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

Infinite Horizons - Opening Reception at Gallery 69.

\n

Free beer\, wine\, and hors d'oeuvres!

\n

Thursday\, January 29 \ ; 6:00 - 10:00 \;

\n

Group show featuring paintings by: Bonnie Har per Paula Street Brandon Wisecarver

\n

 \;

DTEND:20150130 DTSTAMP:20150128T202019 DTSTART:20150129 GEO:40.7176771;-74.0053594 LOCATION:Gallery 69\,69 Leonard St. \nNew York\, New York 10103 SEQUENCE:0 SUMMARY:Infinite Horizons\, Brandon Wisecarver\, Paula Street\, Bonnie Harp er UID:371610 END:VEVENT BEGIN:VEVENT DTEND:20150129T220000 DTSTAMP:20150128T202019 DTSTART:20150129T180000 GEO:40.7176771;-74.0053594 LOCATION:Gallery 69\,69 Leonard St. \nNew York\, New York 10103 SEQUENCE:0 SUMMARY:Infinite Horizons\, Bonnie Harper\, Paula Street\, Brandon Wisecarv er UID:371611 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Lotta Tö\;rnroth \;will speak about how she employs personal stories\, combined with historical events\, mythical sagas and lit erature to create new layers of fiction. She uses photography\, text and sc ulpture to create narratives about the sea\, evoking aspects of longing\, w aiting\, and missing. \;

\n

During her ISCP residency\, Anna Jermo laewa worked on her new project Chernobyl Safari which will be exh ibited in the upcoming Kiev Biennale. Since the nuclear disaster in Chernob yl\, the 30-kilometer exclusion zone surrounding the Soviet power plant&rsq uo\;s reactor has become a veritable nature reserve. Lynxes\, wolves\, eagl es\, wild horses\, and other rare species inhabit the nearly deserted area. Jermolaewa will speak about her &ldquo\;safari&rdquo\; in the Chernobyl ex clusion zone\, a paradise for animals normally associated with death and di saster.

DTEND:20150128T200000 DTSTAMP:20150128T202019 DTSTART:20150128T183000 GEO:40.7144315;-73.9349805 LOCATION:International Studio & Curatorial Program (ISCP)\,1040 Metropolita n Avenue \nBrooklyn\, NY 11211 SEQUENCE:0 SUMMARY:Salon : Lotta Törnroth and Anna Jermolaewa\, Lotta Törnroth\, Anna Jermolaewa UID:371598 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Denise Bibro Fine Art\, in Chelsea\, New Yo rkpresents Carol Brown Goldberg&rsquo\;s\,Paintings: The Color of Time< /em>. Running from February 5th- March 14th\, 2015.

\n

Goldberg&rsquo\;s work is noted for its use of refl ective chips nestled among acrylics on canvas. Mesmerizing and colorful\, t hey are almost hypnotic in nature. Subtle yet bold in style\, her work is p rolific and instantly recognizable.

\n

 \; \; \; \;&nb sp\; \; \; \; \; \; \; \; \; \; \; Goldberg draws much of her inspiration from music\, light\, geometric patte rn\, and brightness. When the Vero Beach Museum displayed her work\, they d escribed it as such&hellip\; &ldquo\;Goldberg infuses the surfaces of h er canvases with pulverized polymer to intensify her colors and give them a n almost Venetian look. Unlike the work of earlier artists whose hard-edged \, geometric compositions seem flat and contained\, Goldberg&rsquo\;s paint ings gather energy and pull viewers into a limitless &lsquo\;abstract unive rse&rsquo\;.&rdquo\; Historian and art critic Donald Kuspit stated her art as &ldquo\;Musical abstractions\, acknowledging\, as Kandinsky did \, that all art aspires to the condition of music\, which is abstract and e xpressive at once&hellip\;&rdquo\;

\n

 \; \; \; \ ; \; \; \; \; \; \; \; \; \; \;&nbs p\; Goldberg is from Baltimore\, Maryland. She studied at the Universit y of Maryland\, where she received a B.A. in American Studies\, and th e Corcoran School of Art in Washington D.C\, where she earned her second B.A. and studied under Gene Davis. Upon graduation from the Univ ersity of Maryland\, she was given the Eugene M. Weisz award. She has taught at American University and the University of Maryland. She is also a recipient of the Maryland State Arts Award. Her work has been shown in many solo and group exhibitions\, and is in many Museum coll ections\, such as the New Orleans Museum of Art\, the National Museum for Women in the Arts and the Kreeger Museum.

\n

 \;

\n

For More Information Visit our Website or C all the Gallery:

\n

www.DeniseBibroFineArt.com

\n

212.647.7030

DTEND:20150314 DTSTAMP:20150128T202019 DTSTART:20150205 GEO:40.7464825;-74.0069332 LOCATION:Denise Bibro Fine Art\,529 West 20th Street 4W\nNew York\, NY 1001 1 SEQUENCE:0 SUMMARY:Paintings: The Color of Time\, Carol Brown Goldberg UID:371475 END:VEVENT BEGIN:VEVENT DTEND:20150205T200000 DTSTAMP:20150128T202019 DTSTART:20150205T180000 GEO:40.7464825;-74.0069332 LOCATION:Denise Bibro Fine Art\,529 West 20th Street 4W\nNew York\, NY 1001 1 SEQUENCE:0 SUMMARY:Paintings: The Color of Time\, Carol Brown Goldberg UID:371476 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Denise Bibro Fine Art\, Chelsea\, New York presents Carole Robb&rsquo\;s first solo show at DBFA entitled Passiona te Collisions. The show will run from February 5th- March 14th\, 2015.  \;

\n

Robb&rsquo\;s grand iose images coincide with the scale and theme of her work. She travels from New York to London and Rome to rediscover the romantic and aesthetic atmos phere of each of these Cities of Love. She catches couples embracing in the same locations that couples embraced centuries ago. Her work studies perso nal relationships and the romances and emotions that cohabit them. She repl icates what it&rsquo\;s like to be in love on canvas. As Robb says in her o wn words\, &ldquo\;Every generation rediscovers passion...We can look b ack at the epic tale of the lover affair between Paris and Helen of Troy th at started a war to see the moral complexities of love\, but in its simples t form its to do with emotional connection&hellip\; 27 centuries later we s till feel the immediate emotional connection.&rdquo\;  \;Love or t he lack of love is a base connection of what it is to be human.

\n

&nb sp\; \; \; \; \; \; \; \; \; \; \;& nbsp\; \; \; \; Peter de Francia\, a painter and author\, says of Robb\, &ldquo\;What appears to be the most impressive feature of her work is the manner in which she fuses memory with freshness of renewed exp erience. Carole Robb&rsquo\;s paintings are un part touchstones of reality- of here and now- merged with the graduated experience derived from the pas t. This is why her work is and will remain memorable.&rdquo\;

\n

Carole Robb was born in Scotland. She studied painting at the Glasgow S chool of Art and earning an MFA at the University of Reading in England. She is the recipient of many awards including the Brit ish Prix de Roma\, a Fulbright Award\, and a British Arts Council Major Awa rd. Her artworks can be found in several private and museum collections\, s uch as the Metropolitan Museum of Art in New York and the Vict oria and Albert Museum in London.

\n

 \;

\n

For More Information Visit our Website or Call the Gallery:

\n

www.DeniseBibroFineArt.com

\n

 \;

DTEND:20150314 DTSTAMP:20150128T202019 DTSTART:20150205 GEO:40.7464825;-74.0069332 LOCATION:Denise Bibro Fine Art\,529 West 20th Street 4W\nNew York\, NY 1001 1 SEQUENCE:0 SUMMARY:Passionate Collisions \, Carole Robb UID:371473 END:VEVENT BEGIN:VEVENT DTEND:20150205T200000 DTSTAMP:20150128T202019 DTSTART:20150205T180000 GEO:40.7464825;-74.0069332 LOCATION:Denise Bibro Fine Art\,529 West 20th Street 4W\nNew York\, NY 1001 1 SEQUENCE:0 SUMMARY:Passionate Collisions \, Carole Robb UID:371474 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Denise Bibro Fine Art\, in Chelsea New York is pleased to announce Don Kimes&rsquo\;s second solo exhibition at DBFA\, Finding Memory: New Works. The show will run fro m February 5th - March 14th\, 2015.< /p>\n

Finding Memory: New works is inspired by the old and blemished paintings that were destroyed by a flood almost a dec ade ago in Kimes home. Fortunately\, Kimes was fascinated by the outcome\, drawing incentive from the way the ruined work looked after the natural inc ident.

\n

Kimes&rsquo\;s acrylic and ink paintings are marked by bold splashes of color and unique textures. He draws inspiration from the effect s of nature and time. He has replicated the look of casualty and destructio n within his work deliberately\, influenced by the effects of time and the power of nature\, loss and rebuilding. Kimes&rsquo\;s work reflects the pro cess of discovering beauty in the midst of tragedy\, the rebirth after the catastrophe. In his own words\, &ldquo\;I am using the second part of m y life to re-paint the first.&rdquo\;

\n

Noted painter Margaret G rimes says of Kimes&hellip\; &ldquo\;Although the form and media of Don Kimes&rsquo\; work varies from decade to decade\, the essential themes rem ain the same: a fascination with the natural elements\, the power and proce sses with nature\, the fragility of human attempts to control and interact with them\, and above all the passage of time&hellip\; It is amazingly appr opriate that this work will be shown in Chelsea\, itself an area so recentl y devastated by its own life-changing floods. As is so often\, the individu al experience of the artist serves as a shamanistic function in the communi ty.&rdquo\;

\n

Kimes has had numerous solo exhibitions throughout the United States and Europe. Selected shows include the Galleria Moenia d i Giuliana Dorazio\, Italy\; Katzen Museum of Art\, Washington D.C.\; Fowle r Kellogg Galleries Chautauqua\, New York\; International Art &\; Artist s\, Washington D.C.\; Casa Di Culture\, Mexico\; National Academy of Scienc es\, Washington D.C. and America Haus in Munich Germany. Kimes splits his t ime between Washington D.C.\, as head of the Studio Art Program at American University and as the Artistic Director in the Visual Arts at Chautauqua I nstitution in New York.

\n

 \;

\n

For More Information Visit our Website or Call the Gallery:

\n

www.DeniseBibroFineArt.com

\n

212.647.7030\n

 \;

DTEND:20150314 DTSTAMP:20150128T202019 DTSTART:20150205 GEO:40.7464825;-74.0069332 LOCATION:Denise Bibro Fine Art\,529 West 20th Street 4W\nNew York\, NY 1001 1 SEQUENCE:0 SUMMARY:Finding Memory: New Works\, Don Kimes UID:371469 END:VEVENT BEGIN:VEVENT DTEND:20150205T200000 DTSTAMP:20150128T202019 DTSTART:20150205T180000 GEO:40.7464825;-74.0069332 LOCATION:Denise Bibro Fine Art\,529 West 20th Street 4W\nNew York\, NY 1001 1 SEQUENCE:0 SUMMARY:Finding Memory: New Works\, Don Kimes UID:371470 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Boomoon (b.1955) is a South Korean photographer currently wo rking in Seoul and Sokcho. Since the 1980&rsquo\;s\, he has been engaging w ith natural landscapes in his work as a means of self-reflection\, producin g large format photographs of vast expanses of sky\, sea and land. Devoid o f human existence\, the central emphasis of his work is the experience of t he infinity of nature and the representation of its presence.

\n

&ldqu o\;It is of profound importance to understand Boomoon&rsquo\;s capacity to create an experiential space for the viewer and allow us to embody esse ntial vantage points upon the optical splendor and ordering of the physical world. Significantly\, Boomoon&rsquo\;s camera perspective does not simula te an overtly human scale or optical perspective. He goes beyond being a ph otographer who offers us the sense of an omniscient but still human visual exploration of the world. Instead\, his acute avoidance of a hyperbolic sig nature photographic style means that we are liberated viewers that can move into\, above and beyond the natural phenomena that his camera explores\, u nhindered by an overbearing sense of his authorship.&rdquo\;
- Ch arlotte Cotton\, taken from Constellation\, published by Daegu Art Museum.

\n

Boomoon&rsquo\;s debut US solo exhibition at Flowers will comprise of selected works from his series Naksan. Naksan is locat ed on the east coast of the Korean peninsula\, taking its name from a beach overlooking the Sea of Japan (East Sea). The series\, conceived during the heavy snow storms of 2005\, 2010 and 2014\, is characterized by details of crashing waves on the snow covered seashore. The photographs are dominated by a blank plane in the lower half of the image where the snow has accumul ated on the beach. The snow is rendered as a singular flat surface devoid o f scale or perspective\, accentuating the horizon line that cuts midway thr ough the pictorial plane.

\n

Confronted by the vastness of Boomoon&rsq uo\;s immense and isolated landscapes\, the viewer is presented with a medi tative space in which to consider our metaphysical and spiritual connection with nature.

\n

The poet and critic Shino Kuraishi wrote that Boomoon &rsquo\;s photographs are &ldquo\;so large that they extend beyond the perimeter of the human body and systematically arranging them to provide se parate encounters with individual viewers\, he creates sites conducive to a highly contemplative experience. Wherever I stand in front of Boomoon&rsqu o\;s landscapes\, I am inevitably drawn into dialogue with myself.&rdquo\;< /em>

DTEND:20150404 DTSTAMP:20150128T202019 DTSTART:20150305 GEO:40.7464825;-74.0069332 LOCATION:Flowers Gallery NY\,529 West 20th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Naksan\, Boomoon UID:371444 END:VEVENT BEGIN:VEVENT DTEND:20150305T200000 DTSTAMP:20150128T202019 DTSTART:20150305T180000 GEO:40.7464825;-74.0069332 LOCATION:Flowers Gallery NY\,529 West 20th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Naksan\, Boomoon UID:371445 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Team (gallery\, inc.) is pleas ed to announce a solo show by the New York-based painter Suzanne McClelland . Entitled \;Call with Information\, the exhibition will run f rom 22 February to 22 March 2015. Team (gallery\, inc.) is located at 47 Wo oster Street\, between Grand and Broome\, on the ground floor. Concurrently \, our 83 Grand Street space will house \;Worl d with Difficulties\, \;a one-person exhibition of ne w work by Jakob Kolding.

\n

Words and nu mbers serve as the springboard for Suzanne McClelland's paintings\, which s eek to occupy the semiotic gap between representation and the represented\, between a name and the thing itself. Her practice is born of extensive rea ding and listening\, reflecting upon the resonances and overtones of words and numbers. Rather than limiting herself to the semantic and visual qualit ies of text\, the artist examines language's complex networks of aural and optic associations. Handwriting becomes a form of drawing\, a means to expl ore the disparity between spoken and written language. Semi-legible letters and numbers curl and twist on the canvases\, bringing to mind speech's bod ily genesis.

\n

For this exhibition\, th e artist employs documents and information associated with American extremi sm as source material\, turning her attention to domestic terrorists and ha te groups. The contrast here - between the words and the extremely physical actions they describe - is pronouncedly stark. McClelland's particular int erest in these people - as opposed to other violent criminals - stems from their classification as domestic terrorists\, nationals considered enemies of the state. This highly specific status derives from the ideological moti vation of their crimes\, leading to their designation as attacks on the nat ion itself\, rather than its inhabitants\, on a discursive construction\, r ather than a concretely extant populace.  \;

\n

FBI wanted posters of domestic terrorists provide the textual s ource material for one series of paintings. With these works\, McClelland d elivers an iconoclastic take on the genre of portraiture: bits of fragmente d information - a height\, an alias\, an eye color\, a crime - allow the vi ewer to put together an incomplete picture of an ultimately unavailable per son. Here\, text acts counter-intuitively as the indication of a void\, the substantiation of an absence - language is used in a failed attempt to qua ntify the unmeasurable. Data endeavors to recreate the human but remains in adequate and superficial: these "portraits" are devoid of interiority\, of the motivations that actually define their subjects in this context. The ar tist takes obscurity as a subject\, using shrouding\, the unavailability of information\, to drive her painterly gesture.

\n

A large painting over contiguous canvases consists of a blind con tour drawing of the United States. Over each state is written the number of extremist hate groups existing therein\, based on information provided by the US Southern Poverty Law Center. A map seeks to give physical shape to t he otherwise diffuse notion of nationality: McClelland's piece explores the disconnect of a country from its geography. The work serves as a response to Jasper Johns' 1961 painting\, which ostensibly addresses the same subjec t matter. However\, unlike the latter work\, which is a direct treatment of the image\, McClelland's piece emphasizes its periphery associations\, usi ng controversial data to inform and dictate mark-making\, her culling of in formation creating a simultaneously informational and expressive matrix.

\n

Since the mid-1980s\, Suzanne McClellan d has shown her work extensively in the United States and abroad. Museum so los include The Whitney Museum of American Art in New York and the Orlando Museum of Art in Florida. Her work is included in many public collections\, among them The Museum of Modern Art\, The Metropolitan Museum of Art and T he Brooklyn Museum in New York City\; The Yale University Art Gallery\, the Albertina in Vienna and the Walker Art Center. McClelland participated in the 1993 and 2014 Whitney Biennials and was recently included in The New Mu seum's \;NYC 1993: Experimental Jet Set\, Trash and No Star. DTEND:20150322 DTSTAMP:20150128T202019 DTSTART:20150222 GEO:40.7227557;-74.0025888 LOCATION:Team Gallery - Wooster St\,47 Wooster Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Call with Information\, Suzanne McClelland UID:371415 END:VEVENT BEGIN:VEVENT DTEND:20150222T200000 DTSTAMP:20150128T202019 DTSTART:20150222T180000 GEO:40.7227557;-74.0025888 LOCATION:Team Gallery - Wooster St\,47 Wooster Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Call with Information\, Suzanne McClelland UID:371416 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Team (gallery\, inc.) is ple ased to announce a show of new work by Berlin-based\, Danish artist Jakob K olding. Entitled \;World with Difficulties\, the exhibition wi ll run from \;22 February through 22 March 2015. Team is located at 83 Grand Street\, between Wooster and Greene. Concurrently\, our 47 Wooster St reet space will host \;Call with Information\, an exhibition of new work by Suzanne McClelland. \;
\n
 \;
\n

Jakob Kolding's work takes public space as its subject: the ramificatio ns of architecture and urban design\, the ways in which the controlled envi ronment influences behavior. For this exhibition\, he has created an instal lation made up of life-sized wooden silhouettes of people\, the fronts of w hich feature black-and-white lambda prints\, while the backs are left unado rned\, displaying the birch grain and structural supports. Highly recogniza ble modernist imagery is presented in the manner of shooting gallery target s\, 19th century dioramas and carnival cutouts. The works are neither purel y pictorial nor truly sculptural\, and the tension between the expectation and actuality of presentation\, between their simultaneous flatness and thr ee-dimensionality\, serves to defamiliarize the white cube setting\, demand ing from the viewer a constant navigation of his own spatial experience.

\n

The figures\, by evoking ingrained arch etypes both contemporary and mythological\, trigger in the viewer an immedi ate sense of recognition. This legibility points to our cultural tendency t o transform human physicality into semiotic indicator\, to understand bodie s as reflections of character. While their scale and placement suggest actu al people\, their flatness\, lack of color and visible contrivance render t hem hieroglyphs. Kolding's gesture is theatrical\, an efficient pantomime t hat forgoes interiority for the sake of exterior signs.

\n

Kolding employs strategies of sampling and re-framing\; his imagery is for the most part appropriated and collaged\, frequently all owing recontextualization to serve as his primary intervening gesture. His visual vocabulary is varied in its influences and reference points - rangin g from the isolated figure drawings of Robert Longo\, to the artificialist illustrations of Toyen\, to the constructivist designs of El Lissitzky. Oft en times promotion and advertisement provide raw material for the artist's practice\; the installation simultaneously exploits and reflects upon the p olemical nature of propaganda - its power to politicize space and potential to actualize ideology - in order to interrogate the tendency of the built Capitalist environment to stifle and obliterate individualism.

\n

Kolding has exhibited in museums and galleries in ternationally. These include The Museum of Contemporary Art\, Chicago\, IL\ ; The Stedelijk Museum\, Amsterdam\, The Netherlands\; The Frankfurter Kuns tverein\, Frankfurt\, Germany\; Fondazione Pastificio Cerere\, Rome\, Italy \; Overgaden-Institut for Samtidskunst\, Copenhagen\, Denmark\; Kunstverein in Hamburg\, Germany\; \;CCA Wattis Institute for Contemporary Arts\, San Francisco\, USA\; \;The Museum of Contemporary Art\, San Diego\, Ca lifornia\; and \;The University of Michigan Museum of Art\, Ann Arbor.& nbsp\; \;He is included in numerous public collections including The Mu seum of Modern Art in New York.

DTEND:20150322 DTSTAMP:20150128T202019 DTSTART:20150222 GEO:40.7217091;-74.0025345 LOCATION:Team Gallery - Grand St\,83 Grand St. \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:World with Difficulties\, Jakob Kolding UID:371413 END:VEVENT BEGIN:VEVENT DTEND:20150222T200000 DTSTAMP:20150128T202019 DTSTART:20150222T180000 GEO:40.7217091;-74.0025345 LOCATION:Team Gallery - Grand St\,83 Grand St. \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:World with Difficulties\, Jakob Kolding UID:371414 END:VEVENT BEGIN:VEVENT DESCRIPTION:

CUE is pleased to present an exhibition of new works by Erns t Fischer\, including large format prints and video. \;

\n

From the essay Ernst Fischer "18%" by Brienne Walsh

\ n

Fischer&rsquo\;s experience as a commercial photographer led to an expl oration of his relationship with the camera\, which he calls &ldquo\;the ma chine.&rdquo\; Almost as if he wanted to destroy that relationship\, he dev eloped a microphotography rig that allows him to capture images that are be tween five and 50 times larger on the focal plane than they are in the real world. These objects vary from minerals to caviar to leeches. (He jokes th at microphotography is only practiced by 60-year-old men in their backyard sheds . . . and himself.)

\n

Using the rig to move the lens closer and closer to his subject\, he takes hundreds of digital photographs at increa singly miniscule depths\, which he then feeds en masse into a computer prog ram that attempts to extrapolate information from the data to reconstitute a seamless rendering of the object. In subverting this process\, Fischer &r dquo\;cracks&rdquo\; the algorithm\, which can interpret neither the specul ar highlights captured by the lens nor the sheer wealth of data. Instead of an extraordinarily detailed composite of the object\, the computer spits o ut a flat image that resembles a topographical map. What Fischer hopes thes e images reveal is that machines\, which are supposed to be able to emulate anything\, including human vision\, are just machines in the end. They can not reproduce the mechanisms of &ldquo\;seeing.&rdquo\; They have limits. T here&rsquo\;s something profoundly reassuring about that.

\n

In &ldquo \;18%\,&rdquo\; Fischer brings these explorations a step further. Rather th an taking pictures of an object itself\, he focuses on the reflection of th e light source that illuminates it. &ldquo\;The object is circumscribed\, l ike the black hole that can only be &lsquo\;seen&rsquo\; by virtue of it be nding the light that passes close by it\,&rdquo\; he explains.

\n

The resulting images\, which include a series of refractions through zinc cryst als\, vary from resembling oil slicks to screen noise to melting objects. H e describes them as looking very &ldquo\;Goya.&rdquo\; Comparisons to Roman tic painters\, and\, more specifically German Romantic painters\, arise fre quently in Fischer&rsquo\;s explanations of his own work\, almost always fo llowed by an apology. He describes such examples as schlocky and says that any move toward painterliness is preconscious.

\n

 \;

DTEND:20150314 DTSTAMP:20150128T202019 DTSTART:20150207 GEO:40.7536854;-73.9991637 LOCATION:CUE Art Foundation\,137 West 25th Street Ground Floor\nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Ernst Fischer: 18%\, Ernst Fischer UID:371369 END:VEVENT BEGIN:VEVENT DTEND:20150207T200000 DTSTAMP:20150128T202019 DTSTART:20150207T170000 GEO:40.7536854;-73.9991637 LOCATION:CUE Art Foundation\,137 West 25th Street Ground Floor\nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Ernst Fischer: 18%\, Ernst Fischer UID:371370 END:VEVENT BEGIN:VEVENT DESCRIPTION:

While the gallery is under-goi ng renovations\, we are hosting a series of evening screenings presented by and in collaboration with artists Marco Rios\, Jenny Perlin &\; Shelly Silver. During this period we will be opened by appointment only.

\n

An evening featuring three Los Angeles based a rtists\, whose work employs philosophical and material language of cinema. Each artist will show work that references a specific film bound by shared themes of fear\, anxiety &\; obsession.

\n

Transferase (2011) by Terry Chatkupt\; Judy&rsquo\;s Nig htmare (2014) by Julie Orser\; Despair Beyond Despair (2011) and Seconds Later (2013) by Marco Rios. With reference to Miracle Mile (1988)\; Vertigo (1958)\; The Bird with the Crystal Plumage (1970) and Seconds (1966) respectively.

DTEND:20150215T200000 DTSTAMP:20150128T202019 DTSTART:20150215T183000 GEO:40.7185514;-73.9923292 LOCATION:Simon Preston Gallery\,301 Broome Sytreet \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Film Screening: 'Transferase'\, 'Judy’s Nightmare'\, 'Despair Beyon d Despair' and 'Seconds Later'\, Terry Chatkupt\, Julie Orser\, Marco Rios UID:371342 END:VEVENT BEGIN:VEVENT DESCRIPTION:

While the gallery is under-goi ng renovations\, we are hosting a series of evening screenings presented by and in collaboration with artists Marco Rios\, Jenny Perlin &\; Shelly Silver. During this period we will be opened by appointment only.

\n

Jenny Perlin presents Chantal Akerman&rsquo\;s \, News From Home\, 1976 &ndash\; 77\, (85 mins). Chantal Akerman is one of the most significant filmmakers of her generation\, and a leading visionaire in experimental cinema since the early seventies. In News F rom Home\, letters from Akerman&rsquo\;s mother are read over a series of elegantly composed shots of 1976 New York\, where our (unseen) filmmake r and protagonist has relocated. This unforgettable time capsule of the cit y is also a gorgeous meditation on urban alienation and personal and famili al disconnection.

DTEND:20150208T200000 DTSTAMP:20150128T202019 DTSTART:20150208T183000 GEO:40.7185514;-73.9923292 LOCATION:Simon Preston Gallery\,301 Broome Sytreet \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Film Screening: Jenny Perlin Presents Chantal Akerman’s 'News From Home'\, Chantal Akerman UID:371341 END:VEVENT BEGIN:VEVENT DESCRIPTION:

While the gallery is under-goi ng renovations\, we are hosting a series of evening screenings presented by and in collaboration with artists Marco Rios\, Jenny Perlin &\; Shelly Silver. During this period we will be opened by appointment only.

\n

In Shelly Silver&rsquo\;s Touch\, 201 3\, (68 mins)\, a man returns to his childhood home in Manhattan&rsquo\;s C hinatown after fifty years to care for his ailing mother. The protagonist a nd narrator\, who remains nameless\, is a librarian\, cataloguer and record er\, gay man\, watcher and impersonator. TOUCH is an essay narrate d from one man&rsquo\;s point of view. But it is also fiction\, for this ma n is a made-up person\, an amalgam of research\, interviews\, off-the-recor d comments\, secrets\, improbabilities\, and free-floating desires.

\n

Shelly Silver&rsquo\;s work in film\, video\ , and photography spans an eclectic range of subject matter and genres\, ex ploring the personal and societal relations that identify and restrict us\; the indirect routes of pleasure and desire\; the stories that we dream or fabricate about others\, and the stories that we construct about ourselves. Stories\, Cities\, Makeshift Structures\, solo exhibition is curr ently on view at Slought\, Philadelphia until 20 Febru ary\, 2015.

DTEND:20150131T200000 DTSTAMP:20150128T202019 DTSTART:20150131T183000 GEO:40.7185514;-73.9923292 LOCATION:Simon Preston Gallery\,301 Broome Sytreet \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Film Screening: Touch\, Shelly Silver UID:371340 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Senior &\; Shopmaker is ple ased to announce an exhibition of early prints and drawings by Jim Dine\, a n artist whose singular achievement in graphic media has earned him a disti nguished place in American art history of the post-war era.

\n

Now in his 80th year\, Jim Dine has been active as a printmaker since 1960\, according this activity equal par to his work in drawing\, painting\, and sculpture.  \; Using the mediums of intaglio\, lithography\, and woodcut to transformat ional effect\, Dine has developed a lexicon of now legendary images. \; One of the primary themes in the early prints is the depiction of man-made objects isolated from their normal functions\, which through Dine&rsquo\;s expert hand\, take on uncanny personae and character attributes. Among his other signature images\, such as hearts\, robes\, and paintbrushes\, tools have served as autobiographical stand-ins relating in part to childhood me mories of a family-owned hardware store in Cincinnati. This imagery can als o be read as a metaphor for art making\, or &ldquo\;the extension of the ha nd&rdquo\; in Dine&rsquo\;s words. \; The exhibition includes a rare se t of hand-colored lithographs\, Ten Winter Tools (Handcolored)\, c onsisting of expressionistically drawn objects: a wrench\, scissors\, awl\, fork\, spoon\, etc.\, to which the artist added understated touches of wat ercolor. Each is depicted on a separate sheet in serial fashion\, hinting a t nascent developments in minimal and conceptual art of the time. The serie s was created in a small edition of ten unique sets. Tools-The Rainbow< /em>\, 1970\, is one of Dine&rsquo\;s earliest lithographs\, and is also ha nd-colored with collage additions. In Five Paint Brushes (first state)< /em>\, 1972\, Dine exploits the expressive potential of etching\, bringing a row of brushes to life in magical fashion. Also on view are two pastel an d pencil drawings from 1962: Scissor and Blue Crescent Wrench< /em>.

\n

Dine&rsquo\;s paintings\, sculp tures\, photography\, and prints have been the subject of nearly 300 solo e xhibitions worldwide. In 2011\, the Jim Dine Print Archive was established at the Museum of Fine Arts\, Boston. Consisting of more than 900 works\, it is the largest repository of the artist&rsquo\;s graphic work.

DTEND:20150328 DTSTAMP:20150128T202019 DTSTART:20150206 GEO:40.7499366;-74.005949 LOCATION:Senior & Shopmaker Gallery\,210 Eleventh Avenue \nNew York\, NY 10 001 SEQUENCE:0 SUMMARY:Tools: Works on Paper from the '60s and '70s\, Jim Dine UID:371339 END:VEVENT BEGIN:VEVENT DESCRIPTION:

On January 22\, PK Worryshop w ill begin work on Movie in a Bar Mirror\, as part of Recess&rsquo\;s signat ure program\, Session. Session invites artists to use Recess&rsquo\;s publi c space as studio\, exhibition venue and grounds for experimentation.

\n

Over the course of their Session\, PK Worr yshop will explore the cinematic trope of the &ldquo\;sad bar&rdquo\; along with the historical use of private cinema viewing machines in such establi shments.

\n


PK Worryshop will use their Session to deconstruct the cinemascope into its component parts and reassemble them in skewed perspective. Through the use of projections and l ive and recorded sound\, PK will transform the entirety of Recess into thei r own &ldquo\;cinematic sadness machine\,&rdquo\; a Mirroscope into which v isitors can step. The storefront of Recess will act as the screen of this M irroscope viewing machine\, turning the viewing inside out on itself.

\n

Midway through their Session PK will lead a &ldquo\;sad bar crawl&rdquo\; through Soho using songs from sad bar scene s as waypoints.
The videos and film works that will be viewed on the Mirroscope will be produced within the space by PK Worryshop and collaborat ors over the course of their Session.

\n

About the Artist:
PK is a collaborative attempt founded in 2013 by K aila Guilmet and Porter Diteman\, whose Worryshop is based in various zones in the New York City metropolitan area. The drift of PK can be likened to the recurrent locating of a History that sits discretely beside the loud an d well-spoken orator.

\n

http://www.pkwo rryshop.com/

\n

Supporters

\n

This program is supported\, in part\, by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature and pu blic funds from the New York City Department of Cultural Affairs in partner ship with the City Council. This project is also supported in part by an aw ard from the National Endowment for the Arts. Art Works.

\n

Songs from a Sad Bar Crawl: Feb. 12\, 6-8pm
Mirro scope switches on: March 12\, 6-8pm

DTEND:20150314 DTSTAMP:20150128T202019 DTSTART:20150122 GEO:40.7225432;-74.0041675 LOCATION:Recess Activities\, Inc.\,41 Grand Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:PK Worryshop: Movie in a Bar Mirror UID:371338 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Pace is pleased to announce An toni Tà\;pies 1923&ndash\;2012\, the artist&rsquo\;s first exhibition in New York since his death in 2012. On view at 32 East 57th Street from F ebruary 12 to March 21\, 2015\, the exhibition will present paintings\, scu lpture and works on paper. A concurrent exhibition of the artist&rsquo\;s p rints will be on view at Pace Prints from February 19 to March 21.

\n

A new catalogue accompanying the exhibition w ill feature essays by Dore Ashton\, Dan Cameron and Barbara Rose as well as an interview with the artist by Manuel J. Borja-Villel. These texts\, all commissioned during Pace&rsquo\;s more than twenty-year relationship with T à\;pies\, will appear together for the first time in this new volume.  \;

\n

Pace&rsquo\;s exhibition coin cides with Tà\;pies: From Within\, a survey exhibition curated by for mer Tate Modern director Vicente Todolí\; that will be on view at the Pé\;rez Art Museum Miami from February 6 to May 3\, 2015. \;

\n

In the nearly seven decades of his caree r\, Tà\;pies created a prolific and singular body of work that redefi ned painting and influenced future generations of artists. Presenting work made between the 1960s and his death\, this will be the first exhibition at Pace to span multiple decades of the twentieth-century master&rsquo\;s wor k.

\n

Following the Spanish Civil War an d World War II\, Tà\;pies sought to develop a new kind of painting. I n the 1950s he began making his first matter paintings using materials such as marble dust and resin. These paintings positioned Tà\;pies as a l eading figure in Europe&rsquo\;s avant-garde and signaled the beginning of a lifelong investigation of materials and forms that made him one of the mo st influential postwar artists. \;

\n

Symbols drawn from his Catalonian heritage and studies of Eastern and Wes tern spiritual traditions recur across the artist&rsquo\;s work. Dan Camero n notes that these markings &ldquo\;proliferate as a kind of. . . handwriti ng\,a way for Tà\;pies to make a mark in space which connects with th e deepest human impulse to communicate through sign.&rdquo\;

\n

For Tà\;pies\, these markings and his handlin g of humble materials constitute what Barbara Rose describes as an act of c onsubstantiation. Describing the ritualistic dimension of the artist&rsquo\ ;s work\, she writes that &ldquo\;the essential act for Tà\;pies is n ot depiction or representation but the transformation of matter into spirit .&rdquo\; She adds that for Tà\;pies\, art&rsquo\;s purpose &ldquo\;i s to alter and heighten consciousness\, bringing us into contact in the mos t powerful way with reality\, not as it is pictured but as it literally exi sts in time and space.

\n

Antoni T&agrav e\;pies (b. 1923\, Barcelona\; d. 2012\, Barcelona) was a leading figure in Spain&rsquo\;s postwar art movement. The artist participated in multiple c landestine artist groups during the 1940s and early 1950s\, including the i nfluential Dau al Set that he cofounded in Barcelona\; a decade later\, he was briefly associated with Group Zero. In 1950\, Tà\;pies had his fi rst solo exhibition\, and was hailed as a leading voice in Art Informel. In 1953\, he had two solo exhibitions in the United States. In 1984\, he esta blished the Fundació\; Antoni Tà\;pies\, which hosts symposia a nd rotating exhibitions as well as one of the largest collections of the ar tist&rsquo\;s work. Tà\;pies represented Spain at the 45th Venice Bie nnale in 1993\, for which he was awarded the Golden Lion. His work was feat ured in three other exhibitions at the Venice Biennale between 1952 and 196 7\, as well as multiple editions of the Carnegie International and Document a. Other important group exhibitions include New Spanish Painting and Sculp ture\, The Museum of Modern Art\, New York (1960)\; Art and Utopia. Action Restricted\, Museu d'Art Contemporani de Barcelona (2004)\; and Destroy the Picture: Painting the Void\, 1949&ndash\;1962\, Museum of Contemporary Art \, Los Angeles (2012&ndash\;13).

\n

T&ag rave\;pies has been the subject of numerous one-artist exhibitions at venue s including the Solomon R. Guggenheim Museum\, New York (1962\, 1995)\; Lou isiana Museum of Modern Art\, Humlebæ\;k\, Denmark (1974)\; The Seibu Museum of Art\, Tokyo (1976)\; Albright-Knox Art Gallery\, Buffalo\, NY (19 77)\; Stedelijk Museum\, Amsterdam (1980)\; Museo Nacional Centro de Arte R eina Sofia\, Madrid (1990\, 2005)\; The Museum of Modern Art\, New York (19 92)\; Schirn Kunsthalle\, Frankfurt (1993)\; Galerie Nationale du Jeu de Pa ume\, Paris (1994)\; Museum of Contemporary Art\, Kagawa (1996)\; Museu d&r squo\;Art Contemporani de Barcelona (2004)\; Dia Center for the Arts\, Beac on\, NY (2009)\; Museum fü\;r Gegenwartskunst Siegen\, Germany (2011)\; and Guggenheim Bilbao (2013).

\n

His wo rk is represented in nearly one hundred collections internationally such as the Albright-Knox Art Gallery\, Buffalo\, NY\; Galerie fü\;r Moderne K unst\, Hannover\; Guggenheim Bilbao\; Hirshhorn Museum and Sculpture Garden \, Smithsonian Institution\, Washington\;Kunstmuseum Basel\; Louisiana Muse um of Modern Art\, Humlebæ\;k\, Denmark\; Moderna Museet\, Stockholm\; \, Musé\;e d&rsquo\;Arte Moderne de la Ville de Paris\; Musé\;e d&rsquo\;art Moderne\, Centre Georges Pompidou\, Paris\; Museo de Arte Con temporá\;neo Internacional Rufino Tamayo\, Mexico City\; Museo Nacion al Centro de Arte Reina Sofí\;a\, Madrid\; Museum Ludwig\, Cologne\; The Panza Collection\, Museum of Contemporary Art\, Los Angeles\; Museum of Fine Arts\, Boston\; The Museum of Fine Art\, Houston\; The Museum of Mode rn Art\, New York\; Nationalgalerie\, Berlin\; San Francisco Museum of Mode rn Art\; Solomon R. Guggenheim Museum\, New York\; Stedelijk Museum\, Amste rdam\; Tate Gallery\, London\; Tehran Museum of Contemporary Art\; and Yale University Art Gallery\, New Haven\, CT.

\n

 \;

\n

This exhibition is T&agr ave\;pies&rsquo\; ninth at Pace and first since his death in 2012.  \;

DTEND:20150321 DTSTAMP:20150128T202019 DTSTART:20150212 GEO:40.76186;-73.972093 LOCATION:Pace Gallery - 57th St.\,32 E.57th St. \nNew York\, NY 1022 SEQUENCE:0 SUMMARY:Antoni Tàpies: 1923 - 2012\, Antoni Tapies UID:371337 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Vision Quest is a col lection of whimsical\, visual tales of powerful female protagonists on eart hly and otherworldly adventures. Artists Amaryllis DeJesus Moleski and Shee na Rose use works on paper\, hand-drawn animations and mixed-media works to recount their experiences and create new stories of voyages through time a nd space. Existing at the crux of the playful and the political\, the artis ts have invented their own visual languages to document women&rsquo\;s stor ies in ways that diverge from dominant narratives of female experience. Eac h body of work exists as a travel narrative that blurs the lines between pa st\, present and future\, and invites viewers to faraway lands while exposi ng the magic that exists all around us.

\n

In Amaryllis DeJesus Moleski&rsquo\;s drawings\, imagined futuristic myt hologies are born. Her characters transport spectators to other dimensions\ , and tell stories of a potential future where femininity and queerness are valued and exalted. Referencing Egyptian hieroglyphics\, beauty products\, comics\, spiritual archetypes and outer space\, Amaryllis creates visionar y accounts of beings who exist at the intersection of goddess and human. By defying eurocentric art historical rules of proportion and scale\, Amaryll is&rsquo\; characters exist authentically\, and invite onlookers to do the same. Sheena Rose uses hand-drawn lines to document her everyday experience s and perceptions of the world around her. Originally from Barbados\, West Indies\, Sheena is a world-traveller. She photographs her journeys across t he globe and translates them into a unique language of lines\, making each place she visits her own. Through line weight\, texture\, repetition and mi xed-media interventions into her drawings\, Sheena captures the energy of e ach landscape she illustrates. Viewers are given the opportunity to see the world through her eyes\, from her particular physical perspective. Each dr awing is an act of agency\, personal reflection and connection to her viewe rs. Amaryllis and Sheena&rsquo\;s practices are simultaneously tools for pe rsonal processing and public calls for self-determination.

\n

Vision Quest examines travel\, whether cross -continental or to another galaxy\, as a tool for escaping the confines of stereotypes\, and an opportunity for self-exploration and definition. The a rtists&rsquo\; use of widely accessible materials &mdash\; including pens\, markers\, watercolor\, and computer and construction paper &mdash\; reflec ts their desires to connect with their viewers in a relatable way and bring them into the artistic process. From disparate angles of the supernatural and the everyday\, Vision Quest highlights the importance of docum entation\, storytelling and record keeping from one&rsquo\;s own point of v iew. Vision Quest emphasizes the power of art to transport us from our current realities and inspires us to embark on quests of our own.

\ n

Opening Reception on Saturday\, F ebruary 7 | 6-9PM\, with \;Sounds by Ushka

DTEND:20150531 DTSTAMP:20150128T202019 DTSTART:20150207 GEO:40.6854023;-73.9744875 LOCATION:Museum of Contemporary African Diasporan Arts (MoCADA)\,80 Hanson Place \nBrooklyn\, NY 11217 SEQUENCE:0 SUMMARY:Vision Quest\, Amaryllis DeJesus Moleski\, Sheena Rose UID:371333 END:VEVENT BEGIN:VEVENT DTEND:20150207T210000 DTSTAMP:20150128T202019 DTSTART:20150207T180000 GEO:40.6854023;-73.9744875 LOCATION:Museum of Contemporary African Diasporan Arts (MoCADA)\,80 Hanson Place \nBrooklyn\, NY 11217 SEQUENCE:0 SUMMARY:Vision Quest\, Amaryllis DeJesus Moleski\, Sheena Rose UID:371334 END:VEVENT END:VCALENDAR