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Acquavella Galleries is pleased to present Dubuffet | Barcel ó\;\, an exhibition of paintings by French postwar painter Jean Dubuf fet and acclaimed Spanish artist Miquel Barceló\;\, on view from June 30 to September 19\, 2014. The exhibition \;will feature distinct bodi es of work from each artist &ndash\; several of Barceló\;&rsquo\;s re cent white paintings and dark bleach portraits will be shown alongside a se lection of Dubuffet&rsquo\;s landscapes and portraits. Since he was a teena ger\, Barceló\; has been drawn to Dubuffet&rsquo\;s poetic writings a nd unconventional aesthetic. In juxtaposing portraits and landscapes by bot h artists\, this exhibition aims to highlight
their thematic and mater ial affinities.

Dubuffet employed various techniques to represen t soil in his series of Texturologies from the 1950s. Acting as an inventor y of various types of terrain\, these paintings celebrate the nuances of ma terial. Dubuffet initially intended to create the series as an assemblage e vocative of earth&rsquo\;s expanse that could be endlessly extended\; howev er\, his attachment to these initial paintings
prevented him from prod ucing this assemblage\, and they remain as individual works. With their enc rusted\, tactile surfaces\, Dubuffet&rsquo\;s Texturologies evoke the textu res of the earth. This obsession with formlessness extends to Dubuffet&rsqu o\;s portraits\, several of which are included in this exhibition. His meth ods of rendering the human figure reflect his fascination with primitive an d naive art practices.

Barceló\;&rsquo\;s most recent seri es of white paintings also pay tribute to boundless terrain. An artistic no mad\, he has traveled widely\, relying on cultural and geographic diversity for inspiration. Earthly textures &ndash\; sand or waves of the ocean\, fo r example &ndash\; have long influenced his painting practice. Several heav ily impastoed canvases\, in particular\, pay tribute to the coastal terrain of his native Majorca. The intensely textured Huitres II recalls Barcel&oa cute\;&rsquo\;s travels across the arid\, rugged terrain of the Sahara. Thi s work is simultaneously devoid of and brimming with color &ndash\; indicat ing the heat\, light\, and texture of the desert. Barceló\;&rsquo\;s recent portraits are
similarly personal. These paintings\, made with b leach\, chalk\, and charcoal on dark canvas\, present ethereal renderings o f the artist&rsquo\;s colleagues and friends.

Jean Dubuffet (190 1 &ndash\; 1985) was born in Le Havre\, France. In 1918 he moved to Paris t o study at the Acadé\;mie Julian\, which he left after six months to study independently. After abandoning painting to work at his family&rsquo\ ;s wine business for several years\, Dubuffet fully committed himself to be ing an artist in 1942. His fascination with Hans Prinzhorn's Artistry of th e Mentally Ill deeply influenced
his artistic practice\, and led to hi s coining of the term &ldquo\;Art Brut.&rdquo\; For Dubuffet\, the raw and uninhibited expression of Art Brut provided a fresh and alternative directi on to what he saw as the stifling decorum and conformity of French culture and the Western tradition. Painting in a deliberately crude manner\, Dubuff et developed a technique of thick impasto\, called haute pâ\;te\, and frequently
incorporated unorthodox materials ranging from cement and g ravel to leaves\, dust\, and even butterfly wings into his works. His contr oversial materials and mark-making solidified his legacy as an iconoclastic figure in the canon of postwar European painting. His work has been exhibi ted in and collected by major public and private institutions across the wo rld. \;

Miquel Barceló\; (b. 1957) was born in Felanit x\, Majorca and divides his time between Majorca\, Paris\, and Mali. The yo ungest artist to ever show at the Musé\;e du Louvre\, Barceló\; represented Spain at the 53rd Venice Biennale and drew wide acclaim for hi s
participation in Documenta VII in Kassel\, Germany. He has had retro spectives at renowned institutions\, including the Centre Pompidou\, Paris\ ; Museo Nacional Centro de Arte Reina Sofia\, Madrid\; Museo Rufino Tamayo\ , Mexico\; and the Guggenheim Museum\, Bilbao\, Spain. His work is included in many esteemed public and private collections worldwide.

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DTEND:20140919 DTSTAMP:20140901T120457 DTSTART:20140630 GEO:40.7762839;-73.9626764 LOCATION:Acquavella Galleries\,18 East 79th Street \nNew York\, NY 10075 SEQUENCE:0 SUMMARY:Dubuffet | Barceló\, Jean Dubuffet\, Miquel Barcelo UID:343971 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Aicon Gallery \;is proud to present  \;Readymade\, the first ever extensive survey exhibition of c ontemporary Bangladeshi art held in New York. The exhibition features nine artists collectively exploring the complex and interlocking cultural\, poli tical\, economic and environmental issues currently facing the often parado xical and rapidly changing society and state of Bangladesh in the new mille nnium. The nation's exploding population\, the daily socioeconomic struggle s of the lives of millions\, the consequences of climate change\, shifting cultural and gender demographics and the future of industry and economic gr owth are just some of the vastly influential issues informing and challengi ng the visual and verbal language of Bangladesh's diverse and quickly growi ng contemporary art scene. The work in this exhibition unpacks these issues through the concept of the \;readymade\, both in its art hist orical context\, and as a term referring to Bangladesh's massive and unwiel dy ready-to-wear garment industry\, which has made headlines recently due t o the tragic consequences of its lack of regulation and harsh suppression o f reform\, while also remaining the economic backbone of Bangladesh's growi ng economy. \; \;

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When Marcel Duchamp challenged high art by making the mundane m onumental\, he called it readymade. The spaceless conjunction of 'ready' an d 'made' is fraught with tension\, simultaneously existing as an affirmatio n\, yet a contradiction. This signifies convenience at the cost of quality\ , access at the cost of wholesomeness\, and success at the cost of failure. Ultimately\, it marks a divide that is hard to bridge. As Bangladesh encou nters these many divides and contradictions\, 'readymade' becomes an identi ty in itself.

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With rising levels of gree nhouse gases in the environment\, the global climate is changing. Extreme s torms\, long the scourge of low-lying Bangladesh\, are increasing in freque ncy and ferocity\; and\, there is the rising sea level. Bangladesh presents the largest assemblage of humans at such a low elevation. It is inherently readymade for a natural disaster of epic proportions. With a still trottin g\, if not galloping\, population growth and a shrinking landmass from risi ng waters\, Bangladesh is also a readymade demographic time bomb. About 40% of the population is below the age of 25. If these tens of millions of you ng men and women are not educated and put to work\, Bangladesh is readymade for social unrest.
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Yet\, it is in readymades that Bangladesh seeks a path to redemptive transformation. R eadymade is the locally popular term for ready-to-wear clothing. It is an i ndustry of which Bangladesh\, with its large work force and low wages\, has become the global epicenter\, with the garment industry comprising nearly 90% of its Gross Domestic Product. This epicenter\, occasionally shaken by a tragedy of epic proportions\, is merely inconvenienced by smaller everyda y tragedies. Labor organizers disappear into the night\, while dissenting w orkers find their jobs-and at times\, limbs-gone. The lack of economic dive rsity promotes an endemic occurrence of sweatshops and unsafe labor conditi ons\, favoring capitalism over social welfare\, susceptible to poverty and malnutrition of children\, with a growing sex trade of prostitution and chi ld trafficking into India. It is an industry readymade to propel Bangladesh forwards or back\; and\, at times\, it seems to do both. \;

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Whether a storm changes th e coastline or a factory collapses upon its occupants\, it takes a myriad o f tragedies for the world to focus on Bangladesh. Can tragedy be the price of good-tidings to come? The disaster\, in the case of a factory-collapse\, is not natural but manmade. For the looming tragedy of climate change\, ma n's authorship should at least allow for remediation. Will the proverbial ' silver lining' be a clear establishment of a civil society's predominance? The political leaders\, no matter how tainted\, know that they would have t o seek the people's mandate\, sooner rather than later. Bangladesh has had a growing democracy for three of its four decades in existence. From being the poorer\, undernourished and fledging of the two wings of Pakistan - the nation it broke from in 1971 - Bangladesh today has peace\, a vibrant econ omy\, higher rates of development and greater empowerment of its people\, e specially its women.

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Is Bangladesh\, then\, readymade to chart a way forward? Are its artists ready to play a part in this charted route? Culture has always been integral to Bangladesh's identity. It was bo rn of a struggle to protect a language and its associated culture. "Readyma de"\, the first major curated exhibition of contemporary Bangladeshi art in New York\, seeks to re-introduce a society long known as a reliable source of disaster news\, as one that is at a fork. A big disaster may yet unfold of many little ones\; but equally\, there is hope for the emergence of a c ivil society\, with art and artists at its vanguard. \;

\n DTEND:20140906 DTSTAMP:20140901T120457 DTSTART:20140724 GEO:40.7268368;-73.9929619 LOCATION:AICON GALLERY - New York\,35 Great Jones Street \nNew York\, NY 10 012 SEQUENCE:0 SUMMARY:Readymade | Contemporary Art from Bangladesh\, Kazi Salahuddin Ahme d\, Masum Chisty\, Khaled Hasan\, Imran Hossain Piplu\, Promotesh Das Pulak \, Dhali Al Mamoon\, Yasmin Jahan Nupur\, Mohammad Wahiduzzaman\, Wakilur R ahman UID:347467 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:20141115 DTSTAMP:20140901T120457 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:20140901T120457 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:

Art in General is pleased to present +1\, a New Commission by The Still House Group.

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The Still House G roup is an emerging artist-run organization based in Red Hook\, NY . Still House is inspired by the ideals of a young creative demographic bou nd by expectations of subordination to preexisting models\, and supports a unit of young artists\, providing them with an environment to conceptualize \, produce\, and exhibit their work. The strong emphasis on collaboration e ncourages members of the group to assist\, critique\, and formally represen t one another\, ultimately creating a collective drive that balances the ad vancement of individual careers with the growth of Still House the entity. The group attempts to escape the traditional gallery set-up\, gearing itsel f\, regardless of the seemingly insurmountable challenges\, toward the goal of creative sustainability.

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Founded in 2007 by Isaac Brest and Ale x Perweiler as an online viewing platform\, Still House has produced numero us exhibitions in New York\, Los Angeles and Miami. During 2010\, the group conducted an eight-month residency in an abandoned Department of Transport ation office in TriBeCa\, and has since built a permanent\, multi-faceted a rts institution currently based in Red Hook\, Brooklyn. This location serve s as a hub for new work\, a satellite environment to the art center of Manh attan where young artists engage in a space of their own.

DTEND:20140901 DTSTAMP:20140901T120457 DTSTART:20130922 GEO:40.718124;-74.001856 LOCATION:Art in General\,79 Walker Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:The Still House Group: +1\, Alex Perweiler\, Zachary Susskind\, Lou is Eisner\, Jack Greer\, Brendan Lynch\, Dylan Lynch\, Nick Darmstaedter\, Isaac Brest UID:291938 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Bonni Benrubi Gallery is pleased to present tà\; hier& aacute\;\, a group exhibition of photographs by gallery artists: Regina DeL uise\, Jed Devine\, Laura McPhee\, Jeffrey Milstein\, Jehad Nga\, Simon Nor folk\, and Lauren Semivan in a dialogue of photographic meditations on the notion of the sacred and the practice of ritual.
tà\; hier&aacut e\; is an ancient Greek term that has no equivalent in contemporary languag e. Commonly translated as the holy or the sacred it is the Greek word close st to religion and that which refers to the gods.
Religious rites are typically what we associate with the sacred\, but in our highly secularized global society\, where religion is not the mainstay of every culture\, how do we now define sacred? Where do \;we find ritual in a global metropo lis? What do we learn about ourselves when we look at an image of \;the Large Hadron Collider in CERN compared to the stoic solitude of an ancient offering plinth in \;Calcutta?
Laura McPhee&rsquo\;s contemplativ e large format photographs of life in India are possibly the purest express ion of our common associations to the sacred\, documenting the Durga Puja i n Calcutta a highly orchestrated ritual that has been practiced since the m iddle ages. Jeffrey Milstein&rsquo\;s 200 Saints depicts a wall of crucifix &rsquo\;s hanging above a bed in a Cuban interior.
Jehad Nga&rsquo\;s Untitled #21 shows a faceless man tying his turban\, a great swathe of whit e fabric in the \;morning light\, shot in Mali on assignment\, investig ating the ongoing conflict in this troubled West \;African nation. In e arly 2012\, a group of radical Islamists affiliated with Al Qaeda took cont rol of Mali&rsquo\;s northern half\, declaring it an independent state impo sing the rules of Sharia law.

DTEND:20140906 DTSTAMP:20140901T120457 DTSTART:20140731 GEO:40.762227;-73.971964 LOCATION:Bonni Benrubi Gallery\,41 East 57th Street 13th Floor \nNew York\, NY 10022 SEQUENCE:0 SUMMARY:tà hierá\, Regina DeLuise\, Jed Devine\, Laura McPhee\, Simon Norfo lk\, Lauren Semivan UID:347457 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The air we swim in \;will be on view in the Pro ject Room of BRIC House this summer. The exhibition is curated by \;Kel ly Schroer\, \;2014 \;recipient of BRIC&rsquo\;s Emerging Curator F ellowship. Supporting and fostering the vision of a developing curator\, th e exhibition will focus on artists who create physical interactions with in tangible elements that inhabit our same space\, but are invisible to the hu man eye. The exhibition will feature artists \;Hanny Ahern\, \;Thes sia Machado\, \;Eric Shows\, and \;Palden Weinreb. \;

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T he title of the exhibition is sourced from Thessia Machado&rsquo\;s artist statement\, in which she describes her visual interest in sound waves. This fascination with invisible elements in the air acts as a starting point in expressing our human need to make sense of the world around us. Through dr awing\, sculpture\, and interactive installations\, the artists exhibited i n \;The air we swim in \;create tactile sensations out of& nbsp\;sound waves\, energy and light waves\, breath\, and microscopic parti cles.Thessia Machado&rsquo\;s interactive sculptures/instruments express so und as &ldquo\;malleable and responsive\, physical matter\;&rdquo\; \;P alden Weinreb \;attempts to solidify the properties of light waves in t wo dimensions\, using graphite and wax\; \;Eric Shows&rsquo\; installat ion uses light as a point source that projects through glass\, revealing su rface variations and creating sound as a direct result\; and \;Hanny Ah ern \;visualizes breath through an interactive installation/sculpture u sing sensors and light bulbs. Through their engagement with unseen waves an d particles\, we are reminded of both our shortcomings and power as human b eings.

DTEND:20140831 DTSTAMP:20140901T120457 DTSTART:20140710 GEO:40.6883492;-73.9791764 LOCATION:BRIC Arts | Media House\,647 Fulton Street \nBrooklyn\, NY 11217 SEQUENCE:0 SUMMARY:The air we swim in\, Hanny Ahern\, Thessia Machado\, Eric Shows\, P alden Weinreb UID:342985 END:VEVENT BEGIN:VEVENT DTEND:20140709T210000 DTSTAMP:20140901T120457 DTSTART:20140709T190000 GEO:40.6883492;-73.9791764 LOCATION:BRIC Arts | Media House\,647 Fulton Street \nBrooklyn\, NY 11217 SEQUENCE:0 SUMMARY:The air we swim in\, Hanny Ahern\, Thessia Machado\, Eric Shows\, P alden Weinreb UID:344438 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Transcommunality: Laura An derson Barbata\, Collaboration Beyond Borders \;is an exhibition t hat documents the work of Mexican-born\, New York-based artist \;Laura Anderson Barbata\; focusing on the decade-long project she pursued with sti lt-walking communities in Trinidad and Tobago\, Mexico\, and Brooklyn. Her project highlights the vitality of the moko jumbie stilt walking tradition& nbsp\;and demonstrates the possibility of using this storied art form as a platform for social contemporary performance\, group participation and prot est. Spanning from \;17 feet tallto just \;11 inches small\, the wo rks presented in the exhibition range fromtextile-based to sculptural objec ts\, as well as photographs\, videos\, and projections that document the co llaborative projects. Overall\, the exhibition comprises approximately 60 p ieces including over 20 towering dressed figures and 23 \;alebrijes  \;(miniature wooden figures). \;A traveling exhibition\, the presentation of \;Transcommunality \;at BRIC House will be the \;inaugural showing in the United States.

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Laura Anderson Barbata is known for her participatory\, colla borative art\, often involving partnerships with local artisans. The relati onships forged with collaborators and the cultural exchanges that take plac e are the most important components for the artist. \;Transcommunal ity \;encompasses community art\, public art\, social intervention \, performance and sculpture\, focusing on an artist who has dedicated her practice to confronting the hierarchies of so-called &ldquo\;fine art&rdquo \; and popular art\, craft and folk traditions. In 2011\, she designed a pe rformance with the Brooklyn Jumbies called \;Intervention: Wall Str eet\, engaging in the Occupy Wall Street movement and the social and e conomic issues it raised.

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Transco mmunality: Laura Anderson Barbata\, Collaboration Beyond Borders \ ;has previously been presented at the Centro de las Artes de Nuevo Le&oacut e\;n\, Monterrey\; Museo de la Ciudad de Mé\;xico\, Mé\;xico\, D.F.\; and Museo Textil de Oaxaca\, Mé\;xico. The exhibition at BRIC House will be the first showing in the United States\, after which it will travel to the University of Wisconsin\, Madison\, where the project will be part of the spring 2015 Interdisciplinary Arts Residency Program. It will subsequently continue in Europe.

DTEND:20140831 DTSTAMP:20140901T120457 DTSTART:20140710 GEO:40.6883492;-73.9791764 LOCATION:BRIC Arts | Media House\,647 Fulton Street \nBrooklyn\, NY 11217 SEQUENCE:0 SUMMARY:Transcommunality: Collaboration Beyond Borders\, Laura Anderson Bar bata UID:342986 END:VEVENT BEGIN:VEVENT DTEND:20140709T210000 DTSTAMP:20140901T120457 DTSTART:20140709T190000 GEO:40.6883492;-73.9791764 LOCATION:BRIC Arts | Media House\,647 Fulton Street \nBrooklyn\, NY 11217 SEQUENCE:0 SUMMARY:Transcommunality: Collaboration Beyond Borders\, Laura Anderson Bar bata UID:344437 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Beyond the Supersquare \;explores the indelible influence of Latin American and Caribbean modernist architecture on contem porary art. The exhibition features over 30 artists and more than 60 artwor ks\, including photography\, video\, sculpture\, installation\, and drawing \, that respond to major Modernist architectural projects constructed in La tin America and the Caribbean from the 1920s through the 1960s. \;B eyond the Supersquare \;examines the complicated legacies of moder nism through architecture and thought&mdash\;as embodied by the political\, economic\, environmental\, and social challenges faced by countries throug hout Latin America&mdash\;through the unique perspective of artists working today. This exhibition is co-organized by Holly Block (New York City) and Marí\;a Iné\;s Rodrí\;guez (Colombia)\, and designed by B enedeta Monteverde (Mexico).

DTEND:20150111 DTSTAMP:20140901T120457 DTSTART:20140501 GEO:40.8308846;-73.9202186 LOCATION:Bronx Museum of the Arts\,1040 Grand Concourse at 165th Street\nBr onx\, NY 10456 SEQUENCE:0 SUMMARY:Beyond the Supersquare\, Leonor Antunes\, Alexander Apóstol\, Alexa ndre Arrechea\, Felipe Arturo\, Alessandro Balteo\, Media Farzin\, Alberto Baraya\, Carlos Bunga\, Los Carpinteros\, Jordi Colomer\, Livia Corona Benj amin\, Felipe Dulzaides\, Fernanda Fragateiro\, Magdalena Fernández\, Carlo s Garaicoa\, Mario García Torres\, Terence Gower\, Patrick Hamilton\, Diang o Hernández\, Quisqueya Henriquez\, André Komatsu\, Runo Lagomarsino\, Pabl o Leon de la Barra\, Maria Martinez-Cañas\, Rafael Domenech\, Daniela Ortiz \, Jorge Pardo\, Manuel Piña\, Ishmael Randall-Weeks\, Mauro Restiffe\, Ped ro Reyes\, Chemi Rosado-Seijo\, Roberto 'Boly' Cortéz UID:343920 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Over the course of its forty-year history\, the Bronx Museum has drawn together a significant collection of prints and graphic-art work s\, guided by its mission to give visibility to artists of African\, Asian\ , and Latin American descent. For these artists\, the print medium has been an invaluable tool for channeling their aesthetic and political concerns. Due to its mass reproducibility\, economy\, ease of distribution\, and coll aborative character\, printmaking has long been considered a vehicle for so cial agency and has played a major role in politically mobilizing different communities and constituencies.

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Throughout the first half of the t wentieth century and continuing in the present day\, artists have joined to gether as collectives\, guided by the desire to promote social change and t aking advantage of the collaborative nature of the medium. Historical works in the museum&rsquo\;s collection\, such as those of the Mexican Taller de Grá\;fica Popular\, revisit such utopian aspirations and their influ ence on different socially-engaged graphic workshops around the world. The circulation and reproductive capabilities of graphic art have been instrume ntal for artists working under or exposing situations of political turmoil and repression. The pedagogical and empowering value of printmaking is high lighted by the selection of works by members of the Rorke&rsquo\;s Drift sc hool of Johannesburg\, who came together and gained a voice as an important artistic community of black artists during the apartheid years. The aesthe tic and political import of these historical collectives is underscored by the work of contemporary artists\, like Tim Rollins &\; K.O.S.\, whose p ractices go beyond the medium of graphic art\, approaching printmaking as a way of revisiting the historical junction between art and politics.

\n< p>Beyond considerations specific to printmaking\, this display reflects the underlying thematic narratives in the museum&rsquo\;s collection and its c ross-cultural undertakings while reaffirming its commitment to the print me dium.

DTEND:20140831 DTSTAMP:20140901T120457 DTSTART:20140501 GEO:40.8308846;-73.9202186 LOCATION:Bronx Museum of the Arts\,1040 Grand Concourse at 165th Street\nBr onx\, NY 10456 SEQUENCE:0 SUMMARY:in print / imprint: works from the permanent collection UID:343928 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Before making her widely known and iconic feminist work of t he 1970s\, 1980s\, and beyond\, Judy Chicago explored painting\, sculpture\ , and environmental performance\, often using innovative industrial techniq ues and materials\, including auto body painting and pyrotechnics.

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Chicago in L.A. surveys this less-familiar but significant early w ork\, produced when Chicago lived in Los Angeles and was a participant in t he Finish Fetish school\, which responded to the rapid industrialization of the West Coast with its own brightly colored\, high-gloss form of minimali sm. The exhibition places the early work within the arc of Chicago&rsquo\;s broader production and continues the reappraisal of the artist&rsquo\;s im portance as a pioneer in the California art scene. Chicago in L.A. also re-examines The Dinner Party as a work that emerged from dec ades of artistic experimentation\, not only with materials\, but with femin ist community building.

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This survey includes approximately sixty pa intings\, sculptures\, drawings\, prints\, photographs\, and videos\, inclu ding documentation of performances\, spanning 1963 to 1974. On view are imp ortant early sculptures\, including Rainbow Picket (1964)\, which blend minimalist forms and bold color choices\, and a range of vibrant pain tings and sculptures made with sprayed acrylic lacquer\, a material typical ly used for decorating cars.

DTEND:20140928 DTSTAMP:20140901T120457 DTSTART:20140404 GEO:40.671172;-73.9635189 LOCATION:Brooklyn Museum of Art\,200 Eastern Parkway \nBrooklyn\, NY 11238- 6052 SEQUENCE:0 SUMMARY:Chicago in L.A.: Judy Chicago's Early Work\, 1963–74 \, Judy Chicag o UID:324304 END:VEVENT BEGIN:VEVENT DTEND:20140404T170000 DTSTAMP:20140901T120457 DTSTART:20140404T100000 GEO:40.671172;-73.9635189 LOCATION:Brooklyn Museum of Art\,200 Eastern Parkway \nBrooklyn\, NY 11238- 6052 SEQUENCE:0 SUMMARY:Chicago in L.A.: Judy Chicago's Early Work\, 1963–74 \, Judy Chicag o UID:324305 END:VEVENT BEGIN:VEVENT DESCRIPTION:

CMA is pleased to announce our summer \;show Focus: Artist as Observer\, an exhibition on view in the Cynthia C. Wainwrigh t Gallery that explores the ways artists examine and celebrate various aspe cts of heritage\, culture\, neighborhood and personal identity.

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A generous grant from the Institute of Museum and Library Services funded CMA to curate and present three themed travelin g exhibitions\, or Pop-Up Museums\, based on selected works from CMA&rsquo\ ;s permanent collection. Throughout the year\, the Pop-Up Museums traveled to three distinct underserved communities in NYC. With the primary focus be ing identity\, these three exhibitions were entitled\, \;Places and Spaces \;(P.S. 124)\, \;Faces and Characters \;( Henry Street Settlement&rsquo\;s Urban Family Center) and \;Subject s and Objects \;(Broadway Housing Communities).

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Focus: Artist as Observer \;merges these three exhibitions with the work of contemporary artists\, including Will Ellis\, Richard Renaldi\, and Jes sica Wolff\, to communicate the importance of our individual and collective identities\, and how we connect with the world at large.

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As we loo k at the work in this exhibition\, certain questions can be asked. \; H ow do artists represent the world around them? How do they choose to show p eople\, places or things? \;Focus: Artist as Observerexamines how art conveys identity through the lenses of symbolism\, context\, and ea ch artist&rsquo\;s own perception of contemporary culture.

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DTEND:20140907 DTSTAMP:20140901T120457 DTSTART:20140610 GEO:40.7273732;-74.0080012 LOCATION:Childrens Museum of the Arts\,103 Charlton Street \n New York\, NY 10014 SEQUENCE:0 SUMMARY:Focus: Artist as Observer\, Will Ellis\, Richard Renaldi\, Jessica Wolff UID:341274 END:VEVENT BEGIN:VEVENT DTEND:20140610T200000 DTSTAMP:20140901T120457 DTSTART:20140610T180000 GEO:40.7273732;-74.0080012 LOCATION:Childrens Museum of the Arts\,103 Charlton Street \n New York\, NY 10014 SEQUENCE:0 SUMMARY:Focus: Artist as Observer\, Will Ellis\, Richard Renaldi\, Jessica Wolff UID:341275 END:VEVENT BEGIN:VEVENT DESCRIPTION:

ClampArt is pleased to announce &ldquo\;Iowa\, Ohio\,&rdquo\ ; Scott Daniel Ellison&rsquo\;s fourth solo show at the gallery. The exhibi tion coincides with the release of the artist&rsquo\;s first monograph of t he same name from Magical Thinking/Schilt Publishing (Hardcover\, 80 pages\ , 9.4 x 7.7 inches\, $40).

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Ellison&rsquo\;s newest body of work ima gines macabre vignettes inspired in equal parts by Scandinavian folklore\, obscure horror films\, and childhood fears and preoccupations. About his re aring in rural upstate\, Ellison writes: &ldquo\;As Halloween approached I would get on my bike and ride around the developments and back roads of War wick\, New York looking for the witches\, werewolves\, vampires\, and zombi es that were put out on front lawns\, placed in windows\, or propped up on lawn chairs as decoration.&rdquo\; These explorations emerge in this body o f work as arcane subjects\, re-invented as children&rsquo\;s drawings&mdash \;dark fantasies of an imagination gone wild.

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These new works refle ct a shift in visual and narrative complexity for Ellison. The recent scene s are no longer immediately readable\, but instead give the viewer just a g limpse of vague (and often unsettling) occurrences. Though commonly whimsic al and sometimes even endearing at first glance\, the subject matter veers riotously between near sweet depictions of household pets and the more sini ster implications of hands reaching from the mouths of tunnels\, or skulls and spiders and bodies burrowed deep underground.

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Trained as a phot ographer who counts images by Diane Arbus and Ralph Eugene Meatyard as earl y inspiration\, Ellison&rsquo\;s work as a painter engages a history of &ld quo\;outsider&rdquo\; art\, particularly the work of Bill Traylor and Henry Darger. This genealogy is apparent in Ellison&rsquo\;s visual language of deadpan compositions\, smeared lines\, flat shapes\, and a general economy of means.

DTEND:20140906 DTSTAMP:20140901T120457 DTSTART:20140724 GEO:40.7536854;-73.9991637 LOCATION:ClampArt\,521-531 W 25th St Ground Floor\nNew York\, NY 10001 SEQUENCE:0 SUMMARY: Iowa\, Ohio\, Scott Daniel Ellison UID:347471 END:VEVENT BEGIN:VEVENT DTEND:20140724T200000 DTSTAMP:20140901T120457 DTSTART:20140724T170000 GEO:40.7536854;-73.9991637 LOCATION:ClampArt\,521-531 W 25th St Ground Floor\nNew York\, NY 10001 SEQUENCE:0 SUMMARY: Iowa\, Ohio\, Scott Daniel Ellison UID:347472 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Katie Flack: \;Is an artist based in Gr eenville\, South Carolina and a recent graduate from Clemson University in SC. Her main focus of work is landscape and figure painting. Much of her in spiration comes from photography\, that she introduces in her paintings fro m landscape to figure paintings. She is an aspiring artist beginning her ca reer through studying and painting on a regular basis. She is developing he r artistic career by attending an artist residency in New York City and exh ibiting with Dacia Gallery.

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Miriam Cabello: \; Is a multi-award winning artist\, curator and educator she has exhibited in ternationally and nationally. Highlights include: the Biennial of Contempor ary Art\, Florence Italy\; being the first Australian awarded at the intern ational Annual Religious Art and Architecture Design Awards\, for &ldquo\;T he Pugilist Passion&ndash\;Black Jesus&rdquo\; and\; official Vatican selec tion as a solo exhibitor during the World Youth Day &rsquo\;08 festival. Mo st recently she exhibited at the National Art Museum of Sport\, Indianapoli s and DUMBO Arts Festival Brooklyn\, NYC. In 2012 she was appointed cultura l curator and educator at the National Aborigines and Islanders Day Observa nce Committee (NAIDOC) Ceremony\, Camden Council. Miriam nurtures a profoun d interest in social\, political issues and education. Her works predominat ely address highly charged themes endowed with a particular narrative. &ldq uo\;My professional practice explores poignant global themes to initiate di alogue on cross-cultural exchange and leverage allegory to communicate soci al awareness.&rdquo\; The United States Sports Academy selected Miriam Cabe llo as their 2014 Sports Artist of the Year.

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Ellen Llewelly n: \;A Boston artist\, shows her work throughout the United St ates. In 2011 she was accepted into The National Juried Competition at the First Street Gallery in New York City\, judged by Paul Resika. As well as t he Atlantic Works Gallery in Boston\, Massachusetts. In 2012\, she was acce pted into the Painting Only show at the Pacific Art League's Main Gallery i n Palo Alto\, California\, judged by Eric Zener. In addition\, she was acce pted into the Goldilocks Show in Austin\, Texas\, and into The National Jur ied Competition at The Academy of Fine Arts\, Virginia. In 2013\, Ellen was nominated for "Best Fine Artist of the Year" by the Boston Harbor Picayune . She has exhibited her work in California\, New York\, Texas\, Colorado\, Virginia\, Massachusetts\, New Hampshire\, Connecticut\, Vermont and Maine. Ellen has been accepted into three consecutive editions of Studio Visit Ma gazine. In January 2014\, she was included in a Pop-Up exhibition at the Fi rst Street Gallery in New York City. This past summer\, Ellen had a solo ex hibition at The Larkin Gallery in Provincetown\, Massachusetts\, and will a lso be taking part in a group exhibition this fall.

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Lavely Miller: \;Was born in 1980 on Camp Lejeune in North Carolina. She holds a B.F.A. in Painting and Drawing from James Madison University\, as well as a master&rsquo\;s and doctoral level degree in Clinical Mental H ealth from the University of Virginia. She had her first solo exhibition at age 17\, has maintained regular independent showings of her work across th e country\, and participated in countless group shows in the US and abroad. Her work can be found in the public collections of the University of Virgi nia\, Virginia Commonwealth University\, the Maria McVarish Architectural L ibrary in San Francisco\, the National Center for Transgender Equality in W ashington DC\, the Delancey Street Museum in Philadelphia and many others. Miller&rsquo\;s paintings are held in the private collections of Jock Sturg es (noted photographer)\, Kate Bornstein (author and gender theorist)\, Lin da Suzuki (playwrite) and others throughout the US\, Germany\, France and G reece. She has received numerous awards for her work including a top prize at 2012&rsquo\;s Art Basel\, fellowships and residencies &ndash\; most rece ntly at the Virginia Center for the Creative Arts\, and has been published in interviews\, publications and art textbooks throughout the world. Her mo st recent work and full-length interview can be found in the latest issue o f &ldquo\;Straw Dogs&rdquo\; &ndash\; a Greek art magazine published in Cyp rus.

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Gustavo Rincon Moreno: \;Born in Cali\, C olombia 1969. Lives and works in Brasilia\, Brazil. Although he has been a figurative painter for many years\, his current work are contemporary paint ings\, sculptures and installations\, mixing sometimes more than two langua ges in the same work\, to construct poetic drops that takes the observer in to deep reflections between his self and his environment. The human figure is occasionally present in his work\, even stylized\, deconstructed or fuse d with the background. His essays compose dramatic abstract landscapes\, eq ualized by organic or geometrical empty spaces\, frequently surrounded by n arrow synthetic polymer lines applied directly from the extruder gun\, crea ting first planes of concrete abstract graphical elements. In Morenu's abst ract expressionist work there are influences from the work of Germans\, Ame ricans French and Latino painters and especially from artist of the CoBrA g roup. Those artists are Gerhard Richter\, Jasper Johns\, Basquiat\, Guayasa min\, Obregon\, Karel Appel\, Asger Jorn and the French Pierre Soulages. Mo reno&rsquo\;s artistic education began in a technical high school in archit ectonical design and metal smiting and continued to Masters classes and wor kshops with the Colombian masters Alejandro Obregon\, Gim Amaral\, Leonel G ongora and Maria Paz Jaramillo.He is currently studying fine arts at the Du lcina de Moraes Art College in Brasilia\, Brazil. Morenu&rsquo\;s work has been exhibited between 2011 and 2014 in Brazil\, Ecuador\, Europe and USA a nd his works are part of important public and private collections in Colomb ia\, Brazil\, Ecuador\, France and United States.

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Tia-Maria Soroskie: \;Is a Canadian drawing and installation artist who creates work based on the female body and how the female body occupies spa ce\; explores\, deconstructs and reconstructs the female gender\; and exami nes gender implications regarding expectations\, as well as issues of domes ticity and femininity. Tia-Maria received a Master&rsquo\;s of Fine Arts di ploma in 2005 at Washington State University wherein she received the Outst anding Woman in Graduate Studies Award (Honorable Mention). She has develop ed programs of study for learners of all ages\, and has held positions as D rawing Area Coordinator\, and Instructor of Record of Drawing and Classical Figure Drawing courses in the Department of Fine Arts at Washington State University. She has a professional and progressive exhibition record that i ncludes a solo exhibition in Kelowna\, British Columbia\, Canada at the&nbs p\;Alternator Centre for Contemporary Art\, a group show at theWoman Made Gallery \;in Chicago Illinois\, and more recently\, gr oup shows in Sibiu\, Romania and in New York City\, New York through \; Dacia Gallery. Tia-Maria has been awarded a research-based residen cy abroad and will be an Artist-In-Residence in October 2014 at \;D RAWinterational \;in Caylus\, France.

DTEND:20140907 DTSTAMP:20140901T120457 DTSTART:20140829 GEO:40.7219666;-73.9903845 LOCATION:DACIA GALLERY\,53 Stanton St. \nNew York \, NY 10002 SEQUENCE:0 SUMMARY:PAINTING IN NEW YORK\, Miriam Cabello\, Kaitlin Flack\, Ellen Llewe llyn\, Lavely Miller\, Gustavo Rincon Moreno\, Tia-Maria Soroskie\, Carmen Torruella Quander UID:353571 END:VEVENT BEGIN:VEVENT DTEND:20140829T210000 DTSTAMP:20140901T120457 DTSTART:20140829T180000 GEO:40.7219666;-73.9903845 LOCATION:DACIA GALLERY\,53 Stanton St. \nNew York \, NY 10002 SEQUENCE:0 SUMMARY:PAINTING IN NEW YORK\, Miriam Cabello\, Kaitlin Flack\, Ellen Llewe llyn\, Lavely Miller\, Gustavo Rincon Moreno\, Carmen Torruella Quander\, T ia-Maria Soroskie UID:353572 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Thank You Paintings Exchange initiates a series of material\, social\, gestural\, intellectual and monetary exchanges between artist and collector\, with the commercial art gallery as site and passive participant. \; The fifteen paintings on view depict scenes of everyday life: a woman sitting on a deserted beach\, children playing\, cars parked in front of a suburban home\, etc. Each painting has the text\, &ldquo\;Th ank You For Your...&rdquo\; painted on it\, completed with words such as &l dquo\;Email\,&rdquo\; &ldquo\;Poem\,&rdquo\; &ldquo\;Kiss\,&rdquo\; &ldquo\ ;Prayers\,&rdquo\; &ldquo\;Dance\,&rdquo\; &ldquo\;Pants\,&rdquo\; &ldquo\; Thoughts.&rdquo\; Sometimes a viewer might detect a relationship between th e text and the subject of the painting\, but there is no deliberate\, direc t relationship. The painting points toward the value of the painting as an artwork\, while the text points toward the exchange the artists propose to initiate with the collector.

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In order to acquire a painting\, the collector must participate in the exchange the artists have proposed\, giving the artists the object\, gesture\, concept\, etc. for whi ch the painting &ldquo\;thanks&rdquo\; them\, in addition to making a flat $1\,000 financial transaction. The interaction between artist and buyer mus t be in some way documented\, whether that document is the object that is e xchanged (&ldquo\;Thank You For Your Pants&rdquo\;) or a photograph of the exchange (&ldquo\;Thank You For Your Hug&rdquo\;)\, or a written text (&ldq uo\;Thank You For Your Thoughts&rdquo\;). The original documentation of the exchange will immediately replace the purchased painting on the wall and a copy of it will be stapled to the back of the painting. The actions and ob jects requested by the artists may be creatively interpreted by the collect or. For example: to exchange for the &ldquo\;Thank You For Your Poem&rdquo\ ; painting\, the collector might give a poem they have written or their fav orite poem\, it might be hand-written\, emailed\, or on the page of a book.  \;

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Alina &\; Jeff Bliumis use artistic init iatives to start public dialogues about the politics of community\, cultura l displacement\, migration and national identity. Their projects often prog ress in a range of forms - a community survey turns into an artist book\, t hen into a performance\, then public art\, then a participatory event\, the n an installation. By using socially engaged projects embedded in the real world - performance\, photography\, sculpture\, installation\, participator y events and social experiments - they are building an inclusive spirit and a collective imagination. Their core concern is to set spaces of &ldquo\;c o-active being&rdquo\; and &ldquo\;co-active thinking.&rdquo\; All particip ants in the works are equal co-creators\, and they consider a project compl ete when it comes full circle by reporting back to the community where the project was initiated.

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Jeff Bliumis (born Kishinev\ , Moldova) and Alina Bliumis (born Minsk\, Belarus) live in New York City a nd have been collaborating since 2000. Jeff received his BA from Columbia U niversity\, New York in 1981. Alina received her BFA from the School of Vis ual Art\, New York in 1999 and a diploma from the Advanced Course in Visual Arts in Fondazione Antonio Ratti\, Como\, Italy in 2005\, with visiting pr ofessor Alfredo Jaar. They have exhibited at the first\, second and third M oscow Biennales of Contemporary Art (Moscow\, Russia)\, Busan Biennale 2006 (Busan\, South Korea)\, Centre d&rsquo\;art Contemporain (Meymac\, France) \, Museum of Contemporary Art\, Cleveland (Cleveland\, USA)\, Bat-Yam Museu m (Bat-Yam\, Israel)\, the Jewish Museum (New York\, USA) the Victoria and Albert Museum (London\, UK). They have been the recipents of a number of gr ants\, fellowships and residencies\, including the Franklin Furnace Fund\, New York (2010-2011)\; Six Points Fellowship\, New York (Alina Bliumis 2007 -2009)\; Trust for Mutual Understanding\, New York (2005/2006/2009)\; Black and White Project Space Residency\, Brooklyn\, NY (2009)\; Art in Public S paces Grant\, Lower Manhattan Cultural Council\, New York (2008)\; Strategi c Opportunity Stipend\, New York Foundation for the Arts\, New York (2008)\ ; Puffin Foundations Grant\, New York (2008) and Quartier 21 Residency\, Mu seums Quartier\, Vienna\, Austria (2005). Their work resides in various pri vate and public collections\, including the Moscow Museum of Modern Art (Ru ssia)\, Bat-Yam Museum (Israel)\, the Saatchi Collection (UK)\, the Harvard Business School (USA)\, the Museum of Immigration History\, Paris (France) and the Victoria and Albert Museum\, London (UK).

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The artists will be present for in-person exchanges on Thursdays from 4 to 8 p.m. during the run of the exhibition\, and September 6 - 7 from 12 to 6 p.m.

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Please join us for an opening reception on Thu rsday\, July 24\, from 6 to 8 p.m. SUMMER HOURS are Tuesday\, Wednesday and Friday\, 12. to 6 p.m.\, Thursday 12 to 8 p.m. (when the artists will be p resent)\, and other days by appointment. The gallery will be closed for a s ummer recess from August 9 to 18. Denny Gallery is located at 261 Broome St reet in New York City. For further information\, contact Elizabeth Denny at 212-226-6537 or by email at elizabeth@dennygallery.com.

DTEND:20140907 DTSTAMP:20140901T120457 DTSTART:20140724 GEO:40.7181494;-73.9904683 LOCATION:Denny Gallery\,261 Broome Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Thank You Paintings Exchange\, Alina and Jeff Bliumis UID:344407 END:VEVENT BEGIN:VEVENT DTEND:20140724T200000 DTSTAMP:20140901T120457 DTSTART:20140724T180000 GEO:40.7181494;-73.9904683 LOCATION:Denny Gallery\,261 Broome Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Thank You Paintings Exchange\, Alina and Jeff Bliumis UID:344408 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Dia Art Foundation will organize the first North American re trospective of the work of Carl Andre (American\, b. 1935) who is credited with redefining the parameters of abstract sculpture. The exhibition will m ark the most comprehensive presentation of Andre&rsquo\;s work in the Unite d States since 1970 and will be accompanied by a new exhibition at the Dan Flavin Art Institute\, in Bridgehampton\, New York\, as well as a major pub lication.

DTEND:20150302 DTSTAMP:20140901T120457 DTSTART:20140505 GEO:41.5075067;-73.9807239 LOCATION:Dia:Beacon\, Riggio Galleries\,3 Beekman Street \nBeacon\, NY 1250 8 SEQUENCE:0 SUMMARY:Sculpture as Place\, 1958–2010\, Carl Andre UID:329285 END:VEVENT BEGIN:VEVENT DTEND:20140505T180000 DTSTAMP:20140901T120457 DTSTART:20140505T110000 GEO:41.5075067;-73.9807239 LOCATION:Dia:Beacon\, Riggio Galleries\,3 Beekman Street \nBeacon\, NY 1250 8 SEQUENCE:0 SUMMARY:Sculpture as Place\, 1958–2010\, Carl Andre UID:329286 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Josephine Nivison Hopper (1883-1968) was an established and respected artist in New York City prior to her marriage in 1924 to Edward H opper (1882-1967)\, a childless union that would endure for forty-three yea rs. Her paintings were shown in prestigious exhibitions with the most admir ed European and American Modernists of the day\, among them Marsden Hartley \, John Marin\, Stuart Davis\, and Pablo Picasso.

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Late in her life she gave the watercolors included in this exhibition to her friend and conf idant\, Rev. Arthayer Sanborn\, for safekeeping and in gratitude for his ki ndness in caring for her and for Edward toward the end of their lives.  \; At the time\, despite her travails and setbacks as a devoted wife\, and by then an overlooked artist\, she retained her cheerful persona. Indeed\, in looking back on her work\, Jo\, who\, like her husband was a lifelong Fr ancophile\, described her works as &ldquo\;sacred relics of a grace de coeur (grace of heart)&hellip\;they have a certain innocence et no ble orgueil (and noble pride).&rdquo\;

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The discovery in 2000 o f the trove of watercolors\, journals\, and personal papers that Rev. Sanbo rn had kept for more than thirty years lead to the discovery of more works by Jo at the Whitney Museum of American Art and for the first time it was p ossible to reconstruct her creative life as a dynamic artist in her own rig ht. In the ensuing years\, more works by Jo have surfaced and have been exh ibited\, and the importance of her role as a painting companion and muse in her two-artist marriage is finally coming to the fore.

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As an accom plished artist who eagerly embraced the most current Modernist styles of th e day\, much more so than her husband did\, Jo captured in her vibrant and lyrical watercolors favored objects and sunny views of the scenic locales t hat she and Edward often painted side by side. They truly express her &ldqu o\;grace of heart&rdquo\; and happily\, due to the efforts of her friend\, Rev. Sanborn\, they have come down to us so that Jo&rsquo\;s artistic legac y can now be appreciated\, studied\, and fully recognized.

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 \;< /p> DTEND:20140919 DTSTAMP:20140901T120457 DTSTART:20140419 GEO:41.093285;-73.918106 LOCATION:Edward Hopper House Art Center\,82 North Broadway \nNyack\, NY 109 60 SEQUENCE:0 SUMMARY:“Grace de Coeur…” Watercolors by Josephine Nivison Hopper \, Jo Niv ison Hopper UID:322863 END:VEVENT END:VCALENDAR