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303 Gallery is pleased to present our 7th exhibition of the work of Rodney Graham\, and our inaugural exhibition in the gallery's new h ome at 507 West 24th Street\, designed by principal architect StudioMDA wit h Murdock Solon Architects..

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Graham continues his focus on allegori cal self-portraiture\, inserting himself into variously arcane\, humorous\, and pathos-ridden scenarios. In "Cactus Fan\," Graham imagines himself as the title character of Carl Spitzweg's painting "The Cactus Enthusiast." In the original\, a scholar in his study examines a cactus that appears to be peering back at him. In Graham's version\, the artist plays a science prof essor\, staring at a cactus with balloons and colored foil attached to it\, obviously a birthday or graduation gift he is not particularly excited to receive. The format mimics the Spitzweg original\, though the tranquil sere nity is upended by the gaudy technicolor features of the cactus and its acc outrements. Graham's buttoned-up professor\, arms crossed and starched full -length lab coat in tow\, seems to have a moment of disgust with the cactus and all it signifies\, as if this limp\, potted cactus with balloons repre sents not only his birthday\, but the ridiculous culmination of his life up to this point. The wonderment of Spitzweg's original protagonist\, his del ight animating nature itself\, has been replaced by the stark\, cold realit y of a middling career and the blighted hope of the unfulfilled.

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In "Paddler\, Mouth of the Seymour\," another lightbox photograph based on a 19th century painting\, Graham stars as Max Schmitt in Thomas Eakins' "The Champion Single Sculls (Max Schmitt in a Single Scull)." Graham's boating e nvironment is altogether less idyllic than Eakins' was\, as the entropy of time has ravaged most of the joy from the boating excursion\, leaving a sol itary Graham to interact with a rusty modernist bridge to an industrial par k in place of the rolling hills and boating compatriots of the original pai nting. Graham himself appears a bit weathered and nonplussed\, going throug h the motions for the sake of the picture. In "The Drywaller\," Graham stan ds lackadaisically on stilts\, taking a smoke break\, with a nod to Abstrac t Expressionism in the patterns of the primed wall before being coated. "Ol d Punk on Pay Phone" uses a similar trope\, as graffiti creates a kind of c olor field painting behind the subject. In each of these character-driven s cenarios\, there is a feeling of dissatisfaction converging in a quiet mome nt of self-reflection - the artist takes a break\, the professor stares lis tlessly at a gift\, the paddler has a breath before embarkation. Each chara cter is at a point past his prime\, left to revel in the remnants of his fo rmer aspirations. The overarching theme\, though\, is one of acceptance\, a s there is always hope to be bestowed on each protagonist: life goes on.

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Rodney Graham will present "Torqued Chandelier Release" as a solo exh ibition at the Art Institute of Chicago from March 8 - June 21\, 2013. He h as been selected to participate in the 2013 Carnegie International in Pitts burgh and has had recent solo exhibitions at the Museum of Contemporary Art \, Barcelona\; Kunstmuseum\, Basel\; Hamburger Kunsthalle\; Jeu de Paume\, Paris\; Sprengel Museum\, Hannover (where he was the recipient of the Kurt Schwitters Prize)\, and the BAWAG Foundation in Vienna\, Austria. Recent gr oup exhibitions include Under Influences\, La Maison Rouge\, Paris\; Traffi c: Conceptual Art in Canada 1965-1980\, Vancouver Art Gallery\; Imagine the Imaginary\, Palais de Tokyo\, Paris\, FR and 101 Collection: Route 3\, CCA Wattis Institute\, San Francisco. Graham lives and works in Vancouver.

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DTEND:20130615 DTSTAMP:20141225T213656 DTSTART:20130503 GEO:40.7485947;-74.0041953 LOCATION:303 Gallery\,507 West 24th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Solo Exhibition\, Rodney Graham UID:273119 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This exhibition features several recent paintings from Langs am’s long-running series of banded montages that set nearly monochromatic\, tightly rendered views of iconic modernist buildings on top of a band of g ridded abstract motifs inspired by classic modernist paintings and beneath ominously lit skies that invoke Romantic landscape painting.  The skies are \, in fact\, loose renderings (rather than transcriptions) of skies from Hu dson River landscape painting\, but they also uncannily recall the pre-Roma ntic Baroque skies of Giovanni Lanfranco (1582-1647)\, who himself anticipa ted Goya in his St. Augustine cycle.  This circuitous route of painterly ic onography underscores Langsam’s own “passion” for painting and Modernism\, where even Romanticism is revealed to be a construct with foundations appea ring close to two centuries earlier than what is held to be its historical moment.

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The three spaces in her paintings are thematically linked a nd illusionistically self-cancelling.  The “landscape” is pure design\, the “photographic” Corbusier or Neutra house refuses to be illuminated by eith er the pattern below or the ominous atmosphere above.  Langsam has describe d this conflicted space as a “ ‘nowhere’ – which can only exist in the fict ion/reality of painting.” For Langsam\, this “nowhere” is symptomatic of ou r desire for unrealizable sublimities proposed by Modernist ideals.  At the same time\, she regards herself as just a susceptible to these same desire s.  A lapsing Modernist\, Langsam trades a narrow purity for enriching iron y\, while refusing to relinquish an ambition for a formal beauty and moveme nt. Painting\, for Langsam is a visual site for negotiating with her faith and disappointment.  Like a good nouveau realisme film\, her paint ings are funny\, sad\, and grand.

DTEND:20130525 DTSTAMP:20141225T213656 DTSTART:20130411 GEO:40.749403;-74.004838 LOCATION:532 Gallery Thomas Jaeckel\,532 W. 25th Street \nNew York\, NY 100 01 SEQUENCE:0 SUMMARY:Now(here) \, Julie Langsam UID:270457 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20130505 DTSTAMP:20141225T213656 DTSTART:20130313 GEO:40.7268368;-73.9929619 LOCATION:AICON GALLERY - New York\,35 Great Jones Street \nNew York\, NY 10 012 SEQUENCE:0 SUMMARY:Past Parallels: The Art of Modern & Pre-Modern India\, F.N. Souza\, N. S. Bendre\, Bikash Bhattacharjee\, Ganesh Haloi\, M. F. Husain\, George Keyt\, S. H. Raza\, K.G. Subramanyan UID:264175 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Pre-Modern Masterpieces

DTEND:20130505 DTSTAMP:20141225T213656 DTSTART:20130313 GEO:40.7268368;-73.9929619 LOCATION:AICON GALLERY - New York\,35 Great Jones Street \nNew York\, NY 10 012 SEQUENCE:0 SUMMARY:Past Parallels: The Art of Modern & Pre-Modern India\, Pt. II UID:264178 END:VEVENT BEGIN:VEVENT DTEND:20130505T200000 DTSTAMP:20141225T213656 DTSTART:20130505T180000 GEO:40.7268368;-73.9929619 LOCATION:AICON GALLERY - New York\,35 Great Jones Street \nNew York\, NY 10 012 SEQUENCE:0 SUMMARY:Past Parallels: The Art of Modern & Pre-Modern India\, Pt. II UID:275365 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Joan Semmel (b. New York\, 1932) studied at the Cooper Union \, Pratt Institute and the Art Student’s League of New York. She began her painting career in Spain and South America in the 1960s. In the early 1970s \, she returned to New York\, where her practice turned towards figurative paintings\, many with erotic themes\, in response to pornography\, popular culture\, and concerns around representation. Her museum shows include: Shifting the Gaze at the Jewish Museum (2010)\; Rebelle at the M useum of Modern Art Arnhem\, The Netherlands (2009)\; Solitaire: Lee Loz ano\, Sylvia Plimack Mangold\, Joan Semmel at the Wexner Center for the Arts\, Columbus\, OH (2008)\; and the touring exhibition WACK! Art and the Feminist Movement\, MoCA\, Los Angeles (2007).

Semmel' s paintings are part of the permanent collections of the Museum of Fine Art s\, Houston\; the Blanton Museum\, Austin\, TX\; Orange County Museum of Ar t\, CA\; Chrysler Museum\, Norfolk\, VA\; National Museum of Women in the A rts\, Washington\, DC\; The Parrish Art Museum\, Southampton\, NY\; the Joc elyn Art Museum\, Omaha\, NE\; the Jewish Museum\, New York\; and the Brook lyn Museum.
 She is the recipient of numerous grants\, including Anonymous Was a Woman and the National Endowment for the Arts awards. She is Professo r Emeritus of Painting at Rutgers University.

About her work\, Semmel has noted\, “Much of the revolutionary nature of Feminist art has b een a seeking for new forms to invent a voice free of the dominant patriarc hal tradition of the past. I have tried to find a contemporary language in which I could retain my delight in the sensuality and pleasure of painting\ , and still confront the particulars of my own personal experience as a wom an. My intention has been to subvert the tradition of the passive female nu de. The issues of the body from desire to aging\, as well as those of ident ity and cultural imprinting have been at the core of my concerns. Sexuality for women has changed radically in the last century\, and the possibility for female autonomy is connected to these changes.”

DTEND:20130525 DTSTAMP:20141225T213657 DTSTART:20130417 GEO:40.74975;-74.003741 LOCATION:Alexander Gray Associates\,508 West 26 Street #215 \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Solo Exhibition\, Joan Semmel UID:267891 END:VEVENT BEGIN:VEVENT DTEND:20130417T200000 DTSTAMP:20141225T213657 DTSTART:20130417T180000 GEO:40.74975;-74.003741 LOCATION:Alexander Gray Associates\,508 West 26 Street #215 \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Solo Exhibition\, Joan Semmel UID:267892 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The gallery is pleased to present an exhibition of new paint ings and related drawings by Anne Harris.  Included are a series of six med ium-sized self-portrait oil paintings\, related pastel and Mylar drawings a nd two earlier works.  This is Harris’s third one-person show with the gall ery. 

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In her new self-portraits\, Harris shows us\, in a manner tha t is both brutal and liberating\, the physical and emotional consequences o f middle-age for women. The youthful curve between her waist and hips is go ne and her belly fat is starting to fold over her hips. Her breasts flatten and sag\, having completed their youthful functions. Her skin is transpare nt and has lost its elasticity\, veins are more pronounced. Her face is pal e in some works and\, in others\, it is flushed and blotchy. Some of these changes are suggested in the titles Harris gives these portraits including Pink Face and Invisible. The latter refers not only to th e fact that women become physically transparent as they age—thin skin and w hite hair—but they also become invisible because they no longer carry the s igns of youth\, youth being what is sought and seen today.

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Harris’s body in her self-portraits\, signals what might be understood as the begin ning of the process of a woman’s physical demise\, starting with the loss o f her ability to create new life. Harris’s paintings\, however\, are not ab out lamenting these losses. In fact\, as is emphasized by the title and con tent of two other self-portraits tentatively titled Pale Angel and Angel\, she seems quite ready to accept the fact that her body\, having performed its earthly purpose of conveying life is transforming\, re adying itself for a new phase.  Harris’s paintings\, however\, do not dwell on the fact of death but rather find in it a release\, a semblance of free dom\, perhaps even a different kind of birth. This can be seen in the fact that\, while physically grounded in their body’s solidity\, the heads and e longated necks of these figures—slightly smaller in proportion to the bodie s—appear to hover above their bodies\, contributing to a spectral quality i n these works. Her expressions in these works register confidence\, resolve \, and poise\, and in Invisible resized\, we glimpse a slight smil e. These figures seem to possess knowledge or a state of consciousness that exists beyond the realm of the ordinary.  Her figures appear to emerge fro m thin air and\, despite their physicality\, exist in a state and space of suspension.

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            Harris was born in 1963 and received an M.F .A. in from Yale.  She has exhibited her work in Chicago\, New England and New York.  In 2003 her work was the subject of a mid-career survey at Bowdo in College Museum of Art curated by Alison Ferris.  She currently teaches a t the School of the Art Institute of Chicago.

DTEND:20130511 DTSTAMP:20141225T213657 DTSTART:20130406 GEO:40.762227;-73.971964 LOCATION:Alexandre Gallery\,Fuller Building 41 East 57th Street\, 13th Floo r\nNew York\, NY 10022 SEQUENCE:0 SUMMARY:Phantasmatical: Self Portraits\, Anne Harris UID:234186 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Contact High invokes a certain ‘greater than the sum of its parts’ joy owing to the history of artist friends Sarah Braman and W allace Whitney. While idiosyncratically themselves\, they are aware of the ways they have influenced each other and their art since first showing toge ther in the late 90s. Their mutual appreciation\, easy dialogue and thought ful consideration of one another’s work open up a channel for a compelling structure of feeling to emerge. In Contact High Braman positi ons a small desk of cast aluminum plywood for an imaginary being to sit and contemplate Whitney’s painting. In this way the tone of the paintin g lends itself to the sculpture and in turn\, viewing the paintings through and around the sculpture offers the opportunity to experience color\, atmo sphere\, volume and perhaps one’s body in a new way.

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Braman incorpo rates a variety of materials in her sculptures—cardboard\, colored acrylic glass\, found furniture\, car parts and simple fabricated cubes—that chase to lock down moments she is reluctant to let go of. The soft cardboard abso rbs paint\, the glass conducts transparent color and the found objects prov ide psychically complicated information that contributes to the dynamism of the often tipped and tilted shapes. 

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Whitney makes paint ings rooted in the visual perception of an outdoorsy type space\, recollect ed or collaged from surrounding infrastructure. There is a deep investment in oil paint as a material with a loaded history: an investment converted i nto paintings remarkably full of air. Dynamic drawing and at times aggressi ve slashing create soaring overpass structures underpinning the lyrical med itations and strong emotions. 

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 Braman and Whitney present a metaph ysical skepticism held in check by classical considerations of light\, form and space. Like a long drive\, the work pushes forward towards something i n a landscape\, a quotidian sublime grounded by the clunk and funk of a thi ng prized beyond its obsolescence.   

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SB: Whit’s paintings a re very physical\, but bring me into a spiritual or emotional landscape as well.  I admire that and would love for things I make to operate on this le vel.

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 WW: Sarah and I have known each other for a long time and I really respect her approach to making a sculpture. I like thinking ab out seeing one of my paintings through and around one of her sculptures and having one of the paintings being a ‘backdrop’ for her sculpture. 

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Sarah Braman has had solo institutional shows MACRO in Rome\, Italy and Le Conforts Moderne\, France. She has also exhibited at Mitchell Innes and Na sh\, NY\, International Art Object\, LA\, 179/The Zabludowicz Collection (i n London\, New York and Finland) and MoMA/PS1\, NY. She received her MFA fr om Tyler School of Art in Philadelphia in 1998\, and her BFA from Maryland Institute College of Art in Baltimore in 1992. She is one of the founders o f Canada Gallery.

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 Wallace Whitney (b. 1969\, Boston\, MA) lives an d works in the Bronx\, NY. He received a MFA from Bard College\, NY and a B A from Hampshire College\, MA.  He has exhibited in Europe and the US. Exhi bitions include: Gallerie Bernard Ceysson\, France and Luxembourg\, Canada Gallery\, NY\, Horton Gallery\, NY\, and Gavin Brown’s Enterprise. He is on e of the founders of Canada Gallery.

DTEND:20130616 DTSTAMP:20141225T213657 DTSTART:20130501 GEO:40.725623;-73.991532 LOCATION:American Contemporary\,4 East 2nd Street \nNew York\, NY 10003 SEQUENCE:0 SUMMARY:Contact High\, Sarah Braman\, Wallace Whitney UID:273710 END:VEVENT BEGIN:VEVENT DTEND:20130501T200000 DTSTAMP:20141225T213657 DTSTART:20130501T180000 GEO:40.725623;-73.991532 LOCATION:American Contemporary\,4 East 2nd Street \nNew York\, NY 10003 SEQUENCE:0 SUMMARY:Contact High\, Sarah Braman\, Wallace Whitney UID:273711 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Organized by the Fenimore Art Museum\, Cooperstown\, New Yor k\, this exhibition includes more than 40 oil paintings spanning William Ma tthew Prior’s career from 1824 to 1856. Through his pragmatic marketing str ategy\, Prior was able to document the faces of middle-class Americans thro ughout his lifetime\, making art accessible to a previously overlooked grou p.

A versatile artist\, Prior is well known not only for the s kill and range of his technique but for the diversity of his sitters. Prior ’s involvement with Millerism (early Adventism) was instrumental in his per sonal development as well as providing access to new clients\, including ma ny African Americans.

DTEND:20130526 DTSTAMP:20141225T213657 DTSTART:20130124 GEO:40.7731765;-73.9814441 LOCATION:American Folk Art Museum\,2 Lincoln Square \nNew York\, NY 10023 SEQUENCE:0 SUMMARY:Artist and Visionary: William Matthew Prior Revealed\, William Matt hew Prior UID:248576 END:VEVENT BEGIN:VEVENT DTEND:20130124T173000 DTSTAMP:20141225T213657 DTSTART:20130124T103000 GEO:40.7731765;-73.9814441 LOCATION:American Folk Art Museum\,2 Lincoln Square \nNew York\, NY 10023 SEQUENCE:0 SUMMARY:Artist and Visionary: William Matthew Prior Revealed\, William Matt hew Prior UID:248577 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The late twentieth century has seen great strides for women working within visual mediums\, yet the male gaze persists as the primary p erspective from which women are considered — and thus perceived — in film a nd art. This exhibition presents drawings and photographs of women by four self-taught artists from the1940s through the late twentieth century\, two male\, two female. Eugene Von Bruenchenhein\, Paul D. Humphrey\, Nellie Mae Rowe\, and Inez Nathaniel Walker offer four very different approaches that raise questions of intent\, portrayal\, and self-identity: Are the portrai ts acts of creation or acts of documentation\, mimesis or wish fulfillment? Are self-taught artists immune from the pervasive male gaze of mainstream artmaking spheres\, or do they reflect a gender divide that still runs deep ly within American society?

DTEND:20130526 DTSTAMP:20141225T213657 DTSTART:20130124 GEO:40.7731765;-73.9814441 LOCATION:American Folk Art Museum\,2 Lincoln Square \nNew York\, NY 10023 SEQUENCE:0 SUMMARY:Women’s Studies\, Eugene Von Bruenchenhein\, Paul D. Humphrey\, Nel lie Mae Rowe\, Inez Nathaniel Walker UID:253833 END:VEVENT BEGIN:VEVENT DTEND:20130124T173000 DTSTAMP:20141225T213657 DTSTART:20130124T103000 GEO:40.7731765;-73.9814441 LOCATION:American Folk Art Museum\,2 Lincoln Square \nNew York\, NY 10023 SEQUENCE:0 SUMMARY:Women’s Studies\, Paul D. Humphrey\, Nellie Mae Rowe\, Eugene Von B ruenchenhein\, Inez Nathaniel Walker UID:253834 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Xul Solar and Jorge Luis Borges: The Art of Friendship < /em>is an exhibition that explores friendship as a cosmopolitan agency\, wh ich informed Argentine art and culture through the intellectual exchange be tween the mystic artist Xul Solar (1887-1963) and the writer Jorge Luis Bor ges (1899-1985.) The Art of Friendship focuses on the fraternal di alogue and collaborations between Solar and Borges\, the most singular cult ural figures in Buenos Aires in the twentieth century who contributed to th e philosophical and aesthetic renewal in Argentina in the 1920s by cultivat ing a form of “fluid nationalism.” The exhibition is curated by Gabriela Ra ngel\, Director of Visual Arts and Chief Curator at Americas Society with t he collaboration of poet Lila Zemborain and the assistance of Christina De León and Anya Pantuyeva. It will be on view from April 18 through July 20\, 2013 travelling in the fall to the Phoenix Art Museum. For Gabriela Rangel \, “Xul Solar and Jorge Luis Borges were central to the process of inventio n of a local universal identity\, which seems paradoxical\, but is rather e xtraordinary and unique.”

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The exhibition covers over forty years of friendship between Solar and Borges\, who met after their return from Euro pe in 1924\, in the literary and artistic circles of the journal-magazine < em>Martin Fierro and collaborated on different projects until Solar’s death in 1963. In the search of a new Argentine avant-garde identity\, Borg es and Solar\, along with other martinfierristas developed a Neo-C reole identity that fused the tactics of the European modernists with natio nalist ideas and the gaucho vernacular culture. Nonetheless\, each developed distinct voices within this group: Borges reinventing the slums and unpaved streets of Buenos Aires’ suburbs\, and Xul creating new languag es Neo-Creole and Pan-Language as well as fantastic landscapes filled with monstrous figures in which he blended mystic and occult references with Pan -American symbolism. As Sylvia Molloy has suggested\, Borges and Solar seek difference rather than assimilation acting as born-exiles in an environmen t of fervent avant-garde debates and nationalisms. Both constituted a visua l metaphor that built the core for this new conception of the local cosmopo litan self. During their countless walks around the city\, chess games\, an d while listening to music the two discussed the poetry and art of William Blake\, the mysticism of Emanuel Swedenborg\, theology of angels\, German I dealism\, and non-Western religions and languages. Borges and Solar forged a lifetime friendship while discovering and contributing to the identity of Buenos Aires in the process of the invention of their own.

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The Art of Friendship departs from a speculative lineage on friendship co nstrued by thinkers such as Aristotle\, Cicero\, Michel de Montaigne\, Frie drich Nietzsche\, Ralph Waldo Emerson\, Richard Rorty\, Hans-Georg Gadamer\ , and Jacques Derrida who have examined fraternal exchange as an instance o f civic agency. Friendship is also considered as a space of social and poli tical interaction\, which enables the tracing of genealogical maps that ide ntify vast networks of solidarity and communities.

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The show gathers an important number of paintings\, first editions\, and manuscripts—some o f which have never left Argentina—as a means to explore the intellectual na ture of the relationship between Solar and Borges and the definition of fri endship at large as a private agency with public effects.   Xul Solar a nd Jorge Luis Borges: The Art of Friendship is organized by Americas S ociety with the collaboration of Museo Xul Solar in Buenos Aires. It is acc ompanied by a fully illustrated catalogue with contributions by Patricia Ar tundo\, Sergio Baur\, Maria Kodama\, Gabriela Rangel and Sylvia Molloy\, in addition to a plaquette with original poems by Monica de La Torre\, Cecili a Vicuña\, and Lila Zemborain inspired by Solar’s astral voyages or San Signos.

DTEND:20130720 DTSTAMP:20141225T213657 DTSTART:20130418 GEO:40.6955248;-73.9871396 LOCATION:Americas Society Gallery\,680 Park Avenue (@ 68th St) \nNew York\, NY 10065 SEQUENCE:0 SUMMARY: The Art of Friendship\, Xul Solar\, Jorge Luis Borges UID:285124 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20130525 DTSTAMP:20141225T213657 DTSTART:20130425 GEO:40.747609;-74.0057766 LOCATION:Ameringer | McEnery | Yohe\,525 West 22nd Street \nNew York\, New York 10011 SEQUENCE:0 SUMMARY:Patrick Lee\, Patrick Lee UID:271943 END:VEVENT BEGIN:VEVENT DTEND:20130425T200000 DTSTAMP:20141225T213657 DTSTART:20130425T180000 GEO:40.747609;-74.0057766 LOCATION:Ameringer | McEnery | Yohe\,525 West 22nd Street \nNew York\, New York 10011 SEQUENCE:0 SUMMARY:Patrick Lee\, Patrick Lee UID:271944 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20130525 DTSTAMP:20141225T213657 DTSTART:20130425 GEO:40.747609;-74.0057766 LOCATION:Ameringer | McEnery | Yohe\,525 West 22nd Street \nNew York\, New York 10011 SEQUENCE:0 SUMMARY:David Allan Peters\, David Allan Peters UID:271945 END:VEVENT BEGIN:VEVENT DTEND:20130425T200000 DTSTAMP:20141225T213657 DTSTART:20130425T180000 GEO:40.747609;-74.0057766 LOCATION:Ameringer | McEnery | Yohe\,525 West 22nd Street \nNew York\, New York 10011 SEQUENCE:0 SUMMARY:David Allan Peters\, David Allan Peters UID:271946 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Andrew Kreps Gallery is pleased to present Umschläge\, Peter Piller’s second solo exhibition at the gallery. 

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Translat ed as “covers”\, the title of the show refers to one of two bodies of work in this exhibition comprised of the pairing of the front and back images of the East German military magazine Armeerundschau which always fea tured armored vehicles on the front and pin-up girls on the back.  Piller h as been working with found images for over 20 years and has created and wor ked with the archive as medium –and the re-interpretation and the re-presen tation of images already published in other contexts. By gathering and re-p resenting seemingly innocuous images – images that we are presented with ev eryday in newspapers\, magazines\, advertisements and the internet – into g roups\, Piller brings forth some of the sinister\, comedic\, and sometimes tragic aspects of these images wholly projected by the viewer themselves.\n

A second group of works\, Noch Sturm (Still Storming)\, jux taposes images of World War I battlefields from found German postcards and images of seascapes from a 1920’s geography textbook. The landscape photogr aphs – documents of humanity‘s excesses of destruction – and the images of the forces of nature create a visual parallel of chaos and violence. In rel ation to the art historical genre of battle paintings\, both on land and at sea\, Piller depicts the locations of violent conflicts as empty stages le ft behind by the actors.

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Peter Piller has been working on his A rchiv Peter Piller since 1998: an ongoing archive of . In his artistic work to date\, in addition to the images from regional newspapers\, he has also utilized the photographs of a commercial aerial photography archive\, images from the internet as well as an insurance group‘s photographic docu mentation of damage claims. He then subsequently transfers this diverse mat erial into his own ordering systems such as schießende Mädchen (Girls S hooting)\, Suchende Polizisten (Police Searching)\, Tanz vor Logo (Dancing in Front of Logos). With precise observation and a subtle sen se of humor\, Piller reflects upon media images‘ potential and the possibil ities and limits of photographic and conceptual art.

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Piller has pub lished his ten-volume set of artist‘s books of the Archive Peter Piller as well as other artist‘s books and catalogues at Revolver Publishing by VVV. Solo exhibitions include those at the Museum für Gegenwartskunst Siegen (20 03)\, the Witte de With Center for Contemporary Art Rotterdam (2005/06)\, t he Kunsthaus Glarus (2007)\, the Salzburger Kunstverein (2007)\, the Kunstm useum Bonn (2009) and the Kunstverein Braunschweig (2011)\, among others.\n

DTEND:20130518 DTSTAMP:20141225T213657 DTSTART:20130328 GEO:40.7477457;-74.0063477 LOCATION:Andrew Kreps Gallery @ 537 W. 22nd\,537 W. 22nd St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY: Umschläge \, Peter Piller UID:266712 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Anna Kustera Gallery is pleased to present an exhibition of new ceramics by Andrew Cornell Robinson and paintings by Doron Langberg and Kyle Coniglio.

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Andrew Cornell Robinson uses his u nique\, theatrical approach to ceramics to beguile the audience then thwart expectations.  Trophies for the non-heroic and glazed clay effigies of flo werless houseplants are quirky and charming\, but also possess a kind of ma gic. They're like freshly three-dimensional props from scenes taking place within the artist's own id.

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Andrew Cornell Robinson's work includes ceramics\, mixed media sculpture and work on paper that often bridges ecce ntric\, socio-political content with craft and assemblage materials. Robins on received his BFA in 1991 from the Maryland Institute College of Art and his MFA from the School of Visual Arts in New York City in 1994. He lives a nd works in Brooklyn\, NY\, and teaches art and design at Parsons The New S chool for Design.

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Doron Langberg's color-saturated oil on linen works create worlds that hover somewhere between sexual ecsta sy and profound despair.  The varied surfaces of the paintings add charge t o the oblique narratives. Viewers might find themselves seduced by the situ ations despite the overwhelming angst depicted. Doron Langberg received his MFA from Yale University in New Haven\, CT\, in 2012 and his BFA from the University of Pennsylvania in Philadelphia\, PA\, in 2010.  Originally from Israel\, Doron lives and works in Queens\, NY.

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With his precocious ly well-honed sense of camp and painterly chops\, Kyle Coniglio takes his self-portraits to tragic and always self-deprecating places .  In 'Young Bacchus'\, young men at a nightclub take time from their party to gather around the central artist figure who is exposing his stomach as a disco ball\, one that emits its own light from within. 
Kyle Conig lio received his MFA from Yale University in New Haven\, CT\, in 2012 and h is BFA from the Montclair State University in New Jersey in 2010.  He lives and works in New Jersey and teaches painting at the Montclair State Univer sity. 

DTEND:20130504 DTSTAMP:20141225T213657 DTSTART:20130328 GEO:40.7463774;-74.0070609 LOCATION:Anna Kustera\,520 W. 21st St. \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:new ceramics and paintings \, Doron Langberg\, Kyle Coniglio\, Andr ew Cornell Robinson UID:268531 END:VEVENT BEGIN:VEVENT DTEND:20130328T200000 DTSTAMP:20141225T213657 DTSTART:20130328T180000 GEO:40.7463774;-74.0070609 LOCATION:Anna Kustera\,520 W. 21st St. \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:new ceramics and paintings \, Kyle Coniglio\, Doron Langberg\, Andr ew Cornell Robinson UID:268532 END:VEVENT BEGIN:VEVENT DESCRIPTION:

For his third solo show at Anton Kern Gallery\, UK-based art ist Richard Hughes has turned the gallery into a stage for a magic dance pe rformed by a street gang of enchanted lamp posts\, ice-cream-wafer-like gar den walls and broken memorial statues found in the most dilapidated and
dark corners of (British) suburbia. With his first artist monograph fresh ly published by JRP Ringier and two recent solo exhibitions at Tramway Art Space in Glasgow and Firstsite in Colchester\, England\, Hughes’ work is at the center of public attention.
Richard Hughes is known for his excep tional skill to turn ordinary\, sometimes slightly repulsive objects that m ight be found in a hovel of a rooming house or unceremoniously dumped by th e side of the road — bleak monuments to abused domestic or public spaces — into narrative sculptures. Their placement in a gallery space instantly inv ites questions as to its recent history\, use\, and function\, or imminent action.
Upon closer inspection\, all objects reveal themselves as cast s\, meticulously crafted replicas of every-day things injected with an elem ent of fantasy. The beauty within this ostensibly abandoned world lies in t he moment of surprise when materials reveal themselves as “fakes.” This is the moment when hidden images and cultural memories become visible and inte lligible\, when the vernacular becomes a universal language. Hughes’ sculpt ures are not ready-mades. As facsimiles of common objects it’s not the obje ct that is transformed but its reappropriated meaning and ability to reconf igure the object for the viewer.
Gradually\, these objects-turned-scul ptures reveal their inherent capacity to tell stories\, to evoke narratives that are charged with everyday-life experience and humor.
Richard Hug hes has had solo exhibitions at Tramway\, Glasgow (2012)\; Sculpture Court\ , Tate Britain (2006)\; The Showroom\, London (2004)\; and is currently pre sented at Firstsite\, Colchester\, UK\, in an exhibition entitled Time is o ver\, time has come. His work has been exhibited internationally\, includin g presentations at the François Pinault Collection\, Punta della Dogana\, V enice (2009)\; the Schirn Kunsthalle\, Frankfurt (2008)\; and the Museum Ab teiberg\, Mönchengladbach\, Germany (2006). Hughes was selected for the 55t h Carnegie International\, Carnegie Museum\, Pittsburgh (2008)\; the fourth Liverpool Biennial (2006)\, and the British Art Show 6 (2005). He was nomi nated for the Beck’s Futures award in 2006 and was the recipient of the EAS T International award in 2003.

DTEND:20130518 DTSTAMP:20141225T213657 DTSTART:20130412 GEO:40.7463808;-74.007077 LOCATION:Anton Kern Gallery\,532 West 20th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Solo Exhibition\, Richard Hughes UID:270018 END:VEVENT BEGIN:VEVENT DTEND:20130412T200000 DTSTAMP:20141225T213657 DTSTART:20130412T180000 GEO:40.7463808;-74.007077 LOCATION:Anton Kern Gallery\,532 West 20th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Solo Exhibition\, Richard Hughes UID:270019 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Exhibition Space considers the aesthetic and concep tual implications of photography and its pivotal role in two early mileston es of the US exploration of space. Begun in 1948 using the most powerful te lescope in the world\, the Palomar Observatory Sky Survey was the first sys tematic attempt of photograph and catalogue the visible universe. The resul ting 1\,870 plates took ten years to complete\, and are some of the most te chnically advanced prints ever made. Project Echo was the first manmade obj ect photographed in space. Hastily conceived as NASA's first response to Sp utnik\, Echo I was an inflatable Mylar sphere 100 feet in diameter\, a comm unications satellite whose primary mission was to be visible to the naked e ye. Photos of Echo began appearing in the US press almost immediately after its launch in 1960. Meanwhile\, models of Echo\, called "the most beautifu l object ever put in space\," were exhibited at the US Capitol\, and at Wor ld's Fairs throughout the 1960s.



Greg Alle n is a writer and filmmaker based in Washington DC. He has publish ed his art writings in Cabinet magazine and The New York Times \, and on his blog\, greg.org: the maki ng of\, since 2001. Allen published Canal Zone Richard Prince Yes Rasta : Collected Court Documents from Cariou v. Prince\, in 2011\, and exhi bited paintings at both Postmasters Gallery and Printed Matter in 2012.

DTEND:20130508 DTSTAMP:20141225T213657 DTSTART:20130320 GEO:40.719022;-74.004432 LOCATION:Apexart\,291 Church Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Exhibition Space UID:261200 END:VEVENT BEGIN:VEVENT DTEND:20130320T200000 DTSTAMP:20141225T213657 DTSTART:20130320T180000 GEO:40.719022;-74.004432 LOCATION:Apexart\,291 Church Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Exhibition Space UID:261201 END:VEVENT END:VCALENDAR