BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION:

What Now? 2015: The Politics of Listening

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Friday\, A pril 24\, 2015\, 12.30&ndash\;7pm
Saturday\, April 25\, 2015\, 2&ndash \;6pm

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The New School\, Anna-Maria &\; Stephen Kellen Au ditorium
66 Fifth Avenue\, New York City &mdash\; Free admission.
Please \;RSVP \;to \;vlc@newschool.edu

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Click here for the complete What Now? 2015 schedule.

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What Now? 2015 \;i s a two-day annual symposium\, organized by \;Art in General \;in collaboration with \;the Vera List Center for Art and Politics\, which investigates critical and timely issues i n contemporary art. Dedicated to the topic of &ldquo\;The Politics of Listening\,&rdquo\; the 2015 symposium comprises four panel dis cussions spanning Friday and Saturday\, a keynote delivered by \;Lawrence Abu Hamdan\, and a program of sound installations\, aud io works\, film screenings\, and performances.

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&ldquo\;What Now? 20 15&Prime\; examines the idea of listening as a political act\, a pedagogica l process\, and an activity that can lead to the development of an organize d protocol for engagement. Opening with an analysis of listening\, the symp osium considers the scientific definition of the term alongside perspective s on listening that are shaped and informed by diverse social\, cultural\, technological\, and spatial considerations. As keynote speaker Lawrence Abu Hamdan has noted\, &ldquo\;Listening is not a natural process inherent to our perception of the world but rather constructed by the conditions of the spaces and times that engulf us&rdquo\;.(1)

In a world in which the production and reception of information encompasses print and digital media\, spoken narratives\, and the ever-expanding space of social media\, the symposium considers how one can listen with agency and intent in an env ironment characterized by such an onslaught of data. It also explores the o ften complex relationship between truth and fiction in relation to interpre tative listening\, media communication\, and acts of testimony\, translatio n\, and redaction. To what degree are we able to listen to different kinds of intelligences\, and how can we incite receptivity? How do we address the fact that the right to listen is relative\, and that the right not to list en\, or to remain silent\, is also a genuine stance? Can we press on and po sition listening as a political act? And how do we further develop our abil ity to &ldquo\;listen for what is left out\, and why&rdquo\;? (2)

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H ighlighting the work of artists and other practitioners interested in expan ding dialogue beyond the confines of the art world\, &ldquo\;What Now? 2015 &Prime\; ultimately considers the notion of listening with intent\, and ima gines new possibilities that might arise when listening involves a more exp ansive state of activity. How can we take the procedures of listening&mdash \;which involve disciplined attentiveness and \;an active ques tioning&mdash\;as a means to assist a constituency to find its own power an d solutions to diverse sets of problems? How can working across disciplines \, or rethinking the processes of how we learn\, expand on and deepen our u nderstanding of an issue&mdash\;ultimately enabling us to listen\, and act\ , with a more informed mind?

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The symposium comprises four sessions: An Analysis of Listening\; Taking Listening Seriously\; Fact\, Fiction and the In-between\; and Listening Across Disciplines: A Call to Action. Confi rmed presenters and panelists include \;Anne Barlow\, Director\, Art in General\, New York\; \;Rich Blint\, Columbia University School of the Arts\; \;Rashida Bumbray\, curator\; \;Gregory Casté\;ra\, Co-Direct or\, Council\, Paris\; \;Christoph Cox\, Hampshire Col lege\, Amherst\; \;Joshua Craze\, University of Chicag o\, Illinois\; \;Lauren van Haaften-Schick\, curator\, writer and artist\, New York\; \;Seeta Peñ\;a Gangadhara n\, New America Foundation&rsquo\;s Open Technology Institute\, Ne w York\; \;James Hudspeth\, The Rockefeller University \, New York\; \;Carin Kuoni\, Director and Curator\, V era List Center for Art and Politics\, The New School\, New York\; \;Brian Larkin\, Barnard College\, New York\; \;Sh annon Mattern\, School of Media Studies\, The New School\; \;< strong>Naeem Mohaiemen\, artist and writer\; \;Beatriz Santiago Muñ\;oz\, artist\; \;Julie Napolin\, Eugene Lang College\, The New School\; \;Mendi + Keith Obadike\, artists\; \;Laurie Jo Reynolds\, Un iversity of Illinois at Chicago&rsquo\;s School of Art and Art History\;&nb sp\;Mohammad Salemy\, The New Centre for Research &\; P ractice\, Michigan\; and \;Kade L. Twist\, artist\, wr iter and member of Post-Commodity. Participatory sessions and art projects presented by \;Bigert &\; Bergströ\;m\, \;< strong>Iman Issa\, \;Mendi + Keith Obadike\,& nbsp\;The Order of the Third Bird\, and \;Wato Tsereteli\, Founder\, Center of Contemporary Art\, Tbilisi\, Geor gia.

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This is the second annual s ymposium &ldquo\;What Now?\,&rdquo\; organized by Art in General in collabo ration with \;the Vera List Center for Art and Politics\, as part of A lignment\, the Vera List Center&rsquo\;s 2013&ndash\;15 curatorial focus th eme.

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A new book series relating to the &ldquo\;What Now?&rdquo\; sy mposia from 2015 through 2017 will be produced with Black Dog Publishing Lt d.\, a project that was made possible in part by the Institute of Museum an d Library Services.

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Art in General would like to extend special tha nks to the key funders of &ldquo\;What Now? 2015&Prime\;: the Institute of Museum and Library Services\; the Lambent Foundation\; and the Trust for Mu tual Understanding for their generous support of this initiative. The Vera List Center would like to also thank the Center&rsquo\;s Advisory Committee .

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 \;

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(1) Lawrence Abu Hamdan (Tape Echo)
(2) Ultr aRed\, in Notes on the Protocols for a Listening Session (Glasgow Variation )\, in On Listening\, edited by Angus Carlyle and Cathy Lane\, Uniformbooks 2013\, p.33. \;

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DTEND:20150425T180000 DTSTAMP:20150421T142442 DTSTART:20150425T140000 GEO:40.718124;-74.001856 LOCATION:Art in General\,79 Walker Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:What Now? 2015: The Politics of Listening UID:381295 END:VEVENT BEGIN:VEVENT DESCRIPTION:

What Now? 2015: The Politics of Listening

\n
\n

Friday\, April 24\, 2015\, 12.30&ndash\;7pm
Saturday\, April 25\, 2015\, 2&ndash\;6pm

\n

The New School\ , Anna-Maria &\; Stephen Kellen Auditorium
66 Fifth Avenue\, New Yo rk City &mdash\; Free admission.
Please \;RSVP \;to \;vlc@newschool.edu

\n

C lick here for the complete What Now? 2015 schedule.

\n

What Now? 2015 \;is a two-day annual symposium\, organiz ed by \;Art in General \;in collaboration with&nbs p\;the Vera List Center for Art and Politics\, which inve stigates critical and timely issues in contemporary art. Dedicated to the t opic of &ldquo\;The Politics of Listening\,&rdquo\; the 20 15 symposium comprises four panel discussions spanning Friday and Saturday\ , a keynote delivered by \;Lawrence Abu Hamdan\, and a program of sound installations\, audio works\, film screenings\, and perfo rmances.

\n

&ldquo\;What Now? 2015&Prime\; examines the idea of listen ing as a political act\, a pedagogical process\, and an activity that can l ead to the development of an organized protocol for engagement. Opening wit h an analysis of listening\, the symposium considers the scientific definit ion of the term alongside perspectives on listening that are shaped and inf ormed by diverse social\, cultural\, technological\, and spatial considerat ions. As keynote speaker Lawrence Abu Hamdan has noted\, &ldquo\;Listening is not a natural process inherent to our perception of the world but rather constructed by the conditions of the spaces and times that engulf us&rdquo \;.(1)

In a world in which the production and reception of infor mation encompasses print and digital media\, spoken narratives\, and the ev er-expanding space of social media\, the symposium considers how one can li sten with agency and intent in an environment characterized by such an onsl aught of data. It also explores the often complex relationship between trut h and fiction in relation to interpretative listening\, media communication \, and acts of testimony\, translation\, and redaction. To what degree are we able to listen to different kinds of intelligences\, and how can we inci te receptivity? How do we address the fact that the right to listen is rela tive\, and that the right not to listen\, or to remain silent\, is also a g enuine stance? Can we press on and position listening as a political act? A nd how do we further develop our ability to &ldquo\;listen for what is left out\, and why&rdquo\;? (2)

\n

Highlighting the work of artists and ot her practitioners interested in expanding dialogue beyond the confines of t he art world\, &ldquo\;What Now? 2015&Prime\; ultimately considers the noti on of listening with intent\, and imagines new possibilities that might ari se when listening involves a more expansive state of activity. How can we t ake the procedures of listening&mdash\;which involve disciplined attentiven ess and \;an active questioning&mdash\;as a means to assist a constituency to find its own power and solutions to diverse sets of problem s? How can working across disciplines\, or rethinking the processes of how we learn\, expand on and deepen our understanding of an issue&mdash\;ultima tely enabling us to listen\, and act\, with a more informed mind?

\n

T he symposium comprises four sessions: An Analysis of Listening\; Taking Lis tening Seriously\; Fact\, Fiction and the In-between\; and Listening Across Disciplines: A Call to Action. Confirmed presenters and panelists include& nbsp\;Anne Barlow\, Director\, Art in General\, New York\;  \;Rich Blint\, Columbia University School of the Arts \; \;Rashida Bumbray\, curator\; \;Gregory Casté\;ra\, Co-Director\, Council\, Paris\; \;C hristoph Cox\, Hampshire College\, Amherst\; \;Joshua Craze\, University of Chicago\, Illinois\; \;Lauren va n Haaften-Schick\, curator\, writer and artist\, New York\; \; Seeta Peñ\;a Gangadharan\, New America Foundation&rs quo\;s Open Technology Institute\, New York\; \;James Hudspeth< /strong>\, The Rockefeller University\, New York\; \;Carin Kuon i\, Director and Curator\, Vera List Center for Art and Politics\, The New School\, New York\; \;Brian Larkin\, Barnard College\, New York\; \;Shannon Mattern\, School of Med ia Studies\, The New School\; \;Naeem Mohaiemen\, arti st and writer\; \;Beatriz Santiago Muñ\;oz\, art ist\; \;Julie Napolin\, Eugene Lang College\, The New School\; \;Mendi + Keith Obadike\, artists\; \;Laurie Jo Reynolds\, University of Illinois at Chicago&rsquo\ ;s School of Art and Art History\; \;Mohammad Salemy\, The New Centre for Research &\; Practice\, Michigan\; and \;Kade L. Twist\, artist\, writer and member of Post-Commodity. Par ticipatory sessions and art projects presented by \;Bigert & \; Bergströ\;m\, \;Iman Issa\, \;Mendi + Keith Obadike\, \;The Order of the Third B ird\, and \;Wato Tsereteli\, Founder\, Center of Contemporary Art\, Tbilisi\, Georgia.

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This is the second annual symposium &ldquo\;What Now?\,&rdquo\; o rganized by Art in General in collaboration with \;the Vera List Center fo r Art and Politics\, as part of Alignment\, the Vera List Center&rsquo\ ;s 2013&ndash\;15 curatorial focus theme.

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A new book series relatin g to the &ldquo\;What Now?&rdquo\; symposia from 2015 through 2017 will be produced with Black Dog Publishing Ltd.\, a project that was made possible in part by the Institute of Museum and Library Services.

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Art in Gen eral would like to extend special thanks to the key funders of &ldquo\;What Now? 2015&Prime\;: the Institute of Museum and Library Services\; the Lamb ent Foundation\; and the Trust for Mutual Understanding for their generous support of this initiative. The Vera List Center would like to also thank t he Center&rsquo\;s Advisory Committee.

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 \;

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(1) Lawrence Abu Hamdan (Tape Echo)
(2) UltraRed\, in Notes on the Protocols for a Listening Session (Glasgow Variation)\, in On Listening\, edited by Angus Carlyle and Cathy Lane\, Uniformbooks 2013\, p.33. \;

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DTEND:20150424T190000 DTSTAMP:20150421T142442 DTSTART:20150424T123000 GEO:40.718124;-74.001856 LOCATION:Art in General\,79 Walker Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:What Now? 2015: The Politics of Listening UID:381294 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This evening lecture in the School's Studio will present Itu rbide's expansive and prolific career as an artist and photographer. Iturbi de is this year&rsquo\;s recipient of the \;Cornell Capa Lifetime Achievement Infinity Award.

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Click here for more information.

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Purchase tickets

DTEND:20150501T200000 DTSTAMP:20150421T142442 DTSTART:20150501T190000 GEO:40.7583563;-73.9903747 LOCATION:International Center of Photography (ICP)\,ICP School\, 1114 Avenu e of the Americas at 43rd Street \nNew York\, NY 10036 SEQUENCE:0 SUMMARY:An Evening with Graciela Iturbide\, Graciela Iturbide UID:381266 END:VEVENT BEGIN:VEVENT DESCRIPTION:

VIRIDIANARTISTS  \; \; \; \; \; \;&n bsp\; \; A CONTEMPORARY ART GALLERY

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548 WEST 28TH STREET between 10th &\; 11th Av e.\, NEW YORK\, NY\, 10001 \; \;  \; \; \; \; \;  \; \; \; \; \; \; \ ; \; \; \; \; \; \; \; \; \; \;&nbs p\; \; \; \; \; \; \; \; \; \;TEL 212-4 14-4040 \; \; \; \; \;  \;viridianartistsinc @gmail.com  \; \; \; \; \; \; \; \; \;& nbsp\; \; \; \; \; \; \; \; \; \;www.vi ridianartists.com  \; \; \; \; \; \; \; \;& nbsp\; \; \; \; \; \; \; \; \; \; \ ; \; \; \; \; \; \; \;

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FOR IMMEDIATE RELEASE&nb sp\; \; \; \; \; \; \; \; \; \; \;& nbsp\; \;  \; \; \; \; \; \; \; \;  \; \; \; \; \; \; \; \; \; \; \;&nb sp\; \; \; \; \; \; \; \; \; \; \;& nbsp\; \; \; \; \;  \; \; \; \; \;  \; \; \; \; \; \; \; \; \; \; \;&nb sp\; \; \; \; \; \; \; \; \; \; \;& nbsp\; \; \; \; \; \; \; \;  \; \;  \; \; \; \; \; \; \; \; \; \; \;&nb sp\; \; \; \; \; \; \; \; \; \; \;& nbsp\; \; \; \; \; \; \; \; \; \; \ ;  \; \; \; \; \; \; \; \; \; \;&nb sp\; \; \; \; \; \; \; \; \; \; \;& nbsp\; \; \; \; \; \; \; \; \; \; \ ; \; \; \;  \; \; \; \; \; \; \; Please List

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BERNICE FAEGENBURG

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"NATURE'S ESSENCE"

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April 28-Ma y 16th\, 2015

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Reception: Thursday\, May 7\, 6-8 pm

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Chelsea: Viridian Artists is pleased to present "NATURE'S ESSENCE " a se ries of new paintings on paper by Bernice Faegenburg. \; The exhibit ex tends from April 28 - May 16th\, 2015 with a reception: Thursday \, May 7\, 6-8 pm.

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Bernice Faegenburg is an artist who enjoys exper imentation and exploring a variety of media\, especially all things Asian. She recently began a serious study of Asian Brush Painting\, but traces of brush work have always been a part of the sensuous line in her drawings and compositions.

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The focus in these images is on nature and its essen ce that spring's annual rebirth brings. Living near the sea and removed fro m the urban environment\, Faegenburg's art always is filled with the resple ndence of nature\, even when she focuses on only the clouds drifting by. Th ough she has often worked on canvas in the past\, combining sketches\, note s\, images\, photographs\, the new work she has made for this exhibition is primarily Asian brush work on rice paper.  \;In some works \; like "The Mist"\, the composition &\; imagery is quite traditional but in ot hers\, like "Magnolia" \; &\; "Harbinger of Spring" the lines are mo re uniquely drawn\, mixing the Western and Eastern line and depiction.

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Faegenburg approaches her art instinctively\, allowing her imagery to e merge and grow out of her experience and intuition. For her\, the most impo rtant part of art making is the doing\, for she is an artist to whom proces s is as important as the end result. Fortunately however\, the end result i s always both glowingly personal as well as instinctually beautiful. Pickin g a path and following wherever it leads her has always been Faegenburg's a rtistic choice\, for she is a "traveler" in both her art and her life. Orga nic fragments of memories and images are her palette as much as color is an d her sketchbook jottings are juxtapositions that become creative &ldquo\;c onversations&rdquo\; of color and shapes on canvas and rice papers. "Swimmi ng" with the black blossoms above the fish swimming below both feel to be r are and imaginary moments that traveled from the artist's hand through the brush and finally to the paper.

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The artist did undergr aduate work at the Tyler School of Fine Arts and Temple University in Phila delphia\, \; where she studied printmaking &\; egg tempera pinting i n the Renaissance method. After graduation\, she moved to New York and stud ied at the National Academy of Design and received a Masters Degree at C.W. Post College\, where she studied painting and graphics with New York abstr act painter Robert Yasuda and later\, Oriental philosophy and its relations hip to painting with Jerry Okimoto. Her art will again be included in the p restigious Florence Biennial. The influence of Asian art and thought has al ways been an influence in her work.

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Gallery hours Tu esday - Saturday 12-6 PM

DTEND:20150516 DTSTAMP:20150421T142442 DTSTART:20150428 GEO:40.7517031;-74.0040108 LOCATION:Viridian Artists\,548 West 28th St (6th Floor) \nNew York City\, N Y 10001 SEQUENCE:0 SUMMARY:BERNICE FAEGENBURG: "NATURE'S ESSENCE"\, Bernice Faegenburg UID:381219 END:VEVENT BEGIN:VEVENT DTEND:20150507T200000 DTSTAMP:20150421T142442 DTSTART:20150507T180000 GEO:40.7517031;-74.0040108 LOCATION:Viridian Artists\,548 West 28th St (6th Floor) \nNew York City\, N Y 10001 SEQUENCE:0 SUMMARY:BERNICE FAEGENBURG: "NATURE'S ESSENCE"\, Bernice Faegenburg UID:381220 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Saturday\, April 25th\, 4pm: \;A public introduction to Beta-Local with guest collaborators Maria del Carmen Carrió\;n\, Eliz abeth Hamby\, Felipe Mujica\, Hatuey Ramos Fermí\;n\, \;Jeanine O leson\, \;Andy Robert\, and Johanna Unzueta. \;
Please note direct ions to ISCP during April 25th L train shutdown

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Spring Ope n Studios is a free three-day event when the public is invited to view inte rnational contemporary art at the International Studio &\; Curatorial Pr ogram (ISCP) in Brooklyn. Twenty-eight innovative artists are currently in residence\, including individuals from 17 countries in Asia\, Europe\, and North and South America\, who will present work in their studios. The studi o is a generative space&mdash\;equal parts production site\, office\, labor atory and situation&mdash\;and it can be argued that the studio is more sig nificant today for artistic process than ever before. Open Studios provides access for the public to experience 28 &ldquo\;studio visits\,&rdquo\; to see and talk about art in its place of origin and to share conversations wi th ISCP residents from all over the world. \;

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In addition\, Bet a-Local\, a non-profit arts organization based in San Juan\, Puerto Rico\, will be in residence at ISCP from April through June\, and will take part i n Open Studios. Dedicated to supporting and promoting aesthetic thought and practice\, Beta-Local has developed a project for ISCP titled TODO TIP O DE FUEGO (All Kinds of Fire)\, which the organization descr ibes as a &ldquo\;playlist of documents\, images\, music\, publications and public presentations.&rdquo\; ISCP's gallery will be organized with severa l stations\, each taking a different format according to a particular theme \, and involving ISCP residents as well as New York City cultural practitio ners.

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During the April 23rd reception\, at 7pm\, ISCP is pleased to announce that Brooklyn City Council Member Antonio Reynoso will make remar ks. Council Member Reynoso has been a steady advocate for and supporter of ISCP&rsquo\;s public programming since its move to East Williamsburg.

Participating artists in Open Studios: \;

\n< p>Rikke Benborg (Denmark) Sung-Chih Chen (Taiwan) Sun Choi (South Korea) Si lvia Giambrone (Italy) Ishu Han (China/Japan) Hannah Heilmann (Denmark) Mar k Hilton (Australia) Isa Ho (Taiwan) Siggi Hofer (Austria) Martin Hö\;f er (Germany) Saskia Janssen (The Netherlands) Wanda Koop (Canada) Anjana Ko thamachu (India) Aleksi Linnamaa (Finland) Zachari Logan (Canada) Zeinab Sh ahidi Marnani (Iran) Kristina Matousch (Sweden) Elizabeth McIntosh (Canada) Alasdair Mcluckie (Australia) Ingo Mittelstaedt (Germany) Annesofie Sandal (Denmark) Jacolby Satterwhite (USA) Selma Selman (Bosnia and Herzegovina) Theodore Sims (Canada) Anne Sommer (Germany) Pilvi Takala (Finland) Tori Wr å\;nes (Norway) Pleurad Xhafa (Albania)

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TODO TIPO DE FUEGO \;playlists are selected by:

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Melissa &Aa cute\;lvarez Xiloj\, \;Javier Arbona\, Karenin Biaggi\, Leticia Beatriz  \;(Emilia Beatriz Muller-Ginorio &\; Julia Letitia Scott)\, Stephan Benchoam\, Raimond Chaves &\; Gilda Mantilla\, Ramiro Chá\;vez\, Celine Condorelli\, Mike Cooter\, Jorge Gonzá\;lez\, \;Anahita He kmat\, \;Juan Luna Avin\, \;Francis McKee\, Laura Mergoni\, \;A na Maria Millá\;n\, Sofia Olascoaga\, \;Omar Obdulio Peñ\;a Forty\, \;Marina Reyes Franco / Museo La Ene\, \;Beatriz Santiago Muñ\;oz\, \;Maria Scharró\;n\, and Carla Zaccagnini\, among many others.

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ISCP Open Studios Sponsors:

Alfred Kordelin Foundation\, Finland
Art Jameel\, United Arab Emirates
Arts Council Korea\, Korea
Asian Cultural Council\, United States
Australia Council for the Arts\, Australia
Bundesk anzleramt Ö\;sterreich\, Austria
Canadian Council for the Arts/
Le Conseil des Arts du Canada\, Canada
Creative Saskatchewan\, Cana da
Danish Agency for Culture\, Denmark
Dr. David &\; Margery E dwards Trust\, Australia
Edge of Arabia\, United Kingdom
Finnish Academy of Fine Arts\, Finland
Fondazione Spazio13\, Italy
Founda tion for a Civil Society\, United States
Ian Potter Foundation\, Austr alia
IASPIS-International Artists Studio Program in Sweden\, Sweden
Inlaks Shivdasani Foundation\, India
Kulturstiftung des Freistaates Sachsen\, Germany
Kunststiftung des Landes Sachsen-Anhalt\, GermanyLuigi Troja\, Italy
MacKenzie Art Gallery\, Canada
Manitoba A rts Council\, Canada
McKay Finnigan and Associates\, Canada
Minis try of Culture\, Taiwan
Mondriaan Fonds\, The Netherlands
Nieders ä\;chsisches Ministerium fü\;r Wissenschaft und Kultur\, Germany
Norbert Salenbauch\, Germany
Office for Contemporary Art\, NorwayRoyal Bank of Canada\, Canada
Saastamoinen Foundation\, Finland
Toby Devan Lewis Foundation\, United \;States

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ISCP t hanks the following contributors for their support of \;this Open Studi os event:

Austrian Cultural Forum\, New York
Consu late General of Denmark\, \;New York
Consulate General of Finland\ , \;New York
Consulate General of Sweden\, \;New York
The Greenwich Collection\, \;New York
MillerCoors\, Chicago
New York City Council District 34\, \;New York
New York State Council on the Arts\, \;New York
New York City Department of Cultural Affa irs\, \;New York
Royal Norwegian Consulate General\, \;New Yor k

DTEND:20150425 DTSTAMP:20150421T142442 DTSTART:20150423 GEO:40.7144315;-73.9349805 LOCATION:International Studio & Curatorial Program (ISCP)\,1040 Metropolita n Avenue \nBrooklyn\, NY 11211 SEQUENCE:0 SUMMARY:ISCP Spring Open Studios\, Rikke Benborg (Denmark) Sung-Chih Chen ( Taiwan) Sun Choi (South Korea) Silvia Giambrone (Italy) Ishu Han (China/Jap an) Hannah Heilmann (Denmark) Mark Hilton (Australia) Isa Ho (Taiwan) Siggi Hofer (Austria) Martin Höfer (Germany) Saskia Janssen (The Nethe UID:381189 END:VEVENT BEGIN:VEVENT DTEND:20150423T210000 DTSTAMP:20150421T142442 DTSTART:20150423T180000 GEO:40.7144315;-73.9349805 LOCATION:International Studio & Curatorial Program (ISCP)\,1040 Metropolita n Avenue \nBrooklyn\, NY 11211 SEQUENCE:0 SUMMARY:ISCP Spring Open Studios\, Rikke Benborg (Denmark) Sung-Chih Chen ( Taiwan) Sun Choi (South Korea) Silvia Giambrone (Italy) Ishu Han (China/Jap an) Hannah Heilmann (Denmark) Mark Hilton (Australia) Isa Ho (Taiwan) Siggi Hofer (Austria) Martin Höfer (Germany) Saskia Janssen (The Nethe UID:381190 END:VEVENT BEGIN:VEVENT DESCRIPTION:

ARTEXPO

\n< p style="text-align: center\;">Pier 94\, New York City

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April 23 - 26\, 2015 \;

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DTEND:20150426 DTSTAMP:20150421T142442 DTSTART:20150423 GEO:40.7682095;-73.9965054 LOCATION:Artexpo New York\,Pier 94 711 12th Ave\nNew York\, NY 10019 SEQUENCE:0 SUMMARY:ARTEXPO New York City\, Manuella Muerner Marioni\, Haruo Obana\, Kh o Sante\, Eleanor Sackett UID:381110 END:VEVENT BEGIN:VEVENT DTEND:20150423T190000 DTSTAMP:20150421T142442 DTSTART:20150423T120000 GEO:40.7682095;-73.9965054 LOCATION:Artexpo New York\,Pier 94 711 12th Ave\nNew York\, NY 10019 SEQUENCE:0 SUMMARY:ARTEXPO New York City\, Manuella Muerner Marioni\, Haruo Obana\, El eanor Sackett\, Kho Sante UID:381111 END:VEVENT BEGIN:VEVENT DESCRIPTION:

DTEND:20150523 DTSTAMP:20150421T142442 DTSTART:20150428 GEO:40.74612;-74.006804 LOCATION:Zieher Smith & Horton\,516 West 20th Street \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Yellow Tail Never Kick Rocks.\, Paul Anthony Smith UID:381105 END:VEVENT BEGIN:VEVENT DTEND:20150430T200000 DTSTAMP:20150421T142442 DTSTART:20150430T180000 GEO:40.74612;-74.006804 LOCATION:Zieher Smith & Horton\,516 West 20th Street \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Yellow Tail Never Kick Rocks.\, Paul Anthony Smith UID:381106 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Joe Shef­\;tel Gallery is p leased to present Lit End\, Lee Maida&rsquo\;s first solo exhi­ \;bi­\;tion with the gallery. An open­\;ing recep­\;tion will be h eld on Sun­\;day\, April 19\, from 6-8pm. The exhi­\;bi­\;tion wil l be on view through May 24\, 2015.

Lit End is com&sh y\;prised of a series of paint­\;ings\, both two and three dimen­\;si onal\, pro­\;duced by a vari­\;ety of processes and only spo­\;rad ­\;i­\;cally employ­\;ing brush or paint. Each object is con­\; structed in an ambiva­\;lent rela­\;tion­\;ship with both grid and lump\, as Maida repeat­\;edly con­\;structs the face.

T he face is a crit­\;i­\;cal zone for Maida as the loca­\;tion con& shy\;not­\;ing sen­\;sual\, spir­\;i­\;tual and cere­\;bral engage­\;ment and emo­\;tive expres­\;sion. In Notes on Though t and Vision\, the imag­\;ist writer H.D. pro­\;poses her con&sh y\;cept of an extra-cranial brain that is the cre­\;ative cen­\;ter s yn­\;the­\;siz­\;ing mind and body. She imag­\;ined this as &ld quo\;a jel­\;ly­\;fish placed over and about the brain\,&rdquo\; whos e ten­\;ta­\;cles extend down­\;ward to con­\;nect to the body in a sim­\;i­\;lar fash­\;ion to the spinal chord and ner­\;vou s sys­\;tem. This syn­\;thetic expres­\;sion is the sub­\;ject of Maida&rsquo\;s work in the sense that it is what is stud­\;ied and re n­\;dered rather than sim­\;ply per­\;formed.

Maida&r squo\;s art his­\;tor­\;i­\;cal inves­\;ti­\;ga­\;tions c en­\;ter around this time­\;less mind/body ideal. In a free-associati ve man­\;ner\, she can­\;ni­\;bal­\;izes a ran­\;dom selec&s hy\;tion of forms\, sym­\;bols and strate­\;gies as a way of work­ \;ing through power\, libido and identity-formation. Obser­\;va­\;tio n is key as the tis­\;sue between the ambigu­\;ous soup of sub­\;j ec­\;tive cre­\;ation and the receipt of the com­\;mu­\;ni­\ ;ca­\;tion ren­\;der­\;ing lan­\;guage both an obsta­\;cle a nd a tool.

&ldquo\;They were con­\;stantly argu­\;ing ab out art and each of them\, at first\, had his own ideas and his own style. Jawlen­\;sky was far less intel­\;lec­\;tual than Kandin­\;sky or Klee and was often frankly puz­\;zled by their the­\;o­\;ries. My 1908 por­\;trait enti­\;tled &lsquo\;Zuhö\;ren&rsquo\; (Lis&sh y\;ten­\;ing\, fh) actu­\;ally rep­\;re­\;sents Jawlen­\;sky \, with an expres­\;sion of puz­\;zled aston­\;ish­\;ment on hi s chubby face\, lis­\;ten­\;ing to Kandinsky&rsquo\;s new the­\;o& shy\;ries of art.&rdquo\; &mdash\; Gabriele Mü\;n­\;ter 1< /sup>

Lee Maida (b. 1983) received her BFA from Cal­\;i­ \;for­\;nia Col­\;lege of the Arts and her MFA from Bard Col­\;leg e Mil­\;ton Avery Grad­\;u­\;ate School of Arts (2013) where she w as the recip­\;i­\;ent of the Judith L. Cohen and Lawrence R. Klein F el­\;low­\;ship for Sculp­\;ture. She has exhib­\;ited her work at Kate Werble\, Derek Eller\, Andrew Kreps\, Andrew Edlin\, Tax­\;ter &\; Spenge­\;man and Ed. Varie in New York and ACP\, Parker Jones and Com­\;mon­\;wealth &\; Coun­\;cil Los Ange­\;les. Maida rec ently com­\;pleted res­\;i­\;den­\;cies at the Abrons Art in Ne w York and the Mac­\;Dow­\;ell Colony in New Hamp­\;shire.
< br /> For press inquiries and images\, please con­\;tact the gallery at mail@joesheftelgallery.com.

1. [&ldquo\;Roditi\, Edouard. Dia­\;logues: Con­\;ver­\;sa­\;tions with Euro­\;pean Artist s at Mid-Century (Lon­\;don\, United King­\;dom: Lund Humphries\ , 1990)\, 117.]

DTEND:20150524 DTSTAMP:20150421T142442 DTSTART:20150419 GEO:40.7154876;-73.9915222 LOCATION:Joe Sheftel Gallery\,24A Orchard \nNY\, NY 10002 SEQUENCE:0 SUMMARY:Lit End\, Lee Maida UID:381084 END:VEVENT BEGIN:VEVENT DTEND:20150419T200000 DTSTAMP:20150421T142442 DTSTART:20150419T180000 GEO:40.7154876;-73.9915222 LOCATION:Joe Sheftel Gallery\,24A Orchard \nNY\, NY 10002 SEQUENCE:0 SUMMARY:Lit End\, Lee Maida UID:381085 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150628 DTSTAMP:20150421T142442 DTSTART:20150515 GEO:40.7481943;-74.0049721 LOCATION:Tracy Williams\, Ltd.\,521 West 23 Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Sobriquets\, Richard Dupont UID:381048 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Mira Burack \;is an artist living in th e mountains of New Mexico. \;She received her \;Master of Fine Arts from Cranbrook Academy of Art and Bachelor of Arts in Studio Art and Psych ology from Pepperdine University. Burack was born in Boston\, Massachusetts and grew up on the coast of Maine. Her work has been exhibited nationally and internationally at the School of the Art Institute of Chicago\, Muskego n Museum of Art\, Cranbrook Art Museum\, Media Knox Gallery in Slovenia\, A rt Gallery of Windsor in Canada\, and Kunstverein Wolfsburg in Germany. She has lectured\, taught workshops\, and served as faculty at the College for Creative Studies. She received a Community + Public Arts: DETROIT grant fo r The Edible Hut\, a community space with a living edible roof. Recently re located to rural New Mexico after living in Detroit for 10 years\, Burack s pends her time learning from this new landscape\, making\, and enjoying her family.  \;

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Artis t Statement
My work investigates everyday matter\, seeking ou t an embedded material language that exists between our bodies\, our posses sions\, and our environment. In creating spaces\, making intricate photo co llages\, soft sculptures\, and installations\, I draw connections between t he material and the immaterial\, the visceral and the technological\, two d imensions and three dimensions\, and ultimately\, the conscious and unconsc ious. \;

While making\, I explore the physical qualities and historical properties of the materials. The human history of textiles and the illusionary nature of painting influence my way of working. Methods of documenting\, multiplying\, extracting\, cutting\, connecting\, layering\, and arranging are used to resuscitate the material\, bringing us closer to it again with new perspective.

I am engaged by the living sculpt ures in our daily lives&mdash\;plants\, animals\, people\, and the interior and exterior spaces around us. I am interested in how they teach us\, acti vate our senses\, and provide us with intimacy\, comfort\, rest\, and pleas ure. \;

DTEND:20150605 DTSTAMP:20150421T142442 DTSTART:20150502 GEO:40.7536854;-73.9991637 LOCATION:CUE Art Foundation\,137 West 25th Street Ground Floor\nNew York\, NY 10001 SEQUENCE:0 SUMMARY:from the bed to the mountain\, Mira Burack UID:381031 END:VEVENT BEGIN:VEVENT DTEND:20150502T190000 DTSTAMP:20150421T142442 DTSTART:20150502T170000 GEO:40.7536854;-73.9991637 LOCATION:CUE Art Foundation\,137 West 25th Street Ground Floor\nNew York\, NY 10001 SEQUENCE:0 SUMMARY:from the bed to the mountain\, Mira Burack UID:381032 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Flowers Gallery is pleased to announce Mortality Games\, the first solo exhibition to be held in New York by renowned Canadian artist John Scott. The exhibition draws together works from 2008 to the pr esent day\, featuring energetic\, raw-edged drawings and works on paper.

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Throughout his career\, Scott has used recurring figurative motifs to explore the broad themes of power\, politics\, conflict and mortality\, wh ich are continually enlivened by his contemporary subject matter.

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O ne of Scott&rsquo\;s persistent emblems\, the human figure with bunny ears\ , embodies a personal symbolism of vulnerability and anxiety. Identifying w ith their powerlessness\, Scott burdens the characters with the plight of t he &lsquo\;everyman&rsquo\;\, the worker he sees as eternally suffering at the hands of politicians and captains of industry. His centralized\, iconic &lsquo\;commanders&rsquo\; are warlike Napoleonic figures\, rendered as fe atureless silhouettes except for glowing red eyes. Alpha Male inco rporates text scrawled on the surface\; phrases such as &lsquo\;Event Horiz on&rsquo\; and &lsquo\;Black Sol&rsquo\; suggest that his presence transcen ds the confines of history\, existing ominously across the past\, present a nd future.

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His allegorical subjects have become increasingly self-r eferential in recent times. In his latest series of works from 2015\, the a rtist considers his own inevitable aging process\, introducing new symbols of flowers and a mummified form to reference corporeality\, decay\, restric tion and attempts at eternity.

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Scott&rsquo\;s drawings can be seen as acts of resistance and survival against the dystopian backdrop of a post -industrial world. Growing up across the water from Detroit during the 1960 &rsquo\;s in Windsor\, Ontario\, Scott witnessed the unemployment\, poverty and violence of an industrial city in decline\, alongside the pollution an d other dangers facing its blue-collar workers. Placing visual and material symbols of the automotive industry alongside images of war and apocalypse\ , (such as a painted car hood\, which resembles an iconic fighter jet in St ealth Mountain)\, Scott references the terrifying effects of the advancemen ts of industrial technology on contemporary warfare.

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&ldquo\;His pi eces are at once apocalyptic and hopeful\; they evoke both fear of annihila tion and the shrewd instinct to survive\; they embody the conflicted state of anxiety that characterizes our being.&rdquo\; &ndash\; David Liss\, Even t Horizon exhibition catalogue\, 2008.

DTEND:20150613 DTSTAMP:20150421T142442 DTSTART:20150516 GEO:40.7464825;-74.0069332 LOCATION:Flowers Gallery NY\,529 West 20th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Mortality Games\, John Scott UID:381029 END:VEVENT BEGIN:VEVENT DTEND:20150516T200000 DTSTAMP:20150421T142442 DTSTART:20150516T180000 GEO:40.7464825;-74.0069332 LOCATION:Flowers Gallery NY\,529 West 20th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Mortality Games\, John Scott UID:381030 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150613 DTSTAMP:20150421T142442 DTSTART:20150501 GEO:40.7472381;-74.0051301 LOCATION:DC Moore Gallery\,535 West 22nd Street\, 2nd Floor \nNew York\, NY 10019 SEQUENCE:0 SUMMARY:Selected Paintings\, Milton Avery UID:381027 END:VEVENT BEGIN:VEVENT DTEND:20150501T200000 DTSTAMP:20150421T142442 DTSTART:20150501T180000 GEO:40.7472381;-74.0051301 LOCATION:DC Moore Gallery\,535 West 22nd Street\, 2nd Floor \nNew York\, NY 10019 SEQUENCE:0 SUMMARY:Selected Paintings\, Milton Avery UID:381028 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Charles Burchfield \;(1893-1967) had an intensely personal\, spiritualized view of t he world. As highlighted by the exceptional group of watercolors and drawin gs in this exhibition\, he was a keen observer of his surroundings\, depict ing scenes with which he was familiar\, often imbuing them with a visionary sensibility that was deeply felt. \;

Among his earliest wor ks are modernist views of his hometown of Salem\, Ohio\, and the surroundin g countryside. After graduating from the Cleveland School of Art in 1916\, he created many imaginative landscapes and developed a personal visual lang uage of fantasy.

In \;Chestnut Trees \;of 1916\ , he transformed the natural world into an expressive pattern of abstracted \, stylized forms in heightened color. Curling shapes cover the ground at t he base of two large tree trunks\, while intertwining lines enliven their b ark. Buried deep in the center of the composition is a circular form that a ppears to be vibrating or emitting energy\, linking the painting to what Bu rchfield once called his &ldquo\;rhapsodic fantasies&rdquo\; of the period.  \;

Burchfield was also drawn to the urban landscape. In the 1920s and 30s\, he often painted the austere imagery of industrial develop ment and railroad yards\, as well as the local architecture of towns and vi llages\, including many views of his home in Gardenville\, near Buffalo\, N ew York. While he was striving for increased realism\, he was not after lit eral depictions of the world around him. He was instead working towards a c larity of structure and design that was almost classical in form\, while al so poetic in feeling. In 1940\, he wrote that he preferred to be known as a &ldquo\;romantic-realist\,&rdquo\; adding that\, &ldquo\;It is the romanti c side of the real world that I portray. My things are poems&mdash\;(I hope ).&rdquo\; \;

In the early 1940s\, Burchfield returned to a bolder\, more expressive approach. Much of his later work reveals two compl ementary sides of his artistic personality&mdash\;from exuberant views of s unlit fields and atmospheric skies to more introspective meditations on the profound depths of nature. By the last five years of his life\, his painti ngs were increasingly dreamlike.

In \;Moonlight in a Flo wer Garden \;of 1961\, he envisioned a nocturnal world animated by the effects of a full moon. A multicolored\, haloed moon illuminates a pal e sky\, below two large\, colorful moths that hang on a band of green and y ellow plant forms. The energized flower garden in the bottom half of the pa inting is mysteriously attuned to the moonlight\, with vibrating bushes and trees\, and flowers with markings that resemble human faces\, giving them an almost anthropomorphic quality. \;

In both his life and a rt\, Burchfield saw the universal in the particular\, and nothing was too s mall or insignificant to capture his attention. He felt strongly that his i dentity as an artist was bound up with his relation to nature. &ldquo\;I fe el impelled to embrace the earth\,&rdquo\; he wrote in his journals. On ano ther day spent in the fields and woods\, he found that\, &ldquo\;My spirit was in complete harmony with the world of nature and absorbed every sight a nd sound with a completeness that has not been my lot for many a month.&rdq uo\;

DC Moore Gallery is the exclusive representative of The Cha rles E. Burchfield Foundation.

DTEND:20150613 DTSTAMP:20150421T142442 DTSTART:20150501 GEO:40.7472381;-74.0051301 LOCATION:DC Moore Gallery\,535 West 22nd Street\, 2nd Floor \nNew York\, NY 10019 SEQUENCE:0 SUMMARY:The Nature of Seeing\, Charles Burchfield UID:381025 END:VEVENT BEGIN:VEVENT DTEND:20150501T200000 DTSTAMP:20150421T142442 DTSTART:20150501T180000 GEO:40.7472381;-74.0051301 LOCATION:DC Moore Gallery\,535 West 22nd Street\, 2nd Floor \nNew York\, NY 10019 SEQUENCE:0 SUMMARY:The Nature of Seeing\, Charles Burchfield UID:381026 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Rosenberg &\; Co. is pleased to present its second exhibi tion\, Collages (May 4 &ndash\; July 2\, 2015). The group exhibition will o pen the first week of May to coincide with New York&rsquo\;s major Impressi onist and Modern art auctions.

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Opened in March 2015\, the gallery c ontinues the Rosenberg family&rsquo\;s distinguished tradition of exhibitin g balanced combinations of Modern and contemporary artworks by an internati onal roster of prominent artists. The medium of collage as a common theme e nables a rich\, cross-temporal dialogue spanning the twentieth and twenty-f irst centuries. Artworks included in this exhibition range from whimsical a nd jewel-toned to stark and analytical.

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Collages features works on paper by Morris Barazani\, Marcin Dudek\, Balcomb Greene\, Donald Hamilton Fraser\, Oleg Kudryashov\, Henri Laurens\, and Esteban Vicente\, amongst ot her artists. This exhibition provides a lens through which visitors may foc us on special examples selected from an expansive topic. The breadth of the exhibition &ndash\; chronologically and stylistically &ndash\; is illustra ted when comparing a work such as Greene&rsquo\;s #10 (1935)\, composed of densely layered papers on a small scale in a variety of textures\, shapes\, and palette of muted hues\, to Vicente&rsquo\;s Untitled (1980)\, the expa nsive picture plane dominated by emphatic vertical and horizontal linear fo rms in deep greens\, purples\, and reds.

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Rosenberg &\; Co. renew s a salon-style space with a focus on the highest standards of connoisseurs hip and expertise. With an emphasis on the secondary Modern art market\, Ro senberg &\; Co. also continues the legacy of working with contemporary a rtists.

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DTEND:20150702 DTSTAMP:20150421T142442 DTSTART:20150504 GEO:40.768329;-73.968485 LOCATION:Rosenberg & Co.\,19 East 66th Street \nNew York\, NY 10065 SEQUENCE:0 SUMMARY:Collages UID:381015 END:VEVENT BEGIN:VEVENT DTEND:20150507T200000 DTSTAMP:20150421T142442 DTSTART:20150507T180000 GEO:40.768329;-73.968485 LOCATION:Rosenberg & Co.\,19 East 66th Street \nNew York\, NY 10065 SEQUENCE:0 SUMMARY:Collages UID:381016 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Aida Mahmudova will hold her first solo USA exhibition at Le ila Heller Gallery. The exhibition will feature eight new paintings that bu ild on the themes of nostalgia and memory found in her past work and draw i nspiration from the landscape and architecture of Azerbaijan where she live s and works. \; In this series of paintings Mahmudova explores the idea of impermanence. The works provide glimpses of Azerbaijan&rsquo\;s natural surroundings\, urban environment and architecture\, a backdrop that is und ergoing constant and rapid change. A central component of Mahmudova&rsquo\; s work is her exploration of memory\, its links to identity\, and how they both can be continually altered and re-remembered over time.

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Aida h as exhibited widely internationally\, including Here Today at the Old Sorting Office in London\; Love Me\, Love Me Not at the 55th V enice Biennale\; Fly To Baku\, London\, Paris\, Berlin\, Moscow\, Rome\; and Merging Bridges at the Museum of Modern Art\, Baku\, Az erbaijan. She is also showing at the 56th Venice Biennale as part of the VI TA VITALE group exhibition curated by Artwise. She is also the founder and Creative Director of YARAT\, a non-for-profit arts organisation in Baku\, A zerbaijan dedicated to raising the platform of Azerbaijani art\, who have j ust opened their first permanent space in Baku. \;

DTEND:20150703 DTSTAMP:20150421T142442 DTSTART:20150528 GEO:40.764217;-73.9762 LOCATION:Leila Heller Gallery - 57th Street\,43 West 57th Street \n New Yor k\, NY 10019 SEQUENCE:0 SUMMARY:Passing By...\, Aida Mahmudova UID:381005 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150606 DTSTAMP:20150421T142442 DTSTART:20150430 GEO:40.7521176;-74.0027907 LOCATION:David Nolan Gallery\,527 West 29th Street \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Cut-Outs\, Offcuts and Holes\, Neil Gall UID:381002 END:VEVENT BEGIN:VEVENT DTEND:20150430T200000 DTSTAMP:20150421T142442 DTSTART:20150430T180000 GEO:40.7521176;-74.0027907 LOCATION:David Nolan Gallery\,527 West 29th Street \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Cut-Outs\, Offcuts and Holes\, Neil Gall UID:381003 END:VEVENT END:VCALENDAR