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303 Gallery is pleased to pres ent "All We Need Is Inside\," our third exhibition of new work from Jeppe H ein.
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On this occasion\, Hein presents a collection of wor ks in disparate media\, encouraging viewers to enter into their own inner d ialogues. Focusing his attention on the awareness of one's own body and min d\, Hein creates an experiential narrative in which the viewer becomes grac efully cognizant of his own being through the traversal of the exhibition s pace and its signifying works.
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Upon entering the space\, a glowing neon mirror announces \;ALL WE NEED IS INSIDE\, impo sing a prism through which the viewer processes the surrounding space. Turn ing away from this work is an encounter with a series of \;Breathin g Watercolors\, in which Hein's own breath guides the application of b lue stripes painted directly onto the white wall. \; The intensity of c olor\, deep and vigorous at the beginning of each stroke\, gradually fades into a pale shade toward the bottom of each stripe\, physically recording t he process of air gradually escaping from the body. Echoing this work is&nb sp\;Breath\, in which Hein's own breath is encased in glass sphere s lying on the floor.
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In the center of the gallery\,  \;Sine Curve I \;implicates the viewer's perception in the cre ation of the work. Its multifaceted reflection produces an alien experience of the gallery space\, disorienting the subject of its reflection and forc ing a new type of environmental consciousness. Its sculptural shape is remi niscent of the sinus rhythm\, a diagrammatic recording of the normal beatin g of a heart. In another mirror work\, \;Invisible Eye\, \ ;Hein has placed a flickering candle behind a two-way mirror. This elementa l object of ritual is subverted by Hein's intervention\, as candle and view er merge into one another\, resulting in the placement of a flaming third e ye onto the viewer's forehead. This suggestion of enlightenment\, both phys ical and spiritual\, looks toward an enigmatic and foreign sense of being\, implicating the viewer not only in an encounter with an artwork\, but in a confrontation with an obscure and unknown self.
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In Novem ber of this year\, he will open a solo show at Kunstmuseum\, Wolfsburg\, Ge rmany. Recent exhibitions include &ldquo\;A Smile For You&rdquo\; (2013) at Bonniers Konsthall\, Stockholm and Wanå\;s Konst\, Sweden\; &ldquo\;R obert-Jacobsen-Preisträ\;ger&rdquo\; (2012) Museum Wü\;rth\, Bad Me rgentheim\, Germany\; &ldquo\;360?&rdquo\; (2011) at the 21st Century Museu m of Contemporary Art\, Kanazawa\, Japan\; &ldquo\;1xMuseum\, 10xRooms\, 11 xWorks&rdquo\; (2010) at Neues Museum Nü\;rnberg\; Distance (2010) at I MA - Indianapolis Museum of Art\, Indianapolis\; &ldquo\;Sense City&rdquo\; (2009) at AroS Museum of Art\, Å\;rhus\, Denmark. Permanent installat ions of his works were realized in 2014 at Musikkens Hus\, Aalborg\, Denmar k and the New Media Library Hö\;gskolan Dalarna\, Falun\, Sweden. His w orks are held in institutional collections such as the Tate Gallery\, Londo n\; Centre Pompidou\, Paris\; Museum fü\;r Moderne Kunst\, Frankfurt/Ma in\; Museum of Contemporary Art\, Los Angeles. Hein lives and works in Berl in.

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DTEND:20150530 DTSTAMP:20150425T002812 DTSTART:20150416 GEO:40.7485947;-74.0041953 LOCATION:303 Gallery\,507 West 24th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:All We Need Is Inside\, Jeppe Hein UID:379473 END:VEVENT BEGIN:VEVENT DESCRIPTION:
3A Gallery is pleased to ann ounce Jef Geys: Some Paintings from Belgium. On view are ten Marti n Douven paintings from the collection of Felipe Perez. \; The exhibit includes ten prints\, on loan from the Columbia University Rare Book and Ma nuscript Library\, depicting the various international contexts of this set of paintings&rsquo\; exhibition history. \; Jef Geys has produced a Kempens Informatieboek for the occasion.
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Jef Geys: Some Paintings from Belgium was made possible by the gen erosity of the Related Group.
DTEND:20150724 DTSTAMP:20150425T002812 DTSTART:20150326 GEO:40.716943;-73.997372 LOCATION:3A Gallery\,179 Canal Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Jef Geys: Some Paintings From Belgium\, Jef Geys UID:374817 END:VEVENT BEGIN:VEVENT DTEND:20150326T200000 DTSTAMP:20150425T002812 DTSTART:20150326T180000 GEO:40.716943;-73.997372 LOCATION:3A Gallery\,179 Canal Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Jef Geys: Some Paintings From Belgium\, Jef Geys UID:374818 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Once again it is a great pleas ure to exhibit new paintings by John Alexander Parks and most especially be cause he has recently been making paintings about New York\, his adopted ho me for more than three decades. \; For much of this time Parks has pain ted subjects that bear on English life using his vantage point as a British exile. Those pictures are often at once nostalgic and gently ironic. \ ; Parks brings a new energy\, lively wit and considerable poignancy to his very personal vision of New York.

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A g ifted colorist\, sensitive draftsman and delightful handler of paint\, Park s mixes whimsical humor and enormous sympathy for his subjects. \; His works are inviting\, accessible and entertaining but their full import can take time to sort out and fully savor.  \;They are the paintings of an artist who is thoroughly and wonderfully engaged with the world around him.

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Although he has kept a modest profil e as an artist Parks has accrued some serious critical acclaim over the yea rs. Writing in the New York Times as long ago as 1982\, the great critic Jo hn Russell described Parks as &ldquo\;&hellip\;a true poet in paint and som ething of a find.&rdquo\; In December of 2012 Roberta Smith\, the current c hief art critic of the Times\, described Parks&rsquo\; painting as &ldquo\; &hellip\;a treat to discover.&rdquo\;

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Parks was born in Leeds\, England in 1952\, and studied at the Royal Colle ge of Art in London. \; He has lived in and around New York since 1976 and was represented for many years by Allan Stone\, the legendary art deale r and gallerist. \; He is a member of the faculty of the School of Visu al Arts in New York where he teaches drawing and painting. \; He recent ly authored a general introduction to the world of art entitled &ldquo\;Uni versal Principles of Art\,&rdquo\; Rockport Publishing\, 2014. His work is in the collection of the Victoria and Albert Museum\, London\, the Museum o f the Rhode Island School of Design and many others.

DTEND:20150425 DTSTAMP:20150425T002812 DTSTART:20150326 GEO:40.749403;-74.004838 LOCATION:532 Gallery Thomas Jaeckel\,532 W. 25th Street \nNew York\, NY 100 01 SEQUENCE:0 SUMMARY:New York Paintings\, John Alexander Parks UID:378303 END:VEVENT BEGIN:VEVENT DTEND:20150326T200000 DTSTAMP:20150425T002812 DTSTART:20150326T180000 GEO:40.749403;-74.004838 LOCATION:532 Gallery Thomas Jaeckel\,532 W. 25th Street \nNew York\, NY 100 01 SEQUENCE:0 SUMMARY:New York Paintings\, John Alexander Parks UID:378304 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150612 DTSTAMP:20150425T002812 DTSTART:20150415 GEO:40.7762839;-73.9626764 LOCATION:Acquavella Galleries\,18 East 79th Street \nNew York\, NY 10075 SEQUENCE:0 SUMMARY:Off Canvas: From Matisse to Celmins\, Jean-Michel Basquiat\, André Derain\, Richard Diebenkorn\, Jean Dubuffet\, Lucian Freud\, Philip Guston\ , Jasper Johns\, Henri Matisse\, Manolo Millares\, Pablo Picasso\, Robert R auschenberg\, Jean Paul Riopelle\, James Rosenquist\, Ed Ruscha\, David Smi th\, Wayne Thiebaud\, Andy Warhol UID:371310 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150612 DTSTAMP:20150425T002812 DTSTART:20150415 GEO:40.7762839;-73.9626764 LOCATION:Acquavella Galleries\,18 East 79th Street \nNew York\, NY 10075 SEQUENCE:0 SUMMARY:Drawing \, Jacob El Hanani UID:371311 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150425 DTSTAMP:20150425T002812 DTSTART:20150317 GEO:40.7268368;-73.9929619 LOCATION:AICON GALLERY - New York\,35 Great Jones Street \nNew York\, NY 10 012 SEQUENCE:0 SUMMARY:Approaching Figuration: Pt. 1 -Modern and Pre-Modern Indian Art and the Figure UID:377723 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150425 DTSTAMP:20150425T002812 DTSTART:20150317 GEO:40.7268368;-73.9929619 LOCATION:AICON GALLERY - New York\,35 Great Jones Street \nNew York\, NY 10 012 SEQUENCE:0 SUMMARY:Approaching Figuration: Pt. 2 - Modern and Pre-Modern Indian Art an d the Figure UID:377724 END:VEVENT BEGIN:VEVENT DESCRIPTION:

An exhibition of new paintings and works on paper by Stefan Kü\;rten will open at Alexander and Bonin on April 18th. The exhibition features Running to stand still (20 14)\, a large scale painting depicting a grid of houses which emerge from a golden\, abstracted thicket and represent Kü\;rten&rsquo\;s typography of 20th Century homes.

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Modernist ove rhang slab roof houses\, brick villas in idyllic surroundings and suburban bungalows with neat garden paths and flower beds are the subject of Kü\ ;rten&rsquo\;s recent paintings. Almost all depict isolated buildings that are surrounded by a wall\, hedge or lush vegetation and draw the viewer's a ttention to a singular piece of invented architecture. These structures oft en closely resemble iconic mid-century modern dwellings\, but have been reb uilt by Kü\;rten&rsquo\;s conflation of imagery. Their sense of familia rity is strong and viewers often feel they have visited these non-existent homes. The surfaces of Kü\;rten&rsquo\;s paintings are composed of innu merable brushstrokes forming patterns that evoke sky\, water and foliage. T he density of the patterning can elicit a sense of horror\, destabilizing t hese beautiful illusions.

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&ldquo\;Eve n though the houses and gardens that distinguish my paintings are drawn fro m real houses and gardens\, taken from my own photos\, books\, and magazine s\, they are somehow transformed into the stuff of daydreams or nightmares. They are devoid of human presence\; the apparent idyll feels isolated to t he point of oppression. Nonetheless\, there seems to be some sort of a pres ence\, like a hidden secret\, something untold and left to our imaginations . Heimlich describes this unsettling\, disturbing uncertainty very fittingl y.&rdquo\;1

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1 Interview wi th Larry Rinder published in Here Comes the Night. Works on Paper 2009 &ndash\; 2013\,Ostfildern: Hatje Cantz

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The artist lives and works in Dü\;sseldorf. His work has been th e subject of several institutional exhibitions and two recent monographs: < em>Here Comes the Night. Works on Paper 2009 &ndash\; 2013\, published by Hatje Cantz and Running to stand still\, a monograph of recent paintings published by Galerie der Stadt Backnang. Stefan Kü\;rten&rsq uo\;s paintings are in the permanent collections of several European and Am erican institutions including Kunstmuseen Krefeld\, The Montreal Museum of Fine Arts\, The Museum of Modern Art\, New York and the San Francisco Museu m of Modern Art.

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For press inquiries contact Olivia Gauthier at 212/367-7474 or og@alexanderandbonin.com

DTEND:20150530 DTSTAMP:20150425T002812 DTSTART:20150418 GEO:40.7497717;-73.9976946 LOCATION:Alexander and Bonin\,132 10th Ave. between 18th and 19th streets i n Chelsea\nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Running to stand still\, Stefan Kurten UID:379474 END:VEVENT BEGIN:VEVENT DTEND:20150418T200000 DTSTAMP:20150425T002812 DTSTART:20150418T180000 GEO:40.7497717;-73.9976946 LOCATION:Alexander and Bonin\,132 10th Ave. between 18th and 19th streets i n Chelsea\nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Running to stand still\, Stefan Kurten UID:379475 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150516 DTSTAMP:20150425T002812 DTSTART:20150402 GEO:40.74975;-74.003741 LOCATION:Alexander Gray Associates\,508 West 26 Street #215 \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Solo Exhibition\, Joan Semme UID:372922 END:VEVENT BEGIN:VEVENT DTEND:20150402T200000 DTSTAMP:20150425T002812 DTSTART:20150402T180000 GEO:40.74975;-74.003741 LOCATION:Alexander Gray Associates\,508 West 26 Street #215 \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Solo Exhibition\, Joan Semme UID:372923 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Shara Hughes&rsquo\; new paint ings present layers of abstracted\, actual and pictorial space\, all in sea rch of simplicity.

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These clouded wind ows of ambiguous form\, pattern\, and texture are like vibrated\, vibrant d rawings\, plied with multiple mediums. The direct intention instilled in ea ch mark empowers these paintings with a sense of focused purpose\, directne ss\, yet they depict suggestions of open space\, floating moons\, flowing r ivers\, melting snow. The indirect and the slow burning.

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Hughes explores these ideas as she quickly grasps new w ays of applying paint. Idea becomes form\, form becomes an idea\, image bec omes both. The result is a mix of peace and purpose\; material and place\; raw canvas and painted surface. Transparency and brick wall.

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In these works past and future disappear. There is only the present. Invention\, intention\, playfulness and trust. All happen then/now. Stop to go.

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Shara Hughes ( b. 1981 in Atlanta\, GA) lives and works in Brooklyn\, NY. Previous solo ex hibitions include Museum of Contemporary Art\, Georgia\, A tlanta\, GA\; Atlanta Contemporary Art Center\, Atlanta\, GA\; American Contemporary\, New York\, NY\; P-r-i -m-e-t-i-m-e\, Brooklyn\, NY\; Metroquadro\, Turi n\, IT\; Galerie Mikael Anderson\, Copenhagen\, DE\; and < strong>Rivington Arms\, New York\, NY. Hughes was the recipient of the MoCA GA Working Artist Project Grant for 2012/2013.

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She studied at Rhode Island School of Design\, Providen ce\, RI and Skowhegan School of Painting and Sculpture\, Skowhegan\, ME.

DTEND:20150426 DTSTAMP:20150425T002812 DTSTART:20150326 GEO:40.725623;-73.991532 LOCATION:American Contemporary\,4 East 2nd Street \nNew York\, NY 10003 SEQUENCE:0 SUMMARY:Far Out\, Shara Hughes UID:377721 END:VEVENT BEGIN:VEVENT DTEND:20150326T200000 DTSTAMP:20150425T002812 DTSTART:20150326T180000 GEO:40.725623;-73.991532 LOCATION:American Contemporary\,4 East 2nd Street \nNew York\, NY 10003 SEQUENCE:0 SUMMARY:Far Out\, Shara Hughes UID:377722 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Most self-taught artists can b e perceived as performance artists. Their work is infused with daily ritual s\, public actions\, gestures\, and enactments\, defining a lifelong artist ic practice for which the curtain never comes down. Beyond paintin gs and sculpture\, the exhibition includes ceremonial clothes\, kinetic app aratuses\, ephemeral installations\, writings\, fragments of ever-changing constructions\, music\, recordings\, and other statements that have been ca ptured by photographers and filmmakers. The inventive devices and countless strategies these artists configure are expressions of an alter ego\, which they assume for its power to transform the world and\, above all\, to tran sform their own connections to reality.

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Historically\, collectors and museums have prioritized artworks that are readily collectible and more conventional in their materials and technique s&mdash\;an attitude that elucidates a direct relationship between conserva tion and recognition. The exhibition\, \;which \;gathers 27 artists from around the world\, delves into an underside of self-taught art and ar t brut\, opening a door to the study of its neglected facets.
&md ash\;Valé\;rie Rousseau\, PhD\, curator\, self-taught art and art bru t

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Major support for the exhibition is provided by the National Endowment for the Arts: Art Works. Additional sup port is provided by The Coby Foundation\, Ltd.\, Joyce Berger Cowin\, the D avid Davies and Jack Weeden Fund for Exhibitions\, the Gerard C. Wertkin Ex hibition Fund\, the Leir Charitable Foundations\, public funds from the New York City Department of Cultural Affairs in partnership with the City Coun cil\, and the New York State Council on the Arts with the support of Govern or Andrew Cuomo and the New York State Legislature.

DTEND:20150705 DTSTAMP:20150425T002813 DTSTART:20150326 GEO:40.7731765;-73.9814441 LOCATION:American Folk Art Museum\,2 Lincoln Square \nNew York\, NY 10023 SEQUENCE:0 SUMMARY:When the Curtain Never Comes Down\, Bill Anhang\, Anton “The Great Antonio” Barichievich\, Deborah Berger\, Arthur Bispo do Rosário\, Raimundo Borges Falcão\, Leonid Chrol\, Joe Coleman\, Lonnie Holley\, Hans Krüsi\, Marie Lieb\, Charlie Logan\, Raphaël Lonné\, Jean Loubressanes\, Gustav Mes mer\, Eijiro Miyama\, Heinrich Anton Müller\, Fernando Oreste Nannetti\, Va han Poladian\, Melina Riccio\, Martial Richoz\, Rock N Roll\, The Saint Pau l Spiritual Holy Temple\, Palmerino Sorgente\, Giuseppe Versino\, Eugene Vo n Bruenchenhein\, Theodor “Theo” Wagemann\, Adolf Wolfli UID:375231 END:VEVENT BEGIN:VEVENT DTEND:20150326T173000 DTSTAMP:20150425T002813 DTSTART:20150326T103000 GEO:40.7731765;-73.9814441 LOCATION:American Folk Art Museum\,2 Lincoln Square \nNew York\, NY 10023 SEQUENCE:0 SUMMARY:When the Curtain Never Comes Down\, Bill Anhang\, Anton “The Great Antonio” Barichievich\, Deborah Berger\, Leonid Chrol\, Joe Coleman\, Raimu ndo Borges Falcão\, Lonnie Holley\, Hans Krüsi\, Marie Lieb\, Charlie Logan \, Raphaël Lonné\, Jean Loubressanes\, Gustav Mesmer\, Eijiro Miyama\, Hein rich Anton Müller\, Fernando Oreste Nannetti\, Vahan Poladian\, Melina Ricc io\, Martial Richoz\, Rock N Roll\, Arthur Bispo do Rosário\, Palmerino Sor gente\, The Saint Paul Spiritual Holy Temple\, Giuseppe Versino\, Eugene Vo n Bruenchenhein\, Theodor “Theo” Wagemann\, Adolf Wolfli UID:375232 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Andrea Rosen Galler y is pleased to announce Enigmas\, an exhibition of works by Marti n Barré\;\, David Ostrowski\, Julian Schnabel\, and Reena Spaulings. Curated in collaboration with writer and art historian Alison Gingeras\, th e exhibition engages the notion of imprimatur.  \;

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Despite the word&rsquo\;s initial loftiness\, it offers a precise entré\;e into a specific set of problems that man y artists face when creating pictorial work. This exhibition hopes to explo re the ways artists both physically and metaphorically create credible &ldq uo\;imprints&rdquo\; or gestures at the same time that they generate a sanc tioning belief in their various approaches to mark-making. The term &ldquo\ ;imprimatur&rdquo\; also brings to mind the burden of approval: in an eccle siastical setting\, the term refers to the Church granting permission to pu blish or print. \; In an artistic context\, imprimatur addresses the ar tist&rsquo\;s need to create a distinguishing mark\, to give credence to th eir enterprise (no matter how de-materialized\, unorthodox or conceptual)\, to generate approval or faith in their oeuvre. In different ways\, then\, each of the artists in this show is concerned with signature residue: their works challenge the viewer into believing in the artistic aura of their ge stures\, however minimal.

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An artist whose work is almost synonymous with the notion of imprimatur\, J ulian Schnabel has created a group of paintings that highlight his signific ance as a paradigmatic practitioner of contemporary abstraction. Many of Sc hnabel&rsquo\;s signature tropes&mdash\;the use of dropcloths and soiled ca nvases\, the incorporation of studio debris and other &ldquo\;imperfections &rdquo\; into the body of the work\, and his re-imagining of found material s&mdash\;have become celebrated gestures in contemporary painting. Although not always acknowledged\, his influence is visible in the works of a curre nt generation of painters that includes\, Joe Bradley\, Dan Colen\, Sergej Jensen and Oscar Murillo to name but a few. \;

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While Schnabel has been making paintings with spra y-paint for more than thirty years\, the body of work on view in Enigma s remains relatively unknown\; these more recent paintings are built o n a single found photograph whose weathered emulsions gave birth to an imag e beyond the original. The exhibition sets up a specific dialogue between S chnabel&rsquo\;s works and three significant oeuvres that provoke viewers t o consider how meaning is created and communicated via even the most minima l of visual and conceptual gestures. \;

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Martin Barré\;&rsquo\;s spray-paint works from the 1960&rsquo\;s establish an early chronological and conceptual anchor. Barr& eacute\; created spare\, minimal figures which left much of the canvas open \; when he began using spray paint in 1963 as a reflection of his appreciat ion of graffiti in the Paris metro\, he employed a particular matte black t o create white surfaces marked by traces or stripes.

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David Ostrowski&rsquo\;s painting practice provi des a contemporary counterpoint. Ranging from restrained blue marks on a ra w canvas ground to barely visible foot print traces on a naked canvas\, his work draws on the performative &ldquo\;aura&rdquo\; of these marks and is fueled by a self-generated mythology centered on his studio practice and hi s infamous foot fetish.

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Re ena Spaulings&rsquo\; Enigmas series extends the theme of the mark -as-gesture into sociological terrain\; formally\, the soiled tablecloths f rom art-world dinners\, stretched into minimal paintings\, close the circle opened by Schnabel more than thirty years ago. \; The exhibition borro ws its title from this body of work: its principal concern is the enigmatic process by which artists generate an &ldquo\;imprimatur&rdquo\; and invest their work with an aura of credibility. \;

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In keeping with the Gallery&rsquo\;s program\, this e xhibition is grounded in a deep critical examination of the work. Presentin g Julian Schnabel&rsquo\;s new paintings considers both his influence and h is critical reception. Contextualized in relation to historical and contemp orary practices engaging the physical\, metaphorical\, and sociological typ es of mark-making\, the works provoke a simultaneously distinctive and hist orically positioned experience for deepened interpretation and reflection.< /p>\n

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Martin Barré\; was born in 1924 in Nantes\, France. He lived and worked in Paris.

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David Ostrowski was born in 1981 in Cologne\ , Germany. He lives and works in Cologne.

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Julian Schnabel was born in Brooklyn in 1951. He l ives and works in New York City and Montauk\, Long Island.

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Reena Spaulings emerged from the daily operation of an art gallery (Reena Spaulings Fine Art\, founded by Jo hn Kelsey &\; Emily Sundblad)\, in 2004\, and works in New York City.

DTEND:20150425 DTSTAMP:20150425T002813 DTSTART:20150305 GEO:40.749185;-74.005023 LOCATION:Andrea Rosen Gallery\,525 W.24th St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Enigmas\, Martin Barre\, David Ostrowski\, Julian Schnabel\, Reena Spaulings UID:375233 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Andrea Rosen Galler y is delighted to present an exhibition of work by Sharon Hayes\, Tony Lewi s\, and Adam Pendleton at Gallery 2. The exhibition explores the relationsh ip between the use of language and the formal and social implications of ab straction. \;

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In this exhibition Sharon Hayes presents two works\, each a fragment from a banner carried in the Women's Strike for Equality on August 26th\, \;1970. The works approximate the scale of the original banner\, but the material tran sformation and presentation of selected letters from the word women alter t he original&rsquo\;s legibility and seemingly straightforward declaration o f meaning.

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Tony Lewis pres ents a large graphite work on paper diptych featuring a symbol based on Gre gg shorthand. These works continue Lewis&rsquo\;s interrogation of language systems. Using the shorthand symbols\, these works are at once technically more specific while becoming increasingly gestural and abstract.

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Presenting a painting from his well known body of work &ldquo\;Black Dada&rdquo\; as well as a newer work from a series layering text and images on mirrored stainless steel\, Adam Pendl eton&rsquo\;s works in this exhibition give material form to the artist&rsq uo\;s engagement with a dynamic idea of history\; one that is ever mutable and reflective of subjective and infinite narrative potentials.

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Instrumental in the thinking about th is exhibition is a 2006 essay about Felix Gonzalez-Torres&rsquo\;s work by Miwon Kwon. In it she argues: &ldquo\;the radicality of FGT&rsquo\;s work l ies in the insinuation of the particular in the place of abstraction\, whil e simultaneously destabilizing the particular as a fixed positivity. And wi th this complex move\, the artist accomplishes a remarkable reversal: e veryone becomes a particularly marked subject\, making it impossible f or there to be an unmarked\, invisible\, hierarchy-determining point of ref erence. Which means that no one is less than public either.&rdquo\; Kwon&rs quo\;s text provides a useful lens for reading these works as well\, offeri ng a possible way for abstraction to engage with specific histories\, polit ics\, and identities.

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&nbs p\;

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Sharon Hayes was b orn in 1970 in Baltimore\, MD. She has had major solo exhibitions at the Re ina Sofia\, Madrid\; the Art Institute of Chicago\, and most recently at th e Whitney Museum of American Art\, New York. Her work has been widely exhib ited in significant exhibitions including The Encyclopedic Palace at the 55 th Venice Biennale\; the 2010 Whitney Biennial\, documenta 12 (collaborativ e project)\, Kassel\; MoMA PS1\, Long Island City\, NY\; Generali Foundatio n\, Vienna\; Museum Moderner Kunst (MUMOK)\, Vienna\; Artists Space\, New Y ork\; New Museum\, New York\; Tate Modern\, London\; and the Istanbul Bienn ale. Hayes has been recently granted the Alpert Award in the Arts. The arti st lives and works in New York.

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Tony Lewis was born in 1986 in Los Angeles\, California. Rec ent exhibitions have taken place at Massimo de Carlo\, London\; Shane Campb ell Gallery\, Chicago\; Room East\, New York\; Richard Gray Gallery\, Chica go\; and Autumn Space\, Chicago. His work was presented in the 2014 Whitney Biennial\, and will be the focus of an upcoming solo show at Shane Campbel l Gallery\, Chicago. Lewis lives and works in Chicago\, IL.

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Adam Pendleton was born in 1984 in Richmond\, Virginia. Recent solo exhibitions have taken place at Galleri a Pedro Cera\, Lisbon\; Pace Gallery\, New York\; Shane Campbell Gallery\, Lincoln Park\; Travesia Cuatro\, Guadalajara\; and Pace Gallery\, London. P endleton&rsquo\;s work recently included in group exhibitions at Whitechape l Gallery\, London\; 21er Haus and Winter Palace\, Vienna\; Studio Museum i n Harlem\, New York\; Pace Gallery\, Beijing\; Museum of Modern Art\, New Y ork\; Swiss Institute\, New York\; and Palais de Tokyo\, Paris. Pendleton l ives and works in Germantown\, New York\, and Brooklyn\, New York.

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This exhibition is organized by Cory Nomura.

DTEND:20150425 DTSTAMP:20150425T002813 DTSTART:20150306 GEO:40.749177;-74.0058861 LOCATION:Andrea Rosen Gallery 2\,544 West 24th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Group Exhibition\, Sharon Hayes\, Tony Lewis\, Adam Pendleton UID:375234 END:VEVENT BEGIN:VEVENT DESCRIPTION:

I do think an artist and a psychoanalyst do the same thing\, in a way. They&rsquo\;re presented with an official version of reality\, and then they say\, &lsquo\;Okay\, but wha t&rsquo\;s underneath that? What are the hidden factors driving it?&rsquo\; We&rsquo\;re both fascinated by the human condition in general &ndash\; we want to know what&rsquo\;s really going on. \;(David Cronenberg)< /p>\n

Treatment \;(2013)\, a n ew dual-channel installation by Candice Breitz\, brings an original soundtr ack to three key scenes from David Cronenberg&rsquo\;s \;The Brood< /em> \;(1979)\, a film that the director has described as deeply person al. \;The Brood&rsquo\;s autobiographical script explores the emotional strain experienced by a couple as their marriage dissolves and a custody battle for their young daughter Candice ensues. Himself going throu gh divorce and fighting for custody at the time of writing \;The Br ood\, \;Cronenberg creates&mdash\;in the plot of his film&mdash\;a movie facsimile of the psychological drama that he was facing in his own f amily life at the time. Brutally exploring the fabric of family nightmares& mdash\;painful conflicts between father and son\, mother and daughter\, dau ghter and father&mdash\;The Brood \;is above all a powerful st udy of dysfunctional parent-child relationships.

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For \;Treatment\, Breitz enlists herself\, her own mother and father\, and her real-life psychotherapist to inhabit and re-cr eate a series of scenes from \;The Brood. As with the Cronenbe rg film\, \;Treatment \;resists indulging concrete autobio graphical information\, denying onlookers voyeuristic access to Breitz&rsqu o\;s actual relationships with her parents and therapist\, and focusing ins tead on the psychological horror that lies potential within family life.

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At key moments in \;The Brood\, we observe the renegade psychotherapist Dr Hal Raglan (played by Oliv er Reed) administering therapy to traumatized patients. Dr Raglan&rsquo\;s experimental techniques require patients to reenact family relationships as a means of working through their trauma. His treatment involves intensive bouts of therapeutic roleplay during which the doctor typically plays his p atients&rsquo\; abusive parents or maltreated children. Breitz isolates thr ee such scenes for \;Treatment\, projecting them one after the next on a gallery wall\, in a constant rotation that evokes the looping re petition of trauma. In removing these vignettes portraying therapeutic sess ions from their service to the plot of \;The Brood\, Breitz al lows them to exist independently of the film&rsquo\;s fictional narrative.< br />Stripped silent of Cronenberg&rsquo\;s original soundtrack\, the isola ted scenes now receive their vocal content from the soundtrack of a second projection of the same size\, which mirrors the original footage on the opp osite wall of the exhibition space. The second projection consists of a spa rse visual documentation of the making of this new soundtrack: set in a pro fessional sound studio\, the footage cuts between four individuals\, each s eated at a microphone\, each laboring to project his/her voice convincingly into the body of one of the actors appearing in the original scenes projec ted on the opposite wall.

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The credits of the work confirm the identities of the dubbing team: the artist&rsquo\; s de facto psychotherapist Dr Renate Becker synchronizes the voice of Dr Ra glan across all three re-voiced scenes\, while the voices of the three pati ents undergoing therapy are painstakingly recreated by the artist&rsquo\;s mother\, father and the artist herself. This move is consistent with Cronen berg&rsquo\;s view of cinema as a space in which to &ldquo\;rehearse the di fficult things of life\,&rdquo\; and points strongly to Breitz and Cronenbe rg&rsquo\;s shared interest in the overlap between cinematic analysis and p sychological analysis.

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In inviting he r parents and therapist to vocally re-articulate the domineering Dr Raglan and his longsuffering patients\, Breitz literally loops Cronenberg&rsquo\;s cinematic analysis of the psychological wounds that parents inflict on the ir children through her own mother and father\, bringing full circle a fict ionalized study of trauma that originally grew out of Cronenberg&rsquo\;s p rocessing of his own family horror story.

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Treatment \;directs our thoughts to the circular nature o f the relationship between real life and reel life\; to the ability of film to give voice to the stuff of life in the guise of fiction\, but also to t he alchemy via which cinematic fiction in turn becomes &lsquo\;real&rsquo\; for its viewers\, as it vocalizes their actual or imagined experience. In the words of Paul Auster\, &ldquo\;Novels are fictions\, of course\, and th erefore they tell lies (in the strictest sense of the term)\, but through t hose lies every novelist attempts to tell the truth about the world.&rdquo\ ;

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Treatment \;was commis sioned by the Toronto International Film Festival 2013. It was awarded firs t prize in its category (non-linear video installation) at the B3 Moving Im age Biennial in Frankfurt in October 2013.

DTEND:20150425 DTSTAMP:20150425T002813 DTSTART:20150228 GEO:40.7472381;-74.0051301 LOCATION:Andrew Kreps Gallery @ 535 West 22nd\,535 West 22nd Street \nNew Y ork\, NY 10011 SEQUENCE:0 SUMMARY:Kaufmann Repetto Presents: Treatment\, Candice Breitz UID:375176 END:VEVENT BEGIN:VEVENT DTEND:20150228T200000 DTSTAMP:20150425T002813 DTSTART:20150228T180000 GEO:40.7472381;-74.0051301 LOCATION:Andrew Kreps Gallery @ 535 West 22nd\,535 West 22nd Street \nNew Y ork\, NY 10011 SEQUENCE:0 SUMMARY:Kaufmann Repetto Presents: Treatment\, Candice Breitz UID:375177 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Andrew Kreps Gallery is pl eased to present its third solo exhibition with Jamie Isenstein\, entitled& nbsp\;Para Drama. The works in the show explore Isenstein&rsquo\;s continued interest in the mercurial nature of truth\, illusion\, the self\ , the body and performance as seen through the window of a haunted house.&n bsp\;

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In the lingo of the ghost hunte rs\, the term \;para-drama \;is sometimes used to describe the annoyance created when some paranormal investigators enact fake spirit activity often for spectacle on television. But in this world where no one has scientific proof to backup their research\, who can say what has been faked and what has not? The exasperation created by this problem has led to terrible infighting in the community\, as different groups accuse each oth er of faking evidence and using claptrap gear. It is a slippery slope betwe en believer and non-believer when those who swear they saw a ghost have to use enhancing gear and theatrical conventions such as darkened lighting to convince others of their claims.

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Isen stein has used the disorientation of the \;para-drama \;as a starting point for work in the exhibition. Much of the work in the show straddles this line between suspension of disbelief and attempts at a trans parency and truth. In the \;sculpture/performance \;Mechanical Bed\, \;2015\, the acts of leaving and coming are made apparent in the shifting of sheets and covers by an unseen actor. \; \;The bed appears to make and unmake itself as if a ghost sleeps here. The title ref ers to a famous 18th \;century automaton\, the "Mechanical Turk" that a pparently played chess with a human opponent. Eventually\, it was revealed that a small chess master inside the case operated the figure. \;As wit h \;Mechanical Bed\, 2015\, the works in the exhibition also r uminate on the paradoxes of creating presence from absence\, and vice versa . \;Ghost Clothes\, \;2014\, \;represents \;the tr aditional Halloween costume - a hokey bed sheet with eyes cut in the center - suggesting a present figure is actually absent &ndash\; or an absent fig ure present. \; \;But here the white ghost costume is hung flat on a white gallery wall so that it camouflages and disappears. Only the eyehol es remain like a mask. \;

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Like th e protean body of a ghost\, the work in this exhibition often suggests dise mbodied body parts that morph and change and take on lives of their own. In a corner of the gallery\, gloved hands seem to cast a spell on an invisibl e subject sitting in a chair. Lying on pillows on the floor are harlequin m asks that spew fire from their eyes or mouth like fire-eaters or deranged c ircus performers. \; And on the wall are a series of photographs of mas ks wearing masks. By putting on masks the support masks become anthropomorp hized into faces so that these inanimate objects come alive. At the same ti me\, the layering of these masks emphasizes their emptiness. Behind the ill usions there is nothing. \;Absurdly\, the more masks the masks wear\, t he deeper the layering of nothingness becomes. \; \;Onions \, 2015\, is a sculpture of many masks layered over the hollow head of a ma scot costume. The title of the work refers to a monologue in the Henrik Ibs en play \;Peer Gynt \;in which Peer peels away the layers of an onion as he examines the various roles he has played in his life. Eve ntually he comes to realize there is nothing substantial at the core.

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Jamie Isenstein has had solo exhibitions a t the Hammer Museum in Los Angeles and more recently at the Douglas F. Cool ey Memorial Art Gallery at Reed College in Portland. Her work was recently featured in \;Pratfall Tramps \;at the Atlanta Contemporar y Art Center. She has also exhibited her work at CCA Wattis Institute for C ontemporary Arts\, San Francisco\, P.S.1 Contemporary Art Center\, Long Isl and City\, the Manchester International Festival\,UK and Tate Liverpool\, U K.

DTEND:20150502 DTSTAMP:20150425T002813 DTSTART:20150402 GEO:40.7477457;-74.0063477 LOCATION:Andrew Kreps Gallery @ 537 W. 22nd\,537 W. 22nd St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Para Drama\, Jamie Isenstein UID:379232 END:VEVENT BEGIN:VEVENT DTEND:20150402T200000 DTSTAMP:20150425T002813 DTSTART:20150402T180000 GEO:40.7477457;-74.0063477 LOCATION:Andrew Kreps Gallery @ 537 W. 22nd\,537 W. 22nd St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Para Drama\, Jamie Isenstein UID:379233 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150523 DTSTAMP:20150425T002813 DTSTART:20150416 GEO:40.7463808;-74.007077 LOCATION:Anton Kern Gallery\,532 West 20th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Solo Exhibition\, David Shrigley UID:379476 END:VEVENT BEGIN:VEVENT DTEND:20150416T200000 DTSTAMP:20150425T002813 DTSTART:20150416T180000 GEO:40.7463808;-74.007077 LOCATION:Anton Kern Gallery\,532 West 20th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Solo Exhibition\, David Shrigley UID:379477 END:VEVENT END:VCALENDAR