BEGIN:VCALENDAR VERSION:2.0 PRODID:icalendar-ruby CALSCALE:GREGORIAN BEGIN:VEVENT DTSTAMP:20180119T233207Z UID:61707 DTSTART:20030411T000000 DTEND:20351231T000000 DESCRIPTION:

At the heart of The Jewish Museum is its permanent exhibitio n\, Culture and Continuity: The Jewish Journey\, representing one of the world's great opportunities to explore Jewish cultu re and history through art. This vibrant two-floor exhibition features 800 works from the Museum's remarkably diverse collection of art\, archaeology\ , ceremonial objects\, video\, photographs\, interactive media and televisi on excerpts. It examines the Jewish experience as it has evolved from antiq uity to the present\, over 4\,000 years\, and asks two vital questions: How has Judaism been able to thrive for thousands of years across the globe\, often in difficult and even tragic circumstances? What constitutes the esse nce of Jewish identity?

The exhibition traces the dynamic inter action among three catalysts that have shaped the Jewish experience: the co nstant questioning and reinterpretation of Jewish traditions\, the interact ion of Jews and Judaism with other cultures\, and the impact of historical events that have transformed Jewish life. Culture and Continuity: The Je wish Journey proposes that Jews have been able to sustain their identit y\, despite wide dispersion and sometimes tragic circumstances\, by evolvin g a culture that can adapt to life in many countries and under various cond itions. Survival as a people has depended upon both the continuity of Jewis h ideas and values and the flexibility to adapt to changing circumstances.< br />
We invite you to visit the Museum and see Culture and Continu ity: The Jewish Journey in person. Visitors to the Museum can enjoy ran dom access audio guide tours of the exhibition\, including a "Director's Hi ghlights" audio guide featuring Joan Rosenbaum\, Helen Goldsmith Menschel D irector of The Jewish Museum\, and a special audio guide for children and f amilies. Audio guides are free of charge with Museum admission and were mad e possible by Bloomberg.

Bring a copy of the e xhibit's web page on the Jewish Museum's Web site to The Jewish Museum Admissions Desk with your e-mail address and you will receive one 50% admis sions discount.

LOCATION:The Jewish Museum\,1109 Fifth Avenue (at 92nd Street) \nNew York\, NY 10128 SUMMARY:Culture and Continuity (Permanent Exhibition) END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233207Z UID:66390 DTSTART:20090817T000000 DTEND:20200817T000000 DESCRIPTION:

THE GALLERY IS AT  WWW.ARTBREAK.COM    WHERE YOU MAY SEARCH FOR

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WILLIAM RO-SEY       THERE YOU MAY CONTACT  WCD207@GM AIL.COM TO OFFER THE FAMILY A PRICE IRREGARDLESS OF PRICE MARKED

LOCATION:ARTBREAK\,3956 YONKERS \nNEW YORK\, NY 08574 SUMMARY:RO-SEY\, WM ROSE END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233208Z UID:66391 DTSTART:20090817T180000 DTEND:20090817T200000 LOCATION:ARTBREAK\,3956 YONKERS \nNEW YORK\, NY 08574 SUMMARY:RO-SEY\, WM ROSE END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233208Z UID:155306 DTSTART:20130919T000000 DTEND:20340106T000000 DESCRIPTION:

A new chapter of surrealism created by Borgese\, painter of modern conceptualism\, \;to captivate\, stimulate\, and motivate the se nses of the viewer for a life time\; is exhibited in this body of work at g allery \;Borgese. There are over 30 original fine art \;paintings a nd 20 drawings \;framed and hung for you to view\, purchase\, take home or have delivered.

LOCATION:PETER BORGESE MODERN ART GALLERY\,24 Cedar Road \nRingwood\, N.J. 07456 SUMMARY:PETER BORGESE MODERN ART GALLERY\, Peter Borgese END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233208Z UID:155307 DTSTART:20130919T100000 DTEND:20130919T200000 LOCATION:PETER BORGESE MODERN ART GALLERY\,24 Cedar Road \nRingwood\, N.J. 07456 SUMMARY:PETER BORGESE MODERN ART GALLERY\, Peter Borgese END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233208Z UID:174283 DTSTART:20110815T000000 DTEND:20201020T000000 DESCRIPTION:

The Housatonic Museum of Art is pleased to announce Pola ridad Complementaria: Recent Works from Cuba\, an exhibition that introduces North America to the new generation of influential artists from Cuba.  Polaridad Complementaria is on view in the Bu rt Chernow Galleries at the Housatonic Museum of Art from August 15 through October 20\, 2011

Develope d by the Centro de Arte Contemporaneo Wifredo Lam\, Havana\, Polaridad Complementaria offers audiences the opportunity to become acquainted w ith the island’s current and upcoming artistic talent. More than 40 works o f painting\, drawing\, sculpture\, photography\, video and installation art provide a sense of the serious aesthetic and conceptual concerns that char acterizes Cuban art today. The 24 artists presented here are mainly young a rtists who have attained international recognition. The majority of these a rtists have taken part in fairs and biennials abroad and all have exhibited in Europe\, Latin America and were featured in various editions of the Hav ana Biennial. Several have exhibited in the United States\, including René Peña\, Abel Barroso\, Aimeé García\, Yoan Capote\, Eduardo Ponjuán\, Lázaro Saavedra\, Sandra Ramos and Roberto Fabelo.
 
Often compared t o American photographer Robert Mapplethorpe\, artist René Peña explores the relationship between individuals within society and the struggle for their own identity. Abel Barroso carves three-dimensional pieces using wood and various printing methods to create a conversation about technology and the third-world. From Zulueta\, Cuba\, Duvier del Dago takes things one step fu rther\, combining drawing with handmade 3D design examining the unattainabl e\, whether it be the material or the ideal. From simplistic to intricately fabricated\, these artists create a narrative of Cuba today.
 
Diverse in both medium and themes\, the artists featured in Polaridad Complementaria understand the power of their art to address a wide ran ge of social issues. The exhibition highlights works that connect the local context with global concerns and universal human issues. After many years\ , Polaridad Complementaria opens a pathway for dialogue and cultur al exchange between Cuba and the United States\, two countries with histori c ties and common cultural processes\, despite troubled relations.
Margarita Sánchez Prieto is curator\, researcher and art critic at Centro de Arte Contemporaneo Wifredo Lam in Havana and recipi ent of the National Prize of Curatorship at the 2000 Havana Biennial. She h as curated various exhibitions and lectured extensively on Cuban and Latin American art throughout South America\, Europe and Canada. Her work has bee n published in various art magazines and she is the author of the anthology An Outlook of Latin American Art in the Decade of 1980
< br /> Director of the Wifredo Lam Contemporary Art Centre and curator and a rt critic of the Havana Biennial\, Jorge Fernandez Torres has curated over 15 major exhibitions in Cuba\, Spain\, Central\, and South America. He was a member of the Commission for Cuban Cultural Development of UNESCO in 1997 and on the Advisory Council for the Arts of the National Library of Cuba in 2000 and 2001 as well as Vice Rector of the Higher Insti tute of Arts in Havana for the past ten years. He is the Author of several texts in catalogues of Cuban art and as professor of contemporary art at th e Higher Institute of Arts (ISA)\, and has lectured all over the world.

Polaridad Complementaria: Recent Works from Cuba was de veloped by the Centro de Arte Contemporáneo Wifredo Lam\, Havana and is toured by International Arts &\; Artists\, Washington\, DC . 

LOCATION:Housatonic Museum of Art\,900 Lafayette Blvd. \nBridgeport \, Conn ecticut 06604 SUMMARY:Polaridad Complementaria: Recent Works from Cuba END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233208Z UID:184068 DTSTART:20111010T180000 DTEND:20111010T200000 LOCATION:Housatonic Museum of Art\,900 Lafayette Blvd. \nBridgeport \, Conn ecticut 06604 SUMMARY:Polaridad Complementaria: Recent Works from Cuba END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233208Z UID:276213 DTSTART:20130501T000000 DTEND:20230101T000000 DESCRIPTION:

Painting for the garden at The James Hotel\, 27 Grand Street \, NYC. Opening May 1\, 2013.

Ghost acreage is extraterritorial land annexed for production. Historically\, American land was used to produ ce cotton for space-constrained Europe\; today variations of this practice can be found everywhere in industrial production from food to electronics.< br />
The designs for the Urban Garden pillar at The James Hotel were generated by sampling from visual and historical markers on 6th Avenue imme diately adjacent to the pillar. Examples include the multicolored z-shaped crosswalk pavers\, the Avenue of the Americas lamppost medallions and the s tatue of Juan Pablo Durate who helped found the Dominican Republic and esta blish its independence from Hati.

During the colonial period\, r esidents of Lower Manhattan and Carribean countries shared the experience o f being subjects and revolutionaries. While mostly invisible today\, eviden ce of these histories can be found just outside the Urban Garden.

LOCATION:The James Hotel\,27 Grand Street \nNew York\, NY 10013 SUMMARY:Ghost Acre - painting for the pillar in the garden\, Molly Dilworth END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233208Z UID:276214 DTSTART:20130501T180000 DTEND:20130501T200000 LOCATION:The James Hotel\,27 Grand Street \nNew York\, NY 10013 SUMMARY:Ghost Acre - painting for the pillar in the garden\, Molly Dilworth END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233208Z UID:310997 DTSTART:20131109T000000 DTEND:20231109T000000 DESCRIPTION:

The Queens Museum will always be inextricably linked to the 1939 and 1964 World&rsquo\;s Fairs\, and with a collection of more than 10\ ,000 objects pertaining to the two expositions\, the Museum is a key resour ce to both scholars and fans. In an effort to provide visitors with a great er understanding of the scope of the Museum&rsquo\;s enormous holdings of 1 939 and 1964 World&rsquo\;s Fair artifacts and memorabilia\, the newly inst alled World&rsquo\;s Fair Visible Storage and Gallery on the second floor d isplays more than 900 three-dimensional pieces arranged by the date of each World&rsquo\;s Fair\, and within these categories\, arranged by donor. The dense installation provides an opportunity to study a large number of rela ted works of World&rsquo\;s Fair objects up close\, and to compare and cont rast a wide range of items from 1939 and 1964. The Visible Storage provides unprecedented access to students\, scholars\, and the general public to ex plore the collection that was formerly hidden in the Museum&rsquo\;s art va ult\, off-limits to the public. Many of these objects have never been displ ayed in the history of the Queens Museum.

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Visible Storage addresses the challenge of organizing a public exhibition space while fulfilling the traditional purpose of safely displaying and storing an important cross-se ction of the Museum&rsquo\;s collections in a climate-controlled and easily accessible environment. Light sensitive objects\, such as documents\, phot ographs and textiles\, remain stored in dedicated low-light facilities.

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These large glass cases now house more than 90% of the three-dimension al objects in the Museum&rsquo\;s World&rsquo\;s Fair collection. New acqui sitions and private collections that\, in most cases\, have been donated to the Museum\, will be added to the Visible Storage allowing visitors to gai n new insight into the history and evolution of the World&rsquo\;s Fairs th rough a visual understanding\, and a palpable sense of place by exploring t hese artifacts and memorabilia. Furthermore\, with all the objects donated by a particular collector displayed as a group\, the collections within the collection become evident.

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As milestone anniversaries of both the 1939 and 1964 World&rsquo\;s Fairs near\, Visible Storage pays homage to mo mentous events in the history of Flushing Meadows Corona Park and the Queen s Museum. These objects simultaneously evoke the past and a yearning for to morrow. Linking thematically with the beloved Panorama of the City of New Y ork and its slightly more modest relative\, the Relief Map of the New York City Water Supply System\, the Visible Storage completes the triumvirate at the heart of the NYC Building&rsquo\;s rich history as a World&rsquo\;s Fa ir pavilion. The World&rsquo\;s Fair collection is ever-growing\, those int erested in donating artifacts can email worldsfair@queensmuseum.org or call 718.592.9700 x122.

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Also on view within the World&rsquo\;s Fair Gal lery is ChronoLeap: The Great World&rsquo\;s Fair Adventure\, a vi rtual experience and game that transports visitors back in time to the 1964 World&rsquo\;s Fair. The World&rsquo\;s Fair offered a glimpse of the futu re\, with different pavilions featuring exhibitions showcasing the latest i nnovations in science and technology as an avenue for better lifestyles. ChronoLeap allows for a virtual experience of the Fair\, complete wi th pavilion tours and a conversation with Fair President Robert Moses. ChronoLeap is organized by Dr. Lori C. Walters\, a Research Assistant Professor with the Institute for Simulation and Training and Department of History at the University of Central Florida. Funded by both the National E ndowment for the Humanities and the National Science Foundation\, the proje ct explores the use of 3D virtual environments as an educational tool to ex pand the understanding of Science\, Technology\, Engineering and Mathematic s (STEM) education.

LOCATION:Queens Museum of Art\,Flushing Meadows Corona Park Meridian Rd.\nF lushing\, NY 11368 SUMMARY:World’s Fair Visible Storage END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233208Z UID:316886 DTSTART:20130929T000000 DTEND:20281201T000000 DESCRIPTION:

In a major collaboration with the Hall Art Foundation\, the keystone of which is a large and long-term exhibition of sculpture and pain tings by Anselm Kiefer\, MASS MoCA opens a 10\,000 square-foot building at MASS MoCA specially re-purposed by the Hall Art Foundation and devoted to t he art of Anselm Kiefer.

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The exhibition includes É\;troit s sont les Vaisseaux (Narrow are the Vessels) (2002)\, an 82-foot long \, undulating wave-like sculpture made of cast concrete\, exposed rebar\, a nd lead\; The Women of the Revolution (Les Femmes de la Revolution) (1992)\, comprised of more than twenty lead beds with photographs and wal l text\; Velimir Chlebnikov (2004)\, a steel pavilion containing 30 paintings dealing with nautical warfare and inspired by the quixotic the ories of the Russian mathematical experimentalist Velimir Chlebnikov\; and a new\, large-format commission created by the artist specifically for the installation at MASS MoCA.

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Anselm Kiefer\, who first visited MASS M oCA in 1990 when it was still in the early planning stages\, ranks among th e best-known and most important of post-World War II German artists living and working today. Born in 1945 in southern Germany during the final days o f the collapse of the Third Reich\, Kiefer experienced divided postwar Germ any firsthand. Across his body of work\, Kiefer argues with history\, addre ssing controversial and even taboo issues from recent history with bold dir ectness and lyricism. Kiefer often turns to literature and history as prime source material for his work\, as he did\, for example\, in the suite of p aintings that comprise Velimir Chlebnikov (2004).

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The arti st often builds his imagery on top of photographs\, layering his massive ca nvases with dirt\, lead\, straw\, and other materials that generate a &ldqu o\;ground&rdquo\; that reads literally of the earth itself. Within these th ick\, impastoed surfaces Kiefer embeds textual or symbolic references to hi storic figures or places: these become encoded signals through which Kiefer invokes and processes history.

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A law student\, Kiefer switched his studies to art in 1965 and held his first solo exhibit in 1969. During the early 1970s he studied with conceptual artist Joseph Beuys\, whose interes t in using an array of cultural myths\, metaphors\, and personal symbolic v ocabulary as a means to engage and understand history inspired Kiefer. The artist has described his own art-making process as stimulated by Beuys&rsqu o\; philosophies: &ldquo\;Painting\, for me\, is not just about creating an illusion. I don&rsquo\;t paint to present an image of something. I paint o nly when I have received an apparition\, a shock\, when I want to transform something. Something that possesses me\, and from which I have to deliver myself. Something I need to transform\, to metabolize\, and which gives me a reason to paint.&rdquo\; Like Beuys\, whose works were often constructed of fragile\, organic materials (including blood\, fat\, and honey)\, Kiefer &rsquo\;s works often incorporate unusual\, fugitive materials such as ash\ , clay\,and dried plant materials. With their rough-hewn textures and expan sive narrative formats that often evoke charred landscape and historical\, sometimes apocalyptic settings\, Kiefer&rsquo\;s work did not conform to th e pared-down Minimalist or Conceptualist movements that were becoming mains tream at the time he was a student. Instead he created massive\, dark paint ings\, books constructed of large sheets of lead\, and figurative works tha t explored German folklore and were inspired by Caspar David Friedrich\, am ong others.

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Kiefer&rsquo\;s works are often realized in large forma ts\, which in turn demand special exhibition spaces. MASS MoCA is adept at collaborating with artists\, collectors\, foundations\, and cultural instit utions to bring important bodies of art to the public\, best exemplified by its 2008 partnership with Yale University Art Gallery\, the Williams Colle ge Museum of Art\, and the studio of Sol LeWitt\, which realized a 25-year exhibition devoted to LeWitt&rsquo\;s monumental wall drawings\, a landmark quasi-permanent installation that was named "#1 Museum Exhibition of the Y ear" by Time magazine. The museum is proud to host an array of distinct cur atorial points of view\, within its renovated 19th singular factory campus.

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The Hall Art Foundation makes available works of postwar and conte mporary art from its collection and from the collection of Andrew and Chris tine Hall for the enjoyment and education of the public. In addition to the dedicated gallery space at MASS MoCA\, the Hall Art Foundation operates a contemporary art space in Reading\, Vermont.

LOCATION:Mass MOCA\,87 Marshall Street \nNorth Adams\, Massachusetts 01247 SUMMARY:Solo Exhibition\, Anselm Kiefer END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233208Z UID:316887 DTSTART:20130928T000000 DTEND:20281201T000000 DESCRIPTION:

In a major collaboration with the Hall Art Foundation\, the keystone of which is a large and long-term exhibition of sculpture and pain tings by Anselm Kiefer\, MASS MoCA opens a 10\,000 square-foot building at MASS MoCA specially re-purposed by the Hall Art Foundation and devoted to t he art of Anselm Kiefer.

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The exhibition includes É\;troit s sont les Vaisseaux (Narrow are the Vessels) (2002)\, an 82-foot long \, undulating wave-like sculpture made of cast concrete\, exposed rebar\, a nd lead\; The Women of the Revolution (Les Femmes de la Revolution) (1992)\, comprised of more than twenty lead beds with photographs and wal l text\; Velimir Chlebnikov (2004)\, a steel pavilion containing 30 paintings dealing with nautical warfare and inspired by the quixotic the ories of the Russian mathematical experimentalist Velimir Chlebnikov\; and a new\, large-format commission created by the artist specifically for the installation at MASS MoCA.

\n

Anselm Kiefer\, who first visited MASS M oCA in 1990 when it was still in the early planning stages\, ranks among th e best-known and most important of post-World War II German artists living and working today. Born in 1945 in southern Germany during the final days o f the collapse of the Third Reich\, Kiefer experienced divided postwar Germ any firsthand. Across his body of work\, Kiefer argues with history\, addre ssing controversial and even taboo issues from recent history with bold dir ectness and lyricism. Kiefer often turns to literature and history as prime source material for his work\, as he did\, for example\, in the suite of p aintings that comprise Velimir Chlebnikov (2004).

\n

The arti st often builds his imagery on top of photographs\, layering his massive ca nvases with dirt\, lead\, straw\, and other materials that generate a &ldqu o\;ground&rdquo\; that reads literally of the earth itself. Within these th ick\, impastoed surfaces Kiefer embeds textual or symbolic references to hi storic figures or places: these become encoded signals through which Kiefer invokes and processes history.

\n

A law student\, Kiefer switched his studies to art in 1965 and held his first solo exhibit in 1969. During the early 1970s he studied with conceptual artist Joseph Beuys\, whose interes t in using an array of cultural myths\, metaphors\, and personal symbolic v ocabulary as a means to engage and understand history inspired Kiefer. The artist has described his own art-making process as stimulated by Beuys&rsqu o\; philosophies: &ldquo\;Painting\, for me\, is not just about creating an illusion. I don&rsquo\;t paint to present an image of something. I paint o nly when I have received an apparition\, a shock\, when I want to transform something. Something that possesses me\, and from which I have to deliver myself. Something I need to transform\, to metabolize\, and which gives me a reason to paint.&rdquo\; Like Beuys\, whose works were often constructed of fragile\, organic materials (including blood\, fat\, and honey)\, Kiefer &rsquo\;s works often incorporate unusual\, fugitive materials such as ash\ , clay\,and dried plant materials. With their rough-hewn textures and expan sive narrative formats that often evoke charred landscape and historical\, sometimes apocalyptic settings\, Kiefer&rsquo\;s work did not conform to th e pared-down Minimalist or Conceptualist movements that were becoming mains tream at the time he was a student. Instead he created massive\, dark paint ings\, books constructed of large sheets of lead\, and figurative works tha t explored German folklore and were inspired by Caspar David Friedrich\, am ong others.

\n

Kiefer&rsquo\;s works are often realized in large forma ts\, which in turn demand special exhibition spaces. MASS MoCA is adept at collaborating with artists\, collectors\, foundations\, and cultural instit utions to bring important bodies of art to the public\, best exemplified by its 2008 partnership with Yale University Art Gallery\, the Williams Colle ge Museum of Art\, and the studio of Sol LeWitt\, which realized a 25-year exhibition devoted to LeWitt&rsquo\;s monumental wall drawings\, a landmark quasi-permanent installation that was named "#1 Museum Exhibition of the Y ear" by Time magazine. The museum is proud to host an array of distinct cur atorial points of view\, within its renovated 19th singular factory campus.

\n

The Hall Art Foundation makes available works of postwar and conte mporary art from its collection and from the collection of Andrew and Chris tine Hall for the enjoyment and education of the public. In addition to the dedicated gallery space at MASS MoCA\, the Hall Art Foundation operates a contemporary art space in Reading\, Vermont.

LOCATION:MASS MoCA\, North Adams\, MA\,1040 MASS MoCA Way \nNorth Adams\, M A 01247 SUMMARY:Anselm Kiefer END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233208Z UID:317081 DTSTART:20101023T000000 DTEND:20201031T000000 DESCRIPTION:

all utopias fell is a project in three interrelated parts: The Shining\, The Library of the Sun\, and Co dex Solis.

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The Shining is a 1970s-era &lsquo\;satelli te&rsquo\; that has crash-landed at MASS MoCA. This beautifully reflective\ , repurposed Airstream trailer &ndash\; with large parachutes and active so lar panels &ndash\; is inspired by an earlier era of pulp aeronauts like Bu ck Rogers\, Tom Swift and Tom Corbett: Space Cadet\, as well as the works o f Giotto\, Jules Verne\, NASA\, and Chris Marker&rsquo\;s 1962 film La Jeté\;e. Visitors can climb a staircase in the Boiler Plant and enter into the craft where they will encounter The Library of the Sun. Hybridizing a domestic space\, a laboratory and a library\, it has the feel of a hermitage\, where the occupant will &lsquo\;be right back&rsquo\ ;\, only it is 30 years later. Videos relating to the sun and its mythology flicker to life on the cockpit&rsquo\;s instrumentation panels. In additio n to these elements\, visitors will be stunned by a stained glass window in what was once the windshield of the vehicle. Once inside the craft\, visit ors will also be able to view Codex Solis\, a massi ve field of photovoltaic (PVs) or solar panels. At 50kw\, the field wil l generate 7% of the power consumed by MASS MoCA. In addition to this 230-f oot long grid\, mirrors are interspersed in the middle of the field\, and s uggest an absent text. The arrangement of mirrors and solar panels is based on a specific quote by an unnamed author\, and will not be revealed by the artist\; instead the public will be encouraged to spend time with the piec e\, watch the reflected sky\, and solve the riddle as birds and planes\, in verted\, fly by.

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Supported by the Massachusetts Technology Collabor ative's Renewable Energy Trust and the Massachusetts Cultural Council.

LOCATION:Mass MOCA\,87 Marshall Street \nNorth Adams\, Massachusetts 01247 SUMMARY:all utopias fell\, Michael Oatman END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233208Z UID:343818 DTSTART:20140630T000000 DTEND:20180128T000000 DESCRIPTION:
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Sol L eWitt (American\, 1928&ndash\;2007) executed drawings by hand throughout hi s life\; in 1968 he extricated his work from the confines of the frame and transferred it directly to the wall. The wall compositions were designed fo r limited duration and maximum flexibility within a broad range of architec tural settings. Initially executed by drafters\, these works in their finis hed state were most often slated for destruction. A seminal practitioner of Conceptual Art\, LeWitt emphasized the creative idea that generates a work of art\, as opposed to the work'\;s material existence. "\;For each work of art that becomes physical\,"\; he wrote\, "\;there are man y variations that do not."\;

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So l LeWitt'\;s 1982 \;Wall Drawing #370: Ten Geometric Figures (in cluding right triangle\, cross\, X\, diamond) with three-inch parallel band s of lines in two directions \;was installed at the Museum over a period of four weeks. The drawing will be on view in its complete state thr ough January 1\, 2017\, when it will be painted over.

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The loan of \;W all Drawing #370 \;is courtesy of The Estate of Sol LeWitt.

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The installation is made possible by The Modern Circle.

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On view at The Met F ifth Avenue in \;Gallery 399

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\n LOCATION:The Metropolitan Museum of Art\,1000 Fifth Ave. \nNew York\, NY 10 028-0918 SUMMARY:Wall Drawing #370\, Sol LeWitt END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233208Z UID:343819 DTSTART:20140630T100000 DTEND:20140630T173000 LOCATION:The Metropolitan Museum of Art\,1000 Fifth Ave. \nNew York\, NY 10 028-0918 SUMMARY:Wall Drawing #370\, Sol LeWitt END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233208Z UID:415399 DTSTART:20160314T000000 DTEND:20190411T000000 DESCRIPTION:

http://blog.indiewalls.com/2015/11/collectio n-notes-suite-dreams/

LOCATION:Dream Hotel - Midtown\,210 w 55th Street \nNew York\, NY 10019 SUMMARY:Wilderness 11\, Britannie Bond END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233208Z UID:415400 DTSTART:20160314T180000 DTEND:20160314T200000 LOCATION:Dream Hotel - Midtown\,210 w 55th Street \nNew York\, NY 10019 SUMMARY:Wilderness 11\, Britannie Bond END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233208Z UID:427402 DTSTART:20160410T000000 DTEND:20180430T000000 DESCRIPTION:

Austrian immigrants Dr. Egon N eustadt and his wife Hildegard were among the earliest collectors of works by famed American artist Louis C. Tiffany (1848-1933) and they played a cri tical role in reviving interest in Tiffany&rsquo\;s lamps in the mid-twenti eth century. In 1935\, newly married and living in Flushing\, Queens\, the Neustadts purchased their first Tiffany lamp &ndash\; a small Daffodil\, fo r the incredible price of $12.50 &ndash\; from a secondhand shop in Greenwi ch Village. Tiffany&rsquo\;s work was decidedly unfashionable at this time\ ; indeed\, Louis C. Tiffany died in 1933 and his Tiffany Studios would decl are bankruptcy in 1937. But the Neustadts\, undeterred by the current disin terest in Tiffany lamps\, were struck by the beauty of the colorful glass a nd enchanted that the shade had been made by an artist from the beloved cou ntry they now called home. Over the course of the next fifty years\, their collection grew to include more than 200 lamps of all shapes\, sizes\, and designs. It remains today the largest and most comprehensive lamp collectio n ever assembled.

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A Passion for T iffany Lamps \;highlights the extraordinary scope of the Neustadts &rsquo\; collection. Examples of Tiffany&rsquo\;s most iconic lamps &ndash\ ; the \;Wisteria \;and \;Dragonfly \;&nda sh\; will be on view\, along with unusual lamps produced in limited number\ , such as the \;Pond Lily \;globe and \;Peacock \;hanging shade.

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In 1995\, The Neustadt partnered with the Queens Museum to share its collection with the New York metropolitan area through a permanent Tiffany gallery and educati onal programming. This partnership has special significance because Tiffany &rsquo\;s glass furnace\, bronze foundry\, and workshops were located in Co rona\, Queens\, less than two miles from the Museum.

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A Passion for Tiffany Lamps \;is organized by The \;Neustadt \;Collection of Tiffany Glass

LOCATION:Queens Museum of Art\,Flushing Meadows Corona Park Meridian Rd.\nF lushing\, NY 11368 SUMMARY:A Passion for Tiffany Lamps END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233208Z UID:429552 DTSTART:20161220T000000 DTEND:20180708T000000 DESCRIPTION:

Even before John D. Rockefelle r 3rd (1906&ndash\;1978) established Asia Society in 1956\, he was deeply i nvolved with the arts and culture of Asia. He firmly believed that art was an indispensable tool for understanding societies\, and thus made culture c entral to the new multidisciplinary organization that would encompass all a spects and all parts of East\, South\, and Southeast Asia and the Himalayas . From 1963 to 1978\, he and his wife\, Blanchette Hooker Rockefeller (1909 &ndash\;1992)\, worked with art historian Sherman E. Lee (1918&ndash\;2008) as an advisor to build the Mr. and Mrs. John D. Rockefeller 3rd Collection \, which was later bequeathed to Asia Society. The group of spectacular his torical objects they assembled&mdash\;including sculpture\, painting\, and decorative arts&mdash\;became the core of the Asia Society Museum Collectio n and is now world renowned. The Collection is distinguished by the high pr oportion of acclaimed masterpieces\, representing the artistic pinnacles of the cultures that produced them\, to which additional high-quality gifts a nd acquisitions have been added since the original bequest to Asia Society.

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The selections in the exhibition s howcase the breadth and depth of creative expression across Asia created by artists and artisans with extraordinary skill. To this day the objects rem ain an important means for sharing the talent\, imagination\, and deep hist ory of the peoples of Asia with audiences all over the world. Masterpie ces from the Asia Society Museum Collection explores the specialized a rtistry of Asian ceramics\, metalwork\, and stone carving\, and the develop ment of Hinduism and Buddhism in Asia through some of the most refined and accomplished examples of the region&rsquo\;s great artistic traditions.

\n LOCATION:Asia Society Museum\,725 Park Avenue at 70th Street\nNew York\, NY 10021 SUMMARY:Masterpieces from the Asia Society Museum Collection END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233208Z UID:429553 DTSTART:20161220T110000 DTEND:20161220T180000 LOCATION:Asia Society Museum\,725 Park Avenue at 70th Street\nNew York\, NY 10021 SUMMARY:Masterpieces from the Asia Society Museum Collection END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233208Z UID:433247 DTSTART:20171201T000000 DTEND:20180127T000000 DESCRIPTION:

Annual Print Sale 12/1 - 1/27

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The Ink Shop has its Annual Print Sale before the holidays. Our co llection of prints is extensive and represents some of the best printmakers around. Through this sale\, and all exhibits presented by The Ink Shop\, w e remind the public that prints make great gifts. We are always encouraging people to support the Arts by buying more Art!

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\n LOCATION:Ink Shop Printmaking Center & Olive Branch Press\,330 E. MLK Jr. S t. 2nd Floor\nIthaca\, NY 14850 SUMMARY:2017 Annual Print Sale END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233208Z UID:433248 DTSTART:20161111T170000 DTEND:20161111T200000 LOCATION:Ink Shop Printmaking Center & Olive Branch Press\,330 E. MLK Jr. S t. 2nd Floor\nIthaca\, NY 14850 SUMMARY:2017 Annual Print Sale END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233208Z UID:440670 DTSTART:20170308T000000 DTEND:20180225T000000 DESCRIPTION:

Featuring more than 25 w orks from the Museum&rsquo\;s collection\, this installation celebrates mus ic through the arts of East and South Asia.  \;Introducing string\, per cussion and wind instruments not found in Western traditions&mdash\;both th e actual musical instruments and images of their sounding will be featured. Prints\, paintings\, ivories and lacquer works from China\, India\, Japan\ , Korea\, Nepal and Tibet reveal disparate dynamic melodic traditions. Thes e visuals will be enhanced by audio and video multimedia&mdash\;a feast for the eyes and ears.

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This ins tallation is part of the Museum&rsquo\;s ongoing conservation efforts which require the rotation of fragile objects within its galleries. Works within Musical Arts of Asia \;can be found throughout the Asian gall eries&mdash\;China\, Japan\, Korea\, Nepal and Tibet&mda sh\;and can be identified by a unique text label.

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Katherine Anne Paul\, Ph.D.\, Curator\, Arts of Asia< /p>\n LOCATION:Newark Museum\,49 Washington Street \nNewark\, New Jersey 07102 SUMMARY:Musical Arts of Asia END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233208Z UID:440671 DTSTART:20170308T120000 DTEND:20170308T170000 LOCATION:Newark Museum\,49 Washington Street \nNewark\, New Jersey 07102 SUMMARY:Musical Arts of Asia END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233208Z UID:442975 DTSTART:20170317T000000 DTEND:20180428T000000 DESCRIPTION:

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In gallery space devoted to the permanent collection\ , the Guggenheim is showcasing its rich holdings of the work of Constantin Bra ncusi (1876&ndash\;1957). In the early decades of the twentieth century \, Brancusi produced an innovative body of work that altered the trajectory of modern sculpture. During this period\, Brancusi lived and worked in Par is\, then a thriving artistic center where many modernist tenets were being developed and debated. He became an integral part of these conversations b oth through his relationships with other artists\, such as Marcel Duchamp\, Fernand Lé\;ger\, Amedeo Modigliani\, and Henri Rousseau\, and throu gh his own pioneering work. His aspiration to express the essence of his su bjects through simplified forms and his engagement with non&ndash\;Western European artistic traditions led to new stylistic approaches. In addition\, his mode of presentation\, which equally emphasized sculpture and base and in which works were shown in direct relation to one another\, instead of a s independent entities\, introduced new ways of thinking about the nature o f the art object.

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The Solomon R. Gu ggenheim Museum began collecting Brancusi&rsquo\;s work in-depth in the mid -1950s under the leadership of its second director\, James Johnson Sweeney. When Sweeney began his tenure at the museum\, the collection was focused o n nonobjective painting. Sweeney significantly expanded the scope of the in stitution&rsquo\;s holdings\, bringing in other styles and mediums\, partic ularly sculpture. The Guggenheim&rsquo\;s commitment to Brancusi during the se years extended beyond its collecting priorities\, and in 1955 the museum held the first major exhibition of the artist&rsquo\;s work.

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Supported in part by the Romania n Cultural Institute in New York.

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\n LOCATION:Solomon R. Guggenheim Museum\,1071Fifth Ave. \nNew York\, NY 10128 -0173 SUMMARY:Guggenheim Collection: Brancusi\, Constantin Brancusi END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233208Z UID:443488 DTSTART:20160629T000000 DTEND:20180528T000000 DESCRIPTION:

Gateway to Himalayan Art introduces visitors to the main forms\, concepts\, and meanings of Himala yan art represented in our collection. A large multimedia map orients the v isitors and highlights cultural regions of a diverse Himalayan cultural sph ere that includes parts of present day India\, China\, Nepal\, Bhutan\, and Mongolia. Visitors are invited to explore exemplary objects from the Museu m&rsquo\;s collection\, organized and presented in thematic sections: Figur es and Symbols\, Materials and Techniques\, and Purpose and Function.

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The exhibition employs a concise and inf ormative approach to convey the principal notions inherent in the rich trad itions of Himalayan art to first-time visitors and specialists alike. In ad dition to sculptures and paintings\, objects such as a stupa\, prayer wheel \, and ritual implements demonstrate that their patrons sought the accumula tion of merit and hoped for wealth\, long life\, and spiritual gains\, all to be fulfilled through the ritual use of these objects and commissioning w orks of art.

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Among the featured ins tallations are a display that explains the process of Nepalese lost-wax met al casting and a presentation of the stages of Tibetan hanging scroll paint ing (thangka). Visitors will also encounter life-size reproductions of murals from Tibet&rsquo\;s Lukhang Temple\, photographed by Thomas Laird and Clint Clemens.

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As a whole the exhibition provides visitors with tools for understanding the artistic trad itions presented throughout the museum\, including a Looking Guide\, a take away brochure and an audio guide.

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Curated by Elena Pakhoutova

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This exhibition is supported\, in part\, by cont ributors to the 2016 Exhibitions Fund.

\n LOCATION:Rubin Museum of Art\,150 West 17th Street \nNew York\, NY 10011US SUMMARY:Gateway to Himalayan Art END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233208Z UID:443490 DTSTART:20170308T000000 DTEND:20180326T000000 DESCRIPTION:

Masterworks\, a regular ly changing exhibition at the Rubin\, explores major strands in the develop ment of Himalayan art\, covering a period of over one thousand years\, and presents regional artistic traditions in their broad cultural\, geographic\ , historical\, and stylistic contexts. The 2017 iteration of this exhibitio n draws primarily from the Rubin collection and is augmented by a few selec t long-term loans.

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Masterworks is o rganized geographically\, showcasing the diverse regional traditions of wes tern Tibet\, central Tibet\, eastern Tibet\, and Bhutan in relation to the neighboring areas of India\, Kashmir\, Nepal\, China\, and Mongolia. Highli ghts from the exhibition include:

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● A delightfully intimate 13th century Nepalese sculpture of the divine Hind u couple Shiva and Parvati which coveys a decidedly human character

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● A Fearsome 15th century Tibetan painting of Black Hayagriva swirling with hypnotic flames

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● A charming 17th century painting of the Great Indian Spiri tual Adept Virupa\, who stops the sun in its tracks so he can continue drin king\, seated in a rich blue-green landscape

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● A 19th century terracotta sculpture of a local god of the land\ , Kula Kari\, riding his great shaggy yak while cute animals cavort across his mountain

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A special area of the gallery is devoted to an extensive display of all 59 folio of The White Beryl\, a prominent recent acquisition and an exqui sitely illuminated manuscript illustrating the Tibetan system of elemental divination.

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Curated by Karl Debr eczeny

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Support of this exhib ition has been provided by contributors to the 2016 Exhibitions Fund.\n LOCATION:Rubin Museum of Art\,150 West 17th Street \nNew York\, NY 10011US SUMMARY:Masterworks of Himalayan Art END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233208Z UID:443492 DTSTART:20170421T000000 DTEND:20180129T000000 DESCRIPTION:

Displacement\, political trans formation\, new nationalisms\, the tension between urban and rural&mdash\;I ndia of the mid-twentieth century does not sound so distant from the world today. It was a time and place of change\, captured expertly and in great d epth by the pioneering photojournalist Henri Cartier-Bresson (1908&ndash\;2 004).

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In 1947 Cartier-Bresson co-fo unded the internationally renowned cooperative photographic agency Magnum P hotos. Later that same year he undertook his first trip to India as part of a three-year stay in Asia. At the time\, India was undergoing a massive po litical transition\, having gained independence from British colonial rule and been partitioned from Pakistan. In January 1948 Cartier-Bresson travele d to Delhi to meet with one of the key players in that transition\, India&r squo\;s great leader Mahatma Gandhi. It would be one of Gandhi&rsquo\;s fin al meetings before the leader&rsquo\;s assassination at the hands of a Hind u nationalist on January 30.

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The re sulting photos of Gandhi&rsquo\;s last day of life and the events surroundi ng his funeral\, which helped catapult Cartier-Bresson to international fam e\, are part of a selection of 69 photographs from the photographer&rsquo\; s travels to India shared in the exhibition. They reflect his abiding inter est in the people and sites of India\, including some examples of his &ldqu o\;street photography&rdquo\; style that has influenced generations of phot ographers. Together they illustrate a master photographer&rsquo\;s perspect ive on transformative moments in Indian history.

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Curated by Beth Citron

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&ldquo\;Henri Cartier-Bresson: India in Full-Frame&rdquo\; is o rganized by the Rubin Museum of Art in collaboration with Magnum Photos and the Henri Cartier-Bresson Foundation. Generous support is provided by The Robert Mapplethorpe Foundation\, David Solo\, an anonymous donor\, and cont ributors to the 2017 Exhibitions Fund.

\n LOCATION:Rubin Museum of Art\,150 West 17th Street \nNew York\, NY 10011US SUMMARY:India in Full Frame\, Henri Cartier-Bresson END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233208Z UID:443493 DTSTART:20170421T110000 DTEND:20170421T220000 LOCATION:Rubin Museum of Art\,150 West 17th Street \nNew York\, NY 10011US SUMMARY:India in Full Frame END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233208Z UID:444242 DTSTART:20170304T000000 DTEND:20180122T000000 DESCRIPTION:
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From Marc h 16 to March 22\, Elizabeth King turns MASS MoCA&rsquo\;s galleri es into an animation studio\, producing a new stop-motion film of her sculp tures. Meticulously crafting and tracking the tiniest of movements\, King a nd renowned animator Michael Belzer\, who has worked with director Tim Burton\, bring the artist&rsquo\;s painstakingly detailed\, ha lf-scale sculptures to an uncanny humanness. Once complete\, the new stop-m otion video will become part of the exhibition. The stage\, too\, will rema in on-site\, providing visitors the opportunity to glance behind the animat ed\, emotional lives of King&rsquo\;s figures.

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Values become engulfed in miniature\, and miniature causes men to dream. Gaston Bachelard\, The Poetics of Space.< /p>\n\n

&hellip\; if there is no smalle st point\, every minutest body will be composed of an infinite number of pa rts\, since a half of a half will always have a half and there will be no l imit to the possibility of division. If this is the case\, what will distin guish the whole universe from the smallest thing in it? Nothing\, for no ma tter how fully infinite is the whole universe\, the minutest objects will e qually be composed of an infinite number of parts. Lucretius\, On t he Nature of Things

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An ambitio us new installation combining small sculptures and large videos\, Radic al Small is Richmond\, Virginia-based artist Elizabeth King&rsquo\;s m ost expansive one-person exhibition to date. Utilizing one of MASS MoCA&rsq uo\;s largest exhibition spaces on the museum&rsquo\;s second floor\, King examines the notion of radical smallness\, or what French philosopher Gasto n Bachelard has called &ldquo\;intimate immensity.&rdquo\; The exhibition o f sculpture and video animation opened to the public on March 4\, 2017\, wi th a reception to follow on Saturday\, March 18.

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&ldquo\;By starting with the smallest\, most subtle of gestu res\,&rdquo\; notes curator Denise Markonish\, &ldquo\;King absorbs our ful l attention\, drawing us into a world where the small engulfs us and allows us to dream.&rdquo\; As the artist herself puts it\, &ldquo\;In sculpture\ , when you represent a body at a size different from its own\, metaphor rus hes in.&rdquo\; King combines precisely movable half-scale figurative sculp tures with projections of stop-motion video animations in works that skillf ully merge and confuse the boundary between actual and virtual objects. Int imate in scale &mdash\; this is theater for an audience of one &mdash\; and made to solicit close viewing\, the work reflects her interests in early c lockwork automata\, the history of the mannequin\, puppetry\, and literatur e&rsquo\;s host of legends in which the artificial figure comes to life. Fo r MASS MoCA\, King tests the power of small sculpture to articulate and com mand a large double-height gallery\, staging an extended exchange of dimens ionality and scale through the languages of sculpture\, film\, and animatio n. Additionally\, King will use the gallery as an animation studio for the first two weeks of the exhibition\, producing a new film of her sculptures at MASS MoCA.

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&ldquo\;King&rsquo\;s works\, even when still\, seem alive. They are animated in the most fundam ental sense of the word\,&rdquo\; notes Markonish. &ldquo\;They look back a t us. Their uncanny humanness literalizes art&rsquo\;s ability to meet and confront our gaze.&rdquo\;

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&ldquo\; I want a portrait\, not so much of a person\, but of a verb\,&rdquo\; King says. &ldquo\;Maybe the sculpture is like a violin\, and the pose is the so nata. Finding the pose and lighting it precisely &mdash\; \;I&rsquo\;m amazed at the difference a few degrees of tilt make in how we read the posi tion of the head. If I move the eyes so the gaze shifts away from face on\, even just slightly\, a thread of tension enters the pose. I \;love the visceral evidence of \;impermanence\, not in the object itself\, but i n its pose at any given moment.&rdquo\;

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\n LOCATION:Mass MOCA\,87 Marshall Street \nNorth Adams\, Massachusetts 01247 SUMMARY:Radical Small\, Elizabeth King END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233208Z UID:444243 DTSTART:20170218T000000 DTEND:20180218T000000 DESCRIPTION:

In 2011\, Maine-based photogr apher Tanja Alexia Hollander set out to differentiate the actual from the v irtual by photographing all 626 of her Facebook friends. Since then\, she h as traveled across the globe\, setting up in-person meetings in her friends &rsquo\; homes to discover the ways in which friendship is defined\, and ho w permission is granted into one&rsquo\;s private &mdash\; yet also very pu blic &mdash\; online life. Through this project\, the artist has been able to take the virtual out of friendship.

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What began as a personal documentary on friendship and environmental p ortraiture has turned into an exploration of contemporary culture\, relatio nships\, generosity and compassion\, family structure\, community-building\ , storytelling\, meal-sharing\, the economy and class\, the relationship be tween technology and travel in the 21st century\, social networking\, memor y\, and the history of the portrait. To accomplish this\, Hollander follows in the footsteps of the Farm Security Administration photographers\, such as Walker Evans and Dorothea Lange\, who documented the Great Depression an d the Dust Bowl. She is also informed by Robert Frank&rsquo\;s The Ameri cans\, an iconic book of photography from 1958\, which documents postwa r America. Like these historic photographers\, Hollander has set out to see America and the world. She is recording how society uses photography\, the portrait\, and social media to create and define a 21st-century existence.

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While Hollander has presented segm ents of this working project at galleries and museums throughout the world\ , Are you really my friend? premieres in its entirety at MASS MoCA. Visitors to the museum can expect to find a mix of photographs\, video\, da ta visualization/mining\, travelogue\, and landscape images\, along with an interactive element that asks viewers to define what a real friend means t o them. In the end\, the project\, while rooted in Facebook\, goes beyond t he superficial to explore ideas of interpersonal connections\, travel\, and community in today&rsquo\;s world.

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Find out more about this project.

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Tanja Alexia Hollander was born in St. Louis\, Missouri\, in 1972. She received a B.A. in photography\, film\, and feminist studies from Hampshire College in 1994.  \;Sections of Ar e you really my friend? were recently exhibited at the Portland Museum of Art (Maine)\, Virei Viral (Rio de Janeiro\, Brazil)\, and the Carl-Schu rz-Haus (Freiberg\, Germany). Receiving international media attention for t he project\, Hollander was invited to give a TEDxDirigo talk in 2012 and ha s lectured extensively at Demanio Marittimo.Km-278 (Marzocca\, Italy)\, the University of Maryland\, Clemson University\, SXSW\, and Facebook headquar ters. Hollander is represented by Carroll and Sons in Boston\, Massachusett s. She is currently a resident of Auburn\, Maine.

\n LOCATION:Mass MOCA\,87 Marshall Street \nNorth Adams\, Massachusetts 01247 SUMMARY:Are you really my friend?\, Tanja Hollander END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233208Z UID:446487 DTSTART:20171116T000000 DTEND:20180120T000000 DESCRIPTION:

JoAnne Artman Gallery\, Presents:
\n&ldquo\;Saddle Up&r dquo\; New Works by Billy Schenck \;
\nNov 16th\, 2017 &ndash\; Ja nuary 20th\, 2018
\nArtist&rsquo\;s Reception: Thursday\, November 16t h\, 2017 from 6-8pm
\nPlease RSVP: 949.510.5481 by November 13th\, 201 7

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JoAnne Artman Gallery
\n511A West 22nd St. || New York\, N Y 10011
\nContact:  \;JoAnne Artman
\nTelephone:  \;949-5 10-5481 || E-mail: joanneartman@aol.com \;
\nWebsite: www.joannear tmangallery.com

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Saddle Up

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Galloping horses\, blood oran ge sunsets\, dusty cowboys - you can almost feel the rising heat from the s un-warmed earth. Billy Schenck has a definitive flair for highlighting the drama\, and evoking the action of classic Westerns along with their corresp onding mythology. The American Frontier holds a special place in our nation &rsquo\;s history\, as well as in our imaginations. JoAnne Artman Gallery i s pleased to present an exhibition of new works by Billy Schenck\, capturin g the persevering nature of the myths and dreams of the Old West.

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Schenck&rsquo\;s work is not only cinematic in scope\; it is also grounded in technique and style. His iconic\, reductive approach is reminiscent of the color planes used in early computer graphics\, establishing a visual di alogue between the straightforward subject matter and the more nuanced spac e of the rendering. The textual element of the comic book-inspired word bub bles is of equal importance to the meaning of each piece\, often serving to either undermine or establish the guiding ambitions of the characters&rsqu o\; psyche.

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In subject\, Schenck goes for the iconic imagery of t he Wild\, Wild West - cowboys and Indians\, sunsets and gunfire. Many of th e scenes are a cheeky look at both the history of the American Frontier\, a s well as the established perceptions through the lens of contemporary popu lar culture\, with a heavy dose of exaggerated passion and romance. The sce nes pictured are at times comical\, and at others\, profound. Schenck plays up the ambiguity between his villains and heroes\, underscoring the dualit y of human nature\, a central theme in his work. \;

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BILLY SCH ENCK (b. 1947\, Rural America) works and lives in Santa Fe\, New Mexico. Sc henck&rsquo\;s artwork is in over 48 museum collections\, including Smithso nian Institution\, Denver Art Museum\, Phoenix Art Museum\, Albuquerque Fin e Arts Museum and the New Mexico Museum of Art.

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\nBilly Sch enck&rsquo\;s work will inspire\, provoke\, engage and mesmerize. With visu al perceptions always changing\, peek behind the stories told and you'\; re sure to find the right artistic expression!

\n LOCATION:JoAnne Artman Gallery\,511 A West 22nd Street \nNew York\, NY 1001 1 SUMMARY:“Saddle Up” New Works by Billy Schenck \, Billy Schenck END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233208Z UID:446842 DTSTART:20170528T000000 DTEND:20180509T000000 DESCRIPTION:

At once poetic and darkly com edic\, Janice Kerbel&rsquo\;s Slip uses graphic musical notation t o imagine the trajectory of a body in mortal peril as it slips on a banana peel. Moving from very small to very large print along an upward curve befo re suddenly crashing downward\, Slip unfolds across more than 100 running feet of wallspace in MASS MoCA&rsquo\;s newly renovated Building 6. The work calls on the history of graphic notation\, physical comedy\, and concrete poetry to create a visual representation of a brief moment across both space and time. Situated just outside of the new galleries devoted to the musical instruments of Gunnar Schonbeck and works by experimental music ian and artist Laurie Anderson\, Slip conflates visual art and mus ical performance &mdash\; cornerstones of MASS MoCA&rsquo\;s program &mdash \; at a grand architectural scale.

\n\n\n LOCATION:Mass MOCA\,87 Marshall Street \nNorth Adams\, Massachusetts 01247 SUMMARY:Slip\, Janice Kerbel END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233208Z UID:446843 DTSTART:20170528T110000 DTEND:20170528T170000 LOCATION:Mass MOCA\,87 Marshall Street \nNorth Adams\, Massachusetts 01247 SUMMARY:Slip END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233208Z UID:446844 DTSTART:20170528T000000 DTEND:20180501T000000 DESCRIPTION:

In October 2016\, artists Lau ren Bon\, Richard Nielsen\, and Tristan Duke of the Optics Division of the Metabolic Studio spent a week at MASS MoCA using their Liminal Camera \;&mdash\; a moveable\, monumental camera built from a repurposed s hipping container &mdash\; to create a series of portraits of Building 6. T he team examined the adjacency of this repurposed industrial building to th e industrialized Hoosic River. To make the prints on display\, the Optics D ivision collected Hoosic water and poured it over the paper during printing \, imbuing the image with ripples of river water.

\n LOCATION:Mass MOCA\,87 Marshall Street \nNorth Adams\, Massachusetts 01247 SUMMARY:The Metabolic Studio/Optics Division - Hoosic: The Beyond Place END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233208Z UID:446845 DTSTART:20170528T110000 DTEND:20170528T170000 LOCATION:Mass MOCA\,87 Marshall Street \nNorth Adams\, Massachusetts 01247 SUMMARY:The Metabolic Studio/Optics Division - Hoosic: The Beyond Place END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233208Z UID:446847 DTSTART:20170617T000000 DTEND:20180603T000000 DESCRIPTION:

In Cavernous: The Inner L ife of Courage\, Colorado-based artist Wes Sam-Bruce uses the Hoosac T unnel as a metaphor for brave endeavors. Kidspace explores what it takes to be courageous and persevere in the face of mountain-sized obstacles. Galle ry visitors are invited to play in a tunnel-like structure built specifical ly for the museum. A free opening celebration takes place with the artist o n Saturday\, June 17\, from 11am to 1pm.

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Sam-Bruce\, renowned for producing interactive artworks\, found the North Adams icon to be a fascinating historical site to explore. According to the artist\, &ldquo\;the Hoosac Tunnel construction can be viewed as a r epresentation of an act of courageousness: a journey through the unknown &m dash\; dark\, cavernous\, difficult\, loss\, successful\, light-giving\, co nnecting\, a triumph\, tenacity\, and grit.&rdquo\; Being central to the No rth Adams community\, he views the tunnel as a symbol of the legacy of a gr oup of people who then and now have acted courageously through the many cha pters of the city&rsquo\;s history. Sam-Bruce will spend a month in residen cy at the museum conducting local history research and building an artwork that will feature a cavernous mountain\, tunnels\, and thresholds. Visitors can make their way through the installation\, an uncharted exhalation comp osed of repurposed wood\, text\, and drawings\, finding themselves surround ed by content that delves into the human experience\; they have not only en tered the mountain\, but also\, as Sam-Bruce puts it\, &ldquo\;the space of one&rsquo\;s innermost self &mdash\; the root of courage.&rdquo\;

\n\n< p style="text-align: justify\;">Cavernous is the third component o f Kidspace&rsquo\;s \;Art 4 Change\, a four-year project that explores problem-solving through empathy\, optimism\, and courage. The guid ing principle for these exhibition projects is Albert Einstein&rsquo\;s sta tement that &ldquo\;[We] cannot solve our problems with the same thinking w e used when we created them.&rdquo\; In other words\, without empathy\, hop e\, and courage\, societal problems can seem overwhelming. In an era of nar cissism and cynicism\, therefore\, an experience with Sam-Bruce&rsquo\;s wo rk provides the opportunity to strengthen our collective sense of bravery\, tolerance\, and kindness.

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The free opening celebration takes place on Saturday\, June 17\, from 11am to 1pm. Meet the artist\, make some art\, and enjoy some refreshments. Admission to Kidspace is always free\; the ArtBar is open on weekends and during school breaks.

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Education at MASS MoCA is made possible in part by the Institute of Museum and Library Services. Addi tional support is provided by the National Endowment for the Arts\, Milton and Dorothy Sarnoff Raymond Foundation\, Holly Swett\, Feigenbaum Foundatio n\, John DeRosa \, Ruth E. Proud Charitable Trust\, Massachusetts Cultural Council\, Berkshire Bank\, Bessie Pappas Charitable Foundation\, Adelard A. Roy and Valeda Lea Roy Foundation\, Price Chopper&rsquo\;s Golub Foundatio n\, the Gateway Fund and the William and Margery Barrett Fund of the Berksh ire Taconic Community Foundation\, John F. and Judith B. Remondi\, and an a nonymous donor.

\n\n\n LOCATION:Mass MOCA\,87 Marshall Street \nNorth Adams\, Massachusetts 01247 SUMMARY:Cavernous: The Inner Life of Courage\, Wes Sam-Bruce END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233208Z UID:446848 DTSTART:20170617T110000 DTEND:20170617T130000 LOCATION:Mass MOCA\,87 Marshall Street \nNorth Adams\, Massachusetts 01247 SUMMARY:Cavernous: The Inner Life of Courage END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233208Z UID:449346 DTSTART:20170503T000000 DTEND:20180223T000000 DESCRIPTION:

Derrick Adams: Patrick Kel ly\, The Journey is an inHarlem project presented by The Stud io Museum in Harlem in partnership with the Schomburg Center for Research in Black Culture and the New York Public Library&rsquo\;s Countee Cullen Library branch. The exhibition is base d on artist Derrick Adams&rsquo\;s extensive research into the archive of t he influential African-American fashion designer Patrick Kelly (1954&ndash\ ;1990)\, housed at the Schomburg Center.

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At the center of Patrick Kelly\, The Journey is Adams&rsquo\ ;s &ldquo\;Mood Board&rdquo\; series\, a new body of work responding to Kel ly&rsquo\;s legacy as a formalist who imbued social context and humor into his creations. These abstract collages incorporate Kelly&rsquo\;s vintage c lothing patterns\, as well as his iconic fabrics\, colors and shapes: bold and colorful geometric forms\, contours of the female body\, and buttons an d other embellishments. The works exalt Kelly&rsquo\;s formal excellence wh ile demonstrating Adams&rsquo\;s ongoing interest in deconstructing\, fragm enting and manipulating structure and surface.

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Derrick Adams: Patrick Kelly\, The Journey is organize d by Hallie Ringle\, Assistant Curator.

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Now its second year\, inHarlem is designed to explore innovat ive ways to engage the community while taking the Museum beyond its own wal ls\, and encompasses a growing range of dynamic exhibitions and programs.\n\n

inHarlem programming is made pos sible thanks to support from the Stavros Niarchos Foundat ion\; William R. Kenan Jr. Charitable Trust\; Rockefeller Brothers Fund\; N ational Endowment for the Arts\, and the Marcus Garvey Park Alliance with f unding provided by the Harlem Community Development Corporation. Additional support is provided by The New York City Department of Cultural Affairs\; The Andrew W. Mellon Foundation\; the New York State Council on the Arts wi th the support of Governor Andrew Cuomo and the New York State Legislature and the New York City Council.

\n LOCATION:Studio Museum in Harlem\,144 W. 125th St. \nNew York\, NY 10027US SUMMARY:Patrick Kelly\, The Journey\, Derrick Adams END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233208Z UID:451260 DTSTART:20180117T000000 DTEND:20180131T000000 DESCRIPTION: LOCATION:Miranda Kuo Gallery\,136 Eldridge Street \nNew York\, NY 10002 SUMMARY:Pure\, Amy Hughes END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233208Z UID:451261 DTSTART:20180117T000000 DTEND:20180117T000000 LOCATION:Miranda Kuo Gallery\,136 Eldridge Street \nNew York\, NY 10002 SUMMARY:Pure END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233208Z UID:451304 DTSTART:20170908T000000 DTEND:20180121T000000 DESCRIPTION:

After Darkness: Southeast Asian Art in the Wake of History \;considers how contemporary art from societies in transition may be read as an expression of the ambiguous and sometimes contentious relationship between individual artistic practice s and sociopolitical context. The exhibition explores the cultural repercus sions of political ruptures through sculpture\, photography\, video\, and m ixed-media installations by seven contemporary artists and one artist group from three Southeast Asian countries&mdash\;Indonesia\, Myanmar\, and Viet nam&mdash\;whose lives and art practices have intersected with defining his torical moments. \;

\n LOCATION:Asia Society Museum\,725 Park Avenue at 70th Street\nNew York\, NY 10021 SUMMARY:After Darkness: Southeast Asian Art in the Wake of History\, The Pr opeller Group\, FX Harsono\, Nge Lay\, Dinh Q. Lê\, Htein Lin\, Nguyen Thi Thanh Mai\, Angki Purbandono\, Tintin Wulia END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233208Z UID:451305 DTSTART:20170908T110000 DTEND:20170908T210000 LOCATION:Asia Society Museum\,725 Park Avenue at 70th Street\nNew York\, NY 10021 SUMMARY:After Darkness: Southeast Asian Art in the Wake of History END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233208Z UID:451326 DTSTART:20170822T000000 DTEND:20180211T000000 DESCRIPTION:
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Sonic Arcade: Shaping Space with Sound is a multi-compon ent exhibition featuring interactive installations\, immersive environments \, and performing objects that explore how the ephemeral and abstract natur e of sound is made material. At a time when so much visual information is b eing dispatched\, consumed\, and digested\, the auditory provides a compell ing sensory experience that is capable of reorienting the body to consider spatial and interpersonal relationships anew.

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Comprised of linked solo and curated projects\, Sonic Arcade explores sound as substance\, framing it as interdependent material t hat is physically crafted and transmitted through electronic circuits and s ignals\, radio waves\, and resonant bodies that create encounters that are not only heard\, but felt. The exhibition features contemporary artists\, d esigners\, and performers who respond to sound&rsquo\;s potential as a mate rial that influences how people experience space\, their environment\, and time\, drawing out the ability of the auditory to provide a fresh perspecti ve on how surroundings\, and the body\, are perceived and engaged.

\n\n< p style="text-align: justify\;">Sonic Arcade features Polyphon ic Playground\, a project by Studio PSK that incorporates on-site resi dency and activation by New York&ndash\;based choreographers.

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Polyphonic Playground was commissioned and curated by Fashion Space Gallery\, London College of Fashion. The proje ct originated from a series of collaborative conversations between Studio P SK\, Fashion Space Gallery and musical artist Reeps One and has been develo ped with Creative Technologist Ben Williams.

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The activation of Studio PSK: Polyphonic Playground is c urated by Manager of Public and Community Engagement Programs Danny Orendor ff.

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Leading support for \;S onic Arcade: Shaping Space with Sound is generously provided by The An dy Warhol Foundation for the Visual Arts and Michele and Marty Cohen. The M useum of Arts and Design also gratefully acknowledges the support of exhibi tion co-chairs Andi Potamkin Blackmore and Jordan Blackmore and Laura and L ewis Kruger\, MAD&rsquo\;s Chairmen&rsquo\;s Council and Director&rsquo\;s Circle\, the Consulate General of Israel\, and the Danish Arts Foundation. In-kind support for this exhibition is provided by KEF and Turnstyle.

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Studio PSK is an award- winning design and creative studio based in London\, UK. Using design and t echnology\, Studio PSK creates unique experiences that bring audiences and organizations closer together. Characterized by a cross-disciplinary approa ch\, the studio works with brands\, companies\, and galleries to tell stori es through interactive objects\, digital environments\, installations\, and graphics. Studio PSK has produced work that has been exhibited internation ally in the Design Museum\; MU artspace\, Eindhoven\; Tate Modern\; Nationa l Institute of Design\, India\; Victoria and Albert Museum\; Design Miami\; and Macau Tower.

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\n LOCATION:Museum of Arts and Design\,2 Columbus Circle \nNew York\, NY 10019 SUMMARY:Sonic Arcade: Shaping Space with Sound: Polyphonic Playground\, Stu dio PSK END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233208Z UID:451327 DTSTART:20170822T110000 DTEND:20170822T180000 LOCATION:Museum of Arts and Design\,2 Columbus Circle \nNew York\, NY 10019 SUMMARY:Sonic Arcade: Shaping Space with Sound END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233208Z UID:451332 DTSTART:20170822T000000 DTEND:20180211T000000 DESCRIPTION:
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Sonic Arcade: Shaping Space with Sound is a multi-component exhibition featuring interactiv e installations\, immersive environments\, and performing objects that expl ore how the ephemeral and abstract nature of sound is made material. At a t ime when so much visual information is being dispatched\, consumed\, and di gested\, the auditory provides a compelling sensory experience that is capa ble of reorienting the body to consider spatial and interpersonal relations hips anew.

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Comprised of linked solo and curated projects\, Sonic Arcade explores sound as substance\, framing it as interdependent material that is physically crafted and trans mitted through electronic circuits and signals\, radio waves\, and resonant bodies that create encounters that are not only heard\, but felt. The exhi bition features contemporary artists\, designers\, and performers who respo nd to sound&rsquo\;s potential as a material that influences how people exp erience space\, their environment\, and time\, drawing out the ability of t he auditory to provide a fresh perspective on how surroundings\, and the bo dy\, are perceived and engaged.

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Sonic Arcade features Audiowear\, a collaborative solo proje ct by Arjen Noordeman and Christie Wright.

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Audiowear is curated for the Tiffany &\; Co. Foundation Jewelry Gallery by Assistant Curator Barbara Paris Gifford.

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Leading support for \;Sonic Arcade: Shapi ng Space with Sound is generously provided by The Andy Warhol Foundati on for the Visual Arts and Michele and Marty Cohen. The Museum of Arts and Design also gratefully acknowledges the support of exhibition co-chairs And i Potamkin Blackmore and Jordan Blackmore and Laura and Lewis Kruger\, MAD& rsquo\;s Chairmen&rsquo\;s Council and Director&rsquo\;s Circle\, the Consu late General of Israel\, and the Danish Arts Foundation. In-kind support fo r this exhibition is provided by KEF and Turnstyle.

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Arjen Noordeman is based in Amsterdam\, t he Netherlands. He has worked as a designer for the interactive design comp any the Chopping Block in New York City\, as well as for broadcast companie s including RTL in the Netherlands and Bravo in New York. He has also serve d as Director of Design at the Massachusetts Museum of Contemporary Art and as Art Director at Nickelodeon in New York City. He and his design partner \, Christie Wright\, created Audiowear\, a series of musical jewel ry inspired by idiophone and aerophone instruments and the acoustic quality of clay. The recipient of Promax Entertainment Creative\, Eyes &\; Ears \, and Art Directors Club Awards\, Noordeman is currently Creative Director of Brand Design for Comedy Central\, Spike\, and Paramount Network in Amst erdam.

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Christie Wright is based in Amsterdam\, the Netherlands. She has created work for vari ous publications\, including Martha Stewart Living\, View on C olour\, and Bloom magazine. She has served as a stylist for t he trend forecasting company Studio Edelkoort\, Paris\, as a designer creat ing products for the lifestyle brand West Elm in Brooklyn\, and as a teache r in the Product Design Department of Parsons School of Design. She and her design partner\, Arjen Noordeman\, created Audiowear\, a series o f musical jewelry inspired by idiophone and aerophone instruments and the a coustic quality of clay. The recipient of various honors\, including a Fulb right grant and a Louis Comfort Tiffany Grant for the Arts\, Wright is currently Associate Creative Director for Marcel Wanders&rsquo \; studio in Amsterdam.

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\n LOCATION:Museum of Arts and Design\,2 Columbus Circle \nNew York\, NY 10019 SUMMARY:Sonic Arcade: Shaping Space with Sound: Audiowear\, Arjen Noordeman \, Christie Wright END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233208Z UID:451333 DTSTART:20170822T110000 DTEND:20170822T180000 LOCATION:Museum of Arts and Design\,2 Columbus Circle \nNew York\, NY 10019 SUMMARY:Sonic Arcade: Shaping Space with Sound: Audiowear END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233208Z UID:451334 DTSTART:20170914T000000 DTEND:20180225T000000 DESCRIPTION:
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Sonic Arcade: Shaping Space with Sound is a multi-compon ent exhibition featuring interactive installations\, immersive environments \, and performing objects that explore how the ephemeral and abstract natur e of sound is made material. At a time when so much visual information is b eing dispatched\, consumed\, and digested\, the auditory provides a compell ing sensory experience that is capable of reorienting the body to consider spatial and interpersonal relationships anew.

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Comprised of linked solo and curated projects\, Sonic Arcade explores sound as substance\, framing it as interdependent material t hat is physically crafted and transmitted through electronic circuits and s ignals\, radio waves\, and resonant bodies that create encounters that are not only heard\, but felt. The exhibition features contemporary artists\, d esigners\, and performers who respond to sound&rsquo\;s potential as a mate rial that influences how people experience space\, their environment\, and time\, drawing out the ability of the auditory to provide a fresh perspecti ve on how surroundings\, and the body\, are perceived and engaged.

\n\n< p style="text-align: justify\;">Sonic Arcade features solo project s by Arjen Noordeman and Christie Wright\, Louise Foo and Martha Skou\, MSH R\, Julianne Swartz\, Naama Tsabar\, and Studio PSK\, whose project incorpo rates on-site residency and activation by New York&ndash\;based choreograph ers. In addition\, Sonic Arcade includes two nested exhibitions: t he first\, curated by Robert Aiki Aubrey Lowe\, features commissions by Emi ly Counts and Make Noise\; the second\, curated by Radius\, comprises off-s ite\, site-specific commissions by Deborah Stratman and Anna Friz.

\n\n< p style="text-align: justify\;">Sonic Arcade: Shaping Space with Sound< /em> is curated by Shannon R. Stratton\, MAD&rsquo\;s William and Mildred L asdon Chief Curator\, with the support of Curatorial Assistant and Project Manager Angelik Vizcarrondo-Laboy. Audiowear\, the collaborative s olo project by Noordeman and Wright\, is curated for the Tiffany &\; Co. Foundation Jewelry Gallery by Assistant Curator Barbara Paris Gifford. The activation of Studio PSK: Polyphonic Playground is curated by Pub lic Programs Manager Danny Orendorff.

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Leading support for \;Sonic Arcade: Shaping Space with Sound is generously provided by The Andy Warhol Foundation for the Visual Arts and Michele and Marty Cohen. The Museum of Arts and Design also gratefully acknowledges the support of exhibition co-chairs Andi Potamkin Blackmore an d Jordan Blackmore and Laura and Lewis Kruger\, MAD&rsquo\;s Chairmen&rsquo \;s Council and Director&rsquo\;s Circle\, the Consulate General of Israel\ , and the Danish Arts Foundation. In-kind support for this exhibition is pr ovided by KEF and Turnstyle.

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Emily Counts was born in Seattle\, Washington\, where she curren tly lives and works. Utilizing natural materials that carry a rich history of craftsmanship&mdash\;ceramics\, bronze\, wood\, fiber\, and glass&mdash\ ;her practice explores contemporary themes of connectivity in biology\, tec hnology\, and sexuality. She has exhibited at the Torrance Art Museum\, Gar boushian Gallery\, Mark Moore Gallery\, and Durden &\; Ray in California \; at Nationale\, Carl &\; Sloan Contemporary\, and Disjecta in Portland \, Oregon\; and at Eitoeiko and Gallery Lara in Tokyo. Counts has been an a rtist-in-residence creating work for associated solo exhibitions at RAID Pr ojects and Plane Space. She has received grants from the Oregon Arts Commis sion\, the Regional Arts and Culture Council\, and the Ford Family Foundati on.

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Louise Foo and Martha S kou are Danish-born artists based in New York City. Their careers span the worlds of music\, visual art\, and design. In their collaborative practice\, they share the urge to explore and better understand the physics and systems of sound. Working with installations\, visual design\, and exp erimental software\, they communicate the magic they find in their research through the creation of experiences. Foo/Skou have previously participated together in residencies at Pioneer Works and the New York Art Residency an d Studios (NARS) Foundation. Foo/Skou have shown their work at venues inclu ding Reverse Space\, Creative Tech Week Expo\, and Telfair Museums&rsquo\; PULSE Art + Technology Festival.

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Anna Friz is a sound and media artist who specializes in mul tichannel radio transmission systems for installation\, performance\, and b roadcast. Since 1998\, she has created and presented new audio art and radi ophonic works in more than twenty-five countries. Her radio works\, in whic h radio is often the source\, subject\, and medium\, have been commissioned for national public radio in Canada\, Australia\, Austria\, Germany\, Finl and\, and Spain\, and heard around the world on independent and clandestine frequencies. She also composes atmospheric sound works and sonic installat ions for theater\, dance\, film\, and solo performance that reflect upon pu blic media culture\, political landscapes and infrastructure\, and time per ception. Friz is currently Assistant Professor of Sound in the Film and Dig ital Media Department of the University of California\, Santa Cruz.

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Robert Aiki Aubrey Lowe i s a New York&ndash\;based artist and composer who works with voice in the r ealm of spontaneous music. Most recently\, he has focused on creating patch pieces with a modular synthesizer and tonal vocal work. He has exhibited w idely at art venues including Performa 11\, Yerba Buena Center for the Arts \, and Fondation Louis Vuitton\, Paris. Lowe has worked with Ben Russell\, Jó\;hann Jó\;hannsson\, Tarek Atoui\, Philippe Parreno\, Ariel Kalma\, Lucky Dragons\, Alexandra Wolkowicz\, Biba Bell\, ADULT.\, Ben Rive rs\, Rose Lazar\, Rose Kallal\, and many others.

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Make Noise was founded in 2008 by Tony Rolan do\, a self-taught electronic musical instrument designer. What started as a re-visioning of jettisoned music technology has grown into a crew of folk s working together in Asheville\, North Carolina\, to design and build stra nge yet thoughtful modular synthesizers. Make Noise sees these instruments as a collaboration with musicians who create once-in-a-lifetime performance s that push boundaries and play the notes between the notes to discover the unfound sounds. The instruments are intended to be an experience\, one tha t requires us to change our trajectories and thereby impacts the way we und erstand and imagine sound.

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MSHR is the art collective of Birch Cooper and Brenna Murphy. Thei r work meshes digital sculpture\, analogue circuitry\, and ceremonial perfo rmance. The duo builds and explores cybernetic systems using synthesizers o f their own design. For exhibitions\, they install macro-arrangements of th ese sculptural instruments to create immersive light-sound-scapes. In their performances\, they engage the systems through a series of unique interfac es. They also work with 3D modeling programs to design virtual forms that a re output as images and sculptures with the use of digital fabrication. MSH R&rsquo\;s sculptural\, musical\, and electronic works inform each other de eply\, creating the meta-form that is the duo&rsquo\;s collaborative practi ce. MSHR emerged from the five-person art collective Oregon Painting Societ y in Portland\, Oregon\, in 2011. They have been artists-in-residence at So noscopia\, Eyebeam\, Pioneer Works\, and Signal Culture.

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Arjen Noordeman is based in Amsterda m\, the Netherlands. He has worked as a designer for the interactive design company the Chopping Block in New York City\, as well as for broadcast com panies including RTL in the Netherlands and Bravo in New York. He has also served as Director of Design at the Massachusetts Museum of Contemporary Ar t and as Art Director at Nickelodeon in New York City. He and his design pa rtner\, Christie Wright\, created Audiowear\, a series of musical jewelry inspired by idiophone and aerophone instruments and the acoustic qu ality of clay. The recipient of Promax Entertainment Creative\, Eyes &\; Ears\, and Art Directors Club Awards\, Noordeman is currently Creative Dir ector of Brand Design for Comedy Central\, Spike\, and Paramount Network in Amsterdam.

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Radius is an experimental radio broadcast platform established in 2009 that produ ces\, exhibits\, and distributes work by radio and transmission artists fro m around the world. Radius provides artists with live and experimental form ats in radio programming and features a new episode monthly\, with statemen ts by artists who use radio as a primary element in their work. The goal is to support work that engages the tonal and public spaces of the electromag netic spectrum. The founder and Artistic Director of Radius\, Jeff Kolar (b . Chicago\, US)\, is an independent sound artist\, radio producer\, and cur ator. His solo and collaborative projects\, installations\, and public perf ormances often investigate the mundane sonic nuances of everyday electronic devices.

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Deborah Stratman< /strong> is a Chicago-based artist and filmmaker interested in landscapes a nd systems. Much of her work points to the relationships between physical e nvironments and human struggles for power and control that play out on the land. Recent projects have addressed freedom\, expansionism\, surveillance\ , sonic warfare\, public speech\, ghosts\, sinkholes\, levitation\, propaga tion\, Orthoptera\, raptors\, comets\, and faith. She has exhibited interna tionally at venues including the Museum of Modern Art\, Centre Pompidou\, H ammer Museum\, Mercer Union\, Witte de With\, the Whitney Biennial\, and fe stivals including Sundance\, Viennale\, CPH:DOX\, Oberhausen Short Film Fes tival\, Ann Arbor Film Festival\, Full Frame\, and the International Film F estival Rotterdam. Stratman is the recipient of Fulbright\, Guggenheim\, an d United States Artists fellowships\; a Creative Capital grant\; and an Alp ert Award. She teaches at the University of Illinois at Chicago.

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Studio PSK is an award-winni ng design and creative studio based in London\, UK. Using design and techno logy\, Studio PSK creates unique experiences that bring audiences and organ izations closer together. Characterized by a cross-disciplinary approach\, the studio works with brands\, companies\, and galleries to tell stories th rough interactive objects\, digital environments\, installations\, and grap hics. Studio PSK has produced work that has been exhibited internationally in the Design Museum\; MU artspace\, Eindhoven\; Tate Modern\; National Ins titute of Design\, India\; Victoria and Albert Museum\; Design Miami\; and Macau Tower. Polyphonic Playground was originally commissioned by Fashion Space Gallery\, London.

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Julianne Swartz lives and works in Stone Ridge\, New York. He r work has been exhibited at venues including Tate Liverpool\, Whitney Muse um of American Art\, the New Museum\, the Jewish Museum\, MoMA PS1\, Indian apolis Museum of Art\, the Israel Museum\, Massachusetts Museum of Contempo rary Art\, and the Art Gallery of Western Australia. She was a recipient of the Anonymous Was a Woman fellowship in 2015.

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Naama Tsabar was born in Israel and currently lives and works in New York City. She creates sensually driven installation s\, performances\, and sculptures that evoke questions of power and bravado found in musical and social environments. The works investigate the underl ying themes of intimacy\, performativity\, sexuality\, and excess with a mi nimalist aesthetic. She zooms in on the objects and materials that hold a d istinct functional purpose within these bigger\, all-encompassing experienc es\, inserting them into a new order. Tsabar has had solo exhibitions and p erformances presented at the Guggenheim\, High Line Art\, Palais de Tokyo\, Tel Aviv Museum of Art\, Herzliya Museum for Contemporary Art\, MARTE Cont emporary\, Frieze New York\, Pá\;ramo Gallery\, Dvir Gallery\, Spinel lo Projects\, and Pianissimo Gallery.

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Christie Wright is based in Amsterdam\, the Netherlands . She has created work for various publications\, including Martha Stew art Living\, View on Colour\, and Bloom magazine. Sh e has served as a stylist for the trend forecasting company Studio Edelkoor t\, Paris\, as a designer creating products for the lifestyle brand West El m in Brooklyn\, and as a teacher in the Product Design Department of Parson s School of Design. She and her design partner\, Arjen Noordeman\, created Audiowear\, a series of musical jewelry inspired by idiophone and aerophone instruments and the acoustic quality of clay. The recipient of va rious honors\, including a Fulbright grant and a Louis Comfort Tiffany Gran t for the Arts\, Wright is currently Associate Creative Di rector for Marcel Wanders&rsquo\; studio in Amsterdam.

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\n LOCATION:Museum of Arts and Design\,2 Columbus Circle \nNew York\, NY 10019 SUMMARY:Sonic Arcade: Shaping Space with Sound\, Louise Foo\, MSHR\, Arjen Noordeman\, Studio PSK\, Martha Skou\, Julianne Swartz\, Naama Tsabar\, Chr istie Wright END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233208Z UID:451335 DTSTART:20170914T110000 DTEND:20170914T180000 LOCATION:Museum of Arts and Design\,2 Columbus Circle \nNew York\, NY 10019 SUMMARY:Sonic Arcade: Shaping Space with Sound END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233208Z UID:451932 DTSTART:20171101T000000 DTEND:20180131T000000 DESCRIPTION: LOCATION:Gallery Korea of Korean Cultural Service NY\,460 Park Ave. 6th Fl. \nNew York\, New York 10022 SUMMARY:Passion. Connected.\, Saehyun Paik END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233208Z UID:452831 DTSTART:20171031T000000 DTEND:20180401T000000 DESCRIPTION:
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The East Village of the 19 70s and 1980s continues to thrive in the global public&rsquo\;s imagination . Located in the basement of a Polish Church at 57 St. Marks Place\, Club 5 7 (1978&ndash\;83) began as a no-budget venue for music and film exhibition s\, and quickly took pride of place in a constellation of countercultural v enues in downtown New York fueled by low rents\, the Reagan presidency\, an d the desire to experiment with new modes of art\, performance\, fashion\, music\, and exhibition. A center of creative activity in the East Village\, Club 57 is said to have influenced virtually every club that came in its w ake.

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Club 57: Film\, Performance\, and Art in the East Villag e\, 1978&ndash\;1983 is the first major exhibition to fully examine th e scene-changing\, interdisciplinary life of this seminal downtown New York alternative space. The exhibition will tap into the legacy of Club 57&rsqu o\;s founding curatorial staff&mdash\;film programmers Susan Hannaford and Tom Scully\, exhibition organizer Keith Haring\, and performance curator An n Magnuson&mdash\;to examine how the convergence of film\, video\, performa nce\, art\, and curatorship in the club environment of New York in the 1970 s and 1980s became a model for a new spirit of interdisciplinary endeavor. Responding to the broad range of programming at Club 57\, the exhibition wi ll present their accomplishments across a range of disciplines&mdash\;from film\, video\, performance\, and theater to photography\, painting\, drawin g\, printmaking\, collage\, zines\, fashion design\, and curating. Building on extensive research and oral history\, the exhibition features many work s that have not been exhibited publicly since the 1980s.

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Organized by Ron Magliozzi\, Curator\, and Sophie C avoulacos\, Assistant Curator\, Department of Film\; with Ann Magnuson\, gu est curator.

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\n LOCATION:MoMA (Museum of Modern Art)\,11 West 53 Street \nNew York\, NY 100 19 SUMMARY:Club 57: Film\, Performance\, and Art in the East Village\, 1978–19 83 END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233208Z UID:452832 DTSTART:20171001T000000 DTEND:20180128T000000 DESCRIPTION:
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Items: Is Fashion Modern? explores the present\, past&mdash\;a nd sometimes the future&mdash\;of 111 items of clothing and accessories tha t have had a strong impact on the world in the 20th and 21st centuries&mdas h\;and continue to hold currency today. Among them are pieces as well-known and transformative as the Levi&rsquo\;s 501s\, the Breton shirt\, and the Little Black Dress\, and as ancient and culturally charged as the sari\, th e pearl necklace\, the kippah\, and the keffiyeh. Items will also invite some designers\, engineers\, and manufacturers to respond to some of these indispensable items with pioneering materials\, approaches\, and tec hniques&mdash\;extending this conversation into the near and distant future s\, and connecting the history of these garments with their present recombi nation and use. Driven first and foremost by objects\, not designers\, the exhibition considers the many relationships between fashion and functionali ty\, culture\, aesthetics\, politics\, labor\, identity\, economy\, and tec hnology.

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Organized by Paola Antonelli\, Senior Curator\, and Michelle Millar F isher\, Curatorial Assistant\, Department of Architecture and Design.

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\n LOCATION:MoMA (Museum of Modern Art)\,11 West 53 Street \nNew York\, NY 100 19 SUMMARY:Items: Is Fashion Modern? END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233208Z UID:452833 DTSTART:20171001T103000 DTEND:20171001T173000 LOCATION:MoMA (Museum of Modern Art)\,11 West 53 Street \nNew York\, NY 100 19 SUMMARY:Items: Is Fashion Modern? END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233208Z UID:452834 DTSTART:20170924T000000 DTEND:20180128T000000 DESCRIPTION:
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Louise Bourgeo is: An Unfolding Portrait explores the prints\, books\, and creative p rocess of the celebrated sculptor Louise Bourgeois (1911&ndash\;2010). Bour geois&rsquo\;s printed oeuvre\, a little-known aspect of her work\, is vast in scope and comprises some 1\,200 printed compositions\, created primaril y in the last two decades of her life but also at the beginning of her care er\, in the 1940s. The Museum of Modern Art has a prized archive of this ma terial\, and the exhibition will highlight works from the collection along with rarely seen loans. A special installation will fill the Museum&rsquo\; s Marron Atrium.

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The artist&rsquo\; s creative process is the organizing principle behind the exhibition. Over the course of her career\, Bourgeois constantly revisited the themes of her art\, all of which emerged from emotions she struggled with for a lifetime . Also\, she said there was no &ldquo\;rivalry&rdquo\; between the mediums in which she worked\, noting that &ldquo\;they say the same thing in differ ent ways.&rdquo\; Here\, her prints and illustrated books will be seen in t he context of related sculptures\, drawings\, and paintings\, and within th ematic groupings that explore motifs of architecture\, the body\, and natur e\, as well as investigations of abstraction and works made from old garmen ts and household fabrics. In addition\, the evolving states and variants of her prints will be emphasized in order to reveal Bourgeois&rsquo\;s creati ve thinking as it unfolded.

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Bringin g together some 220 works\, the exhibition celebrates the Museum&rsquo\;s a rchive of Bourgeois prints as well as the completion of the online catalogu e raisonné\;\, Louise Bourgeois: The Complete Prints &\; Books \, available now in process at moma.org/bourgeoisprints\, and ultimately documentin g over 4\,600 printed sheets in all.

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Organized by Deborah Wye\, Chief Curator Emerita\, Prints and Illustrated Books\, with Sewon Kang\, Curatorial Assis tant\, Department of Drawings and Prints.

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Major support for the exhibition is provided by Monique M. Sc hoen Warshaw.

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Generous funding is p rovided by The International Council of The Museum of Modern Art.

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Special thanks to The Easton Foundation for its long-standing support of the Louise Bourgeois print archive at The Muse um of Modern Art.

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Additional suppor t is provided by the Annual Exhibition Fund.

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\n LOCATION:MoMA (Museum of Modern Art)\,11 West 53 Street \nNew York\, NY 100 19 SUMMARY:An Unfolding Portrait\, Louise Bourgeois END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233208Z UID:452835 DTSTART:20170924T103000 DTEND:20170924T173000 LOCATION:MoMA (Museum of Modern Art)\,11 West 53 Street \nNew York\, NY 100 19 SUMMARY:An Unfolding Portrait END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233208Z UID:452865 DTSTART:20170909T000000 DTEND:20180618T000000 DESCRIPTION:

An installation of ceramics\, furniture\, metalwork\, and other objects from the permanent collection in the museum&rsquo\;s Teak Room. The exhibition will explore  \;how Ameri can and European designers\, following the opening of Japan to the West in the late 19th century\, created objects inspired by Japanese imports and ot her examples of Eastern design through form\, technique\, motifs\, and mate rials.

\n LOCATION:Cooper-Hewitt National Design Museum\,2 East 91st Street \nNew Yor k \, NY 10128 SUMMARY:Passion for the Exotic: Japonism END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233208Z UID:452866 DTSTART:20170909T100000 DTEND:20170909T170000 LOCATION:Cooper-Hewitt National Design Museum\,2 East 91st Street \nNew Yor k \, NY 10128 SUMMARY:Passion for the Exotic: Japonism END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233208Z UID:453423 DTSTART:20171022T000000 DTEND:20180311T000000 DESCRIPTION:
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MoMA PS1 presents the first comprehensive retrospective of Carolee Schn eemann\, spanning the artist&rsquo\;s prolific six-decade career. As one of the most influential artists of the second part of the 20th century\, Schn eemann&rsquo\;s pioneering investigations into subjectivity\, the social co nstruction of the female body\, and the cultural biases of art history have had significant influence on subsequent generations of artists. Carole e Schneemann: Kinetic Painting begins with rarely seen examples of the artist&rsquo\;s early paintings of the 1950s and their evolution into asse mblages made in the 1960s\, which integrated objects\, mechanical elements\ , and modes of deconstruction. In the late 1960s Schneemann began positioni ng her own body within her work\, performing the roles of &ldquo\;both imag e and image-maker.&rdquo\; As a central protagonist of the New York downtow n avant-garde community\, she explored hybrid artistic forms culminating in experimental theater events. The exhibition considers Schneemann&rsquo\;s oeuvre within the context of painting by tracing the developments that led to her groundbreaking innovations in performance\, film\, and installation in the 1970s\, as well as her increasingly spatialized multimedia installat ions from the 1980s\, 1990s\, and 2000s.

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Carolee Schneemann: Kinetic Paint ing is organized by the Museum der Moderne Salzburg.

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The exhibition is curated by Sabine Breitwieser\, Di rector\, Museum der Moderne Salzburg\; and consulting curator Branden W. Jo seph\, Frank Gallipolli Professor of Modern and Contemporary Art\, Columbia University\, New York.

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Organized a t MoMA PS1 by Erica Papernik-Shimizu\, Assistant Curator\, Department of Me dia and Performance Art\, The Museum of Modern Art\; with Oliver Shultz\, C uratorial Assistant\, MoMA PS1.

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\n LOCATION:MoMA PS1\,22-25 Jackson Ave \nLong Island City\, NY 11101 SUMMARY:Kinetic Painting \, Carolee Schneemann END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233208Z UID:453424 DTSTART:20171022T120000 DTEND:20171022T180000 LOCATION:MoMA PS1\,22-25 Jackson Ave \nLong Island City\, NY 11101 SUMMARY:Kinetic Painting END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233208Z UID:453425 DTSTART:20171022T000000 DTEND:20180311T000000 DESCRIPTION:
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MoMA PS1 will pres ent the first solo museum exhibition in New York focused on Glasgow-based a rtist Cathy Wilkes (b. 1966)\, in conjunction with the inaugural Maria Lass nig Prize. Since the start of her career in the 1990s\, Wilkes has created sculptural tableaux that engage with the rituals of life. Regularly employi ng quotidian products and residual materials drawn from her domestic life\, Wilkes&rsquo\;s installations connect the banalities of daily existence to larger archetypes of birth\, marriage\, child-rearing\, and death. This co mbination of the personal and universal parallels a meditation at the heart of her work\, in which Wilkes&rsquo\;s art enacts an exercise in empathy\, exposing deeply felt subjective experiences to reach beyond herself while also insisting upon the fundamentally private nature of artmaking.

\n\n< p style="text-align: justify\;">Wilkes is the first artist to receive the M aria Lassnig Prize\, a biennial award established by the Maria Lassnig Foun dation in June 2016 to honor the achievements of mid-career artists. The Ma ria Lassnig Prize was originally envisioned by pioneering Austrian artist M aria Lassnig before her death in 2014 at the age of 94\, at height of her a rtistic powers. Having achieved recognition only later in life\, she hoped to encourage the efforts of fellow career artists not yet familiar to the p ublic. In 2014\, MoMA PS1 presented Maria Lassnig&rsquo\;s first comprehens ive American museum survey to universal acclaim.

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Organized by Peter Eleey\, Ch ief Curator\, MoMA PS1\, with Margaret Aldredge Diamond\, Curatorial and Ex hibitions Associate\, MoMA PS1.

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\n LOCATION:MoMA PS1\,22-25 Jackson Ave \nLong Island City\, NY 11101 SUMMARY:Solo Exhibition\, Cathy Wilkes END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233208Z UID:453426 DTSTART:20171022T120000 DTEND:20171022T180000 LOCATION:MoMA PS1\,22-25 Jackson Ave \nLong Island City\, NY 11101 SUMMARY:Solo Exhibition END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233208Z UID:453451 DTSTART:20170927T000000 DTEND:20180121T000000 DESCRIPTION:

&ldquo\;Trigger: Gender as a Tool and a Weapon&rdquo\; investigates gender&rsquo\;s place in contemporar y art and culture at a moment of political upheaval and renewed culture war s. The exhibition features an intergenerational group of artists who explor e gender beyond the binary to usher in more fluid and inclusive expressions of identity.

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The New Museum has be en committed to urgent ideas since its inception\, devoting many exhibition s and programs over the years to issues of representation with regard to ge nder and sexuality: &ldquo\;Extended Sensibilities&rdquo\; (1982)\, &ldquo\ ;Difference&rdquo\; (1984&ndash\;85)\, &ldquo\;Homo Video&rdquo\; (1986&nda sh\;87)\, and &ldquo\;Bad Girls&rdquo\; (1994) are just four notable exampl es. Following in this tradition\, and in the Museum&rsquo\;s 40th anniversa ry year\, &ldquo\;Trigger&rdquo\; extends the conversation around identity\ , considering how even a fluid conception of gender is nonetheless marked b y ongoing negotiations of power and cannot be understood outside its comple x intersections with race\, class\, sexuality\, and disability. The exhibit ion&rsquo\;s title\, &ldquo\;Trigger\,&rdquo\; takes into account that word &rsquo\;s range of meanings\, variously problematic and potent\; the term e vokes both traumatic recall and mechanisms that\, set into motion\, are cap able of igniting radical change.

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Th e exhibition will feature more than forty artists working across a variety of mediums and genres\, including film\, video\, performance\, painting\, s culpture\, photography\, and craft. Many embrace explicit pleasure and visu al lushness as political strategies\, and some deliberately reject or compl icate overt representation\, turning to poetic language\, docufiction\, and abstraction to affirm ambiguities and reflect shifting physical embodiment . Representing no single point of view\, and in some cases presenting produ ctively contradictory positions\, &ldquo\;Trigger&rdquo\; will assemble art ists for their singular efforts in considering gender&rsquo\;s capacity to represent a more general refusal of stable categorization&mdash\;a refusal at the heart of today&rsquo\;s most compelling artistic practices.

\n\n< p style="text-align: justify\;">The artists in &ldquo\;Trigger&rdquo\; shar e a desire to contest repressive orders and to speculate on new forms and a esthetics&mdash\;a desire to picture other futures. For many\, dev eloping new vocabularies necessarily entails a productive reworking of hist orical configurations. A number of artists in the exhibition&mdash\;includi ng Josh Faught\, Reina Gossett and Sasha Wortzel\, Ellen Lesperance\, Micka lene Thomas\, and Candice Lin&mdash\;return to archival materials in order to critique\, build upon\, and explore longstanding dialogues and debates a round intersectionality\, alliance\, and the project of world-building. Bea uty is not supplemental to politics here\, but central to the process of po siting new worlds and building new social structures. The exhibition brings together a range of practitioners\, some with a longstanding commitment to activism&mdash\;such as Nancy Brooks Brody\, an original member of the col lective Fierce Pussy\, and Vaginal Davis\, who has long critiqued systemati c oppression tied to gender\, race\, class\, and sexuality&mdash\;alongside emerging artists such as Sable Elyse Smith\, Paul Mpagi Sepuya\, and Chris Vargas\, whose works variously plumb mechanisms of regulation.

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The exhibition will include a number of commis sioned works\, including a major new braided sculpture by Diamond Stingily that pierces through gallery floors\, trailing from the Fourth Floor all th e way down to the Museum&rsquo\;s Lobby\, and alludes to the racial dimensi ons of beauty conventions as well as to Medusa\, the mythological snake-hai red woman whose gaze could turn men into stone. Nayland Blake will produce a life-size suit of his &ldquo\;fursona&rdquo\; named Gnomen\, which will b e periodically inhabited and activated throughout the course of the exhibit ion. Tuesday Smillie will continue a recent series of textile works that bo th refer to significant historical protest signs&mdash\;such as those const ructed by Sylvia Rivera\, Marsha P. Johnson\, and other members of Street T ransvestite Action Revolutionaries&mdash\;and present new slogans. ektor ga rcia will present a series of site-specific\, readymade sculptures that evo ke S&\;M fetish gear and Mexican housewares while suggesting movement aw ay from definitive gender and sexual roles.

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Commissioned performances will feature prominently in the exhibiti on\, with the premiere of a two-part musical by Morgan Bassichis that retur ns to the influential 1977 publication The Faggots &\; Their Friends Between Revolutions\, live music organized by Simone Leigh and staged inside her installation\, and a series of performance-lectures on masculin ities by Gregg Bordowitz. The exhibition will also include a special three- episode reunion of The Dyke Division&rsquo\;s Room for Cream\, the live lesbian soap opera presented at La MaMa theater in New York from 2008 to 2010.

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The exhibition is curated by Johanna Burton\, Keith Haring Director and Curator of Education and Pub lic Engagement\, with Natalie Bell\, Assistant Curator\, and Sara O&rsquo\; Keeffe\, Assistant Curator. It will be accompanied by a fully illustrated c atalogue designed by Joseph Logan and published by the New Museum. The cata logue includes essays by Rizvana Bradley and Jeannine Tang\, as well as a c onversation between Mel Y. Chen and Julia Bryan-Wilson. It also includes ge nealogies organized by Sara O&rsquo\;Keeffe\, an institutional archival por tfolio organized by Kate Wiener and transcripts of roundtable conversations between members of the exhibition&rsquo\;s advisory group: Lia Gangitano\, Ariel Goldberg\, Jack Halberstam\, Fred Moten\, and Eric A. Stanley.

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Artist List
\nMorg an Bassichis (b. 1983)
\nSadie Benning (b. 1973)
\nNayland Blake (b. 1960)
\nJustin Vivian Bond (b. 1963)
\nGregg Bordowitz (b. 19 64)
\nPauline Boudry / Renate Lorenz (working together since 2007)
\nNancy Brooks Brody (b. 1962)
\nA.K. Burns (b. 1975) and A.L. Stein er (b. 1967)
\nLeidy Churchman (b. 1979)
\nLiz Collins (b. 1968)< br />\nVaginal Davis (b. 1969)
\nHarry Dodge (b. 1966)
\nThe Dyke Division of the Two-Headed Calf (founded in 2008)
\nJosh Faught (b. 1 979)
\nektor garcia (b. 1985)
\nMariah Garnett (b. 1980)
\nR eina Gossett (b. 1983) and Sasha Wortzel (b. 1983)
\nSharon Hayes (b. 1970)
\nHouse of Ladosha (founded in 2007)
\nStanya Kahn (b. 1968 )
\nCarolyn Lazard (b. 1987)
\nSimone Leigh (b. 1967)
\nElle n Lesperance (b. 1971)
\nCandice Lin (b. 1979)
\nTroy Michie (b. 1985)
\nUlrike Mü\;ller (b. 1971)
\nWilla Nasatir (b. 1990)\nSondra Perry (b. 1986)
\nChristina Quarles (b. 1985)
\nConn ie Samaras (b. 1950)
\nCurtis Talwst Santiago (b. 1979)
\nTschaba lala Self (b. 1990)
\nPaul Mpagi Sepuya (b. 1982)
\nTuesday Smill ie (b. 1981)
\nSable Elyse Smith (b. 1986)
\nPatrick Staff (b. 19 87)
\nDiamond Stingily (b. 1990)
\nMickalene Thomas (b. 1971)
\nWu Tsang (b. 1982)
\nChris E. Vargas (b. 1978)
\nGeo Wyeth (b . 1984)
\nAnicka Yi (b. 1971)

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Sponsors

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\n\n< p style="text-align: justify\;">Lead support for &ldquo\;Trigger: Gender as a Tool and a Weapon&rdquo\; is provided by the Andy Warhol Foundation for the Visual Arts.
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Maj or support is provided by the International Leadership Council of the New M useum.
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Additional ex hibition support provided by the Isabel Rose and Jeff Fagen Foundation and the Robert Mapplethorpe Foundation.
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Generous funding is provided by James Keith Brown &\; Er ic Diefenbach and Ken Kuchin &\; Tyler Morgan.
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Artist commissions at the New Museum are gene rously supported by the Neeson / Edlis Artist Commissions Fund.
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Artist residencies are made pos sible\, in part\, by:
\nLaurie Wolfert
\nThe Council for Artists Research and Residencies of the New Museum
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Additional support:
\nThe Toby Devan Lewis Emer ging Artists Exhibitions Fund
\nThe Artemis Council of the New Museum< br />\n \;

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Robert Soros
\nEleanor Cayre

\n LOCATION:New Museum\,235 Bowery \nNew York\, NY 10002 SUMMARY:Trigger: Gender as a Tool and a Weapon\, Morgan Bassichis\, Sadie B enning\, Nayland Blake\, Justin Vivian Bond\, Gregg Bordowitz\, Nancy Brook s Brody\, A.K. Burns\, The Dyke Division of the Two-Headed Calf\, Leidy Chu rchman\, Liz Collins\, Vaginal Davis\, Harry Dodge\, Josh Faught\, ektor ga rcia\, Mariah Garnett\, Reina Gossett\, Sharon Hayes\, Stanya Kahn\, HOUSE OF LADOSHA\, Carolyn Lazard\, Simone Leigh\, Ellen Lesperance\, Candice Lin \, Pauline Boudry & Renate Lorenz\, Troy Michie\, Ulrike Müller\, Willa Nas atir\, Sondra Perry\, Christina Quarles\, Connie Samaras\, Curtis Talwst Sa ntiago\, Tschabalala Self\, Paul Mpagi Sepuya\, Tuesday Smillie\, Sable Ely se Smith\, Patrick Staff\, A.L. Steiner\, Diamond Stingily\, Mickalene Thom as\, Wu Tsang\, Chris E. Vargas\, Sasha Wortzel\, Geo Wyeth\, Anicka Yi END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233208Z UID:453452 DTSTART:20170927T110000 DTEND:20170927T180000 LOCATION:New Museum\,235 Bowery \nNew York\, NY 10002 SUMMARY:Trigger: Gender as a Tool and a Weapon END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233208Z UID:453951 DTSTART:20170913T000000 DTEND:20180401T000000 DESCRIPTION:

Songs of Freedom\, a show of two and three-dimensio nal mixed media artworks\, video\, photography and performance by 10 artist s (nine women and one man&ndash\;a self-proclaimed feminist) opens at the J CC Harlem on Wednesday\, September 13.  \;Art In FLUX curators\, Leanne Stella and Henone Girma\, brought together a group of artists that each us e their own experiences and observations to address notions of femininity a nd female empowerment.

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The use of repurposed materials\, fabric i n Tomo Mori&rsquo\;s Our Little People and wire hangers in Autumn Kioti&rsquo\;s Red Hen (impossible standard) and the painstaking h andiwork in each speaks to the resilience and resourcefulness women require to navigate the &ldquo\;modern&rdquo\; world.  \;Our Little People represents the interconnected female bonds that protect voiceless and vulnerable children while the Red Hen performance and installatio n piece makes a grim yet humorous reference to the expectations surrounding 21st Century womanhood. Lital Dotan&rsquo\;s Transformation on Rockhil l (video) and Qinza Najm&rsquo\;s Stretched (mixed media) bot h depict in their own way how women stretch themselves beyond external limi tations and preconceived standards to survive and ultimately flourish. &nbs p\;Rejin Leys and Leslie Jimenez paint in a performative piece that can onl y be completed when they unite in the center. The photographic diptych\, Female Empowerment and Blue Building by Ruben Natal-San Mig uel shouts shattering the glass ceiling. Hirut Yosef\, Tara Sabharwal and S ara Jimenez present a combination of figurative and architectural two-dimen sional works that also speak to societal structures surrounding women.  \; \;

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The artists collectively weave a story about the challe nges women and girls face and the individual and communal strength it takes to stretch beyond clear and abstract restraints. All of the works in S ongs Of Freedom are by women in a world where the constant need to pro tect\, nurture\, succeed\, excel and fight (for gender parity) all co-exist . \;

\n LOCATION:Art In FLUX at JCC Harlem\,318 West 118th Street \nNew York\, New York 10026US SUMMARY:Songs of Freedom\, Lital Dotan\, Leslie Jimenez\, Sara Jimenez\, Au tumn Kioti\, Rejin Leys\, Ruben Natal-San Miguel\, Tomo Mori\, Qinza Najm\, Tara Sabharwal\, Hirut Yosef END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233208Z UID:453952 DTSTART:20170913T183000 DTEND:20170913T210000 LOCATION:Art In FLUX at JCC Harlem\,318 West 118th Street \nNew York\, New York 10026US SUMMARY:Songs of Freedom END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233208Z UID:454351 DTSTART:20180119T000000 DTEND:20180218T000000 DESCRIPTION: LOCATION:M23/Project Room\,209 Morgan Avenue \nBrooklyn\, NY 11237US SUMMARY:Connor McNicholas\, Connor McNicholas END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233208Z UID:454352 DTSTART:20180119T190000 DTEND:20180119T210000 LOCATION:M23/Project Room\,209 Morgan Avenue \nBrooklyn\, NY 11237US SUMMARY:Connor McNicholas END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:454352 DTSTART:20180119T190000 DTEND:20180119T210000 LOCATION:M23/Project Room\,209 Morgan Avenue \nBrooklyn\, NY 11237US SUMMARY:Connor McNicholas END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:454633 DTSTART:20170921T000000 DTEND:20180121T000000 DESCRIPTION:

In the ancient burial ground a t Saqqara\, Egypt\, one animal cemetery alone has yielded over four million individual ibis mummies. And the nearby dog cemetery contained over seven million mummies\, with countless others found throughout Egypt. This unusua l aspect of ancient Egyptian culture and religion&mdash\;the mummification of animals&mdash\;has remained largely a mystery. Soulful Creatures: An imal Mummies in Ancient Egypt explores the religious purpose of these mummies\, how they were made\, and why there are so many.

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Drawn from our renowned collection\, the exhibition features choice examples from among the many millions of mummies of birds\, cats\, dogs\, snakes\, and other animals preserved from at least thirty-on e different cemeteries throughout Egypt. Animals were central to the ancien t Egyptian worldview. Most animals had connections to a particular deity. A fter death\, mummified animals&rsquo\; souls could carry a message to a god .

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Yet not all animal mummies are wh at they seem. Scientific investigation of the mummies reveals that the corr uption in the animal cemeteries that some contemporaneous texts allege was all too real. CT scans displayed in the exhibition uncover the empty wrappi ngs\, double mummies\, and misleading packaging among some of the mummies t hat the priests sold to worshippers.

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Soulful Creatures: Animal Mummies in Ancient Egypt is organized by Edward Bleiberg\, Senior Curator of E gyptian Art\, and Yekaterina Barbash\, Associate Curator of Egyptian Art\, Brooklyn Museum. The accompanying book is published by the Brooklyn Museum in association with D. Giles Ltd\, London.

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\n LOCATION:Brooklyn Museum of Art\,200 Eastern Parkway \nBrooklyn\, NY 11238- 6052 SUMMARY:Soulful Creatures: Animal Mummies in Ancient Egypt END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:454634 DTSTART:20170921T110000 DTEND:20170921T220000 LOCATION:Brooklyn Museum of Art\,200 Eastern Parkway \nBrooklyn\, NY 11238- 6052 SUMMARY:Soulful Creatures: Animal Mummies in Ancient Egypt END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:454635 DTSTART:20171020T000000 DTEND:20180304T000000 DESCRIPTION:

Since the 1970s\, Judy Chicago has been a pioneer in the development of feminism as an artistic movement and an educational project that endeavors to restore women&rsquo\;s place i n history. Her most influential and widely known work is the sweeping insta llation The Dinner Party (1974&ndash\;79)\, celebrating women&rsqu o\;s achievements in Western culture in the form of a meticulously executed banquet table set for 39 mythical and historical women and honoring 999 ot hers. One of the most important artworks of the twentieth century\, and one of the most popular in our collection\, upon its public debut in 1979 it i mmediately became an icon of feminist art. The Elizabeth A. Sackler Center for Feminist Art was established in 2007 with The Dinner Party as its foundation.

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Roots of &ldquo \;The Dinner Party&rdquo\;: History in the Making is the first museum exhibition to examine Chicago&rsquo\;s evolving plans for The Dinner Pa rty in depth\, detailing its development as a multilayered artwork\, a triumph of community art-making\, and a testament to the power of historic al revisionism. Chicago&rsquo\;s ambitious research project combatted the a bsence of women from mainstream historical narratives and blazed the trail for feminist art historical methodologies in an era of social change.   \;It also validated mediums traditionally considered the domain of women an d domestic labor\, as the artist studied and experimented with China painti ng\, porcelain\, and needlework.

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Th e exhibition presents rarely seen test plates\, research documents\, epheme ra\, notebooks\, and preparatory drawings from 1971 through 1979 alongside The Dinner Party\, encouraging exploration of its formal\, concept ual\, and material progress.

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Roots of &ldquo\;The Dinner Party&rdquo\;: \;History in the Makin g is organized by Carmen Hermo\, Assistant Curator\, Elizabeth A. Sack ler Center for Feminist Art\, Brooklyn Museum.

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Roots of &ldquo\;The Dinner Party&rdquo\;: \;History in the Making is part of A Year of Yes: R eimagining Feminism at the Brooklyn Museum\, a yearlong series of exhibitions celebrating the 10th anniversary of the Elizabeth A. Sackler Ce nter for Feminist Art.

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\n LOCATION:Brooklyn Museum of Art\,200 Eastern Parkway \nBrooklyn\, NY 11238- 6052 SUMMARY:Roots of “The Dinner Party”: History in the Making END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:454636 DTSTART:20171020T110000 DTEND:20171020T180000 LOCATION:Brooklyn Museum of Art\,200 Eastern Parkway \nBrooklyn\, NY 11238- 6052 SUMMARY:Roots of “The Dinner Party”: History in the Making END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:454641 DTSTART:20171026T000000 DTEND:20180129T000000 DESCRIPTION:

On October 26\, 2017\, Neue Ga lerie New York will present a major retrospective exhibition devoted to the Wiener Werkstä\;tte (Vienna Workshops)\, an artists&rsquo\; and crafts mens&rsquo\; collective that existed in Vienna from 1903 until 1932. More t han 400 objects have been selected for the presentation\, and the loans are drawn from both public and private collections in the United States and Eu rope\, including significant pieces from Austria. This show surveys the ent irety of the firm&rsquo\;s extensive output in a variety of media\, includi ng ceramics\, drawings\, fashion\, furniture\, glass\, graphic design\, jew elry\, metalwork\, textiles\, and wallpaper. Special highlights of the show will include iconic examples of furniture by Josef Hoffmann and Koloman Mo ser\, which will be complemented by rare and often unique works crafted in silver\, gold\, and semiprecious stones that convey the Wiener Werkstä\ ;tte&rsquo\;s luxurious aesthetic.

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The Neue Galerie has previously staged monographic exhibitions dedicated to the work of Josef Hoffmann (2006)\, Koloman Moser (2013)\, and Dagobert Pe che (2002)\, all major designers who shaped the aesthetic of the Wiener Wer kstä\;tte. This is the first comprehensive American museum presentation on the entire Wiener Werkstä\;tte\, and it will cover all the signific ant artists who were members\, such as Hoffmann\, Moser\, and Peche\, as we ll as less well-known designers such as Gudrun Baudisch\, Carl Otto Czeschk a\, Berthold Lö\;ffler\, Arnold Nechansky\, Michael Powolny\, Felix Rix -Ueno\, Max Snischek\, Vally Wieselthier\, Eduard Josef Wimmer-Wisgrill\, a nd Ugo Zovetti.

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The show is curated by Dr. Christian Witt-Dö\;rring\, Curator of Decorative Arts for Neue Galerie New York\, who has organized past Neue Galerie exhibitions\, includ ing "\;Dagobert Peche and the Wiener Werkstä\;tte"\; (2002)\, & quot\;Viennese Silver: Modern Design\, 1780- 1918"\; (2003)\, and who s erved as co-curator of "\;Vienna 1900: Style and Identity"\; (2011) . Janis Staggs\, Director of Curatorial and Manager of Publications\, is th e co-curator for the exhibition. She organized "\;Wiener Werkstä\;t te Jewelry"\; (2008) and "\;Gustav Klimt and Adele Bloch-Bauer: The Woman in Gold"\; (2015)\, among other projects.

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The show is divided into three main chapters: "\;Foun ding Years\, 1903-05"\;\; "\;Harvesting Years\, 1906-14"\;\; an d "\;Years of Reinvention\, 1915-32."\; A concluding room will high light the Wiener Werkstä\;tte of America\, which was located on Fifth A venue in New York\, as well as Joseph Urban&rsquo\;s involvement with Willi am Randolph Hearst&rsquo\;s Cosmopolitan Productions. The second-floor gall eries will showcase major pieces of furniture\, works on paper\, and decora tive objects with their related design drawings.

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John Vinci of Vinci-Hamp Architects\, a Chicago-based firm\, is the exhibition designer. The show has been conceived to convey the ideal of the Gesamtkunstwerk\, or total work of art. Each of the three main gall eries will provide unique and immersive environments that reflect the indiv idual chapters of the presentation. Period wall treatments and other detail s will evoke the atmosphere of Wiener Werkstä\;tte interiors.

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A fully-illustrated catalogue\, designed by Pandiscio Co. and published by Prestel Verlag\, will accompany the exhibiti on. Essays by specialists in the field will cover the gamut of the Wiener W erkstä\;tte&rsquo\;s long history\, and include analysis of the various departments within the firm\, as well as in-depth examinations of other re lated subjects. The catalogue represents a major addition to the extant lit erature on the Wiener Werkstä\;tte. Contributors include Paul Asenbaum\ , Isabella Crö\;y-Frick\, Annette Freytag\, Rainald Franz\, Marianne Hu ssl-Hö\;rmann\, Ernst Ploil\, Anne Katrin-Rossberg\, Elisabeth Schmutte rmeier\, Janis Staggs\, Angela Vö\;lker\, and Christian Witt-Dö\;rr ing.

\n LOCATION:Neue Galerie Museum for German and Austrian Art\,1048 Fifth Avenue \nNew York\, NY 10028 SUMMARY:Wiener Werkstätte 1903-1932: The Luxury of Beauty END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:454642 DTSTART:20171026T110000 DTEND:20171026T180000 LOCATION:Neue Galerie Museum for German and Austrian Art\,1048 Fifth Avenue \nNew York\, NY 10028 SUMMARY:Wiener Werkstätte 1903-1932: The Luxury of Beauty END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:454643 DTSTART:20171013T000000 DTEND:20180204T000000 DESCRIPTION:

Judith Bernstein will present a new body of work\, specifically commissioned by The Drawing Center\, for her exhibition Cabinet of Horrors in the Main Gallery. Focusing on work made since Donald J. Trump was elected president in November 2016\, t he exhibition will include approximately fifteen new drawings\, four large- scale paper panel murals\, a series of drawn &ldquo\;dollar bills&rdquo\; a nd vintage piggy banks in vitrines\, and a free political campaign pin desi gned by Bernstein. As well\, the exhibition will feature one of Bernstein&r squo\;s earliest political drawings from 1969 and a selection of five &ldqu o\;Word Drawings&rdquo\; from 1995\, including: Liberty\, Just ice\, Equality\, Evil\, and Fear.
\n\nBernstein began engaging with social issues in her work during the 19 60s\, creating anti-Vietnam drawings\, monumental phalluses\, and pieces co nsisting entirely of her own signature. The present series of drawings use Trump&rsquo\;s own insult-driven\, childlike syntax and language to distill Bernstein&rsquo\;s anger\, disgust\, and disapproval of the current admini stration and its policies. Through her new series of drawings\, Bernstein t ransforms her critique into powerful graphic and text-based works.

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\nThe exhibition is organized by Brett Littman\, Executive Director.
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\nJudith Bernstei n: Cabinet of Horrors is made possible by the support of Corina Larkin and Nigel Dawn with additional support provided by Burger Collection\, Hon g Kong\; Karma International\, Zü\;rich/Los Angeles and an anonymous do nor.

\n LOCATION:The Drawing Center\,35 Wooster Street \nNew York\, NY 10013 SUMMARY:Cabinet of Horrors\, Judith Bernstein END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:454644 DTSTART:20171013T100000 DTEND:20171013T180000 LOCATION:The Drawing Center\,35 Wooster Street \nNew York\, NY 10013 SUMMARY:Cabinet of Horrors END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:455023 DTSTART:20170927T000000 DTEND:20180120T000000 DESCRIPTION:

Rosenberg &\; Co. is pleased to present A DIF FERENT MEDIUM\, a historical group exhibition offering a sele ctive survey of artists exploring media and methods beyond their usual purv iew.

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What drives an artist to explore a different medium? In orde r to understand that larger question\, it is important to realize that we a s spectators\, critics\, and art historians usually confine artists to spec ific media. An artist is typically defined by the medium they most commonly work in\, as well as their style and manner of expression.

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Strin gent categorization can be traced back to the fine art institutions of the late eighteenth century\; painters were painters\, sculptors were sculptors \, and drawing was regarded as an auxiliary to more monumental art forms.\n\n

With the dawn of the twentieth century\, artists began to challeng e the hierarchy of medium. Cubists and Dadaists\, such as Jean (Hans) Arp a nd Henri Laurens\, implemented found materials in their works to analyze ne w concepts of abstraction. For other artists\, such as Joseph Csaky\, Agust in Cá\;rdenas\, and Bernard Meadows\, progressions between two-dimens ional and three-dimensional works were integral to the elaboration of their form and style. And for mixed- and multi-media artists\, such as Beatrice Mandelman and Marcin Dudek\, combining and interchanging media in their vis ual practice is a question of exploring materiality\, defying academic cate gorization\, and ultimately pushing the boundaries of what constitutes art.

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A DIFFERENT MEDIUM explores the work o f over twenty Modern and contemporary artists who have utilized various med ia in their creative process or as an avenue to further their primary focus . This show does not presume to be a complete review of the subject\, given that there are hundreds of other examples throughout the ages. Rosenberg & amp\; Co. is pleased to present their survey and invite you to join the con versation.

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Rosenberg &\; Co. renews a salon-s tyle space with a focus on the highest standards of connoisseurship and exp ertise. With an emphasis on the secondary Modern art market\, Rosenberg &am p\; Co. also continues the legacy of working with contemporary artists.

\n LOCATION:Rosenberg & Co.\,19 East 66th Street \nNew York\, NY 10065 SUMMARY:A Different Medium END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:455271 DTSTART:20171104T000000 DTEND:20180128T000000 DESCRIPTION:

Luhring Augustine is pleased t o announce the opening of \;Singles&rsquo\; Mixer\, a multi-pa rt video and sculptural installation by the American artist Mike Kelley.

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Mike Kelley (1954 &ndash\; 2012) was a visionary artist whose complex and diverse body of work forges an incisiv e exploration into the underpinnings of violence within American culture. H e rose to prominence in the 1980s with a series of sculptures in which he a ssembled discarded children&rsquo\;s toys and blankets to create ebullient works that hinged on despair. \;Traces of neglect\, trauma\, and other forms of abuse thread throughout the objects and social rituals represented within his practice. His work altogether remains defiantly irreverent\, us ing humor and absurdity as a tactic for subversion.

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One of Kelley&rsquo\;s most ambitious works is his monumen tal theater-turned-vaudeville installation entitled Day is Done (2 005). Comprised of thirty-one &ldquo\;reconstructions\,&rdquo\; Day is Done presents a collection of vignettes whose narratives are sourced f rom high school yearbook photographs depicting extracurricular activities. According to Kelley\, afterschool activities such as clubs\, sports\, and d ances are structured around socially accepted rituals that incite psycholog ical stress\, to which the mind reacts with a mechanism for subconscious re pression. Day is Done attempts to recover such lapses in memory th rough a medley of imagery\, props\, and performances that loosely formulate a theatrical play.

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On view at Luhr ing Augustine Bushwick is Extracurricular Activity Projective Reconstru ction #8 (Singles'\; Mixer)\, one of the many &ldquo\;reconstructio ns&rdquo\; within the larger production of Day is Done. Situated a t its center is a multi-channel video featuring an eclectic group of charac ters identified by Kelley as a computer nerd\, hillbilly\, Kiss fan\, witch \, and four African American women. While they engage in a seemingly innocu ous conversation about their dream men\, insinuations about class differenc es\, racial stereotypes\, and sexuality gradually surface. The script is os tensibly fictional\, though the nature of their exchange approximates real and relatable interactions occurring in society today. Fusing his personal history of abuse with references to popular culture\, Kelley encourages vie wers to project their own set of experiences and memories upon the work\, p iecing together a collective shared abuse which the artist sought to remedy .

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Born in 1954 in Detroit\, MI\, Ke lley received his B.A. in 1976 from the University of Michigan\, Ann Arbor\ , and his M.F.A. in 1978 from the California Institute of Art\, Valencia. I n his lifetime\, Kelley held solo exhibitions at numerous institutions worl dwide\, including the Musé\;e du Louvre\, Paris\; Institute of Contem porary Art\, London\; Tate Liverpool\; Museum Moderner Kunst\, Vienna\; Los Angeles County Museum of Art\; Whitney Museum of American Art\, New York\; and Hirshhorn Museum and Sculpture Garden\, Washington\, D.C\, among many others. A retrospective of his work was held at the Stedelijk Museum in Ams terdam in 2012\, and subsequently traveled to MoMA PS1\, Long Island City ( 2013)\; Centre Georges Pompidou\, Paris (2013)\; and Museum of Contemporary Art\, Los Angeles (2014). \;

\n LOCATION:Luhring Augustine Bushwick\,25 Knickerbocker Ave. \nNew York\, NY 11237 SUMMARY:Singles' Mixer\, Mike Kelley END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:455585 DTSTART:20171015T000000 DTEND:20180904T000000 DESCRIPTION:

Los Angeles-based artist Liz G lynn presents her most ambitious project to date in MASS MoCA&rsquo\;s sign ature Building 5 gallery\, a sprawling sculptural experience of sight\, sen sation\, sound\, and scent stretching nearly a football field in length. The Archaeology of Another Possible Future expands Glynn&rsquo\;s in terest in the rise and fall of empires\, the assignment of cultural value\, and labor and production. This multi-level presentation &mdash\; which inv ites viewers to experience the museum&rsquo\;s former factory spaces from c atwalks 18 feet above the floor &mdash\; \;examines our physical and ps ychological relationship to our increasingly abstracted world. Glynn is par ticularly interested in the shift from a material-based economy to one in w hich technology companies seem to generate billion dollar valuations out of thin air\, nanotechnology continues to operate beyond the field of the vis ually apprehensible\, and capital is accumulated as a pure concept. Glynn s eeks to reconcile the presence of physical bodies and individual subjectivi ties within this contemporary state\, emphasizing the experience of physica l movement in time and space by creating a two-tiered labyrinth. She sugges ts the sense of ephemeralization through elevated walkways and platforms th at host digital printers above while presenting abstract sculptures below t hat translate abstract data into three-dimensional\, nearly tectonic forms and cave-like structures made of shipping pallets that host a number of ana log sensory experiences\, focusing on touch\, sound\, and scent.

\n LOCATION:Mass MOCA\,87 Marshall Street \nNorth Adams\, Massachusetts 01247 SUMMARY:The Archaeology of Another Possible Future\, Liz Glynn END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:455586 DTSTART:20171015T110000 DTEND:20171015T170000 LOCATION:Mass MOCA\,87 Marshall Street \nNorth Adams\, Massachusetts 01247 SUMMARY:The Archaeology of Another Possible Future END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:455587 DTSTART:20170527T000000 DTEND:20180501T000000 DESCRIPTION:

Marking the first exhibition in a series that is designed to give an extended public forum to artists wh o have participated in the Captiva studio residency program of the Robert R auschenberg Foundation\, Thumbs up for the Mothership features ind ividual works as well as a collaborative installation by New Orleans concep tual artist Dawn DeDeaux and Alabamian self-taught sculptor and musician Lo nnie Holley. Deeply influenced by their southern roots\, both artists mine the landscapes around them for found objects (a nod to Rauschenberg&rsquo\; s &ldquo\;combines&rdquo\;) and engage in dialogues around issues of ecolog y and social justice. DeDeaux and Holley firmly believe that through art\, they can address these issues and &ldquo\;help heal the mothership.&rdquo\; Both DeDeaux and Holley frequently experiment with mixed media and incorpo rate performance into their practice &mdash\; ranging from totemic found ob jects and photography to experimental blues music and Afrofuturist philosop hies. These artists share a deeply held sense of resoluteness and optimism that infuses their art. Holley states: &ldquo\;There are so many rocks and so many broken stones and so many nails and sticks and weeds and debris and garbage and trash. We have to plow and mine the worst things on this earth to make them better\, and to make us better\, so we can show the world: I can handle it. I can deal with it. I can live with it. I can go on.&rdquo\;

\n LOCATION:Mass MOCA\,87 Marshall Street \nNorth Adams\, Massachusetts 01247 SUMMARY:Thumbs Up for the Mothership\, Dawn DeDeaux\, Lonnie Holley END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:455768 DTSTART:20171103T000000 DTEND:20180128T000000 DESCRIPTION:
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Artist and activist Jimmie Durham (b. 1940) has worked as a vis ual artist\, performer\, essayist\, and poet for more than forty-five years . A political organizer for the American Indian Movement during the 1970s\, he was an active participant in the downtown New York City artistic commun ity in the 1980s. In 1987 he moved to Cuernavaca\, Mexico\, then to Europe in 1994\, where he has lived ever since. Predominantly a sculptor\, Durham often combines found objects and natural materials and incorporates text to expose Western-centric views and prejudices hidden in language\, objects\, and institutions. Calling himself an "\;interventionist\,"\; Durha m is oftentimes critical in his analysis of society but with a distinctive wit that is simultaneously generously humorous.

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Durham'\;s expansive practice spans sculpture \, drawing\, collage\, photography\, video\, and performance\, and the exhi bition includes close to 175 objects dating from 1970 to the present. It is accompanied by a catalogue comprising several scholarly essays\, an interv iew with the artist\, a chronology\, and a selection of Durham'\;s own w ritings\, both old and new. The first North American retrospective of Durha m'\;s work\, At the Center of the World traces his remarkable a ttentiveness to materials and characteristic approach to assemblage while d emonstrating his commitment to shedding light on the complexities of histor ical narratives\, notions of authenticity\, and the borders and boundaries that try to contain us.

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Jimmie Durham: At the Center of the World is organized by the H ammer Museum\, Los Angeles\, and curated by Anne Ellegood\, senior curator\ , with MacKenzie Stevens\, curatorial assistant. The Whitney&rsquo\;s prese ntation is organized by Elisabeth Sussman\, Sondra Gilman Curator of Photog raphy\, and Laura Phipps\, assistant curator\, Whitney Museum of American A rt.

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Jimmie Durham: At the Cente r of the World \;is organized by the Hammer Museum\, Los Angeles.< /p>\n\n

The exhibition is made possible\, i n part\, by generous support from The Andy Warhol Foundation for the Visual Arts and the Henry Luce Foundation.

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In New York\, generous endowment support is provided by The Keith Haring Foundation Exhibition Fund.

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\n LOCATION:Whitney Museum of American Art\,99 Gansevoort Street \nNew York\, NY 10014 SUMMARY:At the Center of the World\, Jimmie Durham END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:455769 DTSTART:20171103T110000 DTEND:20171103T210000 LOCATION:Whitney Museum of American Art\,99 Gansevoort Street \nNew York\, NY 10014 SUMMARY:At the Center of the World END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:455770 DTSTART:20171110T000000 DTEND:20180204T000000 DESCRIPTION:
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For more than twenty years\, Los Angeles&ndash\;based artist La ura Owens has pioneered an innovative&mdash\;and at times controversial&mda sh\;approach to painting that has made her one of the most influential arti sts of her generation. Her bold and experimental work challenges traditiona l assumptions about figuration and abstraction\, as well as the relationshi ps among avant-garde art\, craft\, pop culture\, and technology.

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This mid-career survey\, the mo st comprehensive of Owens&rsquo\;s work to-date\, will feature approximatel y 60 paintings from the mid-1990s until today\, as well as \;arti st&rsquo\;s books made specifically for the show. The exhibition will highl ight her significant strides over the past few years\, showing how the earl y work sets the stage for gripping new paintings and installations.< /p>\n\n

Owens emerged on the Los Angeles art scene during the mid-nineties\, at a time when many in the critical establishment viewed painting with suspicion. Her early canvases u pended the traditions of painterly abstraction by incorporating goofy perso nal allusions\, doodling\, and common craft materials. These works often de monstrated her keen interest in how paintings function in a given room and used illusionistic techniques to extend the plane of a wall or floor direct ly into the space of her pictures. More recently\, she has charted a dramat ic transformation in her work\, marshaling all of her previous interests an d talents within large-scale paintings that make virtuosic use of silkscree n\, computer manipulation\, digital printing\, and material exploration. Th e Whitney has a longstanding commitment to Owens\, who has been featured in two Biennials\, and is significantly represented in the Museum&rsquo\;s co llection. \;

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This exhibition is organized by Scott Rothkopf\, Deputy Director for Programs a nd Nancy and Steve Crown Family Chief Curator.

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Major support for Laura Owens is provided by The Andy Warhol Fo undation for the Visual Arts and the Whitney&rsquo\;s National Committee.\n\n

Significant support is provided by N ancy and Steve Crown\; Candy and Michael Barasch\; The Brown Foundation\, I nc.\, of Houston\; Mariel and Jack Cayre\; Marcia Dunn and Jonathan Sobel\; and anonymous donors.

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Generous sup port is provided by Fotene Demoulas and Tom Coté\;\, Charlotte Feng F ord\, Allison and Warren Kanders\, and Ashley Leeds and Christopher Harland .

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Additional support is provided by Rebecca and Martin Eisenberg\, Susan and Leonard Feinstein\, and the Nina and Frank Moore Family Foundation.

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Generous endowment support is provided by Sueyun and Gene Locks and Donna P erret Rosen and Benjamin M. Rosen.

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Curatorial research and travel for this exhibition were funded by an endowm ent established by Rosina Lee Yue and Bert A. Lies\, Jr.\, MD.

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\ n LOCATION:Whitney Museum of American Art\,99 Gansevoort Street \nNew York\, NY 10014 SUMMARY:Solo Exhibition\, Laura Owens END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:455771 DTSTART:20171110T180000 DTEND:20171110T200000 LOCATION:Whitney Museum of American Art\,99 Gansevoort Street \nNew York\, NY 10014 SUMMARY:Solo Exhibition END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:456305 DTSTART:20171014T000000 DTEND:20180210T000000 DESCRIPTION:

Talwar Gal lery\, New York is pleased to present Maati.Maa\, an exhibition of new paintings by Shambhavi Singh.

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The works in Maati.Maa mark a turn within Sham bhavi&rsquo\;s practice: a shift in both perspective and palette that allow s for the entrance of light and sky into works whose focus has been deeply rooted in the earth. In works like the recent Maati 6\, sinuous li nes wind their way not only through elemental ground\, but also up into air that vibrates with color. The artist&rsquo\;s steadfast investigation of t he potency of the motif matures over the course of the exhibition: the meyrd\, or the barriers of mounded earth that divide farmland\, recur as all of the works&rsquo\; central meditation. In Shambhavi&rsquo\;s handl ing\, however\, and especially in the more recent Maati (&ldquo\;E arth&rdquo\;) series\, the meyrd bridge division as much as they mark it. A ppearing like the currents of a vital\, irrepressible life\, the lines flui dly move past any breaks in the canvases\, forming a counterpoint to the ho rizon-lines\, so evocative of dawn rather than dusk\, that her diptychs and triptychs evoke. Shambhavi&rsquo\;s canvases achieve a translucence and fl uidity unprecedented in her oeuvre\, despite the solidity of their backing\ , both physical and intellectual&mdash\;a clarity that may reflect the arti st&rsquo\;s recent struggle with the body&rsquo\;s vulnerability to illness \, as well as its resilience. Human in scale\, each work in Maati.Maa highlights Shambhavi&rsquo\;s unwavering commitment to the individual\, the material\, the local&mdash\;even while\, viewed together\, the works u nite with an expansive\, soaring force that speaks to the breadth of the ar tist&rsquo\;s vision.

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Over the course of her three-decade career\, Shambhavi has staked he r interest deeply in the earth&mdash\;its nurturing fecundity\, its overwhe lming might\, its unexpected precarity&mdash\;as well as in the relationshi p between the land and those who cultivate it. Developing from her childhoo d in the rural and largely agricultural state of Bihar\, Shambhavi&rsquo\;s engagement with the natural has taken form in painting\, sculpture\, and i nstallation&mdash\;in each medium holding open\, in graceful tension\, the generative space between figuration and abstraction. Her work\, concerned w ith the power and plight of the farmer as both mythified figure and real wo rker\, as well as the sustainability of the modern practices towards the ea rth\, gains greater relevance with each day&mdash\;even as it provides both a message of hope and a call for action.

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Shambhavi Shambhavi&rsquo\;s works have been exh ibited in India\, New York\, Australia\, South Africa\, Singapore and the N etherlands\, and are in the permanent collection of the Museum of Modern Ar t (MoMA)\, NY\, among other institutions and private collections worldwide. Shambhavi was born in 1966 in Bihar\, India. She received her Bachelors of Fine Arts in Painting at the College of Fine Arts and Crafts\, Patna\, and a Masters of Fine Arts and Painting from the College of Arts\, New Delhi. Shambhavi lives and works in Delhi.

\n LOCATION:Talwar Gallery - NY\,108 East 16th Street \nNew York\, NY 10003US SUMMARY:Maati.Maa\, Shambhavi Singh END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:456344 DTSTART:20171130T000000 DTEND:20180127T000000 DESCRIPTION:

The photographs and films of Ren& eacute\; Magritte came to light in the mid-1970s\, more than ten years afte r the Surrealist artist&rsquo\;s death. The discovery of these gem-like tre asures has led to a deeper understanding of the close relationship Magritte maintained with photography. They reveal how he used these tools to experi ment with his ideas\, while providing rare access to an informal side of th e artist and those with whom he surrounded himself. \;These images\, wh ich he often executed or collaborated with others to produce\, contribute t o our overall understanding of this intrepid artist\, and provide key visua l insight into Magritte&rsquo\;s relationship with the photographic medium\ , and its role within his greater oeuvre.  \;

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Regarded as one of the most important artists of the post-war e ra in Europe\, René\; Magritte was a leading figure in the Surrealist movement. He sought revolution against the rational mind\, stating\, &ldqu o\;Everything we see hides another thing\; we always want to see what is hi dden by what we see.&rdquo\; Widely recognized for his stunning\, and often haunting paintings which juxtapose common objects within dream-like scenar ios\, Magritte was a master provocateur. Revisiting motifs of cloth-covered figures\, objects in flight\, and concealed identity have become a well-kn own hallmark of his distinct sensibility\, often signaling back to trauma o f the artist&rsquo\;s past. His Surrealist masterpieces tantalize and disto rt reality\, evoking a singular sense of mystery within the viewer. Magritt e&rsquo\;s approach to painting and sculpture avoided stylistic distraction s of modern art making. His recently discovered films and photographs revea l how he used these art forms to explore the bounds of his imagination.

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His photographs and films were the subjec t of the major exhibition\, René\; Magritte: The Revealing Image\ , Photos and Films at the Latrobe Gallery\, Victoria\, Australia (Augu st 19 - November 19\, 2017).

\n LOCATION:Bruce Silverstein Gallery\,529 West 20th Street Third Floor\nNew Y ork\, NY 10011US SUMMARY:The Photographs\, René Magritte END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:456368 DTSTART:20171004T000000 DTEND:20180422T000000 DESCRIPTION:

This fall\, the New-York Histo rical Society presents a groundbreaking exhibition on one of the most contr oversial events of the 20th century: the Vietnam War. Populating a 3\,000-s quare-foot gallery with interpretive displays\, digital media\, artwork\, a rtifacts\, photographs\, and documents\, the exhibit will provide an enligh tening account of the causes\, progression\, and impact of the war. Spannin g the duration of U.S. involvement in Indochina from 1945 to 1975\, the nar rative will incorporate perspectives that cover \;both the home front a nd the war front.

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Displays will fea ture such topics as the Cold War\, the draft\, military campaigns initiated by both sides\, the growth of the antiwar movement\, the role of the presi dent\, and the loss of political consensus. Throughout the exhibition\, vis itors will explore themes of patriotism\, duty\, and citizenship. Key objec ts will include a troopship berthing unit\, vibrant antiwar posters\, artwo rk by Vietnam vets\, a Viet Cong bicycle\, the Pentagon Papers\, and histor ical film footage. Long overdue in the realm of public history\, the exhibi t will not only provide a chronological and thematic analysis of the Vietna m War but also inspire a fuller\, more diverse conversation about the war. The exhibition is curated by Marci Reaven\, vice president of history exhib itions. \;The exhibition'\;s \;illustrated compa nion book \;may be purchased at the NYHistory Store. \;

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Major suppo rt for The Vietnam War provided by the National Endowment for the Humanities: Exploring the human endeavor\, Bernard L. Schwartz\, the Acheli s and Bodman Foundation\, and the New York City Department of Cultural Affa irs in partnership with the City Council. Educational and public programmin g made possible by the Institute of \;Museum and Library Services.

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Additional support for the exhibition provided in honor of Gunner&rsquo\;s Mates Simpson\, Wicks\, and Von Essen\, once of the USS Hornet\, by James Grant\; \;Bridgewater Associates\; \;Amherst Pierpont\; \;Harla n Batrus\; \;Stifel\; \;the Southern 7 Chapter of the Young Preside nts'\; Organization\; \;and Karen and Paul Isaac.
\n LOCATION:New York Historical Society\,170 Central Park West \nNew York City \, NY 10024 SUMMARY:The Vietnam War: 1945 – 1975 END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:456369 DTSTART:20170915T000000 DTEND:20180121T000000 DESCRIPTION:

Ominous threats filled the yea rs around World War II&mdash\;Nazism\, the escalating plight of European Je ws\, Fascism\, Japanese militarism\, and racism. Arthur Szyk\, the great 20 th-century activist in art\, confronted the turbulent\, hate-filled period with forceful artistic depictions caricaturing Hitler\, Mussolini\, and Hir ohito as the evil architects of their regimes&rsquo\; destructive and inhum ane policies. Arthur Szyk: Soldier in Art explores the activism of the Polish-born artist through more than 40 politically incisive works tha t underscore Szyk&rsquo\;s role as a kind of &ldquo\;one man army&rdquo\; f ighting odious policies and protagonists and advocating civil and human rig hts. Arthur Szyk: Soldier in Art is curated by Debra Schmidt Bach\ , curator of decorative arts\, with Irvin Ungar\, project adviser. \;Th e book\, \;Arthur Szyk : Soldier in Art\, is available from the NYHistory Store. \;\n\n

Support for Arthur Szyk: Soldier in Art is provided by Shelley and Steven Einhorn\, the David Berg Foundation\, the Edward and Sandra Meyer Foundation\, and Nancy and Morris W. Offit.

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Exhibitions at New-York Historical ar e made possible by Dr. Agnes Hsu-Tang and Oscar Tang\, the Saunders Trust f or American History\, and the New York State Council on the Arts with the s upport of Governor Andrew Cuomo and the New York State Legislature.

\n LOCATION:New York Historical Society\,170 Central Park West \nNew York City \, NY 10024 SUMMARY:Soldier in Art\, Arthur Szyk END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:456370 DTSTART:20171027T000000 DTEND:20180225T000000 DESCRIPTION:

A magical wonderland awaits vi sitors with the return of this \;holiday \;tradition. Featuring hun dreds of toy trains\, figurines\, and miniature models from the renowned Je rni Collection\, the exhibition&rsquo\;s immersive scenes and displays tran sport young and old alike to a bygone era. \;Holiday \;Express< /em> \;begins at the West 77th Street entrance\, where trains appear to roar through the Museum with the help of four large-scale multimedia scree ns\, and extends through large swaths of the first floor. Organized by Mike Thornton\, associate curator of material culture.

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Holiday Express \;is sponsored by:
\nBloomberg Philanthropies

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Exhibitions at the New-York Historical Society are made possi ble by Dr. Agnes Hsu-Tang and Oscar Tang\, the Saunders Trust for American History\, the New York City Department of Cultural Affairs\, and the New Yo rk State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.

\n LOCATION:New York Historical Society\,170 Central Park West \nNew York City \, NY 10024 SUMMARY:Holiday Express: Toys and Trains from the Jerni Collection END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:456371 DTSTART:20171027T100000 DTEND:20171027T200000 LOCATION:New York Historical Society\,170 Central Park West \nNew York City \, NY 10024 SUMMARY:Holiday Express: Toys and Trains from the Jerni Collection END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:456372 DTSTART:20171103T000000 DTEND:20180311T000000 DESCRIPTION:

Mapping America&rsquo\;s R oad from Revolution to Independence \;showcases hand-drawn and eng raved maps from the 18th and early 19th centuries that illuminate the treme ndous changes&mdash\;geographic\, political\, and economic&mdash\;that occu rred before\, during\, and just after the Revolutionary War. The exhibition features rarely displayed manuscripts and printed maps from New-York Histo rical&rsquo\;s own premier collection\, including \;the original manusc ript surveys \;of \;Robert Erskine\, Geographer and Surveyor Genera l of the Continental Army\, and his successor Simeon De Witt. Also on displ ay will be John Jay&rsquo\;s personal copy of John Mitchell&rsquo\;s \; Map of the British and French Dominions in North America \;(17 55) \;to which hand-drawn red lines representing proposed boundaries we re added during the negotiations \;of the Treaty of Paris\, \;1782 - \; 1783. This exhibition was organized by the Norman B. Leventhal Map Center at the Boston Public Library as \;We Are One: Map ping America&rsquo\;s Road from Revolution to Independence \;a nd curated at New-York Historical by Nina Nazionale\, Director of Library O perations and Curator of Printed Collections. \;The book\, \;Revolution: Mapping the Road to Ameri can Independence\, 1755-1783\, is available for purchase at the NY History Store. \;

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Lead support for We Are One provided by Mary Jo Otsea and Richard H. Brown. \; Addit ional support provided by the Berkley Family Foundation\, Gerry Lenfest\, t he Sherry and Alan Leventhal Family Foundation\, Mr. and Mrs. Samuel C. But ler\, William B. Ginsberg\, Ruth and Sid Lapidus\, William S. Reese\, Tom a nd Lee Touchton\, and an anonymous donor.

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Exhibitions at the New-York Historical Society are made possible by Dr. Agnes Hsu-Tang and Oscar Tang\, the Saunders Trust for American History \, the New York City Department of Cultural Affairs\, and the New York Stat e Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.

\n LOCATION:New York Historical Society\,170 Central Park West \nNew York City \, NY 10024 SUMMARY:Mapping America’s Road from Revolution to Independence END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:456373 DTSTART:20171103T100000 DTEND:20171103T200000 LOCATION:New York Historical Society\,170 Central Park West \nNew York City \, NY 10024 SUMMARY:Mapping America’s Road from Revolution to Independence END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:456374 DTSTART:20171103T000000 DTEND:20180325T000000 DESCRIPTION:

Hotbed \;explores the vibrant political and artistic scene of Greenwich Village in the early 20th century\, where men and women joined forces across the boundaries of class and race to fight for a better world. At the heart of the downtown ra dicals&rsquo\; crusade lay women&rsquo\;s rights: to control their own bodi es\, to do meaningful work\, and above all\, to vote. Immersive installatio ns and more than 100 artifacts and images&mdash\;drawn from New-York Histor ical&rsquo\;s archives and several private collections&mdash\;bring to life the bohemian scene and its energetic activist spirit. The exhibition is cu rated by Joanna Scutts\, Andrew W. Mellon Postdoctoral Fellow in Women&rsqu o\;s History\, and Sarah Gordon\, Senior Postdoctoral Marie Zimmermann Lega cy Fellow in Women&rsquo\;s History\, under the direction of Valerie Paley\ , vice president\, chief historian\, and director of the Center for Women&r squo\;s History at the New-York Historical Society\, and is on view in the Joyce B. Cowin Women&rsquo\;s History Gallery.

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Support for Hotbed is provided by New York Life.

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Exhibitions at the New-York Historical Soc iety are made possible by Dr. Agnes Hsu-Tang and Oscar Tang\, the Saunders Trust for American History\, the New York City Department of Cultural Affai rs\, and the New York State Council on the Arts with the support of Governo r Andrew Cuomo and the New York State Legislature.

\n LOCATION:New York Historical Society\,170 Central Park West \nNew York City \, NY 10024 SUMMARY:Hotbed END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:456375 DTSTART:20171103T100000 DTEND:20171103T200000 LOCATION:New York Historical Society\,170 Central Park West \nNew York City \, NY 10024 SUMMARY:Hotbed END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:456471 DTSTART:20171009T000000 DTEND:20180126T000000 DESCRIPTION:

The ARTViews Gallery at Montefiore Medical Center is please to present &ldquo\; Say it with flowers&rdquo\; the photo collages of Linda Stillman.

\n LOCATION:Montefiore Medical Center\,111 East 210 Street \nBronx\, NY 10467U S SUMMARY:"Say it with Flowers"\, Linda Stillman END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:456472 DTSTART:20171012T180000 DTEND:20171012T200000 LOCATION:Montefiore Medical Center\,111 East 210 Street \nBronx\, NY 10467U S SUMMARY:"Say it with Flowers" END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:456549 DTSTART:20171024T000000 DTEND:20180216T000000 DESCRIPTION:

'\;Concrete Truth: Art and the Documentary'\; considers vital questions around fact and image-m aking. The exhibition presents recent lens-based works positioned at the bo undary of art and the documentary.

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During the last two decades\, visual artists have revitalized do cumentary practices\, facilitated by new media technologies and modes of ci rculation. Documentary approaches help us bear witness to both individual a nd collective realities\, often using found footage\, biographical narrativ es\, textual documents\, and historic reenactments. The artists in Concrete Truth respond to times of crisis by interweaving documentary practices\, a esthetics and ethics. Several artists in the exhibition employ documentary formats as a strategy to construct counter-narratives\, in works that deal with a range of concerns including the histories of Indigenous peoples\, th e role of media in political conflict\, internet ethics\, the abuse of gove rnmental power\, and archives and copyright issues.

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Artists in the exhibition include Edgardo Arag& oacute\;n\, Eric Baudelaire\, Paolo Cirio\, Maryam Jafri\, belit sağ\, and Krista Belle Stewart.

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&# 39\;Concrete Truth: Art and the Documentary'\; takes stock of documentar y art work produced in the last few years\, and highlights the various ways artists represent political and social realities in an age of global disin formation. Among the works on view will be a video by Krista Belle Stewart that combines 1960s documentary footage of the artist&rsquo\;s mother at th e beginning of her career as British Columbia&rsquo\;s first Aboriginal pub lic health nurse with her mother&rsquo\;s recent testimonies of the trauma she endured in an Indian Residential School. Current ISCP resident Paolo Ci rio&rsquo\;s installation obfuscates the 15 million mugshots made public on internet databases for corporate profit. Photographs of the independence c eremonies of Asian and African nations are the subject of Maryam Jafri&rsqu o\;s work\, specifically looking at the ways these images have been illegal ly copyrighted by stock agencies and digitally &ldquo\;colonized.&rdquo\; U sing landscape as a sign of the political climate\, Eric Baudelaire traces the story of a young man from his troubled home in the Parisian suburbs to Syria\, where he joins ISIS. Edgardo Aragó\;n&rsquo\;s critical carto graphy and video of everyday conditions in Cachimbo\, Mexico\, demonstrates the crippling effects of foreign power. The amnesia of both public and per sonal memory&mdash\;framed by a bombardment of contentious media images in Turkish politics&mdash\;shapes belit sağ&rsquo\;s activist artwork.< /p>\n\n

'\;Concrete Truth'\; will be accompanied by public programs including a conversation between Paolo C irio and Julia Powles in December\, and a lecture by Krista Belle Stewart i n early 2018\, among other events.

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This exhibition is curated by Kari Conte\, Director of Programs and Exhibitions.

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This pr ogram is supported\, in part\, by The Gre enwich Collection LTD.\, National Endowment for the Arts\, New York City Council District 34\; New York City Department of Cultural Affairs in partnership with the City Council\; New York State Council on the Arts with the support of Governor Andrew M. Cuomo and t he New York State Legislature.

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Image: Krista Belle Stewart\, '\;Seraphine\, Seraph ine'\;\, 2015\, digital video and sound\, 38:57 min. Courtesy of the art ist.

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Admission to the ex hibition and all the public programs is free.

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Gallery hour s: Tuesday-Friday 12-6pm

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For mo re information\, please visit ISCP'\;s \;website.

\n LOCATION:International Studio & Curatorial Program (ISCP)\,1040 Metropolita n Avenue \nBrooklyn\, NY 11211US SUMMARY:Concrete Truth: Art and the Documentary\, Edgardo Aragón\, Eric Bau delaire\, Paolo Cirio\, Maryam Jafri\, belit sağ\, Krista Belle Stewart END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:456551 DTSTART:20171024T180000 DTEND:20171024T200000 LOCATION:International Studio & Curatorial Program (ISCP)\,1040 Metropolita n Avenue \nBrooklyn\, NY 11211US SUMMARY:Concrete Truth: Art and the Documentary END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:456557 DTSTART:20171118T000000 DTEND:20180311T000000 DESCRIPTION:

From Frankenthaler to Warhol: Art of the 60s and 70s\, on is view from November 18\, 2017\, through March 11\ , 2018. Helen Frankenthaler\, Jasper Johns\, Roy Lichtenstein\, James Rosen quist\, Romare Bearden\, May Stevens\, Andy Warhol\, and many more highligh t the trends that defined the art of the times and stretched the definition of fine art. \; Includes abstract works that explore line\, shape and color\; and representational art on subjects from popular culture and every day urban and suburban environments. Color Field\, Minimalist\, Pop\, and P hotorealism characterized the art during the dynamic decades of the 60s and 70s. \;

\n LOCATION:The Heckscher Museum of Art\,2 Prime Avenue \nHuntington\, NY 1174 3-7702 SUMMARY:From Frankenthaler to Warhol: Art of the '60s and '70s at Hecksher Museum of Art END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:456558 DTSTART:20171010T180000 DTEND:20171010T200000 LOCATION:The Heckscher Museum of Art\,2 Prime Avenue \nHuntington\, NY 1174 3-7702 SUMMARY:From Frankenthaler to Warhol: Art of the '60s and '70s at Hecksher Museum of Art END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:456863 DTSTART:20171202T000000 DTEND:20180131T000000 DESCRIPTION:

ROMANTICS\, UNITE! Art Show

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Paint ings by Rossella BLUE Mocerino

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December 2\, 2017 - January 31\, 2 018

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 \;

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Opening Event Thursday\, December 7 \, 2017

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from 5:00 pm to 6:45 pm

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Speakers\, Per formance\, Art and Refreshments!

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 \;

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Bloomi ngdale Library 150 West 100th Street

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between Amsterdam A ve. &\; Columbus Ave.

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Subway Stops: 96th St (1\, 2\, 3\, 5) &a mp\; 103rd St (1)

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 \;

\n LOCATION:Bloomingdale Library\,150 West 100th Street \nNew York\, NY 10025U S SUMMARY:Romantics\, Unite! Art Show\, rossella BLUE mocerino END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:457084 DTSTART:20171114T000000 DTEND:20180203T000000 DESCRIPTION:

EXTENDED!
\nThrough Saturday\, Febru ary 3\, 2018

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If you want to find the truth in something\, take it apart piece by piece\ , then put it back together with the detail of a forensic scientist. This i s a classical way to deconstruct a narrative. However\, when you stand in f ront of 24 Hour Psycho (1993) slowly unfolding piece by piece\, af ter five minutes\, you&rsquo\;ve lost track of where the narrative started. I like this idea that you can take almost a scientific method and end up l ost in a labyrinth of multiple\, conflicting meanings\, and that you have t o acknowledge your own forgetfulness.
\n&mdash\;Douglas Gordon

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Gagosian is pleased to present &ldquo \;back and forth and forth and back\,&rdquo\; an exhibition of two key film works by Douglas Gordon: 24 Hour Psycho Back and Forth and To and Fro< /em> (2008) and 5 Year Drive-By (1995).

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In his projections\, installations\, photographs\, text works \, performances\, and more\, Gordon investigates collective memory and self hood\, whether divided\, fragmented\, or dissolved altogether. His interest in temporal manipulation is especially evident in his films and videos\; u sing his own work and that of others as raw material\, he distorts time in order to disorient and challenge.

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F or both films in &ldquo\;back and forth and forth and back\,&rdquo\; Gordon has diffused the suspense and longing of their original plots\, forming ne w conditions for viewing and absorbing their content. In 5 Year Drive-B y (1995)\, the controversial American Western The Searchers ( 1956) is slowed down from its original 119 minutes to five years\, reflecti ng the narrative in the film where a middle-aged Civil War veteran named Et han Edwards (played by John Wayne) spends five years searching for his lost niece\, who was taken by a Comanche tribe. While the original film\, direc ted by John Ford\, is full of fast-paced\, dynamic scenes\, as Edwards trav els across the technicolor desert landscape\, 5 Year Drive-By move s so slowly that the frame only changes every twenty-four minutes\, causing the moving image to appear almost as a billboard still.

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On the other hand\, 24 Hour Psycho Back and Forth and To and Fro (2008) allows time to flow forward and backward at the same time\, exacerbating the already unsettling plot of Alfred Hitchcock&r squo\;s iconic thriller Psycho (1960). While Gordon&rsquo\;s earli er 24 Hour Psycho (1993) slowed down Hitchcock&rsquo\;s original t o a few frames per second\, extending the duration of the film to 24 hours\ , 24 Hour Psycho Back and Forth and To and Fro introduces an addit ional layer of distortion. The film plays on two adjoining screens: on one\ , the film starts from the beginning\, and on the other it starts from the end\, so that for an unbearably brief moment (one twenty-fourth of a second )\, after waiting for twelve hours\, the screens show the same sequence\, t he mirrored images resembling a giant\, slow-moving Rorschach test.

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Using edited footage as a malleable resour ce\, Gordon sets up new definitions of suspense and climax. Rather than wai ting for John Wayne to storm in on horseback\, or for Janet Leigh&rsquo\;s killer to appear in silhouette\, knife in hand\, behind her\, viewers of Go rdon&rsquo\;s film works enter a hypnotic and photographic spectacle with t he hope of simply seeing a frame change\, or for two temporal directions to overlap.

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A 24-hour screeni ng of 24 Hour Psycho Back and Forth and To and Fro will take place at the 21st Street gallery on November 17\, starting at 1 0am and finishing on November 18 at 10am< /strong>. The gallery will then resume normal hours on the 18th (10 am&ndash\;6pm).

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Do uglas Gordon was born in 1966 in Glasgow\, and lives in Berlin and Paris. Collections include the Museum of Modern Art\, New York\; Solomon R . Guggenheim Museum\, New York\; Museum of Contemporary Art\, Los Angeles\; National Gallery of Canada\, Ottawa\; Tate\, London\; Centre Georges Pompi dou\, Paris\; Royal Museums of Fine Arts of Belgium\, Brussels\; Museum f&u uml\;r Moderne Kunst\, Frankfurt\; Stedelijk Museum\, Amsterdam\; MUSAC - M useo de Arte Contemporá\;neo de Castilla y Leó\;n\, Spain\; and Migros Museum fü\;r Gegenwartskunst\, Zurich. Institutional exhibition s include &ldquo\;Douglas Gordon: Timeline\,&rdquo\; Museum of Modern Art\, New York (2006\, traveled to MALBA - Museo de Arte Latinoamericano de Buen os Aires)\; &ldquo\;Pretty much every film and video work from about 1992 u ntil now\,&rdquo\; British School at Rome (2007\, traveled to San Francisco Museum of Modern Art)\; &ldquo\;Douglas Gordon. Between Darkness and Light . Works 1993&mdash\;2004\,&rdquo\; Kunstmuseum Wolfsburg\, Germany (2007)\; Tate\, London (2010)\; Museum fü\;r Moderne Kunst (MMK)\, Frankfurt am Main (2011&ndash\;12)\; &ldquo\;I am also ....\,&rdquo\; Tel Aviv Museum o f Art\, Israel (2013)\; &ldquo\;Everything Is Nothing without Its Reflectio n &ndash\; A Photographic Pantomime\,&rdquo\; Museum Folkwang\, Germany (20 13)\; &ldquo\;Pretty much every film and video work from about 1992 until n ow\,&rdquo\; Musé\;e d&rsquo\;Art Moderne\, Paris (2014)\; &ldquo\;th e only way out is the only way in: Douglas Gordon\,&rdquo\; Australian Cent re for Contemporary Art\, Melbourne (2014)\; the 19th Biennale of Sydney (2 014)\; PRISMES\, Paris Photo\, Grand Palais (2016)\; Scottish National Port rait Gallery\, Edinburgh (2017)\; and documenta 14\, Athens (2017). Gordon& rsquo\;s film works have been shown at the Festival de Cannes\; Toronto Int ernational Film Festival (TIFF)\; Venice Film Festival\; and Glasgow Film F estival\, among others.

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In 2008 Gor don was Juror at the 65th International Venice Film Festival\, and in 2012 he was the Jury president of Cinema XXI at the 7th Rome Film Festival. In 1 996\, he received the Turner Prize and the Kunstpreis Niedersachsen\, Kunst verein Hannover. He was awarded the Premio 2000 at the 47th Biennale di Ven ezia (1997)\; the Hugo Boss Prize at the Guggenheim Museum SoHo\, New York (1998)\; the Roswitha Haftmann Prize awarded by the Kunsthaus Zü\;rich (2008)\; and the Kä\;the-Kollwitz Prize awarded by the Akademie der K&u uml\;nste\, Berlin (2012). In 2012\, Gordon became a Commandeur dans l&rsqu o\;ordre des Arts et des Lettres\, awarded the title by the French Cultural Minister in Berlin on behalf of the French Republic.

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Gordon has also been commissioned to produce an original public artwork for the new Crossrail station at Tottenham Court Road\, Lon don\, opening in December 2018.

\n LOCATION:Gagosian Gallery- 21st St.\,522 West 21st Street \nNew York\, NY 1 0011 SUMMARY:back and forth and forth and back\, Douglas Gordon END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:457085 DTSTART:20171114T180000 DTEND:20171114T200000 LOCATION:Gagosian Gallery- 21st St.\,522 West 21st Street \nNew York\, NY 1 0011 SUMMARY:back and forth and forth and back END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:457175 DTSTART:20171025T000000 DTEND:20180429T000000 DESCRIPTION:

Since early on in his career A ngel Otero has aligned his practice to the oldest and most revered painting tradition\, which he endeavors to constantly reinvent it. Thus\, Otero not only retains a commitment to making paintings and sculptures\, but at key points in his career he has underscored that dedication with a personal mis sion to revisit key examples of the art of the past. Using a disciplined\, thoroughgoing\, empirical studio process\, Otero has established a composit ional method that brings together and pulls apart disparate artistic influe nces to develop his own unique visual language.

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Guest curator Christian \;Viveros-Fauné\; invites us to consider Otero&rsquo\;s own evolving process of formal innovation in re lation to that of the artist Robert Motherwell. A leading Abstract Expressi onist and the author of over one hundred paintings that he titled Elegy to the Spanish Republic (completed between 1948 and 1967)\, Motherwel l created his mostly monochrome canvases as a &ldquo\;lamentation or funera l song&rdquo\; on the subject of the Spanish Civil War. Invariably\, these works have also served as illustrations of the power of abstract art to tak e on both urgent themes and modernity&rsquo\;s constant need for artistic i nnovation.

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&ldquo\;Every intelligen t painter carries the whole culture of modern painting in his head\,&rdquo\ ; Motherwell once said. &ldquo\;It is the real subject\, of which everythin g he paints is both an homage and a critique\, and everything he says is a gloss.&rdquo\; The work Angel Otero has produced for the Bronx Museum are n ot elegies in the typical sense\, but celebrations of twenty-first century painterly innovation and of the resilience of art during times of change.\n\n

Angel Otero: Elegies is mad e possible by Lead Sponsors Dedalus Foundation\, Lehmann Maupin\, Kavi Gupt a\, and Jody and Gerald Lippes\; Major Supporters Art Wise\, Inc.\, Joshua Stein PLLC\, Susanne Vielmetter Los Angeles Projects\, Carla Camacho and Mi chael Hermann\, Steven Fisher\, Stephen and Marilyn Greene\, Joseph Mizzi\, Nancy Delman Portnoy\, Sam and Shanit Schwartz\, Carole Server and Oliver Frankel\, and Karen and Steven Shapiro\; and\, the Director&rsquo\;s Circle \, the Museum&rsquo\;s premier support group.

\n LOCATION:Bronx Museum of the Arts\,1040 Grand Concourse at 165th Street\nBr onx\, NY 10456 SUMMARY:Elegies\, Angel Otero END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:457176 DTSTART:20171025T180000 DTEND:20171025T200000 LOCATION:Bronx Museum of the Arts\,1040 Grand Concourse at 165th Street\nBr onx\, NY 10456 SUMMARY:Elegies END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:457177 DTSTART:20171108T000000 DTEND:20180408T000000 DESCRIPTION:
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Insp ired by the boundless humanism in Walt Whitman&rsquo\;s poem &ldquo\;Crossi ng Brooklyn Ferry\,&rdquo\; Susannah Ray has developed a new series of phot ographs on the waterways of New York City. In his poem\, Whitman calls out to the tides\, the gulls\, the ferry passengers\, the light\, the clouds\, the ships\, the sailors\, the waves\, the cities on the far shore. In his e yes\, all humans are divine\, their reflected faces anointed by &ldquo\;fin e spokes of light&rdquo\; in the passing waters. At the Bronx Museum\, Ray will present a selection of images captured specifically in the Bronx.

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In its fuller scope\, A Further Sho re conjures the distant spires of Manhattan\, as seen across the bays and harbors\, rivers and creeks\, and also returns the viewer to the far re aches of the outer boroughs. There\, time moves according to season\, cease lessly circling back upon itself\, eschewing the forward march of the grid. Daylight lengthens\, the water warms and resounds with voices and motors. Daylight shortens\, the waters cool into icy silence. Shoreline remnants ta ngle into fictive histories. Bridges arc from shore to shore\, steel longin gs drawn between boroughs\, eternally crossing the tides below.

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A Further Shore reveals the waterways and shorelines of New York City as spaces of escape\, revelation and trans cendence. Like Whitman'\;s poetry\, the photographs plumb a communal hum an connection to the water\, one that exists as potently now as it did in h is century.

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Susannah Ray is an adju nct Associate Professor of Photography at Hofstra University.

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\n LOCATION:Bronx Museum of the Arts\,1040 Grand Concourse at 165th Street\nBr onx\, NY 10456 SUMMARY:A Further Shore\, Susannah Ray END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:457178 DTSTART:20171108T110000 DTEND:20171108T180000 LOCATION:Bronx Museum of the Arts\,1040 Grand Concourse at 165th Street\nBr onx\, NY 10456 SUMMARY:A Further Shore END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:457179 DTSTART:20171108T000000 DTEND:20180408T000000 DESCRIPTION:

Best known for his monumental cuts\, holes\, apertures\, and excisions to the facades of derelict homes a nd historic buildings in New York\, New Jersey\, Chicago\, and abroad\, Gor don Matta-Clark&rsquo\;s work conveys a potent critique of architecture' \;s role vis-à\;-vis the capitalist system. Taking as a point of depa rture the pivotal series of &ldquo\;cuts&rdquo\; produced in the Bronx in t he early 1970s that led to his further exploration of the city as a field o f action\, Gordon Matta-Clark: Anarchitect will examine the artist &rsquo\;s pioneering social\, relational\, and activist approach. The exhib ition highlights the political dialogue inherent in the artist&rsquo\;s art istic interventions&mdash\;from his concern for the extreme plight of the h omeless\, his interest in direct community engagement\, his belief that we should expand our lived experience of a city into its underground and other inaccessible spaces\, and his commentary on development and socioeconomic stratification.

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Gordon Matta-Cl ark: Anarchitect includes over 100 artworks by the artist\, rarely see n materials from his archive\, and immersive film projections. On view begi nning November 2017\, Gordon Matta-Clark: Anarchitect is organized by Antonio Sergio Bessa\, Bronx Museum Director of Curatorial and Educatio n Programs\; and Jessamyn Fiore\, independent curator and co-director of th e Matta-Clark Estate. Following the Bronx Museum presentation\, the exhibit ion will travel to the Jeu de Paume in Paris\, France\, the Kumu Art Museum in Tallinn\, Estonia and the Rose Art Museum\, in Waltham\, Massachusetts.

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Gordon Matta-Clark: Anarchitec t \;exhibition and catalogue are made possible by the Henry Luce F oundation\, National Endowment for the Arts\, Graham Foundation for Advance d Studies in the Fine Arts\, Blue Rider Group at Morgan Stanley\, David Zwi rner\, Estate of Gordon Matta-Clark\, and \;Furthermore: a program of t he J. M. Kaplan Fund.

\n LOCATION:Bronx Museum of the Arts\,1040 Grand Concourse at 165th Street\nBr onx\, NY 10456 SUMMARY:Anarchitect\, Gordon Matta-Clark END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:457180 DTSTART:20171108T110000 DTEND:20171108T180000 LOCATION:Bronx Museum of the Arts\,1040 Grand Concourse at 165th Street\nBr onx\, NY 10456 SUMMARY:Anarchitect END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:457206 DTSTART:20171027T000000 DTEND:20180127T000000 DESCRIPTION:

EXTENDED!
\nThrough Sat urday\, January 27\, 2018

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I had two striking realizations: one\, that even if I produced the worst paintings possible\, they would not be good enough\; and two\, that idealism is unavoidable.
\n&mdash\;Neil Jenney

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Gagosian is pleased to present dra wings and paintings by Neil Jenney.

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A maverick in twentieth cent ury American art\, Jenney shifted his focus from abstract painting and scul pture in order to pursue a new type of realism\, adopting the binary of &ld quo\;bad&rdquo\; and &ldquo\;good&rdquo\; paintings. He began to make the < em>Bad Paintings in the 1960s\, referring to them as such after Marcia Tucker&rsquo\;s exhibition &ldquo\;Bad Painting&rdquo\; at the New Museum in 1978. These purposefully sketchy\, gestural works poked at preconception s of taste and connoisseurship\, and\, according to Jenney\, were &ldquo\;g ood concepts painted badly.&rdquo\; With them\, he sought to indicate narra tive truth through the depiction of elementary relationships between people and things. The Good Paintings\, ongoing since the 1970s\, pursue this same goal\, but through an opposite approach. Using oil paint on wood panel\, Jenney produces flawless\, heavily stylized studies of the North A merican landscape\, each surface so detailed that it seems to surpass reali ty. And most recently\, in the New Good Paintings\, he has expande d his scope to include other geographic locations\, creating vistas that ar e as disorienting as they are clear.

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The current exhibition\, hi s third with Gagosian since joining in 2011\, includes one painting from ea ch of these three key phases in Jenney&rsquo\;s career\, as well as a selec tion of drawings\, which further reveal his social and artistic concerns. F irst\, in Moms and Kids (1969)&mdash\;a dichotomous title typical of the Bad Paintings&mdash\;children play on swings and a seesaw w hile their mothers watch from a bench nearby. A fence separates the childre n from a black road\, and the larger area of the canvas is filled in with f resh green acrylic paint\, thinly applied in wayward\, untidy strokes. Next is Ozarkia (2014)\, a late Good Painting\, which shows\, in smoothly blended oil paint\, a long branch\, rocks\, and the gleaming s urface of water\, a horizonless view so crisp that one can almost feel the cool mountain air of the American Midwest to which the title refers. Lastly \, a New Good Painting titled Modern Africa (2016) evokes the dry climate of northern Africa\, depicting a staircase and a ramp-like fragment surrounded by sand\, with footprints and a long shadow suggesting human presence. All of the paintings are displayed in heavy black wooden f rames\, designed and made by Jenney. The frames recall the crown moulding o ften used on window trims\, alluding to Leon Battista Alberti'\;s metaph orical window\, which has guided artists&rsquo\; understanding of single-po int perspective since the Renaissance. Jenney&rsquo\;s frames\, concurrent with the Good and New Good Paintings\, and added to the < em>Bad Paintings retrospectively\, serve as theatrical foregrounds\, w hile their respective titles\, stenciled on in a capitalized serif font\, h elp place the viewer by referring to specific locations.

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In the Good Paintings and the New Good Paintings\, &ldquo\;good& rdquo\; is both a formal and a conceptual label\; Jenney&rsquo\;s refined u se of paint and color recalls that of the Hudson River School painters\, wh ose natural vistas presented the virgin landscape as a spiritual\, utopic r ealm. Similarly\, Jenney&rsquo\;s work addresses themes of universal signif icance\, such as the artist&rsquo\;s cultural role\, climate change\, and n otions of societal progress. He communicates these topics in his drawings a s well\; in Liberty Contemplating the Nuclear Age (2003)\, a woman wearing a crown and holding a stone tablet\, like the Statue of Liberty\, sits in front of a curtain\, staring into the future of the nation.< /p>\n\n

Neil Jenney was born in 1945 in Torrington\, CT\, and raised in Westfield\, MA. Collections include the Metropolitan Museum of Ar t\, New York\; Whitney Museum of American Art\, New York\; Museum of Modern Art\, New York\; Los Angeles County Museum of Art (LACMA)\; Louisiana Muse um\, Humlebæ\;k\, Denmark\; and Tate\, London. Solo institutional exhi bitions include &ldquo\;Paintings and Sculpture 1967&ndash\;1980\,&rdquo\; University of California Art Museum\, Berkeley (1981\, traveled to Contempo rary Arts Museum\, Houston\; Corcoran Gallery of Art\, Washington\, D.C.\; Stedelijk Museum\, Amsterdam\; Louisiana Museum\, Denmark\; and Kunsthalle Basel\, Switzerland)\; &ldquo\;Collection in Context&mdash\;Neil Jenney: Na tural Rationalism\,&rdquo\; Whitney Museum of American Art\, New York (1994 )\; and &ldquo\;North America\,&rdquo\; Aldrich Contemporary Art Museum\, C T (2007). Jenney&rsquo\;s work has been featured in major group shows and b iennials\, including the Whitney Biennial (1969\, 1973\, 1981\, 1987)\; &ld quo\;Representations of America&rdquo\; (1977&ndash\;78\, organized by the Metropolitan Museum of Art\, New York\, and the Fine Arts Museums of San Fr ancisco for the Pushkin Museum\, Moscow\; the Hermitage\, Saint Petersburg\ ; and The Palace of Art\, Minsk\, Belarus)\; &ldquo\;New Image Painting\,&r dquo\; Whitney Museum of American Art\, New York (1978)\; and &ldquo\;Bad P ainting\,&rdquo\; New Museum of Contemporary Art\, New York (1978).< /p>\n LOCATION:Gagosian Gallery @ Park & 75\,821 Park Avenue \nNew York\, NY 1002 1 SUMMARY:Drawings & Paintings\, Neil Jenney END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:457207 DTSTART:20171027T180000 DTEND:20171027T200000 LOCATION:Gagosian Gallery @ Park & 75\,821 Park Avenue \nNew York\, NY 1002 1 SUMMARY:Drawings & Paintings END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:457306 DTSTART:20171026T000000 DTEND:20180127T000000 DESCRIPTION:

Tyler Rollins Fine Art is plea sed to present Wild State of Mind\, a solo exhibition of new works by Ronald Ventura\, taking place at our gallery in New York City from Octo ber 26 &ndash\; December 22\, 2017.  \;The public is cordially invited to join the artist for the opening reception on Thursday\, October 26\, fro m 6:00 &ndash\; 8:00 pm.

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Born in 19 73 in Manila\, the Philippines\, where he continues to live and work\, Vent ura ranks as one of the most acclaimed artists of his generation in Southea st Asia. Over the past twenty years\, his dynamically evolving oeuvre has e xhibited an eclectic range of iconography and a wide variety of themes and subjects\, taking formal risks that push the boundaries of image-making. Th e exhibition probes the intersections between reality and fiction\, madness and sanity\, logic and instinct\, breaking down the dualities that impose a sharp divide between humans and wild animals. Ventura draws from contempo rary social practices and culture\, placing his hybrid creatures in scenes of merrymaking\, parading\, brawling\, or playing sports &ndash\; contexts that elicit extreme emotions but are very much part of our lived realities today. He incorporates often ominous imagery and symbols\, ranging from tra ffic warning signs to firearms\, that appear in a new kind of urban wildern ess that is the contemporary counterpart to the sinister\, mysterious fores ts of age-old legends and fairy tales.

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Ventura presented his first US solo exhibition\, Metaphysics of Ski n\, at Tyler Rollins Fine Art in 2009\, followed by A Thousand Isl ands in 2011 and E.R. (Endless Resurrection) in 2014. A major solo exhibition of his work\, Project: Finding Home\, took place in 2016 at the Museum of Contemporary Art\, Taipei\, while in 2017 the Metr opolitan Museum\, Manila\, presented another solo exhibition\, Shadow F orest: Encounters and Explorations. Concurrently with Wild State o f Mind\, Ventura&rsquo\;s work is featured in Out of Sight! \; Art of the Senses at the Albright-Knox Art Gallery\, Buffalo\, New Yor k\, USA. Other museum exhibitions of note include: Ronald Ventura: Big and Small\, Ayala Museum\, Makati City\, the Philippines (2015)\; Bulul\, Ronald Ventura and the traditional art of the Philippines\, Mu seo delle Culture\, Lugano\, Switzerland (2014)\; Watching the Watchmen \, Vargas Museum\, Manila\, the Philippines (2012)\; Recyclables\, Singapore Tyler Print Institute\, Singapore (2012)\; Surreal Vers us Surrealism in Contemporary Art\, Institut Valencià\; d&rsquo\ ;Art Modern\, Valencia\, Spain (2011)\; A Duad in Play\, ICA Galle ry\, Lasalle College of the Arts\, Singapore (2010)\; Mapping the Corpo real\, National University of Singapore Museum (2008). He was a partic ipating artist in the Prague Biennale (2009) and the Nanjing Biennial (2010 ).

\n LOCATION:Tyler Rollins Fine Art\,529 West 20 Street\, 10W \nNew York\, NY 1 0011US SUMMARY:Wild State of Mind \, Ronald Ventura END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:457307 DTSTART:20171026T180000 DTEND:20171026T200000 LOCATION:Tyler Rollins Fine Art\,529 West 20 Street\, 10W \nNew York\, NY 1 0011US SUMMARY:Wild State of Mind END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:457437 DTSTART:20171103T000000 DTEND:20180218T000000 DESCRIPTION:
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On his first trip to Mexico\, in 1935\, Josef Albers (1888- 1976) encountered the magnificent architecture of ancient Mesoamerica. He l ater remarked in a letter to Vasily Kandinsky\, a former colleague at the B auhaus\, &ldquo\;Mexico is truly the promised land of abstract art.&rdquo\; With his wife\, artist Anni Albers (1899- 1994)\, Josef Albers visited Mex ico and other Latin American countries nearly a dozen times from 1935&ndash \;67. They saw numerous archeological sites and monuments\, especially in M exico and Peru. On each visit\, he took hundreds of black-and-white photogr aphs of the pyramids\, shrines\, and sanctuaries at these sites\, often gro uping multiple images printed at various scales onto 8 by 10 inch sheets.\n\n

Albers&rsquo\;s innovative approach to photography remains an underappreciated aspect of his career. This exhib ition brings together his photographs and photo collages from the Guggenhei m&rsquo\;s collection and various lenders. These works\, many of which have never been exhibited publicly\, suggest a nuanced relationship between the forms and motifs of pre-Columbian monuments and the artist&rsquo\;s iconic abstract canvases. Albers&rsquo\;s experiences in Latin America offer an e ssential context for understanding his paintings and prints\, particularly from his Homage to the Square and Variant/Adobe series\, examples of which are featured in this show.

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Josef Albers in Mexico is organized by Lauren Hinkson\, Associate Cur ator\, Collections.

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Major support for Josef Albers in Mexico is provided by LLWW Foun dation. Funding is also provided by the Robert Lehman Foundation\, the Mex- Am Cultural Foundation\, Inc.\, and The Mexican Cultural Institute of New Y ork with the Consulate General of Mexico and AMEXCID.

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The Leadership Committee for this exhibi tion is gratefully acknowledged for its generosity\, with special thanks to Alice and Thomas Tisch\; David Zwirner\, New York/London\; Lisa and John M iller\; and Louisa Stude Sarofim.

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The catalogue for this exhibition is supported in part by Fu rthermore: a program of the J. M. Kaplan Fund.

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\n LOCATION:Solomon R. Guggenheim Museum\,1071Fifth Ave. \nNew York\, NY 10128 -0173 SUMMARY:Josef Albers in Mexico\, Josef Albers END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:457438 DTSTART:20171103T100000 DTEND:20171103T194500 LOCATION:Solomon R. Guggenheim Museum\,1071Fifth Ave. \nNew York\, NY 10128 -0173 SUMMARY:Josef Albers in Mexico END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:457446 DTSTART:20171013T000000 DTEND:20180729T000000 DESCRIPTION:

The growing field of sound des ign gives an audible voice to products\, brands\, and interfaces. Through s ound\, our digital devices and products tell us when we have completed a ta sk\, received a message\, or achieved a goal. Now imagine this world of pro ducts with no sound&mdash\;no chimes\, buzzes\, or rings. How does the lack of sound diminish the usefulness of products? How does sound enhance and i nform your experience?

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This hands-o n exhibition invites you to become a sound designer for Trash Bot\, a stree t-cleaning machine. A sound designer uses melody\, ambient sound\, and spec ial effects to communicate. Each sound you create will communicate Trash Bo t&rsquo\;s actions and express the machine&rsquo\;s personality and emotion s. As you design sounds for Trash Bot\, think about how each sound will gui de users through their interactions with Trash Bot and&mdash\;just as impor tantly&mdash\;transform an anonymous machine into an appealing\, human-like presence.

\n LOCATION:Cooper-Hewitt National Design Museum\,2 East 91st Street \nNew Yor k \, NY 10128 SUMMARY:Hear\, See\, Play: Designing with Sound END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:457447 DTSTART:20170906T000000 DTEND:20180325T000000 DESCRIPTION:

Master craftsmanship\, luxurio us materials\, or sensuous forms often provide a veneer for objects that am plifies the pleasure of their use. Design disguises what we wish to remain private\, tempts us with luxuries large and small\, feeds sensuous appetite s\, and&mdash\;should we envy someone else&rsquo\;s possessions&mdash\;ease our discontent with clever imitations. Pride\, greed\, lust\, envy\, glutt ony\, wrath\, and sloth&mdash\;the seven deadly sins&mdash\;find irresistib le outlet in these objects chosen from Cooper Hewitt&rsquo\;s collection.\n LOCATION:Cooper-Hewitt National Design Museum\,2 East 91st Street \nNew Yor k \, NY 10128 SUMMARY:The Virtue in Vice END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:457448 DTSTART:20171117T000000 DTEND:20180528T000000 DESCRIPTION:

An exhibition of avant-garde j ewelry design from the late 20th century up through the present day. Featur ing nearly 150 brooches\, necklaces\, bracelets\, and rings created by desi gners from Europe\, Asia\, Australia\, and North America\, Jewelry of I deas will illuminate the radical conceptual and material developments in jewelry design that have transformed the field.

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Jewelry of Ideas: Gifts f rom the Susan Grant Lewin Collection is made possible in part by th e Rotasa Fund\, the Society of North American Goldsmiths (SNAG)\, Gallery L oupe\, Sienna Patti\, William P. Short III\, in memory of Nancy Jean Fulop Short\, Helen W. Drutt English\, Kim and Al Eiber\, and Ornamentum Gallery.

\n LOCATION:Cooper-Hewitt National Design Museum\,2 East 91st Street \nNew Yor k \, NY 10128 SUMMARY:Jewelry of Ideas: Gifts from the Susan Grant Lewin Collection END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:457449 DTSTART:20171117T100000 DTEND:20171117T170000 LOCATION:Cooper-Hewitt National Design Museum\,2 East 91st Street \nNew Yor k \, NY 10128 SUMMARY:Jewelry of Ideas: Gifts from the Susan Grant Lewin Collection END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:457989 DTSTART:20171117T000000 DTEND:20180422T000000 DESCRIPTION:

We mark the hundredth annivers ary of Auguste Rodin&rsquo\;s death\, in 1917\, with an installation of our remarkable collection of 58 Rodin bronzes\, acquired through a generous gi ft from the Iris and B. Gerald Cantor Foundation in 1983.

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Rodin at the Brooklyn Museum: The Body in Bronze highlights the extraordinary tension in Rodin&rsquo\;s work between t he figure itself and abstract form\, allowing the fluid contours\, animated surfaces\, and emotional presence of these bronzes to emerge fully. The pr esentation places the works in their historical context\, examining Rodin&r squo\;s legacy and reputation\, and exploring his sculptural practice and t he bronze casting process.

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Rodin he ralded a new era in sculpture\, and he is represented here through each pha se of his prolific career\, including both small and monumental works relat ed to his best-known commissions: The Gates of Hell (begun 1880)\, the Monument to Balzac (1891&ndash\;98)\, and The Burghers of Calais (1884&ndash\;95). Also featured are some of his sensitively re ndered studies of hands as well as fragments of ancient sculptures from our collection that are similar to those that inspired Rodin.

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Rodin at the Brooklyn Museum: The Body in Bronz e is organized by Lisa Small\, Senior Curator\, European Art\, Brookly n Museum.

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This exhibition is made possible through the generou s support of the Iris and B. Gerald Cantor Foundation.

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It is presented as part of Rodin100\, a worldwide serie s of major Rodin exhibitions in 2017 commemorating the centennial of the ar tist'\;s death.

\n\n\n LOCATION:Brooklyn Museum of Art\,200 Eastern Parkway \nBrooklyn\, NY 11238- 6052 SUMMARY:Rodin at the Brooklyn Museum: The Body in Bronze\, Auguste Rodin END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:457990 DTSTART:20171117T110000 DTEND:20171117T180000 LOCATION:Brooklyn Museum of Art\,200 Eastern Parkway \nBrooklyn\, NY 11238- 6052 SUMMARY:Rodin at the Brooklyn Museum: The Body in Bronze END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:457991 DTSTART:20171201T000000 DTEND:20180408T000000 DESCRIPTION:

Ahmed Mater: Mecca Journey s takes visitors through the holiest city in the Islamic world. It pre sents a compelling portrait of the massive urban redevelopment now under wa y and its effects on residents and the millions of hajj pilgrims w ho travel there every year. Saudi artist Ahmed Mater has documented this un precedented expansion for nearly a decade.

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The exhibition is anchored by monumental photographs from his proje ct Desert of Pharan: Unofficial Histories Behind the Mass Expansion of Mecca\, alongside large-scale videos and installations. In addition to showing the influx of wealth\, photographs detail the lives of workers on constructions sites and of migrant groups.

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"\;I need to be here\, in the city of Mecca\, now\, experiencin g\, absorbing\, and recording my place in this moment of transformation\, a fter which things may never be the same again\,"\; states Mater. "\ ;It has become important for me to identify with this place and to understa nd how this constellation of change\, as well as the forces that are shapin g it\, will affect the community of which I am a part."\;

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Focusing on Mecca as both a symbolic site of wor ship and a contemporary urban center grappling with the consequences of unr emitting growth\, Mecca Journeys presents a portrait of the comple x cultural dynamics at work in the city today.

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Ahmed Mater : Mecca Journeys is curated by Catherine Morris\, Sackler Senior Curat or\, Elizabeth A. Sackler Center for Feminist Art\, Brooklyn Museum.

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The exhibition is organized by the Brookl yn Museum in partnership with the King Abdulaziz Center for World Culture ( Ithra) and is produced in collaboration with CULTURUNNERS.

\n LOCATION:Brooklyn Museum of Art\,200 Eastern Parkway \nBrooklyn\, NY 11238- 6052 SUMMARY:Mecca Journeys\, Ahmed Mater END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:457992 DTSTART:20171201T110000 DTEND:20171201T180000 LOCATION:Brooklyn Museum of Art\,200 Eastern Parkway \nBrooklyn\, NY 11238- 6052 SUMMARY:Mecca Journeys END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:457997 DTSTART:20171111T000000 DTEND:20181104T000000 DESCRIPTION:
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This presentation in the Museum'\;s fourth-floor collection gallerie s will focus exclusively on works made by artists in their mid to late care ers. Spanning from the late 1960s to today\, the installation chronicles th e many years of sustained experimentation\, daring invention\, and thoughtf ul reconsideration that distinguish an individual artist&rsquo\;s career lo ng after his or her breakthrough moment. Highlighting lesser-known works by prominent artists and key works by some less familiar names\, The Long Run provides another view of the history of art over the last half ce ntury. All works are drawn from MoMA'\;s collection\, and includes examp les by Lee Bontecou\, Louise Bourgeois\, Melvin Edwards\, Gego\, Philip Gus ton\, David Hammons\, Jasper Johns\, Joan Jonas\, Maria Lassnig\, Elizabeth Murray\, Georgia O&rsquo\;Keeffe\, Gerhard Richter\, and many others.

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Organiz ed by Paulina Pobocha\, Associate Curator\, and Cara Manes\, Assistant Cura tor\, Department of Painting and Sculpture.

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\n LOCATION:MoMA (Museum of Modern Art)\,11 West 53 Street \nNew York\, NY 100 19 SUMMARY:The Long Run\, Lee Bontecou\, Louise Bourgeois\, Melvin Edwards\, G ego\, Philip Guston\, David Hammons\, Jasper Johns\, Joan Jonas\, Maria Las snig\, Elizabeth Murray\, Georgia O’Keeffe\, Gerhard Richter END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:457998 DTSTART:20171111T103000 DTEND:20171111T173000 LOCATION:MoMA (Museum of Modern Art)\,11 West 53 Street \nNew York\, NY 100 19 SUMMARY:The Long Run END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:457999 DTSTART:20171113T000000 DTEND:20180408T000000 DESCRIPTION:
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Drawn primarily from MoMA'\;s collection\, Thinking Machines: Ar t and Design in the Computer Age\, 1959&ndash\;1989 brings artworks pr oduced using computers and computational thinking together with notable exa mples of computer and component design. The exhibition reveals how artists\ , architects\, and designers operating at the vanguard of art and technolog y deployed computing as a means to reconsider artistic production. The arti sts featured in Thinking Machines exploited the potential of emerg ing technologies by inventing systems wholesale or by partnering with insti tutions and corporations that provided access to cutting-edge machines. The y channeled the promise of computing into kinetic sculpture\, plotter drawi ng\, computer animation\, and video installation. Photographers and archite cts likewise recognized these technologies'\; capacity to reconfigure hu man communities and the built environment.

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Thinking Machines includes works by John Cage and Lejaren Hiller\, Waldemar Cordeiro\, Charles Csuri\, Richard Hamilton\, Alison Know les\, Beryl Korot\, Vera Molná\;r\, Cedric Price\, and Stan VanDerBee k\, alongside computers designed by Tamiko Thiel and others at Thinking Mac hines Corporation\, IBM\, Olivetti\, and Apple Computer. The exhibition com bines artworks\, design objects\, and architectural proposals to trace how computers transformed aesthetics and hierarchies\, revealing how these thin king machines reshaped art making\, working life\, and social connections.< /p>\n\n

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Org anized by Sean Anderson\, Associate Curator\, Department of Architecture an d Design\, and Giampaolo Bianconi\, Curatorial Assistant\, Department of Me dia and Performance Art.

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\n LOCATION:MoMA (Museum of Modern Art)\,11 West 53 Street \nNew York\, NY 100 19 SUMMARY:Thinking Machines: Art and Design in the Computer Age\, 1959–1989\, John Cage\, Waldemar Cordeiro\, Charles Csuri\, Richard Hamilton\, Lejaren Hiller\, Alison Knowles\, Beryl Korot\, Vera Molnar\, Cedric Price\, Stan VanDerBeek END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:458000 DTSTART:20171113T103000 DTEND:20171113T173000 LOCATION:MoMA (Museum of Modern Art)\,11 West 53 Street \nNew York\, NY 100 19 SUMMARY:Thinking Machines: Art and Design in the Computer Age\, 1959–1989 END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:458001 DTSTART:20171119T000000 DTEND:20180528T000000 DESCRIPTION:
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Stephen Shore encompasses the entirety of the artist&rsquo\;s work of the last five decades\, during which he has conducted a continual\, restless interrogation of image making\, from the gelatin silver prints he made as a teenager to his current engagement with digital platforms.

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One of the most significant photographer s of our time\, Stephen Shore (American\, b. 1947) has often been considere d alongside other artists who rose to prominence in the 1970s by capturing the mundane aspects of American popular culture in straightforward\, unglam orous images. But Shore has worked with many forms of photography\, switchi ng from cheap automatic cameras to large-format cameras in the 1970s\, pion eering the use of color before returning to black and white in the 1990s\, and in the 2000s taking up the opportunities of digital photography\, digit al printing\, and social media.

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The artist&rsquo\;s first survey in New York to include his entire career\, th is exhibition will both allow for a fuller understanding of Shore&rsquo\;s work\, and demonstrate his singular vision&mdash\;defined by an interest in daily life\, a taste for serial and often systematic approaches\, a strong intellectual underpinning\, a restrained style\, sly humor\, and visual ca sualness&mdash\;and uncompromising pursuit of photography&rsquo\;s possibil ities.

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Organized by Quentin Bajac\, The Joel and Anne Ehrenkranz Chief Curator \, with​ ​Kristen Gaylord\,​ ​Beaumont and Nancy Newhall Curatorial Fellow\ , Department of Photography.

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\n LOCATION:MoMA (Museum of Modern Art)\,11 West 53 Street \nNew York\, NY 100 19 SUMMARY:Solo Exhibition\, Stephen Shore END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:458002 DTSTART:20171119T103000 DTEND:20171119T173000 LOCATION:MoMA (Museum of Modern Art)\,11 West 53 Street \nNew York\, NY 100 19 SUMMARY:Solo Exhibition END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:458252 DTSTART:20180115T000000 DTEND:20180119T000000 DESCRIPTION:

Who dosen&rsquo\;t like a good bargain? Parodying pop culture a nd corporate brands\, bootleggers is a show dedicated to knockoffs. From st reet apparel to cereal boxes\, nothing is off limits to our artists\, as th e DIY mania finds it&rsquo\;s way into the walls of 119 Ludlow.

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\n LOCATION:Con Artist Collective\,119 Ludlow St. \nNew York\, NY 10002 SUMMARY:Bootleggers \, Group Show END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:458253 DTSTART:20180117T190000 DTEND:20180117T230000 LOCATION:Con Artist Collective\,119 Ludlow St. \nNew York\, NY 10002 SUMMARY:Bootleggers END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:458296 DTSTART:20180113T000000 DTEND:20180218T000000 DESCRIPTION: LOCATION:Bodega\,167 Rivington St. Lower Level East\nNew York\, NY 10002US SUMMARY:Entering Heaven Alive\, Hayley Silverman END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:458297 DTSTART:20180113T180000 DTEND:20180113T200000 LOCATION:Bodega\,167 Rivington St. Lower Level East\nNew York\, NY 10002US SUMMARY:Solo Exhibition END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:458417 DTSTART:20171117T000000 DTEND:20180422T000000 DESCRIPTION:

We mark the hundredth anniversary of Auguste Rodin&rsquo\;s death\, in 1917\, with an installation of our remarkable collection of 58 R odin bronzes\, acquired through a generous gift from the Iris and B. Gerald Cantor Foundation in 1983.

\n\n

Rodin at the Brooklyn Museum: The Body in Bronze \;highlights the extraordinary tension in Rodin&rs quo\;s work between the figure itself and abstract form\, allowing the flui d contours\, animated surfaces\, and emotional presence of these bronzes to emerge fully. The presentation places the works in their historical contex t\, examining Rodin&rsquo\;s legacy and reputation\, and exploring his scul ptural practice and the bronze casting process.

\n\n

Rodin heralded a new era in sculpture\, and he is represented here through each phase of his prolific career\, including both small and monumental works related to his best-known commissions: \;The Gates of Hell \;(begun 1880 )\, the \;Monument to Balzac \;(1891&ndash\;98)\, and  \;The Burghers of Calais \;(1884&ndash\;95). Also featured are some of his sensitively rendered studies of hands as well as fragments of ancient sculptures from our collection that are similar to those that inspi red Rodin.

\n\n

Rodin at the Brooklyn Museum: The Body in Bronze \;is organized by Lisa Small\, Senior Curator\, European Art\, Broo klyn Museum.

\n\n

This exhibition is made possible through the generou s support of the Iris and B. Gerald Cantor Foundation.

\n\n

It is pres ented as part of Rodin100\, a worldwide series of major Rodin exhibitions i n 2017 commemorating the centennial of the artist'\;s death.

\n\n

P hoto captions/credits: \; Edward Steichen (American\, born Luxembourg\, 1879&ndash\;1973). M. Auguste Rodin\, 1911. Photogravure\, image: 10&frac1 4\; x 7 in. (26 x 17.8 cm). Brooklyn Museum\; Gift of Arnold and Pamela Leh man\, 2003.76.2\; guste Rodin (French\, 1840&ndash\;1917). Cast by Fonderie de Coubertin\, Saint-Ré\;my-les-Chevreuses\, France. Pierre de Wiess ant\, Monumental Nude (Pierre de Wiessant\, nu monumental)\, 1886\, cast 19 83. Bronze\, 78¼\; x 44¾\; x 36½\; in. (198.8 x 113.7 x 9 2.7 cm). Brooklyn Museum\; Gift of the B. Gerald Cantor Collection\, 86.310 . (Photo: Justin Van Soest)

\n LOCATION:Brooklyn Museum of Art\,200 Eastern Parkway \nBrooklyn\, NY 11238- 6052 SUMMARY:Rodin at the Brooklyn Museum: The Body in Bronze\, Auguste Rodin END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:458418 DTSTART:20171116T180000 DTEND:20171116T200000 LOCATION:Brooklyn Museum of Art\,200 Eastern Parkway \nBrooklyn\, NY 11238- 6052 SUMMARY:Rodin at the Brooklyn Museum: The Body in Bronze END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:458504 DTSTART:20171215T000000 DTEND:20180130T000000 DESCRIPTION:

AMSTERDAM WHITNEY GALLE RY\, \;531 West 25th Street- Ground Floor-Chelsea\, New York City\, is proud to showcase in its glittering and glamorous \;DECEMBER 1 5-JANUARY 30\, 2018 Holiday Extravaganza Exhibition\, which is hig hlighted by its 16th Annual Holiday Fete on \;December 16th. \; \;In the spirit of the Chelsea Holiday Art Se ason\, \;AMSTERDAM WHITNEY GALLERY \;is showcasing  \;unparalleled \;artworks from talented artists spanning the U.S. and the globe \;whose works illuminate the vigorous creativity flourish ing in the abstract\, figurative and natural realms. \;Celebrating four  \;resplendent Holiday group exhibitions\, \;a link of thematic exc ellence unites these four exhibitions\, offering Chelsea art lovers paintin gs of sublime superiority. \; \;Evocative and dynamic\, this Amster dam Whitney Holiday exhibition exudes an alluring glow with stunning lumino us creative energy reflecting an ethereal \;combination of works which challenge the boundaries of artistic creativity. \;Pulsating with mesme rizing synergy and sparkling creativity\, these holiday treasures are visua l gems of sophisticated\, eclectic and evanescent representations of the wo rld as they shine the spotlight on a universal artistic language. \;Ref lecting \;the revitalizing penetration of compelling global ideas in ou r culture\, this cross-continental conversation in art will \;dazzle&nb sp\;the senses during the holiday season for both art \;acquisitors&nbs p\;and art aficionados alike with its incandescent aesthetic explorations o f the visual realm. \;

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DECEM BER 15 -JANUARY 30\, 2018 Exhibit

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"\;SILVER &\; GOLD HOLIDAY'\;  \; Fete SATURDAY\, DECEMBER 16\, 2017  \ ;  \;3:00-5:00 pm

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HERALDING the SUBLIME

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< strong> \;  \;PENELOPE CHIUSANO

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 \;  \;VIVIANE D'\;AVILLA

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 \;  \;CURT IS PIRL

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RESPLENDENT JUBILATION S  \;  \; \; \;  \; \;

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& nbsp\; DERRYLL  \;BRUDZINSKI

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 \;EMILIO C IANFONI \;  \;

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 \; DAVID DOUTHAT

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 \;  \;VIRTUOSIC CELEBRAT IONS

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 \;  \; JENNIFER RAPPAPORT

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 \; \; HAYO SOL

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  \;  \;YUJIANG

\n LOCATION:Amsterdam Whitney Gallery\,531 West 25th Street Ground Floor\nNew York\, NY 10001US SUMMARY:Amsterdam Whitney' DECEMBER 2017 Exhibition\, Derryll Brudzinski\, PENELOPE CHIUSANO\, Emilio Cianfoni\, Liliana Scocco Cilla\, Viviane D'Avil la\, David Douthat\, GUILLO PEREZ III\, Curtis Pirl\, Jennifer Rappaport\, Hayo Sol\, Ai-Wen Wu Kratz\, Yujiang END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:458505 DTSTART:20171216T150000 DTEND:20171216T170000 LOCATION:Amsterdam Whitney Gallery\,531 West 25th Street Ground Floor\nNew York\, NY 10001US SUMMARY:Amsterdam Whitney' DECEMBER 2017 Exhibition END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:458527 DTSTART:20171109T000000 DTEND:20180127T000000 DESCRIPTION:

Through &ndash\; January 27\, 2018 (we are closed until Jan 9th.)\n\n

X Years After: Thomas Jaeckel Galler y&rsquo\;s first decade in New York

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In celebration of our tenth year in New York\, 532 Gallery Thomas Jaeckel presents X Years After\, an exhibition of works by fourteen of the artists we&rsquo\;ve been privileged to work with over the last decade. Th e show&rsquo\;s participants include artists from the United States\, Europ e and Cuba\; the selection of works on display showcases the gallery&rsquo\ ;s commitment to exhibiting striking and thought-provoking works that embod y a wide range of styles\, techniques\, mediums\, and artistic visions.

\n LOCATION:532 Gallery Thomas Jaeckel\,532 W. 25th Street \nNew York\, NY 100 01US SUMMARY:X Years After END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:458547 DTSTART:20171109T000000 DTEND:20180120T000000 DESCRIPTION:

Leila Heller Gallery is please d to present Ran Hwang&rsquo\;s third solo show\, Sacred Space\, through De cember 24th\, 2017. As a Korean artist living and working between Seoul and New York City\, Ran Hwang finds solace\, peace\, and calm in meditative pr inciples. In her works\, buttons and pins become more than mundane\, mass-p roduced items\; they are transformed into metaphors for human freedom. Reco ntextualized when affixed to Plexiglas panels\, they take the form of iconi c symbols such as temples\, plum blossoms\, and Buddhas. This transformatio n is reinforced by the very process of constructing her works. Creating han d-made paper buttons\, weaving thread\, hammering thousands of pins into pl ace requires the utmost discipline and concentration\, recalling the medita tive discipline of Zen masters. The production of such works is\, in effect \, a ceremonial action\, emptying the mind and evoking a combination of end urance and ephemerality.

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Although H wang refers to her Korean heritage in her artistic practice\, she is also v ery much influenced by her time living in the United States. Her complex\, layered works reflect the personal journey of growing up in a traditional K orean family\, straying away\, and then returning after numerous encounters with the corruption\, terrorism\, and tragedy of the contemporary world. T hat harsh discovery led Hwang to contemplate the fragility of life\, the me aning of mortality\, and the nature of time. Reflecting on her bi-cultural consciousness\, the artist states\, &ldquo\;I use Western objects with an O riental mind.&rdquo\; Her fragile materials and careful attention to detail bespeak the seamless integration of her dual Asian-American identity. Each pin is held tightly in its position\, just as we all are by society\, yet each also appears to be meditating. Her work suggests that nothing is perma nent&mdash\;neither culture\, nor identity\, nor even the artworks themselv es. Yet\, amid this universal fluidity\, she constructs from humble\, every day materials entire ethereal worlds. Hwang&rsquo\;s work evokes a space fo r healing\, meditation\, contemplation\, treatment\, and care. Just as plum blossoms represent the transient beauty of life as it blooms and decays\, Hwang'\;s art\, likewise caught between freedom and restriction\, offers optimism\, peace and calm&mdash\;a place of respite in these unstable time s.

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Ran Hwang was born in the Republ ic of Korea in 1960\, and currently lives and works between Seoul and New Y ork City. In 1997\, the artist moved to New York City to study at the Schoo l of Visual Arts. Hwang has exhibited at several international institutions \, including the Brooklyn Museum\, New York\; MASS MoCA\, North Adams\, Mas sachusetts\; the Queens Museum of Art\, New York\; IMAS (International Muse um of Art and Science)\, McAllen\,Texas\; The Hudson Valley Center for the Arts\, New York\; UNESCO Paris\; the Third Floor-Hermè\;s\, Singapore \; House of Dior\, Seoul\; and the Asian Civilizations Museum (ACM)\, Singa pore. \;

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Hwang&rsquo\;s work is also a part of numerous private and public collections including the Brook lyn Museum\, New York\; the Des Moines Center for the Arts\, Iowa\; the Thi rd Floor-Hermè\;s\, Singapore\; the National Museum of Contemporary A rt\, Seoul\; King County Library\, Issaquah\, Washington\; and the Hammond Museum\, North Salem\, N.Y. Her collaborative work &lsquo\;Lady Dior As See n By&rsquo\; was commissioned and collected by the renowned fashion house C hristian Dior. Hwang received the Pollock-Krasner Foundation Grant in 2015 and the AHL Foundation Jackson J. Kim Grant in 2017. She has an upcoming sh ow at the Palais du Bozar in Brussels in 2019.

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PRESS INQUIRIES

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For more information\, images\, an d artist biographies\, please contact press@leilahellergallery.com

\n LOCATION:Leila Heller Gallery - Chelsea\,568 West 25th Street \nNew York\, NY 10001US SUMMARY:Sacred Space\, Ran Hwang END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:458562 DTSTART:20171104T000000 DTEND:20180127T000000 DESCRIPTION:

Please note: White Colu mns will be closed from December 17 - January 8\, 2018

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White Columns is pleased to present the first N ew York solo exhibition by Andrew Cannon (b. 1988\, Redlands\, CA.) Cannon& rsquo\;s exhibition comprises six recent wall-mounted works that operate in an elastic territory somewhere between architecture\, painting and sculptu re.
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\nAt White Columns Cannon&rsquo\;s hybrid works neg otiate the classical genres of landscape (e.g. &lsquo\;Italy in Goethe&rsqu o\;)\, portraiture (e.g. &lsquo\;Beaver\, Real Estate\, John Astor&rsquo\;) \, and still-life (e.g. &lsquo\;Red Shield Shelf&rsquo\;)\, together they a mplify Cannon&rsquo\;s alchemical approach to making and his promiscuous en gagement with materials: which has included gold leaf\, holographic foil\, epoxy\, urethane foam\, putty\, plexiglas\, and oil paint among other pigme nts.
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\nEqually promiscuous in their referents and depar ture points Cannon&rsquo\;s works invoke an unruly art history\, one that s uggests simultaneously the improvised languages of Joan Mitchell or Cy Twom bly\, the folk imagination of Thornton Dial\, and the visionary architectur al propositions of Hermann Finsterlin\, all filtered through a kind of fin-de-siè\;cle &lsquo\;atmosphere&rsquo\; &ndash\; think Huysma ns&rsquo\; &lsquo\;Against Nature&rsquo\;: a seemingly anachronistic &lsquo \;tone&rsquo\; that pervades all of Cannon&rsquo\;s work\, establishing an unsettling &lsquo\;mood&rsquo\; that seems highly apposite for our current uncertain times.
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\nAndrew Cannon (b. 1988) lives and wo rks in New York. He received an MFA from Columbia University in 2017\, and a BA from UCLA in 2010. His work was the subject of a solo exhibition at th e Santa Monica Museum of Art in 2014\, and has been included in numerous gr oup exhibitions in California and New York. \;  \;
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\nF or further information about this exhibition contact: info@whitecolumns.org

\n LOCATION:White Columns\,320 W. 13th St. \nNew York\, NY 10014 SUMMARY:Solo Exhibition\, Andrew Cannon END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:458563 DTSTART:20171104T180000 DTEND:20171104T200000 LOCATION:White Columns\,320 W. 13th St. \nNew York\, NY 10014 SUMMARY:Solo Exhibition END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:458564 DTSTART:20171104T000000 DTEND:20180127T000000 DESCRIPTION:

Please note: White Colu mns will be closed from December 17 - January 8\, 2018

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White Columns is pleased to present a second ex hibition of historical works by Ben Morea. The exhibition consists of spray -painted works on paper produced between 1990 and 1992\, made after Morea&r squo\;s 25-year self- imposed exile from both the art world and art making.
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\nIn 2016\, White Columns presented a widely acclaimed exhibi tion of Morea&rsquo\;s surviving &lsquo\;Modern Primitive&rsquo\; abstract paintings produced between 1964 and 1965 (prior to his co-founding of the n ow legendary collectives &lsquo\;Black Mask&rsquo\; and &lsquo\;Up Against The Wall Motherfuckers&rsquo\;\, the latter group once described as a &ldqu o\;street gang with analysis.&rdquo\;)
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\nMorea'\;s approach to art in the early 1960s was informed by Aldo Tambellini (who he describe s as a &lsquo\;mentor&rsquo\;)\, the Abstract Expressionists\, the Russian Suprematists\, ancient art\, and spiritual and mythological writers such as Carl Jung and Joseph Campbell. Morea eventually abandoned art-making\, tur ning his back on the visual art world by 1966. Writing about this time\, Mo rea has stated: &ldquo\;I respected the Abstract Expressionists\, but I rea lly hated Pop Art. ... I later quit painting\, partially out of disgust wit h that whole world.&rdquo\;
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\nShortly after he abandoned art-m aking Morea founded\, with poet Dan Georgakas\, the group &lsquo\;Black Mas k&rsquo\;\, publishing a broadside that declared that art should be "\; an integral part of life\, as in primitive society\, and not an appendage t o wealth."\; In May 1968\, &lsquo\;Black Mask&rsquo\; evolved into &lsq uo\;Up Against The Wall Motherfuckers&rsquo\;\, an activist group that shap ed New York&rsquo\;s counter culture of the late 1960s and who were charact erized by Abbie Hoffman as &ldquo\;The middle-class nightmare ... an anti-m edia media phenomenon.&rdquo\;
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\nAfter a two decade exile from the art world Morea returned to art making around 1990. Using only spray p aint and paper\, between 1990 and 1992 Morea made dozens of works that were informed by his persistent interest in the Russian Suprematists and the It alian Futurists. Using stencils and other forms of masking\, alongside free -drawing Morea&rsquo\;s spray-painted works of the early 1990s share formal characteristics with the work of artists as different as John Latham\, Mar tin Barré\, and Christopher Wool whilst amplifying the counter-cultural im pulses that have long driven his art\, writing and political work. On the o ccasion of a 2015 exhibition of his spray-painted works it was suggested th at Morea&rsquo\;s return to art was:
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\n&ldquo\;.. . inspired by the spiritual as much as intellectual. Picking up wh ere he left off in the mid-&lsquo\;60&rsquo\;s Morea utilized spray paint a s his primary medium to make a series of works on paper that he considers a rebirth and a continuation of his artistic explorations. The work asks the viewer to consider that there are no conclusions artistically or philosoph ically\, but rather [only] a series of loose answers to immediacy.&rdquo\;
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\nIn addition to the 2016 White Columns exhibition\, Ben Morea&rsquo\;s archives and artwork have recently been the subject of a se ries of research-driven publications and exhibitions curated by archivist J ohan Kugelberg for his Boo-Hooray space and imprint\, including: the exhibi tion and publication &lsquo\;Opposition: Black Mask\, Ben Morea\, and U.A.W .M.F&rsquo\; (Boo-Hooray\, 2014)\; &lsquo\;The Line Between: Ben Morea Pain tings of the Early 90&rsquo\;s&rsquo\; (Boo- Hooray/Envoy\, 33 Orchard Stre et\, 2015)\; and &lsquo\;Unseen 50 Years\, Paintings By Ben Morea 1964-65&r squo\; (Boo- Hooray\, 2014). To learn more about these projects and Boo-Hoo ray&rsquo\;s archival projects visit: www.boo- hooray.com. Morea&rsquo\;s & lsquo\;Modern Primitive&rsquo\; paintings were included in the exhibition & lsquo\;All Summer In A Day&rsquo\; (Unclebrother\, Hancock\, New York\, 201 6)\; and his work was included in the groundbreaking survey exhibition &lsq uo\;Inventing Downtown&rsquo\; at the Grey Art Gallery\, New York (2017).&n bsp\;
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\nWe would like to thank Ben Morea for his enthusiasm ab out this exhibition\; and acknowledge Johan Kugelberg&rsquo\;s pioneering a nd ongoing support of Ben Morea&rsquo\;s art\, archives and ideas. \;\n
\nFor further information about this exhibition contact: info@w hitecolumns.org \;

\n LOCATION:White Columns\,320 W. 13th St. \nNew York\, NY 10014 SUMMARY:Paintings from the early 1990s\, Ben Morea END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:458565 DTSTART:20171104T180000 DTEND:20171104T200000 LOCATION:White Columns\,320 W. 13th St. \nNew York\, NY 10014 SUMMARY:Paintings from the early 1990s END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:458566 DTSTART:20171104T000000 DTEND:20180127T000000 DESCRIPTION:

Please note: White Colu mns will be closed from December 17 - January 8\, 2018

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White Columns is pleased to present a solo exhi bition by the New York-based artist Rebecca \;Watson \;Horn. The ex hibition consists of six recent paintings that \;Watson \;Horn  \;describes as &ldquo\;psycho-spiritual.&rdquo\; She sees painting as a mea ns to explore spirituality\, the mind\, the senses\, and to &ldquo\;re-imag ine an other self.&rdquo\; \;Watson \;Horn \;complicates the sp ace of her paintings by building up a surface over time and mixing in pumic e and sand. The text in her paintings is taken from a reading on Zen and 12 step recovery\, a Jewish proverb\, and the teaching of the Theravada Buddh ists\, Thanissara\, Kittisaro\, and Ajahn Sucitto.

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Watson \;Horn \;is also a member of Canaries\, a he aling collective of women and gender non-conforming people living and worki ng with autoimmune conditions and other chronic illnesses.

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Rebecca \;Watson \;Horn \;(b. Boston\, MA) received a BFA from The Cooper Union in 2007\, an MFA Mason Gross from Rutgers University\, New Brunswick\, NJ in 2015 and is currently studying a t The Mountain School of Arts\, Los Angeles. \;Horn \;had a solo ex hibition\, &ldquo\;Rub It In\,&rdquo\; at Soloway\, Brooklyn\, NY. She has participated in several group exhibitions including &ldquo\;All Always Read y\,&rdquo\; as part of Nancy Lupo&rsquo\;s solo exhibition at Kristina Kite \, Los Angeles\, CA\; &ldquo\;Objectified\,&rdquo\; Bromfield Gallery\, Bos ton\, MA\; &ldquo\;X\,&rdquo\; Lyles &\; King\, New York\, NY\; &ldquo\; Young Painters Exhibition\,&rdquo\; Hiestand Galleries\, Miami University\, Oxford\, OH\; &ldquo\;Role Over\,&rdquo\; Gowanus Loft\, Brooklyn\, NY\; & ldquo\;Canaries\,&rdquo\; Cleopatra&rsquo\;s\, Brooklyn\, NY\, and at Hotel Pupik\, Scheifling\, Austria. \;Horn lives and works in Brooklyn\, NY.

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For further information about this exhibition contact: info@whitecolumns.org

\n LOCATION:White Columns\,320 W. 13th St. \nNew York\, NY 10014 SUMMARY:Solo Exhibition\, Rebecca Watson Horn END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:458567 DTSTART:20171104T180000 DTEND:20171104T200000 LOCATION:White Columns\,320 W. 13th St. \nNew York\, NY 10014 SUMMARY:Solo Exhibition END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:458568 DTSTART:20171104T000000 DTEND:20180127T000000 DESCRIPTION:

Please note: White Colu mns will be closed from December 17 - January 8\, 2018

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In our Project space White Columns is proud to present the first exhibition dedicated to the organization&rsquo\;s vinyl-o nly record label &lsquo\;The Sound of White Columns&rsquo\; (2006 &ndash\; present).
\n \;
\n&lsquo\;The Sound of White Columns&rsquo\; (TSoWC) releases recordings by artist-musicians and artist-performers. To d ate some fifteen records - in both 7&rdquo\; and 12&rdquo\; vinyl formats & ndash\; have been released.
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\nThe first release in 2006 was by the San Francisco-based group Tussle\, who wrote a specially commis sioned song entitled &lsquo\;White Columns&rsquo\;\, which became a &ldquo\ ;theme tune&rdquo\;\, of sorts\, for the gallery. Since then TSoWC has rele ased new and archival recordings by artist-musicians-performers including: Martin Creed\, Wild Billy Childish &\; The Musicians of the British Empi re\, Julianna Barwick and Ikue Mori\, Eric Duncan and Thomas Bullock (aka & lsquo\;Rub N Tug&rsquo\;)\, Malcolm Mooney\, Kim Gordon\, David van Tieghem \, Meredith Monk\, Karl Holmqvist\, David Robbins\, Emily Sundblad &\; M att Sweeney\, Richard Hell and Robert Quine\, and B. Wurtz. The next releas e &ndash\; a live recording of Christopher Knowles reading his poetry &ndas h\; is forthcoming this December.
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\nNamed for the legen dary 1970s soul and disco label &lsquo\;The Sound of Philadelphia&rsquo\;\, TSoWC seeks to gently re-animate a key aspect of White Columns&rsquo\; his tory\, i.e. the gallery&rsquo\;s connection to the downtown New York art an d music scenes of the late 1970s and early 1980s. Under the directorship of Josh Baer White Columns hosted two legendary music festivals at the galler y: 1979&rsquo\;s &lsquo\;Noise Fest&rsquo\; (organized by Thurston Moore) a nd 1983&rsquo\;s &lsquo\;Speed Trails&rsquo\;\, in addition to Kim Gordon a nd Barbara Ess&rsquo\;s 1981 curated exhibition of art by artist-musicians\ , among other related projects. (Josh Baer would later go on to cofound wit h Glenn Branca the groundbreaking Neutral Records\, which released seminal recordings by Jack Goldstein\, Sonic Youth and Swans\, among others.)
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\nThe Sound of White Columns exhibition will include example s of all the recordings released to date as well as a listening station whe re visitors can play the records. A select number of titles will also be av ailable to purchase from the gallery.
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\nThe launch date (and related event) for Christopher Knowles&rsquo\; forthcoming live recor ding will be announced later.

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For f urther information about this exhibition contact: info@whitecolumns.org

\n LOCATION:White Columns\,320 W. 13th St. \nNew York\, NY 10014 SUMMARY:The Sound of White Columns END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:458569 DTSTART:20171104T180000 DTEND:20171104T200000 LOCATION:White Columns\,320 W. 13th St. \nNew York\, NY 10014 SUMMARY:The Sound of White Columns END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:458761 DTSTART:20171205T000000 DTEND:20180127T000000 DESCRIPTION:


\nThe 5th Annual Photo Exhibition
\nA Day in New York
\nDecember 5 - January 27\, 2018
\nHours: Tue-Sat 11am-6pm
\nClosed: Sun-Mon\, Holidays\, 12/26-1/6

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Reception: Saturday\, De c 9\, 3-6pm
\nMax Fujishima &bull\; Kazuko Hyakuda &bull\; Izu Watanabe

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\nA Day in New York\, 2 017\, is the 5th annual photo exhibition at Gallery Max New York\, SoHo\, f eaturing scenic\, accidental\, humorous\, and illusive moments of everyday life captured by three photographers. In addition to regular artists Max Fu jishima and Kazuko Hyakuda\, invited this year is Izu Watanabe who mainly s hows 3D-looking images and photo-based sculptures.

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Max Fujishima captures and expresses the relentless flow of tim e\, and the moments that exist in the interface between the photographer an d the subject on the other side of the lens. &ldquo\;Wish You Were Here\,&r dquo\; a series of the Empire State Building\, constitutes Fujishima&rsquo\ ;s life work that has been focused on from another high-rise over the cours e of 20 years\, expressing the profound relationship formed in precious mom ents between the photographer and his subject.

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K azuko Hyakuda exhibits a series of Orchard Street taken in 2003\, asking the viewer how the Street 15 years ago is different from the present . She\, on the other hand\, makes photo-based intaglio work in which repres entation of the depths of one'\;s consciousness is pursued through water surfaces and other scenes of the City that show various abstract patterns created by natural phenomena such as time\, light\, wind\, and so on.

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Izu Watanabe\, who is also a sculptor\, keep s photographing New York'\;s everyday life using a 360°\; panoramic c amera\, where he has discovered several elements that were not visible at t he time of shooting. By constructing them in three dimensions\, he tries to present a new perspective to the audience.

\n LOCATION:Gallery Max New York\,552 Broadway\, Suite 401\, \nNew York\, NY 1 0012\, SUMMARY:A Day in New York\, Max Fujishima\, Kazuko Hyakuda\, Izu Watanabe END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:458762 DTSTART:20171209T150000 DTEND:20171209T180000 LOCATION:Gallery Max New York\,552 Broadway\, Suite 401\, \nNew York\, NY 1 0012\, SUMMARY:A Day in New York END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:458954 DTSTART:20171111T000000 DTEND:20180120T000000 DESCRIPTION:

Elizabeth Dee is pleased to pr esent Lisa Beck&rsquo\;s new paintings. This series examines the relationsh ip between the observable aspects of reality\, like landscape or the body\, and the aspects that are too vast or too tiny to see\, or grasp completely \, like space or atomic physics\, that necessarily become abstractions. The se paintings are the means to visualize the place where these different asp ects meet or interact\, and that place is a shifting point\, as our underst anding of the world is constantly challenged and changed by new knowledge.< /p>\n\n

Rising and Falling introdu ces a set of experiments\, a body of work made of a very condensed set of e lements:  \;circles\, areas of color\, lines - all of which have resona nces and references which belie their simplicity. The most prevalent motif is the circle in all its forms and references: spheres\, voids\, cells\, se lves\, stars\, atoms\, specificity\, endlessness. A point can be an anchor\ , a hole\, or a world. Color is dark\, light\, solid\, transparent\, emotio nal\, material. An edge is a boundary between two or more entities - hard\, blurred\, transparent.  \;A line is a path\, a divider\, a cut\, a flo or\, a ceiling\, a sky\, a ground.

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The paint\, applied in varied ways\, is brushed\, stained\, printed\, smear ed\, and appreciated most when it does something unexpected. The use of met al leaf (aluminum\, copper\, brass) is fully evident\, shining\, allowing t he ground to come forward and have equivalent focus with the paint. \; These leafed areas look different in different light\, and shift as the vie wer moves.

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Of the work Beck says\, I am attracted to related visual phenomena like positive and negative\, pattern and randomness\, color and grayscale\, flatness and depth\, repres entation and abstraction. I always want to go in different directions at th e same time and much of my work has involved trying to find ways to integra te these so-called opposites.

\n\n

 \;

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Lisa Beck& nbsp\;(American b. 1958) has exhibited worldwide\, including seven solo exh ibitions at Feature\, New York since 1992. Curator Bob Nickas has included Beck in eight shows at various venues\, including: Anton Kern Gallery\, Whi te Columns\, and Martos Galleryk\, as well as Rapperswill\, Switzerland. Be ck recently was the subject of a new publication catalogue from her survey exhibiton at Circuit\, Lausanne highlighting her work between 1986-2015. Up coming exhibitions in 2018 include \;Doomtown\, at the Portlan d Institute for Contemporary Art\; and a solo show at the Suburban\, Minnea polis.

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 \;

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For more information\, please contact the gallery at +1 .212.924.7545 or Florence Lynch at florence@elizabethdee.com.

\n LOCATION:Elizabeth Dee Gallery\,2033/2037 Fifth Avenue \nNew York\, NY 1003 5 SUMMARY:Rising and Falling\, Lisa Beck END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:458955 DTSTART:20171111T180000 DTEND:20171111T200000 LOCATION:Elizabeth Dee Gallery\,2033/2037 Fifth Avenue \nNew York\, NY 1003 5 SUMMARY:Rising and Falling END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:458956 DTSTART:20171111T000000 DTEND:20180120T000000 DESCRIPTION:

Elizabeth Dee Gallery is pleas ed to present Howard Halle: Return To Graceland\, Works from the &rsquo \;80s and &rsquo\;90s\, \;the artist&rsquo\;s first solo exhibit i n NYC since 1991. The show presents a selection of paintings\, photo-object s and assemblages created and conceived between mid-1980s and the early 199 0s.

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Halle&rsquo\;s work from the pe riod explored two dovetailing issues: The idea of memory as a space coloniz ed by artifacts from popular culture and current events (in Halle&rsquo\;s case\, from the Cold War/Vietnam Era)\, and the question of agency: Who has it\, who doesn&rsquo\;t\, and how is agency abetted/constrained by larger social forces? The best example of their overlap is America itself\, where discarding the past is the prerequisite for fulfilling the promise of liber ty.

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The work draws on a wide range of source material that\, like memory itself\, can seem random and inchoate : 1950s political and men&rsquo\;s magazine cartoons\, Americana\, self-help books and documents from the Symbionese Liberation Army. The pie ces also evoke such figures as President Eisenhower\, Alfred Hitchcock\, Bo b Hope and Elvis. Denuded of their original meaning\, these references are given a new context through an interaction of images\, texts\, objects and art-historical quotations.

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Howard Halle (American b. 1952) has a long standing practice and h as exhibited in museums internationally. During the 1980s he was included i n the most culturally influential venues of the time: Hallwalls\, The Kitch en\, Artists Space\, and Art in General. Halle&rsquo\;s work is included in the Menil Collection\, Houston\, and has been featured in a number of thei r exhibitions curated by founding director\, Walter Hopps.

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For more information\, please contact the gallery a t +1.212.924.7545 or Florence Lynch at florence@elizabethdee.com.

\n LOCATION:Elizabeth Dee Gallery\,2033/2037 Fifth Avenue \nNew York\, NY 1003 5 SUMMARY:Return To Graceland\, Works from the ’80s and ’90s\, Howard Halle END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:458957 DTSTART:20171111T180000 DTEND:20171111T200000 LOCATION:Elizabeth Dee Gallery\,2033/2037 Fifth Avenue \nNew York\, NY 1003 5 SUMMARY:Return To Graceland\, Works from the ’80s and ’90s END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:458958 DTSTART:20171111T000000 DTEND:20180120T000000 DESCRIPTION:

Elizabeth Dee is pleased to pr esent the highly anticipated exhibition of Julia Wachtel&rsquo\;s latest wo rk\, Displacement. This exhibition\, occupying the ground floor of the gallery\, is the largest exhibition in New York to date by the artist\ , known for her impactful paintings that address the power and social polit ic of the American landscape. Displacement introduces ten epic paintings th at address the implication of urgent\, radical viewpoints from digital and print sources that reflect the nation&rsquo\;s current political and larger global psyche. Opening precisely one year after the election of Donald Tru mp\, this is the first complete body of work by the artist to address the s ignificant shifts of our time.

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This fully conceived monographic exhibition takes a sweeping\, wide angle view of the posttruth\, zero sum ideology so profoundly impacting our society. T he &ldquo\;post-truth&rdquo\; American landscape can be applied to all of t he ten works in the exhibition and continues as a central theme for the art ist. A spectrum of topics as diverse as: the marketability of &ldquo\;fake news&rdquo\; by the altright\, the question of the citizen in relation to t he dispossessed\, tech&rsquo\;s monopoly in global business and social medi a\, financial hacking\, political interference\, the Republican conservativ e agenda\, the Second Amendment\, global warming\, entertainment and televi sion\, racism and the sexist backlash are all topics or related departure p oints presented in these paintings. In confronting this\, the paintings in this exhibition meditate on the collective trauma in many forms\, and engag e in a call to action.

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The exhibiti on begins with a major work entitled \;Communication. \;Al luding to the core meaning juxtaposed in Wachtel&rsquo\;s identifiable appr opriations are two images cropped and interspersed\, one from the 60s telev ision show &ldquo\;Get Smart&rdquo\; (1965-1970) and the other an image of a psychologist on a couch of a New Yorker cartoon by Robert Mankof f (creator of the therapy cartoon). The essence of the joke is that the app aratus\, designed for secret conversations\, makes it impossible for those inside the device - and easy for those outside the device - to hear the con versation. The end result is neither secret\, nor communication. The range of isolation\, and the notion of the self (and other)\, as well as the ther apy/patient relationship\, surmise and simultaneously address the implicati on of the individual over the collective\, through systematic isolation tha t dates back to the beginning of the Cold War. The content&rsquo\;s context is a remarkable study in how American ideals since the 1950s Roy Cohn era\ , have been evolving for decades and breeding new divisive leadership that supports a radical agenda around the individual state.

\n\n

The Space Complexity of an Algorithm depicts t he logos of Facebook\, Google and Twitter on a computer screen. The blue mo nochrome screen becomes a simulacrum of the surface of the painting\, and t hat surface by default is a picture of a screen. With the simplicity of the composition and clarity of the branding\, a complex engagement between the transparency of the screen and the opaqueness of the operational understru cture is facilitated. The gap between the user and the motives of targeted marketing\, profiling\, financial hacking and political interference become s personified in the cartoon inserted into the screen space. He is seemingl y struggling to resolve a basic mathematical equation. \;

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Target meditates on the heavily armed p opulation of the US and the ideological and political ramifications of gun control. Two images deliberate side by side in equal balance. A Texas milit ia member is wearing a Mexican death mask as he possibly patrols the border . The cartoon image is from a vintage greeting card\, with the cover of a c ocky man in a suit wearing a button that says\, &ldquo\;I Am The Greatest.& rdquo\; The inside image\, the one depicted in the painting\, is of the bus iness man stripped of his virility\; he has a pot belly\, a bald head with a wig\, bulging stomach and girdle\, and his false teeth are in a glass. Tw o concentric circles turn him into a target.

\n\n

Investigation addresses the TV news\, specifically Fox\, which remains the dominant platform for \;the Trump propaganda\, the R epublican conservative agenda and alt-right political ideology. Wachtel sta tes &ldquo\;I was attracted to this image by the absurdity of the image of a woman jumping rope in a TV studio with the information scrolling at the b ottom of the screen about a Pentagon investigation. It wasn&rsquo\;t until after I decided to use it that I even realized that it was Gretchen Carlson \, one of the women to accuse Roger Ailes of sexual abuse\, resulting in hi s ultimate take down.&rdquo\; The white bar in the image is a device meant to act as an irritant to the image\, in contrast to the cartoon of a girl w hose body mimics the jump-roping newscaster. A disconnection between image and words is an example of the surrealist logic inherent in television edit ing.

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Stone depicts a scree nprinted image of a young black man throwing a stone in protest. This is ju xtaposed with an image of the newly updated mascot for Kentucky Fried Chick en\, Colonel Sanders. The two clashing images pit the young man seeking rac ial justice against a corporate image that conjures up a deep and complicat ed history of racist stereotypes and corporate marketing strategies. With h is stone\, the young man stands as a David against this Goliath of combined forces.

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The Disappearance of t he Sign started with the cartoon image\, which is clip art from the In ternet\, in contrast to the Old Milwaukee logo\, which is a screengrab from a fake Old Milwaukee commercial. The entire composition\, much of it white or white transparent\, is a send-up of what is considered &ldquo\;white tr ash&rdquo\; behavior\, and misogyny. The protagonist in the painting is in white underwear in front of a white trailer\, in what looks like a rural Am erican landscape. The stick figure with a broken leg\, looks troubled or un happy at this &ldquo\;broken&rdquo\; scene\, implicating the viewer&rsquo\; s emotional reaction to the symbol of rural white America&rsquo\;s &ldquo\; dispossessed&rdquo\; mentality and attitudes\, expressed in brands and beha viors.

\n\n

Picnic is true to t he poetics Wachtel employs in her unique format of landscape painting. As i n much of Wachtel&rsquo\;s work\, this painting deals with class. Picni c shows an American family scene that depicts the ubiquitousness of se mi-automatic weapons in average peoples&rsquo\; lives. Kids at the picnic t able in Converse All Stars sneakers\, adults unpacking the mini van in the background. Dogs here stand in for the family pet.

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Mapping deals with technological agriculture\, ram pant pesticide use and the migrant worker. The screen-printed image is a Sh utterstock stock photo of an agricultural worker in a hazmat suit applying pesticides. The artist distorts the image as a GMO\, a parallel mutation cr eated through Photoshop algorithms. The color distortions created a new map ping of the image that already included the mapping of the Shutterstock cor poration watermarked within the digital fabric of the image itself. The car toon figure is repeated once in color and once as a black and white version \, alluding to issues of race and visibility in the equation of the agricul tural corporation system. Titled Mapping\, it&rsquo\;s a poetic re presentation of the earth&rsquo\;s surface that refers to the painting&rsqu o\;s content\, maps of real places\, computer graphics\, and gene mapping a ll in one image.

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Sunday Afterno on addresses the environment and climate change and the title referenc es the Seurat painting A Sunday Afternoon on the Island of La Grande Ja tte. Referring also to the tornado in The Wizard of Oz it har kens back to a more innocent time\, before tornadoes became a frequent sigh t due to global warming. Wachtel states\, &ldquo\;I like the narrative aspe ct of A Sunday Afternoon\, which is evocative of a happy\, relaxed day. In light of the lurking threat of the tornado\, the title for me has a kind of horror story innocence that we as viewers know to be false.&rdquo \;

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Making History in many ways returns to the core of Wachtel&rsquo\;s work which emerged in the 1980 s during the rise of TV\, entertainment and celebrity culture which she was one of the first American artists to depict it from this generative perspe ctive. The image is from the popular TV show Dancing with the Stars. The talent\, is harvested primarily from other TV shows\, from sports an d now also from politics (Rick Perry was a contestant and Sean Spicer was r ecently vetted). In contrast is a cartoon image of a &ldquo\;hippie.&rdquo\ ; The Hippie became an idea that was marketed in multiple ways\, but repres ents &ldquo\;real&rdquo\; people\, engaged in ideas\, political positions a nd lifestyle choices. The painting is a perfect hybrid disconnected from an y ground level or &ldquo\;real&rdquo\; culture.

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Julia Wachtel (American b. 1956) recently had a solo survey at the Cleveland Museum of Art\, with an accompanying public ation by Yale University Press. This year\, she participated in Fast Fo rward: Painting from the 1980s at the Whitney Museum of American Art\, New York. Upcoming exhibitions in 2018 include Brand New: Art and Comm odity 1979-1989 at the Hirshhorn Museum in Washington D.C.

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For more information\, please contact the gall ery at +1.212.924.7545 or Florence Lynch at florence@elizabethdee.com.

\ n LOCATION:Elizabeth Dee Gallery\,2033/2037 Fifth Avenue \nNew York\, NY 1003 5 SUMMARY:Displacement\, Julia Wachtel END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:458959 DTSTART:20171111T180000 DTEND:20171111T200000 LOCATION:Elizabeth Dee Gallery\,2033/2037 Fifth Avenue \nNew York\, NY 1003 5 SUMMARY:Displacement END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:459013 DTSTART:20171116T000000 DTEND:20180120T000000 DESCRIPTION:

Edwynn Houk Gallery is pleased to announce an exhibition of large-scale photographs by Michael Eastman (A merican\, b. 1947). The show opens on Thursday\, 16 November 2017 and runs through Saturday\, 20 January 2018. The artist will be present at the openi ng reception on 16 November from 6-8pm.

\n\n

The exhibition features unexpected photographs of iconic interiors in Buenos Aires. It is natural that Michael Eastman\, whose works tell stories through the details of interiors located throughout the world\, found rich material and inspiration in this city. In the late 19th and early 20th cen turies\, Buenos Aires staged ambitious and extravagant architectural projec ts to brandish its wealth\, its stunning architecture helping the city earn its nickname &ldquo\;the Paris of South America.&rdquo\; Latin America&rsq uo\;s tallest building and a series of neoclassical palaces were amongst th e feats the city boasted. While Buenos Aires proudly retains this legacy to day\, still teeming with examples of architectural achievement from its bel le époque\, many of its buildings show signs of the country&rsquo\;s recen t political and economic hardships. Eastman&rsquo\;s series illuminates how these interiors\, captured a century after their heyday\, have not dimmed with time but rather become more intriguing in their age. \;

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At the heart of each photograph is an essential element of surprise: an electric blue light illuminating the doorway of a classic palace\, the psychedelic t wist of a spiral staircase\, \;the \;blazing reflection of light in an entirely golden theater. \;These details dazzle\, but equally impor tant is what is absent from these photographs. \;Each interior is large ly devoid of contemporary design\, technology\, and\, somewhat hauntingly\, inhabitants. \;A college stairwell transports no students\, an opera stage hosts no performers or audience members&mdash\;these scenes rai se the question\, without people\, what are the functions of these rooms? E astman&rsquo\;s photographs present complex tableaux of Buenos Aires&rsquo\ ; vibrant history\, juxtaposing the splendor of a bygone golden age with pr esent-day realities.

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Michael Eastma n was born in St. Louis\, Missouri and studied at the University of Wiscons in. He is the recipient of a National Endowment for the Arts grant\, the Na tional Addy Award\, and a Paris Photo BMW Finalist award. His work is in nu merous private and public collections\, including the Art Institute of Chic ago of Chicago\, IL\; the Metropolitan Museum of Art\, NY\; the High Museum of Art\, Atlanta\, GA\; the International Center of Photography\, NY\; the Los Angeles County Museum of Art\, CA\; the San Francisco Museum of Modern Art\, CA\; and the Saint Louis Art Museum\, MO. His publications include H avana (Prestel\, 2011)\, Vanishing America (Rizzoli\, 2008)\, and Horses (K nopf\, 2003). Eastman currently lives and works in St. Louis. \;

\n LOCATION:Edwynn Houk Gallery\,745 Fifth Avenue\, 4th Floor \nNew York\, NY 10151 SUMMARY:Buenos Aires—Southern Light\, Michael Eastman END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:459014 DTSTART:20171116T180000 DTEND:20171116T200000 LOCATION:Edwynn Houk Gallery\,745 Fifth Avenue\, 4th Floor \nNew York\, NY 10151 SUMMARY:Buenos Aires—Southern Light END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233209Z UID:459023 DTSTART:20171202T000000 DTEND:20180203T000000 DESCRIPTION:
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Julie Saul Gallery is pleased to announce the exhibition New Vision/ New Generation. Pairing we ll-known masters of photography with two young gallery artists who have ins pired them\, this exhibition will highlight the continuing influence of the past on the present.

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L&aac ute\;szló\; Moholy-Nagy (1895-1946) was the first instructor to introduce experimental photography to the Bauhaus\, and later in Chicag o at the Illinois Institute of Technology. His &ldquo\;New Vision&rdquo\; s pread widely throughout the post World War II pedagogical network and conti nues to the present. Moholy&rsquo\;s photograms were created by placing div erse materials directly on photographic paper\, which was then exposed and fixed to create unique\, mysterious and evocative compositions. Several rar e photograms from the 1920s will be included in our show.

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Alejandra Laviada (b.1980)\, is bas ed in Mexico. In her Geometry of Space series she creates deep dar k spaces that resemble the structure and mystery of Moholy&rsquo\;s photogr ams. Here\, she uses discarded building materials that are multiply exposed in camera to form powerful abstract compositions. She embraces Moholy&rsqu o\;s credo\, as expressed in his 1923 publication Painting Photography Film\, that each work must find its medium- in this case abstract phot ography.

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Luigi Ghirri (1943-1992) transformed the outlook of photography in Europe beginning in the 1970s\, pioneering the use of color and merging document and concept in diverse bodies of work ranging from his Atlante series to Kodachrome. Working primarily in Italy\, and often collaborating with artists in other media\, until recent years\, Ghirri has not been well-know n in the United States. His work has entered the canon along with such earl y color practitioners as Eggleston and Stephen Shore. We will exhibit sever al vintage prints from the 1970s that anticipate the urban geometry and wit of Andrea Grü\;tzner.


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East Ge rman born Andrea Grü\;tzner (b.1984)\, expresses herse lf through architectural subjects &ndash\; first in her Erbgericht (guest house) series\, and as photographer in residence in Koblenz\, with das Eck (the corner). Koblenz was severely damaged during World Wa r II\, thus presenting a great opportunity for the juxtaposition of old and new in its architecture and materials. The irony\, humor\, optimism and ke en graphic sense that Ghirri demonstrated is clearly exemplified in Grü \;tzner&rsquo\;s project.

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Laviada i s currently featured on the cover of the November/December issue of Pho tograph Magazine and has exhibited widely in the United States and els ewhere. She received her BFA from the Rhode Island School of Design and her MFA from the School of Visual Arts. Grü\;tzner completed her BA (honor s) at HTWG Konstanz and her MA at FH Bielefeld. She was recently the winner of the ING Unseen Talent Award (Jury Prize)\, 2017. A full CV of each is f eatured on our website: saulgallery.com.

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\n LOCATION:Julie Saul Gallery\,535 West 22 St. \nNew York\, NY 10011 SUMMARY:New Vision/New Generation\, Luigi Ghirri\, Andrea Grützner\, Alejan dra Laviada\, László Moholy-Nagy END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233210Z UID:460092 DTSTART:20171202T170000 DTEND:20171202T190000 LOCATION:Julie Saul Gallery\,535 West 22 St. \nNew York\, NY 10011 SUMMARY:New Vision/New Generation END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233210Z UID:459142 DTSTART:20171116T000000 DTEND:20180127T000000 DESCRIPTION:

Peter Blum Gallery is pleased to announce the exhibition Three Paintings by Alex Katz\, at our new downtown location at 176 Grand Street\, New York. There will be an opening reception on Thursday \, November 16\, from 6 to 8 p.m. The exhibition runs through January 13\, 2018.

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Alex Katz&rsquo\;s cool\, rep resentational\, and reductive style has set him apart as one of the most in fluential painters working in America today. This exhibition will highlight three significant large scale paintings by Katz from 1972\, 1990\, and 199 3.

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Blue Umbrella #2\, 1972\, oil on canvas\, 96 x 144 inches (243.8 x 365.8 cm)

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Alex Katz&rsquo\;s wife Ada has long be en his best known model. In this work\, generally considered one of his mos t important paintings\, the subject is alone in a black coat and a colorful scarf\, the head and umbrella nearly covering the whole canvas. She is sta nding in the rain\, staring into the distance&mdash\;stoic and elegant. The rain drops cut across the surface diagonally\, creating a pattern evenly d ispersed throughout the painting.

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< strong>Black Brook 11\, 1990\, oil on linen\, 108 x 144 i nches (274.3 x 365.8 cm)

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A deep dar k monochromatic space fills the surface of the painting. A collection of wh ite brushstrokes are painted on the bottom half of the canvas\, developing into a powerful motion that represents the rushing water in a small stream.

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Gold and Black II \, 1993\, oil on canvas\, 80 x 166 inches (203.2 x 421.6 cm)

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In this painting a grouping of trees is silhouetted against a monochromatic field of saturated golden color. Green leaves are minimally dispersed among the bare branches on the top third of the picture plane. The tops and the bottoms of the trees extend past the ed ges of the canvas leaving the forms free floating and segmented throughout the composition. Both the foreground and background of this work is compose d with a series of broad and deliberate gestures&mdash\;describing the land scape with the most reduced means.

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Alex Katz was born in Queens\, NY in 1927 and lives and wo rks in New York. Katz graduated in 1949 from the Cooper Union in New York. His work has been exhibited nationally and internationally\, and can be fou nd in over 100 public collections worldwide.

\n LOCATION:Peter Blum Gallery\,176 Grand Street \nNew York\, NY 10013US SUMMARY:Three Paintings \, Alex Katz END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233210Z UID:459143 DTSTART:20171116T180000 DTEND:20171116T200000 LOCATION:Peter Blum Gallery\,176 Grand Street \nNew York\, NY 10013US SUMMARY:Three Paintings END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233210Z UID:459263 DTSTART:20180111T000000 DTEND:20180217T000000 DESCRIPTION:

Garth Greenan Gallery is pleas ed to announce Victoria Gitman: Taktisch\, an exhibition of painti ngs and drawings at 545 West 20th Street. Opening on January 11\, 2018\, th e exhibition is the artist&rsquo\;s first since her recent retrospective at the Pé\;rez Art Museum Miami. Eight of Gitman&rsquo\;s astonishingly naturalistic paintings will be on view\, in addition to a selection of dra wings\, all created between 2016 and 2017.

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The exhibition focuses on Gitman&rsquo\;s recent paintings&mdash\;m eticulously rendered abstractions based on the supple fur surfaces of vinta ge handbags. Gitman works in oils\, hair by hair\, creating surfaces that a re delicately painted from close\, direct observation. Many of the painting s feature abstract patterns evocative of early and mid-twentieth-century st ylistic traditions. Evoking modernist compositional techniques\, Gitman&rsq uo\;s new works are resolutely frontal\, their imagery extending edge-to-ed ge. Each composition is tightly cropped\, further intensifying both the hap tic quality and the inherent sensuousness of the artist&rsquo\;s chosen sub jects.

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The title of the exhibition is a neologism introduced by Vienna School art historian Aloï\;s Riegl to describe a kind of close-up perception or &ldquo\;visual touching.&rdquo \; Taktisch can at once signify &ldquo\;tactile\,&rdquo\; &ldquo\; tangible\,&rdquo\; &ldquo\;palpable\,&rdquo\; or &ldquo\;textural\,&rdquo\; as well as &ldquo\;tactical.&rdquo\; It implies an intimate exchange with art objects\, an intermingling of the experiences of seeing\, feeling\, and knowing through sensory perception.

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Born in Buenos Aires\, Argentina\, in 1972\, Victoria Gitman immigrated t o the United States in 1987. In 1996\, she graduated from Florida Internati onal University with a BFA in painting. She has had solo-exhibitions at Dan iel Weinberg Gallery (2004\, 2006\, 2009\, Los Angeles)\, David Nolan Galle ry (2006\, 2011\, New York)\, and Tomio Koyama Gallery (2014\, Tokyo). In 2 005\, the Bass Museum of Art\, Miami\, mounted On Display\, Gitman&rsquo\;s first museum exhibition. Three years later\, Looking Closely\, a solo exhibition of paintings and drawings\, opened at the Las Vegas Art Mus eum.

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Gitman&rsquo\;s work is featur ed in the collections of many museums\, including the Columbus Museum of Ar t\, Ohio\; the Detroit Institute of Arts\; the Los Angeles County Museum of Art\; the Museum of Contemporary Art\, San Diego\; the Museum of Modern Ar t\; the Pé\;rez Art Museum Miami\; and the Whitney Museum of American Art\, New York.

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Garth Greenan Gall ery is pleased to represent Victoria Gitman.

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Victoria Gitman: Taktisch will be on view at Garth Green an Gallery\, 545 West 20th Street (between Tenth and Eleventh Avenues)\, th rough Saturday\, February 17\, 2018. The gallery is open Tuesday through Sa turday\, 10:00 a.m. to 6:00 p.m. For more information\, please contact the gallery at (212) 929-1351\, or email info@garthgreenan.com.

\n LOCATION:Garth Greenan Gallery\,529 West 20th Street 10th Floor\nNew York\, NY 10011US SUMMARY:Taktisch\, Victoria Gitman END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233210Z UID:459289 DTSTART:20171201T000000 DTEND:20180203T000000 DESCRIPTION:

Heather Gaudio Fine Art is pleased to annou nce &ldquo\;Color Separation\,&rdquo\; a group exhibition featuring works b y James Nares\, Raymond Saá\; and Peter Mona ghan. \; On view December 1st\, 2017 through February 3rd\, 20 18\, the show will open with a public reception on December 1st\, 5-7pm\, t o coincide with the Holiday Stroll in New Canaan.  \;

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About the artists:

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Widely recognized for expanding the boundaries of different media\, James Nares has had an ill ustrious artistic career spanning five decades. \; \; The show will feature some of Nares&rsquo\; most emblematic work\, large-scale brushstro kes that swirl and twist across a long surface.  \;These are typically created by the artist harnessing himself horizontally from the ceiling\, br ush in hand\, allowing for the swinging movement of his body to create the painterly gestures. \; With the use of bespoke oversized paint brushes\ , Nares&rsquo\; calligraphy-style strokes come in bright colors in a singul ar palette. \; \; The subject of many solo exhibitions including at the Metropolitan Museum of Art in New York and the National Gallery of Art in D.C.\, Nares has works in prominent museums and private collections aro und the world. The Milwaukee Art Museum will be curating a major retrospect ive for the artist in 2019. \;

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A native from Ireland\, Peter Monaghan had his first solo show in Dublin in 2002. \;  \; Since then he has garnered attention for his three-dimensional wall -mounted work and architectural installations. \; Monaghan uses dowels\ , wood\, plexi and other materials on wood or wall supports to create intri guing colorful constructions and serial assemblages. \; The works becom e activated as the viewer shifts his or her position\, with color interplay s and the illusion of movement delivering changes in their appearance.  \; An award recipient\, Monaghan has worked on numerous public commissions and architectural collaborations and has exhibited in Europe\, Asia and the U.S.

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Another artist in the show also works in assemblage\, thoug h resolving how they come together is a bit more unorthodox. \; Raymond Saá\;&rsquo\;s cut and collaged drawings are stitch ed together with the use of a sewing machine. \; The deconstructed elem ents are energized into brightly colored gouache\, or graphite and charcoal &ldquo\;postcards&rdquo\; and are re-organized into different forms and sp atial arrangements.  \; \;Saa was born in New Orleans and raised in Miami of Cuban parents and grandparents. \; This background becomes re levant in his work as he references cultural diasporas and newly-created en vironments.  \;Saá\; has made large commissioned murals and insta llations with these colorful montages\, including public commissions in New York.  \;He has had several solo and group exhibitions in the United S tates and is an award recipient of the Joan Mitchell Foundation and the Pol lock-Krasner Foundation.

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\n LOCATION:Heather Gaudio Fine Art\,66 Elm Street \nNew Canaan\, CT 06840 SUMMARY:"Color Separation"\, Peter Monaghan\, James Nares\, Raymond Saá END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233210Z UID:459290 DTSTART:20171201T170000 DTEND:20171201T190000 LOCATION:Heather Gaudio Fine Art\,66 Elm Street \nNew Canaan\, CT 06840 SUMMARY:"Color Separation" END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233210Z UID:459314 DTSTART:20180114T000000 DTEND:20180225T000000 DESCRIPTION:

A scene from a movie:

\n\n< p style="text-align: justify\;">Beatrix is sprawled on the bathroom floor\, crying. Her tears are those of exhaustion\, of joy\, and of trauma. &ldquo \;She covers her mouth so B.B. won&rsquo\;t hear her crying and get worried or confused.&rdquo\;

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A long wall s eparates her from her child. On one side lays Beatrix\, consumed by an over flowing catharsis\; on the other sits her daughter\, B.B.\, blissfully watc hing the 1946 cartoon\, The Talking Magpies. Beatrix hopes for this wall to be a barrier\, holding back the crashing weight of consequence and emotion from her idle\, and seemingly unaffected\, child. &ldquo\;She washes her f ace in the sink\, when she&rsquo\;s presentable\, she walks out of the bath room\, jumps on the bed with her baby\, hugs her from behind as the two wat ch Saturday morning cartoons.&rdquo\;

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For the moment\, it appears that the mother has shielded her daughter fr om the abyss. Yet for all the care taken by Beatrix to muffle her own cries \, she only made more audible the jangle of the cartoon and its slapstick d ialogue. What will happen when\, months later\, she jumps into bed again to watch the weekend cartoons with B.B. and a rerun of The Talking Magpies pl ays? Will the opening melody take Beatrix back to her moment of collapse on the bathroom tiles? And what about B.B.? Will she remember her mother&rsqu o\;s stifled weeps through the barricade?

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As they cuddle side-by-side watching that same lively cartoon play o ut\, will they see it through new eyes? The animated violence now more real than caricature\; the conversation suddenly more biting than playful. What became of this sweet\, innocuous cartoon\, to make it so cruel and wrong?< /p>\n LOCATION:Foxy Production\,2 East Broadway\, 200 \nNew York\, NY 10038US SUMMARY:Mature Themes\, CINDY JI HYE KIM\, Kiki Kogelnik\, Brian Kokoska\, Bjarne Melgaard\, Chelsey Pettyjohn\, Erika Vogt\, Julia Wachtel END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233210Z UID:459315 DTSTART:20180114T150000 DTEND:20180114T180000 LOCATION:Foxy Production\,2 East Broadway\, 200 \nNew York\, NY 10038US SUMMARY:Mature Themes END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233210Z UID:459384 DTSTART:20171208T000000 DTEND:20180217T000000 DESCRIPTION:

PRATT MANHATTAN GALLERY EXHIBITION IMAGINES THE FUTURE OF HUMANS AND NATURE

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A selection of artist experiments\, prototypes and biohacking

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WHAT:  \; \;In See Yourse lf E(x)ist\, Pratt Manhattan Gallery presents incidences of human inte raction&mdash\;with animals\, insects\, leaves\, trees\, earth\, and time&m dash\;that yield extraordinary artifacts\, engineered forms of hope\, and o bjects of power. They&rsquo\;ve taken the form of robots\, video\, painting s\, sculpture\, and objects to interact with.

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The exhibition feat ures work from eighteen artists including painters\, jewelry and clothing d esigners\, mixed media and installation artists\, prosthetic and designers. They address our human future in nature and our inevitable transformation\ , evolution\, and decay.

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See Yourself E(x)ist is curated by Madeline Schwartzman\, author of See Yourself Sensing: Redefining H uman Perception (2011) and See Yourself X: Human Futures Expanded< /em> (2017).

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WHO:  \;  \;  \;  \;Nobumichi Asai

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 \;  \;  \;  \;  \;  \; & nbsp\;  \;  \;  \; Alan Berliner

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 \;  \; &nbs p\;  \;  \;  \;  \;  \;  \;  \; Michael Candy\n\n

 \;  \;  \;  \;  \;  \;  \;  \; &n bsp\;  \; Kathryn Fleming

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 \;  \;  \;  \; &nb sp\;  \;  \;  \;  \;  \; Fantich &\; Young

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 \;  \;  \;  \;  \;  \;  \;  \;  \; &n bsp\; Gijs Gieskes

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 \;  \;  \;  \;  \;  \ ;  \;  \;  \;  \; Lee Griggs

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Ann Hamilton

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Dorry Hsu

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John Jerard

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L anzavecchia + Wai

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Lorenzo Oggiano

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Jaime Pitarch

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Andrew Quitmeyer

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Madeline Schwart zman

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Allan Wexler

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WHEN:  \; \; \; \; \; \;&nb sp\; \; \; \; \; \; \; \; \; \; \;& nbsp\; \; \; December 8\, 2017&ndash\;February 17\, 2018

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 \;  \;  \;  \;  \;  \; &n bsp\;  \;  \;  \;  \;  \; Opening reception: December 7 \, 6&ndash\;8 PM

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 \; \; \; \; \; \; \ ; \; \; \; \; \; \; \; \; \; \;&nbs p\; \; \; \; \; \; \; \; \; \; \;&n bsp\; \; \; \; \; \; \;

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WHERE:&nb sp\;  \; \; \; \; \; \; \; \; \; \;  \; \; \; \; \; \; \; Pratt Manhattan Gallery

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 \; \; \; \; \; \; \; \;& nbsp\; \; \; \; \; \; \; \; \; \; \ ; \; \; \; \; \; \; \; \; \; \;&nbs p\; \; \; \; \; \; 144 West 14th St\, New York\, NY\, S econd Floor

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 \; \; \; \; \; \; \;&nbs p\; \; \; \; \; \; \; \; \; \; \;&n bsp\; \; \; \; \; \; \; \; \; \; \;  \; \; \; \; \; \; Gallery hours: Monday&ndash\;Sat urday\, 11 AM&ndash\;6 PM\, Thursday until 8 PM

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 \; \;&nb sp\; \; \; \; \; \; \; \; \; \; \;& nbsp\; \; \; \; \; \; \; \; \; \; \ ; \; \; \; \; \; \; \; \; \; \;&nbs p\; Pratt Manhattan Gallery is closed December 22\, 2017&ndash\;January 1\, 2018

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ADMISSION:  \; \; \;& nbsp\; \; \; \; \; \; \; Free and open to the public

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MEDIA  \; \; \;& nbsp\; \; \; \; \; \; \; \; \; \; \ ; \; \; \; \; \; \; \;

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CONTACT: \; \; \; \; \; \; \;  \; \; \; \; \; \; \; Amanda Blancato at ablancat@pratt.edu or 718.636.3554

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& nbsp\;

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WEBSITE:  \; \; \; \; \; \ ; \; \; \; \; \; \; \; \; \; w ww.pratt.edu/exhibitions

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SOCIAL: \;  \; \; \; \; \; \; \; \; \; \;  \; \; \; \; \; \; \; \; Instagram and Twitter: @prattexhibits\, Facebook: PrattExhibitions\, #seeyourselfexist

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About Pratt Institute: Pratt Institute is a global leader in higher education\, preparing 4\,700 underg raduate and graduate students for successful careers in art\, design\, arch itecture\, information and digital innovation\, and liberal arts and scienc es. \;Founded in 1887\, Pratt is a living laboratory of creativity with a historic\, 25-acre campus in Brooklyn\, as well as a signature building in Manhattan. Our esteemed faculty of accomplished professionals and schola rs challenge talented students to transform their passion into meaningful e xpression and contribute to society as leaders in their fields. For more in formation\, visit \;www.pratt. edu/news.

\n LOCATION:Pratt Manhattan Gallery\,144 West 14th St 2nd Fl\nNew York\, NY 10 011 SUMMARY:See Yourself E(x)ist\, Nobumichi Asai\, Alan Berliner\, Michael Can dy\, Kathryn Fleming\, Gijs Gieskes\, Lee Griggs\, Ann Hamilton\, Dorry Hsu \, John Jerard\, Lorenzo Oggiano\, Jaime Pitarch\, Andrew Quitmeyer\, Madel ine Schwartzman\, Lanzavecchia + Wai\, Allan Wexler\, Fantich & Young END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233210Z UID:459385 DTSTART:20171207T180000 DTEND:20171207T200000 LOCATION:Pratt Manhattan Gallery\,144 West 14th St 2nd Fl\nNew York\, NY 10 011 SUMMARY:See Yourself E(x)ist END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233210Z UID:459395 DTSTART:20171221T000000 DTEND:20180130T000000 DESCRIPTION:
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There are no rules. That is how art is born\, how break throughs happen.
\nGo against the rules or ignore the rules. That is w hat invention is about.

\nHelen Frankenthaler

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The June Kelly Gallery celebrates its 30th Anniversary wi th a group exhibition of drawings and photographs by gallery artists. \ ; It will open on Thursday\, December 21\, 2017 and continue through Januar y 30\, 2018.

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< font color="#000080">To mark the 30 years\, the gallery artists were invite d to exhibit drawings and photographs embracing independent selections of a multiplicity of subject\, style and process.

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Drawing and Photograp hy are expansive concepts. In this exhibition\, interpretation of either me dium is not limited to a traditional sense as the drawn line made with a pe ncil\, pen\, or charcoal on white paper as in Stan Brodsky&rsquo\;s drawing \, titled Rear View\, 1968. \; James Little speaks of his brilli antly colored vertical geometric bands\, When Aaron Tied Ruth\, 2008 \, executed in multiple layers of oil and wax on canvas as a drawing. \ ; Rebecca Welz refers to her welded and twisted steel rods reflecting inter connectedness\, Lace Barnacle\, 2017 as a drawing and Philemona Will iamson says depicting the drawn line in her lithograph with graphite\, U ntitled\, allows insight to her process of painting. \; Ming Smith& rsquo\;s nostalgic narrative\, Roxbury Interior\, Boston\, MA.\, 197 8\; LeRoy Henderson&rsquo\;s portrait Carmen de Lavallade (Bedford Stuyvesant Festival\, 1985)\; Charles Martin\, Flight\, 2008 and Joh n Pinderhughes panoramic naturescape\, Splashing Water/Montauk\, 199 7\, reflect contemporary approaches with subject.

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&ldquo\;Stimulati ng while demanding years&rdquo\; is gallery owner June Kelly&rsquo\;s comme nt when speaking of the three decades that have brought her much gratificat ion.

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Herself vested with a richly diverse career in the art world\, June Kelly is especially pleased that pursuant to her initial mission in 1 987 that her gallery artists represent a broad\, diverse ethnic and interna tional spectrum and that their work would be placed in museum permanent col lections globally\; she has clearly succeeded in those unremitting objectiv es.

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In this 30th year alone\, for example\, her ethnic and gender diverse gallery artists continue to receive domestic and global attention - - World War I and American Art\, a traveling exhibition organized by the Pennsylvania Academy of the Fine Arts and which included Debra Priestl y&rsquo\;s drawing\; Kay WalkingStick: An American Artist\, Smithson ian National Museum of The American Indian (a multi-venue retrospective)\; Philemona Williamson&rsquo\;s back-to-back retrospectives\, Metaphorical Narratives\, Montclair Art Museum and Converging Voices: Gender and Identity\, the University of North Carolina at Chapel Hill\; photograp her Ming Smith\, We Wanted a Revolution: Black Radical Women 1965-85 \, Brooklyn Museum and John Pinderhughes\, Uptown\, Miriam and Ira D . Wallach Art Gallery\, Columbia University\; Julio Valdez\, Inter-American Development Bank\, Washington\, DC\; Rebecca Welz\, SciArt Center\, Easton \, PA\; Mark Alsterlind\, France\; Su-Li Hung\, Taiwan\; Su Kwak\, Korea\; Hanibal Srouji\, Lebanon\, and Nola Zirin\, China.

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Gallery artists whose work entered museum permanent collections in this milestone year incl ude Frances Hynes\, The Albany Institute of History and Art\; Sandra Lerner \, Gutman Gallery\, Harvard Graduate School of Education\; James Little\, C had\, Central Africa\; Sarah Plimpton\, The Beinecke Rare Book &\; Manus cript Library\, Yale University\; Debra Priestly\, The Pennsylvania Academy of Fine Arts\; Joan Giordano\, Museum of Contemporary Art of Crete\, Kay W alkingStick\, The Newark Museum and The Virginia Museum of Fine Arts\; Phil emona Williamson\, Montclair Art Museum\, and Nola Zirin\, The Taoxichuang Art Museum of China Central Academy of Fine Art.

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Other highlights f or the year include The Virginia Museum of Fine Arts acquiring a masterpiec e by gallery artist Hughie Lee-Smith (1915-1999) titled Absence of Gaiet y\, ca. 1962\, oil on canvas\, 34 ¼\; x 50 ½\; inches for t heir permanent collection. \; It is a classic Lee-Smith that is hauntin g\, staying long in the mind&rsquo\;s eye.

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The University of Iowa\, the Board of Regents and the State of Iowa approved the naming of a new re sidence hall in honor of gallery artist Elizabeth Catlett (1915-2012)\, an alumna of the school. \; In 1940\, Elizabeth Catlett became one of the first three MFA graduates from the University of Iowa and was the first Afr ican American woman to receive the degree. \; She would become one of t he most important American sculptors and printmakers of the 20th century.

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Gallery artists Colin Chase received the Joan Mitchell Grant for Pai nting and Sculpture and Bruce Dorfman\, the Pollack-Krasner Foundation Indi vidual Grant. Claudia DeMonte\, received a Sol LeWitt Residency\, Spoleto\, Italy. \; The Metropolitan Transit Authority commission won by James L ittle continues in fabrication\, Paderborn\, Germany. \; Moe Brooker be gins the coveted GSA (General Services Department) Washington\, DC commissi on he won for a wall in the Philadelphia Convention Center.\n\n

&ldquo\ ;It has been an exciting journey\,&rdquo\; Kelly said. &ldquo\;Despite the ups and downs inherent in this demanding field\, I&rsquo\;m grateful to so many people for their contributions to the gallery&rsquo\;s achievements ov er the past three decades.

\n LOCATION:June Kelly Gallery\,166 Mercer Street \nNew York\, NY 10012US SUMMARY:30th Anniversary: Drawings and Photographs\, Group Show END:VEVENT BEGIN:VEVENT DTSTAMP:20180119T233210Z UID:459396 DTSTART:20171221T180000 DTEND:20171221T200000 LOCATION:June Kelly Gallery\,166 Mercer Street \nNew York\, NY 10012US SUMMARY:30th Anniversary: Drawings and Photographs END:VEVENT END:VCALENDAR

 \; AI-WEN WU KRATZ

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 \; \;LILIANA SCOCCO CILLA

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 \; GUILLO PEREZ III

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< strong> \;EQUINOX of the SOUL-STICE  \; \;

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