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.


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.


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.


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.


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).


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



DTEND:20141101 DTSTAMP:20141101T102223 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:

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
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.
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:20141101T102223 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:20141101T102223 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:

Over the arc of his career\, I an Hughes has honed a distinctive visual language in which paint reveals it s lushest and most viscous qualities while simultaneously giving shape to b io-reminiscent forms that have a compelling life of their own. In Twist ed Figures\, his third solo show at 532 Gallery Thomas Jaeckel\, Hughe s&rsquo\;s latest series of acrylic paintings pushes this language into a n ew phase in which the shapes on the canvases continue to self-confidently a ssert their own presence\, yet begin to move beyond an earlier\, more matte r-of-fact reliance on organic and visceral associations.


Twisted Figures reflects a subtle turn in Hugh es&rsquo\;s paintings toward motifs that are slightly more elusive in conte nt\, while retaining the beautiful but vaguely stomach-churning core of his earlier works. Many of the latest pieces feature the same intense\, warm p alette and pseudo-anatomical imagery set against flat monochromatic backgro unds\, such as Green Ovals\, which presents a smooth fleshlike sur face against which brightly rendered rolling forms in pink\, white\, and or ange suggest intestines\, buttocks\, and/or reproductive organs. Yet patche s of textile-like patterning and a handful of amorphous shapes scattered th roughout hint at a much wider range of associations\, from soft pillows to eerie but strangely inviting otherworldly landscapes.


In some of the new paintings\, Hughes sets up a tension be tween more organic\, down-to-earth colors&mdash\;such as the duller hamburg er/flesh pink in Untitled (Taupe) &mdash\;and contorted masses tha t are much harder to pin down. Still other canvases veer in the opposite di rection by merging undulations of vivid\, carnivalesque blues\, pinks\, ora nges\, or greens with somber dark swathes into curves that evoke chaotic ba lloon sculptures or failed attempts to wring order from unruly sausages of brute matter. In Untitled (Golden Yellow) and Red Wrap\, the brushstrokes begin to assert themselves in a way that seems to subtly t hreaten the integrity of the forms they comprise\, thereby highlighting the importance of paint as the essential substrate for Hughes&rsquo\;s cheerfu l-yet-disquieting images. The juxtaposition of painterly effects (rounded f orms and illusionistic volumes) with more graphic elements (flat\, opaque b ackgrounds and sharp edges) strongly reinforces this message. The result is a potent comment on the powerful tension between medium and image that has haunted painting for as long as abstraction has existed\, or perhaps since the first images were daubed on a cave wall millennia ago.

DTEND:20141108 DTSTAMP:20141101T102223 DTSTART:20141009 GEO:40.749403;-74.004838 LOCATION:532 Gallery Thomas Jaeckel\,532 W. 25th Street \nNew York\, NY 100 01 SEQUENCE:0 SUMMARY:Twisted Figures\, Ian Hughes UID:360424 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Acquavella Galleries is pleased to announce an exhibition of works by iconic American artist Wayne Thiebaud\, on view from October 1 &n dash\; November 21\, 2014. The exhibition includes a total of 49 works &nda sh\; 35 paintings and 14 works on paper. Many of the works included are bei ng shown to the public for the first time\, and several are compositions th e artist has been working on for over thirty years. This is Thiebaud&rsquo\ ;s second exhibition with the gallery.

Celebrated for his works that highlight the commonplace\, the 93-year-old Thiebaud continues to shed painterly light on the people\, places and things that surround him on a d aily basis. Despite his association with pop artists of the 1960s\, \;T hiebaud&rsquo\;s method is more aligned with the still life tradition &ndas h\; and this preoccupation with scrupulously representing his subjects sets him apart from his contemporaries. Ordinary objects rendered in the tactil ity of Thiebaud&rsquo\;s brushwork \;become resplendent\, and thus his canvases radiate a particularly American optimism and nostalgia for the fam iliar.

The works on view in this exhibition touch upon recogniza ble themes in the context of Thiebaud&rsquo\;s oeuvre. Cold Case (2010-2013 ) revisits his most famous subject &ndash\; confections. Similarly\, Cupcak es &\; Donuts (2006/2012) and Ring Circle \;(2012-2014) both explore the artist&rsquo\;s preexisting interest in modes of commercial display. T he splendor of California&rsquo\;s landscape is once again depicted in Bluf fs (2013) &ndash\; this time in a cake-like pink. The figures in this exhib ition\, among them \;Robed Woman with Letter (1976/2013)\, are familiar ly stoic and simultaneously confessional. &ldquo\;We are thrilled to be pre senting Thiebaud&rsquo\;s recent work\,&rdquo\; said Eleanor Acquavella &ld quo\;this exhibition is a testament to his unique ability to \;illumina te the everyday and elevate the ordinary.&rdquo\;

Wayne Thiebaud (b. 1920) lives and works in Sacramento\, CA. He has been widely recognize d for his achievements as an artist and has received various prestigious aw ards such as the National Medal of Arts from President Clinton\, 1994\; the  \;Lifetime Achievement Award for Art from the American Academy of Desi gn\, NY\, 2001 and he was inducted into The California Hall of Fame at The California Museum\, Sacramento\, CA in 2010. Thiebaud was the subject of a retrospective \;at the Whitney Museum of American Art in 2001\, and his work has been exhibited in major museums and institutions worldwide. Thieb aud&rsquo\;s work can also be found in the permanent collections of the Los Angeles County Museum of Art\, \;CA\; Phillips Collection\, Washington \, D.C.\; Crocker Art Museum\, CA\; Albright-Knox Art Gallery\, Buffalo\, N Y\; Hirshhorn Museum and Sculpture Garden\, Washington\, D.C.\; and the Whi tney Museum of American Art\, New York.

DTEND:20141121 DTSTAMP:20141101T102223 DTSTART:20141001 GEO:40.7762839;-73.9626764 LOCATION:Acquavella Galleries\,18 East 79th Street \nNew York\, NY 10075 SEQUENCE:0 SUMMARY:Solo Exhibition\, Wayne Thiebaud UID:355635 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Aicon Gallery is pleased to pr esent Rati Chakravyuh\, a new feature-length film by Ashish Avikunthak. The film\, comprised of a single 105-minute shot\, centers around the continuo us conversation of six young newlywed couples and a priestess after a mass wedding. Made entirely in Bengali\, Rati Chakravuyh develops a complex and intense narrative through its meditation on an unbroken ever-evolving conve rsation about the whole of the human condition\, questioning beliefs about life\, death\, love\, sex\, violence\, religion\, war\, mythology\, history and modernity. Rati Chakravyuh&rsquo\;s screening at Aicon Gallery\, New Y ork represents the international premier of Avikunthak&rsquo\;s mesmerizing new film\, following acclaimed debuts in Kolkata and Mumbai.


Daily Screenings | Oct. 23rd though Nov. 1 st at 1pm | 3pm | 5pm (Closed Sunday)


Director&rsquo\;s note:
The film is the ex perience of the inescapable maze created through the dizzying effect of the camera that moves in spirals throughout. In that dizzying spiral\, words v anish\, faces blur into a stream of light and eyes crave for the darkness o f ignorance\, of innocent illusions\, of dreams where redemption is really possible. The stories are non-existent\, they are the same\, yet very diffe rent\; but we must transcend them. How do we do that? Temporality is a pain ful truth to reckon with. It stretches out in a painstaking fashion\, trapp ing every attempt to radiate out of the circle. It is our pain on that scre en and we cannot look away\, we cannot wish it away or magically transform it into a dreamscape. There is simply no space for any space. Space collaps es into that speck\, but floats endlessly unlike that moment which is out o f time. The circular motion of the camera creates that spiral maze and make s us aware of the harsh truth &ndash\; that we must fight a losing battle\, only to inevitably lose\, die and disappear. The film thwarts all our atte mpts to hide\, to run\, and all we can really do is to watch those faces bl ur in the spiral motions\, watch those words become a hazy long stretch of intimately familiar sound\, watch everything turn into myself - the emptine ss that gave birth to the words. The inspiration for this film came from Le onardo da Vinci&rsquo\;s &lsquo\;The Last Supper&rsquo\;. The idea of the f inal communion among loved ones before an imminent finale was a dramatic co nduit for a philosophical exploration of contemporary Indian life.
This is a single shot film. It is bookended with two title cards &ndas h\; the first appearing at the beginning of the film mentions the mass wedd ing\, and another ends the film announcing the mass suicide. In the middle is the single shot of 98 minutes of the conversation among the thirteen ind ividuals. They all sit in a circle in the middle of a brightly lit ancient temple.

They talk about their lives and their times in postcol onial India &ndash\; violence\, love\, death\, sex\, cricket\, suicide\, li fe of Gods and Goddesses\, religion\, political murders\, non-violence\, ca rs\, and riots. The film is an allegory of being Indian\, being human\, bei ng alive. It is the last meeting before an impending tragedy to open up the world of living\, that will eventually court death. It is a dramatic dialo gue of death before suicide.

The camera is on a circular dolly and goes in circles throughout the shot. The continuous single shot is emp loyed to heighten the temporal nature of the film. The circular motion of t he camera creates a spiral universe in which the voices float and create a continuous image/soundscape thatencompasses the film. The slow spinning of the camera movement in a single shot produces a dizzy vortex - a cinematic whirlpool into which the image\, the sound\, the actors and the whole film is sucked.

Trailers for the film may be viewed at the followin g links: 9308

Ashish Avikunthak is an e xperimental filmmaker who has been making films in India since the mid nine ties. His films have been shown worldwide in film festivals\, galleries and museums. Notable screenings were at the Tate Modern\, London\, Centre Geor ge Pompidou\, Paris\, Pacific Film Archive\, Berkeley\, along with London\, Locarno\, Rotterdam\, and Berlin film festivals among other locations. He has had retrospective of his works at Les Inattendus\, Lyon (2006)\, Yale U niversity (2008) and the National Centre for Performing Arts\, Mumbai (2008 )\, Festival International Signes de Nuit\, Paris (2012)\, Rice University (2014). He has a PhD in cultural anthropology from Stanford University and has taught at Yale University. He is now an Assistant Professor of Film Med ia at the Harrington School of Communication &\; Media\, University of R hode Island. Avikunthak was included as a "Future Greats" artist in 2014 by Art Review magazine.

Please contact Aicon Gallery (Andrew@Aic for more information.

DTEND:20141101 DTSTAMP:20141101T102223 DTSTART:20141023 GEO:40.7268368;-73.9929619 LOCATION:AICON GALLERY - New York\,35 Great Jones Street \nNew York\, NY 10 012 SEQUENCE:0 SUMMARY:Rati Chakravyuh | A Film by Ashish Avikunthak\, Ashish Avikunthak UID:360912 END:VEVENT BEGIN:VEVENT DESCRIPTION:

An exhibition of two recent vi deo installations and photographic works by Willie Doherty will open at Ale xander and Bonin on Saturday\, October 25th .


The Amnesiac\, 2014\, Doherty&rsquo\;s mo st recent video work\, is a 10 minute single-channel video installation whi ch extends his interest in themes of landscape and memory. The video follow s an unidentified man as he drives along a country road. His journey is int errupted by what might be a momentary lapse in concentration from the tediu m of driving\, a daydream or a rupture in the fabric of the everyday. He re turns to somewhere half remembered or half forgotten\; a reminder that trac es of past events\, whether or not visible\, remain embedded within the lan dscape.


The video is accompanied by a group of 10 photographs\, titled Damage\, 2014\, which were made at the same location where the video was shot. The photogra phs are details of tree trunks that bear the physical markings of past acts of violence. Doherty explores the boundaries between the visible and invis ible\, past and present\, the tangible and intangible.


Remains\, 2013 is a 15 minute si ngle-channel video installation\, first shown at Art Unlimited Basel\, and included in his retrospective UNSEEN (September 2013-January 2014) at City Factory Gallery in Derry\, Northern Ireland and currently on view at the De Pont Museum in Tilburg. Remains was made in a number of locations in Derry that have been used since the early 1970s to carry out k neecappings\, a form of punishment shooting used to control drug use and ot her forms of so called &lsquo\;antisocial behavior&rsquo\;. The ghosts of e vents past are summoned by the narrator as his recounting unearths a reposi tory of memories\, specific to the unimposing landscape\, and ultimately re veals a continuing cycle of violence\, enacted in the same locations.


Doherty&rsquo\;s meditatio ns\, in video and photography\, on the changing political landscape of Nort hern Ireland have been a central theme of his work since 1985. With a new s eries of black and white photographs\, titled Future Fear\, made i n Derry during the summer of 2014\, Doherty returns to some of the location s that he has photographed in the past. These photographs reveal an ongoing state of unease\, a place suspended between the familiarity and comfort of violence and the anxiety and uncertainty of change.


Willie Doherty was born in1959 in Derry\, N. Ireland and no w lives and works in County Donegal\, Republic of Ireland. In 2015 a select ion of his video works will be shown at CAM-Fundaç\;ã\;o Calous te Gulbenkian\, Lisbon. Past solo exhibitions include those at the Dallas M useum of Art (2009)\, Lenbachhaus\, Munich (2007)\, Laboratorio Arte Alamed a\, Mexico City (2006)\, the Renaissance Society\, Chicago (1999)\, and Tat e Liverpool (1998). He has participated in the Biennale di Venezia (2007\, 2005\, 1993) and the Bienal de Sã\;o Paulo (2002) and dOCUMENTA (13)\ , Kassel (2012).

DTEND:20141206 DTSTAMP:20141101T102223 DTSTART:20141025 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:The Amnesiac and other recent video and photographic works\, Willie Doherty UID:361893 END:VEVENT BEGIN:VEVENT DTEND:20141025T200000 DTSTAMP:20141101T102223 DTSTART:20141025T180000 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:The Amnesiac and other recent video and photographic works\, Willie Doherty UID:361894 END:VEVENT BEGIN:VEVENT DESCRIPTION:

&ldquo\;The use of African wor ds as titles of my sculpture is to extend the practical and philosophical v alues of the large quantity of esthetic possibility in creative art for now and the future.&rdquo\; &ndash\;&ndash\;Melvin Edwards

Alexan der Gray Associates presents an exhibition of work by Melvin Edwards reflec ting his engagement with and influence of Africa. Edwards&rsquo\; first vis its coincided with a key moment in the region&rsquo\;s history as recently independent countries defined their postcolonial national identities. Since his first trip in 1970 to Ghana\, Togo\, Dahomey (now the Republic of Beni n)\, and Nigeria\, Edwards has consistently traveled to Africa\, often retu rning to Nigeria and Ghana and making repeated trips to Senegal and Zimbabw e. He eventually established a studio in Dakar\, Senegal in 2000. His exper ience of and engagement with this region and its traditional and contempora ry art scene has nurtured Edwards&rsquo\; investigations of metalwork and i ts formal qualities\, abstraction\, history\, language\, exchanges between cultures\, and the significance of personal relationships.

The central work in the exhibition is Homage to the Poet Leon Gontran Dama s (1978&ndash\;81)\, a monumental installation shown for the first tim e since Edwards&rsquo\; retrospective at the Neuberger Museum of Art in Pur chase\, NY in 1993. This work consists of several large-scale metal geometr ic sculptural elements and a long piece of chain organized in relation to e ach other to create an environment that encourages gathering and meditation \; collective consciousness and contemplation. Grounded to the horizontal p lain of the Gallery&rsquo\;s floor\, the installation is oriented using the sun as a compass in order to face East\, looking towards Africa. He concei ved the work to honor Damas\, a co-founder of Negritude\, active in anti-co lonial politics\, and a poet whose style creatively eschewed the standardiz ed French of the former colony and embraced influences from Harlem jazz to Caribbean calypso. Edwards met Damas in 1969 through the poet\, activist\, and performance artist Jayne Cortez\, Edwards&rsquo\; late wife and artisti c collaborator\, with whom he traveled extensively throughout Africa and ac ross the world.

Melvin Edwards&rsquo\; use of materials\, prim arily the result of his formal and aesthetic concerns\, unfold multiple mea nings as they relate to African and African Diasporan cultures and historie s\, represented in the exhibition in a selection of Lynch Fragments and wal l-sculptures. Returning from a trip to Nigeria in 1973\, Edwards began inco rporating machetes as a formal and symbolic element as in the Lynch Fragmen t Nunake (1993). He recognizes that machetes function as agricultu ral tools in West Africa\, describing the artifact as &ldquo\;another shape of steel that already exists.&rdquo\; At the same time\, the knives stand as embodiments of social uprisings\, which speak to Edwards&rsquo\; life-lo ng engagement with social movements. Beyond Cabo Verde (2006) uses as its base a grid-like element sourced from Dakar metal workshops. Its ti tle refers to the island nation of the same name\, a site that was a prospe rous center of the slave trade. Edwards views the work&rsquo\;s square-shap e as a window into time\, as he explains\, &ldquo\;Since I spent a fair amo unt of time in the place\, thinking about what&rsquo\;s beyond. Both person ally and what was beyond historically.&rdquo\;

Edwards&rsquo\ ; works also speak to a broad network of creative minds including African a rtists\, writers\, and craftsmen\, with whom he has developed personal rela tionships throughout many decades. Edwards titled his Lynch Fragment Ib adan Oke (1992) in homage to his visits to Nigeria during the 1970s. T he urban landscape of the Yoruba city of Ibadan stimulated Edwards&rsquo\; interests in architecture and urban design\, which were also greatly encour aged through his close friendship with Nigerian artist and architect Demas Nwoko. He met and worked with many others in the city\, including the Niger ian Nobel Prize-winning playwright and poet Wole Soyinka\, and the Jamaican writer Lindsay Barrett. The Fragment Djeri Djeff Papa Tall (2008) references the phrase &ldquo\;djeri djeff&rdquo\; or &ldquo\;thank you&rdq uo\; in Wolof&mdash\;a widely-spoken language in Senegal&mdash\;as well as Papa Ibra Tall\, a seminal Senegalese modern artist\, founder of the influe ntial tapestry workshop Manufactures sé\;negalaises de arts dé\ ;coratifs (MSAD). Tall and Edwards met in Senegal in 1999\, and later colla borated when Edwards produced two tapestries in MSAD\, including the large- scale Diamnaidio (2010)\, on view in the exhibition.

DTEND:20141213 DTSTAMP:20141101T102223 DTSTART:20141030 GEO:40.74975;-74.003741 LOCATION:Alexander Gray Associates\,508 West 26 Street #215 \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Solo Exhibition\, Melvin Edwards UID:360261 END:VEVENT BEGIN:VEVENT DTEND:20141030T200000 DTSTAMP:20141101T102223 DTSTART:20141030T180000 GEO:40.74975;-74.003741 LOCATION:Alexander Gray Associates\,508 West 26 Street #215 \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Solo Exhibition\, Melvin Edwards UID:360262 END:VEVENT BEGIN:VEVENT DESCRIPTION:



Thursday\, October 2 t hrough Saturday\, November 12\, 2014


A selection of large and small scaled paintings in the first New York exhibition of John Walker's work si nce his 2011 show at Knoedler Gallery.


Illustrated catalogue availa ble.

DTEND:20141112 DTSTAMP:20141101T102223 DTSTART:20141002 GEO:40.762227;-73.971964 LOCATION:Alexandre Gallery\,Fuller Building 41 East 57th Street\, 13th Floo r\nNew York\, NY 10022 SEQUENCE:0 SUMMARY:JOHN WALKER: Recent Paintings\, John Walker UID:354814 END:VEVENT BEGIN:VEVENT DTEND:20141002T193000 DTSTAMP:20141101T102223 DTSTART:20141002T173000 GEO:40.762227;-73.971964 LOCATION:Alexandre Gallery\,Fuller Building 41 East 57th Street\, 13th Floo r\nNew York\, NY 10022 SEQUENCE:0 SUMMARY:JOHN WALKER: Recent Paintings\, John Walker UID:354815 END:VEVENT BEGIN:VEVENT DESCRIPTION:

For the greater part of the 20 th Century\, companies that controlled the lion&rsquo\;s share of markets g ot there by joining partnerships and forming associations as a way to reduc e transaction costs below market price\, but recently the developed world e xperienced a shift in prevailing management theories. Technology can now en able workers to create professional networks and collaborate outside of big business. Labor has found more ways to work in the open market while busin esses are getting smaller and working with a growing number of freelancers.


A professional website plays a signi ficant role in the costs associated with marketing one&rsquo\;s skills and experience. The act of maintaining an online presence requires a constant n egotiation between participation in a centralized network and internal grow th by way of a personal website more representative of one's skill set and brand. Technical obsolescence and security play a big part in how much work goes into building a website. Sometimes it can contribute to your sense of comfort and well-being\, but sometimes it can be unhealthy.


Content management systems (frequently abbreviated as CMS) are built on a database wherein the layout of a site can be manipul ated independently from its content. Using software formerly available only to corporations that could afford it\, sites built using CMS are now proli ferated by volunteer programmers.


Th e ubiquity of CMS has given rise to the template industry\, which\, fueled by ad revenue\, makes it viable for unsupported templates to be downloaded and integrated.


The dynamic nature of the technology supply chain can result in sites becoming unsupported acros s browser platforms and vulnerable to being infected by malicious attacks. The more shortcuts that go into making a site look professional the more ch ances exist for it's form to be compromised. The result is beautiful. I can only compare it to gardening. The wild can take over fast. The goal is to help it achieve the majesty of an ancient forest\, with a canopy and an und erstory and vista from which to gaze.


Joel Holmberg (b. 1982 in Bethesda\, MD) lives and works in New York\, NY. He has previously exhibited at Cleopatra&rsquo\;s\, Brook lyn\, NY\; Foxy Production\, New York\, NY\; Ullen s Center for Contemporary Art\, Beijing\, CN\; New Museum< /strong>\, New York\, NY\; Outpost\, Norwich\, UK\; The Museum of the Moving Image\, New York\, NY\; The 9th Shanghai Biennale\, Shanghai\, CN\, W139 in Amst erdam\, NL\, The Sundance Film Festival\, Park City\, UT\, Espace Gantner\, Belfort\, FR\, and Kettles Yard< /strong>\, Cambridge\, UK. His most recent solo exhibition was the inaugura l exhibition at Harmony Murphy Gallery\, Los Angeles\, CA. He is a member of the web based collective Nasty Nets and studied at Virgi nia Commonwealth University\, Richmond\, VA and Yale University\, New Haven \, CT.

DTEND:20141219 DTSTAMP:20141101T102223 DTSTART:20141030 GEO:40.725623;-73.991532 LOCATION:American Contemporary\,4 East 2nd Street \nNew York\, NY 10003 SEQUENCE:0 SUMMARY:You Line\, Joel Holmberg UID:362548 END:VEVENT BEGIN:VEVENT DTEND:20141030T200000 DTSTAMP:20141101T102223 DTSTART:20141030T180000 GEO:40.725623;-73.991532 LOCATION:American Contemporary\,4 East 2nd Street \nNew York\, NY 10003 SEQUENCE:0 SUMMARY:You Line\, Joel Holmberg UID:362549 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:20141101T102223 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:20141101T102223 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:20141101T102223 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:20141101T102223 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:

Andrea Rosen Gallery is please d to present a three-person exhibition of Martha Rosler\, Borna Sammak and Michael St. John. Looking to and pulling from the urban\, social and cultur al landscape\, these three distinct trajectories uniquely address matters i ntrinsic to the urban environment and the public sphere. While retaining hi s or her own unique territory\, each individual artist&rsquo\;s work reveal s a critical awareness\, empathy\, and responsibility to the world in which we live. Juxtaposing the different strategies and methods employed by each artist to confront the landscape of the present will hopefully provide new perspectives that can enrich and deepen our understanding of these artists &rsquo\; works. \;


Martha Rosler& rsquo\;s distinct bodies of work within the gallery offer different approac hes to the representation of familiar urban spaces. In her seminal work The Bowery in two inadequate descriptive systems (1974/75)\, a grid o f 24 texts and images conjoins a photographic and a linguistic system to re present an iconic Skid Row district inhabited by alcoholics and transients (and\, invisibly\, a few loft-dwelling artists). Rather than showing us the usual subjects of documentary\, Rosler depicts the Bowery through a series of unpopulated storefronts and sidewalks with empty bottles and other detr itus\, alongside a variety of metaphoric words and phrases used to describe drunkenness and drunks. But even together\, the deadpan images and the far more poetic words\, rather than &ldquo\;capturing&rdquo\; the realities of dispossession and degradation\, point to the neglected questions of social relations and ethics involved in the photographic exchange.


Selections from Rosler&rsquo\;s photo series Tr ansitions and Digressions evoke aspects of ordinary life in commercial districts where shop windows provide visions of society we observe but rar ely bother to process. Her video diptych\, Bowery Highlights (2008)\, retur ns to the site of her earlier work but generates a second report through th e juxtaposition of photographs and real estate documents\, rooflines and ce rtificates of occupancy\, displaying the radical ascent up the social scale of the residents of the area and the conversion of the living spaces of ea rlier eras.


Engaging a constant inter play with the contemporary cultural climate\, Michael St. John&rsquo\;s wor k continues to recalibrate and address a growing circuit of visual informat ion. In creating this particular body of work\, St. John reflects on notion s of disaster\, nihilism\, murder\, guns\, joblessness/economy\, indifferen ce/tragedy\, narcissism\, institutional racism\, and mayhem - each either o vertly\, or discretely embed within the layers of his compositions. Here ne wspaper clippings\, found images\, fragmented language and everyday objects aggregate into captivating collaged portraits of the world at present &nda sh\; the US incarceration system\, Hell Yeah Tumblr sites\, domestic violen ce month &ndash\; emphasizing an immediacy of content and material\, and sp eaking to numerous trajectories within art history. Underlying its visceral humor and clever nods to mass culture\, however\, St. John&rsquo\;s work e mbodies a proactivity that speaks of a devotion and responsibility to a gen eration of overwhelming content and information. &ldquo\;At some point the world became too urgent to ignore\,&rdquo\; states St. John. And this urgen cy is continually reflected in his multivalent works\, complex juxtapositio ns and influential gestures that allows a viewer to see the world with both greater complexity and clarity.


Draw ing from a social garbage can\, Borna Sammak reins a safari of contemporary visual content within his multi-media compositions. Using cultural product s as raw material\, his works present uncannily affective juxtapositions of objects and information\, excerpted and extracted from their functional co ntemporary contexts\, and rearranged in new and arresting formations. Abstr acted signage is penetrated by a commercial flag - &ldquo\;BUY HERE PAY HER E.&rdquo\; Paintings tangled with heat press t-shirt decals and dense embro idery present raucous and refined collages of stock imagery and digital des igns. Endlessly amassed video content from the internet cut and pared down for their color\, movement and form\, create what is ultimately a celebrato ry canvas\, with each clip refined to a pixel-bound brush stroke. By wrench ing information free from its contextual foundation\, Sammak engages in a c ontinuous play with form\, subject and content\, that encourages viewing th e everyday anew.


Martha R osler was born in Brooklyn\, New York\, where she lives and works. She is widely regarded as one of the most influential artists of her gener ation\, one whose artistic practice\, teaching\, and writing continue to in fluence succeeding generations. Her work has been exhibited in "Documenta 7 \," Kassel\; several Whitney biennials\; at the New Museum\, NY\; the Insti tute of Contemporary Art\, London\; the Museum of Modern Art\, New York\; t he Dia Center for the Arts\, New York\; and many other international venues . Her work is in the collections of major international museums\, including the Metropolitan Museum\, the Whitney Museum\, the Museum of Modern Art\, and the Guggenheim in New York\, the Art Institute of Chicago\, the San Fra ncisco Museum of Modern Art\, the Art Gallery of Ontario\, Victoria and Alb ert Museum in London\, among many others. A solo exhibition of her Meta-Mon umental Garage Sale was held at the MoMA\, NY in 2012. Her writing has been published widely in catalogues and magazines\, and she has published 14 bo oks\, in several languages\, of photographs\, texts\, and commentary\, as w ell as lectured widely\, both nationally and internationally.


Michael St. John lives a nd works in Sheffield\, Massachusetts. This will be St. John's 13th solo ex hibition in New York since 1990\, including a recent exhibition at Karma in 2013\, for which a major monograph was concurrently published. He has been included in numerous group exhibitions across the U.S.. Along with an exte nsive resume of curatorships\, St. John has held numerous teaching position s\, including the position as an adjunct professor at New York University s ince 1994.


Borna Sam mak lives and works in Brooklyn\, NY. Recent exhibitions include a solo presentation at JTT\, New York\, and a two-person exhibition with Ale x De Corte at Oko\, New York organized by Alison Gingeras. Sammak has been included in numerous group exhibitions\, such as DSM-V\, curated by David R imanelli and presented by Vito Schnabel in The Future Moynihan Station\, Ne w York. In 2009\, a public exhibition of select video paintings by Sammak\, organized together with curator Thomas McDonell\, was conceived at the Bes t Buy on Broadway in New York.

DTEND:20141206 DTSTAMP:20141101T102223 DTSTART:20141031 GEO:40.749185;-74.005023 LOCATION:Andrea Rosen Gallery\,525 W.24th St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Group Exhibition\, Michael St. John\, Borna Sammak\, Martha Rosler UID:360263 END:VEVENT BEGIN:VEVENT DTEND:20141030T200000 DTSTAMP:20141101T102223 DTSTART:20141030T180000 GEO:40.749185;-74.005023 LOCATION:Andrea Rosen Gallery\,525 W.24th St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Group Exhibition\, Martha Rosler\, Borna Sammak\, Michael St. John UID:360264 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Andrea Rosen Gallery is please d to present a three-person exhibition of Magali Reus\, Bill Bollinger and John Divola. Shifting away from the supremacy of a single object\, each art ist here acknowledges a more phenomenological experience of material and fo rm. Through strengthening material vernaculars\, there is a distinct presen ce of the body indicated within each of the artists&rsquo\; works that desc ribes both a presence of artist and viewer\, as well as the encounter of ma terial as vessel for meaning. This juxtaposition of unique trajectories is a way to not only contextualize work being made now within the established field of contemporary art\, but also a way of showing how artists like Divo la and Bollinger remain a vital part of the discourse.


Approximating the scale and basic materiality of fridge a nd freezer units\, Magali Reus&rsquo\; sculptures\, Lukes\, as tit led &ldquo\;bodies\,&rdquo\; combine in anthropomorphic fashion. Stripped o f their supposed functionality\, these hand-activated vessels of skewed rec tangular form deflect our familiarity with an object coded by domesticity\, instead offering themselves as hosts in which smaller\, more materially lu xurious compositions play out. Their skins are phosphate clad\, cast concre te\, milky raspberry coated &ndash\; and interior\, a printed fleece blanke t\, strewn packets of mustard condiment\, a single flattened white knife&nb sp\; &ndash\; deftly confusing binaries of the human and the mechanical. Ma de with industrial finishes and contemporary processes\, the resulting work s puzzle human relationships to inanimate matter and their intended functio ns. The collision of material preservation and more internalized alchemical detail exposes Reus&rsquo\; relationship to object making as one which com municates the universal meanings embedded within all materials\, but also t he transformative strategies we use to mobilize the everyday. \;

\n< p style="text-align: justify\;">Focused on the gesture of construction\, an d the physical limits and nature of material\, Bill Bollinger too sought to expand experience and perception of materiality and commodity. Graphit e Piece\, first shown in January of 1969\, divides the gallery into tw o defined spaces of dark and light planes. Traces of the graphite powder du sted between the floor and wall illicit the sweeping gestural distribution of material\, the physical performance of construction\, while simultaneous ly communicating an opaque sense of openness and expandability so crucial t o the artist in each carnation.


Two p hotographs from John Divola&rsquo\;s &ldquo\;Dark Star&rdquo\; series accen tuate a delicate balance of creation and destruction. Resembling a full sto p or black hole\, Divola&rsquo\;s spray painted circles\, almost as lesions upon the interior walls of a derelict abandoned space\, add both a lethal mark to a sinister image of utter abandonment\, as well as accentuate the s ignificance and weight of a single material gesture enacted by the artist u pon a chosen ground. Engaging two performative mediums\, of painting and ph otography\, Divola&rsquo\;s evident participation within such spaces transc ends a process of observation or means of documentation\, and reflects a mo re visceral material involvement.

Bill Bollinger (1940-1988) originally studied aeronautical engineering at Brown Univer sity and turned to art when he moved to New York City in 1961. His work was included in some of the most historically important exhibitions of the 196 0s\, including Live in Your Head: When Attitudes Become Form (Kuns thalle Bern\, 1969)\; Anti-Illusion: Procedures/Materials (Whitney Museum of American Art\, 1969)\; Nine at Leo Castelli(Castelli Wa rehouse\, 1969)\; Information (Museum of Modern Art\, 1970) and th e Whitney Museum Annual of 1971 and Biennial of 1973. His oeuvre was recent ly recognized by a international traveling retrospective at the Kunstmuseum Liechtenstein\; the ZKM Zentrum fur Kunst und Medientechnologie\, Karlsruh e\; The Fruitmarket Gallery\, Edinburgh\; and The ScultureCenter\, New York .


John Divola was bo rn in Venice\, California in 1949. His work has been exhibited in key histo rical exhibitions such as John Szarkowski&rsquo\;s Mirrors and Windows: Ame rican Photography since 1960 at The Museum of Modern Art (1978)\, The Whitn ey Biennial at the Whitney Museum of American Art (1981) and most recently\ , Under the Big Black Sun: California Art 1974-1981 at the Museum of Contem porary Art\, Los Angeles (2010). His work is in the public collections of T he Museum of Modern Art\, The Whitney Museum of American Art and the Metrop olitan Museum of Art in New York\; The Museum of Contemporary Art\, The Get ty Museum and the Los Angeles County Museum of Art in Los Angeles\; San Fra ncisco Museum of Modern Art\, San Francisco\; The Smithsonian American Art Museum in Washington\, D.C.\; The Centre Pompidou\, Paris and The Victoria and Albert Museum\, London among many others. He is a recipient of multiple National Endowment for the Arts Photography Fellowships as well as a John Simon Guggenheim Memorial Fellowship.


Magali Reus was born in 1981 in Den Haag\, The Netherland s\, and currently lives and works in London. Reus&rsquo\; recent solo shows include DINOSAURS at Circuit\, Lausanne\; In Lukes and Dregs< /em>\; The Approach\, London (both 2014)\; Highly Liquid\, Galerie Fons Welters\, Amsterdam (2013)\, Background\, La Salle de bains\ , Lyon and IBID Projects\, London (2009). She has been included in recent g roup exhibitions at Fridericianum\, Kassel\; Kestnergesellschaft\, Hannover \; Kunstmuseum St Gallen\; David Roberts Art Foundation\, London\; ZERO\, M ilan and De Hallen\, Haarlem (all 2014). \; Her work has been shown in screenings at Tate Britain\, London\; ICA\, London\; Turner Contemporary\, Margate\; MK Gallery\, Milton Keynes\; Cornerhouse\, Manchester\; Tramway\, Glasgow (all 2014) and Oberhausen Film Festival (2013). She has forthcomin g solo exhibitions at SculptureCenter\, New York\, The Hepworth Wakefield a nd Fondazione Sandretto RE Rebaudengo\, Turin (all 2015)\, as well as an up coming group show at LUMA Foundation\, Zü\;rich.

DTEND:20141206 DTSTAMP:20141101T102223 DTSTART:20141031 GEO:40.749177;-74.0058861 LOCATION:Andrea Rosen Gallery 2\,544 West 24th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Group Exhibition\, Bill Bollinger\, John Divola\, Magali Reus UID:360265 END:VEVENT BEGIN:VEVENT DTEND:20141030T200000 DTSTAMP:20141101T102223 DTSTART:20141030T180000 GEO:40.749177;-74.0058861 LOCATION:Andrea Rosen Gallery 2\,544 West 24th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Group Exhibition\, Bill Bollinger\, John Divola\, Magali Reus UID:360266 END:VEVENT BEGIN:VEVENT DESCRIPTION:

It is our great pleasure to announce the representation and first exhibition of New York painter Chris Martin at Anton Kern Gallery. Hi s first show will consist of a selection of new paintings created over the past summer in upstate New York. These works\, as the writer Bob Nickas des cribes them in the accompanying book\, present "sun-dried paintings and gli tter in the rain."
Martin\, whose career spans over three decades\, co ntinues to create bold\, glittering paintings\, each animated by undulating forms\, radiating landscapes\, and electric hues. Despite their immediate spectacle and immense scale (he connects canvases together to produce sever al of these larger works)\, the paintings exude a human grounded-ness that seems to stem directly from Martin&rsquo\;s connection to nature\, rock &am p\; roll\, street art\, and a dedication to material experimentation.
Nothing and everything is sacred: Martin&rsquo\;s abstract forms offer a s ense of mystical clairvoyance condensed into the profane\, or vice versa. T he paintings present a mesmerizing collision of formal geometries and diagr am-like grids with cut-outs of dead pop stars\, flashy cars\, old records b uried under layers of paint\, and large amounts of holographic glitter (pro duced specifically for showgirls in Las Vegas). Consequently\, Chris Martin s paintings prove to be masterfully ambidextrous\; one is able to fully exp erience their presence from a great distance or up-close\, indoors or outdo ors\, in a state of spiritual transcendence or casual play.


Chris M artin has continuously exhibited in US and European galleries since the 198 0s. His work has recently been presented in solo shows at the Kunsthalle D& uuml\;sseldorf\, Dü\;sseldorf\, Germany\; The Corcoran Gallery of Art\, Washington D.C. (both 2011)\; and the Nerman Museum\, Kansas City\, KS (20 09). The work has also been included in group shows at the Museum Boijmans Van Beuningen\, Rotterdam\, The Netherlands (2013)\; Kunstmuseum Dü\;ss eldorf\, Dü\;sseldorf\, Germany (2011)\; Richmond Center for Visual Art s\, Western Michigan University\, Kalamazoo\, MI (2008)\; American Academy of Arts and Letters\, New York\, NY (2006)\; P.S.1\, Long Island City\, NY (2005)\; Karl
Ernst Osthaus Museum\, Hagen\, Germany (2004)\; Newhous e Center for Contemporary Art\, Staten Island\, NY (2004)\; Weatherspoon Ar t Gallery\, University of North Carolina\, NC (1998)\; The Denver Museum\, Denver\, CO (1991)\; La Jolla Museum of Contemporary Art\, California\, CA (1989)\; and The Brooklyn Museum\, Brooklyn\, NY (1988). Martin lives and w orks in Brooklyn and upstate New York.


* A new monograph Chris Mart in\, published by Karma and Anton Kern Gallery will accompany the exhibitio n including a conversation with Bob Nickas and the artist.

DTEND:20141115 DTSTAMP:20141101T102223 DTSTART:20141009 GEO:40.7463808;-74.007077 LOCATION:Anton Kern Gallery\,532 West 20th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Solo Exhibition\, Chris Martin UID:357740 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The exhibition features five landscapes from the permanent c ollection painted by George Inness between 1860 and 1882. These stunning wo rks of art reveal the artist&rsquo\;s diverse painting methods and approach es during the middle of his career&mdash\;from detailed depictions of natur e to gestural brushwork and vague landscapes. His paintings\, often referre d to as Tonalist\, were deeply influenced by the spiritual teachings of Ema nuel Swedenborg.

DTEND:20150104 DTSTAMP:20141101T102223 DTSTART:20140607 GEO:42.907359;-74.572002 LOCATION:Arkell Museum\,2 Erie Boulevard \nCanajoharie\, NY 13317 SEQUENCE:0 SUMMARY:The Arkell Collection\, George Inness UID:334448 END:VEVENT BEGIN:VEVENT DTEND:20140607T170000 DTSTAMP:20141101T102223 DTSTART:20140607T123000 GEO:42.907359;-74.572002 LOCATION:Arkell Museum\,2 Erie Boulevard \nCanajoharie\, NY 13317 SEQUENCE:0 SUMMARY:The Arkell Collection\, George Inness UID:334449 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Bartlett Arkell purchased and donated 20 Winslow Homer works to the Canajoharie Art Gallery. These watercolors and oil paintings\, alon g with other Homer works Arkell acquired for his personal collection will b e reunited for this exhibition that opens at the Fenimore Art Museum and th en returns for a big celebration at the Arkell Museum in the fall 2014. The se works span Homer's career from his first works in oil\, to his first wat ercolors up to his fantastic marine painting at Prount's Neck\, Maine "Watc hing the Breakers--A High Sea."

DTEND:20150104 DTSTAMP:20141101T102223 DTSTART:20140902 GEO:42.907359;-74.572002 LOCATION:Arkell Museum\,2 Erie Boulevard \nCanajoharie\, NY 13317 SEQUENCE:0 SUMMARY:Winslow Homer: The Nature and Rhythm of Life from the Arkell Collec tions\, Winslow Homer UID:351586 END:VEVENT END:VCALENDAR