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

New painting and mixed media work.

DTEND:20130518 DTSTAMP:20140423T102732 DTSTART:20130424 GEO:40.7499366;-74.005949 LOCATION:Phoenix Gallery\,210 11th Ave. Suite 902\nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Christa Toole: Symbiosis\, Christa Toole UID:259901 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Diversification of a species or single anc estral type into several forms that are each adaptively specialized to a sp ecific environmental niche. [i]

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DODGEgallery is pleased to present Adaptive Radiation\ , Cordy Ryman’s first solo exhibition with the gallery. Ryman will include a major installation scaling the floor and wall of the inner gallery. Other interjections will punctuate the space among wall-hung constructions. 

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Stacked blocks\, radiating hues\, leaning 2x4’s\, stapled Velcro\, ass embled paint sticks and stuck debris populate the crevasses and forms of ea ch of Ryman’s works\, as well as the rooms they inhabit. Ryman prefers a lo gical geometry of repeated forms\, while being equally committed to found a rrangements that interrupt themselves. The freedom of imperfection and play determine much of his process. Whether one attributes a piece to the categ ory of installation\, sculpture or painting seems loosely relevant here\; t he frame of the room\, the squared form of a painting\, and the modernist i ndependence of an object are more directive than constraining. Ryman’s work s resemble compulsive counting—with hiccups. Unexpected and irregular intru sions of pattern persist.

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The repeated blocks that comprise each co mposition are Ryman’s signature material: 2x4’s. Most works begin with this recognizable building block\, which Ryman further cuts\, segments\, paints \, abuts and stacks\, never obscuring the original form of the familiar\, u nremarkable lumber. Mill cut edges are always present and intermixed with t he artist’s own saw cuts. Rough surfaces\, complete with dings and splinter s provide matter-of-fact evidence that mirrors the spontaneous and willful nature of Ryman’s process. Nothing is perfect. 

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Working with a rang e of paint types including fluorescent\, acrylic\, pearlescent\, spray\, en amel and other industrial paints\, Ryman gives equal priority to color and materiality. He often asks color to physically perform. Muted tones are con trasted by bright edges that bounce hue onto surrounding architecture. Refl ected color defines each work’s boundaries\, while inhabiting less tangible \, exterior spaces. Ryman’s titles often humorously suggest the potential f or action\, as if each piece required exertion to exist—or could liberate i tself from a stationary existence. Perhaps Ryman’s ultimate gesture is maki ng work from his own recycled pieces\, as if his art is itself spawning and adapting.

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Cordy Ryman was born in 1971 in New York\, NY. He received his BFA\, with honors\, from the School of Visual Fine Arts/Art E ducation in 1997. His work has been exhibited widely at public institutions including PS1 Contemporary Art Center\, Long Island\, NY\; Visual Arts Cen ter\, New Jersey\, NJ\; Museum of Contemporary Art\, Miami\, FL\; Universit y of Connecticut\, Storrs\, CT\; Bronx River Art Center\, Bronx\, NY\; Esbj erg Museum of Modern Art\, Esbjerg\, Denmark. Gallery exhibitions include D CKT Contemporary\, New York\, NY\; Nicole Klagsbrun Gallery\, New York\, NY \; Lora Reynolds Gallery\, Austin\, TX\; Kavi Gupta\, Chicago\, IL\; Stalke Galleri\, Kirke Saaby\, Denmark\; Thomas Rehbein Galerie\, Koln\, Germany\ ; and Loyal\, Stockholm\, Sweden. Ryman was the 2006 recipient of the Helen Foster Barnett Prize from the National Academy Museum. His work has been r eviewed in the The New York Times\, The Brooklyn Rail\, Frieze\, BOMB Ma gazine\, Artforum\, Art in America\, and Time Out NY. In the spr ing of 2013\, Ryman will install a large public commission at Michigan Stat e University. His work is in the collection of the Microsoft Art Collection \, Raussmuller Collection\, Rubell Family Collection\, The Speyer Family Co llection\, and the Museum of Contemporary Art\, Miami. Ryman lives and work s in New York\, NY.

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[i]   The Free Dictionary\, http://www.thefreedictionary.com/adaptive+radiation

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DTEND:20130512 DTSTAMP:20140423T102732 DTSTART:20130406 GEO:40.7212706;-73.9924758 LOCATION:DODGE Gallery\,15 Rivington Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Adaptive Radiation\, Cordy Ryman UID:260878 END:VEVENT BEGIN:VEVENT DTEND:20130406T200000 DTSTAMP:20140423T102732 DTSTART:20130406T180000 GEO:40.7212706;-73.9924758 LOCATION:DODGE Gallery\,15 Rivington Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Adaptive Radiation\, Cordy Ryman UID:260879 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Painting and Mixed Media
SYMBIOSIS is close and often l ong-term interaction between two or more different species.

Chri sta Toole's work explores the subjects of biology\, science\, energy and tr ansformation. Using paint\, thread\, wax and other materials\, her work tra nsforms these materials into a fluid image. This body of work highlights th e nature of shared existence\, its complexities and harmonies. "SYMBIOSIS" explores the relationship between objects or forms and what they share betw een them. Her work utilizes forms that speak to each other with shapes that connect across canvases. The images are reflective of biological forms tha t at once refer to the microscopic and can also represent the macro levels of space. The work simultaneously highlights those similarities and undersc ores the persistent yet intricate laws of the universe and nature. Energy i s a constant in all levels and is shared across entities. Energy moves from one realm into another or one body or form to another\; its properties may change but the force remains constant.

Christa Toole was chosen as a winner of the National Juried Competition curated by Tricia Yunjoo Pa ik\, Curatorial Assistant\, Museum of Modern Art at Phoenix Gallery in 2006 . She has exhibited her work at many galleries in New York City and around the world including Phoenix Gallery\, Cue Gallery\, Artists Space\, Nurture Art\, Zone Chelsea\, Galerie Scherer8 (Berlin\, Germany)\, Palazzo Gotico ( Piacenza\, Italy)\, Phoenix Center for Contemporary Art and has participate d in art fairs such as Fountain Art Fair during Armory week in NYC and Foun tain Art Fair in Miami during Art Basel.

See more at Artistsnyc.com< /p> DTEND:20130518 DTSTAMP:20140423T102732 DTSTART:20130424 GEO:40.7499366;-74.005949 LOCATION:Phoenix Gallery\,210 11th Ave. Suite 902\nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Symbiosis\, Christa Toole UID:269324 END:VEVENT BEGIN:VEVENT DTEND:20130425T200000 DTSTAMP:20140423T102732 DTSTART:20130425T180000 GEO:40.7499366;-74.005949 LOCATION:Phoenix Gallery\,210 11th Ave. Suite 902\nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Symbiosis\, Christa Toole UID:269325 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:20140423T102733 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:20140423T102733 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 END:VCALENDAR