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Marianne Boesky Gal lery is pleased to present We All Live Under the Same Old Flag\, an exhibit ion of paintings by Thornton Dial. Created across the last two decades\, th e featured works highlight Dial&rsquo\;s engagement with contemporary socia l and political issues such as poverty\, homelessness\, and war. The exhibi tion is the first in New York since the artist&rsquo\;s passing earlier thi s year\, and follows the recent solo exhibition of his works on paper at th e gallery&rsquo\;s former Upper East Side space. It will be on view April 3 0 &ndash\; June 18\, 2016\, at 509 W. 24th Street\, New York.

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Through his art\, Dial revealed the sto ries of those living in the rural south\, highlighting the experiences and tensions among those of different class\, race\, and economic power over th e last seven decades. In the latter part of his career\, Dial pushed his pe rspective and work outward\, choosing to connect with and interpret a more universal and contemporary history. We All Under the Same Old Flag explores this conceptual and aesthetic transition\, and emphasizes Dial&rsquo\;s ab ility to capture a broader\, national consciousness on the canvas.

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A self-taught artist\, Dial began constructing sculpture and assemblage with found scrap materials and object s from his job as a metalworker. He transformed old tires\, chains\, twigs\ , and rusted-tools\, forming the foundation for his artistic practice for y ears to come. His highly textured wall reliefs\, paintings\, and gestural w orks on paper often employed a secret language of symbols that convey stren gth\, survival\, and freedom--important to the dialogue of the black experi ence. Dial also incorporated ideas and techniques from African-American qui lt-making traditions\, noticeable through the shape and scale of certain wo rk\, the incorporation of woven materials and used-clothing\, and grid-like compositions. Overall\, the identity of the &ldquo\;outsider&rdquo\; and t he remembrance of a dark American past were essential histories for Dial to put forth visually.

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As Di al began to tackle wider national histories of oppression and contemporary issues of freedom and equality\, his work became more simplified in form an d color palette and took on a more pluralist vision. In the days and months after the attacks on September 11\, 2001\, for instance\, the artist worke d fervently on largescale paintings and sculptures\, trying to capture a na tion&rsquo\;s emotion and position at the time. The resulting works incorpo rate elements of past approaches\, but are more scaled and focused in their composition. More recent paintings\, such as We all Live Under the Same Ol d Flag (2008) and American Orange Show (2007) similarly convey Dial as the politically-minded\, self-reflective artist he has always been\, but with a different\, perhaps more proud sensibility.

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Thornton Dial (B. Emelle\, AL\, 1928\, D. McCalla\, AL\, 2016) has had solo exhibitions at the Museum of Fine Arts\, Houston (2005) \; the New Museum of Contemporary Art\, New York (1993)\; and the American Folk Art Museum\, New York (1993). His solo exhibition at the Indianapolis Museum of Art (2011) traveled to the New Orleans Museum of Art (2012)\, Min t Museum of Art\, Charlotte (2012)\, and High Museum of Art\, Atlanta (2013 ). His work is included in many important permanent collections including t he Metropolitan Museum of Art\, New York\; Philadelphia Museum of Art\, Phi ladelphia\; Hirshhorn Museum and Sculpture Garden\, Washington D.C.\; and t he Museum of Modern Art\, New York.

DTEND:20160618 DTSTAMP:20160430T124928 DTSTART:20160430 GEO:40.7486569;-74.0043445 LOCATION:Marianne Boesky Gallery 24th St.\,509 W.24th St. \nNew York\, NY 1 0011 SEQUENCE:0 SUMMARY:We All Live Under The Same Old Flag\, Thornton Dial UID:417165 END:VEVENT BEGIN:VEVENT DESCRIPTION:
Team (gallery\, inc.) is ple ased to announce a solo show by Romanian-born\, Cologne-based artists Gert &\; Uwe Tobias. Entitled \;Drawings and Sculptures\, \; the exhibition will run from \;05 May to 05 June 2016. Team (gallery\, inc.) is located at 83 Grand Street\, between Greene and Wooster\, on the g round floor. Concurrently\, our Venice Beach space will house a solo show b y Tabor Robak.
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\nGert &\; Uwe Tobias are twin brothers wh o work collaboratively in a variety of media. While perhaps best known in N ew York for their woodcut prints and collages\, for this exhibition they pr esent a series of five drawings on black-painted paper\, alongside three su bstantial ceramic sculptures. The works in the show refer obliquely to dive rgent genres and moments from Art History\, erasing hierarchical and tempor al classification and partition via the seamless blurring and solution of t heir various visual inspirations and reference material.\n
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E ach of this show's large-format works on paper features a semi-symmetrical center composition\, combining elements of phantasmagorical figuration and architectural and graphic design with geometric abstraction. Executed in pa stel crayon\, they are adhered directly to the gallery walls\, precluding v isual interference with their delicate line work. The shadowy rendering and eerie palette choices - light blues and whites on the black surfaces - imb ues the pictures' chimerical forms with a spectral quality. The absence of framing further enhances the works' ghostly character\, effecting a feeling of floating insubstantiality and bodily divestment.  \;
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Three sculptures sit atop pedestals interspersed throughout the gallery. The unified body ceramics are busts - distorted humanoid and avian faces\, adorned with sunken relief floral patterns. The three-dimensional works\, in their physicality\, provide counterpoint and tension to the ethereality and self-conscious flatness of the wall works. In employing a classical mod e of portraiture - the sculptural bust - the Tobias Brothers explicate a co re conceptual facet of their artistic project: the corporeal realization of internal\, private images and shared subconscious narratives. Without spec ifically referencing mythological archetypes\, the works activate a nebula of folkloric associations in the viewer and breathe life into our common le xicon of the otherworldly and mysterious.
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The Tobias Broth ers' work has always been deeply informed by Eastern European folk art. The artists spent the early parts of their lives in rural Romania\, where they were immersed in the local traditions that now provide a foundational corn erstone of their practice. Certain elements of the drawings and sculptures - the floral patterning\, the vases and furniture\, the fantastical creatur es - evidence a direct lineage from those popular arts\; however\, in the B rothers' hands\, these ordinarily quaint forms appear strikingly contempora ry\, transformed by the willfully anachronistic context and their mé\ ;lange of temporally diverse influences. \;
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While asse mblage and Art Historical reference are central facets of the Tobias' work\ , the pieces are never directly appropriative. Theirs is a practice of para phrase rather than quotation\, drawing upon an expansive and deeply ingrain ed base of shared knowledge. The genesis of the large two-dimensional works begins in a period of exploratory sketching\, the products of which are th en collaged and exactingly transposed onto swaths of black-painted paper. T he resultant images employ a mysterious but highly consistent visual vocabu lary\, constituent elements of a larger private language\, discernable and accessible to viewers\, but understood by the twin brothers alone.
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Many of the drawings' formal elements recall Early Modernist paint ing - in particular\, the spiritual geometry of Wassily Kandinsky. Like the founding abstractionist\, the artists create and manipulate rectilinear an d curvilinear shapes in a manner neither mathematical nor objective\, inste ad dictated by the observer's perspective. The works' planes\, while indiff erent to the rules of geometry\, are composed according to a wholly subject ive but easily legible internal logic.
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While the Tobiases employ certain structures associated with abstraction\, the works in this e xhibition are predominately figurative. Although they are evidently and emp hatically non-mimetic\, most of the shapes contained in the work have real- world referents. Like the surrealist pioneer Max Ernst\, the Brothers pursu e a familiar unreal by amalgamating disparate kinds of form - evoking the a nimal\, the architectural\, the human\, the floral - into single cohesive e ntities. Their metamorphic relationship to reality can also be likened to t hat of the multidisciplinary artist Oskar Schlemmer\, whose work transfigur ed bodies into elements of geometric scenery.
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Disembodied human limbs - in particular arms and hands - appear recurrently in the draw ings. The fingers are always positioned evocatively\, alluding to but never directly conjuring the symbolic power of specific hand gestures in Medieva l and Renaissance painting. The lithe\, vigorous body parts frequently emer ge from non-organic forms - a vase\, for example\, or a chair - to disturbi ng effect. In this aspect\, the works recall the life-sized\, anatomically apocryphal dolls of Hans Bellmer\, who exploited viewers' discomfort with t he union of the living and the inanimate.
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All of the drawi ngs\, to varying degrees\, contain pale linework that serves to suggest an architecturally spatial setting. The repetition of thin\, vertical white li nes directly signify the influence of Francis Bacon - in particular\, his 4 5 studies after Diego Velá\;squez' \;Portrait of Pope Innocen t X. \;Like those paintings\, the Brothers' works seek to destabil ize the conception of subject and non-subject\, of background and foregroun d\, as distinct - instead rendering the whole picture a unified flat field\ , in which everything\, even the elements that imitate linear perspective a nd suggest dimensionality\, are elements of a single contiguous image.  \;
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This is the Tobias Brothers' f ourth solo show at Team. They have been the subject of museum solos at Kuns tmuseum Bonn\; Museum Dhondt-Dhaenens\, Belgium\; FRAC Auvergne\; GEM Museu m of Contemporary Art\, The Hague\; Hammer Museum\, Los Angeles\; Museum of Modern Art\, New York\; Museum Morsbroich\, Leverkusen\; Whitechapel Galle ry\, London\; and Kunsthalle Wien.
DTEND:20160605 DTSTAMP:20160430T124928 DTSTART:20160505 GEO:40.7217091;-74.0025345 LOCATION:Team Gallery - Grand St\,83 Grand St. \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Drawings and Sculptures\, Gert & Uwe Tobias UID:416915 END:VEVENT BEGIN:VEVENT DTEND:20160505T200000 DTSTAMP:20160430T124928 DTSTART:20160505T180000 GEO:40.7217091;-74.0025345 LOCATION:Team Gallery - Grand St\,83 Grand St. \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Drawings and Sculptures\, Gert & Uwe Tobias UID:416916 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160618 DTSTAMP:20160430T124928 DTSTART:20160429 GEO:40.723144;-73.9925559 LOCATION:Sperone Westwater\,257 Bowery \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Mario Merz: Works from the 1980s\, Mario Merz UID:416869 END:VEVENT BEGIN:VEVENT DTEND:20160429T190000 DTSTAMP:20160430T124928 DTSTART:20160429T170000 GEO:40.723144;-73.9925559 LOCATION:Sperone Westwater\,257 Bowery \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Mario Merz: Works from the 1980s\, Mario Merz UID:416870 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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DTEND:20160604 DTSTAMP:20160430T124928 DTSTART:20160430 GEO:40.749847;-74.005892 LOCATION:Edward Thorp Gallery\,210 11th Ave. 6th Floor\nNew York\, NY 10001 SEQUENCE:0 SUMMARY:A Survey\, 1949-present UID:416865 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Join us for a special conversa tion between artist Nicole Eisenman and Massimiliano Gioni\, Artistic Direc tor of the New Museum. The pair will discuss \;&ldquo\;Nicole Eisenman: Al-ugh-ories\,&rdquo\; \;the first New York museum surve y exhibition of Eisenman&rsquo\;s work\, which will be presented at the New Museum. The show will provide an in-depth look at the symbolic nature of t he artist&rsquo\;s most striking depictions of individuals and groups&mdash \;from intimate portraits to more complex narrative scenes&mdash\;and will highlight how allegory permeates Eisenman&rsquo\;s oeuvre as she fluidly ti es the fictional to the autobiographical and the past to the present.

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One of the most important painters of her generation\, Eisenman has developed a distinct figurative language that com bines the imaginative with the lucid\, the absurd with the banal\, and the stereotypical with the countercultural and queer. From the outset of her ca reer\, Eisenman&rsquo\;s investment in painting has led to frequent experim entation in other mediums\, and her practice is characterized by visible sh ifts that mark her effort never to become too comfortable with any one appr oach to painting. Eisenman&rsquo\;s preoccupation with the figure and the c omplexity of its gestures and form has resulted in mesmerizing portraits of an array of characters who range from friends and fellow New Yorkers\, to imagined heroines\, to tragic losers.

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About the Artist
Nicole Eisenman was born in Verdun\ , France\, in 1965 and lives and works in New York. In 2014 the Contemporar y Art Museum St. Louis mounted a major exhibition of her work\, &ldquo\;Dea r Nemesis\, Nicole Eisenman 1993&ndash\;2013\,&rdquo\; which traveled to th e Institute of Contemporary Art\, Philadelphia\, in late 2014 and to the Mu seum of Contemporary Art San Diego in 2015. Additional solo presentations o f her work have taken place at the Jewish Museum\, New York (2015)\; the Be rkeley Art Museum and Pacific Film Archive\, CA (2013)\; Studio Voltaire\, London (2012)\; the Katzen Arts Center\, American University\, Washington\, DC (2011)\; the Frances Young Tang Teaching Museum and Art Gallery\, Skidm ore College\, Saratoga Springs\, NY (2009)\; and Kunsthalle Zü\;rich (2 007). Her work was included in Manifesta 10\, St. Petersburg (2014)\; the 2 013 Carnegie International\, Pittsburgh\; the Whitney Biennial\, New York ( 2012 and 1995)\; and Prospect.2 New Orleans (2011). Eisenman&rsquo\;s work has been featured in numerous recent group exhibitions at institutions incl uding the Whitney Museum of American Art\, New York (2015)\; the Museum of Modern Art\, New York (2014)\; the Reva and David Logan Center for the Arts \, University of Chicago (2014)\; the Contemporary Arts Museum Houston (201 4)\; the New Museum\, New York (2013)\; and the San Francisco Museum of Mod ern Art (2011). Eisenman is a 2015 MacArthur Fellow.

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Sponsors

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Exhibition Supporters\n

Full support for &ldquo\;Nicole Eisenm an: Al-ugh-ories&rdquo\; can be viewed here.

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Education Supporters

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Exhibition-related programs are made possible\, in part\, through the support of the New York State Council on the Arts and the New York City Department of Cultural Affairs.

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Education and community programs for the spring shows are supported\, in pa rt\, by American Chai Trust.

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Generous endowment support is provided by the Rockefeller Brothers Fund\, the Skadd en\, Arps Education Programs Fund\, and the William Randolph Hearst Endowed Fund for Education Programs at the New Museum.

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DTEND:20160512T200000 DTSTAMP:20160430T124928 DTSTART:20160512T190000 GEO:40.722337;-73.992844 LOCATION:New Museum\,235 Bowery \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Nicole Eisenman in Conversation with Massimiliano Gioni\, Nicole Ei senman UID:416838 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The New Museum will present th e first New York survey show of the work of Nicole Eisenman (b. 1965\, Verd un\, France).

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This show wi ll mark the first New York museum survey exhibition of Eisenman&rsquo\;s wo rk and will provide an in-depth look at the symbolic nature of the artist&r squo\;s most striking depictions of individuals and groups&mdash\;from inti mate portraits to more complex narrative scenes. One of the most important painters of her generation\, Eisenman (b. 1965\, Verdun\, France) has devel oped a distinct figurative language that combines the imaginative with the lucid\, the absurd with the banal\, and the stereotypical with the counterc ultural and queer. &ldquo\;Nicole Eisenman: Al-ugh-ories&rdquo\; will highl ight how allegory permeates her oeuvre and how she fluidly ties the fiction al to the autobiographical and the past to the present.

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From the ou tset of her career\, Eisenman&rsquo\;s investment in painting has led to fr equent experimentation in other mediums\, and her practice is characterized by visible shifts that mark her effort never to become too comfortable wit h any one approach to painting. Eisenman&rsquo\;s preoccupation with the fi gure and the complexity of its gestures and form has resulted in mesmerizin g portraits of an array of characters who range from friends and fellow New Yorkers\, to imagined heroines\, to tragic losers. From Success to \;< em>Obscurity \;(2004) depicts a monstrous superhero contemplating the contents of a letter it holds in its hands and alludes\, perhaps\, to t he fragility of fame and fortune. In \;Hamlet \;(2007)\, a depiction of Shakespeare&rsquo\;s beautiful and frail Danish prince with l owered sword\, Eisenman ponders the possibility of a sensitive and cautious leader at a time when the US was in the final year of George W. Bush&rsquo \;s presidency. Similarly inspired by contemporary events\, the large group portrait \;The Triumph of Poverty \;(2009)\, painted in t he aftermath of the 2008 financial crisis\, is a reimagining of a lost sixt eenth-century painting of the same title by Hans Holbein. &ldquo\;Nicole Ei senman: Al-ugh-ories&rdquo\; will also include one of the artist&rsquo\;s l arge-scale plaster figures\, which she began producing in recent years\, an d two new oversize wax heads made specifically for this exhibition.

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In her often-narrative compositions Eisenman draws as much from art histor y as from popular culture\, and her works\, while accessible and humorous\, occasionally yield critical and poignant images of contemporary life. Eise nman freely references painters as varied as Giotto\, Francisco de Goya\, P aul Cé\;zanne\, Pablo Picasso\, and Edvard Munch\, but uses wit and i rreverence to undermine historical hierarchies and to make her depictions o f familiar events such as eating\, sleeping\, walking\, or making love appe ar distinctly contemporary. While Eisenman&rsquo\;s subjects and narratives have always been in conversation with their time\, her work remains timele ss and captivating because of her ability to portray the essence of human d esire as equally raw and awkward.

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Nicole Eisenman was born in Verdu n\, France\, in 1965 and lives and works in New York. In 2014 the Contempor ary Art Museum St. Louis mounted a major exhibition of her work\, &ldquo\;D ear Nemesis\, Nicole Eisenman 1993&ndash\;2013\,&rdquo\; which traveled to the Institute of Contemporary Art\, Philadelphia\, in late 2014 and to the Museum of Contemporary Art San Diego in 2015. Additional solo presentations of her work have taken place at the Jewish Museum\, New York (2015)\; the Berkeley Art Museum and Pacific Film Archive\, CA (2013)\; Studio Voltaire\ , London (2012)\; the Katzen Arts Center\, American University\, Washington \, DC (2011)\; the Frances Young Tang Teaching Museum and Art Gallery\, Ski dmore College\, Saratoga Springs\, NY (2009)\; and Kunsthalle Zü\;rich (2007). Her work was included in Manifesta 10\, St. Petersburg (2014)\; the 2013 Carnegie International\, Pittsburgh\; the Whitney Biennial\, New York (2012 and 1995)\; and Prospect.2 New Orleans (2011). Eisenman&rsquo\;s wor k has been featured in numerous recent group exhibitions at institutions in cluding the Whitney Museum of American Art\, New York (2015)\; the Museum o f Modern Art\, New York (2014)\; the Reva and David Logan Center for the Ar ts\, University of Chicago (2014)\; the Contemporary Arts Museum Houston (2 014)\; the New Museum\, New York (2013)\; and the San Francisco Museum of M odern Art (2011). Eisenman is a 2015 MacArthur Fellow.

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The exhibiti on is curated by Helga Christoffersen\, Assistant Curator\, and Massimilian o Gioni\, Artistic Director. It will be accompanied by a fully illustrated publication that will include an interview with the artist conducted by Gio ni and Christoffersen\, a new essay on Eisenman&rsquo\;s practice by writer Grace Dunham\, and a contribution by poet Eileen Myles.

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Sponsors

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&ldquo\;Nicole Eisenman: Al-ugh-ories&rdquo\; is presented by The Ne w Women&rsquo\;s Project and Founding Partner D K N Y.



Additional support for the exhib ition is provided by the O&rsquo\;Grady Foundation\, Fundació\;n Almi ne y Bernard Ruiz-Picasso para el Arte\, Martin and Rebecca Eisenberg\, and the Toby Devan Lewis Emerging Artists Exhibitions Fund.

Generou s funding is provided by the International Council of the New Museum.

The Artemis Council of the New Museum is gratefully acknowledged.

Support for the accompanying publication has been provided by the J . McSweeney and G. Mills Publications Fund at the New Museum.

Sp ecial thanks to Susanne Vielmetter Los Angeles Projects and Anton Kern Gall ery\, New York.

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DTEND:20160626 DTSTAMP:20160430T124928 DTSTART:20160504 GEO:40.722337;-73.992844 LOCATION:New Museum\,235 Bowery \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Al-ugh-ories\, Nicole Eisenman UID:416836 END:VEVENT BEGIN:VEVENT DTEND:20160504T180000 DTSTAMP:20160430T124928 DTSTART:20160504T110000 GEO:40.722337;-73.992844 LOCATION:New Museum\,235 Bowery \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Al-ugh-ories\, Nicole Eisenman UID:416837 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Join us for a special conversa tion between artist Goshka Macuga and Margot Norton\, Associate Curator at the New Museum. The pair will discuss \;&ldquo\;Goshka Macu ga: Time as Fabric\,&rdquo\; \;the first New York museum exhibition of work by the London-based artist\, which will be presented at the New Mu seum. Macuga and Norton will use this presentation&mdash\;which brings toge ther a selection of the artist&rsquo\;s recent projects\, including five of her tapestries and a theatrical environment&mdash\;as an opportunity to di scuss some of the persistent concerns of her work to date.

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Macuga&rsquo\;s practice typically applies in-depth h istorical and archival research to an interest in the evolving relationship s among artists\, institutions\, politics\, and communities. Her works inve stigate how art can be used to voice current concerns\, rouse public debate \, and inspire social change. Within her images and installations\, she une arths associations between different actors (people\, objects\, and sites)\ , which\, in many cases\, problematize the ways that different organization s engage their publics and are shaped by socioeconomic and cultural develop ments. Throughout her career\, Macuga&rsquo\;s work has embraced diverse me diums including sculpture\, installation\, architecture\, and design. The c ontent and format of her projects are often determined by the specific inst itutional contexts in which her work is shown.

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About the Artist
Goshka Macuga was born in 1967 in Warsaw\, Poland\, and lives and works in London. Her solo exhibitio ns include &ldquo\;To the Son of Man Who Ate the Scroll&rdquo\; at Fondazio ne Prada\, Milan (2016)\; &ldquo\;Public Address: Goshka Macuga Tapestries& rdquo\; at Lunds konsthall\, Lund\, Sweden (2014)\; &ldquo\;Exhibit\, A&rdq uo\; at the Museum of Contemporary Art\, Chicago (2012)\; &ldquo\;Untitled& rdquo\; at the Zachęta National Gallery of Art\, Warsaw (2011)\; &ldquo\;It Broke from Within&rdquo\; at the Walker Art Center\, Minneapolis\, MN (201 1)\; &ldquo\;The Nature of the Beast&rdquo\; at Whitechapel Gallery\, Londo n (2009)\; and &ldquo\;I am Become Death&rdquo\; at Kunsthalle Basel\, Swit zerland (2009). Macuga&rsquo\;s work was recently included in the 8th Berli n Biennial for Contemporary Art (2014)\; dOCUMENTA (13)\, Kassel\, Germany\ , and Kabul\, Afghanistan (2012)\; and &ldquo\;Fare Mondi/Making Worlds\,&r dquo\; the 53rd Venice Biennale (2009). Macuga was nominated for the Turner Prize in 2008.

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Sponsors

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Exhibition Supporters

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Full support for &ldquo\;Goshka Macuga: Time as Fabric&rdquo\; can be viewe d \;here.

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Education S upporters

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Exhibition-related programs are made possible\, in part\, through the support of the New York State Council on the Arts and the New York City Department of Cultural Aff airs.

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Education and community pro grams for the spring shows are supported\, in part\, by American Chai Trust .

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Generous endowment support is provi ded by the Rockefeller Brothers Fund\, the Skadden\, Arps Education Program s Fund\, and the William Randolph Hearst Endowed Fund for Education Program s at the New Museum.

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DTEND:20160505T200000 DTSTAMP:20160430T124928 DTSTART:20160505T190000 GEO:40.722337;-73.992844 LOCATION:New Museum\,235 Bowery \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Goshka Macuga in Conversation with Margot Norton\, Goshka Macuga UID:416834 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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&ldquo\;Goshka Macu ga: Time as Fabric&rdquo\; will be the first New York museum presentation o f work by London-based artist Goshka Macuga (b. 1967\, Warsaw\, Poland). Ma cuga&rsquo\;s practice typically applies in-depth historical and archival r esearch to an interest in the evolving relationships among artists\, instit utions\, politics\, and communities. Her works investigate how art can be u sed to voice current concerns\, rouse public debate\, and inspire social ch ange. Within her images and installations\, she unearths associations betwe en different actors (people\, objects\, and sites) that\, in many cases\, p roblematize the ways in which different organizations engage their publics and are shaped by socioeconomic and cultural developments in society. Throu ghout her career\, Macuga&rsquo\;s work has embraced diverse mediums includ ing sculpture\, installation\, architecture\, and design. The content and f ormat for her projects are often determined by the specific institutional c ontexts in which her work is shown. Occupying the New Museum&rsquo\;s Secon d Floor galleries\, &ldquo\;Goshka Macuga: Time as Fabric&rdquo\; will brin g together a selection of the artist&rsquo\;s recent projects\, including f ive of her tapestries and a theatrical environment.

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Over the past five years\, Macuga has created a series of la rge-scale tapestries that &ldquo\;weave&rdquo\; people together in their re imagining of demonstrations\, public assemblies\, and meetings of minds. Dr awing from the rich historical tradition of textiles\, which have been prod uced by artists and used by their patrons for thousands of years\, Macuga e xploits the representative functions of the medium\, which can embody polit ical messages\, while also maintaining tapestry&rsquo\;s tactility and port ability. Often panoramic and vast\, her tapestries transform architectural spaces and surround viewers&mdash\;making us both spectators of and partici pants in the actions depicted and enveloping us in narratives that expand a nd collapse the notion of time.

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Respo nding to a series of significant commissions from museums and organizations including Whitechapel Gallery\, London (2009)\; the Zachęta National Galle ry of Art\, Warsaw (2011)\; the Walker Art Center\, Minneapolis\, MN (2011) \; and dOCUMENTA (13)\, Kassel\, Germany (2012)\, Macuga evolved a practice in which she delves deep into archives to unearth the politics\, peculiari ties\, and overlooked histories of the institutions where her work is shown . For her recent commission for dOCUMENTA (13)\, for example\, Macuga prese nted \;Of what is\, that it is\; of what is not\, that it is not \;(2012)\, two tapestries that were shown simultaneously in the two separate locations of the exhibition: Kassel\, Germany\, and Kabul\, Afghan istan. As with her other works\, these two black-and-white photographic tex tiles\, with their composite stitching-together of figures from disparate y et interlocking communities\, illuminate the elusive relationship between h istoric documentation and truth.

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In&n bsp\;Preparatory Notes \;(2014)\, Macuga expands on the functi on of demonstration and performance in her tapestries\, presenting a stage set for a production based on an unpublished play by legendary German art h istorian Aby Warburg. As with many of Macuga&rsquo\;s projects\, this piece explores the complicated and oftentimes fraught relationship between art a nd society throughout history\, which continues to resonate in the present. &ldquo\;Time as Fabric&rdquo\; will offer an opportunity for these pivotal projects to be seen together\, many of which will be on view in the United States for the first time. The presentation of these works on multifarious subjects in a single space will echo the collage-like quality of Macuga&rs quo\;s tapestries and encourage dialogues between diverse narratives to eme rge\, woven together by a common thread on a singular plane.

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Goshka Macuga was born in 1967 in Warsaw\, Poland\, and lives and works in London. Her solo exhibitions include &ldquo\;To the Son of Man Who Ate the Scroll&rdquo\; at Fondazione Prada\, Milan (2016)\; &ldquo\;Public Address: Goshka Macuga Tapestries&rdquo\; at Lunds konsthal l\, Lund\, Sweden (2014)\; &ldquo\;Exhibit\, A&rdquo\; at the Museum of Con temporary Art\, Chicago (2012)\; &ldquo\;Untitled&rdquo\; at the Zachęta Na tional Gallery of Art\, Warsaw (2011)\; &ldquo\;It Broke from Within&rdquo\ ; at the Walker Art Center\, Minneapolis\, MN (2011)\; &ldquo\;The Nature o f the Beast&rdquo\; at Whitechapel Gallery\, London (2009)\; and &ldquo\;I am Become Death&rdquo\; at Kunsthalle Basel\, Switzerland (2009). Macuga&rs quo\;s work was recently included in the 8th Berlin Biennial for Contempora ry Art (2014)\; dOCUMENTA (13)\, Kassel\, Germany\, and Kabul\, Afghanistan (2012)\; and &ldquo\;Fare Mondi/Making Worlds\,&rdquo\; the 53rd Venice Bi ennale (2009). Macuga was nominated for the Turner Prize in 2008.

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The exhibition is curated by Margot Norton\, A ssociate Curator\, and Massimiliano Gioni\, Artistic Director. It will be a ccompanied by a fully illustrated publication featuring an interview with t he artist by Norton and new reflections on Macuga&rsquo\;s practice by arti sts Ilya and Emilia Kabakov and curator and writer Grant Watson.

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Sponsors

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&ldquo\;Goshka Macuga: Time as Fabric&rdquo\; is presented by The New Women&rsquo\;s Project and Founding Partner D K N Y.



Additional support for the exhibition is provided by the O&rsquo\;Gra dy Foundation\, Fundació\;n Almine y Bernard Ruiz-Picasso para el Art e\, and the Toby Devan Lewis Emerging Artists Exhibitions Fund.

Generous funding is provided by the International Leadership Council of the New Museum.

The Artemis Council of the New Museum is gratefully acknowledged. \;

Special thanks to Andrew Kreps Gallery\, N ew York\; Kate MacGarry\, London\; and Galerie Rü\;diger Schö\;ttle \, Munich. \;

Support for the accompanying publication has b een provided by the J. McSweeney and G. Mills Publications Fund at the New Museum.

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DTEND:20160626 DTSTAMP:20160430T124928 DTSTART:20160504 GEO:40.722337;-73.992844 LOCATION:New Museum\,235 Bowery \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Time as Fabric\, Goshka Macuga UID:416830 END:VEVENT BEGIN:VEVENT DTEND:20160504T180000 DTSTAMP:20160430T124928 DTSTART:20160504T110000 GEO:40.722337;-73.992844 LOCATION:New Museum\,235 Bowery \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Time as Fabric\, Goshka Macuga UID:416831 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Join us for an evening with ar tist Cally Spooner\, featuring a new special performance conceived for this event\, followed by a talk-back with Spooner and Helga Christoffersen\, As sistant Curator.

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This live event is p art of the New Museum&rsquo\;s presentation of \;&ldquo\;On False Tears and Outsourcing\,&rdquo\; \;an iterati on of Spooner&rsquo\;s long-term project of the same name\, which was initi ated at Vleeshal Markt\, Middelburg\, the Netherlands\, in 2015. A starting point for the project is Gustave Flaubert&rsquo\;s 1856 novel \;Ma dame Bovary\, in which Emma Bovary&rsquo\;s lover signs his farewell l etter to her with a false tear\, a drop of water. Spooner takes this passag e and builds on its fiction to examine expanded definitions of outsourcing today. Considering the production of affect\, the contradictions faced by h ired bodies\, and the dynamics of using or being used as a human resource\, &ldquo\;On False Tears and Outsourcing&rdquo\; stages situations in which a heightened demand for communication drives the delegation of personal inv estment to ready-made languages\, gestures\, and protocols.

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Bio
Cally Spooner was born in Ascot\, UK\, in 1983 and lives and works in London. Her recent solo exhibit ions include &ldquo\;And You Were Wonderful\, On Stage&rdquo\; at Stedelijk Museum\, Amsterdam (2016)\; &ldquo\;On False Tears and Outsourcing&rdquo\; at Vleeshal Markt\, Middelburg\, the Netherlands (2015)\; and &ldquo\;The Anti-Climax Climax&rdquo\; at Bielefelder Kunstverein\, Bielefeld\, Germany (2015). Her recent live productions have been presented at Tate Modern\, L ondon (2014)\; Tate Britain\, London (2014)\; the High Line\, New York (201 4)\; Stedelijk Museum\, Amsterdam (2013)\; and Performa 13\, New York (2013 ). Spooner&rsquo\;s work has been included in group exhibitions at the Aspe n Art Museum (2015)\; \;REDCAT\, Los Angeles (2015)\; Frieze Projects\, London (2015)\; Kunstverein Mü\;nchen (2014)\; Frieze Projects\, New Y ork (2014)\; KW Institute for Contemporary Art\, Berlin (2013)\; Jeu de Pau me\, Paris (2013)\; and the Serpentine Gallery\, London (2012). She is a 20 13 recipient of the Paul Hamlyn Foundation Award and the author of the nove l \;Collapsing in Parts\, published by Mousse in 2013.

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Sponsors

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Full support for &ldquo\; Cally Spooner: On False Tears and Outsourcing&rdquo\; can be viewed \;< a href="http://www.newmuseum.org/exhibitions/view/cally-spooner-on-false-te ars-and-outsourcing#sponsors">here.

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Education Supporters

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Exhibition-related programs are made possible\, in part\, through the s upport of the New York State Council on the Arts and the New York City Depa rtment of Cultural Affairs.

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Educa tion and community programs for the spring shows are supported\, in part\, by American Chai Trust.

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Generous endo wment support is provided by the Rockefeller Brothers Fund\, the Skadden\, Arps Education Programs Fund\, and the William Randolph Hearst Endowed Fund for Education Programs at the New Museum.

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DTEND:20160525T210000 DTSTAMP:20160430T124928 DTSTART:20160525T190000 GEO:40.722337;-73.992844 LOCATION:New Museum\,235 Bowery \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Cally Spooner Special Performance and Talk-Back with Helga Christof fersen\, Cally Spooner UID:416829 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Mannhattan\, February 2016

The S porting Fate exhibition opens at Causey Contemporary with a public receptio n on May 12\, 2016 from 6 - 8 pm. This exhibition\, featuring Christopher H art Chambers&rsquo\; recent sculptures and paintings\, is his first solo sh ow with the gallery. The exhibition will take place at 29 Orchard St. at th e gallery&rsquo\;s lower east side location in New York City and runs throu gh June 12\, 2016.

Christopher refers to his work as &ldquo\;idi osyncratically American&rdquo\; because it references hot rods\, surfboards \, psychedelia\, and romanticized fantasy space craft/techno-science fictio n adventure vessels while also utilizing an acute alphabet of personal embl ems and cryptic motifs. Christopher is also involved with curating exhibiti ons and writing for several periodicals including Flash Art\, Contemporary\ , Tema Celeste\, d&rsquo\;Art\, Sculpture\, and others. Yet throughout the years of tangential activities he has remained focused on the original aim which is prolifically producing and exhibiting his work widely\; starting p rimarily as a painter\, shifting to sculpture in the late 1990s\, and final ly conjoining them.

Christopher is a passionate traveler who lik es to see where the paint\, the color\, and the light leads. Artistically h is main aim is to explore uncharted territory: to discover\, and so he does not start with any idea in mind. In essence\, his work is completely impro visational. He analogizes his modus operandi to that of a jazz or rock and roll band\, &ldquo\;Once the rhythm is set\, the melody is free to improvis e.&rdquo\; That is to say\, once a working methodology has been established &ndash\; the materials\, sequence of application\, etcetera\, the creative means and the physical support structure in place: the artist is free to f ire at will.

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Biography

Christopher Hart Chambers was born in New York City where he continue s to live and work. He attended the High School of Music and Art and variou s other NYC based institutions of fine art learning. He first exhibited pro fessionally as a teenager in the East Village and Soho in the early and mid 1980s.While his early work concentrated strictly on painting\, later Chamb ers incorporated sculptural elements as well.

His efforts have b een featured recently in solo exhibitions at venues including: The Nassau C ounty Museum of Art\, Roslyn\, NY\; Lyceum Gallery @ Suffolk County Communi ty College\, Riverhead \, NY\; Rupert Ravens Contemporary &ndash\; Newark\, NJ\; Art Sites &ndash\; Riverhead\, NY\; Universal Concepts Unlimited\, NY C\; Galerie Rienzo\, NYC.

Christopher Hart Chambers&rsquo\; work s are held in the public and corporate collections of several international institutions including: Washington D.C. Convention Center\; Omnicare Inter national (New York)\; MPOWER Corporation\, currently Quovadx Inc. (Albuquer que\, NM)\, as well as numerous private collectors.

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Statement

&ldquo\;Although my work is co nceptually abstract it is rooted in concrete imaginary. This is essentially a surrealist model. Another way of putting it is to state that the work al ways involves pictures of &ldquo\;things.&rdquo\; In three dimensions they are the things rather than representations thereof. These &ldquo\;things&rd quo\; are distilled from an alphabet of personal motifs and emblems which a re often repeated throughout a single composition and obsessively utilized in numerous works. This fascination with mantric repetition has lead me to an interest in fabricating these visual devices in three dimensions by buil ding molds and casting the forms\, thereby developing a genus of modular sc ulpture which may be rearranged at will. All these machinations have finall y conjoined\; I like to call it The Apex Theory: Two lines of thought meet at a designated point. The pinnacle or apex is determined by the length and angles of the sides\, or metaphorically\, the difficulty of the ascent. It has taken me almost half a century to arrive here.&rdquo\;

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For more information on Christopher Hart Chambers&rsquo\; fo rthcoming exhibition or our current show of Howard Gross&rsquo\; In Whisper ing exhibition at Causey Contemporary running from April 14 &ndash\; May 8\ , 2016\, please contact Lara Aim\, the communications associate at the gall ery via email: lara@causeycontemporary.com\, or telephone: 212-966-2520&nbs p\; \; \; \; \;  \;

DTEND:20160612 DTSTAMP:20160430T124928 DTSTART:20160511 GEO:40.7156511;-73.9914606 LOCATION:Untitled New York\,30 Orchard St. \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Sporting Fate\, Christopher Hart Chambers UID:416827 END:VEVENT BEGIN:VEVENT DTEND:20160511T200000 DTSTAMP:20160430T124928 DTSTART:20160511T180000 GEO:40.7156511;-73.9914606 LOCATION:Untitled New York\,30 Orchard St. \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Sporting Fate\, Christopher Hart Chambers UID:416828 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The New Museum will present a new installation by Cally Spooner (b. 1983\, Ascot\, UK)\, which will be he r first solo and institutional presentation in the United States.

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For her first solo and institutiona l presentation in the United States\, Cally Spooner (b. 1983\, Ascot\, UK) will produce a new installation for the New Museum&rsquo\;s Lobby Gallery. &ldquo\;On False Tears and Outsourcing&rdquo\; will comprise a series of ar chitectural additions to the gallery space and the presence of a group of d ancers who will respond to conflicting choreographic instructions: to stay intimately bound together while remaining fiercely separate. Trained by rug by players and a movie director\, and following the logic of a &ldquo\;stan d-up scrum&rdquo\;&mdash\;a daily meeting often used in collaborative\, res ponsive practices such as software development&mdash\;the dancers will lear n a set of techniques taken from contact sports\, management strategies\, a nd on-screen romance. Through attempts to seduce\, defend\, and self-organi ze\, the group will devise a sequence of movements in response to simple ta sks set by Spooner. The long glass wall that separates the Lobby Gallery fr om the New Museum Lobby will be a central feature of the installation. Usin g the gallery&rsquo\;s condition of high visibility\, Spooner will consider the characteristics of corporate and museum architectures by amplifying an d exaggerating certain qualities in the space through the use of soft acous tic panels\, daylight bulbs\, and background noise. Through this intersecti on of bodies and architectures of management\, Spooner will examine how pow er presents itself when it comes into contact with the human body.

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On False Tears and Outsourcing&rdquo\; is part of Spooner&rsquo\;s long-ter m project of the same name\, which was initiated at Vleeshal Markt\, Middel burg\, the Netherlands\, in 2015. Considering the production of affect\, th e contradictions faced by hired bodies\, and the dynamics of using or being used as a human resource\, the project stages situations in which a height ened demand for communication drives the outsourcing of personal investment to readymade gestures and protocols.

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Cally Spooner was born in Asc ot\, UK\, in 1983 and lives and works in London. Her recent solo exhibition s include &ldquo\;And You Were Wonderful\, On Stage&rdquo\; at Stedelijk Mu seum\, Amsterdam (2016)\; &ldquo\;On False Tears and Outsourcing&rdquo\; at Vleeshal Markt\, Middelburg\, the Netherlands (2015)\; and &ldquo\;The Ant i-Climax Climax&rdquo\; at Bielefelder Kunstverein\, Bielefeld\, Germany (2 015). Her recent live productions have been presented at Tate Modern\, Lond on (2014)\; Tate Britain\, London (2014)\; the High Line\, New York (2014)\ ; Stedelijk Museum\, Amsterdam (2013)\; and Performa 13\, New York (2013). Spooner&rsquo\;s work has been included in group exhibitions at the Aspen A rt Museum (2015)\; \;REDCAT\, Los Angeles (2015)\; Frieze Projects\, Lo ndon (2015)\; Kunstverein Mü\;nchen (2014)\; Frieze Projects\, New York (2014)\; KW Institute for Contemporary Art\, Berlin (2013)\; Jeu de Paume\ , Paris (2013)\; and the Serpentine Gallery\, London (2012). She is a 2013 recipient of the Paul Hamlyn Foundation Award and the author of the novel C ollapsing in Parts\, published by Mousse in 2013.

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The exhibition is curated by Helga Christoffersen\, Assistant Curator.

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Sponsors

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&ldquo\;Cally Spooner: On False Tears and Outsourcing&rdquo\; is presen ted by The New Women&rsquo\;s Project and Founding Partner D K N Y.


The exhibition is p roduced in collaboration with Kvadrat and Lafayette Anticipation &ndash\; F ondation d&rsquo\;entreprise Galeries Lafayette\, Paris.


Additional support is provided by Na thalie and Jean-Daniel Cohen\, the O&rsquo\;Grady Foundation\, Fundaci&oacu te\;n Almine y Bernard Ruiz-Picasso para el Arte\, and the Toby Devan Lewis Emerging Artists Exhibition Fund. \;

Generous funding is pr ovided by the International Leadership Council of the New Museum.

The Artemis Council of the New Museum is gratefully acknowledged.
Special thanks to the Producers Council of the New Museum.

T hanks to Artpace\, San Antonio.

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DTEND:20160619 DTSTAMP:20160430T124928 DTSTART:20160427 GEO:40.722337;-73.992844 LOCATION:New Museum\,235 Bowery \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:On False Tears and Outsourcing\, Cally Spooner UID:416818 END:VEVENT BEGIN:VEVENT DTEND:20160427T180000 DTSTAMP:20160430T124928 DTSTART:20160427T110000 GEO:40.722337;-73.992844 LOCATION:New Museum\,235 Bowery \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:On False Tears and Outsourcing\, Cally Spooner UID:416820 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In spring 2016\, the New Museu m will present the first museum exhibition in New York of Andra Ursuţa.

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This presentation will be the first New York museum exhibition of the work of New York&ndash\;based arti st Andra Ursuţa (b. 1979). Ursuţa&rsquo\;s sculptures and installations thr ive on paradox and engage a visual language that weaves an art historical h omage with a homespun\, anarchic sensibility. From early in her career\, Ur suţa has used a fatalistic dark humor to expose power dynamics\, to probe t he vulnerability of the human body\, and to examine modes of desire. The Ro manian-born artist immigrated to the United States in the late 1990s\, but many of the narrative facets of her upbringing&mdash\;from occult folk trad itions to blundering nationalist propaganda&mdash\;resonate throughout her work. Ursuţa&rsquo\;s New Museum exhibition will debut a new sculptural ins tallation\, \;Alps \;(2016)\, which will be presented in d ialogue with the artist&rsquo\;s recent sculptures\, including her seriesWhites \;(2015)\, which will have its United States premiere in this show.

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The sculptures that compose \;Whites \; take the form of anthropomorphic obelisks&mdash\;bone-like shrunken monumen ts with eye sockets and nostrils cast from human skulls. Half figure and ha lf stela\, they haunt the gallery like ghosts and are seated on chairs whos e designs reference periods of European colonialism. Ursuţa&rsquo\;s \; Alpstransposes her obelisk-like figures to an artificial landscape that envelops the gallery space. Informed by stylized representations of n atural landscapes&mdash\;from indoor rock-climbing walls to the rocks depic ted in Byzantine paintings&mdash\; \;Alpsflanks the walls of t he gallery with craggy geometric forms jutting out like crystalline growths . The work&rsquo\;s title denotes a specific geographical feature: Europe&r squo\;s Alps are a major natural barrier\, which has taken on a new signifi cance in light of current efforts by migrants to cross into western Europe. Seen alongsideWhites\, the squadron of forlorn obelisks that patr ol the premises like specters of bygone imperialist ambitions\, and the mar ble Roma women of \;Commerce Exterieur Mondial Sentimental&nbs p\;(2012)\, Alps suggests a commentary on the impulse to guard and fortify borders. Cast in the surfaces of these pallid panels\, pouches of bodily ma ss&mdash\;in the shape of inflatable toy skeletons&mdash\;appear suspended like flies in a web or frozen like fossilized bog bodies. Other skeletal ca vities perforate the surface and\, together with penis-shaped climbing hold s\, offer rude and morbid grips for a hypothetical climber.

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In  \;Commerce Exterieur Mondial Sentimental\, life-size marble figure s adorned with coins glare at the viewer with palpable contempt. Informed b y a socialist-realist aesthetic and inspired by a news image of a Roma woma n being deported from France\, they evoke lifeless mannequins trapped in an economy in which the value of both human beings and commodities is determi ned by foreign powers.Scarecrow \;(2015)\, an unusual apparatu s for a nonexistent sport\, is part goalpost\, part concrete flag: at its c enter is a cartoonish inflatable eagle\, whose tumescent arms are pumped up in victory. In this work\, a classic emblem of European nationalism is tra nsformed into an icon of empty threats&mdash\;a monument of imperial folly more than a real menace.

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Andra Ursuţa was born in 1979 in Salonta\, Romania\, and lives and works in New York City. She has exhibited internat ionally at venues including the 13th Biennial of Lyon\, France (2015)\; the Hammer Museum\, Los Angeles (2014)\; the 55th Venice Biennale (2013)\; MoM A P.S.1\, New York (2013)\; \;CAPC\, musé\;e d&rsquo\;art contemp orain de Bordeaux\, France (2013)\; and Frieze Projects New York (2012). He r recent solo presentations include &ldquo\;Enslavables&rdquo\; at Massimo De Carlo\, London (2015)\; &ldquo\;Whites&rdquo\; at Kunsthalle Basel\, Swi tzerland (2015)\; &ldquo\;Orthodoctrinator&rdquo\; at Art Basel Unlimited ( 2014)\; &ldquo\;Scytheseeing&rdquo\; at Kö\;lnischer Kunstverein\, Colo gne (2014)\; &ldquo\;As I Lay Drying&rdquo\; at the Institute of Contempora ry Art\, Miami (2014)\; &ldquo\;Solitary Fitness&rdquo\; at Venus Over Manh attan\, New York (2013)\; &ldquo\;Mothers\, Let Your Daughters Out in the S treets&rdquo\; at Franç\;ois Ghebaly Gallery\, Los Angeles (2012)\; a nd &ldquo\;&Omicron\; &Nu\;ό&tau\;&omicron\;&sigmaf\; &theta\;&alpha\; &eps ilon\;&gamma\;&epsilon\;&rho\;&theta\;&epsilon\;ί &xi\;&alpha\;&nu\;&alpha\ ;&rdquo\; [The South Will Rise Again] (2015)\, &ldquo\;Magical Terrorism&rd quo\; (2012)\, &ldquo\;Vandal Lust&rdquo\; (2011)\, and &ldquo\;The Managem ent of Barbarism&rdquo\; (2010) at Ramiken Crucible\, New York.

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The exhibition is curated by Natalie Bell\, Assistant Curator\, and Massimilia no Gioni\, Artistic Director. It will be accompanied by a publication with contributions by Bell and artist Maurizio Cattelan and an interview between the artist and Gioni.

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Sponsors

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&ldquo\;Andra Ursuţa: Alps& rdquo\; is presented by The New Women&rsquo\;s Project and Founding Partner D K N Y. \;


< br />Additional support for the exhibition is provided by the O&rsquo\;Grad y Foundation\, Fundació\;n Almine y Bernard Ruiz-Picasso para el Arte \, Lietta and Dakis Joannou\, Carlo Bronzini Vender and Tanya Traykovski\, and the Toby Devan Lewis Emerging Artists Exhibitions Fund.

Gene rous funding is provided by the International Leadership Council of the New Museum.

The Artemis Council of the New Museum is gratefully ack nowledged.

Support for the accompanying publication has been pro vided by the J. McSweeney and G. Mills Publications Fund at the New Museum.

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DTEND:20160619 DTSTAMP:20160430T124928 DTSTART:20160427 GEO:40.722337;-73.992844 LOCATION:New Museum\,235 Bowery \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Alps\, Andra Ursuta UID:416816 END:VEVENT BEGIN:VEVENT DTEND:20160427T180000 DTSTAMP:20160430T124928 DTSTART:20160427T110000 GEO:40.722337;-73.992844 LOCATION:New Museum\,235 Bowery \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Alps\, Andra Ursuta UID:416817 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Beatriz Santiago Muñ\;oz &rsquo\;s (b. 1972\, San Juan\, Puerto Rico) projects grapple with the slip pery distinctions between ethnography\, fiction\, and documentary film and examine the symbolic and material histories of the communities she observes with her camera.

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Her resi dency and exhibition at the New Museum will be presented in the Fifth Floor gallery as part of the Education and Public Engagement Department&rsquo\;s R&\;D Season: \;LEGACY\, and will explore the ways in which our con nections to the past are actively produced\, maintained\, and refuted. In t his exhibition\, she will premiere a new body of work\, including a series of 16mm portraits of anthropologists\, activists\, and artists working in H aiti and Puerto Rico. Santiago Muñ\;oz&rsquo\;s films capture the asp irations and imagined futures of those who are deeply invested in alternati ve models of being\, using them as allegories for larger political possibil ities in the region.

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This exhibition is co-curated by Johanna Burto n\, Keith Haring Director and Curator of Education and Public Engagement\, Lauren Cornell\, Curator and Associate Director\, Technology Initiatives\, and Sara O&rsquo\;Keeffe\, Assistant Curator.

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Sponsors

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&ldq uo\;Beatriz Santiago Muñ\;oz&rdquo\; is presented by The New Women&rs quo\;s Project and Founding Partner D K N Y.



Additional support for &ldquo\;Beatriz San tiago Muñ\;oz&rdquo\; is provided by the Toby Devan Lewis Emerging Ar tists Exhibitions Fund. Artist commissions at the New Museum are generously supported by the Neeson / Edlis Artist Commissions Fund. The Education Cou ncil of the New Museum is gratefully acknowledged.

Further suppo rt is provided by public funds from the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislatur e\, and from the New York City Department of Cultural Affairs in partnershi p with the City Council. \;



Endowment support is provided by the Rockefeller Broth ers Fund\, the Skadden\, Arps Education Programs Fund\, and the William Ran dolph Hearst Endowed Fund for Education Programs at the New Museum.

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DTEND:20160612 DTSTAMP:20160430T124928 DTSTART:20160420 GEO:40.722337;-73.992844 LOCATION:New Museum\,235 Bowery \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Song\, Strategy\, Sign\, Beatriz Santiago Muñoz UID:416815 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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This exhibition features more than 600 works of art and writing by New York City teens who received the highest regional recognition in the 2016 Scholastic Art &\; Writing Awards&mdash\;the Gold Key Award. Presented by the Alli ance for Young Artists &\; Writers\, the Scholastic Awards are the longe st-running and most prestigious recognition program for creative teens in t he United States. The Met is again honored to host this yearly exhibition a nd celebrate the creativity of these young artists.

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This year as many as 3\,500 students in grades seven through twelve submitted nearly 13\,000 works to the New York City Region of the S cholastic Art &\; Writing Awards\, encompassing more than 300 schools in all five boroughs. In addition\, 260 literary and visual arts professional s served as judges\, selecting works based on originality\, technical skill \, and emergence of a personal voice or vision.

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The Alliance for Young Artists &\; Writers' mission is to ide ntify students with exceptional artistic and literary talent and present th eir visionary work to the world through recognition\, exhibition\, publicat ion\, and scholarships. Established in 1923\, the Scholastic Art &\; Wri ting Awards bring the work of young people to regional and national audienc es. Former recipients include artists Andy Warhol\, Cy Twombly\, Kay Walkin gStick\, and John Baldessari&mdash\;all represented in The Met collection&m dash\;and writers Sylvia Plath\, Truman Capote\, Maya Goldberg\, and Joyce Carol Oates.

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Learn more about the&nbs p\;Alliance for You ng Artists &\; Writers and the Scholastic Art &\; Writing Awards& nbsp\;and connect on Twitter (@ artandwriting). For more information\, contactinfo@artandwriting.org.

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See a \;complete list& nbsp\;(PDF) of 2016 New York City Scholastic Art &\; Writing Awards Gold Key recipients.

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The Alliance for Young Artists &\; Writers partners with Th e New School's Parsons School of Design and Eugene Lang College of Liberal Arts to present the New York City Region of the Scholastic Art &\; Writi ng Awards\, with additional program support provided by Pratt Institute. Th e Alliance thanks Scholastic Inc.\, the \;New York Times\, and the New York City Department of Cultural Affairs in partnership with the C ity Council for their generous support of this exhibition.

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\nOn vie w at The Met Fifth Avenue in \;Ruth and Harold D. Uris Center for Education DTEND:20160530 DTSTAMP:20160430T124928 DTSTART:20160311 GEO:40.7802083;-73.9630508 LOCATION:The Metropolitan Museum of Art\,1000 Fifth Ave. \nNew York\, NY 10 028-0918 SEQUENCE:0 SUMMARY:Scholastic Art & Writing Awards: New York City Regional Exhibition UID:416764 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Since The Metropolitan Museum of Art was founded in 1870\, the institution's physical space and collection h ave grown and its curatorial departments have diversified. The first Asian works of art to enter the collection&mdash\;mostly ceramics and lacquers&md ash\;were acquired in 1879 and originally accommodated in what was then cal led the Department of Decorative Arts. Only in 1915 was a separate Departme nt of Far Eastern Art established\, and it was not until 1986 that its name was changed to the Department of Asian Art. The timeline presented in the photographs in this exhibition chronicles the changing face of the Met's ga lleries of Asian art as the building's footprint has expanded\, exhibition styles have evolved\, and the collection has grown.

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Forever a work in progress\, the Met's collection of Asi an art is ultimately the product of the passion and scholarship of the many collectors\, curators\, donors\, dealers\, and directors who have together shaped the Museum's holdings and legacy.

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Asia 100 logo#AsianArt100

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On view at The Met Fifth Avenue in&n bsp\;Gallery 209

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Sinc e The Metropolitan Museum of Art was founded in 1870\, the institution's ph ysical space and collection have grown and its curatorial departments have diversified. The first Asian works of art to enter the collection&mdash\;mo stly ceramics and lacquers&mdash\;were acquired in 1879 and originally acco mmodated in what was then called the Department of Decorative Arts. Only in 1915 was a separate Department of Far Eastern Art established\, and it was not until 1986 that its name was changed to the Department of Asian Art. T he timeline presented in the photographs in this exhibition chronicles the changing face of the Met's galleries of Asian art as the building's footpri nt has expanded\, exhibition styles have evolved\, and the collection has g rown.

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Forever a work in progress\, the Met's collection of Asian art is ultimately the product of the passion and scholarship of the many collectors\, curators\, donors\, dealers\, and directors who have together shaped the Museum's holdings and legacy.

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Asia 100 logo#AsianArt10 0

DTEND:20160522 DTSTAMP:20160430T124928 DTSTART:20150905 GEO:40.7802083;-73.9630508 LOCATION:The Metropolitan Museum of Art\,1000 Fifth Ave. \nNew York\, NY 10 028-0918 SEQUENCE:0 SUMMARY:Asian Art at 100: A History in Photographs UID:416763 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Since the earliest days of the medium\, photographs have been used for criminal investigation and evidence gathering\, to record crime scenes\, to identify suspects and abet their capture\, and to report events to the public. This exhibition explores the multifaceted intersections between photography and crime\, from 19th-century "rogues' galleries" to work by contemporary arti sts inspired by criminal transgression. The installation will feature some 70 works\, drawn entirely from The Met collection\, ranging from the 1850s to the present.

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Among the highlights of the installation is Alexander Gardner's documentation of the events foll owing the assassination of President Lincoln\, as well as rare forensic pho tographs by Alphonse Bertillon\, the French criminologist who created the s ystem of criminal identification that gave rise to the modern mug shot. Als o on display is a vivid selection of vintage news photographs related to ca ses both obscure and notorious\, such as a study of John Dillinger's feet i n a Chicago morgue in 1934\; Jack Ruby shooting Lee Harvey Oswald in 1963\; and Patty Hearst captured by bank surveillance cameras in 1974.

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In addition to exploring photography's evidenti ary uses\, the exhibition will feature work by artists who have drawn inspi ration from the criminal underworld\, including Richard Avedon\, Larry Clar k\, Walker Evans\, John Gutmann\, Andy Warhol\, and Weegee.

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# CrimeStories
# MetOnPaper100

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On view at The Met Fifth Avenue in \;Galle ry 852
DTEND:20160731 DTSTAMP:20160430T124928 DTSTART:20160307 GEO:40.7802083;-73.9630508 LOCATION:The Metropolitan Museum of Art\,1000 Fifth Ave. \nNew York\, NY 10 028-0918 SEQUENCE:0 SUMMARY:Crime Stories: Photography and Foul Play UID:416762 END:VEVENT END:VCALENDAR