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NURTUREart presents a solo exhibition and performance by Mar y Kate Maher\, a special presentation on the occasion of Bushwick Open Stud ios 2014.

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Braced Position

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The work in this exhibit ion focuses on formal combinations in which objects are positioned in coerc ive relationships with each other. One element supports the other suggestin g a tentative but working foundation. Sculptures reference natural forms: r ocks\, chunks of marble and wood\; base materials serving as surrogates\, d escribing an underlying relationship of forms. Inlaid ovals of out-of-focus space become moments of visual vibration\, resisting the definition of for eground or background\, both animating and obscuring the surface on which t hey are placed.Things pretend to be alright\, to be acceptable\, to blend i n. They do their best to accommodate each other. There is an intimacy in th is: embracing and pulling back against a type of structural apathy.

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In the concurring performance: \;Forced Posture\, extension of the studio body a large\, unwieldy object is moved from one location to a nother by hand and body alone. This act is similar to the manner in which t he artist moves work in the studio. Propping and pushing\, hoisting objects that are too heavy to lift by sheer might. Instead she uses her body as a simple machine. Her body becomes a lever\, a pulley\, a tripod\, allowing t he viewer to witness the awkward\, vulnerable\, Sisyphean moments usually h idden behind the studio walls.

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The performance will be held on Sund ay\, June 1 at noon\, and will take place between the artist&rsquo\;s studi o and NURTUREart Gallery.

DTEND:20140605 DTSTAMP:20140902T095858 DTSTART:20140530 GEO:40.7060542;-73.9334513 LOCATION:NURTUREart Gallery\,56 Bogart Street \nBrooklyn \, NY 11206 SEQUENCE:0 SUMMARY:Braced Position\, MaryKate Maher UID:339350 END:VEVENT BEGIN:VEVENT DTEND:20140530T210000 DTSTAMP:20140902T095858 DTSTART:20140530T190000 GEO:40.7060542;-73.9334513 LOCATION:NURTUREart Gallery\,56 Bogart Street \nBrooklyn \, NY 11206 SEQUENCE:0 SUMMARY:Braced Position\, MaryKate Maher UID:339351 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.

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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:20140902T095858 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:

 \;Free First Fridays \; - Free admission 12 -5 on the first Friday of each month\, made possible by Fi rst Niagara Bank Corporation

DTEND:20140606 DTSTAMP:20140902T095858 DTSTART:20140606 GEO:41.093285;-73.918106 LOCATION:Edward Hopper House Art Center\,82 North Broadway \nNyack\, NY 109 60 SEQUENCE:0 SUMMARY:Free First Fridays UID:338641 END:VEVENT BEGIN:VEVENT DESCRIPTION:
NURTUREart is pleased to present Videor over: Season 7\, curated by Nicholas O&rsquo\;Brien a nd featuring works by artists: Alison Ballard\, Rachelle Beaudoin\, Bianca Boragi\, Javier Bosques\, Jonathan Johnson\, Tamara Johnson\, Zohar Kfir\, Joy McKinney\, Mores McWreath + Cathy Park Hong\, David Politzer\, Michael Szpakowski\, Sam Winks\, and Magdalen Wong. The seventh season of Videorover premiered at UnionDocs on Sun. December 15 at 7:30PM for a one night screening event.
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This seas on features a variety films and video works loosely connected by O&rsquo\;B rien&rsquo\;s invitation to consider &ldquo\;winter&rdquo\; (as a season an d as an expanded notion) as overarching topic. The coldest of the seasons i n the north\, &ldquo\;winter&rdquo\; can actually signify a multitude of cu ltural\, social\, and historical conditions\, often requiring moments of so lace and self-reflection. The artists presented in this program offer diver se approaches to dealing with the cold and isolation that this contemplativ e time can bring.

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While some artists point to the absurdity of hype r-consumerism that plagues the holiday season\, others point to an underlyi ng lonesomeness that comes from the high potential for prolonged cabin feve r. Wry humor\, coy performance\, subtle narrative\, geographical juxtaposit ion\, affectionate documentation\, and evocative sound are pervasive among all selections\, used to break through the sheets of ice that wrap this tim e of year. O&rsquo\;Brien has put together a program to bring about a hopef ul warmth not just to battle the impending chilliness\, but also to light t he fire of a collective hearth.

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Videorover\, NURTUREart&rs quo\;s dedicated video program\, aims at becoming an ever-expanding forum f or emerging and underrepresented artists working in video. After the premie r screening\, Videorover: Season 7 will be shown on rotation at th e main gallery space at NURTUREart until from December 16 &ndash\; 23\; aft er which\, the videos will move to the Videorover Project Space\, where the y will show on a rotation of one video per day for the duration of the seas on.

DTEND:20140606 DTSTAMP:20140902T095858 DTSTART:20131215 GEO:40.7060542;-73.9334513 LOCATION:NURTUREart Gallery\,56 Bogart Street \nBrooklyn \, NY 11206 SEQUENCE:0 SUMMARY:Videorover: Season 7\, Alison Ballard\, Rachelle Beaudoin\, Bianca Boragi\, Javier Bosques\, Jonathan Johnson\, Tamara Johnson\, Zohar Kfir\, Joy McKinney\, Mores McWreath\, David Politzer\, Michael Szpakowski\, Sam W inks\, Magdalen Wong\, Cathy Park Hong UID:318548 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Bonni Benrubi Gallery is pleased to present This Grand Show\ , an exhibition of photographs by Richard Renaldi. The exhibition will open on Thursday April 17\, 2014\, and will be on view through Saturday June 7\ , 2014. This Grand Show will run concurrently with Renaldi's show Touching Strangers at the Aperture Foundation Gallery.

Richard Renaldi's new images are a meditation on the narrative power of pure landscape photo graphy and a rereading of the American story inscribed across a damaged lan d. Inspired by the words of preservationist John Muir\, who witnessed his a bsolute faith in America's wilderness clash with the imperatives of the twe ntieth century\, Renaldi's new work occasions a present-day evaluation of M uir's vision on the 100th anniversary of his death.

Working wit h references to Muir contemporaries Timothy O'Sullivan and Thomas Moran\, R enaldi looks for iconic and densely metaphorical vistas. In "Monument Valle y\, Utah" a classic view of the Navajo monoliths is punctuated by the seren e figure of a dog sleeping in the foreground\, oblivious of the approaching shadow of night. The image is somehow tranquil\, yet menacing. In "Sumatra \, Montana\," two horses seek refuge from the prairie sun and wind\, an anc ient clapboard house the only visible shelter for miles around.

A diptych titled "The Big Top\; Geneva\, Ohio" reveals a canvass night sky stretched over a nearly empty circus\, the only figures a lone trainer and the ghostly blur of a trapeze artist swinging like a pendulum in the cente r of the ring. When P.T. Barnum branded his traveling circus the "Greatest Show on Earth" he might well have been describing the grandeur of the Ameri can continent. Though at the core of Barnum's guileful proclamation was a h int that the artifice was fleeting.

"This grand show is eternal \," wrote John Muir a few years before his death in 1914\, yet Renaldi has cataloged the portents of a land continually vanishing into ephemera. A bak ery window in Paris\, Texas frames an oddly architectural cake\, its whorls of icing intricately constructed. But the decorations seem incomplete: a t otem left to grow stale in the darkened shop as the city lights come on. In one of the exhibition's most mournful images\, a long-forgotten arcade con sole featuring the space shuttle Challenger leans gently into the dust.

Richard Renaldi was born in Chicago in 1968. He received his BFA i n photography from New York University in 1990. Exhibitions of his photogra phs have been mounted in galleries and museums throughout the world\, inclu ding Jackson Fine Art\, Atlanta\, GA.\; Robert Morat Galerie\, Hamburg\, Ge rmany\; The Cleveland Institute of Art\, Cleveland\, OH\; Pavillon Populair e\, Montpellier\, France\; and Fotografins Hus\, Stockholm\, Sweden. In 200 6 Renaldi's first monograph\, Figure and Ground\, was published by the Aper ture Foundation. His second monograph\, Fall River Boys\, was released in 2 009 by Charles Lane Press. Renaldi's most recent monograph Touching Strange rs\, is to be released by the Aperture Foundation in the spring of 2014. He currently lives and works in New York City.

DTEND:20140607 DTSTAMP:20140902T095858 DTSTART:20140417 GEO:40.762227;-73.971964 LOCATION:Bonni Benrubi Gallery\,41 East 57th Street 13th Floor \nNew York\, NY 10022 SEQUENCE:0 SUMMARY:This Grand Show\, Richard Renaldi UID:329550 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Bortolami is pleased to present an exhibition of new work by Thilo Heinzmann\, the artist's third solo show at the gallery. Heinzmann's work displays an impressive variety of formal and material means\, while a lso forcefully articulating the consistency with which Heinzmann deploys hi s artistic interests across this full spectrum:

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A relief-arrangemen t of small\, irregular marble blocks\; hues of powdery pigment\; sculpted r ags of hessian in flesh-tone dyes\; sharply perforated metal surfaces\; int ricately shaped and then glazed porcelain bodies\, reminiscent of forms of nature\; cotton fluff\; slabs of styrofoam\; sprinkled dispenses of oscilla ting\, colored resin that in some places sit on white grounds\, oozing effe cts of liquidity\, while in other parts being soaked into the textile on wh ich they have landed\, coloring the material from within its very woven str ucture\; the reflective splashes of poured and hardened zinc\; and even mer e traces of movement left on otherwise minutely worked\, matte planes of bl ack\, which now achieve the improbable - to catch refractions of light\, in their full darkness.

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Against the ground of this rich diversity eme rges a set of formal echoes and correspondences through which the various s trands and specimens of Heinzmann's work answer each other: the marble's wh ite responds to the white tones of glazed and non-glazed porcelain\, to the color of cotton and styrofoam\, and to that of smooth metal surfaces. The superimposed\, zigzagging splashes of zinc emerge as variations on a motif that also includes the expanses of pigment\, breathed onto the ground of th e picture's support\, and the curved paths of the resin. And the form-creat ing gestures on black stand as correlates to the shapes cast in hessian and zinc. Across this remarkable range\, artistic form here displays its bindi ng power\, while also articulating the very wealth of colors\, matter\, tex tures\, which Heinzmann's art steals from the world.

DTEND:20140607 DTSTAMP:20140902T095858 DTSTART:20140502 GEO:40.7463193;-74.0067752 LOCATION:Bortolami Gallery\,520 W 20th Street \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Solo Exhibition\, Thilo Heinzmann UID:334350 END:VEVENT BEGIN:VEVENT DESCRIPTION:

BravinLee programs is very pleased to present Cosmic Trigger \, new paintings by Clint Jukkala. \;

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 \;Clint Jukkala&rsqu o\;s new paintings combine elements of landscape\, abstraction and portrait ure into one enigmatic\, compelling and almost satirical image. \; The paintings suggest that seeing and believing are subjective acts without abs olutes. Observation is a meeting of minds\, a negotiated agreement between the artist&rsquo\;s painterly devices and the viewer&rsquo\;s various contr aptions for seeing and perceiving.  \;  \;  \; \;

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& nbsp\;Artist&rsquo\;s Statement:

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 \;&ldquo\;I've been thinking about perspective and the lenses through which we see. \; The idea that in many ways the outer world- "reality" is a fiction performed in our mind - a combination of our nervous system and lived experiences. \; I'm int erested in our awareness of our own thinking and sense perceptions- our con sciousness. \; I approach this with a sense of humor that reflects the irrational space of knowing and believing.

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 \;I want my paintin gs to encourage the viewer to think about looking in through looking out an d vice versa. \; For a while now I've been interested in frames and fra ming devices- first these elements were rectangular\, now they are often ci rcular or oval-like. \; They tend to suggest eyes\, goggles and perisco pes- things to look through or things looking out. \; These forms exist in worlds that often evoke landscape elements like water\, grass and sky.& nbsp\; I want the paintings to point in many directions without settling in any one place.

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 \;I conceive of painting as tactile as well as visual and I'm guided by the experiential qualities of both color and mate rial.&rdquo\;

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 \;Clint Jukkala received his BFA from the Univer sity of Washington in Seattle and his MFA from Yale. \; His work has be en shown at Feature Inc.\, and Jeff Bailey Gallery in New York\, The deCord ova Sculpture Park and Museum in Lincoln\, MA\, and Fred Giampietro Gallery in New Haven\, CT. \; He lives in Philadelphia and is Chair of the Gra duate Program at PAFA- Pennsylvania Academy of the Fine Arts

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 \ ;For more information: info@bravinlee.com

DTEND:20140607 DTSTAMP:20140902T095858 DTSTART:20140502 GEO:40.7500416;-74.0038805 LOCATION:BravinLee Programs\,526 West 26th Street Suite 211\nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Cosmic Trigger\, Clint Jukkala UID:333317 END:VEVENT BEGIN:VEVENT DTEND:20140502T200000 DTSTAMP:20140902T095858 DTSTART:20140502T180000 GEO:40.7500416;-74.0038805 LOCATION:BravinLee Programs\,526 West 26th Street Suite 211\nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Cosmic Trigger\, Clint Jukkala UID:333318 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Bruce Silverstein in collaboration with Sonnabend Gallery is pleased to present August Sander / Bernd and Hilla Becher: A Dialogue\, cu rated by Hilla Becher.
This thought-provoking exhibition offers a visu al and conceptual parallel of the best-known typological projects from the 20th century&mdash\;images of industrial and residential architecture by Be rnd and Hilla Becher are juxtaposed with August Sander&rsquo\;s portraits o f German citizens from his rigorous People of the Twentieth Century series.
This new context for these iconic images provokes a fascinating conve rsation between these artists&rsquo\; works occurring on both a formal and ideological level. It is relevant to note that the Bechers&rsquo\; contribu tion to contemporary art as artists and educators resides in their radical presentation of their photographs as a typology\, or classification of imag es of the same subject&mdash\; i.e. grain elevators\, coalbunkers\, water t owers\, etc.&mdash\;in a grid format which necessitates the viewer&rsquo\;s interpretation of the group of images as a single work as well as a compar ative study of the differences between the individual subjects. This curren t exhibition is unusual as the Bechers&rsquo\; architectural images are dis played as singular &ldquo\;portraits&rdquo\; while Sander&rsquo\;s photogra phs of people are presented as typological grids.
August Sander (1876- 1964) began his People of the Twentieth Century series in 1911&mdash\;his a ttempt to capture through &ldquo\;absolute photography&rdquo\; a &ldquo\;tr ue psychology of our time and our people&rdquo\;&mdash\;a mirror of the age . He worked to create portraits of individuals from various social strata a nd their particular surroundings as an attempt to order the myriad types of human characters he saw around him and create a more universal portrait of human existence in the 20th century. An earlier manifestation of the Beche rs&rsquo\; attitude\, Sander&rsquo\;s project in its totality highlights a tension between image and document\, specific and general.
Bernd and H illa Becher (b.1931-2007 / b.1934) first collaborated in 1959 after meeting at the Kunstakademie Dü\;sseldorf in 1957. They set out to document vi a photography the various designs of industrial buildings in the Ruhr Valle y\, choosing for a background a flat\, uniformly lit sky\, and decidedly po rtraying the buildings exactly as they were\, as clearly and legibly as pos sible. By the 1960s\, they defined their conceptual approach to presenting these images as typologies\, employing a purposefully neutral\, reductive s tyle of image-making that prioritizes their systematic practice and chosen mode of display\, creating an interpretation of these images both as aesthe tic\, formal exercises\, and documents of industrial architecture.
Aug ust Sander&rsquo\;s work and the Bechers&rsquo\; works have been exhibited widely. Their images are a part of the world&rsquo\;s most celebrated colle ctions.

DTEND:20140607 DTSTAMP:20140902T095858 DTSTART:20140501 GEO:40.749178;-74.0053719 LOCATION:Bruce Silverstein\,535 W.24th St. \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:A Dialogue\, Hilla Becher\, Bernd Becher\, August Sander UID:333315 END:VEVENT BEGIN:VEVENT DTEND:20140501T200000 DTSTAMP:20140902T095858 DTSTART:20140501T180000 GEO:40.749178;-74.0053719 LOCATION:Bruce Silverstein\,535 W.24th St. \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:A Dialogue\, Bernd Becher\, Hilla Becher\, August Sander UID:333456 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Dacia Gallery is pleased to present &ldquo\;Eidolon&rdquo\; an exhibition o f new works by Heather Morgan\, a figurative painter whose sultry and damag ed women cavort unrestrained through opulent settings with commanding self- possession. Vivid and theatrical as these images are\, the viewer is thrust into discomfiting intimacy with these defiant vixens. Morgan's works invit e the viewer to look and to covet\, presenting an alluring world that is al so potent and seething. Beauty quivers with pain and flaw in the distorted\ , luminous subjects that populate Morgan&rsquo\;s paintings. The figures st retch out louche before the viewer and bravely offer themselves with a conf licting\, penetrating gaze. These unflinching yet vulnerable pastel heroine s become all the more unknowable\, as they reveal themselves in their fract ured splendor.

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ARTIST BIO
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Heather Morgan\, painte r and bon vivant\, was born in Staten Island in 1973. She completed her B.F .A. in painting at Boston University in 1996\, making up the &ldquo\;expres sionist wing&rdquo\; of the school for the arts and haunting the undergroun d music scene. She received her M.F.A. in painting/printmaking at Yale Univ ersity in 1999. Morgan spent five years in East Berlin cultivating fluency in German\, exhibiting and publishing work with Karoline Mueller at Ladenga lerie\, one of Berlin&rsquo\;s oldest galleries and a proponent of represen tational artists of the former GDR. Upon returning to the United States\, H eather maintained a studio in Boston and then New York\, and has shown at v arious New York and German galleries and institutions before joiining with Dacia Gallery in 2010. Heather next solo show at Dacia will be held in Spri ng 2014. Her last solo show was Lascivious\, and she has shown regulary in our group shows to much fanfare: Black&\;White Holiday Show\, Dacia's An niversary Show\, Dacia's Universal Art Project\, and Hyperboreans.
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ARTIST STATEMENT
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Des perate times call for decadent measures. We are in a state of constant war on a ruined planet\, leaving the lights on\, murmuring about extinction.&nb sp\; The women in Heather Morgan&rsquo\;s paintings kick up their heels in celebration of life as they contemplate death\, aware of the tragic absurdi ty of our situation. \; We are doomed\, so we should be dancing.
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Morgan's sultry and damaged women cavort unrestrained through opulent setti ngs with commanding self-possession. Here are lingerie and stockings galore . But these are no playthings. These women are performing their identities\ , and it is a tense and fevered display\, aching with self-consciousness.
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The possibilities for self-creation are illustrated in a succession of vivid characters loosely based on the artist\, her acquaintance\, and reco gnizable cultural constructions\; cigar-chomping chicks\, androgynes\, harl ots\, fighters\, dancing queens\, the starved\, the tragically hip\, the de sperate (but not serious).
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Vivid and theatrical as these images are\, th e viewer is thrust into discomfiting intimacy with these defiant vixens. Th ese works invite the viewer to look and to covet\, presenting an alluring w orld that is also potent and seething. Beauty quivers with pain and flaw in the distorted\, luminous subjects that populate Morgan's paintings. The fi gures stretch out louche before the viewer and bravely offer themselves wit h a conflicting\, penetrating gaze. These unflinching yet vulnerable pastel heroines become all the more unknowable\, as they reveal themselves in the ir fractured splendor.
DTEND:20140607 DTSTAMP:20140902T095858 DTSTART:20140515 GEO:40.7219666;-73.9903845 LOCATION:DACIA GALLERY\,53 Stanton St. \nNew York \, NY 10002 SEQUENCE:0 SUMMARY:Eidolon \, Heather Morgan UID:336570 END:VEVENT BEGIN:VEVENT DTEND:20140515T210000 DTSTAMP:20140902T095858 DTSTART:20140515T180000 GEO:40.7219666;-73.9903845 LOCATION:DACIA GALLERY\,53 Stanton St. \nNew York \, NY 10002 SEQUENCE:0 SUMMARY:Eidolon \, Heather Morgan UID:336571 END:VEVENT BEGIN:VEVENT DESCRIPTION:

American Quilts and Coverlets from the 19th through the mid 20th Century

DTEND:20140607 DTSTAMP:20140902T095858 DTSTART:20140425 GEO:40.7536854;-73.9991637 LOCATION:Edward Thorp Gallery\,210 11th Ave. 6th Fl \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Textiles UID:330917 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In such a beautiful world today\, I exist alongside great rh ythm\, extraordinary
melody\, and an astounding harmony. With such bea uty around me\, I feel as though my
work is already done as an artist. I believe that my main intention as an artist is to focus
attention o n the lovely movements of colors through space and time. The practice that I
utilize to express my outlook on these movements is a simple one\, b ased on intuition and
vision. I employ these two mindsets when I am wo rking and when I experience the world
in general\, by rearranging and grouping objects and ideas. My physical work becomes
more about this a ct than any message I am trying to present\, because I feel that in simple\ ,
personal expressions\, there can be found the basis of all movement. I believe that I am
uniquely capable of seeing and quickly understand ing large currents of objects and ideas
within the world\, and am able to act as a mirror to them in a sense. This mimicry
becomes my means of translating my own perceived reality.
The discourse of life and the path of objects and ideas through space and time are my
greatest insp irations. I believe that these inhabit and influence environment\, and can be
understood and read. My connections with the various environments t hat surround me are
very deep and significant\, and allow me to cohesi vely understand my own path through
them.

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Grey Mourn

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In the deception of the grey mourning\,
the horrified popul ation sits waiting -
while gasping wind pronounces warning
to the great\, exhausting surrender.
Floating figures stain the horizon&rsqu o\;s birth\,
in an unspoken awe for it&rsquo\;s hidden truth.
Arg uing storm clouds that blanket the Earth
create disbelief seen only in brief youth.

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2 sheep sleep
standing and connected
disjointed in their views
walking towards their gods
almost pull apart
their hips are hard
holding even from odds

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Th ere was an absence to their yelling\,
they were screaming so softly
yet could not be missed.
Could their phantom falling
under the halo streetlight -
that mourned under a violet sky\,
go exhausti ngly unheard
through the slumbering night.
They were almost dying .
They laid there talking\,
their lives
went
slowly
by.

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Only bodies
now identified the sprinting ghouls
that ran so far and fast from us.
We missed them\, could not catch them
no matter how hard we searched.

DTEND:20140607 DTSTAMP:20140902T095858 DTSTART:20140508 GEO:40.7510517;-74.0023697 LOCATION:Fred Torres Gallery\,505 West 28th St \nNew York\, NY 10001 SEQUENCE:0 SUMMARY: "somewhere between landscape and spirit"\, Chris McGraw UID:334681 END:VEVENT BEGIN:VEVENT DTEND:20140508T210000 DTSTAMP:20140902T095858 DTSTART:20140508T180000 GEO:40.7510517;-74.0023697 LOCATION:Fred Torres Gallery\,505 West 28th St \nNew York\, NY 10001 SEQUENCE:0 SUMMARY: "somewhere between landscape and spirit"\, Chris McGraw UID:336360 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The 2014 winners will be announced promptly at 4:15pm in the Museum lobby\, and we hope you will join us. \; \;

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The 76t h Guild Hall Artists Members Exhibition is the oldest non-juried museum exh ibition on Long Island and one of the few non-juried exhibitions still offe red. The top honor is a solo show in the Museum&rsquo\;s Spiga Gallery.

DTEND:20140607 DTSTAMP:20140902T095858 DTSTART:20140503 GEO:40.957854;-72.190107 LOCATION:Guild Hall\,158 Main Street \nEast Hampton\, NY 11937 SEQUENCE:0 SUMMARY:76th Annual Artist Members Exhibition UID:335332 END:VEVENT BEGIN:VEVENT DTEND:20140503T180000 DTSTAMP:20140902T095858 DTSTART:20140503T160000 GEO:40.957854;-72.190107 LOCATION:Guild Hall\,158 Main Street \nEast Hampton\, NY 11937 SEQUENCE:0 SUMMARY:76th Annual Artist Members Exhibition UID:335333 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Josee Bienvenu is pleased to announce Preliminaries\, an exh ibition of works by Francois Morellet organized in collaboration with Galer ie Herve Bize. This will be the first one-person exhibition in New York by this major French artist since 1997. \;The exhibition will focus on a l esser known but essential aspect of the artist's work: his drawings. While Morellet and his systematic approach to art making is renown internationall y through numerous exhibitions\, publications and articles\, his works on p aper have been rarely exhibited. \;The exhibition brings together key w orks on paper from the 1950s to 2000\, presenting an ensemble of exceptiona l quality for the first time in the United States.

Far from be ing hermetic\, Francois Morellet's work\, where language and a form of iron y surface constantly\, is often characterized by the oxymoron: "un rigoureu x rigolard". \;Since the early 1950s\, Morellet took part in the intern ational avant-garde by conceiving a form of geometric abstraction \;sha ped by systems that reduced the artist&rsquo\;s subjectivity to a minimum. A specific system determines \;each \;work and its execution\; ther efore drawing is essential \;to Morellet's work. It is a unique process  \;that \;allows him to articulate his intentions. Through drawing\ , Morellet anticipates and sets up what will be experimented on another sca le with other materials in the rest of his work. \;

Morell et&rsquo\;s work fits alongside the \;Incoherents \;art movement\, the work of Alphonse Allais\, Francis Picabia\, and of course\, Marcel Duch amp. Other influences include the work of Swiss artist Max Bill\, Jean Arp& rsquo\;s and Sophie Tauerber-Arp&rsquo\;s duo-collages\, tapa cloths from O ceania\, Hispano-Moresque art from Granada\, as well as a strong influence from his father accounting for his predilection for language games and acut e sense of humor.

Francois Morellet&rsquo\;s drawings could be considered very \;discreet works &ndash\; because of their modest scal e and also for \;the parsimonious choice of processes and techniques. H owever\, this absolute economy of means does not affect the impact of the w ork\, on the contrary\, it shows that a drawing contains everything and sta nds as its own entity. In the 1950-1960&rsquo\;s most of Morellet&rsquo\;s drawings were preparatory works for paintings and other projects\, whether executed or not\, but they cannot be considered as studies only. They funct ion as autonomous works and lay the foundation for the drawings of the 1970 s - 1990s\, primarily engaged with the concept of pictorial space as a stru cture. Francois Morellet was very forward thinking throughout his life\, ev en one of the first artists to use neon light\, and \;continued to expe riment with new materials.

Francois Morellet was born in 1926 in Cholet\, France. Selected recent exhibitions include: Franç\;ois M orellet\, Ikon Gallery\, Birmingham\; Franç\;ois Morellet 5*3\, Le Bo x\, Marseille\; Dynamo\, Grand Palais\, Paris\; Dynamo\, Grand Palais\, Par is\, Light show\, Hayward Gallery\, London (2013)\; Ghosts in the Machine\, New Museum\, New York\, Neon - Who&rsquo\;s afraid of red\, yellow and blu e?\, La Maison Rouge\, Fondation Antoine de Galbert\, Paris (2012)\; Fran&c cedil\;ois Morellet\, Ré\;installations\, Centre Pompidou\, Paris (20 11)\; Franç\;ois Morellet. Mes images\, Musé\;e d'art ancien et contemporain\, Epinal\, Franç\;ois Morellet\, 9 + 1\, Installationen \, Museum Pfalzgalerie\, Kaiserslautern\, L'esprit d'escalier\, commande du Musé\;e du Louvre\, Paris (2010)\; Franç\;ois Morellet chez Le Corbusier\, Couvent de la Tourette\, Eveux\, La quadrature du carré\ ;\, une introspective\, Museum Ritter\, Waldenbuch (2009)\; Franç\;oi s Morellet\, raison et dé\;rision\, Museum Wü\;rth\, Erstein\, Fr anç\;ois Morellet\, 45 anné\;es lumiè\;re\, Châ\;tea u de Villeneuve\, Vence (2008)\; Franç\;ois Morellet\, Ma Musé\ ;e\, Musé\;e des Beaux-Arts\, Nantes\, Blow up\, 1952-2007\, Quand j' é\;tais petit je ne faisais pas grand\, Musé\;e d'Art Moderne d e la Ville de Paris (2007)\; Franç\;ois Morellet\, Dé\;mon&eacu te\;tisations\, Musé\;e d'Orsay\, Paris (2006)\; Beyond Geometry: Exp eriments in Form\, 1940s-70s\, Los Angeles County Museum of Art\, LACMA (20 04).

His work is featured in numerous major public and private collections\, including: Tate Gallery\, London\; Centre Pompidou\, Paris\; Nationalgalerie\, Berlin\; Stedelijk Museum\, Amsterdam\; LACMA\, Los Ange les\; MoMA\, New York\; Guggenheim Museum\, Abu Dhabi\; Philadelphia Museum of Art\, Philadelphia\; Hirshhorn Museum\, Washington\; Kunstmuseum\, Bern \; Moderna Museet\, Stockholm\; Musé\;e d'Art Moderne de la Ville de Paris\, Paris\; The Tel Aviv Museum of Art\, Tel Aviv\; Louisiana Museum of Art\, Humlebaek. Several retrospectives were devoted to his work\, notably in 1985 at the Brooklyn Museum\, New York\, and in 1986 and 2011 at the Po mpidou Center\, Paris. \;Francois Morellet realized many public commiss ions throughout his career and was one of the very rare contemporary artist s invited to create a permanent installation for the Musee du Louvre\, Pari s.

*ART²\; is An International Platform on Contemporary Ar t\, presented by the Cultural Services of the French Embassy in the U.S. in collaboration with the New York presenters Institut franç\;ais\, the French Ministry of Culture and Communication and FACE (French American Cul tural Exchange).

*Herve Bize has been working closely with Fra ncois Morellet for more than 25 years. This project is a first collaboratio n between the two galleries.

DTEND:20140607 DTSTAMP:20140902T095858 DTSTART:20140417 GEO:40.7464825;-74.0069332 LOCATION:Josee Bienvenu Gallery\,529 West 20th St \nNew York\, NY 10011 SEQUENCE:0 SUMMARY: Preliminaries\, Fran├žois Morellet UID:329565 END:VEVENT BEGIN:VEVENT DTEND:20140417T200000 DTSTAMP:20140902T095858 DTSTART:20140417T180000 GEO:40.7464825;-74.0069332 LOCATION:Josee Bienvenu Gallery\,529 West 20th St \nNew York\, NY 10011 SEQUENCE:0 SUMMARY: Preliminaries\, Fran├žois Morellet UID:329566 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Joshua Liner Gallery is pleased to present an exhibition of new and recent work from Japanese artist Ai Yamaguchi. shinchishirin will b e Yamaguchi's first exhibition with the gallery and her first New York solo show since 2002. The artist will be in attendance during the opening recep tion.

Feminine beauty is a key theme in all of Yamaguchi's work. As with many other cultures\, hair is an important symbol of beauty in Jap an. The artist often depicts girls' hair as part of the scenery &mdash\; th ese rivers and mountains of long black hair mimic brush strokes and traditi onal Japanese calligraphy.

One aspect of traditional Japanese ar t that Yamaguchi incorporates into her work is Japanese poetry\, or Waka. T he artist often takes apart poems and plays with the words to create new ve rses &mdash\; evidenced in the exhibition title\, shinchishirin. Taken from several different poems from the early Heian Period anthology\, the Kokin Wakashu (in English\, 'Collection of Japanese Poems of Ancient and Modern T imes'): shin means "heart\," chi means "earth\," shi means "words\," and ri n means "forest." shinshichirin expresses the idea that if the waka takes r oot in the great earth that is the heart\, its flowers will bloom into a fo rest of words. \;

The shapes of canvases from Yamaguchi's wh ite gesso paintings are all different characters from Japanese words she do esn't care for\, neither their sound or significance. These words are broke n down hiragana characters &mdash\; the most fundamental syllabary in Japan ese. Considered a feminine way of writing\, during the Heian period (794-11 85) hiragana was used exclusively by the ladies of the royal court. In hira gana &mdash\; unlike with typed fonts &mdash\; when written vertically with a brush\, the shape of each letter becomes more organic\, similar to weste rn cursive. By physically beautifying the words through her canvases\, the artist hopes to gain a different perspective and sensitivity towards these words &mdash\; words sown like the seeds of Yamaguchi's forest. She uses sh inchishirin painting as a cleansing process.

Having come from a background of industrial arts where she is concentrated in textiles and fab rics\, Yamaguchi experiments with new techniques and media. For example\, s he developed a unique blanket-canvas style where she covers wood panels in a blanket\, or futon\, and covers them with cotton fabric. This technique a dds a three-dimensional quality to the canvas itself\, beneath the vibrant colors of her two-dimensional\, anime-like figures. \;

For t his exhibition\, Yamaguchi also experiments with non-gesso blanket-canvases \, layered in multiple planes &mdash\; similar to the Japanese wooden doll art of kimekomi ningyo. Creating a subdued and understated drama &mdash\; c ompared with some of her bolder pieces &mdash\; closer inspection is necess ary to see the details that would otherwise be missed\, luring the viewer i nto the narrative of the canvas.

Yamaguchi's art is deeply roote d in traditional Japanese themes and values\, yet it is undeniably modern a nd pop. Though the artist does not draw men\, this does not mean they do no t exist in the world of the girls she portrays. Yamaguchi depicts the untol d lives of women as beautiful and alluring\, yet innocent and fragile.  \;

Born 1977\, Ai Yamaguchi currently lives and works in Tokyo\, Japan. Selected solo exhibitions include: hoshi at Mizuma Art Gallery\, To kyo\, Japan\, ashita mata at 10 Chancery Lane Gallery\, Hong Kong\, China\, yorokobi at NADiff modern\, Tokyo\, Japan (2012)\; kumogakure at Aki Galle ry\, Taipei\, Taiwan (2011)\; hogara hogara at NADiff Gallery\, Tokyo\, Jap an\, kiyu at Mizuma Art Gallery\, Tokyo\, Japan (2010)\; hana wa no ni aruy ouni/flowers as they are in the filed at Roberts &\; Tilton\, Los Angele s\, CA (2008). Selected group exhibitions: 20 Years Art x Mags Exhibition a t Giant Robot\, Los Angelese\, CA (2014)\; Ukiyo-e POP Culture from Edo to Today at Shizuoka City Tokaido Hiroshige Museum of Art\, Japan (2013).

DTEND:20140607 DTSTAMP:20140902T095858 DTSTART:20140508 GEO:40.7516439;-74.0040883 LOCATION:Joshua Liner Gallery\,540 West 28th Street \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:shinchishirin \, Ai Yamaguchi UID:333328 END:VEVENT BEGIN:VEVENT DTEND:20140508T200000 DTSTAMP:20140902T095858 DTSTART:20140508T180000 GEO:40.7516439;-74.0040883 LOCATION:Joshua Liner Gallery\,540 West 28th Street \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:shinchishirin \, Ai Yamaguchi UID:333329 END:VEVENT BEGIN:VEVENT DESCRIPTION:

&lsquo\;Some images started to appear in my mind. You didn&r squo\;t know that actually I was like watching a movie in my mind\,while I was listening to you talking.
The movie was quite colorful though.&rsq uo\;
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&lsquo\;You have plenty of photographs. You have seen thousands of images.
What do you remember?&rsquo\;
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Lo mbard Freid Gallery is pleased to present Lee Kit&rsquo\;s second solo exhi bition in New York. Following his highly acclaimed installation at the 55th Venice Biennale\, Lee (b.1978\, Hong Kong) further explores his obsession with the ordinary through series of staged domestic scenes and paintings. L ee&rsquo\;s practice proposes the poetics of the everyday\; merging art wit h daily life\, questioning the ways in which the viewer interacts with and perceives one&rsquo\;s surroundings. His work retains traces of past interv entions and mediations\, provoking both shared and individual memories. The everyday objects found in these installations offer a personal and social narrative that reaches beyond their singular potentials\; here\, they mingl e with sound and film\, creating an immersive and cinematic environment.
Lee&rsquo\;s latest work can be regarded as a continuation\, he says\, o f the exhibition &lsquo\;You (you).&rsquo\;\, which premiered at the 55th V enice Biennale and was reprised as &lsquo\;You.&rsquo\;\, both curated by M + and West Kowloon Cultural District. With &lsquo\;You.&rsquo\;\, Lee&rsquo \;s elegant cardboard paintings and hand-painted cloths are joined by small \, nearly overlooked sculptures: a stack of towels\, painstakingly folded\, resting in a corner\; a single blue bucket\; a table set for two\, devoid of diners. For Lee\, the spaces in between are as significant as these cont emporary readymades\, the emptiness just as poignant.
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&lsquo\;All these words are vague. For exam ple\, &ldquo\;The weather is nice. How are you?&rdquo\;&rsquo\;
&lsquo \;&rdquo\;How are things on the West Coast?&rdquo\; It doesn&rsquo\;t matte r whatever your answer is\, after I asked you this question.&rsquo\;
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Lee Kit (b. Hong Kong\, 1978 ) studied traditional Chinese painting at the Chinese University of Hong Ko ng.
His work premiered in New York at Lombard Freid Gallery with the s olo exhibition '1\, 2\, 3\, 4&hellip\; (2011). Since then\, he has become o ne of the most internationally acclaimed contemporary artists\, exhibiting at such institutions as the New Museum\, New York\; Tate Modern\, London\; Sharjah Art Foundation\, UAE\; and Museum of Modern Art\, New York. In 2013 he was selected to represent Hong Kong at the 55th Venice Biennale with hi s exhibition 'You (you.)'\, which he reprised in 2014 in an exhibition cura ted by M+ and West Kowloon Cultural District\, Hong Kong. Upcoming exhibiti ons include solo shows at S.M.A.K.\, Belgium and Mother&rsquo\;s Tankstatio n\, Ireland\, as well as a group exhibition at the Staatliche Kunsthalle\, Germany and participation in the Kiev Biennial\, Ukraine.

DTEND:20140607 DTSTAMP:20140902T095858 DTSTART:20140424 GEO:40.7456825;-74.0070396 LOCATION:Lombard Freid Gallery\,518 West 19th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:'How are things on the West Coast?'\, Lee Kit UID:332145 END:VEVENT BEGIN:VEVENT DTEND:20140424T200000 DTSTAMP:20140902T095858 DTSTART:20140424T180000 GEO:40.7456825;-74.0070396 LOCATION:Lombard Freid Gallery\,518 West 19th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:'How are things on the West Coast?'\, Lee Kit UID:332393 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In 1983\, the U.S. government began minting pennies with a r atio of 97.5% zinc and 2.5% copper&mdash\;an inverse of the previous formul a of 95% copper and 5% zinc. The coin had become increasingly more valuable as a commodity of copper than as the molecule of a fiat currency. This dec ision would ensure to repress speculative desires to hoard\, melt and debas e the coin. Martos Gallery is pleased to present Eighty Three\, a solo exhibition of new works by Jory Rabinovitz\, on view from April 18 thr ough May 31 with an opening reception on Friday\, April 18 from 6 - 8 pm.\n

In this new body of work\, Rabinovitz starts with common US one-cent coins. First separating pre and post 1983 coins\, he then refines them to their base metal\, copper and zinc\, then oxidizes them to produce pigment& mdash\;copper making Viridian Green and Zinc producing Zinc White. The pigm ents are bonded in place by fabric\, brick and concrete and the cameos of t he coins etched onto the metals.

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The Atom and The Void

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Democritus once said\, &ldquo\;Nothing exists except atoms and v oids\; everything else is just opinion.&rdquo\;

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I personally like t he way 8 and 3 look next to each other. I like to think they look like hand cuffs coming undone. Years ago\, I enjoyed picturing the pair as a line see ing an infinity symbol and standing to its left (our right) and trying real ly hard to mimic it while pathetically failing. Whatever the case\, aside f rom each number having allusions to parts of anatomy\, starting with the le tter B&mdash\;that oddly enough looks like many of those body parts&mdash\; there always seems to be some kind of binate between the two numbers. I've since learned not to \;anthropomorphize numbers\; it&rsquo\;s a bad hab it.

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One day a few summers ago\, I got a letter from a hospital wher e I had received treatment. I opened it and can only remember seeing an owe d balance starting with the number 83\, followed by zeros. The total sum of digits being one hand count (sorry\, I don&rsquo\;t like to say the number out loud). It may have been caused by the palpitations in my heart\, but a vision came to me. I could acutely feel the blood pump through my veins&md ash\;so much so that I could almost see it. As I looked from the paper to t he sun coming through my window\, the number burned into my retina and rema ined in front of the vibrant red hue of my closing eyelids. The number brok e down into individual tally marks\, then slowly into circles and back to l ines\, almost like a dancing binary code. \;Then it was as if I could s ee every cell making up my own body at once.

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The cells turned from small coin-like shapes to some generic textbook or CGI rendering of blood c ells. This morphing happened faster and faster until both became some kind of hybrid I know I had never seen before. They became a mobile army\, and&n bsp\;I felt an omnipotent corporeal control. When I opened my eyes all obje cts in my room appeared to be made up of this substance. It was as if all m etaphorical content and actual material relations had fused and were indist inguishable. The illusion subsided\, and I saw the little handcuffs and the n they went back to being an 8 and a 3. I contemplated how I could ever pay this debt. I still haven&rsquo\;t.

DTEND:20140607 DTSTAMP:20140902T095858 DTSTART:20140418 GEO:40.752066;-74.003497 LOCATION:Martos Gallery\,540 W. 29th St. \nNew York\, NY 10001 SEQUENCE:0 SUMMARY: Eighty Three\, Jory Rabinovitz UID:332265 END:VEVENT BEGIN:VEVENT DTEND:20140418T200000 DTSTAMP:20140902T095858 DTSTART:20140418T180000 GEO:40.752066;-74.003497 LOCATION:Martos Gallery\,540 W. 29th St. \nNew York\, NY 10001 SEQUENCE:0 SUMMARY: Eighty Three\, Jory Rabinovitz UID:332266 END:VEVENT END:VCALENDAR