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We are delighted to announce our second exhibition of master pieces by Fukami Sueharu\, widely regarded as one of the greatest ceramic a rtists of the last forty years.  \;

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The show features thirty sc ulptures made between 1980 and 2014\, a majority from an exhibition held la st year at the Japanese Garden in Portland\, Oregon. Alongside important ea rly pieces\, we will display two more recent large-scale works\, Kitsu (Upright)\, \;2013\, \;and Landscape II\, which was o n view at the Metropolitan Museum of Art from 2003 to 2013.

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Both in his own country and across the seas Fukami Sueharu is now even more widely honored than when he was in 2008\, when we held a successful exhibition of his work. While his mature abstract style embodies a contemporary global v ision\, it also reflects a traditional disregard for the time and effort re quired to produce these works of flawless beauty and elegance.

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A fu lly illustrated publication with an essay by Shinya Maezaki accompanies the exhibition. \;

DTEND:20141031 DTSTAMP:20140919T154245 DTSTART:20140916 GEO:40.7688526;-73.9678492 LOCATION:Erik Thomsen Gallery\,23 East 67th Street \nNew York\, NY 10065 SEQUENCE:0 SUMMARY: Porcelain Sculptures\, 1980 – 2014\, Fukami Sueharu UID:357191 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Directors of Marlborough Gallery are pleased to announce an upcoming exhibition of recent works by Spanish-born artist\, David Rodr í\;guez Caballero. The exhibition will open on Tuesday\, September 16 at our 57th Street location and will remain on view until October 18\, 201 4. The recent works that will be showcased in the exhibition explore a rang e of materials and spatial constructs\; these explore the incorporation of light as matter\, an element of the first order in abstraction and geometry . The exhibition will include approximately 40 works constructed in the thr ee materials used by the artist: aluminum\, bronze and copper.  \;

DTEND:20141018 DTSTAMP:20140919T154245 DTSTART:20140916 GEO:40.762951;-73.9739623 LOCATION:Marlborough Gallery New York\,40 West 57th Street \nNew York\, NY 10019 SEQUENCE:0 SUMMARY: Recent Work\, David Rodríguez Caballero UID:357190 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Maccarone is pleased to announce a showing of new two-dimens ional works by Paul Lee\, now on view at 98 Morton Street. \;Eight pane ls feature faces rendered in pastel on painted wood\, which were made in th e dark\, and coupled by strips of cinema carpets. \;Two short films by Paul Lee will be screened sometime during the exhibition.

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Paul Lee lives and works in New York.  \;This is the artist&rsquo\;s third exhib ition with the gallery. \;

DTEND:20141018 DTSTAMP:20140919T154245 DTSTART:20140916 GEO:40.7311156;-74.0088619 LOCATION:Maccarone (Morton Street)\,98 Morton Street \nNew York\, NY SEQUENCE:0 SUMMARY:Matinee\, Paul Lee UID:357189 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Demisch Danant is pleased to present \;René\; Jean Caillette\, a solo exhibition devoted to significant works of the 1950s and 1960s by the acclaimed French designer. On view from September 1 8 to October 30\, \;René\; Jean Caillette \;presents the designer&rsquo\;s work in three distinct vignettes. The highlight of t he exhibition is a re-creation of a dining room from the designer&rsquo\;s historic 1961 presentation at the Salon des Arts Mé\;nagers\, includi ng the Sylvie Credenza and Dining Table and the rare and iconic Diamond Cha irs in white lacquer. Two vignettes focus on works designed in the late 195 0s for the manufacturers Charron\, Steiner\, and S.A.D.E.A.. The exhibition also features a rare prototype for a bookcase and a unique sofa\, both in molded plywood\, acquired directly from the designer&rsquo\;s estate.

René\; Jean Caillette (1919-2004) was part of a group of young designers who emerged immediately following the reconstruction period\, ded icated to designing elegant and accessible furniture in a resolutely modern spirit\, stripped of decoration and produced in series. In 1950\, George C harron\, a French furniture manufacturer\, discovered Caillette&rsquo\;s wo rk and their meeting led to the creation of Group 4\, a collaboration betwe en Caillette\, Alain Richard\, Genevieve Dangles and Joseph André\; M otte. Caillette received the René\; Gabriel prize in 1952 and the sil ver medal at the Milan Triennale in 1962\, and continued to design for Char ron until 1972. Throughout his illustrious career\, Caillette adhered to a rigorous development and prototyping process and remained committed to simp licity of line and material innovation.

DTEND:20141030 DTSTAMP:20140919T154245 DTSTART:20140918 GEO:40.7477883;-74.0066646 LOCATION:Demisch Danant Gallery\,542 west 22nd St \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Solo Exhibition\, René Jean Caillette UID:357188 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Screening &\; Reception: September 23\, 2014\, 7-9p.m.

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At Entwine\, 765 Washington Street\, New York\, NY

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LYNCH THAM in collaboration with CoWorker Projects is pleased to pres ent an anthological screening of video works by Carlo Ferraris.

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The screening will feature a series of 15 videos\, starting with one of Ferrar is&rsquo\; first videos from 1997\, Lilliburlero\, 2:00 minutes. T he video is a short satirical piece on the British Lilliburlero march\, whi ch dates back to the English Civil War of 1642. The screening also includes one of the artist&rsquo\;s longest narrative short films\, 17:52 minutes\, Eastern Standard Time - Eyes transfixed\, a young man bears a rot ating radiation symbol upon his forehead. The man struggles and fails to di fferentiate between the words "porc" and "Porsche." In this film\, Ferraris overturns the priorities of filmic convention: images trump scenes\, conte xt trumps narrative. EST is a dark and clever plot on contemporary espionag e.

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Other videos in the evening&rsquo\;s presentation include: M ichigan parallel\, 2001\, 1:27 mins\; La notte\, 2002\, 1:34 mins\; Frostwave\, 2003\, 1:36 mins\; A bullet flying since fo rty years\, 2003\, 2:04 mins\; Stick to the sky\, 2003\, 1:59 mins\; Table roof\, 2008\, 1:16 mins\; More than still\, 2008\, 0:31 mins\; Cowboy with measure tape\, 2009\, 1:28 mins\; Outdoor sculpture\, 2009\, 1:56 mins\; Rotator Cuff\, 201 0\, 0:39 mins\; Counterclockwise\, 2010\, 1:36 mins\; Some peo ple think that pushing the call button repeatedly will make the elevator co me faster\, 2010\, \; 3:23 mins\; Behind a Rolling Ball Comes a Running Child\, 2013\, 1:23 mins\; Return From Jupiter\, 20 13\, 1:55 mins.

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A long with his interest in film an d video\, Ferraris is also an accomplished photographer. He is a 2004 New Y ork Foundation for the Arts Fellow in Photography\, and has participated in numerous exhibitions in Europe\, Asia and the U.S. Ferraris' work has been published and reviewed extensively in publications such as The New York Times\, Vogue\, Elle Decor\, Flash Art\, Lacanian Ink\, Casa Vogue\, Art Press\, Art in America\, ArtNews\, L &rsquo\;Architettura\, Ju liet\, Artforum\, Tema Celeste\, and The Art Newspaper\, among other s.

DTEND:20140923T210000 DTSTAMP:20140919T154245 DTSTART:20140923T190000 GEO:40.7188646;-73.9846431 LOCATION:LYNCH THAM\,175 Rivington Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:One-Night Only at Entwine: Carlo Ferraris / Video Anthology\, Carlo Ferraris UID:357150 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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The Curator Gallery is pleased to present Print Face ts: Five Centuries of Printmakers\, curated by Rebecca Michelman. From the 17th century mezzotint printers whose secret techniques revealed light from darkness\, to the inventions of sugar lift and spit bite methods\, Print F acets explores the rich and complex medium of print art. The exhibition ope ns on September 12th and will run through October 25th\, 2014.

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A lo ver of art history\, Rebecca Michelman tackled the ambitious goal of presen ting five centuries of printmaking in one 1600 square foot gallery. Intrigu ed by artists who have dedicated their lives to perfecting their craft\, Mi chelman tracked down rarely seen work by seasoned printmakers from Californ ia to Paris. Visits to living master printers\, the passionate professional s who interpret the visions of other artists\, uncovered treasures from the ir personal collections\, as well as never seen printwork of their own maki ng. Master printer Judith Solodkin contributes woodcut prints by Richard Bo sman and digitally embroidered prints\, her specialty. Kathy Caraccio contr ibutes her own work\, as well as a selection of prints from her personal co llection. Bill Hall\, master printer at Pace Editions\, contributes his own abstract expressionist prints exhibited for the first time.

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Rebecc a Michelman&rsquo\;s fascination with the influence of old master printers on living artists produces a show full of juxtapositions. The sapphire gems tone in John Torreano&rsquo\;s 1990 woodcut &ldquo\;Oxygems&rdquo\; is pair ed with a German Expressionist woodblock portrait by Karl Schmidt-Rottluff from 1910. Contemporary artist Allen Grindle&rsquo\;s woodblock work is pai red with a Max Pechstein woodblock from 1922. Liz Chalfin&rsquo\;s etchings are influenced by the mysterious darks of Edward Hopper&rsquo\;s &ldquo\;N ight Shadows.&rdquo\; The printmaking of over forty contemporary artists st ands alongside historical prints from the 16th to the 20th centuries\, incl uding works by Goya\, Durer\, Rembrandt\, and Warhol. The exhibition will f eature a &ldquo\;Print Bar\,&rdquo\; an interactive display in the back roo m where unframed work can be examined more closely.

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Rebecca Michelm an of Michelman Fine Art is a private art dealer in a family business speci alizing in Impressionism\, Modern\, and Post-War Art. Rebecca has been lect uring groups on how to start an art collection at The Curator Gallery&rsquo \;s weekly seminars since its opening in March of this year.

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The Cu rator Gallery is a fine art gallery located on 23rd Street in Chelsea which collaborates with notable guest curators for each exhibition. Founded and underwritten by Ann S. Moore\, the retired Chairman and CEO of Time Inc.\, the gallery&rsquo\;s mission is to bring exposure to hardworking artists\, as well as to educate and expand the pool of engaged\, serious collectors\n

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\n DTEND:20141025 DTSTAMP:20140919T154245 DTSTART:20140912 GEO:40.7478986;-74.0050994 LOCATION:The Curator Gallery\,520 West 23rd Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Print Facets: Five Centuries of Printmakers UID:357009 END:VEVENT BEGIN:VEVENT DTEND:20140912T200000 DTSTAMP:20140919T154245 DTSTART:20140912T180000 GEO:40.7478986;-74.0050994 LOCATION:The Curator Gallery\,520 West 23rd Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Print Facets: Five Centuries of Printmakers UID:357010 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20141113 DTSTAMP:20140919T154245 DTSTART:20141017 GEO:40.7473106;-74.0053077 LOCATION:Danese/Corey\,511 West 22 Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Theresa Chong\, Theresa Chong UID:357001 END:VEVENT BEGIN:VEVENT DTEND:20141017T200000 DTSTAMP:20140919T154245 DTSTART:20141017T180000 GEO:40.7473106;-74.0053077 LOCATION:Danese/Corey\,511 West 22 Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Theresa Chong\, Theresa Chong UID:357002 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20141113 DTSTAMP:20140919T154245 DTSTART:20141017 GEO:40.7473106;-74.0053077 LOCATION:Danese/Corey\,511 West 22 Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Theresa Chong\, Theresa Chong UID:356993 END:VEVENT BEGIN:VEVENT DTEND:20141016T200000 DTSTAMP:20140919T154245 DTSTART:20141016T180000 GEO:40.7473106;-74.0053077 LOCATION:Danese/Corey\,511 West 22 Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Theresa Chong\, Theresa Chong UID:356994 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20141113 DTSTAMP:20140919T154245 DTSTART:20141017 GEO:40.7473106;-74.0053077 LOCATION:Danese/Corey\,511 West 22 Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Dozier Bell\, Dozier Bell UID:356991 END:VEVENT BEGIN:VEVENT DTEND:20141016T200000 DTSTAMP:20140919T154245 DTSTART:20141016T180000 GEO:40.7473106;-74.0053077 LOCATION:Danese/Corey\,511 West 22 Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Dozier Bell\, Dozier Bell UID:356992 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Conceptual artist Danh Vō collaborates with Xiu Xiu (Jamie S tewart\, Shayna Dunkelman\, and Ches Smith) for this gallery exhibition con ceived as a stage for their work&rsquo\;s own production. Vō travels with t wo gold pounders from Thailand&mdash\;where the gold leaf for many of his p ieces is made&mdash\;to work in the space alongside Xiu Xiu's percussion-ba sed compositions. Together they will generate syncopated compositions with the pounders&rsquo\; rhythms. Set against a backdrop of Vō&rsquo\;s finishe d artwork\, they will create a new work in real time. \;

DTEND:20141018 DTSTAMP:20140919T154245 DTSTART:20140927 GEO:40.745377;-74.006871 LOCATION:The Kitchen\,512 West 19th Street \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:“Metal” \, Danh Vo\, Xiu Xiu UID:356797 END:VEVENT BEGIN:VEVENT DTEND:20140927T200000 DTSTAMP:20140919T154245 DTSTART:20140927T180000 GEO:40.745377;-74.006871 LOCATION:The Kitchen\,512 West 19th Street \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:“Metal” \, Danh Vo\, Xiu Xiu UID:356798 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Stux Gallery is proud to present their third solo exhibition of sculptures and works on paper by Kathy Ruttenberg produced in less than three years. At mid-career\, Ruttenberg is possibly the foremost sculptor working in ceramic today\, bringing clay to incredible forms of life\, both physical and emotional\, forever frozen in their most intensely heated sta te. In their complexity and scale her recent works are tours-de-force\, not merely of manual artistry\, but Baroque nature poetry in the spirit of the most fantastical sculptures by Cellini\, Palissy or even Bernini. Indeed\, according to Roberta Smithʼs New York Times review of Ruttenbergʼs May 201 3 show\, the artist is &ldquo\;a force to contend with as a narrator and sy mbolist&rdquo\;. The vibrant folk art overtones in her works aside\, they r esonate as much with those by Symbolist masters like Redon\, Gauguin and Ro usseau\, as they do with such contemporary fantasy artists as Kiki Smith\, Jeff Koons and Robert Gober.
Her most recent works take inspiration f rom trips this year to the North and South Poles. Ruttenberg encased the de tached head of a Medusa-like woman in a block of ice\, on the surface of wh ich is a little heart\, both observed hungrily by a nearby penguin. The mor e monumental Ice Age features a reclining mermaid like some ancient river g oddess\, holding a baby seal as an emblem. Crowned with a ship and tattooed on her back with a krill as the symbol of the food chain and the chain of life\, the mermaid presides peacefully over a Weddell seal on its back and a Chinstrap penguin\, predator and prey\, while the exuberant tail of a div ing whale is quite literally caught in a diorama-like allegory of shared en vironmental destiny.
The most complex work in Fired Ice is The Nature of the Beast\, which Ruttenberg had intended as the centerpiece for her pre vious Stux show but was unable to complete until now. Enshrined like some a rchetypal cult idol in a circular temple with flowering trees for columns\, a young woman exposes her vulva even as she wears richly illustrated garme nts showing woodland animals cavorting with a tiny blonde girl. Referencing the magical interconnections between inner and outer worlds\, Ruttenbergʼs latest works again include elaborate miniature paintings and sculptures wr apped around or even inside the primary figures\, illuminated like psychic revelations. To experience this skirt painting entirely a viewer must go al l around the fantastical grove as if on a carrousel\, encountering in turn the little ceramic figures attached to each tree. The central idol also wea rs a crown of phallic mushrooms that imprison a rat\, and as if under the r atʼs spell\, she holds an arterial tube from one end of which dangles an up rooted penis and from the other end a heart\, the essential remains of a lo ve she cannot let go.
Backgrounding all the sculptures is a print bas ed on a gigantic drawing of a forest interior with ranches reaching every w hich way and scores of animals converging in some shared refuge &ndash\; el ephants\, bats\, squirrels\, leopards and many more. Some of these creature s are only faintly outlined while others are more densely shaded to stand o ut\, with the result that overall the drawing pulses with haunting nature e nergies.
Developing from work to work\, Ruttenberg strives for nothin g less than the richest imaginable graphic\, plastic and metaphorical langu age.

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Charles Stuckey

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Kathy Ruttenberg is a New York based\, Chicago born sculptor. She received her BFA from the School of Visual Arts in New York\, and pursued advanced studies in Morocco and at N ew York University. She has been exhibited widely in the U.S.\, Korea\, Spa in and France. Ruttenbergʼs work has received wide critical acclaim in publ ications such as The New York Times\, Art in America\, The Boston Globe\, A rtpress and New York Magazine. A monograph of her work has been published i n 2013 by CHARTA.

DTEND:20141025 DTSTAMP:20140919T154245 DTSTART:20140917 GEO:40.7632792;-73.9756657 LOCATION:Stux Gallery\,24 West 57th Street \nNew York\, NY 10019 SEQUENCE:0 SUMMARY: FIRED ICE: Works from the Ends of the Earth (New Ceramic Sculpture s)\, Kathy Ruttenberg UID:356795 END:VEVENT BEGIN:VEVENT DTEND:20140917T200000 DTSTAMP:20140919T154245 DTSTART:20140917T170000 GEO:40.7632792;-73.9756657 LOCATION:Stux Gallery\,24 West 57th Street \nNew York\, NY 10019 SEQUENCE:0 SUMMARY: FIRED ICE: Works from the Ends of the Earth (New Ceramic Sculpture s)\, Kathy Ruttenberg UID:356796 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Steven Harvey Fine Art Projects presents Leaves\, a survey o f contemporary drawings and works on paper by Peter Acheson\, Mequitta Ahuj a\, Chuck Bowdish\, Katherine Bradford\, Dawn Clements\, Jacob El Hanani\, Gregory Gillespie\, June Leaf\, Sangram Majumdar and Fulvio Testa. The ten artists range from seasoned draftsmen to artists at the beginning of their careers and come from across the globe. Each of them\, however\, has a rema rkably individualized sensibility and may be considered a master in his/her own right.

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Katherine Bradford&rsquo\;s works on paper are\, as Ken Johnson puts it\, &ldquo\;comical yet earnest.&rdquo\; Her glowing colors and vulnerable shapes often describe ocean liners and people at sea. The de liberate naiveté\; of her subjects evoke innocence without sentimenta lity &ndash\; they have the quality of adult reveries and regressions. Brad ford&rsquo\;s work is included in various public collections\, including th e Brooklyn Museum of Art\, the Metropolitan Museum of Art and the Portland Museum\, among others. She was awarded a Guggenheim Fellowship in 2011\, an d was a recipient of a Joan Mitchell Foundation Grant in 2012. A close peer of Bradford&rsquo\;s\, Peter Acheson is a pioneer of a similarly raw vocab ulary. His scribbled drawings map a disconnected world. Acheson is in the t radition of artists such as Forest Bess and Gandy Brodie. His drawings enco mpass language&ndash\;as-mark making with phrases entangled in thickets of line. Acheson was born in Washington\, D.C and lives in Ghent\, NY. His wor k is included in the Brooklyn Museum&rsquo\;s permanent collection.

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From large scale painted collages to tiny jewel-like watercolors\, Chuck B owdish&rsquo\;s work is figurative visual poetry\, calling on both classica l imagery (Grecian urns and nude torsos) and images of menace right out of the headlines. His draftsmanship seems effortless and precise and his impul se to castigate the world comes from a pure place. He is the kind of artist who makes you reconsider your assumptions. Bowdish is the subject of a doc umentary film by Peter Wareing entitled Chuck Bowdish: Painter and has been included in recent exhibitions in Atlanta\, Williamsburg and Long Island C ity. Concurrently with Leaves\, Bowdish&rsquo\;s work may be seen at the Jo hn Davis Gallery in Hudson\, N.Y.

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The estimable painter and sculpto r June Leaf\, was born in Chicago in 1929 and has lived in New York since t he early 60's. Her drawings are directly related to her sculpture\; they ar e diagrammatic and notational\, having almost the quality of maps\, and sha re an acknowledgement of humanity&rsquo\;s grace and foibles. Leaf&rsquo\;s works on paper call to mind the inventive sketches of da Vinci and Alexand er Calder. Leaf had her first solo exhibition at Sam Bordelon Gallery in Ch icago in 1948 and has since exhibited internationally. She is included in n umerous museum collections\, including the Museum of Modern Art\, New York The Whitney Museum of American Art\, and the Art Institute of Chicago.

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Jacob El Hanani was born in Morocco in 1947 and grew up in Israel. His work draws on the tradition of micrography in Judaism\, a technique used in the decoration and transcription of holy texts. El Hanani&rsquo\;s incredi bly intricate ink drawings are created through the careful repetition of ti ny marks. These extraordinary works appear to be a pattern from a distance\ ; they are mediations on time and infinity. El Hanani&rsquo\;s work is incl uded in many notable public collections\, including The Solomon R. Guggenhe im Museum\, the Museum of Modern Art\, New York\, The Metropolitan Museum o f Art\, The Whitney Museum of American Art\, The Jewish Museum\, Musee nati onal d&rsquo\;Arte Moderne\, Centre George Pompidou\, Paris\, The National Gallery of Art\, DC.

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Fulvio Testa is one of Italy&rsquo\;s most dis tinguished artists and illustrators. Working in watercolor and ink with mut ed tones\, Testa&rsquo\;s small scale\, elegant landscapes have little dema rcation between land and sky and seem influenced by Chinese scroll painting s. His work is represented in a number of public collections\, including th e Art Institute of Chicago\, the Philadelphia Museum of Art and the New Yor k Public Library. In addition to his own prizewinning titles\, he has illus trated books by authors such as Anthony Burgess and Gianni Rodari. He divid es his time between Verona\, Italy\, and New York.

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Sangram Majumdar was born in Calcutta\, India and received his MFA from Indiana University. Majumdar works from elaborate backdrops and dioramas constructed in his st udio\, layering decorative and painterly elements that disappear and reappe ar in the working process. Majumdar&rsquo\;s final compositions house a mul titude of hidden possibilities. This group of drawings represents all the m onochrome work related to a single painting\, enabling us to visualize this world of potentiality. Majumdar has taught at the Maryland Institute Colle ge of Art since 2003. Concurrently with Leaves\, Majumdar&rsquo\;s oil pain tingsa will be exhibited at Georgetown University in Washington\, D.C.

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Dawn Clements was born in Massachusetts in 1958. She works with Sumi in k and ballpoint pen on paper\, ranging in size from small to monumental. Th rough an active\, almost performative working process\, the paper becomes d istressed with folds\, wrinkles\, and seams. Clements subjects are the obse rved everyday spaces of her apartment and studio\, and film stills\, which she scales up to life-size proportion. Clements&rsquo\; work was included i n the Whitney Biennial in 2010\, and she is represented in the permanent co llections of the Museum of Modern Art\, New York\, the Whitney Museum of Am erican Art\, and The Saatchi Collection\, London.

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Mequitta Ahuja de fines her artistic practice as Automythography (a variant on Audrey Lorde&r squo\;s phrase.) In her large-scale paintings on paper she places images of herself in the midst of tumbling worlds of tightly woven pattern and color \, with an overall pictorial density that speaks to the layered patterns of Persian miniatures. Last spring she had an artist residency in Siena\, Ita ly. Included in Leaves are examples of pastels inspired by her residency\, in which Ahuja incorporates herself into the Romulus and Remus mythology of Siena (according to tradition Remus&rsquo\; son Senio was the founder of S iena.) Her work is included in recent and upcoming exhibitions at Crystal B ridges Museum of American Art\, The Minneapolis Institute of Art and The Sa atchi Gallery.

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The late Massachusetts born visionary painter Gregor y Gillespie (1936-2000) defies categorization. He championed a fiercely obs essive realism in the Sixties when Pop and abstraction held sway\, yet his vocabulary is so psychologically potent and mystically laced that it pushes past the realms of the real. His oeuvre comprises haunting self-portraits\ , surreal landscapes\, symbolic geometric abstractions\, and singular monum ental object/paintings. His process is equally expansive\, combining meticu lous oil painting with photomontage\, collage and assemblage. In his late w ork\, which is included in this exhibition\, he also inlays photocopied ima ges into the painting surface. Gillespie drew inspiration across the histor y of European painting (Balthus\, Bruegel\, Bosch\, Crivelli to name a few) \, as well as from classical mythology\, Buddhism\, Indian sculpture\, and Tibetan and Mayan art. The Hirshhorn Museum and Sculpture Garden presented a retrospective of Gillespie&rsquo\;s work when he was forty years old\, ga rnering him national prominence. Gillespie&rsquo\;s work is included in the permanent collections of the Metropolitan Museum of Art\, the Whitney Muse um of American Art\, and the Museum of Fine Arts\, Boston\, among others. DTEND:20141012 DTSTAMP:20140919T154245 DTSTART:20140907 GEO:40.7228401;-73.9902918 LOCATION:Steven Harvey Fine Art Projects\,208 Forsyth Street \nNew York \, New York 10002 SEQUENCE:0 SUMMARY:LEAVES\, Peter Acheson\, Mequitta Ahuja\, Chuck Bowdish\, Katherine Bradford\, Dawn Clements\, Jacob El Hanani\, Gregory Gillespie\, June Leaf \, Sangram Majumdar\, Fulvio Testa UID:356792 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Pace Gallery and Pace/MacGill Gallery are pleased to present an exhibition in honor of the Saul Steinberg&rsquo\;s centennial. The exhi bition will be on view on the second and ninth floors at 32 East 57th Stree t from September 11 through October 18 and was realized with the cooperatio n of the Saul Steinberg Foundation.

DTEND:20141018 DTSTAMP:20140919T154245 DTSTART:20140911 GEO:40.76186;-73.972093 LOCATION:Pace Gallery - 57th St.\,32 E.57th St. \nNew York\, NY 1022 SEQUENCE:0 SUMMARY:100th Anniversary Exhibition \, Saul Steinberg UID:356791 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Solo presentation in the South Gallery

DTEND:20141101 DTSTAMP:20140919T154245 DTSTART:20140920 GEO:40.743843;-74.006331 LOCATION:Murray Guy\,453 W.17th St. \nNew York\, NY 10011 SEQUENCE:0 SUMMARY: Lovely Young People\, (Beautiful Supple Bodies)\, Rosalind Nashash ibi UID:356789 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20141101 DTSTAMP:20140919T154245 DTSTART:20140920 GEO:40.743843;-74.006331 LOCATION:Murray Guy\,453 W.17th St. \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:INFINITE TUNING \, Yve Laris Cohen\, David Horvitz\, Matthew Buckin gham\, Lucy Raven\, Boru O'Brien O'Connell\, Jill Magid UID:356788 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Library Vaccine \;presents a number of discrete coll ections of books in order to sample art's distinctive relationship to the b ook form in its singularity\, and in its states of reproduction\, distribut ion and accumulation. The exhibition addresses the book as a particular tec hnology\, and in its collective state of the private collection\, reading r oom or library\, as a social machine &ndash\; registering social and person al histories\, and articulating structures of knowledge and value through t he relations between its parts. \;

The exhibition title is t aken from a text by the curator and writer Edit deAk that introduced the 19 81 Printed Matter catalogue. In this short piece she referred to artists' b ooks as "the library vaccine\, a healing agent formed from the very disease they cure." Each section of the exhibition presents a collection that loos ely corresponds to a decade between the 1960s and the present day\, yet&nbs p\;The Library Vaccine \;doesn't seek to survey a recent history of boo ks in or as art\; rather it takes the tension between book-as-text and book -as-object as a starting point. The exhibition marks a movement from the eg alitarian\, curative aspirations of the book as distributed artwork\, to th ese aspirations' subsumption within broader tendencies towards collecting\, archiving and the re-circulation of knowledge. \;

Some sect ions of the exhibition revolve around curatorial or editorial frameworks th at highlight artists' use of the book form\, while others focus on the coll ection or library as a holistic entity. In these contexts the act of collat ion emphasizes shifts between the private and the common\, the artwork and the artifact. The roles of artist\, publisher and collector are seen to ove rlap\, and the sequenced content of both the individual book and the massed collection provides sites for the production and articulation of meaning.& nbsp\;

DTEND:20141109 DTSTAMP:20140919T154245 DTSTART:20140925 GEO:40.7215609;-74.002266 LOCATION:Artists Space: Exhibitions\,38 Greene St. 3rd Floor\nNew York\, NY 10013 SEQUENCE:0 SUMMARY:The Library Vaccine UID:356786 END:VEVENT BEGIN:VEVENT DTEND:20140924T200000 DTSTAMP:20140919T154245 DTSTART:20140924T180000 GEO:40.7215609;-74.002266 LOCATION:Artists Space: Exhibitions\,38 Greene St. 3rd Floor\nNew York\, NY 10013 SEQUENCE:0 SUMMARY:The Library Vaccine UID:356787 END:VEVENT END:VCALENDAR