Corina Reynolds presents &ldquo\;Northwestern Expansion\,&rd quo\; an installation for Open Source Gallery.


When explorers in th e 1400&prime\;s patiently waited through harsh winters with their ships som etimes frozen in place during their search for the Northwest Passage\, they were making progress while waiting. The occupants of a waiting room are no t explorers\, per say\, but they are making progress towards a goal while i n a state of pause&mdash\;every second they get closer to their destination .


&ldquo\;Northwestern Expansion&rdquo\; is an immersive installati on examining the act of waiting in pursuit of one&rsquo\;s goals. Reynolds recreates a waiting room and executive office from the Northwestern section of the Jacob K. Javits Federal Building in Manhattan\, which is home to th e Social Security Administration\, New York City Immigration\, and many oth er government offices. In her installation\, Open Source&rsquo\;s main gall ery becomes a container that holds a &ldquo\;core sample&rdquo\; of the Jav its building&rsquo\;s 31st floor. Reynolds uses the search for the Northwes t Passage\, a northern trade route from the Atlantic to the Pacific Ocean\, as well as traditional waiting rooms as a metaphor for the waiting we do d aily. These acts of waiting in office buildings\, like the icy search for t he Northwest Passage\, are motivated by money\, prestige\, and exchange. Th rough carefully controlled light\, surface\, space\, and typical waiting ro om furnishings such as vinyl flooring\, industrial carpeting\, service coun ters\, and office chairs\, Reynolds puts the viewer in intermission\, evoki ng the experience of waiting and allowing individuals to examine their own ambitions.


Corina Reynolds is an artist who works with installation \, video\, and performance. Her immersive works invite the viewer to experi ence the hierarchies present every day in society. She earned her BFA from San Diego State University her MFA from the Cranbrook Academy of Art and in 2012 co-founded Small Editions\, an artist book studio and press in Brookl yn. In 2011\, Reynolds was an artist-in-residence at the Wassaic Project in New York. From 2011-2013\, she taught courses in bookbinding and artist bo ok publication at the Interlochen Center for the Arts. Reynolds has exhibit ed across the U.S. in New York\, Michigan\, Iowa\, and California.

DTEND:20141101 DTSTAMP:20140930T180721 DTSTART:20141011 GEO:40.6623377;-73.9890539 LOCATION:Open Source Gallery\,306 17th street \nNew York\, NY 11215 SEQUENCE:0 SUMMARY:Northwestern Expansion\, Corina Reynolds UID:359063 END:VEVENT BEGIN:VEVENT DTEND:20141011T210000 DTSTAMP:20140930T180721 DTSTART:20141011T190000 GEO:40.6623377;-73.9890539 LOCATION:Open Source Gallery\,306 17th street \nNew York\, NY 11215 SEQUENCE:0 SUMMARY:Northwestern Expansion\, Corina Reynolds UID:359064 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Few places continue to enthrall us like Paris and the rich l egacy of the artists who made the &ldquo\;City of Light&rdquo\; their home. Together\, these artists\, including the well-known leaders of French impr es- sionism&mdash\;Claude Monet\, Pierre Auguste Renoir\, Camille Pissarro& nbsp\;and Alfred Sisley&mdash\;came to define 19th-century Parisian moder- nity\, bringing to life the cafeĢs\, city streets\, and brightly lit seasid e resorts of the French capital and its environs. \;Renoir to Chagall: Paris and the Allure of Color \;showcases 55 masterpieces from the reno wned collection of the Dixon Gallery and Gardens.

DTEND:20150111 DTSTAMP:20140930T180721 DTSTART:20141011 GEO:27.9495729;-82.4615801 LOCATION:Tampa Museum of Art\,120 Gasparilla Plaza \nTampa\, Florida 33602 SEQUENCE:0 SUMMARY:Renoir to Chagall: Paris and the Allure of Color UID:358971 END:VEVENT BEGIN:VEVENT DTEND:20141011T170000 DTSTAMP:20140930T180721 DTSTART:20141011T110000 GEO:27.9495729;-82.4615801 LOCATION:Tampa Museum of Art\,120 Gasparilla Plaza \nTampa\, Florida 33602 SEQUENCE:0 SUMMARY:Renoir to Chagall: Paris and the Allure of Color UID:358972 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Zieher Smith &\; Horton \;inaugurate their collaborat ion with a survey spanning over 20 years featuring 75 drawings\, books and objects by French artist \;Philippe Weisbecker. Ranging from structural peculiarities to gravestones to objects of interior design and what the ar tist aptly dubs &ldquo\;workshop utilities\,&rdquo\; his renderings serve a s an elaborate platform for the visual Flaneur whose practice is informed b y decades of careful study of the history of art\, design\, architecture an d the persistent act of making in multiple media.

Working princi pally on careworn\, antique paper\, Weisbecker&rsquo\;s eye for the local i s informed by a deep understanding of the strange and the useful\, evoking from them a sophisticated simplicity. Weisbecker has said &ldquo\;When I go to a new town\, I don&rsquo\;t go to the art museum\; I go to the hardware store.&rdquo\; Far from utilitarian\, however\, the drawings themselves ar e collapsed essences of the forms they depict.

In one series\, t itled &ldquo\;Structures Elementaire\,&rdquo\; Weisbecker summons Sol LeWit t by way of flattened radio towers created with a hand-made soft edge and w armth that turns fact into epiphany. Indulgent and elemental\, the vibe app roaches worship. Steeped in Minimalism and Art Brut\, Weisbecker manages to find a way for the two disparate strains to comfortably commingle.
Evoking those tricky interstices\, the artist writes &ldquo\;I like the way the object&hellip\; passes from three to two dimensions\, the dimensio ns of the support. The object no longer has any protruding angles or sides to allow my mind to apprehend or examine it. In the space between its carap ace\, which offers itself to view\, and its support\, from which it is now indissociable\, resides all its mystery.&rdquo\;

Born in 1942\,& nbsp\;Philippe Weisbecker \;was raised in France. From 1966 to 1968 he lived in Tunisia and lived in New York City from 1968 until 2006. He now di vides his time between Barcelona and Paris. He has exhibited and published widely in the United States\, France\, Japan\, Spain\, Belgium and Italy. T his is his first exhibition with the gallery.

DTEND:20141004 DTSTAMP:20140930T180721 DTSTART:20140904 GEO:40.74612;-74.006804 LOCATION:Zieher Smith & Horton\,516 West 20th Street \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Solo Exhibition\, Philippe Weisbecker UID:358932 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20141129 DTSTAMP:20140930T180721 DTSTART:20141004 GEO:40.747346;-74.006007 LOCATION:Matthew Marks Gallery - 526 W. 22nd St.\,526 W 22nd St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:A Drawing Show UID:358931 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Fredericks &\; Freiser \;is pleased to present an exhibition of new work by \;David Humphrey. \;The artist will exhibit painting and sculpture that continue his method of developing images from the public realm into imaginative hybrids of the social and eccentrically individual\, the historic and vividly conte mporary.

Work and Play \;elaborates themes of looki ng\, making\, and imagining. Humphrey's subjects disassemble and reorganize themselves within his psychologically charged spaces. Spontaneous gestures cavort with photo-mechanically derived images\, promiscuous abstract shape s and animals to tell stories of consciousness set loose into a world of ob jects and resistant matter. \;

About the Artist
David Humphrey
 \;(b. 1955) lives and works in New York. He ha s had solo exhibitions at the McKee Gallery\, New York\, Sikkema Jenkins &a mp\; Co\, New York\, Fredric Snitzer Gallery\, Miami\, and the Contemporary Art Center\, Cincinnati. His work is in many public collections including the Walker Art Center\, Minneapolis\, The Metropolitan Museum of Art\, New York\, and The Carnegie Museum of Art\, Pittsburgh. He is currently teachin g in the MFA programs of Columbia and the University of Pennsylvania. An an thology of his art writing\, titled \;Blind Handshake\, \; was published in 2010. This is his second solo exhibition at Fredericks &am p\; Freiser.

DTEND:20141108 DTSTAMP:20140930T180721 DTSTART:20141009 GEO:40.7490583;-74.0055472 LOCATION:Fredericks & Freiser\,536 W 24th St. \nNew York\, NY SEQUENCE:0 SUMMARY: Work and Play\, David Humphrey UID:358929 END:VEVENT BEGIN:VEVENT DTEND:20141009T200000 DTSTAMP:20140930T180721 DTSTART:20141009T180000 GEO:40.7490583;-74.0055472 LOCATION:Fredericks & Freiser\,536 W 24th St. \nNew York\, NY SEQUENCE:0 SUMMARY: Work and Play\, David Humphrey UID:358930 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20141129 DTSTAMP:20140930T180721 DTSTART:20141008 GEO:40.75111;-74.004475 LOCATION:Flomenhaft Gallery\,547 W.27th St. Suite 200\nNew York\, NY 10001 SEQUENCE:0 SUMMARY:The Fabric of America\, Emma Amos\, Romare Bearden\, Siona Benjamin \, Beverly Buchanan\, Rimma Gerlovina\, Roger Shimomura\, Jaune Quick-To-Se e Smith\, Flo Oy Wong\, Valeriy Gerlovin UID:358927 END:VEVENT BEGIN:VEVENT DTEND:20141023T200000 DTSTAMP:20140930T180721 DTSTART:20141023T180000 GEO:40.75111;-74.004475 LOCATION:Flomenhaft Gallery\,547 W.27th St. Suite 200\nNew York\, NY 10001 SEQUENCE:0 SUMMARY:The Fabric of America\, Emma Amos\, Romare Bearden\, Siona Benjamin \, Beverly Buchanan\, Valeriy Gerlovin\, Rimma Gerlovina\, Roger Shimomura\ , Jaune Quick-To-See Smith\, Flo Oy Wong UID:358928 END:VEVENT BEGIN:VEVENT DESCRIPTION:

I don&rsquo\;t feel the same anymore.
I feel new. I do n&rsquo\;t know how to describe the sensation.
Do you?
Can you feel how I feel?
Is really the sole purpose of emotions the survival of a gene pool? The ultimate bonding gel.
Through the screen\, can yo u tell how I feel? My voice\, do I sound nervous or happy?
Can one le arn new feelings? A new type of anger\, with a hint of pride\, a new breed of painless
Can you teach me how to feel\, because I lost touch?
It&rsquo\;s like something recently severed\, and emotions are drifting inside of me.
When I was a little boy\, I put myself in oth er's shoes. I would mimic people around me\,
copy the way they walked \, the way they sat or spoke. It would open a window into their minds.
Empathic machines are coming\, like children\, learning.
Will I be able to outsource my feelings to emobots one day. I wouldn't have to deal w ith shitty
emotions anymore. Let the emobots process my crappy moods and re-infuse my body with good vibes.
If emotionomic s is to become a reality\, would I ever be able to purchase a meal with the
sensation of freedom that permeates through me today? Pay with a con fused transactional smile.
This is personal\, and it&rsquo\;s not. It&rsquo\;s all transparent. Let&rsquo\;s put our feelings on the table .
Antoine Catala (born in 1975\, Toulouse France) lives and works in New York and has exhibited
extensively both in the US and abroad. Rec ent solo exhibitions include: Heavy Words\, curated by
Florence Derie ux at Peep-Hole\, Milan (2014) and Image Families\, curated by Linus Elmes at
UKS\, Oslo (2013). His work has also been included in Archeo\, cur ated by Cecilia Alemani\, High
Line\, New York\, NY\; Meanwhile...Sud denly and Then\, 12 Biennale de Lyon\, France curated
by Gunnar B. Kv aran\; ProBio\, organized by Josh Kline\, EXPO 1: New York\, MoMA PS1\, New
York\, NY\; Empire State\, curated by Alex Gartenfeld and Norman Ros enthal\, Palazzo delle
Esposizioni\, Rome\, Italy and Puddle\, pothol e\, portal\, co-curated by Ruba Katrib and Camille
Henrot\, Sculpture Center\, Long Island City\, NY\, opening in October.

DTEND:20141102 DTSTAMP:20140930T180721 DTSTART:20140928 GEO:40.7174289;-73.9921681 LOCATION:47 Canal\,291 Grand Street 2nd floor\nNew York\, NY 10002 SEQUENCE:0 SUMMARY:New Feelings\, Antoine Catala UID:358925 END:VEVENT BEGIN:VEVENT DTEND:20140928T200000 DTSTAMP:20140930T180721 DTSTART:20140928T180000 GEO:40.7174289;-73.9921681 LOCATION:47 Canal\,291 Grand Street 2nd floor\nNew York\, NY 10002 SEQUENCE:0 SUMMARY:New Feelings\, Antoine Catala UID:358926 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The &ldquo\;Conservation President\,&rdquo\; as Theodore Roo sevelt (1858-1919) would later come to be known\, had some of his earliest experiences with nature during the idyllic summers his family spent at Wave Hill House in the years 1870 and 1871\, when Theodore was 12 and 13. The b udding naturalist found a haven here at Wave Hill where he could study\, dr aw\, and record his observations of local flora and fauna. Already in the d rawings and diaries of those early years were signs of his adventurous spir it and relentless desire to categorize\, preserve and even conquer the worl d around him.


The Young Naturalist \;closes Wave Hill& rsquo\;s programming on illustrious residents\, such as Mark Twain\, Arturo Toscanini\, and Bashford Dean. This exhibition assembles materials related to Roosevelt&rsquo\;s abiding love for the Hudson River Valley\, including reproductions of childhood drawings\, political cartoons\, and two prized books: his boyhood favorite \;The Boy Hunters\, and his own ad ult memoir \;African Game Trails. \;This remarkable dedica tion to natural history is also celebrated in Glyndor Gallery&rsquo\;s  \;Recapturing the Scenic Wilds.

DTEND:20141207 DTSTAMP:20140930T180721 DTSTART:20140906 GEO:40.8971509;-73.9065883 LOCATION:Wave Hill\,West 249th Street and Independence Avenue (front gate) 675 West 252nd Street (mailing) \nBronx\, NY 10471-2899 SEQUENCE:0 SUMMARY:The Young Naturalist: Theodore Roosevelt at Wave Hill UID:358924 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Inspired by the naturalist legacy of Theodore Roosevelt (185 8&ndash\;1919)\, a former resident of Wave Hill House who had a lifelong pa ssion for discovering and collecting specimens for public exhibit\, \;< em>Recapturing the Scenic Wildsinvestigates and complicates the notion of the natural history display. In the 1870&rsquo\;s when Roosevelt was 11 and 12 years old\, his family spent two summers at Wave Hill\, and the bur geoning naturalist developed his ardent interest in birds\, taxidermy and t he study of nature.


 \;This attraction to natural history and i ts display is shared by the nine artists whose work is on view here. Each a rtist responds in various ways to this type of artificially &ldquo\;organic &rdquo\; exhibit\, where the experience of the natural world is transformed into a tightly controlled scene\, tableau or informational resource\, ofte n revealing as much about our relationship to nature as it does about the s ubject depicted. The artists expose the blurred lines between artificial an d natural\, artistic and scientific. In the context of Wave Hill\, a garden where aesthetic sensibility is a horticultural emphasis\, the use of an al luring visual framework to convey scientific and historical information bec omes a fitting parallel to the strategies of the natural history museum.


Alexa Hoyer \;and \;Liselot van der Heijden \;present voy euristic photographs from their ongoing projects in the American Museum of Natural History\, whether of fake flora or spectators&rsquo\; silhouettes.& nbsp\;With cinematic flair\, \;Dana Levy \;lets live animals loose among dead specimens. \;Mark Dion&rsquo\;s works from the \;Pro visions &\; Equipment - Clark Expedition \;series cheekily turn the natural historian into a specimen. \;Richard Barnes&rsquo\; \; camera catches the diorama in tenderly off-guard moments\, with renovation underway or parts in storage. \;Lori Nix&rsquo\;s pictures of miniature displays insert a macabre humor into natural history. The knitted pelts of  \;Ruth Marshall\, exact replicas of actual specimens\, raise awareness of the plight of large and small cats in the wild. \;Jessica Segall&nb sp\;presents &ldquo\;in-progress&rdquo\; results of her field study of the invasive bird species of New York. \;Using real feathers and braided fu r\, \;Hugh Hayden \;suggests that nature is the ultimate luxury pro duct. \;

DTEND:20141207 DTSTAMP:20140930T180721 DTSTART:20140906 GEO:40.8971509;-73.9065883 LOCATION:Wave Hill\,West 249th Street and Independence Avenue (front gate) 675 West 252nd Street (mailing) \nBronx\, NY 10471-2899 SEQUENCE:0 SUMMARY:Recapturing the Scenic Wilds\, Alexa Hoyer\, Lori Nix\, Ruth Marsha ll\, Hugh Hayden\, Jessica Segall\, Liselot van der Heijden\, Dana Levy\, M ark Dion\, Richard Barnes UID:358923 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In her exhibition \;Another Garden\, \;Jack ie Battenfield presents a group of Mylar and Dura Lar paintings which trace the twisting lines of budding tree branches. Through a meditative and pain staking process\, she uncovers a deep affinity between the gestural unfoldi ng of a branching tree limb\, and the dispersion of pigments in liquids. Th e magnolias pictured are inspired directly by her long involvement with Wav e Hill\, where she also mentors emerging artists in the Van Lier Visual Art ist Fellowship and the Sunroom Project Space.


In 2009\, a survey of Battenfield&rsquo\;s graphic works\, \;Moments of Change\, \;< /em>was presented at the Joel and Lila Harnett Museum of Art\, Richmond\, V A\, and later traveled to the University of Arizona Museum of Art\, Tucson\ , AZ. \; She is the recipient of a Pollock-Krasner Award\, the Warren T anner Award\, the David Alfaro Siqueiros Award (Volunteer Lawyers for the A rts\, and the U.S. Fulbright Specialist Program. Her work is represented in more than 500 collections worldwide including the New York Public Library\ , NY\; The Zimmerli Art Museum\, NJ\; the Progressive Corporation\, and the United States Embassy Collections\, Brazil\, Cambodia\, Croatia\, Jamaica and Peru. Battenfield is also the author of \;The Artist's Guide: H ow to Make a Living Doing What You Love\, now in its eighth printing.< /p> DTEND:20150531 DTSTAMP:20140930T180721 DTSTART:20140906 GEO:40.8971509;-73.9065883 LOCATION:Wave Hill\,West 249th Street and Independence Avenue (front gate) 675 West 252nd Street (mailing) \nBronx\, NY 10471-2899 SEQUENCE:0 SUMMARY: Another Garden\, Jackie Battenfield UID:358922 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Team (gallery\, inc.) is pleased to announce \;ghost outfit\, a group show of work by Dan Flavin\, Robert Janitz and Ralph Eugene Meatyard. Organized by Todd von Ammon\, the exhibition will run fro m 19 October through 16 November 2014. Team is located at 83 Grand Street\, between Greene and Wooster. Concurrently\, our 47 Wooster Street space wil l host \;tl\;dr\, an exhibition by Cory Arcangel. \;

ghost \;outfit \;weds three artists who\, d espite generational gaps and disparate media\, share a concern with materia l and conceptual duplicity. The pieces in the show use light and light-sens itive material to provide moments of both literal and figurative masking\, in which an object&rsquo\;s surface acts simultaneously as barrier and poin t of access. Content and medium disguise one another\, rendering the subjec t the camouflage itself &ndash\; as well as the resulting obscurity. \;


Dan Flavin&rsquo\;s fluorescent sculptures resist corporeal defini tion: a piece&rsquo\;s intangible glow undercuts its own object-hood\, posi ng unanswerable questions of where the work begins and ends. The act of ill umination serves here to cloud perception\, rather than to clarify\, materi alizing new spaces and disrupting existing ones. \;

Robert J anitz&rsquo\; oil paintings here take the same rough form: milk-white wax b rushed in wide swaths to hide slightly visible black underpainting. Their c omposition recalls the streaks left by a squeegee on a pane of glass but\, while window-washing serves to enhance transparency\, Janitz&rsquo\; brushs trokes create and foreground opacity\, cloaking the painting with\, of all things\, its own paint. \;

Alchemic black and white photogra phs by Ralph Eugene Meatyard utterly confound their subject matter. The ine xpensive plastic of a child&rsquo\;s toy appears identical to a tombstone&r squo\;s weathered granite\, while blurred streaks of light obscure the very water that reflects them. The artist&rsquo\;s camera acts directly counter to traditional expectations of the medium\, seeking to shroud and transfig ure\, rather than to show or document. \;

Dan Flavin lived f rom 1933 to 1996. Celebrated in his lifetime\, he has been the subject of m ajor international museum retrospectives and is included in most major publ ic collections. \;

Ralph Eugene Meatyard lived from 1925 to 1972. Little known in his life\, he has since achieved significant recognit ion\, with solo museum exhibitions including The Art Institute of Chicago a nd the de Young Museum of San Francisco. \;

Robert Janitz wa s born in Germany in 1962 and now lives and works in New York. Last Februar y\, he was the subject of a monographic exhibition at Team\, his first with the gallery. A solo show currently hangs at Meyer Riegger in Berlin. \ ;

DTEND:20141116 DTSTAMP:20140930T180721 DTSTART:20141019 GEO:40.7217091;-74.0025345 LOCATION:Team Gallery - Grand St\,83 Grand St. \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:ghost outfit\, Dan Flavin\, Robert Janitz\, Ralph Eugene Meatyard UID:358921 END:VEVENT BEGIN:VEVENT DESCRIPTION:

On Stellar Rays is pleased to announce the opening &mdash\; on Sunday\, October 19 &mdash\; of Tommy Hartung&rsquo\;s exhibition \; THE BIBLE. The exhibition marks the gallery&rsquo\;s third solo ex hibition of Hartung&rsquo\;s work\, and presents a feature length video\,&n bsp\;THE BIBLE\, and an accompanying sculptural installation.

\ n

THE BIBLE \;is an animated sci-fi docudrama\, sourcing the narrative structure and archival content of the Old Testament to create a cinematic dé\;rive of fictitious news footage. The video investigates Hartung&rsquo\;s personal experiences with evangelicalism\; broader cultur al familiarity with biblical violence and sensationalism\; and the atempora l and subjective recording of historic information that is specific to the Bible. Hartung weaves a similarly non-linear structure\, using analogous co ntemporary forms of information dissemination &ndash\; citizen journalism\, fan labor\, real-time video gameplay\, browsing the web\, surfing televisi on channels\, pervasive advertising &ndash\; mirroring a world that remains steeped in sympathetic magic and anthropomorphism.


THE BIBLE \;contains numerous references to the Old Testament\, often citing contemporary events in parallel. The fall of humanity is represented throug h allusions to Big Brother\, war crime accounts\, and American exceptionali sm&rsquo\;s notions of democracy. Wikileaks whistleblower Chelsea Manning a ppears as a spectral projection to recite her statement to the court at sen tencing\, alluding to Joseph\, son of Jacob\, who was betrayed by his peopl e. Other contemporary references present Vietnam veteran John Constantino\, self-immolating on the National Mall during the government shutdown of 201 3\; firsthand footage of a Tamil family hiding in crude bunkers to avoid sh elling\; a heart-wrenching news account of the stoning of a gay couple in K enya. These recent events portray the perpetual and inescapable impact of b roader political and religious beliefs on the well-being of the individual.


Hartung&rsquo\;s video sets are hand-constructed in the studio\, t ransforming commonplace materials into dynamic props and landscapes. Studio shots are spliced with actual found footage\, using unconventional visual and audio effects. The process\, along with post-editing and rotoscoping\, recontextualizes wide-ranging news footage as science fiction.


Draw ing upon a diverse range of influences\, including Letterist filmmaker Isid ore Isou\, Adam Curtis\, Jan &Scaron\;vankmajer\, and Chris Marker\, Hartun g experiments with moving images and the conventions of narrative\, fragmen ting and deconstructing source material. Focusing on ideologies that use ma gical thinking to justify or explain violent and traumatic events\, \;< em>THE BIBLE \;continues Hartung&rsquo\;s ongoing interests in how belief systems are constructed through moving images to mesmerizing and po werful effect.

DTEND:20141130 DTSTAMP:20140930T180721 DTSTART:20141019 GEO:40.7214495;-73.9930937 LOCATION:On Stellar Rays\,1 Rivington Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:THE BIBLE\, Tommy Hartung UID:358920 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Virginia \;Crawford Pierrepont \;is an accomplished contemporary painter who lives and works between Long Island and Maine. Bor n in New York City\, Virginia has been an artist all her life. She received a BFA in painting and printmaking from The Rhode Island School of Design i n 1981. In 1985\, she accepted a summer Artist in Residence program at the Skowhegan School of Painting and Sculpture\, Skowhegan\, Maine\, where she worked on Fresco Murals. Returning to NYC\, she established Virginia Design s in 1987 with a studio at 285 West Broadway and Canal\, painting Trompe L& rsquo\;oeil murals and large decorative canvases. Virginia showed her charc oal drawings and watercolor landscapes in the late 80's and 90's in Queens before moving with her family to Long Island. Currently\, Virginia is finis hing an MFA from Johnson State College\, and the Vermont Studio Center in J ohnson\, Vermont.


I paint because I love to paint\, working from a raw energy that pulls deep from my bones. With ink\, charcoal\, paper and g lue\, I rip\, throw\, swirl and draw my way into a timeless narrative. My w ork speaks about tension and release\, memory and love\, always touching a timeline of images and deep feelings I have lived. Emerging through layers of transparent walnut washes and opaque acrylic paints\, my charcoal images emerge\, sometimes on the surface\, sometimes under.

DTEND:20141101 DTSTAMP:20140930T180721 DTSTART:20141014 GEO:40.7494584;-74.0046212 LOCATION:Noho Gallery - M55 Art (Noho - M55)\,530 West 25th Street\, 4th Fl oor \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Basement Series\, Virginia Pierrepont UID:358918 END:VEVENT BEGIN:VEVENT DTEND:20141016T200000 DTSTAMP:20140930T180721 DTSTART:20141016T180000 GEO:40.7494584;-74.0046212 LOCATION:Noho Gallery - M55 Art (Noho - M55)\,530 West 25th Street\, 4th Fl oor \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Basement Series\, Virginia Pierrepont UID:358919 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Eva Hild\, Sweden\, creates \;ethereal\ , flowing ceramic sculptures\, for which she is well known. Interested in t he dualism between negative and positive space\, explorations of air\, ligh t\, and movement are central to her works. Hild received her MFA from the U niversity of Gothenburg\, Sweden. She is the recipient of numerous grants a nd awards\, namely the Visual Art Fund grant\, Special Prize at the World C eramic Biennale\, Korea\, and the Sten A. Olsson Fund for Science and Cultu re. Hild has made numerous works in public spaces\, as large-scale metal sc ulptures. Her work can be found in public and private collections including the Museum of Arts and Design\, New York\, the Museum of Modern Ceramic Ar t\, Japan\, the Museum of Contemporary Ceramics\, Shanghai\, the Mint Museu m\, North Carolina\, the National Museum of Art\, Architecture and Design\, Oslo\, the National Museum\, Stockholm\, and the Museum of Fine Arts\, Bos ton.

DTEND:20141115 DTSTAMP:20140930T180721 DTSTART:20141016 GEO:40.7494274;-74.004275 LOCATION:Nancy Margolis Gallery\,523 W. 25th St. \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Solo Exhibition\, Eva Hild UID:358916 END:VEVENT BEGIN:VEVENT DTEND:20141016T200000 DTSTAMP:20140930T180721 DTSTART:20141016T180000 GEO:40.7494274;-74.004275 LOCATION:Nancy Margolis Gallery\,523 W. 25th St. \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Solo Exhibition\, Eva Hild UID:358917 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Mixed Greens is thrilled to present \;Color Dot Conn ect\, an ambitious\, site-specific window installation by John Hanning and Curtis Carman. The artists use popular\, nostalgic\, and often humorou s imagery and materials (such as Pac-Man prints and feather boas) that draw from their personal experiences\, showing the overlap and connectivity bet ween their lives as well as their relationship to a broad\, universal conte xt.

John Hanning&rsquo\;s work has largely been informed by his experience of growing up queer in the conservative South as well as living with HIV. Mixed-media collages often combine his childhood portraits with i conography such as Rubix cubes and the Virgin Mary\, personalizing the wide ly recognizable imagery while placing his stories into a broader narrative\ , shared by many. Similarly\, Curtis Carman&rsquo\;s sculpture and performa nce work investigates constructed identities using a variety of recognizabl e materials and found objects\, sprinkled with a spoonful of wit and frivol ity. In addition to living with HIV\, Carman&rsquo\;s drag persona plays a central role in his work. Recently\, he began applying drag costume element s such as sequins\, rhinestones\, and feathers to readymade objects\, creat ing an over-the-top aesthetic he equates with the exuberant joy of life.

In \;Color Dot Connect\, Hanning and Carman join forc es for the first time\, using dots and circles to visually and thematically anchor their collaboration. From prints of clustered Pac-Men to sequin-ado rned basketballs to a halo wrapped with feather boas\, the mixed media inst allation incorporates round objects\, materials\, and images from previous explorations to signify universality\, infinity\, and common ground. The se nse of humor imbued in the work emanates a positive outlook that the artist s have developed through the years. The title\, borrowing the proverbial &l dquo\;connect the dots\,&rdquo\; refers to not only the similarity between the two artists experiences of living with HIV but also an attempt to share the joy of embracing life while having survived AIDS. \;

&n dash\;&ndash\;&ndash\;&ndash\;&ndash\;&ndash\;&ndash\;&ndash\;

< em>Curtis Carman received his MFA in sculpture from Hunter College\, CUNY. In addition to his own performance work\, he has appeared with Karen Finley \, Michael Mahalchick\, and Zachary Fabri. Carman&rsquo\;s work has been ex hibited at LMCC Swing Space\, La Mama Gallery\, The Jersey City Museum\, Ge neral Public in Berlin\, and Documenta XII in Kassel\, Germany. Past awards include an LMCC Artist&rsquo\;s Grant\, a Visual AIDS Artist Grant\, two W elfare Scholarship Grants\, and a Tom Woods Award. Curtis Carman is proud t o be a Visual AIDS archive member since 1999.

John Hanning is a Brooklyn-based collage and digital artist born in Arkansas. His work has be en shown in numerous group exhibition venues including Leslie + Lohman Muse um of Gay and Lesbian Art\, NYC\; Limner Gallery\, Hudson\, NY\; SKH Galler y\, Great Barrington\, MA\; and throughout New York City. In 2013\, he team ed up with Visual AIDS for a storytelling-collage workshop in conjunction w ith the NYPL Exhibition\, Why We Fight: Remembering AIDS Activism. For his most recent project\, The Fulton Area Business Alliance selected Hanning to create a series of community art projects. Hanning is also the founder of COSMODESU INC\, which owns and manages the rights for Cosmo\, Hanning&rsquo \;s stick-figure-alter-ego and virtual avatar. \;

V isual AIDS utilizes art to fight AIDS by provoking dialogue\, supporting HI V+ artists\, and preserving a legacy\, because AIDS is not over. www.visual

DTEND:20141115 DTSTAMP:20140930T180721 DTSTART:20140911 GEO:40.7501774;-74.0041245 LOCATION:Mixed Greens Gallery\,531 W.26th St. \nNew York\, NY SEQUENCE:0 SUMMARY:COLOR DOT CONNECT\, Curtis Carman\, John Hanning UID:358915 END:VEVENT BEGIN:VEVENT DESCRIPTION:

LMAKprojects is pleased to present Dis/connect\, Nayda Colla zo-Llorens&rsquo\; fourth solo exhibition with the gallery. The works in th is exhibition evidence the artist&rsquo\;s ongoing interest in how our mind s process information\, specifically dealing with concepts of navigation an d noise. Dis/connect examines connectedness and disconnection as simultaneo us conditions\, whether referring to memories\, language\, displacement\, l ocation\, communication or media. The works in this exhibition function as conceptual and formal explorations of our contemporary condition\, as we en gage in fluid\, elastic and often paradoxical navigation between multiple s tates of being.
The exhibition includes a new wall installation titled Geo Dis/connect\, consisting of 360 framed images of found maps that have been trimmed and combined with solid colored areas. The work&rsquo\;s grid format\, geographic references and color bands suggest a level of interconn ectedness as much as fragmentation and disruption. Also included in the exh ibit are works on canvas from the Locus Rackets Hypnotic series\, which ech o similar ideas. New York based critic Kathleen MacQueen wrote in BOMB Dail y about the artist&rsquo\;s process and work: &ldquo\;Her own practice of d aily drawings&mdash\;visual communication in a non-verbal accumulation of s igns\, symbols\, marks\, and traces of passing experience and awareness&mda sh\;now coalesces in paintings that pulse with a myriad of connotations\, i ncluding webs\, weather charts\, echograms\, geological topography\, and ma zes.&rdquo\;

DTEND:20141130 DTSTAMP:20140930T180721 DTSTART:20141017 GEO:40.7192332;-73.9915631 LOCATION:LMAK Projects\,139 Eldridge Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Dis/connect \, Nayda Collazo-Llorens UID:358911 END:VEVENT BEGIN:VEVENT DTEND:20141017T210000 DTSTAMP:20140930T180721 DTSTART:20141017T190000 GEO:40.7192332;-73.9915631 LOCATION:LMAK Projects\,139 Eldridge Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Dis/connect \, Nayda Collazo-Llorens UID:358912 END:VEVENT END:VCALENDAR