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

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In \;Not in Our Lifetimes\, aut hor Michael C. Dawson\, argues &ldquo\;that achieving the dreams of racial and economic equality will require the sort of coalition-building and reach ing across racial divides that have always marked successful political move ments&rdquo\;. Through works in various media presented by a diverse group of contemporary artists\, \;My Big Black America\, curated by Mikhaile Solomon\, chronicles both losses and triumphs of Black America bot h before and during Barack Obama presidency. The group collectively measure s the instances in our history of Black America against this critical point in history where we still experience marked examples of inequality and inj ustice\, which do not solely affect Black America but damages the structura l integrity of our entire nation.

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Wesley Clark&rsquo\;s work\, incl uding the eponymous work from which the exhibition is titled\, serve as met aphorical constructs that illustrates both Black America&rsquo\;s contribut ion to building our great nation as well as the endured injustice that has historically characterized the experience of many Americans.

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Artists:
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https://youtu.be/RT oBOf0tkZg

DTEND:20150903 DTSTAMP:20150903T153326 DTSTART:20150903 GEO:40.6863266;-73.9625705 LOCATION:Corridor Gallery\,334 Grand Avenue \nBrooklyn\, NY 11238 SEQUENCE:0 SUMMARY:My Big Black America\, T. Elliott Mansa\, S. Ross Browne\, Wesley C lark\, Amber Robles-Gordon UID:394909 END:VEVENT BEGIN:VEVENT DTEND:20150903T200000 DTSTAMP:20150903T153326 DTSTART:20150903T180000 GEO:40.6863266;-73.9625705 LOCATION:Corridor Gallery\,334 Grand Avenue \nBrooklyn\, NY 11238 SEQUENCE:0 SUMMARY:My Big Black America\, S. Ross Browne\, Wesley Clark\, T. Elliott M ansa\, Amber Robles-Gordon UID:394910 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Dona Nelson - New Paintings

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September 17 &ndash\; October 31< /p>\n

Opening reception: Thursday\, September 17\, 6 - 8:3 0 pm \; \;

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Thoma s Erben is very excited to present the gallery&rsquo\;s fourth solo exhibit ion of American painter Dona Nelson (b. 1947\, Grand Islan d\, Nebraska). New Paintings follows Nelson&rsquo\;s widely discus sed contribution to the 2014 Whitney Biennial as well as her concurrent\, c ritically acclaimed show Phigor\, which led to the acquisition of her work by the Museum of Fine Arts\, Boston\; Rose Museum\, Brandeis Unive rsity\; Museum of New South Wales\, Sydney\; and the Kadist Foundation. Whi le Phigor clarified the significance of the double-sidedness of Ne lsons paintings &ndash\; a material and conceptual interdependence between two surfaces &ndash\; this show further explores the basic approach behind the work.

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An essential tenet of Dona Nelson&rsquo\;s artistic process is labor\, in the most fundamental sense of that word. Her practice is built on the work of each pai nting\, with the artist&rsquo\;s hand clearly evident in the final result. Nothing is hidden\, as every step taken leaves its trace\, gestures accumul ating into a complex whole. Countering a current value system focused on fi nal product and assigned price\, Nelson&rsquo\;s paintings instead derive t heir charge from the time and effort invested in their creation. Their intr insic value lies in the process itself\, as each piece becomes a testament to its own coming into being. The labor of making the painting is the paint ing.

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Nelson begins each new p iece without any preconceived notion of a final result\, applying paint or acrylic-soaked cheesecloth onto the canvas and following where the outcome takes her &ndash\; staining\, pouring\, washing\, tearing off. Actions take n on one side may be obvious on the other\, or leave only subtle traces\, s ometimes overridden but never completely erased. Take Carnivally f or example\, where one side is a riot of wildly kaleidoscopic colors\, whil e the other emits a calm glow as if from within\, unifying the underlying a ctivity into a ripe orange\, a setting sun. The procedure is one of doing\, seeing\, reacting and doing again. Every subsequent action depends on prev ious ones\, resulting in a complex layering where an earlier decision may d ramatically affect later possibilities. This method requires a confidence g ained through a lifetime of experience\, of not knowing beforehand what wil l come next but trusting in the process &ndash\; or just as important\, the confidence to let go\, founded in a healthy lack of respect for the end re sult. \;

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Dona Nelson move d to New York City in 1967 to participate in the Whitney Independen t Study Program. She received her BFA from Ohio State Univ ersity in 1968. Over the years\, she has had numerous\, widely rev iewed solo shows\, at galleries such as Rosa Esman\, Michael Klein and Cheim &\; Read (all New Y ork)\; including a mid-career exhibition at the Weatherspoon Art Ga llery (Greensboro\, North Carolina). More recently\, she was inclu ded in survey shows at Harris Lieberman\, D&rsquo\ ;Amelio Terras\, Mary Boone\, Robert Mill er\, and Boston University Art Gallery. Her work has also appeared at institutions such as the Contemporary Arts Mus eum Houston\, New York University&rsquo\;s 80WSE\ , Bard College\, Apexart\, the Mi lwaukee Art Museum\, and the Aldrich Museum\, and is included in the collections of the Metropolitan Museum of Art\, the Guggenheim Museum\, and the Pennsylv ania Academy of Fine Arts &ndash\; among others. In 2013\, Nelson received the Artists&rsquo\; Legacy Foundation Award\, she was a 2011 Foundation for Contemporary Arts grant recipie nt\, and received a Guggenheim Fellowship in 1994. Her wor k will be included in Feed the Meter at Galerie Bernard Ce ysson\, Luxembourg.

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DTEND:20151031 DTSTAMP:20150903T153326 DTSTART:20150917 GEO:40.750267;-74.004393 LOCATION:Thomas Erben Gallery\,526 West 26th Street 4th Floor\nNew York\, N Y 10001 SEQUENCE:0 SUMMARY:Dona Nelson - New Paintings\, Dona Nelson UID:394892 END:VEVENT BEGIN:VEVENT DTEND:20150917T203000 DTSTAMP:20150903T153326 DTSTART:20150917T180000 GEO:40.750267;-74.004393 LOCATION:Thomas Erben Gallery\,526 West 26th Street 4th Floor\nNew York\, N Y 10001 SEQUENCE:0 SUMMARY:Dona Nelson - New Paintings\, Dona Nelson UID:394893 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Joe Sheftel Gallery is pleased to present Softening Boxes\, Matthew Watson&rsquo\;s second solo exhibition with the gallery. An opening reception will be held on Saturday\, September 12\ , from 6- 8pm. The exhibition will be on view through October 25\, 2015.

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 \;The house can be read as a sensorium. We furnis h our rooms with layers of soft material\; including curtains\, carpets\, p aintings\, bedding\, clothing\, and cushions. The softness of human skin is mirrored through the skins of the softening boxes we construct. \;

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Watson&rsquo\;s recent paintings mark a shift away from depicting the subjects of the painting directly. Represented in the exhibi tion are two artists\, a collector\, a dealer\, and a critic\, yet what is depicted in the paintings are their pets\, furnishings\, objects\, walls\, flooring\, books\, and child. The border between subject and object is soft ened\, a step removed from the humanistic pathos often wrapped up in portra iture.
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This is against the myth of Narcissus who gazed into his own mirror image as the primal form of self-relation. Our relation to the world is not rooted in the internal "I"\, but instead as the fluid space between subject and environment. Here\, the human being proceeds from the social to the individual and not the other way around. It is the socia l imago that situates our experience of being in the world\, where things a re not outside of us in some measurable external space. The child psycholog ist Donald Winnicott provides an antidote to the mirror-stage when he speak s of "transitional" objects\, which are the first things a child separates from external reality and appropriates into an ambivalent &ldquo\;zone of e xperience which is between the thumb and the teddy bear\, between oral erot icism and the real object relation.&rdquo\;

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Watson&rsquo\;s concern with the social and economic relationships that constitute each of his pai ntings extends to the accumulation of objects that are depicted in each ima ge. Due to the absence of the person with whom the exchange is being conduc ted\, the relations that bind objects\, places\, and people are brought to the fore. Louis Althusser would term this the &ldquo\;real abstract\,&rdquo \; which he defined as &ldquo\;real relations (as relations they are necess arily abstract) between &lsquo\;men&rsquo\; and their &lsquo\;things&rsquo\ ;\, or rather\, to give the term its stronger sense\, between &lsquo\;thing s&rsquo\; and their &lsquo\;men.' He aptly claimed that one could not depic t social relations in an image positively\, but it is possible to depict th e determinate absence that governs them\, as traces between objects and hum ans.
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For Watson\, the technical processes performed by an artist are necessitated by the produced object itself\, and not the othe r way around\, which is a refutation of the pure subjectivity of creation. The social and economic relations which accompany the object are sensible\, but only in the space between an object\, it's producer\, and it's beholde r. Watson inserts himself into this fluid chain of relations\, frequently w orking on commission or by invitation to start a painting\, in turn produci ng objects that relay back into the very flows that led to their constructi on.

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 \;Matthew Watson (b. 1981) lives and works in Brooklyn. He received his MFA from Columbia University and has presented two solo exhib itions at Joe Sheftel Gallery. Group exhibitions include shows at Metro Pic tures\, New York\, NY\, Oakland University Art Gallery\, Rochester\, MI and Shit and Die\, organized by Maurizio Cattelan in Turin\, Italy\, among others. This fall Watson&rsquo\;s work will be included in the Kyiv B iennale in Kyiv\, Ukraine.

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For press inquiries and images\, please contact the gallery at mail@joesheftelgallery.com.

DTEND:20151025 DTSTAMP:20150903T153326 DTSTART:20150912 GEO:40.7154876;-73.9915222 LOCATION:Joe Sheftel Gallery\,24A Orchard \nNY\, NY 10002 SEQUENCE:0 SUMMARY:Softening Boxes\, Matthew Watson UID:394735 END:VEVENT BEGIN:VEVENT DTEND:20150912T200000 DTSTAMP:20150903T153326 DTSTART:20150912T180000 GEO:40.7154876;-73.9915222 LOCATION:Joe Sheftel Gallery\,24A Orchard \nNY\, NY 10002 SEQUENCE:0 SUMMARY:Softening Boxes\, Matthew Watson UID:394736 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20151010 DTSTAMP:20150903T153326 DTSTART:20150910 GEO:40.74612;-74.006804 LOCATION:Zieher Smith & Horton\,516 West 20th Street \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Dennis Congdon - Congeries\, Dennis Congdon UID:394731 END:VEVENT BEGIN:VEVENT DTEND:20150910T200000 DTSTAMP:20150903T153326 DTSTART:20150910T180000 GEO:40.74612;-74.006804 LOCATION:Zieher Smith & Horton\,516 West 20th Street \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Dennis Congdon - Congeries\, Dennis Congdon UID:394732 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Casey Kaplan is pleased to present Matthew Brannon&rsquo\;s Skirting the Issue\, the artist&rsquo\;s 2nd solo exhibition at the gallery . Following a recent three-year &ldquo\;textploration\,&rdquo\; which inclu ded the composition of novels and text-based films and paintings\, Brannon introduces an anomalous\, primarily image-centered installation. Featuring twelve large-scale works on paper\, (and what else?)\, this exhibition focu ses on the pictorial and graphic systems that have been everpresent within the artist&rsquo\;s practice. In pursuit of a visual language tendered in a similarly suggestive manner to that of the written word through themes inf ormed by paradigms of 21st century cultural and social establishments\, Bra nnon undertakes traditional methods of printmaking\, including letterpress prints\, silkscreens\, and lush hand painting on paper.

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The underly ing story of the exhibition ventures into American history as Brannon explo res emotional registers within the context of the Vietnam/American War\, an d that of America&rsquo\;s suggested transition from anti-colonial to antic ommunist. In an attempt to better understand the period&rsquo\;s ambitions and anxieties\, Brannon storyboards and stages\, not as a historian\, acade mic or politician\, but obliquely (in the sense of Derrida) as an artist. P alpable references to universal yet explicit notions are made\; a suspended moment in time holds subliminal connotations that provoke larger queries i nto social ideals and our personal crises within these constraints.

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The imagery and objects rendered allude to the mass consumerism that rapid ly developed during the lead in to this moment (the &lsquo\;40s and &lsquo\ ;50s) in a resounding response to pop cultural idioms provided by televisio n\, film\, advertisements\, and literature. In much of the work there is a playful duality: a diploma rests opposite imagery of stereo equipment\; per fume is paired with a Western Union telegram\; and comfort food is viewed i n tandem with the U.S. capitol\, exposing a grand delusion. One of Brannon& rsquo\;s desires is to destabilize perception and allow for multiple interp retations within non-linear compositions of diverging pictorial and tempora l elements. Skirting the Issue carries this through\, releasing the experie nce by creating a forum where nothing is more suspicious than innocence.

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[ A R T I S T S T A T E M E N T ]

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Not too long ago I stood in a gallery looking at the work of one of my peers and had the thought &ndas h\; this is contemporary art. By that I mean that both the subject and the form of their work was very contemporary and very much about art. As a resp onse\, I had the liberating recognition that my own art\, long known to hav e the form of the last century\, also took as its subject the last century. Limitations are often productive.

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I&rsquo\;ve been quoted as havin g once said my art addresses how we are own worst enemies. I no longer ask that question. I know the answer. * I&rsquo\;d like now to concentrate on t he broader\, more complex question of how America is it&rsquo\;s own worst enemy.

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I was born in 1971\, 6 years into the Vietnam War\, just aft er the &rsquo\;68 Tet Offensive and before &lsquo\;73 Paris Accords. Richar d Nixon was President. I had entered a world battered from events that left the country&rsquo\;s identity in jeopardy and Luce&rsquo\;s concept of the &ldquo\;American Century&rdquo\; shattered. The context from which my gene ration was to respond was a response to those traumatic times. I didn&rsquo \;t realize it at the time but the 80s seemed very much an act of forgettin g. In psychoanalytic terms\, a trauma not dealt with always finds a way to return.

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I&rsquo\;ve long flirted with this Cold War context. But I& rsquo\;d like now to pursue a more concentrated research into the decision- making and events seen from the perspective of a new century. To be clear m y research is a personal one. I do this not as a historian\, or academic or politician but as an artist might begin to address a history.

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When I was young\, for a few years there was nothing more important than &ldquo \;Star Wars.&rdquo\; I saw it in the theatre with my family in 1977 in Alas ka after multiple attempts standing in lines to see sold out shows. I can&r squo\;t explain the excitement that film had for everyone in my 6 year-old age group. Interesting that it comes out essentially a year after the Saigo n airlift evacuation. A traumatic\, sad\, complicated\, messy\, unsatisfact ory end of a war that no one &ldquo\;won.&rdquo\; But in &ldquo\;Star Wars& rdquo\; everything was reversed: we are the good guys. We fight the guerill a warfare\, we are united with diverse nations. This isn&rsquo\;t post-colo nial fall out. The evil Empire has the nuclear bomb and they use it. We win in the end using ancient/spiritual tactics and then receive awards in a ma ssive star-studded ceremony. Everyone I knew loved this film and we bought the toys spawned from it like crack. And now\, again\, with the U.S. deeply entangled in a highly debatable situation on foreign lands that can&rsquo\ ;t be summed up or resolved simply - on the horizon the country braces for yet again\, forty years later&hellip\; &ldquo\;Star Wars.&rdquo\;

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- Matthew Brannon

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No\, because what is commonly assumed to be pa st history is actually as much a part of the living present as William Faul kner insisted. Furtive\, implacable and tricky\, it inspirits both the obse rver and the scene observed\, artifacts\, manners and atmosphere and it spe aks even when no one wills to listen. And so\, as I listen\, things once ob scure began falling into place. Odd things\, unexpected things&hellip\; Per haps it was also to remind me that war could\, with art\, be transformed in to something deeper and more meaningful than it&rsquo\;s surface violence&h ellip\; Ralph Ellison\, 1981

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* Short term solutions are easier and provide immediate stress relief\, unfortunately they have long-term consequences.

DTEND:20151024 DTSTAMP:20150903T153326 DTSTART:20150910 GEO:40.7461073;-73.9919957 LOCATION:Casey Kaplan Gallery\,121 W. 27th St. \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Matthew Brannon's "Skirting the Issue"\, Matthew Brannon UID:394641 END:VEVENT BEGIN:VEVENT DTEND:20150910T200000 DTSTAMP:20150903T153326 DTSTART:20150910T180000 GEO:40.7461073;-73.9919957 LOCATION:Casey Kaplan Gallery\,121 W. 27th St. \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Matthew Brannon's "Skirting the Issue"\, Matthew Brannon UID:394642 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Laurence Miller Gallery is p leased to present DOUBLEMIX\, an exciting collaboration between De nis Darzacq\, widely recognized for his dynamic pictutres of young adults c onfronting personal and cultural boundaries\, and Anna Lü\;neman\, reco gnized for her colorful abstractions on earthenware and canvas. Now these t wo artists have teamed up to create DOUBEMIX\, unique works that i ntegrate photography and ceramics with unpredictable and surreal results.

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Their collaboration balances the fugitive nature of instantaneous photography with the timeless quality of earthenware. A sprinting dog chases not a Frisbee\, but a ceramic bowl h overing in the air - an ironic drama as the dog might bite off more than he can possibly chew. A beautiful and sensuous marble statue of a female nude seen from behind is befriended by two butterfly-like ceramic wings that ge ntly caress the polished torso: a dialogue between stone and earth.< /p>\n

In addition to the collaborative wo rks\, this exhibition will also include earlier individual works by each ar tist - photographs by Darzacq\, and drawings\, paintings\, and stoneware by Lü\;neman.

DTEND:20151031 DTSTAMP:20150903T153326 DTSTART:20150910 GEO:40.763293;-73.975497 LOCATION:Laurence Miller Gallery\,20 West 57th Street 3rd Floor\nNew York\, New York 10019 SEQUENCE:0 SUMMARY:DOUBLEMIX\, Denis Darzacq and Anna Luneman UID:394594 END:VEVENT BEGIN:VEVENT DTEND:20150910T200000 DTSTAMP:20150903T153326 DTSTART:20150910T180000 GEO:40.763293;-73.975497 LOCATION:Laurence Miller Gallery\,20 West 57th Street 3rd Floor\nNew York\, New York 10019 SEQUENCE:0 SUMMARY:DOUBLEMIX\, Denis Darzacq and Anna Luneman UID:394595 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Pete r Daverington

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&ldquo\;Iconophilia&rdquo\;
September 9\, 2015 &ndash\; October 11\, 2015

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Opening Reception: Wednesday\, September 9\, 7 to 9pm

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The Lodge Gallery is proud to present &ldquo\ ;Iconophilia\,&rdquo\; an exhibition of new paintings by Peter Dav erington on view September 9th through October 11th 2015.

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The hand of an artist can transport us back in time to discover where we came from\, or it can take us on journeys for ward through dreams to places we never thought possible. In his most recent body of work\, Peter Daverington seizes the big picture and presents us wi th the relics of an evolving world.

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Harvested from the iconography of great masters\, \;Icono philia \;is an adventure through the historical cannons of western art. From the invention of oil paint right up into the graffiti tags and t hrow ups of old school New York street artists\, Daverington plunders and a ppropriates from a vast archive of visual imagery. In the mix are the fadin g heroes of the late middle ages\, such as Cimabue and Giotto\, alongside r epeated vignettes from the work of renowned American landscape painter Albe rt Bierstadt. Among the depictions of high and northern renaissance figurat ion and Hudson river landscapes\, Daverington has woven his own iconography of checkerboards and floating geometries seamlessly into the balance. The result is a collection of riotous melodies that oscillate between artifact and artifice.

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As a public meditation on his own future\, the future of painting\, and the future of w estern civilization\,Iconophilia \;is also an investigation in to the cycles of degeneration and renewal. The strange decayed and distress ed cacophony of imagery\, abstraction\, and erasure in these paintings refl ects a world in collapse or one that has already collapsed\, perhaps severa l times over\, only to be restored and revitalized so that it may collapse again for future generations. Daverington&rsquo\;s poetic reverence for byg one ages and his faith in the future of painting combine here to offer a gl impse of hope amidst the chaos.

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As the artist explains\, &ldquo\;My recent proclivity for subjecting the canvases to brutal forms of abuse and destruction with a power sander a nd graffiti \;is perhaps a subconscious response to the disintegration\ , ruin\, and class warfare occurring within contemporary society. It&rsquo\ ;s worth pointing out that while these works literally depict the iconograp hy of art history as destroyed and defaced\, each painting has at least one area that has been lovingly restored.&rdquo\;

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Peter Daverington \;is a painter and musician from Melbourne\, Australia currently living and working in Bea con\, New York. He completed his MFA at the Victorian College of the Arts\, University of Melbourne and has held fourteen solo exhibitions since 2004. Peter has been commissioned to paint public murals in Argentina\, Australi a\, China\, Egypt\, Germany\, Guatemala and Turkey. He is the winner of a J ohn Coburn Emerging Artist Award\, Rupert Bunny Foundation Visual Arts Fell owship\, Australia Council for the Arts New Work Grants and a finalist in t he Archibald and Sulman prizes. His work is held in numerous public and pri vate collections. This is Daverington&rsquo\;s first solo exhibition in Man hattan.

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The Lodge Gallery\, founded by Keith Schweitzer and Jason Patrick Voeg ele\, is located at 131 Chrystie Street on Manhattan&rsquo\;s Lower East Si de. It is the exhibition venue of Republic Worldwide and serves as both an art space and a gathering place for hearty discourse and experimentation.\n

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DTEND:20151011 DTSTAMP:20150903T153326 DTSTART:20150909 GEO:40.719504;-73.99352 LOCATION:The Lodge Gallery\,131 Chrystie Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Iconophilia\, Peter DAVERINGTON UID:394472 END:VEVENT BEGIN:VEVENT DTEND:20150909T210000 DTSTAMP:20150903T153326 DTSTART:20150909T190000 GEO:40.719504;-73.99352 LOCATION:The Lodge Gallery\,131 Chrystie Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Iconophilia\, Peter DAVERINGTON UID:394473 END:VEVENT BEGIN:VEVENT DESCRIPTION:

On Stellar Rays in pleased to announce the release of \; INUTILE\, a limited edition artist's book by \;Liam \;Ever ett. On September 24\, On Stellar Rays will celebrate with a book reelease party.

The book features drawings by \;Everett that trace an d layer the forms of outdated hand tools\, found by the artist in a studio outside Toulouse\, France. Rust marks mix and stain the brittle sheets of a 60 year-old watercolor block found amongst the tools\, leaving indexical f ragments of now-obsolete utility\, pushed to the point of abstraction. Imag es are presented alongside texts by Bruno Tollon&mdash\;describing the hist ory and purpose of the tools&mdash\;and prose by Rabih Alameddine.

Co-published by On Stellar Rays\, Altman-Siegel Gallery\, San Francisco\ , and RITE Editions\, San Fransisco. 2015.

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Artist&rsquo\;s Book. Fu ll color\, clay pigment printed. Hard cover. Stitch bound. Limited edition of 45 and 5 APs. Signed\, dated and and numbered.

DTEND:20150924T203000 DTSTAMP:20150903T153326 DTSTART:20150924T190000 GEO:40.7214495;-73.9930937 LOCATION:On Stellar Rays\,1 Rivington Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Inutile Book Release Party\, Liam Everett UID:394395 END:VEVENT BEGIN:VEVENT DESCRIPTION:

On Stellar Rays is pleased to announce the opening of Julia Bland&rsquo\;s first solo exhibition with the gallery and in New York\, If You Want To Be Free.

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Bland&rsquo\;s large-scale works inco rporate painting and weaving\, exploring the structures and patterns that c ombine disparate elements into a whole. Ropes\, painted canvas\, and fabric s woven by the artist are stitched together\, forming boundaries that furth er bind the work &ndash\; warp to weft\, image to object. The surface is a visible record of Bland&rsquo\;s evolving and multi-faceted process.

\n< p>Bland utilizes abstraction to negotiate the space between geometry\, symb olism\, and representation. Shapes emerge &ndash\; an arrow\, a shelter\, a canyon\, a figure &ndash\; seemingly familiar\, universal\, and archaic.&n bsp\; While the compositions incorporate structures that imply pure or time less forms\, color and materiality evoke an embodied visual experience. Thi s contrast generates a transient exchange between subjectivity of personal memory and consciousness of the infinite or eternal. \;

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Julia B land (b. in Palo Alto\, 1986) received her MFA from Yale in 2012\, and her BFA from the Rhode Island School of Design in 2008. In 2008\, she received the Natasha and Jacques Gelman Travel Fellowship to study Islamic art and S ufism in Morocco. \; Recent group exhibitions include On Stellar Rays\, New York\; Vox Populi\, Philadelphia\; Asya Geisberg Gallery\, New York\; Anna Kustera Gallery\, New York. She is currently a resident in the Sharpe- Walentas Studio Program.

DTEND:20151025 DTSTAMP:20150903T153326 DTSTART:20150909 GEO:40.7214495;-73.9930937 LOCATION:On Stellar Rays\,1 Rivington Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:If You Want To Be Free\, Julia Bland UID:394392 END:VEVENT BEGIN:VEVENT DTEND:20150909T200000 DTSTAMP:20150903T153326 DTSTART:20150909T180000 GEO:40.7214495;-73.9930937 LOCATION:On Stellar Rays\,1 Rivington Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:If You Want To Be Free\, Julia Bland UID:394393 END:VEVENT BEGIN:VEVENT DESCRIPTION:
11R Eleven Rivington and Van Doren Waxter present 2-venue Jackie Saccoccio solo exhibition "Degree of Tilt". In "Degree of Tilt"\, Ja ckie Saccoccio asks us to consider her pieces as functional tools\, and the exhibition as a continuum of the studio. For this show\, Saccoccio has rea lized her improvisational &lsquo\;portraits&rsquo\; at an ambitious scale\, up to 152 inches in width. By manipulating the alchemical qualities of liq uid pools\, vis-a-vis tipping\, dragging and shaking the large-scale works over one another she fuses physical and intangible to form centripetal work s.
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Metaphorically\, Saccoccio&rsquo\;s piec es serve as conceptual containers of overlapping influences that are embedd ed in the layers. The ill-fated couples Narcissus and Echo\, and Cop 663 an d Faye from Wong Kar-Wai&rsquo\;s film Chungking Express converge with the palettes of Marilyn Minter\, Mondrian and Lisa Yuskavage. Referring to the ancient Roman drainage system\, Saccoccio conceives the totality of her pai ntings as a Cloaca Maxima: a repository where paint and ideas flow and pool .
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Saccoccio&rsquo\;s comparison with the Cl oaca Maxima resonates as an act of visual and intellectual excavation\, min ing through the artist&rsquo\;s painted layers\, through the last half-cent ury of art making\, and through the questions that animate the paintings in Degree of Tilt.
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Opening receptions: \;
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September 9\, 6pm-8pm\, in both locations
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Dates:
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September 9 - October 18 (Eleven Rivington)< /div>\n
September 9 - October 23 (Van Doren Waxter)
DTEND:20151018 DTSTAMP:20150903T153326 DTSTART:20150909 GEO:40.7221335;-73.9919451 LOCATION:Eleven Rivington (Chrystie Street)\,195 Chrystie Street \nNew York \, NY 10002 SEQUENCE:0 SUMMARY:Degree fo TIlt\, Jackie Saccoccio UID:394313 END:VEVENT BEGIN:VEVENT DTEND:20150909T200000 DTSTAMP:20150903T153326 DTSTART:20150909T180000 GEO:40.7221335;-73.9919451 LOCATION:Eleven Rivington (Chrystie Street)\,195 Chrystie Street \nNew York \, NY 10002 SEQUENCE:0 SUMMARY:Degree fo TIlt\, Jackie Saccoccio UID:394314 END:VEVENT BEGIN:VEVENT DESCRIPTION:
11R Eleven Rivington and Van Doren Waxter present 2-venue Jackie Saccoccio solo exhibition "Degree of Tilt". In "Degree of Tilt"\, Ja ckie Saccoccio asks us to consider her pieces as functional tools\, and the exhibition as a continuum of the studio. For this show\, Saccoccio has rea lized her improvisational &lsquo\;portraits&rsquo\; at an ambitious scale\, up to 152 inches in width. By manipulating the alchemical qualities of liq uid pools\, vis-a-vis tipping\, dragging and shaking the large-scale works over one another she fuses physical and intangible to form centripetal work s.
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 \;
\n
Metaphorically\, Saccoccio&rsquo\;s piec es serve as conceptual containers of overlapping influences that are embedd ed in the layers. The ill-fated couples Narcissus and Echo\, and Cop 663 an d Faye from Wong Kar-Wai&rsquo\;s film Chungking Express converge with the palettes of Marilyn Minter\, Mondrian and Lisa Yuskavage. Referring to the ancient Roman drainage system\, Saccoccio conceives the totality of her pai ntings as a Cloaca Maxima: a repository where paint and ideas flow and pool .
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Saccoccio&rsquo\;s comparison with the Cl oaca Maxima resonates as an act of visual and intellectual excavation\, min ing through the artist&rsquo\;s painted layers\, through the last half-cent ury of art making\, and through the questions that animate the paintings in Degree of Tilt.
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Opening receptions: \;
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September 9\, 6pm-8pm\, in both locations
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 \;< /div>\n
Dates:
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September 9 - October 18 (Eleven Rivington)< /div>\n
September 9 - October 23 (Van Doren Waxter)
DTEND:20151023 DTSTAMP:20150903T153326 DTSTART:20150909 GEO:40.7726783;-73.9652947 LOCATION:Van Doren Waxter Gallery\,23 East 73rd Street \n New York\, NY 10 021 SEQUENCE:0 SUMMARY:Degree of Tilt\, Jackie Saccoccio UID:394311 END:VEVENT BEGIN:VEVENT DTEND:20150909T200000 DTSTAMP:20150903T153326 DTSTART:20150909T180000 GEO:40.7726783;-73.9652947 LOCATION:Van Doren Waxter Gallery\,23 East 73rd Street \n New York\, NY 10 021 SEQUENCE:0 SUMMARY:Degree of Tilt\, Jackie Saccoccio UID:394312 END:VEVENT BEGIN:VEVENT DESCRIPTION:

11R Eleven Rivington and Van Doren Waxter to present 2-venue solo exhibition.

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 \;

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In \;Degree of Tilt\, Jac kie \;Saccoccio asks us to consider her pieces as functional tools \, and the exhibition as a continuum of the studio. For this show\, Saccocc io has realized her improvisational &lsquo\;portraits&rsquo\; at an ambitio us scale\, up to 152 inches in width. By manipulating the alchemical qualit ies of liquid pools\, \;vis-a-vis tipping\, dragging and shaking the la rge-scale works over one another she fuses physical and intangible to form centripetal works.

\n

Metaphorically\, Saccoccio&rsquo\;s pieces serve as conceptual containers of overlapping influences that are embedded in th e layers. The ill-fated couples Narcissus and Echo\, and Cop 663 and Faye f rom Wong Kar-Wai&rsquo\;s film \;Chungking Express \;conve rge with the palettes of Marilyn Minter\, Mondrian and Lisa Yuskavage. Refe rring to the ancient Roman drainage system\, Saccoccio conceives the totali ty of her paintings as a Cloaca Maxima: a repository where paint and ideas flow and pool.

\n

 \;

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Saccoccio&rsquo\;s comparison with t he Cloaca Maxima resonates as an act of visual and intellectual excavation\ , mining through the artist&rsquo\;s painted layers\, through the last half -century of art making\, and through the questions that animate the paintin gs in \;Degree of Tilt.

DTEND:20151023 DTSTAMP:20150903T153326 DTSTART:20150909 GEO:40.7726783;-73.9652947 LOCATION:Van Doren Waxter Gallery\,23 East 73rd Street \n New York\, NY 10 021 SEQUENCE:0 SUMMARY:Degree of Tilt\, Jackie Saccoccio UID:394300 END:VEVENT BEGIN:VEVENT DESCRIPTION:

11R Eleven Rivington and Van Doren Waxter to present 2-venue solo exhibition \;Degree of Tilt.

\n

In \;Degree of Tilt\, Jackie \;Saccoccio asks us to consider her pieces as fu nctional tools\, and the exhibition as a continuum of the studio. For this show\, Saccoccio has realized her improvisational &lsquo\;portraits&rsquo\; at an ambitious scale\, up to 152 inches in width. By manipulating the alc hemical qualities of liquid pools\, \;vis-a-vis tipping\, dragging and shaking the large-scale works over one another she fuses physical and intan gible to form centripetal works. Metaphorically\, Saccoccio&rsquo\;s pieces serve as conceptual containers of overlapping influences that are embedded in the layers. The ill-fated couples Narcissus and Echo\, and Cop 663 and Faye from Wong Kar-Wai&rsquo\;s film \;Chungking Express \ ;converge with the palettes of Marilyn Minter\, Mondrian and Lisa Yuskavage . Referring to the ancient Roman drainage system\, Saccoccio conceives the totality of her paintings as a Cloaca Maxima: a repository where paint and ideas flow and pool. Saccoccio&rsquo\;s comparison with the Cloaca Maxima r esonates as an act of visual and intellectual excavation\, mining through t he artist&rsquo\;s painted layers\, through the last half-century of art ma king\, and through the questions that animate the paintings in \;De gree of Tilt.

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September 9 &ndash\; October 18 | 11R Eleven Riv ington

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195 Chrystie Street\, NY\, NY 10002\, Tel: 212 982 1930

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 \;

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September 9 &ndash\; October 23 | Van Doren Waxter

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23 East 73rd \;Street\, NY\, NY 10021\, Tel: 212 445 044 4

DTEND:20151018 DTSTAMP:20150903T153326 DTSTART:20150909 GEO:40.7726783;-73.9652947 LOCATION:Van Doren Waxter Gallery\,23 East 73rd Street \n New York\, NY 10 021 SEQUENCE:0 SUMMARY:Degree of Tilt\, Jackie Saccoccio UID:394297 END:VEVENT BEGIN:VEVENT DESCRIPTION:

11R Eleven Rivington and Van Doren Waxter to present 2-venue solo exhibition \;Degree of Tilt.

\n

In \;Degree of Tilt\, Jackie \;Saccoccio asks us to consider her pieces as fu nctional tools\, and the exhibition as a continuum of the studio. For this show\, Saccoccio has realized her improvisational &lsquo\;portraits&rsquo\; at an ambitious scale\, up to 152 inches in width. By manipulating the alc hemical qualities of liquid pools\, \;vis-a-vis tipping\, dragging and shaking the large-scale works over one another she fuses physical and intan gible to form centripetal works. Metaphorically\, Saccoccio&rsquo\;s pieces serve as conceptual containers of overlapping influences that are embedded in the layers. The ill-fated couples Narcissus and Echo\, and Cop 663 and Faye from Wong Kar-Wai&rsquo\;s film \;Chungking Express \ ;converge with the palettes of Marilyn Minter\, Mondrian and Lisa Yuskavage . Referring to the ancient Roman drainage system\, Saccoccio conceives the totality of her paintings as a Cloaca Maxima: a repository where paint and ideas flow and pool. Saccoccio&rsquo\;s comparison with the Cloaca Maxima r esonates as an act of visual and intellectual excavation\, mining through t he artist&rsquo\;s painted layers\, through the last half-century of art ma king\, and through the questions that animate the paintings in \;De gree of Tilt.

\n

September 9 &ndash\; October 18 | 11R Eleven Riv ington

\n

195 Chrystie Street\, NY\, NY 10002\, Tel: 212 982 1930

\ n

 \;

\n

September 9 &ndash\; October 23 | Van Doren Waxter

\ n

23 East 73rd \;Street\, NY\, NY 10021\, Tel: 212 445 044 4

DTEND:20151018 DTSTAMP:20150903T153326 DTSTART:20150909 GEO:40.7221335;-73.9919451 LOCATION:Eleven Rivington (Chrystie Street)\,195 Chrystie Street \nNew York \, NY 10002 SEQUENCE:0 SUMMARY:Degree of Tilt\, Jacki Saccoccio UID:394296 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20151018 DTSTAMP:20150903T153326 DTSTART:20150916 GEO:40.7171322;-73.9910262 LOCATION:Y Gallery\,319 Grand St. 5th floor\nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Solo Exhibition\, Alejandra Prieto UID:394267 END:VEVENT BEGIN:VEVENT DTEND:20150919T210000 DTSTAMP:20150903T153326 DTSTART:20150919T180000 GEO:40.7171322;-73.9910262 LOCATION:Y Gallery\,319 Grand St. 5th floor\nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Solo Exhibition\, Alejandra Prieto UID:394268 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150913 DTSTAMP:20150903T153326 DTSTART:20150907 GEO:40.7171322;-73.9910262 LOCATION:Y Gallery\,319 Grand St. 5th floor\nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Solo Exhibition\, CHARLES SABBA UID:394265 END:VEVENT BEGIN:VEVENT DTEND:20150909T210000 DTSTAMP:20150903T153326 DTSTART:20150909T180000 GEO:40.7171322;-73.9910262 LOCATION:Y Gallery\,319 Grand St. 5th floor\nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Solo Exhibition\, CHARLES SABBA UID:394266 END:VEVENT END:VCALENDAR