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Join us next week at 532 Galle ry Thomas Jaeckel for the opening reception of Puzzled\, Elio Rodr iguez&rsquo\; first solo exhibition in New York City. \; The show is on view until May 9th and will coincide with his exhibition On Guard at Harvard University&rsquo\;s Hutchins Center for Afro-Latin Studies and at our gallery&rsquo\;s booth at Context Art New York at Pier 94\, May 4-8\ , 2016.

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On view in Chelsea will be th e artist&rsquo\;s large scale soft sculptures and the photography based col lage works at Hutchins Center\, Cambridge.

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Elio experiments with the construction of the intimacy of interior an d exterior spaces\, all things carnal and decorative\, functional and artis tic\, manufactured and native. \; His soft sculptures reimagine familia r forms using\, in abundant measure\, plant and carnal shapes\, juxtaposed against sundry objects\, metal screws\, lace corsets\, chains\, belts\, wir e\, filament\, pins &mdash\; with results that are pictorial equivalents of familiar concepts and concerns.

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In h is stuffed\, massive soft sculptures\, loaded messages about stereotypes\, sexual or racial or otherwise\, are hidden within exaggerated\, provocative rendering of the mysteries of organic\, invasive fauna\, entangled in spac e by which a far-out untamed nature is introduced. \; Lush\, ritualisti c\, magical\, multiple perspectives serve as metaphors for the state of his own Afro-Cuban-ism coalesced with the state of the female\, as might be in terpreted through the popular discourse in our modern times.

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Elio&rsquo\;s work may veer into a kind of kitsch\, but he does so magnificently in the most unlikely\, playful\, witty\, volu ptuous\, sensory\, sensual ways.

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Elio Rodriguez\, (Cuba 1966) lives in Spain\, he graduated from Higher Institut e of Art (ISA)\, Havana in 1989. \; He has had solo and group shows in Latin America\, Europe and the US. He was awarded the Hutchins Fellowship a t Harvard in 2015. \; His artworks are part of important public and pri vate collections\, including National Arts Museum of Cuba\; \; Von Chri stierson Collection\, London\; \; Shelley &\; Donald Rubin Collectio n\, New York\; Peggy Cooper Crafritz Collection\, Washington DC\; \; W. E.B. Du Bois Institute for African and African American Research\, Harvard University.

DTEND:20160509 DTSTAMP:20160502T214406 DTSTART:20160401 GEO:40.749403;-74.004838 LOCATION:532 Gallery Thomas Jaeckel\,532 W. 25th Street \nNew York\, NY 100 01 SEQUENCE:0 SUMMARY:Puzzled\, Elio Rodriguez UID:414192 END:VEVENT BEGIN:VEVENT DTEND:20160331T200000 DTSTAMP:20160502T214406 DTSTART:20160331T180000 GEO:40.749403;-74.004838 LOCATION:532 Gallery Thomas Jaeckel\,532 W. 25th Street \nNew York\, NY 100 01 SEQUENCE:0 SUMMARY:Puzzled\, Elio Rodriguez UID:414193 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Acquavella Galleries is please d to present Jean Dubuffet: Anticultural Positions\, the first exh ibition surveying Dubuffet&rsquo\;s early work in painting and sculpture in over two decades. Organized by curator Mark Rosenthal\, the exhibition foc uses on Dubuffet&rsquo\;s work from 1943 to 1959\, and emphasizes the artis t&rsquo\;s \;&ldquo\;anti-cultural&rdquo\; approach in his depiction of subjects and his use of unorthodox materials. \;Several works by the F rench painter are on loan from private collections and museums.  \;&nbs p\;

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During the 1940s and &lsquo\;50s\ , Dubuffet advocated a transgressive anti-cultural position&mdash\;a nihili stic spirit in the context of a war-ravaged Europe. His fascination with Ha ns Prinzhorn's Artistry of the Mentally Ill deeply influenced his artistic practice\, and led to his coining of the term &ldquo\;Art Brut.&rdquo\; For Dubuffet\, the raw and uninhibited expression of Art Brut provided a fresh and alternative direction to what he saw as the stifling decorum and confo rmity of French culture and the Western tradition. In 1947 he arranged an e xhibition of objects produced by children and the mentally ill. He admired the intuitive spirit of children's drawings\, graffiti\, and the art of the ill\, which he believed relied on the inner world of the creative mind and rejected traditional notions of taste\, beauty\, and skill. Emulating thes e 'outsider' artworks\, Dubuffet created assemblages with detritus like glu e\, plaster\, putty\, gravel and broken bottles. He would scribble and scra tch their surfaces to give the impression of tactile\, chaotic\, graffiti-c overed walls. His formless renderings of the human figure echo his fixation with the art practices of those he considered &ldquo\;unscathed by artisti c culture.&rdquo\;

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&ldquo\;Dubuffet w as one of the great disruptors of art history\,&rdquo\; said Mark Rosenthal . &ldquo\;He invented an unlikely cast of characters who took center stage as his subjects\, and he utilized the most humble of materials\, all of whi ch projected new visions of beauty.&rdquo\;

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A fully illustrated hardcover catalogue will accompany the exhibitio n\, and will include texts by Mark Rosenthal\, Kent Minturn\, an art histor ian and expert on the work of Dubuffet\, and longstanding MoMA conservator Anny Aviram.

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Jean Dubuffet (1901 &nda sh\; 1985) was born in Le Havre\, France. In 1918 he moved to Paris to stud y at the Acadé\;mie Julian\, which he left after six months to study independently. After abandoning painting for several years\, Dubuffet fully committed himself to being an artist in 1942. Painting in a deliberately c rude manner\, inspired by art of the mentally ill or &ldquo\;Art Brut\,&rdq uo\; Dubuffet developed a technique of thick impasto\, called haute pâ \;te\, and frequently incorporated unorthodox materials ranging from cement and gravel to leaves\, dust\, and even butterfly wings into his works. His controversial materials and mark-making solidified his legacy as an iconoc lastic figure in the canon of postwar European painting\, and his work has been exhibited in and collected by the foremost public and private institut ions in the world.

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Mark Rosenthal is a curator\, author and art historian currently based in Detroit where he cu rrently serves as the adjunct curator for contemporary art for the Detroit Institute of the Arts. \; He has previously held curatorial positions a t Berkeley\, Philadelphia Museum\, National Gallery of Art\, as well as adj unct positions at the Guggenheim Museum\, Menil Collection and Detroit Inst itute of Arts. Rosenthal has curated such exhibits as \;Joseph Beuys: A ctions\, Vitrines\, Environments\, Picasso: The Early Years\, Damien Hirst: The Bilotti Paintings\, The Surreal Calder \;and retrospectives of Phi lip Guston\, Juan Gris\, William Kentridge\, and Jonathan Borofsky. Rosenth al also curated monograph exhibitions of Anselm Kiefer and Jasper Johns. He holds a Ph.D. in art history from the University of Iowa.

DTEND:20160610 DTSTAMP:20160502T214406 DTSTART:20160415 GEO:40.7762839;-73.9626764 LOCATION:Acquavella Galleries\,18 East 79th Street \nNew York\, NY 10075 SEQUENCE:0 SUMMARY:Anticultural Positions\, Jean Dubuffet UID:414194 END:VEVENT BEGIN:VEVENT DTEND:20160414T200000 DTSTAMP:20160502T214406 DTSTART:20160414T180000 GEO:40.7762839;-73.9626764 LOCATION:Acquavella Galleries\,18 East 79th Street \nNew York\, NY 10075 SEQUENCE:0 SUMMARY:Anticultural Positions\, Jean Dubuffet UID:414195 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Aicon Gallery New York is proud to present All of the Above\, the first major U. S. solo exhibition of Aditya Pande. It is a glimpse into Pande&rsquo\;s var ied oeuvre spanning from his Half Life Forms series to a new set of drawing s on canvas\, a series of male torsos as well as abstract street scenes of Delhi's Ring Roads.

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P ande&rsquo\;s creative process is as diverse as his works are intriguing. H is technique often involves a layering of surfaces along with mixed\, very diverse media ranging from vector drawing\, digital photography\, ink\, acr ylic paint to tinsel. His work combines the skills of drawing and printmaki ng with photography and painting. Manipulating traditional media with digit al technology enables the artist to create a signature language that allude s to the pivotal role that technology plays in contemporary life without co mpletely departing from convention. Pande&rsquo\;s unique vocabulary makes use of unusual combinations of lines\, whorls\, blobs\, spills\, stains\, t angled strings\, the detritus of daily life &ndash\; giving his works a pla yful\, whimsical and almost comically cosmic illusion.

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&ndash\;&ndash\;&ndash\;

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All of the Above derives its title from a work containing a set of photographs of a terrazzo tile. The four corners of this tile frame the floor of the artist's studio located in Shahpur Jat\, a designated village set within the13th century citadel of S iri Fort whose ruins stand in testimony of the second iteration of the seve n cities that have over time come to build New Delhi. Evoking what is perha ps below and above this tile's surface are a series of male torsos that inv oke &ndash\; sometimes obliquely but also simultaneously &ndash\; the contr oversial Red Jasper Male Torso found by the archaeologist Vats in Harappa\, Rilke's enigmatic ode to the Archaic Torso of Apollo\, Illich's essay on t he Rebirth of the Epimethean Man and the naming of Asteroids after Roman Go ds. Somewhat subverting their own mythology\, these works exist as monument al photographic representations of porcelain shards captured using a flatbe d scanner.

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While Pand e&rsquo\;s technique is very contemporary\, his subject matter often refers to a primordial past. There are elements harking back to prehistoric cave paintings combined seamlessly with elements evoking the 20th century abstra ct expressionism. At all times the rational\, the mathematical and the geom etrically severe are in the playful company of the exuberant\, the joyfully excessive and the emotional.

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His mixed-media collages\, titled Half Life Forms\, have different plateaus fluidly connected to each other. Pande proposes the accommodation of everything into a non-hierarchical organization\, all manner of archety pes being of equal importance\, all substances commensurate. These mixed-me dia geometric commands range from employing Papa Flash's rapatronic imagery of the Trinity Tests to scans of the artist's body parts anchoring 'Half-F ull'! &mdash\; a video of the artist in a perpetual revolution filling a vo id with earth. A second video is devoted to the ritualized destruction of t his earthen half circle.

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On view are abstract street scenes from the Inner and Outer Ring road w hich circumscribe the city of Delhi made by taking long exposure camera cap tures from a moving taxi of the dense traffic snaking through these

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roads. These bring out the c haotic yet cosmopolitan character of Delhi whose busy roads are randomly na med after famous historical luminaries: Olaf Palme\, Nelson Mandela\, Rao T ula Ram\, August Kranti\, Josip Broz Tito\, Mahatma Gandhi\, Bahadur Shah Z afar and Lala Lajpat Rai.

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Also on view are new series of drawings on canvas\, presenting segment ed visions of partially autobiographical memories &ndash\; a palimpsest of invented chronicles of strange and fantastic hyphenated characters set with in obscure landscapes.

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&ndash\;&ndash\;&ndash\;

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Pande was born in Lucknow in 1976\, and raised in Chandigarh. He trained in design at the National Institute of Design in Ahmedabad\, from where he graduated in 2001. Pande&rsquo\;s solo exhibitions include Chatterjee &\; Lal\, Mumb ai\; Nature Morte\, New Delhi and Alexia Goethe Gallery\, London. He has pa rticipated in group shows held at Grosvenor Vadehra Gallery\, London\; Kira n Nadar Museum\, New Delhi\; Nature Morte\, Berlin\; Bose Pacia\, New York amongst others. Aditya has also been part of Art Basel\, Miami\; Art Basel\ , Switzerland\; SH Contemporary\, Shanghai and ARCO\, Madrid.

DTEND:20160521 DTSTAMP:20160502T214406 DTSTART:20160421 GEO:40.7268368;-73.9929619 LOCATION:AICON GALLERY - New York\,35 Great Jones Street \nNew York\, NY 10 012 SEQUENCE:0 SUMMARY:All of the Above\, Aditya Pande UID:416507 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Aicon Gallery New York is prou d to present Betrayal of Innocence and Beauty the first U.S. solo exhibition of Promotesh Pulak Das. The show is comprised of two major serie s- his sculptural pieces composed of war equipment assembled by small flowe rs made of the shola plant usually used as a traditional craft material and his iconographic interpretations of the 1971 War of Liberation titled Echo ed Moments in Time. With his works\, the artist critically questions the cu rrent social and political state of his home country Bangladesh as well as global issues humanity is facing. Promotesh Das Pulak was born in 1980 in B angladesh. He completed his MFA in 2004 from the Faculty of Fine Art\, Univ ersity of Dhaka and was trained as a painter. Nevertheless\, the use of div erse material has played a pivotal role in his artistic practice. The juxta position between the organic natural elements and the combat equipment sugg ests a betrayal of innocence and beauty. The artist often incorporates othe r media such as painting\, video\, image manipulation\, photography\, and i nstallation in his work. Promotesh Das Pulak represented his country at the 54th Venice Biennale in the Bangladeshi Pavilion along with a select group of other artists and was nominated as an emerging artist in sculpture at t he Prudential Eye Awards in 2016.

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Sel f-portraits are a key feature of Pulak&rsquo\;s oeuvre. In the series E choed Moments in Time which was exhibited in the Bangladeshi Pavilion 54th Venice Biennale the artist imposes his own face onto archival photogra phs from 1971\, the year of Bangladesh&rsquo\;s war of Liberation in which thousands lost their lives. With these images of freedom fighters\, the art ist honors their battle for the liberation of Bangladesh but also criticize s the inhuman acts committed during this gruesome war. This criticism conti nues into current times &ndash\; with his works the artist alludes to the c omplex and interlocking cultural\, political\, economic and environmental i ssues currently facing the often paradoxical and rapidly changing society a nd state of Bangladesh in the new millennium. The nation&rsquo\;s exploding population\, the daily socioeconomic struggles of the lives of millions\, the consequences of climate change\, shifting cultural and gender \;dem ographics and the future of industry and economic growth are just some of t he vastly influential issues informing and challenging the visual and verba l language of Bangladesh&rsquo\;s diverse and quickly growing contemporary art scene.

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With both\, his Echoed Moments in Time series as well as his sculptural representations of w ar masks\, hand grenades and Kalashnikovs studded with white Shola paper fl owers\, he questions the status quo. Objection to bloodshed and the need to compel reformation are repeatedly manifested.

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The artist currently lives and works in Dhaka.

DTEND:20160521 DTSTAMP:20160502T214406 DTSTART:20160422 GEO:40.7268368;-73.9929619 LOCATION:AICON GALLERY - New York\,35 Great Jones Street \nNew York\, NY 10 012 SEQUENCE:0 SUMMARY:Betrayal of Innocence\, Promotesh Das Pulak UID:416508 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Alexander Gray Associates pres ents recent work by Hassan Sharif (b.1951)\, featuring sculptures and woven assemblages. Recognized as a pioneer of conceptual art and experimental pr actice in the United Arab Emirates over the past four decades\, Sharif has transgressed traditional frameworks for art making by extending his practic e to performance\, installation\, drawing\, painting\, and assemblage that integrates ordinary objects as the primary medium. The tapestry-like works in this exhibition are conceptually linked by their relationship with the h uman body and social structures.

After familiarizing himself with the ideas of Dada and Fluxus art during his studies in the early 1980s at Byam Shaw School of Art in London (now Central Saint Martins College of Arts and Design)\, Sharif created performance-based works that engaged wit h repetition\, landscape\, and the body\, themes that he has continued to e xplore throughout his practice. Sharif first incorporated weaving into his art making process as a part of his &ldquo\;Objects&rdquo\; series (1982&nd ash\;present) as a means of critically exploring the increasing modernizati on and industrialization occurring in the U.A.E. For this series he sources inexpensive and mass-produced goods that he buys at local markets in his n ative Dubai to create artworks. By cutting\, bending\, grouping\, and braid ing these cultural artifacts\, the artist sheds their functionality to enha nce their aesthetic and political significance. For him\, &ldquo\;the work is about consumerism. I use cheap materials\, ordinary things that are read ily available in the market.&rdquo\; Sharif is simultaneously a consumer\, and a producer\, who says &ldquo\;I&rsquo\;m imitating consumers\, but I&rs quo\;m using the materials to make art.&rdquo\; By weaving together\, in th e ancient tradition of tapestry making\, ordinary objects consumed by today &rsquo\;s society\, Sharif points both to the hyper-industrialization impac ting everyday life and the abandonment of old traditions that were key to b uilding strong bonds among the members of communities in the past. On his i nterest in unifying aspects of both the ancient and modern\, the artist exp lains &ldquo\;I want to nurture new ways out of the old and present these i n a contemporary visual and artistic context.&rdquo\;

In Shari f&rsquo\;s body of work\, the rhythmically repetitive act of weaving echoes the involuntary functions of the human body\, such as swallowing\, breathi ng\, and blinking. At the same time\, the materials deployed to create the works 
in this exhibition\, including combs\, nail clippers\, masks\, and g loves are traditionally used to modify or cover the body.

Rece ntly\, Sharif has centered his production around large-scale wall sculpture s that incorporate objects that as he describes\, &ldquo\;people depend on greatly to keep up with their daily routines and activity. So long as they are alive\, they keep using\, exhausting\, and relying on them as if they a re\, in one way or another\, part of their own bodies.&rdquo\; In Masks (2016)\, Sharif creates a grid of many colored face masks which casca de towards the floor\, tied to one another by their black ribbons to ultima tely form an irregular fringe at the bottom of the sculpture. The artists n otes that masks have &ldquo\;an important historical role. In the Middle Ea st\, women cover their faces with veils. In Africa [masks are] used in danc es to ward off evil spirits. Hiding one&rsquo\;s identity has become increa singly important.&rdquo\; For Ladies and Gentlemen (2014)\, he ass embled mass-produced and inexpensive female and male shoes\, into a drape-l ike object that emphasizes seriality and the dislocation of functional obje cts. His use of shoes speaks to an interest in sexual politics across centu ries and geographies\; in the work\, men and women occupy a common space\, and are bound together with hand-painted papier maché\; and ropes. In this way\, he refers to the intrinsic connection between individu als and society.

Sharif&rsquo\;s interest in visual accumulat ion\, and in systematic production\, calculations\, and geometric permutati ons are apparent in his choice of material for Combs (2016). For t his work\, he assembled plastic combs in a variety of bright colors\, which jut out from the wall at irregular angles creating a haphazard visual rhyt hm. For the artist\, combs\, widely used to tidy hair\, exemplify the use o f logic necessary in mass-production of consumer goods. As he explains\, &l dquo\;the number of teeth\, the distance between them\, their length and th ickness\, all seem to be well calculated\, and they have been so for thousa nds of years.&rdquo\; Sharif echoes the geometric precision of the combs by organizing them in a meticulous gridded pattern in space\, following a cal culated mathematical model of his own invention\, to create a hanging tapes try.

DTEND:20160514 DTSTAMP:20160502T214406 DTSTART:20160407 GEO:40.74975;-74.003741 LOCATION:Alexander Gray Associates\,508 West 26 Street #215 \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Solo Exhibition\, Hassan Sharif UID:414196 END:VEVENT BEGIN:VEVENT DTEND:20160407T200000 DTSTAMP:20160502T214406 DTSTART:20160407T180000 GEO:40.74975;-74.003741 LOCATION:Alexander Gray Associates\,508 West 26 Street #215 \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Solo Exhibition\, Hassan Sharif UID:414197 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Enigmatic\, evocative\, and of ten simply strange\, fraternal references are a rich part of contemporary A merican popular culture. But the seductive mystique of secret societies\, w ith their cryptic signs\, gestures\, and arcane rituals\, has been inculcat ed in our American experience since the early eighteenth century. Before th e age of mass production\, the artist who painted a portrait or embellished a piece of furniture might have also decorated a parade banner\, an apron\ , symbols on a chart\, or a backdrop for a fraternal lodge. More important\ , he or she encoded the ideals of fellowship\, labor\, charity\, passage\, and wisdom&mdash\;the core of fraternal teachings&mdash\;into the many form s associated with fraternal practice. The iconic art and objects showcased in Mystery and Benevolence \;relate the tenets of fraternal be lief through a potent combination of highly charged imagery\, form\, and me aning. The exhibition explores the fascinating visual landscape of fraterna l culture through almost two hundred works of art comprising a major gift t o the American Folk Art Museum from Kendra and Allan Daniel.

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Co-curators: Stacy C. Hollander\, Deputy Director f or Curatorial Affairs\, Chief Curator\, and Director of Exhibitions\, Ameri can Folk Art Museum\, and Aimee E. Newell\, Director of Collections\, \ ;Scottish Rite Masonic Museum &\; Library. An exhibition catalog will be available.

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 \;

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The exhibition is supported in part by Joyce Berger Co win\, Kendra and Allan Daniel\, the David Davies and Jack Weeden Fund for E xhibitions\, the Ford Foundation\, the Leir Charitable Foundations\, public funds from the New York City Department of Cultural Affairs in partnership with the City Council\, and the New York State Council on the Arts with th e support of Governor Andrew Cuomo and the New York State Legislature.

DTEND:20160508 DTSTAMP:20160502T214406 DTSTART:20160121 GEO:40.7731765;-73.9814441 LOCATION:American Folk Art Museum\,2 Lincoln Square \nNew York\, NY 10023 SEQUENCE:0 SUMMARY:Mystery and Benevolence: Masonic and Odd Fellows Folk Art from the Kendra and Allan Daniel Collection UID:407059 END:VEVENT BEGIN:VEVENT DTEND:20160121T173000 DTSTAMP:20160502T214406 DTSTART:20160121T103000 GEO:40.7731765;-73.9814441 LOCATION:American Folk Art Museum\,2 Lincoln Square \nNew York\, NY 10023 SEQUENCE:0 SUMMARY:Mystery and Benevolence: Masonic and Odd Fellows Folk Art from the Kendra and Allan Daniel Collection UID:407060 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160507 DTSTAMP:20160502T214406 DTSTART:20160331 GEO:40.7477457;-74.0063477 LOCATION:Andrew Kreps Gallery @ 537 W. 22nd\,537 W. 22nd St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Solo Exhibition\, Michael E. Smith UID:411554 END:VEVENT BEGIN:VEVENT DTEND:20160331T200000 DTSTAMP:20160502T214406 DTSTART:20160331T180000 GEO:40.7477457;-74.0063477 LOCATION:Andrew Kreps Gallery @ 537 W. 22nd\,537 W. 22nd St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Solo Exhibition\, Michael E. Smith UID:411555 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160514 DTSTAMP:20160502T214406 DTSTART:20160409 GEO:40.7463808;-74.007077 LOCATION:Anton Kern Gallery\,532 West 20th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Solo Exhibition\, Anne Collier UID:413906 END:VEVENT BEGIN:VEVENT DTEND:20160409T200000 DTSTAMP:20160502T214406 DTSTART:20160409T180000 GEO:40.7463808;-74.007077 LOCATION:Anton Kern Gallery\,532 West 20th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Solo Exhibition\, Anne Collier UID:413907 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In Open Sky\, Paul Vi rilio outlines a short\, yet engrossing\, analysis of humanity&rsquo\;s att empt at capturing the horizon through various modes of technological innova tion. He argues that these processes have diminished the perspective\, scop e\, and what he calls optical density of our immediate surroundings. Furthe rmore\, advancements in technology have shunted the horizon into three dist inct categories: the apparent horizon\, the deep horizon\ , and the transparent horizon. The apparent horizon situates a fig ure in a landscape\, for which the horizon stretches as far as the eye can see. The deep horizon exists in what Virilio calls our collective imagi nation\, a space of potential\, of becoming. It is that which is never completely manifest\, yet always imaginable. The transparent horizon is a &ldquo\;product of the optical magnification of man&rsquo\;s natural domain .&rdquo\; Virilio cites that this last horizon is a manifestation of our cu rrent telecommunication dependencies and its genesis has created &ldquo\;th e incredible possibility of a &lsquo\;civilization of forgetting.&rsquo\;&r dquo\;

In some ways\, Virilio&rsquo\;s cautionary treatise ha s sparked a generation of artists critically engaging with new technologies while simultaneously avoiding the pitfalls of the transparent horizon. The artists in Space Between the Skies employ the power of new simula tion-based technologies to remember rather than forget. Each piece in the e xhibition interprets\, in its own unique way\, the functionality of a techn ological device as a means of commemoration or archiving\, as opposed to cr eating a lapse of memory or documentation.

John Craig Freeman is perhaps the most direct example of an artist using newer technologies a s a means of documenting &ndash\; and even recovering &ndash\; cultural kno wledge from the oblivion threatened by swift change. For his work Porta l to an Alternative Reality VR: Minsheng Courtyard\, Freeman has rende red a courtyard within the Minsheng district in the Chinese city of Wuhan. Through virtual reality technology\, Freeman not only captures current topo logies that will soon be lost to rapid over-development\, but also reflects on the 17th century Taoist Temple that once stood at this site. Suggesting that the current state of radical change is not a new phenomenon for the m ulti-valenced history of China\, Freeman offers a chance to look through th e present into the past and back again &ndash\; an ideal mode of remembranc e and commemoration.

Similarly Nicholas O&rsquo\;Brien also g rapples with the past through the use of contemporary technologies in his n ew work Cross Timbers. By using generative and procedural systems for creating an endless simulated forest\, O&rsquo\;Brien rediscovers lost stories of travelers and exiles who populated the Cross Timbers Forest that stretches from central Texas into southern Kansas. For nearly all of docum ented American history\, this wooded area has served as a refuge for indivi duals who have run away or been cast out from various Great Plains communit ies. As a playable video game\, Cross Timbers guides audiences to randomly encounter narratives that O&rsquo\;Brien has woven together throug h research he conducted over the past year. Situating the player as a vesse l for these untold and ill-documented narratives\, O&rsquo\;Brien invites a udiences to embody the memories of a landscape.

Continuing to explore the metaphorical and psychological space of the woods\, the collab orative project by Seth Cluett\, Ricky Graham\, and Christopher Manzione us es contemporary virtual reality technology to immerse viewers in an uncanny 3D environment. By using sophisticated LIDAR technology and 360°\; audi o recording equipment\, this group captured a site in New Jersey to create a virtual reality experience that sonically guides the viewer into a serene \, enveloping space. However\, the recording from the scanner by Manzione i s purposefully incomplete and fractured. Cluett and Graham then re-fill the space left over from the imprecision of the scan with ambient swells and f lourishes. Recombined in virtual reality\, the original recorded visual dat a represents a fleeting memory\, while the aural interpretations act as an attempt to regain what was lost. Where Virilio would suggest that the virtu al &ldquo\;window&rdquo\; or &ldquo\;teleport&rdquo\; would create a sensat ion of &ldquo\;no more delay&rdquo\; or &ldquo\;no more relief\,&rdquo\; th is piece instead offers a contemplative manifestation of how we try to hold on to lingering impressions.

Departing from more straightfor ward efforts to preserve the memory of a historical place or time\, Rachel Rossin&rsquo\;s work takes a more metaphorical and poetic turn. By switchin g between a combination of photogrammetry processes\, video game engines\, VR headset out\, and traditional oil painting\, Rossin uses newer technolog ies to approach familiar\, quotidian scenes. Using the familiarity of objec ts in her home\, Rossin&rsquo\;s Lossy series explores the blended realities of the canvas and the computer screen. Rossin&rsquo\;s work stan ds as an argument for the ways in which both mediums attempt to address the virtual properties of things: their air\, their meaning\, their aura. Ross in&rsquo\;s work shows viewers how a combination of both techniques is a re quirement to create a more full representation of an object&rsquo\;s signif icance. In doing so\, Lossy is a kind of diary &ndash\; a series o f combinatory and technologically mediated anecdotes that give us a glimpse into the subtle memories of a quiet moment at home.

Veering even further from the literal interpretations of remembering places of a sp ecific origin\, Seth Cluett&rsquo\;s individual contribution to the exhibit ion\, Breaking Ecomimesis\, replaces the romantic notion of &ldquo \;individual in the landscape&rdquo\; with an artificial and &ndash\; as Cl uett put it &ndash\; highly resolved sonic simulation of a rural landscape. Cluett argues that the traditional sublime landscape is achieved not merel y by the view of an endless vista but also with spatial auditory cues of si ghts unseen. When we look out towards the prairie\, we expect to hear the w ind howl over the rolling\, faraway hills. Cluett punctures our presumption s with aural disturbances that interrupt the audience&rsquo\;s expectations of a typical field recording. As a result\, Breaking Ecomimesis h ighlights the ways in which sound\, alone and divorced from image\, can des tabilize immersive vision. Cluett&rsquo\;s work introduces the notion that the predictability of remembering must be challenged or interrupted.

The immersive quality of all the pieces in this exhibition works ag ainst the consequences of the constant telepresence that Virilio critiques. The telecommunication technologies that fall under Virilio&rsquo\;s analys is are thought to leave little room for reflection and introspection. In so me way\, Virilio&rsquo\;s critique of technology is a product of its time & ndash\; delivered at the dawn of 24-hour news networks and cable television \, as well as emerging techniques for delivering real-time social\, politic al\, and environmental data that are &ldquo\;teleported&rdquo\; and transmi tted across the globe. In truth\, Virilio&rsquo\;s critique is apt for refl ecting on the ways in which those technologies\, on full blast and always l ive\, channel a forgetfulness via so-called transparency. However\, the tra nsparent horizon has given rise to other forms of media exchange\, namely t o the emergence of interactive experiences.

In other words\, where CNN has to fill time\, the technologies in this show open up time. Th e transparent horizon of constant information overload funneled by live-med ia and real-time data is mitigated by the voluntary experience of exploring a simulated world. An important element of Virilio&rsquo\;s transparent ho rizon is that information\, media\, images\, and data are all being transmi tted to you in such a way as to render your body as well as your senses int o passive receptors. With (re)emerging technologies that allow for interact ive storytelling and simulated spatial navigation\, one&rsquo\;s senses are invited to come to the forefront. This leveraging of our sensory capabilit ies found in the works on view within Space Between the Skies acts against Virilio&rsquo\;s critique of contemporary technology by transformi ng our media experiencing into an interactive exchange.

Perha ps the play that occurs between our senses and our (new) media could reform ulate the auspicious warning of Virilio&rsquo\;s transparent horizon. The t ransparent horizon\, instead of being a space of erasure and noise\, could be a place where media can enhance and augment our senses in order to stimu late new possibilities. Being active participants in the technologies that we consume\, or else having agency in the sensory reception of media\, coul d side-step &ndash\; or potentially reverse &ndash\; Virilio&rsquo\;s civil ization of forgetting. It is important\, however\, to pepper the excitement that surrounds this technology with some cautionary awareness that we are not merely replacing one transparent horizon with another. In thinking abou t the critical application of the technologies employed within Space Be tween the Skies\, we must remember to create immersive spaces that eng age our senses and our bodies.

Nicholas O&rsquo\;Brien
©\; 2016

&ldquo\;The spiritual world is not a world of un realised ideals\, over against a real world of unspiritual fact. It is\, on the contrary\, the real world\, of which we have a true though very incomp lete knowledge\, over against a world of common experience which\, as a com plete whole\, is not real\, since it is compacted out of miscellaneous data \, not all on the same level\, by the help of the imagination. There is no world corresponding to the world of our common experience. Nature makes abs tractions for us\, deciding what range of vibrations we are to see and hear what things we are to notice and remember.&rdquo\;
From The Con cept of Nature by Alfred North Whitehead (1920)

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Christopher Manzione is currently Assist ant Professor in Visual Arts and Technology at Stevens Institute of Technol ogy. He earned his M.F.A. from Rutgers University in 2009. He is founder an d director of the Virtual Public Art Project\, an organization that uses Augmented Reality to pro duce original artist works in public space. Manzione most recently received a 2014 Fellowship through Franconia Sculpture. In addition he was a 2013 F ellow for New Jersey State Council on the Arts\, artist-in-residence at Wil liam Paterson University&rsquo\;s Center for Computer Art and Animation (20 11)\, Socrates Sculpture Park (Emerging Artist Fellowship\, 2010)\, Vermont Studio Center (Full Fellowship\, 2009)\, and Anderson Ranch Arts Center (2 009). He has shown nationally and internationally at venues such as the Bos ton ICA\, Abington Arts Center\, Philadelphia International Festival of the Arts\, the Surry Hills Festival in Melbourne\, and Gurzenich Koln Museum i n Cologne.  \;

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DTEND:20160514 DTSTAMP:20160502T214406 DTSTART:20160324 GEO:40.719022;-74.004432 LOCATION:Apexart\,291 Church Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Space Between the Skies: A Virtual Reality Experience\, Seth Cluett \, John Craig Freeman\, Ricky Graham\, Christopher Manzione\, Nicholas O'Br ien\, Rachel Rossin UID:414202 END:VEVENT BEGIN:VEVENT DTEND:20160323T200000 DTSTAMP:20160502T214406 DTSTART:20160323T180000 GEO:40.719022;-74.004432 LOCATION:Apexart\,291 Church Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Space Between the Skies: A Virtual Reality Experience\, Seth Cluett \, John Craig Freeman\, Ricky Graham\, Christopher Manzione\, Nicholas O'Br ien\, Rachel Rossin UID:414203 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This exhibition\, organized by the Syracuse University Art Galleries\, explores Rembrandt's influence on the printmakers of his day.

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Rembrandt is generally considered one of the most important figures in western art h istory. This ranking has been remarkably stable in the three hundred years since his death and is due\, in part\, to his virtuoso style\, the wide ran ge of subject matter that he included in his work\, and his prolific output . Typically it is his painting that garners the most attention with the pub lic\, but his etchings demonstrate the same genius\, diversity of subjects\ , and vitality that he generated with his brush. This exhibition brings tog ether the printed work of Rembrandt and sixteen of his contemporaries. It h as been arranged in thematic groups\, landscapes\, genre\, portraits\, and religious subjects\, so that visitors may discover the similarities and dif ferences as well as the technical achievements of these talented individual s.

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Exhibitions are funded\, in part\, by the New York State Council on the Arts\, a State Agency and Fenimore As set Management.

DTEND:20160529 DTSTAMP:20160502T214406 DTSTART:20160301 GEO:42.907359;-74.572002 LOCATION:Arkell Museum\,2 Erie Boulevard \nCanajoharie\, NY 13317 SEQUENCE:0 SUMMARY:Rembrandt: The Consummate Etcher and other 17th Century Printmakers \, Rembrandt van Rijn UID:409554 END:VEVENT BEGIN:VEVENT DTEND:20160301T170000 DTSTAMP:20160502T214406 DTSTART:20160301T100000 GEO:42.907359;-74.572002 LOCATION:Arkell Museum\,2 Erie Boulevard \nCanajoharie\, NY 13317 SEQUENCE:0 SUMMARY:Rembrandt: The Consummate Etcher and other 17th Century Printmakers \, Rembrandt van Rijn UID:409555 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Art in General presents Shifters\, an exhibiti on of commissions\, projects and performances that brings together a group of emerging contemporary artists whose practices are engaged with language.

The collective works on view investigate how various systems of communication and their attendan t histories and ideologies are being reconsidered through the lens of gende r today. The project speaks to theories arguing that language as a social a greement is not passive or fixed\, but rather\, it possesses the potential to reimagine structures of power. Shifters will inquire how conven tions that organize how we read\, listen\, and relate to one another\, have the capacity to be rethought and destabilized.

Language as an instrument can express\, or repres s\, the self. Operating from a position of affinity between feminist and qu eer perspectives\, language as both subject and object is placed in proximi ty to the body\, revealing its ability to affect and control routines and b ehavior patterns such as the products we use\, our belief systems\, how we learn and identify. The exhibited works prompt questions into the type of s ubject that specific language systems presuppose and even create\, and how new models might operate against outmoded binary\, racist\, or patriarchal practices.

Performing a type of linguistic alchemy\, these artists defamiliarize language in ord er to make new meanings. The projects on view propose a changeability and l atent potentiality in linguistic traditions that exact influence over our l ives\, bringing to light how ingrained writing or speech patterns are subje ct to revision\, and have been modified over the course of history. Infusin g administrative\, contractual\, religious\, or corporate terminology with poetic or nonsensical gestures\, abstraction and illegibility is put forth as a productive undoing of language.

Becca Albee was born in Portland\, ME and l ives and works in Brooklyn\, NY. She received her MFA from the University o f North Carolina at Chapel Hill and holds a BA from the Evergreen State Col lege in Olympia\, WA. Albee was a founding member of the punk rock riot grr rl band Excuse 17. She is has recently been included in solo and group exhi bitions at The DUMP\, Los Angeles\; CAM Raleigh\; 356 S. Mission Rd.\, Los Angeles\; and C-o-o-l Art\, Agoura Hills. Albee has also been featured in e xhibitions at PiK\, Cologne\; Ortega y Gasset Projects\, Queens\; the Irish Museum of Modern Art\, Dublin\; Contemporary Calgary\, Alberta\; Publicati on Studio\, Hudson\; Apexart\, New York\; and Momenta Art\, Brooklyn\, amon gst others.

C olleen Asper is an artist and writer based in Brooklyn\, NY. She r eceived her MFA from Yale University and holds a BFA from the Maryland Inst itute College of Art. Recent exhibitions include Name It by Trying to N ame It and OS4\, both at the Drawing Center\, New York and Egress at P!\, New York. Asper&rsquo\;s work has been reviewed in pu blications such as Artforum\, The New York Times\, and The New Yorker\, and she has contributed texts to publications including Art in America\, Lacan ian Ink\, and Paper Monument. As part of Hole\, an ongoing collaboration wi th Marika Kandelaki\, Asper has performed at venues in New York including t he Bowery Poetry Club\, Soloway\, Garden Party/Arts\, and Floating Library.

Beatriz Balan ta was born in Colombia\, South America. She received her Ph.D. fr om Duke University in 2010 and holds a BA in Sociology from Boston College. Balanta&rsquo\;s scholarly work analyzes the photographic and literary dim ensions of racial formation in Latin America. Her research interests encomp ass 19th century debates regarding freedom\, citizenship\, and nation build ing in Brazil\, Colombia\, and the United States as well as contemporary th eorizations of art practices from the Global South. She is an assistant pro fessor at SMU&rsquo\;s Meadows School of the Arts. Balanta is currently co- teaching a course\, along with Mary Walling Blackburn\, that mobilizes the role of the stranger in both South and North American art production.

Cara Benedetto was born in Wausau\, WI and lives and works in Richmond\, VA. She rec eived her MFA from Columbia University in 2009 and her BFA at University of Wisconsin River Falls in 2001. Recent performances and collaborations incl ude Come Early and Often\, Chapter NY\; SLOTS\, Young Art Gallery\, Los Angeles\; and Wing &\; Wing\, Art Metropole\, To ronto (all 2014). Benedetto has participated in numerous group exhibitions at venues including Institute of Contemporary Art\, Philadelphia\; Internat ional Print Center of New York\, New York\; Souterrain\, Berlin\; Galeri Ma rquise Dance Hall\, Istanbul\; and Akademie Schloss Solitude\, Stuttgart\, amongst others. She is a recipient of the Columbia University Leroy Neiman Center for Print Studies Fellowship and the Rema Hort Mann Foundation grant . Benedetto has published both creative and critical texts with various pre sses including Badlands Unlimited and Blonde Art Books. She is an assistant professor in print media at Virginia Commonwealth University.

Mary Walling Blackburn was born in California and lives and works in New York. She is the fo under of Anhoek School\, a pedagogical experiment\, and WMYN\, a pirate fem inist radio station. Her work has been featured in solo exhibitions at Sala Diaz\, San Antonio\; University Arts Gallery\, UCSD\, San Diego\; Testsite \, Austin\; and Southern Exposure\, San Francisco\, amongst others. She has participated in numerous group exhibitions both nationally and internation ally\, at venues including Sculpture Center\, New York\; Elizabeth Foundati on for the Arts\, New York\; Center for Curatorial Studies\, Bard College\, New York\; Tate Modern\, London\; The Cooper Union\, New York\; 1a Space\, Kowloon\, Hong Kong\; Blanton Museum of Art\, Austin\; Wattis Institute\, San Francisco\; and the Whitney Museum of American Art\, New York. She was a recipient of an Art Matters Grant. Walling Blackburn&rsquo\;s work has be en featured in publications including Afterall\, BOMB\, Cabinet\, and e-flu x journal.

Dan ielle Dean was born in Huntsville\, AL. She received her MFA from the California Institute of the Arts\, Los Angeles\, CA in 2012\, a BFA fro m Central Saint Martins\, London\, UK\, and an Independent Study Fellowship at the Whitney Museum of American Art. Dean has recently been included in solo exhibitions at The Studio Museum in Harlem\, New York\; Commonwealth a nd Council\, Los Angeles\; and The Bindery Projects\, Minnesota\; and in gr oup exhibitions at Human Resources\, Los Angeles\; Tate Modern\, London\; D iverseWorks\, Houston\; Western Exhibitions\, Chicago\; and The Hammer Muse um\, Los Angeles\; amongst others. She is the recipient of the 2015 Creativ e Capital\, Visual Arts award and the 2014 Rema Hort Mann Foundation award.

Sophia Le Fr aga is a poet and artist living and working in New York. She recei ved her BA in Linguistics and Poetry from New York University. She is the a uthor of literallydead (Spork 2015)\; I RL\, YOU RL (minu teBOOKS 2013\, Troll Thread 2014) and I DON&rsquo\;T WANT ANYTHING TO D O WITH THE INTERNET (KTBAFC 2012). Her anti-play trilogy of iOS adapta tions comprises W8ING\, TH3 B4LD 50PR4N0 and UND3RGR0UND L0V3R 5 (2014\, 2015). Recent exhibitions include Other Titles\, B& uuml\;ro Broken Dimanche\; Berlin\; Greater New York\, MoMA PS1\, New York\; PERFORMA 15\, New York\; and Public Poem Pattern\, The Artist&rsquo\;s Institute\, New York. Le Fraga is the poetry editor of Impe rial Matters\, a curator for the experimental reading series Segue and a me mber of Collective Task. She teaches poetry at BHQFU.

Jonah Groeneboer was born in Vancouver\, BC and lives and works in New York. He received a MFA from N ew York University and a BFA from the Pacific Northwest College of Art in P ortland\, OR. Recent solo and group exhibitions include the Language of Birds\, 80WSE\, New York\; Greater New York\, MoMA PS1\, New York\; Island Time\, Contemporary Art Museum Houston\, Houston\; Blue Shift\, Platform Center for Photographic and Digital Arts\, W innipeg\; and Double Mouth Feedback\, Recess\, New York. His work has been featured in The New Yorker\, New York Arts\, Art 21\, The New York Times\, and Temporary Art Review. Groeneboer has lectured at the Drawing C enter\, Ox-Bow School of Art\, and New York University.


Gordon Hall was born in Boston\, MA and lives and works in New York. Hall holds an MFA and MA in Vi sual and Critical Studies from the School of the Art Institute of Chicago a nd a BA from Hampshire College. Hall has exhibited and performed at Sculptu reCenter\, The Brooklyn Museum\, The Museum of Contemporary Art Chicago\, t he Whitney Museum of American Art\, Movement Research\, EMPAC\, Temple Cont emporary\, Night Club Chicago\, Foxy Production\, The Hessel Museum at Bard College\, White Columns\, and Chapter NY\, amongst others. Hall has also o rganized lecture and performance programs at MoMA PS1\, Recess\, The Shanda ken Project\, and at the Whitney Museum of American Art\, producing a serie s of lectures and seminars in conjunction with the 2014 Whitney Biennial. H all&rsquo\;s writing and interviews have been featured in a variety of publ ications including V Magazine\, Randy\, BOMB\, and Title Magazine. < br />
Marika Kandelaki was born in Tbilisi\, Georgia and lives and works in Brooklyn\, NY. Sh e received her BFA from Parsons School of Design in 2003 and previously stu died at Moor College of Art and Design\, Philadelphia\, and the Nikoladze C ollege of Art and Design\, Tbilisi. Kandelaki&rsquo\;s work has been includ ed in exhibitions and performances including PANGRAMMAR at P!\, Ne w York (2015)\; Name It by Trying to Name It\, The Drawing Center\ , New York (2015)\; Medea\, Floating Library\, New York (2014)\; < em>Hole 2\, Soloway\, Brooklyn (2012)\; and Spectrum\, Bridge Gallery\, New York (2012). Her work has been featured in publications incl uding Adjunct Commuter Weekly\, Art Practical\, The Brooklyn Rail\, and Fus e Magazine. Kandelaki was a 2014-16 Open Sessions Artist at The Drawing Cen ter.

Lead support for Shifters has generously been provided by David Solo.

Additional project support kindly provided by Creative Capi tal (Danielle Dean)\, and Supreme Digital\, Brooklyn (Colleen Asper and Marika Kandelaki) .

DTEND:20160625 DTSTAMP:20160502T214406 DTSTART:20160423 GEO:40.7038061;-73.9875039 LOCATION:Art in General\,145 Plymouth Street \nBrooklyn\, NY 11201 SEQUENCE:0 SUMMARY:Shifters\, Becca Albee\, Colleen Asper\, Beatriz Balanta\, Cara Ben edetto\, Mary Walling Blackburn\, Danielle Dean\, Sophia Le Fraga\, Jonah G roeneboer\, Gordon Hall\, Marika Kandelaki UID:416511 END:VEVENT BEGIN:VEVENT DTEND:20160422T200000 DTSTAMP:20160502T214406 DTSTART:20160422T180000 GEO:40.7038061;-73.9875039 LOCATION:Art in General\,145 Plymouth Street \nBrooklyn\, NY 11201 SEQUENCE:0 SUMMARY:Shifters\, Becca Albee\, Colleen Asper\, Beatriz Balanta\, Cara Ben edetto\, Mary Walling Blackburn\, Danielle Dean\, Sophia Le Fraga\, Jonah G roeneboer\, Gordon Hall\, Marika Kandelaki UID:416512 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Ashok Jain Gal lery presents Harmony\, Unity\, and Expression\, an exhibition tha t focuses on many beloved artistic styles of Abstract Expressionism and lan dscapes both spirituality and psychologically. The show will highlight the two major design elements that each artist expresses: harmony and unity. Th e exhibition features artworks from five renowned artists: Gü\;nther B& ouml\;rst\, Irene Neal\, Tiril Benton\, Anne Grandin\, and Elling Reitan. < em>Harmony\, Unity\, and Expression will be held at 58 Hester Street a nd opens on Wednesday\, April 27.

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Gü\;nther Bö\;rst is a German artist whose works conti nuously searches out the &ldquo\;impossibilities&rdquo\; in shape\, materia l\, and technique such as color and contrast. In his search\, Bö\;rst r efers to themes of landscape\, urbanism and mankind as the main subject mat ter of his abstract works. With over 100 expositions exhibited in Germany\, Switzerland\, France\, Spain\, Italy\, Belgium\, New York and many more lo cations he has become one of the gallery&rsquo\;s more established artist.< /p>\n

Irene Neal emphasizes color in her compositions as form of freedom of expression. Neal&rsquo\;s process does not express her freedom in creating abstract works\, but expre sses the freedom of her medium in pursuing the path across the chosen surfa ce. She has exhibited many of her works at Ashok Jain Gallery as well as ha ving collections in North and South America.

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Tiril Benton approaches each canvas with a feeling of excitement\, wonder\, and a sense of adventure\, free of any preconceive d ideas or sketches. She expresses an internalized sense of truth which cre ates an external experience at an intense level. The archetypal symbolism e merging from Tiril&rsquo\;s paintings has attracted international attention \, and Tiril has exhibited widely and won awards in both the United States and Europe.

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Anne Gran din&rsquo\;s landscape paintings are influenced by the Native American cult ure and their concept of the circle of life. She uses organic shapes to exp ress her connection to nature\; the circle of life. Grandin has received a bachelor&rsquo\;s of science in art education at The Moore College of Art a nd continued her art education at Boston University and The Art Institute o f Boston. She has participated in many of the gallery&rsquo\;s show over th e past couple of years and continually exhibits her work at The Pen and Bru sh Guild.

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Elling Reit an compositions are often inspired by famed artist Edvard Munch whom is kno wn by his iconic pre- Expressionist painting &ldquo\;The Scream&rdquo\; wit h references to biblical imagery and creates psychological mindscapes for t he viewer. Reitan has exhibited his works around the world and additionally he has over 200 private collections in the US\, Asia\, and Europe. He has been represented by Ashok Jain Gallery for over 20 years and currently resi des in Norway. Ashok Jain Gallery will be exhibiting 10 of his works at Art New York in May at Pier 94.

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The open ing reception will be held on April 29th from 6 pm- 8 pm.

DTEND:20160529 DTSTAMP:20160502T214406 DTSTART:20160427 GEO:40.7157309;-73.9909827 LOCATION:Ashok Jain Gallery\,58 Hester Street \nNew York\, New York 10002 SEQUENCE:0 SUMMARY:Harmony\, Unity\, and Expression\, Günther Börst\, Irene Neal\, Tri l Benton\, Anne Grandin\, Elling Reitan UID:415636 END:VEVENT BEGIN:VEVENT DTEND:20160429T200000 DTSTAMP:20160502T214406 DTSTART:20160429T180000 GEO:40.7157309;-73.9909827 LOCATION:Ashok Jain Gallery\,58 Hester Street \nNew York\, New York 10002 SEQUENCE:0 SUMMARY:Harmony\, Unity\, and Expression\, Tril Benton\, Günther Börst\, An ne Grandin\, Irene Neal\, Elling Reitan UID:415637 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Ashok Jain Gallery is pleased to announce\, \;Wordless Dimension\, a solo exhibition of artw orks by Janusz Obst at 58 Hester Street. Opening on Wednesday\, April 27\, the exhibition is the presentation of bas-reliefs.

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\n&ldquo\;I believe in staying true to myself throughout the cre ative process of wordless expression\, regardless of past influences and cu rrent trends.&rdquo\;\n

- Janusz Obst

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Janusz Obst is a classically trained artist from Zamosc\, Poland\, where h e was born in 1946. As a young marine\, he travelled the world\, having spe nt much of his young adult life in Europe\, China\, Africa\, and India. It was in India where he was captivated by sculpture\, and for the last three decades he has focused his work on bas-relief. \;

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Bas-reliefs\, traditionally having been painted\, give Jan usz the opportunity to resurrect his love for this classic art form and mar ry his passion for sculpture and painting. This methodology allows him to f reely build three-dimensional space and to broaden the narrative possibilit ies within each piece. His art permeates the interaction between the histor y of civilization\, individual fate\, current social and community-based is sues\, and his unfaltering interest in the interpersonal relationships with in the context of the modern world. Janusz moved to the United States in 19 91\, and he currently lives in New York City.

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The opening reception for Wordless Dimension will be on F riday\, April 29\, 2016.

DTEND:20160529 DTSTAMP:20160502T214406 DTSTART:20160427 GEO:40.7157309;-73.9909827 LOCATION:Ashok Jain Gallery\,58 Hester Street \nNew York\, New York 10002 SEQUENCE:0 SUMMARY:Wordless Dimension\, Janusz Obst UID:415639 END:VEVENT BEGIN:VEVENT DTEND:20160429T200000 DTSTAMP:20160502T214406 DTSTART:20160429T180000 GEO:40.7157309;-73.9909827 LOCATION:Ashok Jain Gallery\,58 Hester Street \nNew York\, New York 10002 SEQUENCE:0 SUMMARY:Wordless Dimension\, Janusz Obst UID:415640 END:VEVENT BEGIN:VEVENT DESCRIPTION:

With over thirty Kamakura mast erpieces from private and museum collections in North America and Europe\, &ldquo\;Kamakura: Realism and Spirituality in the Sculpture of Japan&rdquo\ ; is the first exhibition to look beyond the aesthetics and technical achie vements of these remarkable sculptures\, and specifically examine the relat ionship between realism and the sacred empowerment of these objects. The ex hibition explores how sculptures are &ldquo\;brought to life&rdquo\; or &ld quo\;enlivened&rdquo\; by the spiritual connection between exterior form\, interior contents\, and devotional practice\, reflecting the complexity and pluralism of the period. "Kamakura: Realism and Spirituality in the Sculpt ure of Japan" marks the first major loan show of Kamakura sculpture in the United States in more than thirty years.

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Pre-order the richly illustra ted exhibition catalogue at AsiaStore.

DTEND:20160508 DTSTAMP:20160502T214406 DTSTART:20160209 GEO:40.7700155;-73.9644801 LOCATION:Asia Society Museum\,725 Park Avenue at 70th Street\nNew York\, NY 10021 SEQUENCE:0 SUMMARY:Kamakura: Realism and Spirituality in the Sculpture of Japan UID:406337 END:VEVENT BEGIN:VEVENT DTEND:20160209T180000 DTSTAMP:20160502T214406 DTSTART:20160209T110000 GEO:40.7700155;-73.9644801 LOCATION:Asia Society Museum\,725 Park Avenue at 70th Street\nNew York\, NY 10021 SEQUENCE:0 SUMMARY:Kamakura: Realism and Spirituality in the Sculpture of Japan UID:406338 END:VEVENT BEGIN:VEVENT DESCRIPTION:

On the occasion of the 60th an niversary of the founding of Asia Society\, this exhibition celebrates the legacy of collecting and exhibiting Asian art that John D. Rockefeller 3rd and Blanchette Hooker Rockefeller set in motion for Asia Society. This exhi bition plays with the notion of context by juxtaposing historical and conte mporary works to trigger distinctive ways of thinking about artworks and th e people that produce them\, both past and present. The exhibition is a tes tament to the visionary commitment to Asia and its art begun by Mr. and Mrs . John D. Rockefeller 3rd\, and that continues to the present at Asia Socie ty.

DTEND:20170108 DTSTAMP:20160502T214406 DTSTART:20160308 GEO:40.7700155;-73.9644801 LOCATION:Asia Society Museum\,725 Park Avenue at 70th Street\nNew York\, NY 10021 SEQUENCE:0 SUMMARY:In and Out of Context: Asia Society Celebrates the Collections at 6 0 UID:406339 END:VEVENT BEGIN:VEVENT DTEND:20160308T180000 DTSTAMP:20160502T214406 DTSTART:20160308T110000 GEO:40.7700155;-73.9644801 LOCATION:Asia Society Museum\,725 Park Avenue at 70th Street\nNew York\, NY 10021 SEQUENCE:0 SUMMARY:In and Out of Context: Asia Society Celebrates the Collections at 6 0 UID:406340 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Atlantic Gallery is pleased to present &ldquo\;TRANS FIGURATIONS&rdquo\;\, an exhibition of life-sized figurative drawings by CA ROL CRAWFORD\, April 19-May 14\, 2016. Opening reception is Thursday\, Apri l 21\, 6-8 pm. Ms. Crawford will be present Thursdays 6-8 pm and Saturdays by appointment to speak to visitors about her work.

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Proud women\, dancers\, angels and monsters...eacn drawn figure is a statement of Ms. Crawford&rsquo\;s passionate involvement with the human body as a conv eyor of mood\, allegory\, and ideas.

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Most of the figures are solita ry\, occupying a space without boundaries or background\, crouching or stan ding over six feet tall. They are created using charcoal\, pastel\, and mon oprint collage. Many are encased in layered acrylic shapes that float on th e walls\, frameless\, casting their own shadows\, commanding the space in w hich they are presented. The dancers are partially free-standing\, their to rsos stationary on the wall\, their legs free-standing. As the viewer moves past\, the dancers appear to subtly shift position.

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&ldquo \;Fallen Angels&rdquo\;is a composite work composed of four male f igures\, performing beneath a broken sky: One angel with a grinning death&r squo\;s head directs two winged figures\, who leap blindly toward &ldquo\;h eaven&rdquo\; at his command\, while a fourth figure\, created out of monop rint collage and mirror\, remains earthbound\, weeping and gazing upward at the goal he cannot reach\, heaven\, a puzzle that does not quite come toge ther. Ms Crawford defines its meaning as &ldquo\;an allegory of cor porate man\, and a reference to the biblical myth of Lucifer\, once the mos t beautful angel\, cast out of heaven for his arrogance. It is a metaphor o f our own follies and earthly strivings&rdquo\;.

DTEND:20160514 DTSTAMP:20160502T214406 DTSTART:20160419 GEO:40.7517031;-74.0040108 LOCATION:Atlantic Gallery\,548 West 28th Street \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:" TRANSFIGURATIONS"\, Carol Crawford UID:413743 END:VEVENT BEGIN:VEVENT DTEND:20160421T200000 DTSTAMP:20160502T214406 DTSTART:20160421T170000 GEO:40.7517031;-74.0040108 LOCATION:Atlantic Gallery\,548 West 28th Street \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:" TRANSFIGURATIONS"\, Carol Crawford UID:413744 END:VEVENT END:VCALENDAR