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303 Gallery is pleased to present our third exhibition of new work by Valentin Carron.

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A man comes home fr om a day at work\, removes his belt\, and throws it onto a stool. The belt unfurls itself coming to rest dangling from the stool\, frozen in the insip id elegance of the gestural. \; In the work of Valentin Carron\, this e veryday apologue becomes a series of assemblage sculptures consisting of ex quisite glass casts of men's belts tossed onto pieces of found furniture. E xisting in the strange interstice between the domestic and the sacred\, the se tableaux appear charged with a familiarly disorienting emptiness. The to rsion in the pseudo-baroque elegance of the belts is now cast in glass\, fr eezing and robbing them of their potential poetry. They billow onto their d e facto prefab pedestals\, abject scraps of consumerism acting as supports in Carron's allegorically imbued still lives. The belts themselves become m onuments for the delicate and insidious skein of masculinity in the face of a designed world. Man becomes vulnerable to his surroundings\, to failure\ , to repeating the same gesture again and again. He is interred into a nego tiation between his Nietzschean virility and the self-effacing dead end of the functional.

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In a series of painti ngs\, Carron mines the vernacular of modernist banality and its psychic\, e motional\, and behavioral implications. Details of found motifs selected fr om the covers and spines of industrially produced cloth and leather-bound b ooks of the western postwar period are projected onto PVC tarpaulin and pai nted with vinyl ink. These motifs were meant to inspire and evoke the abstr act promise of the future\, a promise as yet unrealized. Though there is a nobility in the optimism of using formal means to translate a mass-produced consciousness\, in the face of reality it is impossible not to see them th rough the lens of pathos. Even the process itself flattens the dimensionali ty of what is traditionally thought of as "painterly\," rendering with pung ent desolation these contemporary hieroglyphs of failure.

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Valentin Carron lives and works in Martigny\, Switzerl and\, where he was born in 1977. In 2013 he represented Switzerland at the 55th Venice Biennale. Major presentations of his works were realized at Kun sthalle Bern (2014)\, Palais de Tokyo Paris (2010)\, Kunsthalle Zü\;ric h (2007)\, Swiss Institute New York (2006)\, Centre d'Art Contemporain Gene va (2004)\, Chisenhale Gallery London (2006) and Mamco Geneva (2001). Catal ogues were published on the occasion of Carron's exhibition at the Swiss Pa vilion 55th International Venice Biennale (JRP/Ringier) and his recent solo exhibition at Kunsthalle Bern. A monograph of the artist's work was publis hed by JRP/Ringier in 2011.

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303 Galle ry represents the work of Doug Aitken\, Valentin Carron\, Hans-Peter Feldma nn\, Ceal Floyer\, Karel Funk\, Maureen Gallace\, Tim Gardner\, Dominique G onzalez-Foerster\, Kim Gordon\, Rodney Graham\, Mary Heilmann\, Jeppe Hein\ , Jens Hoffmann\, Larry Johnson\, Matt Johnson\, Jacob Kassay\, Karen Kilim nik\, Alicja Kwade\, Elad Lassry\, Florian Maier-Aichen\, Nick Mauss\, Mike Nelson\, Kristin Oppenheim\, Eva Rothschild\, Collier Schorr\, Stephen Sho re\, Sue Williams\, Jane and Louise Wilson\,

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303 Gallery is open Tuesday-Saturday from 10 am - 6 pm. For further information please visit us at www.303gallery.com or contact Cristian Alex a\, Kathryn Erdman\, Thomas Arsac or Erika Weiss.

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DTEND:20141220 DTSTAMP:20141220T234701 DTSTART:20141106 GEO:40.7485947;-74.0041953 LOCATION:303 Gallery\,507 West 24th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Music is a s-s-serious thing\, Valentin Carron UID:361768 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Artist Dan Graham's photography collection which he traded w ith his artist friends.

DTEND:20150214 DTSTAMP:20141220T234701 DTSTART:20141119 GEO:40.716943;-73.997372 LOCATION:3A Gallery\,179 Canal Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Dan Graham Collection\, Nobuyoshi Araki\, Barbara Ess\, Darcy Lange \, Wolfgang Tillmans\, Jeff Wall UID:364919 END:VEVENT BEGIN:VEVENT DTEND:20141119T200000 DTSTAMP:20141220T234701 DTSTART:20141119T180000 GEO:40.716943;-73.997372 LOCATION:3A Gallery\,179 Canal Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Dan Graham Collection\, Nobuyoshi Araki\, Barbara Ess\, Darcy Lange \, Wolfgang Tillmans\, Jeff Wall UID:364920 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Like many other people\, Amy L ien and Enzo Camacho\, who have been collaborating for several years\, are based between two or more distant places\, meaning that whether they like i t or not\, they are separated from where they still think they might belong . This can be seen as the root cause of a productive form of anxiety\, or i t might also be a total waste of time. Either way\, certain emergent phenom ena can easily become magnified by an alienated imagination.

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The call centers mushrooming all over the sprawling urban fabric of Metro Manila have unleashed a dazzling chain of analogies. The artists have been perambulating around this industry and its issues si nce 2010\, when the Philippines superseded India as the leading nation in b usiness process outsourcing. The districts in Metro Manila where these comp anies have built their offices have taken on a distinct flavor of banality\ , swarmed by 24-hour eating and drinking establishments that cater to those working zombie shifts on Eastern Standard or some other Time. When enterin g the workplace\, the employees are stripped of their cell phones and enter into a predictable arrangement of fluorescent-lit hallways\, rooms\, \ ; and cubicles. When they dribble out of these buildings\, on a cigarette b reak or to buy a pack of gum or French fries\, they exude a particular teet h-chattery energy\, an upper high. This is what an upgrade in sovereign cre dit rating looks like at ground level. Being amongst thousands of youthful bodies milling around strip malls and back alleyways in the early morning h ours\, leaking nervous cigarette breath into the hot night air and chatteri ng idly before returning to work\, the two artists felt a vicarious buzz\, a fear of missing out.

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Did you hear a bout the call center sex tape? Or the notorious Telecommunications company BBQ transvestite beauty pageant talent show? Did they tell you how Filipino s have friendly voices but low critical problem solving abilities due to an over-eagerness to please and subsequently pretending to understand things that they actually don&rsquo\;t? That they gossip way too much? That they p refer being paid in bags of rice? In the Filipino comedy Call Center Gi rl\, a middle aged OFW (Overseas Filipino Worker) returns home from a career on a cruise ship and\, in order to redeem her relationship with her neglected adult daughter\, joins the same call center where she works\, and seduces their mutual team leader in order to pawn him off onto her. Distor tion makes the facts more titillating. Hidden cameras catch leaks at low re s.

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Is &ldquo\;internet savvy youth&rd quo\; an international concept? While the so called eighty-nine or digital natives databasing project aggregates consensus\, cheaply institutionalizin g its investments\, the call center phenomenon of the Philippines says this : There is an emergent population of young\, English-fluent\, technology-li terate\, newly solvent\, upbeat laborers who don&rsquo\;t feel the pressure to leave the country to support their families\, but internalize the West to meet its service expectations. The lurkers in the shadows\, Amy and Enzo are turned on by their heat.

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Returni ng to NY together for the first time since 2011\, scanning the city by nigh t\, their eyes were drawn\, in a sliding\, lenticular\, double recognition\ , to the most beautiful person they&rsquo\;d ever encountered\, who recipro cated the gaze\, and immediately became a fixation. Fluorescent lighting ma de his complexion luminous. He worked for a vanguard fashion/social media p latform\, but also for himself\, and cultivated an attitude accordingly. He would soon begin monopolizing their nights and seeping into their early mo rning dreams\, with conversations drenched in whiskey and hot pot\, reverbe rating dramatic nights out in Manila but refracted through the patois of ed gy NY youth marketing. This is a love that gets ditched at the Thai restaur ant because he left the proverbial stove on. This is a love that demands to remain an unrequited fantasy\, triangulated to maintain its momentum\, to burn in perpetuity.

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This is a show de dicated to those subjects that pour out into the night\, to seek love in wo rk in wasting time in race/class/gender/globalization.

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Amy Lien (b. 1987) &\; Enzo Camacho (b. 1985) are collaborating artists. They have staged recent solo exhibitions at Mathew G allery (Berlin\, Germany)\, MoSpace (Taguig\, Philippines)\, Pablo Fort (Ta guig\, Philippines) and Republikha Art Gallery\, (Quezon City\, Philippines ). They will participate in a six month residency as artists/curators at Gl uck 50 (Milan\, Italy) starting in January 2015. This is their second solo exhibition at 47 Canal.

DTEND:20141221 DTSTAMP:20141220T234701 DTSTART:20141108 GEO:40.7174289;-73.9921681 LOCATION:47 Canal\,291 Grand Street 2nd floor\nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Leak Light Time Heat\, Amy Lien\, Enzo Camacho UID:365805 END:VEVENT BEGIN:VEVENT DESCRIPTION:

When describing Diana Copperwh ite&rsquo\;s work Colm Toibin wrote:

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&ldquo\;Her work is about painting first and foremost\; [these] referen ces merely serve a purpose. \; Thus digital images which freeze and fra gment an original image fascinate her\, but such images in themselves are n ot enough\, they provide a way into the painting. \; It is their visual ity which inspires rather than any precise sense of a blurred or fragmented reality. \; \; Because she physically likes making paintings\, eve rything is subservient to what paint will achieve.&rdquo\;

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Copperwhite makes paintings that move fluidly be tween representation and abstraction. Photographs\, montage and assemblage all aid the process and become ancillary works that pin down fleeting thoug hts\, glimpses and reactions to a media saturated age. \; Her interests and sources are eclectic and wide ranging\, from social media to philosoph ical debate to art historical references. \; Yet\, as Toibin points out \, her paintings are no more about the image than they are about the proces s of painting itself. \; Her work is phenomenological in that momentari ly emotional responses override the need to capture reality. \; Somethi ng has piqued her interest and from that initial interest she thinks in col our\, in tone\, and texture\, in setting herself a visual problem to which there is no single definitive solution. \; Her palette is composed of m urky undertones punctuated by bright neon rifts. The fluidity and expressiv eness of the painting gives little hint of the rigorous and formal abstract principles applied to the making.

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Di ana Copperwhite studied Fine Art Painting at Limerick School of Art and Des ign and the National College of Art and Design\, Dublin. She completed an M FA at Winchestor School of Art\, Barcelona in 2000. \; Diana is a tutor at the National College of Art and Design\,Dublin. \; Her work is in t he collection of the Irish Museum of Modern Art and the Arts Council of Ire land\, and also in collections in the United States\, Europe and Australia.

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The writer Colm Toibin is currently Irene and Sidney B Silverman Professor of Humanities at Columbia University . \; He is an IMPAC Dublin Literary Award prizewinner\, and has appeare d on the Booker shortlist\, most recently in 2013 for his play the Testamen t of Mary.

DTEND:20150110 DTSTAMP:20141220T234701 DTSTART:20141113 GEO:40.749403;-74.004838 LOCATION:532 Gallery Thomas Jaeckel\,532 W. 25th Street \nNew York\, NY 100 01 SEQUENCE:0 SUMMARY:Shadowland\, Diana Copperwhite UID:360425 END:VEVENT BEGIN:VEVENT DESCRIPTION:

PETER BLUME (1906-1992)

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November 6\, 2014 through January 31\, 2015

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ACA Galleries is pleased to announce the upco ming exhibition\, PETER BLUME (1906-1992)\,on view November 6\, 201 4 through January 31\, 2015. \; The exhibition will feature pa intings\, drawings and sculpture from the artist&rsquo\;s estate.  \;\n

Concurrent with the ACA Galleries exhibition is the firstPeter Blume retrospective since 1976\, Nature and Metamorphosis\, organized by the Pennsylvania Academy of the Fine Arts (PAFA) \, Philadelphia (November 14\, 2014 &ndash\; April 5\, 201 5). \; This exhibition will travel to the Wadsworth At henaeum\, Hartford\, CT (June 27 &ndash\; September 20\, 2 015). \; Catalogue will be available.  \; \;

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P eter Blume&rsquo\;s modernism embodies the clashing contradictions of the 2 0th Century: abstract complexities with nostalgia for a simpler past\; the rush of urban living with the yearning for a lost pastoral life\; the cold reality of politics with the quest for spiritual meaning in a world ravaged by two world wars and a ruinous economic depression.  \;By embracing t he irreconcilable\, Blume transcends Modernist art&rsquo\;s conventional as pirations to re-define order in a chaotic world.  \;His oeuvre is metam orphosis itself\, a realm where paradox rules.  \;Within that clash Blu me found profound meaning and sublime beauty.

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Blume&rsquo\;s deep k nowledge of art history holds these disparate elements together.  \;We see the elegance of Renaissance rendering\, the balance and figurative perf ection of Classical antiquity\, the rule-breaking energy of Modernism\, and the spontaneity of folk art.  \;The latter reflects his Russian Jewish roots and his embrace of the culture of his adopted land\, America.  \ ;Together with his understanding of the emotional properties of color\, the structural backbone of architecture\, and the physicality of sculpture\, B lume was able to corral these elements into a surreal narrative.  \;&nb sp\;

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Adding richness to Blume&rsquo\;s already complex mix of influ ences was his involvement with metaphysical experimentation.  \;His int erest in Automatism and &ldquo\;automatic writing&rdquo\; found its way int o his preliminary studies for paintings and his works on paper in particula r\, where he allowed his hand to move spontaneously across a surface.   \;The results are dynamic works of flowing lines and exciting shapes existi ng in metaphysical tension\, where the physical facts of the world meet the whispered secrets of the mind and spirit.

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In a life that spanned n early the entirety of the 20th Century\, Blume&rsquo\;s art recorded not th e dry facts of that century but the soul of it\, its struggles against inco mprehensible violence\, and its triumphs of survival over man-made madness. This achievement won Blume critical acclaim throughout his career\, winnin g a Guggenheim Fellowship and the Carnegie International Prize in the 1930s . \; His work is represented in major public and private collections in cluding The Metropolitan Museum of Art\, Museum of Modern Art\, and The Whi tney Museum of American Art in New York\; the Smithsonian Institution of Am erican Art in D.C.\; Carnegie Museum of Art in Pittsburgh\; Museum of Fine Arts in Boston and the Art Institute of Chicago\, among others.

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&nb sp\; \;

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For additional information and images\, contact

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Mikaela Sardo Lamarch e

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curator@acagalleries.com

DTEND:20150131 DTSTAMP:20141220T234701 DTSTART:20141106 GEO:40.7452665;-74.0083239 LOCATION:ACA Galleries\, Est 1932\,529 West 20th Street (5th floor) bt 10th and 11th Ave\nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Peter Blume (1906-1992): Paintings\, Sculpture and Works on Paper\, Peter Blume UID:364430 END:VEVENT BEGIN:VEVENT DTEND:20141106T200000 DTSTAMP:20141220T234701 DTSTART:20141106T180000 GEO:40.7452665;-74.0083239 LOCATION:ACA Galleries\, Est 1932\,529 West 20th Street (5th floor) bt 10th and 11th Ave\nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Peter Blume (1906-1992): Paintings\, Sculpture and Works on Paper\, Peter Blume UID:364431 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Aicon Gallery \;is prou d to present \;Semblance of Order\, a traveling exhibition pro moting Australian and Pakistani art and artists across borders and platform s with cross-cultural collaboration at its core. The exhibition \;is&nb sp\;the result of an international artists' residency program delivered in partnership between Parramatta Artists Studios \;and Cicada Press\, Uni versity of New South Wales Art and Design\, Sydney\, Australia.

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Semblance of Order \;presents an array of etchings and silkscreen prints that demonstrate the artists' desire to exte nd beyond replication and explore the creative possibilities of their pract ices and the medium. The artworks mediate notions of cultural translation: subject/object\, original/translation\, center/margin\, personal/communal\, textual/visual\, and artist/printer. Through mark making\, erasure\, repet ition\, layering\, labor\, doubling\, and deconstruction\, the artists push the conceptual and technical discourse of printmaking. The results are con ceptually rich and technically challenging\, underlined with humor and iron y: a visual poetry of disorder and order. \;Featuring the work of five artists\, the exhibition has traveled from Parramatta Artists Studios\, Syd ney to Koel Gallery\, Karachi\, with its premier in the United States hoste d by Aicon Gallery\, New York. \;

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Born in Karachi\, Pakistan (1966)  \;Roohi S. Ahmed \;is a multi-disciplinary artist who lives and works in Karachi\, Pakistan. Ahmed is an Associate Professor at t he Indus Valley School of Arts and Architecture\, Karachi\, and lectured at the University of Karachi's Visual Studies Department and COFA UNSW. She h as exhibited widely internationally. Ahmed was the recipient of the UNSW's International Postgraduate Research Scholarship in 2011. \;
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Michael Kemp son \;is currently Head of Printmaking and Director of Cicada Press\, a research based custom printing workshop\, at COFA UNSW\, Sydney\, Australia. As an artist Kempson has had a total of 27 solo exhibitions and numerous international group exhibitions\, with representation in the Nati onal Gallery of Australia and many state\, regional\, university and corpor ate collections. Kempson also curated an Australian component representing COFA UNSW\, the first international art school invited to the 11th Annual P rintmaking Exhibition and Conference for Chinese Academies and Colleges at Guangzhou Academy of Fine Art (2012).

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Born in Calif ornia\, USA (1978) and raised in \;Israel\, \;Ben Rak \ ;is an artist\, educator and independent curator. He presently wor ks and lives in Sydney\, Australia\, where he lectures at COFA UNSW. His ar tworks have been featured in four solo exhibitions and several local and in ternational group exhibitions. Rak has won several awards including the Nat ional Tertiary Art Prize people's choice (2009)\, Blacktown City Art Prize for works on paper (2008)\, and the Newtown Community Art Prize for works o n paper (2007). Ben Rak's works are in the collections of several national and international institutions. \;

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An artist\, freelance designer\, and independent curator\, \;Abdullah M. I. Syed \;was born in Karachi\, Pakistan (1974 ). Presently he is completing a PhD in Fine Arts practice and lecturing at COFA UNSW. Syed has coordinated the Design Department at the Karachi Univer sity\, Pakistan\, and lectured at the University of Central Oklahoma. His a rtworks have been featured in six solo and several local and international group exhibitions. Syed has won awards including the Blacktown City Art Pri ze for works on paper (2010)\, the UNSW Postgraduate Research Scholarship ( 2009)\, the COFA Senior Artist from Asia Scholarship (2006)\, and the Indiv idual Artist of Oklahoma Award for Installation (2003).
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 \;Adeel-uz-Zafar\, born in 197 5\, Karachi\, Pakistan\, is an artist\, illustrator and art educator. Zafar holds a BFA (with distinction) from the National College of Arts\, Lahore (1998). His works have been featured in two solos and several international group exhibitions. He has participated in both national and international artist residencies including the Studio R. M. Residency\, Lahore 2011\, and most recently at Parramatta Artists Studios and Cicada Press (COFA UNSW) ( 2013). Adeel-uz-Zafar currently works and resides with his wife Nehdia and two daughters in Karachi.

DTEND:20150124 DTSTAMP:20141220T234701 DTSTART:20141211 GEO:40.7268368;-73.9929619 LOCATION:AICON GALLERY - New York\,35 Great Jones Street \nNew York\, NY 10 012 SEQUENCE:0 SUMMARY:Semblance of Order\, Roohi Shafiq Ahmed\, Michael Kempson\, Ben Rak \, Abdullah M. I. Syed\, Adeel-uz-Zafar UID:366523 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150129 DTSTAMP:20141220T234701 DTSTART:20141218 GEO:40.7268368;-73.9929619 LOCATION:AICON GALLERY - New York\,35 Great Jones Street \nNew York\, NY 10 012 SEQUENCE:0 SUMMARY:Raza: A Retrospective\, S.H. Raza UID:366522 END:VEVENT BEGIN:VEVENT DESCRIPTION:

WILL BARNET: A TRIBUTE

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Thursday\, November 20 throug h Saturday\, January 10\, 2015

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A survey of six paintings and relate d works on paper spanning Barnet's career (1911 &ndash\; 2012). \;Illus trated catalogue available.

DTEND:20150110 DTSTAMP:20141220T234701 DTSTART:20141120 GEO:40.762227;-73.971964 LOCATION:Alexandre Gallery\,Fuller Building 41 East 57th Street\, 13th Floo r\nNew York\, NY 10022 SEQUENCE:0 SUMMARY:WILL BARNET: A Tribute\, Will Barnet UID:354816 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.

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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.

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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.

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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.

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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.

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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:20141220T234701 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:20141220T234701 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:

The Barbara L. Gordon collecti on offers a stunning presentation of American folk art made primarily in ru ral areas of New England\, the Midwest\, and the South between 1800 and 192 0. More than sixty works of art\, including still-life\, landscape\, allego rical\, and portrait paintings\, commercial and highly personal sculpture\, and distinctive examples of art from the German-American community exempli fy the breadth of American creative expression by individuals who did not a lways adhere to the academic models that established artistic taste in urba n centers of the East Coast.

The exhibition is drawn from the Barbara L. Gordon collection and is organized and circulated by Art Servic es International\, Alexandria\, Virginia.

Major support for t he presentation at the American Folk Art Museum is provided by HISTORY®\ ;.

The exhibition is accompanied by a full-color catalog copub lished by ASI and the international publishing firm SKIRA/Rizzoli.

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Additional support is provided by Joyce Berge r Cowin\, the David Davies and Jack Weeden Fund for Exhibitions\, public fu nds from the New York City Department of Cultural Affairs in partnership wi th the City Council\, and the New York State Council on the Arts with the s upport of Governor Andrew Cuomo and the New York State Legislature.

DTEND:20150308 DTSTAMP:20141220T234701 DTSTART:20141216 GEO:40.7731765;-73.9814441 LOCATION:American Folk Art Museum\,2 Lincoln Square \nNew York\, NY 10023 SEQUENCE:0 SUMMARY:A Shared Legacy: Folk Art in America UID:361567 END:VEVENT BEGIN:VEVENT DTEND:20141216T173000 DTSTAMP:20141220T234701 DTSTART:20141216T103000 GEO:40.7731765;-73.9814441 LOCATION:American Folk Art Museum\,2 Lincoln Square \nNew York\, NY 10023 SEQUENCE:0 SUMMARY:A Shared Legacy: Folk Art in America UID:361568 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Andrea Rosen Gallery is deligh ted to announce The Thing and the Thing-in-Itself\, an exhibition comprising a tightly focused group of 20th-century masterworks curated by n oted art historian Robert Hobbs. \; \;Bringing together a compellin g group of significant works\, one by each of seven key 20th-century artist s &ndash\; Marcel Duchamp\, Joseph Kosuth\, René\; Magritte\, Piero M anzoni\, Yoko Ono\, Ad Reinhardt\, and Robert Smithson &ndash\; this exhibi tion offers viewers the opportunity to look at familiar artists in a new wa y and with much greater depth\, both in relationship to each other and in r egards to their individual practices. It opens December 12\, 2014 at the Ga llery&rsquo\;s main space\, 525 West 24th Street.
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Curator Statement

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The Thing and the Thing-in-Itself focuses on the limits of human understanding that Immanuel Kant contemp lated in The Critique of Pure Reason (1st ed. 1781). Th is philosopher speculated that humans only know things in the world through space and time\, as well as the causes they att ribute to these objects and events. Instead of accurately replicating the w orld\, people&rsquo\;s understanding of it is dependent on their restricted ability to grasp it. In other words\, they construct the world they experi ence\, making sensory information idiosyncratic and/or socially oriented ra ther than accurate\, and people&rsquo\;s perception of their world an ongoi ng film or performance. It helps to consider Kant&rsquo\;s term &ldquo\;thi ng-in-itself&rdquo\; as shorthand for the strict limits to the ongoing thea ter of everyday life humans produce\, direct\, and cast\, so that they them selves can then serve as its main players. \;

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This exhibition utilizes Kant&rsquo\;s approach to reconsider how certain twentieth-century artists engaged the frontiers of human unders tanding in works that pit people&rsquo\;s sight and insight against the lim its of what they are able to comprehend\, i.e. the things they believe them selves to be seeing as opposed to &ldquo\;things-in-themselves&rdquo\; (Kan t&rsquo\;s code word for humans&rsquo\; inability to move beyond their own constructed views). Instead of presenting an art endeavoring to reveal its contents to viewers with the least amount of interference\, The Thing a nd the Thing-in-Itself features works that act out the limits of human understanding as they create mysteries\, pose conundrums\, and leave viewe rs with provocative questions.

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Starti ng in the second decade of the 20th-century with Duchamp&rsquo\; s Readymades\, art&rsquo\;s status as an object became a subject of inquiry \, with questions about differences between ordinary things and art. \; The Thing and the Thing-in-Itself consequently begins with Ducham p&rsquo\;s assisted readymade\, Comb (Peigne)\, a steel grooming t ool for dogs\, inscribed with the words &ldquo\;3 ou 4 gouttes de hauteur n &rsquo\;ont rien a faire avec la sauvagerie\; M.D. Feb. 17 1916 11 a.m.&rdq uo\; (&ldquo\;Three or Four Drops of Height [or Haughtiness] Have Noting to Do with Savagery.&rdquo\;).  \;The exhibition then surveys the followi ng six notable steps in the history of the art/thing challenge. René\ ; Magritte&rsquo\;s La Clairvoyance of 1936 depicts a self-portrai t of the artist in the process of metamorphosing his model\, an egg\, into a bird in flight on his canvas\, thereby setting in place a tongue-in-cheek differential between representational painting and life. \; The early majestic black Reinhardt canvas from 1954 challenges the limits of sensory perception\, with its grid poised on the divide between visibility and invi sibility. Manzoni&rsquo\;s Merda d&rsquo\;artista (Artist&rsqu o\;s Shit) (1961)\, a tin of artist&rsquo\;s feces\, ironically underm ines the artist&rsquo\;s traditional role as creator\, the value placed on art&rsquo\;s materiality\, and the traditional view of it as a container of enlightening contents. Kosuth&rsquo\;s Glass Words Material Described< /em> (1965) consists of exactly these four words painted on four transparen t sheets of glass to undermine art&rsquo\;s putative transparency and acces sibility. Ono&rsquo\;s 1966 live video feed of the sky above the gallery co ntrasts literalism with traditional expectations of transcendence. And Smit hson&rsquo\;s Non-site: Line of Wreckage (Bayonne\, New Jersey) of 1968 undermines the art object&rsquo\;s sovereignty as it creates an inter play between the metal bin containing landfill with a map and photographs o f the site in Bayonne\, making this work a dislocated boundary marker.
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- Robert Hobbs
 \ ;

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Art historian Dr. Robert Ho bbs has written widely on modern and contemporary art\, including extended essays on David Altmejd\, Keith Haring\, Richard Jackson\, Jonatha n Lasker\, Robert Longo\, Sterling Ruby\, Yinka Shonibare\, Frank Stella\, Tavares Strachan\, Kara Walker\, Kelley Walker\, John Wesley\, and Kehinde Wiley\, among others. \; His monographs have focused on such artists as Milton Avery\, Alice Aycock\, Edward Hopper\, Lee Krasner\, Mark Lombardi\ , Robert Motherwell\, Beverly Pepper\, Richard Pousette-Dart\, and Robert S mithson. \;

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Hobbs served as curat or for the Venice Biennale&rsquo\;s American National Pavilion (Smithson\, 1981) and the Bahamian National Pavilion (Tavares Strachan\, 2013)\, as wel l as the American Representation at the Sã\;o Paulo Biennial (Kara Wa lker\, 2002). He has curated exhibitions at major museums nationally and in ternationally such as the Brooklyn Museum of Art\; the Drawing Center\, New York\; the Los Angeles County Museum of Art\; Musé\;e d'Art Moderne de la Ville de Paris\; and the Whitney Museum of American Art. \; Acade mic positions include Associate Professor\, Cornell University\; long-time Visiting Professor\, Yale University\; and Thalhimer Endowed Chair\, Virgin ia Commonwealth University.

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R obert Smithson was born in 1938\, in Passaic\, New Jersey\, studie d in New York City and worked throughout the United States and abroad until his death in 1973\, in Amarillo\, Texas. His work has been the subject of numerous solo exhibitions at major institutions\, including comprehensive r etrospectives at the Museum of Contemporary Art\, Los Angeles\, the Whitney Museum of American Art\, New York\, the Musee d&rsquo\;Art Moderne de la V ille de Paris\, and the Dallas Museum of Art\, among others.

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Ad Reinhardt\, born in 1913 in Buf falo\, New York\, lived and worked for the majority of his life in New York City until his death in 1967. His work has been most recently featured in a comprehensive solo exhibition at the \;Josef Albers Museum Quadrat&nb sp\;in Bottrop\, Germany\, and is part of prestigious permanent institution al collections including the Whitney Museum of American Art\, the Museum of Modern Art\, New York\, and The Museum of Contemporary Art\, Los Angeles.< /p>\n

Yoko Ono\, born in 1 933 in Tokyo\, Japan\, lives and works in New York City. Ono has had compre hensive retrospectives at prestigious institutions including the Whitney Mu seum of American Art\, the Walker Art Center\, and the Contemporary Arts Mu seum\, Houston\, including her most recent and largest retrospective in 201 3 at the Schirn Kunsthalle\, Frankfurt\, which traveled to the Louisiana Mu seum of Modern Art\, Humlebæ\;k\, Denmark\, Austria&rsquo\;s Kunsthalle Krems\, and the Guggenheim Bilbao Museum\, Spain.

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Piero Manzoni\, born in 1933 in Soncino\, Ita ly\, lived and worked primarily in Milan until his death in 1963. His work has been featured in solo exhibitions throughout Europe\, including retrosp ectives at the Musé\;e d'Art Moderne de la Ville de Paris\, the Serpe ntine Gallery\, London\, and the Museo d'Arte Contemporanea Donnaregina\, N aples\, and appears in established institutional collections including the Tate Modern\, London\, the Museum of Modern Art\, New York\, Stedelijk Muse um\, Amsterdam\, and Galleria Civica d'Arte Moderna e Contemporanea\, \ ;Turin.

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René\; Magritte \, born in 1898 in Lessines\, Belgium\, and lived and worked in Br ussels until his death in 1967. His work is appears in prestigious institut ional collections throughout Europe and the United States\, including the M useum of Modern Art\, New York\, Moderna Museet\, Stockholm\, Centre George s Pompidou\, Paris\, the Royal Museums of Fine Arts of Belgium\, Brussels\, and the Tate\, London\, and was recently recognized by comprehensive solo exhibitions at the Museum of Modern Art\, New York\, the Menil Collection\, Houston\, and the Art Institute of Chicago\, beginning in 2013.

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Marcel Duchamp\, born in 1887 in Blainville-Crevon\, France\, lived and worked in Paris and New York unti l his death in 1968. His work is included in numerous prestigious instituti onal collections including the Museum of Modern Art\, New York\, the Philad elphia Museum of Art\, the Art Institute of Chicago\, the Menil Collection\ , Houston\, the Tate\, London\, the Musé\;e d´\;Art Moderne de l a Ville de Paris\, and Israel Museum\, Jerusalem\, and has been recognized by recent solo exhibitions at Centre Georges Pompidou\, Paris\, and the Fun dació\;n Proa\, Buenos Aires.

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< strong>Joseph Kosuth\, born in 1945 in Toledo\, Ohio\, lives and w orks in New York and Rome. His work appears in numerous institutional colle ctions including the Whitney Museum of American Art\, the Guggenheim Museum \, and \; the Museum of Modern Art in New York\, and the Tate\, London\ , has been exhibited at the Venice Biennale (1993). His work has been featu red in recent exhibitions at prestigious institutions including the Museum fur Moderne Kunst\, Frankfurt\, and the Fondazione Prada\, Ca&rsquo\; Corne r Della Regina\, Venice.

DTEND:20150124 DTSTAMP:20141220T234701 DTSTART:20141213 GEO:40.749185;-74.005023 LOCATION:Andrea Rosen Gallery\,525 W.24th St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:The Thing and The Thing-In-Itself\, Joseph Kosuth\, Marcel Duchamp\ , René Magritte\, Piero Manzoni\, Yoko Ono\, Ad Reinhardt\, Robert Smithson UID:365928 END:VEVENT BEGIN:VEVENT DTEND:20141212T200000 DTSTAMP:20141220T234701 DTSTART:20141212T180000 GEO:40.749185;-74.005023 LOCATION:Andrea Rosen Gallery\,525 W.24th St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:The Thing and The Thing-In-Itself\, Marcel Duchamp\, Joseph Kosuth\ , René Magritte\, Piero Manzoni\, Yoko Ono\, Ad Reinhardt\, Robert Smithson UID:365929 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Andrea Rosen Gallery is please d to present Michael Wang&rsquo\;s exhibition Rivals at Gallery 2 in cooperation with Foxy Production. Upon entering the gallery\, viewers wi ll find five certificates\, acting as a kind of performance documentation f or the works in the exhibition all from the artist&rsquo\;s series Riva ls. Taking the form of white\, metal shelves containing well-known con sumer goods from multinational corporations\, the works bisect the space\, creating a material horizon.

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Each she lf\, made from powder-coated aluminum\, houses objects appropriated from th e product portfolios of rival firms. The sale of the artwork funds an equal investment in each rival firm as the artist is paid for the work in common stock to become a one millionth of one percent owner of both companies\, t hereby rendering him a fractional owner of what the artist considers a conc eptual merger. The number of products included from each corporation corres ponds to the number of shares that will be purchased with the sale of the a rtwork.

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While Duchamp&rsquo\;s readym ades of the early 20th century took the industrially-produced ob ject out of circulation\, by the end of the cen­\;­\;­\;tury the r eadymade as &ldquo\;commodity sculpture&rdquo\; had fully entered another s ystem of circulation: the art market. Rivals joins these two syste ms of exchange\, linking the value of the readymade to the valuation of the multinational corporations that produce and profit from such objects. For Wang\, the readymade includes not only the object of mass consumption\, but those systems of which it is a part: brand ownership\, exchange value\, an d corporate finance. \;

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Rival s acts within these expanded parameters of the readymade. \; The w orks appropriate corporate value (of a piece with the global financial syst em) as an artistic medium. \; The works manipulate the underlying struc tures of capitalist growth. Competition is the engine of capitalism and asy mmetry drives competition between rival firms. Through a neutered gesture\, Rivals introduces a formal symmetry into the structure of competi tion. An investment in rival corporations sets in motion the apparatus of c orporate finance\, but the balance of the act&mdash\;an equal investment in both corporations&mdash\;cancels out its competitive effects.

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The works in Rivals take the movement of capital itself as a site of artistic intervention. The collector\, artist\ , and gallery collaborate to enact a performance of exchange\, orchestrated around and by the work. The repercussions of the action extend into the ne tworks of capital within which the work is enmeshed. If one of the uses or responsibilities of an artwork is its ability to apprehend the present whil e simultaneously existing within it\, Wang&rsquo\;s work can be seen to mot ivate an evaluation of the most powerful systems structuring cultural produ ction.

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Michael Wang (Olney\, MD\, 1981) holds a Master of Architecture from Princeton University\, an MA fro m NYU\, and a BA from Harvard University. Recent exhibitions include: As We Were Saying: Art and Identity in the Age of &ldquo\;Post\,&rdquo\; curated by Claire Barliant\, The Elizabeth Foundation\, New York (2014)\; Michael Wang: Global Tone\, Foxy Production (2013)\; Liquid Autist\, curat ed by Daniel Keller\, Kraupa-Tuskany Zeidler\, Berlin (2013)\; Spaces for D rawing\, The Hite Collection\, Gangman-gu\, Seoul (2013)\; Differentiation Series\, Primetime Gallery\, Brooklyn\, NY (solo)\; Carpenter Center for th e Visual Arts\, Harvard University\, Cambridge\, MA (two-person)\; and Carb on Copies\, Foxy Production (solo project)(all 2012). He lives and works in New York City.

DTEND:20150124 DTSTAMP:20141220T234701 DTSTART:20141213 GEO:40.749177;-74.0058861 LOCATION:Andrea Rosen Gallery 2\,544 West 24th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Rivals\, Michael Wang UID:365930 END:VEVENT BEGIN:VEVENT DTEND:20141212T200000 DTSTAMP:20141220T234701 DTSTART:20141212T180000 GEO:40.749177;-74.0058861 LOCATION:Andrea Rosen Gallery 2\,544 West 24th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Rivals\, Michael Wang UID:365931 END:VEVENT BEGIN:VEVENT DESCRIPTION:

&ldquo\;What is a hole?&rd quo\; a clown asked his partner in a ring at the Circus Medrano. Having thu s quite confused the fellow\, he \;wast-ed no time in lording it over him: &ldquo\;a hole\,&rdquo\; he said\, &ldquo\;is an absence surro unded by presence.&rdquo\; For me\, this is an \;example of a perfect definition\, and I will use it to define the object of my interest. A ghost is indeed a hole\; but a hole to \;which are attribut -ed intentions\, a sensibility\, morals\; a hole\, that is\, an absence &nd ash\; but the absence of someone and not \;of something &ndash \; surrounded by presence &ndash\; by the presence of one or several. A gho st is an absent being amidst present \;beings. And it is the p ierced sub-stance that determines the shape of the hole and not the absence which that presence \;surrounds &ndash\; for it is only in je st that some tell of cannons of bygone days that foundry workers made by ta king holes \;and pouring bronze around them &ndash\; when we e ndow ghosts with intentions\, a sensibility\, and morals\, these attributes  \;reside not in the absent beings\, but in the present ones t hat surround the ghosts. This observation will allow us by the \;< em>same token to establish the only reasonable approach to phantasmology.
&ndash\; Rene Daumal\, &ldquo\;The Pataphysics of Ghosts&rdq uo\;

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&ldquo\;As the cyclist awoke one morning from uneasy dreams he found himself transformed in his b ed into a Figure.&rdquo\;

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Together\, these works attempt a sort of speculative portraiture. The se portraits present themselves as so many still lives\, backdrops\, kits\, all on hold\, waiting for a performance that does not come. In playing on the conceptual and rhetorical limits of portraiture\, the works\, instead o f combining signs\, accumulate phantasmagorical residues: textures\, patter ns frozen in repetition\, solid and liquid elements\, objects and substance s that depict presence and absence\, fiction and fact\,positing imagination and memory as nothing more than various states of viscosity.

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Ottavio Bottecchia came to France and with his lim ited French insisted only: &ldquo\;No bananas\, lots of coffee\, thank you. &rdquo\; He rode a bicycle around the entire country\, leading the entire w ay\, clutching a timepiece whose value was only visible to him\, and singin g a song&rsquo\;s refrain: &ldquo\;I have seen the most beautiful eyes in t he world but never as beautiful eyes as yours.&rdquo\; Hidden fixations tra ced a secret course. When he awoke in Toulon\, set to race another day towa rds Nice\, he decided against putting on the yellow leader&rsquo\;s jersey that was a right envied by every other rider\, past and present. From the c rudest of maps\, a red circle showing the path of the 1924 Tour\, minimally contoured\, this stage of the tour has been drawn into a pattern.

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A pattern\, generally a form reserved for sta nding in for content\, stands in instead for a figure\, capable of promptin g an emergence\, yet always ready (perhaps likely) to retreat into the deco rative. This movement is both encouraged and disrupted by the persistent pr esence of a rubbing\, scratching\, busy hand\, entered from somewhere else\ , sensorially sketching out sometime else. Drawing empty\, casting a hole: an absence\, marked by recent presence\, distant use\, a hand\, a scent\, a touch.

The ending of the story should go like this: ju st three years after winning the Tour\, Bottecchia&rsquo\;s body is found b y the roadside near his home\, skull cracked\, collarbone broken. He had ro se at dawn and asked for a bath and some soup to be ready upon his return. Speculation\, false confessions\, conspiracy theories spilled out like bloo d but the mystery is still just that. But these are just stories in the res idues\, a film over the eyes and a sticky moss in the mouths of those still present.

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A map\, a question mark\, a line of runny blood: in this exhibition the contents of the paintings jump to the walls themselves\, allowing frames to emerge wherein the pattern\, huddled amongst other objects (an image of a stage as shown off-stage\, cof fee\, sad bananas\, cups to hold the presence of a hand)\, can also swap th emselves\, stand-in against themselves\, cast holes of themselves. Things a re hidden one-where\, exposed else-where. These lesser bodies in space\, th ey trace together the outlines of a setting\, stand in for a scene\, that r efuses to declare whether it&rsquo\;s the station of arrival\, awaiting its figure &ndash\; a real body\, whether warm or cold &ndash\; or simply anot her staging/restaging of its own site of disappearance\, another ghost.

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Matt Sheridan Smith (born in Red Bank\, New Jersey\, 1980) lives and works in Los Angeles. His recent exhibitions i ncludes Ausstellungsraum Volker Bradtke\, Dusseldorf\, curated by Matt Mora vec and Kyle Thurman (2012)\; Forde\, Geneva\, curated by Vincent Normand ( 2011)\; Contemporary Art Museum St. Louis\, Saint Louis (2011)\; Artspeak\, Vancouver\, curated by Eric Fredricksen (2011)\; List Visual Arts Center\, Cambridge\, Massachusetts (2010)\; Western Bridge\, Seattle (2010)\; NJ Mo CA\, New Jersey (2010)\; Sculpture Center\, New York\, curated by Fionn Mea de (2010)\; Dowd Gallery\, State University of New York\, College at Cortla nd\, Cortland\, New York (2010)\, Para/Site Art Space\, Hong Kong\; Torranc e Art Museum\, Torrance\, California\, Plug in ICA\, Winnipeg\, Manitoba\, Canada (2010)\, curated by Joã\;o Ribas and co-organized by iCI (Inde pendent Curators International)\; Swiss Institute\, New York (2008)\; Video Program by Rirkrit Tiravanija\, Guggenheim Museum\, New York (2007).

DTEND:20141220 DTSTAMP:20141220T234701 DTSTART:20141101 GEO:40.7472381;-74.0051301 LOCATION:Andrew Kreps Gallery @ 535 West 22nd\,535 West 22nd Street \nNew Y ork\, NY 10011 SEQUENCE:0 SUMMARY:kaufmann repetto presents: Cyclist Fig.2 Ep.1\, Matt Sheridan Smith UID:363353 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Andrew Kreps Gallery is pl eased to present \;Animal Mineral Vegetable\, an exhibition fe aturing the work of six artists\, all of whom push their respective mediums beyond conventional constraints. Eschewing well-worn methods\, mediums and rules\, the works included in the show foreground the de/reconstruction of material\, physics\, chemistry and gravity.  \;

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Navid \;Nuur&rsquo\;s work \;cannot be adequately d escribed in terms of sculpture or installation alone. Phenomenological in n ature\, \;the relatively simple structure of his works combined with th e choice of effectively banal everyday materials \;makes up the foundat ion for the bulk of the Nuur&rsquo\;s works. \;Tentacle Thought \;is created from \;the fluorescent light system from the gallery ceiling\, that is partly functional but \;removed from its fixtures an d draped/hung together. Resting in a geometric configuration on the floor\, the sculpture creates a &ldquo\;light-emitting body rather than an object that simply channels light.&rdquo\;  \;

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The sculptures of Swedish artist Nina Canell are made of everyday ma terials such as chewing gum\, wood\, and electrical wiring highlighting the inherent or imminent movement within &ndash\; as well as the danger of the ir own collapse. \; \;Brazilian sculptor \;Erika Verzutti&rsquo \;s works also reference common\, quotidian items like fruits\, vegetables\ , and eggs conflated with ceremonial forms\, such as totems\, tablets\, and gravestones. Imbued with a sense of mysterious ritual\, Verzutti&rsquo\;s sculptural works in the show resemble \;denizens of alternative worlds located somewhere between the real and the fantastic.

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An expansive floor sculpture that takes the form of a huge quilt by Giuseppe Gabellone cuts an undulating path through the gallery li ke a large expanding stream &ndash\; in contrast to the rigid\, white geome try of the gallery\, slowing down the pace of the viewer. \; \;Two bronze wall works by the artist further amplify the relationship between fo rm and space\, as a counterpoint to the soft sculptural expanse.

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American artist Dianna Molzan&rsquo\;s canvases engage in an open and unpredictable dialogue with the history of abstract painting. While Molzan uses a variety of material each painting exhibits a subtle precision in its intention and execution. The works in the show seem disparate and all immigrate beyond the confines of their supports. \;& nbsp\;In contrast\, \;the underlying presence of the grid is the most s triking feature of Leonor Antunes&rsquo\; sculptural pieces based on woven wall hangings by Anni Albers (1899&ndash\;1994). \; \;Although this work appears highly formal\, and measured\, utilizing techniques borrowed from vernacular traditions of craftsmanship\, Antunes&rsquo\; sculptures re veal a floating\, inexplicable language that defies the design of their own making.

DTEND:20141220 DTSTAMP:20141220T234701 DTSTART:20141101 GEO:40.7477457;-74.0063477 LOCATION:Andrew Kreps Gallery @ 537 W. 22nd\,537 W. 22nd St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Animal Mineral Vegetable\, Leonor Antunes\, Nina Canell\, Giuseppe Gabellone\, Dianna Molzan\, Navid Nuur\, Erika Verzutti UID:362550 END:VEVENT BEGIN:VEVENT DTEND:20141101T200000 DTSTAMP:20141220T234701 DTSTART:20141101T180000 GEO:40.7477457;-74.0063477 LOCATION:Andrew Kreps Gallery @ 537 W. 22nd\,537 W. 22nd St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Animal Mineral Vegetable\, Leonor Antunes\, Nina Canell\, Giuseppe Gabellone\, Dianna Molzan\, Navid Nuur\, Erika Verzutti UID:362551 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Andy Warhol: 1950s Drawing s brings together 150 never before seen works on paper from the late 1 940s through 1960. They show Warhol as a skilled draftsman and great experi menter. Using ink and graphite\, Warhol investigated the possibilities of t he hand-drawn line\, and in the course of this developed his characteristic blotted-line technique\, which involved tracing projected photographic ima ges onto paper and blotting the inked figures to create variations on a the me. This exhibition reveals a lesser-known side of Warhol and provides uniq ue insight into the foundation of Pop Art.

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The impact of these drawings is best described by the authors of From Silverpoint to Silver Screen: Andy Warhol 1950s Drawings\, a semi nal book edited by Daniel Blau and published by Hirmer Verlag\, Munich\, in 2012 after bringing to light a related body of works on paper:

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&ldquo\;First and foremost\, the large array of drawings &ndash\; traced\, cut out or in other ways so clearly bearing the insignia of the artist incessantly at work &ndash\; is a demonstratio a d oculos in every sense of the word\, meaning that it shows us a human being taking in the world\, not only through his eyes but already in image form. Warhol often finds his imagery in street photography but transforms the realism of photography into an emblematic representation. It can be sai d that\, even at this perhaps very pre-formative moment in his artistic car eer\, he shows us his amazing ability to iconify what is out there &ndash\; reality. From this perspective\, the drawings presented in this [&hellip\; ] exhibition become a seminal experience of the aesthetic practice and phil osophy of the image-maker\, the image expropriator\, the image-disseminator \, Andy Warhol.&rdquo\;

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- Poul Erik T ø\;jner\, Marjan Scharloo\, Michael Semff \, From Silverpoint to Silver Screen: Andy Warhol 1950s Drawings After exhibiting a group of small and unusual abstract paintings by Andy Warhol in 1998\, Anton Kern Ga llery curated Warhol antePop\, an exhibition of early 1960s drawin gs in 2004. The group of drawings currently on view was discovered in the f lat files at the Andy Warhol Foundation&rsquo\;s warehouse space in 2011-20 12\, and marks the third exhibition by the American artist at the gallery.< /p>\n

The publication\, From Silverpoin t to Silver Screen: Andy Warhol 1950s Drawings\, will be available dur ing the exhibition. This book accompanied exhibitions at the Louisiana Muse um of Modern Art\, Denmark\; the Tylers Museum\, Netherlands\; and Staatlic he Graphische Sammlung Mü\;nchen\, Pinakothek der Moderne\, Germany (al l 2013). The book includes essays on the young Andy Warhol and the art scen e of the 1950s by Poul Erik Tø\;jner\, Marjan Scharloo\, Michael Semf f\, Vincent Fremont\, Daniel Blau\, Sidney Picasso\, and James Hofmaier.

DTEND:20141220 DTSTAMP:20141220T234701 DTSTART:20141120 GEO:40.7463808;-74.007077 LOCATION:Anton Kern Gallery\,532 West 20th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:1950s Drawings\, Andy Warhol UID:363302 END:VEVENT BEGIN:VEVENT DESCRIPTION:

David Bianculli\, TV critic fo r NPR&rsquo\;s Fresh Air with Terry Gross\, has been a TV critic f or almost 40 years&mdash\;and a TV viewer for 60. In Bianculli&rsquo\;s Personal Theory of TV Evolution\, he exhibits the television programs and transitions that shaped him\, impressed him\, and maybe even warped hi m a little. He traces certain TV evolutionary themes through the ages\, suc h as &ldquo\;single working women on TV\,&rdquo\; and also exhibits some of his personal collections: of related artwork and toys\, old television equ ipment\, and decades of promotional press kits and freebies from various TV networks and production houses. He even displays his first surviving piece of television criticism&mdash\;written in his diary at age 7.

All that\, and a chance to enter your own TV &ldquo\;confessional\,&rdquo\ ; see the glow-in-the-dark patron saint of television\, and witness\, up cl ose and personal\, Bianculli&rsquo\;s favorite moment from all of televisio n: Rancid the Devil Horse.

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David Bianculli has been the TV critic for National Public Radio&rsquo\;s Fresh Air with Terry Gross \, where he also appears as occasional guest host\, since 1987. Beginn ing in 1975\, he&rsquo\;s worked as a TV critic for newspapers in Florida\, Ohio\, Pennsylvania\, and New York (in that order)\, most recently for the New York Daily News from 1993-2007. Currently\, he is editor of t he website TV Wort h Watching which he launched in 2007. Bianculli has a B. S. in Journali sm and an M. A. in Journalism and Communications\, both from the University of Florida. He has written three books &ndash\; Dangerously Funny: The Uncensored Story of &lsquo\;The Smothers Brothers Comedy Hour\,&rsquo\; Teleliteracy: Taking Television Seriously and Dictionary of Teleliteracy &ndash\; and is at work on a fourth. He now teaches TV a nd film as a tenured associate professor at Rowan University in Glassboro\, NJ.

DTEND:20141220 DTSTAMP:20141220T234701 DTSTART:20141106 GEO:40.719022;-74.004432 LOCATION:Apexart\,291 Church Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Bianculli’s Personal Theory of TV Evolution UID:360913 END:VEVENT BEGIN:VEVENT DTEND:20141106T200000 DTSTAMP:20141220T234701 DTSTART:20141106T180000 GEO:40.719022;-74.004432 LOCATION:Apexart\,291 Church Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Bianculli’s Personal Theory of TV Evolution UID:360914 END:VEVENT END:VCALENDAR