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BravinLee programs is both pleased and saddened to open its season with Place\, a selection of paintings\, photographs and drawings by Jennifer Wynne Reeves.

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Jennifer Reeves life was cut too short when she succumbed to brain cancer on June 22nd at the age of 51. Reeves is know n for creating a body of paintings\, drawings and photographs that speak to and confront formalist and humanist dilemmas. But beyond her reputation an d achievements in the art world\, Reeves enjoyed a considerable fan-base as a result of her astonishing Facebook presence where she chronicled and int erwove her art and diaristic prose\, living her life out loud\, inviting he r followers to take pieces of her and receive inspiration.

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For bett er or worse Reeves was a painter's painter. While she achieved a great meas ure of commercial success in her too abbreviated life\, Reeves was best kno wn and respected by artists who recognized her powerful skills of blending painterly style and manipulating materials in an alarmingly appealing way\, avoiding the pitfalls that push abstraction against representation. Reeves was able to mine life's deeper underlying enigmatic and elusive narratives and emotions by the taming of opposites. Combining color-field\, minimalis m\, narrative painting\, process art and expressionism\, Reeves rejected lo w thread count\, muted\, mock solemnity.

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In addition to her paintin gs\, it will feature her hand-painted set-up photographs in which she set p laced sculptural forms evocative of the figure against the backdrop of actu al landscape space.
The exhibition is an invitation to have a convers ation about Reeves legacy and we hope that in time\, it will lead to a muse um survey to explore her art and writing.

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Reeves enjoyed solo exhib itions at Art &\; Public in Geneva\, Gian Enzo Sperone in Rome\, The Wor cester Art Museum in Massachusetts\, and Max Protetch and Ramis Barquet in NYC. Her most recent solo show was at BravinLee programs in 2013. Reeves wa s also celebrated for her writing. She produced a graphic novel\, The Anywa y Ember in 2008 and Soul Bolt a book of her set-up photography and prose in 2012. In 2012 she was selected as a John Simon Guggenheim Fellow.

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There will be a celebration of the life of Jennifer Wynne Reeves Saturday S eptember 6th\, 11am St. Mark's Church in the Bowery 131 East 10th Street\, NYC

DTEND:20141011 DTSTAMP:20140831T071020 DTSTART:20140904 GEO:40.7500416;-74.0038805 LOCATION:BravinLee Programs\,526 West 26th Street Suite 211\nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Place\, Jennifer Reeves UID:354032 END:VEVENT BEGIN:VEVENT DTEND:20140904T200000 DTSTAMP:20140831T071020 DTSTART:20140904T180000 GEO:40.7500416;-74.0038805 LOCATION:BravinLee Programs\,526 West 26th Street Suite 211\nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Place\, Jennifer Reeves UID:354033 END:VEVENT BEGIN:VEVENT DESCRIPTION:

 \; The historic Hudson River City of Hudson\, NY is the cur rent home of the Limner Gallery. The City of Hudson is the fine art and ant ique center of the Hudson Valley and is a popular destination for art and a ntique collectors. Situated on the eastern bank of the Hudson River with a direct train link to Manhattan\, Hudson is readily accessible to both city and country dwellers. It is situated centrally between the Catskill\, Berks hire and Hudson Valley resort areas.

DTEND:20141004 DTSTAMP:20140831T071020 DTSTART:20140911 GEO:42.254709;-73.79404 LOCATION:Limner Gallery\,123 Warren St. \nHudson\, NY SEQUENCE:0 SUMMARY:Strange Figurations\, Benjamin Sears\, S K Sullivan\, Terry Tapp\, Jon Christopher Gernon\, Joshua M Hust\, Eugene Rodriguez\, Ashley Blanton\ , E. Warren Brown\, Ted DiLucia\, William T. Ayton\, Tim Arroyo\, Carrie Al ter UID:353963 END:VEVENT BEGIN:VEVENT DTEND:20140913T190000 DTSTAMP:20140831T071020 DTSTART:20140913T170000 GEO:42.254709;-73.79404 LOCATION:Limner Gallery\,123 Warren St. \nHudson\, NY SEQUENCE:0 SUMMARY:Strange Figurations\, Carrie Alter\, Tim Arroyo\, William T. Ayton\ , Ashley Blanton\, E. Warren Brown\, Ted DiLucia\, Jon Christopher Gernon\, Joshua M Hust\, Eugene Rodriguez\, Benjamin Sears\, S K Sullivan\, Terry T app UID:353964 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Steven Harvey Fine Art Project s presents Leaves\, a survey of contemporary drawings and works on paper by Peter Acheson\, Mequitta Ahuja\, \; Chuck Bow dish\, Katherine Bradford\, Dawn Clements\, Jacob El Hanani\, Gregory Gille spie\, \; June Leaf\, Sangram Majumdar and Fulvio Test a. The ten artists range from seasoned draftsmen to artists at the beginning of their careers and come from across the globe. Each of them\, however\, has a remarkably individualized sensibility and may be considered a master in his/her own right.

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Kath erine Bradford&rsquo\;s works on paper are\, as Ken Johnson puts it\, &ldqu o\;comical yet earnest.&rdquo\; Her glowing colors and vulnerable shapes of ten describe ocean liners and people at sea. The deliberate naiveté\; of her subjects evoke innocence without sentimentality &ndash\; they have the quality of adult reveries and regressions. Bradford&rsquo\;s work is in cluded in various public collections\, including the Brooklyn Museum of Art \, the Metropolitan Museum of Art and the Portland Museum\, among others. S he was awarded a Guggenheim Fellowship in 2011\, and was a recipient of a J oan Mitchell Foundation Grant in 2012.

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A close peer of Bradford&rsquo\;s\, Peter Acheson is a pioneer of a simil arly raw vocabulary.  \;His scribbled drawings map a disconnected world . Acheson is in the tradition of artists such as Forest Bess and Gandy Brod ie. His drawings encompass language&ndash\;as-mark making with phrases enta ngled in tangles of line. Acheson was born in Washington\, D.C and lives in Ghent\, NY. His work is included in the Brooklyn Museum&rsquo\;s permanent collection.

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From large scale painted collages to tiny jewel-like watercolors\, Chuck Bowdish&rsquo\;s work is figurative visual poetry\, cal ling on both classical imagery (Grecian urns and \;nude torsos) and ima ges of menace right out of the headlines. \; His draftsmanship seems ef fortless and precise and his impulse to castigate the world comes from a pu re place. \; He is the kind of artist who makes you reconsider your ass umptions. Bowdish is the subject of a documentary film by Peter Wareing ent itled Chuck Bowdish: Painter and has been included in recent exhib itions in Atlanta\, Williamsburg and Long Island City. Concurrently with Leaves\, Bowdish&rsquo\;s work may be seen at the John Davis Gallery in Hudson\, N.Y.

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The estimable painter a nd sculptor June Leaf\, was born in Chicago in 1929 and has lived in New Yo rk since the early 60's. Her drawings are directly related to her sculpture \; they are diagrammatic and notational\, having almost the quality of maps \, and share an acknowledgement of humanity&rsquo\;s grace and foibles.&nbs p\; Leaf&rsquo\;s works on paper call to mind the inventive sketches of da Vinci and Alexander Calder. Leaf had her first solo exhibition at Sam Borde lon Gallery in Chicago in 1948 and has since exhibited internationally.&nbs p\; She is included in numerous museum collections\, including the Museum o f Modern Art\, New York The Whitney Museum of American Art\, and the Art In stitute of Chicago.

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Jacob El Hanani was born in Morocco in 1947 an d grew up in Israel. His work draws on the tradition of micrography in Juda ism\, a technique used in the decoration and transcription of holy texts. E l Hanani&rsquo\;s incredibly intricate ink drawings are created through the careful repetition of tiny marks. These extraordinary works appear to be a pattern from a distance\; they are mediations on time and infinity. El Han ani&rsquo\;s work is included in many notable public collections\, includin g The Solomon R. Guggenheim Museum\, the Museum of Modern Art\, New York\, The Metropolitan Museum of Art\, The Whitney Museum of American Art\, The J ewish Museum\, Musee national d&rsquo\;Arte Moderne\, Centre George Pompido u\, Paris\, The National Gallery of Art\, DC.

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Fulvio Testa is one of Italy&rsquo\;s most distinguished artists and illustrators. Working in w atercolor and ink with muted tones\, Testa&rsquo\;s small scale\, elegant l andscapes have little demarcation between land and sky and seem influenced by Chinese scroll paintings. His work is represented in a number of public collections\, including the Art Institute of Chicago\, the Philadelphia Mus eum of Art and the New York Public Library.

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In addition to his own prizewinning titles\, he has illustrated book s by authors such as Anthony Burgess and Gianni Rodari. He divides his time between Verona\, Italy\, and New York.

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Sangram Majumdar was born in Calcutta\, India and received his MFA from Indiana University. Majumdar works from elaborate backdrops and dioramas constructed in his studio\, lay ering decorative and painterly elements that disappear and reappear in the working process. Majumdar&rsquo\;s final compositions house a multitude of hidden possibilities. This group of drawings represents all the monochrome work related to a single painting\, enabling us to visualize this world of potentiality. Majumdar has taught at the Maryland Institute College of Art since 2003. Concurrently with Leaves\, Majumdar&rsquo\;s o il paintingsa will be exhibited at Georgetown University in Washington\, D. C.
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Dawn Clements was b orn in Massachusetts in 1958. She works with Sumi ink and ballpoint pen on paper\, ranging in size from small to monumental. Through an active\, almos t performative working process\, the paper becomes distressed with folds\, wrinkles\, and seams. Clements subjects are the observed everyday spaces of her apartment and studio\, and film stills\, which she scales up to life-s ize proportion. Clements&rsquo\; work was included in the Whitney Biennial in 2010\, and she is represented in the permanent collections of the Museum of Modern Art\, New York\, the Whitney Museum of American Art\, \; and The Saatchi Collection\, London.

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Mequitta Ahuja defines her artis tic practice as Automythography \; (a variant on Audrey Lorde&rsquo\;s phrase.) In her large-scale paintings on paper she places images of herself in the midst of tumbling worlds of tightly woven pattern and color\, with an overall pictorial density that speaks to the layered patterns of Persian miniatures. \; Last spring she had an artist residency in Siena\, Ital y. Included in Leaves are examples of pastels inspired by her residency\, in which Ahuja incorporates herself into the Romulus and Re mus mythology of Siena (according to tradition Remus&rsquo\; son \; Sen io was the founder of Siena.) \; Her work is included in recent and upc oming exhibitions at Crystal Bridges Museum of American Art\, The Minneapol is Institute of Art and The Saatchi Gallery.

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The late Massachusett s born visionary painter Gregory Gillespie (1936-2000) defies categorizatio n. He championed a fiercely obsessive realism in the Sixties when Pop and a bstraction held sway\, yet his vocabulary is so psychologically potent and mystically laced that it pushes past the realms of the real. His oeuvre com prises haunting self-portraits\, surreal landscapes\, symbolic geometric ab stractions\, and singular monumental object/paintings.  \;His process i s equally expansive\, combining meticulous oil painting with photomontage\, collage and assemblage. In his late work\, which is included in this exhib ition\, he also inlays photocopied images into the painting surface. Gilles pie drew inspiration across the history of European painting (Balthus\, Bru egel\, Bosch\, Crivelli to name a few)\, as well as from classical mytholog y\, Buddhism\, Indian sculpture\, and Tibetan and Mayan art. The Hirshhorn Museum and Sculpture Garden presented a retrospective of Gillespie&rsquo\;s work when he was forty years old\, garnering him national prominence. Gill espie&rsquo\;s work is included in the permanent collections of the Metropo litan Museum of Art\, the Whitney Museum of American Art\, and the Museum o f Fine Arts\, Boston\, among others. \;

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Leave s takes place in two spaces\; at SHFAP&rsquo\;s main gall ery at 208 Forsyth St\, and around the corner at PROJECTOR\, our pop-up spa ce at 237 Eldridge. Please contact the gallery at info@shfap.com or 917-861-7312 for further inform ation or images. \;

DTEND:20141012 DTSTAMP:20140831T071020 DTSTART:20140907 GEO:40.722563;-73.989997 LOCATION:Steven Harvey Fine Art Projects (PROJECTOR)\,237 Eldridge St \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:LEAVES\, Peter Acheson\, Mequitta Ahuja\, Chuck Bowdish\, Katherine Bradford\, Dawn Clements\, Jacob El Hanani\, Gregory Gillespie\, June Leaf \, Sangram Majumdar\, Fulvio Testa UID:353710 END:VEVENT BEGIN:VEVENT DTEND:20140907T200000 DTSTAMP:20140831T071020 DTSTART:20140907T180000 GEO:40.722563;-73.989997 LOCATION:Steven Harvey Fine Art Projects (PROJECTOR)\,237 Eldridge St \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:LEAVES\, Peter Acheson\, Mequitta Ahuja\, Chuck Bowdish\, Katherine Bradford\, Dawn Clements\, Gregory Gillespie\, Jacob El Hanani\, June Leaf \, Sangram Majumdar\, Fulvio Testa UID:353711 END:VEVENT BEGIN:VEVENT DESCRIPTION:

McKenzie Fine Art is pleased to commence the new season with an exhibition of paintings\, sculpture\, works on paper\, and digital prin ts by Jean Lowe. This is the San Diego-based artist&rsquo\;s sixth solo sho w at the gallery\; it will open on Sunday\, September 7th with a reception for the artist from 6 to 8 p.m.\, and run through Sunday\, Octob er 12th\, 2014.

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For years\, Lowe has created humorous and subversiv e installations that question intellectual and cultural institutions and so cietal assumptions. \; Using papier-mâ\;ché\; and enamel pai nt\, she fabricates all the elements needed for her fully-realized interior s. In this exhibition\, Lowe slyly critiques the way society assigns value\ , and to what\, through the creation of a fauxauction house showroom. \ ; Lowe&rsquo\;s showroom installation is decorated with paintings and digit al prints depicting glossy auction house catalogue covers and posters.  \; From fictional auction houses and websites such as &ldquo\;Roquefort&rsq uo\;s\,&rdquo\; &ldquo\;Heritage Holdovers\,&rdquo\; and &ldquo\;PoliceAuct ions.com\,&ldquo\; Lowe&rsquo\;s paintings illustrate items from sales whic h feature everything from fine watches\, love letters\, and important old m aster paintings\, to manuscripts and ephemera. Some of the lots featured in these sales are on display on pedestals in the showroom\, which has been d ecorated with a large-scale\, painted Persian carpet (Teheran\, mid-20 th century) and a papier-mâ\;ché\; rubber plant in the cor ner. These include painted sculptures of an obsolete yellow pages phonebook and a volume entitled\, &ldquo\;If God Loves Me\, Why Do I Need a Vibrator ?&rdquo\; \; Additionally\, several of the items of faux ephemera are o n view: \; a 19th-century broadside offering a reward for lo st minutes and hours\; a poster for a lost dog\, again featuring a reward\, along with an emotional appeal regarding the canine&rsquo\;s medical condi tion\; a newspaper clipping about a man eaten by a bear in an Alaskan campg round\; a psychiatrist&rsquo\;s ironic notes on a patient\, scrawled on a y ellow pad\; inter-office memos\, and a variety of posters. \; Riffing o n both Warhol and Gonzalez-Torres\, in the rear of the gallery Lowe has cre ated a showroom back office\, replete with painted sculptures of folding ch airs\, a case of wine (Two Buck Chuck)\, a paddle and tape measure\, and a wood pallet stacked with off-set lithograph give-away posters.

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In t his exhibition\, Lowe playfully transforms the banal into the magical and m akes the rarified ridiculous by transforming commonplace items into desirab le commodities\, all in a satirical setting of high commerce. \; Throug h her painted and sculptured recreations the artist humorously questions wh at is real\, what is true\, what has value\, and why.

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DTEND:20141012 DTSTAMP:20140831T071020 DTSTART:20140907 GEO:40.716693;-73.991227 LOCATION:McKenzie Fine Art\,55 Orchard Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Lost Time\, Jean Lowe UID:353627 END:VEVENT BEGIN:VEVENT DTEND:20140907T200000 DTSTAMP:20140831T071020 DTSTART:20140907T180000 GEO:40.716693;-73.991227 LOCATION:McKenzie Fine Art\,55 Orchard Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Lost Time\, Jean Lowe UID:353628 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Heskin Contemporary is pleased to announce After August\, an exhibition of recent paintings by Ev elyn Twitchell.  \;This is the artist's first solo show with the galler y.  \;The opening reception will be held Thursday\, September 11th from 6 to 9 PM.

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In this new body of work\, Twitchell continues to combine abstraction and representation. &n bsp\;The paintings in After August were created in response to autumnal the mes\, including decay\, dormancy and transformation.  \;Her sources are both directly observed (the play of light among trees\; the frieze-like mo mentum of a river\; the brittleness of leaves) and invented &mdash\; \; from memories and imagined forms.  \;Exploring nature\, as well as her own interior landscape\, Twitchell distills these worlds into images &mdas h\; abstract yet organic &mdash\; that evoke specific emotional experiences .

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Twitchell's work has been i ncluded in numerous exhibitions and the contemporary art fairs Pulse Miami and Pulse New York.  \;She has been featured in artcritical.com\, City Arts\, The Huffington Post\, The New York Sun\, The New Republic and Whitew all magazine.  \;Twitchell has taught at Marymount College\, New York C ity College of Technology\, CUNY and Rider University.  \;In 2011 she w as the recipient of a Yaddo residency.

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Twitchell received her MFA from Parsons School of Design.  \; She lives and works in Brooklyn\, NY and Milton\, PA.

DTEND:20141018 DTSTAMP:20140831T071020 DTSTART:20140911 GEO:40.756301;-73.996712 LOCATION:Heskin Contemporary\,443 W 37th St. \nNew York\, NY 10018 SEQUENCE:0 SUMMARY:After August\, Evelyn Twitchell UID:353625 END:VEVENT BEGIN:VEVENT DTEND:20140911T210000 DTSTAMP:20140831T071020 DTSTART:20140911T180000 GEO:40.756301;-73.996712 LOCATION:Heskin Contemporary\,443 W 37th St. \nNew York\, NY 10018 SEQUENCE:0 SUMMARY:After August\, Evelyn Twitchell UID:353626 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Kasher|Potamk in opens to the public with the inaugural exhibition Intangible Beauty: Bea utiful Women and the Endless Void. This installation is designed with rever ence for the dream woman and features works from over forty emerging\, mid- career\, and established artists\, many of whom are female.

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A collaboration between Steven Kasher and Andi Potamkin \, the new boutique-meets-gallery situates art in an intimate\, home-like e nvironment\, exhibiting contemporary works of photography\, sculpture\, cer amics\, furniture\, jewelry\, painting\, and objects d&rsquo\;art. Adjacent to the newly relocated Steven Kasher Gallery\, Kasher|Potamkin boasts dire ct views of the High Line and presents an accessible shopping experience th rough thematic and seasonal group shows\, rotating every two months. Visito rs can purchase art off the wall and take it home that day.

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Intangible Beauty explores the intrigue of Woman throug h a dialectic of remoteness and closeness. Glamour requires distance: the p ossibility of the ideal that leaves us room to dream. But in order to creat e desire\, the images must ignite a spark of familiarity. In Vee Speers&rsq uo\;s Bordello #21 a corseted woman pulls on her glove and there is a still ness in the potential of the moment before she looks up at the viewer. Perh aps she smiles and giggles or perhaps she is far beyond such girlish flirta tion. That is the aching void that the viewer chooses how to fill. This dis tance allows her to be seductive without being grotesque\, innocent without being righteous. The woman in Marianna Rothen&rsquo\;s Blondie series reco gnizes the viewer\, playing and flirting between shadows in a fleeting mome nt that will last for always.

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The themes of the show are manifested by sculptors Sergei Isupov\, Biata Roytburd\, J essica Harrison\, Jessica Janoski\, the Haas Brothers\, and others. Biata R oytburd&rsquo\;s delicate ceramics marry the female body with an erotic flo ral motif. Sergei Isupov moves between two-dimensionality and three-dimensi onality\, combining intricate sculpture with complex painted stories about desire. Jessica Harrison&rsquo\;s macabre ceramic figurine\, Clara\, litera lly gives us her heart. Atsushi Tawa&rsquo\;s sculptures embody attraction/ repulsion with the perfect pink mannequin body and the piercing quartz face .

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This is w hat the fantasy woman offers us: the continual renewal of unfulfilled desir e. They are wholly devoted to their lovers and entirely free. Lina Viktor&r squo\;s painted self portrait\, Royal\, covered in 24-karat gold leaf has t wo splashes of red: the sharp gloss nails and her soft matte lips. Though t he entire world would love her\, she belongs only to you. Though she is str ong and independent\, she is yours and yours alone.

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This show is an homage to the dream woman: her power\, her myst ery\, and her allure. It is in exploration of what she teaches us about our selves\, and the beautiful endless void which we fill with our own desires.

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DTEND:20141101 DTSTAMP:20140831T071020 DTSTART:20140906 GEO:40.7501399;-74.003542 LOCATION:Kasher|Potamkin\,515 West 26th Street\, 2nd Floor \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:INTANGIBLE BEAUTY: BEAUTIFUL WOMEN AND THE ENDLESS VOID\, Abraxas R ex\, Tressé Agoche\, AM | MA Studio\, Carlos Aponte\, Dana Bechert\, Ghysla in Bertholon\, John Breed\, Calico Wallpaper\, Jenifer Corker\, Delphine Di allo\, Liat Elbling\, Doug Fogelson\, Mia Fonssagrives-Solow\, Maurizio Gal ante\, Giles\, Wendy Given\, The Haas Brothers\, Tim Hailand\, Jessica Harr ison\, Marie Hochhaus\, Mayumi Hosokura\, Sergei Isupov\, Jessica Janoski\, Stefan Janoski\, Nancy Josephson\, Marc Lagrange\, Adrienne Landau\, Won L ee\, L'Enchanteur\, Paul Manes\, Fernando Mastrangelo\, Yassi Mazandi\, Rei Nadal\, Beatrix Ost\, Lex Pott\, Conrad Roset\, Marianna Rothen\, Biata Ro ytburd\, Stefan Rurak\, Bruce M. Sherman\, Vee Speers\, Isabella Ståhl\, At sushi Tawa\, Philip Treacy\, Michaël Verheyden\, Lina Viktor\, Michael Wils on\, Tal Lancman UID:353618 END:VEVENT BEGIN:VEVENT DTEND:20140906T200000 DTSTAMP:20140831T071020 DTSTART:20140906T180000 GEO:40.7501399;-74.003542 LOCATION:Kasher|Potamkin\,515 West 26th Street\, 2nd Floor \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:INTANGIBLE BEAUTY: BEAUTIFUL WOMEN AND THE ENDLESS VOID\, Tressé Ag oche\, Carlos Aponte\, Dana Bechert\, Ghyslain Bertholon\, John Breed\, The Haas Brothers\, Jenifer Corker\, Delphine Diallo\, Liat Elbling\, Doug Fog elson\, Mia Fonssagrives-Solow\, Maurizio Galante\, Giles\, Wendy Given\, T im Hailand\, Jessica Harrison\, Marie Hochhaus\, Mayumi Hosokura\, Sergei I supov\, Jessica Janoski\, Stefan Janoski\, Nancy Josephson\, L'Enchanteur\, Marc Lagrange\, Tal Lancman\, Adrienne Landau\, Won Lee\, Paul Manes\, Fer nando Mastrangelo\, Yassi Mazandi\, Rei Nadal\, Beatrix Ost\, Lex Pott\, Ab raxas Rex\, Conrad Roset\, Marianna Rothen\, Biata Roytburd\, Stefan Rurak\ , Bruce M. Sherman\, Vee Speers\, Isabella Ståhl\, AM | MA Studio\, Atsushi Tawa\, Philip Treacy\, Michaël Verheyden\, Lina Viktor\, Calico Wallpaper\ , Michael Wilson UID:353732 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20141025 DTSTAMP:20140831T071020 DTSTART:20140913 GEO:40.7310645;-74.0083365 LOCATION:Gavin Brown's Enterprise\,620 Greenwich Street \nNew York\, NY 100 14 SEQUENCE:0 SUMMARY:Solo Exhibition\, Rob Pruitt UID:353616 END:VEVENT BEGIN:VEVENT DTEND:20140913T200000 DTSTAMP:20140831T071020 DTSTART:20140913T180000 GEO:40.7310645;-74.0083365 LOCATION:Gavin Brown's Enterprise\,620 Greenwich Street \nNew York\, NY 100 14 SEQUENCE:0 SUMMARY:Solo Exhibition\, Rob Pruitt UID:353617 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Discover the amazing talents of the members of the Hunterdon Art Museum in this annual exhibition.

DTEND:20150104 DTSTAMP:20140831T071020 DTSTART:20140927 GEO:40.63651;-74.912151 LOCATION:Hunterdon Art Museum\,7 Lower Center Street \nClinton\, NJ 08809-1 303 SEQUENCE:0 SUMMARY:Members Exhibition 2014 UID:353614 END:VEVENT BEGIN:VEVENT DTEND:20140928T160000 DTSTAMP:20140831T071020 DTSTART:20140928T140000 GEO:40.63651;-74.912151 LOCATION:Hunterdon Art Museum\,7 Lower Center Street \nClinton\, NJ 08809-1 303 SEQUENCE:0 SUMMARY:Members Exhibition 2014 UID:353615 END:VEVENT BEGIN:VEVENT DESCRIPTION:

For more than 30 years \;Warren Muller& nbsp\;has literally seen the light in the most mundane and ordinary objects imaginable. Muller uses luminescence as his guide\, suspending bottles\, p erfume containers\, old hay baling equipment\, hubcaps\, bowling pins\, toy cars\, deer antlers\, porcelain figurines\, candy dishes\, metal lunch box es\, bikes\, traffic light lenses\, and even a retro mini cooper car to cre ate sublime sculptures of light. \;Muller&rsquo\;s work gives spirit an d new vision to things we take for granted\, things we left behind\, things our children outgrew\, things our mother left us\, and makes us see them i n a new light. Stirring nostalgia and passion\, Muller&rsquo\;s work isn&rs quo\;t just about bringing light to a room\, it&rsquo\;s about invoking the light within it. \;

DTEND:20141109 DTSTAMP:20140831T071020 DTSTART:20140927 GEO:40.63651;-74.912151 LOCATION:Hunterdon Art Museum\,7 Lower Center Street \nClinton\, NJ 08809-1 303 SEQUENCE:0 SUMMARY:Luminary\, Warren Muller UID:353612 END:VEVENT BEGIN:VEVENT DTEND:20140928T160000 DTSTAMP:20140831T071020 DTSTART:20140928T140000 GEO:40.63651;-74.912151 LOCATION:Hunterdon Art Museum\,7 Lower Center Street \nClinton\, NJ 08809-1 303 SEQUENCE:0 SUMMARY:Luminary\, Warren Muller UID:353613 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Giovanna Cecchetti&rsquo\;s \;work emer ges from her deep personal spirituality and study of other cultures and bel ief systems.  \;Her large works are very detailed and invite viewers to spend time contemplating her work to appreciate its layered forms and tech nical mastery. \;

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Cecchetti was born in Suffern\, New York. Cec chetti initially studied art at SUNY Rockland under Edgar and David Levy\, whose influence brought her to NYC to study with Larry Rivers at Parsons Sc hool of Design in 1973. In 1995\, Cecchetti relocated her studio into one o f the old silk mills in Paterson\, New Jersey. She received an MFA from Wil liam Paterson University where she presently teaches as an adjunct professo r.

DTEND:20150104 DTSTAMP:20140831T071020 DTSTART:20140927 GEO:40.63651;-74.912151 LOCATION:Hunterdon Art Museum\,7 Lower Center Street \nClinton\, NJ 08809-1 303 SEQUENCE:0 SUMMARY:The Consciousness of Infinite Goodness\, Giovanna Cecchetti UID:353610 END:VEVENT BEGIN:VEVENT DTEND:20140928T160000 DTSTAMP:20140831T071020 DTSTART:20140928T140000 GEO:40.63651;-74.912151 LOCATION:Hunterdon Art Museum\,7 Lower Center Street \nClinton\, NJ 08809-1 303 SEQUENCE:0 SUMMARY:The Consciousness of Infinite Goodness\, Giovanna Cecchetti UID:353611 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Discover themany fascinating and fresh ways real and imagina ry animals are depicted by artists when A Clay Bestiary opens at t he Hunterdon Art Museum.

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The exhibitionruns from Sept. 27 to Jan. 4 \, 2015\, with an opening reception on Sunday\, Sept. 28\, from 2 to 4 p.m. About 15 artists will display their work\, and Garth Johnson will speak at the opening reception.

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The exhibition features artists from several countries including Canada\, the United States and South Korea. Ithighligh ts the work of such renowned artists as Sergei Isupov\, Jason Walker and Re d Weldon Sandlin\, as well as others who are emerging to the forefront in t echnical mastery\, and offering fresh\, creative approaches to representing the world of creatures through clay.

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Some of the works included in this exhibition are a response to the human tendency to anthropomorphize a nimals\, while other pieces present witty interpretations of familiar creat ures\, said Hildreth York\, who is curating this exhibition with Ingrid Ren ard. They have co-curated several past Museum exhibitions offering a unique point of view to contemporary trends.

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&ldquo\;I don't think most p eople have any idea of how variable and unusual works about the animal worl d can be\,&rdquo\; York said. &ldquo\;The works chosen are not 'literal&rsq uo\; representations or depictions of animals\, but artists' concepts and i nterpretations. \; Some are more representational than others\, some ar e humorous and/or ironic\, some are surreal\, some are whimsical and some a re mini-installations.&rdquo\;

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York notes the irony and humor in su ch works as Rhonda Chan&rsquo\;s Argyle\, which depicts a masked a nd gun-toting argyle rodent. Meanwhile\, surreal fantasy takes center stage with Roxanne Jackson&rsquo\;s Sexy Beast. This work &ndash\; crea ted with ceramic\, marbled paper\, candles\, gold luster and leaf\, nail po lish and pearl gems &ndash\; presents a struggle of two highly patterned cr eatures\, one an octopus with flowered tentacles.

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The exhibition&rs quo\;s title is particularly apt given the breadth of animals represented: &ldquo\;Bestiary&rdquo\; is defined as an allegorical or moralizing work on the appearance and habits of real or imaginary animals. \;

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Inc luded in this exhibition is Strong\, which is part of Isupov&rsquo \;s Humanimals series. Strong stands about 14 inches high \, and wears bloomers and a cape and a very determined look on his face. Th is work and others\, including Walker&rsquo\;s complex sculptures and Judy Fox&rsquo\;s other-worldly sea creatures\, continue to amaze viewers\, York said. \;

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&ldquo\;The artists in A Clay Bestiary stret ch the traditions of ceramic animal imagery far beyond the usual convention s\,&rdquo\; York said. &ldquo\;The capacity of clay to be medium\, form\, s urface and finished object allows an infinite number of possibilities.&rdqu o\;

DTEND:20150104 DTSTAMP:20140831T071020 DTSTART:20140927 GEO:40.63651;-74.912151 LOCATION:Hunterdon Art Museum\,7 Lower Center Street \nClinton\, NJ 08809-1 303 SEQUENCE:0 SUMMARY:A Clay Bestiary\, Sergei Isupov\, Jason Walker\, Judy Fox\, Roxanne Jackson\, Red Weldon Sandlin\, Rhonda Chan UID:353608 END:VEVENT BEGIN:VEVENT DTEND:20140928T160000 DTSTAMP:20140831T071020 DTSTART:20140928T140000 GEO:40.63651;-74.912151 LOCATION:Hunterdon Art Museum\,7 Lower Center Street \nClinton\, NJ 08809-1 303 SEQUENCE:0 SUMMARY:A Clay Bestiary\, Rhonda Chan\, Judy Fox\, Sergei Isupov\, Roxanne Jackson\, Red Weldon Sandlin\, Jason Walker UID:353609 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Postmasters Gallery is pleased to announce our f irst exhibition with New York-based artist Shamus Clisset. The show will pr esent a group of large-scale\, 3D rendered images&mdash\; an alternative reality of totems and tableaux. While generated thro ugh digital means\, Clisset&rsquo\;s characters and still lifes transform t he familiar\, analog world into glistening hyperreality\, where high resolu tion reflects high intensity.

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***

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Paraphrasing the science fiction writer Arthur C. Clarke\, magic is sci ence we don&rsquo\;t yet understand. With this dictum\, Clarke suggests tha t what is imaginable but also inconceivable is most magical of all. Even wh en a hypothesis becomes reality\, it retains its mysticism\, its underlying principles beyond the grasp of nearly everyone but its originator.  \;
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Clarke&rsquo\;s formulation of the scientific is found in the work of Shamus Clisset. Pairing 3D modeling software with ray traci ng\, Clisset constructs and documents landscapes\, creatures\, objects\, an d scenarios&mdash\;an alternative reality&mdash\;inhabited by his creations \, including his alter-ego of sorts\, Fake Shamus. This world is magical\, in both its appearance and when considering the tools that enable its exist ence. We are confronted with a world that is both hyperrealistic and unreco gnizable. There are familiar and unfamiliar forms\; yet\, what is most unca nny is the rendering and positioning of what we think we know best.
& nbsp\;
In the wake of misunderstanding\, we use words and images we a re familiar with to explain the inexplicable. (For example\, how can physic al referents continue to describe and depict digital entities?) Clisset&rsq uo\;s mystifying scenarios probe viewers to reconsider reality rather than accept it point-blank. Glistening surfaces of Lamborghini&rsquo\;s and foot ball helmets\; floating knives\, baseball bats\, golf clubs\, and metallic spheres\; disintegrating forms frozen in motion &mdash\; all of these sugge st a world mediated by technology\, controlled by commands and software\, s et into play by a power greater than itself. Surely\, this is part of the f un for Clisset\, and comes across in his tongue-in-cheek humor: irreverence in light of absurdity. Creating this alternative-reality is not about yiel ding power\, because this reality exists autonomously. It is Clisset&rsquo\ ;s inclination to use tools that are beyond ordinary comprehension to eluci date the complexity of our lived and imagined environments. \;
Clisset&rsquo\;s work\, while seemingly similar to photography and dig ital art\, is antithetical to these practices\, both technologically and co nceptually. Capturing 3D modeled objects through ray tracing entails simula ting rays of light \;traveling through every pixel of the image\, avera ging the angles of the light source: \;a virtual equivalent of photogra phy\, recording space and objects according to refracted light. \;Howev er\, this is a virtual world\, documented via virtual technologies. Printin g these images using the most widely practiced contemporary photographic pr ocess\, digital C-Type printing\, Clisset underscores the perplexing contra dictions that arise through his work. \;

Clisset is not a photographer\, but this does not mean he is a digital artist either. Many d igital artists employ aesthetics that are tied to a specific software or th e (in)capabilities of a given program. Such instances are largely reliant o n responses to commands and glitches\, producing work that points to system atic flaws. Although glitch aesthetics are emblematic of contemporaneity an d also reveal the underpinnings of a given (software) system\, these effort s invariably communicate the same concept. Distinct from this methodology\, Clisset uses software and technologies for their capabilities as tools\, r ather than merely pointing to their flaws\, demonstrating that the output i s only as strong as the input.

And then there is speed. With b oth photography and digitally-based practices\, speed is implicit\, if not imperative\, in many processes. Speed is almost always associated with tech nology: new tools enable us to make faster\, move faster\, live faster. Aga in\, Clisset&rsquo\;s work stands apart from technologically-based modes of making\, as there is so much information in one single image that it often takes weeks to render. Thus\, Clisset could be considered an image-maker\, alluding to a more painterly practice\, and also borrowing from the vocabu lary of sculpture as he models and arranges objects into carefully construc ted compositions.  \;

Because of technologies&rsquo\; util itarian nature\, its magical qualities are quick to fade. The most recent e xample that comes to mind is the internet. When texts on post-internet art emerged\, many contemporary artists and writers delineated some break in in ternet-based practices following this logic: there was a time when things w ere exciting and the internet was a novelty\; now it is expected and burden some. Even if this were true\, the internet simply being a fact of life doe sn&rsquo\;t mean we understand it\, let alone use it to its full potential. And so\, magic is actually all around us &ndash\; it is &ldquo\;literally in the air\,&rdquo\; to quote Mark Leckey&rsquo\;s recent discussion with L auren Cornell. Referencing Erik Davis&rsquo\; Techgnosis\, Leckey notes that &ldquo\;the more computed our environment becomes\, the further back it returns us to our primitive past\, boomerangs us right back to an a nimistic world view where everything has a spirit&hellip\;So all the object s in the world become more responsive.&rdquo\; And this &ldquo\;network of things&hellip\;creates this enchanted landscape.&rdquo\; \;Clisset virt ually actualizes this sentiment\, conjuring a world in which the incomprehe nsibility of our lived experience is made visible.
 \;

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- Kerry Doran\, New York\, August \;2014

DTEND:20141011 DTSTAMP:20140831T071020 DTSTART:20140906 GEO:40.717264;-74.002659 LOCATION:Postmasters\,54 Franklin Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Space God / Magic Guy\, Shamus Clisset UID:353606 END:VEVENT BEGIN:VEVENT DTEND:20140906T200000 DTSTAMP:20140831T071020 DTSTART:20140906T173000 GEO:40.717264;-74.002659 LOCATION:Postmasters\,54 Franklin Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Space God / Magic Guy\, Shamus Clisset UID:353607 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Each day begins optimistically in the morning: new ideas\, b ig plans\, trying things out\, building things. Then questions come: doubts \, changes\, darkness\, maybe some despair. The night may bring a nightmare or two. But then another morning inevitably arrives. The never-ending rhyt hmic cycle of trying and survival goes on. \;
 \;
< strong>Ever tried. Ever failed. No matter. Try Again. Fail again. Fail bett er.
Samuel Beckett (Worstward Ho\, 1983)
 \;< br /> Daria Irincheeva was born in 1987 in Leningrad (St. Petersburg) growi ng up in a post-Soviet Russia\, a state of socio-economic dysfunction\, ins tability\, and disillusionment. She takes reflections on these times as a p oint of departure\, as a method of thinking through failure. For Irincheeva \, the topics of crash\, collapse and the fragility of large complex system s are beautiful\, loaded concepts\, evidence of the cyclical nature of huma n history and personal experience. \;
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Irincheeva&rs quo\;s first solo exhibition at Postmasters of rough\,  \;precarious co nstructions weaves painting\, sculpture and installation together. They imp ly impermanence\, flux\, entropy\, change\, adaptation. Just like daytime b uilding and nighttime collapse\, failure leads to reconstruction\, transfor mation\, and ultimately hope. Formally precise balancing acts\, casually pu t-together with few gestures\, Irincheeva&rsquo\;s structures project stren gth in fragility. Seemingly at the edge of yet another transformation\, the y appear to withstand destruction like a tree leaning to the wind or a skys craper that sways in the hurricane yet is left standing. \;
  \;
A true builder\, Irincheeva works with common construction materia ls: bricks\, wood\, paint chips\, linoleum samples\, cement and constructio n paper. Sometimes an air plant will make an appearance. Through her transf ormative process\, her compositions elevate tough\, unremarkable elements i nto poignant\, poetic arrangements. Absurdity and unexpected humor enters a nd the thin Beckettian line between tragedy and comedy is crossed.  \;< br /> Failing better is the new black.

DTEND:20141011 DTSTAMP:20140831T071020 DTSTART:20140906 GEO:40.717264;-74.002659 LOCATION:Postmasters\,54 Franklin Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Circadian Rhythm \, Daria Irincheeva UID:353604 END:VEVENT BEGIN:VEVENT DTEND:20140906T200000 DTSTAMP:20140831T071020 DTSTART:20140906T173000 GEO:40.717264;-74.002659 LOCATION:Postmasters\,54 Franklin Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Circadian Rhythm \, Daria Irincheeva UID:353605 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Reminiscent of Basquiat's use of strong organic scribbles\, vibrant colors\, and iconography\, Handler carves his own path with his con temporary faux-naï\;f style\, distilling people and animals to their co re. \;

From his joyous\, eye-popping large canvases to small er monochromatic works\, Handler reaches an emotional universality through his exploration of images associated with childhood.

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Adam D. Handle r\, (1986) was born in Queens NY and grew up on Long Island. As a young chi ld and adolescent\, he spent countless hours at his grandparents framing fa ctory in New York City. There\, his passion for the art grew and it became inevitable that he too would discover the many possibilities of art. As a c ollege student\, Handler studied Life Drawing in Italy and went on to gradu ate from Purchase College with a major in Art History. He has also studied craft design with Jorge Nieves and printing color photography with Debra Me sa-Pelly. Handler set up his studio in Long Island City\, NY\; Handler was attracted to its industrial ambience. Handler has exhibited his work in New York City\, Greenwich CT\, Canada\, and Texas. Adam has no plans of slowin g down and continues to create new series of works\, which include sculptur e\, painting and drawing

DTEND:20141018 DTSTAMP:20140831T071020 DTSTART:20140904 GEO:40.7510517;-74.0023697 LOCATION:Fred Torres Gallery\,505 West 28th St \nNew York\, NY 10001 SEQUENCE:0 SUMMARY: "american children"\, Adam Handler UID:353602 END:VEVENT BEGIN:VEVENT DTEND:20140904T200000 DTSTAMP:20140831T071020 DTSTART:20140904T180000 GEO:40.7510517;-74.0023697 LOCATION:Fred Torres Gallery\,505 West 28th St \nNew York\, NY 10001 SEQUENCE:0 SUMMARY: "american children"\, Adam Handler UID:353603 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20141004 DTSTAMP:20140831T071020 DTSTART:20140904 GEO:40.747609;-74.0057766 LOCATION:Ameringer | McEnery | Yohe\,525 West 22nd Street \nNew York\, New York 10011 SEQUENCE:0 SUMMARY:EVERYBODYWILLBEDANCINGIFWE'REDOINGITRIGHT\, Markus Linnenbrink UID:353600 END:VEVENT BEGIN:VEVENT DTEND:20140904T200000 DTSTAMP:20140831T071020 DTSTART:20140904T180000 GEO:40.747609;-74.0057766 LOCATION:Ameringer | McEnery | Yohe\,525 West 22nd Street \nNew York\, New York 10011 SEQUENCE:0 SUMMARY:EVERYBODYWILLBEDANCINGIFWE'REDOINGITRIGHT\, Markus Linnenbrink UID:353601 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Paula Cooper Gallery is pleased to present Mark di Suver o&rsquo\;s new powerful sculpture\, \;Luney Breakout. Several of the artist&rsquo\;s large\, joyously colorful paintings will be shown wi th the sculptures. The exhibit will be on view at 534 West 21st Street from September 6 through October 22\, 2014.

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Luney Breakoutis a n expansive 22-foot sculpture composed entirely of weathered\, rusting stee l. Hard-edged I-beams support curls of torqued metal that unfurl into horiz ontal space. The artist seamlessly reconciles industrial metal and acute an gles with gravity-defying lightness and delicate curves\, creating a work a t once majestic and playful\, indestructible and weatherworn.Luney Brea kout \;marks the artist&rsquo\;s enduring preeminence in abstract sculpture over his fifty-year career.

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Mark di Suvero&rsquo\;s first retrospective was in 1975 at the Whitney Museum of American Art. In additi on to many museum shows\, di Suvero has had acclaimed international exhibit ions in Nice (1991)\, Venice (1995\, on the occasion of the 46th Venice Bie nnale) and Paris (1997). In 2011\, eleven monumental works were installed o n Governor&rsquo\;s Island in New York Harbor\, the largest outdoor exhibit ion of work in New York since the 1970s. That same year di Suvero received the National Medal of Arts\, the nation&rsquo\;s highest honor given to art ists. From May 2013-2014\, SFMOMA presented eight monumental sculptures in the city&rsquo\;s historic Crissy Field for a yearlong outdoor exhibition.< /p>\n

A number of di Suvero sculptures are permanently installed at the S torm King Art Center\, Mountainville\, New York\, a sculpture park that has also organized important exhibitions of the artist&rsquo\;s work in 1985\, 1995-96\, 2005-6 and 2008. Di Suvero lives and works in New York.

DTEND:20141022 DTSTAMP:20140831T071020 DTSTART:20140906 GEO:40.746921;-74.006891 LOCATION:Paula Cooper Gallery - 534 W. 21st Street\,534 W.21st St. \nNew Yo rk\, NY 10011 SEQUENCE:0 SUMMARY:Luney Breakout\, Mark di Suvero UID:353595 END:VEVENT BEGIN:VEVENT DTEND:20140905T200000 DTSTAMP:20140831T071020 DTSTART:20140905T180000 GEO:40.746921;-74.006891 LOCATION:Paula Cooper Gallery - 534 W. 21st Street\,534 W.21st St. \nNew Yo rk\, NY 10011 SEQUENCE:0 SUMMARY:Luney Breakout\, Mark di Suvero UID:353596 END:VEVENT END:VCALENDAR