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

Selected Works by Pratt Second -Year M.F.A. Candidates

DTEND:20140425 DTSTAMP:20140416T105552 DTSTART:20140411 GEO:40.7230068;-73.9556587 LOCATION:The Boiler (Pierogi)\,191 North 14th Street \nBrooklyn\, NY 11211 SEQUENCE:0 SUMMARY:Archives of the Collective UID:332429 END:VEVENT BEGIN:VEVENT DTEND:20140411T200000 DTSTAMP:20140416T105552 DTSTART:20140411T180000 GEO:40.7230068;-73.9556587 LOCATION:The Boiler (Pierogi)\,191 North 14th Street \nBrooklyn\, NY 11211 SEQUENCE:0 SUMMARY:Archives of the Collective UID:332430 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Goethe-Institut New York and the Galerie fü\;r Lands chaftskunst present Free River Zones: An artistic inquiry. The pro ject by six participants from the US\, India and Germany is inspired by the ideas\, visions and academic practice of Alexander von Humboldt within an experimental artistic format: field trips on New York's waterways\, collabo rative art work\, and a series of talks about rivers worldwide will culmina te into the declaration of a "Free River Zone" in New York and an art exhib ition at the Goethe-Institut Wyoming Building.

The point of dep arture is Humboldt's river voyage with Aimé\; Bonpland on the Orinoco and the Rio Negro in South America in 1800. Based on this historical event \, the exhibition will present a contemporary take on Humboldt's legacy and is related to the exhibition "The Unity of Nature: Alexander von Humboldt and the Americas" at the Americas Society.

The idea of a "Free River Zone" is an experimental inquiry about the preconceptions and usage o f rivers\, aimed at overcoming antiquated definitions and developing new pe rceptions of landscape. It consists of acts of self-authorized "artistic de claration"\, which have been accomplished through interdisciplinary researc h and public discussions about the possible meanings and consequences of a "Free River Zone" status. For each river area\, specific modi operandi are chosen&mdash\;technical\, political\, ecological\, cultural\, poetical or n on-logical ones&mdash\;to displace them from purposes of societal functions .

Free River Zones: An artistic inquiry will be a foru m for discussions and collaborative art work\, as well as for field trips t o locations in and around New York City and its waterways. The artists will discuss and select an area as an experimental case study for a declaration of an urban "Free River Zone".

In parallel\, a series of talks will explore related existing projects with the river Elbe in the Hamburg port area in Germany as well as the river Yamuna in India and others.


Participants:

Ravi Agarwal< /strong> is a photographer artist\, writer\, curator\, and environmental ac tivist. He explores issues of urban space\, ecology and capital in interrel ated ways working with photographs\, video\, performance\, on-site installa tions\, and public art. He is the founder of the well-known Indian NGO Toxics Link and has been internationally awarded for his work.
< br />New York based eco-artist Bob Braine is dedicated to exploring\, understanding\, and interpreting the interaction of people and their environment. In his performative and experimental art work he has exp lored rivers\, landscapes\, and ecosystems in New York\, the United States\ , Germany and South America&mdash\;by feet\, bicycle and by boat. Having st udied Fine Art in the University of Hartford Art School\, he specialized an d extensively published on histories and environments of rivers such as the Hudson River or the Main in Germany.

In his many residencies a nd projects across Asia\, Europe\, and the Unites States\, New York based a rtist David Brooks has devoted himself to ideas and questi ons of sustainability\, nature\, and urban environmental action. Examining the relationship between the individual and the built and natural environme nt\, he rigorously calls our concepts and ideas of nature into question. Bo rn in Brazil\, he earned a BFA from The Cooper Union and an MFA from Columb ia University\, after attending the Stä\;delschule\, Staatliche Hochsch ule fü\;r Bildende Kü\;nste in Frankfurt am Main in Germany.

Till Krause focuses in his works on landscapes\, nat ure\, urbanism\, and space in general. In this context he explores question s of history\, usage and structure. How do people engage with their surroun ding environment and how does this relationship become visible? His project s often oscillate between art and other sciences. Moreover\, Till Krause is the co-founder of the Museum ferner Gegenden and Galerie f&uu ml\;r Landschaftskunst in Hamburg.

Marie Lorenz studied at Rhode Island School of Design and Yale University. Her ar twork combines psycho-geographic exploration with highly crafted\, material forms. In her ongoing Project The Tide and Current Taxi she explo res the waterways of New York City in self-build boats. Whether bringing pa ssengers aboard or traveling solo in her rowboat she documents her journey through pictures\, videos\, and artifacts.

Hilmar Sch&a uml\;fer is research assistant at the chair of comparative cultura l sociology at the European University Viadrina\, Frankfurt (Oder). Next to his research focuses in the fields of sociological theory and cultural soc iology\, Hilmar Schä\;fer also participates in interdisciplinary exhibi tions on Pierre Bourdieu\, ethnographic field research\, and society. Refer ring to the interface between culture and nature he conceptualized and orga nized the interdisciplinary art project Biological Research Station Als ter at Galerie fü\;r Landschaftskunst\, in cooperation wi th Mark Dion.

Free River Zones: An artistic inquiry is pres ented by the Goethe-Institut New York and features work developed by the Ga lerie fü\;r Landschaftskunst\, Ravi Agarwal\, Bob Braine\, David Brooks \, Till Krause\, Marie Lorenz\, and Hilmar Schä\;fer. This collaboratio n was made possible through the generous support of Friends of Goethe New Y ork\, Inc.

DTEND:20140531 DTSTAMP:20140416T105552 DTSTART:20140430 GEO:40.7263499;-73.991106 LOCATION:The Goethe-Institut (Wyoming Building)\,5 East 3rd Street \nNew Yo rk\, NY 10003 SEQUENCE:0 SUMMARY:Free River Zones: An artistic inquiry\, Ravi Agarwal\, Bob Braine\, David Brooks\, Till Krause\, Marie Lorenz\, Hilmar Schäfer UID:332280 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Indian-born photographer Prabir Purkayastha debuts a new col lection of large-scale black-and-white photographs documenting the fading c olonial architecture of Calcutta\, once Asia&rsquo\;s most cosmopolitan cit y.

The project began in 2006\, when Purkayastha\, who was trav eling through the city\, was struck by the dwindling Jewish\, Chinese\, Arm enian\, Parsi and Anglo-Indian communities that once populated&mdash\;and h elped build&mdash\;Calcutta. Awed by the crumbling facades of the buildings associated with these ethnic groups\, Purkayastha returned in 2007 to phot ograph them.

&ldquo\;For some inexplicable reason I couldn&rsq uo\;t see myself as just another mute spectator pretending that they never existed\,&ldquo\; says Purkayastha. &ldquo\;Watching helplessly as communit ies slowly vanish into the dusty corners of our nation&rsquo\;s history\, I felt something needed to be done to record and preserve for future generat ions.&rdquo\;

The project grew in scope\, eventually encompass ing not only the architecture of these fading minority communities\, but al so much of the city&rsquo\;s British colonial architecture\, both grand and humble. Many of the buildings documented are in various states of disrepai r&mdash\;some are crumbling\, abandoned or illegally occupied&mdash\;while others still function\, albeit in reduced roles\, such as the magnificent 1 50-year-old mansion once occupied by the 19th century philanthropist Rani R ashmoni\, now a municipal office. The photographs lay bare the formidable p reservation challenges facing the city. The Magen David Synagogue built in 1884\, for example\, which no longer has a congregation\, is maintained onl y by a handful of elderly devotees.

The story of Calcutta bega n in 1690\, when Job Charnock of London&rsquo\;s famed East India Company l anded on the banks of the Hooghly River. It was an ideal location for a Bri tish trading post and Calcutta soon became a thriving center of commerce an d culture\, attracting merchants and laborers from India and abroad.

By the mid 19th century\, Calcutta was the capital of British India and its prominence was reflected in the opulent buildings that began to pun ctuate the city. At the same time\, native feudal lords\, wealthy merchants and the Bengali elite were also erecting their own grand villas along with government\, commercial and religious buildings\, all of which earned Calc utta the nickname "City of Palaces." The new architecture reflected the cit y&rsquo\;s diversity\, incorporating both Western and Eastern influences an d merging European styles&mdash\;Gothic\, Baroque\, neoclassical and Art No uveau&mdash\;with traditional Hindu\, Moorish and Islamic architectural det ails.

The end of the British Raj brought an end to the city&rs quo\;s meteoric urban development and what remains today\, and what Prabir Purkayastha has captured in his photographs\, are the hauntingly beautiful remnants of Calcutta&rsquo\;s storied past&mdash\;a history set in stone an d mortar.

Award-winning photographer Prabir Purkayastha was bo rn in Central India in 1952. After graduating from the University of Delhi he worked in Thailand as a journalist. Purkayastha returned to India in 198 0\, becoming one of the country&rsquo\;s leading advertising practitioners in agency management and creative campaigns. He began taking photographs in earnest in the late 1980s\, primarily in Indochina and India\, including i n Ladakh\, Rajasthan\, Assam\, and now\, Calcutta. During the past decade\, Purkayastha has exhibited his work in New York\, Chicago\, Katonah\, Los A ngeles\, London\, Cologne\, New Delhi\, Calcutta and Mumbai. He works both digitally and in film and describes himself as a cross between a storytelle r and sociocultural anthropologist. He's based in Delhi.

Prabi r Purkayastha&rsquo\;s exhibition Aksaha (2002) received the Habit at Award for Best Photography Exhibition and in 2003 his InterGlobe calenda r took top prize at the SAPPI Asian Awards for Printing. In 2005 and 2007\, he was invited to speak at the Rubin Museum of Art\, New York\, about his wall-mural photographs of the ancient Ladakhi monasteries. In 2009\, he was nominated for the international Prix Pictet Award and was selected as one of the Super Six Photographers by Fuji Film\, India.

Purkayast ha&rsquo\;s work is in numerous private and corporate collections and has b een featured in international magazines and newspapers including Black &\; White magazine\, Silvershotz and ARTnews. His critically acclaimed book Ladakh (Prestel Publishing\, 2005) won several awards\, including Book of the Month\, from Better Photography\, UK \; the Black &\; White Photography Magazine Spotlight Award\; t he Gold Medal from the All India Federation of Master Printers\; and the Si lver Medal from SAAPI\, Jakarta\, in 2006. His second book\, which focuses on Assam\, is slated for publication later this year.

DTEND:20140531 DTSTAMP:20140416T105552 DTSTART:20140501 GEO:40.75111;-74.004475 LOCATION:Sundaram Tagore Gallery - Chelsea\,547 W. 27th St \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:STORIES IN STONE\, PHOTOGRAPHS OF COLONIAL CALCUTTA\, Prabir Purkay astha UID:332278 END:VEVENT BEGIN:VEVENT DTEND:20140501T200000 DTSTAMP:20140416T105552 DTSTART:20140501T180000 GEO:40.75111;-74.004475 LOCATION:Sundaram Tagore Gallery - Chelsea\,547 W. 27th St \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:STORIES IN STONE\, PHOTOGRAPHS OF COLONIAL CALCUTTA\, Prabir Purkay astha UID:332279 END:VEVENT BEGIN:VEVENT DESCRIPTION:

RYAN LEE is pleased to announce Donald Sultan: Artifice\, an exhibition of new paintings by Donald Sultan\, and the inaugural exhibitio n in the gallery&rsquo\;s new 8\,000-square-foot space located at 515 West 26th Street. Donald Sultan: Artifice will highlight the artist&rsquo\;s con tinued interest in and reinvention of the still-life genre through the expl oration of color\, scale\, form\, and repetition that is characteristic of his practice.
The exhibition will feature eight paintings and an alumi num sculpture that introduce new imagery\, including the button poppy\, as well as expand upon imagery he has used in his artistic practice. There are variations on both his signature poppy image inspired by the red poppies w orn to commemorate Veteran&rsquo\;s Day\, overlaid with the herringbone pat tern\, and the more recent lantern flower patterns\, derived from a detail of a Chinese paper lantern. Among the works on view will be two monumental paintings of an iconic single flower combined with a plastic button for the first time. Emphasizing the tough\, sumptuous texture and rich\, bold colo rs of the paintings through multiple layers of pigment\, plaster\, and lino leum\, he reveals a single form\, one that is strangely recognizable\, yet unreal. Sultan says\, &ldquo\;It&rsquo\;s a painting that looks at you.&rdq uo\; Blue Poppy Yellow Poppy\, Nov 4 2013 is a double-sided aluminum sculpt ure related to the physicality of the paintings. It is predominantly blue o n one side and predominantly yellow on the other\, with an exposed metal ce nter and edge that reveals it&rsquo\;s materiality.
Sultan\, an intern ationally recognized artist who rose to prominence in the late 1970s as par t of the &ldquo\;New Image&rdquo\; movement\, is known for elevating the st ill-life tradition through the deconstruction of his subjects into basic fo rms and the use of industrial materials. His paintings characteristically e mploy enamel\, roofing tar\, aluminum\, linoleum\, and spackle\, pushing th e boundaries of the medium through techniques of gouging\, sanding\, and bu ffing to create flatness\, depth\, and texture. The works are made of the s ame materials as the building in which the viewer stands\; the architecture participates in the paintings. Weighty and structured\, Sultan&rsquo\;s pa intings are simultaneously abstract and representational: while his imagery is immediately recognizable &ndash\; flowers\, daily objects\, insignia\, idle factories &ndash\; the dominating\, abstract forms contradict its comm on association with fragility.
Born in Asheville\, North Carolina\, Su ltan studied at the University of North Carolina\, Chapel Hill and later re ceived his MFA from the School of the Art Institute\, Chicago. His first so lo exhibition was mounted in 1977 at Artists Space in New York\, and his wo rk has since been exhibited worldwide in solo and group exhibitions\, inclu ding at: the Contemporary Arts Center\, Cincinnati\; Corcoran Gallery of Ar t\, Washington\, DC\; Gotlands Konst Museum\, Sweden\; Institute of Contemp orary Art\, Tokyo\; Los Angeles County Museum of Art\; Memphis Brooks Museu m\, Memphis\; Museum of Modern Art\, New York\; Musé\;e d&rsquo\;art Contemporain\, Montreal\; National Galerie\, Berlin\; Solomon R. Guggenheim Museum\, New York\; and Whitney Museum of American Art\, New York. His wor k is included in internationally renowned public and private collections\, among them The Art Institute of Chicago\; British Museum\; Cincinnati Art M useum\; Cleveland Art Museum\; Dallas Museum of Fine Arts\; Detroit Institu te of Arts\; Fogg Art Museum at Harvard University\, Cambridge\; Hirshhorn Museum and Sculpture Garden\, Washington\, DC\; Ludwig Museum\, Budapest\; The Metropolitan Museum of Art\, New York\; Museum of Contemporary Art\, To kyo\; Museum of Fine Arts\, Boston\; Museum of Fine Arts\, Houston\; Museum of Modern Art\, New York\; National Gallery of Australia\, Canberra\; Neub erger Museum at SUNY-Purchase\, New York\; San Francisco Museum of Modern A rt\; Singapore
Museum of Art\; The Solomon R. Guggenheim Museum\, New York\; Tate Gallery\, London\; and Walker Art Center\, Minneapolis.

DTEND:20140627 DTSTAMP:20140416T105552 DTSTART:20140424 GEO:40.7501327;-74.0040196 LOCATION:Ryan Lee\,527 West 26th Street \nNew York\, NY 10001 SEQUENCE:0 SUMMARY: Artifice\, Donald Sultan UID:332274 END:VEVENT BEGIN:VEVENT DTEND:20140424T200000 DTSTAMP:20140416T105552 DTSTART:20140424T180000 GEO:40.7501327;-74.0040196 LOCATION:Ryan Lee\,527 West 26th Street \nNew York\, NY 10001 SEQUENCE:0 SUMMARY: Artifice\, Donald Sultan UID:332275 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The CalArts Art Benefit and Auction is a fundraising effort in which more than 80 important works of art donated by CalArts alumni\, fa culty and friends will be exhibited and sold this spring. This unprecedente d initiative will fund the new John Baldessari Building and endow scholarsh ips for students at the CalArts School of Art.

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Through his generous and innovative teaching and his exceptional art practice\, John Baldessari \, a Chouinard alumnus and former CalArts faculty member\, has influenced t housands of young artists and has earned a prominent place in the history o f contemporary art. The Baldessari Building is the Institute&rsquo\;s newes t educational facility featuring exhibition and instructional space as well as 16 artists&rsquo\; studios. Reducing student debt is one of the Institu te&rsquo\;s highest priorities\, and the endowment created from proceeds fr om the auction and sales will allow more CalArts students to launch their c reative careers without the burden of enormous debt.

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The initiative launched with an opening reception for the exhibition at Regen Projects in West Hollywood\, CA on February 25\, 2014 and now travels to Paula Cooper Gallery and Metro Pictures in New York from April 5&ndash\;19\, 2014. The o pening reception on April 5 features a performance by Los Angeles-based col lective My Barbarian that will move between the two galleries.

DTEND:20140419 DTSTAMP:20140416T105552 DTSTART:20140405 GEO:40.747213;-74.00618 LOCATION:Paula Cooper Gallery - 521 W. 21st Street\,521 W 21 St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Cal Arts Benefit Exhibition\, Jonathan Borofsky\, Sam Durant\, Char les Gaines\, Liz Glynn\, Hans Haacke\, Douglas Huebler UID:332271 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140531 DTSTAMP:20140416T105552 DTSTART:20140418 GEO:40.752066;-74.003497 LOCATION:Martos Gallery\,540 W. 29th St. \nNew York\, NY 10001 SEQUENCE:0 SUMMARY: Eighty Three\, Jory Rabinovitz UID:332265 END:VEVENT BEGIN:VEVENT DTEND:20140418T200000 DTSTAMP:20140416T105552 DTSTART:20140418T180000 GEO:40.752066;-74.003497 LOCATION:Martos Gallery\,540 W. 29th St. \nNew York\, NY 10001 SEQUENCE:0 SUMMARY: Eighty Three\, Jory Rabinovitz UID:332266 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140621 DTSTAMP:20140416T105552 DTSTART:20140425 GEO:40.73102;-74.0080622 LOCATION:Maccarone (Greenwich Street)\,630 Greenwich Street \nNew York\, NY 10014 SEQUENCE:0 SUMMARY:Objects of Desire: 1983-1988\, Sarah Charlesworth UID:332263 END:VEVENT BEGIN:VEVENT DTEND:20140425T200000 DTSTAMP:20140416T105552 DTSTART:20140425T180000 GEO:40.73102;-74.0080622 LOCATION:Maccarone (Greenwich Street)\,630 Greenwich Street \nNew York\, NY 10014 SEQUENCE:0 SUMMARY:Objects of Desire: 1983-1988\, Sarah Charlesworth UID:332264 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140601 DTSTAMP:20140416T105552 DTSTART:20140424 GEO:40.7193354;-73.9941193 LOCATION:Canada\,333 Broome St \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Machines \, Matt Connors UID:332260 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140601 DTSTAMP:20140416T105552 DTSTART:20140424 GEO:40.725623;-73.991532 LOCATION:American Contemporary\,4 East 2nd Street \nNew York\, NY 10003 SEQUENCE:0 SUMMARY:WILD FUSION : Vol. I – Total Collapse\, Michael Manning UID:332256 END:VEVENT BEGIN:VEVENT DTEND:20140424T200000 DTSTAMP:20140416T105552 DTSTART:20140424T180000 GEO:40.725623;-73.991532 LOCATION:American Contemporary\,4 East 2nd Street \nNew York\, NY 10003 SEQUENCE:0 SUMMARY:WILD FUSION : Vol. I – Total Collapse\, Michael Manning UID:332257 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Acquavella Galleries is pleased to present Jean-Michel Basqu iat Drawing: Work from the Schorr Family Collection\, an exhibition of work s by Jean-Michel Basquiat curated by Fred Hoffman from May 1 to June 13\, 2 014. The show will feature 22 works on paper and two paintings from the col lection of Herbert and Lenore Schorr\, who were the artist&rsquo\;s devoted collectors\, supporters\, and friends. "We have had the pleasure of knowin g Herb and Lenore Schorr for over thirty years\, and are delighted to prese nt the first exhibition on their important collection of works by Jean-Mich el Basquiat\,&rdquo\; said William Acquavella. &ldquo\;Focusing on the sign ificance of drawing in Basquiat's practice\, we are pleased to show these r emarkable works on paper\, many of which are being exhibited to the public for the first time."

Herbert and Lenore Schorr began collectin g the work of Jean-Michel Basquiat in 1981\, before his first New York exhi bition. &ldquo\;During the artist&rsquo\;s seminal years 1982-83 the Schorr s acquired several of his most important paintings\, but in contrast to vir tually every other early collector\, the Schorrs also pursued and acquired a great number of works on paper both directly from the artist and from his early dealers\,&rdquo\; explained curator Fred Hoffman. &ldquo\;The Schorr s astutely understood that working on paper was equally central to his prac tice as painting on canvas. Their collection demonstrates both the focus an d ambition that the artist invested in the medium of drawing.&rdquo\;

Basquiat showed an affinity for drawing at an early age and this pr actice was a central component of his artistic output. Between 1980-88\, th e artist produced approximately 1000 works on paper\, which articulate comp lex narratives\, revealing flawed power structures and hinting at fundament al failings in social discourse.

The portrait of Herbert and L enore Schorr that will be included in the exhibition highlights the impact their support had on the artist&rsquo\;s short but prolific career. &ldquo\ ;We had so much confidence in him from the beginning and couldn&rsquo\;t un derstand why other people couldn&rsquo\;t see it\,&rdquo\; explained Lenore Schorr. &ldquo\;A wonderful exhibition that he did at Fun Gallery in 1983 didn&rsquo\;t receive a single review and we were the only ones to buy a pa inting.&rdquo\; That painting\, Leonardo da Vinci&rsquo\;s Greatest Hits is now considered a seminal example of the artist&rsquo\;s work and will be o ne of two paintings on view.

Curator Fred Hoffman\, Ph.D. met Jean-Michel Basquiat in 1982 and worked closely with him during the artist &rsquo\;s residency in Venice\, California from 1982-84. With Hoffman's hel p\, Basquiat produced five editions of prints\, published in 1983 by New Ci ty Editions. Hoffman also assisted in the production of the artist&rsquo\;s 1984 silkscreen paintings and co-curated Basquiat&rsquo\;s retrospective a t the Brooklyn Museum in 2005. He is the Ahmanson Curatorial Fellow at the Museum of Contemporary Art\, Los Angeles.

Jean-Michel Basquia t (b.1960 d.1988) has been the subject of numerous major museum exhibitions throughout the United States and Europe. In 2005\, a retrospective exhibit ion\, Basquiat\, opened at the Brooklyn Museum of Art\, and subsequently tr aveled to the Museum of Contemporary Art\, Los Angeles and the Museum of Fi ne Arts\, Houston. A 2010 retrospective\, organized by the Fondation Beyele r in collaboration with the Musé\;e d&rsquo\;Art Moderne de la Ville de Paris\, marked what would have been Basquiat&rsquo\;s 50th birthday. His work is included in private and public collections throughout the world\, including The Broad Art Foundation\, Santa Monica\; Centre Georges Pompidou \, Paris\; Museu d' art Contemporani de Barcelona\, Spain\; and The Museum of Modern Art\, New York.

A fully illustrated catalogue with a n essay by Fred Hoffman will accompany the exhibition.

DTEND:20140613 DTSTAMP:20140416T105552 DTSTART:20140501 GEO:40.7762839;-73.9626764 LOCATION:Acquavella Galleries\,18 East 79th Street \nNew York\, NY 10075 SEQUENCE:0 SUMMARY:Drawing - Work from the Schorr Family Collection\, Jean-Michel Basq uiat UID:332254 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Born at Zurich&rsquo\;s Cabaret Voltaire in 1916\, the Dada movement quickly spread to cities such as New York\, Berlin and Paris. Ente r a &ldquo\;nomadic&rdquo\; tent and discover the visions\, actions\, scand als and love stories of 165 Dadaists: Jean Arp\, Hugo Ball\, André\; Breton\, Marcel Duchamp\, Baroness
Elsa von Freytag-Loringhoven\, Fra ncis Picabia\, Sophie Taeuber-Arp and Tristan Tzara\, among others. The mul timedia installation features the &ldquo\;Starry Heaven of Dada\,&rdquo\; m apping the journey of this international art movement from 1916 to 1923.

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Zü\;rich Meets New York: A Festival of Swiss Ingenuity\, May 16-2 3\, 2014\, \;highlights \;the contemporary relevance of visionary m ovements and ideas born in Zurich and their impact on American culture. Bui lding on the upcoming 100th anniversary of the Dada movement and Zurich&rsq uo\;s role as a 21st-century hub for artistic and scientific innovation\, t he festival features 25 events at venues across the city\, and is presented by the Consulate General of Switzerland in New York\, the City of Zurich\, ETH Zurich and the University of Zurich (UZH).

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Free admission

DTEND:20140522 DTSTAMP:20140416T105552 DTSTART:20140518 GEO:40.7190592;-73.9939197 LOCATION:Whitebox Art Center\,329 Broome Street \nNew York\, New York 10002 SEQUENCE:0 SUMMARY:Dada on Tour\, Jean Arp\, Hugo Ball\, Andre Breton\, Marcel Duchamp \, Baroness Elsa von Freytag Loringhoven\, Francis Picabia\, Sophie Taeuber -Arp\, Tristan Tzara UID:332252 END:VEVENT BEGIN:VEVENT DTEND:20140518T180000 DTSTAMP:20140416T105552 DTSTART:20140518T110000 GEO:40.7190592;-73.9939197 LOCATION:Whitebox Art Center\,329 Broome Street \nNew York\, New York 10002 SEQUENCE:0 SUMMARY:Dada on Tour\, Jean Arp\, Hugo Ball\, Andre Breton\, Marcel Duchamp \, Francis Picabia\, Sophie Taeuber-Arp\, Tristan Tzara\, Baroness Elsa von Freytag Loringhoven UID:332253 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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The internationally reno wned fine art photographer\, author\, educator and filmmaker\, Lucien Clerg ue (b. Arles France\, 1934) is the subject of an exhibit at Throckmorton Fi ne Art\, titled "Homage." The exhibit includes more than thirty rare and vi ntage images spanning his entire career. The exhibit is in honor and celebr ation of Clergue&rsquo\;s 80th Birthday.

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According to Spencer Throc kmorton\, "There is no singular talent with as legendary and iconic a histo ry as Lucien Clergue. His work has been associated with some of France's mo st significant artists\, intellectuals\, and musicians including Jean Cocte au\, Pablo Picasso\, Roland Barthes\, and the Gypsy Kings. His contribution s to the development and popularization of French photographic art have bee n extraordinary by any measure."

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Clergue discovered the power of th e camera in his difficult adolescence after witnessing the destruction of h is family's house by WWII bombs\, and the prolonged illness and death of hi s mother. His later work turned to organic abstractions of sand and lace\, and was influenced by mythology\, adventure and what he calls\, 'the mental ity of the Mediterranean man.' Clergue's work has been exhibited worldwide in more than 100 solo exhibitions and is included in the collections of man y major museums and the most discerning private collectors. He was the firs t photographer to be elected to the Acadé\;mie des Beaux-Arts de Fran ce\, and was honored with both the Order of Merit in 1980\, and the Order o f the Legion of Honor\, in 2003. In 2013 Clergue chaired the Academy of Fin e Arts of the Institute of France. He is also a member of the Arles Academy of Arts\, holds a Ph.D.\, and is the author of 75 books. Clergue was the f irst photographer to present a thesis with photographs only\, no hand writi ng\, he wrote with light only.

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Kraige Block\, Executive Director of Throckmorton Fine Art says\, "Clergue is best known for his female nude to rsos from the mid- 1950s-70s. He photographed nudes in the woods\, on deser t sands\, in sea waves\, and on Paris and New York streets\, emphasizing bo dy shapes by the play of light and shade. In his travels Clergue developed the theme with different models\, opening workshops in various cities. His devotion to this theme has won him scandalous reputation with the Fidel Cas tro administration barred him from visiting Cuba in 2001."

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In 1953\ , leaving the Arles bullfighting arena\, Lucien Clergue summoned his courag e and approached the then 62 year old Pablo Picasso to show him his photogr aphs. Clergue worked for the next two years to prepare a portfolio to impre ss the master. His photos of Provence and postwar ruins led to a five hour conversation with Picasso in Cannes in 1955 when Picasso promised to design a cover for Clergue's first book as well as a poster for his first exhibit ion. While the poster was too provocative for the organizers to use\, this meeting resulted in a lifelong friendship until Picasso's death.

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Cl ergue absorbed much from the artists and patrons who mentored and supported him through the decades\, and his talents evolved to include virtually all the visual arts from photography and film-making to Television productions \, stage and set design and textile design. He has also taught at such inst itutions as the New School of Social Research\; conducted countless worksho ps on photographic technique\, particularly dealing with the nude\; publish ed a number of art volumes and been the subject of many museum catalogs. In 1969 Lucien Clergue established the Recontres Internationales de la Photog raphie at Arles\, which is considered one of the most important art festiva ls in the world.

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Lucien Clergue is married to the art curator Yolan de Clergue\, founder of The Fondation Vincent van Gogh Arles and he is the father of two daughters: Anne Clergue (a curator of contemporary art) and O livia Clergue (a handbag fashion designer whose godfather was Pablo Picasso ).

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Anne Clergue says\, "Lucien Clergue's world is haunted by Eros a nd Thanatos\, a world in which life and death are ever holding arms and fro licking. From the dead animals abandoned by the Rhone river to the gypsies and naked bodies in the sea\, from the dead bulls to the sands of the Camar gue\, Clergue reveals a world of signs that we are often unable to distingu ish by ourselves. He opens the door of an imaginary world\, which only belo ngs to himself. Attentive to the unseen\, he makes it sensible and visible.

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DTEND:20140712 DTSTAMP:20140416T105552 DTSTART:20140501 GEO:40.760955;-73.968441 LOCATION:Throckmorton Fine Art\,145 EAST 57th STREET\, 3RD FLOOR \nNEW YORK \, NEW YORK 10022 SEQUENCE:0 SUMMARY: HOMAGE \, Lucien Clergue UID:332247 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Team (gallery\, inc.) is pleased to announce a solo show by New York-based artist Daniel Turner. Entitled PM\, the exhibition will run from 04 May through 01 June 2014. Team is located at 83 Grand Stre et\, between Wooster and Greene\, on the ground floor. Concurrently\, our 4 7 Wooster Street space will house Chez Perv\, a collaborative exhi bition by Gardar Eide Einarsson\, Matias Faldbakken and Oscar Tuazon.

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For this exhibition\, Daniel Turner has produced three large-scale sculp tures that take the form of countertops. The objects\, with their immaculat e\, office-kitchen finish and spartan design\, do not resonate with the dom estic experience\, however\, attracting instead insidious associations with the industrial and institutional &mdash\; factories\, schools\, feed-lots. They appear utterly familiar while also remaining ambiguous\, ultimately d enying the utility they initially suggest.

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The sphinx-like sculptur es&rsquo\; proportions\, scale and components render them obscure. At over twenty feet long but under three feet tall\, they are simultaneously monume ntal and miniature\, imposingly grandiose and frustratingly underwhelming. They either conform to or react against the proportions of the human body. Two of the sculptures feature long\, trough-like stainless steel sink-basin s but without drains or faucets. A grey film covers these metal surfaces\, which was produced by allowing unfiltered water to evaporate. This sediment serves as the singular interruption of the sculptures&rsquo\; otherwise st erile and pristine finish. Rather than proclaiming the artist&rsquo\;s hand \, the vague residue seems more the byproduct of some recent activity\, but whether that is cleaning\, feeding\, butchering or something else altogeth er is left unclear. Two refrigerator handles sit on the surface of the thir d unit\, once-useful objects\, extracted from their intended context and pl aced atop a perverse pedestal.

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Turner exploits the potential for ps ychological violence that may lie beneath an object&rsquo\;s purely formal qualities\, employing a fixed set of parameters culled from recognizable ex ternal sources. As a group\, these sculptures occupy an unsettling middle-g round\, perched delicately and dangerously on the brink of pure formalist a bstraction and pure appropriative representation. Neither pleasant nor offe nsive\, their particular shade of yellow paint is numbing\, placatory. They avoid commentary or judgment altogether &mdash\; the artist&rsquo\;s near invisibility in the works imbues them with an almost aggressive neutrality &mdash\; yet their effect is profoundly disquieting. His primary act is one of isolation and presentation\, forcing a perceptual encounter on the view er rather than engaging him in a conversation. By allowing our own tertiary associations to color the experience of the works\, Turner endows them wit h a strange emotional intrusiveness.

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Turner\, at 30 years old\, has been the subject of numerous monographic exhibitions\, both internationall y and stateside. He was awarded an artist&rsquo\;s residency at the Chinati Foundation for this upcoming autumn. This is Turner&rsquo\;s first solo ex hibition with Team.

DTEND:20140601 DTSTAMP:20140416T105552 DTSTART:20140504 GEO:40.7217091;-74.0025345 LOCATION:Team Gallery - Grand St\,83 Grand St. \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:PM \, Daniel Turner UID:332241 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140607 DTSTAMP:20140416T105552 DTSTART:20140426 GEO:40.7469616;-74.0063805 LOCATION:Tanya Bonakdar Gallery\,521 W. 21st St. \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Solo Exhibition\, Meschac Gaba UID:332238 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Sperone Westwater is pleased to announce an exhibition of ne w paintings by Guillermo Kuitca\, marking over 20 years of collaboration be tween the Argentinean artist and the gallery.

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Kuitca's new p aintings incorporate classic subject matter such as fragmentation and carto graphy with dynamic rhythms\, most dramatically evidenced by Untitled\, 2014\, a room-like structure measuring approximately 8 ½\; x 10 x 7 ½\; feet. \; This major installation developed organically f rom an experience in the artist's studio. \; While working on a large s cale\, Kuitca felt that the geometric shapes necessitated an expansion beyo nd the borders of the canvas. \; Kuitca spontaneously started to extend the surface by painting directly onto the studio walls. \; The quasi-s ymmetrical structure Untitled is a continuation of this experience . \; The work&rsquo\;s outside is anonymous &ndash\; wood panels are pa inted white\, leaving traces of its construction visible. \; The viewer must enter inside the space and become immersed in Kuitca's mark-making to fully experience the painting. \; His paint handling echoes Modernist stylistic elements of cut and fractured forms that rhythmically activate th e surface. \; Untitled envelops the viewer\, encouraging conte mplation.

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The large collage Untitled\, 2013\, exten ds the technique of his earlier theater and opera house collages\, while th e work&rsquo\;s imagery derives from Kuitca&rsquo\;s paintings of fragmente d road maps. \; The vivid abstraction is composed of paper fragments\, large and small\, scattered across the surface creating an arbitrary depict ion of unreadable information. \; Unlike Kuitca's earlier cartographic works\, the recent ones have no place names or orientation aids. \; Pre cise identification is precluded. The painting Desesperació\;n y Aislamiento (Despair and Isolation)\, 2012\, contains the complete cap tion information\, listing artist\, title\, year\, and technique &ndash\; a n ironic juxtaposition within the otherwise reference-less work. \; Lin es go across the painting&rsquo\;s underlying geometrical structure like ro ads\, creating a topography akin to that of maps.

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In July 20 14\, the major retrospective &ldquo\;Guillermo Kuitca: Philosophy for Princ esses&rdquo\; will open at the Pinacoteca do Estado de Sã\;o Paulo\, the oldest art museum in Sã\;o Paulo. Consisting of nearly 50 works f rom 1980 to 2013\, this exhibition will present Kuitca's career in the wide st possible manner. \; It will include his largest installation to date \, \;Le Sacre (1992)\, a celebrated work featuring 54 beds and newly acquired by The Museum of Fine Arts\, Houston.

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Guillermo Kuitca (born 1961\, Buenos Aires) represented Argentina in the XVIII Bienal de Sã\;o Paulo in 1989. He received significant interna tional attention following the 1991 &ldquo\;Projects&rdquo\; show at MoMA\, New York\, and his installation of 20 beds at Documenta IX in 1992. In 200 0\, Kuitca presented a solo exhibition at the Fondation Cartier in Paris\, followed in 2003 by a retrospective at the Reina Sofia in Madrid\, which su bsequently travelled to the Museo de Arte Latinoamericano in Buenos Aires ( MALBA). At the 2007 Venice Biennale\, Kuitca represented Argentina in addit ion to participating in curator Robert Storr's central pavilion. \; In 2009\, Kuitca was commissioned to design the curtain for the Dallas Opera\, a Foster + Partners building. \; The same year\, a major survey\, &ldq uo\;Guillermo Kuitca: Everything\, Paintings and Works on Paper\, 1980-2008 &rdquo\; began its tour. \; Organized by the Albright-Knox Art Gallery and the Hirshhorn\, the exhibition also travelled to the Walker Art Center and the Miami Art Museum. \; Most recently\, The Drawing Center present ed &ldquo\;Guillermo Kuitca: Diarios\,&rdquo\; which travelled to the Broad Art Museum at Michigan State University and the Museum of Contemporary Art Denver (2012-2013). His work is in museum collections worldwide\, includin g the 21st Century Museum of Contemporary Art\, Kanazawa\, Japan\; the Art Institute of Chicago\; the Los Angeles County Museum of Art\; Fundaci&oacut e\; La Caixa\, Barcelona\; MALBA &ndash\; Colecció\;n Costantini\, Bu enos Aires\; The Metropolitan Museum of Art\; The Museum of Modern Art\, Ne w York\; Stedelijk Museum\, Amsterdam\; and Tate\, London. Currently\, Daro s Latinamerica\, one of the world&rsquo\;s leading collections of contempor ary Latin American art\, has 10 paintings by Kuitca on view at the Fondatio n Beyeler\, Switzerland.

DTEND:20140621 DTSTAMP:20140416T105552 DTSTART:20140424 GEO:40.723144;-73.9925559 LOCATION:Sperone Westwater\,257 Bowery \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:This Way\, Guillermo Kuitca UID:332235 END:VEVENT BEGIN:VEVENT DESCRIPTION:

These new &ldquo\;Italian Pictures\,&rdquo\; consisting of l arge format photographic tableaux of formal gardens\, aqueducts\, and fount ains\, were photographed in and around Rome last year.
The patinated ruins\, bridges\, and statuary in these works are captured in early morning and late afternoon light that provides both atmospheric softness and chiar oscuro definition. The motif is the same as that used by classical artists as a source of contemplation and inspiration\, but here is used in a way th at uniquely blurs the distinction between photography and painting.

DTEND:20140426 DTSTAMP:20140416T105552 DTSTART:20140329 GEO:40.7476371;-74.0063368 LOCATION:Sonnabend Gallery\,536 W. 22nd St \nNew York\, NY 10011 SEQUENCE:0 SUMMARY: Italian Pictures\, Lawrence Beck UID:332226 END:VEVENT END:VCALENDAR