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

Beginning September 4\, 2014\, Dominique Lé\;vy galler y will pay tribute to Roman Opalka&rsquo\;s unique art of body and soul wit h \;Roman Opalka: Painting \;&infin\;< /em>. \;The exhibition provides an overview of Opalka&rsquo\;s career\, revealing his &oelig\;uvre to be a grand metaphor for human exist ence and a deceptively restrained expression of the artist&rsquo\;s vitalit y and passion in the face of an unstoppable evaporation. &ldquo\;Time as we live it and as we create it embodies our progressive disappearance\,&rdquo \; Opalka wrote in a 1987 essay. &ldquo\;We are at the same time alive and in the face of death &mdash\; that is the mystery of all living beings.&rdq uo\;

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Roman Opalka: Painting \;&inf in\; \;will present a key group of paintings (each titled  \;Dé\;tails) from \;1965 / 1 &ndash\; \;&infin\;\, complemented by a selection of the a rtist&rsquo\;s related \;Self-Portraits \;photographs and audio recordings in which Opalka intones\, in his native Polish\, the numbe rs he is painting. The exhibition will also present antecedents to \;1965 / 1 &ndash\; \;&infin\;. \;Tw o rare \;Chronomespaintings of 1963 will be on view\, as will the entire series of Opalka&rsquo\;s ten \;Etude sur le Mouvement \;works on paper from 1959-60. \; These works will be shown tog ether with the \;Details \;for the first time in the Unite d States.

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The exhibition \;will remain on view through October 18th \;and is accompanied by a catalogue featuring a text by curator and art historian Lorand Hegyi\, a close friend of the artist\; an essay by independent curator and historian Charles Wylie\; an original tex t by French poet Jacques Roubaud\; and a conversation between Marie-Madelei ne Opalka\, the artist&rsquo\;s widow\, and Franç\;ois Barré\;\ , a close friend\, that serves as a narrative chronology. \;

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About the Artist

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Roman Opalka was born on August 27\ , 1931\, to Polish é\;migré\;s in Hocquincourt\, in northern Fr ance. The family returned to Poland in 1935\, only to be deported to German y after the Nazi invasion. After being liberated by the United States Army\ , they returned to Poland\, where Roman studied lithography at a graphics s chool before enrolling in the School of Art and Design in Lodz. He later ea rned a degree from the Academy of Fine Arts in Warsaw and began experimenti ng with abstract and monochrome paintings\, which he called \;Chron omes. In 1970 he gave up all other painting but his 1965/1 - \;&infin\; \;series\, begun in 1965.

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In 19 77 Roman Opalka moved to France\, settling at Teillé\;\, near Le Mans . He took French citizenship in 1985\, and in 2009 he was named Commander o f the Ordre des Arts et des Lettres (Order of Arts and of Letters).

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Opalka died in Chieti\, Italy\, in August 2011.

DTEND:20141018 DTSTAMP:20140822T060253 DTSTART:20140904 GEO:40.7722938;-73.9648494 LOCATION:Dominique Lévy Gallery\,909 Madison Avenue \nNew York\, NY 10021 SEQUENCE:0 SUMMARY: Painting ∞\, Roman Opalka UID:352395 END:VEVENT BEGIN:VEVENT DTEND:20140904T200000 DTSTAMP:20140822T060253 DTSTART:20140904T180000 GEO:40.7722938;-73.9648494 LOCATION:Dominique Lévy Gallery\,909 Madison Avenue \nNew York\, NY 10021 SEQUENCE:0 SUMMARY: Painting ∞\, Roman Opalka UID:352396 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Lehmann Maupin is pleased to present \;Drawings \, an exhibition of new works by renowned Korean artist Do Ho Suh. On displ ay at both 540 West 26th Street and 201 Chrystie Street\, the exhibition wi ll highlight the significant role and varied forms drawing plays in Suh&rsq uo\;s oeuvre. This two-part show will feature the range of his works on pap er\, including drawings using pencil\, pen\, ink\, and watercolor\, his uni que &ldquo\;thread&rdquo\; drawings\, as well as his large-scale rubbings. The artist will be present for an opening reception on Thursday\, September 11 from 6-8PM\, and at a book launch on Saturday\, September 13 at 540 Wes t 26th Street from 4-6PM.

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Primarily known for his room-scale instal lations made of transparent fabric that recreate spaces in which he has liv ed\, the artist has consistently utilized drawing throughout his career to explore and develop relationships between common themes of his practice inc luding notions of home\, physical space\, displacement\, identity\, and mem ory. A focus of this exhibition\, and Suh&rsquo\;s most elaborate use of dr awing to date\, is his \;Rubbing/Loving Project. Here Suh pain stakingly covered the flat walls and three-dimensional fixtures of the inte rior and exterior of architectural spaces that hold great personal\, cultur al\, or historic significance to him with vellum and rubbed each surface wi th colored pencil or graphite. These rubbings create imprints of the spaces \, uncovering a particular location&rsquo\;s history\, memories\, and trace s of its use.

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Rubbing/Loving Project\, 348 West 22nd Street\, A pt. A\, New York\, NY 10011 \;is presented at Lehmann Maupin&rsquo \;s 540 West 26th Street location. A recreation of the brick and mortar ext erior of Suh&rsquo\;s former New York apartment building stands at the entr ance of the gallery\, featuring a blue colored pencil rubbing of the façad e&rsquo\;s interior on the reverse. On the gallery walls and floor\, Suh wi ll splay open the 1:1 scale rubbings of the walls and floor of his apartmen t. In this way the rubbings convey a former life\, suggesting the shedding skin of a place that has been the artist&rsquo\;s home and has great person al and emotional importance.

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Originally commissioned by the 2012 Gw angju Biennial\, \;Rubbing/Loving Project: Company Housing of Gwang ju Theater \;and \;Rubbing/Loving Project: Gwangju Catholi c University Lifelong Institute \;are both on view at 201 Chrystie Street. Displayed as two freestanding room structures\, each approximately 12 feet in height\, the interiors feature Suh&rsquo\;s rubbings of these l iving spaces in Gwangju\, Korea. Suh accompanies these works with a video d ocumentary of him and his studio team making the rubbings of the \; Company Housing of Gwangju Theater \;while blindfolded. Created in response to the city of Gwangju and his memory of the 1980 "Gwangju Uprisi ng"\, these works convey Suh's sense of "blindness" due to the lack of info rmation about the political conditions available at the time. To suggest th is feeling\, Suh used his tactile approach of rubbing the spaces to bring f orward untold stories from a group of abandoned spaces once inhabited by or dinary people who lived through the uprising.

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The first English lan guage monograph of Suh&rsquo\;s work\, focused on his drawings\, has been p ublished by DelMonico Books &bull\; Prestel and will be launched in conjunc tion with the exhibition. This unique and richly illustrated volume traces the genesis and progression of the artist&rsquo\;s expansive and consistent drawing practice. Among the more than 180 reproductions in the book are nu merous previously unpublished drawings and sketches from the artist&rsquo\; s private notebooks. The book includes texts by curators Rochelle Steiner\, Clara Kim\, and Elizabeth A.T. Smith. A book signing by the artist will ta ke place on Saturday\, September 13\, 2014 at Lehmann Maupin at 540 West 26 th Street from 4-6PM.

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 \;

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Suh&rsquo\;s work will be pre sented in a major solo exhibition at The Contemporary Austin opening on Sep tember 20\, 2014. Support for this exhibition\, as well as \;Drawin gs \;at Lehmann Maupin\, is provided by Korean Air.

DTEND:20141025 DTSTAMP:20140822T060254 DTSTART:20140911 GEO:40.750321;-74.004668 LOCATION:Lehmann Maupin - 26th St.\,540 W. 26th St. \nNew York\, NY 10001 SEQUENCE:0 SUMMARY: Drawings\, Do Ho Suh UID:352393 END:VEVENT BEGIN:VEVENT DTEND:20140911T200000 DTSTAMP:20140822T060254 DTSTART:20140911T180000 GEO:40.750321;-74.004668 LOCATION:Lehmann Maupin - 26th St.\,540 W. 26th St. \nNew York\, NY 10001 SEQUENCE:0 SUMMARY: Drawings\, Do Ho Suh UID:352394 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Lehmann Maupin is pleased to present \;Drawings \, an exhibition of new works by renowned Korean artist Do Ho Suh. On displ ay at both 540 West 26th Street and 201 Chrystie Street\, the exhibition wi ll highlight the significant role and varied forms drawing plays in Suh&rsq uo\;s oeuvre. This two-part show will feature the range of his works on pap er\, including drawings using pencil\, pen\, ink\, and watercolor\, his uni que &ldquo\;thread&rdquo\; drawings\, as well as his large-scale rubbings. The artist will be present for an opening reception on Thursday\, September 11 from 6-8PM\, and at a book launch on Saturday\, September 13 at 540 Wes t 26th Street from 4-6PM.

\n

Primarily known for his room-scale instal lations made of transparent fabric that recreate spaces in which he has liv ed\, the artist has consistently utilized drawing throughout his career to explore and develop relationships between common themes of his practice inc luding notions of home\, physical space\, displacement\, identity\, and mem ory. A focus of this exhibition\, and Suh&rsquo\;s most elaborate use of dr awing to date\, is his \;Rubbing/Loving Project. Here Suh pain stakingly covered the flat walls and three-dimensional fixtures of the inte rior and exterior of architectural spaces that hold great personal\, cultur al\, or historic significance to him with vellum and rubbed each surface wi th colored pencil or graphite. These rubbings create imprints of the spaces \, uncovering a particular location&rsquo\;s history\, memories\, and trace s of its use.

\n

Rubbing/Loving Project\, 348 West 22nd Street\, A pt. A\, New York\, NY 10011 \;is presented at Lehmann Maupin&rsquo \;s 540 West 26th Street location. A recreation of the brick and mortar ext erior of Suh&rsquo\;s former New York apartment building stands at the entr ance of the gallery\, featuring a blue colored pencil rubbing of the façad e&rsquo\;s interior on the reverse. On the gallery walls and floor\, Suh wi ll splay open the 1:1 scale rubbings of the walls and floor of his apartmen t. In this way the rubbings convey a former life\, suggesting the shedding skin of a place that has been the artist&rsquo\;s home and has great person al and emotional importance.

\n

Originally commissioned by the 2012 Gw angju Biennial\, \;Rubbing/Loving Project: Company Housing of Gwang ju Theater \;and \;Rubbing/Loving Project: Gwangju Catholi c University Lifelong Institute \;are both on view at 201 Chrystie Street. Displayed as two freestanding room structures\, each approximately 12 feet in height\, the interiors feature Suh&rsquo\;s rubbings of these l iving spaces in Gwangju\, Korea. Suh accompanies these works with a video d ocumentary of him and his studio team making the rubbings of the \; Company Housing of Gwangju Theater \;while blindfolded. Created in response to the city of Gwangju and his memory of the 1980 "Gwangju Uprisi ng"\, these works convey Suh's sense of "blindness" due to the lack of info rmation about the political conditions available at the time. To suggest th is feeling\, Suh used his tactile approach of rubbing the spaces to bring f orward untold stories from a group of abandoned spaces once inhabited by or dinary people who lived through the uprising.

\n

The first English lan guage monograph of Suh&rsquo\;s work\, focused on his drawings\, has been p ublished by DelMonico Books &bull\; Prestel and will be launched in conjunc tion with the exhibition. This unique and richly illustrated volume traces the genesis and progression of the artist&rsquo\;s expansive and consistent drawing practice. Among the more than 180 reproductions in the book are nu merous previously unpublished drawings and sketches from the artist&rsquo\; s private notebooks. The book includes texts by curators Rochelle Steiner\, Clara Kim\, and Elizabeth A.T. Smith. A book signing by the artist will ta ke place on Saturday\, September 13\, 2014 at Lehmann Maupin at 540 West 26 th Street from 4-6PM.

\n

Suh&rsquo\;s work will be presented in a majo r solo exhibition at The Contemporary Austin opening on September 20\, 2014 . Support for this exhibition\, as well as \;Drawings \;at Lehmann Maupin\, is provided by Korean Air.

DTEND:20141025 DTSTAMP:20140822T060254 DTSTART:20140911 GEO:40.7222328;-73.9919063 LOCATION:Lehmann Maupin - Chrystie St.\,201 Chrystie Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY: Drawings\, Do Ho Suh UID:352392 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Sean Kelly announces \;An answer about the sky\, \;an exhibition of new work by Isabel Nolan. This will be the artist& rsquo\;s first solo exhibition in New York. An opening reception will take place on Friday\, September 12 from 6:00 to 8:00 p.m. The artist will be pr esent.

An answer about the sky \;will include new h and-made sculptures\, paintings\, a text piece and Nolan&rsquo\;s newest la rge-scale textile work\, \;The emptied room: A rug for the 20th Cen tury. The works are exemplary of the artist&rsquo\;s restless investig ation of the omnipresent aesthetic compulsion to find order\, to generate a material record of place and time and thus secure an understanding of the world.

The exhibition title is from the Strugatsky Brothers&rsqu o\; novel \;Definitely Maybe \;(1974)\, referring to a thw arted effort to find the answer to one question and receiving information o n an entirely different matter. Nolan sees this as a metaphor for productiv e artistic research:

&ldquo\;Artworks thrive in a space of neces sary failures and missed objectives. They are willful and stubbornly refuse to be fully instrumentalised or to ever be wholly in control of their own meaning or ends. I thought I was making a show that considered disintegrat ion and failure. In the process\, I learned more about the treachery of bea uty than disintegration. For instance\, I wanted to make a rug prompted by the meditative\, virtually monochrome painting \;Convolvulus&n bsp\;by Paul Nash. Made in 1930\, the painting alludes to the demise of civ ilizations and of nature&rsquo\;s vitality and indifference to culture. Yet somehow I conceived a sumptuous rug rich in colour and an almost obscenely lovely vision of a deliquescent\, defunct architectural space.&rdquo\;

The fracturing of representational form and structure into poetic a bstraction is common to many of the featured works in the show. The hand-tu fted wool rug occupies both the wall and floor. The architectural imagery o f the upper section seems to melt\, dripping to the lower half where patter n solidifies into an irregular floor-scape. The sculptures are presented on solid stone plinths but have a quality of cultivated uncertainty. In their oscillation between representation and abstraction the paintings also conj ure a sense of unease or shifting perspectives.

In the text work \, \;A Sun So Hot\, \;a central theme of the show is eluci dated. Nolan writes\, &ldquo\;It is wise to beware beauty. It is treacherou s. It aids in reconciling us to living in an irrational\, thrilling\, diffi cult and dull world and quite often beauty makes bearable and thinkable tha t which is quite rightly very difficult to bear or think.&rdquo\;

An answer about the sky \;is an exhibition precipitated by t he seductive narratives of brilliant failures and the way in which art cont rives to make the world more beautiful. Nolan again\, &ldquo\;I asked a que stion about disintegration and the answer I got was art.&rdquo\;

Nolan&rsquo\;s exhibition at Sean Kelly coincides with the artist&rsquo\;s solo exhibition\, \;The weakened eye of day\, on view at The Irish Museum of Modern Art\, Dublin\, through September 21\, 2014. The muse um exhibition will then travel to the Contemporary Art Gallery\, Vancouver and Mercer Union\, Toronto. Recent solo exhibitions by Nolan include: Mus&e acute\;e d&rsquo\;art moderne de Saint Etienne\, France (2012)\; and the Re turn Gallery\, Goethe Institute\, Dublin (2012). Other solo shows include: Project Arts Centre (2005)\, Dublin: the Studio\, Glasgow International (20 06)\; and Artspace\, New Zealand (2008). She represented Ireland at the 200 5 Venice Biennale in a group exhibition\, \;Ireland at Venice 2005< /em>. Her work has been presented in group exhibitions at institutions inte rnationally\, including the Irish Museum of Modern Art\, Dublin and Palais de Tokyo\, Paris\, as well as international biennials including \;T he Yugoslav Biennial for Young Artists\,Vrasc\, Serbia-Montenegro\, an d \;Mediation Biennale\, \;Poznan\, Poland.

DTEND:20141018 DTSTAMP:20140822T060254 DTSTART:20140913 GEO:40.755986;-73.99822 LOCATION:Sean Kelly Gallery\,475 Tenth Ave \nNew York\, NY 10018 SEQUENCE:0 SUMMARY:An answer about the sky\, Isabel Nolan UID:352390 END:VEVENT BEGIN:VEVENT DTEND:20140912T200000 DTSTAMP:20140822T060254 DTSTART:20140912T180000 GEO:40.755986;-73.99822 LOCATION:Sean Kelly Gallery\,475 Tenth Ave \nNew York\, NY 10018 SEQUENCE:0 SUMMARY:An answer about the sky\, Isabel Nolan UID:352391 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Sean Kelly announces \;Soleil Double\, \;an exhibition of new work by Laurent Grasso. This will be the artist&rsquo\;s first solo show in New York since his critically acclaimed \;Sound Fossil \;of 2010 and his first solo exhibition in the gallery&rsqu o\;s new space. An opening reception will take place on Friday\, September 12 from 6:00 to 8:00 p.m. The artist will be present.

The exhibi tion will be an ambitious installation in which Grasso transforms the galle ry into an immersive environment\, a multimedia labyrinth that includes new sculpture\, paintings\, photographs\, neon works and video (the eponymousl y titled film will make its US debut in this exhibition).

Grasso filmed \;Soleil Double \;in EUR\, a city district of Rome originally developed in the 1930s. EUR was to be an important complex of t he 1942 Worlds Fair and was to act as an homage to the 20th anniversary of Fascism. However\, the Worlds Fair never took place due to World War II. Ev entually\, in the ensuing decades\, some of the buildings were completed in their original design while others were added in a more contemporary style &ndash\; creating an architectural environment that appears to exist in mu ltiple simultaneous timeframes. The two suns shining over the plaza in the film suggest that some sort of natural disaster or phenomena is occurring & ndash\; a phenomena that is also referenced in the paintings with double su ns included in the exhibition.

The themes addressed in \;Soleil Double \;are not just about the proposed phenomena of two suns in axis around the earth but on a more symbolic level\, about the conc epts of duplicity and ubiquity\, the idea that reality could be something o ther than what it appears to be at first glance\, than what we take for gra nted as &ldquo\;true&rdquo\; and &ldquo\;right&rdquo\;. These shifting perc eptions of reality and the investigation of the territory between what is k nown and unknown are subjects common throughout Grasso&rsquo\;s oeuvre.&nbs p\;

In addition to \;Soleil Double\, \;which wi ll be shown in the lower level gallery\, a focal point of the installation in the main gallery will be a large-scale projection of Grasso&rsquo\;s fil m\, \;Uraniborg\, \;which examines the scientist Tycho Bra he&rsquo\;s discoveries in astronomy in the 16th century and\, specifically \, the astronomical observatory that Brahe built in 1576 on the island of V en in Sweden. The development of astronomical science at this time signifie d a capacity to understand and represent the universe. For Grasso\, the foc us in the film\, as in much of his work\, is about how the study of astrono my was linked to the idea of power in the 16th and 17th centuries. This nar rative is further explored through the paintings and photographs included i n the exhibition\, such as the silver bromide prints from Grasso&rsquo\;s&n bsp\;Specola Vaticana \;series. These works depict historical photographs of the pope looking through a telescope &ndash\; an instrument that symbolizes observation and knowledge and\, through them\, control &nda sh\; installed in the Vatican observatory\, originally established by the H oly See in the late 1700s. \;

Grasso will present the Sean K elly exhibition with a simultaneous iteration of the \;Soleil Doubl e \;exhibition at Galerie Perrotin\, Paris\, from September 6 to O ctober 31\, 2014.

Grasso was awarded the Prix Marcel Duchamp in 2008 and is the subject of a major monograph &ndash\;Laurent Grasso: Th e Black-Body Radiation \;&ndash\; published by les presses du r&ea cute\;el. Recent solo exhibitions have included \;Laurent Grasso: D isasters and Miracles\, \;at the Kunsthaus Baselland\, Basel Switz erland (2013)\; \;Uraniborg \;at the Musé\;e d&rsquo \;Art Contemporain\, Montré\;al\, Canada (2013) which traveled from t he Musé\;e du Jeu de Paume\, Paris\, France (2012)\; \;Lauren t Grasso: Portrait of a Young Man\, \;at the Bass Museum\, Miami ( 2011) and \;Laurent Grasso \;at the Hirshhorn Museum and S culpture Garden\, Washington\, DC (2011). Grasso is currently included in t he group exhibition\, \;Curiosity: Art &\; The Pleasures of Know ing\, \;on view at the de Appel Arts Center in Amsterdam\, through September 14\, 2014. \;

Grasso&rsquo\;s US public art debut \, \;Infinite Light\, \;was installed on the exterior of t he Hunter College Lexington Avenue pedestrian walkway in New York in 2008. His acclaimed \;Nomiya \;project was installed on the roof of the Palais de Tokyo\, Paris\, from 2009 through 2011. He has participat ed in several biennials\, most recently: the Gwangju Biennial\, Gwangju\, S outh Korea (2012)\; Manifesta 8\, Carthagè\;ne-Murcie\, Spain and Man if d'art 5\, Qué\;bec City Biennial\, Quebec\, Canada (2010)\; the Mo scow Bienniale\, Moscow\, Russia (2009)\; and the 9th Sharjah Biennale\, Sh arjah\, United Arab Emirates (2009).

DTEND:20141018 DTSTAMP:20140822T060254 DTSTART:20140913 GEO:40.755986;-73.99822 LOCATION:Sean Kelly Gallery\,475 Tenth Ave \nNew York\, NY 10018 SEQUENCE:0 SUMMARY:Soleil Double\, Laurent Grasso UID:352388 END:VEVENT BEGIN:VEVENT DTEND:20140912T200000 DTSTAMP:20140822T060254 DTSTART:20140912T180000 GEO:40.755986;-73.99822 LOCATION:Sean Kelly Gallery\,475 Tenth Ave \nNew York\, NY 10018 SEQUENCE:0 SUMMARY:Soleil Double\, Laurent Grasso UID:352389 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20141001 DTSTAMP:20140822T060254 DTSTART:20140904 GEO:40.7499366;-74.005949 LOCATION:Walter Wickiser Gallery\,210 11th Ave. Suite 303\nNew York\, NY 10 001 SEQUENCE:0 SUMMARY: Color Dreams\, Igor Ilchuk UID:352384 END:VEVENT BEGIN:VEVENT DTEND:20140904T200000 DTSTAMP:20140822T060254 DTSTART:20140904T180000 GEO:40.7499366;-74.005949 LOCATION:Walter Wickiser Gallery\,210 11th Ave. Suite 303\nNew York\, NY 10 001 SEQUENCE:0 SUMMARY: Color Dreams\, Igor Ilchuk UID:352385 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20141001 DTSTAMP:20140822T060254 DTSTART:20140904 GEO:40.7499366;-74.005949 LOCATION:Walter Wickiser Gallery\,210 11th Ave. Suite 303\nNew York\, NY 10 001 SEQUENCE:0 SUMMARY: Swallowtail Variations\, Arthur Turner UID:352382 END:VEVENT BEGIN:VEVENT DTEND:20140904T200000 DTSTAMP:20140822T060254 DTSTART:20140904T180000 GEO:40.7499366;-74.005949 LOCATION:Walter Wickiser Gallery\,210 11th Ave. Suite 303\nNew York\, NY 10 001 SEQUENCE:0 SUMMARY: Swallowtail Variations\, Arthur Turner UID:352383 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Susan Manspeizer's career spans 30 years of prestigious exhibitions\, including numerous awards and reviews. Most recen tly\, she received the Epstein Memorial Award for her sculpture at the Nati onal Association of Women Artists&rsquo\; 123rd Annual Members Exhibition. New York Times covered her sculpture in the article\, &ldquo\;In Figure and Form\, Sculpture All Around&rdquo\;\, April 20\, 2012. She has exhibited e xtensively throughout New York\, the Northeast and the Midwest\, with an in ternational exhibit in Tokyo\, Japan. Her works were included in public spa ces such as the Kohler Corporation in WI and the Four Seasons hotel in Balt imore\, MD and the Jane Voorhees Zimmerli Art Museum in NJ. She has studied Art at the Art Students League and taught Drawing &\; Painting course a t The Art Center of Northern New Jersey for 20 years.

*Manspeize r's aesthetic vision includes shaping topologically complex three-dimension al structures as oil crayon is applied by hand to color and burnish the ins ide and outside contours of her sinuously bent wooden shapes. These are suf fused with tender sensuousness and quiet mystery. Equally rapturous is an e erie sensation of the presence of once-sentient life that pervades her orga nically suggestive entities. Manspeizer&rsquo\;s opulently abstracted art f orms have a tantalizingly otherworldly and even uncanny aspect that is movi ng and unsettling in equal measure. *

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*Excerpt from Dominique Nahas's Essay\, \;Revelation in Non-Objectivity.

DTEND:20141001 DTSTAMP:20140822T060254 DTSTART:20140904 GEO:40.7499366;-74.005949 LOCATION:Walter Wickiser Gallery\,210 11th Ave. Suite 303\nNew York\, NY 10 001 SEQUENCE:0 SUMMARY: Vital Distillations\, Susan Manspeizer UID:352380 END:VEVENT BEGIN:VEVENT DTEND:20140904T200000 DTSTAMP:20140822T060254 DTSTART:20140904T180000 GEO:40.7499366;-74.005949 LOCATION:Walter Wickiser Gallery\,210 11th Ave. Suite 303\nNew York\, NY 10 001 SEQUENCE:0 SUMMARY: Vital Distillations\, Susan Manspeizer UID:352381 END:VEVENT BEGIN:VEVENT DESCRIPTION:

I wanted these paintings to reveal themselves during the making\, similar to how the trash paintings came to be. I was thinking abo ut alchemy. So there's this juggling act\; I'm starting and often ending wi th an image\, but the oil paint and the process of using that oil paint wil l open up the possibility for the artwork to take a new direction.
&mdash\;Dan Colen

Gagosian is pleased to announce an exhibitio n of new paintings by Dan Colen.

The \;Miracle  \;paintings continue an investigation that has been central to Colen's prac tice from the outset: to what extent does art come from the artist\, and to what extent does it arise from forces independent of the artist? In his ea rliest paintings\, Colen labored over precise oil renderings of banal inter iors&mdash\;a sloppy apartment bathroom\, an adolescent bedroom\, a camping tent&mdash\;into which he introduced the presence of the supernatural&mdas h\;the Blue Fairy\, Jesus Christ\, twinkling cherubs\, his deceased grandfa ther. He describes the subsequent series of Candle paintings as &ldquo\;por traits of God.&rdquo\; In these works\, the space of the canvas contains th e space of Geppetto's worktable&mdash\;where Pinocchio transcends his mater iality to become real&mdash\;and a message appears in the smoke left by a j ust-extinguished candle flame.

In 2006\, Colen started to make p aintings with chewing gum instead of paint\, ushering in a long period duri ng which he traded representational subject matter for an exploration of th e medium itself. Using flowers\, dirt\, grass\, tar and feathers\, Mylar co nfetti\, street trash\, and readymade metal studs\, he relinquished his con trolling approach to painting\, instead allowing the final result to be gui ded in large part by the behavior of the given material. He commented that he found the loss of control exciting\, as if the paintings were taking on "inevitable forms&mdash\;almost like destined forms."

Following these discoveries\, in 2011 Colen began the \;Miracleworks wit h a new relationship to the intrinsic properties and potential revelations of oil paint itself. Like the \;Candlepaintings\, he bases the  \;Miracle \;paintings on Disney stills&mdash\;in this cas e\, from the mythic \;Fantasia&mdash\;as a means to tap into t he animation giant's stronghold on our collective imagination. The vignette s that comprise \;Fantasia \;pair symphonic musical compos itions with animated sequences that move fluidly between abstraction and re presentation and address such themes as creation\, doom\, and the alluring but evasive power of sorcery. Instead of the quotidian spaces of his early works\, the \;Miracle \;paintings&mdash\;which measure up to ten feet in width&mdash\;depict an entirely fantastical realm in which u nseen agents cast magic spells\, phantasms rise from the murky abyss\, and depth implodes in a cloud of dust. Colen applies pigment and medium\, in so me sense\, to echo this inchoate subject matter\; bursts of powder\, puddle s of liquid\, and raking pulls and pushes made by tilting the canvas back a nd forth constitute a spectrum of alchemical painterly acts&mdash\;some dev eloped through exhaustive studio trial\, others evinced outside of the arti st's intention. These are aptly magical atmospheres for Colen's continuing search for the painterly sublime.

Dan Colen&nbs p\;was born in New Jersey in 1979. Exhibitions include the 2006 Whitney Bie nnial\, Whitney Museum of American Art\, New York (2006)\; &ldquo\;USA Toda y\,&rdquo\; Royal Academy\, London (2006)\; &ldquo\;Defamation of Character \,&rdquo\; PS1 Contemporary Art Center\, Long Island City\, New York (2006) \; &ldquo\;Fantastic Politics\,&rdquo\; National Museum of Art\, Architectu re and Design\, Oslo (2006)\; &ldquo\;Skin Fruit: Selections from the Dakis Joannou Collection\,&rdquo\; New Museum\, New York (2010)\; &ldquo\;Peanut s\,&rdquo\; Astrup Fearnley Museum of Modern Art\, Oslo (2011)\; &ldquo\;In Living Color\,&rdquo\; FLAG Art Foundation\, New York (2012)\; &ldquo\;Mea nwhile...Suddenly and then\,&rdquo\; 12th Biennale de Lyon (2013)\; and &ld quo\;Dan Colen: The Illusion of Life\,&rdquo\; Inverleith House\, Edinburgh (2013).

&ldquo\;Help!\,&rdquo\; a major solo exhibition\, is cu rrently on view at Brant Foundation Art Study Center\, Greenwich\, CT.

Colen lives and works in New York.

DTEND:20141018 DTSTAMP:20140822T060254 DTSTART:20140902 GEO:40.7492112;-74.0056893 LOCATION:Gagosian Gallery- 24th St.\,555 West 24th Street \nNew York\, NY SEQUENCE:0 SUMMARY: MIRACLE PAINTINGS\, Dan Colen UID:352376 END:VEVENT BEGIN:VEVENT DTEND:20140916T200000 DTSTAMP:20140822T060254 DTSTART:20140916T180000 GEO:40.7492112;-74.0056893 LOCATION:Gagosian Gallery- 24th St.\,555 West 24th Street \nNew York\, NY SEQUENCE:0 SUMMARY: MIRACLE PAINTINGS\, Dan Colen UID:352377 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Marianne Boesky Gallery is pleased to present \;Denu ded Lens\, a solo exhibition of new works by Roxy Paine. This is the a rtist&rsquo\;s first project at the gallery since joining in 2013. Denu ded Lens \;will be on view from September 4 through October 18\, 2 014\, at 509 West 24th \;Street\, New York.

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Since the early 199 0s\, Roxy Paine has explored the collision of organic and mechanistic syste ms\, bridging these disparate realms in serial projects whose idiosyncratic formal means arrive at related investigatory ends. From the \;Pain ting Machines\, to the \;Replicants\, to the \;De ndroids\, Paine&rsquo\;s practice illuminates the aesthetic and concep tual paradoxes that lie at the heart of the contemporary condition\, addres sing the particular tension that arises when chaos and control\, fact and a rtifice\, the organic and the industrial\, meet.

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At the center of t his exhibition is \;Checkpoint\, the most recent iteration of his latest series\, the large-scale \;Dioramas. A room-sized v ision of a generic airport security stop\, \;Checkpoint \; presents a locale whose practical banality rests uneasily alongside the loo ming suggestion of larger social anxieties. At once familiar and foreign\,& nbsp\;Checkpoint \;offers the opportunity to visually and cere brally examine a liminal place that is usually only experienced through a r ushed physical encounter. Rendered via various processes &ndash\; from comp uter modeling to meticulous hand carving &ndash\; the work is not a replica . Rather\, \;Checkpoint \;alchemically translates a quotid ian space into an uncanny one. Metal and rubber are transformed into soft-h ued maple wood\, a depth of seventy feet is perspectivally forced into seve nteen\, and the moving\, living moment of human experience becomes architec turally frozen in time. Decontextualized through these physical distortions \, and devoid of the expected human pulse\, \;Checkpoint \ ;turns the prosaic into poetry\, both in form and in content. Here\, a mund ane and potentially menacing space becomes a fixed point of quiet contempla tion.

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Situated within Paine&rsquo\;s larger serial practice\, \ ;Checkpoint \;carries on the artist&rsquo\;s exploration of pr ocess\, perception and material translation\, a pursuit that can be seen in works from his early \;Painting Machines\, industrial contrap tions that use laborious repetition to mechanistically fabricate works of a rt\, to his more recent \;Dendroids\, in which organic arborea l forms develop into hybrid systems welded out of stainless steel.

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As a complement to this large-scale installation\, Paine presents new examp les of his recent maple wood sculptures\, hybrid machine-like objects that suggest the modern day markers of labor\, production\, consumption and meas ured control. As the exhibition title suggests\, when considered together\, the works in \;Denuded Lens \;propose fresh vehicles for viewing our current environment\, prompting us to see anew the charged spac e we occupy within it.

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Roxy Paine was born in New York in 1966. He attended the College of Santa Fe\, New Mexico\, and the Pratt Institute\, N ew York. Paine has exhibited widely since the early 1990s\, domestically an d abroad. The subject of a traveling museum exhibition in 2002\, Paine crea ted a site-specific sculptural project in New York&rsquo\;s Madison Square Park in 2007\, followed by a large-scale installation on the roof of the Me tropolitan Museum of Art\, New York in 2009. Currently\, his large-scale&nb sp\;Dendroid \;work\, \;Symbiosis\, can be seen i n Philadelphia&rsquo\;s Benjamin Franklin Parkway through June 2015. Paine& rsquo\;s work is included in the collections of the National Gallery of Art \, Washington\, D.C.\; the San Francisco Museum of Modern Art\; the Whitney Museum of American Art\, New York\; and the Museum of Modern Art\, New Yor k\, among others. Roxy Paine currently lives in Brooklyn and works in Queen s.

DTEND:20141018 DTSTAMP:20140822T060254 DTSTART:20140904 GEO:40.7486569;-74.0043445 LOCATION:Marianne Boesky Gallery 24th St\,509 W.24th St. \nNew York\, NY 10 011 SEQUENCE:0 SUMMARY:Denuded Lens\, Roxy Paine UID:352373 END:VEVENT BEGIN:VEVENT DTEND:20140904T200000 DTSTAMP:20140822T060254 DTSTART:20140904T180000 GEO:40.7486569;-74.0043445 LOCATION:Marianne Boesky Gallery 24th St\,509 W.24th St. \nNew York\, NY 10 011 SEQUENCE:0 SUMMARY:Denuded Lens\, Roxy Paine UID:352374 END:VEVENT BEGIN:VEVENT DESCRIPTION:

MARC STRAUS is pleased to announce an exhibition of new work by German \;artist\, \;Birgit Brenner. This will be the artist&rsq uo\;s second solo show with the gallery and will inaugurate our fall season .

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Birgit Brenner creates her works out of the dramas of everyday li fe\, and this is mimicked in her use of common materials. Mediums like wood \, cardboard\, and acrylic paint are combined like a \;modern-day assem blage\, \;blurring the line between \;painting\, sculpture\, and dr awing.

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For \;this \;exhibition\, \;Brenner \;has&nb sp\;created \;a \;body \;of \;work \;developed \;ar ound \;a \;narrative \;from \;dreams\, \;perhaps\,  \;fraught with the tensions of possible failures in relationships and with societal norms. These then translate into wonderfully idiosyncratic rich wo rks that are \;visually laced with a sense of irony and humor.

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Birgit Brenner (b. 1964) studied at \;Hochschule der Kü\;nste\, Ber lin under renowned installation artist and film director Rebecca Horn. She is \;a Professor of Art at the Staatliche Akademie der Bildenden Kü \;nste in Stuttgart\, and her work has been shown extensively in Europe\, i ncluding a 2011 major exhibit at the Dortmunder Kunstverein in Germany. She has recently had solo exhibitions at Kunsthalle Tü\;bingen\, Germany\;  \;Kunstsammlung Jena\, \;Germany\; and Dortmunder Kunstverein\, Ge rmany. She was a recipient of the Tisa of the Schulenburg-Stiftung art awar d in 2004\, \;Christian Karl Schmidt subsidy award in 2003\, and a P.S. 1 scholarship from 2001-2002. \;She lives and works in Berlin. She is r epresented by Eigen+Art Berlin and Leipzig since 1992 and MARC STRAUS in Ne w York.

DTEND:20141019 DTSTAMP:20140822T060254 DTSTART:20140907 GEO:40.7174823;-73.9918727 LOCATION:MARC STRAUS\,299 Grand Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Ten Code 56\, Birgit Brenner UID:352368 END:VEVENT BEGIN:VEVENT DTEND:20140907T200000 DTSTAMP:20140822T060254 DTSTART:20140907T170000 GEO:40.7174823;-73.9918727 LOCATION:MARC STRAUS\,299 Grand Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Ten Code 56\, Birgit Brenner UID:352369 END:VEVENT BEGIN:VEVENT DESCRIPTION:

NEW YORK CITY - Gallery Molly Krom

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OPENING RECEPTION : Sunday\, Sept. 7\, 6 &ndash\; 9 pm

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Gallery Molly Krom is pleased to present In the Garden of (Plastic) Paradise\, a show of recent drawings and collages by Sanda Iliescu. An artist whose work blends the dynamic visu al energy of abstraction with often narrative and figural suggestiveness\, Iliescu turns her attention in the current show to that most naturalistic a nd nostalgic of subjects &ndash\; the bird. The results are unexpectedly mo ving.

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Modeled on birds seen in nature and in books\, Iliescu&rsquo\ ;s bird drawings &ndash\; done with graphite\, colored pencil\, Sharpie mar kers\, discarded plastic and sewn embroidery thread &ndash\; do not altoget her shun the evocative and expressive sweetness one associates with traditi onal renderings of birds. Yet Iliescu&rsquo\;s sometimes fragile\, sometime s ungainly birds\, are so simply and even at times primitively rendered tha t one cannot say that what is moving about them is the subject. It is rathe r Iliescu&rsquo\;s odd juxtaposition of boldly drawn lines with winding\, s inuous strings of handwriting and strange floating abstract shapes just bar ely suggestive of trees and other foliage\, that entrances and engages us. As such\, these elusive and ethereal\, yet decidedly un-nostalgic drawings draw their power as much from the poetry of abstract form as they do from n ature.

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At the same time\, another set of purely abstract drawings i n the exhibit partake as much of an aesthetic of nature as they do of abstr action. &ldquo\;Snow Drawing 2\,&rdquo\; for instance\, with its spartan as semblage of slanting lines and shapes conveys the glowing\, crystalline fee ling of light bouncing off snow and ice with an economy and intensity that few realistic renderings achieve. &ldquo\;Floriani Unfinished I\,&rdquo\; t hough in essence only a complex web of colored shapes and odd plant-like li nes\, nevertheless blooms before our eyes with its exuberant pageant of col ors and textures.

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Iliescu&rsquo\;s art\, like the art of many colla gists\, revels in raw contrasts and sharp juxtapositions\, in that rebellio us sensibility that Picasso\, another collagist\, likened to &ldquo\;throwi ng dust in the eye&rdquo\; of the conventional canvas and\, by implication\ , the viewer. In her energetic variety of technique\, material\, and approa ch\, one that shuns the unitary\, uniform branding so prevalent in art toda y&mdash\;Iliescu is perhaps at her most refreshing.

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In addition to the bird drawings and the abstractions\, the exhibit also includes several large-scale collages made of recycled plastics entitled &ldquo\;Trash Bag T rees.&rdquo\; Made in 1995 while Iliescu was a fellow at the American Acade my in Rome\, these show the artist&rsquo\;s abiding interest in her natural surroundings and in the language of abstract visual form.

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Sanda Iliescu lives and works in Charlottesville\, Virginia. Her w ork is currently on exhibit in &ldquo\;Picasso and Friends&rdquo\; at Les Y eux du Monde gallery in Charlottesville. Other paintings\, drawings\, and c ollages she has made were shown in New York&rsquo\;s 2014 Cutlog art fair\, at Richmond&rsquo\;s 2013 &ldquo\;Knowing How to See&rdquo\; exhibit\, and in two group shows at Gallery Molly Krom\, both in 2013: &ldquo\;The Hidin g Places are (Utterly) Empty&rdquo\; and &ldquo\;Flights of Love.&rdquo\; I n addition to painting and drawing\, she creates art installations for publ ic spaces\, often with students at the University of Virginia\, where she t eaches art and design. Her public projects\, all in Charlottesville\, inclu de the 2013 ephemeral installation &ldquo\;SNOWBALLS on STEPS (for David Ha mmons)\,&rdquo\; the 2011 mural project &ldquo\;UN- PAINTING: From Yellow t o White\,&rdquo\; and the 2010 &ldquo\;Lines of Darkness and Light\,&rdquo\ ; in which Iliescu shrouded the columns of Jefferson&rsquo\;s Rotunda in da rk veils to mourn a student&rsquo\;s death.

DTEND:20141005 DTSTAMP:20140822T060254 DTSTART:20140905 GEO:40.7219666;-73.9903845 LOCATION:Gallery Molly Krom\,53c Stanton Street \nNew York City\, NY 10002 SEQUENCE:0 SUMMARY:Sanda Iliescu: In the Garden of (Plastic) Paradise\, sanda iliescu UID:352244 END:VEVENT BEGIN:VEVENT DTEND:20140907T210000 DTSTAMP:20140822T060254 DTSTART:20140907T180000 GEO:40.7219666;-73.9903845 LOCATION:Gallery Molly Krom\,53c Stanton Street \nNew York City\, NY 10002 SEQUENCE:0 SUMMARY:Sanda Iliescu: In the Garden of (Plastic) Paradise\, sanda iliescu UID:352245 END:VEVENT BEGIN:VEVENT DESCRIPTION:

LYNCH THAM is pleased to present a seminal exhibition of new works by leading Portuguese contemporary artist Pedro Calapez\, marking th e debut of the artist&rsquo\;s work in the United States.

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Following critically acclaimed exhibitions in Europe\, meadow-curtain-round-brok en line\,offers a succinct overview of Calapez&rsquo\;s fascination wi th spatial relationships\, landscapes\, and the significance of ways of see ing. Details are critical in his work\, as this exhibition presents an exer cise in exploration and discovery\, encouraging an awareness of the differe nt possibilities of the gaze. In each work\, Calapez enters into dialogue w ith the architectural context as he evokes everyday encounters and memories through fragmented\, richly colored reflections about light\, space and la ndscape.

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meadow is a celebration of an encounter with land scape. More than a representation of a meadow\, Calapez&rsquo\;s subject is the sensation of gazing and the revelatory and fragmentary feelings of the hot wind undulating over the plains or the cool shadows of passing clouds. In curtain\, Calapez explores the invented superimpositions of li ght and darkness that hinder a clear definition of a space or place. The pr inciple of visibility ensures presence\, while the abstraction of darkness confuses the senses and invokes the imagination. round reflects fr agments of other works\, functioning as a mirror that subtly observes what is behind it. The circular edge produces centrifugal\, centripetal movement s\, which alter the image that emerges within it. The two vertical &ldquo\; gashes&rdquo\; stabilize the painting\, barring the paint from leaving its place. The limits of drawing and painting are tested in the installation broken line. The gesture of tracing a line to create a structural de sign on the ground recalls the game of hopscotch. Like the game\, Calapez&r squo\;s work presents a sequence of attitudes that have no defined aim or e nd in sight\, stimulated by the continuous repetition of a movement. Mallar mé\; called attention to this in the preface to his poem un coup de dé\;s jamais n'abolira le hazard\, where he said: &ldquo\;Eve rything takes place\, in sections\, by supposition\; narrative is avoided.& rdquo\; The lines drawn on each brick are fragments of an endless hypotheti cal line\, fragments of knowledge reorganised into different alignments and directions\, relating the gaze to a memory\, journey or destiny.

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P edro Calapez was born in Lisbon\, Portugal in 1953\, where he currently liv es and works. He has been exhibiting widely national and internationally si nce the 1980s. His work has been shown in many important museums and galler ies: "Field of shadows\," Pilar i Joan Miró\; Foundation\, Majorca (1 997)\; "Madre Agua\," MEIAC - Contemporary Art Museum\, Badajoz and CAAC - Andalucia Contemporary Art Centre (2002)\; CGAC - Galicia Contemporary Art Centre\, Santiago de Compostela (2005)\; "Painting places\," CAB - Caja Bur gos Art Centre\, Burgos (2005). &ldquo\;White and neutral clarity\,&rdquo\; Casa da Cerca\, Centro de Arte Contemporâ\;nea\, Almada (2009)\; &ldq uo\;Kickflip\,&rdquo\; PLMJ Foundation\, Lisbon (2011)\; "dark skies"\, Cas a das Histó\;rias\, Paula Rego House for Contemporary Art\, Cascais ( 2012)\; &ldquo\;There is only drawing\," Luis Seoane Foundation\, La Coru&n tilde\;a\, Galicia (2013)\; Serralves Museum\, OPorto (2009)\; &ldquo\;It&r squo\;s not my fault\,&rdquo\; Berardo Museum\, Lisbon (2010)\; &ldquo\;The Collection\,&rdquo\; Barrié\; Foundation\, A Coruñ\;a (2011)\; &ldquo\;under the sign of Amadeo\,&rdquo\; CAM- Calouste Gulbenkian Founda tion\, Lisboa (2013)\; "93\," CGAC&ndash\;Galician Centre for Contemporary Art\, Santiago de Compostela\; Venice Bienniale (1986)\; Sao Paulo Biennale (1987 and 1991)\, among others.

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Calapez&rsquo\;s work is in the co llections of: Caixa Geral de Depó\;sitos\, Lisboa\; Centro de Arte Ca ja Burgos\, Burgos\; Central European Bank\, Frankfurt\; Chase Bank\, New Y ork\; European Investment Bank\, Luxembourg\; Coca-Cola Foundation Spain\, Madrid\; Pilar and Joan Miró\; Foundation\, Majorca\; EDP Foundation\ , Lisbon\; PLM Foundation\, Lisbon\; Portugal Telecom Foundation\, Lisbon\; MEIAC\, Ibero\; Reina Sofia Contemporary Art Museum\, Madrid\; Serralves M useum\, Oporto\, among others. \;

DTEND:20141102 DTSTAMP:20140822T060254 DTSTART:20140910 GEO:40.7188646;-73.9846431 LOCATION:LYNCH THAM\,175 Rivington Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:meadow-curtain-round-broken line \, Pedro Calapez UID:352174 END:VEVENT BEGIN:VEVENT DTEND:20140910T200000 DTSTAMP:20140822T060254 DTSTART:20140910T180000 GEO:40.7188646;-73.9846431 LOCATION:LYNCH THAM\,175 Rivington Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:meadow-curtain-round-broken line \, Pedro Calapez UID:352175 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Total Body Conditioning \;is an exhibition by M ika Tajima comprised of three scenes&mdash\;display\, work\, and fitness&md ash\;that invoke technologies developed to control and affect the body. The se are techniques that shape bodily experience of time and space\, taking t he human body as a target of power. The works in the exhibition include Jac uzzi hot tub painting objects\, a series of abstract woven textile portrait s\, and transparent paintings set to changing ambient lighting and sound se quences. Each scene in the exhibition traces the management of the body in different spaces and temporal contexts from factory assembly lines to thera peutic &ldquo\;after work&rdquo\; locations.

DTEND:20141025 DTSTAMP:20140822T060254 DTSTART:20140913 GEO:40.718124;-74.001856 LOCATION:Art in General\,79 Walker Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Mika Tajima: Total Body Conditioning\, Mika Tajima UID:352144 END:VEVENT BEGIN:VEVENT DTEND:20140913T200000 DTSTAMP:20140822T060254 DTSTART:20140913T180000 GEO:40.718124;-74.001856 LOCATION:Art in General\,79 Walker Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Mika Tajima: Total Body Conditioning\, Mika Tajima UID:352145 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Introduction

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Inside Out: New Chinese Art 
Curated by Gao Minglu 
in association with the Asia Society 
and the San Francisco Museu m of Modern Art

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The last two decades have witnessed momentous e conomic\, social\, and political changes in mainland China and throughout t he "Chinese world." Artists in urban centers and elsewhere in China\, Taiwa n\, and Hong Kong (now a special administrative region of China) have respo nded to these changes with an explosion of diverse work that is simultaneou sly exhilarating and bewildering. Using a variety of media\, from ink and o il painting to installation and performance art\, many Chinese artists in t he region and abroad are grappling with what it means to be Chinese in an a ge of economic globalization and transnationalism.

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Inside Out: New Chinese Art is the first major exhibition to present the dynamic new art be ing produced by artists in mainland China\, Taiwan\, Hong Kong\, and by sel ected artists who emigrated to the West in the late 1980s. Including works dating from the mid-1980s to the present (some commissioned for this exhibi tion)\, Inside Out focuses on works of art that explore the complex relatio nship between culturally specific issues and larger developments of a moder n/postmodern age. Within this context\, artists are appropriating and trans forming both conventional Chinese aesthetic idioms and contemporary Western vocabularies to negotiate the cultural differences between past and presen t\, self and other.

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The decade-long perspective is intended to prov ide the viewer with a sense of the unprecedented pace of economic\, social\ , and political change in the region. Organized thematically\, the exhibiti on explores topics that are regionally specific-the reaction to consumerism and leisure culture in China in the 1990s or the quest for cultural identi ty in Taiwan-and issues that transcend physical borders\, such as the viabi lity of ink painting or the concern with language.

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Inside Out has b een organized by the Asia Society Galleries and the San Francisco Museum of Modern Art\, and curated by Gao Minglu. The exhibition is being presented simultaneously at the Asia Society and P.S.1 Contemporary Art Center from S eptember 15\, 1998 through January 3\, 1999.

DTEND:19990103 DTSTAMP:20140822T060254 DTSTART:19980915 GEO:40.7700155;-73.9644801 LOCATION:Asia Society Museum\,725 Park Avenue at 70th Street\nNew York\, NY 10021 SEQUENCE:0 SUMMARY:Inside Out: New Chinese Art\, Cai Guo-Qiang\, Cao Yong\, Chen Hui-C hiao\, Chen Shun-Chu\, Chu Chia-Hua\, Fang Lijung\, Fang Tu\, Fang Wei-Wen\ , Geng Jianyi\, Wenda Gu\, HO Siu-Kee\, Hong Hao\, HOU Chun-Ming\, Huang Ch ih-Yang\, Huang Yong Ping\, Kum Chi-keung\, Li Shan\, Shu-Min Lin\, Lin Tia n-miao\, Liu Wei\, Liu Xiangdong\, Long-Tailed Elephant Group\, Ma Jian\, M a Liuming\, Phoebe Man (Man Ching Ying)\, Mao Xuhui\, New Analysis Group\, Pan Xing Lei\, Qiu Zhijie\, Ren Jian\, Shu Qun\, Song Dong\, Song Yonghong\ , Song Yongping\, Southern Artists Salon\, Su Xinping\, Tang Song\, To Weun \, Tsong Pu\, Wang Gongxin\, Wang Guangyi\, Wang Jin\, Wang Jinsong\, Wang Jun-Jieh\, Wang Peng\, Wang Tiande\, Wen Pulin\, Wu Mali\, Wu Shan Zhuan\, Wu Tien-Chang\, XIAO LU\, Xu Bing\, Yan Binghui\, Yin Xiuzhen\, Tim Yu\, 21 st Century Group\, Yuan Jai\, Danny Ning Tsun Yung\, Zhang Huan\, Zhang Pei li\, Zhang Xiaogang\, Zhang Yu UID:352007 END:VEVENT BEGIN:VEVENT DTEND:19980915T190000 DTSTAMP:20140822T060254 DTSTART:19980915T150000 GEO:40.7700155;-73.9644801 LOCATION:Asia Society Museum\,725 Park Avenue at 70th Street\nNew York\, NY 10021 SEQUENCE:0 SUMMARY:Inside Out: New Chinese Art\, Xu Bing\, Yan Binghui\, Kum Chi-keung \, Chu Chia-Hua\, Huang Chih-Yang\, HOU Chun-Ming\, Song Dong\, Wang Gongxi n\, 21st Century Group\, Long-Tailed Elephant Group\, New Analysis Group\, Wenda Gu\, Wang Guangyi\, Cai Guo-Qiang\, Hong Hao\, Zhang Huan\, Chen Hui- Chiao\, Yuan Jai\, Ma Jian\, Ren Jian\, Geng Jianyi\, Wang Jin\, Wang Jinso ng\, Wang Jun-Jieh\, Pan Xing Lei\, Fang Lijung\, Shu-Min Lin\, Ma Liuming\ , XIAO LU\, Wu Mali\, Phoebe Man (Man Ching Ying)\, Zhang Peili\, Wang Peng \, Tsong Pu\, Wen Pulin\, Shu Qun\, Southern Artists Salon\, Li Shan\, Chen Shun-Chu\, HO Siu-Kee\, Tang Song\, Lin Tian-miao\, Wang Tiande\, Wu Tien- Chang\, Fang Tu\, Liu Wei\, Fang Wei-Wen\, To Weun\, Liu Xiangdong\, Zhang Xiaogang\, Su Xinping\, Yin Xiuzhen\, Mao Xuhui\, Cao Yong\, Huang Yong Pin g\, Song Yonghong\, Song Yongping\, Tim Yu\, Zhang Yu\, Danny Ning Tsun Yun g\, Qiu Zhijie\, Wu Shan Zhuan UID:352008 END:VEVENT BEGIN:VEVENT DESCRIPTION:

For interviews and high resolution images

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Please con tact Susan Bishopric

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THE BISHOPRIC AGENCY

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212 289 2227 susan@susanpr.com

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 \;

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 \;

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JILL NEWHOUSE presents

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new work by

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 \;

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WENDY MARK

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&ldquo\;BEGINNING WITH SQUARE O NE&rdquo\;

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 \;

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--includin g a site specific installation

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&lsquo\;CloudSpace&rs quo\;

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by AGENCY

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 \;

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October 1 &ndash\; November 15 2014

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 \;

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 \;

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&ldquo\ ;The Fragment/Recollection/Disappearance/Addition/Contrast/Weight and Shado w/The Fugue

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are all explored within the space o f a square &ndash\; beginning with square one.&rdquo\;

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- W endy Mark

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 \;

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 \; \; \; \; \; \ ; \; \; \; \; \; NEW YORK June 11 - New York gallerist Jill Newhouse (www.jil lnewhouse.com) is delighted to present a multi-media exhibition of new work by Wendy Mark from October 1st to November 15th at her gallery at 4 Ea st 81 Street.

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BEGINNING WITH SQUARE ONE is Wendy Mark&rsquo\;s late st creative expression\, exploring the use of squares as grids\, frames and space\, and as active participants in the construction and decons truction of images. \; The multi-media exhibit of work\, including Mark &rsquo\;s monotypes\, watercolors\, mirror paintings\, photographs\, books\ , and small objects\, alongside a site specific installation by award-winni ng architects AGENCY\, underscores the artist&rsquo\;s interest in collabor ation\, which infuses every one of her projects with special meaning and fi nds new forms for their realization. Each piece in the show explores and el aborates the theme with different material and optical techniques\, engagin g the viewer in a range of relationships to imagery and space.

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Lang uage\, and forms of prose and poems\, have always been at the center of Wen dy Mark&rsquo\;s work. \; Mark explains how each piece contributes to t he syntax of her shows and her entire body of work. \; Working to both refine each image\, and collections of images arranged in a grid\, Mark explains\, &ldquo\;each image is like a line of a poem\, a segment\, or verse of meaning. \; These series of image/lines make up th e poem which is the whole piece\, composed of this row or row of images .&rdquo\;

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BEGINNING WITH SQUARE ONE draws on rich conceptions of drawing and translation methods throughout art history\, while extending known methods into surprising new modes of output. Recurring images of dots and clouds fill the space in gridded compositions and in collect ions of squares and frames. \; Mark adds\, &ldquo\;the idea of permutat ion &ndash\; of how images refer to and impress meaning on each other -- is important to me. The graph and the Renaissance cartoon a re both influences on these images of dots and clouds\, not in terms of tra nsference maps\, but in terms of translation and graphed point s of reference.&rdquo\;

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Certain pieces in the show engage the viewer and the space of the gallery in contributing to the construction of the work. \; Collections of dice present disassembled vignette s of larger images in the show on their faces\, inviting viewers to assembl e three-dimensional reconstructions of the printed images. \; \;&nb sp\;

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 \; \; \; \; \; \; \; \; \ ; \; \; &ldquo\;The viewer\,&rdquo\; Newhouse points out\, &ldquo\; is asked to respond and\, with Mark&rsquo\;s dice\, as in game the ory\, the viewer may rearrange these pieces of 9 or 12 or 100\, as they des ire: to make their own configurations.&rdquo\;

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BEGINNING WITH SQUAR E ONE \;includes the result of a new collaboration\, a site specific in stallation for the Jill Newhouse Gallery based on the spatial implications of Mark&rsquo\;s monotypes. \; Designed and fabricated by AGENCY (www.agencyarchitectur e.com)\, a collaborative interdisciplinary practice engaging contempora ry culture through architecture\, urbanism\, and advocacy\, the architects explore resonances between digital processes and material artifacts shared in their work and the work of Wendy Mark.

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AGENCY principals Ersela Kripa and Stephen Mueller\, winners of the 2010-11 Rome Prize in Architectu re\, explain\, &ldquo\;we are transforming a confined gallery space to crea te the illusion of weightlessness and surprising depth\, translating and de contextualizing Wendy&rsquo\;s clouds into a richly textured\, mul ti-dimensional\, optical and spatial manifold. The installation\, which we call &lsquo\;CloudSpace&rsquo\; intensifies the unexpected depth of space a nd light one is faced with upon encountering Wendy&rsquo\;s clouds\, immers ing the viewer in a specially constructed and choreographed environment. A multi-directional mass-customized screen acts like a room-sized lenticu lar lens\, capitalizing on generative digital design tools and fabrica tion technologies to create multiple new and complex readings of the im age. \; Viewers become complicit in the construction and deconstru ction of spatial images as they move through the space\, revealed through constantly shifting perforations\, opacities\, and reflections gene rated by different viewing angles.&rdquo\;

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 \; \; \;&nb sp\; \; \; \; \; \; \; \; &ldquo\;Our goal\,&rd quo\; the architects explain\, &ldquo\;is to translate the scale of the art work into a three dimensional spatial experience for gallery visit ors\, who will be reflected in the infinitely expansive environment\, captu red in the seemingly weightless clouds. \; The installation ga thers three-dimensional data through the systematic indexing and transforma tion of color and value and then articulates Mark&rsquo\;s vision in a vert ical\, optical\, topography.&rdquo\;

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Newhouse adds that\, &ldquo\;w hen you visit the gallery you will see how well Wendy Mark and AGENCY have exploited similarities between Mark&rsquo\;s material-intensive monotype pr ocess and AGENCY&rsquo\;s virtual analytic and constructive techniques -- b y breaking down Wendy&rsquo\;s clouds into a series of progressive spatial matrices.&rdquo\;

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BEGINNING WITH SQUARE ONE includes sever al visual and intellectual reference points for the observer. &ldquo\;The c onnection to the history of cloud painting is inherent in this installation \,&rdquo\; Mark writes. &ldquo\;My clouds are not taken from the r eal clouds in nature\; I do not paint from Life. \; These image/clo uds are a reinterpretation of the clouds in paintings from the Renaiss ance painters. \; I am looking at the clouds of Pontormo\, Mantegna\, a nd the skies of the Dutch landscape painters as well.&rdquo\; She writes th at &ldquo\;my clouds are a riff on these early skies. \; At the same ti me they refer forward to computer generated dots and information diagrams.& rdquo\;

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In the catalog for the show\, Wendy Mark says\, &ldquo\;one idea is to use scale to reinterpret the Renaissance Landscape: You have to Zoom IN through a small window/frame/turn on the screen. &rdquo\;

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Mark&rsquo\;s work has captured the attention of major col lectors as well as notable museums and institutions. This is Wendy Mark&rsq uo\;s second solo show at the Jill Newhouse gallery\, which showed Wendy Ma rk monotypes in an October\, 2011 exhibition titled &ldquo\;Drive.&rdquo\;& nbsp\; It is the twelfth solo show for the New York-based artist known for her collaborations with writers\, composers\, and choreographers. \;

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Wendy Mark began her career as a writer and received her MFA from the poetry division of Columbia University School of the Arts. She writes\, &l dquo\;reading poems and fiction is intrinsic to my life as well as my work as a painter.&rdquo\; \; Limited edition books are part of her many sol o exhibitions. \; She has repeatedly sought to infuse her work with tho ught-provoking words and images\, forging successful creative collaboration s with Pulitzer Prize-winning poets Mark Strand\, Charles Simic\, Paul Muld oon and David St. John\, and writers such as Adam Gopnik\, Louis Menand\, a nd the Spanish writer\, Javier Marias.

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In an essay by The New Yorke r art critic\, Adam Gopnik\, on Mark&rsquo\;s &lsquo\;Clouds&rsquo\; he ask ed\, &ldquo\;is there possibly the hint of a television screen in her s quared off formats?&rdquo\;

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Wendy Mark has had numerous solo e xhibitions and her monotypes were included in the historical exhibition at The Smithsonian Institution &ldquo\;Singular Impressions: The monotype in A merica.&rdquo\; Other museum shows include The Lyman Allyn Museum in CT.\, The Metropolitan Museum of Art\, NYC and The Hiroshima Museum of Contempora ry Art in Japan. \; Her prints and books are in the collections of The Metropolitan Museum of Art\, the Morgan Library\, The Spenser and Berg coll ections at the New York Public Library and numerous other museums. She is a mong the twenty artists cited by Thomas Hoving in his article in Cigar Aficionado\, "Twenty Artists Who May Be the Picassos and Monets of the 21st Century."

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Hoving\, the former Director of the Metropolitan Mu seum of Art\, was among the first to applaud Mark's monotypes. In his catal ogue essay for her show\, "A New Shade of Blue" at the Lyman Allan Museum h e writes:

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Her latest works demonstrate a further maturing of he r subtle skills and are all about contradictory sensations &ndash\; the eph ermal in her pieces\, some deliberately murky thoughts as well as crystal r ealities. \; Super evocation! \; In every work there&rsquo\;s a mas terful combination of delicacy and force and weightiness and light-as-air f reedom. \; It doesn&rsquo\;t matter what the work is\, every resplenden t one crackles with energy and drama and embodies a simply astounding sense of release and celebration.

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Paul LeClerc\, the former Preside nt of The New York Public Library\, says of her work in his essay for Mark' s exhibition\, The Steamroller Project\, a large scale monotype ma de in Central Park:

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One finds\, I think\, in nearly all of her work something akin to Baudelaire&rsquo\;s &lsquo\;Invitation to the Voyage \,&rsquo\; where Mark invites us to join her in venturing into new\, seduct ive\, and mysterious landscapes\, filled with the arresting colors of Turne r or the nuanced palate of Stieglitz&rsquo\;s &lsquo\;Equivalents.

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The Pulitzer Prize-winning poet\, Charles Simic\, writes in his introd uction to their collaboration limited edition book\, Wendy's Pinball\, published by Glenn Horowitz B ookseller:

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One only needs to divide a blank piece of paper with a line of the horizon and the imagination starts working. \; Soon ther e are fields and clouds\; there is a solitary tree\, the changing light of the day and the seasons with their colors. \; Wendy Mark&rsquo\;s monot ypes remind us of those moments when we make our world larger by meaning.

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 \; \; \; \; \; \; \; \; \;  \; \; Jill Newhouse says\, &ldquo\;Wendy Mark&rsquo\;s art transfo rms traditional\, classical imagery and makes it current. The skies and clo uds of Constable and Turner become the dots and grids of the 21st century.& rdquo\;

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Wendy Mark | &lsquo\;BEGINNING WITH SQUARE ONE&rsquo\; | Exhibition

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Wendy Mark returns to her &lsquo\;cloud referenced&rsquo\; images to express what can take place within a square. \; The show includes monot ypes\, watercolors\, photographs\, mirror paintings and dice. &ldquo\;Begin ning With Square One&rdquo\; refers to the more common phrase &lsquo\;back to square one&rsquo\; but changes the emphasis\, from starting over to the more intense and intentional focus on the &lsquo\;square as a frame&rsquo\; and as a series of expressions. \;

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The BEGINNI NG WITH SQUARE ONE exhibition at the Jill Newhouse gallery also includes We ndy Mark&rsquo\;s new &lsquo\;Mirror&rsquo\; \;paintings.  \; Inspired by Jeff Koons&rsquo\; bright\, shiny\, reflective surface sculp tures\, these paintings of rose/cloud forms of gesso and enamel include the viewer within the image\, as they are reflected in these surfaces the clos er they get to the image. \; Mark has been taken by Koons&rsquo\; sculp ture for many years and this year walked past the Christmas red &ldquo\;Ven us&rdquo\; sculpture at Sotheby&rsquo\;s and was &ldquo\;forced\,&rdquo\; s he says\, to try to work on this new\, non-porous\, and bright surface\, in her case\, on Mirror paper\, which she found at NY Central Supply.

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AGENCY | &lsquo\;CloudSpace&rsquo\; | Site Specific Instal lation

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AGENCY transforms a confined gallery space t o create the illusion of weightlessness and surprising depth\, translating and decontextualizing Wendy&rsquo\;s clouds into a richly textured \, multi-dimensional\, optical and spatial manifold. The installation inten sifies an unexpected depth of space and light\, immersing the viewer in a s pecially constructed and choreographed environment. A multi-directional mas s-customized screen acts like a room-sized lenticular lens\, creat ing multiple new and complex readings of the image. \; Viewers become complicit in the construction and deconstruction of spatial ima ges as they move through the space\, revealed through constantly shift ing perforations\, opacities\, and reflections generated by different viewi ng angles.

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AGENCY is an award-winning architectural design and research practice known for transforming spaces\, sites and sys tems by working within and against each context&rsquo\;s limitations and co nstraints. The work of the practice ranges from speculative research and ur ban policy proposals to commissioned architectural projects\, film\, photog raphy\, and public art installations. AGENCY was awarded the 2010 ONE Prize \; the 2010-11 Rome Prize in Architecture and has been invited to participa te in the Venice Biennale\, Sofia Architecture Week\, Eme3 International Ar chitectural Market and SUPERFRONT in Los Angeles.

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J ILL NEWHOUSE GALLERY

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Jill Newhouse gallery was esta blished in 1980 and is devoted to the exhibition and sale of Works of Art o n Paper. \; Jill Newhouse is a fourth generation art dealer and a found ing member and past president of the Private Art Dealers Association (PADA. net). \; She has also been a member of the Art Dealers Association of A merica (ADAA) and is a Member of the Visiting Committee\, Dept. of Prints a nd Drawings\, Metropolitan Museum of Art\; a member of the Council of Fello ws\, Pierpont Morgan Library (2003-2007)\, and a member of the Morgan&rsquo \;s Visiting Committee\, Department of Prints and Drawings.

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This is Wendy Mark&rsquo\;s second solo show at the Jill Newhouse gallery\, which showed Wendy Mark monotypes in an October\, 2011 exhibition titled &ldquo\;Drive.&rdquo\; Jill Newhouse Gallery is delighted to once a gain be hosting her latest series of works.

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WE SUPP ORT STUDIO IN A SCHOOL

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Twenty percent of sale proce eds will benefit STUDIO IN A SCHOOL\, a 36-year partnership with the New Yo rk City Department of Education that allows professional artists to teach v isual arts to hundreds of thousands of New York City children in under-serv ed public schools\, daycare centers\, and community-based organizations.&nb sp\; STUDIO IN A SCHOOL offers quality art workshops where children explore their creativity and learn the joys and benefits of making art. \; Pro grams offered are for Pre-K through college\, including internships for hig h school and college students. \; Studio is a nationally recognized lea der in arts education. \;

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If You Go

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&ldquo\;BEGINNING WITH SQUARE ONE&rdquo\;

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New work by Wendy Mark at Jill Newhouse Gallery

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includ ing a site-specific installation by AGENCY

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Octo ber 1st to November 15th 2014

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Jill Newhouse Ga llery

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4 East 81 Street

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New York NY 10028

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212 249 92 16

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Monday to Friday 10am to 5:30pm or by appointmen t

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www.jillnewh ouse.com mail drop@jillnewhouse.com

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Please contact Susan Bish opric for High resolution images and interviews&hellip\;

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THE BISHOP RIC AGENCY 212 289 2227 s usan@susanpr.com

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DTEND:20141115 DTSTAMP:20140822T060254 DTSTART:20141001 GEO:40.777966;-73.962263 LOCATION:Jill Newhouse Gallery\,4 East 81st Street \nNew York\, NY 10028 SEQUENCE:0 SUMMARY:Wendy Mark BEGINNING WITH SQUARE ONE\, Wendy Mark UID:351909 END:VEVENT BEGIN:VEVENT DTEND:20141001T200000 DTSTAMP:20140822T060254 DTSTART:20141001T180000 GEO:40.777966;-73.962263 LOCATION:Jill Newhouse Gallery\,4 East 81st Street \nNew York\, NY 10028 SEQUENCE:0 SUMMARY:Wendy Mark BEGINNING WITH SQUARE ONE\, Wendy Mark UID:351910 END:VEVENT END:VCALENDAR