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

Florian Maier-Aichen was born in Stuttgart\, Germany in 1973 . His work has been exhibited and collected by such public art collections as the Hammer Museum\, Los Angeles\, the Carnegie Museum of Art\, Pittsburg h\, the Denver Art Museum\, Denver\, the Walker Art Center\, Minneapolis\, and the Whitney Museum of American Art\, New York. Maier-Aichen has also ha d solo exhibitions at 303 Gallery\, New York\, Museum of Contemporary Art L os Angeles\, Blum + Poe Gallery\, Los Angeles\, and most recently Galerie B aronian Francey\, Brussels in 2008. Maier-Aichen lives and works in Cologne \, Germany and Los Angeles.

DTEND:20140801 DTSTAMP:20140731T173549 DTSTART:20140605 GEO:40.7485947;-74.0041953 LOCATION:303 Gallery\,507 West 24th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Solo Exhibition\, Florian Maier-Aichen UID:338233 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Group show featuring artists who happen to be cat lovers

DTEND:20140816 DTSTAMP:20140731T173549 DTSTART:20140714 GEO:40.716943;-73.997372 LOCATION:3A Gallery\,179 Canal Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:We Are All Cat\, Waneke Gartz\, Frank Stürmer\, Trevor Shimizu\, Mi eko Meguro\, Satoru Eguchi\, Dan Graham\, Daniel Brant UID:342590 END:VEVENT BEGIN:VEVENT DTEND:20140714T200000 DTSTAMP:20140731T173549 DTSTART:20140714T180000 GEO:40.716943;-73.997372 LOCATION:3A Gallery\,179 Canal Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:We Are All Cat\, Daniel Brant\, Satoru Eguchi\, Waneke Gartz\, Dan Graham\, Mieko Meguro\, Trevor Shimizu\, Frank Stürmer UID:342591 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140802 DTSTAMP:20140731T173549 DTSTART:20140627 GEO:40.7149061;-73.9914765 LOCATION:47 Canal\,47 Canal Street 2nd floor\nNew York\, NY 10002 SEQUENCE:0 SUMMARY:BFFA3AE UID:343107 END:VEVENT BEGIN:VEVENT DTEND:20140630T200000 DTSTAMP:20140731T173549 DTSTART:20140630T180000 GEO:40.7149061;-73.9914765 LOCATION:47 Canal\,47 Canal Street 2nd floor\nNew York\, NY 10002 SEQUENCE:0 SUMMARY:BFFA3AE UID:344820 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Acquavella Galleries is pleased to present Dubuffet | Barcel ó\;\, an exhibition of paintings by French postwar painter Jean Dubuf fet and acclaimed Spanish artist Miquel Barceló\;\, on view from June 30 to September 19\, 2014. The exhibition \;will feature distinct bodi es of work from each artist &ndash\; several of Barceló\;&rsquo\;s re cent white paintings and dark bleach portraits will be shown alongside a se lection of Dubuffet&rsquo\;s landscapes and portraits. Since he was a teena ger\, Barceló\; has been drawn to Dubuffet&rsquo\;s poetic writings a nd unconventional aesthetic. In juxtaposing portraits and landscapes by bot h artists\, this exhibition aims to highlight
their thematic and mater ial affinities.

Dubuffet employed various techniques to represen t soil in his series of Texturologies from the 1950s. Acting as an inventor y of various types of terrain\, these paintings celebrate the nuances of ma terial. Dubuffet initially intended to create the series as an assemblage e vocative of earth&rsquo\;s expanse that could be endlessly extended\; howev er\, his attachment to these initial paintings
prevented him from prod ucing this assemblage\, and they remain as individual works. With their enc rusted\, tactile surfaces\, Dubuffet&rsquo\;s Texturologies evoke the textu res of the earth. This obsession with formlessness extends to Dubuffet&rsqu o\;s portraits\, several of which are included in this exhibition. His meth ods of rendering the human figure reflect his fascination with primitive an d naive art practices.

Barceló\;&rsquo\;s most recent seri es of white paintings also pay tribute to boundless terrain. An artistic no mad\, he has traveled widely\, relying on cultural and geographic diversity for inspiration. Earthly textures &ndash\; sand or waves of the ocean\, fo r example &ndash\; have long influenced his painting practice. Several heav ily impastoed canvases\, in particular\, pay tribute to the coastal terrain of his native Majorca. The intensely textured Huitres II recalls Barcel&oa cute\;&rsquo\;s travels across the arid\, rugged terrain of the Sahara. Thi s work is simultaneously devoid of and brimming with color &ndash\; indicat ing the heat\, light\, and texture of the desert. Barceló\;&rsquo\;s recent portraits are
similarly personal. These paintings\, made with b leach\, chalk\, and charcoal on dark canvas\, present ethereal renderings o f the artist&rsquo\;s colleagues and friends.

Jean Dubuffet (190 1 &ndash\; 1985) was born in Le Havre\, France. In 1918 he moved to Paris t o study at the Acadé\;mie Julian\, which he left after six months to study independently. After abandoning painting to work at his family&rsquo\ ;s wine business for several years\, Dubuffet fully committed himself to be ing an artist in 1942. His fascination with Hans Prinzhorn's Artistry of th e Mentally Ill deeply influenced
his artistic practice\, and led to hi s coining of the term &ldquo\;Art Brut.&rdquo\; For Dubuffet\, the raw and uninhibited expression of Art Brut provided a fresh and alternative directi on to what he saw as the stifling decorum and conformity of French culture and the Western tradition. Painting in a deliberately crude manner\, Dubuff et developed a technique of thick impasto\, called haute pâ\;te\, and frequently
incorporated unorthodox materials ranging from cement and g ravel to leaves\, dust\, and even butterfly wings into his works. His contr oversial materials and mark-making solidified his legacy as an iconoclastic figure in the canon of postwar European painting. His work has been exhibi ted in and collected by major public and private institutions across the wo rld. \;

Miquel Barceló\; (b. 1957) was born in Felanit x\, Majorca and divides his time between Majorca\, Paris\, and Mali. The yo ungest artist to ever show at the Musé\;e du Louvre\, Barceló\; represented Spain at the 53rd Venice Biennale and drew wide acclaim for hi s
participation in Documenta VII in Kassel\, Germany. He has had retro spectives at renowned institutions\, including the Centre Pompidou\, Paris\ ; Museo Nacional Centro de Arte Reina Sofia\, Madrid\; Museo Rufino Tamayo\ , Mexico\; and the Guggenheim Museum\, Bilbao\, Spain. His work is included in many esteemed public and private collections worldwide.

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DTEND:20140919 DTSTAMP:20140731T173549 DTSTART:20140630 GEO:40.7762839;-73.9626764 LOCATION:Acquavella Galleries\,18 East 79th Street \nNew York\, NY 10075 SEQUENCE:0 SUMMARY:Dubuffet | Barceló\, Jean Dubuffet\, Miquel Barcelo UID:343971 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Aicon Gallery \;is proud to present  \;Readymade\, the first ever extensive survey exhibition of c ontemporary Bangladeshi art held in New York. The exhibition features nine artists collectively exploring the complex and interlocking cultural\, poli tical\, economic and environmental issues currently facing the often parado xical and rapidly changing society and state of Bangladesh in the new mille nnium. The nation's exploding population\, the daily socioeconomic struggle s of the lives of millions\, the consequences of climate change\, shifting cultural and gender demographics and the future of industry and economic gr owth are just some of the vastly influential issues informing and challengi ng the visual and verbal language of Bangladesh's diverse and quickly growi ng contemporary art scene. The work in this exhibition unpacks these issues through the concept of the \;readymade\, both in its art hist orical context\, and as a term referring to Bangladesh's massive and unwiel dy ready-to-wear garment industry\, which has made headlines recently due t o the tragic consequences of its lack of regulation and harsh suppression o f reform\, while also remaining the economic backbone of Bangladesh's growi ng economy. \; \;

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When Marcel Duchamp challenged high art by making the mundane m onumental\, he called it readymade. The spaceless conjunction of 'ready' an d 'made' is fraught with tension\, simultaneously existing as an affirmatio n\, yet a contradiction. This signifies convenience at the cost of quality\ , access at the cost of wholesomeness\, and success at the cost of failure. Ultimately\, it marks a divide that is hard to bridge. As Bangladesh encou nters these many divides and contradictions\, 'readymade' becomes an identi ty in itself.

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With rising levels of gree nhouse gases in the environment\, the global climate is changing. Extreme s torms\, long the scourge of low-lying Bangladesh\, are increasing in freque ncy and ferocity\; and\, there is the rising sea level. Bangladesh presents the largest assemblage of humans at such a low elevation. It is inherently readymade for a natural disaster of epic proportions. With a still trottin g\, if not galloping\, population growth and a shrinking landmass from risi ng waters\, Bangladesh is also a readymade demographic time bomb. About 40% of the population is below the age of 25. If these tens of millions of you ng men and women are not educated and put to work\, Bangladesh is readymade for social unrest.
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Yet\, it is in readymades that Bangladesh seeks a path to redemptive transformation. R eadymade is the locally popular term for ready-to-wear clothing. It is an i ndustry of which Bangladesh\, with its large work force and low wages\, has become the global epicenter\, with the garment industry comprising nearly 90% of its Gross Domestic Product. This epicenter\, occasionally shaken by a tragedy of epic proportions\, is merely inconvenienced by smaller everyda y tragedies. Labor organizers disappear into the night\, while dissenting w orkers find their jobs-and at times\, limbs-gone. The lack of economic dive rsity promotes an endemic occurrence of sweatshops and unsafe labor conditi ons\, favoring capitalism over social welfare\, susceptible to poverty and malnutrition of children\, with a growing sex trade of prostitution and chi ld trafficking into India. It is an industry readymade to propel Bangladesh forwards or back\; and\, at times\, it seems to do both. \;

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Whether a storm changes th e coastline or a factory collapses upon its occupants\, it takes a myriad o f tragedies for the world to focus on Bangladesh. Can tragedy be the price of good-tidings to come? The disaster\, in the case of a factory-collapse\, is not natural but manmade. For the looming tragedy of climate change\, ma n's authorship should at least allow for remediation. Will the proverbial ' silver lining' be a clear establishment of a civil society's predominance? The political leaders\, no matter how tainted\, know that they would have t o seek the people's mandate\, sooner rather than later. Bangladesh has had a growing democracy for three of its four decades in existence. From being the poorer\, undernourished and fledging of the two wings of Pakistan - the nation it broke from in 1971 - Bangladesh today has peace\, a vibrant econ omy\, higher rates of development and greater empowerment of its people\, e specially its women.

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Is Bangladesh\, then\, readymade to chart a way forward? Are its artists ready to play a part in this charted route? Culture has always been integral to Bangladesh's identity. It was bo rn of a struggle to protect a language and its associated culture. "Readyma de"\, the first major curated exhibition of contemporary Bangladeshi art in New York\, seeks to re-introduce a society long known as a reliable source of disaster news\, as one that is at a fork. A big disaster may yet unfold of many little ones\; but equally\, there is hope for the emergence of a c ivil society\, with art and artists at its vanguard. \;

\n DTEND:20140906 DTSTAMP:20140731T173549 DTSTART:20140724 GEO:40.7268368;-73.9929619 LOCATION:AICON GALLERY - New York\,35 Great Jones Street \nNew York\, NY 10 012 SEQUENCE:0 SUMMARY:Readymade | Contemporary Art from Bangladesh\, Kazi Salahuddin Ahme d\, Masum Chisty\, Khaled Hasan\, Imran Hossain Piplu\, Promotesh Das Pulak \, Dhali Al Mamoon\, Yasmin Jahan Nupur\, Mohammad Wahiduzzaman\, Wakilur R ahman UID:347467 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Alexander Gray Associates presents its inaugural exhibition of artworks by Vera Neumann (b. 1907\, Stamford\, CT &ndash\; d. 1993\, Nor th Tarrytown\, NY)\, Vera Paints a Summer Bouquet\, a selection of iconic watercolors and drawings of Neumann&rsquo\;s primary muse: bountifu l\, abundant\, and joyful flowers. These artworks\, made between the 1950s and 1980s\, will be exhibited for the first time\, although many of the ima ges will be familiar to collectors of Vera scarves\, napkins\, and apparel. Her original drawings were the basis for all her designs of scarves\, appa rel\, table linens\, and a wide variety of licensed household and fashion i tems. Arranged salon-style in the Gallery&rsquo\;s ground-floor space\, the watercolors and drawings include images of flowers from Neumann&rsquo\;s H udson Valley garden: daffodils\, tulips\, irises\, bleeding hearts\, roses\ , delphinium\, daisies\, sunflowers\, and poppies\; many featuring the Vera ladybug icon.

DTEND:20140812 DTSTAMP:20140731T173549 DTSTART:20140626 GEO:40.74975;-74.003741 LOCATION:Alexander Gray Associates\,508 West 26 Street #215 \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Vera Paints a Summer Bouquet\, Vera Neumann UID:341784 END:VEVENT BEGIN:VEVENT DTEND:20140626T200000 DTSTAMP:20140731T173549 DTSTART:20140626T180000 GEO:40.74975;-74.003741 LOCATION:Alexander Gray Associates\,508 West 26 Street #215 \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Vera Paints a Summer Bouquet\, Vera Neumann UID:341785 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Bernadet&rsquo\;s paintings present mark making as a layered language and a process of active contemplation.
He describes a proces s of infinite gesture where every mark is engaged in a moment of call and r esponse and ideas of total completion are impossible.
Exhibited togeth er the paintings suggest an almost fluid continuum. Though they may appear inextricably connected\, the energetic sea of gestures that fill each indiv idual painting also reveal a more localized conference of mark making. Each piece is an individual exploration of the potential inherent in Bernadet&r squo\;s definitively free design. These works are not trapped within an ove rly formalized language\, nor are they completely loose\; there is structur e\, interconnectedness\, and communication. It is these conditions that cre ate a focus for meaning as well as allowing for greater and more detailed l evel of freedom.
In French &ldquo\;fugue&rdquo\; is a noun\, not a ver b\, meaning running away (Je veux fuguer: I want to run away). The painting s are definitely the result of action: to paint\, to contemplate\, to exper iment\, to layer\, to respond\, but when finished\, they become nouns\, thi ngs. As &ldquo\;things&rdquo\; they are not concretely abstract\, nor are t hey figurative. Like language they sit in a space in between\; they are ind ividual objects filled with a vibrant and restless energy. This does not me an they are agitated per se\, but that they are unwilling to settle. They a re unable to stop. The paintings are not of course running away\, they are instead moving towards something.
That something is defined purely in the process of their making. Viewing them allows a symphony of glimpses to occur: moments seized by other moments\, gestures disclosing other gestures \, and marks illuminating other marks. Each brushstroke is active and still energized\, combining to create a constant and defining breeze of animatio n across the surface of each painting. In this way\, they are not silent\, they are words annunciated.
Jean-Baptiste Bernadet was born in Paris i n 1978. He has lived and worked in Brussels since 2000\, and was artist-in- residence at Triangle Studios in Brooklyn in 2012\, APT Studios in Brooklyn in 2011\, and Chinati Foundation\, Marfa\, Texas\, in 2010. His recent exh ibitions include: Karma\, New York NY\, Valentin\, Paris\, Ricou Gallery\, Brussels\, Casado Santapau Gallery\, Madrid\, Marfa Book Company Gallery\, Marfa\, Texas\, TORRI\, Paris\, and Galerie Saks\, Geneva. Bernadet partici pated in the Young Belgian Art Prize\, Palais des Beaux-Arts de Bruxelles\, Brussels. (All 2013)

DTEND:20140809 DTSTAMP:20140731T173549 DTSTART:20140611 GEO:40.725623;-73.991532 LOCATION:American Contemporary\,4 East 2nd Street \nNew York\, NY 10003 SEQUENCE:0 SUMMARY: Fugue\, Jean-Baptiste Bernadet UID:341557 END:VEVENT BEGIN:VEVENT DTEND:20140611T200000 DTSTAMP:20140731T173549 DTSTART:20140611T180000 GEO:40.725623;-73.991532 LOCATION:American Contemporary\,4 East 2nd Street \nNew York\, NY 10003 SEQUENCE:0 SUMMARY: Fugue\, Jean-Baptiste Bernadet UID:341558 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This groundbreaking exhibition posits an original premise th at considers the changing implications of self-taught in the United States from a deeply entrenched and widespread culture of self-education in the ea rly national period to its usage today to describe artists working outside the art historical canon and often in isolated circumstances.

DTEND:20140817 DTSTAMP:20140731T173549 DTSTART:20140513 GEO:40.7732646;-73.9816233 LOCATION:American Folk Art Museum - Lincoln Square\,2 Lincoln Square \nNew York\, NY SEQUENCE:0 SUMMARY:Self-Taught Genius: Treasures from the American Folk Art Museum UID:329282 END:VEVENT BEGIN:VEVENT DTEND:20140513T173000 DTSTAMP:20140731T173549 DTSTART:20140513T103000 GEO:40.7732646;-73.9816233 LOCATION:American Folk Art Museum - Lincoln Square\,2 Lincoln Square \nNew York\, NY SEQUENCE:0 SUMMARY:Self-Taught Genius: Treasures from the American Folk Art Museum UID:329283 END:VEVENT BEGIN:VEVENT DESCRIPTION:

AMERINGER | McENERY | YOHE is pleased to announce painti ngassupermodel\, the gallery's first solo exhibition with artist Frank lin Evans.  \;Evans presents a new installation comprised of wall paint ing/collages\, eight large paintings\, 1\,500 square feet of digital prints on paper/canvas/silk\, photographic sculptures\, floor works\, and sculptu re vitrines that alter the architecture of the gallery.  \;The exhibiti on will open on 5 June and will remain on view through 1 August 2014.   \;A public reception for the artist will be held on 5 June from 6:00 to 8:0 0 PM. \;

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Evans alludes to Yve-Alain Bois' 1993 book \;P ainting as Model\, using parts of Bois' essays on Mattise\, Mondrian\, and Newman within the context of his current studio investigations.  \ ;In addition to the aforementioned artists\, these investigations include: Young\, Irwin\, Giselle\, Blue Nude\, Romanian Blouse\, brian\, grid\, The Dance\, Boogie-Woogie\, paint chips\, 3-year old\, scarface\, trompe l'oeil \, Halvorson\, Guyton\, X\, Pollock\, de Kooning\, process\, von Heyl\, dig ital recapturing\, Dilg\, Dupuis\, Baltz\, Westide Piers\, Basel Miami\, sp ine\, hands\, butt\, back\, drag\, lips\, pink\, facepaint\, arm\, wing\, f light\, floor\, primary\, secondary\, tertiary\, derivatives\, double negat ive\, Henri\, text\, arch drawing\, energy\, field\, Weatherford\, Jacobs\, assistant\, fabrication\, Kanter\, Sololab\, DiOrio\, Luque\, rhizome\, me asure\, clarity\, unstretched\, object\, eyes\, smile\, orange\, Irwin Oran ge\, New York\, divisionism\, window\, wall\, photo\, Noland\, model\, fina ncial modeling\, Vir Heroicus Sublimus\, supermodel\, drag queen\, markets\ , belief\, Mike Kelley\, order\, failure\, and spreadsheets. \;

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Evans' practice is a network\, in constant flux\, in absorption of adjacen t content\, in defocused experience of the contemporary\, in rhizomic repli cation\, and in reference to itself.  \;The work occupies the field of painting/installation with studio process and sit as its subject.  \;Hi s work flips between digital and material\, process and object\, thought an d action\, and the present and memory.  \;Evans uses art history (often painting history) as a significant input to his practice\, and investigati ons of specific artists become content and media within his unfolding world s.  \;His interest and self-narrated alignment of his practice to Matis se\, Mondrian\, and Newman made Bois' three essays on these artists in  \;Painting as Model a focus for Evans.  \;Evans sifts his read ing of Bois for content related to his own practice.  \;His work does n ot illustrate Bois' thought\, but rather Evans uses Bois' text become compo nents of Evans' installations.  \;These installations offer synaptic ex perience of art\, the heroic\, the functional\, and camp.

DTEND:20140801 DTSTAMP:20140731T173549 DTSTART:20140605 GEO:40.747609;-74.0057766 LOCATION:Ameringer | McEnery | Yohe\,525 West 22nd Street \nNew York\, New York 10011 SEQUENCE:0 SUMMARY:paintingassupermodel\, Franklin Evans UID:340071 END:VEVENT BEGIN:VEVENT DESCRIPTION:

AMERINGER | McENERY | YOHE is pleased to announce an exhibit ion of recent works by Stephen Dean.  \;The exhibition will open 5 June and will remain on view through 1 August 2014.  \;A public reception f or the artist will be held on 5 June from 6:00 to 8:00 PM.

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Stephen Dean is known for his vibrant large-scale celebratory videos\, sculptures\, and works on paper\, which explore the saturdated edge of the color spectr um. \;

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Inspired by Francis Picabia's late abstract paintings of circles\, \;Jugglers \;is a new series of works on paper that engage the motion and instability of color.  \;Made with dichroic glass disks inserted in Kraft paper or aluminum black foil\, in configurati ons of 3s\, these works blend geometric sequence adn anthropomorphic qualit ies\, while striking an archaic simplicity. \;

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Drawn by its unl ikely combination of saturation and transparency\, Dean has been working wi th variously sized dichroic glass for several years.  \;Originally desi gned by NASA to separate light waves for the visors of its spacesuits and s atellite mirrors\, dichroic glass was introduced to the art world in the 19 70s by Larry Bell and was widely embraced by craft enthusiasts. \;

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In Dean's \;Jugglers\, the dynamic contrast of stillness a nd motion holds our attention.  \;As our brain is hardwired to see face s in almost anything\, viewers here are presented with geometric masks. &nb sp\;The sheets of paper - punctured with variataions of green\, purple or o range glass\, reflecting their complementary colors - directly radiate a hy pnotic iridesence.  \;Upon closer inspection of any individual disk\, t he changing hues take on a spatial and temporal dimension of their own\, op ening a cavity or a window that eventually reveals the wall through its tin ted transparency.  \;Color appears as we rarely see it\, in its raw sta te. \;

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STEPHEN DEAN was born in 1968 in Paris\, France.  \; He has exhibited extensively both nationally and internationally.  \;Ex hibitions include &ldquo\;Fútbol: The Beautiful Game\,&rdquo\; Los Angeles County Museum of Art\, Los Angeles\, CA\; &ldquo\;Junkies&rsquo\; Promises \,&rdquo\; Paul Kasmin Gallery\, New York\, NY\; &ldquo\;Shock of the News\ ,&rdquo\; National Gallery of Art\, Washington\, DC\; &ldquo\;Les Maitres d u Désordres\,&rdquo\; Musée du Quai Branly\, Paris\, France\; &ldquo\;Dou ble Down: Two Visions of Las Vegas\,&rdquo\; San Francisco Museum of Modern Art\; &ldquo\;Mouth Open\, Teeth Showing: Major Works from the True Collec tion\," Henry Art Gallery\, Seattle\, WA\; &ldquo\;VOLTA\,&rdquo\; Miami Ar t Museum\, Miami\, FL\; among others.

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Dean has also participated in numerous biennials\, which include the Moscow Biennial\, SITE Santa Fe Bie nnial\, 51st Venice Biennale\, the Istanbul Biennial\, and the Whitney Bien nial.

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Dean&rsquo\;s work may be found in the permanent collections of the Solomon R. Guggenheim Museum\, New York\, NY\; the Whitney Museum of Art\, New York\, NY\; the National Gallery of Art\, Washington\, DC\; Yale University Art Gallery\, New Haven\, CT\; the Fond National d&rsquo\;Art C ontemporain\, Paris\, France\; Fondacion la Caixa\, Barcelona\, Spain\; and the Fundacion Jumex\, Mexico City\, Mexico.

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Stephen Dean lives and works in Long Island City\, NY.

DTEND:20140801 DTSTAMP:20140731T173549 DTSTART:20140605 GEO:40.747609;-74.0057766 LOCATION:Ameringer | McEnery | Yohe\,525 West 22nd Street \nNew York\, New York 10011 SEQUENCE:0 SUMMARY:Jugglers\, Stephen Dean UID:341259 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Back Grounds: Impressions Photographiques (2)\,&nbs p\;a historically-rooted exhibition organized with Olivier Renaud-Clement\, traces a profound lineage of conceptual\, process-based photography. Rangi ng from early experimentations of the early 19th century in France to our c ontemporary era\, this exhibition juxtaposes pioneering historical legacies with divergent contemporary trajectories\, as means of building a contextu al foundation for the experience and re-experience of such work. The result ing orchestration is an intimately curated dialogue between artists Liz Des chenes\, Martin d&rsquo\;Orgeval\, Gaylen Gerber\, Karl-Heinz Hargesheimer\ , Sherrie Levine\, Baron Adolphe Humbert de Molard\, Alfred Stieglitz\, and James Welling\, which traverses between realms of methodology and intentio n\, and channels attention to the processes of looking.

DTEND:20140815 DTSTAMP:20140731T173549 DTSTART:20140628 GEO:40.749185;-74.005023 LOCATION:Andrea Rosen Gallery\,525 W.24th St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Back Grounds: Impressions Photographiques II\, Liz Deschenes\, Mart in d’Orgeval\, Gaylen Gerber\, Karl-Heinz Hargesheimer\, Sherrie Levine\, B aron Adolphe Humbert de Molard\, Alfred Stieglitz\, James Welling UID:342487 END:VEVENT BEGIN:VEVENT DTEND:20140627T200000 DTSTAMP:20140731T173549 DTSTART:20140627T180000 GEO:40.749185;-74.005023 LOCATION:Andrea Rosen Gallery\,525 W.24th St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Back Grounds: Impressions Photographiques II\, Baron Adolphe Humber t de Molard\, Liz Deschenes\, Martin d’Orgeval\, Gaylen Gerber\, Karl-Heinz Hargesheimer\, Sherrie Levine\, Alfred Stieglitz\, James Welling UID:342488 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Andrea Rosen Gallery is pleased to present &ldquo\;Wavelengt h\,&rdquo\; a project-based exhibition of Matthew Ronay&rsquo\;s meditative daily drawings. Realizing an integral pillar of the Gallery 2 mission\, th e exhibition sheds light on an unexplored aspect of the artist&rsquo\;s pra ctice\, presenting a uniquely content driven and experimental exhibition.
Finding ritual in repetition\, Ronay&rsquo\;s abstract and rich ly saturated gouaches navigate the human respiratory system. The selected w orks exhibited represent a greater project structured by daily engagements over the course of 100 sittings\, putting color to paper\, and drawing from what Ronay refers to as &ldquo\;muscle memory\,&rdquo\; an unconscious tra cing of forms\, curves and weights that come from one&rsquo\;s inner being. Based on shapes called wavelengths\, the amorphous drawings\, vibrating\, linear and obtuse on purple scapes\, mimic the chambers of the body and emb ody breathing exercises that rise and fall\, flux and sustain.

Often presenting immersive and enigmatic sculptural installations\, which embody and explore bodily processes and portals\, bringing a heightened awa reness to the human experience\, Ronay here isolates a single engagement\, a self-circling process that extends beyond the realm of form and relates n ot only to his art\, but to the artist himself. Discovering the personal wi thin this rhythm\, Ronay precipitates the device of repetition\, a device t hat\, as Josef Helfenstein describes\, &ldquo\;has to do with the importanc e of emotion.&rdquo\; Tracing an obsessive continuity of imagery\, Ronay&rs quo\;s engagements illuminate a strong historic lineage of ritual and repet ition that transcends art history\, while retaining a resonant emotive qual ity grown from inner necessity.

Matthew Ronay was born in 1976 in Louisville\, Kentucky. His work was recently subject of a solo exhi bition at Kunstverein Lingen\, Germany. Earlier solo institutional presenta tions include concurrent presentations at the University of Louisville\, Ke ntucky and the Kentucky Museum of Art and Craft\, Louisville\, KT in 2013\; Luettgenmeijer\, Berlin\; La Conservera\, Murcia\, Spain\; Artpace\, San A ntonio\, TX\; and Parasol Unit Foundation for Contemporary Art\, London. Hi s work was included in the 2004 Whitney Biennale and in the 12th Lyon Bienn ial in 2013\; as well as notable international exhibitions at the Schirn Ku ntshalle\, Frankfurt\; LWL-Landesmuseum fü\;r Kunst und Kulturgeschicht e\, Germany\; the Astrup Fearnley Museum for Modern Art\, Oslo\; and Serpen tine Gallery\, London. Ronay currently lives and works in New York. DTEND:20140822 DTSTAMP:20140731T173549 DTSTART:20140628 GEO:40.749177;-74.0058861 LOCATION:Andrea Rosen Gallery 2\,544 West 24th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Wavelength\, Matthew Ronay UID:343722 END:VEVENT BEGIN:VEVENT DTEND:20140627T200000 DTSTAMP:20140731T173549 DTSTART:20140627T180000 GEO:40.749177;-74.0058861 LOCATION:Andrea Rosen Gallery 2\,544 West 24th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Wavelength\, Matthew Ronay UID:343723 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Andrew Kreps Gallery is pleased to present the two-perso n exhibition\, \;Earth Minutes \;with artwork by Laura Ald ridge and Lee Maida\, in the 535 West 22nd Street gallery. Aldridge and Mai da&rsquo\;s three-dimensional works evidence an interest in color\, the leg acy of images and the malleable\, textured life of material. The exhibition embraces these works as conduit-vessels\, which transmit the labor of crea tive process (built\, pressed\, cut\, stitched\, thought\, imagined\, analy zed\, read\, touched). In the artists&rsquo\; work\, &lsquo\;material&rsquo \; can be understood in triple-form: as textile\, as a substance from which an artwork is made\, and as a subject of inquiry. The latter\, compiled fr om a field of references\, including the figure\, feminism and the history of art. \;Earth Minutes \;is assembled like a Surrealist p oem to accentuate the interplay between shapes\, content and desire\, as th ey resonate throughout the show.

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Laura Aldridge&rsquo\;s freestandi ng and wall mounted sculptures are reminiscent of upright bodies with arms widespread. They bring to mind images of people carrying protest banners or perhaps wearing sandwich boards\, large flags on a windless day or launder ed clothes draped over a line. The banners are composed of vibrant fabrics in colors such as electric orange\, saturated lavender and minty green. The se wide sheaths are then suspended across a thin tube of wood or plastic ac rylic\, which hangs from a tall\, slender metal pole. When light comes thro ugh the porous material it illuminates the &lsquo\;moves&rsquo\; that the a rtist has made &ndash\; cutting out sections of cloth to create pockets of translucency or sewing together layers for increased opacity. This mode of assemblage is prevalent throughout Aldridge&rsquo\;s work and extends to he r use of images\, which she prints directly onto the fabric. Using a combin ation of found images and her own photographs\, Aldridge mutates fingers\, stone pots\, plants\, pear trees and faces into hyper-real flotsam of home/ studio life. The exhibition also features Aldridge&rsquo\;s gleaming sculpt ures made of glass vessels\, filled to the brim with dyed rice and stacked one over the other. Each glass tower is topped with an emergent lump of flu idly molded\, bisque fired clay. The ceramics are oceanic and unadorned. Th rough an exploration of scale\, form and posture\, as they manifest in her materials\, Aldridge elicits a unique\, visceral proximity between the view er and her work.

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Lee Maida&rsquo\;s reliefs are equally fluent in t he language of sculpture and painting\, though they hardly seem bothered by either one. Laid out across the floor or pressed up against the wall\, the y consist of layers of ripped textiles (faux leather\, rubbery vinyl and el ectric or moldy colored cotton blends come to mind)\, which are held in pla ce by hardware store nails. The nails do two jobs at once\, temporarily sec uring the layers of fabric\, as well as plates of thin\, undulating kiln-dr ied clay. The fabrics&rsquo\; many colors are revealed through slits and ri ps that run the length of each piece while the ceramic forms have been mold ed and sliced\, then pinned on top of or laid out across the fabric sheaths . These works are made from a composite of image possibilities: specific re ferences to a particular painting&rsquo\;s content\, color and mark making\ ; generalized image grabs from magazines and blogs\; impulsive and personal pictures from the artists&rsquo\; own archive. Mashed together\, they tug on our psyche. They are screwball and familiar in equal measure. In tandem with the reliefs\, the artist creates drawings\, watercolors and sculptural assemblages that flesh out the different aspects of any given subject. For the show\, Maida&rsquo\;s suite of works\, are drawn from her observations of Manet&rsquo\;s \;Le Dé\;jeuner sur l'herbe. Compress ing aspects of the painting together with randomly generated images of lunc h in the grass\, she creates yet another humorous tableau.

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Laura Al dridge (b.1978\, Frimley) lives and works in Glasgow. UK. Aldridge&rsquo\;s most recent solo exhibitions include Openaries (in collaboration with Anna Mayer) commissioned by Glasgow International\, Glasgow (2014)\; Things Hel d Inside//The New Sea\, Kendall Koppe\, Glasgow (2012)\; LAxLA\, Milagro Al legro Commu­\;nity Gardens\, Los Angeles\, (2012)\; Underside\, backside \, inside\, even\, CCA\, Glasgow (2012)\; and at Studio Voltaire\, London ( 2011). Her most recent group projects include Wearing Potentiality (curated by Attilia Fattori Franchini)\, The Basement at Paradise Row\, London (201 4)\; Out of Doors\, Supplement\, London\; The Cat Show (curated by Rhonda L ieberman)\, White Columns\, New York\; Laura Aldridge &\; Sara Barker &a mp\; Sue Tompkins\, Shane Campbell Gallery / Lincoln Park Space\, Chicago\; Every Day\, Gallery of Modern Art\, Glas­\;gow (all 2013). She is prepa ring for her largest institutional show to date at Tramway\, Glasgow (2015) . She was recipient of the Glasgow Life Craft Award in 2011.

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New Yo rk based artist Lee Maida was born in Brideport\, Connecticut. She has had solo exhibitions at Ed. Varie\, New York (2012) and ACP/Parker Jones\, Los Angeles (2010). Maida has participated in numerous group shows at venues su ch as Joe Sheftel\, New York\; Andrew Edlin\, New York\; Commonwealth &\ ; Council\, Los Angeles\; Silvershed\, New York\; SOMArts\, San Fransciso\; Taxter &\; Spengeman\, New York. Upcoming exhibitions include "Changing Table" at Kate Werble\, cuated by Jody Graf and "Couplings" at Taylor Mack lin\, curated by Piper Marshall. Maida is currently an artist-in-residence at Abrons Art Center.

DTEND:20140815 DTSTAMP:20140731T173549 DTSTART:20140702 GEO:40.7472381;-74.0051301 LOCATION:Andrew Kreps Gallery @ 535 West 22nd\,535 West 22nd Street \nNew Y ork\, NY 10011 SEQUENCE:0 SUMMARY: Earth Minutes\, Laura Aldridge\, Lee Maida UID:344911 END:VEVENT BEGIN:VEVENT DTEND:20140702T200000 DTSTAMP:20140731T173549 DTSTART:20140702T180000 GEO:40.7472381;-74.0051301 LOCATION:Andrew Kreps Gallery @ 535 West 22nd\,535 West 22nd Street \nNew Y ork\, NY 10011 SEQUENCE:0 SUMMARY: Earth Minutes\, Laura Aldridge\, Lee Maida UID:344912 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Andrew Kreps Gallery is pleased to present \;How Not To Be Seen: A Fucking Didactic Educational Installation\, an exhi bition by Berlin-based artist Hito Steyerl. The exhibition features two vid eos as well as sculptural-photographic objects\, and is her second with the gallery.

Hito Steyerl is among the most adroit observers of our thoroughly globalized\, digitized condition. Her practice describes with u ncommon precision the fluidity and mutability of images&mdash\;how they are produced\, interpreted\, translated\, packaged\, transported\, and consume d by a multitude of users.

Her video\, \;How Not to be S een: A Fucking Didactic Educational .MOV File\, begins with a sweeping shot of photo calibration targets in the California desert utilized by the military and acts as an instructional film on how to avoid being seen in a n age of digital surveillance. The proposals for this include becoming smal ler than the pixels of high-resolution satellite surveillance (1 foot) or v anishing in virtual shopping malls using green-screen effects\, living in a gated community\, or even being a female over 50.

In her own wo rds: &ldquo\;This condition opens up within and by means of an avalanche of digital images\, which multiply and proliferate while real people disappea r or are fixed\, scanned and over-represented by an overbearing architectur e of surveillance. How do people disappear in an age of total over-visibili ty? Which huge institutional and legal effort has to be made to keep things unspoken and unspeakable even if they are pretty obviously sitting right i n front of everyone&rsquo\;s eyes? Are people hidden by too many images? Do they go hide amongst other images? Do they become images?&rdquo\;

In another video entitled \;Strike \;(2010) she tests t he idea to literal breaking point\, smashing a blank LCD screen to create a jagged abstract pattern. The screen is destroyed &ldquo\;on-screen&rdquo\; \, and the &ldquo\;physical&rdquo\; viewing apparatus becomes palpably pres ent. The film powerfully reminds us that images also have a physical existe nce\; the limitations of its production\, replication and dispersal can fun damentally alter its impact. \;

In addition\, the artist exp lores a system of physical circulation between the viewer and her art works through a series of precise architectural inventions in the space\, with a collaboration with the architects at Studio Markus Miessen.

Hit o Steyerl is a filmmaker\, video artist and writer. Currently\, the Van Abb e Museum in the Netherlands is hosting her first large-scale mid-career sur vey show\, and in the last year she has had solo exhibitions at both the Ar t Institute Chicago and the ICA\, London. Her work has been included in the 2013 Venice and Istanbul biennales\, the 2010 Gwangju and Taipeh biennales \, the 2008 Shanghai Biennale\, Documenta12 in Kassel in 2007 and Manifesta 5 in 2004. She is a professor of Art and Multimedia at the University of A rts in Berlin. She will have a solo exhibit at Artists Space\, New York in Spring 2015.

DTEND:20140815 DTSTAMP:20140731T173549 DTSTART:20140702 GEO:40.7477457;-74.0063477 LOCATION:Andrew Kreps Gallery @ 537 W. 22nd\,537 W. 22nd St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:How Not to be Seen: A Fucking Didactic Educational Installation\, H ito Steyerl UID:344915 END:VEVENT BEGIN:VEVENT DTEND:20140702T200000 DTSTAMP:20140731T173549 DTSTART:20140702T180000 GEO:40.7477457;-74.0063477 LOCATION:Andrew Kreps Gallery @ 537 W. 22nd\,537 W. 22nd St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:How Not to be Seen: A Fucking Didactic Educational Installation\, H ito Steyerl UID:344916 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Anton Kern Gallery is pleased to announce Displayed an exhibition curated by artist and White Co lumns&rsquo\; director Matthew Higgs.
 \;
Displayed is an exhibition of artworks that\, in very different ways\, explore the methodologies &ndash\; both formal and psychological &ndash\; of display an d presentation. Borrowing from the languages of architecture\, the museum\, interior design\, retail\, and advertising among other disciplines\, the w orks in Displayed variously consider our shifting relationships wi th &ndash\; and attachments to &ndash\; objects and the circumstances in wh ich we encounter them: whether it be the gallery\, the store\, the street\, the home\, etc.
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Central to Displayed is the m ercurial practice of artist Nancy Shaver\, whose antique store &lsquo\;Henr y&rsquo\; in Hudson\, NY is an eccentric laboratory dedicated to nurturing a confusion between art and commerce\, between the applied and fine arts\, between good and bad taste. In Displayed Shaver juxtaposes her own sculptures &ndash\; which often take the form of assisted ready-mades &nda sh\; with finds from estate sales and thrift stores establishing a fluid\, albeit unstable taxonomy of objects. Elsewhere B. Wurtz creates low-fi arma tures that privilege &ndash\; even celebrate &ndash\; the marginal and the maligned (a plastic shopping bag\, a tube sock etc.). Josh Smith&rsquo\;s & lsquo\;Stage Painting&rsquo\; is essentially a jerry-rigged monument to him self. On the gallery&rsquo\;s exterior walls\, exposed to the elements\, Ch ris Martin displays his paintings\, where the gallery itself becomes a kind of pedestal\, and Martin&rsquo\;s paintings a form of &lsquo\;advertising& rsquo\;: alerting the passerby to the nature of the business conducted with in. (A scenario echoed in Moyra Davey&rsquo\;s early 1990s photographs of N ew York newsstands\, with their informal grids and stacks of magazines and newspapers.) Rachel Harrison&rsquo\;s ad-hoc telephone booth-like structure functions as if a vitrine\, or container for its enclosed sculptural event . The museum vitrine\, a device that both frames and protects\, is self-con sciously present in Annette Kelm&rsquo\;s documentary accounts of feminist ephemera. Carissa Rodriguez&rsquo\;s Ikebana display and Marc Camille Chaim owicz&rsquo\;s faux floral bouquet each\, in quite distinct ways\, seek to apply order to nature.
 \;
In these and other works in Displayed the artist explicitly engages with\, amplifies and disrupts the aesthetic &ndash\; and psychological &ndash\; possibilities inherent to the processes of selection\, arrangement and presentation. (A process anal ogous to the role of the curator\, the window dresser\, or the art director \, each of whom identifies\, organizes and choreographs things in space). T he artworks in Displayed self-reflexively explore these dynamics a nd tensions: where the distinction between what is presented and < em>how
it is presented is often moot.
 \;
Created by a intergenerational group of artists the works in Displayed\, like the artists themselves\, are willfully idiosyncratic\, each made with speci fic intent\, yet seen together these artworks are\, I would suggest\, repre sentatives of a broad yet pervasive aesthetic tendency\, an under-acknowled ged &lsquo\;movement&rsquo\; of sorts &ndash\; &ldquo\;displayism&rdquo\; p erhaps &ndash\; that has shadowed the history of modernism (and what follow ed): its legacy evident in the practices of Marcel Broodthaers\, Haim Stein bach\, Gulillaume Bijl\, John Armleder\, Isa Genzken\, Barbara Bloom\, Loui se Lawler\, and Carol Bove among many others.

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&ndash\;Matthew Higgs\, June 2014
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*Matthew Monahan&rsquo\;s work Hephaestus will co ntinue to be on view in the back gallery through August 22.

DTEND:20140822 DTSTAMP:20140731T173549 DTSTART:20140702 GEO:40.7463808;-74.007077 LOCATION:Anton Kern Gallery\,532 West 20th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Displayed\, Shio Kusaka\, Jonas Wood UID:343972 END:VEVENT BEGIN:VEVENT DTEND:20140702T200000 DTSTAMP:20140731T173549 DTSTART:20140702T180000 GEO:40.7463808;-74.007077 LOCATION:Anton Kern Gallery\,532 West 20th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Displayed\, Shio Kusaka\, Jonas Wood UID:343973 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This exhibition organized by the Syracuse University Art Gal lereis highlights Homer&rsquo\;s fascination with coastal and nautical scen es as an illustrator and special correspondent for the American pictorial p ress. The images include early illustrations for periodicals including Frank Leslie&rsquo\;s Illustrated Newspaper and Harper&rsquo\;s We ekly \,as well as rare lithographs and large etchings made after Homer &rsquo\;s paintings. The exhibition defines Homer&rsquo\;s transition from an illustrator of the pre- and post war years through his travels abroad th at mark his evolution to the pre-eminent American painter of the late 19th century.

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This exhibition\, curated by Andrew Saluti\, Assistant Dir ector of the SUArt Galleries\, features thirty-five original prints includi ng wood engravings\, lithographs\, and etchings. The exhibition is drawn fr om the permanent collection of the Syracuse University Art Collection\, and focuses on the illustrious career of Winslow Homer as a draftsman and prin tmaker.

DTEND:20140824 DTSTAMP:20140731T173549 DTSTART:20140606 GEO:42.907359;-74.572002 LOCATION:Arkell Museum\,2 Erie Boulevard \nCanajoharie\, NY 13317 SEQUENCE:0 SUMMARY:A View from the Shore: Winslow Homer's Impressions of the Coast\, W inslow Homer UID:339356 END:VEVENT BEGIN:VEVENT DTEND:20140606T170000 DTSTAMP:20140731T173549 DTSTART:20140606T100000 GEO:42.907359;-74.572002 LOCATION:Arkell Museum\,2 Erie Boulevard \nCanajoharie\, NY 13317 SEQUENCE:0 SUMMARY:A View from the Shore: Winslow Homer's Impressions of the Coast\, W inslow Homer UID:339357 END:VEVENT END:VCALENDAR