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

IAM UP LATE with LIP

\n

An Islip Art M useum and LIP Collaboration.

\n

 \;

\n

Release party for LIP  \;Zine June 25\, 2016

\n

 \;

\n

Artists reception for \; Shapeshifter News Works By Annu Annam

\n

Private Viewing\; For your eyes only - IAMs Annual Open Call \;

\n

POP Up Gallery&nb sp\;curated By LIP in collaboration with IAM

\n

Live performances \;

\n

8:00-8:45  \;Vett er Schuler Rufolo's \;

\n

9:00-9:45 Jarv is Probes

\n

10:00-10:20 The Beat Club Crew with \;Bri Onishea

\n

10:30-11:00  \ ;Lauren of the Hoopsie \;Daisies and Gnu Fire

\n

&nb sp\;

\n

POP Up Gallery curated in collaborat ion with LIP featuring works by

\n

Brooke D&rsquo\;Ambrosio - Amanda Fichter - Kim Gerdjikian< /p>\n

Samantha Hernandez - Lorena Kalaja - Dan Kudreyko

\n

Linda Louis - Christopher Michel - Kali Monaco - Rebecca Olson \;

\n

Ben Owens - Jack Pierce - Michelle Posner - Ratgrrl \;

\n

Ann Margaret Reilly - Stelios Stylianou - Dan Woulfin \;

\n

 \;

\n

With tasty eats generously provided by Chef Danyell Miller

\n

 \;Refreshments provided by 25 A Brewing and Angry Orchid & \; Starfish Productions

\n

 \;

\n

An Islip Art Museu m \;signature event- Long Islands premier after-hours multimedia artist networking event and public arts experience.

\n

Publ ic funding provided by Suffolk County \;

\n

 \;

\n

IAM UP LATE Afterhours series is the only event of its kind presented by a museum on L.I.

\n

 \;

\n

The IAM UP LATE series serves the cultural ly thirsty needs of the community at large\, and provides a unique particip atory arts event that one would normally have to travel at length &\; gr eat expense to experience.

\n

 \;

\n

Presented at Brookwood H all\, 50 Irish Lane\, East Islip.

\n

These planned festival dates are coordinated in conjunction with the museums main exhibits. The coordinating festival includes multi-media thematic works and an exhibition opportunity open to the public\, providing new and innovative museum quality opportuni ties for artists of various career levels and disciplines to participate. A call for works is released &\; then used to curate the IAM UP LATE seri es which will feature selected local artists (emerging &ndash\; midcareer- established) to exhibit in a variety of forms including performance art\, p rojected digital work\, site specific installation\, music and dance.

DTEND:20160625T230000 DTSTAMP:20160524T215857 DTSTART:20160625T200000 GEO:40.7351896;-73.198218 LOCATION:Islip Art Museum\,50 Irish Lane \nEast Islip\, NY 11730 SEQUENCE:0 SUMMARY:IAM Up Late with LIP\, Brooke D’Ambrosio\, Amanda Fichter\, Kim Ger djikian\, Samantha Hernandez\, Lorena Kalaja\, Dan Kudreyko\, Linda Louis\, Christopher Michel\, Kali Monaco\, Rebecca Olson\, Ben Owens\, Jack Pierce \, Michelle Posner\, Ratgrrl\, Ann Margaret Reilly\, Stelios Stylianou\, Da n Woulfin UID:419353 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In the Air is a collaborative investigation of interconnecti vity of visual expression and mystical science theory. Through serendipitou s development\, Kjø\;k and Max-Jakobsen&rsquo\;s work parallel in ima gery and meaning. Intertwined figures composed by line\, mark\, and color r epresent the unity between native spirituality and its growing validation i n the scientific community. The repetitive \;and chaotic figural compos itions\, alongside fluid\, biomorphic forms\, convey the sense of oneness w hile still singularly consistent with spiritual experience. It seems to be an eerie fate that both these artists have found each other. \;
Born in Norway\, Sol Kjø\;k is a New York based artist whom has b een featured in numerous shows worldwide as well as taught and lectured at universities across the United States. Kjø\;k is represented in publi c collections such as the Cincinnati Art Museum\, the Nordic Museum of Draw ing\, and the Osten Museum of Drawing\, as well as private collections. She founded NOoSPHERE Arts\, a nonprofit exhibition and performance venue\, on the Lower East Side\, a collaborative arts platform called Last Frontier N YC as well as Mothership NYC\, an arts collective in Brooklyn.

P eter Max-Jakobsen is an established Danish artist that has been featured in multiple museum exhibitions at the Vendsyssel Museum of Art\, Vestjysk Mus eum of Art and the Kastrupgaard Collection Art Museum. Max-Jakobsen is a bo ard member of the Hjø\;rring Graphic Workshop\, and taught material e xperimentation and sketching methods at the Royal Academy in The Hague. He has completed many successful commissions for various associations\, includ ing The Criminal Court of Hjø\;rring and Bergenser Law Firm.

Both artists will be present at the reception.

DTEND:20160702 DTSTAMP:20160524T215857 DTSTART:20160602 GEO:40.7464825;-74.0069332 LOCATION:Denise Bibro Fine Art\,529 West 20th Street 4W\nNew York\, NY 1001 1 SEQUENCE:0 SUMMARY:In the Air: New York\, Sol Kjok and Peter Max-Jakobsen UID:419348 END:VEVENT BEGIN:VEVENT DTEND:20160602T200000 DTSTAMP:20160524T215857 DTSTART:20160602T180000 GEO:40.7464825;-74.0069332 LOCATION:Denise Bibro Fine Art\,529 West 20th Street 4W\nNew York\, NY 1001 1 SEQUENCE:0 SUMMARY:In the Air: New York\, Sol Kjok and Peter Max-Jakobsen UID:419349 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160124 DTSTAMP:20160524T215857 DTSTART:20151216 GEO:40.7155483;-73.9917538 LOCATION:Causey Contemporary\,29 Orchard Street Lower East Side\nManhattan\ , NY 10002 SEQUENCE:0 SUMMARY:On the Abstract Side\, Elise Freda\, Lisa Pressman\, Edward Holland \, Alice Zinnes UID:419335 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160124 DTSTAMP:20160524T215857 DTSTART:20151216 GEO:40.7155483;-73.9917538 LOCATION:Causey Contemporary\,29 Orchard Street Lower East Side\nManhattan\ , NY 10002 SEQUENCE:0 SUMMARY:On the Abstract Side UID:419333 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Short Stories refers to Pa t Badt&rsquo\;s recent series of paintings\, which explores the me mories of people\, places and things that create moments of experience. Bad t often uses the backs of her paintings to embed found objects that refer t o the painting&rsquo\;s subjects\, creating hidden &ldquo\;readings&rdquo\; that inform her work. For this exhibition\, these works are presented on h inges so that the viewer is able to see behind the paintings and glimpse th is secret place.

\n

Pat Badt's work is inspired by memory and place\, filtered through experience and sensibility. Her studio is in an old barn a long the Jordan Creek\, surrounded by apple orchards\, low mountains and th e convergence of two creeks. She loves the process of painting -- the layin g down of paint and the quest to find the appropriate handwriting and the r ight color\, texture and scale.

\n

Pat Badt is Artist-in-Residence / P rofessor Emeritus at Cedar Crest College. She received her MFA from the Uni versity of Pennsylvania and her BA from the University of California at San ta Cruz. She splits her time between New York City and Pennsylvania.

DTEND:20160524T200000 DTSTAMP:20160524T215857 DTSTART:20160524T180000 GEO:40.75111;-74.004475 LOCATION:The Painting Center\,547 West 27th Street Suite 500\nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Short Stories\, Pat Badt UID:419227 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Suejin Jo&rsquo\;s paintings are often insp ired by poetry\, music and memories of childhood landscapes. When she found out about the upcoming show three months ago she wanted to make all new wo rks for it and sought inspiration in Igor Stravinsky&rsquo\;s ballet and or chestral music\, \;The Rite of Spring. She fe els that\, even though over a hundred years have passed since its first per formance\, that Stravinsky composition stays as fresh and awesome as the re turn of the Spring itself every year. Her first work &ldquo\;Adoration of t he Earth&rdquo\; was followed by &ldquo\;The Sacrifice&rdquo\; and then by &ldquo\;Dances of the young girls&rdquo\; and &ldquo\;Dance of the Earth&rd quo\;. Jo hopes to complete two more ongoing paintings before the show open s.

\n

Suejin Jo\, a Korean born abstract painter based in New York\, s tudied at Columbia University and the Art Students League where she won McD owell traveling fellowship juried by Richard Pousette D&rsquo\;Art and Roma re Bearden. Jo had numerous solo and group exhibitions in New York\, Korea\ , Mexico\, Italy and Japan and participated in several art fairs including Scope\, Pool\, Architecture and Design and AAF. Her last solo show was in K nokke-Heist\, Belgium\, in 2014. Jo won Jacob and Gwendolyn Lawrence Solo E xhibition Award 2008 juried by DC Moore Gallery. Her work &ldquo\;Pontchart rain&rdquo\; was included in the 2012 State Department calendar\, &ldquo\;H omage to American Women Artists.&rdquo\; Jo&rsquo\;s work is in many privat e and public collections including Library of Congress\, Chase Manhattan Ba nk\, General Instrument Company\, Embassy of San Marino\, NAPABA Law Founda tion\, Sogang Univerisity\, Ahl Foundation\, 9/11 Memorial Museum\, Art in General\, Korea Exchange Bank\, Hyundai Construction Co.\, Pulmuwon Food Co rp.

DTEND:20160618 DTSTAMP:20160524T215857 DTSTART:20160524 GEO:40.75111;-74.004475 LOCATION:The Painting Center\,547 West 27th Street Suite 500\nNew York\, NY 10001 SEQUENCE:0 SUMMARY: The Rite of Spring\, Suejin Jo UID:419223 END:VEVENT BEGIN:VEVENT DTEND:20160526T200000 DTSTAMP:20160524T215857 DTSTART:20160526T180000 GEO:40.75111;-74.004475 LOCATION:The Painting Center\,547 West 27th Street Suite 500\nNew York\, NY 10001 SEQUENCE:0 SUMMARY: The Rite of Spring\, Suejin Jo UID:419224 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Artist Kathy Cantwell knows her way around a stripe. In the paintings on display in her current one-person show \; Nightlines\, she takes a pattern associated with regularity and restriction and transforms it into of vehicle of indetermina cy and expansion. Working in encaustic\, the painter shuns the straight edg e in favor of jaggedness\, variable density\, and overlapping. As an art st udent\, Cantwell was drawn to the work of Gene Davis\, a color field painte r known for his color-balancing act of verticals. Taking his minimalist cue \, she collapses the space between form and color\, using simplicity and si ngularity to explore chromatic relationships. Yet for Cantwell\, it is abou t the process of laying down the color\, and her stripes result from making a complete side-to-side gesture with resistance from her medium.

\n

S he is equally an expressionist in her palette\, which hovers in twilight to nalities. Even when a brighter shade is introduced\, it is subdued by the w ax medium and by the surrounding embrace of darkness. Allowing for associat ions and metaphor\, Cantwell admires the work of Sean Scully\, and she seek s to similarly elicit humanistic content from a universally recognized moti f. With encaustic\, she takes advantage of its having passed from one state to another\, which is an almost fleshy embodiment of crossing the line or of knowing no boundaries.

\n

After working in the music industry in Ne w York City\, Kathy Cantwell moved to New Jersey\, where she currently live s with her wife and two children. In 2015\, she had a solo exhibition Landf orms at Gallery 103 in Maplewood\, NJ. She has been shown in such group exh ibits as: &ldquo\;Square Foot&rdquo\; Project Gallery\, Miami Art Basel\, M iami\, FL\, Arte Internazionale in Matera\, Italy\, One + One\, A Gallery\, Provincetown\, MA\, Viewpoints 2015\, Aljira\, a Center for Contemporary A rts\, Baruch College&rsquo\;s Mishkin Gallery\, Montclair State University& rsquo\;s George Segal Gallery\, the Monmouth Museum\, the Edward Hopper Hou se in Nyack\, N.Y.\, and numerous others. For more information on the artis t\, please visit \;www.kathycantwell.com.

DTEND:20160618 DTSTAMP:20160524T215857 DTSTART:20160524 GEO:40.75111;-74.004475 LOCATION:The Painting Center\,547 West 27th Street Suite 500\nNew York\, NY 10001 SEQUENCE:0 SUMMARY: Nightlines\, Kathy Cantwell UID:419221 END:VEVENT BEGIN:VEVENT DTEND:20160526T200000 DTSTAMP:20160524T215857 DTSTART:20160526T180000 GEO:40.75111;-74.004475 LOCATION:The Painting Center\,547 West 27th Street Suite 500\nNew York\, NY 10001 SEQUENCE:0 SUMMARY: Nightlines\, Kathy Cantwell UID:419222 END:VEVENT BEGIN:VEVENT DESCRIPTION:
Blum &\; Poe is pleased t o present a survey of work by Kwon Young-woo (1926-2013)\, one of the found ing figures of Dansaekhwa\, the monochrome painting movement that redefined Korean art starting in the mid-1960s. This is Kwon's first solo exhibition with the gallery and his first solo presentation in New York.
\n
 \;
\n
Seeking a new alternative to the ink painting traditions that dominate d Korea in the 1960s\, Kwon initially dispensed with the use of ink and beg an to scratch at the surface of the \;hanji \;paper\, crea ting all-over compositions of rips that emphasized the primacy of the groun d. During the 1970s and early 1980s he expanded his repertoire\, perforatin g the paper from behind and tearing it into more ragged strips. Despite the implied aggression in these gestures\, the works are serenely calm and med itative. \;Eventually Kwon reintroduced the use of col or\, pouring gouache and ink with absolute precision into and around the cu ts to further accentuate his mark making.
\n
 \;
\n
A decade older t han Lee Ufan and the other artists associated with Dansaekhwa\, Kwon's prac tice was fundamental to the development of the movement. Though the term li terally translates as "monochrome painting\," it is better understood in te rms of the processes the artists employed. Variously ripping paper\, draggi ng pencils\, pushing paint\, and soaking canvas\, the artists manipulated t he materials of painting in ways that questioned the terms by which the med ium was known. Promoted in Seoul\, Tokyo\, and Paris\, Dansaekhwa quickly b ecame the globally recognized face of contemporary Korean art.
\n
 \;
\n
Leading up to the opening of the exhibition\, Dominique Lé\;vy\, Greene Naftali\, Gallery Hyundai\, and Blum &\; Poe will cohost a panel discussion on Dansaekhwa with artist Chung Sang-Hwa and \;Alexandra Mu nroe\, Samsung Senior Curator\, Asian Arts\, Solomon R. Guggenheim Museum. The conversation will begin at \;6:30pm \;on \;Tuesday\, May 31 \, \;at \;Dominique Lé\;vy Gallery. \;Seating is limited\ , please RSVP to \;rsvpny@blumandpoe.com. \;
\n
 \;
\n
Previous ly\, Kwon was featured in the survey \;From All Sides: Tansaekhwa o n Abstraction\, held at Blum &\; Poe\, Los Angeles in 2014\, and cu rated by Joan Kee\, Associate Professor of History of Art at the University of Michigan. He was also included in the traveling exhibition of 2016\,&nb sp\;Dansaekhwa and Minimalism\, held at Blum &\; Poe\, Los Ange les and New York - the first overview of Korean monochromatic painting with American Minimalism.
\n
 \;\n
Kwon Young-woo was born in Liwon\, K orea\, in 1926. He graduated with a BFA in painting from Seoul National Uni versity in 1951 and received his MFA in 1957. He spent a decade living in P aris in the 1980s\, and has been the subject of numerous solo exhibitions i n Korea\, France\, Canada and the United States. The Seoul Museum of Art he ld a major retrospective in 2007. His work has also been celebrated in impo rtant surveys such as \;When Process Becomes Form: Dansaekhwa and K orean Abstraction\, Villa Empain - Boghossian Foundation\, Brussels\, Belgium (2016)\; \;Dansaekhwa\, Palazzo Contarini Polignac\, V enice\, Italy (2015)\; \;Dansaekhwa: Korean Monochrome Painting\, National Museum of \;Modern and Contemporary Art\, Gwacheon (2012)\ ; andKorean Contemporary Art of the 1970s\, \;Tokyo Metropolit an Museum of Art\, which traveled to Tochigi Municipal Museum of Art\, Nati onal Museum of Contemporary Art\, Osaka\, Hokkaido Museum of Modern Art\, S apporo\, Fukuoka City Museum\, Fukuoka (1983). Kwon was one of the five art ists featured in the landmark show \;Five Kinds of White\, hel d at Tokyo Gallery in 1975. Prior to that\, his work was included in \; the Sã\;o Paulo Art Biennial (1973)\, and the Tokyo Biennale (1965).< /div> DTEND:20160701 DTSTAMP:20160524T215857 DTSTART:20160601 GEO:40.768329;-73.968485 LOCATION:Blum & Poe | New York\,19 East 66th Street \nNew York\, NY 10065 SEQUENCE:0 SUMMARY:Solo Exhibition\, Kwon Young-woo UID:419184 END:VEVENT BEGIN:VEVENT DTEND:20160601T200000 DTSTAMP:20160524T215857 DTSTART:20160601T180000 GEO:40.768329;-73.968485 LOCATION:Blum & Poe | New York\,19 East 66th Street \nNew York\, NY 10065 SEQUENCE:0 SUMMARY:Solo Exhibition\, Kwon Young-woo UID:419186 END:VEVENT BEGIN:VEVENT DESCRIPTION:
Blum &\; Poe is pleased t o present a survey of work by Kwon Young-woo (1926-2013)\, one of the found ing figures of Dansaekhwa\, the monochrome painting movement that redefined Korean art starting in the mid-1960s. This is Kwon's first solo exhibition with the gallery and his first solo presentation in New York.
\n
 \;
\n
Seeking a new alternative to the ink painting traditions that dominate d Korea in the 1960s\, Kwon initially dispensed with the use of ink and beg an to scratch at the surface of the \;hanji \;paper\, crea ting all-over compositions of rips that emphasized the primacy of the groun d. During the 1970s and early 1980s he expanded his repertoire\, perforatin g the paper from behind and tearing it into more ragged strips. Despite the implied aggression in these gestures\, the works are serenely calm and med itative. \;Eventually Kwon reintroduced the use of col or\, pouring gouache and ink with absolute precision into and around the cu ts to further accentuate his mark making.
\n
 \;
\n
A decade older t han Lee Ufan and the other artists associated with Dansaekhwa\, Kwon's prac tice was fundamental to the development of the movement. Though the term li terally translates as "monochrome painting\," it is better understood in te rms of the processes the artists employed. Variously ripping paper\, draggi ng pencils\, pushing paint\, and soaking canvas\, the artists manipulated t he materials of painting in ways that questioned the terms by which the med ium was known. Promoted in Seoul\, Tokyo\, and Paris\, Dansaekhwa quickly b ecame the globally recognized face of contemporary Korean art.
\n
 \;
\n
Leading up to the opening of the exhibition\, Dominique Lé\;vy\, Greene Naftali\, Gallery Hyundai\, and Blum &\; Poe will cohost a panel discussion on Dansaekhwa with artist Chung Sang-Hwa and \;Alexandra Mu nroe\, Samsung Senior Curator\, Asian Arts\, Solomon R. Guggenheim Museum. The conversation will begin at \;6:30pm \;on \;Tuesday\, May 31 \, \;at \;Dominique Lé\;vy Gallery. \;Seating is limited\ , please RSVP to \;rsvpny@blumandpoe.com. \;
\n
 \;
\n
Previous ly\, Kwon was featured in the survey \;From All Sides: Tansaekhwa o n Abstraction\, held at Blum &\; Poe\, Los Angeles in 2014\, and cu rated by Joan Kee\, Associate Professor of History of Art at the University of Michigan. He was also included in the traveling exhibition of 2016\,&nb sp\;Dansaekhwa and Minimalism\, held at Blum &\; Poe\, Los Ange les and New York - the first overview of Korean monochromatic painting with American Minimalism.
\n
 \;\n
Kwon Young-woo was born in Liwon\, K orea\, in 1926. He graduated with a BFA in painting from Seoul National Uni versity in 1951 and received his MFA in 1957. He spent a decade living in P aris in the 1980s\, and has been the subject of numerous solo exhibitions i n Korea\, France\, Canada and the United States. The Seoul Museum of Art he ld a major retrospective in 2007. His work has also been celebrated in impo rtant surveys such as \;When Process Becomes Form: Dansaekhwa and K orean Abstraction\, Villa Empain - Boghossian Foundation\, Brussels\, Belgium (2016)\; \;Dansaekhwa\, Palazzo Contarini Polignac\, V enice\, Italy (2015)\; \;Dansaekhwa: Korean Monochrome Painting\, National Museum of \;Modern and Contemporary Art\, Gwacheon (2012)\ ; andKorean Contemporary Art of the 1970s\, \;Tokyo Metropolit an Museum of Art\, which traveled to Tochigi Municipal Museum of Art\, Nati onal Museum of Contemporary Art\, Osaka\, Hokkaido Museum of Modern Art\, S apporo\, Fukuoka City Museum\, Fukuoka (1983). Kwon was one of the five art ists featured in the landmark show \;Five Kinds of White\, hel d at Tokyo Gallery in 1975. Prior to that\, his work was included in \; the Sã\;o Paulo Art Biennial (1973)\, and the Tokyo Biennale (1965).< /div> DTEND:20160701 DTSTAMP:20160524T215857 DTSTART:20160601 GEO:40.768329;-73.968485 LOCATION:Blum & Poe | New York\,19 East 66th Street \nNew York\, NY 10065 SEQUENCE:0 SUMMARY:Solo Exhibition\, Kwon Young-woo UID:419183 END:VEVENT BEGIN:VEVENT DTEND:20160601T200000 DTSTAMP:20160524T215857 DTSTART:20160601T180000 GEO:40.768329;-73.968485 LOCATION:Blum & Poe | New York\,19 East 66th Street \nNew York\, NY 10065 SEQUENCE:0 SUMMARY:Solo Exhibition\, Kwon Young-woo UID:419185 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Divided into two sections installed in separate galleries\, the exhibition is organized around the two outposts that Peter Beard calls home &ndash\; Africa and the East End of Long Island. Representing the arti st&rsquo\;s first U.S. museum solo exhibition in 15 years\, the show presen ts more than 50 multi-layered collages\, drawings\, photographs\, and diari es from the 1960s to the present\, some on public view for the first time. Peter Beard: Last Word From Paradise includes the artist&rsquo\;s iconic wo rk from Africa that chronicles the change in the landscape from a time rich ly populated by elephants\, rhinos\, and crocodiles\, to what remains today . Also on view will be never-before exhibited Montauk portraits of his home \, family\, and friends including Mick Jagger\, Andy Warhol\, Jacqueline On assis\, and Lee Radziwill. \; \;The Museum at Guild Hall\, 158 Main Street\, East Hampton\, New York 11937\, 631.324.0806\, GuildHall.org. FRE E Admission generously funded by Suffolk County National Bank and Donald an d Barbara Zucker.

DTEND:20160731 DTSTAMP:20160524T215857 DTSTART:20160618 GEO:40.957854;-72.190107 LOCATION:Guild Hall\,158 Main Street \nEast Hampton\, NY 11937 SEQUENCE:0 SUMMARY:Peter Beard: Last Word from Paradise\, Peter Beard UID:419155 END:VEVENT BEGIN:VEVENT DTEND:20160618T180000 DTSTAMP:20160524T215857 DTSTART:20160618T160000 GEO:40.957854;-72.190107 LOCATION:Guild Hall\,158 Main Street \nEast Hampton\, NY 11937 SEQUENCE:0 SUMMARY:Peter Beard: Last Word from Paradise\, Peter Beard UID:419156 END:VEVENT BEGIN:VEVENT DESCRIPTION:
\n

On view in the Furman Sculpture Gar den are large freestanding metal sculptures whose solid composition and sim ple forms resemble totemic monuments of the ancient world. Smaller lyrical wall reliefs composed of wood veneers are on view in the Wasserstein Family Gallery. \;

\n
\n

Furman Sculpture Garden and Wasserstein Fa mily Gallery at Guild Hall\, 158 Main Street\, East Hampton\, New York 1193 7\, 631.324.0806\, GuildHall.org. FREE Admission generously funded by Suffo lk County National Bank and Donald and Barbara Zucker.

DTEND:20161001 DTSTAMP:20160524T215857 DTSTART:20160618 GEO:40.957854;-72.190107 LOCATION:Guild Hall\,158 Main Street \nEast Hampton\, NY 11937 SEQUENCE:0 SUMMARY:Carol Ross\, Carol Ross UID:419153 END:VEVENT BEGIN:VEVENT DTEND:20160618T180000 DTSTAMP:20160524T215857 DTSTART:20160618T160000 GEO:40.957854;-72.190107 LOCATION:Guild Hall\,158 Main Street \nEast Hampton\, NY 11937 SEQUENCE:0 SUMMARY:Carol Ross\, Carol Ross UID:419154 END:VEVENT BEGIN:VEVENT DESCRIPTION:


May 25th\, 2016 &ndash\; June 26th\, 2016

\n

Opening Reception: Wednesday\, May 25th\, 7pm-9pm

\n



Levan Mindiashvili i s a Georgian-born\, Brooklyn-based visual artist primarily interested in ex ploring the complex relationships between communal and private spaces. This \, Mindiashvili&rsquo\;s second major exhibition at The Lodge Gallery\, fea tures works from his current ongoing project entitled Unintended Archeo logy of (un)Place and expands upon his paintings through \;install ation and sculptural objects. Mindiashvili&rsquo\;s paintings &ndash\; rigo rously rendered in several layers of acrylic paint and gel medium &ndash\; mimic vintage\, pixelated photography and questions our perception of the p ast and &lsquo\;taught&rsquo\; history. While paintings keep &lsquo\;loyalt y&rsquo\; to their source material (the artist&rsquo\;s own snapshots from travels to his native Georgia)\, the sculptures\, on the other hand\, are s ummarized images of experiences and memories from the many places he has&nb sp\;lived. Some details might allude to a particular aparment \;in  \;Brooklyn or a house in Tbilisi\, but they are merely hermetic remnants of what once might have been a home. Rendered in pigmented plaster\, they vis ually and superficially mimic a steady\, permanent concrete\, yet the fragi lity of his \;chosen material outlines the temporal and ephemeral natur e of the notions of &lsquo\;place&rsquo\; and &lsquo\;home&rsquo\; in today &rsquo\;s society.

\n

This ex hibition is created in collaboration with Uta Bekaia. Both artists share sa me cultural background\, and furthermore\, the same concerns regarding iden tity and historical memory\, but they employ two different starting points in their practice. While \;Mindiashvili is concerned with the intellect ual knowledge and limitations imposed by society and culture\, Bekaia is in terested in genetical\, biological memory.

\n

The artists have also conceived a performance entitled&nbs p\;If You Lived Here You Would Be Home Now\, which will be perform ed by Japanese/American butoh dancer \;Azumi Oe \; on the day of the opening. The resulting residual \;remnants of the per formance piece will become part of the installation\, and remain on view fo r \;the run of the show. \;

\n

Levan Mindiashvili \;received his BFA in scu lpture from Tbilisi State Academy of Arts and realized post-graduate studie s in Crossed Media Arts at The National University of Arts of Buenos Aires\ , Argentina. Among his awards should be mentioned Commission Grant for Publ ic Art Projects from National Endowments for Arts\, New York 2014 and Emerg ing Artist of 2011\, Movistar Arte Jó\;ven\, 2011 Buenos Aires\, Arge ntina. His work has been included in recent group exhibitions at Tartu Art Museum\, Estonia\; Brooklyn\; Hathaway David Contemporary\, Atlanta\; ODETT A\, Brooklyn\; RichMix\, London\; Georgian National Museum\, Tbilisi\; Rece nt solo exhibitions include &ldquo\;Studies For Unintended Archeology&rdquo \;\, The Vazquez Building\, Brooklyn\; &ldquo\;Borderlines&rdquo\;\, The Lo dge Gallery\, New York\; &ldquo\;Urban Identities&rdquo\;\, Kunstraub99\, C ologne.

\n

Uta Bekaia  \;Georgian Born\, New York based multimedia artist. He had st udied Industrial Design at Tbilisi Mtsire Academy. He debuted as an artist at AMA (Avant-Guard Fashion Assembly) with a sculptural performance. He cre ates multimedia performances and installations inhabited with wearable scul ptures\, exploring his historical cultural background\, genetical codes and cycles of the universe. His works were included in Istanbul 14th Biennial and Kiev 2nd Biennial. He currently presented performance pieces &ldquo\;Ve stiphobia&rdquo\;\, Ideal Glass\, New York\; &ldquo\;Fua Sia Tata Sia&rdquo \;\, The Movement Theater\, Tbilisi\; and Tbilisi City Parade &ldquo\;Berik aoba&rdquo\;.

\n

The Lodge Galle ry\, \;founded by Keith Schweitzer and Jason Patrick Voegele\, is located at 131 Chrystie Street on Manhattan&rsquo\;s Lower East Side. I t is the exhibition venue of Republic Worldwide and serves as both an art s pace and a gathering place for hearty discourse and experimentation.

DTEND:20160626 DTSTAMP:20160524T215857 DTSTART:20160525 GEO:40.719504;-73.99352 LOCATION:The Lodge Gallery\,131 Chrystie Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:UNINTENDED ARCHEOLOGY\, Levan Mindiashvili\, Uta Bekaia UID:419147 END:VEVENT BEGIN:VEVENT DTEND:20160525T210000 DTSTAMP:20160524T215857 DTSTART:20160525T190000 GEO:40.719504;-73.99352 LOCATION:The Lodge Gallery\,131 Chrystie Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:UNINTENDED ARCHEOLOGY\, Uta Bekaia\, Levan Mindiashvili UID:419148 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Aicon Gallery is pleased to pr esent Between Structure and Matter: Other Minimal Futures\, a group exhibit ion curated by Prajit Dutta and Murtaza Vali\, featuring work by Joë\;l Andrianomearisoa\, Minam Apang\, Rasheed Araeen\, Hemali Bhuta\, Shilpa Gu pta\, Somnath Hore\, Nadia Kaabi-Linke\, Jitish Kallat\, Mohammed Kazem\, W aqas Khan and Abdullah M. I. Syed. \;

\n

In his authoritative historical account of the period\, art historian James Meyer suggests that minimalism may be better understood not as a cohe rent movement or a singular style but as a &ldquo\;field of difference\,&rd quo\; a &ldquo\;dynamic field of specific practices&rdquo\; that was polemi cal\, contested\, and plural from its very inception.While Donald Judd focu sed on form and structure to challenge Clement Greenberg&rsquo\;s demands f or medium specificity\, matter mattered deeply to Carl Andre. And while Dan Flavin&rsquo\;s fluorescent tubes flirted with Pop\, Robert Morris dabbled in performance through collaborations with the Judson Dance Theater. There were\, and continue to be\, many &ldquo\;minimalisms.&rdquo\; More aptly c onceived of as a varied set of strategies or sensibilities\, minimalism con tinues to have currency among artists working today. Inspired by this idea of minimalism as a &ldquo\;field of difference\,&rdquo\; Between Structure and Matter: Other Minimal Futures brings together minimal work by an intern ational and multigenerational selection of artists. \;

\n

The exhibition is anchored by two important but\, unt il recently\, overlooked historical bodies of work by Rasheed Araeen and So mnath Hore\, which both expand the discourse around minimalism in interesti ng ways. Unaware of concurrent developments in New York\, Araeen began maki ng minimalist sculptures\, or structures as he preferred to call them\, in the mid-1960s\, shortly after his move from Karachi to London. Running a bi secting diagonal across the square faces of the skeletal cubes that were hi s basic units\, Araeen introduced dynamism and rhythm into the otherwise st atic and rigid orthogonal grid. This simple linear addition opened his othe rwise minimalist structures up to the potential of pattern and ornament\, a s did his embrace of vivid color. In 1971\, Somnath Hore began producing a series of paper pulp prints titled Wounds\, whose pristine white surfaces w ere subtly marked with impressions and indentations that resembled gashes\, bruises\, and scars. Best known as a printmaker\, Hore had represented the plight of innocent victims of famine\, war and conflict across the Subcont inent throughout his career. With Wounds he universalized these horrors thr ough abstraction\, branding palpable signs of bodily pain and trauma into t he very material of his otherwise minimal surfaces\, opening them up to the vicissitudes of politics and history. From Araeen&rsquo\;s play with struc ture to Hore&rsquo\;s investment in matter\, these two bodies of work mark the ends of a minimal continuum along which the other\, more contemporary\, works in the exhibition may be situated and understood. \;

\n

While repetition is most commonly linked to the efficiency of the assembly line and the industrial logic of capitalism in t he West\, it may also be understood as a performative or ritualistic act\, a tool for rehearsal\, reenactment or meditation. This quality of repetitio n as ritual drives both Waqas Khan&rsquo\;s meticulous ink on paper drawing s and Mohammed Kazem&rsquo\;s delicate scratch works\, as forms are built u p through the gradual accumulation of thousands of short precise marks. And like Kazem\, Hemali Bhuta&rsquo\;s monochromatic graphite on graphite draw ing confuses mark with surface\, figure with ground. \;

\n

Like Hore\, Shilpa Gupta and Nadia Kaabi-Linke addre ss complex real world issues&mdash\;geopolitical conflagrations\, contested borders\, labor exploitation&mdash\;through the most reductive of means: t he ghostly trace of a tree\, a straight line\, a triptych of monochromatic circles. Similarly\, Joë\;l Andrianomearisoa&rsquo\;s cloth pieces both poetically and materially respond to the profound transformations underway in his hometown of Antananarivo. Though in a different medium\, Minam Apan g&rsquo\;s delicate tea and charcoal wash painting on cloth also abstracts landscape\, reducing a mountain vista to simple composition of geometric fo rms. \;

\n

Referencing Andre&rsquo\; s iconic floor pieces\, Abdullah M. I. Syed tarnishes the pristine surfaces of his carefully inked squares with tears\, bringing the minimal surface i nto dialogue with the affective body. Jitish Kallat engages nature in a com parable manner\, allowing the uncertainty of flames and the direction of pr evailing winds to determine the final form of his large-scale minimal drawi ngs. \;

\n

The sheer diversity of me diums\, materials and strategies used to produce the works included in Betw een Structure and Matter: Other Minimal Futures reinforces the idea that mi nimalism is best understood as plural\, as a &ldquo\;field of difference\,& rdquo\; an ethos that remains impossible to pin down but that continues to inspire.plural\, as a &ldquo\;field of difference\,&rdquo\; an ethos that r emains impossible to pin down but that continues to inspire.

\n

 \;

\n

About the Curators \;

\n

Prajit Dutta is a Partner at Aicon Gallery and a Professor of Economics at Columbia Univers ity. He is an accidental curator whose principal excuse for co-curating thi s show is a lifelong fascination with minimalism. This fascination was poss ibly borne of seeing a Robert Ryman White on White painting and a Carl Andr e Grid sculpture at the Second Triennale organized back in 1971 by the Lali t Kala Akademi (the National Academy of Art) in New Delhi\, India. Seeing E va Hesse installations and white Ryman paintings and Andre steel slabs left an eleven-year old boy considerably bemused\, used as he was to art that w as much more conventional. Since then he has learned that minimalism has a more global face and he is happy to help close the circle by bringing this Other Minimalism to the home of Ryman and Andre. \;

\n

Murtaza Vali is a critic and curator who lives and works between Brooklyn and Sharjah. A recipient of a 2011 Creative Capital | War hol Foundation Arts Writers Grant\, his work has appeared in various intern ational art publications and he has penned essays for commercial galleries and non-profit institutions around the world. His past curatorial projects include: Formal Relations (Taymour Grahne Gallery\, New York\, 2015)\; Acce nted (Maraya Art Centre\, Sharjah\, 2015)\; Geometries of Difference: New A pproaches to Ornament and Abstraction (Samuel Dorsky Museum of Art\, New Pa ltz\, 2015)\; PTSD: Shahpour Pouyan (Lawrie Shabibi Gallery\, Dubai\, 2014) \; extra|ordinary: The Abraaj Group Art Prize 2013 (Art Dubai\, 2013)\; Bru te Ornament (Green Art Gallery\, Dubai\, 2012)\; and Accented (BRIC Rotunda Gallery\, Brooklyn\, 2010). An occasional pedagogue\, Vali is a Visiting I nstructor at Pratt Institute\, a Part-time Lecturer at Parson The New Schoo l of Design\, and a tutor for Campus Art Dubai.

DTEND:20160702 DTSTAMP:20160524T215857 DTSTART:20160526 GEO:40.7268368;-73.9929619 LOCATION:AICON GALLERY - New York\,35 Great Jones Street \nNew York\, NY 10 012 SEQUENCE:0 SUMMARY:Between Structure and Matter: Other Minimal Futures\, Joel Andriano mearisoa\, Minam Apang\, Rasheed Araeen\, Hemali Bhuta\, Shilpa Gupta\, Som nath Hore\, Nadia Kaabi-Linke\, Jitish Kallat\, Mohammed Kazem\, Waqas Khan \, Abdullah M. I. Syed UID:419145 END:VEVENT BEGIN:VEVENT DTEND:20160526T200000 DTSTAMP:20160524T215857 DTSTART:20160526T180000 GEO:40.7268368;-73.9929619 LOCATION:AICON GALLERY - New York\,35 Great Jones Street \nNew York\, NY 10 012 SEQUENCE:0 SUMMARY:Between Structure and Matter: Other Minimal Futures\, Joel Andriano mearisoa\, Minam Apang\, Rasheed Araeen\, Hemali Bhuta\, Shilpa Gupta\, Som nath Hore\, Nadia Kaabi-Linke\, Jitish Kallat\, Mohammed Kazem\, Waqas Khan \, Abdullah M. I. Syed UID:419146 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Join Hauser &\; Wirth for a reading and book signing by Musa Mayer of the newly published edition of&n bsp\;&lsquo\;Night Studio. A Memoir of Philip Guston&rsquo\;.

\n

&lsquo \;Night Studio&rsquo\; is a deeply personal account of growing up in the sh adow of a great artist. Musa Mayer\, the daughter of Philip Guston (1913 &n dash\; 1980)\, recounts her quest to better understand her father\, based o n letters and notes by the artist\, and interviews with those who knew him. First published to critical acclaim in 1988\, this beautifully designed ne w edition is richly illustrated with a new selection of photographs and pai ntings\, many in colour.

\n

Released on the occasion of the inaugural exhibition&lsquo\;Philip Gusto n: Painter\, 1957 &ndash\; 1967&rsquo\; \;at Hauser &\; Wirth Ne w York\, 18th Street\, on view through 29 July.

\n

Eventbrite 
 - 'Night Studio. A Memoir of Philip Guston'\, Reading and Book Signing by M
 usa Mayer

DTEND:20160526T190000 DTSTAMP:20160524T215857 DTSTART:20160526T180000 GEO:40.745157;-74.007033 LOCATION:Hauser & Wirth 18th Street New York\,511 West 18th Street \nNew Yo rk\, NY SEQUENCE:0 SUMMARY:'Night Studio. A Memoir of Philip Guston'\, reading and book signin g by Musa Mayer UID:419135 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160729 DTSTAMP:20160524T215857 DTSTART:20160623 GEO:40.745157;-74.007033 LOCATION:Hauser & Wirth 18th Street New York\,511 West 18th Street \nNew Yo rk\, NY SEQUENCE:0 SUMMARY:A Modest Proposal\, Lucas Blalock\, Naotaka Hiro\, Sanya Kantarovsk y\, Nicola L\, Tala Madani\, Jakub Julian Ziolkowski UID:419133 END:VEVENT BEGIN:VEVENT DTEND:20160623T200000 DTSTAMP:20160524T215857 DTSTART:20160623T180000 GEO:40.745157;-74.007033 LOCATION:Hauser & Wirth 18th Street New York\,511 West 18th Street \nNew Yo rk\, NY SEQUENCE:0 SUMMARY:A Modest Proposal\, Lucas Blalock\, Naotaka Hiro\, Sanya Kantarovsk y\, Nicola L\, Tala Madani\, Jakub Julian Ziolkowski UID:419134 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Captain Beefheart/Don Van vliet said to Frank Zappa\, th e difference between us\, Frank\, is that you like to work and I like to pl ay.

\n

Steven Harvey Fine Art Projects presents Free Time\, a sum mer invitational in two parts\, which celebrates the play spirit in contemp orary art. The first section will run between May 25th and June 25th\, and includes the work of painters: Daniel Herr\, Anna Men des\, Paul Metrinko and Giordanne Salley\, textile artist Liv Aanrud and ce ramicist Beth Kaminstein.

\n

Based in Los Angeles\, Liv Aanrud creates all-over textile abstractions informed by the language of painting. \; She employs the traditional folk method of rag rug hooking. \; Aanrud received her MFA in 2011 at the Mason Gross School of the Arts at Rutgers U niversity. \; She had a solo show at SHFAP project space in 2015 entitl ed\, Ravel Ravel. \; Her work was recently included in Phy sical Painting at SUNY Purchase College.  \;  \;

\n

Danie l Herr received his MFA in 2011 at Boston University. \; In 2015\, his work was exhibited at The Inside/Outside Art Museum in Beijing. \; His work connects the dots between Hans Hofmann and Don Van Vliet with wide-ope n visual references in a polyglot\, gestural language. \;

\n

  \;Beth Kaminstein lives in the Florida Keys. \; She is a master ceramic ist who studied at Bennington College with Stanley Rosen. Subsequently\, sh e taught at Greenwich House in New York City for a number of years.  \; In 2013\, her work was exhibited alongside Helen Frankenthaler at Cross Ma ckenzie Gallery in Washington D.C. \; She has created commissioned piec es for Greenways Project Broward County Art in Public Places.  \; \ ;

\n

Anna Mendes got her undergraduate degree at Wesleyan. She is atte nding UCLA this fall to work in their MFA program. Recently\, she has\, wit h several collaborators\, created an environmental art space in Brooklyn ca lled Treasure Town. Mendes began as a figurative painter. We will be showin g examples from her snacks series.  \;

\n

Paul Metrinko studied at Pennsylvania Academy of Fine Arts. \; While there\, he received the Lo is and Charles X. Landscape Residency where he met E. M. Saniga\, an artist who exhibits with Steven Harvey Fine Art Projects. Metrinko is working on a series of small paintings of New York\, which play with the conventions o f outdoor landscape painting while illustrating an innocent surrealism. &nb sp\;

\n

 \;Giordanne Salley&rsquo\;s paintings explore the interse ction of love and nature. With sensitively textured surfaces\, she creates close-ups of the memories of running through the woods\, skinny-dipping\, a nd being in love. Salley received her MFA from Boston University in 2013.&n bsp\; She had a solo show at The Vermont Studio Center in 2011. Her first s olo show in New York City was at Steven Harvey Fine Art Project&rsquo\;s Pr ojector Space in 2015. \; The New York Times\, critic\, Roberta Smith s ingled Salley out as an artist to look out for.  \;

\n

Free Time\, part 2 opens July 7\, 2016. Please contact the gallery at 917-861-7312 or info@shfap.com for furth er information or photographs. \;

\n

 \;

DTEND:20160625 DTSTAMP:20160524T215857 DTSTART:20160525 GEO:40.7228401;-73.9902918 LOCATION:Steven Harvey Fine Art Projects\,208 Forsyth Street \nNew York \, New York 10002 SEQUENCE:0 SUMMARY:Free Time part 1\, Daniel Herr\, Anna Mendes\, Paul Metrinko\, Gior danne Salley\, Liv Aanrud\, Beth Kaminstein UID:419061 END:VEVENT BEGIN:VEVENT DTEND:20160525T200000 DTSTAMP:20160524T215857 DTSTART:20160525T180000 GEO:40.7228401;-73.9902918 LOCATION:Steven Harvey Fine Art Projects\,208 Forsyth Street \nNew York \, New York 10002 SEQUENCE:0 SUMMARY:Free Time part 1\, Liv Aanrud\, Daniel Herr\, Beth Kaminstein\, Ann a Mendes\, Paul Metrinko\, Giordanne Salley UID:419062 END:VEVENT END:VCALENDAR