BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION: DTEND:20150227 DTSTAMP:20150228T123524 DTSTART:20150227 GEO:40.716943;-73.997372 LOCATION:3A Gallery\,179 Canal Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:"Some Paintings From Belgium" Jef Geys UID:375462 END:VEVENT BEGIN:VEVENT DTEND:20150227T200000 DTSTAMP:20150228T123524 DTSTART:20150227T180000 GEO:40.716943;-73.997372 LOCATION:3A Gallery\,179 Canal Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:"Some Paintings From Belgium" Jef Geys UID:375463 END:VEVENT BEGIN:VEVENT DESCRIPTION:

We are pleased to present  \;En Voz Alta (Aloud)\,< /em> \;a spontaneous exhibition of works by nine Cuban-born artists:&nb sp\; \;Marí\;a Magdalena Campos-Pons\, Duvier del Dago\, Meira Ma rrero \; &\; José\; \;Toirac\, \;Liudmila &\; \ ;Nelson\, Yunier Hernandez\, Armando Mariñ\;o\, Douglas Pé\;rez Castro\, Reynerio Tamayo and Elio Rodrí\;guez. \;-six living in Havana\, \;two are in the United States and one in Europe.

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The steady erosion of the United States embargo a gainst Cuba\, since 2009\, has given hope to many there and abroad that nor malization between the two countries is possible. On the island\, opportuni ty\, and or the perception of it\, are more plentiful than ever.  \;Man y Cubans are celebrating the potential bounty\, hoping that electronic conn ectivity and open trade are now or soon will be within reach.

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The educational system in Cuba has produced prolif ic and undeniable talent whose artwork is now being lauded by art critics\, curators and collectors as the best-kept secret in the art market today. T he process of passing on a lineage under the Cuban system of student to art ist to professor is as persistent and durable as Cuban culture itself.

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En Voz Alta &ldquo\;gives sudden voice to an easy coupling of artists\,&rdquo\; according to \;Rachel&n bsp\;Weingeist\, the curator\, \;who wanted to respond to &ldquo\;the&n bsp\;excitement that Cuban artists are expressing &ndash\; generated by the recent political shifts.&rdquo\;

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Eve ryone wants to know what is next in Cuba&rsquo\;s future.  \;Perhaps ar tist duo Meira Marrero and José\; \;Toirac&rsquo\;s tarot card de ck\, bound in leather of 24 cards\, titled Profile will shed light .  \;This work is charged with symbols inspired by the iconic interview that resulted in &ldquo\;One Hundred Hours with Fidel\,&rdquo\; t he infamous tell-all in the words of the Revolutionary himself\, published in 2006.

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In this exhibition\, as art often manifests\, humor and the realities of daily routine are intertwined.  \; All of the artists in this show are referencing current and recent political inspirations: Douglas Perez&rsquo\;s painting\, &ldquo\;Decem ber 17th in the White House\,&rdquo\; \;refers to President Obama& rsquo\;s announcing the restoration of a diplomatic relationship with Cuba\ , and we witness Michelle and Barack Obama dancing on a banquet table\, dis hes flying in celebration. \;Duvier del Dago\, well known for his light and string drawings\, positions a larger-than-life nude Cubana at a podium set in a futuristic public square\, orating to a raucous and fict ional crowd. Marí\;a Magdalena Campos-Pons\, revered for her sensual imagery\, offers \;&ldquo\;Unspeakable Sorrow\,&rdquo\; \; a ceremonial black-on-black portrait of despair\, loss and abandonment\, a howl\, in which the flowering Amaryllis is the only trace of life or color in the work.

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Rachel Weingeist is a co ntemporary curator and cultural advisor who has curated over twenty-five Cu ban exhibitions that range in theme and breadth. Over the last five years\, Weingeist built the largest private Cuban art collection to date and creat ed the first contemporary \;Cuban video archive\, which has traveled wi dely.  \;Weingeist is a member of the Harvard Cuban Studies Advisory Bo ard and actively participates internationally in cultural and political dia logue.

DTEND:20150321 DTSTAMP:20150228T123524 DTSTART:20150226 GEO:40.749403;-74.004838 LOCATION:532 Gallery Thomas Jaeckel\,532 W. 25th Street \nNew York\, NY 100 01 SEQUENCE:0 SUMMARY:En Voz Alta (Aloud)\, Liudmila Velasco & Nelson\, Jose Toirac & Mei ra Marrero\, Maria Magdalena Campos-Pons\, Duvier Del Dago\, Armando Marino \, Douglas Pèrez Castro\, Reynerio Tamayo\, Elio Rodriguez UID:374534 END:VEVENT BEGIN:VEVENT DTEND:20150226T200000 DTSTAMP:20150228T123524 DTSTART:20150226T180000 GEO:40.749403;-74.004838 LOCATION:532 Gallery Thomas Jaeckel\,532 W. 25th Street \nNew York\, NY 100 01 SEQUENCE:0 SUMMARY:En Voz Alta (Aloud)\, Maria Magdalena Campos-Pons\, Douglas Pèrez C astro\, Duvier Del Dago\, Armando Marino\, Jose Toirac & Meira Marrero\, Li udmila Velasco & Nelson\, Elio Rodriguez\, Reynerio Tamayo UID:374535 END:VEVENT BEGIN:VEVENT DESCRIPTION:

For Immediate Release  \;  \;  \;  \;  \ ;  \;  \;  \;  \;  \;  \;  \;  \;  \; & nbsp\;  \;  \;  \;  \;  \;  \;  \;  \; &nbs p\;  \;  \;  \;  \;  \;  \;  \; Media Contact: Mikaela Sardo Lamarche

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January 16\, 2015  \;  \;  \; &n bsp\;  \;  \;  \;  \;  \;  \;  \;  \;   \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \; &nb sp\;  \;  \;  \;  \; \;Curator@acagalleries.com \;212 206-8080

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Herb Alpert and Richard Mayhew : HARMONIC RHYTHMS< /p>\n

February 19 through April 4\, 2015< /p>\n

Opening Reception: Thursday\, Febru ary 19 from 6 to 8pm

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Press Preview: 3 to 6pm

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ACA Galleries is pleased t o announce its forthcoming exhibition\, Herb Alpert and Richard Mayhew: Harmonic Rhythms\, on view February 19 through April 4\, 2015. \; Primarily known for his music\, Herb Alpert has gained a reputation as an accomplished visual artist. \; At 91\, Richard Mayhew is acknowledged a s one of America&rsquo\;s premier landscape painters and colorists. \; Both artists\, informed intensely by music\, use improvisation in their wor k. \;

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Herb Alpert&rsquo\;s sculptures reveal Alpert&rsquo\;s gr owth and influences: the spirituality of the native American totems of the Pacific Northwest\, the monumentality and modernism of Rodin\, Henry Moore and Alberto Giacometti. But as these influences passed through Alpert\, the y picked up elements of Alpert&rsquo\;s soul\, a soul informed by the harmo nies and rhythms of music\, especially jazz. Thus\, his totemic forms are a s effervescent as they are magisterial\, as sensual as they are spiritual.< /p>\n

Alpert&rsquo\;s sculptures\, though generally abstract\, nonetheles s revel in the fleshy exuberance of human forms. Sensuality and sexuality p roclaim themselves with eloquent poise. Alpert treats sensuality not just a s an organic experience\, but as emotions that seem to erupt from the sculp tures themselves. Thus\, this interplay between the emotional\, physical an d spiritual gives Alpert&rsquo\;s sculptures and internal power\, an energy that flows from their forms and surrounds the viewer.

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Richard Mayh ew expresses in color and landscape the spirituality Alpert finds in form. Mayhew&rsquo\;s oeuvre is spirit itself\, the spirit that inhabits Mayhew&r squo\;s landscapes of the mind and soul.  \;His African-American\, Cher okee and Shinnecock ancestry provide a deep well of spiritual heritage from which to draw on\, and finds expression in the near-mystical visions of na ture Mayhew spreads across his canvases. Colors shimmer\; fields and hills undulate\; trees quiver. Mayhew&rsquo\;s landscapes\, pouring forth from th e depths of his imagination\, inhabit their painted surface with equal meas ure of serenity and energy. \;

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A jazz singer himself\, rhythm a nd melody seem to flow through Mayhew&rsquo\;s landscapes: smoothly gliding through one area\, skipping in syncopation in another\, colors rising like melodies through the air. Like much of jazz\, Mayhew&rsquo\;s work is ofte n improvisational. As a painter\, he&rsquo\;ll let the picture dictate its own creation\, letting the paint flow where it needs to flow\, much as a ja zz musician will let the notes fly where they need to fly. Mayhew thus trus ts the paint\, the process of painting\, and his deep knowledge of how it a ll works. He understands that improvisation does not mean abandoning skill or control of one&rsquo\;s medium\, but that skill and chance must enhance each other.

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Richard Mayhew&rsquo\;s work is in the permanent collec tions of The Metropolitan Museum of Art\, Whitney Museum of American Art\, Brooklyn Museum of Art\, NY\, African-American Museum\, Philadelphia\, PA\, Museum of African Art\, National Museum of American Art\, and the Smithson ian Institute in Washington\, DC\, among others. \;

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A monograph on Richard Mayhew was published in 2009 in conjunction with three solo exh ibitions in California: Museum of the African Diaspora (San Francisco)\; Mu seum of Art and History at the McPherson Center (Santa Cruz) andDe Saisset Museum at Santa Clara University (Santa Clara). \;

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Alpert&rsquo \;s paintings and sculptures have been exhibited in museums across the Unit ed States including the Tennessee State Museum and the Pasadena Museum of C alifornia Art. His work is in the permanent collections of the Museum of Co ntemporary Art (MOCA)\, Los Angeles and the Tennessee State Museum\, Nashvi lle\, among others. In 2013\, Alpert was awarded the National Medal of Art by President Barack Obama at the White House. \; From the Tijuana Brass \, to his present day solo jazz performances\, with his signature sound\, H erb Alpert is a nine-time Grammy Winner\, his latest for "Best Pop Instrume ntal Album&rdquo\; in 2014 for his album\, Steppin' Out.

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L ast year three monumental sculptures by Herb Alpert were on view across fro m Lincoln Center in New York City and 7 of Alpert&rsquo\;s massive sculptur es\, at different locations\, around Los Angeles and Malibu\, Ca. \; Mr . Alpert and his wife\, Lani\, will be performing at the Carlyle Hotel in N ew York City\, from March 10-21. \;

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For additional information and images contact

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Mikaela Sardo Lamarche

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curator@acagalleries.com

DTEND:20150404 DTSTAMP:20150228T123524 DTSTART:20150219 GEO:40.7452665;-74.0083239 LOCATION:ACA Galleries\, Est 1932\,529 West 20th Street (5th floor) bt 10th and 11th Ave\nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Herb Alpert and Richard Mayhew: Harmonic Rhythms\, Herb Alpert UID:372846 END:VEVENT BEGIN:VEVENT DTEND:20150219T200000 DTSTAMP:20150228T123524 DTSTART:20150219T180000 GEO:40.7452665;-74.0083239 LOCATION:ACA Galleries\, Est 1932\,529 West 20th Street (5th floor) bt 10th and 11th Ave\nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Herb Alpert and Richard Mayhew: Harmonic Rhythms\, Herb Alpert UID:372847 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Aicon Gallery is proud to pres ent EAT PRAY THUG\, a group exhibition curated by Himanshu "Heems" Suri. To commemorate Suri's upcoming debut solo album release\, he has curated a gr oup show of the same name\, along with a schedule of events and performance s. The exhibition represents a wide array of mediums and artistic backgroun ds - straight/queer\, Hindu/Muslim\, male/female\, established/newcomer\, A sia/Diaspora. Though all these artists may trace their roots to India or Pa kistan\, they live and work in varied mediums around the world and not all the work revolves around issues of identity\, for example\, the abstract ge ometric studies of Nihalani and Suleman&rsquo\;s black comedic commentary o n current events in Pakistan. Taken as a whole\, the exhibition examines th e richly varied contemporary artistic voices resonating from out of South A sia and its Diaspora.

In addition to the exhibition\, Suri has also put together a series of events for the month. There will be a perfor mance by Pakistani punks The Kominas with Rizwan &ldquo\;Riz MC&rdquo\; Ahm ed\, the Nightcrawler actor and Suri&rsquo\;s partner in the post-partition hip-hop duo Sweat Shop Boys. Viewers will also be able to witness an exclu sive performance art piece by Deepak Choppa. February 28th\, Deepak Choppa will turn the gallery space into a recording studio for a full 24 hours. He ems will write and record an EP of all new material over this time period\, with the gallery open to the public throughout.

Born in Karac hi\, Pakistan Roohi S. Ahmed&rsquo\;s video drawing performance\, titled Se w and Sow\, examines the conceptual process\, physical gestures\, and emoti onal and personal narratives of literally marking the body and the cartogra phies arising from it. The stitching and unstitching of her skin leaves vis ible tactile traces as a memory of actions and corrections made by the othe r hand. In 2002\, after encountering his family's South Asian film collecti on\, Chiraag Bhakta began his series of nostalgic Bollywood-inspired prints under the name *Pardon My Hindi. Using humor mixed with stark social comme ntary\, Bhakta seeks to explore cross-cultural interpretations of identity as a first generation Indian American. His Arch Motel photographic series\, a collaboration with Mark Hewko\, has been shown at the Smithsonian Museum in Washington D.C. and his Washed Series collage works are being shown for the first time in New York.

Chitra Ganesh was born and raised in Brooklyn\, NY\, where she currently lives and works. Her artistic praxi s is inspired by buried narratives and marginal figures typically excluded from official canons of history\, literature and art. She is widely recogni zed for her experimental use of comic and large-scale narrative forms to co mmunicate submerged histories and alternate articulations of femininity to a broader public. Her works have been featured in several publications incl uding the New York Times\, Flash Art\, Art Asia Pacific\, and Time Out New York. Ratna Gupta studied graphic design at St. Xavier&rsquo\;s College\, M umbai\, and book arts and crafts at the London College of Printing\, The Lo ndon Institute. She has participated in numerous solo and group exhibitions . Her work re-contextualizes natural surfaces such as bark and skin by rebu ilding them with molds\, latex\, canvas and thread\, preserving them agains t the destructive forces of both man and nature.

Born in 1953\ , Ranbir Kaleka is a formally trained painter who has progressively transit ioned into video art by developing a distinctive painterly language for his multimedia projects. In Man with Cockerel - 2\, a man is caught in a circl e of endless pursuit and capture of his escaped &lsquo\;cockerel&rsquo\;. T he viewer's reverie is jolted by a play with diegetic and non-diegetic conv entions of sound: domestic\, industrial\, everyday and the environmental. T he only relief is the long silent lapping of the waves on an empty screen a t the end of the loop before the man again finds his &lsquo\;cockerel&rsquo \; and enters the frame. Aakash Nihalani\, born in Queens\, studied at the Steinhardt School of Culture in NYU\, New York. Heavily inspired by local s treet art\, Nihalani is drawn especially to isometric rectangles and square s\, often creating highly illusionistic installations simply from color\, l ine and space. His work is a reaction to forms and structures we readily en counter in both public to private\, where we&rsquo\;re required to establis h our own placement within a larger picture.

The mainstay of K arachi-based Adeela Suleman&rsquo\;s artistry explores a series of dichotom ies that point to the fragile and fleeting ephemerality of life as experien ced by the artist amidst the chaotic and perpetually deteriorating religiou s and political violence of Pakistan. Her figures of headless soldiers and courtiers decapitating and disemboweling each other function as a grotesque yet somehow humorous representation of the ambiguous roots and perpetuator s of the horrific violence wracking Pakistan\, where nothing is ever quite as it seems. Working and living between Karachi and Sydney\, Abdullah M. I. Syed&rsquo\;s practice is rooted in the long history of discourse and deba te surrounding Colonialism and Orientalism\, now forever altered in apost-9 /11 political landscape. His exuberantly colored outsized Brut medallions u se traditional Pakistani arts and crafts techniques to explore the warping and stereotyping of notions of masculinity both within Islamic societies an d from myopic Western preconceptions. Throughout his work\, Brooklyn-based painter Salman Toor deftly presents a subtle melding of the confused consum eristic and social fantasies of the mass-medias of India\, Pakistan and the U.S. with a Renaissace-era handling of light\, painting and draftmanship. In the works Newscater I and II\, Toor depicts a set of dueling characiture s of impossibly idealized South Asian news anchors humorously surrounded by the scribbled disconnected notes\, lists and rants of a fictionalized and neurotic contemporary artist.

Himanshu &ldquo\;Heems&rdquo\; S uri\, formerly of the rap group Das Racist\, has exhibited his work at the Guggenheim\, New York\, and the Museum of Contemporary Art\, Chicago and cu rated projects for instituitions including the Whitney Museum of American A rt\, New York. In addition\, he has maintained a constantly evolving output of collaborative musical and recording projects. His work on diplay in thi s exhibition will include unique pieces as well as collaborative installati ons and limited edition album artworks all based on Suri&rsquo\;s travels i n India and experiences and upbringing in New York City. This is his first curatorial project with Aicon Gallery.

DTEND:20150310 DTSTAMP:20150228T123524 DTSTART:20150207 GEO:40.7268368;-73.9929619 LOCATION:AICON GALLERY - New York\,35 Great Jones Street \nNew York\, NY 10 012 SEQUENCE:0 SUMMARY:Eat Pray Thug\, Chiraag Bhakta (*Pardon My Hindi)\, Featuring Roohi Ahmed\, Chitra Ganesh\, Ratna Gupta\, Ranbir Kaleka\, Aakash Nihalani\, Ad eela Suleman\, Himanshu Suri\, Abdullah M.I. Syed\, Salman Toor UID:373580 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150310 DTSTAMP:20150228T123524 DTSTART:20150207 GEO:40.7268368;-73.9929619 LOCATION:AICON GALLERY - New York\,35 Great Jones Street \nNew York\, NY 10 012 SEQUENCE:0 SUMMARY:Approaching Abstraction: Works from the Herwitz Collection\, S.H. R aza\, Ranbir Kaleka\, G.R. Santosh\, Manisha Parekh\, Vijay Shinde UID:373581 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Alexander Gray Associates pres ents an exhibition of artwork by Luis Camnitzer\, featuring works in a vari ety of media dating from 1968 to the present. An accompanying catalogue is published in both English and Spanish\, featuring the artist&rsquo\;s essay The Mediocrity of Beauty (2010).

The artworks on vie w convey Camnitzer&rsquo\;s skepticism of universal beauty\, specifically s ymmetry as a defining visual characteristic of beauty. In the video Jan e Doe (2012)\, Camnitzer fused fifty photographs of women&rsquo\;s fac es&mdash\;taken from online police reports\, legal documents\, and newspape r articles&mdash\;utilizing image morphing software. The portrait of Jane D oe\, a seemingly &ldquo\;beautiful&rdquo\; symmetrical face\, resulted from the averaging out of individual features. The video shows a fictional face and story that provides an identity for Jane Doe. In the realm of the poli tical\, for his most recent suite of seven etchings\, Symmetry Jail (2014)\, Camnitzer stacked and mirrored each letter in the word &ldquo\;s ymmetry&rdquo\;&mdash\;using the United Nations official languages Arabic\, Chinese\, English\, French\, Spanish\, Russian\, plus he adds German&mdash \; to create seven unique characters. For the artist\, &ldquo\;Words are ne ver able to fully convey what one truly thinks: thoughts and feelings are p ressed into an alien format\, like when poetry tries to imprison poetics in stiltedness. Symmetry worsens this by curtailing the freedom of informatio n.&rdquo\;

Camnitzer believes that art&rsquo\;s function is no t to reinforce traditional notions of beauty\, but rather\, it can create a lternative orders and frameworks\, enabling an expanded perspective. This p hilosophy is represented in works such as Questions and Answers (1 981)\, a series of ten photographs of ordinary objects\, which the artist m ade under hypnosis\; and Seven Virtues (2014)\, a seven-part graph ic work in which Camnitzer indexed the seven cardinal and theological virtu es&mdash\;charity\, courage\, faith\, fortitude\, hope\, temperance\, prude nce&mdash\;into the pages of Dorland&rsquo\;s Medical Dictionary. Altering the clinical tone of this volume\, he defined each virtue in the context of medical descriptions of ailments\, which suggests a more nuanced understan ding of the human state and the present condition of religious and scientif ic ethics.

Transgression has characterized Camnitzer&rsquo\;s practice since the mid-1960s\, when he co-founded The New York Graphic Work shop with fellow artists Argentine Liliana Porter and Venezuelan José \; Guillermo Castillo (1939&ndash\;1999). The etchings Self-Portrait (1968&ndash\;72)\, a series of five self-portraits that only include the inscription of the artist&rsquo\;s name and the date of creation\, demonst rate this defining quality and question authorship\, authenticity and seria lity. Camnitzer&rsquo\;s interest in language extends to Please Look Away ( 2014)\, a room-size installation that invites the audience to walk into the immersive cage-like environment made of imperative inscriptions\, such as &ldquo\;Please look away\, you are invading my territory\,&rdquo\; printed in white lettering on black vinyl banners adhered along the walls and floor of the Gallery\, demarcating the alienation of physical space.

Situating elegance in the context of beauty\, Camnitzer argues that simpl icity is perhaps the most profound form of beauty. In 1973\, Camnitzer crea ted a series of drawings to document ephemeral installations he did between 1969 and 1972. The primary component in the installations had been succinc t sentences describing objects or situations\, paired with simple geometric shapes that stood as the corresponding illustration to the text. Works suc h as the drawing Aquí\; yace una obra de arte (1973)\, creat ed after a 1972 installation of the same name\, depicts a rectangular slab that serves as a tombstone with the inscription &ldquo\;Here Lies and Artwo rk\;&rdquo\; a handwritten notation legible on the drawing&rsquo\;s margin provides installation instructions for how to exhibit the work as a three d imensional object. The invisibility of the artwork that lies under the tomb stone speaks to Camnitzer&rsquo\;s pairing of direct images and text to enc ourage the viewer to generate alternative meanings. Camnitzer states\, &ldq uo\;I am interested in art as a formulation of and solution to problems\, a nd it&rsquo\;s there where elegance is really important. In art\, there may be many correct solutions\, but the best is the most elegant among the cor rect ones. Elegance is not necessarily simple\, but it is the one that may achieve the greatest complexity without getting lost in stupidity.&rdquo\;< /p> DTEND:20150328 DTSTAMP:20150228T123524 DTSTART:20150219 GEO:40.74975;-74.003741 LOCATION:Alexander Gray Associates\,508 West 26 Street #215 \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Solo Exhibition\, Luis Camnitzer UID:372920 END:VEVENT BEGIN:VEVENT DTEND:20150219T200000 DTSTAMP:20150228T123524 DTSTART:20150219T180000 GEO:40.74975;-74.003741 LOCATION:Alexander Gray Associates\,508 West 26 Street #215 \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Solo Exhibition\, Luis Camnitzer UID:372921 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150315 DTSTAMP:20150228T123524 DTSTART:20150204 GEO:40.725623;-73.991532 LOCATION:American Contemporary\,4 East 2nd Street \nNew York\, NY 10003 SEQUENCE:0 SUMMARY:Solo Exhibition\, Dwyer Kilcollin UID:369596 END:VEVENT BEGIN:VEVENT DTEND:20150204T200000 DTSTAMP:20150228T123524 DTSTART:20150204T180000 GEO:40.725623;-73.991532 LOCATION:American Contemporary\,4 East 2nd Street \nNew York\, NY 10003 SEQUENCE:0 SUMMARY:Solo Exhibition\, Dwyer Kilcollin UID:369597 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Barbara L. Gordon collecti on offers a stunning presentation of American folk art made primarily in ru ral areas of New England\, the Midwest\, and the South between 1800 and 192 0. More than sixty works of art\, including still-life\, landscape\, allego rical\, and portrait paintings\, commercial and highly personal sculpture\, and distinctive examples of art from the German-American community exempli fy the breadth of American creative expression by individuals who did not a lways adhere to the academic models that established artistic taste in urba n centers of the East Coast.

The exhibition is drawn from the Barbara L. Gordon collection and is organized and circulated by Art Servic es International\, Alexandria\, Virginia.

Major support for t he presentation at the American Folk Art Museum is provided by HISTORY®\ ;.

The exhibition is accompanied by a full-color catalog copub lished by ASI and the international publishing firm SKIRA/Rizzoli.

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Additional support is provided by Joyce Berge r Cowin\, the David Davies and Jack Weeden Fund for Exhibitions\, public fu nds from the New York City Department of Cultural Affairs in partnership wi th the City Council\, and the New York State Council on the Arts with the s upport of Governor Andrew Cuomo and the New York State Legislature.

DTEND:20150308 DTSTAMP:20150228T123524 DTSTART:20141216 GEO:40.7731765;-73.9814441 LOCATION:American Folk Art Museum\,2 Lincoln Square \nNew York\, NY 10023 SEQUENCE:0 SUMMARY:A Shared Legacy: Folk Art in America UID:361567 END:VEVENT BEGIN:VEVENT DTEND:20141216T173000 DTSTAMP:20150228T123524 DTSTART:20141216T103000 GEO:40.7731765;-73.9814441 LOCATION:American Folk Art Museum\,2 Lincoln Square \nNew York\, NY 10023 SEQUENCE:0 SUMMARY:A Shared Legacy: Folk Art in America UID:361568 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Andrea Rosen Gallery is deligh ted to announce our third solo exhibition of Katy Moran. Re-affirming her e loquent\, unique territory\, Moran&rsquo\;s newest body of paintings reflec ts the artist&rsquo\;s ongoing concentration\, iconoclastic visual sensibil ity\, and rigorous formal complexity through a dynamic interweaving of repr esentation and abstraction\, composition and narrative\, texture and space.

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Our exhibition coincides with a majo r survey of 51 paintings covering the last seven years currently underway a t Parasol unit Foundation for Contemporary Art in London\, creating an oppo rtunity for greater insight into Moran&rsquo\;s work. The experience of tha t exhibition is clarifying: Moran&rsquo\;s paintings span all four large ro oms of Parasol unit\, and one experiences just how radically different each work is from every other.

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We are ple ased to present 16 new works\, which mark their own new visual territory wi thin Moran&rsquo\;s expressive vocabulary. Peeking Cheetah\, with its white gradient and spotted\, jaggedly angular sections\, hints at somet hing wild peering at the viewer from beneath the painting&rsquo\;s restrain ed faç\;ade. The intersecting planes and repeating figural motifs of New Landscape suggest a riotous natural world ready to show itself with each subsequent viewing.

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Moran& rsquo\;s paintings reflect an intentionally responsive working process: as she paints\, the artist reacts to the material itself\, shifting or rotatin g the canvas\, reworking textures\, and reconsidering the shapes and figure s that emerge. In recent years\, Moran has added a new practical and physic al dimension to her work with the inclusion of collage\; often partially ob scured by paint\, the collage elements engage the materials and framework t hat underlie each work. The works in this exhibition range from the most pa red-down figuration we have seen from Moran to more sculptural surfaces.

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Katy Moran was born in 1975 in Grea t Britain. She studied at the Royal College of Art\, London\, where she was part of the highly regarded painting MA program. Moran has had solo exhibi tions at Stuart Shave/Modern Art\, London\, Wexner Center for the Arts\, Co lumbus\, OH\, and Anthony Meier\, San Francisco. Moran has been included in group exhibitions at numerous international institutions including Kunstve rein Freiberg\, Germany\, as well as Tate Britain\, London\, San Francisco MOMA\, and Walker Art Center\, Minneapolis where her works are in the publi c collections. Currently\, she has a solo show at Parasol unit in London\, which runs through March 8\, 2015. Moran lives and works in London.

DTEND:20150228 DTSTAMP:20150228T123524 DTSTART:20150130 GEO:40.749185;-74.005023 LOCATION:Andrea Rosen Gallery\,525 W.24th St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Solo Exhibition\, Katy Moran UID:370431 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Man as a constr uct is the synthesis of all his functional apparatuses\, i.e. man will be m ost perfect in his own time if the functional apparatuses of which he is co mposed &ndash\; his cells as well as the most sophisticated organs &ndash\;  \;are conscious and trained to the limit of their capacity.

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- Lá\;szló \; Moholy-Nagy\, Produktion-Reproduktion\, 1922

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Taking its title from Lá\;szló\; Moholy-Nagy&rsquo\;s 1922 essay Produktion-Reproduktion\, this ex hibition revisits his engagement with the Berlin avant-garde and the circle of é\;migré\;s who left Hungary following the collapse of the socialist revolution. In these years Moholy formulated a politicized theory of aesthetics invested with materialism. He sought to incorporate the capa cities of the body by posing a model of a wholly receptive biology: the col lected cells and organs sensitized to and shaped by aesthetics. As such Moh oly expressed deep concern for the sensory habituation technologies may inf lict within the body itself. In Produktion-Reproduktion\, Moholyla ys out the framework for his life-long project to parse the innate qualitie s of emergent technologies &ndash\; to leverage the positive capacity for < em>productive creation as he called it\, in opposition to the stultify ing effects of market-driven reproduction. In a 1932 essay he states &ldquo \;This phase is best expressed by capitalism&rsquo\;s anti-biological use o f technology&hellip\;[It] has already caused irreparable damage\; generatio ns have become enfeebled in their biological functions.&rdquo\;

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Already in the 1922 essay\, Moholy so ught to deploy the logic of productive creation withinthe still-yo ung field of photographic imaging &ldquo\;to receive and record various lig ht phenomena (parts of light displays) which we ourselves will hav e formed&rdquo\; &ndash\; in other words\, to produce non-figurati ve images through direct manipulation of light. \; His thinking on the subject developed in conjunction with photographic technology emerging at t he time. In particular\, the Leica I &ndash\; the camera that first made ph otography accessible to non-professionals &ndash\; shared a complex politic al history\, closely paralleling Moholy&rsquo\;s own. This exhibition addre sses the lineage of direct technological manipulation in Moholy&rsquo\;s wo rk and pivots on a selection of his in-camera &lsquo\;light painting&rsquo\ ; investigations as expressed in a series of abstract color photographs.&nb sp\;

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Over his lifetime Moh oly made strides with black and white photographic abstraction using the ph otogram technique\, however\, his long-standing ambition to do the same wit h color images was never realized. Made impossible by the state of photogra phic printing technology of the day\, the project exited the darkroom to in vestigate the possibility of in-camera manipulation. The five abstract imag es in this exhibition made between 1937 and 1946\, exemplify his work to di rectly manipulate light and color in photosensitive mediums. Moholy died in 1946 making this late series the last of his investigation on the subject and perhaps his closing remarks with regard to Produktion-Reproduktion< /em>. The images were both prescribed and limited by the state of technolog y at the time they were made: the Kodachrome film employed for much of his color work was limited to producing slide transparencies. Despite significa nt research with color printing techniques\, he was never able to achieve t he color fidelity he desired in reproducing the images in print format &nda sh\; \;a project that would only be completed over half a century later by master-printer Liz Deschenes. \; Thus the particular technical hist ory in this work manifests Moholy&rsquo\;s nuanced understanding of technol ogical progress.

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For this exhibition a selection of biographical photos is presented in their origina l slide format &ndash\; the intimacy of the works in their inceptive medium underscores the biological imperative and the agency of desire within Moho ly&rsquo\;s aesthetic framework. Moholy was driven by a Modernist ideal of human progress that he strove to achieve within his own life through self-e mbodiment and reproductive teleology. Accordingly\, the role of the familia l body should not be overlooked when considering Moholy&rsquo\;s work.  \; Included are his two daughters in Portrait of Hattula and Claudia Mo holy-Nagy\, 1945\; his wife in Sibyl Moholy-Nagy in red blouse\, 1945\; and himself with &ldquo\;M=N&rdquo\; Self portrait of L&aacu te\;szló\; Moholy-Nagy\, 1944. \;

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After 1937 Moholy worked primarily with the Leica se ries of cameras and\, as with his own biography\, the history of the camera &rsquo\;s development cannot be untangled from the political upheavals of i ts time. The Leica I was released in the 1920s followed by the Leica II in 1932. During this same period the Soviet Union &ndash\; unable to trade wit h Europe &ndash\; began reproducing foreign technologies within the commune factories. In this way the Leica came into existence with a double life: t he German original and a Soviet reproduction known as the FED. German force s destroyed the FED commune near the end of the war and manufacturing cease d until the fall of the Nazi regime when German technologies were expropria ted back to the Soviet Union to rebuild production lines (in one notable in stance\, relocating an entire Zeiss factory). In the postwar years Leica co pies continued to develop\, some embellished with Leica logos and exaggerat ed connotations of wealth such as snakeskin leather and gold accents. Early models were intended for the Soviet audience\, but following the collapse of the USSR\, FED-made Leica copies found their way into western markets. W ith growing awareness of the Soviet provenance amongst collectors\, a final revision came to light: re-inscribed with Nazi insignias intended to indic ate German authenticity &ndash\; a replica of a reproduction of a copy with no referent. For Production / Reproduction an original Leica II a s well as three successive FED reproductions are presented. \;

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A reconstruction of a Moholy bench from the late 1920s occupies the central space of the gallery. The obscure work is the only known piece of furniture by Moholy and was designed expre ssly for use in gallery exhibitions during the modern reconfiguration of th e Landesmuseum\, Hannover. However\, with the bench&rsquo\;s incidental yet unsettling formal relation to the Nazi Swastika\, a sense a foreboding sha dows Moholy&rsquo\;s biography and the brutal impact WWII would make upon h is person. Here the body rests\, given into its material condition. \; It is this limit that Moholy sought to exceed. That is\, it is the body&rsq uo\;s unbounded desire for sensation that holds within itself Moholy&rsquo\ ;s conception of &lsquo\;productive creation&rsquo\;\; a force to resist wh at he considered to be the oppression inflicted by the dominant powers when left to their own devices. &ldquo\;It is a specifically human characterist ic that man&rsquo\;s functional apparatuses can never be saturated.&rdquo\;  \;

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-Erik Wysocan

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Erik Wysocan is an artist living and working in New York. His practice engages with a broad range of media to investigate historical representation and the logical structures i mposed by systems of display. He has exhibited widely including Andrea Rose n Gallery\, NY\; Sculpture Center\, NY\; Galleria Raucci/Santamaria\, Naple s\; \; Bureau\, NY\, Laurel Gitlen\, NY\; Fondazione Sandretto Re Rebau dengo\, Turin and others. In 2010 he founded the collaborative publishing i mprint Halmos. Since that time it has facilitated new writing and works by numerous artists including Pamela Rosenkranz\, Sam Lewitt\, Tobias Madison\ , Dexter Sinister\, Mark von Schlegell\, Tauba Auerbach\, Ed Atkins and man y others. Halmos projects have been exhibited at the ICA Philadelphia\; Obj ectif Exhibitions\, Antwerp\; Contemporary Art Center\, Vilnius\; Miguel Ab reu\, NY and Artists Space\, NY.

DTEND:20150228 DTSTAMP:20150228T123524 DTSTART:20150130 GEO:40.749177;-74.0058861 LOCATION:Andrea Rosen Gallery 2\,544 West 24th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Production / Reproduction\, László Moholy-Nagy UID:370432 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Anton Kern Gallery is proud to announce Erik van Lieshout&rsquo\;s first solo exhibition at the gallery\, &ldquo\;I am in heaven.&rdquo\; The Rotterdam-based artist presents new dr awings and a large-scale sculptural installation that doubles as a cinema f or viewing his new feature film\, WORK. Erik van Lieshout\, whose background is in painting\, is best known today for his confrontational vid eo installations and drawings. His work navigates the limits of vulgarity\, censorship\, and consumer culture\, and focuses a humorous\, yet critical spotlight onto present day social and political realities\, as well as our own notions of idealism and political engagement.

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Upon entering the gallery the viewer is ushered into a life-si ze tunnel haphazardly built out of scrap construction materials and lined w ith a patchwork of carpet. This structure stems from Van Lieshout&rsquo\;s film installation presented at the Hermitage Museum in St. Petersburg\, Rus sia for 2014&rsquo\;s Manifesta 10\, which mimicked the architecture of the museum's cat-populated basement and served as a primary site for his resea rch and video documentation. Continuing through the tunnel visitors are inv ited to sit and view the feature film in an intimate cinema setting.

\n< p style="text-align: justify\;">The film\, WORK*\, fuses together and builds upon footage from two previous projects\, The Worke rs (2013) and The Basement (2014)\, to create a vigorously ca ndid &ldquo\;making of&rdquo\; documentary that investigates the role of th e film producer\, the commissioning institution\, and the artist&rsquo\;s r elationship to individual ambition and the ego. Van Lieshout struggles to u nderstand why people help each other and their communities\, and how to man age tensions between his personal life and his artistic career. Is it possi ble for an artist to be modest\, to have no ego? Is life following art or i s art following life? The exhibition also features large-scale charcoal and vinyl collages that portray a series of enraged protesters &ndash\; mouths agape in mid roar &ndash\; participating in recent political demonstration s. These synthetically colored and densely layered scenes\, based on images collected from newspaper clippings\, evoke a sense of immediacy and raw fu ry that simultaneously reinforce and undo their own histories. It is clear that Van Lieshout\, as the Dutch art historian Dominic van den Boogerd stat es\, &ldquo\;is not concerned with art for the sake of provocation &ndash\; but with provocation for the sake of art.&rdquo\;

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Born in Deurne\, The Netherlands in 1968\, Erik van Lieshout lives and works in Rotterdam. Previous solo exhibitions include Private View\, Maureen Paley\, 2014\; Commission\, MMK Museum fü \;r Moderne Kunst\, Frankfurt\, 2012\; Erik makes Happy\, BAWAG Co ntemporary\, Vienna\, 2011\; How Can I Help You\, Hayward Gallery Project Space\, London\, 2011\; Im Netz\, Ludwig Museum\, Cologne\ , 2009\; Homeland Security\, Projekt am Museumsplatz\, Stä\;dt ische Galerie im Lenbachhaus\, Munich\, 2007\; and Guantá\;namo B aywatch\, Hammer Projects\, Hammer Museum\, UCLA\, Los Angeles\, 2007. Recent group exhibitions include Basement\, Manifesta 10\, The Eu ropean Biennial of Contemporary Art\, curated by Kasper Kö\;nig\, St. P etersburg\, 2014\, The Crime Was Almost Perfect\, Witte de With\, Centre for Contemporary Art\, Rotterdam\, 2014\; Object and Environment \, Galerie W. Baudach\, Berlin\; Superficial Hygiene\, Musem de Hallen Haarlem\, Haarlem\; Sammlung De Leeuwenhoeve\, OsthausMu seum\, Hagen\; PLAY TIME\, Biennale d&rsquo\;art contemporain\, Le s Ateliers de Rennes\, Rennes\; The Encyclopedic Palace\, 55th Int ernational Art Exhibition\, La Biennale di Venezia\, Venice\, 2013\; Ma nifesta 9\, The European Biennial of Contemporary Art\, Genk\, Limburg \, 2012\; and Melanchtopia\, Witte de With\, Center for Contempora ry Art\, Rotterdam\, 2011.

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*A re-mastered version of this film wil l become a feature length project supported by The Mondriaan Foundation and the Dutch Film Fund and is due for release in early 2015. The exhibition o pens on Thursday\, January 15 and will run through Saturday\, February 28\, 2015. The gallery is open Tuesday through Saturday\, 10 am-6 pm. For furth er information and images\, please contact the gallery at (t) 212.367.9663\ , or email: jasmin@antonkerngallery.com.

DTEND:20150228 DTSTAMP:20150228T123524 DTSTART:20150115 GEO:40.7463808;-74.007077 LOCATION:Anton Kern Gallery\,532 West 20th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:I am in Heaven\, Erik van Lieshout UID:367279 END:VEVENT BEGIN:VEVENT DESCRIPTION:

An Unsolicited Proposal Progra m winning exhibition.
Learn more about the Unsolicited Proposal Program.

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Contemporary musicians and sound artists are indebted to the 19th century German physicist Herman Helmholtz (1821-1894) who authored On the Sensations of Tone as a Physiological Basis for th e Theory of Music (1862). In the book\, Helmholtz explored the mathema tical\, physiological\, and perception effects of sound: &ldquo\;We perceiv e that generally\, a noise is accompanied by a rapid alternation of differe nt kinds of sensations of sound. Think\, for example\, of the rattling of a carriage over granite paving stones\, the splashing or seething of a water fall or of the waves of the sea\, the rustling of leaves in a wood.&rdquo\;

Artistic disciplines examining sound have emerged since Helmh oltz&rsquo\;s research\, &ldquo\;the waves of the sea&rdquo\; has turned in to acoustic ecology that examines how sound is an integrative principle in human and natural environments. Field recordings have proliferated in recen t years due to the availability and portability of high quality recording e quipment\, enticing composers and sound artists to take their studios to th e edge of the wilds or down the street. The exhibition and two public perfo rmance events draw together nine artists/composers whose works poetically m ap sound that reflect and emerge from their interaction with the natural en vironment.

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Unsolicited Proposal Progr am Winner 2014-15

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Alastair No ble is an environmental/installation artist and printmaker from th e UK\, now based in New York City. His artistic practice is a response to a rchitecture and the natural environment and reflects on particular sites in the context of poetry and literature. In May 2014 he was an artist-in-resi dence at the Marsh-Billings-Rockefeller National Historical Park in Woodsto ck\, Vermont. Alastair's artistic career spans 30 years with exhibitions an d residencies in the UK\, Peru\, Chile\, Bulgaria\, and Italy. He has taugh t and lectured at numerous colleges\, universities\, and public institution s\, and has curated exhibitions and organized symposiums on art\, poetry\, and the environment. His essays\, articles\, and reviews on art and archite cture have also appeared in national and international publications.

DTEND:20150307 DTSTAMP:20150228T123524 DTSTART:20150115 GEO:40.719022;-74.004432 LOCATION:Apexart\,291 Church Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Foot Notes: On the Sensations of Tone\, Una Lee\, Annea Lockwood\, Chris H. Lynn\, Robert Macfarlane\, Ed Osborne\, David Rothenberg\, Chris W atson\, GEORGE QUASHA\, Charles Stein UID:367280 END:VEVENT BEGIN:VEVENT DTEND:20150114T200000 DTSTAMP:20150228T123524 DTSTART:20150114T180000 GEO:40.719022;-74.004432 LOCATION:Apexart\,291 Church Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Foot Notes: On the Sensations of Tone\, Una Lee\, Annea Lockwood\, Chris H. Lynn\, Robert Macfarlane\, Ed Osborne\, GEORGE QUASHA\, David Roth enberg\, Charles Stein\, Chris Watson UID:367281 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Takahiro Iwasaki creates detai led miniature landscapes using towels\, toothbrushes\, used clothing\, and other found and recycled materials. This exhibition is a part of Asia Socie ty Museum&rsquo\;s ongoing In Focus series\, which invites contemp orary artists to create new works\, often in conversation with the Asia Soc iety Museum&rsquo\;s permanent collection of traditional Asian art.

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Michelle Yun
Senior Curator of Modern and Contemporary Art

DTEND:20150426 DTSTAMP:20150228T123524 DTSTART:20150127 GEO:40.7700155;-73.9644801 LOCATION:Asia Society Museum\,725 Park Avenue at 70th Street\nNew York\, NY 10021 SEQUENCE:0 SUMMARY:Takahiro Iwasaki: In Focus\, Takahiro Iwasaki UID:368528 END:VEVENT BEGIN:VEVENT DTEND:20150127T180000 DTSTAMP:20150228T123524 DTSTART:20150127T110000 GEO:40.7700155;-73.9644801 LOCATION:Asia Society Museum\,725 Park Avenue at 70th Street\nNew York\, NY 10021 SEQUENCE:0 SUMMARY:Takahiro Iwasaki: In Focus\, Takahiro Iwasaki UID:368529 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Buddhist Art of Myanmar will be the first exhibition in the West focusing on works of art from c ollections in Myanmar. The exhibition comprises approximately 70 spectacula r works&mdash\;including stone\, bronze and wood sculptures\, textiles\, pa intings\, and lacquer ritual implements&mdash\;from the fifth through the n ineteenth centuries. Artworks include objects created for temples\, monaste ries\, and personal devotion\, which will be presented in their historical and ritual contexts. The exhibition will explore how Buddhist narratives we re communicated visually and the multiplicity of regional styles. Many of t he works in the exhibition have never been shown outside of the country. Wo rks will be on loan from the National Museum of Myanmar in Yangon and Naypy idaw\, the Pagan (Bagan) Museum\, the Kyauktaw Mahamuni Museum\, Sri Ksetra Museum\, and the Kaba Aye Buddhist Museum\, as well as works from public a nd private collections in the United States. The exhibition is organized by guest curators Donald M. Stadtner and Sylvia Fraser-Lu in conjunction with Adriana Proser\, Asia Society&rsquo\;s John H. Foster Senior Curator for&n bsp\;Traditional Asian Art.

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A fully i llustrated catalogue\, copublished by Asia Society and Yale University Pres s\, will accompany the exhibition.

DTEND:20150510 DTSTAMP:20150228T123524 DTSTART:20150210 GEO:40.7700155;-73.9644801 LOCATION:Asia Society Museum\,725 Park Avenue at 70th Street\nNew York\, NY 10021 SEQUENCE:0 SUMMARY:Buddhist Art of Myanmar UID:368530 END:VEVENT BEGIN:VEVENT DTEND:20150210T180000 DTSTAMP:20150228T123524 DTSTART:20150210T110000 GEO:40.7700155;-73.9644801 LOCATION:Asia Society Museum\,725 Park Avenue at 70th Street\nNew York\, NY 10021 SEQUENCE:0 SUMMARY:Buddhist Art of Myanmar UID:368531 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The five sculptures on view in the Asia Society Visitor Center come from the Asia Society Museum Collecti on of Asian and Asian American art.

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T he historical Buddha\, often called Sakyamuni (&ldquo\;Sage of the Sakyas&r dquo\;) in later times\, was born into an elite family of the Sakya clan\, whose territory lay on what is now the border between northeastern India an d Nepal. Traditionally\, the date of his birth was believed to be 563 BCE\, but some sources suggest that he was born as much as a century later.

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Buddhism began to spread dramatically mor e than a century after the historical Buddha&rsquo\;s death. A Sri Lankan c hronicle compiled in the sixth century CE records that the Indian emperor A shoka (reign ca. 268&ndash\;232 BCE) sent missionaries to the &ldquo\;land of gold\,&rdquo\; which scholars believe was in Southeast Asia. The mission aries\, as well as Indian and Sri Lankan traders and scholars\, brought Bud dhism and its teachings and imagery with them to kingdoms of Southeast Asia . By the seventh century\, Buddhism was a major religious force across both South and Southeast Asia\, and travel and exchange among these countries f lourished for centuries after.

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The sc ulptures on view include Indian Buddha images from the Gupta and Pala perio ds\, which had major stylistic influence on the Buddhist artistic productio n of Southeast Asia\, as well as an example from the primarily Buddhist cou ntries that are present-day Myanmar and Thailand.

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This installation coincides with the exhibition Buddhist A rt of Myanmar\, on view in the second and third floor galleries from F ebruary 10 through May 10\, 2015.

DTEND:20150519 DTSTAMP:20150228T123524 DTSTART:20150210 GEO:40.7700155;-73.9644801 LOCATION:Asia Society Museum\,725 Park Avenue at 70th Street\nNew York\, NY 10021 SEQUENCE:0 SUMMARY:South and Southeast Asian Sculpture from the Asia Society Museum Co llection UID:373193 END:VEVENT BEGIN:VEVENT DTEND:20150210T180000 DTSTAMP:20150228T123524 DTSTART:20150210T110000 GEO:40.7700155;-73.9644801 LOCATION:Asia Society Museum\,725 Park Avenue at 70th Street\nNew York\, NY 10021 SEQUENCE:0 SUMMARY:South and Southeast Asian Sculpture from the Asia Society Museum Co llection UID:373194 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Contemporary art group show fr om France &\; Europe curated by Bruno Massa &\; Anais de Malherbe fro m galerie bruno massa &ndash\; Paris.

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Opening reception \;will be held on \;Thu rsday\, \;February 26th from 6pm to 9pm \ ;at \;Atlantic Gallery \;suite 540\, 547 West 27th Street / 548 West 28th Street\, New York City\, NY 10001\, Tel: 212-219- 3 183


with M. Alias\, M-A. Baron\, O. Bernot\, J-M. Brunet\, I. Colard\, Cyb\, S. Dauchet-Macildo\, L. EDZ\, E. Huet\, M. Miramont\, C. Nevin\, B. Normand\, D. Paugam\, A-P. Pizzocaro\, D. Poulain\, S. B. Quiti \, A-C. Rouleau\, L. Sarkis\, S. Schambill\, G. Schwartz\, N. Straseele\, S . Texereau\, F. Trey\, R. Scarbonchi\, \;K. Seak \; &\; C. Wilson

DTEND:20150307 DTSTAMP:20150228T123524 DTSTART:20150223 GEO:40.7517031;-74.0040108 LOCATION:Atlantic Gallery\,548 West 28th Street \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:That’s the Big Apple!\, Group Show UID:373612 END:VEVENT BEGIN:VEVENT DTEND:20150226T210000 DTSTAMP:20150228T123524 DTSTART:20150226T180000 GEO:40.7517031;-74.0040108 LOCATION:Atlantic Gallery\,548 West 28th Street \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:That’s the Big Apple!\, Group Show UID:373613 END:VEVENT END:VCALENDAR