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Printed Matter presents the eleventh annual NY Art Book Fair \, from September 16 to 18\, 2016\, at MoMA PS1\, Long Island City\, Queens . \;Free and open to the public\, the NY Art Book Fair is the world&rsq uo\;s premier event for artists&rsquo\; books\, catalogs\, monographs\, per iodicals\, and zines.

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Join us on Thursday\, September 15 from 6 to 9 pm\, at MoMA PS1 for our opening night preview. The evening will feature a special live performance on the steps of PS1 by Beat Detectives. \;&n bsp\;

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DTEND:20160915T210000 DTSTAMP:20160824T054818 DTSTART:20160915T180000 GEO:40.745469;-73.947108 LOCATION:MoMA PS1\,22-25 Jackson Ave \nLong Island City\, NY 11101 SEQUENCE:0 SUMMARY:NY Art Book Fair UID:426222 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20161015 DTSTAMP:20160824T054818 DTSTART:20160909 GEO:40.749847;-74.005892 LOCATION:Edward Thorp Gallery\,210 11th Ave. 6th Floor\nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Group Exhibition\, A group exhibition of specially priced works fro m the Gallery’s collection including painting\, folk art\, furniture\, Ital ian art glass\, ceramics\, and objet d’art. UID:426211 END:VEVENT BEGIN:VEVENT DESCRIPTION:

MARC STRAUS is proud to present The I ncredible Likeness of Being\, a group exhibition that investi gates the &lsquo\;Self&rsquo\; through new paintings by five international contemporary artists.

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From the Early Renaissance by Jan Van Eyck to some of the leadin g artists such as Rembrandt\, Velazquez\, Van Gogh\, Schiele and Kahlo\, the self- portrait at its best is revelatory capturing the artist&rsquo\;s image and soul on canvas. Unlike Narcissus who died fixated at the beauty of his own reflection\, the intent of Self-Portraiture is to traverse superficialities and provide a critical insight of the sitter&rsquo\;s identity.

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In obedience to the Socratic statement &lsquo\;Know Thyself& lsquo\;\, the artist\, while looking in the mirror to reproduce his physica l appearance\, is in fact giving the world a visual autobiographical story\ ; an honest documentation of his period\, environment and culture. In the w orks included in this show\, a &ldquo\;likeness of being&rdquo\; demonstrat es that so much more is achievable than modeling reality\; it is the exposu re of the inner psyche in a form that can only be expressed by the artist. Indeed\, Rembrandt depicted himself in later years as the old\, haggard and tired artist he was\, near penniless\, but with only paint\, Rembrandt ach ieved a level of verity no photograph could. His student Samuel v an Hoogstraten would go on to advise artists: &ldquo\;Benefit can be ga ined from the depiction of your own passions\, especially in front of a mir ror\, where you are simultaneously the creator and the spectator.&rdquo\;\n

The Israeli hyper-realist Yigal Ozeri is well known for h is paintings of beautiful women caught in the fleeting moment of bliss amid st oneiric landscapes. In these self-portraits idyllic nature has disappear ed ─ for the first time in his career Ozeri creates works that lay bare his soul. By painting from images captured by renowned photographer Mark Bergh ash\, Ozeri&rsquo\;s black and white somber self-portraits portray a man vu lnerable and introspective. These paintings benchmark Ozeri as one of today &rsquo\;s best photorealist painters.

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For his self-exami nation\, American artist Sam Trioli too uses stills by Berghash. Having rec ently painted grave monochromatic portraits of Harry and Bess Truman\, Trio li is no stranger to Grisaille. With a keen attention to the tactility of the sur face\, he uses a combination of addition and removal of paint to give form to the image. The exposed bright canvas becomes the highlights in his Chiar oscuro-tinged face. Trioli&rsquo\;s self-portrait paintings exist both as u ncanny representational images and palpable painted objects.

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Zlatan Vehabovic\, a highly regarded young Croatian artist earned his Ph.D. in painting at the vaunted Academy of Fine Arts in Zagreb. Here Vehab ovic dials up the psychological drama in various profiles\, each loaded wit h their respective intensity. Facing away from the viewer\, Vehabovic is ca ught in an ambiguous emotional state. Facing the viewer head on\, his glare is direct. Rendered in quivering but beautiful brushstrokes\, these self-p ortraits with their ominous gray atmospheric backgrounds likely capture the artist&rsquo\;s current mood.

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British artist Richard Wa then is widely known for his portraits\, classically closer to Thomas Gains borough and Watteau\, but imbued with a sense of enigmatic uneasiness and i llusions of familiarity. In his most renowned and charged work a naked boy is holding a rabbit. The &lsquo\;Wathens&rsquo\; isolated here are represen ted as women\, perhaps to displace the viewer&rsquo\;s instinct to judge th e technicalities of the artist too quickly. As a result\, these are complex allegories of an imagined &lsquo\;Self&rsquo\;. In a full-length figure dr aped in a paint-stained dress\, the artist embodies both the subject and th e muse. In another disquieting depiction\, &lsquo\;Wathen&rsquo\; coyly pla ys with a pipe &ndash\; the bubbles that float in the foreground distort th e reality of his features.

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In Erika Harrsch&rsquo\;s ens emble of mixed-media Self-Portrait paintings\, she explores issues of ident ity through her different cultural lenses\, depicting the (her) female body connected to elements of animal anatomy\, both mammals or insects\, with e roticized sketches and a diversity of media associated with opulence and se nsuality. Solid forms and silhouettes constantly collide\, and are further transformed through the multiple and simultaneous symbolic relationships fo und in the collage.

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Giorgio Vasari&rsquo\;s Lives Of The Artists opened the doors for practitioners to rightfully be recognized as artists\, perhap s igniting the desire to present themselves to the outside world\, recordin g their existence in history. The phenomenon of Self-Portraiture continues to be a formidable theme for contemporary artists today. In the age of the instant &lsquo\;Selfie&rsquo\;\, a demand for a slower\, more cerebral prac tice is ever more necessary.

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The Incredible Likeness Of Being features new works by Yigal Ozeri\, Sam Tri oli\, Zlatan Vehabovic\, Erika Harrsch and Richard Wathen.

DTEND:20161016 DTSTAMP:20160824T054818 DTSTART:20160911 GEO:40.7174823;-73.9918727 LOCATION:MARC STRAUS\,299 Grand Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:The Incredible Likeness of Being\, Zlatan Vehabovic\, Yigal Ozeri\, Sam Trioli\, Erika Harrsch\, Richard Wathen UID:426203 END:VEVENT BEGIN:VEVENT DTEND:20160911T200000 DTSTAMP:20160824T054818 DTSTART:20160911T180000 GEO:40.7174823;-73.9918727 LOCATION:MARC STRAUS\,299 Grand Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:The Incredible Likeness of Being\, Erika Harrsch\, Yigal Ozeri\, Sa m Trioli\, Zlatan Vehabovic\, Richard Wathen UID:426204 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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On Stellar Rays is pleased to an nounce Harem ROOM-1\, Alix Pearlstein&rsquo\;s third solo exhibiti on with the gallery\, presenting sculpture and video. Taken together\, Pear lstein&rsquo\;s new work\, located within the unstable present\, arouses th e disquiet felt moving through an anxious populace.

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Harem\ , meaning a group of women perceived as centering around a particu lar male.

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- A group of female animals sharing a single mate.

\n< p>- A prohibited\, or forbidden place.

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- Separate quarters.

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- Kept safe\, or &lsquo\;sanctuary.&rsquo\;

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Room\, meanin g a space that can be occupied or where something can be done\, especially viewed in terms of whether there is enough. Enough room.

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- Room for contemplation\, play\, transgression.

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- Capacity\, scope\ , leeway\, latitude\, freedom\, opportunity and chance.

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Harem R OOM-1 is the title of a figurative installation central to Pearlstein& rsquo\;s exhibition\, which utilizes a little-known meaning of the term harem to refer to a collection of like\, fetishized elements. Here\, applied as a framework\, the harem presumes an act of subjugation and objec tification\, forcing parallels to social orders and hierarchies\, as well a s personal relationships and desires.

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 \;Two videos will be pre sented in adjoining galleries.

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New City (People on Sunday) is set in Canal Street Park and on an adjacent rooftop in downtown New Yor k City on a very windy day; a group of five actors occupy these locations t hrough shifting relationships with the urban landscapes\,  \;each other and a restless gaze.  \;Two stacked channels juxtapose simultaneousvie wpoints\, collapsing and restructuring time. This work posits a point of vi ew on a specific place\, in an anxious time through insistent presence.

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 \;The Weather tracks the shifting mood of a grou p of nine people\, as they are pushed\, pulled or stuck between two positio ns. They pass back and forth from side to side in a blank white space\, fol lowing in the direction of or against a laterally tracking camera. A rubber plant occupies one side of the space\, serving as a gathering\, resting\, hiding place\, obstruction or refuge.*

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The pace slows\, as the grou p seems to become afflicted by a malaise. A reckoning follows as they brace for what comes next.

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 \;Alix Pearlstein's work in video\, inst allation\, sculpture\, photography and performance has been widely exhibite d. Select solo exhibitions include de Cordova Museum\, Boston\, MA; Sams&os lash\;n Projects\, Boston\, MA; Ballroom Marfa\, Marfa\, TX; Atlanta Contem porary Art Center\, Atlanta\, GA; Contemporary Art Museum\, St. Louis\, MO; The Kitchen\, New York; MIT List Visual Arts Center\, Cambridge\, MA; The Museum of Contemporary Art\, Chicago\, IL; School of the Museum of Fine Art s\, Boston\, MA. Recent performances include Art Public at Art Basel\, Miam i\, FL; The Park Avenue Armory\, New York; and Esopus Space\, New York. Gro up exhibitions include Whitechapel Gallery\, London\, UK; ParaSite\, Hong K ong; INOVA\, Milwaukee\, WI;  \;MoBY-Museums of Bat Yam\, Israel; Inter nationale d&rsquo\;Art de Quebé\;c\, Canada; Center for Contemporary Art\, Tel Aviv\, Israel; Annual Exhibition of Visual Art\, Limerick\, Irela nd; Whitney Museum of American Art\, New York; SMAK\, Ghent\, Belgium; ICA Philadelphia\, PA; Biennale de Lyon\, France; and The Museum of Modern Art\ , New York. \;

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Pearlstein is a recipient of the Foundation for Contemporary Arts 2011 Grants to Artists award. She is on the facu lty of the SVA MFA Program\, and the Board of Governors of the Skowhegan Sc hool\, and lives and works in New York City and Orient\, New York.

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* The Weather will be on view at the gallery opening\, and Saturda ys and Sundays\, in the gallery&rsquo\;s basement space.

DTEND:20161016 DTSTAMP:20160824T054818 DTSTART:20160908 GEO:40.7214414;-73.9931783 LOCATION:On Stellar Rays\,1 Rivington Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Alix Pearlstein: Harem ROOM-1\, Alix Pearlstein UID:426138 END:VEVENT BEGIN:VEVENT DTEND:20160908T200000 DTSTAMP:20160824T054818 DTSTART:20160908T180000 GEO:40.7214414;-73.9931783 LOCATION:On Stellar Rays\,1 Rivington Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Alix Pearlstein: Harem ROOM-1\, Alix Pearlstein UID:426139 END:VEVENT BEGIN:VEVENT DESCRIPTION:

"Formerly we used to represent things visible on earth\, thi ngs we either liked to look at or would have liked to see. Today we reveal the reality that is behind visible things\, thus expressing the belief that the visible world is merely an isolated case in relation to the universe a nd that there are many more other\, latent realities. Things appear to assu me a broader and more diversified meaning\, often seemingly contradicting t he rational experience of yesterday&hellip\;"

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&ndash\; Paul Klee\,& nbsp\;Creative Confession \;(1920)

DTEND:20160925 DTSTAMP:20160824T054818 DTSTART:20160826 GEO:40.7135097;-73.9859414 LOCATION:Cuchifritos Gallery + Project Space\,120 Essex Street inside Essex Street Market\nNew York\, NY 10002 SEQUENCE:0 SUMMARY:The Visible World is Merely an Isolated Case \, Guillaume Bresson\, Ana Prata UID:425927 END:VEVENT BEGIN:VEVENT DTEND:20160826T200000 DTSTAMP:20160824T054818 DTSTART:20160826T180000 GEO:40.7135097;-73.9859414 LOCATION:Cuchifritos Gallery + Project Space\,120 Essex Street inside Essex Street Market\nNew York\, NY 10002 SEQUENCE:0 SUMMARY:The Visible World is Merely an Isolated Case \, Guillaume Bresson\, Ana Prata UID:425928 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20161009 DTSTAMP:20160824T054818 DTSTART:20160910 GEO:40.7171322;-73.9910262 LOCATION:Y Gallery\,319 Grand St. 5th floor\nNew York\, NY 10002 SEQUENCE:0 SUMMARY:To Hell With It All\, Lets Pray That It Lasts\, Ryan Brown UID:425922 END:VEVENT BEGIN:VEVENT DTEND:20160910T200000 DTSTAMP:20160824T054818 DTSTART:20160910T180000 GEO:40.7171322;-73.9910262 LOCATION:Y Gallery\,319 Grand St. 5th floor\nNew York\, NY 10002 SEQUENCE:0 SUMMARY:To Hell With It All\, Lets Pray That It Lasts\, Ryan Brown UID:425923 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160906 DTSTAMP:20160824T054818 DTSTART:20160808 GEO:40.7171322;-73.9910262 LOCATION:Y Gallery\,319 Grand St. 5th floor\nNew York\, NY 10002 SEQUENCE:0 SUMMARY:We Run Things\, Mie Olise\, Manuela Viera-Gallo\, Summer Wheat UID:425921 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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TRANSFER is pleased to present &lsquo\;The Game: The Game&rsquo\; the gallery&rsquo\;s first solo exhibition with Angela Was hko including a special soundtrack by Xiu Xiu.

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&lsquo\;The Game: The Game&rsquo\; is an immers ive installation and platform to experience the first chapter of a video ga me presenting the practices of several prominent seduction coaches (aka pic k-up artists) through the format of a dating simulator. In the game these p ick-up gurus attempt to seduce the player using their signature techniques taken verbatim from their instructional books and video materials.

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Players explore the complexity of the constru ction of social behaviors around dating as well as the experience of being a woman navigating this complicated terrain. The video game is presented al ongside the video and print-based source materials from the seduction coach es themselves as well as handmade cyanotype prints\, videos and books produ ced by the artist in response to her experience investigating this field an d the ways in which women are literally presented as objects in physical an d digital space.

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&lsquo\;The Game : The Game&rsquo\; is a continuation of &lsquo\;BANGED&rsquo\; a year-long project in which the artist interviewed &lsquo\;Bang&rsquo\; seri es author and manosphere figurehead Roosh V and tried to get in contact wit h his alleged sexual partners. After working on &lsquo\;BANGED&rsquo\;< /em>\, the black and white ways in which this field has been portrayed seem ed too simple and unfair to all parties who encounter it and provoked this question: Is practicing &ldquo\;game&rdquo\; inherently wrong and dishonest or can it be practiced in a way that simply levels the dating playing fiel d in favor of those who are otherwise socially or physically disadvantaged?

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By disguising the most notorious PUA s alongside game-less individuals and PUAs-in-training and placing the play er into the perspective of a woman forced to distinguish between them all & ndash\; Washko hopes to add levels of complexity to public conversations ar ound both pick-up and feminism which have both found themselves most often presented in highly polarized\, dichotomous positions in mainstream media.< /p>\n

The first chapter of the game will be presented at TRANSFER along with a musical score composed by Xiu Xiu\, who se perverse\, challenging\, personal and complex music complement the murky \, frequently dark\, isolating and complicated experiences and aesthetics p resented in &lsquo\;The Game: The Game&rsquo\;.

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A full inventory of work from &rsquo\;The Game: The Game&rsquo\; is available from the gallery. Please inquire with the direct or@transfergallery.com to request information.

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ABOUT THE ARTIST///

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Angela Washko is an artist\, writer and facilitator devoted to creating new forums for discussions of feminism in the spaces most hostile toward it. S he is currently a Visiting Assistant Professor at Carnegie Mellon Universit y. In 2012\, Washko founded The Council on Gender Sensitivity and Behaviora l Awareness in World of Warcraft as an ongoing intervention inside the most popular massively multiplayer online role-playing game of all time. In 201 5\, she interviewed seduction author\, manosphere leader and former pick-up artist dubbed &ldquo\;the web&rsquo\;s most infamous misogynist&rdquo\; as her practice has moved away from tactical media and toward digital ethnogr aphy. &lsquo\;The Game: The Game&rsquo\; is her first video game project.\n

A recent recipient of a Franklin Furna ce Performance Fund Grant\, a Frank-Ratchye Fund for Art at the Frontier Gr ant\, and a Rhizome Internet Art Microgrant\, Washko&rsquo\;s practice has been highlighted in Art in America\, Frieze Magazine\, Time Magazine\, The Guardian (UK)\, ArtForum\, ARTnews\, The Hairpin\, VICE\,Hyperallergic\, Rh izome\, the New York Times\, The Creator&rsquo\;s Project\, and more. Her p rojects have been presented nationally and internationally at venues includ ing Kiasma Museum of Contemporary Art (Helsinki\, Finland)\, Los Angeles Mu seum of Contemporary Art\, the Milan Design Triennale\, The Andy Warhol Mus eum (Pittsburgh\, PA)\, the Shenzhen Independent Animation Bienniale (Shenz hen\, China)\, Moving Image Art Fair (London and NYC)\, the Rotterdam Inter national Film Festival\, Transmediale (Berlin\, Germany) and Institute for Contemporary Art Boston. Her writing has been published in Creative Time Re ports\, FIELD Journal of Socially Engaged Art Criticism\, Copenhagen Univer sity Peer Reviewed Journal (NTIK)\, Neural Magazine\, VASA Journal of Image s and Culture\, .dpi Feminist Magazine of Art and Digital Culture\, Hyperal lergic\, ANIMAL NY and more. http://angelawashko.com/

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ABOUT THE MUSICIAN///

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Xiu Xiu was founded in 2002 and has since released over 70 albums\, fil m scores\, books\, 7-inch records and modern classical works. They have tou red extensively all over the world and have been called &ldquo\;self flagel lating&rdquo\;\, &ldquo\;harsh&rdquo\;\, &ldquo\;brutal&rdquo\;\, &ldquo\;s hocking&rdquo\; and &ldquo\;perverse&rdquo\; but also &ldquo\;genius&rdquo\ ;\, &ldquo\;brilliant&rdquo\;\, &ldquo\;unique&rdquo\;\, &ldquo\;imaginativ e&rdquo\; and &ldquo\;luminous&rdquo\; by international press.

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Xiu Xiu has a long history of collaborating with artists including (but not limited to) Dahn Vo\, Swans\, David Horvitz\, La wrence English\, Grouper\, Merzbow\, Tim Berne\, Eugene Robinson\, Mary Hal verson\, Larsen\, John Congleton and now Angela Washko.

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DTEND:20161008 DTSTAMP:20160824T054818 DTSTART:20160827 GEO:40.7144403;-73.9352682 LOCATION:TRANSFER\,1030 Metropolitan Avenue \nBrooklyn\, NY 11211 SEQUENCE:0 SUMMARY:The Game: The Game\, Angela Washko UID:425919 END:VEVENT BEGIN:VEVENT DTEND:20160910T220000 DTSTAMP:20160824T054818 DTSTART:20160910T180000 GEO:40.7144403;-73.9352682 LOCATION:TRANSFER\,1030 Metropolitan Avenue \nBrooklyn\, NY 11211 SEQUENCE:0 SUMMARY:The Game: The Game\, Angela Washko UID:425920 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20161021T200000 DTSTAMP:20160824T054818 DTSTART:20161021T190000 GEO:40.745377;-74.006871 LOCATION:The Kitchen\,512 West 19th Street \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Performance:Bring Your Own Lights (October 21)\, Katherine Hubbard UID:425918 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20161014T200000 DTSTAMP:20160824T054818 DTSTART:20161014T190000 GEO:40.745377;-74.006871 LOCATION:The Kitchen\,512 West 19th Street \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Performance:Bring Your Own Lights (October 14)\, Katherine Hubbard UID:425917 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In this new body of work\, pho tography\, writing\, and performance come together to place the mechanics a nd processes of analog photography in relation to new\, possible narratives about cities\, class\, and image-making itself. One starting point is The Kitchen&rsquo\;s building\, both its original function as an ice storage fa cility in service to an ice plant next door and its current uses. K atherine Hubbard asks\, &ldquo\;If narrative acknowledges that eve rything is scripted\, then how do we begin to re-script? How is photography failing us in our efforts to do so and how is this failing a social issue having nothing to do with images of the world and having everything to do w ith how we see the world itself?&rdquo\; Curated by Matthew Lyons.

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Performances in the gallery: Fri day\, October 14 and Friday\, October 21 at 7pm. FREE. Capacity is limited. First-come\, first-served.

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Katherine Hubbard: Bring your own lights is made possible wi th support from Jerome Foundation and The Andy Warhol Foundation for the Vi sual Arts\, and in part by public funds from New York City Department of Cu ltural Affairs in partnership with the City Council and New York State Coun cil on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature. Additional support provided by \;Baxter St at the Ca mera Club of New York.

DTEND:20161022 DTSTAMP:20160824T054818 DTSTART:20160908 GEO:40.745377;-74.006871 LOCATION:The Kitchen\,512 West 19th Street \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Bring Your Own Lights\, Katherine Hubbard UID:425915 END:VEVENT BEGIN:VEVENT DTEND:20160908T200000 DTSTAMP:20160824T054818 DTSTART:20160908T180000 GEO:40.745377;-74.006871 LOCATION:The Kitchen\,512 West 19th Street \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Bring Your Own Lights\, Katherine Hubbard UID:425916 END:VEVENT BEGIN:VEVENT DESCRIPTION:

As part of The Drawing Center& rsquo\;s new series The Artist&rsquo\;s Eye\, New York-based artist Terry W inters will lead a walk-through of Cecily Brown: Rehearsal< /a>. Well-known for drawings\, paintings\, and prints that reference system s and spatial fields\, Winters&rsquo\;s work often develops in series\, usi ng repetition to comment on the formal intricacies of visual representation .

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The Artist&rsquo\;s Eye progr am celebrates the institution&rsquo\;s upcoming (2017) 40th anniversary by inviting an artist who has previously shown at The Drawing Center to share his or her perspective on a current exhibition. These artist-led tours prov ide in-depth consideration of one artist&rsquo\;s work by another\, highlig hting drawing&rsquo\;s expansive reach and reinforcing the centrality of th e artist&rsquo\;s viewpoint to The Drawing Center&rsquo\;s mission.

DTEND:20161201T193000 DTSTAMP:20160824T054818 DTSTART:20161201T183000 GEO:40.7223532;-74.002823 LOCATION:The Drawing Center\,35 Wooster Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:The Artist's Eye\, Terry Winters UID:425914 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Join Cecily Brown and Senior Curator Claire Gilman in a walk through of the exhibition. Attendees will receive a lim ited-edition coloring book featuring works from the show.

DTEND:20161027T193000 DTSTAMP:20160824T054818 DTSTART:20161027T183000 GEO:40.7223532;-74.002823 LOCATION:The Drawing Center\,35 Wooster Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Walkthrough: Rehearsal\, Cecily Brown UID:425913 END:VEVENT BEGIN:VEVENT DESCRIPTION:

As part of its on-going stairw ell project\, The Drawing Center has commissioned American artist Gary Simm ons to create a site-specific wall drawing in the lobby stairwell. Simmons& rsquo\;s installation will be the second in the series following Abdelkader Benchamma&rsquo\;s Representation of Dark Matter (April 2015 &nd ash\; August 2016).

Mining the iconography of American popular culture\, Gary Simmons&rsquo\;s work addresses personal and collective expe riences of race and class. He is best known for his &ldquo\;erasure drawing s\,&rdquo\; which he began while working in an abandoned school that contai ned an abundance of blackboards. Using white chalk on slate-painted panels or walls\, Simmons blurs the drawings with his hands resulting in hazy but persistent images that evoke faded memories or classrooms at the end of the school day. For The Drawing Center\, Simmons will create a text-based work consisting of names of African-American actors and actresses from the earl y days of silent film. The artist describes the installation whose scroll-l ike format recalls movie &ldquo\;credit-crawls&rdquo\; frozen in mid-motion \, as invoking &ldquo\;the memories of actors that have been blurred in the history of Hollywood film&hellip\;. [The piece depicts] a kind of silence in both voice and visibility.&rdquo\;

Curated by Claire Gilm an\, Senior Curator

Gary Simmons: Ghost Reels is m ade possible by the support of Jeffrey A. Hirsch and Alyssa Fanelli.

Special thanks to Metro Pictures.

DTEND:20161218 DTSTAMP:20160824T054818 DTSTART:20161007 GEO:40.7223532;-74.002823 LOCATION:The Drawing Center\,35 Wooster Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Ghost Reels\, Gary Simmons UID:425911 END:VEVENT BEGIN:VEVENT DTEND:20161007T200000 DTSTAMP:20160824T054818 DTSTART:20161007T180000 GEO:40.7223532;-74.002823 LOCATION:The Drawing Center\,35 Wooster Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Ghost Reels\, Gary Simmons UID:425912 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Open Sessions 8: Planes an d Corridors is a group exhibition which considers drawing as a shiftin g outline around narratives of alienation\, proximity and distance. Featuri ng artists Ruby Amanze\, Eric Ramos Guerrero\, Nsenga Knight\, Lei Lei\, Ja mes Mercer\, Edwin Torres and Ezra Wube\, the exhibition explores real and imagined landscapes\, whose fluid borders and disorienting geographies refe rence issues around migration and a complicated topographies of the everyda y. Including work that features poetry\, drawing\, and miniaturized land\, Planes and Corridors presents drawing as an open equation where th e strange and ordinary meet.

Curated by Lisa Sigal and Nova Benway

Open Sessions is made possible by The Andy Warhol F oundation for the Visual Arts\, the Helen Frankenthaler Foundation\, the To m Slaughter Open Sessions Fund\, Faber-Castell\, and with public funds from the New York City Department of Cultural Affairs in partnership with the C ity Council.

DTEND:20161218 DTSTAMP:20160824T054818 DTSTART:20161007 GEO:40.7223532;-74.002823 LOCATION:The Drawing Center\,35 Wooster Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Open Sessions 8: Planes and Corridors\, Ruby Amanze\, Eric Ramos Gu errero\, Nsenga Knight\, Lei Lei\, James Mercer\, Edwin Torres\, Ezra Wube UID:425909 END:VEVENT BEGIN:VEVENT DTEND:20161007T200000 DTSTAMP:20160824T054818 DTSTART:20161007T180000 GEO:40.7223532;-74.002823 LOCATION:The Drawing Center\,35 Wooster Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Open Sessions 8: Planes and Corridors\, Ruby Amanze\, Eric Ramos Gu errero\, Nsenga Knight\, Lei Lei\, James Mercer\, Edwin Torres\, Ezra Wube UID:425910 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Olga Chernysheva&rsquo\;s inve stigations of Russia&rsquo\;s post-Soviet political and social atmosphere d epict a side of Russia that is rarely seen. Her charcoal drawings provide t he viewer with an arrestingly intimate view of her subjects &ndash\; securi ty guards\, commuters\, shoppers\, the homeless\, and other anonymous citiz ens. Though she has been depicting the urban landscape for decades\, she ha s rarely strayed from portraits of her home country. For the Drawing Center exhibition\, Chernysheva spent a month in New York\, a city in which she h ad spent time but never resided\, creating an idiosyncratic travelogue of d rawings and accompanying texts\, exploring the notion of dislocation in rel ation to both language and image.

Curated by Nova Benway\, Assistant Curator and Open Sessions Curator

Olga Cherny sheva: Vague Accent is made possible by the support of Josef and Margo t Lakonishok\, Elena Sudakova\, Dita Amory\, Suzanne Dubois\, Erika Hoffman n-Koenige\, Meryl Rose\, Max Dolgcier\, Anna Zelenova\, and Jan ter Haar.
Special thanks to Pace London\; Gallery DIEHL\, Berlin\; Foxy Pro duction\, New York\; Matthew Stephenson\; and Yulia Dultsina.

DTEND:20161218 DTSTAMP:20160824T054818 DTSTART:20161007 GEO:40.7223532;-74.002823 LOCATION:The Drawing Center\,35 Wooster Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Vague Accent\, Olga Chernysheva UID:425907 END:VEVENT BEGIN:VEVENT DTEND:20161007T200000 DTSTAMP:20160824T054818 DTSTART:20161007T180000 GEO:40.7223532;-74.002823 LOCATION:The Drawing Center\,35 Wooster Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Vague Accent\, Olga Chernysheva UID:425908 END:VEVENT END:VCALENDAR