BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION: DTEND:20130627 DTSTAMP:20161025T020255 DTSTART:20130627 GEO:40.716387;-74.0129379 LOCATION:Jeff Bailey Gallery\,127 Warren Street Hudson \nNew York\, NY 1253 4 SEQUENCE:0 SUMMARY:Hard Lines / Soft Vibes\, Louise Belcourt\, Erik Schoonebeek\, Nich ole van Beek (USA)\, Brian Scott Campbell UID:290080 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Po ems about wayward dogs\, loose figurations in low light\, a large wall pain ting about a Roman toga. Maybe some ukulele or electric guitar. Doodles\, s ketches\, funny faces\, nocturnes. 




Josh Thorpe makes installations\, paintin gs\, drawings\, music\, and texts. He teaches writing at University of Toro nto and works at a heritage architecture firm. Recent work includes exhibit ions or special projects at Toronto Sculpture Garden\, Museum of Contempora ry Canadian Art\, Plug In ICA\, Printed Matter\, and David Roberts Art Foun dation\, UK. Articles and interviews have been published by Canadian Art\, Border Crossings\, and the Power Plant\, and in 2009 Art Metropole publishe d Thorpe's book\, Dan Graham Pavilions: A Guide. In 2011\, Thorpe wa s a finalist in the Toronto Friends of the Visual Arts Artist Award and was elected to the Sobey Art Award Ontario Long List. For images and informati on\, please go to

DTEND:20130628 DTSTAMP:20161025T020255 DTSTART:20130531 GEO:40.716943;-73.997372 LOCATION:3A Gallery\,179 Canal Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Josh Thorpe: A dog at sea\, Josh Thorpe UID:277419 END:VEVENT BEGIN:VEVENT DTEND:20130531T200000 DTSTAMP:20161025T020255 DTSTART:20130531T180000 GEO:40.716943;-73.997372 LOCATION:3A Gallery\,179 Canal Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Josh Thorpe: A dog at sea\, Josh Thorpe UID:277420 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Globalization creates unexpected relationships and contrasts in contemporary art. This series focuses on the significance of exhibiting a variety of works in a pluralistic art world. Inspired by salon-style han ging\, most commonly attributed to the Salon de Paris held during the 18th and 19th centuries\; Broadway Gallery NYC continues this legacy with a cont emporary and fresh outlook. Following a trend of previous exhibitions at Br oadway Gallery NYC\, this show pays tribute to the format of a salon hangin g. It is a tradition that awakens contemporary culture to a dynamic collect ive consciousness.


A few notable themes in this exhibit that cross cultures are romanticism\, spirituality\, and humanity. Part of an ongoing series\, Artists at Home and Abroad reaches out to the diverse community of New York. In addition to the exhibition on display at Broadway Gallery NYC \, are several concurrent Internet projects\, and a print catalog. Furtherm ore\, this exhibit offers writers and viewers an exciting opportunity to su bmit essays and comments on the nature and significance of biennials\, fair s and public exposure for new and emerging artists.


This exhibit us es the space as another medium altogether\; incorporating the maximum floor -to-ceiling gallery space activates the wall with art works in various medi a by artists\, each of whom offer a unique perspective to the show. These a rtists have transformed the gallery walls into a compendium of generational takes on figuration\, portraiture\, and abstraction.


Visitors will be surprised to see the stunning results. The speed of interactions via ne w media allows for global artistic conversations previously unheard before. In an attempt to integrate the numerous artistic languages\, this exhibit was installed in a unique format. Two long parallel walls have been careful ly installed to create dialogue in the spatial order. Artists at Home and A broad allows the viewer access to some of the past and current pivotal arti stic ideas while introducing newer talent\, to generate fresh creative ener gy through unexpected juxtapositions.

DTEND:20130628 DTSTAMP:20161025T020255 DTSTART:20130612 GEO:40.721558;-74.000985 LOCATION:BROADWAY GALLERY\,473 Broadway\, 7th floor \nNew York \, NY 10013 SEQUENCE:0 SUMMARY:June Global Projects 2013\, Claudia Luthi\, Martin Pawera\, Yuria O kamura\, Jun Ahn\, Jose De Olio\, Julian Hibbard\, Julio Gamboa\, Matthew P aquette\, Niv Rozenberg\, Jessica Donnellan\, Andrea Garcia UID:279211 END:VEVENT BEGIN:VEVENT DTEND:20130613T200000 DTSTAMP:20161025T020255 DTSTART:20130613T180000 GEO:40.721558;-74.000985 LOCATION:BROADWAY GALLERY\,473 Broadway\, 7th floor \nNew York \, NY 10013 SEQUENCE:0 SUMMARY:June Global Projects 2013\, Jun Ahn\, Jose De Olio\, Jessica Donnel lan\, Julio Gamboa\, Andrea Garcia\, Julian Hibbard\, Claudia Luthi\, Yuria Okamura\, Matthew Paquette\, Martin Pawera\, Niv Rozenberg UID:279212 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20130628 DTSTAMP:20161025T020255 DTSTART:20130606 GEO:40.690571;-73.989893 LOCATION:Gallery 2\,Suite 212 \nBrooklyn\, NY 11201 SEQUENCE:0 SUMMARY:3 x 3 d Recent Sculptures and Works on Paper\, Leonor Anker\, Greg Whyte UID:278383 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Last Tree is a monumental installation of 193 tree stump sculptures encased in metal pails and placed in a grid formation to transf orm the gallery space into a barren landscape. The number of stumps corresp onds to that of the countries in the world\, namely\, those members of the United Nations. One large tree rises from the grid\, as a symbol of the "la st tree\," which is in danger of its extinction from the earth. The devasta ted stumps are poised to witness the destruction of the "last tree" – a fat e that humanity is bringing onto itself. Accompanying video projections and sounds amplify the urgency of the situation.

The project was originally inspired by the anthropologist Jared Diamond's lecture on his bo ok\, Collapse: How Societies Choose to Fail or Succeed (2005)\, and his que stion\, "What do you imagine the Easter Islander was thinking when he chopp ed down the last tree?" The artist Babs Reingold makes each of us - the vie wer examine this question on a personal and visceral level. At what point d o we recognize and act upon our self-destruction? Even though her motifs ar e trees\, they stand-in for a collective humanity. To borrow Reingold's int erpretation\, The Last Tree ultimately is a "vision of a holocaust of sorts \, humans destroying a vital part of themselves." Her intention is a cautio nary requiem for humanity.

It is telling that Reingold's "tre es" are created through laborious processes. Their shells are made of stain ed silk organza and stuffed with human hair\, which the artist has collecte d from numerous beauty salons over the years. The diversity of hair from an onymous donors carries each person's DNA\, which remains even after death. Hence\, the use of hair in The Last Tree installation exemplifies a human c ondition that exists after an environment is destroyed. Upon closer examina tion\, the tree stumps resemble small creatures with lives of their own. Th eir surfaces have been hand-sewn\, with detailed embellishment to give each a unique character.

Over the last eighteen years Reingold ha s worked with these rather unusual materials in manifold ways to address th e issues of beauty\, poverty\, and environment. Her best known works includ e a triptych\, A Question of Beauty (2007)\, which chronicled the artist¡Çs own hair loss over 365 days\, and a major installation\, Hung Out In the P rojects (2010)\, which reveals the "wreckage of humans trapped in a poverty ." The latter\, shown at the Morean Art Center\, St. Petersburg\, FL\, help ed earn a 2010 State of Florida Individual Artist Fellowship. Her solo show s include galleries in Los Angeles\, Atlanta\, Savannah\, Buffalo\, and St Petersburg\; museum shows in Jersey City\, Newark\, Buffalo\, and Tampa. Sh e has works in countless private collections\, including Savannah College o f Art and Design\, as well as in the collections of Newark Museum and Museu m of Fine Art\, St Petersburg\, FL.

DTEND:20130628 DTSTAMP:20161025T020255 DTSTART:20130504 GEO:40.7520318;-73.9946208 LOCATION:ISE Cultural Foundation\,315 West 33rd Street Suite 9D\nNew York\, NY 10001 SEQUENCE:0 SUMMARY:The Last Tree\, Babs Reingold UID:271794 END:VEVENT BEGIN:VEVENT DTEND:20130510T200000 DTSTAMP:20161025T020255 DTSTART:20130510T180000 GEO:40.7520318;-73.9946208 LOCATION:ISE Cultural Foundation\,315 West 33rd Street Suite 9D\nNew York\, NY 10001 SEQUENCE:0 SUMMARY:The Last Tree\, Babs Reingold UID:271795 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Jason McCoy Gallery is pleased to present the second New York solo exhibition of the German artist Christiane Löhr. The show will fe ature a selection of sculptures\, new works on paper\, as well as site-spec ific installation.


Based in Germany and Italy\, Christiane Löh r works with organic materials. Her sculptures transform ivy seeds\, plant stalks\, tree blossoms\, and horsehair\, for example\, into elaborate geome tric constructs. Instead of manipulating these ingredients with foreign mat erials such as paint or glue\, Löhr’s practice is based on the pure act of “ordering”. She carefully evaluates her materials\; she studies their overa ll structure and physical characteristics\, assesses their resistance and e lasticity. By organizing single elements into intimately scaled volumetric forms\, Löhr derives at a unified entity that exudes both harmony and tranq uility.


Löhr’s sculptures encourage focused observation. When stud ied up close\, they pay homage to the wealth and delicacy of detail found i n nature. In that sense\, Löhr provides a pedestal for the often overlooked and yet omni-present remnants of environmental organisms. Carefully instal led\, these objects of nature further engage in a dialogue with architectur e. Seen outside their natural context and carefully installed in manmade sp aces\, they gain an iconic presence and clarity. Though Löhr’s oeuvre share s aesthetic qualities with Minimalism and the Arte Povera movement\, her ex clusive focus on nature makes for a rather unique stance. “My sculptures all share something”\, she explains. “This might be defined as a wh ole\, which is made up of a number of individual elements that suddenly see m inseparable. I have the sense that the work process itself is strict\, ea ch work has its own logic and follows a vision of clear gesture and form th at comes from within.”


In addition\, Löhr’s works on paper exp and on the exploration of light. Whereas the sculptures are meticulous and precise\, these works embrace a gestural quality a sense of spontaneity. Ab stract\, yet reminiscent of plant structures\, these are rendered in a stri ctly black and white or grey and white palette. They are concentrated analy ses of the interplay between translucency and opacity\, biomorphic form and geometric rhythm. For the past year\, Löhr has focused on increasing the s ize of her works on paper. This exhibition will feature a selection of new examples.


Christiane Löhr was born in Wiesbaden in 1965. She has e xhibited extensively in Europe and Asia\, including at the 49th Biennale di Venezia. Her solo exhibition at the Villa Panza in Varese\, Italy\, in 201 0\, was the last exhibition conceived by the acclaimed collector Giuseppe P anza. Christiane Löhr lives and works in Cologne and Prato\, Italy.

DTEND:20130628 DTSTAMP:20161025T020255 DTSTART:20130508 GEO:40.762227;-73.971964 LOCATION:Jason McCoy Gallery\,41 East 57th Street 11th Floor\nNew York\, NY 10022 SEQUENCE:0 SUMMARY:CHRISTIANE LÖHR\, CHRISTIANE LÖHR UID:274770 END:VEVENT BEGIN:VEVENT DTEND:20130508T200000 DTSTAMP:20161025T020255 DTSTART:20130508T180000 GEO:40.762227;-73.971964 LOCATION:Jason McCoy Gallery\,41 East 57th Street 11th Floor\nNew York\, NY 10022 SEQUENCE:0 SUMMARY:CHRISTIANE LÖHR\, CHRISTIANE LÖHR UID:274771 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Joan B. Mirviss LTD is delighted to present our first exhibi tion focused exclusively on the ceramic art of the Japanese tea ceremony\, with over forty recent works by master teabowl artist Ajiki Hiro. Us ing a multiplicity of forms and a broad array of captivating glazes and pat terns\, Ajiki is renown in Japan for his unrivalled range of unique and per sonalized teabowls. He is one of the very few active ceramists so focused o n this highly complicated and revered implement.


For over twenty-fi ve years\, Ajiki Hiro (b. 1948) has concentrated on the art of perfecting t he teabowl\, or chawan\, the central element in the Japanese tea cer emony (chanoyu). As an artist\, he views the tea ceremony as an inti mate form of communication between host and guest as well as a spiritual ex perience.  The teabowl\, while appreciated as a work of art\, is really a f unctional drinking vessel that offers\, when held\, a magical combination o f balance\, form and weight that should complement the taste and sensibilit y of both the user and the host. For this artist\, his goal is to convey to the recipient\, his own energy and personality\, and for the viewer\, in s electing a particular teabowl\, to reveal his own values and taste.


Ajiki recently commented: “The small space embraced within your palms [ when holding a teabowl] becomes a mirror to reflect both yourself and the w orld around you\, telling a story… the tea ceremony itself offers a space a nd time for communication as participants share equally in the moment.”


Initially trained as a western-style painter when an art student\, Ajiki brings a highly developed color sensibility combined with bold patte rning to his evocative ceramics as well as to his interest in calligraphy a nd traditional Japanese painting.  With his vast range of shapes and styles \, this potter stands alone in Japan\, particularly in his passion for salt -glazed (enyû) teabowls. His basara series of teabowls and te a caddies (chaire) has received great acclaim. Derived from the late -16th-century tastes of the militaristic ruling class\, basar a implies gorgeous but refined beauty\, but in Ajiki’s oeuvre\, is evok ed in the richly colored checkerboard patterns on his faceted vessels. Indi vidual rectangles contain glazes varied both in color and texture\, sometim es gold and occasionally silver\, one balancing and contrasting with anothe r as the bowl is rotated in the palm of one’s hand.


In 1987\, Ajiki won the prestigious Grand Prize at the Modern Tea Forms Exhibition of the Tanabe Museum of Art for a basara-style teabowl and numerous awards have followed. His work can be found in public and private collections in J apan and internationally\, including the Metropolitan Museum of Art. While our gallery has represented Ajiki for over a decade\, this exhibition marks his first solo exhibition in the United States.



DTEND:20130628 DTSTAMP:20161025T020255 DTSTART:20130503 GEO:40.7755982;-73.9623809 LOCATION:Joan B. Mirviss LTD\,39 East 78th Street 4th Floor\nNew York\, NY 10075 SEQUENCE:0 SUMMARY:THE WORLD BETWEEN TWO HANDS: TEABOWLS \, Ajiki Hiro UID:269729 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Joshua Liner Gallery is pleased to present Renegade Traj ectories\, an exhibition of new paintings and works on paper by Oliver Vernon. This is Vernon’s third solo show with the gallery\, and the artist will be present at the opening reception on May 30.


Combining elem ents of landscape painting\, figuration\, and abstraction\, Vernon’s practi ce pushes all of these categories beyond easy distinction\, creating a hybr id visual language all his own. “The picture plane is a continuum of give a nd take\,” says Vernon\, “where positive and negative space give way to eac h other in rhythmic intervals. Energy oscillates and migrates\, initiating changes along the way. And color is a navigational tool to guide the eye th rough the chaotic scape.”


Vernon lives in the Sierra Nevada region of northern California\, and glimpses of these breathtaking vistas turn up frequently in his work. However\, landscape is never a subject or even back drop\, per se\, but instead a visual cue toward the expansive scale of Vern on’s abstraction. In many works\, this takes the form of a wave-like torren t of arching brushstrokes and cascading patterns that dominate the canvas\, devouring mountains\, valleys\, clouds\, and the horizon\, or nimbly swirl ing everything into the overall composition. The effect is destabilizing\, imposing an abstract system on the more common notion of a fixed\, physical reality—landscape gives way to visual frenzy\, flights of imagination\, an d transformation.


In Renegade Trajectories\, Vernon explor es this dynamic with twelve medium-sized acrylic on linen or canvas paintin gs and a suite of twelve ink on paper works. The exhibition will showcase s everal large-scale paintings\, the largest measuring nearly 8-x-7 feet. In the painting Excavation\, a jagged cyclone of geometric shapes\, a rchitectural elements\, and quasi-anatomical forms swirl about a distant ho rizon\, pulling it in or ushering it forth. In the dramatic painting Fl ashback\, this force takes the form of an orange and violet-tinted flo od\, inundating the picture with a chaotic rush of brushstrokes\, graphic p atterns\, and semi-figurative material. As the artist notes\, “These incide nts or events take place in worlds within worlds. Everything is whirring wi th activity as parts of systems engage with other systems in a state of con stant flux.”


In his works on paper\, Vernon’s use of Sumi ink impar ts an even sharper contrast of forces\, of positive and negative space\, in black\, white\, and subtle gray scale. Hard-edged but somehow serene\, the se pictorial spaces draw viewers into a spiral of connected facets (or dime nsions)—cascading flower petals\, lozenge forms\, pulmonary or lung tissue\ , honeycomb—giving way to a brightening horizon beyond. Ultimately\, the di stinctions of figuration/abstraction\, figure/ground\, are not the artist’s primary interest. In all of his work\, Vernon is most fascinated by the dy namic interplay between these surreally juxtaposed elements—in his own word s\, “not the what but the how.”


Reception Thursday May 30 from 6-8pm

DTEND:20130628 DTSTAMP:20161025T020255 DTSTART:20130530 GEO:40.7516439;-74.0040883 LOCATION:Joshua Liner Gallery\,540 West 28th Street \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Renegade Trajectories \, Oliver Vernon UID:278761 END:VEVENT BEGIN:VEVENT DTEND:20130530T200000 DTSTAMP:20161025T020255 DTSTART:20130530T180000 GEO:40.7516439;-74.0040883 LOCATION:Joshua Liner Gallery\,540 West 28th Street \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Renegade Trajectories \, Oliver Vernon UID:278762 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In his fourth solo show at the gallery\, Wim Delv oye presents new and recent laser-cut stainless steel and bronze sculptures \, including the monumental Gothic tower Untitled (Suppo) which will be suspended from the gallery's ceiling. By combining religious symbols wi th Gothic\, Baroque and Rococo architectural elements and industrial machin ery\, Delvoye recontextualizes these items\, often creating work that is su bversive and provocative. The exhibition will be on view on floors 1 and 2 through June 28.

DTEND:20130628 DTSTAMP:20161025T020255 DTSTART:20130510 GEO:40.723144;-73.9925559 LOCATION:Sperone Westwater\,257 Bowery \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Wim Delvoye UID:273003 END:VEVENT BEGIN:VEVENT DTEND:20130510T200000 DTSTAMP:20161025T020255 DTSTART:20130510T180000 GEO:40.723144;-73.9925559 LOCATION:Sperone Westwater\,257 Bowery \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Wim Delvoye UID:273004 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Complex in execution\, psychology\, and pictorial space\, Mark Greenwold's small-scale\, meticulously crafted paintings and drawings confuse the imagined and real. Due to his painstaking painting pro cess\, Greenwold rarely exhibits. This is his first show at the gallery and will be on exhibition on floor 3 through June 28.

DTEND:20130628 DTSTAMP:20161025T020255 DTSTART:20130510 GEO:40.723144;-73.9925559 LOCATION:Sperone Westwater\,257 Bowery \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Murdering the World\, Paintings and Drawings 2007-2013\, Mark Green wold UID:273005 END:VEVENT BEGIN:VEVENT DTEND:20130510T200000 DTSTAMP:20161025T020255 DTSTART:20130510T180000 GEO:40.723144;-73.9925559 LOCATION:Sperone Westwater\,257 Bowery \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Murdering the World\, Paintings and Drawings 2007-2013\, Mark Green wold UID:273006 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Van Doren Waxter is pleased to present Alexander Gorlizki : For Immediate Release\, an evolving solo exhibition featuring works o n paper\, installation\, sculpture\, and for the first time\, works on clot h by Alexander Gorlizki. The exhibition will be on view from April 25th to June 28th\, 2013.

Gorlizki’s works on found paper\, book page s and photographs create intricate and dense worlds with quirky characters and pattern-filled abstractions. Mixing Eastern and Western iconographies w ith realistic and imaginatively depicted personae\, Gorlizki presents witty \, surreal scenarios often suggesting a narrative or happening\, and other times rooted in pure abstraction. In There’s Someone Else\, rolling turquoise hills have a Buddha-like head at their apex\, in this case a phot ograph of Lana Turner\, her hair replaced with leafy plant life. Various fi gures and forms pepper the page including a light bulb sporting underwear a nd a rendition of Dante staring across the scene. In a number of works\, Go rlizki has left a large portion of the base picture exposed and deliberatel y modified the image to a rather humorous effect. In A Woman of Means\, a fashion model’s pet dogs have mutated into an amorphous leopard with tentacles. Much of the imagery has roots in the artist’s interest in the ap plied arts and design ranging from traditional Afghan textiles to medieval tapestries and Russian ceramics from the 1920s.

The interplay between various cultural iconographies is echoed in the production methods of the work. For nearly two decades\, Gorlizki has commissioned a wide ran ge of artisans and craftspeople specializing in highly skilled\, traditiona l techniques\; the most long-standing of these creative relationships is wi th Riyaz Uddin\, a master miniaturist painter in Jaipur\, India\, with whom Gorlizki established an atelier in 1996. Much of the imagery that has evol ved in the works on paper\, produced at the atelier in Jaipur and the artis t’s studio in Brooklyn\, NY\, have now been applied to larger works on clot h in the Pichvai (temple hanging) tradition\, as well as sculptural objects as Gorlizki has recently renewed his work with stone carvers\, metal caste rs and tailors\, among others.

The exhibition’s title\, Fo r Immediate Release\, refers to the context of viewing art in the form of a press release\, but also represents a pent up creative energy being re leased\, not necessarily in an orderly fashion\, to show the artistic proce ss as an organic form. There is a cathartic element to this concept in whic h the process and product are equally as important. Mirroring this sentimen t\, portions of the installation will be gradually rotating in and out prod ucing a constantly changing display. This exhibition aims to create a fully immersive environment and a window into the artist’s mind. Artist-designed wallpaper will cover the walls and wool rugs patterned with Gorlizki’s sig nature abstractions will adorn the floor creating a colorful backdrop for t he assemblage of works on canvas\, paper and sculpture.

Alexa nder Gorlizki was born in London\, U.K.\, in 1967 and received his M.F.A. f rom the Slade School\, London\, U.K. He currently lives and works in Brookl yn\, NY. His work is included in the collections of the Victoria &\; Alb ert Museum\, London\, UK\, the Royal Ontario Museum\, Toronto\, CA\, the Mu seum Kunst Palast\, Düsseldorf\, Germany\, and the Denver Art Museum\, Denv er\, CO. Recent solo exhibitions include Jhaveri Contemporary\, Mumbai\, In dia\, Kudlek van der Grinten Galerie\, Cologne\, Germany\, and John Berggru en Gallery\, San Francisco\, CA. Recent group exhibitions include Watchi ng Me Watching You\, Denver Art Museum\, Denver\, CO\, 2011.

DTEND:20130628 DTSTAMP:20161025T020255 DTSTART:20130425 GEO:40.7726783;-73.9652947 LOCATION:Van Doren Waxter Gallery\,23 East 73rd Street \n New York\, NY 10 021 SEQUENCE:0 SUMMARY: For Immediate Release\, Alexander Gorlizki UID:272214 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Aicon Gallery New York is proud to present The Happy Servant \, an exhibition of recent works by Salman Toor. Toor’s paintings are an ec lectic mix of the exhausted categories of old and new\, where inspiration f rom Old Master painting techniques meld seamlessly with imagery from South Asian mass-media and popular culture\, including graphic paintings from loc al Lahore cinema billboards and contemporary advertising from Bollywood and fashion magazines. The exhibition features a group of eleven paintings exp loring the complex and often-uncomfortable relationships between servants a nd masters. Within these works\, Toor transforms signs of poverty and comme rcial products into heroic symbols and absurdly idealized motifs through th e metaphysical qualities of oil paint.

With Toor’s masterfully whimsical way with paint\, these scenes are much more than the literal ama lgamation of their commercial sources. Instead\, they stage their own priva te masquerade\, cloaking the fantasies of contemporary subjects with a vene er of museum-worthy Old Master virtuosity. The works\, however\, are not si mply an exercise in technical skill\, but rather the result of a complicate d personal relationship with Western art history\, by which the artist has re-interpreted his own place in his native social fabric. For Toor\, aspiri ng towards the vivid scenes and technical perfection of the Renaissance and Baroque masters remains both a feasible and contemporary impulse\, capable of yielding unique interpretations of the entrenched tenets of South Asian culture and advertising. In this lens\, Toor’s work is set apart in an age of exhausted irony and innumerable iterations of commercial imagery.

In Girl with Driver\, a salmon-colored Honda Civic becomes as luxur ious as a silk cravat in an Ingres painting. The artist transforms this com mon sight in urban Pakistan – a woman in the backseat with a male driver up front – from its quotidian origins into an allegory of the humdrum of the present and the venerable painting of the past\, simultaneously beautiful a nd grotesque. However\, Toor’s realism is selective\, which can be seen in the fantastical luminosity of the colors and stylized anatomy of the figure s\, while visual clichés - the woman smelling a flower from the car side – provide a running commentary of the absurd social subtexts of such a scene. The composition and typecast figures in this and other works are culled fr om the ubiquitous advertisements for jewelry\, beauty products (‘Fairness C reams’)\, new shopping malls and cell phone providers dominating Pakistan’s urban media landscape.

Both The Rickshaw Driver's Dream and D river and Maid depict fantastic scenes of personal and collective wish-fulf ilment through an impossible combination of visual references and cultural stereotypes\, including the famous group dances of Bollywood musicals and t he painted covers for Mills and Boon romance novels from the 1970s. The Ric kshaw Driver borrows its compostion from Titian's Three Ages of Man (circa 16th century Venice)\, which itself was most likely influenced by Giorgioni ’s themes and motifs of landscapes and nude figures. In Toor’s work\, this familiar scene of idyllic romance is pushed over the edge into Bollywood pa thos by the presence of ever-ready backup dancers\, who have spontaneously broken into their routine in support of the “leading couple.” In this cinem atic trope\, the class differences that typically dominate South Asian soci ety are instantaneously dissolved and cooks\, gardeners\, landlords and dri vers all rejoice in choreographed triumph for a singular imaginary couple. As a result\, it highlights the comedically absurd nature of mass-marketed culture and advertising in modern-day India and Pakistan that often serves to mask a much darker social reality.

Similarly\, poverty osci llates between caricature and reverence in The Happy Servant\, while The Ha ppy Sweeper brushes away in a sentimental Disneyland of daisies and four-le af clovers. In both works\, one senses the inherent isolation of the centra l figure in an otherwise carelessly jubilant gathering or classically-inspi red milieu. Further emphasizing this skewed reality in both works are the s ubjects’ frozen smiles\, which exude a foreboding quality slithering under a skin of frivolity.

In all his works\, Toor deftly presents a subtle melding of the consumeristic and social fantasies perpetuated by t he mass-media of urban India and Pakistan\, along with a Renaissace-era spi rit of light\, technique and idealis. This collaboration presents a unique vision of the complexities and exchanges between South Asian popular cultur e and the art historical traditions of Western idealization. Salman Toor (b . 1983) lives and works between New York and Karachi\, Pakistan. This is hi s first solo exhibition in New York.

DTEND:20130629 DTSTAMP:20161025T020255 DTSTART:20130510 GEO:40.7268368;-73.9929619 LOCATION:Aicon Gallery - New York\,35 Great Jones Street \nNew York\, NY 10 012 SEQUENCE:0 SUMMARY:The Happy Servant\, Salman Toor UID:274405 END:VEVENT BEGIN:VEVENT DTEND:20130510T200000 DTSTAMP:20161025T020255 DTSTART:20130510T180000 GEO:40.7268368;-73.9929619 LOCATION:Aicon Gallery - New York\,35 Great Jones Street \nNew York\, NY 10 012 SEQUENCE:0 SUMMARY:The Happy Servant\, Salman Toor UID:274406 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Art in General is pleased to present Days of Being Wild< /em>\, a short film by Youmna Chlala\, opening on April 20 and running thro ugh June 29\, 2013.


Youmna Chlala is an artist and writer born in Beirut and based in New York. Her work investigates the rel ationship between fate and architecture. She has exhibited and performed in the US\, Middle East\, Canada and Europe at institutions such as Camera Au stria\, Graz\; the San Jose Museum of Art\, San Jose\, CA\; Yerba Buena Cen ter for the Arts\, San Francisco\,CA\; and Mashrabia Gallery\, Cairo\, Egyp t. She has participated in the International Roaming Biennial of Tehran (Be rlin and Istanbul)\; and has read her fiction as part of the 2008 Whitney B iennial. Chlala has received residencies and fellowships at Headlands Cente r for the Arts\, CA\; CAMAC: Center for Art and Technology\, France\; Fine Arts Work Center\, MA\; AIWA\, Lebanon\; Makan House\, Jordan\; Goethe-Inst itut and European Cultural Fund. She is the Founding Editor of the Elev en Eleven Journal of Literature and Art.

DTEND:20130629 DTSTAMP:20161025T020255 DTSTART:20130420 GEO:40.7038061;-73.9875039 LOCATION:Art in General\,145 Plymouth Street \nBrooklyn\, NY 11201 SEQUENCE:0 SUMMARY: Days of Being Wild\, Youmna Chlala UID:267893 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Art in General is pleased to present a new body of work by L etha Wilson\, opening Saturday April 20 and running through June 29\, 2013.


Letha Wilson was born in Honolulu\, raised in Col orado\, and currently lives and works in Brooklyn\, NY. She received her BF A from Syracuse University in 1998 and her MFA from Hunter College in 2003. Her work has been shown at many venues including the the Aldrich Museum of Contemporary Art\, Ridgefield\, CT\; Bemis Center for Contemporary Art\, O maha\, NE\; the Bronx Museum of the Arts\, Bronx\, NY\; Essl Museum\, Vienn a\, Austria\; Gallery Diet\, Miami\, FL\; P.P.O.W\, NY\, NY\; Socrates Scul pture Park\, NY\, NY\; and toomer labzda\, NY\, NY. Recent solo exhibitions include\, Letha Wilson\, Higher Pictures\, NY\, NY (2013)\; P hotography Is\, Higher Pictures\, NY\, NY (2012)\; Punch the Sky\, Vox Populi\, Philadephia\, PA (2011)\; and Lost Horizons\, B uffalo Arts Studio\, Buffalo\, NY (2009). Wilson was an artist in residence at Bemis Center for Contemporary Arts\, Omaha\, NE (2011)\; The Corporatio n of Yaddo\, Saratoga Springs\, NY (2012)\, and the Skowhegan School of Pai nting and Sculpture\, Skowhegan\, ME (2009).

DTEND:20130629 DTSTAMP:20161025T020255 DTSTART:20130420 GEO:40.7038061;-73.9875039 LOCATION:Art in General\,145 Plymouth Street \nBrooklyn\, NY 11201 SEQUENCE:0 SUMMARY:Landmarks and Monuments\, Letha Wilson UID:267894 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Art in General is pleased to present a new site-specific ins tallation by Kimberlee Venable\, opening on April 20 and running through Ju ne 29\, 2013.


Kimberlee Venable is an artist livin g and working in Brooklyn\, NY. She received her MFA from School of Visual Arts\, NY\, NY in 2012 and her BFA from the Cleveland Institute of Art\, Cl eveland\, OH in 2000. Recent exhibitions include EXCEEDINGLY FEMININE\, Vaudeville Park\, Brooklyn\, NY (2012)\; Walking Forward-Running Past\, Art in General\, New York\, NY (2012)\; stillspotting nyc\, Solomon R. Guggenheim Museum\, NY\, NY (2011)\; and P h a n t a s m o r g a n i c a\, Allegra La Viola Gallery\, New York\, NY (2010).< /p> DTEND:20130629 DTSTAMP:20161025T020255 DTSTART:20130420 GEO:40.7038061;-73.9875039 LOCATION:Art in General\,145 Plymouth Street \nBrooklyn\, NY 11201 SEQUENCE:0 SUMMARY:site-specific installation\, Kimberlee Venable UID:267895 END:VEVENT BEGIN:VEVENT DESCRIPTION:

David Nolan Gallery is pleased to present its 8th exhibition of work by the celebrated Scottish artist\, Ian Hamilton Finlay (1925-2006 ). On view from May 8th until June 22nd\, the exhibition focuses on an arra y of the artist’s “maritime” works. The sea\, together with the vessels tha t venture upon and qualifiedly domesticate it\, is a theme that has coursed through Finlay’s work since his earliest poems\, cards and artist’s books of the 1950s and ‘60s. The works gathered here span five decades.

Among Finlay’s abiding preoccupations is the relationship between writt en language and image\, between a text (a word\, a phrase\, a bit of signag e) and its both literal and figurative contexts. Finlay\, who began as a wr iter\, experimented ceaselessly with ways of generating\, inflecting and pr ovocatively destabilizing verbal meaning through the manipulation of writte n language’s physical properties: i.e\, through the often witty play with t ypography\, color\, composition\, scale\, materials. By the early 1960s\, F inlay had gained a reputation as one of Britain’s foremost practitioners of Concrete Poetry\, yet he had also become increasingly interested in securi ng for his “poems” greater gravitas\, in equipping them with both an irresistible physical presence and a far-reaching metaphoric range. Finlay ’s early love for making toy boat and plane models provided a key\, and his poems – his poems’ language – moved from the page onto wood\, glass\, plex iglass\, tile\, metal\, stone and eventually onto (and into) the landscape\ , or Nature\, itself. (Finlay’s famous garden Little Sparta\, a life work\, can be perceived as one sustained\, sensuous\, “concrete” poem.) The allus ive range of Finlay’s poems\, or “poem-objects\,” likewise stretched outwar d from the immediate here and now to the farthest edge of the ocean’s or he aven’s vastness and\, temporally\, to the earliest nature philosophy of the Pre-Socratic Greeks. (One of the Ship’s Bells exhibited here makes tongue-in-cheek reference to the Pre-Socratic concept of a harmony of oppos ites.)


Words or written symbols set upon materials like wood or sto ne automatically become inscriptions\, and over time Finlay came to both powerfully and hauntingly exploit inscription’s special character as a commemorative\, or memorializing\, device. The pear in Au Pair is a perfect rounded fruit\, with a little fillip of sauciness to its contour: a girl idealized – and metaphorically preserved – in recollection. The girl is invoked yet necessarily remains forever absent. The title of the curren t exhibition is the title of a 1968 concrete poem that reappears here\, in full\, as a sear-white inscription on a tablet of dark glass. The poem’s “n ets\,” “lights\,” “fish” and “roofs\,” conjured with tender simplicity\, ha ve been transformed into interchanging images that mediate between raw natu re (a black “ring of waves”) and a transcendent\, metaphysical light. This work\, a landscape of the artist’s thought and a brilliant exercise in verb al economy\, is at once elegiac and exultant.

In the main gal lery\, the large horizontal ceramic work Wave Rock (1974-5) describe s another landscape\, a shoreline where the sea’s recurring “wave”s break u pon and mingle with the land’s “rock”s. Here\, the points at which the two opposed elements (water and earth)\, the two different words\, collide a th ird word\, “wrack” – or living seaweed – tentatively emerges. This work\, l ike others of Finlay’s\, both chronicles and re-enacts the complex\, contra dictory relation between the natural and the humanly constructed worlds\, b etween Nature and Culture: nature (sea\, rock\, earth\, woods\, wind\, wild flowers\, stars) can only be represented and made intelligible to us when o rdered through cultural constructs (through language or visual tropes) that perforce belie Nature’s essential untamed “naturalness.” We have been give n\, perhaps\, the action of the sea but in words and images only – suggesti vely\, circuitously\, abstractly\, beautifully.


The early stone scu lpture\, The Fisherman’s Cross (1967)\, alludes by title to both ear ly Christianity (fishers of men\, ΙΧΘΥΣ or the Icthys cross) and the crosses placed to commemorate loved ones lost at sea. The repetition of th e word “seas” shapes a cruciform but also implies endless\, circling moveme nt like that of the ocean or life itself. The single word “ease\,” at the w ork’s still center\, is a longed-for idyllic state – a static place rather than a shifting condition – achieved\, however\, only in death. The mainspr ing of meaning in all Finlay’s art is metaphor\, or the coupling\, within a single work\, of radically unlike terms (e.g.\, seas/ease/cross\, wave/roc k\, pear/au pair/girl\, sea poppy/fishing boats/a constellation of s tars\, hazel grove/ship\, swallow/anchor\, chrysalis/propeller\, etc.). The se unlike terms\, when linked together\, begin to reverberate\, as we searc h for their relation or connection. They are brought by Finlay to behave as “multivalent” pointers\, or mutable invocatory signs. Through metaphor\, t he sea or stone or cloud\, fishing boat or anchor or bell\, is lifted out o f the literal universe into the realm of the imagination\, of culture. With this “transfiguration” of terms\, however\, comes the inescapable loss of the real thing.

A Finlay metaphor can be the outcome of a sing le word carefully inflected by its setting\, and many of the artist’s “mari time” works are based simply on the name of a boat with\, occasionally\, th e boat’s home-port tag. Boats’ names are by custom highly figurative\, but in Finlay’s hands they become doubly so. Hazel Grove (hazel wood is traditionally used for the frames of coracle boats) and Lea Rig (Sco ts for a ridge of grassy\, unplowed land) may consist only of painted lette rs resembling the signage on trawlers’ hulls\, but they metaphorically carr y the thought of a green place and of cultivation – of culture – onto the v oid wilderness of the ocean. In Finlay’s art\, the Sea – untamed\, unfathom able\, undifferentiated\, vast\, other – deepened over time into a symbol\, or meta-trope\, the figurative reservoir of all the poet-artist’s images a nd representations in still inchoate form. A Finlay work is like (is) a fra gile but sturdy vessel – a venture of uncertain success – that\, by dint of skill and luck\, will eventually return landside\, or “home\, happy but ti red.” Yet the sailor-artist’s enduring challenge\, the never-perfectly-atta ined object of his assays and\, in the end\, his ultimate bourn is the Sea\ , the dark “ring of waves.”

Ian Hamilton Finlay was born in N assau\, the Bahamas\, and moved to Scotland as a child. The artist’s renown ed garden “Little Sparta\,” in southern Scotland\, is a prolonged meditatio n upon the relation of nature and culture\, borrowing many of its forms fro m the English Neoclassical landscape tradition.

DTEND:20130629 DTSTAMP:20161025T020255 DTSTART:20130508 GEO:40.7521176;-74.0027907 LOCATION:David Nolan Gallery\,527 West 29th Street \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Ring of Waves\, Ian Hamilton Finlay UID:274414 END:VEVENT BEGIN:VEVENT DTEND:20130508T200000 DTSTAMP:20161025T020255 DTSTART:20130508T180000 GEO:40.7521176;-74.0027907 LOCATION:David Nolan Gallery\,527 West 29th Street \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Ring of Waves\, Ian Hamilton Finlay UID:274415 END:VEVENT END:VCALENDAR