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

303 Gallery is pleased to present its fifth exhibition of ph otographs by Stephen Shore\, whose pioneering use of color photography in t he 1970s and beyond has made him one of art history's most revered and expl oratory practitioners of photographic possibilities.

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For this occas ion\, Shore will present two new bodies of work realized in zones of itiner ant conflict. In a series of images made in Israel and the West Bank\, unin habited landscapes meet scenes of modern quotidian life\, and tender portra its become entangled with images of aestheticized propaganda and the charge of architecture in conflicted space. Shore's interest in daily life\, in t he landscape itself as a way to interpret a sociological climate - a baseli ne theme in all his work - here takes on a different type of potency due to the critical nature of the living situation. In an a piece such as \;< em>Sderot\, Israel\, September 14\, 2009\, a photograph of a hand poin ting at a map is another way of considering the contentious nature of terri tories.

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The second body of work presented in this exhibition consis ts of images shot in the Ukraine\, in and around the homes and villages of Holocaust survivors. Another subject with an emotional charge perhaps unequ alled in terms of acute sensation\, each image becomes a type of reliquary replete not only with the tragedy of the Holocaust\, but with the tragic hi story of the Ukraine itself. Shore's compositions in these images are tight er and more controlled\; colors and objects bristle with intimation of past events. In directly confronting these charged subjects\, Shore subtly impo ses his own order and logic on the landscape\, continuing a tradition he cr eated and has practiced for close to 50 years.

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Stephen Shore: F rom Galilee to the Negev\, a compendium of images shot in Israel and t he West Bank\, was published earlier this year by Phaidon Press. His most r ecent photographic series shot in Winslow\, AZ in 2013 was recently publish ed by IMA Concept Store in Tokyo in a new book titled \;Stephen Sho re Winslow Arizona.

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Stephen Shore's upcoming exhibitions will include Fundació\;n MAPFRE\, Madrid (2014)\, Barbican Centre\, London (2014)\, Tate Modern (2014). Past exhibitions include The Museum of Modern Art\, New York (2013-14)\, The Metropolitan Museum of Art\, New York (2013 )\, The Art Institute of Chicago (2011)\, Centre Pompidou\, Paris (2011)\, Aspen Art Museum\, Aspen (2011).

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Stephen Shore has been the Directo r of Photography Program at Bard College since 1982.

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DTEND:20141101 DTSTAMP:20141001T002113 DTSTART:20140911 GEO:40.7485947;-74.0041953 LOCATION:303 Gallery\,507 West 24th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Solo Exhibition\, Stephen Shore UID:351774 END:VEVENT BEGIN:VEVENT DESCRIPTION:

3A Gallery is pleased to announce a solo exhibition of New Y ork based artist Betty Beaumont. This is her first solo exhibition with the gallery.

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Beaumont has for years produced thoughtful and provocativ e work in a variety of media including photography\, installations\, public interventions and new media. Her work challenges global social awareness\, as well as socioeconomic and ecological practices. Beaumont has investigat ed such issues as energy and species diversity and is also involved with so lution-based sustainability strategies\, which reflect contemporary\, histo ric and cultural perspectives and environmental and social conditions.

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Beaumont&rsquo\;s exhibition \;That Obscure Object Of Desire \;takes the idea of the object of desire and all of the myths that s urround it and puts into three works ideas which deconstruct the fetishized icons of beauty and the branding of identity.

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With the tools of de construction and notions of sexuality and representation\, Beaumont uses th ree elements. First\, the language of narcissism\; second\, questioning the idea of beauty in a crushed shopping bag first presented in two dimensions as a photograph\, then as a moving object on a pedestal\; and finally\, th e motor\, which is simultaneously functional and a symbol of the machine be hind advertising\, branding and the loss of autonomy and identity.

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The photograph \;Crushed 001 \;(2012) takes the three-dime nsional bag out of reality and puts it in a frame\, flattening the image of the bag (the photographed object)\, becoming the symbol of the symbol\, th at which we desire to possess. The bag remains pristine\, inviolate\, remov ed from our ability to touch or grasp.

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The sculpture \;Unti tled (Crushed\, yellow with black) #332 \;(2014) presents the bag on a moving pedestal heightening the allure of the artifact under glass. Th e way it is presented as sculpture is enhanced by placing it in the vitrine \, removed from the individual. The brand or the logo is hidden the way the seductiveness is hidden. Yet there is still a recognition. The sculpture i s understood by experiencing both front and back of the work. The sound of the motor turning the bag on the pedestal suggests the sound of voracious c onsumption. The sound lures the viewer to view the motor\, which is also en cased in glass. Although the bag has been crushed it is not detritus. We wa nt to own\, touch or posses it. In its cast off state it is fetishized as a precious object. The recent implosion of the economy crushed the bag\, tra nsforming it into a sculpture that has architectural references\, no longer retain its original use. The on-going \;Untitled (Crushed)&nb sp\;works are part of a project begun in 2008 with the Great Recession  \;

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I&rsquo\;d Rather Be&hellip\; \;(1991) is a full-le ngth mirror work that borrows a quote from Donna Haraway&rsquo\;s \;Cyborg Manifesto \;&ldquo\;I&rsquo\;d rather be a cyborg than a g oddess\,&rdquo\; and prints it horizontally near the top of the mirror. Whe n one looks into the mirror while contemplating beauty of the self\, one is struck by a statement across one&rsquo\;s body that poses the question\, W hat forms the lens you see yourself through? This deconstructive comment cu ts the myth of beauty in two.

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The sculpture \;Untitled (Cru shed\, yellow with black) \;is indeed on a pedestal like an object of desire. That Obscure Object Of Desire.

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Betty Beaumont has recei ved numerous grants and awards including the Distinguished Alumni Award fro m the University of California at Berkeley\, Creative Capital Foundation gr ants\, National Endowment for the Arts fellowships and grants\, New York St ate Council on the Arts fellowships and Pollock-Krasner Foundation grants. She has shown at museums and galleries around the world including The Bibli otheca Alexandrina in Alexandria\, Egypt\, Whitney Museum of Art\, MoMA P.S . 1\, Queens Museum\, Carriage Trade Gallery (NYC)\, American Fine Art (NYC )\, Damon Brandt Gallery (NYC)\, Hudson River Museum (Yonkers\, NY)\, Katon ah Museum (Katonah\, NY)\, National Museum of Modern Art (Kyoto and Tokyo\, Japan)\, Museum Het Domein (Sittard\, Netherlands)\, Biblioté\;ca Na cional José\; Marti (Havana\, Cuba)\, Galerie Engstrom (Stockholm\, S weden)\, Bea Voigt Galerie (Munich\, Germany)\, Stalinova Pomniku\, Letensk e Plani (Prague\, Czech Republic)\, Ota Gallery (Tokyo\, Japan) and the Ric hard Demarco Gallery (Edinburgh\, Scotland). Texts on Beaumont&rsquo\;s wor k have been written about by a number of art historians and critics includi ng Nancy Princenthal\, Jeffrey Kastner\, Brian Wallis\, Gary Indiana\, Mart in Kemp\, Patricia C. Philliips\, Kay Larson\, Michael Kimmelman\, Amanda B oetzkes\, Barbara Metilsky\, Sara Selwood\, Kim Levin\, Amy Gamerman\, Mari lu Knode and Robert Stefanotti. Beaumont has held academic appointments at the University of California at Berkeley\, SUNY Purchase\, The School of th e Art Institute of Chicago\, New York University and Columbia University in New York City.

DTEND:20141011 DTSTAMP:20141001T002113 DTSTART:20140908 GEO:40.716943;-73.997372 LOCATION:3A Gallery\,179 Canal Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:That Obscure Object Of Desire\, Betty Beaumont UID:352988 END:VEVENT BEGIN:VEVENT DTEND:20140908T200000 DTSTAMP:20141001T002113 DTSTART:20140908T180000 GEO:40.716943;-73.997372 LOCATION:3A Gallery\,179 Canal Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:That Obscure Object Of Desire\, Betty Beaumont UID:352989 END:VEVENT BEGIN:VEVENT DESCRIPTION:

I don&rsquo\;t feel the same anymore.
I feel new. I do n&rsquo\;t know how to describe the sensation.
Do you?
Can you feel how I feel?
Is really the sole purpose of emotions the survival of a gene pool? The ultimate bonding gel.
Through the screen\, can yo u tell how I feel? My voice\, do I sound nervous or happy?
Can one le arn new feelings? A new type of anger\, with a hint of pride\, a new breed of painless
joy.
Can you teach me how to feel\, because I lost touch?
It&rsquo\;s like something recently severed\, and emotions are drifting inside of me.
When I was a little boy\, I put myself in oth er's shoes. I would mimic people around me\,
copy the way they walked \, the way they sat or spoke. It would open a window into their minds.
Empathic machines are coming\, like children\, learning.
Will I be able to outsource my feelings to emobots one day. I wouldn't have to deal w ith shitty
emotions anymore. Let the emobots process my crappy moods and re-infuse my body with good vibes.
Fleeting.
If emotionomic s is to become a reality\, would I ever be able to purchase a meal with the
sensation of freedom that permeates through me today? Pay with a con fused transactional smile.
This is personal\, and it&rsquo\;s not. It&rsquo\;s all transparent. Let&rsquo\;s put our feelings on the table .
Antoine Catala (born in 1975\, Toulouse France) lives and works in New York and has exhibited
extensively both in the US and abroad. Rec ent solo exhibitions include: Heavy Words\, curated by
Florence Derie ux at Peep-Hole\, Milan (2014) and Image Families\, curated by Linus Elmes at
UKS\, Oslo (2013). His work has also been included in Archeo\, cur ated by Cecilia Alemani\, High
Line\, New York\, NY\; Meanwhile...Sud denly and Then\, 12 Biennale de Lyon\, France curated
by Gunnar B. Kv aran\; ProBio\, organized by Josh Kline\, EXPO 1: New York\, MoMA PS1\, New
York\, NY\; Empire State\, curated by Alex Gartenfeld and Norman Ros enthal\, Palazzo delle
Esposizioni\, Rome\, Italy and Puddle\, pothol e\, portal\, co-curated by Ruba Katrib and Camille
Henrot\, Sculpture Center\, Long Island City\, NY\, opening in October.

DTEND:20141102 DTSTAMP:20141001T002113 DTSTART:20140928 GEO:40.7174289;-73.9921681 LOCATION:47 Canal\,291 Grand Street 2nd floor\nNew York\, NY 10002 SEQUENCE:0 SUMMARY:New Feelings\, Antoine Catala UID:358925 END:VEVENT BEGIN:VEVENT DTEND:20140928T200000 DTSTAMP:20141001T002113 DTSTART:20140928T180000 GEO:40.7174289;-73.9921681 LOCATION:47 Canal\,291 Grand Street 2nd floor\nNew York\, NY 10002 SEQUENCE:0 SUMMARY:New Feelings\, Antoine Catala UID:358926 END:VEVENT BEGIN:VEVENT DESCRIPTION:

532 Gallery is pleased to present new works by Marie-Dolma C hophel and Lennart Rieder.

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Marie-Dolma Chophel&rsquo\;s works are i nspired by topography and integrate 3D structures with organic forms and co lors to form an abstract landscape of imaginary places.  \;She graduate d from the Ecole Nationale Supé\;rieure des Beaux Arts de Paris\, Fra nce.  \;Her work has been shown in the U.S.\, including recent exhibiti ons at the Fleming Museum and at the Dorsky Museum\, in London and Hong Kon g at the Rossi &\; Rossi Gallery. She lives and works in New York and Pa ris.

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Lennart Rieder&rsquo\;s work is process oriented.  \;He to uches on classic motifs and references in painting\, placing them \;in a contemporary context.  \;He is a graduate of Kunst Hochschule Kassel\ , Germany\, where he studied with Professor Johannes Spehr.  \;His work has been shown at Parcours d&rsquo\;Artistes\, Brussels\; MFA \,Documenta Halle\, Kassel\; Coup de Ville\, Sint Niklaas\, Belgium\; Strzelski Gallery \, Stuttgart\; Stellwerk Kassel\, Kunstverein Familie \;Montez\, Frankf urt\; Habsburger Kunstverein\, Hamburg among others. He lives in Kassel\, G ermany.

DTEND:20141004 DTSTAMP:20141001T002113 DTSTART:20140904 GEO:40.749403;-74.004838 LOCATION:532 Gallery Thomas Jaeckel\,532 W. 25th Street \nNew York\, NY 100 01 SEQUENCE:0 SUMMARY:New Works\, Lennart Rieder\, Marie-Dolma Chophel UID:354216 END:VEVENT BEGIN:VEVENT DTEND:20140904T200000 DTSTAMP:20141001T002113 DTSTART:20140904T180000 GEO:40.749403;-74.004838 LOCATION:532 Gallery Thomas Jaeckel\,532 W. 25th Street \nNew York\, NY 100 01 SEQUENCE:0 SUMMARY:New Works\, Marie-Dolma Chophel\, Lennart Rieder UID:354217 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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JACK LEVINE an d HYMAN BLOOM: \;AGAINST THE GRAIN

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Sep tember 18 through October 25\, 2014

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ACA Galleries is pleas ed to announce the upcoming exhibition Jack Levine and Hyman Bl oom: AGAINST THE GRAINon view September 18 through October 25 \, 2014. The exhibition will feature a survey of paintings and works on pap er from the 1930s to 1990s from both the artists&rsquo\; estates and privat e collections.

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Jack Levine (1915-2010) and Hyman Bloom (1913-2009) were close friends who each became a master of a new American realism that blended abstraction and realism.  \;As Jewish immigrants \;from Eas tern Europe\, of a similar age and background \;they arrived at their s ocially conscious art through shared \;experiences but through differen t routes of development.

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The Great Depression brought the aesthetic controversy of abstraction versus realism into an uneasy resolution. \ ; American Social Realists\, many of whom had been modernist painters\, bel ieved that the hardships of unemployment\, hunger and homelessness were too profound to be depicted through obscure abstractions. \; For such arti sts\, a return to realism was the only honest means to portray the struggle s of the citizenry.

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But &ldquo\;realism&rdquo\; did not mean &ldquo \;traditional&rdquo\;.  \;The genie of modernism could not be put back into the bottle. Instead\, these socially conscious artists created a new r ealist language\; an edgy aesthetic that brought realism and modernist abst ract elements into a restless but electrifying visual alliance.

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&nb sp\;Jack Levine\, though deeply influenced by the grandeur of Titian and Ve lazquez\, also admired the harsh drama of the German Expressionists.  \ ;In the 1930s\, Levine united these influences into grand but scathing port rayals of America&rsquo\;s corrupt political and economic power brokers.

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Though the Social Realism Levine practiced in the &rsquo\;30s remaine d the foundation of his oeuvre throughout his career\, he expanded his visi on into more spiritual realms.  \;In these late works\, Levine returns to his Jewish roots\, using biblical themes as the basis for his  \;pen etrating observations of the human condition.

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Hyman Bloom&rsquo\;s work evolved into socially aware realism. Originally influenced by America& rsquo\;s early twentieth century avant-garde\, Bloom became one of New York &rsquo\;s mid-century abstract painters and was even credited by Jackson Po llock and Willem deKooning as the first genuine Abstract Expressionist. &nb sp\;His work moved away from pure abstraction into a mystical realism.  \;

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Unlike his former Abstract Expressionist compatriots who were se eking the secrets of the subconscious\, Bloom\, through the strength of agg ressive line and color\, was after &ldquo\;the nature of being\,&rdquo\; th e mystical essence of life.  \;It was through his spirituality that Blo om found his kinship with humanity and its struggles. \;

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ACA Galleries is the exclus ive agent for the estates of Hyman Bloom and Jack Levine. DTEND:20141025 DTSTAMP:20141001T002113 DTSTART:20140918 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:Jack Levine and Hyman Bloom: Against the Grain \, Jack Levine\, Hym an Bloom UID:351133 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Works from the Estate of Francis Newton Souza

DTEND:20141018 DTSTAMP:20141001T002113 DTSTART:20140912 GEO:40.7268368;-73.9929619 LOCATION:AICON GALLERY - New York\,35 Great Jones Street \nNew York\, NY 10 012 SEQUENCE:0 SUMMARY:Works on Paper\, F.N. Souza UID:354208 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Masterworks of Indian Painting - Before and After Independen ce.

DTEND:20141018 DTSTAMP:20141001T002113 DTSTART:20140912 GEO:40.7268368;-73.9929619 LOCATION:AICON GALLERY - New York\,35 Great Jones Street \nNew York\, NY 10 012 SEQUENCE:0 SUMMARY:Shifting the Paradigm\, F.N. Souza\, Nandalal Bose\, Vasudeo Gaiton de\, M. F. Husain\, Ram Kumar\, Jamini Roy\, Jehangir Sabavala UID:354209 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Alexander and Bonin will begin the fall season with a one-pe rson exhibition of recent work by Mona Hatoum. \;On view in the front g allery will be \;Twelve Windows \; \;(2012-13)\, an in stallation comprised of one-meter-square embroidered pieces of fabric. In t he second gallery\, Hatoum will exhibit \;Cells \;(2014)\, a steel and glass work whose form relates to earlier iconic installations such as \;Light Sentence \; \;(1992).

DTEND:20141018 DTSTAMP:20141001T002113 DTSTART:20140913 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:Twelve Windows\, Mona Hatoum UID:353007 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Alexander Gray Associates presents its first exhibition of w ork by Siah Armajani\, featuring large sculptures\, models\, and drawings f rom the &ldquo\;Tomb Series&rdquo\; (1972&ndash\;2014). The Series pays tri bute to twenty-five philosophers\, activists\, poets\, and critical writers who have been foundational voices to Armajani&rsquo\;s art and ideology\, among them Theodor Adorno\, Walter Benjamin\, Dietrich Bonhoeffer\, John De wey\, Ralph Waldo Emerson\, and Walt Whitman. \;The Series embodies the humanist\, democratic\, and populist ideals that have defined Armajani&rsq uo\;s multi-faceted vision for over forty years\, culminating with the crea tion of his own tomb.

As a student in Tehran\, and later a gradu ate of philosophy from Macalester College\, Armajani was drawn to Western p hilosophers\, writers and Persian poetry. Throughout his career\, Armajani has built public sculptures dedicated to cultural figures\, at times embedd ing quotes of writers and poets into his work. \;With the &ldquo\;Tomb Series\,&rdquo\; as the artist explains\, &ldquo\;there is no semiology\, n o quotations\, no study of history nor biography.&rdquo\; The series of scu lptures\, drawings\, and models represents a self-reflexive moment in Armaj ani&rsquo\;s practice. Paradoxically\, the tombs invite\, yet inhibit the v iewer from entering each sculpture. Contrary to previous series that emphas ized public and communal activities\, the &ldquo\;Tomb Series&rdquo\; holds a more introspective nature while maintaining Armajani&rsquo\;s desire to distance his biography from the meaning behind his work.

Large-s cale sculptures\, such as Tomb for Neema (2012)\, references Nima Yushij th e Iranian poet\, considered to be the predecessor of modern Persian poetry\ ; \;Tomb for John Berryman \;(1972&ndash\;2012)\, American poet\; and \;Tomb for Walt Whitman \;(2014)\, American po et and writer\, incorporate elements of vernacular American architecture. T he design of each tomb is symbolic recognition of the influence each figure had on the artist. In \;Tomb for Walt Whitman\, Armajani pays homage to Whitman\, while in \;Tomb for Neema\, he honors Yus hij&rsquo\;s radical poetic form that combines free verse and Farsi vernacu lar with standardized Farsi\, creating poetry in a new way. \;In \; Tomb for Sacco Vanzetti \;(2009)\, Armajani pays tribute to Sa cco and Vanzetti&rsquo\;s writings and activities as two innocent anarchist s who were executed.

Along with large sculptures\, the exhibitio n showcases Armajani&rsquo\;s drawings and models of the tombs\, integral t o the artist&rsquo\;s process\, and in some cases serving as the tombs&rsqu o\; final conceptualized forms. One such drawing is \;Tomb for Hafe z \;(2014)\, a Persian poet whose verses Armajani memorized as par t of his early education in Iran. Armajani&rsquo\;s most recent tomb\, his own Written Minneapolis (The Last Tomb) (2014)\, an 18-foot drawing depicts the surrounding neighborhood where his studio is located in Minneapolis. DTEND:20141018 DTSTAMP:20141001T002113 DTSTART:20140904 GEO:40.74975;-74.003741 LOCATION:Alexander Gray Associates\,508 West 26 Street #215 \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Solo Exhibition\, Siah Armajani UID:350627 END:VEVENT BEGIN:VEVENT DESCRIPTION:

American Contemporary is thrilled to announce a two-part ins tallation by renowned sound artist Stephen Vitiello.The exhibition will pai r together a major early work\, Frogs in Feedback (2002)\, and a new sculpt ural sound installation Gain and Lift (2014).
Frogs in Feedback is a k inetic sound sculpture involving a suspended\,working microphone circling a speaker mounted on the floor. The resulting interaction produces a melanch olic and morphing poem of feedback tempered by an analog ring modulator. Vi sually\, the piece references Steve Reich&rsquo\;s iconic composition Pendu lumMusic. Where Reich's piece involves multiple speakers and microphones\, and is intended for performance\, Vitiello's work is more localized and org anic. Despite the fact no frogs were used in this piece and it often disapp ears into complete abstraction\, the sculpture has a mortal presence in the space.
The second work revisits Vitiello's suspended speaker works\, which process low frequencies of sound to create three-dimensional scores. The freed speakers are suspended by wires\, which hold them gently in the a ir allowing them to move. The installation utilizes four channels\, sixteen 6.25" speakers and the flutter of hummingbirds recorded at Mountain Lake B iological Station\, Pembroke in the Appalachian mountains. The playback fea tures only the lowest frequencies\, causing movement to the surfaces of the speakers while remaining below the threshold of human hearing. The score i s created through a process of transformation\, rather than layering the ma terial onto chromatic scale.
The two works function as almost perfect opposites. One creates something wild and organic from seemingly nothing\, and the other condenses the organic to a beautiful\, minimal four-dimension al installation. In Vitiello&rsquo\;s work sound lives a complete existence . It is not about isolated moments\, the honking of a horn\, a piece of mus ic\, but instead a visceralreality in actual space and time. In these works form and sound endure harmoniously and in conflict like two magnets\; four alternate poles attracting and repelling to allow a sonic and physical flo w of change\, resistance and connection.

DTEND:20141019 DTSTAMP:20141001T002113 DTSTART:20140917 GEO:40.725623;-73.991532 LOCATION:American Contemporary\,4 East 2nd Street \nNew York\, NY 10003 SEQUENCE:0 SUMMARY:Solo Exhibition\, Stephen Vitiello UID:355657 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Ralph Fasanella (1914&ndash\;1997) celebrated the common man and tackled complex issues of postwar America in colorful\, socially minde d paintings. This exhibition celebrates the one hundredth anniversary of th e artist&rsquo\;s birth and brings together key works from a career spannin g fifty-two years. Fasanella was born in the Bronx and grew up in working-c lass neighborhoods of New York\; he became a tireless advocate for laborers &rsquo\; rights\, first as a union organizer and later as a painter.
< br />This major exhibition includes a selection of artworks from the Americ an Folk Art Museum&rsquo\;s collection\, which holds more than one hundred paintings and drawings by the artist. The Estate of Ralph Fasanella gifted many of these objects to the museum over the years\, in addition to the art ist&rsquo\;s notebooks\, sketches\, correspondence\, personal records\, pho tographs\, publications\, and films\, which were donated in 2009 and 2013.< br />
Ralph Fasanella: Lest We Forget \;is organized by t he Smithsonian American Art Museum with generous support from Tania and Tom Evans\, Herbert Waide Hemphill\, Jr. American Folk Art Fund\, and Paula an d Peter Lunder. The C.F. Foundation in Atlanta supports the museum&rsquo\;s traveling exhibition program\,Treasures to Go.

DTEND:20141201 DTSTAMP:20141001T002113 DTSTART:20140902 GEO:40.7732646;-73.9816233 LOCATION:American Folk Art Museum - Lincoln Square\,2 Lincoln Square \nNew York\, NY SEQUENCE:0 SUMMARY: Lest We Forget\, Ralph Fasanella UID:350629 END:VEVENT BEGIN:VEVENT DTEND:20140902T173000 DTSTAMP:20141001T002113 DTSTART:20140902T103000 GEO:40.7732646;-73.9816233 LOCATION:American Folk Art Museum - Lincoln Square\,2 Lincoln Square \nNew York\, NY SEQUENCE:0 SUMMARY: Lest We Forget\, Ralph Fasanella UID:350630 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Willem van Genk: Mind Traffic \;is the first mo nographic exhibition of works by the internationally acclaimed Dutch artist Willem van Genk (1927-2005) to be presented in the United States. The exhi bition includes over forty artworks: panoramic paintings\, collages\, drawi ngs\, personal notes\, sculptures of trolleys\, and an installation of rain coats (van Genk collected hundreds of raincoats over the course of his life time). This comprehensive selection provides an overview of the artist&rsqu o\;s oeuvre and insight into his creative processes\, methods\, and themes. Van Genk&rsquo\;s artworks usually depict intricately layered and densely networked urban panoramas and reference interconnectivity. He was a restles s stockpiler of information\, factoids\, and trivia: from this perspective\ , the artworks can be seen as memory palaces&mdash\;visualizations implemen ted to organize and recall information. These imaginary landscapes serve as sophisticated devices and scaffolds to map hidden forces\, since the artis t believed that all things were connected via both visible and invisible ne tworks.

The exhibition is co-organized by Dr. Valé\;rie Ro usseau\, curator\, art of the self-taught and art brut\, American Folk Art Museum\, and Patrick Allegaert and Yoon Hee Lamot\, both curators at Museum Dr. Guislain\, Ghent\, Belgium. All of the works on view are drawn from th e Willem van Genk Foundation\, which retained the largest body of the artis t&rsquo\;s work\, the De Stadshof Collection\, and the Museum Dr. Guislain\ , which manages both of these collections.

DTEND:20141201 DTSTAMP:20141001T002113 DTSTART:20140910 GEO:40.7732646;-73.9816233 LOCATION:American Folk Art Museum - Lincoln Square\,2 Lincoln Square \nNew York\, NY SEQUENCE:0 SUMMARY: Mind Traffic\, Willem van Genk UID:350631 END:VEVENT BEGIN:VEVENT DTEND:20140910T173000 DTSTAMP:20141001T002113 DTSTART:20140910T103000 GEO:40.7732646;-73.9816233 LOCATION:American Folk Art Museum - Lincoln Square\,2 Lincoln Square \nNew York\, NY SEQUENCE:0 SUMMARY: Mind Traffic\, Willem van Genk UID:350632 END:VEVENT BEGIN:VEVENT DESCRIPTION:

AMERINGER | McENERY | YOHE is pleased to announce an exhibition of recent works from German born\, Brookl yn based artist\, Markus Linnenbrink.

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EVERYBODYWILLBEDANCINGIFWE&rsquo\;REDOINGITRIGHT will open on 4 September and remain on view through 4 October 2014. \; A public reception for th e artist will be held on 4 September from 6:00 to 8:00 PM. \; A fully i llustrated catalogue with an essay by Daniel Schreiber accompanies the exhi bition.

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Markus Linnenbrink blends a m yriad of pigments with epoxy resin to create his magnificent array of color s. The artist builds his paintings in layers on wooden panels. While the ar tist decides where colors begin at the top of the composition\, the linear stripes are created by gravity\, which pulls the paint down over photograph s or watercolor backgrounds. His sculptural paintings involve stratas of co lored resin\, creating surfaces that are then drilled into\, revealing clus ters of archaeological-like craters.

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Linnenbrink&rsquo\;s approach to painting extends beyond a two-dimensional picture plane. His layered sculptures arrive in many forms: as the rectangu lar INTHEWORLDTODAY(PIMPMYRIDE)\, which was deliberately built and manipula ted\, and then as the more organically assembled AMGONE\, a collection of p aint material that simply drips off the works during the painting process i nto a form created by the weight of the material. AMGONE is the product of three years of studio work and shows a memory of all the different colors u sed and layered on top of each other during this period of time.

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For this exhibition\, Markus Linnenbrink has al so created a site-specific painting installation\, covering the walls\, the floor\, and the ceiling of one of the gallery rooms. The colors drip and s platter over one another\, fully surrounding and immersing the viewer into a painting made out of iridescent stripes.

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Markus Linnenbrink was born in Germany in 1961. \; He attended Ge samthochschule in Kassel as well as the Academy of Fine Arts in Berlin.

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Recent exhibitions include &ldquo\;Off T he Walls!&rdquo\; Kunsthalle Nü\;ernberg\, Germany\; &ldquo\;PIMPMYRIDE &rdquo\;\, a permanent wall painting for the Pennsylvania Academy of the Fi ne Arts\, Philadelphia\, PA\; &ldquo\;day after day it appears&rdquo\; Patr icia Sweetow Gallery\, San Francisco\, CA\; &ldquo\;so here&rsquo\;s what y ou gonna do\,&rdquo\; Taubert Contemporary\, Berlin\, Germany.

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His work is included in the permanent collections of The Hague Ministry of Culture\, the Hague\, Netherlands\; Harvard Busin ess School\, Cambridge\, MA\; Harvard College\, Cambridge\, MA\; the Hood M useum of Art\, Dartmouth College\, Hanover\, NH\; Museum Neue Galerie\, Kas sel\, Germany\; Pennsylvania Academy of the Fine Arts\, Philadelphia\, PA\; the San Francisco Museum of Modern Art\, San Francisco\, CA\; the San Jose Museum of Art\, San Jose\, CA\; Hammer Museum\, Los Angeles\, CA\; Wellesl ey College\, Wellesley\, MA\; the Herzliya Museum of Art in Israel and the West Collection\, Oaks\, PA\, among others.

DTEND:20141004 DTSTAMP:20141001T002113 DTSTART:20140904 GEO:40.747609;-74.0057766 LOCATION:Ameringer | McEnery | Yohe\,525 West 22nd Street \nNew York\, New York 10011 SEQUENCE:0 SUMMARY:EVERYBODYWILLBEDANCINGIFWE'REDOINGITRIGHT\, Markus Linnenbrink UID:353600 END:VEVENT BEGIN:VEVENT DTEND:20140904T200000 DTSTAMP:20141001T002113 DTSTART:20140904T180000 GEO:40.747609;-74.0057766 LOCATION:Ameringer | McEnery | Yohe\,525 West 22nd Street \nNew York\, New York 10011 SEQUENCE:0 SUMMARY:EVERYBODYWILLBEDANCINGIFWE'REDOINGITRIGHT\, Markus Linnenbrink UID:353601 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Andrea Rosen Galle ry is delighted to present Ten Possible Links\, Matthew Ritchie&rs quo\;s fifth solo-exhibition with the gallery. Weaving together four distin ct projects\, the exhibition embodies a comprehensive visual examination of diagrammatic thinking. Encompassing a wide range of mediums\, Ritchie&rsqu o\;s immersive installation - including painting\, wall drawing\, sculpture \, sound and moving image - demonstrates the complexity and transient natur e of information.

The &lsquo\;Ten Possible Links&rsquo\; are a series of subtly vibrant and densely layered paintings that investigate th e abstract imagery of Ritchie&rsquo\;s sculpture and cinematic landscapes t hrough multiple diagrammatic and painterly gestures. Within an organic amas sing of form\, Ritchie creates densely layered eco-systems of information\, retaining multiple styles of presentation. These canvases contain activity of complex natures\, experiences\, states\, but their rich and saturated b eauty also captures moments of stillness where something impossible to gras p is left un-grasped. The images are saturated with light and meaning\, but bruised\, as if the very process of examination is changing the physics of the forms described. Posed against a white ground\, they could be emerging from what Paul Klee called &lsquo\;the interworld&rsquo\;\, the dimensionl ess space of possibility.

The fragmentary diagrams within the paintings are all contained within the immersive wall installation The Temptation of the Diagram\, an immense network of diagrams\, collected \, mapped\, digitized\, stripped of legible signs and reprocessed into esse ntial gestures. Two accompanying source-books offer a guide for viewers thr ough this vast investigation of the complex systems underlying the human cr eative and representational process and represent the origin and foundation of the works shown within its circuit. Confronted with the impossibility o f comprehending the whole &ndash\; what the artist describes as an oceanic feeling &ndash\; Ritchie locates our sense of a vast universe without the a bandonment of meaning. Together\, the installation and the books describe g enerations of systems\, ideas\, interpretations\, and reinforce the idea th at it is the diagrammatic impulse that insistently connects\, links and dra ws ideas together regardless of the possibility of ultimate comprehension. In doing so\, Ritchie emphasizes the double constitution of painting and dr awing as forms of &rsquo\;hypostatic abstraction&rsquo\; &ndash\; a kind of abstraction that carries various levels of meaning.

Nested w ithin this sprawling cerebral web of information is Night Drawing\ , a sculpture comprised of a matrix of interlocking segments designed to pa ssively nest within one-another\, creating a puzzle-like structure. Each se gment employs the artist&rsquo\;s specific vernacular of form\, and is draw n from the universe of diagrams that surround it. Mathematically based on m odeling strange attractors explored in collaboration with architects Aranda \Lasch\, the laser-cut aluminum construction takes two-dimensional form int o a realm of three-dimensional drawing\, forming a double moebius strip.
Expanding the space of drawing and painting into the realm of t he moving image\, Ritchie&rsquo\;s hyper-saturated film\, Monstrance\, traces an abstract and romantic narrative of past\, present and future \, as he mixes live performance footage and animation for the first time in his practice. Cut to a polyphonic choral score composed and performed by R itchie&rsquo\;s long-standing collaborator Bryce Dessner\, the film feature s singer Shara Worden as a masked oracle\, presiding over a mythic\, or pos t-post apocalyptic seascape. Created to be exhibited within a longshoreman& rsquo\;s chapel in Boston as part of his current residency at the ICA Bosto n\, the film contains within its landscapes and choreographed gestures subt le diagrams and information that make visible the greater network of links underlying his practice.

Over the last seven years\, through substantial cross disciplinary collaborations\, Ritchie has consciously ext ended his own projects to explore the possibility of shared systems\, aggre gations and collaborations in contexts as diverse as opera\, contemporary m usic\, architecture\, horticulture\, urban design\, theology and science th rough endeavors\, both collaborative and intimate\, to concretize and reali ze ephemeral and intangible theories of information and time. This exhibiti on proposes a further step\, the re-integration of these diverse practices into a network of connections\, a shared sea of information that retains it s distinct properties in a state of superposition. In &lsquo\;Superposition and Field&rsquo\;\, recently published by MIT press\, Ritchie writes\, &ld quo\;not only are &lsquo\;form&rsquo\; and &lsquo\;contentʼ the same thing\ , namely information\, but they are super-positionable and therefore do not enjoy any inherent oppositions at any scale.&rdquo\; &lsquo\;Ten Possible Links&rsquo\; specifically refers to a navigational diagram by the philosop her Graham Harman that describes this aspect of what he calls &lsquo\;the q uadruple object&rsquo\; and is the subject of an essay by Ritchie in the fo rthcoming &lsquo\;Realism\, Materialism\, Art&rsquo\; published by Sternber g Press and Bard CCS. In the essay Ritchie writes: &ldquo\;Over the last tw o centuries\, the diagram has become the essential mechanism for our collec tive efforts to articulate and negotiate an almost impossible circumstance: reality itself. It embodies our interest in humanity as a directed and lim ited quantity\, one we all have a vested interest in understanding and exte nding to the very limits of our abilities.&rdquo\; For Ritchie\, acknowledg ing our incapability of grasping the totality of the universe is not simply a reason to let go\, but also the vital force that compels investigation.

Matthew Ritchie was born in 1964. Ritchie is currently su bject of an 18-month interdisciplinary residency at the Institute of Contem porary Art\, Boston which encompasses several major works and will activate the entire museum through installation\, sound performance and video. A ne w molecular sculpture garden for the Food and Drug Administration\, Silver Spring\, Maryland will open on October 1\, 2014 and a 15\,000 square foot s ite-specific rooftop drawing for a building in Miami designed by Aranda\Las ch\, will open for Design Miami on December 3\, 2014. His work has been sho wn in numerous exhibitions worldwide\, including the Whitney Biennial\, the Sydney Biennial\, the Sã\;o Paulo Biennial\, the Venice Architecture Biennale\, the Seville Biennale\, and the Havana Bienal\, and is in the pe rmanent collections of the Museum of Modern Art\, Institute of Contemporary Art\, Boston\, Guggenheim Museum\, Whitney Museum of American Art\, San Fr ancisco Museum of Modern Art\, and other institutions worldwide\, including a permanent large-scale installation at the Massachusetts Institute of Tec hnology.

DTEND:20141022 DTSTAMP:20141001T002113 DTSTART:20140912 GEO:40.749185;-74.005023 LOCATION:Andrea Rosen Gallery\,525 W.24th St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Ten Possible Links\, Matthew Ritchie UID:353561 END:VEVENT BEGIN:VEVENT DTEND:20140911T200000 DTSTAMP:20141001T002113 DTSTART:20140911T180000 GEO:40.749185;-74.005023 LOCATION:Andrea Rosen Gallery\,525 W.24th St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Ten Possible Links\, Matthew Ritchie UID:353562 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Andrea Rosen Gallery is delighted to present new sculpture a nd photographic works by Matt Keegan with \;Landfall\, 1970\, a totemic column by Anne Truitt (1921-2004). Keegan&rsquo\;s body of new wo rks builds upon his ongoing inquiry into the sociability and singularity of industrially produced forms\, and together with Truitt hatches a sensuous investigation of material\, surface and form.

In Keegan&rsquo\;s unique approach to fabrication\, the template is both a scalable model and a uniquely factual form. The artist's untitled steel sculptures begin from rudimentary\, randomly generated paper cutouts\, which are enlarged\, lase r-cut in steel and machine bent to approximate the original prototype. Thes e abstractly legible sculptures together with his framed works make visible the act of translation from template to form.

Previous sculptur e by Keegan has explored the potential of color as sign\, reference and cod e\, particularly as manifest in the urban environment. Within this exhibiti on\, the artist&rsquo\;s steel sculptures are so saturated with spray finis h and powder coating as to achieve a unity of color and form. Truitt&rsquo\ ;s vertical wooden sculpture\, meticulously covered with many coats of pain t\, stands as a profound integration of painting and sculpture. Together th ese works generate a dialogue centered on tactility through focused materia l decisions.

Truitt describes in Daybook (1982) her realization of color &rdquo\;having meaning not only in counterpoint [&hellip\;]\, but also in itself\, as holding meaning all on its own.&rdquo\; In Truitt&rsquo \;s work\, color is not merely a decorative surface\, but rather a bodily l ocus of meaning: &rdquo\;In some mysterious way\, I felt myself to be color .&rdquo\; Through a common treatment of surface\, color and its ability to embody\, the intergenerational pairing emphasizes Truitt&rsquo\;s unique po sition among the minimalists.

Framing the entire exhibition\, an d expanding the recurring lattice template\, Keegan has outfitted Gallery 2 with 21 sheetrock panels\, standardized architectural units that the artis t has hand-etched in vernacular patterning. Previously\, Keegan has used th is material and process to make freestanding sculpture. For this exhibition \, they are shown for the first time as a ground for other works to be inst alled upon\, departing further from their original incarnation as object to function as container for the works within. Sharing a formal affinity with these patterns\, Keegan&rsquo\;s photographs possess a stable figure-groun d relationship akin to that of the panels\, and like the lattice\, contain and collect\, like a city&rsquo\;s sieve.

Matt Keegan is an artist based in Brooklyn\, New York. Next year\, he will have a solo show a t Rogaland Kunstsenter in Stavanger\, Norway. His work has been included in recent notable group exhibitions at The Art Institute of Chicago\; Foam Fo tografiemuseum\, Amsterdam\; and the Deutsche Guggenheim. Keegan&rsquo\;s w ork is included in numerous private and public collections\, including The Whitney Museum of American Art\; the Guggenheim Museum\; and The Metropolit an Museum of Art. Keegan is the co-founder of North Drive Press\, an art pu blication published from 2004-2010. In 2012\, Keegan edited ==\, an art edi tion published by mfc miché\;le didier. ==#2 will be launched in Spri ng\, 2015.

Anne Truitt (1921-2004) grew up in Easton\, Maryland. Her work has been recognized by one-person exhibitions at the Cor coran Gallery of Art\, Washington\, D.C.\; the Whitney Museum of American A rt\; Delaware Art Museum\, as well as a retrospective mounted at the Hirshh orn Museum\, Washington\, D.C.\, in 2009. Truitt received many awards\, inc luding a Guggenheim Fellowship and five honorary doctorates\, and was actin g director of Yaddo\, the artists' retreat in New York\, in 1984. Her work is in the permanent collections of many leading museums\, including the Nat ional Gallery of Art\, Washington\, D.C.\; The Metropolitan Museum of Art\; the Whitney Museum of Art\; and The Museum of Modern Art\, New York.< /p> DTEND:20141022 DTSTAMP:20141001T002113 DTSTART:20140912 GEO:40.749177;-74.0058861 LOCATION:Andrea Rosen Gallery 2\,544 West 24th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Joint Exhibition\, Matt Keegan\, Anne Truitt UID:354907 END:VEVENT BEGIN:VEVENT DTEND:20140911T200000 DTSTAMP:20141001T002113 DTSTART:20140911T180000 GEO:40.749177;-74.0058861 LOCATION:Andrea Rosen Gallery 2\,544 West 24th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Joint Exhibition\, Matt Keegan\, Anne Truitt UID:354908 END:VEVENT BEGIN:VEVENT DESCRIPTION:

For Tamara Henderson&rsquo\;s first solo exhibition in New Y ork entitled \;Speaking in Scales\, \;she will present a 1 6mm film\, sculpture and painting.

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Tamara Henderson's pr actice begins with the diaristic note-taking of \;her experiences and t houghts under various altered or unconscious states such as sleep or hypnos is. \;These notes are then elaborated upon and translated into differen t media: writing\, 16mm film\, sculpture and painting. Within her \;ver y personal and subjective \;practice\, \;artworks are means\, vesse ls of communication between different states: \;conscious and unconscio us\, dream and awake-ness.

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Henderson's short 16mm films are often based on \;storyboards or screenplays - texts translated into scenography\, images and movements. \;In each film the succession of e vents is carefully planned\, captured in single shots \;and edited in-c amera. The main characters are often quotidian objects (bottles\, glasses\, plants\, furniture\, pineapples) that are manipulated and altered\, becomi ng subjects of a narrative that is both uncanny and ordinary\, absurd and f amiliar &ndash\; and in which a human presence\, the artist's or somebody e lse's\, is never explicit but only implied.

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Henderson's ongoing series of sculptural/furniture works are also based on drawings and sketches realized after sessions of hypnosis. \;The resulting sculptur es simultaneously retain dreamlike qualities (bright colors\, unconventiona l shapes) but also their identity as functional objects. \;Additionally \, part of her practice are "storyboard" paintings and collages\, realized with different materials\, that function as maquettes for the films\, and i n which symbols and maze-like patterns are recurrent.

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Ta mara Henderson (born 1982 in \;Sackville\, Canada)\, lives and works be tween \;Vancouver and Stochkolm. \;Her work has been recently prese nted in solo shows at \;Grazer Kunstverein\, Graz (Austria)\; Walter Ph ilips Gallery\, Banff Alberta (in collaboration with Julia Feyer) and Kunst verein Nü\;rnberg (2013). She was also recently included in group exhib itions at the \;Toronto Kunstverein (2014)\; \;Kunstverein Nü\; rnberg\, \;Magasin 3\, \;Stockholm\, \;(2013) and \;DOCUMEN TA 13\, Kassel (2012). \;Upcoming presentation include Frieze Live with Rodeo Gallery\, London and Kunsthall Stavanger\, Norway (with Santiago Mos tyn) in 2014\; ICA Philadelphia (with Julia Feyer) in 2015. \;

DTEND:20141025 DTSTAMP:20141001T002113 DTSTART:20140911 GEO:40.7472381;-74.0051301 LOCATION:Andrew Kreps Gallery @ 535 West 22nd\,535 West 22nd Street \nNew Y ork\, NY 10011 SEQUENCE:0 SUMMARY:SPEAKING IN SCALES\, Tamara Henderson UID:355658 END:VEVENT BEGIN:VEVENT DTEND:20140911T200000 DTSTAMP:20141001T002113 DTSTART:20140911T180000 GEO:40.7472381;-74.0051301 LOCATION:Andrew Kreps Gallery @ 535 West 22nd\,535 West 22nd Street \nNew Y ork\, NY 10011 SEQUENCE:0 SUMMARY:SPEAKING IN SCALES\, Tamara Henderson UID:355659 END:VEVENT END:VCALENDAR