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

The Edward Hopper House is pleased to present Hopper&rsq uo\;s Hudson at the Edward Hopper House from September 16 through Nove mber 13\, 2016. \; The Hudson River played an important role in Edward Hopper&rsquo\;s emotional and artistic development.  \;Growing up in Ny ack\, NY\, he had a view of the river from his bedroom window and he spent many hours at the village docks and shipyards\, sketching and watching the building and rigging of boats.  \;As a result of his love of the river\ , boats and waterscapes were common subjects in his art throughout his care er.  \;This exhibition documents the work of artists who likewise lived and worked along the river during Edward Hopper&rsquo\;s lifetime (1882-19 67) and reveals the change in artistic sensibilities and the evolving river -scape during those years.

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The exhibition is curated by Mark Waller and includes work by \;Reynolds Beal (1866-1951)\, Joseph Biel (1891-1 943)\, \;Clarence Kerr Chatterton (1890-1973)\, \;Julian \;O. D avidson \;(1853-1894)\, A.B. Davies (1862-1928)\, \;Dorothy Deyrup (1908-1961)\, \;William Fisher  \;(1891-1985)\, George \;Grosz (1893-1959)\, \;Lena Gurr  \;(1897-1992)\, \;Bertram Hartman (1 882-1960)\, \;Robert Henri \;(1865-1929)\, \;John Henry Hill &n bsp\;(1832 -1922)\, \;Henry Charles Lee (1864-1930)\, \;Richard Hay ley Lever (1875-1958)\, \;Alzira Peirce  \; \;(1908-2010)\,&nbs p\;Ruth Reeves (1892-1966)\, \;Frank Knox Martin Rehn (1848 -1914)\,&nb sp\;Hal (Harry) Robinson (1867-1933)\, \;Fred Pansing (1844-1912)\,&nbs p\;Jacob Getlar Smith  \; \;(1898-1958)\, and \;Bayard Henry Ty ler (1885-1931).  \;

DTEND:20161113 DTSTAMP:20160828T193358 DTSTART:20160916 GEO:41.093285;-73.918106 LOCATION:Edward Hopper House Art Center\,82 North Broadway \nNyack\, NY 109 60 SEQUENCE:0 SUMMARY:Hopper's Hudson\, Reynolds Beal\, Joseph Biel\, Clarence Kerr Chatt eron\, Julian O. Davidson\, A.B. Davies\, Dorothy Deyrup\, William Disher\, George Grosz\, Lena Gurr\, Henry Charles Lee\, Richard Hayley Lever\, Alzi ra Peirce\, Ruth Reeves\, Frank Knox\, Martin Rehn\, Hal Robinson\, Fred P ansing\, Jacob Getlar Smith\, Bayard Henry Tyler UID:426660 END:VEVENT BEGIN:VEVENT DTEND:20160916T170000 DTSTAMP:20160828T193358 DTSTART:20160916T120000 GEO:41.093285;-73.918106 LOCATION:Edward Hopper House Art Center\,82 North Broadway \nNyack\, NY 109 60 SEQUENCE:0 SUMMARY:Hopper's Hudson\, Reynolds Beal\, Joseph Biel\, Clarence Kerr Chatt eron\, Julian O. Davidson\, A.B. Davies\, Dorothy Deyrup\, William Disher\, George Grosz\, Lena Gurr\, Frank Knox\, Henry Charles Lee\, Richard Hayle y Lever\, Fred Pansing\, Alzira Peirce\, Ruth Reeves\, Martin Rehn\, Hal Ro binson\, Jacob Getlar Smith\, Bayard Henry Tyler UID:426661 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Edward Hopper House presents Sculpture in the Garden 2016 featuring the work of James Tyler and Santi Hitorangi. \; James Tyler is exhibiting his Brickhead Assemblage sculptures. \; The Brickhead installations are unique colossal heads that invite us to identify with the world&rsquo\;s ceramic heritages . They bring today&rsquo\;s faces together with pre-Columbian\, South Ameri can\, Native American\, Asian\, African\, and Western influences. \; Fo r ancient peoples\, colossal stone and clay heads\, often symbolized their connections with the spirits they worshipped\, and these\, in turn\, often represented the elements\, such as rain and sun\, or other larger-than-life phenomena\, such as death and love. \; For the Brickhead Assemblag es\, elements of Tyler&rsquo\;s larger Colossus and Brick head series are combined with the found object assembly techniques mor e often associated with the works of folk or &lsquo\;outsider&rsquo\; artis ts.

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Santi Hitorangi is showing som e of his carved stone sculptures. \; As a member of the Hitorangi Atan clan from his native Rapa Nui (Easter Island)\, he learned the traditional art of sculpting. \; \; His clan was known to be the carvers of tho usands of Moai (colossal rock statues) that were made from volcanic rock\, which can still be found on the island. \; \; In 1998\, Hitorangi a ppeared in the NOVA series\, &ldquo\;The Lost Empires\,&rdquo\; for which h e sculpted a full-scale replica of a Moai.  \; \;In Rapa Nui&rsquo\ ;s struggle to gain self-determination\, he represents their community in v arious international forums\, including the United Nations and Rio+20.

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DTEND:20161023 DTSTAMP:20160828T193358 DTSTART:20160603 GEO:41.093285;-73.918106 LOCATION:Edward Hopper House Art Center\,82 North Broadway \nNyack\, NY 109 60 SEQUENCE:0 SUMMARY:Sculpture in the Garden 2016: James Tyler & Santi Hitorangi\, James Tyler\, Santi Hitorangi UID:426657 END:VEVENT BEGIN:VEVENT DTEND:20160603T170000 DTSTAMP:20160828T193358 DTSTART:20160603T120000 GEO:41.093285;-73.918106 LOCATION:Edward Hopper House Art Center\,82 North Broadway \nNyack\, NY 109 60 SEQUENCE:0 SUMMARY:Sculpture in the Garden 2016: James Tyler & Santi Hitorangi\, Santi Hitorangi\, James Tyler UID:426658 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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The Edward Hopper House Art Center presents an exhibition of photographs by David LaChapelle from July 9 through Septem ber 11 at 82 North Broadway\, Nyack\, NY. \; The exhibition will compri se six large-scale photographs from LaChapelle&rsquo\;s Gas Station series.

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Inspired in part by Edward Hopper's paint ing Gas (1940)\, LaChapelle created scale models using common\, fo und objects\, which he then photographed on location \;in the rainfores t of Maui. \; The natural landscape of the rainforest envelops the fabr icated structures of the gas stations\, acting at once as a generative forc e and a destructive one. \; The work is a commentary on the reliance on fossil fuels and\, as he says\, "the absurdity of our attempts to harness nature."  \;

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Born in Hartford\, CT\, in 1963\, LaChapell e&rsquo\;s photography career took hold in the early 1980s\, when Andy Warh ol gave him his first job at Interview Magazine. LaChapelle gained notoriet y for his celebrity photographs\, music videos\, and films before returning to his roots in fine art photography.  \; His recent work\, which comb ines hyper-realistic imagery with social messages\, evokes popular culture and the work of masters from art history\, from Hopper to Ed Ruscha. \;  \; LaChapelle&rsquo\;s work can be found in museums and prestigious co llections throughout the world\, and he has exhibited extensively at such r enowned institutions as \;Musé\;e D&rsquo\;Orsay\, Paris\; the Br ooklyn Museum\, New York\; the Museum of Contemporary Art\, Taipei\; the Te l Aviv Museum of Art\; the Los Angeles County Museum of Art (LACMA)\; \ ;The National Portrait Gallery\, London\; and the Fotographfiska Museet\, S tockholm\, Sweden. \; LaChapelle lives and works in Maui\, Hawaii.

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DTEND:20160911 DTSTAMP:20160828T193358 DTSTART:20160709 GEO:41.093285;-73.918106 LOCATION:Edward Hopper House Art Center\,82 North Broadway \nNyack\, NY 109 60 SEQUENCE:0 SUMMARY:David LaChapelle: Gas Stations\, David LaChapelle UID:426652 END:VEVENT BEGIN:VEVENT DTEND:20160709T170000 DTSTAMP:20160828T193358 DTSTART:20160709T120000 GEO:41.093285;-73.918106 LOCATION:Edward Hopper House Art Center\,82 North Broadway \nNyack\, NY 109 60 SEQUENCE:0 SUMMARY:David LaChapelle: Gas Stations\, David LaChapelle UID:426653 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Leila Heller Gallery is pleased to announce Plastic Reso nance\, the first U.S. solo exhibition of Italian artist Francesca Pas quali\, on view from September 8 &ndash\; October 22\, 2016. \; Through the saturated hues of site specific installation\, wall reliefs\, and undu lating\, folded sculpture\, Pasquali&rsquo\;s work redesigns the contours o f organic forms through ready-made inorganic material\, rendering elegant\, playful designs.

DTEND:20161022 DTSTAMP:20160828T193358 DTSTART:20160908 GEO:40.7500883;-74.0059166 LOCATION:Leila Heller Gallery - Chelsea\,568 West 25th Street \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Plastic Resonance\, Francesca Pasquali UID:426472 END:VEVENT BEGIN:VEVENT DTEND:20160908T200000 DTSTAMP:20160828T193358 DTSTART:20160908T180000 GEO:40.7500883;-74.0059166 LOCATION:Leila Heller Gallery - Chelsea\,568 West 25th Street \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Plastic Resonance\, Francesca Pasquali UID:426473 END:VEVENT BEGIN:VEVENT DESCRIPTION:

&ldquo\;Pipilotti Rist: Pixel Forest\,&rdquo\; will mark the first New York survey of the work of Swiss a rtist Pipilotti Rist.

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Over the past thirty years\, Rist (b. 1962) has achiev ed international renown as a pioneer of video art and multimedia installati ons. Her mesmerizing works envelop viewers in sensual\, vibrantly colored k aleidoscopic projections that fuse the natural world with the technological sublime. Referring to her art as a &ldquo\;glorification of the wonder of evolution\,&rdquo\; Rist maintains a deep sense of curiosity that pervades her explorations of physical and psychological experiences. Her works bring viewers into unexpected\, all-consuming encounters with the textures\, for ms\, and functions of the living universe around us.

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Occupying the three main floors of the Museum\, &ldquo\;Pip ilotti Rist: Pixel Forest&rdquo\; will be the most comprehensive presentati on of Rist&rsquo\;s work in New York to date. It will include work spanning the artist&rsquo\;s entire career\, from her early single-channel videos f rom the 1980s that explore the representation of the female body in popular culture to her recent expansive video installations that transform archite ctural spaces into massive dreamlike environments enhanced by hypnotic musi cal scores. Featuring a new installation created specifically for this pres entation\, this exhibition will also reveal connections between the develop ment of Rist&rsquo\;s art and the evolution of contemporary technologies. M oving from the television monitor to the cinema screen\, and from the intim acy of the smartphone to the communal consumption of images and soundscapes \, this survey will chart the ways in which Rist&rsquo\;s work has fused th e biological with the electronic in the ecstasy of communication.

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Pipilotti Rist was born in Grabs in the Rhine Valley\, Switzerland\, and currently lives and works in Zurich. She studied graphic design\, illustration\, and photography at the University of Appli ed Arts in Vienna and audiovisual communications and video at the Basel Sch ool of Design. Solo exhibitions of her work have been presented internation ally at venues including Kunsthaus Zü\;rich (2016)\; Kunsthalle Krems\, Austria (2015)\; Times Museum\, Guangzhou\, China (2013)\; Leeum\, Samsung Museum of Art\, Seoul\, South Korea (2012)\; Fondazione Nicola Trussardi\, Milan (2011)\; the Hayward Gallery\, London (2011)\; the Wexner Center for the Arts\, Columbus\, OH (2011)\; Museum Boijmans Van Beuningen\, Rotterda m\, the Netherlands (2009)\; the Museum of Modern Art\, New York (2008)\; C entre Georges Pompidou\, Paris (2007)\; and the Contemporary Arts Museum Ho uston\, TX (2006)\; among many others. Rist was awarded the Harper&rsquo\;s Bazaar Art China Prize (2013)\, the Zurich Festival Prize (2013)\, and the Joan Miró\; Prize (2009).

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&ldq uo\;Pipilotti Rist: Pixel Forest&rdquo\; is curated by Massimiliano Gioni\,  \;Edlis Neeson Artistic Director\, Margot Norton\, Associate Curator\, and Helga Christoffersen\, Assistant Curator. The exhibition will be accompanied by a fully illustrated catalogue copublished by the New Mus eum and Phaidon Press Limited. \;

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DTEND:20170115 DTSTAMP:20160828T193358 DTSTART:20161026 GEO:40.722337;-73.992844 LOCATION:New Museum\,235 Bowery \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Pixel Forest\, Pipilotti Rist UID:426381 END:VEVENT BEGIN:VEVENT DTEND:20161026T180000 DTSTAMP:20160828T193358 DTSTART:20161026T110000 GEO:40.722337;-73.992844 LOCATION:New Museum\,235 Bowery \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Pixel Forest\, Pipilotti Rist UID:426382 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20161128 DTSTAMP:20160828T193358 DTSTART:20160818 GEO:40.7535815;-73.933159 LOCATION:Fisher Landau Center for Art\,38-27 30th Street \nLong Island City \, NY 11101 SEQUENCE:0 SUMMARY:The Women’s List: 50 Portraits & Film Projection\, Timothy Greenfie ld-Sanders UID:426365 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Fisher Landau Center for Art i s excited to present &ldquo\;INTUITIVE PROGRESSION&rdquo\;\, an exhibition curated from \;the collection featuring 75 artworks by 20 artists. Occu pying the entire 2nd floor gallery of the Center\, the \;installation s eeks to convey an atmosphere that depicts the creative process as a unique journey fostering \;artistic development. Displayed in a fashion compli menting shared themes and innovative techniques \;providing an intimate glimpse into the imagination of these ambitious individuals.

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Highlighting her use of the geometric grid as a me ans to illustrate the transcendental nature of art\, Agnes Martin&rsquo\;s& nbsp\;seminal painting &ldquo\;Grey Stone II&rdquo\; (1961) is displayed ne xt to four ink on paper drawings executed between 1960 &\; \;1965. T heir cumulative effect is a testament to her rigorous portrayal of the non- objective within the confines of \;a pictorial framework. In 1985&rsquo \;s &ldquo\;Thin Stripe&rdquo\; series\, Sherrie Levine began a dramatic sh ift away from direct \;appropriation\, to a series of paintings using m aterials that evoke their sensual qualities. Made with a mixture \;of p igment and wax applied directly on mahogany supports\, they evolved into me taphorical board games over \;a three year period\, using lead sheet ba ckgrounds as integral components of the composition. Terry Winters&rsquo\;& nbsp\;unique body of work alluding to organic cell structures is rendered t hrough a series of lithographs and an oil \;on linen\, Untitled (1983). Displayed in conjunction with the large oil on linen &ldquo\;Tessellation Figures&rdquo\; (2011)\, \;his expanded use of color comes to the foref ront as an ongoing commentary into the natural order of things. \;

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Ed Ruscha&rsquo\;s depiction of a grid ta kes on an unexpected visual composition in &rdquo\;Christ Candle&rdquo\; (1 987)\, using a \;night time aerial view of the streetlights of Los Ange les as a formal device. Ruscha&rsquo\;s suite of lithographs &ldquo\;Cameo& nbsp\;Cuts&rdquo\; (1992)\, continues his fascination with the cinematic qu alities and mythic icons associated with Hollywood. \;

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Carl Andre&rsquo\;s typed carbon poems from 1964 use words and letters in a geometric arrangement that presage his \;entry i nto minimalist sculpture\, as evidenced by the iconic floor piece &ldquo\;2 8 Lead Rectangles&rdquo\; (1968). Richard \;Artschwager&rsquo\;s unorth odox use of common construction materials traces a fine line from the forma l qualities of his \;sculptural &ldquo\;Book&rdquo\; (1987)\, to the ba roque aspects of &ldquo\;Diderot&rsquo\;s Last Resort&rdquo\; (1992)\, evin cing a trompe l&rsquo\;oeil effect \;using a variety of textured Formic a panels.

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One of the most unique aspe cts of the exhibition revolves around Jasper Johns&rsquo\; screenprints\, & ldquo\;Painting with Two \;Balls&rdquo\; (Color &\; Grays\, both fro m 1971). Pushing the medium into a gestural boundary\, both of the editione d prints \;are flanked by their progressive states\, allowing the viewe r to see the unique process in a step by step format\, \;illustrating t heir conception through the display of 11 separate screenprints.

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&ldquo\;INTUITIVE PROGRESSION&rdquo\; fea tures additional artwork by: Ricci Albenda\, Joseph Amar\, Donald Baechler\ , \;James Brown\, Gloria Graham\, Bryan Hunt\, Karla Knight\, John McLa ughlin\, James Meyer\, Thomas Nozkowski\, \;Susan Rothenberg\, Peter Sc huyff &\; Kiki Smith.

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Housed in a former parachute harness factory\, Fisher Landau Center for Art was designe d by Max ordon \;in association with Bill Katz and is devoted to the ex hibition and study of the contemporary art collection of \;Emily Fisher Landau. The core of the 1500 work collection spans 1960 to the present and contains key works \;by individuals who have shaped the most significa nt art of the last 50 years. Emily Fisher Landau's insightful \;selecti on of works by contemporary masters\, many of which she purchased from the artists at the outset of \;their careers is reflected in exhibitions pr esented at Fisher Landau Center for Art. Her ongoing commitment to \;em erging artists extends to the annual presentation of the Columbia Universit y School of Visual Arts MFA Thesis \;Exhibition. In May of 2010\, Mrs. Landau made a historic pledge of over 400 artworks by nearly 100 artists to the \;Whitney Museum of American Art\, with a curated selection tourin g the United States through the Fall of 2014.

DTEND:20161128 DTSTAMP:20160828T193358 DTSTART:20160818 GEO:40.7535815;-73.933159 LOCATION:Fisher Landau Center for Art\,38-27 30th Street \nLong Island City \, NY 11101 SEQUENCE:0 SUMMARY:Intuitive Progression\, John McLaughlin\, Karla Knight\, Bryan Hunt \, Gloria Graham\, James Brown\, Donald Baechler\, Joseph Amar\, Ricci Albe nda\, James Meyer\, Thomas Nozkowski\, Susan Rothenberg\, Peter Schuyff\, K iki Smith\, Agnes Martin\, Terry Winters\, Sherrie Levine\, Ed Ruscha\, Car l Andre\, Richard Artschwager\, Jasper Johns UID:426364 END:VEVENT BEGIN:VEVENT DESCRIPTION:

From the tens of thousands of artists whose work the editor\ , writer\, and documenter Larry Qualls has seen over the past five decades\ , he has selected seven\, who\, over many exhibition viewings\, have presen ted works that continue to resonate long after the shows they were enclosed . Each produces work that is steeped in a knowledge of tradition\, yet is u niquely subversive\, daring to challenge current customs\, practices\, and parameters. All had created pieces that challenged their chosen media\, exp loring themes and processes that resonated beyond the hermetic confines of the art world. \;

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For this exhibition he asked each artist to c hoose pieces they had made\, of whatever vintage\, that held particular rel evance for their practice\, even if these are not characteristic of what th ey had shown commercially. \;The works chosen for ALOE may be observati onal or inner-directed\, abstract or narrative\, constructed digitally or c rafted through traditional means\, yet they share a fierce commitment to ch allenging accepted ideas of the relation of sign and meaning\; they both ex acerbate and soothe\, tearing apart settled conventions\, while pointing to future possibilities. \;

DTEND:20161009 DTSTAMP:20160828T193358 DTSTART:20160910 GEO:40.672585;-73.959598 LOCATION:FiveMyles\,558 St. Johns Place \nBrooklyn\, NY 11238 SEQUENCE:0 SUMMARY:ALOE: A LANGUAGE OF EXALTATION | Seven Artists Reflect on Their Wor k\, Amy Jenkins\, Christopher K. Ho.\, Erika Ranee\, John Juravi\, Rob Swai nston\, Sally Webster\, Tyler Vlahovich UID:426336 END:VEVENT BEGIN:VEVENT DTEND:20160910T190000 DTSTAMP:20160828T193358 DTSTART:20160910T163000 GEO:40.672585;-73.959598 LOCATION:FiveMyles\,558 St. Johns Place \nBrooklyn\, NY 11238 SEQUENCE:0 SUMMARY:ALOE: A LANGUAGE OF EXALTATION | Seven Artists Reflect on Their Wor k\, Christopher K. Ho.\, Amy Jenkins\, John Juravi\, Erika Ranee\, Rob Swai nston\, Tyler Vlahovich\, Sally Webster UID:426337 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Tony Morrison's novel \;Paradise\, inspired by the horrendous Black Wall Street bombings in Tulsa in 1921\, when 3\,000 Bl ack people were massacred\, prompted this installation at FiveMyles.

\n< p>In the novel's Black Utopia the women are killed by the men of the town\, believing them to be the cause of the town's misfortune. The victimization of women prompted the artist Jasmine Murrell to celebrate the power and st rength of Black women. Her installation brings together objects\, drawings and paintings the artist made during the previous year. They reference Blac k women as the unsung heroes of this country.

DTEND:20160904 DTSTAMP:20160828T193358 DTSTART:20160814 GEO:40.672585;-73.959598 LOCATION:FiveMyles\,558 St. Johns Place \nBrooklyn\, NY 11238 SEQUENCE:0 SUMMARY:BUILT OFF OUR BACKS: INVISIBLE HANDS AND BLACK MAGIC \, Jasmine Mur rell UID:426333 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160913 DTSTAMP:20160828T193358 DTSTART:20160913 GEO:40.762951;-73.9739623 LOCATION:Marlborough Gallery New York\,40 West 57th Street \nNew York\, NY 10019 SEQUENCE:0 SUMMARY:Freezing Rain\, PAULA CROWN UID:426295 END:VEVENT BEGIN:VEVENT DTEND:20160913T200000 DTSTAMP:20160828T193358 DTSTART:20160913T180000 GEO:40.762951;-73.9739623 LOCATION:Marlborough Gallery New York\,40 West 57th Street \nNew York\, NY 10019 SEQUENCE:0 SUMMARY:Freezing Rain\, PAULA CROWN UID:426296 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Printed Matter presents the eleventh annual NY Art Book Fair \, from September 16 to 18\, 2016\, at MoMA PS1\, Long Island City\, Queens . \;Free and open to the public\, the NY Art Book Fair is the world&rsq uo\;s premier event for artists&rsquo\; books\, catalogs\, monographs\, per iodicals\, and zines.

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Join us on Thursday\, September 15 from 6 to 9 pm\, at MoMA PS1 for our opening night preview. The evening will feature a special live performance on the steps of PS1 by Beat Detectives. \;&n bsp\;

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DTEND:20160915T210000 DTSTAMP:20160828T193358 DTSTART:20160915T180000 GEO:40.745469;-73.947108 LOCATION:MoMA PS1\,22-25 Jackson Ave \nLong Island City\, NY 11101 SEQUENCE:0 SUMMARY:NY Art Book Fair UID:426222 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20161015 DTSTAMP:20160828T193358 DTSTART:20160909 GEO:40.749847;-74.005892 LOCATION:Edward Thorp Gallery\,210 11th Ave. 6th Floor\nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Group Exhibition\, A group exhibition of specially priced works fro m the Gallery’s collection including painting\, folk art\, furniture\, Ital ian art glass\, ceramics\, and objet d’art. UID:426211 END:VEVENT BEGIN:VEVENT DESCRIPTION:

MARC STRAUS is proud to present The I ncredible Likeness of Being\, a group exhibition that investi gates the &lsquo\;Self&rsquo\; through new paintings by five international contemporary artists.

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From the Early Renaissance by Jan Van Eyck to some of the leadin g artists such as Rembrandt\, Velazquez\, Van Gogh\, Schiele and Kahlo\, the self- portrait at its best is revelatory capturing the artist&rsquo\;s image and soul on canvas. Unlike Narcissus who died fixated at the beauty of his own reflection\, the intent of Self-Portraiture is to traverse superficialities and provide a critical insight of the sitter&rsquo\;s identity.

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In obedience to the Socratic statement &lsquo\;Know Thyself& lsquo\;\, the artist\, while looking in the mirror to reproduce his physica l appearance\, is in fact giving the world a visual autobiographical story\ ; an honest documentation of his period\, environment and culture. In the w orks included in this show\, a &ldquo\;likeness of being&rdquo\; demonstrat es that so much more is achievable than modeling reality\; it is the exposu re of the inner psyche in a form that can only be expressed by the artist. Indeed\, Rembrandt depicted himself in later years as the old\, haggard and tired artist he was\, near penniless\, but with only paint\, Rembrandt ach ieved a level of verity no photograph could. His student Samuel v an Hoogstraten would go on to advise artists: &ldquo\;Benefit can be ga ined from the depiction of your own passions\, especially in front of a mir ror\, where you are simultaneously the creator and the spectator.&rdquo\;\n

The Israeli hyper-realist Yigal Ozeri is well known for h is paintings of beautiful women caught in the fleeting moment of bliss amid st oneiric landscapes. In these self-portraits idyllic nature has disappear ed ─ for the first time in his career Ozeri creates works that lay bare his soul. By painting from images captured by renowned photographer Mark Bergh ash\, Ozeri&rsquo\;s black and white somber self-portraits portray a man vu lnerable and introspective. These paintings benchmark Ozeri as one of today &rsquo\;s best photorealist painters.

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For his self-exami nation\, American artist Sam Trioli too uses stills by Berghash. Having rec ently painted grave monochromatic portraits of Harry and Bess Truman\, Trio li is no stranger to Grisaille. With a keen attention to the tactility of the sur face\, he uses a combination of addition and removal of paint to give form to the image. The exposed bright canvas becomes the highlights in his Chiar oscuro-tinged face. Trioli&rsquo\;s self-portrait paintings exist both as u ncanny representational images and palpable painted objects.

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Zlatan Vehabovic\, a highly regarded young Croatian artist earned his Ph.D. in painting at the vaunted Academy of Fine Arts in Zagreb. Here Vehab ovic dials up the psychological drama in various profiles\, each loaded wit h their respective intensity. Facing away from the viewer\, Vehabovic is ca ught in an ambiguous emotional state. Facing the viewer head on\, his glare is direct. Rendered in quivering but beautiful brushstrokes\, these self-p ortraits with their ominous gray atmospheric backgrounds likely capture the artist&rsquo\;s current mood.

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British artist Richard Wa then is widely known for his portraits\, classically closer to Thomas Gains borough and Watteau\, but imbued with a sense of enigmatic uneasiness and i llusions of familiarity. In his most renowned and charged work a naked boy is holding a rabbit. The &lsquo\;Wathens&rsquo\; isolated here are represen ted as women\, perhaps to displace the viewer&rsquo\;s instinct to judge th e technicalities of the artist too quickly. As a result\, these are complex allegories of an imagined &lsquo\;Self&rsquo\;. In a full-length figure dr aped in a paint-stained dress\, the artist embodies both the subject and th e muse. In another disquieting depiction\, &lsquo\;Wathen&rsquo\; coyly pla ys with a pipe &ndash\; the bubbles that float in the foreground distort th e reality of his features.

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In Erika Harrsch&rsquo\;s ens emble of mixed-media Self-Portrait paintings\, she explores issues of ident ity through her different cultural lenses\, depicting the (her) female body connected to elements of animal anatomy\, both mammals or insects\, with e roticized sketches and a diversity of media associated with opulence and se nsuality. Solid forms and silhouettes constantly collide\, and are further transformed through the multiple and simultaneous symbolic relationships fo und in the collage.

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Giorgio Vasari&rsquo\;s Lives Of The Artists opened the doors for practitioners to rightfully be recognized as artists\, perhap s igniting the desire to present themselves to the outside world\, recordin g their existence in history. The phenomenon of Self-Portraiture continues to be a formidable theme for contemporary artists today. In the age of the instant &lsquo\;Selfie&rsquo\;\, a demand for a slower\, more cerebral prac tice is ever more necessary.

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The Incredible Likeness Of Being features new works by Yigal Ozeri\, Sam Tri oli\, Zlatan Vehabovic\, Erika Harrsch and Richard Wathen.

DTEND:20161016 DTSTAMP:20160828T193358 DTSTART:20160911 GEO:40.7174823;-73.9918727 LOCATION:MARC STRAUS\,299 Grand Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:The Incredible Likeness of Being\, Zlatan Vehabovic\, Yigal Ozeri\, Sam Trioli\, Erika Harrsch\, Richard Wathen UID:426203 END:VEVENT BEGIN:VEVENT DTEND:20160911T200000 DTSTAMP:20160828T193358 DTSTART:20160911T180000 GEO:40.7174823;-73.9918727 LOCATION:MARC STRAUS\,299 Grand Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:The Incredible Likeness of Being\, Erika Harrsch\, Yigal Ozeri\, Sa m Trioli\, Zlatan Vehabovic\, Richard Wathen UID:426204 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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On Stellar Rays is pleased to an nounce Harem ROOM-1\, Alix Pearlstein&rsquo\;s third solo exhibiti on with the gallery\, presenting sculpture and video. Taken together\, Pear lstein&rsquo\;s new work\, located within the unstable present\, arouses th e disquiet felt moving through an anxious populace.

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Harem\ , meaning a group of women perceived as centering around a particu lar male.

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- A group of female animals sharing a single mate.

\n< p>- A prohibited\, or forbidden place.

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- Separate quarters.

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- Kept safe\, or &lsquo\;sanctuary.&rsquo\;

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Room\, meanin g a space that can be occupied or where something can be done\, especially viewed in terms of whether there is enough. Enough room.

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- Room for contemplation\, play\, transgression.

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- Capacity\, scope\ , leeway\, latitude\, freedom\, opportunity and chance.

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Harem R OOM-1 is the title of a figurative installation central to Pearlstein& rsquo\;s exhibition\, which utilizes a little-known meaning of the term harem to refer to a collection of like\, fetishized elements. Here\, applied as a framework\, the harem presumes an act of subjugation and objec tification\, forcing parallels to social orders and hierarchies\, as well a s personal relationships and desires.

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 \;Two videos will be pre sented in adjoining galleries.

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New City (People on Sunday) is set in Canal Street Park and on an adjacent rooftop in downtown New Yor k City on a very windy day; a group of five actors occupy these locations t hrough shifting relationships with the urban landscapes\,  \;each other and a restless gaze.  \;Two stacked channels juxtapose simultaneousvie wpoints\, collapsing and restructuring time. This work posits a point of vi ew on a specific place\, in an anxious time through insistent presence.

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 \;The Weather tracks the shifting mood of a grou p of nine people\, as they are pushed\, pulled or stuck between two positio ns. They pass back and forth from side to side in a blank white space\, fol lowing in the direction of or against a laterally tracking camera. A rubber plant occupies one side of the space\, serving as a gathering\, resting\, hiding place\, obstruction or refuge.*

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The pace slows\, as the grou p seems to become afflicted by a malaise. A reckoning follows as they brace for what comes next.

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 \;Alix Pearlstein's work in video\, inst allation\, sculpture\, photography and performance has been widely exhibite d. Select solo exhibitions include de Cordova Museum\, Boston\, MA; Sams&os lash\;n Projects\, Boston\, MA; Ballroom Marfa\, Marfa\, TX; Atlanta Contem porary Art Center\, Atlanta\, GA; Contemporary Art Museum\, St. Louis\, MO; The Kitchen\, New York; MIT List Visual Arts Center\, Cambridge\, MA; The Museum of Contemporary Art\, Chicago\, IL; School of the Museum of Fine Art s\, Boston\, MA. Recent performances include Art Public at Art Basel\, Miam i\, FL; The Park Avenue Armory\, New York; and Esopus Space\, New York. Gro up exhibitions include Whitechapel Gallery\, London\, UK; ParaSite\, Hong K ong; INOVA\, Milwaukee\, WI;  \;MoBY-Museums of Bat Yam\, Israel; Inter nationale d&rsquo\;Art de Quebé\;c\, Canada; Center for Contemporary Art\, Tel Aviv\, Israel; Annual Exhibition of Visual Art\, Limerick\, Irela nd; Whitney Museum of American Art\, New York; SMAK\, Ghent\, Belgium; ICA Philadelphia\, PA; Biennale de Lyon\, France; and The Museum of Modern Art\ , New York. \;

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Pearlstein is a recipient of the Foundation for Contemporary Arts 2011 Grants to Artists award. She is on the facu lty of the SVA MFA Program\, and the Board of Governors of the Skowhegan Sc hool\, and lives and works in New York City and Orient\, New York.

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* The Weather will be on view at the gallery opening\, and Saturda ys and Sundays\, in the gallery&rsquo\;s basement space.

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