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Optical perception immediately becomes memory. How we perceive warps what we see and how we remember. \;EYES ONLY feature s work by Orlan from her Re-Figuration / Self-Hybridization Pre-Columbian s eries. Her foray \;into the infinite permutations of the self is an end uring feminist commentary on rituals and expectations of \;beautificati on. Halim al Karim isolates the eyes to expose the stark reality of the dev astating wars in the Middle \;East\, pushing the viewer to empathize an d reflect upon the witnesses of tragedy. Josef Fischnaller playfully \; recycles historical portraiture\, photographing the present looking into th e past\, making us smile in recognition of this \;continuum. Ruud Van E mpel digitally paints with photographs often creating composite adolescents with the eyes \;of many\, allowing us to observe an invented psychosoc ial humanity\, critiquing representations of adolescence\, \;race\, and gender. Lydia Venieri harnesses the reflective eye itself to reveal the li ngering effects of trauma and \;calamity upon the societal psyche\, res urrecting images of tragedy that the world might rather enshroud in secrecy .

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The eyes in these photographs are p iercing\, calming\, deceptive\, unnerving\, and revelatory. Each of these a rtists \;utilize the gaze to strip away farce and force the viewer to c onfront the subject\, creating art FOR THE EYES ONLY \;of those who wis h to travel between the world and the mind\, to delve into the societal sec rets held within the gaze. \;

DTEND:20150606 DTSTAMP:20150427T091112 DTSTART:20150429 GEO:40.7632792;-73.9756657 LOCATION:Stux + Haller\,24 West 57th Street \nNew York\, NY 10019 SEQUENCE:0 SUMMARY:Eyes Only\, ORLAN\, Halim Al Karim\, Josef Fischnaller\, Ruud Van E mpel\, Lydia Venieri UID:381693 END:VEVENT BEGIN:VEVENT DTEND:20150429T200000 DTSTAMP:20150427T091112 DTSTART:20150429T183000 GEO:40.7632792;-73.9756657 LOCATION:Stux + Haller\,24 West 57th Street \nNew York\, NY 10019 SEQUENCE:0 SUMMARY:Eyes Only\, ORLAN\, Josef Fischnaller\, Halim Al Karim\, Ruud Van E mpel\, Lydia Venieri UID:381694 END:VEVENT BEGIN:VEVENT DESCRIPTION:

STUX + HALLER is plea sed to announce the opening of LINDA STOJAK: Waiting for a Mome nt\, her 16th solo exhibition with Stephen Haller and her fir st at the new STUX + HALLER 24 West 57th Street gallery space.

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Guggenheim Award-winning artist Linda Sto jakʼs paintings are intrinsically characterized by their disquieti ng grace.

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Stojakʼs women deal with is sues of power and identity. Her sensually gestural technique creates a surf ace that is at once velvet and stone\, a translation of portraiture into co nceptual expressions of form and transience.

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In the words of critic Michael Amy: &ldquo\;Her figures offer a rem arkable evocation of our very lives." He goes on to say that Stojakʼs paint ings give &ldquo\;the illusion of almost intangible flesh\, as open as a wo und.&rdquo\; He described the &ldquo\;flesh-like surfaces of her pictures&r dquo\; as &ldquo\;rich epidermises filled with the history of their own gen eration.&rdquo\;

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Stojakʼs work consis ts most frequently of a solitary figure emerging from a contrasting ground\ , a field of relentless palette-knife-wide strokes of oil paint obsessively worked and reworked until the brushstroke itself becomes the search for me aning. Her paintings have been called &ldquo\;psychological self-portraits. &rdquo\; \;

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One is aware of a his tory in these suggestions of portraits by Stojak - a history of "all that f lesh is heir to." Yet it is a captivating sense of dignity\, power\, and a profound presence that make Stojakʼs figures so riveting in their solitude\ , protected and nurtured by the empty space they inhabit.

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Famed for the obsessive reworking of her canvases\, St ojak is a less prolific painter. She endlessly engages with each image\, wo rking and reworking\, adding and erasing\, translating her emotional stages using the brush and paint as her conduit to ensnare one moment in time. St ux + Haller is proud to present this remarkable selection of Linda Stojak's work.

DTEND:20150606 DTSTAMP:20150427T091112 DTSTART:20150429 GEO:40.7632792;-73.9756657 LOCATION:Stux + Haller\,24 West 57th Street \nNew York\, NY 10019 SEQUENCE:0 SUMMARY:Waiting for a Moment\, Linda Stojak UID:381691 END:VEVENT BEGIN:VEVENT DTEND:20150429T200000 DTSTAMP:20150427T091112 DTSTART:20150429T173000 GEO:40.7632792;-73.9756657 LOCATION:Stux + Haller\,24 West 57th Street \nNew York\, NY 10019 SEQUENCE:0 SUMMARY:Waiting for a Moment\, Linda Stojak UID:381692 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Sean Kelly is delighted to ann ounce \;From Düsseldorf\, \;a solo exhibition of recent w ork by prominent German photographer Candida Höfer. This will be Höfer&rs quo\;s first exhibition with the gallery and her first exhibition in New Yo rk since 2013. An opening reception will take place on Thursday May 7 from 6:00 to 8:00pm\, the artist will be present.

On view for the fir st time in the United States\, the photographs presented in this exhibition were all taken in Düsseldorf\, Germany &mdash\; the city where Höfer fir st studied photography under Bernd and Hilla Becher and which\, to this day \, remains an important influence on her work. In the mid 70s\, Höfer and her peers at the exalted Kunstakademie\, known as The Düsseldorf School of Photography\, created one of the most remarkable artistic movements in Ger many since the Bauhaus. In the years following\, Höfer has continued to ph otograph Düsseldorf with a fresh eye\, revealing an entirely new\, and une xpected\, minimalist direction in her work.

Alongside the meticu lously composed\, large-scale\, color images of interiors for which Höfer is known\, the exhibition presents photographs from the artist&rsquo\;s rem arkable new body of work. Höfer&rsquo\;s latest compositions focus primari ly on architectural detail and structure\, color and form\, utilizing extre me angles and close-ups to interrogate abstract forms. These fascinating ne w images juxtaposed against the Baroque churches\, Rococo halls\, and Moder n opera houses\, quintessentially representative of Höfer&rsquo\;s oeuvre\ , create an exciting visual dialogue that explores the past\, present\, and future of both the city and the artist.

Höfer's internationall y recognized work has been exhibited in solo exhibitions at the Kunsthalles in Basel and in Berne\, the Museum Folkwang in Essen\, the Louvre in Paris \, the Irish Museum of Modern Art\, Dublin\, Museum Kunst Palast in Dusseld orf and\, most recently\, at the Kunstmuseum Luzerne. Her work has also app eared in group exhibitions at The Museum of Modern Art\, New York\; the Pow er Plant\, Toronto\; Kusthaus Bregenz\; Museum Ludwig\, Cologne\; the Gugge nheim Museum\, Bilbao\; and Documenta XI\, Kassel. Höfer represented Germa ny at the 2003 Venice Biennale. Her photographs are in major public and pri vate collections worldwide.

Candida Höfer: Düsseldorf\, \;a monograph published by Richter | Fey Verlag in collaboration wit h the Kunst Palast\, Düsseldorf\, will be available at the gallery during the exhibition.

DTEND:20150620 DTSTAMP:20150427T091113 DTSTART:20150508 GEO:40.755986;-73.99822 LOCATION:Sean Kelly Gallery\,475 Tenth Ave \nNew York\, NY 10018 SEQUENCE:0 SUMMARY:From Düsseldorf\, Candida Höfer UID:381689 END:VEVENT BEGIN:VEVENT DTEND:20150507T200000 DTSTAMP:20150427T091113 DTSTART:20150507T180000 GEO:40.755986;-73.99822 LOCATION:Sean Kelly Gallery\,475 Tenth Ave \nNew York\, NY 10018 SEQUENCE:0 SUMMARY:From Düsseldorf\, Candida Höfer UID:381690 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Artist Statement:
I am co nsistently compelled to shoot photographs when presented with two very diff erent subjects and/or situations: 1) humans (including myself) in a heighte ned emotional state\, and 2) natural landscapes which instill a feeling of calm within me. Neither are static things created in a studio setting\; bot h are organically occurring "movements" (people are in a constant stage of change\, and even landscapes differ in appearance from second to second wit h light\, wind\, waves\, etc.). I merely capture these movements when the o pportunity arises. My shooting methods for these two types of photographs a re polar opposites\; quick and spontaneous for human subjects\, slow and me ticulous for landscapes. As a writer and musician I create with specific in tent-- I wish to clearly convey some point I deem important or strong emoti on I am feeling with my words and songs. My approach to photography is very different-- the act of photographing is a striving for balance within me\, an attempt to learn to be a bit more objective about the world and my plac e within it. Camera in hand\, I train myself to mentally and emotionally sl ow down\, step outside an unfolding situation\, and capture the actuality o f it without injecting my own very subjective views of what it should be. W hile I edit my photos to suit my personal aesthetic (I primarily enjoy blac k and white images)\, the meaning of these photos becomes apparent to me on ly in hindsight-- I did not create them\, I just took the time to notice an d capture what was already there.

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Ric hmond\, Virginia\, resident D. Randall Blythe is the singer of the internat ionally renowned band lamb of god\, the author of the forthcoming memoir Da rk Days (to be published July 2015 by Perseus/DaCapo books in the USA\, and Random House in the UK and associated territories)\, is a music critic at the highly acclaimed \;www.thetalkhouse.com\, has acted in movies filmed in America and Asia\, and periodically composes music for th e Richmond Ballet..

DTEND:20150530 DTSTAMP:20150427T091113 DTSTART:20150502 GEO:40.719541;-74.001323 LOCATION:Sacred Gallery NYC\,424 Broadway 2nd Floor\nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Show Me What You're Made Of\, D Randall Blythe UID:381687 END:VEVENT BEGIN:VEVENT DTEND:20150502T230000 DTSTAMP:20150427T091113 DTSTART:20150502T200000 GEO:40.719541;-74.001323 LOCATION:Sacred Gallery NYC\,424 Broadway 2nd Floor\nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Show Me What You're Made Of\, D Randall Blythe UID:381688 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150523 DTSTAMP:20150427T091113 DTSTART:20150429 GEO:40.7515661;-74.0041872 LOCATION:Phoenix Gallery\,548 West 28 Street Suite 528\nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Group Exhibition\, Pam Ader\, Winn Rea\, Myra Eastman\, Harriet Gol dstein UID:381681 END:VEVENT BEGIN:VEVENT DTEND:20150430T200000 DTSTAMP:20150427T091113 DTSTART:20150430T180000 GEO:40.7515661;-74.0041872 LOCATION:Phoenix Gallery\,548 West 28 Street Suite 528\nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Group Exhibition\, Pam Ader\, Myra Eastman\, Harriet Goldstein\, Wi nn Rea UID:381682 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Walking on the street in a cit y lets you see people who are likely to be emotionless as if all four seaso ns are frozen and just cold. There is no truth in people's eyes. We have lo st our genuine emotional expressions and have allowed ourselves to become m ore artificial because we want to protect ourselves while living in an ambi guous and unpredictable life. I miss the real faces hidden under those emot ionless or covered faces. So I paint the face\, which may have disappeared and again appeared\, dimly vanished as I blink my eyes.. \;

www.leehyunkim.com

DTEND:20150523 DTSTAMP:20150427T091113 DTSTART:20150429 GEO:40.7515661;-74.0041872 LOCATION:Phoenix Gallery\,548 West 28 Street Suite 528\nNew York\, NY 10001 SEQUENCE:0 SUMMARY:hoW aM I – ?\, Leehyun Kim UID:381679 END:VEVENT BEGIN:VEVENT DTEND:20150430T200000 DTSTAMP:20150427T091113 DTSTART:20150430T180000 GEO:40.7515661;-74.0041872 LOCATION:Phoenix Gallery\,548 West 28 Street Suite 528\nNew York\, NY 10001 SEQUENCE:0 SUMMARY:hoW aM I – ?\, Leehyun Kim UID:381680 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150620 DTSTAMP:20150427T091113 DTSTART:20150509 GEO:40.7443935;-74.0059535 LOCATION:Petzel Gallery\,456 W 18th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Regeneratrix\, Keith Edmier UID:381677 END:VEVENT BEGIN:VEVENT DTEND:20150509T200000 DTSTAMP:20150427T091113 DTSTART:20150509T180000 GEO:40.7443935;-74.0059535 LOCATION:Petzel Gallery\,456 W 18th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Regeneratrix\, Keith Edmier UID:381678 END:VEVENT END:VCALENDAR