303 Gallery is pleased to present "euqinimod &\; costumes "\, our first exhibition of the work of Dominique Gonzalez-Foerster.

\n< p>For her first exhibition at 303 and in a New York gallery\, Dominique Gon zalez-Foerster will present a new typology of works by revealing an unusual part of her personal archives from the mid-sixties until now\, both intima te and social\, both fetishistic and symptomatic: her personal clothing and textiles.


While walking through the exhibition "Club to Catwalk: L ondon Fashion in the 1980s" at the Victoria &\; Albert Museum in London\ , Gonzalez-Foerster had an epiphany that the inflatable Michiko Koshino coa t with a movable tail she used to wear belonged to the museum collection an d that the exhibited Michiko Koshino coat actually belonged to her wardrobe . Through this revelation a conversation followed\, not about fashion\, tre nds\, brands\, lifestyles\, but on clothes and textiles in a larger sense a s possible autobiographical evidences and as the symptoms of Gonzalez-Foers ter's artistic personality through different periods. Corresponding to diff erent aspects of her practice and to an exhibition itself as far as textile s and clothing could be considered as ready-mades and narratives\, Dominiqu e's wardrobe constitutes a new field of exploration into the biographical s elf.


Gonzalez-Foerster's work has a history of a strong and vivid r elation to textiles and clothing considered not only as materials and surfa ces but also as objects of meditation and reverie. Textiles have been prese nt in different forms\, like carpets combined with books in her various "ta pis de lecture"\, and in different forms as well\, such as in "Nos ann&eacu te\;es 70" under the form of an Indian fabric bringing back her mother's ro om in the seventies\, or in "RWF"\, staging Rainer Werner Fassbinder's room with a brown velvet spread covering the filmmaker's bed. In 2012\, Gonzale z-Foerster began work on the the ongoing opera project "M.2062"\, connectin g her research with 19th century issues and the Gesamtskunstwerk\, appearin g in costume as characters including King Ludwig II\, Scarlett O'Hara and E dgar Allan Poe. Clothes evolve from being canvases for moods\, attitudes an d psychological moments similar to rooms\, spaces and dioramas\; they turn into apparitions as characters become costumes. By twisted extension\, this logic is taken to a new conclusion: Gonzalez-Foerster's clothes appear as costumes\, narratives and fictions which mirror a fragmented and multiple i nner self.


A subjective description of a selection of works from th is exhibition will be featured in the upcoming booklet "euqinimod and costu mes" composed by Tristan Bera.


Dominique Gonzalez-Foerster lives an d works in Paris and Rio de Janeiro. In 2015\, her career will be the subje ct of a major survey exhibition at Museum of Modern Art\, Rio de Janeiro an d Centre Pompidou\, Paris. In May of this year\, 1984-1999 The Decade will open at the Centre Pompidou-Metz in France\, where Gonzalez-Foerst er has designed all scenography and the exhibition scape. Recent solo exhib itions of her work include Splendid Hotel\, Palacio de Cristal in collaboration with the Reina Sofia Museum in Madrid\; M.2062\, Stedelijik M useum\, Amsterdam\; Belle Comme le jour\, Art Unlimited\, Basel\; T.1912\, Guggenheim Museum\, New York\; chronotopes &\; dioramas\, Dia Art Foundation\, New York\; TH.2058\, Turbine Hall\, Tate Modern\, London\; Nocturama\, Museo de Arte Contemporá\;neo de Castilla y Lé\;on\; Expodrome\, Musé\;e d'art moder ne de la Ville de Paris/ARC\; Multiverse\, Kunsthalle Zü\;rich \; and Dominique Gonzalez-Foerster - Prix Marcel Duchamp\, Centre Pompidou\, Paris. She also participated in Making Worlds\, the 53r d Venice Biennale\; Skulptur Projekte Mü\;nster\; and Documenta 11\, Ka ssel (2002). Gonzalez-Foerster is the recipient of the 2002 Marcel Duchamp Award.

DTEND:20140531 DTSTAMP:20161027T192153 DTSTART:20140417 GEO:40.7473086;-74.0072497 LOCATION:303 Gallery\,555 W 21st Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY: euqinimod & costumes\, Dominique Gonzalez-Foerster UID:329548 END:VEVENT BEGIN:VEVENT DESCRIPTION:

ABC No Rio is pleased to present RESx\, organized by members of the artists&rsquo\; group
Colab. Complementing an exhibition at Ja mes Fuentes Gallery of original work from the Real Estate
Show of 1980 \, artists involved in that seminal exhibition are also organizing events a nd activities at
Cuchifritos in the Essex Street Market as well as thi s exhibition at ABC No Rio. RESx will be feature
new work on the theme s of real estate\, land-use\, and the right to housing.
The original R eal Estate Show opened on New Year&rsquo\;s Eve\, 1979 at 123 Delancey\, no w part of the
proposed massive Essex Crossing development. The Real Es tate Show led the creation of ABC No Rio.

DTEND:20140508 DTSTAMP:20161027T192153 DTSTART:20140409 GEO:40.7192565;-73.9853963 LOCATION:ABC NO RIO\,156 Rivington Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:RESx: The Real Estate Show extended (Revisiting the Themes of Landm ark 1980 Exhibition) UID:327742 END:VEVENT BEGIN:VEVENT DTEND:20140409T210000 DTSTAMP:20161027T192153 DTSTART:20140409T190000 GEO:40.7192565;-73.9853963 LOCATION:ABC NO RIO\,156 Rivington Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:RESx: The Real Estate Show extended (Revisiting the Themes of Landm ark 1980 Exhibition) UID:327743 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Acquavella Galleries is pleased to present Jean-Michel Basqu iat Drawing: Work from the Schorr Family Collection\, an exhibition of work s by Jean-Michel Basquiat curated by Fred Hoffman from May 1 to June 13\, 2 014. The show will feature 22 works on paper and two paintings from the col lection of Herbert and Lenore Schorr\, who were the artist&rsquo\;s devoted collectors\, supporters\, and friends. "We have had the pleasure of knowin g Herb and Lenore Schorr for over thirty years\, and are delighted to prese nt the first exhibition on their important collection of works by Jean-Mich el Basquiat\,&rdquo\; said William Acquavella. &ldquo\;Focusing on the sign ificance of drawing in Basquiat's practice\, we are pleased to show these r emarkable works on paper\, many of which are being exhibited to the public for the first time."

Herbert and Lenore Schorr began collectin g the work of Jean-Michel Basquiat in 1981\, before his first New York exhi bition. &ldquo\;During the artist&rsquo\;s seminal years 1982-83 the Schorr s acquired several of his most important paintings\, but in contrast to vir tually every other early collector\, the Schorrs also pursued and acquired a great number of works on paper both directly from the artist and from his early dealers\,&rdquo\; explained curator Fred Hoffman. &ldquo\;The Schorr s astutely understood that working on paper was equally central to his prac tice as painting on canvas. Their collection demonstrates both the focus an d ambition that the artist invested in the medium of drawing.&rdquo\;

Basquiat showed an affinity for drawing at an early age and this pr actice was a central component of his artistic output. Between 1980-88\, th e artist produced approximately 1000 works on paper\, which articulate comp lex narratives\, revealing flawed power structures and hinting at fundament al failings in social discourse.

The portrait of Herbert and L enore Schorr that will be included in the exhibition highlights the impact their support had on the artist&rsquo\;s short but prolific career. &ldquo\ ;We had so much confidence in him from the beginning and couldn&rsquo\;t un derstand why other people couldn&rsquo\;t see it\,&rdquo\; explained Lenore Schorr. &ldquo\;A wonderful exhibition that he did at Fun Gallery in 1983 didn&rsquo\;t receive a single review and we were the only ones to buy a pa inting.&rdquo\; That painting\, Leonardo da Vinci&rsquo\;s Greatest Hits is now considered a seminal example of the artist&rsquo\;s work and will be o ne of two paintings on view.

Curator Fred Hoffman\, Ph.D. met Jean-Michel Basquiat in 1982 and worked closely with him during the artist &rsquo\;s residency in Venice\, California from 1982-84. With Hoffman's hel p\, Basquiat produced five editions of prints\, published in 1983 by New Ci ty Editions. Hoffman also assisted in the production of the artist&rsquo\;s 1984 silkscreen paintings and co-curated Basquiat&rsquo\;s retrospective a t the Brooklyn Museum in 2005. He is the Ahmanson Curatorial Fellow at the Museum of Contemporary Art\, Los Angeles.

Jean-Michel Basquia t (b.1960 d.1988) has been the subject of numerous major museum exhibitions throughout the United States and Europe. In 2005\, a retrospective exhibit ion\, Basquiat\, opened at the Brooklyn Museum of Art\, and subsequently tr aveled to the Museum of Contemporary Art\, Los Angeles and the Museum of Fi ne Arts\, Houston. A 2010 retrospective\, organized by the Fondation Beyele r in collaboration with the Musé\;e d&rsquo\;Art Moderne de la Ville de Paris\, marked what would have been Basquiat&rsquo\;s 50th birthday. His work is included in private and public collections throughout the world\, including The Broad Art Foundation\, Santa Monica\; Centre Georges Pompidou \, Paris\; Museu d' art Contemporani de Barcelona\, Spain\; and The Museum of Modern Art\, New York.

A fully illustrated catalogue with a n essay by Fred Hoffman will accompany the exhibition.

DTEND:20140613 DTSTAMP:20161027T192153 DTSTART:20140501 GEO:40.7762839;-73.9626764 LOCATION:Acquavella Galleries\,18 East 79th Street \nNew York\, NY 10075 SEQUENCE:0 SUMMARY:Drawing - Work from the Schorr Family Collection\, Jean-Michel Basq uiat UID:332254 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Aicon Gallery is pleased to pr esent recent works by Adeela Suleman in her second New York solo exhibition \, Towards the End. The exhibition hinges around a new group of monumental hand-beaten steel reliefs\, rendered in the filigree tradition of Islamic a rt\, depicting beheaded figures engaged in violent\, but also absurd\, scen es of armed conflict.

From the Paleolithic into Neolithic eras \, prehistoric humans shaped stone tools amid a progression of cultural and technological developments. Neolithic domestication led to permanent settl ements\, refining crafts such as pottery and weaving\, to ultimately give r ise to Bronze Age metallurgy. The emergence of metal tools advanced the tec hnology of early civilization\, including the first modern tools of war. In history\, warriors are often portrayed with favored armaments &ndash\; swo rds\, lances\, bows\, shields\, guns &ndash\; adorning suits of protective armor. Arms not only provide visual evidence of a soldier&rsquo\;s capacity and stature\, but also testify to his established role in the social hiera rchy.

In the Mubarizun &ndash\; No More series\, Suleman portr ays soldiers in binary identities\, simultaneously as decorated heros and h eadless entities of war. Depictions of senseless killing lead to scenes of violent chaos and anarchy\, rather than exploring the alternatives of altru istic reason and harmony. Decapitated soldiers march purposefully to battle \, yet are unable to comprehend why. Historically\, the term &ldquo\;mubari zun&rdquo\; (translated: duelers\, or champions) referred to an elite unit of the Rashidun army comprised of top warriors &ndash\; the master swordsme n\, lancers and archers of their time. The Mubarizun were a recognized bran ch of the Muslim army\, its sole purpose to slay as many opposing commander s\, often in a duel preceeding the battle\, for the purpose of demoralizing the enemy. In Mubarizun &ndash\; No More Series 1\, Suleman portrays two s oldiers on a bed of flowers after beheading each other\, with petal-like bl ood drops spraying from their severed necks as a crow sits unaffected upon one of the figures. The sculptures address\, among other things\, the arche typal history of human violence\, paired with the inherent ambivalence of m odern warfare\, where killing on both small and large scales has become inc reasingly depersonalized and ambiguous in terms of accountability.
Suleman&rsquo\;s metal sword series\, Karr Wa Farr\, also incorporates the iconography of early Islamic warfare. Literally translated\, &ldquo\;k arr wa farr&rdquo\; means attack and flee\, which was an early Arabian cava lry tactic. To weaken the enemies\, infantry would use systematic advances and abandonments with spears and swords interspersed with arrow volleys. Th e strategic moment was reserved for a counterattack\, supported by a flanke d cavalry charge. In this sculptural series\, Suleman depicts a small snake impaled upon a sword\, whose blade is a wilted leaf\, mounted upon a pedes tal rendered in an arabesque pattern. Art\, in this case\, bears witness to the futility and ultimate impotence of violence as a means of social or cu ltural transformation\, from past to present and into the future.

Signature to her style\, many of Suleman&rsquo\;s sculptures are render ed in relief. Fashioned from hammered stainless steel\, the finished works rise subtly from walls and platforms with intricate and shimmering detail. Despite their polish and refinement\, the reliefs retain the humanistic aur a of their hand-crafted creation and are rife with questions and suggestion s beyond their figurative content. Suleman transforms basic subjects &ndash \; often birds\, plants\, vases\, weaponry\, drapes and crowns &ndash\; int o a more complex iconography\, revealing a deeper engagement with political \, gender and societal concerns. Initially drawn to functional metallic obj ects such as colanders\, drains\, nuts and bolts\, Suleman continues to cre ate sculptures that both seek to beautify and dissect these prevalent theme s.

The recurring motifs in Suleman&rsquo\;s work &ndash\; org anic subjects such as birds and flowers &ndash\; form detailed\, repetitive patterns\, which are replete with symbolic meaning. Abstracted notions of loss and disappearance quietly resonate through her sculptures. In lieu of tombs\, memorials and funerals\, the works confront our earthly fears\, but remain suggestive of transcendental relief. They may be seen simultaneousl y as symbolic representations of the coexistence between love of nature and the chaos of man\, in addition to the fragmented documentaries referencing recent violent and catastrophic occurrences within the artist&rsquo\;s soc iopolitical landscape.


Adeela Suleman studied Sculpture at the Indus Valley School of Art and completed a Master &rsquo\;s degree in International Relations from the University of Karachi. She is currently the Coordinator of Vasl Artists&rsquo\; Collective in Kar achi\, in addition to being the Coordinator of the Fine Art Department at I ndus Valley School of Art and Architecture. Suleman has participated extens ively with group and solo exhibitions worldwide\, including Phantoms of Asi a at the Asian Art Museum\, San Francisco\, the 2013 Asian Art Biennial at the National Taiwan Museum of Fine Art\, Hanging Fire &ndash\; Contemporary Art from Pakistan at The Asia Society\, New York\; Gallery Rohtas 2\, Laho re\; Canvas Gallery\, Karachi\; Aicon Gallery\, New York\; and\, the Intern ational Exhibition of Contemporary Art\, Bologna\, Italy (2008). Reviews an d features of work appear in Artforum and the New York Times\, among other publications. The artist lives and works in Karachi\, Pakistan.

DTEND:20140606 DTSTAMP:20161027T192153 DTSTART:20140417 GEO:40.7268368;-73.9929619 LOCATION:Aicon Gallery - New York\,35 Great Jones Street \nNew York\, NY 10 012 SEQUENCE:0 SUMMARY:Towards the End \, Adeela Suleman UID:330904 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Robert Kinmont was born in Los Angeles in 1937 and currently lives in Northern California. Between 1968 and 1981\, he exhibited in gall eries and institutions such as the San Francisco Museum of Art\; the de You ng Museum\, San Francisco\; the Smithsonian Institution\, Washington D.C. a nd the 1968 &ldquo\;Sculpture Annual&rdquo\; at the Whitney Museum\, New Yo rk. Between 1981 and 2004\, Kinmont studied Buddhism and worked as a carpen ter and returned to his artistic practice in 2005. One-person exhibitions o f his sculpture and photography took place at Alexander and Bonin in 2009 a nd 2011\, and in 2010 his work was included in several group exhibitions su ch as &ldquo\;The Traveling Show&rdquo\; at Fundació\;n/Colecci&oacut e\;n Jumex\, Mexico City\, and &ldquo\;The Moon is An Arrant Thief&rdquo\; at the David Roberts Foundation\, London. In 2011\, Kinmont&rsquo\;s work w as included in &ldquo\;State of Mind\,&rdquo\; a survey of new California a rt circa 1970 co-organized by the University of California\, Berkeley Art M useum and the Orange County Museum of Art. His work is on view in &ldquo\;E nds of the Earth: Art of the Land to 1974\,&rdquo\; at the Geffen Contempor ary at the Museum of Contemporary Art\, Los Angeles until September 3rd. Th e exhibition will subsequently travel to Haus der Kunst\, Munich.

DTEND:20140524 DTSTAMP:20161027T192153 DTSTART:20140412 GEO:40.7497717;-73.9976946 LOCATION:Alexander and Bonin\,132 10th Ave. between 18th and 19th streets i n Chelsea\nNew York \, NY 10011 SEQUENCE:0 SUMMARY: trying to return home educated\, Robert Kinmont UID:330951 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Alexander Gray Associates presents its inaugural exhibition of Heidi Bucher\, featuring emblematic works from the 1980s and 1990s. Buch er (b.1926\, Winterthur\, Switzerland &ndash\; d.1993\, Brunnen\, Switzerla nd) maintained an important\, but overlooked practice dedicated to the expl oration of materiality\, space\, and the body. The exhibition focuses on Bu cher&rsquo\;s &ldquo\;skinnings\,&rdquo\; the works for which the artist is most well-known. Studies of personal\, cultural\, and collective memory an d experience\, the &ldquo\;skinnings&rdquo\; examine architectural elements of historically and personally significant buildings. Having studied fashi on\, Bucher began her career creating body wrappings\, body shells\, and la tex casts of clothing\, exploring clothes as second skins that hid women bo th physically and psychologically. Bucher&rsquo\;s move towards architectur al imprints\, which began after returning to Switzerland from Los Angeles i n the early 1970s\, was an extension of her earlier clothes-based works and her investigation of the body in space.

Heidi Bucher created pieces like Obermühle (c.1980s) by applying fabric or caoutchouc to the interior surfaces of rooms\, including doors\, floor segments\, win dows\, and entire walls. Layering latex on top\, she removed the fabric and latex as one\, often peeling off paneling\, plaster\, and pigments in the process. Her &ldquo\;skinnings" embody both the materials used and the arch itectural features of the space. In some cases\, Bucher applied a top coat of iridescent mother-of-pearl paint\, giving the works a patina-like finish as in Untitled (floor fragment) (n.d.). Through a highly physical process of artistic creation\, Bucher engaged with notions of personal and collective memory. As she stated\, &ldquo\;We paste the rooms and then lis ten. We observe the surface and coat it. We wrap and unwrap. Life\, the pas t\, becomes entangled in the cloth and remains fixed. Slowly we loosen the layers of rubber\, the skin\, and drag yesterday into today.&rdquo\; Bucher &rsquo\;s works enabled her to appropriate historically and personally char ged spaces and make them her own. Villa Bleuler (c.1991)\, a tile imprint of the nineteenth century estate\, is indicative of the domestic en vironments and spaces on the verge of decay or destruction that primarily c oncerned Bucher\; she worked on the historic villa right before it was reno vated to house the Swiss Institute for Art Research. The resulting objects carry great emotional significance\, containing a personal story of the art ist&rsquo\;s past.

Heidi Bucher&rsquo\;s work has been exhibit ed extensively throughout Europe and North America. She is currently the su bject of a solo exhibition at the Swiss Institute in New York. In 2004\, Bu cher was the subject of a retrospective exhibition at the Migros Museum f&u uml\;r Gegenwartskunst\, Zurich\, Switzerland. Her work was exhibited in th e 1972 exhibition Bodyshells at the Los Angeles County Museum of A rt\, CA\; as well as the 1971 exhibition Soft Sculptures to Wear a t the Museum of Arts and Design\, New York. Recent exhibitions featuring he r work include the Centre Culturel Suisse\, Paris\, France (2013)\; Mus&eac ute\;e Rath\, Genè\;ve\, Switzerland (2013)\; Kunstmuseum Luzern\, Lu cerne\, Switzerland (2012)\; and the Museum Bellerive\, Zurich (2008). Her work is in the permanent collection of the Migros Museum fü\;r Gegenwar tskunst\, Zurich.

DTEND:20140518 DTSTAMP:20161027T192153 DTSTART:20140409 GEO:40.7498334;-74.0038232 LOCATION:Alexander Gray Associates\,510 West 26 Street \nNew York\, NY 1000 1 SEQUENCE:0 SUMMARY:Solo Exhibition\, Heidi Bucher UID:329533 END:VEVENT BEGIN:VEVENT DTEND:20140409T200000 DTSTAMP:20161027T192153 DTSTART:20140409T180000 GEO:40.7498334;-74.0038232 LOCATION:Alexander Gray Associates\,510 West 26 Street \nNew York\, NY 1000 1 SEQUENCE:0 SUMMARY:Solo Exhibition\, Heidi Bucher UID:329534 END:VEVENT BEGIN:VEVENT DESCRIPTION:

A large cloud of vapor slowly seeps from the lips of young b londe woman filling the back room of an
upscale Los Angeles brunch hot spot with the distinct smell of piñ\;a colada. The screen on her iPh one is cracked but flickers with notifications. She picks up her phone and types\, &ldquo\;what is even the deal with Ukraine? am I rite?&rdquo\; twee t sent.
Starbucks in the Forbidden City
Angry Birds Tapestries hanging n ext to Turkish rugs
Dreamcatcher designed with the Kansas City Chiefs logo hand sewn by Native American
Ming Tsai&rsquo\;s TV show East meet s West
Teriyaki pork belly gordita sliders
All fusion restaurants really
Corporate social responsibility bro
I buy a pair of jeans online\, I get confirmation email about those jeans gmail generates ad about jeans
like those jeans I am forev er fed more information about a specific sub section of jeans CAN I EVER
Did you buy those jeans online?
Stock image of all ethnicities putting one hand on top of each other&rsquo\;s
Pitbull - Timber ft. Ke$ha
Plastic iced coffee cup fi lled with milky brown liquid as the universal
Subculture doesn&rsquo\; t exist
Confuse print and paint
Commodification of crypto-currency (doge coins etc. pretty much just beani e babies)
The studio visit that made you realize aura is still relevan t
Freeway overpass graffiti of a youtube link that is a video of the t agger painting the link
For his exhibition at American Contemporary Mi chael Manning will present new paintings and wall
graphics\, along sid e a series of videos. His paintings are produced on a computer\, printed an d hand
finished. He lives and works in Los Angeles. Recent exhibitions include\; Material Images. Johannes Vogt Gallery\, NY\, Bright &\; Cont emporary\, Smart Objects\, LA\, and a solo presentation at NADA Miami
2013 with Bill Brady KC\, FL.

DTEND:20140601 DTSTAMP:20161027T192153 DTSTART:20140424 GEO:40.725623;-73.991532 LOCATION:American Contemporary\,4 East 2nd Street \nNew York\, NY 10003 SEQUENCE:0 SUMMARY:WILD FUSION : Vol. I – Total Collapse\, Michael Manning UID:332256 END:VEVENT BEGIN:VEVENT DTEND:20140424T200000 DTSTAMP:20161027T192153 DTSTART:20140424T180000 GEO:40.725623;-73.991532 LOCATION:American Contemporary\,4 East 2nd Street \nNew York\, NY 10003 SEQUENCE:0 SUMMARY:WILD FUSION : Vol. I – Total Collapse\, Michael Manning UID:332257 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Americas Society will present Unity of Nature: Alexander von Humboldt and the Americas\, the first exhibition in New York to f ocus on the intrepid Prussian explorer\, scientist\, diplomat\, and author. Alexander von Humboldt (1769&ndash\;1859) was reputedly the second most we ll-known person in France in the early nineteenth century\, his popularity eclipsed only by Napoleon&rsquo\;s. The eminent Harvard paleontologist Step hen Jay Gould said he was "probably the world's most famous and influential intellectual [of the early nineteenth century]\," yet he is virtually unkn own in the United States today.


From 1799 to 1804\, Humboldt traver sed about 6\,000 miles\, journeying through the Spanish American colonies ( modern-day Venezuela\, Colombia\, Ecuador\, Peru\, Mexico\, and Cuba) to ob serve nature in the "torrid zone." Over the three decades after his return\ , Humboldt published some thirty volumes relating to his journey\, the most renowned of which is the beautifully illustrated Vues des Cordill&egra ve\;res\, et Monumens des Peuples Indigè\;nes de l'Amé\;rique (1810). Unity of Nature will serve as a re-introduction of Hum boldt to the American public. Included in the exhibition will be books\, sc ulpture\, scientific instruments\, and paintings\, especially landscapes by the artists who followed in his footsteps to South and Central America. Of tentimes the first European to venture into the interior areas of South Ame rica\, Humboldt and his travel publications inspired many American artists\ , including Frederic Edwin Church (1826&ndash\;1900) and Louis Ré\;my Mignot (1831&ndash\;1870) who were among the first to retrace his voyage. Their goals were not only to follow Humboldt's journey\, but also to adhere to his scientific-aesthetic principles\, especially in their portrayals of nature\, a major theme of the exhibition. During the latter part of the ni neteenth century\, Humboldt&rsquo\;s writings helped fuel a belief in manif est destiny influencing painters such as Albert Bierstadt (1830&ndash\;1902 ) and Thomas Moran (1837&ndash\;1926) as well as the photographer Carleton Watkins (1829&ndash\;1916).


Sections of the exhibition are devoted to Humboldt's impact on Latin American independence and U.S. expansionism e ncompassing material relating to the explorer's 1804 visit to the United St ates and meeting with Thomas Jefferson\, his final years\, and death in 185 9\, a year in which Charles Darwin published On the Origin of Species and Frederic Church exhibited his iconic painting "Heart of th e Andes." New York-based artist Mark Dion\, who often addresses ecological issues in his work\, will offer a contemporary response to Humboldt&rsquo\; s classification of nature by exploring the tradition of scientific field i llustration. On exhibit will be a drawing cabinet he created during an arti sts&rsquo\; residency in Colombia\, where he collected specimens daily from the local rain forest and then worked with a team of colleagues to record his findings through a series of watercolors and drawings.

DTEND:20140726 DTSTAMP:20161027T192153 DTSTART:20140429 GEO:40.6955248;-73.9871396 LOCATION:Americas Society Gallery\,680 Park Avenue (@ 68th St) \nNew York\, NY 10065 SEQUENCE:0 SUMMARY:Unity of Nature: Alexander von Humboldt and the Americas \, Frederi c Church\, Mark Dion\, Louis Rémy Mignot\, Albert Bierstadt\, Carleton Watk ins\, Thomas Moran\, Eduard Ender UID:335027 END:VEVENT BEGIN:VEVENT DESCRIPTION:

With paintings dating from 1960 to 2014\, this exhibition of works illustrates the complex evolution of Wolf Kahn&rsquo\;s prolific career.


Kahn&rsquo\;s early works are nearly monochromatic\, concentrating on subtle varying tonalities. Thou gh nature was his inspiration\, the subject matter remains allusive. Howeve r\, by the late 1960s\, Kahn began his transition to a bolder palette. Amid st this shift\, the subject becomes increasingly explicit while abstractly depicted.


Th e landscape\, both real and fantastic\, becomes a conduit for imagination a nd invention and acts as a vehicle for Kahn&rsquo\;s painterly gesture and bold exploration of color.


Like the late works of Matisse\, Avery\, and Hofmann\, Kahn& rsquo\;s paintings from the last decade are a great flowering that celebrat e joy\, beauty\, color\, and life. \;

\n DTEND:20140531 DTSTAMP:20161027T192153 DTSTART:20140424 GEO:40.747609;-74.0057766 LOCATION:Ameringer | McEnery | Yohe\,525 West 22nd Street \nNew York\, New York 10011 SEQUENCE:0 SUMMARY:Six Decades\, Wolf Kahn UID:333653 END:VEVENT BEGIN:VEVENT DTEND:20140424T200000 DTSTAMP:20161027T192153 DTSTART:20140424T180000 GEO:40.747609;-74.0057766 LOCATION:Ameringer | McEnery | Yohe\,525 West 22nd Street \nNew York\, New York 10011 SEQUENCE:0 SUMMARY:Six Decades\, Wolf Kahn UID:333654 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In this body of work\, Sandra Mendelsohn Rubin creates small\, but meticulously detaile d paintings of the rural northern California landscape\, often from an aeri al perspective.


While in the past she worked solely from life\, Rubin utilizes digital photography in her most recent paintings as a supplement to her usual metho d. Instead of compromising her work\, photography as a tool enables Rubin t o portray the human presence\, made evident through the use of aerial persp ectives\, in the framework of the natural environment. The use of photograp hy furthers the artist&rsquo\;s desire to further bond her works to the phy sical world.


On each canvas\, there are several layers of undiluted oil paint applied s traight form the tube. \; The detailed application of paint is enhanced by the somewhat diminutive scale of these works\, which transforms the imp ression of far-off space into an intimate experience. These works are inher ently small in order to convey intensity of detail in a way that allows the viewer to physically feel a connection with the surface being depicted.&nb sp\;


Althoug h the rural northern California landscape remains her inspiration\, water h as now become the primary focus. It is the element that ties together this particular body of works and is present in some form\, whether manmade or n atural\, on each canvas with the exception of one. The subject of water as a focal point is a reflection on its implicit presence in everyday life.

DTEND:20140531 DTSTAMP:20161027T192153 DTSTART:20140424 GEO:40.747609;-74.0057766 LOCATION:Ameringer | McEnery | Yohe\,525 West 22nd Street \nNew York\, New York 10011 SEQUENCE:0 SUMMARY:Solo Exhibition\, Sandra Mendelsohn Rubin UID:333655 END:VEVENT BEGIN:VEVENT DTEND:20140424T200000 DTSTAMP:20161027T192153 DTSTART:20140424T180000 GEO:40.747609;-74.0057766 LOCATION:Ameringer | McEnery | Yohe\,525 West 22nd Street \nNew York\, New York 10011 SEQUENCE:0 SUMMARY:Solo Exhibition\, Sandra Mendelsohn Rubin UID:333656 END:VEVENT BEGIN:VEVENT DESCRIPTION:
Andrew Kreps Gallery is pleased to present a solo exhibition by New Yo rk artist\, Nancy Brooks Brody in the 535 West 22nd Street gallery. The exh ibition\, \;SUITES IN SPACE: Merce Drawings and Color Forms\, features two new series of works. Merce Drawings are linear compositions ex ecuted on top of still \;photographic images of Cunningham performances \, which foreground shapes made by the body as it traveled through space an d time. To create \;Merce Drawings\, Brody prints low-res imag es culled from the Internet onto newsprint. These photographs of dancers&rs quo\; bodies capture a tilted head or a shift in weight to create fixed poi nts that guide the visual plane. While Brody makes several prints of the sa me image\, each unique work underscores the live act of drawing - the unpre dictability and the inscription of movement onto time. The painting-objects \, \;Color Forms\, are further meditations on the \;impres sion a body leaves behind. For these works\, Brody embeds enamel-painted sh apes made of lead into shallow clefts carved directly into the wall. An ext ension of her life drawing practice\, they are characteristic of Brody&rsqu o\;s investment in transmissions\, transitions and form.

Brody c reates painting\, drawing and sculptural works in which the tension between precision and chance give way to a sense wonder. In this exhibition\, she continues her consideration of abstract forms inspired by traces of corpore ality. \;

Nancy Brooks Brody was born in New York\, where sh e lives and works. She has exhibited two solo shows at Virgil de Voldere Ga llery\, New York. Selected groups exhibitions include Brooklyn Museum\, New York\; La Mama La Galleria\, New York\; FRAC Haute-Normandie\, France\; Wh ite Columns\, New York\; Slingshot Project\, Brussels\; Artists Space\, New York\; Vera List Center for Arts and Politics\, New York and The Drawing C enter\, New York. Nancy Brooks Brody has been a member of the queer women&r squo\;s collective\, fierce pussy\, since 1991.


DTEND:20140510 DTSTAMP:20161027T192153 DTSTART:20140405 GEO:40.7472381;-74.0051301 LOCATION:Andrew Kreps Gallery @ 535 West 22nd\,535 West 22nd Street \nNew Y ork\, NY 10011 SEQUENCE:0 SUMMARY:Suites in Space: Merce Drawings and Color Forms\, Nancy Brooks Brod y UID:330952 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Andrew Kreps Gallery is pleased to present Gustave 2 014&hellip\; the gallery&rsquo\;s first exhibition with London and Dij on-based artist Marc Camille Chaimowicz. Known for his pioneering work of t he 1970&rsquo\;s\, his work has continued to blur the distinctions between performance and installation\, as well as art and life.

Over th e past four decades\, from the performances and installations in the 70&rsq uo\;s through his designs for furniture\, ceramics and patterns for mass-pr oduced consumer items\, Marc Camille Chaimowicz has developed an unmistakab le formal idiom and signature style. His belief in beauty\, lightness and e legance is expressed in his preference for graceful curves\, delicate forms \, and a characteristic palette of pastel shades. This nuanced approach ref lects the ambiguity of the artwork\, which is always situated somehow &ldqu o\;in-between&rdquo\;. Chaimowicz takes pleasure in breaking down the hiera rchy of applied and fine art. His pattern designs appear rooted in the pain terly vocabulary of modernism\, especially that of French painting and lite rature\, to whose legacy he feels attached.

For his show entitl ed Gustave 2014&hellip\; Chaimowicz has built a cruciform wall in the middle of the gallery creating intimate interior spaces in which carpet \, wallpaper\, furniture\, painting and prints are installed to create laye red and wholly unique tableaus reflecting the artist&rsquo\;s idiosyncratic dandyism. \; Depicting a place neither here nor there\, and in a time not delineated\, these environments are imbued with a sense of nostalgia th at both resists and invites the viewer. A second &ldquo\;chapter&rdquo\; of prints created from images from his seminal catalog which hi-jacked the tr aditional form of an interiors magazine are featured along with a slide-pro jector work\, originally exhibited at the Tate which layers images of the a rtist upon themselves.

In his own words\, &ldquo\;We should resi st the tyranny of linear time for one which is much more elusive\, labyrint hian\, gracious and once understood\, perhaps even kindly. Once we recogniz e that it can fold in on itself &ndash\; wherein\, for example\, recent eve nts can seem distant and more distant ones seem closer &ndash\; we then hav e a greater fluidity of means.&rdquo\;

Marc Camille Chaimowicz w as born in postwar Paris and has had major solo exhibitions internationally at the Serpentine Gallery\, London\, Le Consortium\, Dijon\, Nottingham Co ntemporary\, Nottingham\, Secession\, Vienna\, Inverleith House\, Edinburgh and inaugurated the new Artist Space with a solo installation in 2009. His works have been included in several group shows at Weltkulturen Museum\, F rankfurt\; the Tate Britain\, Raven Row\, and the Royal Academy of Arts all in London and in 2008 his work was included in the Berlin Biennial for Con temporary Art.

DTEND:20140510 DTSTAMP:20161027T192153 DTSTART:20140405 GEO:40.7477457;-74.0063477 LOCATION:Andrew Kreps Gallery @ 537 W. 22nd\,537 W. 22nd St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Gustave 2014….\, Marc Camille Chaimowicz UID:330953 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Saturdays at 4pm:
An accompanying performance series or ganized by Regina Miranda will feature:
Claire Porter\, Frederick Curr y\, Mariangela Lopez\, Patricia Niedermeier\, and others.


Our bodies and our lives are defined by codes. Smart phone apps tell us where we are\, genetic codes map our past and future\, and religious codes mandat e what we can put in and on our bodies. Exoskeletons running military softw are promise to turn us into real-life iron men\, fashion designer-coders wr ite programs that automatically generate 3D printed clothing\, and robotici sts work tirelessly to build human replicas.
Codes and machines are vo raciously claiming more and more of our time\, our attention\, and our phys ical selves. With each new year we spend more time interacting with compute rs and less time interacting with people and our natural environment. Abstr act mathematical frameworks are increasingly portrayed as the only valid wa y to make sense of the world. Humanist approaches wield less and less influ ence. Many of us occupy this landscape with fascination\, enchantment\, and unease.
Coding the Body interrogates the relationships between humans and code. It explores how code is being used to understand\, control\, dec orate\, and replicate us. The exhibition celebrates the beauty of code and its manifestations while casting a wary eye on its ever expanding power.

DTEND:20140510 DTSTAMP:20161027T192153 DTSTART:20140320 GEO:40.719022;-74.004432 LOCATION:Apexart\,291 Church Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Coding the Body\, Francis Bitonti\, Kelly Dobson\, Ben Fry\, Yves G ellie\, Eunsuk Hur\, The Laban Institute of Movement Studies\, Nervous Syst em\, Cait Reas\, Casey Reas\, Diane Willow\, Amit Zoran UID:324749 END:VEVENT BEGIN:VEVENT DTEND:20140319T200000 DTSTAMP:20161027T192153 DTSTART:20140319T180000 GEO:40.719022;-74.004432 LOCATION:Apexart\,291 Church Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Coding the Body\, Francis Bitonti\, Kelly Dobson\, Ben Fry\, Yves G ellie\, Eunsuk Hur\, Cait Reas\, Casey Reas\, The Laban Institute of Moveme nt Studies\, Nervous System\, Diane Willow\, Amit Zoran UID:324750 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Ogden Minton Pleissner said that he could be called &ldquo\; a landscape painter\, a painter of landscapes who also liked to hunt and fi sh.&rdquo\; He traveled out West\, to Quebec\, through New England and the South prepared with both fishing and sketching equipment. The Arkell collec tion includes both watercolors and oil paintings by this American artist wh o found success as an artist with his first solo show at Macbeth Gallery in 1933. Works in the Arkell collection date from 1936-1942 and depict divers e locations that include southern United States\, Wyoming\, Nebraska\, and war time in the Aleutian Islands.

DTEND:20140601 DTSTAMP:20161027T192153 DTSTART:20140215 GEO:42.907359;-74.572002 LOCATION:Arkell Museum\,2 Erie Boulevard \nCanajoharie\, NY 13317 SEQUENCE:0 SUMMARY:Watercolors and Oil paintings from the Arkell Collection\, Ogden Pl eissner UID:319056 END:VEVENT BEGIN:VEVENT DTEND:20140215T170000 DTSTAMP:20161027T192153 DTSTART:20140215T123000 GEO:42.907359;-74.572002 LOCATION:Arkell Museum\,2 Erie Boulevard \nCanajoharie\, NY 13317 SEQUENCE:0 SUMMARY:Watercolors and Oil paintings from the Arkell Collection\, Ogden Pl eissner UID:319057 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The exhibition features painted\, sketched and printed views of the Mohawk River and Erie Canal from the mid 18th through the 21st cent ury.

DTEND:20140601 DTSTAMP:20161027T192153 DTSTART:20140215 GEO:42.907359;-74.572002 LOCATION:Arkell Museum\,2 Erie Boulevard \nCanajoharie\, NY 13317 SEQUENCE:0 SUMMARY:Of Time and the Mohawk River UID:319058 END:VEVENT BEGIN:VEVENT DTEND:20140215T170000 DTSTAMP:20161027T192153 DTSTART:20140215T123000 GEO:42.907359;-74.572002 LOCATION:Arkell Museum\,2 Erie Boulevard \nCanajoharie\, NY 13317 SEQUENCE:0 SUMMARY:Of Time and the Mohawk River UID:319059 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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


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.


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:20161027T192153 DTSTART:20130922 GEO:40.7038061;-73.9875039 LOCATION:Art in General\,145 Plymouth Street \nBrooklyn\, NY 11201 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 END:VCALENDAR